Original Roleplaying Concepts
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The Blue Rose Quick-Start: An Introduction to the AGE Roleplaying Game of Romantic Fantasy is Green Ronin Publishing contribution to Free RPG Day in 2021. This is an introduction to Blue Rose: The AGE RPG of Romantic Fantasy which provides Game Master and players alike with everything necessary to play. This includes an explanation of its genre, the rules, a complete scenario, and a nonet of pre-generated Player Characters, all of which comes packaged in a handsome, not to say sturdy—especially in comparison to other releases for Free RPG Day, booklet done in full colour. It very quickly gets down to explaining what it is, what roleplaying is, and what everyone needs to play before providing an explanation of what ‘Romantic Fantasy’ is. Traditional fantasy is not necessarily romantic, although it can have great romances, its focus is more on great sagas and battles and magic and great evils and the like, but inspired by authors such as Mercedes Lackey, Diane Duane, Tamora Pierce, and others, Romantic Fantasy and thus Blue Rose: The AGE RPG of Romantic Fantasy, emphasises love and relationships between a diversity of healthy sexualities, genders, and identities, often through deep, meaningful romantic relationships and consent. In the Kingdom of Aldis, the key setting for Blue Rose, preference for more than the single gender is widespread, and although in the minority, preference for a single gender is equally as accepted. The tone is also positive, rather than grim and gritty, so the characters—and thus the Player Characters—are motivated by sincerity and heroism. Magic is also different to that of standard fantasy, tending to be psychic in nature rather than necessarily arcane, although that too, as arcana, also exists. Lastly, there is a sense of sense of environmental consciousness to be found in the genre, and reverence for the natural world often drives stories in which the antagonists have none.
This creature began with a picture posted to the Advanced Dungeons & Dragons Facebook group, and I thought it might be fun to stat up. The original posters asked, "in game terms, what is this?"Here is what I posted in response.
It is a "Confessor." It appears in areas of profound sadness. It feeds on the professed guilt of those who sit next to it. You have to confess your worst guilt to it. If you do, it leaves. If you don't or lie to it then it attacks as a specter.It seemed to go over well, so here are some full stats.
What struck me about it was the white "robes" it is wearing, the bench seems to have room for someone else to sit next to it, and it is out in the daylight.
This is an undead creature, but a special one.
CONFESSOR
FREQUENCY: Very Rare
NO. APPEARING: 1
ARMOR CLASS: 3
MOVE: 0" (special)
HIT DICE: 10+10 (55 hp)
% IN LAIR: 100%
TREASURE TYPE: Nil
NO. OF ATTACKS: 1
DAMAGE/ATTACK: 1d10 + Energy Drain
SPECIAL ATTACKS: Compell, Energy Drain
SPECIAL DEFENSES: +1 or better weapon to hit
MAGIC RESISTANCE: 25%
INTELLIGENCE: Average
ALIGNMENT: Chaotic Evil (Chaotic Neutral)
SIZE: M (6' tall)
PSIONIC ABILITY: Nil
The confessor is a special undead appearing in places of great sorrow. They are found sitting alone waiting for someone to sit down next to them. Humanoids are compelled to do so unless they make a saving throw vs. spells. If a victim fails the save they sit down next to the confessor. This is all the magic does, what the victim does next is up to them. If they make the save the confessor still will beckon any living humanoid to come to sit next to it.
Once someone sits next to the confessor it will then ask them to confess their deepest guilt. The character then has to confess their worst guilt to it. If they do and are honest, it leaves. If they don't or lie to it then it attacks as a 10 HD undead creature. Its touch does 1d10 hp of damage and drains one energy level as per a specter. They can and do move about in the daylight and are not harmed by it.
They can be turned by a cleric as a Lich. Unless the confessor hears a confession they will return on on the next sunset. Anyone killed by a confessor will remain as a spirit helplessly haunting the area around the confessor; wordlessly screaming out their warnings to others.
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Have to admit, I thought of this.
Lots of Sci-Fi and not a lot of D&D in this one.
Of note: an ad for Origins 78, July 14-16 – “Be sure to visit the TSR Booth for … new Gamma World RPG … and D&D tourney modules” – ie the G series of modules.
Winners announced for the “Name that Monster” contest from issue #8 – illustration was by Erol Otus.
Comments on the state of D&D by Gary Gygax – oh yeah, this is the really good stuff! He clarifies the intended audiences for the original D&D, the new Basic set, and the forthcoming AD&D. He’s drafting the final manuscript of the Player’s Handbook and has a rough outline of the “referee’s” volume (ie Dungeon Masters Guide), both supposedly out in 78 (ha! DMG came out around Oct 79). Also Kuntz & Ward are working on a revised Gods, Demi-gods and Heroes, supposedly coming in late 78 or early 79. (It didn’t actually come out till 1980 and was re-titled Deities and Demigods).
Interview with a Rust Monster – basically a long piece of fiction based off a play session – I skipped it.
The Adventures of Monty Haul and His Friends at Play – this was some sort of over-the-top re-telling of some fictional play sessions of TSR staff. It sounds better than it was. It was not funny.
A letter that seeks to clarify inaccuracies in the Cthulhu Mythos article.
D&D variant – a lengthy article about lycanthropy and playing it as a character – this was too tedious – I skimmed it. But it had some nice images by DAT! Dammit, I’m sure I’ve seen this horse one somewhere else but I couldn’t figure it out. Anyone know where it’s from? Ping me on twitter.
As with the second one, the first page describing how to use it, in addition to the examples, are a verbatim copy from the first M&T Assortment. And the second page is the same as M&TA2, even with the same drawing.
I’m not sure I understand why this came out so long after the first two.
Otherwise it’s much the same as the others – a bunch of random monster and treasure tables.
IllustrationsHonestly, the most interesting thing about all of these is actually the pictures. There are some cool ones in here including one by Bill Willingham!
Not sure if his stuff had appeared in anything before this… As far as I can tell, this is the first bit of D&D art by Willingham. Who of course, went on to do a bunch more for D&D and then went on to create the legendary Fables comic series. Love his art.
The cover is by Tramp. The other internal pictures don’t have signatures – I suspect most are by DCS, and the Harpy is most likely a Trampier.
Date InformationAs a lower bound, The Basic Set 2nd print, which came out in Jan 78, says that it’s forthcoming. Enworld says May. White Dwarf #8 Aug/Sep 78 has a Game Workshop ad that lists it for sale (previous issues didn’t have as extensive lists so it’s unclear if they had it before then). The Judges Guild issue 12, U, Dec 1978/Jan 1979, lists it for sale. I’m happy to go with May until any further evidence shows up.
You know what?
I think this is the first really good cover on The Dragon magazine. It was done by Tom Canty (who also did the cover for Dragon #2).
He went on to do all sorts of book covers. See here: http://art.ofearna.us/canty.html
What’s NewIt’s the first monthly issue.
ArticlesAlthough this is the April issue, there’s an ad by TSR for the Spring Revel in Lake Geneva on April 1 & 2, which also gets a mention in the editorial. So they’d have to assume most people would get the magazine before that time, ie in March. I’m going to continue putting The Dragon dates as the month of issue but I’ll be aware that the contents are usually a month behind if it’s talking about other material.
As much as the noughties was a decade dominated by the d20 System and the rise and fall of the third-party Dungeons & Dragons publisher, it was also the decade of two genres. One was pirates, the other was World War 2. The former was certainly given a big push by the release in 2003 of Pirates of the Caribbean, and would see titles such as Swashbuckling Pirates, Pirates of the Spanish Main, and Swashbucklers of the 7 Skies being published. The latter was spurred on by the anniversary of the USA’s entry into World War 2 with the attack on Pearl Harbour, and indeed, in that sixtieth anniversary three World War 2 roleplaying games would be published—Gear Krieg The Roleplaying Game from Dream Pod 9, GURPS WWII from Steve Jackson Games, and Godlike: Superhero Roleplaying in a World on Fire, 1936-1946. Over the course of the next decade, numerous World War 2 themed roleplaying games, from the small such as Battleforce Bravo from Deep7 Press to Weird War Two D20: Blood on the Rhine from Pinnacle Entertainment. These five represent the differing approaches taken to what is a defining period in twentieth century history. Both Battleforce Bravo and GURPS WWII played it straight and kept it to the history (that is, until GURPS WWII Classic: Weird War II), but the others would go in a different direction, adding another genre. Weird War Two D20: Blood on the Rhine added horror, Gear Krieg The Roleplaying Game added combat walkers, and Godlike added superheroes.
One of the most fun features of both the Dungeon Crawl Classics Role Playing Game and the Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic is how they handle magic and spells. Or in the case of Mutant Crawl Classics, wetware programs granted by an A.I. patron as opposed to an actual deity as in Dungeon Crawl Classics. In each case, every spell or program is given a page which details how it works, what its effects are, and what can go wrong with said spell; in other words, an effect chart. For example, the classic standby of First Level Wizards everywhere, Magic Missile, might manifest as a meteor, a screaming, clawing eagle, a ray of frost, a force axe, and so on. When cast, a Wizard might throw a single Magic Missile that only does a single point of damage; one that might normal damage; multiple missiles or a single powerful one; and so on. Alternatively, the Wizard’s casting might result in a Misfire, which for Magic Missile might cause the caster’s allies or himself to be hit by multiple Magic Missiles, or to blow a hole under the caster’s feet! Worse, the casting of the spell might have a Corrupting influence upon the caster, which for Magic Missile might cause the skin of the caster’s hands and forearms to change colour to acid green or become translucent or to become invisible every time he casts Magic Missile! This is in addition to the chances of the Wizard suffering from Major or even Greater Corruption… Although this does add an extra mechanical element to play, it also adds a degree of danger and uncertainty to magic. Plus it is huge fun to play—and yet…
Not everything I post here is game-related.
Friday Night Videos is a prime example. And in truth, there might not be a Friday Night Videos (or even an MTV as we used to know it) without the pioneering work of Mike Nesmith.
Nesmith, who passed away on December 10 at the age of 78 was one of the members of the fake rock band, The Monkees. LAter he created the show PopClips that was later sold to Time Warner and gave us MTV. This is not a surprise since the Monkees show was essentially a surreal sitcom with music video sensibilities. It played in reruns to kids like me that would grow up into teens with MTV.
Mike Nesmith is the Godfather of Music Videos. Yes, there were music videos before, some WAY before, but he turned them into entertainment for the masses.
So here's Nes and some of my favorite songs he has written.
He also was featured on songs written by others.
His best though, is one he wrote and performed and became something of a signature song.
Weren't they good, they made me happy. Miss yeah Nes.
The Book of Gaub is a book of power whispered of by those fear it—and those lust after its secrets, a book of terrible knowledge that is never found whole, a book of vile things unleashed when its dark spells are miscast by the unready or the desperate, the reaching into our world of a being unknowable except by his hand which stretches out, his fingers—all seven of them, together and independently scratching at the walls and behind the cobwebs in the forgotten places. In mouldering dusty libraries, beyond the edges of maps, on the inside of the flesh of patients at a hospital underbudget, under the floorboards where rats and other things run, in that pie leftover from Christmas at the back of the icebox, nowhere because it never existed, and in that moment of lost love when a tear rolls down the cheek… Here the seven fingers—detached from the Hand of Gaub—incise their spells, perhaps to last for years and years, perhaps to disappear moments after discovery… Seven spells and seven instances for seven fingers, a catalogue of catastrophes to befall the foolish and the ambitious caster, details the many known things—or paraphernalia—left behind by the Shards of Gaub, a score of things that may come about because of Gaub, and descriptions of the situations that have wound themselves around the appearance of Gaub—in any form, all may be found within the pages of The Book of Gaub.The Book of Gaub is a book of spells for the Old School Renaissance and the retroclone of your choice. However, mechanically, The Book of Gaub is incredibly light with barely a handful of stats—and then only for its monsters. This makes it incredibly easier to adapt and not just to the Game Master’s preferred retroclone, but almost any roleplaying game in which spells, dark magic, and horror play a role. In addition, as much as the spell book is traditionally written with fantasy roleplaying games in mind, much of the colour or ‘micro fictions’ which accompany each spell have a very modern feel and tone. In fact, very twentieth century… What this means is that the contents of The Book of Gaub are easily transposed to roleplaying games such as Dying Stylishly Games’ EsotericEnterprises: Old School Adventures in the Occult Underground, Just Crunch Games’ The Dee Sanction, or even Liminal.
The forty-nine spells in The Book of Gaub are divided and themed darkly into seven. Thus the Finger That Trails Letters, working itself into dusty tomes and the written word, its spells related to the spells and written word; the Finger That Points The Way takes the caster and sometimes the victim of its spells on journeys; the Finger On The Pulse whose spells slice at the flesh, perhaps to heal, perhaps to bring suffering; the Finger That Scratches Beneath The Floorboards and in the hidden places of your house, its spells hiding and losing its victims there; the Finger Chewed Down To A White Bone, its spells inducing hunger and purges; the finger that is not there that you have already forgotten about by the time you reach the end of this clause; and the Finger That Catches A Shed Tear and slides it into a bottle, its spells playing upon and manipulating emotions. Thus for example—at random, Eicastise, incised by the Finger Under The Floorboards, hides the caster in a painting—although he can be seen if it is examined—and even allows him to move freely in it or to another painting, to speak or hear from the painting, and appear appropriately dressed in the painting. The Finger On The Pulse leaves the Hypochondria spell behind, which requires the caster to fill a pouch marked with his sigil with rusty nails and the unwashed clothes of the victim, and then hide it in the victim’s house. Should the victim fail his Saving Throw, then he is cursed to have every injury amplified—cuts widen, blood does not clot, shortness of breath becomes stifling, and worse… Whilst under the curse, the victim cannot heal and for as long as the curse remains, only he and caster are aware of the worsening symptoms.
Not only are the spells often vile, but so is what they leave behind. Wherever the spells from The Book of Gaub are cast, they can corrupt the area and this corruption often manifests as a bauble or trinket, known as the Paraphernalia of Gaub, again each tied to one of the seven Fingers of Gaub. For example, the Finger That Trails Letters might discard a bibliography of non-existent books or an inkwell always filled with ill-appropriately coloured ink, whilst that left behind by the Finger Chewed Down To A White Bone could be a black photograph of a child standing in an empty house, the position of the child changing each time the photograph is viewed, the child also weeping when something invisible is near, or an exquisitely fractally carved scrimshaw which can be studied to aid concentration or the study of small things, but leaves the user open to hypnotism. In many cases, a Paraphernalia of Gaub requires the user to empower it, which means a spell has to be cast upon it.
The vile nature of The Book of Gaub and its spells are only exacerbated by the Catastrophes, misfortunes which will befall the caster such as the sorcerer’s joints creaking and moaning whenever he moves, potentially becoming too stiff for him to move, if he miscasts a spell learned via the Finger On The Pulse , but there are general Catastrophes too, like all children born within the region for the next seven days having seven fingers on each hand and upon reaching puberty will know a single spell of Gaub. Under certain conditions Monsters of Gaub can manifest too, though fortunately there are not quite so many of those are there of either the spells or the Catastrophes. They also range vastly in size from the Pinmate, a white paste goblinoid thing which seeps into a house and possesses its fabric, turning every edge or potential point of friction into features which scratch and scrape, feeding upon the blood they draw, whilst the Tide of Turmoil is a swirling mass of chaos and unresolved collective trauma that always closer to the nearest source of suffering…
As well as some twenty or so manifestations of the Grip of Gaub, each a hook that pulls the Player Characters into a story which hints at the effect Gaub has upon the world, The Book of Gaub includes suggestions of how to use them in a game with rules for Sorcerers hunting for The Book of Gaub. Fundamentally, this is a Class and Level system in which the spells themselves do not have Levels and so can be learned in any order as long as a searching Sorcerer can find them and has the time. They can be learned and cast via rote memorisation or off the cuff, but if a spell is cast without learning it first, more spells are cast beyond a Sorcerer’s usual allotment, the spellcasting is interrupted, or other misjudged events occur, then a Catastrophe can occur!
Physically, The Book of Gaub is a beautiful little book in its own right. Cloth bound, it feels delightful in the hand, such that you wish that it was an actual artefact within the game world itself. The artwork is decent for the most part, whilst the writing is also good, although perhaps it does veer into the ponderous in places.
The adult tone of The Book of Gaub means that this book is not for everyone nor every campaign, and its contents will need to be carefully judged to determine whether it is suitable for a campaign or not. If it is, The Book of Gaub is a fantastically nasty book of ideas, encounters, and mysteries whose impact upon a campaign will not be obvious initially. Instead, The Book of Gauband its contents should creep into a campaign, turning it darker and weirder, whether that is in a frantic race to prevent yet one more spell from the tome fall into the wrong hands or a desperate search to find yet one more spell incised by one of the Fingers before a rival does. Whether a fantasy campaign or an urban fantasy campaign, The Book of Gaub is waiting to reach into your campaign and creep through its shadows, and show just how a little knowledge can spread darkness and chaos…
Been crazy busy at work. That time of year. But one big project is done and I am down to the last few courses in this contact hour audit I have been doing for weeks.
I have been neglecting things here so here is a quick one. I got some art made of a scene crucial to the "War of the Witch Queens" back story. The scene is called "Tea With the Witches" and it takes place in The Simbul's castle in the Forgotten Realms.
I want to send out a hearty thank you to Brian Brinlee for doing such a great job with this. Here are the witches pictured. Left to right (clockwise, never widdershins when dealing with witches):
Sagarassi the Sea Witch (Krynn/Dragonlance), Iggwilv the Witch Queen (Oerth/Greyhawk), The Simbul, Witch Queen of Aglarond (Toril/The Forgotten Realms and where this is taking place), Larina (my OC), Feiya the Pathfinder iconic witch (Golarion/Pathfinder).
They are playing Pentacles, a game played with five people using Tarroka cards.
Hopefully regular posting will resume next week!
It has not been a good week. In addition to Anne Rice and Mike Nesmith, we also lost British Cypriot painter Chris Achilléos. He was 74.Achilléos' book Sirens was one of the first art books I ever bought. I think my brother (who is an artist) still has it. I'd later go on to pick up his Beauty and the Beast and Medusa books.
I loved his art from Heavy Metal (and sometimes White Dwarf) magazine as well as the British covers of the Richard Kirk Raven novels. But it was his art of Taarna of the Heavy Metal movie poster that most people know him.
Links
Taarna
Tanith
Elric Let's not forget his Raven covers for the British publisher Corgi.
Between October 2003 and October 2013, Chaosium, Inc. published a series of books for Call of Cthulhu under the Miskatonic University Library Association brand. Whether a sourcebook, scenario, anthology, or campaign, each was a showcase for their authors—amateur rather than professional, but fans of Call of Cthulhu nonetheless—to put forward their ideas and share with others. The programme was notable for having launched the writing careers of several authors, but for every Cthulhu Invictus, The Pastores, Primal State, Ripples from Carcosa, and Halloween Horror, there was a Five Go Mad in Egypt, Return of the Ripper, Rise of the Dead, Rise of the Dead II: The Raid, and more...
The Miskatonic University Library Association brand is no more, alas, but what we have in its stead is the Miskatonic Repository, based on the same format as the DM’s Guild for Dungeons & Dragons. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.
Name: Secret SantaPublisher: Chaosium, Inc.Author and world creator Anne Rice died this past weekend at the age of 80.
Rice's writing, whether her books on vampires, witches, mummies, or erotic fairytales, had a huge effect on horror writing, modern media vampires, and not least of all, games.
I recently watched the 2017 "World of Darkness" documentary where Vampire the Masquerade creator talked about how he tried to avoid everything Anne Rice when he was writing, only to watch all the movies and read the books that influenced her.
There was certainly something in the air around then. World of Darkness / Vampire the Masquerade came out in 1991, with development starting in the late 80s (on the way to Gen Con according to the documentary). Back in 1985-86, I read "The Vampire Lestat." I actually read it before I read "Interview with A Vampire" so my opinion of Lestat was a bit higher than my friends that read the books in the proper order. "Lost Boys" came out in 1987. All of this led to some interesting discussions at the game table on the nature of vampires.
Once again I am going back to my original "Red Book" and I pulled the stats on an old favorite, the Children of Darkness, updated to my new Basic Bestiary stat block. Though spoiler alert, you have seen a variation on these with the Children of Twilight.
Vamire, Children of DarknessStr: 22 (+5) Dex: 18 (+3) Con: 16 (+2) Int: 16 (+2) Wis: 13 (+1) Cha: 20 (+4)
Few undead creatures are as powerful as the vampire and none are as successful as hunters as the vampire. The Children of Darkness are among the most powerful of the vampires. The transformation to the undead causes the Children of Darkness to become the perfect predator. Their physical form becomes perfect; imperfections disappear, they become stronger, can see and hear better, and naturally, can smell blood. These vampires only prey on humans and as such only humans become Children of Darkness.
The Children of Darkness share many of the same strengths and weaknesses as the common vampire. They are strong (they have strength scores of 22), undead, immune to mind-affecting spells such as sleep, hold, and charm. They are also immune to having their minds read. However, unlike other types of vampires, they can enter dwellings, holy ground and are not harmed by holy items like symbols of holy water. Additionally, they cannot turn into bats, wolves, or mist. They do not need to rest in coffins, but many do since it is a good guarantee that they will lie undisturbed. Like all vampires, Children of Darkness are damaged by and can be destroyed by sunlight. They take 2d6 hp of damage per round exposed to sunlight. These vampires are turned by Clerics as Liches or Type 12 Undead.
These vampires can attack with their fists causing 1d6+5 points of damage per hit or attack with a weapon with a +5 to damage. Additionally, these vampires can have a special power. These powers can include, Charm, Levitation, Pyrotechnics, Telekinesis, or Telepathy. Typically these vampires gain their first power soon after becoming a vampire and an additional power for every 100 years of age. Children of Darkness over 1,000 years old are believed to be able to fly or even immunity to sunlight.
Magical weapons can harm them and if they are reduced to below 0 hp they do not die, must retreat where they will heal at the rate of 1 hp per day. Damage above this 0 hp threshold is regenerated at the rate of 1 hp per round. Vampires can "heal" hp on an eight-for-one basis for any hp they drain from constitution points (1 con point = 8 hp).
The deadliest attack is their Constitution Drain. Once they latch onto a victim they drain them of blood via a bite. This bite drains the victim of two (2) points of constitution per round, with most humans drained to zero in five rounds. A human drained to below 0 constitution points will die. A drained human will not return as a vampire unless the Child of Darkness also gives them some of their own blood. They can only do this if the human is at 0 points of constitution, no more, no less.
Children of Darkness will band together in small groups for protection. Many will share the same sire or will even be "orphans", Children whose sire has abandoned them. They have a complex set of laws they must abide by which includes not turning children into vampires, (though feeding on them seems to be ok) not creating too many of their own kind (which is difficult to start with), and not killing their own sires. Some even take this as far as not killing others of their kind.
The Children of Darkness see themselves as superior to all other types of vampires. They view other vampires as mutations or aberrations. Their own rules prohibiting them from killing other vampires do not apply to other vampire types. They often refer to all these other types as "Children of the Devil."
Every hundred years or so a Child of Darkness feels the need for a deeper sleep. They will find a secluded location away from the sun where they will sleep for a decade or more. Sometimes very old vampires will fall into this death-like state and forget to awaken.
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About twice as much text as my late 80s version. For this stat block, there is now a "Turned As" listing. This is something I'll introduce in Basic Bestiary II: Undead (currently 220 entries, but only 140 are complete). "Named" undead will get a chance to make a saving throw but I will detail all of that and my alternate rules for Undead Level Drain in the book.
Between October 2003 and October 2013, Chaosium, Inc. published a series of books for Call of Cthulhu under the Miskatonic University Library Association brand. Whether a sourcebook, scenario, anthology, or campaign, each was a showcase for their authors—amateur rather than professional, but fans of Call of Cthulhu nonetheless—to put forward their ideas and share with others. The programme was notable for having launched the writing careers of several authors, but for every Cthulhu Invictus, The Pastores, Primal State, Ripples from Carcosa, and Halloween Horror, there was a Five Go Mad in Egypt, Return of the Ripper, Rise of the Dead, Rise of the Dead II: The Raid, and more...
The Miskatonic University Library Association brand is no more, alas, but what we have in its stead is the Miskatonic Repository, based on the same format as the DM’s Guild for Dungeons & Dragons. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.
Name: Border TownPublisher: Chaosium, Inc.