On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed how another Dungeon Master and her group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Most, but not all fanzines draw from the Old School Renaissance. Some provide support for much more modern games.

Lowborn is ‘An Independent Grim Perilous Fanzine for Zweihänder RPG’. As the subtitle suggests, this is a fanzine for the Zweihänder: Grim & Perilous RPG, published in 2017 and thus modern, but actually a retroclone of another roleplaying game. That roleplaying game is the definitive British roleplaying game, Warhammer Fantasy Roleplay, published by Games Workshop in 1986.

Lowborn Issue 2 was published in August, 2020. The content begins with with ‘The Dark Order’ by Peter Rudin-Burgess. This is a scenario set in the chancery of Edessa, below the city of Outremer. This is a murder mystery set below the city where single-sex work gangs labour at feeding the great steam turbines. Gang Master Zangi leads a gang of twenty-four free women who, in turn, drive sixty female mutant slaves, all loading city waste into the furnaces. Gang Master Zangi has disappeared, but now her skull has been raked out of Number 2 furnace. Shortly after, a new gang leader is appointed, and then it happens again when another gang master is found boiled alive and a new gang member is also appointed. This is followed by the murder of a bar owner and then another gang master. The scenario is presented with a lot of set-up up front and then followed by the plot hooks and the various genres in which the scenario might be used on. The scenario needs a lot of work to run effectively with clues to connect the murders to the culprits and it is also only halfway through the scenario is it mentioned that it is for Dark Astral: Chapbook for ZWEIHANDER Grim & Perilous RPG, the Science Fiction equivalent setting for the ZWEIHANDER Grim & Perilous RPG. It is mentioned on the cover, though. The map of the lair is by Dyson Logos, so good.
‘New Distinguishing Marks’ by Adrian Kennelly is literally that, a table of entries like ‘No chin’ or ‘Unbending knee’. Chuck Kranz’s ‘Random Space Encounters’ provides twelve encounters, again for Dark Astral: Chapbook for ZWEIHANDER Grim & Perilous RPG. For example, ‘Just like in the TV shows.’ expands to ‘A tear in space erupts of the port barely out of manoeuvring range, but a strong magnetic pull of the anomaly pulls your ship in. A voice in your head echoes, “I have such wonderful sights to show you.” The darkness takes you after being dragged through the event horizon. When you come to your ships nav-computers are not able to gain bearing on where you are… or when you are.” These are fine and again something that the Game Master will need to develop.
It is not quite clear what Sean Van Damme’s ‘Introduction to Assassinations’ quite is, initially, but what it turns out to be is a means of introducing options for the budding assassin. The Claw of Retribution is the largest guild of assassins in the great city and puts up notices on a board at the West Wind Pub, where the guild previously operated from, of small jobs, or rather, assassinations of minor folk that it has been hired to do. Its members can perform them, but it lets prospective members undertake them as a test. There are thirteen such tasks, not always hits or deaths, such as burning down a distillery that is not guild affiliated or forcing a member of the faith to stop preaching in the docks. The Game Master will need to develop the hooks, but there are some fun options here that will support a grittier, dirtier style of play for thug and thief type characters.
‘Order And Corruption: Purity Points’ by Lyle Hayhurst gives an extension to the Corruption Points of ZWEIHANDER Grim & Perilous RPG. Corruption Points are gained for immoral acts, giving in to personal weakness, and even being injured, and will potentially force a Player Character down a dark path. This article suggests another path that a Player Character can go up. By committing acts of goodness, being tolerant of those different to himself, protecting the innocent, giving to the poor, being merciful to a villain, and more, a Player Character can gain Purity Points. Like gaining Disorders for Corruption Points, he can gain Blessings for accruing enough Purity Points like becoming a ‘Friend of Animals’ or gaining a ‘Inner Glow’ of Purity. The article suggests that a Player Character can earn both Corruption Points and Purity Points and need to be tracked, and what this does is add some flexibility and complexity to the play and reward a player for good roleplaying whatever his character’s action.
Ignacio M. writes three entries in the issue. The first, ‘Learning from Different Arcanas’, suggests a way in which an Arcane Magick user can cast magick from a Wind other than his own. For each symbol that Player Character has to pass through to get between his Wind he has studied and the one he wants to cast from, there is a penalty to the Incantation test and if the Channelling test is failed, then extra Chaos dice has to be rolled. The rule is quick and simple and potentially dirty if thing goes wrong! He also suggests ‘New Combat Actions’ with ‘Oh No You Don’t’ which enables a Player Character to study the ebb and flow of the battle and interrupt the action of a foe; ‘Goad and Deter’ to slow a foe’s action down; and ‘Leave It Open’, in which he tricks a foe to gain a bonus on his next attack. These are decent additions.
Lastly, ‘Carnival II’ continues the description of a magical carnival—a common trope in roleplaying games inspired by Warhammer Fantasy Roleplay such as Zweihänder: Grim & Perilous RPG—begin in Lowborn Issue 1. However, unlike in many cases what lies behind the magic in the carnival is not necessarily dark or dangerous, but that rather its various members are all anthropomorphic animals. They include a middle-aged anthro-rabbit who controls his perfect puppets though his voice alone and Priscilla, middle-aged anthro-hedgehog who is also a very skilled physician, alchemist, and herbalist, and exotic dancers that somehow entice audience to buy the overpriced drinks at their show. The latter is perhaps the only real danger in the carnival, but others might see it differently and act accordingly. This adds another three tents and their occupants to add to the three previously described, so there is yet room for expansion. If there is an issue for the article, it is the inclusion of the anthropomorphic NPCs and whether that fits a Game Master’s campaign. She, of course, has the right to change such details and the various NPCs could be hiding something else instead. Bar some scenario ideas or hooks, ‘Carnival’ offers an intriguing and different type of circus, one with plenty of room for expansion and development.
Physically, Lowborn Issue 2 is a bit untidy and rough around the edges, plus it needs a slight edit. The layout is also a little tight in places.
Lowborn Issue 2 is a mixed bag with some content more useful and more interesting than others. ‘Introduction to Assassinations’ is packed with great hooks for a bruising lowlife campaign and like ‘Order And Corruption: Purity Points’, has plenty of roleplaying potential. Elsewhere, several of the articles are rough and could be clearer in their set-up, let alone their execution.

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.
Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Then there is also Old School Essentials.
Carcass Crawler is ‘The Official Fanzine Old-School Essentials zine’. Published by Necrotic Gnome, Old School Essentials is the retroclone based upon the version of Basic Dungeons & Dragons designed by Tom Moldvay and published in 1981, and Carcass Crawler provides content and options for it. It is pleasingly ‘old school’ in its sensibilities, being a medley of things in its content rather than just the one thing or the one roleplaying game as has been the trend in gaming fanzines, especially with ZineQuest. To date, Carcass Crawler #1, Carcass Crawler Issue #2, and Carcass Crawler Issue #3 have all focused on providing new Classes and Races, both in ‘Race as Class’ and ‘Race and Class’ formats as well as general support for Old School Essentials, and Carcass Crawler Issue #4 is no exception.
Carcass Crawler Issue #4 was published in December, 2024 and includes three new Classes, four gods, eight monsters, a shelf of arcane grimoires and their contents, expanded rules for brewing, purchasing, sampling, and describing potions, and a short adventure. The first two of the three Classes draw heavily from Tolkien’s Middle-earth and specifically The Shire. The first is the ‘Halfling Hearthsinger’ by James Spahn and Gavin Norman, which specialises in collecting and memorising legends, lore, and folk tales. The Class’ primary abilities are ‘Foster Friendship’, enabling the Hearthsinger to temporarily make friends if he can tell a story; recall Lore about monsters, folk tales, legends, and even magical items; and ‘Read Languages’ that are non-magical, including codes and dead languages. He can also better listen at doors and as a ‘Rumour Monger’ learn more rumours from others! Eventually, when he has enough money, he can establish tavern, although there is no Level requirement. The ‘Halfling Hearthsinger’ has a maximum of eight Levels and is a Class designed for interaction, so suitable for players who like to talk and build relationships.
The second new Class is also Halfling related. Designed by James Spahn, the ‘Halfling Reeve’ is more obviously based on the Bounder, who patrols the borders of The Shire. The Class must be Lawful and is a capable forager and hunter, good at stealth, and is also a Goblin Slayer and a Wolf Hunter. In addition, the Class also is able to cast Druidic magic at higher Levels. Again, this Class has a maximum of eight Levels. The Class is effectively a variant upon the Ranger, but pleasingly effective.
The third Class is Gavin Norman’s ‘Arcane Bard’. This is intended to be like the jack-of-all-trades Bard Class from Advanced Dungeons & Dragons, Second Edition, combining skills such as Climb Sheer Surfaces, Hear Noise, Pick Pockets, and Read Languages with the Lore ability as per the ‘Halfling Hearthsinger’ and the casting of Arcane magic. The only musical benefit that the ‘Arcane Bard’ gains is an ‘Anti-Charm’ effect against song-based powers like that of the fairies or Sylvan creatures. With its mixture of Thief abilities and ability to cast magic, the Class is more of a generalist and not quite as interesting a design. It can go up to a maximum of fourteen Levels.
‘Deities and Cults’ by Chance Dudinack and Gavin Norman describes four gods, the benefits of worshipping them, and their spells. For example, ‘The Black Alderman’ is the god of skulls, dentistry, and organ dirges who directs his worshippers to collects skulls for him, including those of rare monsters and influential personages. Some worshippers, known as ‘Bonesmiths’, work as travelling dentists and bone-setters, but its spellcasters gain traits such as a pallid complexion for gaining the ability to cast First Level spells, a sunken, skull-like facial features for Second Level spells, and more. The spells include Skull Speech, which causes a skull to speak, even that of an undead skull; Skull Sentry, which sets a skull to chatter its teeth if anyone of the designed type comes close; Danse Macabre, which makes bones come to life and dace; and Control Skull, which gives complete control of a skull, but not the rest of the bones, to the caster. The other gods include a deity of redemption and light, once a fiendish deity, but now reformed; a god of insane, danger, perils and risk, which revels in seeing others overcome great odds and thus endlessly creates them; and a god of the weird deeps of the Underworld. These are all small cults and will really enhance a campaign as very nicely themed faiths and there are some entertaining spells to go with them as well as some nice roleplaying hooks, whether for a player or the Game Master.
‘The Mage’s Grimoire’ by Brad Kerr and Gavin Norman adds more spells. These consist of Burning Hands, Feather Fall, Shocking Grasp, Unseen Servant, Pyrotechnics, Ray of Enfeeblement, Shrinking Cloud, Blink, Slow, and Tongues. These are all going to be familiar from Dungeons & Dragons, specifically for Advanced Dungeons & Dragons, but which do not appear in Old School Essentials. Now they do. The article also add five tomes, packed with spells, including several of those listed earlier. Not only do they add spells that can be studied and learned, but also flavour. For example, the ‘Book of the Hideous Frog, written by the Frogmancer Neem, is a wide, frog-faced tome bound in damp frog flesh that wiggles in an unnerving fashion and which causes frogs to spawn in the owner’s clothes and belongings each night! These are all great fun and will just add a little bit of flavour to a campaign and inspiration for the Game Master to create more should she need them.
Gavin Norman’s ‘Strange Brew’ expands the basic guidelines for potions included under ‘Magical Research’ in Old School Essentials with a plethora of options. It allows any character able to create magical items to brew potions or if not, hire an alchemist. An alchemist NPC can brew potions at half the time it would take a Player Character, but is an expensive hireling—1,000 gp per month, and that does not include the cost of the actual potions. The article does not discuss either Potions of Delusion or poison, but otherwise, keeps things simple by approximating potion effects with particular spells, such as a Potion of Control Undead with the spell Control Monster and a Potion of Speed with the spell Haste. It also suggests possible potion ingredients, like a Storm Giant’s heart for a Potion of Giant Control or Pegasus feather for Potion of Levitation; what hints might be gained on a sampling a potion for the first time; and a table of options to describe potions. Handling alchemy and brewing potions in Dungeons & Dragons-style games can get bogged down in a lot of detail, but the guidelines here opt for simplicity and clarity. It does not delve too much into the how and why of brewing potions, but suggests ways in which the ‘Magical Research’ rules can be expanded and the use of potions in game play can be enhanced.
Penultimately, Gavin Norman details eight new monsters in ‘Terrors of the Dark’. These are all creatures to be found in the depths of the Underworld. They include the Grue, a thing of magical darkness found stalking desolate places; Oil-Mites, tiny, rock-like mites that lurk in webs and drop onto passing adventurers to consume their flasks of oil; and the Torch-Bearer’s Ghost, the spirit of some poor townsfolk who met his end in a dark dungeon after being hired as a torchbearer by an adventuring party and now haunts the dungeon, carrying a flickering light, and potentially leading other adventurers to their doom in revenge! This is a delightfully thematic octet of threats and dangers several of which play upon the fear of the dark for both players and their characters and their need for light.
Lastly, ‘Noximander’s Cave’ by Chance Dudinack and Brad Kerr is a rare inclusion of a scenario in the pages of Carcass Crawler and a rare appearance of a scenario for old School Essentials for Player Characters of Fourth and Fifth Level. With a map by Glynn Seal, it describes a small complex of rooms and caves used by the illusionist Noximander the Tenebrous to worship Moumb and conduct further research. Located under a city, builders recently broke into the complex via a cellar and the adventurers are hired to investigate. This is a decent mini-dungeon using many of the monsters from ‘Terrors of the Dark’ that could be played through in a session or two.
Physically, Carcass Crawler Issue #4 is well written and well presented. The artwork is excellent and the cartography good.
Although Carcass Crawler describes itself as a fanzine, it is not really a fanzine, since much of its content is written by the designer and publisher of Old School Essentials, it is published by the publisher of Old School Essentials, and it is obviously more polished and professionally produced than most fanzines. That aside, the content in Carcass Crawler Issue #4 is a good mix of the useful and the flavoursome. The new-is spells of ‘The Mage’s Grimoire’ and the potion details of ‘Strange Brew’ are interesting, whilst the flavoursome include the ‘Halfling Hearthsinger’ and ‘Halfling Reeve’ Classes with their lovely bucolic feel, and ‘Deities and Cults’ adds delightful roleplaying details that will make any setting that bit more interesting. Overall, Carcass Crawler Issue #4 is a very enjoyable issue with plenty that will enhance any Game Master’s campaign.

Something a touch different today for Fantasy Friday. 

I was chatting with some Daggerheart fans, and they liked the Sonja build I had done. They suggested I should do Conan as well, but I got to thinking about my earlier statement of a connection between Kull, Conan, and Kane, and thought it might be fun to stat them all up in Daggerheart to see how I could represent the pinnacle of the Howardian "fighting men" in this new system. 

Joe Kubert's Connecting Covers Featuring Conan, Kull, and Solomon Kane

Caveat and Full Disclosure. I have read all of the Kull and Conan stories by Howard and most of the Kane ones. I have read some of his letters to others about these characters, but I know there is still an absolute ton I have not read. TL;DR I only marginally qualified to write them up as characters. Yeah I know what I would do with them, but there are people out there, people I am friends with, who are far more knowledgeable than I am about this. I apologize in advance for any mistakes I might make.

Kull of Atlantis

Kull spends most of the tales I read as King of Valusia and an exile of Atlantis. We know he has been a hunter, a gladiator, a soldier, a general, and finally a king. He is philosophical and brooding. He cares for his people even if he sometimes despises their civilized ways and the "masks" (though that turns out to be true later on) they wear. According to Wikipedia, his lifetime was some 100,000 years ago, or near the end of the Old Stone Age. The tales, of course, read more like Bronze Age. 

For this reason I am choosing Guardian for him. The Domains are Valor and Blade, the two competing aspects of his personality.

Level 3
Class & Subclass: Guardian (Stalwart)
Ancestry & Heritage: Wildborne Human
Pronouns: He/Him

Agility: 2
Strength: 2
Finesse: 0
Instinct: 2
Presence: -1
Knowledge: 0

Evasion: 9
Armor: 5 

HP: 9
Minor Damage: 15 Major Damage: 28
Stress: 7

Hope: 2

Weapons: Battleaxe, Strength Melee, +2 2d10+3 Physical

Armor: None

Experience
Fighting Man for Life +2
The Brooding King +2
Enemy of the Serpent Men +2

Class Features
Bare Bones (add STR to Armor), Not Good Enough (reroll 1 & 2 on damage), Bold Presence, Versitle Fighter, Soldier's Bond

Ok. I like this one. This is a soldier's soldier. This would be a fun character to play. Granted, he should be a bit higher level, but I wanted him lower than Conan.

Conan the Cimmerian

Howard's better known creation and maybe the Godfather of all D&D fighters. Now I feel better about doing Conan than Kull. 

Conan is the archetypical barbarian. Yes he has been a soldier, general, thief, sailor, pirate, and eventually King, he is at his heart a barbarian.

Like Red Sonja, he would be a warrior with his Domains Bone and Blade, but he is a little different. I am giving him the sub-class Call of the Brave, because if nothing else Conan knows no fear.

Level 7

Class & Subclass: Warriror (Call of the Brave)
Ancestry & Heritage: Wildborne Human
Pronouns: He/Him

Agility: 2
Strength: 3
Finesse: 0
Instinct: 2
Presence: -1
Knowledge: 1

Evasion: 12
Armor: 4

HP: 10
Minor Damage: 14 Major Damage: 22
Stress: 7

Hope: 2

Weapons: Longsword, Agility Melee, +3 3d10+10 Physical
Broadsword, Agility Melee, +3 3d8+7 Physical

Armor: Chainmail

Experience
I have been everywhere +3
I will LIVE by Crom! +3
I live, I burn with life, I love, I slay, and am content +2
Polyglot +2

Class Features
Get Back Up, Not Good Enough, Ferocity, Brace, Scramble, Deadly Focus, Know Thy Enemy, Battle Hardened, Recovery, Rage Up

Again, this is a good character and a fun one to play. I tried to capture Conan's multi-lingual ability here in Experiences. This covers that fact that he knows a lot of languages, but no formal education in them. I spent the extra point to bump up his knowledge to 1 (from 0) to also show that he isn't a dumb barbarian.

I gave him chainmail, which he sometimes wears, but he is just as often in just a loincloth or even the garb of a sailor.  Still, this is a good version of him I think.

Solomon Kane

Next is our dour puritan Solomon Kane.

For Kane, I also picked the Guardian class as I did with Kull. But where Kull is a Stalwart, Kane is dedicated to Vengeance. I mean, look at his single-mindedness in pursuing Le Loup. Kane sees himself as the instrument of God's will and often God's vengeance. He is more similar to Batman in this respect than he is say Conan or Kull.

With Kane, I went in a different direction. While I did what I could to increase Kull's and Conan's HP, I spent more time increasing Kane's Stress. Most of Kane's adversaries are a little more supernatural in nature and seem to be more taxing on his mind and soul than on his body.

To respect his Puritan background, I gave him the heritage of "Orderborne."

Level 6
Class & Subclass: Guardian (Vengeance)
Ancestry & Heritage: Orderborne Human
Pronouns: He/Him

Agility: 2
Strength: 1
Finesse: 1
Instinct: 1
Presence: 0
Knowledge: 0

Evasion: 11
Armor: 4

HP: 9
Minor Damage: 12 Major Damage: 19
Stress: 10

Hope: 2

Weapons: Rapier, Presence Melee, +0 3d8 Physical
Flintlock Pistols, Agility Ranged, +1 3d10+3 Physical

Armor: None

Experience
I am God's Instrument +3
Avenge the Weak and Defenseless +2
Wanderer of Africa +2
Scholar of the Occult +2 (this also covers his connections with N'longa)

Orderborne Dedications
Evil Must be Destroyed.
I am the instrument of God's vengeance.
Chivalry and Honor are not dead, not while I breathe.

Class Features
Bare Bones (add STR to Armor), Get Back Up, I Am Your Shield, Critical Inspiration, Deadly Focus, Rousing Strike, Champion's Edge

I like this version as well. Very solid.

Even among "Fighting Men" (to use the old term), there is a lot of variety and versatility in Daggerheart and I like that. Though each has their connections with the other. You could make a group of all "fighters" and still have plenty of differences between them to keep the game interesting. 

Fantasy Friday Edition

If the unexpected is where the magic happens, then allies are the ones who help you survive it.

In most fantasy games, we talk a lot about the players, the villains, and the world. But some of the richest, strangest, most meaningful moments don’t come from the final boss or the quest-giver with a shiny reward; they come from the people the characters meet along the way.

The allies. The NPCs. The ones who weren’t supposed to matter, but suddenly do.

I’ve long believed that a good ally is more than just someone who helps in a fight. They’re the soul of a campaign. They give the players a reason to care about the world. A reason to stay. A reason to come back.

Sometimes they start as simple archetypes: the barkeep with a missing eye, the goblin who insists he’s a poet, the witch in the woods who offers help with a price attached. But then something happens. A player makes a connection. They ask a question you weren’t ready for. They offer kindness, or threat, and the relationship takes on a life of its own.

Suddenly, that nameless sage becomes the character’s mentor. The grumpy caravan driver becomes comic relief, and then a trusted friend.

 The rival adventuring party becomes something more complex than competition.

In fantasy stories, allies ground us. They remind the characters that they’re not alone. That the world isn’t just monsters and gold and ancient curses, it’s people. Living, flawed, sometimes irritating, and often surprising people.

And yes, sometimes they betray you. Sometimes they turn out to be working for the villain, or hiding a dangerous secret, or just get in over their heads and die in the second act. That’s part of the deal. But the good ones, the ones who stay, those are the ones your players will talk about years later.

I’ve had NPCs who were meant to be one-hit wonders end up starring in entire campaigns.  I’ve seen players go to absurd lengths to save them, avenge them, or recruit them. The characters and players even look forward to seeing them. Evelyn, the Princess Escalla, is an excellent example of this. They hated her at first, but when she showed up at the right time, they loved her. Not bad for a little half-pixie girl with a huge sword.

And I think that’s the point.

In the middle of all the darkness and mystery, all the chaos and combat, allies give us something else: hope.

 Even if they’re flawed. Even if they’re weird, and Evelyn was weird. Even if they were just a name on a note card five minutes ago.

They remind us that the world is worth saving. Or at least, worth traveling through one more day.

Questions

When. Confident. Rule.

Hmm. When am I confident in a new rule? When I have made a new rule for a game, I am confident it will "sell" well when my playtesters tell me how cool it was.  

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

On the tail of Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed how another Dungeon Master and her group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons,RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Another popular choice of system for fanzines, is Goodman Games’ Dungeon Crawl Classics Roleplaying Game, such as Crawl! and Crawling Under a Broken Moon. Some of these fanzines provide fantasy support for the Dungeon Crawl Classics Roleplaying Game, but others explore other genres for use with Dungeon Crawl Classics Roleplaying Game. One such fanzine is the aforementioned Crawling Under A Broken Moon.

Crawling Under A Broken Moon Fanzine Issue No. 10 was published in in october, 2015 by Shield of Faith Studios. It continued the detailing of post-apocalyptic setting of Umerica and Urth which had begun in Crawling Under A Broken Moon Fanzine Issue No. 1, and would be continued in Crawling Under A Broken Moon Fanzine Issue No. 2, which added further Classes, monsters, and weapons, Crawling Under A Broken Moon Fanzine Issue No. 3, which provided the means to create Player Characters and gave them a Character Funnel to play, Crawling Under A Broken Moon Fanzine Issue No. 4, which detailed several Patrons for the setting, whilst Crawling Under A Broken Moon Fanzine Issue No. 5 explored one of the inspirations for the setting and fanzine, He-Man and the Masters of the Universe and Crawling Under A Broken Moon Fanzine Issue No. 6 continued that trend with another inspiration, Mad Max. Crawling Under A Broken Moon Fanzine Issue No. 7 continued the technical and vehicular themes of the previous issue, whilst also detailing a major metropolis of the setting. Crawling Under A Broken Moon Fanzine Issue No. 8 and Crawling Under A Broken Moon Fanzine Issue No. 9 were both a marked change in terms of content and style, together presenting an A to Z for the post-apocalyptic setting of Umerica and Urth.

Crawling Under A Broken Moon Fanzine Issue No. 10 is different to previous and that is because it is the fanzine’s ‘monster issue’! Previous issues have detailed new monsters and creatures that the Judge can add to a Umerica and Urth campaign or her own post-apocalypse setting. From the Aetherian War Cat, Bowel Tyrant, and Concrete Giant to Xenotaur, Zilla, and Zmooph presents a total of thirteen new monsters. They include a mix of the weird and the silly and all are given a two-page write up that includes an illustration, stats, and quite a detailed description. Each also includes adventure hooks which lifts the contents far above being a simple, short, mini-bestiary.

The monster list opens with an entry very obviously inspired by one of the inspirations for the Umerica and Urth campaign setting, which is He-Man and the Masters of the Universe. This is the Aetherian War Cat, a combatant so good it has its own Deed Die and can perform its own Mighty Deeds. If a Player Character uses a Deed Die, then he can approach a riderless Aetherian War Cat and attempt to bond with it. When ridden, the only Might Deed it can perform is the ‘Assist Rider’ and the description includes a table of outcomes. The Bowel Tyrant is a tiny, intelligent alien parasite that enters via the bowels of its victims and enslaves them before its slave excretes more when it relives itself, ready in waiting for further victims. It is a bit icky, but sets up an alien invasion of a very different kind. The Concrete Giant lurks in the ruins of broken buildings, its grey, ridged skin looking like concrete enabling it to blend in readiness to ambush its victims and take them back to its lair to eaten raw. Worse are the Cyborg Concrete Giants which are created by the Technomages to lead the other Concrete Giants, being faster, tougher, and armed with shoulder-mounted grenade launchers! The three adventure hooks for the Concrete Giants include them being sent out on random destructive rampages to instil fear by the Technomages; details of where Concrete Giants are forged which could be turned into a raid or encounter; and rumours of road gangs and Concrete Giant wrecking crews actually working together.

Elsewhere, the Flying Laser Ursine, which is exactly what it sounds like, is silly and simple, whilst the Fruiti-Slush Ooze is weird and silly, a jelly formed out of the fruity, partially frozen slushies and partially by the multi-dimensional cataclysm, which do desiccating, freezing Stamina damage that leaves a wound smelling of fruit. Which fruit? Well, there is a table for that! The adventure hooks include harvesting fruity jerky form their victims for exotic gastronomes and having to stand over a cold storage tanker with some sounds of movement coming from inside it… Weird too, is the Harpoonnik, a slimy, batrachian-humanoid with a strange cylindrical mechanism where its head should be. It can fire a tongue-harpoon out of this mechanism, to spear its victims which it drags away and bludgeons them to death! The oddest are the Zmooph, tiny purplish humanoids described as being roughly three grenades tall, but with a quarter of that height consisting of large, speckled cap mushroom that blooms directly from their skull. Ruled by Patriarch Zmooph, they are mostly peaceful, but when they encounter others, they swarm in xenophobic rages and overwhelm the victims of their ire. There is no suggestion as to what they do with such victims or anything about female Zmoophs, but somehow they feel as they should be blue and wear white hats.

Physically, Crawling Under A Broken Moon Fanzine Issue No. 10 is as serviceably presented and as a little rough around the edges as the other fanzines in the line. Of course, the problem with Crawling Under A Broken Moon Fanzine Issue No. 10 is that much of its contents have been represented to a more professional standard in the pages of The Umerican Survival Guide – Core Setting Guide, so it has been superseded and superseded by a cleaner, slicker presentation of the material.

Crawling Under A Broken Moon Fanzine Issue No. 10 contains a pleasing variety of monsters and creatures—weird, silly, and even more silly (Flying Laser Ursine, really?). Now to be fair, bestiaries are not always the most exciting to read and certainly not the most exciting to review, especially if there is monster after monster and not much else. That could be case with Crawling Under A Broken Moon Fanzine Issue No. 10, but the adventure hooks make the entries and descriptions that much more readable and much more immediately useful. Not so much, ‘Here’s a monster I can use’, but more ‘Here’s a monster I can use and a suggestion as to how I can use it’, Crawling Under A Broken Moon Fanzine Issue No. 10 goes that little further than you would expect. Plus of course, the monsters will work with a lot of other post apocalyptic roleplaying games and not just the Dungeon Crawl Classics Roleplaying Game or Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic.

 I am still enjoying Daggerheart, but I haven't had much of a chance to play lately. Star Wars has been taking a lot of our time. No need for minis when you still have Kenner Star Wars figures!

This past week, we saw the limited release of the new Red Sonja movie, which, by all accounts, is not bad. Better than the 1985 movie (not a high bar, of course). Too bad it did not get a better release. Have to wait for an on-demand or digital release. I am also reading Gail Simone's "Red Sonja: Consumed." I wanted to follow up with some Red Sonja after reading so much of Howard's original work, and I wasn't all that interested in reading the Conan or Kull pastiches. There were a couple of newer Kane books (from different authors) that looked fun. And since anything done is worth doing in excess, I grabbed the latest Humble Bundle of Dynamite's Red Sonja comic run.

Appendix N Note: Although Red Sonja is not listed in Appendix N, Gary was aware of the character from Marvel's 1973-1986 run. That is prime "Golden Age" D&D time. She gets honorable inclusion, I think.

I like Red Sonja. Ok. I like her a lot. She might be one of the reasons so many of my characters have red hair. Ok, her and Batgirl. I loved her run in Marvel comics. I do think we get a slightly more sophisticated character under Dynamite, but all the Sonjas are great in my mind. One of the stories I read last night, "Red Sonja: Altered States," dealt with her spirit reappearing in modern New York. Fun idea really. Got me thinking maybe the "red goddess Scáthach" is really just Sonja herself helping her reincarnations throughout time and space. Anyway, there is something I am planning to have some fun with later on, but for now I think I want to see what she would be like in Daggerheart.

Sonja the Red for Daggerheart

There are a lot of "fighter"-like classes for Daggerheart and lots of things she could be. While there is the "barbarian" idea from Conan, I always felt Sonja was a bit different. In AD&D terms, she would be a fighter. A good fighter, but not a ranger (though that is what she is in Pathfinder: Worldscape) and certainly not a paladin. 

In Daggerheart classes are made up of two Domains. Given her moniker of "She-Devil with a Sword" I feel that one of those domains needs to be "Blade." This gives me two choices, Warrior (Blade and Bone) and Guardian (Blade and Valor). For this, I have to go with Warrior.  After that the rest fell into place rather quickly.

Red Sonja of Hyrkania

Level 5
Class & Subclass: Warrior (Call of the Slayer)
Ancestry & Heritage: Wanderborne Human
Pronouns: She/Her

Agility: 3
Strength: 2
Finesse: 0
Instinct: 1
Presence: -1
Knowledge: 0

Evasion: 12
Armor: 4 

HP: 7
Minor Damage: 14 Major Damage: 22
Stress: 6

Hope: 2

Weapons: Greatsword, Strength Melee, 3d10+8 Physical
Hallowed Axe, Strength Melee, 3d8+6 Magical

Armor: Leather 6/13 +3

Experience
No Man Can Defeat Me +2
I Will Avenge my Clan +2
Gold! Drink! Adventure! +2 (can find adventure, or trouble)
I have been to lots of places +2 (picking up tidbits of knowledge and language)

Class Features
No Mercy, Call of the Slayer, Weapon Specialist, Get Back Up, Untouchable, I See It Coming, Reckless, Fortified Armor, Vitality x2

This was a fast and easy build. 

Her features (the class cards) fit her well, to be honest. Given Daggerheart's narrative structure, fitting these to her backstory is easy. And given her backstory has changed over the years, well, this all still works.

I have seen Red Sonja in New York, in Victorian London, in Pathfinder, and even in Riverdale. Maybe this is Red Sonja in Iriandor. Why she is there, though, is an excellent question. She is never a tourist; there is a reason. I am going to blame the Wizard Thorne.

I am not sure what that reason is just yet.

Links to my other Red Sonja builds

• Old-School Essentials, with Thorne
• Army of Darkness
• Spellcraft & Swordplay
• Mutants and Masterminds 3rd Edition
• Barbarians of Lemuria
• Astonishing Swordsmen & Sorcerers of Hyperborea
• Leagues of Adventure (Ubiquity)

I could certainly do more, to be honest.

 The unexpected is where the magic happens.

You can prep the dungeon. You can write out the villain’s monologue. You can stack the random encounter tables and plan your traps with precision. But none of it survives contact with the players.

And that’s the point.

"Everyone has a plan until they get punched in the face." 

 - Mike Tyson

Fantasy roleplaying lives in that strange middle place between structure and surprise. The tension between what we plan and what actually happens. And over the years, I’ve learned to stop resisting the unexpected and start inviting it.

I’ve had villains turn into allies, thanks to a clever player speech. I’ve had major arcs derailed by a single spell (more than one). I’ve seen players bond with NPCs I hadn’t even named yet (too many times to count), turning a throwaway shopkeeper into a long-running favorite. I’ve had sessions where everything clicked, and others where nothing went according to plan but somehow worked anyway.

That’s what I love about this hobby. The unexpected isn’t a problem. It’s the reward.

But it’s not just in gameplay mechanics or plot twists. It’s also in the tone. The emotional texture. I’ve had horror campaigns become character dramas. Light-hearted one-shots veer into genuine catharsis. Once, in the middle of what should have been a tense combat encounter, a player described their character’s internal conflict so beautifully it stopped the game cold. We just sat with it. That moment, unplanned and unprompted, said more than any scripted scene could.

And sometimes, it’s the characters themselves who surprise you. The warlock who resists the call of their patron. The cleric who starts to doubt. The witch who turns away from power to protect something small and fragile. The hero who decides not to fight, but to forgive.

As a DM, I’ve learned to treat the unexpected like a knock at the door. You don’t always know who’s there, but it’s worth answering.

Because that’s where the best stories begin.

Not where you planned, but where the players took you instead.

Questions

How. Excited. Character.

How excited am I for a character? I am always excited about a new character, all the untapped potential. Everything about a new character.

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

 Today I conclude this "mini-series" on the pivotal works of Robert E. Howard, one of the most influential authors in Appendix N, shaping the Dungeons & Dragons experience. 

I have already covered Conan in Part 1, and his horror stories in Part 2. Today I am going to talk two of his other characters, King Kull of Atlantis and Solomon Kane.

Kull of Atlantis: Silence Where a Witch (or even Women) Might Be

Kull’s stories are dreamlike, almost mythic, often more about philosophy than plot. Women of any kind are scarce, and witches are entirely absent. When sorcery intrudes, it comes from male figures: Thulsa Doom, the snake-men, necromancers, shadowy priests.

Is Kull even interested in women? Howard never shows him with lovers, nor does he pit him against the temptations or sorceries of an enchantress. Kull broods on law, on identity, on the shifting unreality of his throne, but not on witches, or even women for that matter. Their absence says much: the philosopher-king is concerned with metaphysical threats, not the seductions or mysteries that witches (and sorcerers) often embody in Howard’s other tales. 

Kull's most significant interaction with a woman comes from one of his earliest tales. A girl in his village is being burned at the stake for taking a lover from the wrong tribe. Kull, not seeing the justice in this, uses his own flint dagger to give her a merciful, quick death. For which he is hunted. 

Speaking of flint daggers. Kull is supposed to be taking place around 100,000 BCE. So really pre-history, but it feels more like 100 BCE in terms of "technology." Granted it is "lost age" the same sort you see working in Wasted Lands: The Dreaming Age. Credit where it is due, Howard does do a great job of making it feel like Kull predates Conan by centuries. 

If Kull, and Conan, are covered well by Wasted Lands and other Fantasy RPGs, then Kane is dipping right into horror.

Solomon Kane: A Puritan Without Witches

If Kull’s Atlantean dreamtime excludes witches entirely, Solomon Kane’s early modern setting seems tailor-made for them. The 16th and 17th centuries were rife with witch trials and burnings, and Kane is a zealous Puritan avenger. You’d expect him to clash with witches by the dozen. But he never does.

Instead, Kane’s foes are vampires, demons, revenants, and African sorcerers. Women in his stories are usually victims or innocents caught in evil’s path, never witches themselves. Was this deliberate on Howard’s part? Perhaps he didn’t want women as Kane’s outright antagonists, preferring instead to cast him against inhuman horrors or exotic magics.

One exception worth noting is Nakari from The Moon of Skulls. She is cruel, manipulative, and queenly, with many of the trappings of a witch, save for actual sorcery. She does have a coven of sorts, her "Starmaidens" and she knows some Atlantean rituals.  She rules through charisma and cruelty, not spells. And despite her names she is neither demon nor vampire. Kane’s crusade against her feels witch-hunter-like, yet Howard stops short of giving her magic. Again, we see the absence: Kane fights monsters, not witches.

Kane is adventure fiction, but it dips into horror and horror themes more often than not. 

Kull, Conan, and Kane make up an interesting trinity of Howard protagonists. All are cut from the same cloth and each could be a reincarnation of the previous.

Accidental Feminism?

Now, I do want to say upfront that Howard considered himself a feminist. He had some very progressive views for his time, but also some fairly typical ones. People are complicated. 

If Conan’s world has some witches and Kane’s and Kull’s are completely barren of them, what does that say about Howard? His female characters are sometimes villains (Salome, Tascela, Nakari), but they are also commanding presences, equal to or greater than the men who face them. When Howard leaves witches out, women almost vanish. But that absence makes it striking when he does put women at the forefront, because when he does, they are unforgettable.

Think of Bêlit, the Queen of the Black Coast, who is as fierce and ambitious as Conan himself. Or Valeria of the Red Brotherhood, a woman who makes her own choices and follows her own path. Red Sonya of Rogatino and Dark Agnes de Chastillon are not sorceresses at all, but warrior women who seize the agency the world denies them. These characters aren’t “witches” in the pulpy sense, but they are Howard’s women: strong, willful, larger than life, and often overshadowing the men around them. Red Sonya appears in one tale, yet "Red Sonja" has hundreds, including comics, novels, and a new movie out. Bêlit & Valeria have also appeared in plenty of comics together, often sans Conan, to prove they are interesting enough characters in their own right. Even if I am getting a bit of a Betty & Veronica vibe from them sometimes. Though Red Sonja has teamed up with Betty & Veronica in the past.

Bêlit, Red Sonja, (and Conan) and Valeria by Geof Isherwood

That duality shows up outside the stories too. In a famous letter to Harold Preece, Howard rattled off a litany of great women, from Sappho and Aspasia to Joan of Arc, Emma Goldman, and Edna St. Vincent Millay, defending their genius, passion, and rightful place in history. “Women have always been the inspiration for men,” he wrote, “and… there have been countless women whose names have never been blazoned across the stars, but who have inspired men on to glory.”  

Howard’s pulp tales are not feminist manifestos, but they carry a paradox I’d call his “accidental feminism.” In his fiction, women may be cast as temptresses, pirates, or witches, but they are never weak. And in his private words, he saw women as philosophers, poets, and warriors equal to any man. It may be accidental, but it left us with heroines and enchantresses who still burn as brightly on the page today as they did nearly a century ago.

Conclusion

There are more Robert E. Howard tales. Lots more, and many that could be fundamental to what the D&D experience was going to become. But here is where I part ways with the author. I found his sword & sorcery tales to be captivating, his horror stories fascinating, and his heroes equally as wonderful in their own imperfect ways. There is a reason why we all know of Conan and Kane, and to a lesser degree, Kull. Even his forgotten "step-daughter," Red Sonja.

When it comes to witches, Howard doesn't give me enough, though what he does give is wonderful. Salome and Tascela are fantastic characters who I would have loved to see more of, or more to the point, more like them. Too bad that they died in their respective tales; they would have made great antagonists for Bêlit, Red Sonja, and Valeria.

 There’s a moment that happens in every good fantasy RPG. It might not look like much on paper. A room description. A line of dialogue. A decision so small it barely draws attention at the time.

But something shifts. The torches are lit. The players lean in.

And the question lingers: Do you enter?

That’s the threshold.

To enter is not just to cross into a new place. It’s to leave something behind. Safety. Certainty. Sometimes even identity. And once you've stepped through, the world is never quite the same.

I think about this a lot when I design adventures. Not just dungeons or lairs, but those moments when the world opens up and becomes other. That heavy door groaning open into darkness. The portal that hums with a color you don’t have a name for. The standing stones that seem to lean in closer when you blink. These are not just places, they’re invitations. Rites of passage. The crossing over from the known to the unknown.

In the monomyth, it’s called the first threshold. In Campbell’s Hero’s Journey, it’s the moment when the hero accepts the call to adventure and moves from the mundane into the mythic. But I’ve always felt witches and warlocks experience this differently. For them, it’s not a line they cross once. It’s a cycle. A spiral. The path winds inward, deeper each time. Every doorway leads to another, and each one costs a little more.

Sometimes it's a literal entrance: the black iron gate of a cursed estate, the crumbling stairs beneath a ruined temple. Other times it’s less obvious. Opening a book you were warned not to touch. Answering a voice in your dreams. Saying “yes” to something without understanding what you’ve agreed to.

These moments aren’t about combat or treasure. They’re about change. The world shifts. The story deepens. And the characters, whether they know it or not, are no longer who they were on the other side of that door.

I try to honor that in my games. I give players the moment. I let them feel the weight of the threshold before they step through. I don’t need to say anything dramatic. Just a pause. A look. The air gets a little colder. The fire flickers once. Something remembers their name.

And then they enter.

Because they always do.

Questions

What. Nostalgic. Rule.

What rule am I most nostalgic for?  I miss the days when the thief class had more options for thief skills, beyond just a d20 roll for "Thievery."  While AD&D 1st Ed was great, I like the flexibility granted by AD&D 2nd Ed where you could distribute points into the skills. 

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

 Sometimes I have the impulse control of a toddler. 

I saw this game, Witch Mountain, featured in a post (Gen Con, I think), and I thought, "Damn. I need that." So a quick trip to eBay and I found one, cheap, and still in shrink wrap. Plus it says right on the box, a game with "Witches & Dragons."  Sounds like the RPGs I have been playing for the last 45 years.

A few days later, it was mine. 

I pulled off the shrink and was treated to the game inside. 

The game board is neat. The objective is to get your colored pawns into the center, "Witch Mountain" before the other players, and avoid the witches and dragons flying around. 

Gameplay largely relies on the luck of the dice roll. Though it does have the nicest dice rolling cup I have ever seen in a game. Nice hard plastic lined with cork. The board is sturdy, typical of the 1980s. The play reminds me of "Sorry!" The dice are colored sides with a mix of the player colors and an occasional witch or dragon. 

Given the date of 1983 I can't help but think the "Witches & Dragons" is an attempt to grab some of that fantasy game market.

Traveller Envy

In my ongoing obsession with adding some board game experience to my Fantasy RPG and Horror RPG experiences, I have been thinking about how to add this. Obviously the pawns are all rival witch covens who need to get to the top of Witch Mountain. The witches flying around are the current occupiers of the mountains and the dragons do their bidding.

Come to think of it. It seems odd to me that I have not codified a more permanent "Witch Mountain" in my games. One of the milestone events in my love of witches was the 1975 Disney film "Escape to Witch Mountain" and it's sequel "Return from Witch Mountain." Although I was disappointed that there were no real witches in it, despite many of the trappings, I still loved the movies. The 2009 "Race to Witch Mountain" was also good. I will admit that I have always given any witch character I play TK and telepathy/empathy of some sort as my nod to Tia, played by Kim Richards, in the first two movies. 

I do have a set of mountains outside of my West Haven setting called "The Broken Mountains," which is my homage to the Brocken mountain in Germany. Given it's, and Pendel Hill's,  importance to witch lore ([1] and [2]), I really should have something.

I do have the Montblanc Family, and they come from near a "white mountain."  Maybe they are the witches in control of the Hexenberg. I have always said they were a very old, and very rich, witch family. Having control of a few dragons is not really a stretch for me to consider. 

So I hope to come up with some more ideas for der Hexenberg. Or even an adventure featuring the Witch Mountain. I have been wanting to write more adventures.

Links

• Witch Mountain at BGG

Some characters are made. Others are called.

In fantasy RPGs, we often talk about adventure as something that happens to the characters. A job they take. A dungeon they stumble into. A series of increasingly bad decisions with increasingly sharp consequences.

But sometimes… the story’s already waiting for them.

That’s destiny.

It’s the feeling that a character wasn’t just born to swing a sword or cast a spell, they were born to change the world. Or maybe to save it. Or break it.

And whether you believe in fate or not, it makes for a hell of a story.

The classic model, of course, is the Hero’s Journey, Joseph Campbell’s monomyth. The call to adventure. Refusal. Supernatural aid. Descent. Return. Transformation. It’s clean. It’s powerful. It’s the scaffolding behind everything from The Lord of the Rings to Star Wars to the better arcs in your home campaign.

But witches rarely walk the Hero’s Path.

They dance on it.

Their model isn’t a straight line; it’s a spiral.

A path that doubles back. That deepens. That re-enters old places with new eyes. It’s the Witch’s Spiral Dance, a sacred return. A reweaving of self. Not a quest for glory, but a journey inward and downward, until the truth is uncovered in the dark.

And that, too, is destiny.

In my games, I love to ask:

• Does this character believe they have a destiny?
• If not, what happens when they’re told they do?
• What happens if they refuse it?
• And what happens if they chase it too far?

Not every character needs a prophesied fate. Some are just trying to survive. But destiny has a strange way of catching up. That cursed sword didn’t find them by accident. That sigil birthmark? That wasn’t just cosmetic.

Even when you're winging it as a player, the story has a gravity. It pulls. It whispers. It tempts you with the idea that maybe… this moment was meant to happen.

And when you step into it? When the character finally sees themselves in the myth?

That’s magic.

That’s the moment when dice and drama and destiny line up. When a witch completes her spiral. When a hero returns home, changed. When the dungeon wasn’t just a hole in the ground, it was the crucible of the soul.

So sure, roll with the chaos. Make it up as you go.

But when the time comes? When the stars are right, and the door opens?

Step into destiny.

Questions

Why. Excited. Accessory.

Why am I excited about BLANK Accessory? For me it is an online visual character generator. Why, but I can create characters to use in my games without needing to hire an artist every time. I'll save that for things I want to publish. 

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

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.

—oOo—
Name: The Ballad of Lost DanavaPublisher: Chaosium, Inc.
Author: Kevin Kreiner

Setting: The far futureProduct: Scenario
What You Get: Fifteen page, 1.58 MB Full Colour PDF
Elevator Pitch: H.G. Wells’ The ‘Planet’ of Dr. MoreauPlot Hook: Forced to land on a planet where no man has been beforePlot Support: Staging advice, six pre-generated Investigators, one handout, three Mythos tomes and recordings, two Mythos monsters, and one dinosaur.Production Values: Plain
Pros# 2nd Place Winner in Stars Are Right Scenario Outline Writing Contest# Curiously old-fashioned Science Fiction feel# Dinosaurs optional# Decently done pre-generated Investigators# Deinophobia# Radiophobia# Cleithrophobia
Cons# Fairly obvious in its plotting
Conclusion# Escape from H.G. Wells’ The ‘Planet’ of Dr. Moreau# Short and easy to run, more of a classic stranded and escape situation than an investigation

 Not every message arrives in words. Some come as signs.

• A crow circling widdershins.
• A mirror that cracks without reason.
• A cold wind blowing from the east when the sky is clear.

In the occult, both in fiction and in real-world traditions, signs are how the unseen speaks. They’re not always obvious. They’re not always dramatic. But they always mean something.

Witches know this. Warlocks, too. They don’t just read books. They read the world. The patterns in the bark, the way the candle flickers, the strange arrangement of bones at the edge of a clearing. The world is a living grimoire, and every sign is a page waiting to be read.

I’ve always loved using signs in my games. They’re more than just flavor, they’re agency. A clue, a key, a message scratched into the world itself. Sometimes it’s overt: a vision, an augury, a rune glowing faintly on a stone altar. But more often, it’s subtle. A dream that changes after entering a cursed forest. A candle that won’t stay lit inside a ruined chapel. A tarot deck that keeps drawing The Tower, no matter how many times it’s shuffled.

The best signs don’t give answers. They ask questions. They don’t tell the players what to do, they ask if they’re paying attention.

And if you want to turn up the pressure, signs can act like story clocks. Foreshadowing. Countdown markers. A narrative fuse quietly burning in the background.

The third raven means the pact is broken.

 The red comet marks the return of something old.

 And when the stars are right… well, you know how that one goes.

From a DM’s point of view, signs are one of my favorite storytelling tools. They create atmosphere. They build tension. They reward curiosity. And they make the world feel alive, alive and watching.

From a player’s point of view, they’re invitations. To dig deeper. To question everything. To realize that maybe the dungeon isn’t the real threat, it’s what’s waking up beneath it.

So the next time something strange happens in your game, an unexplained sound, an uncanny shadow, a symbol that appears where it shouldn’t, don’t explain it right away. Let it linger. Let it breathe. Let it be a sign.

And watch what your players do with it.

 Because half the fun of prophecy is wondering if it’s true.

 The other half? Watching your players spin themselves in circles trying to figure it out.

Questions

When. Contemplative. Character.

Related to signs above, when should a Character be contemplative? Obviously, when trying to figure out whatever mystery I have thrown at them, and not in the middle of combat.  Their thought process can e a great role-playing device.

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

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.

—oOo—
Name: The Lair of DreamsPublisher: Chaosium, Inc.
Author: Nick Edwards

Setting: Paris, 1890sProduct: Scenario
What You Get: Seven page, 330.92 KB Full Colour PDF
Elevator Pitch: What if art is the vector?Plot Hook: Has a down on his luck artist fallen back into his old ways?Plot Support: One Mythos monsterProduction Values: Plain
Pros# Inspired by ‘The Mask’ from The King in Yellow by R.W. Chambers# Short, direct, single session investigation# Easy to prepare and run# Easy to adapt to other cities and time periods# Xanthophobia# Oneirophobia# Automatonophobia
Cons# Keeper will need to provide NPC/monster stats# What happens if the Investigators fail?
Conclusion# Short, direct, and dreamy encounter with the servants of the Yellow King# Easy to run for Cthulhu by Gaslight (and other cities and time periods)

I cannot read the Russian package to learn the name of  the company the made these.  They are 60mm and have excellent detail.  

Bonus Figure - Riddick.

Time has long since passed since the Old World was destroyed in the End Times. Since that time, eight Mortal Realms have arisen from their remnants, each keyed to one of the eight Winds of Magic and connected by the magical portals known as Realmgates. Sigmar survived the End Times and was borne to the Mortal Realms, uniting the survivors and bringing the gift of civilisation, as well as finding the other gods and appointing them divine protectors of the Eight Realms. Grungni taught mortals metalcraft, Nagash imposed order on the spirits of the restless dead, the savage twin-god Gorkamorka cleared the wilderness of monsters, and Sigmar established a great Parliament of the Gods. It was a new golden age under the protection of the Pantheon of Order, but it was not to last. Rivalries and sins caused cracks and fractures in the world and it is though these that Chaos entered the Mortal Realms. Their worship spread and spread untold, until the emboldened Dark Gods unleashed their legions on all of the eight realms. The gods of the Pantheon of Order together had the strength to stand against the Chaos, but riven by rivalries and jealousies, they failed and what remained of the Pantheon of Order was catastrophically defeated at the Battle of the Burning Skies. Thus, was ushered in the Age of Chaos… It was compounded by the Necroquake, a great ritual by the Supreme Necromancer, Nagash, to harness the Winds of Magic that was undone by Chaos and forcing the dead to rise and changing the nature of magic as it flowed into the realms and unleashed devastatingly predatory living spells that stalked the lands.

All was not lost. Sigmar, the God-King still yet faced the forces of Chaos, rampaging Greenskin Hordes, and Nagash’s legions of spirits and undead servants, for he had his Stormcast Eternals, paragons of humanity whose mortal souls are reforged with the celestial energies of the Cosmic Storm and hammered into living weapons of Azyr upon the Anvil of Apotheosis. Yet they are few in number, and so he put out calls to former allies. Yet it was not enough, for not all answered his call, and so he turned to the people of the Mortal Realms. The mightiest of souls and most powerful of realms came together and entering into Bindings which bound small bands together to fight for the Mortal Realms. Together, they are SOULBOUND, and as a new era looms, the Age of Death, they are needed more than ever!

This is the set-up for Warhammer Age of Sigmar – Soulbound: Perilous Adventures in the Mortal Realms, a roleplaying game published by Cubicle 7 Entertainment based upon Warhammer Age of Sigmar, the miniatures wargame from Games Workshop. Warhammer Age of Sigmar was originally published in 2015 as a replacement for the venerable Warhammer Age of Sigmar—upon which Warhammer Fantasy Roleplay, Fourth Edition—and as of 2024, is on its fourth edition itself. Although perilous as the roleplaying game’s subtitle suggest, this is not as grim or as grotty as other roleplaying games set with the Warhammer universe, certainly not like Warhammer Fantasy Roleplay. Instead, it is a world of high and heroic fantasy, one in which the Player Characters are bound—or Soulbound—into small groups, or Bindings, which last a lifetime. They embody hope against the death and chaos, and Chaos, and this can be expressed through Soulfire, that collectively, they can make them do amazing and truly heroic things!

A Player Character is primarily defined by an Archetype, which sets his starting Attributes, faction or cultural heritage, Species, and initial options in terms of Skills, Talents, and equipment. The five Species are Human, Stormcast Eternal, Aelf, Duardin, and Sylvaneth. A Stormcast Eternal is a reforged soul, the Aelf and Duardin are similar to the Elf and Dwarf, but not the same, and the Sylvaneth is a living tree. A Player Character has three attributes—Body, Mind, and Soul—which typically range between one and eight, with two being considered average. There are several different factions, such as the Daughters of Khaine, devoted to the Aelven god of battle and bloodshed, and the Idoneth Deepkin, said to have been saved from Slannesh’s gullet and now reside in the most hidden place of the Mortal Realms, its ocean floors; and the Duardin mercenaries of the Fyreslayers and the scientific privateers in their great airships, the Kharadron Overlords. There are twenty-three Archetypes. For the Human there is the Battle Mage and Excelsior Warpriest; For the Aelf there is the Black Ark Corsair, Darkling Sorceress, Hag Priestess, Witch Aelf, Akhelian Emissary, Isharann Soulscryer, and Isharann Tidecaster. For the Duardin there is Auric Runesmiter, Battlesmith, Doomseeker, Aether-Khemist, Endrinmaster, and Skymaster. For the Stormcast Eternal there is the Knight-Azyros, Knight-Incantor, Knight-Questor, and Knight-Venator. For the Sylvaneth, there is the Branchwych, Kurnoth Hunter, and Tree-Revenant Waypiper. Lastly, anyone can become a Trade Pioneer.
What is missing here is options for Orruks or Ogors and other Species. Not all other Species are suitable as Player Characters, the options are limited, as those especially for Humans, although the Stormcast Eternal are a variant of Human, one initially idealised, but each time a Stormcast Eternal dies and is reforged, he loses some of his humanity. To create a Player Character, a player selects an Archetype, several Talents from the Archetype’s list, and spends some given Experience Points on improving the Archetype’s skills. He also sets long and short term goals for his character and together with the other players, sets long and short term goals for the party. Completing these is a major way to earn Experience Points. Connections between the Player Characters are determined, either making them or rolling on the given table, and each player also has a set of questions to answer that help round out his character.

Krylla Heartseeker
Faction: Daughters of Khaine
Archetype: Hag Priestess
Age: 110
Height: 6’ 9”
Eye Colour: Gold Eye Type: Mesmerising
Hair Colour: Deep Red
Distinguishing Feature: Strange arcane markings on chest

Body 2 Mind 2 Soul 4

Melee 3 (Average) Accuracy 2 (Poor) Defence 3 (Average) Armour 1
Toughness 8 Wounds 4 Initiative 3 (Average) Natural Awareness 2 (Poor)
Mettle 2

Core Skill: Devotion (Training 1 Focus 1)
Skills: Awareness (Training 1 Focus 0), Determination (Training 1 Focus 0), Guile (Training 1 Focus 0), Reflexes (Training 1 Focus 0), Theology (Training 1 Focus 1), Weapon Skill (Training 1 Focus 0)

Core Talent: Blessed (Khaine)
Talents: Fearless, Forbidden Knowledge, Blood Binding, Red Mist

Equipment: Ceremonial armour (Light Armour), sacrificial blade (Dagger), a bloodstained ritual chalice (Holy Symbol), a whetstone, manacles, pestle and mortar, and 280 drops of Aqua Ghyranis.

Mechanically, Soulbound uses a dice pool using six-sided dice. The basic aim is for a player to roll dice and get results that equal or exceed a Difficulty Number to generate successes. Both the Difficulty Number and the number of successes required will vary. A Test adheres to the format, ‘DN X:Y Attribute (Skill), where ‘X’ is the Difficulty of the Test, ‘Y’ is the Complexity, or the number of successes required to succeed, and the Attribute and Skill indicating which should be used. For example, a Dexterity Test of Difficulty 4 and Complexity 2 is shown as DN 4:2 Body (Dexterity); a Channelling Test of Difficulty 3 and Complexity 4 is shown as DN 3:4 Mind (Channelling). Most Tests only require a single success, but Tests with greater Complexity will require more. Advantage and Disadvantage will adjust the Difficulty down or up as appropriate.

The number of dice a player will roll to perform a Test will depend on the appropriate Attribute for his character and the degree of Training the character has in the skill. If none, or Untrained, the player just rolls a number of dice equal to the Attribute. For each level of Training—either one, two, or three—a player will add an extra die. In addition to Training, a Player Character can have Focus in a skill, again, either one, two, or three levels. For each level in Focus, a player gains a single +1 bonus. These bonuses are used to adjust the results of the dice after they have been rolled.
For example, the high priestess is testing Krylla Heartseeker to determine if she is worthy of being assigned an important. To prove her worthiness, the Game Master sets the Test at DN 4:2 Soul (Devotion), meaning that Krylla Heartseeker’s player must roll two successes of four or more. Her player assembles her dice pool of four from Krylla Heartseeker’s Soul and adds another one for the single level of Training she has in the Devotion skill. In total, she is rolling five dice. Krylla Heartseeker’s player rolls two, three, four, five, and six. This gives Krylla three success, more than enough to success, but she also a level of Focus in the skill, so uses it to adjust the result of three to a four, and this gives her four success. Enough to succeed and Kyrlla to a give a very impressive answer that persuades the high priestess that not only is she worthy of the task, but is given some secret information about it as well.In addition, all Soulbound have access to Mettle. This partly regenerates every turn after use and can be used to take an extra action, use a Talent or Miracle, and temporarily either double the Training or Focus in a skill. The Binding as whole has access to Soulfire that can be spent to achieve the maximum successes on a Test instead of rolling, to reroll as many dice as necessary, to recover Toughness or all spent Mettle, or to cheat death. Soulfire is a shared resource and every member of the Binding must agree to its use. If a Binding does not agree, a player can still use the Soulfire, but this increases Doom by one. Doom is measure of the hopelessness in the Mortal Realms and it grows as the levels of fear, envy, doubt, and anger rise. On one level it reflects how bleak or tense the current state of the Mortal Realms, but on another, as it grows it draws the enemy to the Binding and will make them powerful foes, increasing their armour, giving them extra attacks, and granting access to powerful abilities. Doom can be decreased, but it takes time and effort.

Combat uses the same mechanics. Initiative is done in a fixed order according to Initiative values, each Player Character can act and move once per turn, and the engagements are fought out in zones. It is not overly tactical, but terrain and cover will be factor, and combatants can undertake actions such as charge, called shots, defend, dodge, grapple, improvise, dual wielding, and more. An attacker’s Melee or Accuracy values are compared with the defendant’s Defence to determine the Difficulty Number of an attack. Weapons inflict a base damage, plus the number of Successes rolled. Armour worn reduces damage and damage reduces a defendant’s Toughness and then his Wounds. Having no Wounds left means the defendant is mortally wounded. Wounds can be minor, serious, or deadly, depending on much damage they inflict. A mortally wounded defendant is stunned, cannot recover Toughness, and must death tests on subsequent rounds. Alternatively, a Player Character could choose to make a last stand, in which case, he is no longer stunned, regains all his Mettle, is immune to all damage, his Melee and Accuracy get better, and his damage ignores armour. This lasts only one turn before the Player character dies, so it had better count.

Beyond the basic rules, there is guide to the endeavours that the Soulbound can do between missions, though never lasting longer than a week, because Chaos never sleeps! This can be to increase the Bond between a Binding, Cleanse Corruption, Create a Spell, Repair Equipment, Train a Companion, and others. There is a full list of equipment, including Aetheric Devices, such as Kharadron devices, weapons, and armour wielded by the Kharadron Overlords and their forces. These include Aetheric Lenses, Arkanaut Armour, Rapid-Fire Rivet Gun, and a lot more. Most have a power requirement and can be plugged into the Basic Aether-rig used by the Kharadron, limiting the number of devices that can be wielded over the course of an adventure. The Regular Maintenance Endeavour is required to maintain an Aether-rig between adventures.
Background is given for the Mortal Realms—Azyr, the Realm of Heavens, Aqshy, the Realm of Fire, Chamon, the Realm of Metal, Ghur, the Realm of Beasts, Ghyran, the Realm of Life, Hysh, the Realm of Light, Shyish, the Realm of Death, and Ulgu, the Realm of Shadow—and the Realm Gates as well as daily life, safety, entertainment, and so on. These are accompanied by various adventure hooks, details on the Realm of Chaos, various factions, and a deeper description of The Great Parch. This is located in Aqshy, the Realm of Fire, where Sigmar first unleashed his Stormcast Eternals, and covers its geography and history and is designed to provide a starting region for the Game Master and her players. Religion is given a similar treatment, including such gods such as Gorkamorka, and Nagash, and the Chaos Gods—Khorne, Nurgle, Slaanesh, and Tzeentch. These traditional four, all of whom fear the rise in power of Nagash and his undead hordes, are joined by the Horned Rat.

Just as the Mortal Realms are divided into eight, so is magic lore, with each lore being tied to a specific realm. Magic energy churns and swirls throughout the Mortal Realms as it has done since Nagash’s Necroquake, empowering even the weakest of spellcasters. Worse, this roiling wave upon wave of aetheric energy have created Endless Spells that have proven to be danger to the original caster, his enemies, and anyone else they come in contact with. (Unfortunately, only one Endless Spell, the Purple Sun of Shyish, is given in the book.). Arcane spellcasting requires a successful Mind (Channelling) Test and extra successes can be used to Overcast a spell, often to increase its duration or the damage it inflicts. Bonus dice are rewarded when attempting to cast spell of a Magic Lore in its associated Realm, for example, casting Amethyst Magic in the Realm of Death, Shyish. If a Channelling Test is failed, then a player must roll on ‘The Price of failure’ Table, which can be anything from the caster simply losing control and suffering damage to inadvertently summoning an Endless Spell! (Depending on how unlucky your spellcasting Player Character is, again, the Purple Sun of Shyish is not enough.) Some ninety spells are listed across all eight Magic Lores and there is even a guide to creating new spells.

In comparison, Miracles are treated as individual Talents that require the ‘Use a Talent’ action to cast and one or more points of Mettle. There are some generic Miracles, but most are tied to particular god and his worship. Rounding out is a decent bestiary of nearly fifty entries, which covers automata, beasts, daemons, mortals, spirits, and undead, from minions, swarms, and warriors to champions and chosen in terms of power levels. They include the People of the Cities of Sigmar, pets and mounts, monstrous beasts, disciples of the Dark Gods, the legions of Nagash, and Greenskin hordes. This is a solid selection and provides a lot of depth in terms of NPCs and threats.

One of the best descriptions the mechanics in of Soulbound—and any roleplaying game—in the core rulebook for Warhammer Age of Sigmar – Soulbound: Perilous Adventures in the Mortal Realms is, “The dice and the rules are tools for you to use to create memories. They are little cuboid wildcards that can completely flip a story on its head, and turn a moment of crushing despair into one of joyous celebration.” There is further advice for the Game Master later in the rulebook, which actually suggests that if the prospective Game Master has not yet learned how to be a Game master, then she learn using the Warhammer Age of Sigmar: Soulbound Starter Set. The Game Master advice covers the rules, but also looks at setting up a game and making it feel like the Age of Sigmar. It states that Soulbound has four tones—mythic, hopeful, tragic, and dark—and takes the Game Monster through them one by one. Besides talking about humanising the setting despite it being about a continuing, often epic war against Chaos, it provides various tools for the Game Master to adjust Soulbound to get the game she wants. This includes using a Point Buy system to create Player Characters, setting up different campaign frameworks, such as making it grim and perilous rather than heroic and perilous, and more. Overall, the advice is good, but it does leave the basics to the Warhammer Age of Sigmar: Soulbound Starter Set. This does leave Soulbound with a disparity between the ease and lighter nature of the rules and the more advanced nature of the Game Master advice, as if the Game Master should be able to pick this book up and easily run a game from its pages without needing to refer to another product in order to learn how to use it.

Physically, Warhammer Age of Sigmar – Soulbound: Perilous Adventures in the Mortal Realms is very well presented with lots of excellent artwork. It is well written and benefits from lots of examples.

Warhammer Age of Sigmar – Soulbound: Perilous Adventures in the Mortal Realms offers both a new set of dice mechanics for playing in the Warhammer universe and a new—to roleplaying—setting within with universe. With it comes a lighter, faster set of rules and a more heroic style of play as well as a setting that is nicely detailed, but not as accessible as others in the Warhammer universe. This is due to the lack of familiarity with it and the differences between it and the Old World, as well as the lack of a scenario which would have provided a way into the setting of the Mortal Realms. What this means is that it requires some adjustment, because Soulbound really is its own thing in terms of roleplaying and has relatively little in common with its forebear, Warhammer Fantasy Roleplay. The easier, faster style of play could have been eased with advice on why player would want to roleplay a particular archetype and there could have more options for humans compared to the other species. Lastly the lack of scenario also hampers that process, intentionally speedy, of getting into the game.
For the player and the Game Master who wants to get out of the mud and muck of a grim and perilous world, and take a heroic stand, push the fight forwards, and face the forces of Chaos, the Dark Lords, and the undead in righteous fury and make a difference—as heroes—in the Warhammer universe, then Warhammer Age of Sigmar – Soulbound: Perilous Adventures in the Mortal Realms is exactly what they want. High fantasy in a heroic and perilous world.
For the player and the Game Master who wants to get out of the mud and muck of a grim and perilous world, and take a heroic stand, push the fight forwards, and face the forces of Chaos, the Dark Lords, and the undead in righteous fury and make a difference—as heroes—in the Warhammer universe, then Warhammer Age of Sigmar – Soulbound: Perilous Adventures in the Mortal Realms is exactly what they want. High fantasy in a heroic and perilous world.

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

—oOo—

En Garde! is one of the first five roleplaying games to be published and it was the first to be published by Game Designer’s Workshop. It was not the first historical roleplaying game—that likely would have been Boot Hill from TSR, Inc., published like En Garde! in 1975—but subtitled, “Being in the Main a Game of the Life and Times of a Gentleman Adventurer and his Several Companions”, it was definitely the first swashbuckling roleplaying game and the first to emphasis what a Player Character was doing socially and what a Player Character’s social status and standing was. Although it began life as a set of rules for handling duels, the expanded rules provided the scope for roleplaying as gentlemen attended their clubs and caroused and quaffed and gambled, spied pretty ladies and courted them as potential mistresses, joined a regiment and went off on campaign to fight either the Habsburgs, the Spanish, or the Protestants, aiming to win prestige, promotion, and position, all the whilst attempting to maintain sufficient monies to support themselves and their mistresses in the lifestyles they have become accustomed and want to become accustomed to! There is always the danger of death and penury, and insults flung, leading to a duel and its consequences.

Yet, En Garde! has always been overlooked as a roleplaying game and may not even be a roleplaying game in the traditional sense of even the Dungeons & Dragons of 1974. There are good reasons for this. The game play is rarely one of being sat round the table in the traditional sense because a player programs the actions of his character a month in advance. There is none of the immediacy of a traditional roleplaying game, no back and forth between the players and their characters, or indeed between the players, their characters, and the Game Master’s NPCs. Nor is there a real strong sense of place, since the Player Characters move between locations automatically, whether between their club and their barracks, between their mistress’ apartments and the duelling ground, and between Paris and wherever the French army is in campaign. Consequently, En Garde! abstracts France rather giving it any sense of place or geography.

Consequently, the baton of the swashbuckling genre and the period of Alexander Dumas’ The Three Musketeers would be taken up other roleplaying games, most notably Flashing Blades from Fantasy Games Unlimited. Yet En Garde! has had a long life of its own parallel to the roleplaying hobby. This is because its pre-programmed style of play lent itself very easily to what was then Play by Mail, turns and results being sent and received through the mail, and more recently Play by E-Mail. It thus found a home in fanzines devoted to postal games such as Chess and Diplomacy. The current owner of En Garde! began running postal games of En Garde!, and convention games of it, before becoming the publisher.

To be fair, just because the game is played in a procedural fashion, it does not mean that it is truly lacking roleplaying possibilities. En Garde! does have a definitive aim for every Player Characters and that is to acquire better social standing and status—and keep it. That desire to better oneself and maintain it drives a Player Character’s decisions and how he reacts to the outcomes of those decisions and those of the other Player Characters, and it is this space that En Garde! has scope for roleplaying? If a Player Character discovers another man has been courting his mistress, what should he do? If facing certain death on the field of battle, an act of poltroonery might save him, but should the act be exposed, should the Player Character challenge his accusers to a duel and protect his honour or confess and suffer the consequences? As a King’s Musketeer, what insults should he be taunting members of the Cardina’s guard with? Answering them spurs a roleplaying response in character, even if only written down, and in being written, unlike in most roleplaying games, you have a specific chronicle of the actions, reactions, and responses of all of the Player Characters.

A Player Character in En Garde! is simply defined. He has four stats, Strength, Expertise, Constitution, and Endurance. The first three are rolled on three six-sided dice, whilst Endurance is determined by multiplying Strength by Constitution. Strength is a Player Character’s ability to inflict damage, Expertise his skill with a sword, Constitution his health, and Endurance his ability to withstand punishment. His Social Level is determined by rolling on tables for his Birth, Sibling Rank, Father’s Position, and Father’s Title (if Noble). His Military Ability, used when he is on campaign, is rolled a single six-sided die.

Our sample Player Character, Cyrille Mageau, is of a very lowly origins, with barely a Louis d’or to his name. His lack of status means that his prospects are equally as low, but Cyril is ambitious and not without potential. Given his very high Military Ability, his best option is to enlist and prove himself on campaign. If he is successful there, he may improve his fortunes in Paris.

Cyrille Mageau
Social Level: 1
Class: Commoner
Sibling Rank: Bastard
Father’s Position: Peasant
Strength 09 Expertise 13 Constitution 13 Endurance 117
Military Ability: 6
Initial Funds: 9 Allowance: 0 Inheritance: 0

Mechanically, En Garde! does not really offer much in the way that looks like a roleplaying game. It starts by offering the mechanics out of which the rest of the game grew. These are the duelling rules, with participants programming manoeuvres such as Close, Cut, Slash, Lunge, Throw, and more. This is written out in a sequence of letters as a routine, for example, ‘-X-L-X-’ for a Lunge, ‘-CL-K-X-X-X-’ for Kick, ‘-P-(R)-’ for Parry and possible Riposte, and so on, with the ‘X’ standing for Rest or Guard. These sequences are then compared step-by-step and the results determined, with duellist’s Strength, manoeuvre, and weapon type. The latter includes rapier, dagger, foil, sabre, cutlass, and even two-handed sword! A duellist who has a lower Swordsmanship—later called Expertise—will be slower against a duellist who has a higher Swordsmanship, and this is represented by the player having to be put in more ‘X’s. Duels are played out until one participant either surrenders or is killed. Winners will gain Status Points and Social Levels in general, depending upon the Status Points and Social Levels of the participants.

The actual play structure is based on four weeks per month, three months per season, and four seasons per year. A player will program his character’s activities four weeks at a time. These could be to a club with a friend, practice with a weapon, carouse at a bawdyhouse, and court a mistress. A Player Character can also join clubs, gamble, take out loans, join a regiment, and so on. The aim throughout is for the Player Character to maintain his Social Level at the very least, but really the aim is to increase his Social Level. To do this he needs to acquire Status Points. If at the end of a month, the Player Character has acquired Status Points equal to his current Social Level, he maintains it, but he acquires Status Points three times the next Social Level, he can increase it. Just as a Player Character can rise in Social Level, he can also fall, but he will also be seeking out actions that will gain him Status Points. Being a member of a club, carousing, toadying to someone of higher Social Level, successfully gambling, winning duels—especially members of rival regiments, and belonging to a regiment. Actions such as losing when gambling, losing duels, and not spending enough money to maintain his Social Level will lose a Player Character Status Points and his Social Level. Most of these actions will cost a Player Character money. Most Player Characters have some income, but can gain more from gambling, taking out a loan, making successful investments, receiving an inheritance, being in the military and returning from a campaign with plunder. Conversely, loss of loss money and income will lead to bankruptcy and a Player Character enlisting in a lowly frontier regiment in the hope of restoring his name and fortune.

Once per year, members of a regiment will have to go on campaign for a complete season. There is a chance of a Player Character being killed in battle, but he could try to be heroic and make a name for himself, get mentioned in dispatches, get promoted, and take some battlefield plunder. Being mentioned in dispatches gains a Player Character national recognition and ongoing Status Points. In the long term, a Player Character can apply for various positions in both the military and the government. For example, being appointed regimental adjutant, Army Quartermaster-General, or Inspector-General of the Infantry, or Commissioner of Public Safety, Minster of War, or Minister Without Portfolio. Titles can also be won. Once a Player Character achieves a high position, he gains some Influence that can be used to help others.

Of course, En Garde! is a profoundly masculine game. As the subtitle says, it is, “Being in the Main a Game of the Life and Times of a Gentleman Adventurer and his Several Companions”. Women are not really characters at all, merely dalliances there to prove a Player Character’s masculinity and bolster his social standing. It is difficult to get around this, since the role of women both at the time when En Garde! is set and in the fiction it draws upon, is not as protagonists, but even as in some cases in both, as antagonists.

En Garde! is not a roleplaying game that looks beyond achieving high rank, position, or social status. So, there is a limit to how much play potential there is beyond this. Certainly, in a typical group of players, this would be the case. In a larger group, there is greater room for maneuvering and jostling for status and rivalry with players being members of rival regiments, competing for the same positions, even for the same mistresses, and so on. This lends itself to play at a club if it has plenty of members or simply playing with a more dispersed group of players by mail—electronic or otherwise.
One way in which En Garde! is not a roleplaying game is in how little scope there is for the players to roleplay and affect the world around the characters through roleplaying. Perhaps through delivering an insult to a member of a rival from another regiment? Further, players will find themselves playing at odds with each other when they join rival regiments or compete for the same mistress or position. In some ways, to get the most out of En Garde! it is best for the players to play characters who are rivals and so it is adversarial to one degree or another.

Physically, En Garde! is surprisingly well presented and written. Illustrated with a mix of period pieces, the only real downside is that it starts talking about duels rather than characters and what they do and who interact with each other beyond duels. This organisation lends itself to the idea that the rest of the rules grew out of wanting more to the game and more reasons to duel.

—oOo— It appears that En Garde! was never reviewed in the roleplaying hobby press, though it was covered by magazines and publications devoted to games. The designer and publisher, Charles Vasey reviewed it in Games & Puzzles Issue 55 (December 1976) saying that GDW has, “…[P]icked a really splendid period for the new duelling game.” He was critical though, saying, “Despite its complexity, the system does not play as well as one might think. Often duels end very swiftly.” and “It is complex and convoluted, and it feels like real life. Players will soon find they have natural enemies and rivals who must be crushed directly or by a hired blade. One must seek to be in the best set, but beware bankruptcy or it’s the frontier regiment and disgrace until you pay off your debts.”

Similarly, games designer Greg Costikyan reviewed En Garde! in ‘Games fen will Play’ in Fantastic Science Fiction. Vol. 27, No. 10. (July 1980). He was very positive, calling En Garde! “[T]he the first well-written set of role-playing rules.... En Garde! was the first role-playing game by a major company and by established designers; and, as one might expect, it set new standards for role-playing rules — standards to which few subsequent games have risen.”

Perhaps the oddest vehicle for a review was The Playboy Winner’s Guide to Board Games (Playboy Press, 1979). Author John Jackson said that, “There is a minimum of player interaction; play is geared toward individual deeds rather than group action.”, but that, “Although lacking neither color nor detail, the rules to En Garde! are clear and comprehensible.” He concluded that, “If it lacks the scope of true fantasy role-playing games, it’s not as time-consuming, either, and it appears to be a pleasant diversion.”—oOo—
En Garde! is not a roleplaying game per se. There is more of a simulation to it, a means of modelling the life of an officer and gentlemen in the early seventeenth century as he makes his way in life and attempt to better himself. Yet like any simulation, the result of dice rolls on the roleplaying game’s various tables sets up interesting, intriguing, and involving results that draw you in and make you want to explore how to resolve them and how to respond to them. This is where the roleplaying potential lies in En Garde!, even if it is not written to support roleplaying and all but ignores it. Ultimately, it has been shown again and again, in multiple games, all this is best handled and roleplayed away from the table and at distance, whether by mail or email.

—oOo—
The current version of En Garde! is available here.

Now in its eighteenth year, Free RPG Day for 2025 took place on Saturday, June 21st. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

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Arkham Horror: Comets of Kingsport – A Quickstart Adventure is the contribution to Free RPG Day 2025 from Edge Studio. It is a quick-start and scenario for Arkham Horror: The Roleplaying Game, the roleplaying game of Lovecraftian investigative horror derived from Arkham Horror board game and Arkham Horror Living Card game from Fantasy Flight Games, both of which are derived from the original version of the Arkham Horror board game published by Chaosium, Inc. in 1987. Ultimately, Arkham Horror: The Roleplaying Game shares a great deal of setting elements with Call of Cthulhu, but they are not the same roleplaying game. Mechanically, Arkham Horror: The Roleplaying Game has more in common with the GUMSHOE System of Trail of Cthulhu from Pelgrane Press, but plays very differently. Whilst Trail of Cthulhu leans more into a Purist style of play emphasising an atmosphere of menace and growing as a default, Arkham Horror: The Roleplaying Game—at least as far as the Arkham Horror: Comets of Kingsport – A Quickstart Adventure is concerned—is more of a Pulp affair, playing up action and adventure and including Investigators who are not only aware of the Mythos, but also know a few spells too. There are elements too, drawn from EDGE Studio’s Genesys System, used to handle the perils of investigating the Mythos.
Arkham Horror: Comets of Kingsport – A Quickstart Adventure includes everything that a gaming group needs. It explains the rules, provides a full scenario that can be played in a single session or so, and gives a set of six pre-generated Investigators. Apart from copies of the pre-generated Investigators, the only thing it needs is a set of six six-sided per player, plus a lot more for the Keeper and some dice of a different colour. Arkham Horror: Comets of Kingsport – A Quickstart Adventure and Arkham Horror: The Roleplaying Game use what is called the ‘Dynamic Pool System’. An Investigator is primarily defined by ten skills—Agility, Athletics, Intuition, Knowledge, Lore, Melee Combat, Presence, Ranged Combat, Resolve, and Wits. Of these, Lore is how much an Investigator knows about the occult and how to apply it, if necessary. Skills are rated between two and six. He has a variety of Knacks, special abilities that might grant him extra dice, alter the number of dice rolled, allow special actions, cast spells, rerolls of the dice, and more. There is a wide variety of Knacks, even presented in the six pre-generated Investigators in Arkham Horror: Comets of Kingsport – A Quickstart Adventure.
Lastly, an Investigator has a pool of six-sided dice, typically six. These are used and refreshed from one scene to the next and they represent a combination of an Investigator’s effort and health. In the case of the latter, when an Investigator is injured, he loses dice, limiting his actions until he can rest, heal, and receive medical attention.
When a player wants his Investigator to undertake a Complex action, such as climbing a fence in a chase, shooting cultist in a gunfight, researching a newspaper morgue for clues, or casting a spell, he takes as many dice as he wants from his pool and rolls them, comparing the results with the skill being used. For each die result equal to, or greater than, the value of the skill, a success is scored. In general, only a single success is required to achieve whatever an Investigator wants to do, but more successes are needed to trigger the effects of some Knacks. For example, Silas Marsh has ‘Skilled Shot’ and can throw a harpoon as a ranged combat action, and if his player rolls three successes, the target cannot use a reaction to avoid the attack. (This is in addition to the weapon itself, which inflicts a base of two damage—most weapons inflict one or two points of damage, and if three or more success are rolled on an attack, in Injury is inflicted and extra damage is inflicted per Injury, making it a very deadly weapon.) Complex actions can also be rolled with Advantage or Disadvantage, rolling with one more or one less die in either case.
In addition, an Investigator has a supply of Insight points. These can be spent to add an additional success to a complex action, take a Complex Action with Advantage, to add a narrative element to a scene, or to avoid certain trauma.
Play itself in Arkham Horror: The Roleplaying Game is handled as a series of scenes, either Narrative or Structured scenes in which Simple and Complex Actions are attempted. Narrative scenes rarely involve peril, and allow an Investigator to undertake Simple Actions without his player needing to roll dice, whereas Structured scenes do involve peril or great difficulty, such as a combat scene or a confrontation with the Mythos, require a player to roll for both Simple and Complex Actions. Although a player only has access to six dice in his pool—or less depending upon trauma and Injury, this pool refreshes from one scene to the next, and in combat, they are refreshed at the start of an Investigator’s turn. In combat, damage is inflicted in two ways. Primarily by reducing a defendant’s dice pool, limiting his capacity to act, wounding him if the dice pool is reduced to zero, after which he can strain himself to restore his dice pool to full at the cost of suffering an Injury. The other way is by a weapon specifically inflicting an Injury. Injuries are determined by rolling on the Injury Table. These are rolled on a single die, to which are added the number of injuries already suffered. Since the Injury roll is made on a single die, it takes a lot of injuries—at least five—before someone can be killed straight off. There is no little grievous Injury in the meantime, but it is difficult to kill a defendant and certainly an Investigator.
The way of handling Horror Damage or exposure to the cosmic truths of the universe is more interesting, though similar to that used for injuries. When an Investigator suffers Horror Damage—whether from a spell cast at him, seeing a creature of the Mythos, or reading a horrific tome—his player replaces a number of dice in his dice pool with Horror Dice equal to the Horror Damage suffered. Horror Dice work exactly like normal dice in a player’s dice pool and can be lost if an Investigator suffers damage. However, should a player roll a one on any single Horror Die, his Investigator gains a Trauma. The rolls a single die and consults the Trauma Table, adding one for each one rolled on the Horror Dice. Where an Investigator is physically resilient, the same cannot be said mentally. It is a lot easier in comparison to get Horror Dice, roll ones, and suffer Trauma and since there are fewer results on the Trauma Table, for an Investigator to be ‘Lost Forever’.
Horror Dice can be healed from one round to the next, as well as by certain Knacks and spells, replacing them with standard dice. This is an action though and in a Structured Scene, the Investigators might not have the opportunity. Whereas injuries can be healed though, traumas cannot, although they can recede over time. The combination of Horror Dice and Trauma is intriguing as a means of handling the escalating danger of being exposed to cosmic threat, but it does feel undercut by the ability to heal Horror Dice within a scene.
In terms of pre-generated Investigators, Arkham Horror: Comets of Kingsport – A Quickstart Adventure gives six. They include a clever and helpful postal woman; strong sailor armed with a harpoon; a student with first aid skills and good at improvising weapons; a librarian who can cast spells and draw upon the horrors she has seen to gain Horror Dice and bonus dice to a roll; a prepared researcher who is good with people; and a professor who can choose to suffer an Injury or Horror Dice and who is also a skilled shot. All also have a section of equipment and besides a short background, there is also an explanation of the basic rules and the use of Insight on the back. All of the Investigators have travelled to Kingsport, some of them from Arkham’s Miskatonic University, to conduct an anthropological survey in the New England port. Players with a bit of history with roleplaying games of Lovecraftian investigative horror will appreciate that the professor in the included Investigators is none other than Harvey Walters, who appeared as the sample Investigator for the first time all the way back in the first edition of Call of Cthulhu.
The included scenario in Arkham Horror: Comets of Kingsport – A Quickstart Adventure opens with the Investigators visiting the Hall School in Kingsport to examine its rare book collection. Both the school secretary and the headmaster are welcoming, but they are concerned about a member of staff, Cecil Blackburn, who has been behaving oddly, even erratically. When they encounter him, he is found in a bath of salt water, weirdly mishappen, and rage-fuelled! The question is, what has happened to him? The plot and clues link to other citizens of Kingsport acting strangely and ultimately to somewhere otherworldly and further confrontation with something even stranger. It is a solid mix of investigation and interaction leavened with some action, decently presented and written. The primary difficulty with the scenario is the need to make slight adjustments to the plot links with fewer players and Investigators.
Physically, Arkham Horror: Comets of Kingsport – A Quickstart Adventure is decently presented and written. The artwork is disappointingly restricted to just the front cover and the Investigator illustrations, but still very good. A map or two might have been useful, whether of Kingsport or the scene of the scenario’s climax, and it does feel odd that the scenario is presented before the rules are explained.
Arkham Horror: Comets of Kingsport – A Quickstart Adventure provides everything that a group will need to try out Arkham Horror: The Roleplaying Game. It is accessible and comes with a decent investigative and interactive scenario that has a certain weirdness to it. The rules are clearly explained and easy to grasp with a good explanation of the ‘Dynamic Pool System’ on the back of each Investigator sheet, making them also easily accessible. The ‘Dynamic Pool System’ itself lies at the lighter and Pulpier end of the Lovecraftian investigative horror spectrum, both mechanically and thematically. The Investigators are tougher and even augmented in comparison to other roleplaying games of Lovecraftian investigative horror spectrum and because of this, the likelihood is that Arkham Horror: Comets of Kingsport – A Quickstart Adventure is going to divide its intended audience very much along the Purist-Pulp faultline.

It is rare that scenarios are set during the period of the Spanish Inquisition, despite it lasting over three-hundred-and-fifty years. ‘Fires of Hatred Defile the Sky’ from Red Eye of Azathoth, a singular foray into the Cthulhu Mythos for Kobold Press, and Chaosium, Inc.’s ‘Garden of Earthly Delights’ from Strange Aeons, both published for Call of Cthulhu, are exceptions. Medieval Mysteries takes gamers back to early period of the Spanish Inquisition with two scenarios designed to be played in two hours each. The first is ‘The Shroud of Pestilence’ in which the Player Characters investigate what looks to be an outbreak of the Black Death in a nearby village, but which turns out to be something else, whilst in ‘Heresy’, they attempt to save a group of conversos—Jews who converted to Christianity—from what is effectively, two monsters! This is all packaged with a framing device which lends itself to an ongoing campaign. Published by Yeti Spaghetti and Friends, Medieval Mysteries is a duology of short play time, one-night horror scenarios, the first entry in the series of historical horror adventures in the publisher’s ‘Frightshow Classics’ line. Ostensibly written for use with Chill or Cryptworld: Chilling Adventures into the Unexplained, the percentile mechanics of the scenario mean that it could easily be adapted to run with Call of Cthulhu, Seventh Edition and similar roleplaying games.
Medieval Mysteries is set in Spain in about 1490. Whilst the Kingdoms of Castile and Aragon, as well as much of Spain, are united through marriage of Queen Isabella I (of Castile) and King Ferdinand II (of Aragon), but they remain separate entities. What unites the Iberian peninsula is religion and the growing power of the Inquisition under the command of Inquisitor General Tomas de Torquemada which not only enforces Catholic orthodoxy, but also investigates possible acts of heresy, apostasy, blasphemy, witchcraft, and customs considered to be deviant—often in the most violent of ways. As a default, the Player Characters are all associated with the Santa Maria de Soria monastery, some hundred miles or so north-east of Madrid. The monastery offers a place of relative safety, but hides its own benign secrets. It is led by an abbot whose gift of foresight enables him to see paranormal abilities in others and dangers elsewhere, directing such individuals to seek out, investigate, and defeat supernatural and monstrous threats. Such efforts have to be conducted with great care, since any paranormal ability would be regarded by the Inquisition as mysticism and thus heresy.
In addition to a brief description of the monastery, Medieval Mysteries describes two new skills and two new paranormal abilities. The two new skills are Blacksmithing and Religious Mysticism, which will be of a specific faith, like Taoist Mysticism or Judaic Mysticism. The paranormal abilities are Exorcism and True Sight, both of which are likely to find their way into other scenarios. The pre-generated Player Characters consist of a mix of monks, nuns, and peasants, some with paranormal abilities, some without, but all with some background, a description, and a phobia. Perhaps the only thing missing here is advice on creating Player Characters suitable for the period and setting, since the set-up lends itself to a campaign in the style of The X-Files, but set in medieval Spain.
In ‘Adventure 1: The Shroud of Pestilence’, the Player Characters are directed to the village of Herrero which he initially believed to be suffering from an outbreak of the plague, but after receiving a vision, believes that there is an evil dark shadow looming over both it and its inhabitants. He wants them to investigate the possibility of the infernal. The Player Characters will initially encounter a plague doctor attempting to treat the terrible symptoms. The Player Characters get to examine the bodies that have not yet been buried and examine them for the terrible signs of the plague and interview the very concerned remaining villagers. Although many suspect that the devil himself is responsible, but very quickly, the Player Characters should discover signs indicating that something else is responsible, more monstrous than devilish. The Sense Monsters paranormal skill will be useful confronting this creature.
Despite its brevity, ‘Adventure 1: The Shroud of Pestilence’ packs in a decent amount of investigation and interaction before the Player Characters ascend into the hills and the second half of the scenario, which involves a confrontation with the culprit. This is a combat scene in a cave, a nasty encounter that has a chance, more or less, of instantly killing a Player Character, and that is even before the battle commences. Only one of the Player Characters is equipped with an effective weapon, so he should absolutely be selected. Ultimately, the players and their characters should try and get the creature out of its comfort zone, otherwise, a ‘Total Party Kill’ is a possibility. Which is fine for a one-shot, but not if the players want to continue playing their characters in the next scenario.
In ‘Adventure 2: Heresy’, the abbot sends the Player Characters to the city of Sigüenza where he has learned the Inquisition is about to begin an investigation into rumours of heresy and witchcraft among the conversos, those Jews who converted to Christianity. The abbot wants the Player Characters to investigate such rumours before the Inquisition begins its own heavy-handed inquiries. Talking to people in the converso quarter of the city will reveal that there is a young woman who talks to herself. Use of paranormal may confirm more and if confronted, she will tell the Player Characters that there is heresy being committed in the city, but not amongst the conversos. Rather it is occurring in the St. Jerome Monastery attached to the College of San Antonio de Portaceli, the city’s famed university.
‘Adventure 2: Heresy’ follows the same format as ‘Adventure 1: The Shroud of Pestilence’, but the combat encounter is not quite as deadly and does not mark the end of the scenario. Ideally, it should end with a trial of the culprit after the Player Characters have captured him, with them giving testimony against him. This is not the only way that the scenario can end, another possibility being trials of the conversos. Either way, the Game Master will need to run this to best effect, perhaps playing up the drama and theatre of any such trial more than the scenario does, which really only provides broad details. Overall, ‘Adventure 2: Heresy’ is a more sophisticated and more interesting affair than ‘Adventure 1: The Shroud of Pestilence’. The only thing that the Game Master might want to do is create some Inquisition NPCs as none are provided.
Physically, Medieval Mysteries is a decent looking affair behind a somewhere murky cover. The artwork inside is reasonable and the scenarios are generally well written. The cartography is plain and serviceable.
Both scenarios in Medieval Mysteries end in a little sign-off as if presented by the host of a late-night horror anthology series, so making them slightly different to traditional horror roleplaying scenarios. There is an ominous threat of lurking power and paranoia that pervades both scenarios, though definitely more so in the second scenario than the first. The short, two-hour running time for both scenarios does also means that ‘Adventure 2: Heresy’ is underwritten given no stats for the Inquisitors and the lack of staging for the trial. Nevertheless, it is the better and more interesting of the two scenarios in the book. Overall, the brevity of both scenarios in Medieval Mysteries means that they are easy to prepare and run, with scope to develop them a little further and scope to explore the setting in future releases.

For every Ptolus: City by the Spire or Zweihander: Grim & Perilous Roleplaying or World’s Largest Dungeon or Invisible Sun—the desire to make the biggest or most compressive roleplaying game, campaign, or adventure, there is the opposite desire—to make the smallest roleplaying game or adventure. Reindeer Games’ TWERPS (The World's Easiest Role-Playing System) is perhaps one of the earliest examples of this, but more recent examples might include the Micro Chapbook series or the Tiny D6 series. Yet even these are not small enough and there is the drive to make roleplaying games smaller, often in order to answer the question, “Can I fit a roleplaying game on a postcard?” or “Can I fit a roleplaying game on a business card?” And just as with roleplaying games, this ever-shrinking format has been used for scenarios as well, to see just how much adventure can be packed into as little space as possible. Recent examples of these include The Isle of Glaslyn, The God With No Name, and Bastard King of Thraxford Castle, all published by Leyline Press.

The Pocket Sized Perils series uses the same A4 sheet folded down to A6 as the titles from Leyline Press, or rather the titles from Leyline Press use the same A4 sheet folded down to A6 sheet as Pocket Sized Perils series. Funded via a Kickstarter campaign as part of the inaugural ZineQuest—although it debatable whether the one sheet of paper folded down counts as an actual fanzine—this is a series of six mini-scenarios designed for use with Dungeons & Dragons, Fifth Edition, but actually rules light enough to be used with any retroclone, whether that is the Dungeon Crawl Classics Roleplaying Game or Old School Essentials. Just because it says ‘5e’ on the cover, do not let that dissuade you from taking a look at this series and see whether individual entries can be added to your game. The mechanics are kept to a minimum, the emphasis is on the Player Characters and their decisions, and the actual adventures are fully drawn and sketched out rather than being all text and maps.

Flaming Fandango in Faratusa is the sixth and final entry in the Pocket Sized Perils series following on from An Ambush in Avenwood, The Beast of Bleakmarsh, Call of the Catacombs, and Death in Dinglebrook, and Echoes of Ebonthul. Designed for Sixth Level Player Characters, this is essentially a fantasy version of Ocean's Eleven, a heist at a big party—rather than a casino—and up front, it is a lot of fun with all of the clichés of the genre left in and it has quite possibly the most Australian of titles! Further, the fact that it contains all of the clichés means that it is easy to run and it is easy to adapt, whether that is to another fantasy genre or roleplaying game or to another genre or roleplaying game all together.
The scenario opens on the night of a masquerade ball hosted by Ortolan, the Governor of Faratusa in honour of Sir Aroldo Tuft, who recently defeated the infamous Fire Chain Pirates and returned with the Salt-Ember Crown. Its set-up quickly throws the Player Characters into the action, with the Game Master being expected to ask their players some questions that somehow link them to Governor Ortolan, establish rumours about the Salt-Ember Crown, and explain how they got into the party, and then giving the players fifteen minutes to devise a plan to get into the vault where the Salt-Ember Crown is being held, get hold of it, and then get out of the governor’s mansion. After that, the scenario begins with the party in full swing, the masked guests enjoying themselves, and the governor’s newly installed Brass Servant automata providing both security and silver (brass) service.
After that, Flaming Fandango in Faratusa is all about whatever the Player Character want to do and how they want to go about the heist in what is a very player driven encounter. Stats and details are provided for Governor Ortolan, Sir Aroldo Tuft, and the governor’s Brass Servants, including in the case of the latter, what they do in the vent that they encounter an anomaly, such as the Player Characters being in the wrong place. There are tables two for random guests, things that the Player Characters might find in the process of searching the governor’s mansion, and for tracking increased security by the Brass Servants. Space constraints mean that the tables for both the guests and the items found are short, so the Game Master might want to expand these to add more colour and detail to the building and the party itself.
So far, so good, but the expanding and unfolding nature of design to the Pocket Sized Perils series is used to very good effect in Flaming Fandango in Faratusa. Flip through the first few pages and everything looks fine, but the first unfold opens up to reveal a fantastic map of all three floors to the governor’s mansion. Done in three dimensions, it has enough detail for the Game Master to describe each room or location in broad details, but leaves her to interpret the specifics. Overall, the look of the governor’s mansion is slightly Italianate and since it sits on the docks, it feels as if it should be in a Pirates of the Caribbean film (the scenario would be a great addition to a Pirate Borg game). Yet, Flaming Fandango in Faratusa is not done for there is one last reveal as the whole of the scenario pulls open for one last reveal. This is what is actually in the vault and the secret plans of some of the guests at the party upstairs! The revelations are anything other than astounding, but they fit the style of the scenario and its set-up to a tee.

Physically, Flaming Fandango in Faratusa is very nicely presented, being more drawn than actually written. It has a nice sense of scale and the combination of having been drawn and the cartoonish artwork with the high quality of the paper stock also gives Flaming Fandango in Faratusa a physical feel which feels genuinely good in the hand. Its small size means that it is very easy to transport.

As written, Flaming Fandango in Faratusa is a serviceable scenario, but not a standout one, since the set-up and plot are familiar. That does mean though, that it is easy to run and easy to adapt to other genres and roleplaying games. Yet Flaming Fandango in Faratusa is elevated by its format which quickly presents the Game Master with its set-up and various details before allowing the Game Master to pull it apart to reveal first the locations for the scenario and then second, the plot complications. There is a lovely sense of a story being told also in these reveals, but of course, the Player Characters are going to tell everyone ultimately, how their heist plays out. It is sad that just as the author seemed to master the format of the Pocket Size Perils, Flaming Fandango in Faratusa marked the end of the series. It is a good design with which to end the series though.