They said the Cold War would end when the Berlin Wall fell in 1989. It didn’t. The Warsaw Pact might have been dissolved and Germany united, but The Gang of Eight restored Communism in Russia. Not only that, but it revived the Soviet economy and retrained the Red Army. We didn’t find out how good it was until 1996 when the USSR decided to reoccupy Estonia, Latvia, and Lithuania. Then Poland a year later to prevent it becoming a Western ally. Within months, even after a sustained bombing campaign, U.S. and NATO forces are fighting a Soviet invasion on the ground all across Europe, from Sweden in the north to Romania in the south, and when the Red Army is forced to retreat, the head of the Soviet Union authorises the use of tactical nuclear weapons on the battlefield. It shatters NATO forces and escalates into a devastating exchange of nuclear missiles that destroy military, industrial, and civilian sites on all sides. Communication networks and transportation routes break down, the food supply chain collapses, and first famine, then disease, hits Europe and elsewhere. By the end of 1999, billions are dead. Even as federal authority crumbles in the USA, NATO launches one last desperate attempt to capture Warsaw and Stockholm, the capitals of Poland and Sweden. Operation Reset is stopped by unexpectedly determined Soviet defence and the last offensive of the war is done. What survivors there are, are told, “Good luck. You’re on your own now.”

This is the situation at the beginning of Twilight 2000: Roleplaying in the World War III That Never Was. It is the classic situation that dates all the way back to the first edition of Twilight 2000, published by Game Designer’s Workshop in 1984. Where the original, written at the height of the Cold War, was set in a much-feared future, the new fourth edition, published by Free League Publishing following a successful Kickstarter campaign, takes place in an alternate past that hinges on the success of the coup d’état against Mikhail Gorbachev in 1991 by the Gang of Eight that saw the restoration of Communism. The result is same. A mixture of U.S. and Allied forces, the last remnants of US 5th Mechanized Infantry Division, struggling to survive in a Europe that has been shattered by war and poisoned by weapons of mass destruction, at the mercy of marauders and petty warlords, the potential hope of survivors who want protection, and in search of a home. That may well be the true home of the US 5th Mechanized Infantry Division, the USA, as it has been in the previous editions of Twilight 2000. However, Twilight 2000: Roleplaying in the World War III That Never Was also offers another starting option and another option for long term play. Traditionally, the last hurrah of the US 5th Mechanized Infantry Division has always been the city of Kalisz in central Poland, but Twilight 2000: Roleplaying in the World War III That Never Was offers the alternative starting point of Sweden, near the central city of Örebro with US 2nd Marine Division. The situation is not much changed otherwise, for whilst the terrain and the people are different, the invaders are not. In both case, they maintain a strong military presence, though not a co-ordinated one. The broken infrastructure and communication links have prevented that.

Twilight 2000: Roleplaying in the World War III That Never Was is more expansive in other ways. It is upfront about what the Player Characters are expected to do. One option is find a way home, but others include surviving, helping others in need, gathering information, finding a safe haven, staking a claim, and even helping to reset the world. With the last three, the roleplaying game gives objectives which will be later supported by the community building rules, these being a common feature to many roleplaying games from Free League Publishing. In many of these objectives, there is a moral imperative, one of making the world a better place despite the damage done to it. How they do it is up to the Player Characters, who can of course, be soldiers as the default set-up, but Twilight 2000 also suggests campaign frameworks involving civilians, members of law enforcement, and even prisoners! These are not explored in any detail, but they are intriguing possibilities. They are, though, presented as options in terms of characters that the players can roleplay.

Like the First Edition, Twilight 2000: Roleplaying in the World War III That Never Was comes as a boxed set. This contains a one-hundred-and-fifty-two page ‘Player’s Manual’, a one-hundred-and-twelve page ‘Referee’s Manual’, a large 864 × 558 mm double-sided full-colour map which depicts central and northern Poland on one side and central and southern Sweden on the other, a set of fifteen dice, eight double-sided battle maps, two double-sided scenario-specific maps, one-hundred-and-eight cardboard counters depicting various figures and vehicles, sixteen dice, ten Initiative cards, fifty-two Encounter cards, five character sheets, and two player handouts. The fifteen dice consist of two sets of Base Dice—six-, eight-, ten-, and twelve-sided dice marked with crosshair symbols for successes and explosion symbols for failure and damage, six six-sided Ammo Dice used to roll for ammunition use and possible damage to a firearm, and a six-sided Hit location die. The two double-sided scenario-specific maps are larger than the eight double-sided battle maps which are designed to be modular and used with the Encounter cards and the counters. The maps depict a variety of urban and rural terrain. The player handouts are briefings for Operation Reset and the default start of play, giving intelligence data on the NATO and Soviet military deployment at the start of the offensive, one for Poland and one for Sweden. The whole set has a sturdy handsomeness to it and a solid physical presence.

A Player Character in Twilight 2000 is defined by his Nationality, Branch of Service, and Military Rank (as much as it holds sway in the post-war collapse). He has four attributes—Strength, Agility, Intelligence, and Empathy—each represented by a letter, with ‘A’ representing the most capable, ‘C’ average, and ‘D’ weak. Each letter also corresponds to a die type. Thus, A to a twelve-sided die, B to a ten-sided die, C to an eight-sided die, and D to a six-sided die. There are also twelve core skills, three per attribute, and these are also by a letter and a die type, from ‘A’ and a twelve-sided die for Elite to ‘D’ and a six-sided die for Novice, with ‘C’ and an eight-sided die for Experienced. A rating of ‘F’ does not have an associated die type and it represents being untrained in a skill. Skills can also have specialities. In addition, a Player Character has a rating for his ‘Coolness Under Fire’, again rated from ‘A’ to ‘D’, as is the Player Characters’ Unit Morale. Whilst ‘Coolness Under Fire’ is important for a Player Character to not panic when the bullets start flying, in the long term it can have detrimental effects upon him, for every time it goes up, there is a chance that the Player Character’s Empathy goes down and thus his ability to interact with others as he becomes hardened to the loss of human life. Which is good balancing factor in play, as the Player Characters try to survive and still keep their humanity.

Beyond the stats, a Player Character will have a Moral Code, such as ‘You have a moral obligation to help those worse off than you.’, which can grant bonuses to skills if the Player Characters acts in accordance with it or cause Stress if acted against; a Big Dream that will give extra Experience Points if the Player Builds towards it; and a Buddy, who will also give a Player Character a bonus to a skill if coming to his aid and Stress if he is injured or killed. Every Player Character has some base equipment and access to starting group equipment, and potentially, a vehicle shared by the group, which could be an ordinary car, a jeep, or even a main battle tank! Important amongst this gear is ammunition, which can be used as a currency as well as in weapons. Lastly, every Player Character begins play with one more points of permanent Radiation damage.

In terms of character creation, Twilight 2000 offers two options. One is to select and modify an Archetype, of which there are nine. These are the Civilian, the Grunt, the Gunner, the Kid, the Mechanic, the Medic, the Officer, the Operator, and the Spook. Of these, the Operator is the Special Forces operative. The other option is to follow a Lifepath. Beginning with the character’s childhood, the player takes him through a series of terms, rolling to see if he gains specialities, is promoted, how many years he ages, and whether or not war breaks out. When this occurs, he receives some military training and experience. Civilian characters will have a wider range of skills, whilst soldiers will have better military skills and are more likely to have been promoted. In terms of background, Twilight 2000 supports Americans, Swedes, Poles, and Soviets, whilst there are tables for various careers, including law enforcement and criminal, education, blue collar and white-collar occupations, as well as the one for a military career and lastly, the ‘At War’ career, which covers both conscripts for Player Characters from nationalities involved in the war and civilians if not.

Nationality: Quinn McConnell
Branch of Service: Infantry
Military Rank: Private
Age: 24
Childhood: Streetkid
Career: Burglar, Prisoner, Conscript
Moral Code: Freedom is everything. No one tells you what to do. Ever.
Big Dream: Find a place to settle down with your friends, and defend it with our life

Coolness Under Fire: C
Hit Capacity: 5
Stress Capacity: 6
Radiation: 2

ATTRIBUTES/SKILLS
Strength: B [Close Combat B (Brawler)]
Agility: B [Ranged Combat D, Mobility D (Mountaineer)]
Intelligence: A [Recon B (Infiltrator), Survival D (Scrounger), Tech D (Electrician, Locksmith)]
Empathy: B

Gear
Assault rifle (1 reload), flak jacket and helmet, knife, personal medkit, basic tools, vehicle tools, backpack

Mechanically, Twilight 2000: Roleplaying in the World War III That Never Was uses the same variant of the Year Zero Engine that has since been seen in the Blade Runner – The Roleplaying Game. To have his character undertake an action, a player rolls one Base Die the Attribute and one Base Die for the Skill. Rolls of six or more count as a Success. Rolls of ten or more grant two Successes, which can grant extra benefits. In general, unless rolls are opposed, only one success is required to succeed at an action. Modifiers, whether from equipment, a skill-related speciality, or the situation will increase, or sometimes in the case of the latter, decrease the size of the die rolled. If the roll is failed and no successes are rolled or the player needs more successes, he can push the roll. This enables him to reroll any dice that do not already show Successes or Explosions, but whilst this means that he might roll Successes to succeed or succeed better, it is not without its dangers. Every result of an Explosion inflicts damage on the Player Character, either physical and deducted from the Player Character’s Hit Capacity if rolled with Strength or Agility, or mental and deducted from the Player Character’s Stress Capacity if rolled with Intelligence or Empathy. Actually, rolling is thus potentially dangerous to the Player Character and the rules advise that the players should not roll too often as a consequence.

Combat uses these basic rules and expands greatly upon them as you would expect for a military-based roleplaying game with an emphasis on combat. Combat in Twilight 2000 is fought on the roleplaying game’s hex maps using its counters. Initiative is handled by drawing cards from a deck of ten cards, numbered one to ten and then counting up. It is possible to swap initiative cards if a Player Character needs to go first. When a Player Character acts, he can conduct one fast and one slow action, or two fast actions. A slow action might be to break free of a grapple, fire a gun, or exit a vehicle, whilst a fast action could be to seek cover, run, aim, or reload. Combat covers a multitude of situations and rules—cover and line of sight, ambushes, overwatch and suppressive fire, close and ranged combat, explosives—both landmines and IEDs, heavy weapons, and more. Notably, when an attack with a firearm is made, a player does not just roll the Base Dice for his character’s Attribute and Skill. He can also roll Ammo Dice, the more shots fired, the more Ammo Dice rolled. These also have Success icons on them, marked by bullet symbols rather than Target symbols, as well as Explosion symbols. Successes on Ammo Dice can be used to increase the damage done beyond the base damage inflicted by the weapon or to inflict a second hit on the same or a second target. An attack roll can fail and the attack miss, but Successes on the Ammo Dice will still have the effect of suppressing the target. When an attack roll is pushed, the Ammo Dice are also rolled and enough Explosion symbols means that the weapon is jammed and possibly damaged. Successes on Ammo Dice also determine to track how much ammunition is used in an attack and a player is expected to track the amount of ammunition used.

The other die rolled with an attack is the Hit Location die. This determines where damage is inflicted, which is important because bodily locations can be protected by both armour and cover. Armour can stop small amounts of damage and it can suffer damage itself (and be repaired), but damage can be deadly. Suffer total damage equal to Hit Capacity and a Player Character is incapacitated, but suffer damage equal to or greater than a weapon’s ‘Crit Threshold’—for example, the Crit Threshold for a Beretta M9 is two and three for the M16A2—and a critical injury is suffered. Critical injuries are determined by location and can be lethal, requiring a player to make Death Saves for his character until someone can render medical help. In addition, there is a chance of infection… Few of the critical injuries are permanent, but they all take time to heal and they do require medical attention. Having access to a doctor or medic is a necessity in Twilight 2000. It also possible to be incapacitated via mental stress.

The devastated world of Twilight 2000 has its own additional dangers—the residue from chemical warfare and of course, the lingering effects of radiation. Each time a Player Character encounters a radiation hotspot, there is a chance he gains a point of Radiation, which can become permanent, and also suffer from radiation sickness. If he does, there is the possibility that unless treated, as with other diseases like dysentery or cholera, that the Player Character will die.

The scale of combat in Twilight 2000 is at the skirmish level and that also applies to vehicle combat. For the most part, due to the lack of fuel, parts, and ammunition, a group of Player Characters will only be operating a vehicle or two, so vehicle combat will often be one-on-one engagements or small and fire and anti-armour weapons be deployed against vehicles of various types. The rules for vehicle combat in Twilight 2000 are quite straightforward and the aim in general is not necessarily to destroy opposing vehicles as much as render them operable so that they are no longer a danger. A good quarter of the ‘Player’s Manual’ is dedicated to the arms, armour, and equipment, that the Player Characters might find and deploy as they make their way across Poland or Sweden. Although there are some weapons and equipment deployed by other NATO forces described, the descriptions are mostly that of jury-rigged and civilian weapons, as well as American, Soviet, Polish, and Swedish gear reflecting the change in location offered by Twilight 2000: Roleplaying in the World War III That Never Was.

One feature of roleplaying games from Free League Publishing is that they include rules for establishing, developing, and protecting a community, and Twilight 2000 is no exception. More so given that doing so is written into what the Player Characters are expected to do in the game. A base of operations provides the Player Characters somewhere to rest without the need to make Survival rolls to make camp, and not only they can make use of existing facilities, but also add to them. These can be as basic as cultivating cropland or building a cow pen, but then facilities like these are going to be a necessity. In comparison to other roleplaying games from Free League Publishing, such where they originated in Mutant: Year Zero – Roleplaying at the End of Days, the community rules are not as detailed or as expansive, but in providing facilities for the Player Characters to build and protect, they can serve as the basis for storytelling and events. Further, a base-focused campaign means that the area around it becomes the space in which stories and events can be told and developed. The rules for travel also cover foraging and scrounging as well as difficulty of travel in the post-apocalyptic world of Twilight 2000.

Where the ‘Player’s Manual’ presents the rules for Twilight 2000, the ‘Referee’s Manual’ presents the setting. This includes how the world slide into the war and the state of both Poland and Sweden as the primary starting points. There is some background on other countries such as France, Germany, the United Kingdom, and the USA, but only in the broadest of details. There is good advice for the Game Master on starting a campaign from the collapse of Operation Reset and beyond, really developing a campaign driven by what the players and their characters want to do, whether that is to try and find a way home back to the USA or establish a base and even a future where they are. To back this up, the Referee is a given details of the remaining factions, forces, and their goals in both countries, as well as fifty-two encounters to add to her campaign. Each of the latter can be drawn from the ‘Encounter Deck’, which can be anything from encountering a band of refugees, a village ready to barter, or a marauder roadblock to a simply the weather getting better, finding an ambushed Soviet vehicle, or a burnt-out bus, ready to be scavenged, but home to a poisonous viper! They are all easily adjusted so that they can be used again. Four specific scenario sites are described in some detail, including a prison, a town that has fallen under the ‘protection’ of American forces, a military academy turned into a fortress by the surviving cadets, and a burnt-out town whose inhabitants are only beginning to come to terms with what happened. All are nice detailed and include rumours and hooks that ideally should get the Player Characters to want to stick around and investigate a little further. Lastly, the ‘Referee’s Manual’ includes solo rules, conversion notes from previous editions of Twilight 2000, and most interestingly, designer’s notes. This explains how and why the new edition came about and some of the design changes made.

Physically, Twilight 2000: Roleplaying in the World War III That Never Was is very well produced. Both books are well written and the illustrations really do capture the look and feel of the desolate and damaged world broken by mankind’s worst fears. The production values of the maps, cards, and counters are also very good.

The Twilight 2000 of 1984 was the military roleplaying game of its day and Twilight 2000: Roleplaying in the World War III That Never Was is the military roleplaying game of the early twenty-first century. As much as this new edition is a fantastic update of the original, retaining all of its scope, it better emphasises its potential as makes explicit that it is as much a military survival game as it is one of rebuilding and resetting the world. Whilst the setting is bleak and the rules often brutal, this gives Twilight 2000: Roleplaying in the World War III That Never Was a sense of hope that makes it worthwhile taking a look at beyond simple nostalgia.

Since 2013, Goodman Games, the publisher of the Dungeon Crawl Classics Role Playing Game and Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic has released a book especially for Gen Con, the largest tabletop hobby gaming event in the world. That book is the Goodman Games Gen Con Program Book, a look back at the previous year, a preview of the year to come, staff biographies, community content, and a whole lot more, including adventures and lots of tidbits and silliness. The first was the Goodman Games Gen Con 2013 Program Book, but not being able to pick up a copy from Goodman Games when they first attended UK Games Expo in 2019, the first to be reviewed was the Goodman Games Gen Con 2014 Program Book. Fortunately, a little patience and a copy of the Goodman Games Gen Con 2013 Program Book was located and reviewed, so since 2021, normal order has been resumed with the Goodman Games Gen Con 2015 Program Guide, the Goodman Games Gen Con 2016 Program Book, the Goodman Games Gen Con 2017 Program Book, and Goodman Games Gen Con 2018 Program Guide: The Black Heart of Thakulon the Undying, and Goodman Games 2019 Yearbook: Riders on the Phlogiston.
With both Goodman Games Gen Con 2018 Program Guide: The Black Heart of Thakulon the Undying, and Goodman Games 2019 Yearbook: Riders on the Phlogiston, the series had begun to chart a new direction. Each volume would contain a mix of support for the various RPGs published by Goodman Games and the content recognising the Goodman Games community, but the major feature of each volume would be a tournament scenario, staged the previous year at Gen Con. Unfortunately, events caught up with the eighth entry in the series, Goodman Games Yearbook #8: The Year That Shall Not be Named, as the Covid-19 pandemic forced the world to adjust, which of course, included Goodman Games. The result was that the traditional Gen Con Program Guide became a ‘Yearbook’ and this trend has continued since with the Goodman Games 2021 Yearbook and the Goodman Games 2022 Yearbook.
The Goodman Games 2022 Yearbook opens with a traditional look back at the previous year, which saw the continued return to Gen Con and the expansion and professionalisation of the company and also company owner, Joseph Goodman’s philosophy of Gen Con as “the full expression of the Goodman Games brand.” and the fun of playing games. This includes the creation of the Ziggurat and the Wizard Van, both of which have become features of the company’s presence at both the Gen Con and Origins gaming conventions. They also have their own features elsewhere in the book. In turn, Joseph Goodman, Michael Curtis, Chris Doyle, and Brendan Lasalle take a look back at the year, highlighting what the publisher put out in the last twelve months and the company’s return to the convention stage, marking what was a return to form with titles as Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen and Dungeon Crawl Classics #100: The Music of the Spheres is Chaos, funding Original Adventures Reincarnated #7: Dark Tower, and organising Dungeon Crawl Classics #104: Return to the Starless Sea as a tournament. ‘Returning To The Community Of Gen Con DCC’ by Harley Stroh follows this strand in celebrating the joy of returning to play at the event.

Art and how they look has always played a big part of the books that Goodman Games publish and highlighting this has always been part of the publisher’s Gen Con Program Guides and the Gen Con Year Books. The Goodman Games 2022 Yearbook is no exception, but there is an element sadness in the fact that it mirrors the artistic content in the previous volume in the series, the Goodman Games 2021 Yearbook, as it both notes the death of an artist who contributed numerous covers to its books and interviews another artist. Thus it says, ‘Goodbye, Ken Kelly’ to the late Ken Kelly and conducts ‘An Interview With Sanjulián’, in both cases showcasing their art and their contribution to the Goodman Games look.

Goodman Games is also well known for the extra dice it uses in both the Dungeon Crawl Classics Roleplaying Game and Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, as well as the more recent Xcrawl Classics Roleplaying Game. The Goodman Games 2022 Yearbook embraces this as it takes a silly turn and suggests ways in which the eleven-sided die from Impact Miniatures can be used. Thus, in ‘Take It To 11!’ by Michael Curtis gives two new tables, one ‘The Quick And Dirty Foe Description Table’, the other, ‘The Weird Property Of That Thing You Just Found Table’, whilst separately, Chris Doyle offers two further tables in ‘d11 Fates for 5E’. These two include the bonuses to be gained from inserting coins into an altar dedicated to Myna, the Goddess of Luck, with better coins donated increasing the likelihood of a blessing rather than a curse, whilst ‘The Pool of Life’ has table of healing results for a fountain found in ancient ruins. To be fair, all four tables will work with both the Dungeon Crawl Classics Roleplaying Game and Dungeons & Dragons, Fifth Edition, though the entries in ‘d11 Fates for 5E’ require a little bit of set-up to use. Of course, four tables dedicated to an eleven-sided die does not seem sufficient. Surely, the number of tables should also have gone up to eleven?
‘When Tolls the Bell of Ruin’ is the first of two adventures in the Goodman Games 2022 Yearbook. It is a scenario for a party of four to six First Level Player Characters for Dungeon Crawl Classics which begins with the Player Characters responding to the ominous tolling of a bell that has rung out across the land and instilled a sense of dread in all. It has been traced to an ancient monastery of muted monks and as the Player Characters investigate this isolated facility, they will potentially trigger the further tolling of the bell. The bell is actually the Bell of Ruin and whenever it rings, the monastery and the surrounding land are beset by a calamity. These begin with a constant chill and greyness enshrouding the land in a permanent twilight and escalate into everyone suffering rashes of boils, flames randomly striking the ground, and so on. The fun here is that the players will be rolling to see when the bell actually tolls. In between the peal of the bell, the adventure has a pleasingly quiet eeriness to it, the monastery silent and monks strangely missing. Inspired by the Conan the Adventurer cartoon, this is a solid adventure that is easy to add to almost any campaign.
The Goodman Games 2022 Yearbook details four monsters, not once but twice. First for the Dungeon Crawl Classics Roleplaying Game and then for Dungeons & Dragons, Fifth Edition. They include the Humming-Wasp Swarm, a creature actually from the Terra A.D. setting of Mutant Crawl Classics whose drone stupefies enslaves victims into collecting harvests for the insects; the Shroud Ghoul which shoots gobs of caustic bile from its nose; the Shroud Phantom, undead that looks like burial shroud and suffocates it victims; and the Tri-Crystalline, a crystalline humanoid with three faces, each one of a different alignment that performs particular missions according to the alignment of the face that is awake. The Humming-Wasp Swarm is done as a fantasy version for Dungeons & Dragons, Fifth Edition, but even the Mutant Crawl Classics version can be used in the Dungeon Crawl Classics Roleplaying Game. Otherwise these are very serviceable monsters.
The Goodman Games’ creative efforts at Gen Con in the past have shown us how the famous Ziggurat was created. Here, ‘A Wizard Van Is Summoned...’ shows how the infamous Goodman Games Wizard Van was modified, reupholstered, and fitted with furniture so as to be suitable to host games at the events where it appeared, whilst in ‘The Original Doom Beard’, Dieter Zimmerman not only provides stats for the Wizard Van (as ‘GG Joe Wizard Vandroid’), but also for its creator! This is followed by ‘Interview With The Mask Maker’ by Tim Wadzinski, who talks to professional mask maker Jordyn Boci, the creator of the masks worn at the convention by some of the Goodman Games staff. ‘The Original Doom Beard’ is, of course, another piece of silliness, but together these three pieces show some of the thought and processes that go into the creation of these items that at the show add to Goodman Games’ presence.
The second scenario in the Goodman Games 2022 Yearbook is ‘Secret of the Slayer’s Sword’ by Alex Kurowski. This is designed for use with Dungeons & Dragons, Fifth Edition and a party of four to six, Twelfth Level Player Characters, and it can be run as a sequel to Fifth Edition Fantasy #5 Into the Dragons Maw. However, it does have quite a complicated backstory that the Player Characters will need to be aware of, but what it boils down to is that Dracusa, a half-green Dragon Medusa, in her continued attempt to prove herself worthy of her draconic half, is hunting for a legendary sword, Vritrastrike, capable of delivering a mortal wound to any dragon. The adventure, set in a Mesoamerican style country, quickly gets the Player Characters to the shrine where the sword rests. The shrine consists of two big encounters, one quite a challenging puzzle, the other a big bruising battle with Dracusa. Success will reward the Player Characters with some fantastic treasure. ‘Secret of the Slayer’s Sword’ is a short, one session affair though nicely detailed. Given its detail and setting, it will require some adjustment to fit into a campaign, and although it states that it does not have to be run after Fifth Edition Fantasy #5 Into the Dragons Maw, to get the best out of the scenario, it really should be as it does feel like the second and concluding part.
Goodman Games has always been highly supportive of its community and showcases their activities in every issue of the ‘program guide’ or ‘yearbook’. The Goodman Games 2021 Yearbook is no exception and dotted throughout its pages are numerous photographs from the events at which there was a Goodman Games presence. These include Gary Con 2022, Kublacon 2022, Origins 2022, and others, as well as Gen Con 2022 itself. There is also the results of the ‘2022 Bumper Sticker Design Contest’, ‘Gen Con Signage’, and in ‘Inkburn!’, even shows how Hector Cruz, a fan of regular Goodman Games artist, Doug Kovacs, got him to draw a tattoo for him, and the ‘Twitch Shows Of 2022’, in which Alana Thompson encapsulates some of the best media streams dedicated to Dungeon Crawl Classics. Lastly, ‘The 2022 Goodie Awards’ spotlights the contributors to the Goodman Games community over the course of the previous year around the world. Lastly, the Goodman Games 2022 Yearbook comes to a cozy close with the return of ‘Dear Archmage Abby’ and some gaming advice.
Physically, the Goodman Games 2022 Yearbook is a slim affair, in keeping with the current reduced format of the series. It is well presented, a pleasing read, and full of very good artwork.
With the Goodman Games 2022 Yearbook gone is the uncertainty of the Goodman Games 2021 Yearbook that chronicled Goodman Games’ adjusting to life after the Covid-19 Pandemic and returning to gaming and a convention presence as was before the events of 2019 and 2020. In fact, with the arrival of the Wizard Van, it is as if Goodman Games are screaming, “We’re back and we’re doing bigger and better things!!” Yet in comparison to the grandeur of the earlier Goodman Games Gen Con 2018 Program Guide: The Black Heart of Thakulon the Undying, and Goodman Games 2019 Yearbook: Riders on the Phlogiston, that does not really apply to the Goodman Games 2022 Yearbook, which feels restrained and not quite as adventurous in the slimmer format. Fans of Goodman Games will undoubtedly enjoy the Goodman Games 2022 Yearbook, but perhaps regret that there is not quite as much to enjoy as there once was.

Between 1961 and 1989, the city of Berlin was divided by more than ideology. It was divided by the Berlin Wall, built in August, 1961 by the Deutsche Demoktratische Republik to stem the flow of citizens from the East to the West. It focused the world’s attention upon the divide between East and West Germany, between the capitalism of the West and the Communism of the East, embodied by the permanent border constructed of brick, explosive mines, sentry posts, machine guns, and so on. The ‘Grey City’ had been divided between the four Allied powers since the end of World War 2, but the Berlin Wall extended the Iron Curtain between East and West through the city rather than just around it. Both sides—the Soviet and the Allies—operated networks of spies and conducted operations in each other’s territories in an effort to discover what the other knew and what secrets they held, and in return, attempted to prevent secrets and other assents from falling into the enemy’s hands. This secret conflict between the NATO Allies and the Soviet Union and its proxies in the Warsaw Pact has been ongoing since before World War 2 and it would inspire films and fiction, such as that of Len Deighton and John le Carré, throughout the Cold War—and since. It would also inspire roleplaying games such as Top Secret, Spione, and Project Cassandra: Psychics of the Cold War. One of the aspects of espionage and the Cold War is the loneliness and that is ripe for exploration in solo roleplaying such as Numb3r Stations – A Solo RPG and Death in Berlin: Spy Games During the Cold War 1961-1989.

Death in Berlin: Spy Games During the Cold War 1961-1989 is a solo roleplaying and journalling game published by Critical Kit Ltd., best known for its solo journalling game, Be Like a Crow: A Solo RPG and its scenarios for use with Dungeons & Dragons, Fifth Edition, such as A Yuletide Snowball Massacre: A Ridiculously Festive Battle Royale for 5E and The City of a Hundred Ships. In Death in Berlin, the player will be telling the story of a spy in service to of the agencies of either the Western Bloc or the Eastern Bloc. Thus, he can be a member of the Central Intelligence Agency or MI6 as much as he could be a member of the Komitet gosudarstvennoï bezopasnosti or the Ministerium für Staatssicherheit. His role is counter-espionage, uncovering conspiracies and operations conducted by the other side.

Death in Berlin is really divided in two parts. The first part is a source book which describes the setting for the game, Berlin and the Cold War. The latter begins with George Orwell’s first use of the term and runs through the history in brisk fashion, and is accompanied by a guide to city across all four sectors. There are maps too, show the checkpoints through the wall—there were far more than just Checkpoint Charlie—and the city’s various districts. There are cultural elements covered too, such as the Trabant and the symbolic figures known as the Ampelmännnchen on the pedestrian crossing lights. There is discussion too of the various agencies, equipment that the player and his opponents might wield in the field, and the language of spycraft. The discussion of the espionage world is shorter than the coverage of the city though. The author states that is not designed as a sourcebook for the period and even suggests further reading for the benefit of the reader. However, this potentially still leaves a younger player with more work to do to familiarise himself with the period.

In terms of game play, Death in Berlin requires a full set of polyhedral dice and an ordinary deck of playing cards, of which, only cards valued from seven to Ace are used. An Agent is simply defined. He has two stats, Rank and Heat. Rank represents his progress through the agency and starts at one, raises by one for each conspiracy he foils (that involves a Queen, King, or Ace card), up to a maximum of five. Heat is a measure of how many risks the Agent has taken and how much of a liability he is becoming. It ranges in value from zero to six. It rises by one each time the player identifies what connects two members of a conspiracy. Should it rise to six, the Agent’s cover is blown and the game ends. An Agent also has a Motivation, such as Ideology or Ambition.

Death in Berlin uses a set of tables to help set up and run the game. One provides a narrative arc for what is effectively a season, such as the ‘Monitor’ Mode of Operation, ‘An Artist’ as the Target, and ‘Space’ as the Goal. Further tables can provide a yes or no answer to a question—qualified, if necessary, a suspect or two, names for NPCs of various nationalities, as well as places, weather, items, and possible codenames. Some of these will be useful at the start, some of them in play. Either way, the player is free to roll or pick from them as is his wont. The structure of play is formed by a pyramid of the playing cards, representing the whole of the conspiracy with each card representing a Suspect, four wide at the bottom, then three wide, two wide, and lastly the single card at the top. At least one seven is placed on the lowest level and cards are drawn and placed in the pyramid, ensuring that each card’s value is equal to or greater by a few points than its neighbouring cards. Initially, this is only horizontally in the lowest row, but switches to vertical for the upper levels. This creates a triangular of ascending values. The top, most valuable card will be big target or Suspect. The suit for each card, Spade for the military, police, and intelligence, Clubs for politicians and civil service, Diamonds for business and finance, and Hearts for the arts and vice, determines the area in which field, a Suspect works or is employed, whilst the value of the card is his rank. A random roll determines if he works for the West or the East.

Each individual card and thus Suspect is a target for surveillance upon the part of the player. The surveillance is rolled against the value of the card. If the player fails, he is spotted and gains a point of Heat. For each Rank at Rank Two and above, a player has a Silver Bullet—narratively, a disguise, a weapon, a sidekick, and so on—that sets the roll to ten plus the player’s Rank or enables him to succeed, but also increase his Heat. Heat can be lowered, but it has its own consequences.

If he succeeds, the player draws a new card and consults the Narrative Prompt table. This card determines the basics of the connection between this Suspect and another, adjacent one in the scenario. Each successful roll, each drawing of a new card, and consultation of the Narrative Prompt table is what pushes the story of the player’s investigation forward. For example, “The suspect likes gambling. And this often gets them in trouble. Someone is acting around them. Who it is? What is their relationship?” and “The target meets with one of the known suspects in the conspiracy. This takes place in a cinema in (West sector). You manage to get close enough and hear a sentence. What is it?” It is in this space, using the prompts, that the player is writing his journal and telling the story of his investigation.

Physically, Death in Berlin is simply and cleanly presented. The illustrates evoke the stark world of Berlin in the sixties and seventies, giving a feel for the city. The maps are decent too.

Play through of Death in Berlin, from the beginning investigation of the conspiracy through to the unmasking of the mastermind at its heart will take an hour or more, being dependent on the depth and detail that the player wants to work into the story. It has a slightly grubby feel, but how grubby is again dependent on the player and the style of espionage he wants to write about. The default is definitely le Carré rather than Fleming and there is nothing to stop a player from pushing into the territory of Mick Herron—at least in tone rather than period. Similarly, how much a player will get out of Death in Berlin in writing a journal is dependent upon his knowledge and appreciation of both the genre and the period when it is set.

Death in Berlin: Spy Games During the Cold War 1961-1989 is a very serviceable journalling game, one whose enjoyment and creativity that very much depends upon the knowledge and interest of the player in the genre and period.

Dungeon Module GG1: Till Death Do Us Part is notable for one particular fact. That it is written and published by Heidi Gygax Garland—yes, the daughter of E. Gary Gygax—and her husband, Erik Gygax Garland. Published by Gaxland Games, it is a module written for use with Dungeons & Dragons, Fifth Edition and Player Characters of First Level. Conversion, of course, to the rules of the Game Master’s choice is far from challenging, but the PDF version of the scenario is accompanied with conversions for both Advanced Dungeons & Dragons, First Edition and Castles & Crusades. In addition, the PDF version includes some setting background that the module itself does not. This details Sørholde, a warm, dry, and fortified Dwarven port-city sitting on the island of The Dundel. In Dungeon Module GG1: Till Death Do Us Part, the Player Characters are hired by a famed auctioneer to rescue a local noblewomen, Heiress. She has been kidnapped by Crikpaw and is being held hostage on Governor’s Island, which lies north of Sørholde. In addition to returning with the Lady Heiress, safe and sound, the Player Characters are expected to return with the signet ring from the house of Ukoh An—which Crikpaw is searching for—and ideally with Crikpaw. Dead or alive.

Unfortunately, Dungeon Module GG1: Till Death Do Us Part starts by committing a cardinal sin. It leaps straight into the set-up for the Player Characters with a lot of exposition and absolutely no explanation for what is going on for the Dungeon Master. Nevertheless, it quickly moves to the action with a strange encounter just off Governor’s Island. A Septopus—a seven-tailed Octopus—will approach the boat the Player Characters are on and it will await their reaction. If they attack, the Septopus will respond in kind and then descend into the depths never to return, but if they are receptive to communication, it will tell them some of the secrets about Governor’s Island and give them some keys to doors on the island and some treasure. The treasure is nice enough, but cannot be used in this scenario. It is a nicely done encounter and rewards the Player Characters with a little useful information.

After this first encounter, though? There are some truly pointless encounters in Dungeon Module GG1: Till Death Do Us Part. The second encounter is with a beached pair of adventurers, the last survivors of an encounter with the first encounter, the one with the Septopus that the Player Characters have just survived, either by driving it off or by actually learning something useful from it. Both of them want to leave Governor Island and will negotiate with the Player Characters for help in getting to the ship that the Player Characters arrived on. This, though, is not before both adventurers explain to the Player Characters what happened to the rest of their comrades in what is a detailed splurge of exposition that takes up two pages, and apart from this, neither adventurer has anything useful to tell the Player Characters. The encounter will either show the Player Characters what would have happened if they got the first encounter right or show them that they were not the only ones to get it wrong, but how exactly does this help either them or the story? Logically, perhaps this encounter should have been first, with the adventurers clinging to wreckage rather than washed ashore, thus foreshadowing the encounter with the Septopus, rather than the illogical four pages devoted to it to no purpose.

There is a mad goblin who is dressed as a bridegroom and will beg for news of his bride, and when he does not get it, he will attack the Player Characters. He knows nothing that will be of any help to the Player Characters and although there are the scraps of a torn letter to be found in the same room, there is no explanation as to what contents of the letter actually means. Another room consists of a paddling pool in which floats a rubber duck and which contains surprisingly deep water at the bottom of which is a locked gate. There is nothing else in the room. The adventure states that there is no way to get to the gate and the Dungeon Master is expected to advise her players that, “It becomes obvious that the gate is unreachable at this time”. Which begs the question, when will it be reachable and what does it actually add to the adventure? It is bad enough that the description of the room fails to mention its exits—one obvious, one secret—but having the central feature of a room do nothing and add nothing…? Another has two ‘Apocol-imps’ that walk around in a circle each wearing a sandwich board and declaring the end is nigh and again, there is no explanation as to how this relates to the plot, if at all.

Continuing the pointless encounters with containers of water is a room with the magical artefact known as the Bucket of Fish. Its waters contain visions of ethereal figures swimming in the mist and if a Player Character stares into waters and fails a Saving Throw, he will see the ‘partner of his dreams’, is cursed, and loses points of either Intelligence or Wisdom until the curse is removed. According to legend its appearance is a terrible omen, but an omen of what? If the curse is lifted, and that is a challenge all of its own, the person lifting the curse automatically knows where the Bucket of Fish is and knows that he must return to the Bucket of Fish his to rescue his beloved from the bucket. Further, the Player Character who suffered the curse, will lose half of his wealth, including his possessions and any treasure gained from the adventure. So doubly punished for failing a Saving Throw. Lastly, if a player states that his character is going to ‘kick’ the Bucket of Fish, he has to make a Saving Throw versus Death. He does receive a bonus, because as the adventure states, “[T]he writers of this adventure aren’t complete dicks.” However, if the character does die, the writers do give permission for his player to be teased by his fellow players. Which is fine, because as the adventure states, “[T]he writers of this adventure aren’t complete dicks.”

The encounter ends with further advice that, again, the Dungeon Master is expected to advise her players that, “It becomes obvious that the Bucket of Fish cannot be affected by your actions at this time” as the bucket cannot be moved or damaged by their characters. So again, what is its purpose? The only thing it can do is punish the Player Characters and not only punish the Player Characters, but also a player too, all for asking to do the most obvious thing that you would do with a bucket.

There is another hint as to what is going on some twenty-four pages into Dungeon Module GG1: Till Death Do Us Part. After saving Heiress’ best friend, she will tell them that she came with Heiress to Governor’s Island in order to save her friend, Crikpaw, and she will also explain where the love-besotted Goblin came from. This is from the Bucket of Fish, which begs the question why did it work differently for Heiress and her best friend than for the Player Characters?

The scenario comes to an end with a big fight with a demon, the discovery of a sealed letter that the Player Characters are not expected to read, but give to their employer, and the Player Characters failing to find Heiress, Crikpaw, or the signet ring of the house of Ukoh An. They do see a ship sailing off, presumably with Heiress and Crikpaw aboard, but ultimately, everything is fine, as although the Player Characters’ employer is angry, he will still pay them despite their failure.

Dungeon Module GG1: Till Death Do Us Part is designed as the first part of an eight-part series, so obviously, in later parts, the Player Characters will find Heiress and Crikpaw and presumably find out what is actually going on. This though, does not excuse or stop Dungeon Module GG1: Till Death Do Us Part from being a frustratingly stupid adventure. To begin with, the Dungeon Master does not learn the identity of the actual villain until after the adventure has finished and worse, even if she had known at the start of the adventure, it would not have affected the running of the adventure. It certainly would not have affected the plot, as effectively there is no plot to Dungeon Module GG1: Till Death Do Us Part and even if there were, there is nothing that the Player Characters can do to affect it. So, it almost does not matter that nowhere is there an explanation of the overall plot to the series, let alone this single adventure. Except, of course, such an explanation might have persuaded the Dungeon Master to want to look at the sequels to Dungeon Module GG1: Till Death Do Us Part.

Further, only three encounters matter in the whole of Dungeon Module GG1: Till Death Do Us Part. The first is the encounter with Septopus, which will provide the Player Characters with some useful information as to was they might find in the dungeon; the second is with the Heiress’ best friend, who will tell them a little of what is actually going on; and third, discovering that Heiress and Crikpaw have already left. Between the first and last encounters, it does not matter what the Player Characters do in this linear dungeon. In fact, the best thing that the Player Characters can do is touch nothing and just get to the end as quickly as possible, because almost everything they encounter is either pointless or designed to punish them, if not both. The last thing that these encounters are not designed to do is engage in the plot to Dungeon Module GG1: Till Death Do Us Part, putting aside the fact that there is actually very little plot to Dungeon Module GG1: Till Death Do Us Part.

Physically, Dungeon Module GG1: Till Death Do Us Part is not a bad looking product. It apes the classic booklet in a card folder with a white on blue map on the inside format of many of the modules from TSR, Inc. The map is incredibly large given that it has to depict twelve locations one after another. The scenario needs a slight edit in places, but the artwork is decent and it is tidily laid out.

There are encounters in Dungeon Module GG1: Till Death Do Us Part which are interesting and playable—the encounter with the Septopus and another with some Leaf Spiders. They suggest that the authors can write encounters that are either interesting or playable—or even both, but two interesting and playable encounters out of twelve do not make for a good adventure. The rest really are dreadful, often managing to be just randomly pointless and punishing, taking up time until the Player Characters can discover that all of their efforts have been to naught. To be fair, that is often the way of stories, the protagonists failing to achieve their objectives in this part, but making another attempt in a later part. Yet that failure should be interesting in itself and the protagonists of the story—in this case, the Player Characters—should learn something that will help in the subsequent parts. Dungeon Module GG1: Till Death Do Us Part fails to do this. It also fails to tell the Dungeon Master its own plot, let alone that of the series as a whole. So, it fails to sell the whole series too.

Lastly, Dungeon Module GG1: Till Death Do Us Part costs $35.

Dungeon Module GG1: Till Death Do Us Part does not provide the purchaser with $35’s worth of entertainment. As to the amount’s worth of entertainment it does offer, it is difficult to determine how much this exercise in frustration and pointlessness is actually worth, but $35 it is not by any stretch of the imagination.

There can be no doubt that Knave, Second Edition succeeds at two things. First, it is definitely the prettiest microclones you can buy, and certainly one of the prettiest Old School Renaissance-style roleplaying games you can buy. Second, it is one of the most accessible of microclones you can buy, and certainly one of the most accessible Old School Renaissance-style roleplaying games you can buy. It is pretty because it uses just the one artist and that gives it a look all of its very own. Peter Mullen’s artwork is excellent. It is accessible because the play style of Dungeons & Dragons is incredibly familiar and because the core rules take up two pages and because every aspect of the rules is neatly and concisely presented on a single page. The rules for Ability Checks and Character Creation together take up a single page; for handling Checks, a single page; Delving, a single page; Combat, a single page; and so on. The core of these are even presented in the inside and back covers for easy reference. Barely thirty of the eight pages that make up Knave, Second Edition are dedicated to rules, and that is including the author’s own commentary, advice on play, and an example of play as maps that the Game Master can develop as her own adventure sites. The rest of the book consists of tables. Tables for signs, locations, structures, and place traits, tables for delve shifts, rooms, room details, and room themes, tables for mutations, delusions, disasters, and magic schools. Each of these tables has a hundred entries and each of these tables is designed for two elements of play. One of course, is preparation prior to running the game by the Game Master, the other is to generate content through emergent play, the book itself is slim enough, short enough to make it easy to use at the table.

Knave, Second Edition is a toolkit designed and published by the author of The Waking of Willowby Hall, the earlier Maze Rats, and host of the YouTube channel, Questing Beast, following a successful Kickstarter campaign. The toolkit begins with advice on the duties of both the Game Master and the Player. The tasks of the Game Master are to create locations to explore, flesh out the cast, let the players guide the action, keep the game moving, immerse the players, reveal the world, signpost danger, reward smart plans, and so on. The task of the player are to create and play a character, take initiative and ask questions in driving play forward, apply tactical infinity—that is, treat the world as if it was real and turn any and all aspects of it to his character’s advantage, scheme and fight dirty, but be prepared to die! It is really simple and direct advice, in keeping with the concision of Knave, Second Edition. The advice also fits the play style which has each Player Character as a “tomb-raiding, adventure-seeking ne’er-do-well who wields a spell book just as easily as a blade.” Some of the Game Master’s role, certainly when it comes to the ‘Edit the Rules’ set down at the beginning of the book is expanded upon in the Designer’s Commentary at the end of the book.
A Player Character in Knave, Second Edition has the six standard attributes—Strength, Dexterity, Constitution, Intelligence, Wisdom, and Charisma—of Dungeons & Dragons and other retroclones. Each is rated in value between one and ten, and each one has a specific role in play and is associated with a specific role, or Class, from Dungeons & Dragons. Strength is the Fighter ability and is used for melee combat checks and physical activity. Agility is the Thief ability and covers any action involving reflexes or dexterity. Constitution is the Adventurer ability and is used to resist poison and diseases, but also determines how many item slots a Player Character has and how much damage a Player Character can suffer before dying. Intelligence is the Magic-User ability and is used for cunning, lockpicking—surprisingly not Dexterity, and spell use. Wisdom is the Ranger ability and is used for ranged combat, perception, and willpower. Charisma is the Cleric ability and is used to determine initiative and persuasion. What this means is that there is some shifting of what traditional Dungeons & Dragons do and are used for in Knave, Second Edition, and that in addition, every attribute is useful. In other words, there is no dump stat! In addition, a Player Character has one or two previous Careers which determine his extra equipment to the standard that every Player Character receives. If his Intelligence is high enough, he can have a random spell book as well.
Character creation is fast and easy. The player distributes three points between the six Attributes (or he can roll), rolls for Hit Points, and two Careers. He also receives some coins with which to buy arms and armour. What he does not do is pick a Race or Class. Knave, Second Edition does not use either. A player is free to decide upon the Race of his character, but there are no mechanical benefits to doing so. Instead of a Class, a player can can choose to have his character specialise in one of his Attributes and its associated role. So, for example, to play a Magic-User type, a player would points into his character’s Intelligence Attribute so that he knows more spells and is better at casting them or to be a Ranger type, he would put points in the character’s Dexterity and Wisdom Attributes. Alternatively, a player does not have to have his character specialise and can mix and match roles. For example, he could increase his Intelligence to cast spells and his Strength to be a better warrior. Although a Player Character only starts with three points to assign to his Attributes, he will be given more as he goes up in Level.

Crispin CromditchLevel 1Careers: Cobbler/CultistHit Points: 1Armour: Gambeson (AP 1) Armour Class: 12Helmet: None Shield: NoneWeapon: dagger (d6)
Personality: DogmaticGoal: Serve the NeedyMannerism: Slow Speech
Strength 1 Dexterity 1 Constitution 1Intelligence 0 Wisdom 0 Charisma 0
Equipment: leather roll, fancy shoes, tacks, dagger, ritual robes, amulet, day’s rations, 50’ rope, gambeson
Mechanically, Knave, Second Edition calls for checks to be made against specific attributes on a twenty-sided die. The base difficulty is eleven and may be as high as twenty-one. In combat the difficulty number is the defender’s Armour Class, which is based on the number of Armour Pieces the defender is wearing. In comparison to other roleplaying games, including Dungeons & Dragons, Advantage and Disadvantage is not handled by rolling extra dice, but applying a flat ‘+5’ bonus or ‘-5’ penalty per modifying factor. Beyond this, checks are used sparingly. There are no Lore check, the Player Characters will know common knowledge and the knowledge granted by their careers, but anything else is waiting to be discovered. Similarly, there are no Search checks, but finding hidden things is handled narratively and through Player Character action.
Initiative in combat is handled by an opposed Charisma check and if the player rolls twenty-one or more on the attack check, his character can perform a manoeuvre such as disarming, blinding, tripping, and so on. Sneak attacks always hit and bypasses Hit Points to Wounds, and power attacks double damage, but break the weapon. Damage is taken from a defender’s Hit Points and then in the case of a Player Character, from his Inventory Slots, which effectively serve as wounds. As his Inventory Slots are filled, his capacity to carry objects is reduced and if they are all filled up, the Player Character is dead.

Spellcasting is not just done spell by spell, but spellbook by spellbook. A spellbook holds a single spell and takes up a single inventory slot. Spells are not taught, but found, so that a spellbook is a treasure all of its own. Spells are automatically cast, but their effects can be saved against to avoid them. The rulebook includes one hundred spells, each consiusting of a short, one or two sentence description. There are some fun spells here, like Astral Prison which temporarily freezes the target in time and space; Catherine, which makes a woman dressed in blue appear and fulfil any polite, safe requests; and Shroud which makes the affected creatures invisible for as long as they hold their breath! In addition, there is a set of tables to create even more spells.
Divine magic is called Relic Magic and is granted by patrons, such as gods, spirits, and saints, through relics. Rather than finding a scroll with a divine blessing on it, a Player Character will visit a shrine to communicate with a patron whose favour he has, and be given both a relic and a quest. Fulfil the terms of the quest and the relic will be imbued with a Blessing which can be performed multiple times per day. Of course, a relic takes up an Inventory Slot just as a spellbook does. The various tables for magic, potions, and powers are intended to provide inspiration for what these blessings might be.
Beyond these basic rules and those for delving, Knave, Second Edition scales up to encompass travel and weather, really simple and easy rules for alchemy, buildings and warfare, and of course, monsters. The bestiary itself, is short, at thirty-five entries, but enough to get started. Their format is close to Dungeons & Dragons, so easy for the Game Master to import and adapt monsters from other sources. Outside of adventuring and delving, there are rules too for downtime. The latter includes carousing and gambling, but also career training for everything from carpenter and hunter to lawyer and assassin. The rare careers take a lot of time and are very expensive.
Knave, Second Edition is round out with an example of play—which probably should have been more up front—and the ‘Designer’s Commentary’. Here the designer explains the decisions he took in redesigning Knave for this new edition. His voice comes through here most obviously—the reader can imagine him actually saying all of this—and pleasingly, he acknowledges the inspirations for each of those decisions. There are some interesting choices made here and the ‘Designer’s Commentary’ brings Knave, Second Edition to a close with a personal touch. Lastly, there is a map of a dungeon and a wilderness area that the Game Master could develop into actual adventuring material.
Physically, Knave, Second Edition is very well presented, the layout done in ‘Command’ style so that everything needed for each aspect of the rules is presented concisely on the one page (two at most). This makes everything accessible and easy to grasp. The artwork is excellent.
From start to finish, Knave, Second Edition has been clearly designed for use and accessibility. The layout is great, the mechanics combine simplicity and brutal Old School Renaissance play with player choice, and the tables provide the Game Master with hundreds of prompts. Knave, Second Edition is the microclone’s microclone, a superb little roleplaying game and toolkit, perfect for playing fast and light in the Old School Renaissance.

Achtung! Cthulhu is the roleplaying game of fast-paced pulp action and Mythos magic published by Modiphius Entertainment. It is pitches the Allied Agents of the Britain’s Section M, the United States’ Majestic, and the brave Resistance into a Secret War against those Nazi Agents and organisations which would command and entreat with the occult and forces beyond the understanding of mankind. They are willing to risk their lives and their sanity against malicious Nazi villains and the unfathomable gods and monsters of the Mythos themselves, each striving for supremacy in mankind’s darkest yet finest hour! Yet even the darkest of drives to take advantage of the Mythos is riven by differing ideologies and approaches pandering to Hitler’s whims. The Black Sun consists of Nazi warrior-sorcerers supreme who use foul magic and summoned creatures from nameless dimensions to dominate the battlefields of men, whilst Nachtwölfe, the Night Wolves, utilise technology, biological enhancements, and wunderwaffen (wonder weapons) to win the war for Germany. Ultimately, both utilise and fall under the malign influence of the Mythos, the forces of which have their own unknowable designs…

Achtung! Cthulhu Mission Dossier Volume One: Behind Enemy Lines brings together the first five scenarios published for Achtung! Cthulhu. They will take the Agents from the White Cliffs of Dover and the coast of east Scotland to the coast of the Netherlands and into the mountains of Romania, as well as to a baseball game in the USA. In addition, there is an extra mission, new to Achtung! Cthulhu, that will involve the Agents conducting a mission that parallels Operation Chariot, the raid on St. Nazaire. All six missions can be run as one-shots, but most of them can be run in chronological order and woven into a Game Master’s ongoing campaign that will take the Agents from the Phony War of 1939 through to the height of Nazi and Axis power occupation around the world. With care, this includes being worked into and around a campaign such as Achtung! Cthulhu: Shadows of Atlantis. Two of the scenarios are not designed for this, the one set on the home front in the USA and the new addition, both being set after the events of the campaign and one of them being designed as a one-shot, suitable for convention use. Both though, offer changes of pace and tone, enabling players to experience the Secret War in other places and with other types of character.
The six missions follow the same format. Each begins with a Synopsis for the Game Master, a Mission Briefing & Goals for the Agents, and some Historical Background to provide context. This is followed by the actual scenario itself, divided into its various acts, and ending for the Agents with a Debriefing. For the Game Master there the stats for the NPCs—both enemies and allies—and monsters that the Agents will encounter over the course of the mission.

The anthology opens with the short, sharp Under the Gun. This is set both atop and in the White Cliffs of Dover, where the army, preparing fortifications against a much-feared German invasion, discover strange stone pillar which seems to make everyone feel at least queasy, if not leave them suffering nightmares… Of course, the pillar is not just of interest to Black Sun, but also the local villagers, who possess a certain goggle-eyed appearance. Effectively, this is a mini-encounter with parallels with The Shadow Over Innsmouth—or at least the 1928 raid on the town—and it is combat focused, more so than other scenarios for Achtung! Cthulhu. Its short length also makes it easy to add to a campaign or to serve as a combat-focused interlude.
The second scenario is Operation Vanguard, which could thematically carry on from ‘Under the Gun’ as the links to Deep Ones are more obvious. The action, more detailed and involving stealth and investigation, as well as combat, switches to the Dutch coast and the Dutch fishing town of Nermegen. Section M has learned of a strange installation being constructed at both St. Olaf’s lighthouse and on the nearby Skellen Island and of the presence in the town of Nachtwölfe. This is a commando-style mission, right down to having to paddle ashore in folboats—or folding canoes, as used in Operation Frankton and made famous by the film, The Cockleshell Heroes. Whether making contact with the local Resistance or investigating Nachtwölfe activities, the emphasis is on stealth and that also goes for getting into both the lighthouse and the Nazi installation on the island. In the latter, the Agents will discover what Nachtwölfe has been up to, which has been experimenting on captured Deep Ones! The scenario will end in a big, bruising battle as the escaped Deep Ones take their revenge on their Nachtwölfe scientist and soldier captors. Throughout, the Deep Ones are kept implacable and mysterious, so although the players will know what they are facing, their Agents will not. One option here is have the players handle the Deep Ones as well as their Agents in combat so that the Game Master is not rolling too many dice, especially when it comes to the monsters of the Mythos versus the Nazis.
Operation Falling Crystal takes place on the east coast of Scotland where an archaeological dig discovered a strange blue crystal in nearby caverns. The archaeologists have no idea what it is, but Section M does! It is Blauer Kristall—or Blue Crystal—much coveted by Nachtwölfe, which uses it to fuel its increasingly weird weapons of war. Section M would very much like to get its hands on some of the strange mineral so that it can study it and perhaps develop a means to counter the strange technology being fielded by Nachtwölfe. With its set-up of something strange being discovered under the ground and it attracting the attention of the Nazis and as well as Section M, this scenario is very similar to the earlier ‘Under the Gun’. However, it does go beyond this, if only a little. There is both scope for investigation beyond the archaeological dig itself and for interaction with the Mythos beyond running away or blasting it to bits. This lifts what is otherwise adequate scenario that the Game Master would not want to run too soon after ‘Under the Gun’.

The Romanian Imperative leans into the Pulp sensibilities of Achtung! Cthulhu by sending the Agents into the unstable situation of the Balkans chasing after a Zeppelin! Jokingly referred to as a “wee holiday” by Section M, the Agents are to reconnoitre the area to determine why Nachtwölfe has sent a Zeppelin to a mining village in the Mures Mountains in Romania, discover what it is doing there, and take action. This entails a flight to Belgrade, in Yugoslavia, via Athens in Greece and from there a lengthy drive across the border into Romania and to the mountains, guided by a friendly smuggler. Dealing with checkpoints—Romanian and German—will be the least of the Agents’ problems, but once they reach the village, they will be able to learn a little about what has happened recently and also in the past. This, when combined with the opportunity to observe the work camp below the nearby castle over in the next valley, gives the players and their Agents all the information they need to make their next move. Ideally, this should start with contacting the locals who have been hired to rework the mine, but can also involve investigating the ruins of the castle, the work camp, and ultimately, getting aboard the Zeppelin itself, stationed, unmoored, and unnaturally immobile above the camp. The Zeppelin, enhanced by Nachtwölfe technology, is fully detailed and comes with a set of deck plans. The scenario should end with a fight aboard the Zeppelin—although a very careful one since nobody wants to set it alight—and with the chance that the Agents capture it and fly it back to Britain. They will be handsomely rewarded for their efforts if they do. This is a fun and exciting adventure that fully plays into the Pulp action of Achtung! Cthulhu.

‘Operation Eastbourne’ is the first of the two scenarios in the anthology intended as a change of pace and the only new scenario. Thematically, it can be run as a sequel to both ‘Under the Gun’ and ‘Operation Vanguard’, but need not be. It is effectively two missions in one. The Agents make up ‘Team Beta’ accompanying ‘Team Alpha’, a unit of commandos who will assault a gun battery as part of Operation Chariot, the raid on the French port of St. Nazaire intended to put its dry dock out of action and so prevent German navy ships like the Bismarck or Tirpitz being repaired there. This means that it is set later than the other missions in the book, so the Game Moderator may want to save it for later in her campaign. However, assaulting the gun battery is not the Agents’ objective. Instead, they will investigate a Black Sun archaeological dig and determine what the Nazis are up to. The players will play through both missions as part of the scenarios, the idea being that not only do they roleplay their Agents, but also the commandos (stats for the latter are provided to enable them to do so). The Agents can stick together or they can mix and match, so the players will be roleplaying mixed group of Agents and commandos for each mission. What this means is that either team could come to the help of the other if it gets into difficulty and since, unnaturally, both missions will involve encounters with the Mythos, roleplaying the commandos will remind the players that not everyone has encountered the Mythos before and will not necessarily be quite so blasé about it.

Although divided into the three traditional acts of an Achtung! Cthulhu scenario, ‘Operation Eastbourne’ need not necessarily be run in linear fashion, but could instead be run with the action in parallel, switching back and forth between the different missions at dramatically appropriate moments. In whatever way it is run, ‘Team Beta’ should meet up with ‘Team Alpha’—or even come to the rescue of—in the third and final act when the Black Sun operatives bring their plans to fruition on the rocky beaches of the Atlantic coast. This sets the stage for a big fight as the Nazis attempt a summoning, the Allies attempt to stop them, and all hell breaks loose! It is another grand finale which plays out more like a miniatures game and which calls for big heroic action. A very classic Achtung! Cthulhu scenario.
The last scenario in Achtung! Cthulhu Mission Dossier Volume One: Behind Enemy Lines is Seventh-Inning Slaughter! This switches the action to the USA and a game in the All-American Girls Baseball League which is being attended by President Franklin D. Roosevelt. Unfortunately, so is Jörg Becker, a Nazi sorcerer, determined to prove both himself a capable agent to his Black Sun masters and thus get promoted, and that no-one is safe from the reach of Nazi Germany, not even thousands of miles away on American home soil. This is the second of the two scenarios in the anthology intended to as a change of pace and is probably the best one suited as a one-shot. To that end, it comes with four pre-generated Player Characters, divided between two baseball players, a war correspondent, and a would-be technical genius, and a plot that is played out innings by innings, with weirder and weirder things happening from one innings to the next. Food spoils and writhes with worms, a foul ball hits a member of the crowd, a lightning storm gathers, a dog goes crazy, there is spontaneous vomiting, the same man keep disappearing and reappearing, and so on. Although there is not much that the Player Characters can do to thwart Becker’s efforts until it is almost too late, they will be kept busy dealing with all of the other weird issues as they pop up until then. Effectively, this is a firefighting mission against the Mythos until the Player Characters can root out, and are prepared, to face the cause. This is a different style of scenario to the others in the anthology, offering a change of pace and location that works as a one-shot, a convention scenario, or respite from the main campaign.

Physically, Achtung! Cthulhu Mission Dossier Volume One: Behind Enemy Lines is cleanly and tidily laid out. The illustrations and the maps are excellent, although it does need an edit in places.

Initially, the title of Achtung! Cthulhu Mission Dossier Volume One: Behind Enemy Lines reads like a misnomer. After all, not all of the scenarios take place behind enemy lines—at least not as far as the Allies and Section M are concerned. Once you get Black Sun and Nachtwölfe involved, then three of the scenario do take place behind enemy lines on British and American soil! If there is anything missing from the anthology it is advice on when to run the scenarios in relation with Achtung! Cthulhu: Shadows of Atlantis, as most of its scenarios would work well with the campaign. Otherwise, Achtung! Cthulhu Mission Dossier Volume One: Behind Enemy Lines is a solid collection of scenarios that offers plenty of punching, bullet flying, Pulp-action against the Nazis.

How do you like your GM Screen?

The GM Screen is a essentially a reference sheet, comprised of several card sheets that fold out and can be stood up to serve another purpose, that is, to hide the GM's notes and dice rolls. On the inside, the side facing the GM are listed all of the tables that the GM might want or need at a glance without the need to have to leaf quickly through the core rulebook. On the outside, facing the players, can be found either more tables for their benefit or representative artwork for the game itself. This is both the basic function and the basic format of the screen, neither of which has changed all that much over the years. Beyond the basic format, much has changed though.

To begin with the general format has split, between portrait and landscape formats. The result of the landscape format is a lower screen, and if not a sturdier screen, than at least one that is less prone to being knocked over. Another change has been in the weight of card used to construct the screen. Exile Studios pioneered a new sturdier and durable screen when its printers took two covers from the Hollow Earth Expedition core rule book and literally turned them into the game’s screen. This marked a change from the earlier and flimsier screens that had been done in too light a cardstock, and several publishers have followed suit.

Once you have decided upon your screen format, the next question is what you have put with it. Do you include a poster or poster map, such as Chaosium, Inc.’s last screen for Call of Cthulhu, Sixth Edition or Margaret Weis Productions’ Serenity and BattleStar Galactica Roleplaying Games? Or a reference work like that included with Chessex Games’ Sholari Reference Pack for SkyRealms of Jorune or the GM Resource Book for Pelgrane Press’ Trail of Cthulhu? Perhaps scenarios such as ‘Blackwater Creek’ and ‘Missed Dues’ from the Call of Cthulhu Keeper Screen for use with Call of Cthulhu, Seventh Edition? Or even better, a book of background and scenarios as well as the screen, maps, and forms, like that of the RuneQuest Gamemaster Screen Pack also published by Chaosium, Inc. In the past, the heavier and sturdier the screen, the more likely it is that the screen will be sold unaccompanied, such as those published by Cubicle Seven Entertainment for the Starblazer Adventures: The Rock & Roll Space Opera Adventure Game and Doctor Who: Adventures in Time and Space RPG. That though is no longer the case and stronger and sturdier GM Screens are the norm today.

So how do I like my GM Screen?

I like my Screen to come with something. Not a poster or poster map, but a scenario, which is one reason why I like ‘Descent into Darkness’ from the Game Master’s Screen and Adventure for Legends of the Five Rings Fourth Edition and ‘A Bann Too Many’, the scenario that comes in the Dragon Age Game Master's Kit for Green Ronin Publishing’s Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5. I also like my screen to come with some reference material, something that adds to the game. Which is why I am fond of both the Sholari Reference Pack for SkyRealms of Jorune as well as the RuneQuest Gamemaster Screen Pack. Which is why the Dragonbane Gamemaster Screen is perhaps the most disappointing screen in some years.

The Dragonbane Gamemaster Screen is the Game Master’s Screen for Dragonbane: Mirth & Mayhem Roleplaying. Published by Free League Publishing, best known for Vaesen – Nordic Horror Roleplaying, The One Ring: Roleplaying in the World of Lord of the Rings, and Alien: The Roleplaying Game, this is a reimagining of Sweden’s first fantasy roleplaying game, Drakar och Demoner, originally published in 1982. It promises to be a ‘deluxe’ Game Master Screen and it fulfils that description and it certainly showcases Johan Egerkran’s fantastic artwork for the roleplaying game on the front, facing the players where they can see it. Published in sturdy, thick card, it consists of three panels. On the left-hand panel, there is the ‘Typical NPCs’ table accompanied by spot rules for NPCs and skills, initiative, attributes, and being at zero Hit Points. The middle panel is all about combat. So, there is an ‘Actions’ table, listening possible actions as well as free actions and the effects of rolling a Demon in both melee and ranged combat. There are no tables for weapon damages, armour rating, or the like. On the right-hand panel is the ‘Fear Table’ and the tables for ‘Leaving the Adventure Site’ and ‘Pathfinder Mishaps’. This is it, so what is missing? There is no listing for ‘Special Attacks’ or ‘Conditions’ that the Player Characters are likely to suffer, or no ‘Magical Mishaps’ table. These are important omissions and so the Game Master and her players are going to need to refer to the ‘Dragonbane Rules’ book on a regular basis during play as a consequence.

The Dragonbane Gamemaster Screen is undeniably, a sturdy, attractive looking Game Master’s screen. However, its usefulness is questionable since it omits a number of tables that are commonly referred to in play, and perhaps a fourth panel with those omissions on it might have negated this issue. Then there is the matter of what accompanies the Dragonbane Gamemaster Screen. In the case of so many other Game Master screens, there have scenarios, forms, and books for the Game Master, but for the Game Master who has the Dragonbane Gamemaster Screen, there is nothing. Which only exacerbates its lack of utility.

Most Game Master’s screens are useful and do help the Game Master run the game that she wants and anything beyond that is a bonus. The Dragonbane Gamemaster Screen is of limited use and there is no bonus, so where a good Game Master’s screen is always worth purchasing, the Dragonbane Gamemaster Screen simply is not.

Which begs the question, what should, or rather, could have been included along with the Dragonbane Gamemaster Screen? One option might have the Dragonbane Monsters Standee Set. One of the great extras in the Dragonbane: Mirth & Mayhem Roleplaying core box is a set of standees, which depict in full colour, the pre-generated Player Characters and the monsters they will face over the course of the campaign, and are, of course, designed to be used with the maps in the box. Each is done on thick cardboard and is illustrated front and back so that they are easily identifiable from any angle. The Dragonbane Monsters Standee Set adds another sixty-four monster standees done in the same style and to the same standard as those that come in the Dragonbane: Mirth & Mayhem Roleplaying core box. They include cat people, ghouls, a hippogriff, a Pegasus, a giant octopus, and a whole lot more. In addition, there is also a battlemat, double-sided, on stiff, glossy paper, that they all designed to be used with. Further, they are designed to be used with the Dragonbane Bestiary as well. The artwork on the standees is excellent, the standees are all done on sturdy card, and lastly, they standees that can be used as Player Characters, which may be useful if the Game Master is allowing some of the entries from the Dragonbane Bestiary that can be used as Kin. In whatever way the Game Master decides to use the Dragonbane Monsters Standee Set, it will enhance the play and look of her game and is very nice addition to the Dragonbane roleplaying game. (And yes, it would have made an excellent accompaniment to the Dragonbane Gamemaster Screen, but is actually sold separately.)

Ultimately, an accessory like a Game Master’s Screen is not needed to play, but in a great many cases , they can be useful and they can help the Game Master run a game. The Dragonbane Gamemaster Screen is not one of them, not being as helpful it should have been. Whereas, if the Game master is using the roleplaying game’s standees in her game and has the Dragonbane Bestiary, the Dragonbane Monsters Standee Set is definitely a useful accessory, greatly expanding her threats to throw into the path of the Player Characters.

An insect-infested thieves guild operating below a cliffside lighthouse whose lamp has gone out. An invisible, flying wizard’s workshop that casts a shadow on the ground and which is in danger of malfunctioning and crashing to the ground to unleash a deadly threat. A valley where the rock hoodoos and stone spires hum and sing, the last location of a missing prince lost on a secret quest. A song of Chaos radiates up and out of a dormant volcano, stealing the ability to dream wherever it is heard. These are the hooks for the four scenarios in Wyvern Songs: A Fantasy RPG Adventure Anthology. Published by Swordlords Publishing, the four are written for use with Old School Essentials, Necrotic Gnome’s interpretation and redesign of the 1981 revision of Basic Dungeons & Dragons by Tom Moldvay and its accompanying Expert Set by Dave Cook and Steven M. Marsh. The anthology includes an introductory dungeon, a puzzle dungeon, a pointcrawl adventure, and a deadly dungeon, as well as extra content, all of which is presented in a charming digest-sized book. All four scenarios open with an introduction and a summary of their varying situations and all four include a quartet of adventures hooks that the Game Master can mix and match to get her players and their characters involved. In most cases, more than one of these could be used, so that there can be multiple motivations in play. In addition, each adventure closes with a list of suggestions as to what might happen next depending upon the actions and decisions of the Player Characters which the Game Master can develop herself.

Wyvern Songs: A Fantasy RPG Adventure Anthology opens with ‘The Sinister Secret Of Peacock Point’. This is for First Level Player Characters and is designed as an introductory adventure for both new players and Old-School veterans alike. They explore the guildhall belonging to the Apple Bottom Gang, a band of thieves operating out of a repurposed dungeon below a lighthouse. Whether the local mayor is concerned that the lighthouse lamp has gone out or the Player Characters are hired by a wizard to recover a music box—which he specifically warns them not to open— stolen by the Apple Bottom Gang, they discover the complex in darkness, seemly abandoned and suffering from an insect infestation. This mystery turns darker when the Player Characters discover the first bodies, stripped off their flesh… There is an element of nicely judged lurking horror to this scenario, enough to ratchet up the tension, but not overwhelm Player Characters, as they move from room to room, revealing more of what is obviously a home and a working environment that has suffered a disaster of some kind. This is reinforced by some of the encounters, such as with a teenage guild initiate, returned from his first assignment and traumatised that all of his erstwhile colleagues have disappeared.
There is also a whimsey and weirdness to the adventure, obviously in the random encounters, such as finding a peacock has got into the complex somehow from atop the cliffs or ‘Fish Guts’, the mascot for the Apple Bottom Gang, an undead, but toothless skeleton that shambles about wearing a horned helmet with his name on it in large letters. In addition, there is a link to the wider underworld—in both senses—with complex’s access to the Night Road, a subterranean highway controlled by Skunk Goblins! If the Player Characters are successful, they walk away with a lot of treasure as well, though they will need a way to transport some of it and find buyers. Overall, ‘The Sinister Secret Of Peacock Point’ is a cracking good start to the anthology.
If ‘The Sinister Secret Of Peacock Point’ had a drop of the weird and the whimsey to it, ‘Fabien’s Atelier’ has a whole vial’s worth. Designed for Player Characters of Second to Fourth Level, this is a puzzle dungeon set on a puck-shaped floating disc that is invisible to the naked eye, but which still casts a shadow on the ground. It can be run on its own, but it is actually a sequel to the author’s Hideous Daylight where it is the home to a wizard that has prevented the Sun from setting over a duke’s favourite garden—though for a good reason. In Hideous Daylight, the Player Characters were able to get up onto the disc, but not explore it. With ‘Fabien’s Atelier’ they can. As a puzzle dungeon, the puzzles themselves are more odd than overly challenging. Upfront, there is good advice on how to run a puzzle dungeon and the adventure itself has its clues repeated over and over, and ultimately, does state that the Game Master should allow for there being no right answers and that violence is always the answer! Again, there is a ticking clock at the heart of the heart of the adventure, but slightly more obvious as the floating disc rocks and rumbles. The adventure is not very big, but it is nicely detailed and there is lovely sense of otherworldliness to the whole of the wizard’s complex.
The third adventure, ‘The Singing Stones’ is even stranger than the previous two in the anthology. Designed for Player Characters of Third to Fifth Level, it is a pointcrawl set in a weird valley whose towering hoodoos and stone pillars have had their wisdom freed so that they constantly sing and drone, the sound reverberating up and down the valley. The setting also recalls both the frontier of the Old West and Death Valley of the USA, so the adventure could actually be run in a roleplaying game like Weird Frontiers. What drives the adventure is the search for a missing prince who is actually suffering from a poisoned wound that would kill him were it not for the fact that he has been turned to stone. This though, is only the start of the Player Characters’ problems as they search for a solution to both problems. Thankfully, the adventure does not give only the one solution, so there are multiple ways in which to solve both problems. In the process of looking for answers, the Player Characters will encounter various NPCs and get involved in their stories and plots and make further discoveries about the strangeness of the valley. Again, there are great random encounters, like the bottom half of a shattered stone golem futilely stomping about in search of its upper body, a rock formation being chomped on by creature that is slowly eating its way through the valley with the surrounding rocks all suddenly going silent as if in mourning or hiding, and a hungry stone giant hunting for food whose stone body has been affected by the area’s magic that it broadcasts his thoughts! ‘The Singing Stones’ really takes its central concept and develops into some wondrous ideas and encounters, combining them in a very well designed pointcrawl for the best adventure in the anthology.
The last adventure in the anthology is ‘The Dreaming Caldera’, a tough dungeon designed for Player Characters of Fifth and Sixth Levels. It is set atop and inside the dormant volcano Mount Embersnake below which a Chaos godling sings and it tries to give birth to itself. Its singing has been heard all across the region, summoning many to climb the steep sides of the volcano and descend inside to assist. During the adventure, this will include the Player Characters if their Alignment is Chaos, so they had better make their Saving Throws! What they find is a compact dungeon that is actually a cross between a factory and birthing pool with the godling’s worshippers working to put together a body suitable for young Chaos god. So, there is a chicken farm where the chickens are being slaughtered for their body parts—though nobody knows what to do with the feathers, so there is a room full of mounds of feathers—and some of the chickens have been evolved by their conditions into unsurprisingly angry Dire Chickens, whilst Ogres working as incompetent stone masons attempting carve bones for the godling, but blaming their incompetence on the neanderthals they force to mine the stone. Meanwhile, the previous god to whom the shrine atop the volcano was dedicated wants it back and will reward those who stop the godling from being born. The rewards would be great, except that this god is an evil deity of gluttony! ‘The Dreaming Caldera’ is the most grim and perilous adventure in the anthology, and the most challenging. It is a solidly designed dungeon, but in terms of tone, it feels different to the previous three adventure, darker, with less whimsy, and so a bit out of place.
Wyvern Songs: A Fantasy RPG Adventure Anthology also includes four appendices of bonus content. The first presents a new Class, the Mektaur. This is effectively, a one-off, an option for a recently deceased Player Character to live on in a new form, that of a rare magical relic and warrior. It is a centaur-shaped magical automaton into which the blood of the recently deceased is poured. Whatever the Class of the Player Character now dead, he now becomes a warrior proficient in the use of polearms, good at charging, and if that Class involved spellcasting, the Player Character is longer able to cast spells. He can though, speak with the undead, but requires weekly winding like a clockwork device and cannot climb ropes or vertical surfaces.
The second appendix, ‘Adventurer’s Guilds’ suggests the benefits of joining an Adventurer’s Guild. This includes information about adventuring sites, getting properly outfitted (enabling a player to declare that his character has an item even if it is not on his character sheet), and free lodging. It is accompanied by sample guilds, one whose membership is primarily mercenaries and landsknechts and one that specialises in mushroom hunting. Both have their extra benefits, but the latter is more interesting, suggesting that its members team up with wizards and thieves for the more dangerous dungeon expeditions. Mushroom identification training is mandatory, though.
‘The village of NANLET’ is described in the third appendix. It is a frontier settlement with its own oddities, like the fact that the local witches protect the inhabitants in return for their keeping a sealed coffin in their homes and never, ever opening it. What is in the coffins? That is for the Game Master to decide. Both of the Adventurer’s Guilds mentioned in the previous appendix have chapter houses in the village and the village centre is dominated by the head of a cyclops and an adjacent cathedral where the chanting continues unabated for twenty-four hours a day. There is also a table of town gossip, which the Referee can use to create adventure hooks, including one to Hideous Daylight.
Lastly, the fourth appendix, ‘The Grand Duchy of Bhosel’ is a setting where the author has not only placed the four scenarios in Wyvern Songs, but also recommends where other scenarios for Old School Essentials might be placed, including those from its publisher, Necrotic Gnome. However, as a setting it is not developed much beyond this, so that the Game Master will need to do a lot of work to tie these individual adventures and locations into a coherent whole, rather than the scrappy patchwork which is presented here. There are some connections between the four scenarios in Wyvern Songs, but they are very light and so not strong enough to reinforce what the ‘The Grand Duchy of Bhosel’ is trying to do. In a very good anthology, this is the least interesting and least useful entry.
Physically, Wyvern Songs is very well presented. The adventures are concisely written and easy to grasp and accompanied by decent artwork and excellent cartography. The adventures are also colour-coded for easy identification. However, the book is not perfect. The secret doors on the maps could have been more easily identifiable and sometimes the text is accompanied by maps of their individual rooms or locations taken from the main maps for the adventures, sometimes not. So, the scenarios are inconsistent in how easy they are to run.
Wyvern Songs: A Fantasy RPG Adventure Anthology is a superb collection of adventures. Each entry in the anthology gets to the point, and consequently, is easy to prepare and run, yet packed with lots of intriguing little details alongside their engaging plots that really make you want to run them. No matter which retroclone a Game Master uses, Wyvern Songs: A Fantasy RPG Adventure Anthology will have something that she will want to adapt and run—more likely, all four of them.

All you know is Here. There is no need to know of anywhere that is not Here. Where is Here? You know nobody who knows. It is your Home. It is your community. It gives you a function. It gives you opportunities for recreation. It gives you the chance to contribute to the Community. Everything you need and everything anyone needs, flows through The Chain. You know it works. Its pipes run everywhere and wheeze and pop and whistle and clang, but always deliver what you need when you need it. When the Community needs it. Starting every day with a morning clothing bullet to make sure everyone is dressed in fresh apparel. All of which is overseen by The Authority, the municipal administration which ensures that The Chain continues to operate, to ensure everyone is assigned to the right sleeping quarters, given the correct amount of recreation time, they contribute to the Community, and they keep a record that they do. Yet… There is the Threshold. It might be the edge or the end of Here, but nobody knows. Or at least nobody is saying. And definitely, nobody who has gone beyond the Threshold, whether deliberately or be accident, has returned to tell anyone what the Threshold is or what lies on the other side.

This is what anyone knows—including the Player Characters—of the Here, a habitat occupied by humanity, surviving on limited resources, and living on borrowed and definitely bureaucratic time. What the habitat of the Here is, is unknown. It could be a bunker, buried underground after a nuclear apocalypse, a space station orbiting Jupiter, a long-term social experiment, or at the end of the universe. Wherever and whatever it is, the scarcity of resources means that if anything went wrong, the Here would no longer be viable. It could collapse. It could be shut down. Either way, it would be ‘Lost in the Fold’, in a bureaucratic reshuffle as its last resources are reassigned.

This is the set-up for the Lost in the Fold. Published by Just Crunch Games, this is a ‘Genre Set-Up’ for Sanction: A Tabletop Roleplaying Game of Challenges & Hacks, which describes itself as a set of “Universal Rules for Challenge-driven Games”. It is a separate ‘Genre Set-Up’ to the two given in the core rulebook—as expanded in .GIF and For A Rainy Day—one inspired by the Post Apocalyptic dystopian Science Fiction of The Silo and Brazil, Yokohama Station and The Trial. It is a roleplaying setting of Science Fiction horror, for there is constant threat of the Habitat in which the Player Characters make their Home or themselves being ‘Lost in the Fold’ or the Player Characters being exposed to the Threshold or perhaps what might be lurking within the Threshold. Lost in the Fold includes some discussion as to that the Habitat might be, but does not decide on any one. What it does do though, is provide the means for the Player Characters to explore the Here and undertake assignments for The Authority as there are issues with The Chain and the Threshold.

A Player Character in Lost in the Fold has three Resources, here called Grit, Rote, and Wile, the equivalent of Physical, Mental, and Willpower, but here also representing the ability of a Player Character to persuade others that he is capable or knowledgeable, rather than necessarily actually being so. He also has a past, represented by a Lifepath. In Sanction, this is a Past, a Diversion, and an Influence. In Lost in the Fold, it is Communal Purpose, representing a Player Character’s place and responsibilities, a Troubling Keepsake which is his unhealthy interest secreted away instead of being returned to The Chain for recycling, and a Downtime Distraction, which is what the Player Character does to reduce stress and contribute towards the sense of community. He also has two items of gear, some base Hits, and a Pressure Track.

Renton
Physical D4 Mental D8 Willpower D6
Communal Purpose: Civil Assistant
Troubling Keepsake: Fencing
Downtime Distraction: Mediating
Abilities: Accounting, Commence, Negotiation
Pressure Track: 0
Equipment: Glow Tube, Stanly Knife
Hits: 3

One key aspect of a Player Character is the degree which he is under Pressure. It is not danger as such, but how a Player Character feels when under the scrutiny of the company he keeps and the situation that he finds himself in. It begins at zero, but when first affected, is set to a twelve-sided die. It increases whenever a non-Pressure check results in Falter or directly due to the nature of a situation, and each time it does, the die size decreases, from a twelve-sided die to a ten-sided, from a ten-sided to an eight-sided, and so on. This step down in pressure die size occurs automatically in these situations rather than a player rolling for it as if Pressure were being treated as a Resource. When something occurs that is so traumatic, such as seeing an unnatural death or an inexplicable situation, a Player Character’s Pressure is Triggered. This requires a Pressure check and when a Player Character rolls a one or two on this roll, a Falter, he will Fold. This does not mean that he disappears, but rather that he shifts in terms of his personality. For example, he may suddenly gain a sense of being Persecuted, be Belligerent, or Rash. These are only temporary, but the lower the Pressure Die, the more often he is affected. Through rest and recreation, a Player Character can improve or increase his Pressure Die.

In terms of running Lost in the Fold, the Game Moderator can use the Mission Triggers table to create assignments, such as ‘Understand/Collect’, ‘Restricted/Uncontrolled’, and ‘Damage/Safety’. In leaving the Habitat she is advised to listen to her players and take cues from their conjecture as to its nature. She is also given advice, including safety advice, on how to create Nightmares, the things that might in the Threshold or even invade the pipes of The Chain. Four sample Nightmares are included for play beyond the scenario given in the book. This is ‘Chain Reaction’. It opens with a problem. The expected and usual Chain Drop and daily arrival of the Clothing Bullet did not take place today or the day before. Dressed in what they can scavenge or have previously hidden away despite it not being socially acceptable, the Player Characters are assigned to investigate. This sends the Player Characters into an industrial space, a space in between, which could be the Threshold, the space between the walls, or even another Habitat, another Here. The scenario does not make this clear, and intentionally so. It is an exploration scenario, with the Player Characters interacting with each other and with the space they discover rather anyone else.

‘Chain Reaction’ is also self-contained in that it only shows the Player Characters on an assignment which takes them out of the Habitat, or at least, their Here. Consequently, there is insufficient contrast between this and what their life is like in the Here. So no interaction with The Authority or with the Community. The scenario is unbalanced and the Game Moderator might want to address this before she runs it.

Physically, Lost in the Fold is short and simple. The layout is clean and tidy, everything is easy to grasp, and it is very lightly illustrated.

Lost in the Fold has the feeling of Paranoia, but without its budget or all of its satire, and with the sensibility of sixties and seventies Science Fiction shot on a budget in industrial zones. It also has the feeling of promise and of having interesting ideas, but which it also does not have the budget to realise. Although a short book, there are some interesting ideas in Lost in the Fold, but the low page count and a scenario that emphasises what lies beyond the experience of the Player Characters, means that those ideas remain unexplored. Lost in the Fold is an interesting ‘Genre Set-Up’ with some intriguing ideas, but no more than that, leaving the Game Moderator wishing that it had gone further in exploring its set-up.

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition and the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha, The Companions of Arthur is a curated platform for user-made content, but for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon. It enables creators to sell their own original content for Pendragon, Sixth Edition. This can original scenarios, background material, alternate Arthurian settings, and more, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Pendragon Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Pendragon campaigns.

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What is the Nature of the Quest?The Barnyard Tournament: A Three Damosels of the Fountain Adventure is a scenario for use with Pendragon, Sixth Edition.

It is a full colour, eight-one page, 11.63 MB PDF.

The layout is tidy and it is nicely illustrated, often to amusing effect.

Besides six pre-generated Player-knights, The Barnyard Tournament includes thirty-three handouts, a game board and thirteen tokens, one map, and a Game Master reference card.
Where is the Quest Set?The Barnyard Tournament is set in Huntland County and quite literally, beyond, on the border between Logres and the Saxon kingdom of Anglia.
It takes place in the Boy King period directly before a battle, either against the Rebel Kings during the Civil War or against the Saxons in the Saxon War.
Who should go on this Quest?
The Barnyard Tournament is suitable for knights of all types. The Passion of Hate (Saxons) is likely to be advantageous, but not necessary to complete the scenario.
What does the Quest require?
The Barnyard Tournament requires the Pendragon, Sixth Edition rules or the Pendragon Starter Set.
Where will the Quest take the Knights?The Barnyard Tournament is a grand adventure which begins with the Player-knights as exploratores on the road, conducting a scouting mission for King Arthur on the eve of battle. An encounter with three ‘Weird Sisters’ will divert them onto three different paths that together allegorise the need to grow up and assume the responsibilities of adulthood, in the scenario on a small scale, but in the kingdom at large, on a much bigger scale. The diversion is actually a dishonourable act for the Player-knights, as it will take them away from their assigned mission, but there is much to be learned and much to be gained by taking the path rather than ignoring it. (Plus, there is a chance to redeem themselves at the end of the adventure.) The paths in turn lead the Player-knights to a prosperous manor, almost an idyll in the face of the oncoming war. None are prepared for the conflict to come, including the young man due to inherit the manor. On the first path, the Player-knights are directed to inspire the young man to follow in the footsteps of his father, a famous knight, and prepare both him and the manor in case of an attack by Saxon raiders, looking for easy pickings. On the second path, the Player-knights find themselves in a very strange situation where they must attempt to bring together squabbling, but potential allies in the face of greater aggression and so protect the king—much like the situation with the young King Arthur. On the third path, the Player-knights must put into practice what they have preached and defend the manor from the marauding Saxons.
The first path introduces the location and the cast, presenting a community and pastoral respite that the Player-knights can indulge in, just a little, as they begin to teach the folk of the manor more of the wider world. There is a playfulness to this first chapter, one that the Player-knights tumble out of and into the second chapter and into the magical realism of tooth and claw in the nearby forest. Here on second path, the scenario is at its strangest, not just in terms of what both their players and their knights are now playing, but also in terms of how it is played out, more like a board game than a roleplaying game. If the first path teaches the lesson, the second cements it, and the third enforces the need for it. On the third path, the Player-characters become the generals as a wild assault is made on the manor by marauding Saxons. The likelihood is that the second path will be remembered for its oddness, whilst the first and third paths stand out for their roleplaying and storytelling opportunities, the third path offering opportunities for heroism.
The Barnyard Tournament is designed to showcase the various aspects of Pendragon Sixth Edition and its rules. Thus, there is a mock tournament, a battle to engage in, and opportunity aplenty for the Player-knights to show off their knightly virtues. All of which veiled in the mystical strangeness of Arthur’s realm and a little beyond. The scenario is written for use by Game Masters new to Pendragon—though this does not mean that old hands will not either appreciate or enjoy it—and to that end there is advice throughout its pages on how to stage and run The Barnyard Tournament with numerous possibilities and outcomes suggested and discussed.
Should the Knights ride out on this Quest?If as the Game Master, you do not yet have The Barnyard Tournament: A Three Damosels of the Fountain Adventure, then you should, and if as a player your knight has not yet participated in The Barnyard Tournament: A Three Damosels of the Fountain Adventure, then ask your Game Master why not? This is an excellent adventure, one that showcases the richness of King Arthur’s realm—if only in miniature—and have the Player-knights become part of it and defend it. All of the scenarios to date on The Companions of Arthur have been good, so it no slight against any of them to say that The Barnyard Tournament: A Three Damosels of the Fountain Adventure is the best community content adventure published for Pendragon Sixth Edition to date.

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. 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: Thicker Than WaterPublisher: Chaosium, Inc.
Author: Jack Currie

Setting: Arkansas, 1933Product: Scenario
What You Get: Thirty-four page, 679 KB Full Colour PDF
Elevator Pitch: Monstrousness runs through more than the blood.Plot Hook: A kidnapping sends the Investigators down southPlot Support: Staging advice, one handout, one Mythos Tome, One Mythos spell, and one-hundred-and-ten Mythos monsters.Production Values: Plain
Pros# Short and straightforward# Scope for development by the Keeper# Hemophobia# Anthropophagusphobia# Teraphobia
Cons# Needs a good edit# More plot outline than investigation# Why isn’t the FBI involved? # No maps or floorplans# Much, much shorter playing time than suggested
# Scope for development by the Keeper
# If they are tied to the kidnap victim, why no pre-generated Investigators?
Conclusion# More plot outline than scenario with limited scope for investigation# Underdeveloped, but not without potential
# Reviews from R’lyeh Discommends

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary, and the new edition of that, Dungeons & Dragons, 2024, in the year of the game’s fiftieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

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Tunnels & Trolls was famously written and published in response to Dungeons & Dragons. The designer, Ken St. Andre, wanted something that played like Dungeons & Dragons, but was both faster and easier to play. The result was a short booklet, running to just forty-two pages, that he would write and publish in 1975 and find popularity, first in Phoenix, Arizona, followed by the USA and the rest of the world, being published in the United Kingdom and Japan and going through over eight editions. The Tunnels & Trolls 1st Edition Reprint was published as part of the Kickstarter campaign for Deluxe Tunnels & Trolls and it gave fans of the roleplaying game a chance to look at the original version of the game, previously all but impossible, since only a hundred copies were published.

The Tunnels & Trolls 1st Edition Reprint begins with an introduction by Ken St. Andre, which explains how both it and Tunnels & Trolls came to be, making it available after his last remaining copy was made available to, and selected by, one backer as part of the Kickstarter. He makes clear that his aim was not to invent fantasy roleplaying, but to simplify it and what he created was a style that was not derived from miniatures gaming as was Dungeons & Dragons, but more from literature and comics. In the process, as he says, he showed that there was another way to roleplay. Given that this version of Tunnels & Trolls was written and published in 1975, there are two issues with it in terms of content. One the author addressed in 2020, the other he has not. St. Andre states in a footnote that the spell Obey Me was originally called ‘Yassa Massa’ and that although his original intention was simply to amuse with what he calls his “thoughtless word play”, he changed it to avoid giving further offence as well as giving an apology. Whereas, in the section on ‘Human Auxiliaries’, a hero can hire two types of auxiliary character to accompany him on his delves. One is the hired henchman, the other is the slave, who is said to have no luck and no charisma ratings, and usually be of low I.Q. Female slaves cost extra. This could and should have been addressed at the time of publication, in 2013, or even 2020, but even now, it could be addressed, just as the ‘Yassa Massa’ spell name was.

Tunnels & Trolls 1st Edition begins by explaining the basics of the game, which though very familiar today, would have been strange in 1975. The game is set in, “…[A]n alternate world where fantasy is alive and magic works (a world somewhat but not exactly similar to Tolkien’s Middle Earth) there exist numerous enchanted tunnel complexes with many types of treasure, and abundantly guarded by every imaginable form of monster, magic, and trap.” and that, “Brave men and women arm themselves and venture within the tunnels at the risk of body and soul to seek treasure and experience.” This requires that someone create or ‘dig’ and stock a dungeon with magic, monsters, and treasure, and that as the ‘Dungeon Master’, this person would act as the god within the dungeon, but till be fair to the other players, who will create and equip the character who will venture into this dungeon. Once set up, “The game is played something like Battleship.” Not the sense that there are two boards of which each player can only see their own, but rather that there is only one, which is, of course, known to the Dungeon Master, who will then reveal to the players as their characters explore its depths. It is clear from the introduction that St. Andre is explaining what would have been a very new concept to the reader. After all, Dungeons & Dragons had only introduced it the previous year, which the author acknowledges in thanking both E. Gary Gygax and David Arneson for creating the original roleplaying game. The author also makes clear that the game is not his beyond making it available to others and encourages the reader to improve the rules as their imagination dictates.
After some advice on creating and stocking dungeons, Tunnels & Trolls explains how to create characters, noting here for the first time that their details can be recorded on three-by-five-inch cards. A character has six Prime Attributes. These are Strength, Intelligence, Luck, Constitution, Dexterity, and Charisma. In addition, the character has a note of the Gold Pieces possessed, and the weight he can carry and is carrying. He will also have Armour and Weapons, and will speak Common, but may know some other Languages. In terms of what he can be, the three types are Warrior, Magic-User, and Rogue, inspired by Conan, Gandalf, and Cugel, respectively. The Warrior cannot cast spells; the Magic-User can cast spells, but is extremely limited in what weapons he can wield; and the Rogue can both use weapons and cast spells, but do not start with spells, must find someone to teach him any spells, and cannot rise beyond Seventh Level without choosing to continue as either a Warrior or a Magic-User. Creating a character involves rolling three six-sided dice for each Prime Attribute and then again for the amount of gold he has to spend on equipment. Note that six-sided dice are used throughout Tunnels & Trolls rather than the polyhedral dice of Dungeons & Dragons, the aim being to make the game more accessible since it did not require special dice.
Name: Trigeor Type: Magic-User Strength 11 Intelligence 18 Luck 14Constitution 09 Dexterity 14 Charisma 12 Gold 5Weight Possible: 1100 Weight Carried: 136 Experience Points: 0 Weapons: Dagger (1 die) Armour: None Equipment: Calf-High Boots, Warm Dry Clothing & Pack, Day’s Provisions, Ten Torches, Magnetic Compass, Makeshift Magic Staff Languages: Common, Elvish, Dwarfish, Draconic, Orcish, Trollish, Undead

Tunnels & Trolls quickly moves onto monsters and combat. Monsters have a single stat, called a Monster Rating. It indicates how tough a monster is and how many dice are rolled for it in combat, and it starts at zero and goes up and up. A minimum Monster Rating of ten gives one die, but for every five points after that, it increases the number of dice by one, and beyond one hundred, it increases the number of dice by one for every ten points. On the first round of a combat, half of a monster’s Monster Rating is added to the roll, but only a quarter is added on subsequent rounds. This addition is known as the monster’s ‘Add’. What Tunnels & Trolls does not do is give a list of monsters or a bestiary. The Dungeon Master is expected to set the Monster Ratings for his dungeon denizens according to the level of the dungeon, with the nearest advice given by Tunnels & Trolls is that a good fighter should have an equivalent Monster Rating of between twenty-six and forty and be roughly equal to a troll. However, this is probably the weakest aspect of Tunnels & Trolls since it is not clear what Monster Ratings the Dungeon Master should be assigning to his dungeon dwellers.

Interestingly, the rules do not give a set way in which to handle monsters encountered on the lower levels of the dungeon, but instead give options, because opinions vary in how it should be done. The monster could have more dice and bigger Add, its dice roll could be multiplied by the level, a monster could even be stated up like a character, or simply a bigger Add. This calls back to St. Andre’s statement in the introduction about the game not being his.

Combat is either missile combat, melee combat, or shock combat for that initial engagement. There is advice on the differences between these types, plus monster reactions, wandering monsters, and even capturing monsters, but once engaged, combat is a simple matter of comparing hit point totals. Not the amount of damage that a character or monster can suffer before dying, but the totals of the dice rolled plus any Adds. This can be individually, one-on-one, or it can be collectively. The latter means that the Dungeon Master can add up all of the Monster Ratings for his monsters and roll their dice and add their Adds, all in one go, rather than individually. The lower result is subtracted from the higher result and that is the number of hit points the losing side suffers. For the monsters, this reduces their Monster Rating, but for characters, it is deducted from their Constitutions. Both armour and shields will protect against incoming hit points, but armour will be damaged in the process.

Magic-Users are not expected to fight, and indeed, are restricted to single die weapons and shields, but can use their spells to protect them if they have the right ones. Also, when determining who suffers from hit points taken, the Magic-User also does so last. Warriors and Rogue do get Adds, whereas the Magic-User does not. For each point of Strength and Luck above twelve, a Warrior or Rogue gains one Add to dice rolls in combat, but subtracts one for each point of Strength and Luck below nine. This is the same for Dexterity, except for missile fire where the Adds are increased to two per point above. Although a character will always have a single die to roll in combat, the main means of increasing the dice rolled and the Adds is by purchasing weapons. Later on, a character’s Primary Attributes can be increased, which will raise the Adds and the character will find magical items that will increase both dice rolled and Adds.

Name: Glorimnaeck Orchelm Species: DwarfType: WarriorStrength 26 Intelligence 08 Luck 13Constitution 26 Dexterity 11 Charisma 10 Gold 1Weight Possible: 1300 Weight Carried: 136 Experience Points: 0Weapons: Warhammer (4+1), Poniard (1)Armour: Gambeson, Chain Hauberk, Chain Gauntlets (4 total), Target Shield (2)Equipment: Calf-High Boots, Warm Dry Clothing & PackLanguages: Common, Elvish, Dwarfish, Draconic, Orcish, Trollish, Undead Base Adds: +28 For example, Trigeor and his Dwarven friend, Glorimnaeck Orchelm, have ventured into a dungeon, known as the Orc ‘Ole. Despite carrying a compass, the pair get lost and find themselves being attacked by a band of Orcs. There are three of them, each with a Monster Rating of twelve. Individually, the Dungeon Master would be rolling one die and adding an ADD of six on the first found, but only two on later rounds. Collectively, they have a Monster Rating of thirty-six, meaning that the Referee will roll five dice and add eighteen on the first round, but only nine on later rounds. Glorimnaeck Orchelm’s player will roll four dice and add one for his Warhammer, and then another twenty-six for his Adds.  The Referee rolls two, three, three, three, five, and six for a total of twenty-two, which together with the Orcs’ Adds, gives a total Hit Points of forty. Glorimnaeck Orchelm’s player rolls better with four, four, five, six, and six and adds one to give a total of twenty-six, which with the Dwarf’s Adds, means he has a grand total Hit Points of fifty-two! The Orcs’ Hit Points are subtracted from Glorimnaeck Orchelm’s and the resulting twelve Hit Points reduce the Orcs’ Monster Rating by twelve to twenty-four. The twelve is also enough to reduce one of the Orc’s Monster Rating to zero, so the Dungeon Master rules that Glorimnaeck Orchelm has smashed his head in and he goes flying back into the cave. Next round, the Orcs will have a Monster Rating of twenty-four, meaning that the Referee will roll three dice and only apply an Add of four!The other main mechanic in Tunnels & Trolls is the Saving Throw. It is rolled to avoid a trap, to dodge a missile weapon attack, to withstand a poisonous brew, and so on, and it is always rolled using a character’s Luck. It also varies according to dungeon level. Thus, in the first level of a dungeon, a character’s Luck is subtracted from twenty to give the target number, but on the second level of the dungeon, it is subtracted from twenty-five, and so on. The resulting number gives a target that the player must roll equal to or higher, on two six-sided dice, but the target can never be lower than five. (For example, Trigeor’s Saving Throw will always be six on the first level of the dungeon, rising to eleven on the second level, and sixteen on the third level, until Luck is raised.) Rolls of doubles enable a player to add and roll again, so an impossible Saving Throw can be made if the character is lucky.
Experience points in the game are earned for combat, treasure found, for the deepest level of the dungeon a character visited, using and finding magic, and for successful Saving Throws. The progression table is all the same for all three character types, goes up to Seventeenth Level, and awards a character with a new title at each Level. The main reward for going up a Level is for a player to increase his character’s Primary Attributes, though typically only one can be increased per Level.

Tunnels & Trolls provides a basic list of equipment, in the second half of the roleplaying game, ‘Elaborations’ it includes a lengthy list of arms and armour and further equipment. There is an Advanced Weapons Chart in turn for swords, pole weapons, hafted weapons, daggers, spears, bows, and other missile weapons. Then for shields and defensive weapons, weird weapons, poisons, and armour. There are rules too for weapon breakage, depending on their composition. From flamberge, talibong, and shotel to riding mail, scale armour, and arming doublet, here then is the basis of all the weird and wonderful weapons that have been listed in all of the subsequent editions of Tunnels & Trolls.
Also in the ‘Elaborations’ section is ‘The Peters-McAllister Chart for Creating Manlike Characters and Monsters’, which like the advice and opinions on adjusting Monster Rating per dungeon Level, highlights the collaborative nature of the design of Tunnels & Trolls. This chart lists adjustments for creating Dwarves, Elves, Leprechauns, Fairies, and Hobbits, which can be both used to create monsters and characters. That said, playing characters in general of these species grants greater improvements to Primary Attributes with no downsides. There is guidance too, to adjust for Giants, Trolls, Ogres, Half-Ogres, Goblins, and Gremlins.
The largest section in the ‘Elaborations’, taking up nearly half its length and a quarter of Tunnels & Trolls as a whole, is on magic. Magic-Users are encouraged to use a staff, even a make-shift one through which to cast their magic, as they reduce the cost of casting magic, although a makeshift one will burn out very quickly. A proper magic-staff costs a lot of gold. The section notes that, “There are recognized laws of magic that we have mostly ignored in dreaming up the spells--the Law of Contagion, the Law of Similarity, the principles of necromancy and control of spirits, preferring instead to base most of these spells on inherent abilities of the magic-user a la Andre Norton.” What this means is that casting spells in Tunnels & Trolls is meant to be quick and easy. Spells have a cost in the caster’s actual Strength Primary Ability, which then has to regenerate. (This also means that Strength as a Primary Attribute is still important to a Magic-User and a Primary Attribute that he will want to increase to give spell-casting capacity.). All Magic-Users know First Level spells, whilst spells of higher Level have a minimum I.Q. to learn and cost in gold to purchase. One of the notable spells at First Level is Teacher, which lets a Magic-User teach a spell to a Rogue. Of course, here also, are the first appearances of the humorous, some would say silly, spell names for which Tunnels & Trolls is infamous. For example, Take That, You Fiend as a damage spell, Tunnels & Trolls for the healing spell, and so on. If they are in the main, tongue in cheek in tone, they are not always clear in their intent. The Dungeon Master would have had to adjudicate on things like the Will-o-Wisp spell, whose effect is, “provides light & drains strength”. Yet, the magic system for Tunnels & Trolls is simple and straightforward, even elegant, effectively a points-based system—the first—that empowers the Magic-User and constantly makes him useful in play. As Glorimnaeck Orchelm gamely holds back the band of Orcs, Trigeor holds a torch so that it is not dark and prepares himself just in case he has to cast a spell. Just behind the melee, the Magic-User spots another Orc, bigger than the others. This is their boss and he has a Monster Rating of eighteen, meaning that the Dungeon Master will roll two dice for him and include an Add of nine in the first round and an Add of three in later rounds. Quickly, Trigeor cries out, “Take that you fiend!” and casts the spell of the same name at the newly arrived Orc. It costs him five Strength rather than the usual six, since he is casting it through his staff, which being only a makeshift one, fizzes and burns as the magic passes through it. The spell means that Trigeor will be using his I.Q. to attack the Orc, and in addition will gain a single die as normal. Since Trigeor has an I.Q. of eighteen, it is going to kill the Orc. The Orcs attacking the Dwarf look behind them as they hear a popping sound to discover their boss collapsing to the floor, steam rising from his eyes and ears!Physically, the Tunnels & Trolls 1st Edition Reprint—and thus Tunnels & Trolls 1st Edition—is a scrappy , scruffy, inconsistent affair. It looks and reads very much like a fanzine of the period. Yet it is readable and it is illustrated in very spritely, engaging fashion.

—oOo—The second edition of Tunnels & Trolls was reviewed in ‘Tunnels and Trolls: A Review of Sorts’ by Brant Bates in The Space Gamer Issue Number 3 (1975). He highlighted the differences between Tunnels & Trolls and Dungeons & Dragons, beginning with, “There is no sexist bias In T&T, Female characters come out exactly as created by the dice--not reduced in size and strength by an arbitrary fraction just because they are female.” before going on to look at other differences in terms of character creation and combat. He was overall positive about the art, saying, “It is mostly by a Phoenix fan artist named Rob Carver, and it ranges from the gorgeous to the ridiculous--mostly the latter. The cartoon to illustrate the magical spells are very droll, and the portrait of St. Andre captures his very soul.” He concluded with, “T&T has been sold from coast to coast, but is still most popular in Phoenix, where it has become the official game of the organized SF club there. It is very playable, and a lot of fun--great for stretching the old imagination. I recommend it for fantasy fans who are not purists, and who do not necessarily believe a game’s quality depends on its cost.”  Lewis Pulsipher reviewed the British version published by Strategy Games Ltd. in ‘Open Box’ in White Dwarf Issue No. 2 (August/September 1977). He said, “The excuse for publication here and now, presumably, is that there is a need for a cheap and understandable role playing game for those who can’t afford or make sense of D&D.” but was otherwise not positive, criticising the lack of clarity in the rules, the amount of creative effort that a Referee had to put into the game, and the humour in the game, especially in the names of the spells. His conclusion was that, “Anyone who likes T&T will sooner or later ‘graduate’ to the much more satisfying (and much more widely played) D&D. In considerable wargaming travels in the USA I never encountered anyone who played T&T, though D&D players are everywhere, and I’ve not even heard of anyone in this country who plays it. When it first appeared in America I said there was no point in it, and nothing has occurred to change my opinion.” —oOo—
Tunnels & Trolls is rough and just about ready. It is playable and by modern standards, just about has the bare minimum need to play. This should be no surprise. It was written fifty years ago when no one knew quite what a roleplaying game was—literally, as the term had then yet to be defined—and no-one knew how to write one. So, if the writing is not right and the explanations are not as clear as they could have been, and the contents are not in the order that we might expect them to be, then that is perfectly understandable. Yet, as scrappy as the resulting rulebook is, Tunnels & Trolls 1st Edition is a likeable game, one that is not taking itself too seriously and reads as if it is actually fun to play and faster to play. What is amazing is that within four years, Flying Buffalo would take the very basics of what is here and develop it into the fifth edition of Tunnels & Trolls that would remain its mainstay for over twenty-five years! The Tunnels & Trolls 1st Edition Reprint is an important piece of roleplaying history, the opportunity to look at the first roleplaying response to Dungeons & Dragons, to look at the origins of the world’s second longest fantasy roleplaying game, and to look at the beginnings of the roleplaying hobby as the concept spread beyond Dungeons & Dragons.

Troika! is both a setting and a roleplaying game. As the latter, it provides simple, clear mechanics inspired by the Fighting Fantasy series of solo adventure books, but combined with a wonderfully weird cast of character types, all ready to play the constantly odd the introductory adventure, ‘The Blancmange and Thistle’. As the former, it takes the Player Characters on adventures through the multiverse, from one strange sphere to another, to visit twin towers which in their dying are spreading a blight that are turning a world to dust, investigate murder on the Nantucket Sleigh Ride on an ice planet, and investigate hard boiled murder and economic malfeasance following the collapse of the Scarf-Worm investment bubble. At the heart of Troika! stands the city itself, large, undefined, existing somewhere in the cosmos with easy access from one dimension after another, visited by tourists from across the universe and next door, and in game terms, possessing room aplenty for further additions and details. One such detail is Whalgravaak’s Warehouse.

Whalgravaak’s Warehouse is the start of a new series of scenarios for Troika! from the Melsonian Arts Council. This is the ‘1:5 Troika Adventures’ series, which places an emphasis on shorter, location-based adventures, typically hexcrawls or dungeoncrawls, set within the city of Troika, but which do not provide new Backgrounds for Player Characters or ‘Hack’ how Troika! is played. Whalgravaak’s Warehouse lives up to that, in that it dungeoncrawl takes place in a large, in places, impossibly large interdimensional warehouse that served as major import/export house for the city of Troika. Whalgravaak was once known as the cruel, but efficient logistics wizard who could get anything from anywhere and ship anything to anywhere, which made him and clients rich as the city became a shipping nexus between the sphere without the need or the expense of training staff to crew and maintain the golden barges that still traverse between the spheres today. However, Whalgravaak grew paranoid in his old age, destroyed the instruction manual to the great device by which goods were transported, and retired. When the device became a threat to the city of Troika, the Autarch ordered Whalgravaak’s Warehouse permanently closed and locked. That was centuries ago. Whalgravaak is long dead. His warehouse still stands, a looming monolithic presence in a bad part of the city. Nobody goes in and nobody comes out. Though some claim there is movement on the room. Now, someone wants something from inside and have decided that the Player Characters are best equipped to find their way in and navigate its darkened offices and deep storage bays with their vertiginously stacked crates, which surely must still contain something interesting after all that since Whalgravaak himself died?

Whalgravaak’s Warehouse gives one main reason why the Player Characters might want to break into and explore the warehouse. This is to locate a book called The Tome of Sable Fields, for which they will be paid handsomely, but there are others and the Game Master can easily come up with more. Finding a way into the warehouse is a challenge in itself, but inside, the Player Characters will find strange worm-headed dog gone feral, creeping bandits and burglars looking for goods to fence or places to dump bodies, cultists who worship the still breathing nose of a titan, a clan of dustmen sieving the heaps of dust on the expansive roof of the warehouse where the air glows aquamarine like the Dustmen of Charles Dickens’ Our Mutual Friend, and more. There are rooms full of great lengths of rope that are mouldering into slime, a vegetable store where an onion has become an Onion Godlet, a room of sponges so dry it will suck the moisture from anyone who enters, and a set of employee records laden with bureaucratic despair… The roof is a post-apocalyptic hexcrawl of its very own, a separate environment that is essentially a desert of dust, marked only by the flickering head of one the giants that still work in the warehouse below and an Oasis of Tea, that will take the Player Characters days to explore. They had better come prepared for hot weather!

Locating The Tome of Sable Fields is a relatively simple matter and the Player Characters may do so relatively quickly, but actually getting hold of it is another matter. It is actually suspended over the very means by which Whalgravaak transported goods from one dimension to another by a crane. Unfortunately, none of the parts of the crane are talking to each other and the only way to get the crane operating is to get them to talk to each other. Essentially one bit of the crane is more noble than the other and the Player Characters will probably need to persuade them to overcome their individual problems and snobbery. This will drive them into exploring the warehouse further in the hopes of finding the means of getting each one to co-operate.

As part of the ‘1:5 Troika Adventures’ series and thus a dungeoncrawl, although one in a warehouse, Whalgravaak’s Warehouse is designed to be played like a dungeon and explored like a dungeon. Thus movement, noise, and resources become important, the Player Characters need a source of light and the scenario is played out in ten-minute turns in true Old School style Dungeons & Dragons. This also means that Whalgravaak’s Warehouse is played differently to other adventures for Troika!, with less of an emphasis on narrative play and more on environmental, location-based exploration. In keeping with the style, the adventure is perhaps deadlier and more challenging than the typical Troika! adventure, requiring more caution and care than a Troika! player might be used to.

Physically, Whalgravaak’s Warehouse is very well presented. The artwork is as weird and wonderful as you would expert, the cartography is decent, and the layout is clear and easy to use. There is also good advice for the Game Master on how and why she should use Whalgravaak’s Warehouse, and a clear explanation of what is going on in the warehouse.

Whalgravaak’s Warehouse is a great set-up for an adventure. Take the warehouse of an interdimensional import/export house, abandon it for centuries, and then turn it into an industrial dungeon with weird Dickensian undertones. The result is eminently entertaining and constantly going to screw with the heads of both the players and their characters as they discover one example of industrial decline after another and just what happens when you leave a dangerous interdimensional magical industrial complex alone for far too long.

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

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

—oOo—

What is it?Outgunned – Hero to Zero is the quick-start for Outgunned, the roleplaying game of action movies from the eighties and nineties (and beyond), inspired by Die Hard, True Lies, Lethal Weapon, Kingsman, Ocean’s Eleven, Hot Fuzz, and even John Wick.

It is also the English language quick-start for the Italian roleplaying game of the same name.

It is a seventy-one-page, 83.90 MB full colour PDF.

How long will it take to play?
Outgunned – Hero to Zero and its adventure (also known as a ‘Introductory Shot’), ‘Race Against Time’, is designed to be played through in a single session, two at most.
What else do you need to play?
Outgunned – Hero to Zero can be played using a total of nine six-sided dice, ideally per player. (The full game uses its own set of Action Dice.)
Who do you play?
The four Player Characters—or Heroes—in Outgunned – Hero to Zero consist of an undercover police officer, a hotshot driver and pilot, an ever cheerful bounty hunter, and a charming martial artist.
How is a Player Character defined?A Hero in Outgunned – Hero to Zero is defined by his Name, Role and Trope, Job, Age, Catchphrase, and Flaw. The Role and Trope determine a Hero’s starting Skills, whilst the Job grants access to information and contacts. Together with the Catchphrase, they can be combined by the player to define an action film archetype. The Catchphrase is a tag line or a creed, something guides the Hero to act when it comes time for action. The Flaw is an aspect of the Hero that will hinder him throughout his adventures.
A Hero has five Attributes and twenty Skills. The Attributes are Brawn, Nerves, Smooth, Focus, and Crime. Brawn handles action, Nerves handles reflexes and steady hands, Smooth is used for interaction and manipulation, Focus is for concentration, perception, and recall, and Crime is for awareness and secret action. Feats are granted by a Hero’s Role and Trope and typically allow a ‘Free Re-Roll’ when the Hero acts according to one of his Feats.
Experiences, of which there are four types—Achievements, Scars, Reputations, and Bonds—will affect a Hero’s dice rolls. These are not used in Outgunned – Hero to Zero.
Damage suffered is handled by Grit, ‘You Look’, and the ‘Death Roulette’. Grit is the amount damage a Hero can suffer, whilst the ‘Death Roulette’ is what the Director rolls against if there is a chance that the Hero will die. The chance—or the number of Lethal Bullets it holds—increases each time the Director rolls and the Hero survives. ‘You Look’ is actually a measure of how the Hero looks to others, as in, “How do I look?” and is actually a way of keeping track of the Conditions that a Hero might suffer.
A Hero has access to types of luck points, Adrenaline and Spotlight. A Hero has access to Adrenaline, up to maximum of six. It is earned for getting a success against all odds, making a great sacrifice, and so on. It can be spent to gain a bonus to a roll, to activate certain Feats, and to get an immediate Spotlight. The Director is encouraged to be generous with Adrenaline and every player is encouraged to spend it. A Hero can have three Spotlights and they can be expended to gain an ‘Extreme Success’ automatically, ‘Save a Friend’ who has lost at the Death Roulette, ‘Remove a Condition’, and even do something dramatic!
Weapons and gear will help under specific circumstances. There is an emphasis on guns and rides.
How do the mechanics work?
Mechanically, rolls in Outgunned are either an Action Roll or a Reaction Roll. The number of dice rolled for either always consists of the combined values for an Attribute and a Skill. For example, ‘Nerves’ and ‘Shoot’ to fire a gun at someone or ‘Smooth’ and ‘Streetwise’ to persuade a crook that you are one of them. Equipment and conditions will alter the number of dice a player has to a minimum of two and a maximum of nine. To succeed at a task, a player needs to roll sets of the same symbols (or numbers if not using Outgunned dice). The size of the set indicates the level of success. Two of a kind is a Basic Success; three of a kind is a Critical Success; four of a kind is Extreme Success; five of a kind is an Impossible Success; and six or more of a kind is a Jackpot! If the roll matches the difficulty of the task set by the Director—the Difficulty being either Basic, Critical, Extreme, Impossible, or Jackpot!—the Hero succeeds. A higher success can grant a better outcome, an advantage, or even extra actions, whilst a Jackpot! means that the player becomes the Director temporarily.
If the roll is not a success and the player has one success, he can reroll any dice that do not match. If the re-roll is a success, he keeps them, but if not, he loses a rolled success. Certain Feats allow a free re-roll without any possibility of losing successes. Lastly, after a re-roll, a player can go ‘All In’, push his luck and re-roll all dice that do not match any successes. However, if he fails, he loses everything, including all of successes rolled.
Even after a Re-roll and an ‘All In’, a roll that does not succeed is not a failure. Instead, a hero succeeds, but with consequences. Essentially the equivalent of a ‘Yes, but’.
How does combat work?
Combat in the Outgunned – Hero to Zero as per the rules above, but actions become ‘Dangerous’, which means that a Hero can lose Grit if a roll is not a success. If he loses too much Grit, he will suffer from one or more conditions, and even force rolls of the Death Roulette on the Hero. In comparison, the enemies—Goons, Bad Guys, and Bosses—have only Grit, not the Death Roulette, and when this is reduced to zero, they are knocked out. Bosses have Hot Boxes on their Grit track, indicating that they receive Adrenaline to spend on special actions of their own. The rules for combat cover range, cover, counting magazines (rather than bullets), and so on. There are also rules for car chases as well
What do you play?
‘Race Against Time’ is the ‘Introductory Shot’ in Outgunned – Hero to Zero, a classic movie action plot involving a hunt for a MacGuffin. Naturally, it involves lots of a fights, a chase, and an exploding aeroplane! It is, of course, an entertaining affair and is made all the better by the staging advice given alongside the length of the scenario. The advice is excellent, suggesting possible maneouvres that the Heroes might take in the various situations they find themselves in throughout the scenario.
The scenario is open-ended, so the Director could run a sequel by adapting some of the content in Outgunned – Hero to Zero.

Is there anything missing?
No. Outgunned – Hero to Zero includes everything that the Director and four players need to play through it.
Is it easy to prepare?
The core rules presented in Outgunned – Hero to Zero are not easy to prepare. They are not difficult to prepare, but rather they take a slight adjustment as they are not as straightforward or as obviously intuitive as most rules are. So they require careful attention upon the part of Director.
Is it worth it?
Yes. Outgunned – Hero to Zero presents the basics of an exciting action-orientated game that plays fast and encourages the players to both indulge in all of the clichés of the action movie genre and be inventive in when it comes to their Heroes being cool and cinematic. The rules are just different enough to make them initially a little challenging, but after that, the session is full of bullets flying, fists lashing, and wheels screeching action.

Outgunned – Hero to Zero is published by Two Little Mice and is available to download here.

It begins with a great crashing and splashing. The Player Characters are aboard the Morro, caught in a fearsome storm of raging winds and seas that is driving the ship ever closer onto the jagged rocks below towering black cliffs. Despite their efforts, and those of the crew, with a mighty crack, the ship is thrown onto the rock and shattered, and the Player Characters cast into the water. Before them lies the cliffs or a dark cave mouth… Whichever course the Player Characters take, they will find themselves in a Fallen Chapel, guided by a large black goat, a cat, an enormous boar, a raven, a trio of toads, a large snake, a wide-eyed owl, and more before a Witches’ Sabbat where they will learn the true reason behind their current situation. The thirteenth of the robed figures, a hag known as Baba Iaga (yes, really…) will tell them that the coven’s master, the Horned King, lord of the Wild Hunt, who bestows his blessing upon heathen witches, barbarian shamans, and warriors that exalt the wild savage hidden within, has lost his vigour. Instead of riding forth, at the head of pack of hounds, he lazes atop his throne of bones, thrall to the ice giant’s daughter. Baba Iaga tells them to enter the Thrice-Tenth Kingdom that is the Horned Lord’s realm and once in his citadel, steal the great antlered crown from his head and come back through the Black Gate render it into her care! In return, she and the Witches of Asur shall reward them mightily!
This is the set-up for Dungeon Crawl Classics #72: Beyond the Black Gate, the sixth scenario to be published by Goodman Games for use with the Dungeon Crawl Classics Roleplaying Game. Designed by Harley Stroh for a group of six to ten Fifth Level Player Characters, which takes beyond the far North into the mystic realms of Thrice-Tenth Kingdom, encrusted in snow and ice and there confront the Ice Giants who have turned his citadel into a foul fane. It has an unworldly feel, grim and dank, and has some fantastic encounters, such as two larger giants bullying a younger one for his cowardice and forcing him to fight the Player Characters alone, refuse chambers full of bones and plague rats, and an ice-mirrored hall slick with frost and ice that turn the cave into a maze of refracted light from the Player Characters’ torches and the hunting ground of a blind, aging Ice Giant Warrior. The Ice Giants are tough challenging, especially when faced in groups, but careful, even cautious play upon the part of the players and their characters will enable them to pick them off one by one.

Penultimately, the Player Characters will confront the gaunt, drained, and haunted figure of the Horned King slumped upon his throne before a Giantess, dancing, twirling, and spinning for this pleasure, whilst the vile, vampiric salamander, feeds upon the Horned King’s blood. She is Vefreyja, the Ice Giant’s Daughter, and the Player Characters should be beware of her kiss, whilst the salamander has secrets of his own. It is a grand fight, but ultimately, the Player Characters have a choice in what they do. They can simply take the crown of the Horned King or kill him, they can free him and take him as Patron, and they can even kill Baba Iaga and her coven. Whatever they decide to do, there are consequences to the Player Characters’ actions. If they return to the Crown of the Horned King to Baba Iaga, she will genuinely reward them—there is no betrayal of the Player Characters here! The Horned King will reward them with his patronage if they rescue him, but alternatively, one of the Player Characters could take the Horned Crown and ascend the throne of the Thrice-Tenth Kingdom. There are great duties involved in bearing the Horned Crown, but great benefits too. This is not as fully explored in the scenario as it should be, but the potential is there and the Judge will need to develop this more fully herself. In addition, there are a number of good magical items to be found and also be earned as a reward if the Player Characters give the Horned Crown to Baba Iaga, so it will not feel as if one player and his character is being rewarded more than another by taking the Horned Crown.
To support the scenario and beyond, Dungeon Crawl Classics #72: Beyond the Black Gate includes details of the Horned King as a Patron, which gives the Patron Invoke effect, Patron Taint, and the spell, Slaying Strike. This is followed by details of the Horned Crown and the other magical items in the scenario.
If there is an issue to the scenario, it is that it is linear and the set-up forces the Player Characters to follow Baba Iaga’s diktats, so it will not seem as if they have much in the way of choice. There is some truth to this, but the players and their characters do have plenty of choice in how they resolve the scenario. Another issue is the maps of the Citadel of the Horned King and the Dungeons of Horned King below it and their accompany descriptions. The description of the dungeon comes in the middle of the Citadel of the Horned King which makes it feel as if the description is forcing the Player Characters to explore below before coming back upstairs to face the Horned King. The inclusion of the dungeon is important because it offers another way into the Citadel of the Horned King, but the inclusion of its description in the middle of the description of the upper Citadel is an annoying intrusion. It would have made more sense to keep the descriptions separate.
Like the Dungeon Crawl Classics #71: The 13th Skull before it, Dungeon Crawl Classics #72: Beyond the Black Gate includes a second, smaller scenario. This is Terry Olson’s ‘Crash of the Sky People’, a short, Science Fantasy scenario designed for four to six Player Characters of Third Level. Designed for convention play and thus having a running time of roughly four hours, it opens with a starship of the infamous winged sky-pirates from the planet Tahlmohl crashing to earth near the Player Characters. When they go to investigate, they discover the wreckage is guarded by robots and strange traps the likes of which they will never have seen before. The scenario has the feel of S3 Expedition to the Barrier Peaks, though on a very much smaller scale. Ultimately though, this is all a set-up to get the Player Characters into a Sky Joust with other Tahlmohlian sky-pirates! The scenario is decent enough for a convention scenario and could easily be tied into other scenarios for Dungeon Crawl Classics which have a similar Science Fantasy feel.
Physically, Dungeon Crawl Classics #72: Beyond the Black Gate is decently presented. The artwork is good and the maps clear and easy to use. In comparison, ‘Crash of the Sky People’ feels more perfunctorily presented, but is okay rather than poor in terms of its appearance.
Dungeon Crawl Classics #72: Beyond the Black Gate is a short, but epic and entertaining Swords & Sorcery scenario. It has a grim grandeur and is brilliantly brutal in taking the Player Characters to the winter of the Mystic North and back again in a thoroughly enjoyable scenario.

What is great about boardgames today is that designers can go back in time to revisit old films and old television series and create if not great games based on them, but then good solid, playable games that at the very least do the films and television series they are based on justice by making you feel that you are playing those films or television series. The design team at Prospero Hall proved this to be the case again and again with multiple titles like Fast & Furious: Highway Heist, E.T. The Extra-Terrestrial, Horrified, Jaws, and more. Back to the Future: Back in Time is Prospero Hall’s version of the classic eighties time travel film starring Michael J. Fox, which happens to be forty years old in 2025. Back to the Future: Back in Time is also published by Funko Games, so from the start, the pedigree of the game looks good. The result is a co-operative game for two to four players, aged ten and up, which focuses not on the obvious theme of the film, time travel, but on what the lead character, Marty McFly, has to do to get back from 1955 to 1985, which is make sure his parents get together and are in love and the DeLorean is in right place and ready for time travel. Of course, this is not easy. The photograph of Marty McFly and his siblings must not have faded away by the time this happens, Biff will be constantly interfering and so needs punching, the DeLorean needs repairing, and there are a lot of other obstacles that the players will face.

Since Back to the Future: Back in Time is from Funko Games, the production values are great. This starts with the image of the Fluxx Capacitor on the base of the board. This adds nothing to the game play, but it is a little detail that just adds a little extra… The rulebook is not presented as a rulebook per se, but as an issue of the ‘Tales from Space’ comic book, this time containing a ‘Shocking SCIENCE-FICTION Rulebook’. The look of the cover to the comic book is matched by the game’s artwork, which is all drawn and painted in the style of a bande dessinée comic book rather than the game using stills from the film. There is no doubt that there are good film stills that could have been used in the game, but the look of Back to the Future: Back in Time is classier and all the better for not using film stills.

Underneath the board, in addition to the rulebook, you will find four Character Mats plus their Starter Power Tiles and Player Figures, three Non-Player Figures, eight dice, a Clock Dice Tower, a DeLorean Car piece, decks of Movement, Opportunity, Trouble, and Item Cards, DeLorean Part Tiles, Knockdown Tokens, a Turn Tracker, McFly Photo Sections, and a Love Meter. The board depicts the various locations in Hill Valley, including the Clock Tower, Town Square, Hill Valley High, Doc Brown’s House, and the houses of both Lorraine and George. The four Character Mats plus their Starter Power Tiles and Player Figures are for Marty, Doc, Jennifer, and Einstein—and yes, you really do play Doc Brown’s pet dog! The Character Mats depict each character, have spaces for the Starter Power Tiles with room for more, and details of each character’s Special Power. Marty McFly can move Lorraine closer to him, Doc Brown can move to the location of the DeLorean, Jennifer can move Marty, Doc, or Einstein closer to her, and Einstein can move Biff away if he is too close to him. The Power Tiles represent Actions that a player can do on his turn, including moving his Character, attempting a challenge, modifying a die roll, and using Item Cards. The three Non-Player Figures are George, Lorraine, and Biff. Throughout the game, the players will be escorting George and Lorraine to get them together and thus fall in love, whilst keeping Biff away.

The Movement Cards give instructions to move George, Lorraine, and Biff. Whereas George and Lorraine will move around the board, Biff will move towards them and if in the same location as either, will reduce the love between George and Lorraine as tracked on the Love Meter. The Opportunity Cards, each based on a scene from the film, present a chance for the players to gain an advantage. For example, ‘Provoke Biff’ Opportunity Card shows Biff and his gang chasing you in his black 1946 Ford Super De Luxe convertible and if the player is successful, he will gain an extra Power Tile and the Skateboard Item Card, whilst the ‘Get Your Damn Hands Off Her’ Opportunity Card shows George punching Biff and rewards the player by moving Biff to the School Parking Lot, knocking him down, and giving him a Knockdown Token. The Item Cards show items and pieces of equipment, many of them iconic to the film, which give a player an advantage each turn. For example, the ‘Remote Control’ Item Card enables a player to attempt a Move DeLorean Challenge from anywhere on the board, whilst with the ‘George’s Notebook’ Item Card, a player can move George closer to him. Apart from the ‘Backpack’ Item Card, which has the constant effect of granting a player more Power Tiles and is never exhausted, an Item card is exhausted after each use and it can be used every turn.

Where the Movement, Opportunity, and Item Cards are quite small, the Trouble Cards are larger and square in shape. They represent factors that will hinder the players throughout the game and come in three levels so that they get more difficult to overcome and have a greater negative the higher their level. For example, the Level One Trouble Card, ‘Strickland Looks for Slackers’, prevents anyone from attempting a ‘Fight Biff Challenge’ and if dealt with, grants a player a new Power Tile, whilst the ‘Starlighters’ Guitarist Injured’ Trouble Card is Level Three and has the chance of forcing sections of the McFly Photo to be flipped over, and if dealt with, grants a player a new Power Tile. There can only be one Trouble Card in play, but remains in play until resolved or removed from the board.

The Love Meter shows two things. One is the McFly Family Photo which depicts Marty McFly and his older siblings, Dave and Linda. The McFly Family Photo is made up of six sections that can be flipped over during play to represent their fading from the timeline. Around the edge of Love Meter is a track that runs from ‘-4’ to fifteen. The top three spaces are marked with a Heart and called the ‘Heart Zone’. If the Love Meter Cube (or marker) is in this zone, George and Lorraine are in love. The lower numbered spaces track the progress of their potentially falling in love and whilst the Love Meter Cube is in this area, there is the chance of the six sections that McFly Family Photo will fade…

Lastly, there is the Turn Tracker, which acts as a countdown towards 10:04 p.m. on November 12th, 1955 when the lightning bolt will strike the Clock Tower overlooking the Hill Valley Town Square and provide the DeLorean’s flux capacitor with the 1.21 gigawatts of pure power needed to propel it forward it in time, back to 1985. One side is intended for player with three players, which the other is for two or four. The spaces on the Turn Tracker indicated what cards are drawn on each turn, including Movement Cards and Trouble Cards and checking the Love Meter and the McFly Family Photo.
Back to the Future: Back in Time does have a lot of pieces and a few moving parts, so that it looks more complex than it actually is. A player’s turn consist of two phases. In the Turner Tracker Phase, he will move the Turn Tracker Cube along one space and resolves the instructions it gives. This will always be a Movement Card to move George, Lorraine, and Biff, but can also be adding new Trouble Card to the game board or having to check the Love Meter and the McFly Family Photo. In the Action Phase, a player uses the Power Tiles to move his character around Hill Valley and Attempt Challenges. The Starter Power Tiles—five per Character—either enable the Character to move or a particular set of dice. Some of the extra Power Tiles, which can be gained by overcoming various challenges, do exactly the same, but others do more than this, such as reroll all dice that show ‘Biff’ symbols or change the symbols rolled on the dice to another. A Power Tile can be used only once per turn, but together with his Character’s Special Power, they give a player six actions on his turn and this can be expanded up to nine if a player overcomes enough Challenges.

There are six types of Challenge in Back to the Future: Back in Time. For the ‘Influence Love Challenge’, George and Lorraine must be together with the Character, whose player rolls the dice to generate Heart symbols to raise the Love Meter and so cause the potential lovebirds to fall in love. The ‘Move DeLorean Challenge’ is done to move the DeLorean around the board to get it to the Town Square in readiness for the lighting bolt striking the Clock Tower, whilst the ‘Prepare DeLorean Challenge’ has the Characters prepare the DeLorean with the Cable, the Hook, and the Gasoline at Doc Brown’s house before it can be moved to the Town Square. This only needs be done once per DeLorean Part per game, unlike the other Challenges. The ‘Fight Biff Challenge’ is conducted to try and knock Biff. This disables his action and movement, in particular, preventing the rolling of ‘Biff’ symbols on the dice. The ‘Opportunity Challenge’ gives a chance for the player to gain an advantage, a Power Tile, and other rewards, whilst a ‘Trouble Challenge’ is a chance for the player to overcome a ‘Trouble Card’ that is hindering everyone’s progress.

The dice come in four sets of two. The different types have certain symbols on them that need to be rolled for the various Challenges, but they all have ‘Biff’ and ‘Wild Card’ symbols on them too. The ‘Wild Card’ symbols can be used as any symbol to meet any Challenge and a player can reroll as many dice as he wants on an attempt against a Challenge, depending upon the Power Tiles used, of course. However, ‘Biff’ symbols are bad. Once rolled, they cannot be rerolled, and for each one rolled, the Biff figure is moved closer to Lorraine or George and once at the same location, lowers the Love Meter. Each Knockdown Token that Biff has counters a single ‘Biff’ symbol rolled on the dice. A player can roll as many or as few dice as he wants, which has its advantages and disadvantages. Rolling more dice means that there is likelihood of rolling Wildcard symbols, which means getting more of the symbols he wants, but it also means that he might roll more ‘Biff’ symbols. Further, as long as he does not roll ‘Biff’ symbols, a player can roll the dice as often as he wants or needs to.

Once set-up, the play is all about getting the right pieces to the right places. George and Lorraine together and all the way up on the Love Meter, Biff away from them, and the DeLorean, first to Doc Brown’s House to get the items needed for the lightning strike, and then to the Town Square. As the players push all of their characters and pieces into place, the game is annoyingly pulling them apart, splitting up George and Lorraine, getting Biff too close, causing trouble, and so on. And if the game sounds complex, once you actually have it set up and start playing, everything clicks into place, because what you realise is that you are playing out the plot of Back to the Future and quite literally time is against you. This is where the fun of the game comes to the fore along with the tension in the mechanics, so ultimately, the question of the game is, “Can you do as well as director, Robert Zemeckis, and the film’s cast?” And whilst you might not be able to first time, when you do, you will have told your own version of the story.

The fact that Back to the Future: Back in Time hews so close to the film is both a blessing and a curse. It means that the game is familiar to most players and that from the start, they understand what the overall objective is, and from there it is not that difficult to learn how to achieve that objective using the game’s rules. However, it does mean that Back to the Future: Back in Time cannot actually offer all that much in terms of variability and replayability. This is less of an issue for casual boardgame players than it is for the veteran player, but still, play it more than a few times and it begins to feel like you are watching the same film over and over. Lastly, as a co-operative game, it has the potential suffer from the Alpha Player Problem in which one player starts directing everyone else’s action, especially given that this game is aimed at a family audience and an experienced boardgame player may be the one teaching others to play it.

Physically, Back to the Future: Back in Time is very well produced. The standout piece is the DeLorean car which looks really good and there is even a Clock Tower Dice Tower that you can put together and have sat on the board where it can be used to roll dice and to add a little more physicality to the game. The artwork on the cards and in the rulebook is all excellent, capturing the likenesses of the various characters, items, and places an engaging comic book style. What lets the production values down are the figures. They are not particularly detailed and they really just about capture a feel of the likenesses of the characters. Plus, they are a little light. However, done in different colours, it is easy to work out which character is which.

Back to the Future: Back in Time is very good adaption of the classic time travel comedy. Almost too good in fact. Fans of the film will enjoy this game a great deal, but without being daunted by the rules which really do help them tell the story of Back to the Future. Hardened boardgame players will enjoy what is a very well designed, very nice looking, co-operative game (though not much beyond a few plays). Back to the Future: Back in Time is another excellent game from both Prospero Hall and Funko Games.

Since 2001, Reviews from R’lyeh have contributed to a series of Christmas lists at Ogrecave.com—and at RPGaction.com before that, suggesting not necessarily the best board and roleplaying games of the preceding year, but the titles from the last twelve months that you might like to receive and give. Continuing the break with tradition—in that the following is just the one list and in that for reasons beyond its control, OgreCave.com is not running its own lists—Reviews from R’lyeh would once again like present its own list. Further, as is also traditional, Reviews from R’lyeh has not devolved into the need to cast about ‘Baleful Blandishments’ to all concerned or otherwise based upon the arbitrary organisation of days. So as Reviews from R’lyeh presents its annual (Post-)Christmas Dozen, I can only hope that the following list includes one of your favourites, or even better still, includes a game that you did not have and someone was happy to hide in gaudy paper and place under that dead tree for you. If not, then this is a list of what would have been good under that tree and what you should purchase yourself to read and play in the months to come.

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The Making of the Original Dungeons & Dragons 1970 – 1977
Wizards of the Coast ($99.99/£75)
In an exceptional year for books about the history of the hobby, the first entry on the list is the most controversial, but an absolute must for the Dungeons & Dragons fan who has an interest in the early history of the world’s most popular roleplaying game. To help celebrate the fiftieth anniversary, this massive volume charts the gestation and development through letters and fanzines of the ideas that would ultimately lead to the publication of Original Dungeons & Dragons in 1974. The hefty tome draws heavily on the archives to fully reproduce Chainmail – rules for medieval miniatures and its Fantasy Supplement that were the precursors to Dungeons & Dragons, the very first draft of Dungeons & Dragons, and much, much more, all the way up to the published version and beyond. Were you so inclined, the reproductions in this book are so good that you could actually run a game based on the rules they present! Everything is faithfully reproduced and accompanied by a commentary from Jon Peterson, one of the hobby’s few historians, the result is a superb book, one that genuinely gives the fan of the roleplaying game the opportunity to look at documents and correspondences that they would otherwise never have the chance to look at or read. The Making of the Original Dungeons & Dragons 1970 – 1977 is like having a Dungeons & Dragons museum of your own, but one that you can pull from your shelf and browse any time you like. If you really have any interest in the development of the roleplaying hobby, let alone that of Dungeons & Dragons, this book is essential.

Eat The Reich
Rowan, Rook, & Decard ($30/£25)
Why bother punching a Nazi, when you can fucking eat a Nazi? Eat The Reich is the all-action roleplaying game in which the Player Characters are a team of crack vampire commandos coffin dropped on Paris in 1943. And then cutting, stabbing, biting, rending, and blood draining their way across the City of Lights and up the ranks of the German occupiers to the top and beyond. And beyond means getting hold of Adolf Hitler himself—currently lurking in his zeppelin moored to the Eiffel Tower, so atop Paris effectively—and drink all of his amphetamine-fuelled blood. If that does not sound like a great hook for a session or three of over-the-top, blood-drenched action, then what the hell are you here for? Eat The Reich is designed to be fast-playing with an emphasis on carnage, blood magic, meaningful flashbacks, and the slaughter of hundreds and hundreds of Fascists. Which is not enough Fascists. All of which is packaged in a swathe of vibrant pinks, blues, and yellows that give the combined roleplaying game and scenario a neon punk energy all of its very own. Play Eat The Reich. Kill Nazis. Drink their blood. Is there anything better?
The Horrendous Hounds of Hendenburgh
The Merry Mushmen ($28/£22.50)
The village of Hendenburgh stands in the middle of the Kryptwood, an ancient forest steeped in legend and history recently beset by murderous demon hounds, ripping apart anyone who dares enter its reaches and even snatching lone villagers from the streets of the small settlement. These are the only dangers faced by the villagers: Highwaymen lurk in the forest, ready to pounce on Hendenburgh’s misfortune; a coven of witches wants everything to be returned to normal; the old silver mine stands abandoned, infested with monsters that drove out the miners and sowed the seeds of Hendenburgh’s poverty; a Bridge Troll has gone on strike after a drunken pixie failed to pay the toll; and at its heart, the Tomb of the Tyrant, the last resting place of the Kryptwood Tyrant, a despot who ruled the region a thousand years ago. This is a great set-up for the fantastically well-produced The Horrendous Hounds of Hendenburgh, a story-packed low-Level hexcrawl with lots going on and plenty of plots for the Player Characters to get involved in. It is also a fine sequel to the equally as good Nightmare Over Ragged Hollow (and that is worth picking up too) and both are written for use with Old School Essentials, but The Horrendous Hounds of Hendenburgh is a just that much more fun with its combination of Hammer Horror with shades of Monty Python.

Aces Over The Adriatic – A Solo RPG
Critical Kit Ltd. ($15/£12)
Since lockdown there has been a rise in interest in and play of the solo journaling games that rather than tell a story in the choose-your-own-adventure-path of classics like The Warlock of Firetop Mountain, provide the situations and the prompts that the player will react to in order to write the story of his character’s experiences and how he reacts to them. Many offer a chance to experience and tell a story of horror or wonder, such as a Thousand Year Old Vampire or Colostle: A Solo RPG Adventure, but Aces Over The Adriatic takes the reader back barely a century to explore the wonders of the age in the gleaming skies over the azure of the Adriatic. In the latter half of the Jazz Age, the cutting age technology and the future of flight lay in the seaplane! In a golden age of aeronautical development, experimentation, and speed, the great nations of the era competed to win the Schneider Cup, awarded to the fastest seaplane in the competition held twice a year. As a pilot, the reader not only gets to fly the greatest aeroplanes of the age and enter the Schneider Cup, but soar into the skies and embrace the romance of the air. However, this is a solo journalling game inspired by Hayao Miyazaki’s Porco Rosso, so the pilot has to deal with air pirates as well as his rivals and the weather! This is a chance for the reader to tell the stories of his pilot’s adventures and encounters with most famous men and women of the time in a glorious epic of another age.
Moria – Through the Doors of Durin
Free League Publishing ($46/£36)
For all the dungeons that the roleplaying hobby has given us in the last half century, there is the one dungeon from literature that inspired them all and lives in our imagination—Moria, from Tolkien’s Middle-earth. In The Lord of the Rings we discover the fate of Balin’s expedition and see Gandalf confronted by the great evil that is the Balrog, Durin’s Ban, but in Moria – Through the Doors of Durin for The One Ring, Second Edition, we get to explore it ourselves. Originally the city of Dwarrowdelf, the seat of a Dwarven kingdom, for centuries it has been infested with Orcs, Goblins, and, of course, much, much worse. However, it has a scope and grandeur that could never be mapped out in a single book, being too large and extensive to map every nook and cranny, so instead, Moria – Through the Doors of Durin details over twenty great Landmarks, each a potential destination involving danger and adventure, and each a major location within the mines. Getting to them is no easy task though, so every trek to and between them these Landmarks, employs the Journey mechanics of The One Ring, so that whilst getting there can be fraught with dread and danger, the focus is what the Player-heroes discover at the Landmarks. Combine this with a hoard of Patrons, foes, encounters, and treasures, and the Loremaster has all the means to take her players and their heroes into the greatest dungeon in literature, whether for a single delve or an extended campaign!

BattleTech Universe
Catalyst Game Labs ($49.99/£45)
Whilst it might be first, Dungeons & Dragons is not the only roleplaying game or game with an anniversary in 2024. BattleTech: A Game of Armoured Combat was published in 1984 and in the forty years since, through multiple publishers, the game has received numerous sets of new rules, supplements, several ranges of miniatures—both plastic and metal, over one hundred novels, a cartoon series, a collectible card game, and multiple computer games. All of which has constantly developed the setting and background and stories to the Inner Sphere—and beyond—at the beginning of the thirty-first century, so that from the beginning of the Fourth Succession War to capture of Terra by the returning the Clans, the focus is upon one-and-twenty-six years of history! It is however, a rich, detailed, and daunting history, so difficult to fully grasp and comprehend. However, BattleTech Universe is a sourcebook that presents the history to BattleTech is an easy to digest and understand fashion, highlighting the factions and individuals and their objectives, at every juncture and turn of events, all lavishly illustrated drawing upon artwork form forty years of BattleTech games, supplements, and novels.
Dreams and Machines
Modiphius Entertainment ($45/£35)
Most post-apocalyptic roleplaying games present harsh and unforgiving futures, with technology that has to be scavenged and hard fought for, but the future of Dreams and Machines is more positive and hopeful, set on a colony world where everyone can see the signs of the technology that turned on their ancestors and triggered the Builder War. These are the Wakers, the mechs built to serve the Builder, a programme to develop resource and power control, which litter the landscape and everyone fears will react and carry out the instructions of their corrupt programming. This is a world where the Player Characters work to build their community and forge links with other communities, to make lives better and protect them against dangers such as the Wakers and the Thralls, humans wrapped in loops of wire and marked with ash and paint, who up out of the ground to aggressively raid and steal food and technology from the communities. One of the interesting legacies of the technology is the way in which it can be interacted with, through GLIFs, or ‘Graphic Layer Instruction Format’ patterns that that once learned enable Archivists to use them spells to instruct technology and the Wakers, whilst the Spears, dedicated to protecting communities with their vicious Electrospears, mark themselves with Hunter-GLIFs that temporarily conceal them from the optical sensors of hostile machines. Overall, Dreams and Machines feels cleaner, more positive, and more hopeful than other roleplaying games of its genre.

Call of Cthulhu: Arkham
Chaosium, Inc. ($59.99/£48.99)
The city of Arkham crown—if not the jewel that is Miskatonic University—in the milieu of Lovecraft’s fiction, the New England town at its heart, witch-haunted and fabled, rich in secrets and conspiracies and crime. Call of Cthulhu: Arkham returns it to print for call of Cthulhu, Seventh Edition, to detail everything from town and its history, its inhabitants, its shops and its societies to its dread secrets and even worse, the people and things that keep them! Just as the original Arkham Unveiled was in 1990, this supplement is the keystone to the Lovecraft Country series of scenario anthologies and setting books, and it enables the classic Call of Cthulhu Investigator to remain at home and have a family and a job to investigate the strangeness all around him rather than going on some expensive round the world, never to be seen again. This sets up a very different style of campaign, one based in the community as much as it is in the surrounding region with the Investigators discovering secrets and facing threats which are much closer to home. Call of Cthulhu: Arkham is a great updating of a classic supplement and setting that successfully makes them both more accessible and useable, whilst laying the groundwork for a terrible series of encounters and threats to faced by the Investigators in the future. (And if this is not enough Arkham, then Welcome to Arkham: An Illustrated Guide for Visitors to the Town of ARKHAM, MASSACHUSETTS, and Environs Including DUNWICH, INNSMOUTH, and KINGSPORT is also good.)
Outgunned Adventure
Two Little Mice ($55/£45)
Sadly, we do not have an official Indiana Jones roleplaying game, but we do have one which will do all of the action of the Pulp action and archaeology genre. This is Outgunned Adventure, a roleplaying game inspired by Raiders of the Lost Ark and The Mummy, which of course, sends the adventurers off in search of treasures and secrets in the remotest parts of the world, from deep in the jungles of Central America to the sandy deserts of Egypt, from the mountains of the Himalayas to the islands of the South Seas, more often than not, chased by rival archaeologists and treasure hunters, cultists and Nazis. The heroes and heroines of Outgunned Adventure must search and research, jump and duck, and punch and kick their way to glory and success if they are get that invaluable treasure to the right place and prevent it from falling into the wrong hands! Outgunned Adventure is a Genre book for Outgunned, the Cinematic Action RPG inspired by Die Hard, Kingsman, Ocean’s Eleven, Hot Fuzz, and much, much more. Outgunned—and thus Outgunned Adventure—is a roleplaying game in which the Adventurers cannot fail. At worst, they can succeed in an uninteresting way, so it is better to gamble in succeeding in a more exciting and thrilling fashion in keeping with the genre! Outgunned Adventure is fast playing and captures all of the pace and excitement of some our favourite action films.

XCRAWL Classics Roleplaying Game
Goodman Games ($59.99/£45.99)
Imagine a world where the number one sport is not football or cricket, but a death sport called Xtreme Dungeon Crawling! Some adventurers do delve deep into the caverns and labyrinths below the earth, but if they really want to become famous, they turn Professional and form teams which enrol in leagues which stage manufactured dungeons live-streamed via spellphones throughout the North American Empire and beyond. If they can survive the arena, with its horrific monsters, lethal traps, magical hazards, and challenging puzzles, then they had better wish their agent is good, because he has to navigate the shark-infested waters of corporate sponsorship, rival teams and their agents, the networks, and even the Action Guild, responsible for running the events. But then it is the only way to become the superstar influencers and live celebrity lifestyles few in the Empire can imagine, backed up with for endorsement deals and corporate sponsorships, and the fabulous cash prizes earned for slaying monsters. Using the Dungeon Crawl Classics Role Playing Game rules, what the XCRAWL Classics Roleplaying Game does to take Dungeons & Dragons-style play and modernises it with all of the razzmatazz and energy modern wrestling! This is as witty and as entertaining to play as it sounds and creates some great over-the-top gaming.
Pendragon Core Rulebook
Chaosium, Inc.  ($49.99/£39.99)
The Pendragon Core Rulebook returns to print the classic Arthurian roleplaying game that designer Greg Stafford considered be his masterpiece with a brand new, illuminated edition. It provides all of the rules and details to create young Cyrmic knights ready to ride out in service to the liege lord and ultimately King Arthur, to go in search of adventure and quests, to attend court and participate in tournaments and more. There is so much more to Pendragon with the Pendragon Core Rulebook covering the creation of a Player-knight and the duties he will undertake, combat, and the duties of a knight, but focusing very much on how he will behave and carry himself. At the core of the game are thirteen pairs of Personality Traits—Chaste and Lustful, Honest and Deceitful, Valorous and Cowardly, and so on—that the player will roleplay as they determine how his knight will act, usually in the best interests of the knight in mind, but at other times, especially when the knight is being tested, against the interests of the knight, and possibly those of his fellow knights! The Personality Traits are flexible though, and will change over time, enabling a player to roleplay his knight becoming a better person, knowing that sometimes, the Personality Traits will tell him otherwise. The Pendragon Core Rulebook provides everything that a player needs to begin playing and the Game Master with the basic rules, thus laying the groundwork for the Pendragon Gamemaster’s Book and Great Pendragon Campaign to come.

This is Free Trader Beowulf
Mongoose Publishing ($59.99/£45)
In the year of its fiftieth anniversary, it was no surprise that Dungeons & Dragons got all the fanfare and the attention, but 2024 also saw the release of another good history of another long-lived game. Indeed, there are very few roleplaying games that have the depth and detail and storied history to have an actual book devoted them, but Traveller is one of them. With multiple editions and multiple publishers, Traveller has almost as many years to explore in This is Free Trader Beowulf from Mongoose Publishing. This charts the history and development of the world’s longest running Science Fiction roleplaying game, examining the many decisions and changes made with each new edition and supplement, not just upon the part of the creators and developers, but also the fans who would make their own contributions too. Accompanied discussions of books that would have been and comparisons with the rest of the hobby for context as well as lengthy lists of everything published for the roleplaying game in each of its iterations, This is Free Trader Beowulf is written by the authors of the Designers & Dragons series of roleplaying histories and he provides a thoroughly detailed and well researched book that every fan of Traveller will want and every roleplayer with an interest in the development and history of roleplaying games.

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary, and the new edition of that, Dungeons & Dragons, 2024, in the year of the game’s fiftieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

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1984 produced two of greatest roleplaying games designed in response to the Cold War and two of the greatest humour roleplaying games. One of the Cold War roleplaying games was Twilight 2000, whilst one of the humour roleplaying games was Toon. In both cases, the other roleplaying game was Paranoia. Published by West End Games, previously known for its wargames, Paranoia: A Role-Playing Game of a Darkly Humorous Future is a Science Fiction post-apocalyptic dystopian satire inspired by classics of the genre, such as Nineteen Eighty-Four, Brave New World, Logan’s Run, and THX 1138. It is both a satire on capitalism and communism, a roleplaying game of trust and distrust—mostly the latter, laced with black humour, drenched in irony, and if it was not the first roleplaying game that specifically pitted the players and their characters against one another, it was certainly, the roleplaying game to not only embrace it wholeheartedly, but also to actively encourage it. What it was though, was the first roleplaying game in which the Game Master was as much an adversary to the Player Characters as they were to each other, and it was the first roleplaying game in which knowledge or possession of the rules was punishable by death. The play and the setting of Paranoia is one of ignorance and fear built on a series of contradictions which the players and their characters attempt to navigate, rarely with any success, and generally, with consequences both disastrous and funny for all concerned.
The setting for Paranoia: A Role-Playing Game of a Darkly Humorous Future is Alpha Complex, a vast underground city where the last of humanity survives thanks to the protection and facilities provided by the Computer. The Computer is their friend. Citizens of Alpha Complex are decanted into Clone Families of six identical clones and raised to serve meaningful and satisfying lives in service to Alpha Complex and in return be provided with nutritious food and enjoyable entertainment. Most clones and their families possess a Security Clearance of Infrared. Depending upon the role and assignment of a Citizen, he may achieve a higher Security Clearance (if he is not executed first). This is based on the colour spectrum, so in ascending order is RED, ORANGE, YELLOW, GREEN, BLUE, INDIGO, VIOLET, and ULTRAVIOLET, the latter clearance only available to High Programmers and (on a temporary basis) Game Masters. Unfortunately, Alpha Complex is at war and has been ever since it was established. Three are forces outside of Alpha Complex which want to see it and its way of life it provides its friends with destroyed. Worse though are those who would destroy it from within. First and foremost, Commies. Commies are Traitors. Commies are everywhere. Then there are Mutants and members of Secret Societies. Mutants and members of Secret Societies are Traitors. It is the duty of every Citizen of Alpha Complex to report all signs of treasonous activities, including being a Commie, a Mutant, or a Member of a Secret Society. Not reporting signs of treasonous activities, including being a Commie, a Mutant, or a Member of a Secret Society is treasonous.
Fortunately, Alpha Complex has a solution: Troubleshooters. Troubleshooters are carefully selected Infrared Clones trained and equipped to further serve the Computer, including spotting Traitors and signs of treason. To reflect their training, equipment, and responsibilities, they are promoted to RED Security Clearance level and assigned to a Service Group that can be the Armed Forces, Central Processing Unit, Housing Preservation & Development and Mind Control, Internal Security, Power Services, Production, Logistics, and Commissary, and Research & Design. Unfortunately, each Troubleshooter has a secret. He is a Traitor. He is a Traitor because he is a Member of a Secret Society. So, he has to keep this a secret. Unfortunately, each Troubleshooter has another secret. He is a Traitor. He is a Traitor because he is a Mutant. So, he has to keep this a secret. Guess which roles the players roleplay in Paranoia? And the good news is that in event of a Troubleshooter’s death, whether in the patriotic and glorious service of the Computer or because he has been identified as a Traitor and dutifully reported for Self-Termination, his current assignment and duties will be immediately undertaken by the next member of the Troubleshooter’s Clone Family, who is fully trusted by the Computer and is not a Traitor.
Paranoia: A Role-Playing Game of a Darkly Humorous Future was published as a boxed set. It contained three books and a pair of two twenty-sided dice, marked one to ten twice. The three books are the twenty-four-page ‘Player Handbook’, the sixty-four-page ‘Gamemaster Handbook’, and the fifty-two-page ‘Adventure Handbook’. Notably, the ‘Adventure Handbook’ is actually the scenario booklet and done as a then traditional module format and the page numbers actually run concurrently from the ‘Player Handbook’ through the ‘Gamemaster Handbook’ to the ‘Adventure Handbook’.
A Troubleshooter in Paranoia has eight primary attributes. These are Strength, Agility, Manual Dexterity, Endurance, Moxie, Chutzpah, Mechanical Aptitude, and Power Index. These are range in value between two and twenty, with Chutzpah being defined as, “…[T]he quality of a man who kills both his parents and then pleads for mercy because he is an orphan.”; Moxie as the ability to comprehend the unusual; and Power Index the strength of a Troubleshooter’s mutant power. He belongs to a Service Group and a Mutant Power, and he belongs to a Secret Society. He also has several skills, which are represented as percentages. Skills are organised into skill trees with the lower the skill is down a skill tree, the more specialised it is and the higher the skill bonus it grants. To create a Troubleshooter, a player rolls for everything bar the skills which he assigns points to with the few points a beginning Troubleshooter is given. He is given some mandatory equipment and 100 credits with which to purchase more. The skills are not written down on the Troubleshooter sheet as a list, but drawn as a skill tree.
Name: Budd-R-FLY-1Clone Number: 1Security Clearance: RedService Group: Research & DesignSecret Society: Spy for Armed ForcesMutant Power: Extraordinary Power – Mental BlastCommendation Points: 0Treason Points: 0
Credit: 100
Strength 13 Agility 18 Manual Dexterity 14 Endurance 11Moxie 06 Chutzpah 08 Mechanical Aptitude 13 Power Index 14Carrying Capacity: 30 Damage Bonus: —Macho Bonus: — Melee Bonus: +17%Aimed Weapon Bonus: +07% Comprehension Bonus: -10%Believability Bonus: -05% Repair Bonus: +04%
SKILLSBasic Operations 1 (20%); Melee Combat 2 (25%); Aimed Combat 2 (25%)Technical Services 1 (20%); Robotics 2 (25%)
EQUIPMENTred reflec armour, laser pistol, laser barrel (red stripe), jump suit, utility belt & pouches, Com Unit I, knife, notebook & stylus
The ‘Player Handbook’ does not explain the rules to the game, because, after all, that requires ULTRAVIOLET Security Clearance, but it does have details of bookkeeping, how a typical mission and how combat works, the etiquette to playing Paranoia, and so on. Bookkeeping involves the tracking of several types of points. Credits can be rewarded to spend on more equipment. Commendation Points are earned for completing missions, distinguished service, and eliminating Traitors and will go towards a Troubleshooter being promoted. Treason Points are earned by failing to follow or complete orders, doubting or acting or speaking against the Computer, being a member of a Secret Society or a Mutants, and so on, if at any time they exceed Commendation Points by ten or more, the Computer will issue a Termination Order for treason. Secret Society Points are earned for fulfilling a Secret Society’s aims and will reward a Troubleshooter with promotion and access to information, equipment, and help, some of which might be useful.
A typical mission will begin with a briefing from the Computer and the assignment of useful equipment that will want testing. A Troubleshooter may also receive a private briefing from the Computer, from Internal Security, or from his Service Group. However, because he is also a Traitor, he receive an additional private briefing from his Secret Society. Throughout the mission, a Troubleshooter is expected to route out and eliminate Traitors, complete the mission, and keep safe the lives of the Computer’s valuable agents (including himself). Actual play exacerbates all of the tensions that this sets up because Paranoia is a game of secrets. A Troubleshooter’s character sheet is a secret, the contents of the ‘Gamemaster Handbook’ are secret, and all of the notes passed and the private asides between the Game Master and her players are secret. Consequently, separation of player knowledge and Troubleshooter knowledge is a necessity and some cases, failure to separate the two is treasonous. For example, demonstrating knowledge of the ‘Gamemaster Handbook’ is treasonous. Further, in play, the Game Master is encouraged—and shown in an example of play—to watch and listen for player knowledge being expressed by his Troubleshooter. So, for example, when a Troubleshooter on a mission to the Outside calls the small fluffy humanoid with tiny arms and legs, a tiny nose, and a rearward facing, long and very fluffy arm without a visible hand a ‘squirrel’, the first question on the mind of Game Master as the Computer (and also on the mind of his fellow Troubleshooters), is how does the Troubleshooter know it is called a ‘squirrel’? Followed by, ‘Where did he get such treasonous knowledge?’ Even if the Troubleshooter is a member of the Sierra Club Secret Society and actually does know what a squirrel is, knowledge of what a squirrel is treasonous, as is, of course, being a member of a Secret Society.
Mechanically, the ‘Player Handbook’ does not teach the player the rules of Paranoia because he does not have sufficient Security Clearance. What it does do is show him with a solitaire adventure. It is short at fifty-four entries and three pages long, but it nicely demonstrates the tone and style of play in Paranoia. As the player reads through it, he will earn letter codes, each of which determines whether he has earned Commendation Points, Treason Points, and so on. It will not take a player very long to play through it, but it is short enough for a player to explore the untaken storylines within it to see the consequences of other actions. Doubtless, this is treasonous behaviour, but it gives a player an idea of what to expect.
The ‘Gamemaster Handbook’ does explain the background, setting, and rules to Paranoia. The background is quite slight, almost inconsequential given the post-apocalyptic nature of setting. The setting description covers everyday life in Alpha Complex, the Service Groups, Security Clearances, and so on. All seventeen of the Secret Societies are described—Anti-Mutant, Communists, Computer Phreaks, Corpore Metal, Death leopard, First Church of Christ Computer-Programmer, Frankenstein Destroyers, Free Enterprise, Humanists, Illuminati, Mystics, Pro Tech, Programs Group, Psion, Purge, Romantics, and Sierra Club. In addition, a Troubleshooter can also be a spy for another Service Group or even another Alpha Complex! In each case, their objectives, doctrines, friends, and enemies are listed along with a general description and means of advancement. Special rules cover what a Secret Group might actually teach a member if he survives long enough. Mutant Powers are given a similar treatment.
In terms of mechanics, Paranoia looks more complex than it actually is. The roleplaying game uses ten-sided dice. For an attribute check, a player rolls a number of ten-sided dice and attempts to roll equal to or less than the attribute to succeed. The difficulty is measured in terms of the number of dice a player has to roll, from one for Extremely easy to five for Outrageous. Otherwise, Paranoia is a percentile system and skill-based. The aim is to roll equal to, or lower, than the skill to succeed, with a Troubleshooter always having a minimum chance of success of 5%. A skill is modified by an appropriate Troubleshooter’s Attribute Modifier and by the circumstances. It is the latter where Paranoia does get more complex. The skill categories are described in some detail and there are a lot of modifiers, which vary from skill or skill, and can result in a skill rating being divided or multiplied or simply added to or detracted from.
When it comes to combat, the ‘Player Handbook’ states that it eschews the, “…[E]laborate movement and combat systems reflecting their ancestral wargame heritage.” of other roleplaying games and instead aims for a ‘dramatic tactical system’—“[A] sort of unsystem – to encourage fast and flamboyant action.” Thus, it was writing against what had come before in terms of roleplaying games and their combat systems and what West End Games, the publisher of Paranoia, was best known for doing at the time, which was wargames. It was wholly reliant upon the Game Master, as she of course, had the Security Clearance to know how the rules—fully explained in the ‘Gamemaster Handbook’—worked, and today, the ‘dramatic tactical system’ of Paranoia would be best described as theatre of the mind style play, since it did not rely on maps or miniatures. (The irony here being that miniatures have since been released for subsequent editions of Paranoia.) Some of this seen in how damage is handled in that a Troubleshooter does not have Hit Points, but weapons instead inflict effects such as stun, wound, incapacitate, kill, and so on. If combat is meant to be dramatic and exciting for all, there is still a set of combat mechanics that need to be learned by the Game Master. These are not complex, but the Game Master still needs to know them to apply them to the ‘dramatic tactical system’ that Paranoia wants her to run the game as and there are quite a lot of weapon special effects, such as the various ammunition types of slug throwers and cone rifles, ice guns, and tanglers, which she needs to be aware of. Not necessarily in every mission, but they are there in the rules.
Perhaps the most important section in the ‘Gamemaster Handbook’ is on ‘Gamemastering Paranoia’. This is because Paranoia was—and in some ways, still is—different to any other roleplaying game, certainly in comparison to the ones that came before it. The Game Master has many roles in Paranoia. Like any other roleplaying game, the first was to portray the world and act as the eyes and ears of the players and their characters. After that? All bets are off. The Game Master has to portray an NPC, the Computer that both cares about the Citizens of Alpha Complex and thus the Troubleshooter, and loves them. It even trusts them. It also does not trust them. It also fears that one of them, if not all of them are Traitors. It is a mass of contradictions that builds tension and distrust and instils fear and ignorance with the Game Master knowing everything and the players and their Troubleshooters knowing nothing. As a representative of a nasty, totalitarian enclosed society, the Game Master may not be actively trying to kill the Troubleshooters—though she very probably is—but she is definitely looking for reasons to kill the Troubleshooters.
The advice for running Paranoia is excellent throughout. It amounts to controlling information and rationing it with a miserly reluctance, killing the bastards, fighting dirty, accepting that sometimes situations are hopeless, and letting the players feel that bad luck or idiocy is responsible for their Troubleshooters’ fate, rather than maliciousness upon the part of the Game Master. Similarly, the advice for running combat is to keep things moving, never give the players and their Troubleshooters the time to think, reward flamboyance and strange ideas, to kill the bastards, and to really, really keep things moving. Topped by the fact that the Game Master should ‘Sound Impartial’, despite the fact that she probably being anything other than that. All of which is supported by examples of play that showcase how Paranoia is intended to be run and played. Combined with advice on writing adventures—though the designers admit to liking pre-written packaged adventures for various reasons, and beginning, running, and ending adventures, the advice throughout Paranoia is excellent.
The Game Master is further supported with the ‘Adventure Handbook’. It begins a little oddly with the first ten pages devoted to detailing bots (or robots) and vehicles, before presenting a full, pre-packaged, adventure. ‘Destination: CBI Sector’ is designed as a starting adventure and sample of what a Paranoia adventure is intended to look like. This is for both the Game Master new to Paranoia and her players who are new to Paranoia, and the scenario includes a set of six pre-generated Troubleshooters, each of which comes complete with a ‘Mission Report Form’ to fill in and return to the Computer at the end of the mission. The mission involves the recovery of a robot from a previously abandoned industrial sector and will be complicated by whatever the Troubleshooters find there, their duplicitous group leader, and of course, each other. It is a fun, silly, and infuriatingly absurd affair that captures the tone of Paranoia to a tee.
Physically, Paranoia: A Role-Playing Game of a Darkly Humorous Future is Alpha Complex is well presented and wonderfully embraces its black humour. There are constant messages and interactions with the Computer, there are very examples of play, and Jim Holloway’s artwork perfectly captures the absurdities of life in Alpha Complex and the irreconcilable situations that the Troubleshooters will face. Best of all are the covers to the roleplaying game’s three books in the box. Each cover depicts a scene in which those present are being watched by someone else on another cover so that there is a sense of constant sense of surveillance and mistrust even on who the roleplaying game looks. If perhaps there is an oddity in the look of the roleplaying game, it is that Paranoia looks like and it laid out like the rules for wargame rather than a roleplaying game, irony being that this was everything that it was against!
In 1984, Paranoia: A Role-Playing Game of a Darkly Humorous Future is Alpha Complex was a shockingly radical design that stuck two fingers up and sneered at every roleplaying game that had become before it. It was blatantly uncooperative and adversarial in its play, embracing death in the fragility of its Troubleshooters and almost a nihilism in their uselessness, and possessing a lack of hope given that despite the roleplaying game presenting a means of progression, the actual play was actively obstructive to such progression. This meant the roleplaying game was suited to one-shots and short play rather than campaigns. Lastly, it was the most American and the most anti-American of roleplaying games, especially considering that it was released at the height of the Cold War and the Presidency of Ronald Reagan. It was the most American of roleplaying games because it was rabidly anti-Communist and it fully embraced McCarthyism and pushed the fears that McCarthyism espoused to their fullest extremes—and beyond. It was the most anti-American of roleplaying games because it made every Troubleshooter, every Player Character, what McCarthyism feared—a traitor, effectively a Commie and the enemy within. Of course, that included the Computer and thus Game Master because everyone in Paranoia is the true enemy within. And then the designers of Paranoia effectively turned it into a horrifyingly funny cartoon.
Paranoia: A Role-Playing Game of a Darkly Humorous Future is a brilliant piece of design, a savage satire on roleplaying, politics, and social attitudes at the height of Cold War that set player against player, Game Master against the players, and forced everyone at the table to play differently. All of which it hides behind the blackest of humour and the bleakest of futures, whilst presenting a genuinely different and challenging roleplaying experience.

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. 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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Despite its popularity in Japan, it is surprising that there is so little support for it as a setting in Call of Cthulhu. Barring Secrets of Japan from Chaosium, Inc. in 2005, which was a modern-set supplement, most of the handful of scenarios set in Japan have been placed their tales of Lovecraftian investigative roleplaying firmly in the feudal period, so enabling the Samurai, the classic Japanese warrior to go up against the Mythos. For example, ‘The Iron Banded Box’ from Strange Aeons II from Chaosium, Inc. and ‘The Silence of Thousands Shall Quell the Refrain’ from Red Eye of Azathoth from Kobold Press. Incursions into Japan in Call of Cthulhu’s classic period of the Jazz Age are almost unknown, Age of Cthulhu VI: A Dream of Japan from Goodman Games being a very rare exception. It is a trend that continues on the Miskatonic Repository, Chaosium Inc.’s community content programme for Call of Cthulhu, Seventh Edition. Here, A Chill in Abashiri – A 1920s Taisho-Era Japan Scenario is the exception alongside titles such as Thing torments poet, Daimyo calls on greatest help, Will the players fail? and After the Rain. Even Japan has its very own supplement devoted to the Taisho-Era of the nineteen twenties and nineteen thirties, in the form of ‘クトゥルフと帝国’ or ‘The Cthulhu Mythos and the Empire’, published in 2011 by Kadokawa. More recently, the well received Japan – Empire of Shadows: A Call of Cthulhu sourcebook for 1920s Imperial Japan further explored the Japan of the Jazz Age in much more detail. However, nearly all of this was one way. Despite popularity of Call of Cthulhu in Japan, few if any scenarios originating in Japan have been translated into English. With the release of Japonism 2024 – Three Modern Day Japan Call of Cthulhu Scenarios, all that changes.
Japonism 2024 – Three Modern Day Japan Call of Cthulhu Scenarios presents three scenarios originally published in Japan in 2019. All three are set in the 2020s, involve technology to some degree or another, and have a running time of three to four hours, making them suitable for one-shots or as convention scenarios. The introduction provides a guide to modern Japan, covering its geography and climate, language and religion, money, education, getting a driver’s licence, ownership of firearms—exceedingly rare and the police, and more. Much of this could easily been discovered with some research upon the part of the Keeper, but it is handy to have it all here. In addition to individual scenarios themselves, the supplement provides an overview of each of the three cities—Tokyo, Kyoto, and Yamaguchi—where the three scenarios are set.
The first of the anthology’s trio is ‘Do Gods Dream Of Digital Drugs?’. Written by Byoushin, it is set in November in Tokyo and it opens in shockingly bloody fashion. The Investigators are meeting a friend who is participating in the ‘Hills Music Festa’, which they are also attending, when the friend as he goes to leave, suddenly screams and then begins stabbing himself in the face, inflicting multiple wounds upon himself before he dies. Investigating the death reveals that the events company organising the music festival and its staff have been the subject of threats and protests from a cult—the Church Of Serialism—and that the friend was not the first to die in similar circumstances. The investigation is hampered by the presence of security guards at many of the locations involved, but in most cases, there are NPCs who will talk to the Investigators who are patient and polite. The threat is tied into cutting edge technology, which if gets out could lead to a series of mass suicides similar to that suffered by the Investigators’ friend. Music related skill such as Art/Craft (Piano) and both Computer Use and Electronics will be useful in resolving this Science Fiction-themed horror scenario which very nicely draws on contemporary fears. If the Investigators fail, the climax of the scenario is even more shocking than the opening scene, one that the media will likely put down to mass hysteria, but of course, the Investigators will likely know better.
The second scenario is Lom’s ‘Sutra Chanting Network’, which continues the Science Fiction horror of ‘Do Gods Dream Of Digital Drugs?’ This takes place in Kyoto with the Investigators being invited to attend a ceremony at Shimogamo Shrine in Kyoto by a relative who is a priest there. The ceremony is the ‘Tsukinamisai’, conducted at the beginning of every month, in which participants pray to the enshrined deity, Kamomioyasume Omikami, for the prosperity of the Imperial Household and peace for the nation. The Investigators have a chance to see Kyoto first, but at the ceremony, the Shinto prayer that the priest is chanting suddenly changes and the attendees are wracked with pain and a feeling of being drained, some actually falling unconscious. Examination of the priest reveals that he has a cut on the back of neck and with further examination that he has had a foreign object implanted in his neck, which turns out to be a computer chip! The son of the priest is actually a hardware engineer. So, could he know something about this? Again, this scenario involves cutting edge technology, this time the Internet of Things, but with a Mythos twist which sees that Internet of Things expanded to include people. And also, again, the scenario involves a threat that can be spread or work through a mass medium. The climax of the scenario is a confrontation not only with the villains of the piece, but also quite possibly the silliest threat that anyone has faced in Call of Cthulhu. Nevertheless, as silly as it sounds, having to fight a mechanised shrine hall as if it was a mini-kaiju feels very Japanese.
The trio comes to an end with ‘Unseasonable Blooming And Minuet’ by Aka with Lom. This takes place in December in the fictional Chugoku-region city of Hodaka in the modern-day Yamaguchi Prefecture. It has a more traditional feel in terms of its threat, drawing upon Japanese history and folklore, but as with the previous two scenarios, uses modern technology and concerns about that technology as vectors to spread its threat. In this scenario, the technology is social media. The Investigators are invited by a friend and his sister, to visit Hodaka, the city where they grew up which is known for the Hodaka Tenmangu Shrine and Mount Hodaka, and not long after they all arrive, the sister goes missing. Her disappearance is not the first of young girl in the city and upon looking into the matter, the Investigators will learn that the disappearances all linked to a particular social media account and the images of a blossoming plum tree posted on the account. This has a horrifying combination of the modern with the traditional and has a very chilly ending, so the Investigators had better come dressed for the cold.
Physically, all three scenarios in Japonism 2024 are reasonably presented, although a little untidy in terms of layout. The writing is dense in places, so the Keeper will need to give the three a careful read through and study.
Japonism 2024 – Three Modern Day Japan Call of Cthulhu Scenarios presents three good, richly detailed scenarios set in Japan. All three share common threads in terms their fears of technology and the ways in which it be twisted—advertently or inadvertently—by the influence of the Mythos to become a mass media threat. Although all three require a little extra time to study and prepare, the scenarios in Japonism 2024 – Three Modern Day Japan Call of Cthulhu Scenarios will very well as one-shots, or even better, convention scenarios.

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition and the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha, The Companions of Arthur is a curated platform for user-made content, but for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon. It enables creators to sell their own original content for Pendragon, Sixth Edition. This can original scenarios, background material, alternate Arthurian settings, and more, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Pendragon Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Pendragon campaigns.

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What is the Nature of the Quest?The Knights of the Hounds: A Mongrel Order for Pendragon is a supplement for use with Pendragon, Sixth Edition.

It is a full colour, twelve page, 54.41 MB PDF.

The layout is tidy and it is nicely illustrated.

Where is the Quest Set?The Knights of the Hounds is set primarily along the borders between Logres and the Saxonkingdoms and Berroc, Silchester, and Thamesmouth in particular. However, it is potentially of use wherever there is a clash between the Britons and the Saxons.

It opens in the year 508.
Who should go on this Quest?
The Knights of the Hounds is both an organisation that the Player-knights can join if they qualify and if not, an organisation that can serve as an ally or an enemy of the Player-knights, depending on their actions and attitudes.

To join the Knights of the Hounds, a Player-knight requires a high Valorous Trait, a reasonable Honour Trait, and low or no values in either the Hate (Saxons) or Hate (Cymri) Passions.
What does the Quest require?
The Knights of the Hounds requires the Pendragon, Sixth Edition rules or the Pendragon Starter Set.
Where will the Quest take the Knights?The Knights of the Hounds presents an organisation or informal order of knights dedicated to showing that Saxon and Cymric knights can work together for the betterment of all and be one people rather than divided. Members of Knights of the Hounds bear dogs or hounds on their shields and keep their identities secret. They face antipathy, even hatred, from the Saxons who regard its Saxon members as betraying their ambitions to conquer the whole of Britain and from the Britons who regard its Cymric members as betraying the memory of those killed in the Night of Long Knives and in subsequent Saxon atrocities. Their detractors have nicknamed the members of the order, ‘Mongrels’.
The supplement presents its origins as a reaction to the poor treatment of prisoners taken by some Saxons and suggests how its members might react to future events in the Pendragon timeline. Three NPCs are fully detailed who the Player-characters may encounter as is the leaders of the order and their manor, known colloquially as the ‘Kennel-Hall’, which is secretly the base of their operations. Also included is a Battle Card for Knights of the Hounds, which can be used as an ally or enemy, depending upon the situation.
The Knights of the Hounds will feature in releases such as The Serpent of Mildenhall and Spares and Heirs.
Should the Knights ride out on this Quest?The Knights of the Hounds is a nice little supplement that presents the basics needed by the Game Master to further explore the conflict and relationship between the Saxons and the Cymri throughout the reign of King Arthur and do so in multiple ways.