Nice new mail call. Especially when it is a book I worked on. I have to admit this never, ever gets old to me.

My "The Nightmare" and a great one, "Medieval Mysteries" from Scott George set in a medieval monastery. 

Yeah, I am pretty happy with this, to be honest.

You can get all the Fright Night Classics Adventures on DriveThruRPG.

A secret room in the back of the Thoul hole leads to a larder, but this is no Troll or Thoul hole.

This is no larder of a troll or thoul. This is the storeroom of the Shadow Elves.  There is food and water enough for five for a week here. 

There is no treasure or weapons, but the characters gain 100 xp for finding this room. 

 No new monster today because I am working on the final bits of my new Monster Mash II: A Midsummer Night's Dream.

Monster Mash II: A Midsummer Night's Dream

More Monster Classes for Basic-era Games

For years brave adventures have been going into the dangerous wilderness and fighting monsters.  

Now the monsters are fighting back.

Monster Mash II is an Old-School Essentials Classic Fantasy compatible game that allows you to take on the role, not of a stalwart hero, but as one of the monsters.

This book features 12 faerie and sylvan-based classes.

Bugbears, Centaurs, Hamadryads, Leprechauns, Nymphs, Pixies, Púcas, Satyrs, Werebears, Werefoxes, Woodwoses, and the Faerie Witch.

New spells for Clerics, Druids, Illusionists, and Magic-users. 

New spells, occult powers, and ritual spells for Faerie Witches. 

All are completely compatible with Basic-era OSR games and my previous witch books.

Coming this Midsummer!

 Going back and taking the central tunnel goes on for a long time (100') it leads to another room that appears to be another troll hole. Though in this room are not trolls, but Thouls.  

These thouls (4 in total) are distantly related to the trolls in Room 5. They are not sure how, but they know there is a kinship there, so they do not attack each other.

They can cause paralysis (like ghouls) and regenerate like trolls. 

There is Treasure Type C x5 here. The thouls have been very successful here.

Note: The shadow elves are immune to the thoul paralysis.

It seemed like the opportunity of a lifetime. The chance to attend the annual summer camp of Miskatonic Shoreside Conservatory, a prestigious performing arts institute located on an island just off Providence, Rhode Island. Graduates of the summer camp are guaranteed admittance to Miskatonic Shoreside Conservatory and graduates of the institute are all but guaranteed of a glittering career including recognition and status. You are gifted. A dancer. A saxophonist. A painter. A singer. A violinist. Yet something is not quite right—about you. About the Miskatonic Shoreside Conservatory. You hide a secret. Miskatonic Shoreside Conservatory has its secrets. This is the set-up for a mini-campaign published by Symphony Entertainment using Cthulhu Dark, the minimalist roleplaying game of Lovecraftian investigative horror in which the horror is so bleak that the Investigators can at best hope to survive rather than overcome. Thus, attendees of the Miskatonic Shoreside Conservatory summer camp do not so much need to overcome their experiences at the institute, as rather find a way to survive, and perhaps even a way to abide…
Miskatonic Shoreside Conservatory is a one-shot scenario in which the players take the roles of teenagers, musical prodigies attending the Miskatonic Shoreside Conservatory for the first time at its annual summer camp. It is designed for five players. It can be played with fewer players, but works best with five. As the inspired Investigators enter the various arts programmes at the conservatory, they will quickly come to notice that not all is what it seems on the island. It is clear that the institute and its backers are wealthy, the conservatory being almost a luxurious retreat as much as it is a school. Yet there is a strangeness to it, as if it is not quite of this world, the other students in attendance are often unsettled, or driven to act in desperately weird ways, such as attempting sculpt a statue on the campus to get it right, but do so hands on with hot food on the plate like modelling clay or such as slamming themselves from wall to wall at their inability to perform to the level of skill they want. There is also the feeling that the Investigators are being groomed for something, tested not just on their musical ability, but on their past experiences and how they affect their musical ability. Ultimately, whatever it is, they will be given a choice…

Miskatonic Shoreside Conservatory is supported with detailed descriptions of the five Investigators, as well as the Miskatonic Shoreside Conservatory, its facilities and staff, and then a broad timeline of the thirty days that the Investigators will spend on the island. There is only the one map, and no floorplans, but most of the NPCs have photographs, and the handouts are decent. (In fact, the handouts would actually work if they were physically made as props.)
The scenario is also supported throughout with ‘Director Insight’, which includes advice for the Director—as the Keeper is known in Cthulhu Dark—and playtest and staging notes. It also makes use of Cthulhu Dark’s ‘Dark Symbols’, which indicates if a scene involves a clue, something harmful, dialogue, something to sport, or a combination of two or more of them. They are useful as they highlight the key points of any one scene and they can also be used to suggest to the Keeper that certain skills need to be rolled in those scenes if she is running the scenario under another rules system. However, they are not always best placed to be spotted with any ease.

The scenario does ‘suffer’ from a certain disconnect. More so than any other scenario of Lovecraftian investigative horror. Players of the genre quickly learn to recognise the elements of the genre in play and have to pull back from that knowledge lest it informs their roleplaying and their Investigators. In the case of Miskatonic Shoreside Conservatory, this is challenging because the scenario resonates with the Mythos. It is everywhere and unavoidable, despite the Investigators knowing nothing, so roleplaying across that disconnect is all more challenging and all the more demanding for the players. Miskatonic Shoreside Conservatory does play around a little with that divide, but not too much, and certainly not enough to alleviate the degree of challenge that the scenario demands.
Miskatonic Shoreside Conservatory is potentially a very difficult scenario because it does call upon the players to confront their Investigators committing dark acts and committing themselves to dark, antithetically inhuman forces. There is an interesting way of alleviating this within the scenario, at least initially, almost like a comfort blanket—although this one goes ‘woof!’ and wags his tail—but ultimately, the players and their Investigators will be called upon to make a choice. One minor irritant that breaks the atmosphere of the piece is naming an NPC, if only a minor one, ‘Vincent Price’.
It is possible with Miskatonic Shoreside Conservatory to draw parallels with two other roleplaying campaigns connected to Chaoisum, Inc., one Call of Cthulhu related, the other not. These are The Eldritch New England Holiday Collection from Golden Goblin Press, which is, of course, Call of Cthulhu related, and Six Seasons in Sartar, which is not. All three are about initiation and heritage, all are about playing children, teenagers. The Eldritch New England Holiday Collection, not into the Mythos, but about the Mythos. Six Seasons in Sartar is an initiation into both the core cults of Glorantha and Glorantha as a setting—both in as characters and as players. Miskatonic Shoreside Conservatory is also about initiation and the Mythos, but both into and about the Mythos, but unlike the other two where the players and characters accept their situation and their heritage, Miskatonic Shoreside Conservatory is whether not they accept their initiation and heritage. All of which plays out on an island retreat which is one part music school, one part The Village from The Prisoner, as if viewed through the fisheye lens of the Mythos.

Scenarios for Lovecraftian investigative horror which call for the players to take the roles of cultists are far and few between. This is primarily because such roleplaying games are about investigating and stopping the consequences of the cultists’ actions, preventing the end of the world, and saving humanity. They are about humanity, not inhumanity. This is not to say that such scenarios are not interesting to roleplay, and where they do occur, it is always as fully fledged cultists, having committed to the cause. Not so, here. Miskatonic Shoreside Conservatory offers something genuinely unique in offering the player the opportunity to become a cultist and everything their Investigator wants, but never once lets up on the horror and weirdness of that choice and so commit to becoming beyond human, whilst ultimately making the moral option the most painful one. Miskatonic Shoreside Conservatory is an unnervingly, relentlessly horrifying scenario which deserves to reach a wider audience and be the single answer to the question, “Are there any scenarios in which you play cultists?”

 The tunnel continues on and splits into three other tunnels. The first one on the right leads to a dark hole-like room that smells terrible.  The room is very dark and it is nearly impossible to see unless the characters have infravision.

Inside this room are two very large Trolls.

These trolls have maximum hp and are hungry. They have been eating shadow elves and are hungry for something with a bit more meat on them.  They attack right away.

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

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

—oOo—

What is it?
The Corporation 2nd Edition: Quick Start is the quick-start for Corporation 2nd Edition, the Science Fiction, Cyberpunk roleplaying game first published in 2008 by Brutal Games, but now published by Nightfall Games.

It includes a basic explanation of the setting, rules for actions and combat, details of the arms, armour, and equipment fielded by the Player Characters, the mission, ‘Riot in Commissary B’, and four ready-to-play, Player Characters, or Agents.

It is a forty-two page, full colour book.

The quick-start is lightly illustrated, but the artwork is decent. The rules are a slightly stripped down version from the core rulebook, but do include examples of the rules which speed the learning of the game

It requires an edit in places.

The themes and nature of the Corporation 2nd Edition: Quick Start and thus the Corporation 2nd Edition: Quick Start means that it is best suited to a mature audience.

How long will it take to play?
The Corporation 2nd Edition: Quick Start and its adventure, ‘Riot in Commissary B’, is designed to be played through in one or two sessions.

What else do you need to play?
The Corporation 2nd Edition: Quick Start requires six ten-sided dice per player. One of these dice should be a different colour to the rest.

Who do you play?
The four Player Characters are all licensed Agents who have been biomechanically enhanced and employed by one of the setting’s five Corporations. they include a Tactical Ops specialist, a Telepath, an Infiltration Tech, and a Facilitator.

How is a Player Character defined?
An Agent has six stats—Strength, Dexterity, Knowledge, Charisma, Concentration, and Cool. Stats are rated between zero and six, whilst the skills are rated between one and four. He also has a seventh stat, PSI, which represents an Agent’s instincts or intuition. It is a pool of points who use is twofold. First, points can be temporarily expended to reroll dice in a Skill Test or add a bonus to a Dice Roll. Second, it can power a Telepath’s psionic abilities. An Agent also has Traits such as Cybernetic HUD & comms, Datanetica Neural Jack, Internal Computer, Pain mitigation, and Process socket.

How do the mechanics work?
Mechanically, the Corporation 2nd Edition: Quick Start uses the ‘S5S’ System previously seen in SLA Industries, 2nd Edition and The Terminator RPG. This is a dice pool system which uses ten-sided dice. The dice pool consists of one ten-sided die, called the Success Die, and Skill Dice equal to the Skill rank of the skill being used. The Success Die should be of a different colour from the Skill Dice. The results of the dice roll are not added, but counted separately. The aim is to roll equal to or higher than a Target Number, ranging from eight and Challenging to sixteen and Insane, on each of the dice. The Skill Rank of the skill being used lowers the Target Number. Preparation and advanced technology, including toolkits can modify the Skill Rank for the Skill Test. If the result on the Success Die is equal to or greater than the Target Number, then the Agent has succeeded. If the results of the Skill Dice also equal or exceed the Target Number, this improves the quality of the successful skill attempt. However, if the roll on the Success Die does not equal or exceed the Target Number, the attempt fails, even if multiple rolls on the Success Dice do.

Each Agent has a point of Conviction. Conviction can be spent to perform cinematic feats such as ‘Come and Get It!’, ‘Done!’, ‘Proper Planning and Preparation...’, and ‘It’s Only a Flesh Wound!’.

How does combat work?
Combat in Corporation 2nd Edition, as with other ‘S5S’ System roleplaying games is designed to be desperate and dangerous. It is detailed and tactical. It takes into account offensive and defensive manoeuvres, rate of fire, recoil, damage inflicted on armour, cover, aiming, and so on. The scenario features a lot of combat and the Game Master should pay particular attention to those rules in the quick-start. The mechanics take into account various weapon types, including beam weapons, incendiary weapons, laser weapons, plasma weapons, and more.

How do PSI Powers work?
One of the pre-generated Agents is a Telepath. Common Psi Powers in Corporation 2nd Edition include Biokinesis and Telekinesis, whilst true Telepathy and Empathy are rare. Use of a Psi Power requires a Manifestation Test, a Skill Test where Successes can recover the points of PSI expended on the Manifestation Test or increase the duration of the manifestation beyond a single round. The

What do you play?
The setting for Corporation 2nd Edition is the year 2500. The United International Government has ensured two centuries peace, hand-in-hand with the Big 5 corporations. The fortunate reside in the soaring spires where they live in monitored, crime-free comfort. The unfortunate live in the Underswells, where there is warmth and comfort, but the gangs rule. The worse off reside in the old crumbling cities of the twentieth century—and earlier—and take their chances with the best policing they can get in the face of widespread banditry.

The Corporation 2nd Edition: Quick Start includes the adventure, ‘Riot in Commissary B’. Initially, this is a highly tactical affair as the Agents deal with several Wretches from the Underswell who have broken into the commissary and potentially, the rest of the Spire, instigating a riot. After stopping the riot, the Agents are tasked with investigating how the break in occurred since the only point of access is kept locked and requires a high Ranked individual to open it. The resulting investigation is not easy—probably slightly too difficult to run as a convention scenario—and quickly leads to powerful corporate interests who would prefer the Agents not to be investigating despite them being under orders to do so. The scenario has a bureaucratic feel to it as well as a sense of irony.

Is there anything missing?
The Corporation 2nd Edition: Quick Start is complete. Portraits for the pre-generated Agents would have been useful, as well as for the NPCs. The pre-generated Agents do not have any backgrounds, but these are available online.

Is it easy to prepare?
The core rules presented in the Corporation 2nd Edition: Quick Start are relatively easy to prepare. The Game Master will need to pay closer attention to how both combat and PSI Powers work in the roleplaying game, as both figure, and combat is designed to be highly tactical in play. The scenario, ‘Riot in Commissary B’, is also fairly complex, and will require a high degree of preparation.
Is it worth it?
Yes. The Corporation 2nd Edition: Quick Start introduces a Cyberpunk setting where the Player Characters are agents of the authority and have the licence to act on their employer’s behalf, but balanced against that is the bureaucracy and power of the corporation they work for. Essentially, their agency grant by their employer against the agency above them.
Where can you get it?
The Corporation 2nd Edition: Quick Start is available to download here.

As the title suggests, Bumbling – a solo RPG is about bees. Or rather about being a bee, a worker bee, to be precise. Published by Button Kin Games, also responsible for the fun Caltrop Kaiju: A Monstrously fun and fast-paced TTRPG, and part of the team responsible for the superlative Odd Jobs: RPG Micro Settings Vol. I, , this is a solo roleplaying game in which you control the fate of a worker bee as it goes about its bee business—learning dances, dancing, leaving the hive and questing, and so forth. On the quest, the worker bee will encounter other creatures, some friendly, some not, who perhaps will point the bee in the direction of flowers, discover landmarks, and when flowers have been found, complete the quest by returning with pollen to fill the hive. The further away from the hive the flowers are, the fewer fellow bees will have visited them, and so they will contain more pollen. Once the worker bee returns, it can not only learn more dances and go out questing again, but it can also dance too, and so teach other worker bees about the flower locations it found on its quest.

Bumbling – a solo RPG is played out on—what else?—a hex map. At the centre is the hive and surrounding will be a patchwork of landmarks, including buildings, natural features, and so on, as well as the much-desired flower beds. Initially, just three, but as the worker bee travels further and explores new hexes, it will discover new landmarks, encounter new friends and enemies, and hopefully escape the creatures that want to eat it, and return with ever increasing amounts of honey. To play, the player will need a six-sided die, a sheet of hex paper, a journal to keep notes in and record his worker bee’s quests. Dance moves are optional for the player, if not the worker bee.

Bumbling – a solo RPG is about exploration, learning, and making friends. The play is derived from randomly generated elements—the dances that the worker bee knows, the dances associated with particular hexes on the maps, the landmarks and flowers on each map, and the creatures and their reactions. What is not random is how the worker bee reacts to these core elements and thus what the player records in his journal. In play, the limitations upon the worker bee’s travel are twofold. First, on the dances that it knows and the dances associated with particular landmarks. Second, on the creatures it knows and interacts with. Both will serve as navigation points. So, the worker bee will initially fly in the direction of hex with a dance it already knows. If this leads to flowers, fine. It can return with the much-needed pollen. If not, the worker can begin to explore, building a map of new locations and landmarks and creatures and hopefully, flowers full of pollen. These become way points that the worker bee can return to again and again as maps dances and locations. In returning to the hive, the worker bee can do three things after depositing the pollen. Learn a new dance, tell the other worker bees about the flowers it has found, and best of all, develop new dance moves and teach these.

Play ends with the worker bee having filled up all one-hundred-and-eighty cells of the pollen score sheet. It might also end early if a creature attempts to eat the worker bee, but the game does suggest the worker bee is nimble enough to get out of the way. At which point, the player has a map to consider and a story to read.

Bumbling – a solo RPG is slightly underwritten in terms of explaining the initial exploration and tying a dance to a hex. Perhaps an example of that would have helped. Otherwise, physically, Bumbling – a solo RPG is bright and pink and simple and quick and easy to pick up and begin play. It even comes with blank hex maps and scoring sheets for the player to copy.

Bumbling – a solo RPG is exceptionally light as a solo, journalling game. In comparison to Caltrop Kaiju, it is contemplative in nature, without the sense of peril. That lack of peril means that its sense of achievement comes from the exploration and the interaction with friendly creatures, and telling the story of this rather than defeating or overcoming an obstacle. However, without that, it does mean that there is not the inherent need to return to Bumbling – a solo RPG to play again and to see how well you did. Nevertheless, Bumbling – a solo RPG is a bee-calming little game, providing the means to explore and learn about world from a worker bee’s eyes point of view and tell its story.

The tunnel opens up into another large cave system.

The party will encounter three Shadow Elves. They are on patrol. 

Once this Shadow Elf community was vibrant, well. As vibrant as these elves ever get. But a thousand years of exposure to the Vampire Queen's evil and the necrotic forces here (not to mention what strange radiations are coming from the ship above) have reduced their numbers and made the remaining elves slightly better than ghouls. Their alignment is now Chaotic (Evil).

They will attempt to talk to the party, but on the first sign of advantage, they will attack.

In addition to treasure they have food (more of the good mushrooms) and wine.

Note: Dwarves will notice that these passages are steadily going down.

Dungeon Crawl Classics Lankhmar #2: The Fence’s Fortuitous Folly is a scenario for Goodman Games’ Dungeon Crawl Classics Role Playing Game and the first scenario for the Dungeon Crawl Classics Lankhmar Boxed Set. Scenarios for Dungeon Crawl Classics tend be darker, gimmer, and even pulpier than traditional Dungeons & Dragons scenarios, even veering close to the Swords & Sorcery subgenre. Scenarios for the Dungeon Crawl Classics Lankhmar Boxed Set are set in and around the City of the Black Toga, Lankhmar, the home to the adventures of Fafhrd and the Gray Mouser, the creation of author Fritz Leiber. The city is described as an urban jungle, rife with cutpurses and corruption, guilds and graft, temples and trouble, whores and wonders, and more. Under the cover the frequent fogs and smogs, the streets of the city are home to thieves, pickpockets, burglars, cutpurses, muggers, and anyone else who would skulk in the night! Which includes the Player Characters. And it is these roles which the Player Characters get to be in Dungeon Crawl Classics Lankhmar #2: The Fence’s Fortuitous Folly, in which they see a strange pair of silver-plated skeletal hands escape the the shop of their local fence and after a chase through the streets and alleys of the city, find themselves at the entrance to vaults under the city. The fence claimed that the legend says that the silver-plated skeletal hands know the location of a great treasure. So anyone in possession of the hands might get a pointer. Of course, that might only be a legend and legends are not always true...
Dungeon Crawl Classics Lankhmar #2: The Fence’s Fortuitous Folly is designed for Second Level Player Characters and it is as different from other Dungeon Crawl Classics as could be—although not as different as the first scenario for the setting, Dungeon Crawl Classics Lankhmar #1: Gang Lords of Lankhmar. It is also much shorter, more straightforward, and does involve a dungeon of sorts. Designed for two to three Player Characters, it opens with them at a local pawnshop run run by Rooga the Fence, who specialises in the odd and the unusual and the occasional bit of objets d’art. Having offloaded most of the goods from their most recent larcenous endeavours, both they, Rooga, and Rooga’s bodyguards are surprised when the silver-plated skeletal hands suddenly animate and make a successful scuttle for freedom, climbing out of a window and racing off down the street. Which means that the race is on!
Dungeon Crawl Classics Lankhmar #2: The Fence’s Fortuitous Folly is divided into three acts. The first takes place in the pawnshop, but the second out on the fog bound streets of the city as the Player Characters race after the rapidly disappearing pair of silver-plated skeletal hands. This is handled as a chance as the Player Characters attempt to remain in sight of both their quarry—and as they fall behind—and each other. Along the way, there are encounters, mostly random, one or two not, which the Player Characters can plough into or through, perhaps avoid, but all will delay their progress in the chase. There are some inventive scenes mini-encounters here, made all the fun because they are run into and at pace. There is a reward to be gained in keeping with the fleeing silver-plated skeletal hands, though that may come at a loss to those who cannot keep up and get lost in the fog.

In the third act, the Player Characters will find themselves at the entrance to vaults under the ruins of a burned out building. Gaining access is easy and as they search for the missing hands, the Player Character discover a long abandoned wizard’s laboratory, oddly linked to the worship of the martyred god, Crooked Issek, and showing signs that dreadful experiments took place here. In the last act, the owner of the vaults—and what remains of the house above, appears in a nasty showdown which could lead to loss of a Player Character or at the very least, the loss of their body! The latter possibility can lead to some interesting adventures which are hinted at here, but the Judge will need to develop them herself. There is also the possibility of a rich reward if the Player Characters can keep hold of it and out of possible litigation.

Physically, Dungeon Crawl Classics Lankhmar #2: The Fence’s Fortuitous Folly is as decently presented as you would expect from Goodman Games. The scenario’s chase is clearly explained and comes with examples, as well as a tracker. If there is a downside to the scenario, it is that its map is not that interesting. It could have done with some detail and flavour.

The only issue with Dungeon Crawl Classics Lankhmar #2: The Fence’s Fortuitous Folly is its Player Character numbers. Two to three is low for a typical playing group, but there are notes throughout the scenario for upping the ante and adjusting to running it with four to six Player Characters.

Dungeon Crawl Classics Lankhmar #2: The Fence’s Fortuitous Folly is not as good or as interesting a scenario as Dungeon Crawl Classics Lankhmar #1: Gang Lords of Lankhmar. However, that does not mean that it is not worth either the Judge’s time or adding to her Dungeon Crawl Classics Lankhmar campaign. Dungeon Crawl Classics Lankhmar #2: The Fence’s Fortuitous Folly is fast-paced, easy to add to a campaign, and offers an entertaining single-session adventure.
—oOo—


Goodman Games will be at UK Games Expofrom Friday 2nd to Sunday 4th, 2023.

 It's the first Friday of June! Growing up that meant it was time for some D&D.  What better way to do that than some old-school adventures? Thankfully we have some great ones to choose from.

Maximum Mayhem Dungeons #0: Village on the Borderlands

https://www.kickstarter.com/projects/marktaormino/maximum-mayhem-dungeons-0-village-on-the-borderlands?ref=theotherside

Mark Taormino is a long-time friend of the Other Side and I have all of his Kickstarters. This one looks great as well and I can't wait to try it out. If it is half as fun as his other adventures then it will still be twice as fun as most of the adventures out there.

Tomb of the Dundel Chief - A D&D adventure, 5e, 1e and C&C

https://www.kickstarter.com/projects/gaxland/tomb-of-the-dundel-chief-a-dandd-adventure-5e-1e-and-candc?ref=theotherside

Ah, now this one comes from D&D royalty! Heidi Gygax-Garland and her husband Erik have already created some adventures. But this one looks rather epic in scope. Plus it has a Castles & Crusades version, the game that Gary himself felt was the spiritual successor to AD&D. 

It also looks quite fun.

Things Better Left Alone

https://pacesettergames.com/collections/bx-rpg-1/products/things-better-left-alone

Ok. So not a Kickstarter, but on sale now. And it looks really cool and would jive well with all of these adventures.

So get out your circa 1983 rulebooks, color in your dice, and get these adventures. It's summer and time to play!

The pamphlet scenario or supplement packs as much information as can be got onto an A4 sheet of paper down in a trifold format and aims to make it playable. First seen as a support for roleplaying games such as MOTHERSHIP Sci-Fi Horror Roleplaying Game and Mörk Borg, the format enables publishers to present smaller content in distinct—and succinct—packages of their own that are quick and easy to prepare and run at the table. In many cases these pamphlet scenarios are available in collected bundles as well as singly, enabling the Game Master to pick and choose which one she wants and which ones she wants to run. The format, of course, has its limitations, primarily those of limited space and arrangement of information in that space. This can often lead to poor explanations of the context for their content, or worse, inadequate or missing explanations. In the case of the latter, the Game Master will have to supply that after reading through the rest of the content, whilst for the former, she will simply need to read through the pamphlet for it to make sense.

Loot the Room has published several of these pamphlets. Two are compatible with Mörk Borg, the Swedish pre-apocalypse Old School Renaissance retroclone designed by Ockult Örtmästare Games and Stockholm Kartell and published by Free League Publishing. One is a generic fantasy adventure. All three fall into the ‘GrimDark’ fantasy—or fantasy horror—genre and like the majority of content for the Old School Renaissance, are easily adaptable to the Dungeons & Dragons rules variant of the Gamer Master’s choice.

—oOo—
The God of Many Faces is not only compatible with Mörk Borg, but also set in the city at the heart of Mörk Borg—Galgenbeck, and it shares the Artpunk sensibilities of Mörk Borg in of neon yellow as its choice of colour. It begins on the steps of the Cathedral of the Two-Headed Basilisks. Rumours ripple out and back again that a prophet has appeared proclaiming Verhu to be a fraud, the Calendar of Nechrubel is sham, and the Miseries are the work of the Basilisks themselves. The Basilisks must and in their stead a new god will arise—the God of Many Faces, The Eternally Open Eye. As the rabble before the steps beats drums and cries for donations to their new god, the Player Characters must decide upon their course of action and examine their motivation. Perhaps they have to gather information upon The Many-Faced God upon pain of death, simply want to witness them first hand, seek salvation and a new life from them for a sick family member, or as an agent of Two-Headed Basilisks, just stop them by any means.

The God of Many Faces is a hex-crawl across the city of Galgenbeck. Just limited to ten hexes, the Player Characters will travel back and forth across the city in search of The Many-Faced God, constantly finding signs of their passing, including warriors with their eyes sewn closed; a rampaging Many-Faced Mace, sacred to The Many-Faced God, so killing it will be an act of blasphemy; and apostates ready to convert the will even as they castigate and execute the unwilling. There are a couple of encounters which the Player Characters must have in order to trigger the final encounter, so the Game Master will need to improvise what happens if the Player Characters need to return to previously visited locations. Other than a quartet of new Sacred Scrolls, The God of Many Faces is a short, direct affair, which can played through in a single session. It does suffer from not being quite clear as to what is going on, at least initially, as the explanation is on the inside back page of the trifold, with the full locations, stats, and map placed across the centre spread. However, read through that and the Game Master has in hands a riotously raucous adventure set across a city in uproar and religious fever that is easy to read through, and prepare in minutes.

—oOo—
SNÜNGEON is a molluscular dungeon that is easy to drop into location. The husks of dead titan snails litter the landscape, slimy, grimy, and simply odd. Others come to the field of husks to find refuge, the secret treasures left behind by the giant molluscs, or for darker ends. For the Player Characters, might need to find the dead flesh of a titan snail to clear his debts, another to hunt down rivals who have hidden amongst the husks, or simply because wants a snail nail helm because they are cool! SNÜNGEON is linear, its innards spiralling deeper, odd and alien… This snail-themed dungeon might not contain all that the Player Characters are looking for, but what they will find is a secret cult of snail-worshippers, working towards their own molluscular transformation, and snail assassins which creep along the ceiling…

SNÜNGEON has an oozy atmosphere and a mature tone that echoes that of the Xenomorphs of Alien. It is a straightforward dungeon in a different type of enviroment, which runs to just seven, decently detailed locations. Again, easy to prepare and run, it is actually presented in a more accessible manner so that it is easer to prepare than The God of Many Faces.

—oOo—
The Grasping Tunnels is not for, or compatible with, Mörk Borg, but it could be. It does take longer to prepare because it is systems agnostic and thus needs stats to be created by the Game Master. Once done, it is easy to drop into almost any location. It opens with the collapse of a patch of earth in a fallow field, followed by the expulsion of a blast of foetid air. What is in the tunnel? Where the air come from? Does it represent a danger to the children who used to play in the field? Some have already ventured below, only to return, wounded of body and mind, dragging their dead companions with them, and whispering of the grasping claws and teeth to be found below.

The Grasping Tunnels has Lovecraftian undertones in that its tunnels are home to strange beast with long arms which can snake the length of many corridors in the net, grasping for food to drag back to its babbling, tongue-filled maws. There is a strong sense of claustrophobia too, as the Player Characters face these flailing, grasping limbs in a series of lightless rooms and tunnels of crumbling earth. This is made all the worse by every hand being different—and odd, there being a table provided for the Game Master to roll randomly each time one is encountered. There are no suggestions as what kind of power or ability to pitch the adventure at, though the Player Characters do need access to decent magic, silver weapons, or magical weapons to effectively defeat the creature. The Grasping Tunnels is also clearly laid out and thus easy to use, and overall, provides a horrifying descent into the earth for the Player Characters.
—oOo—
All three pamphlet scenarios are easy to use, in general, well presented, and above all, incredibly quick and easy to prepare. In the cases of The God of Many Faces and SNÜNGEON, very easy to prepare, taking only a few minutes. Overall, adventures like The God of Many Faces and SNÜNGEON, as well as The Grasping Hands, are decent mini-encounters, but worth holding in reserve when the Game Master needs something quick to run. Of the three The God of Many Faces stands out for capturing the rapture of a religious riot and making the Player Characters work their way through it.

Moving through the cave away from the tunnel, you begin to spy smaller tunnels on either side. 

As the party goes by several (1d4+2) giant white worms, Caecilia come from the tunnels and attack. 

Each worm has Treasure Type B stored in its worm tunnel.

So it is June, and historically June has been D&D month around here. Though I have to admit I have not been in a D&D mood all year.  I do have some things that fill that space certainly and will get to them.

Today though feels more like May 32nd. So I am going to do a little bit more with my Doctor Who posts and move on to other things.  And a good place to do that is to compare the three characters that I have been using for all my Doctor Who posts; Larina, Jenny Everywhere, and Valerie. 

The biggest difference between the 1st Edition and 2nd Edition Doctor Who RPGs is predominantly in character creation. Since I have three characters here that are a bit outside of the norm they make good test subjects for the new Distinctions.

Who Are You?

So I have a public domain "shifter," an immortal from the 16th Century, and a witch vaguely aware of all her past lives. How do these three get together in a bar in Soho?

Thankfully I already have good ideas about who these characters are in the Doctor Who universe. I just need to get them to jell together.  Using the Shared Background Experiences table on p. 33 helps. 

• Jenny has met other versions of Larina but sees that, unlike her, Larina is only vaguely aware of them. Larina wants to know what Jenny knows.
• Jenny has come across Valerie in the past. Val thought Jenny was immortal, Jenny (never Jen) thought Val was another shifter. 
• Val and Larina have known each other for years. Val has also interacted with Larina's past lives.
• Jenny goes to Larina for a Tarot reading, and despite all the shuffling, all the cards when flipped over are blank. The same thing happens again with Valerie. 
• This is the big one. All three try to avoid each other. Larina says they have strange auras, and not the same sort of strange. Jenny says the other two "buzz" and it gives her a headache. Val says that when they are together weirder than average shit happens. When it is all three the wierdness increases.

So when a chance meeting in a bar in Westminster one cold November night, things got weird.

Going back to the characters now and build them by the new rules. 

Jenny Everywhere

I have mentioned Jenny a lot. She is a great character for the Doctor Who game and maybe even a better character for this newer version.

As always, I must include her license:

"The character of Jenny Everywhere is available for use by anyone, with only one condition. This paragraph must be included in any publication involving Jenny Everywhere, in order that others may use this property as they wish. All rights reversed."

Concept: Shifter in time and space.

What does that mean? Well she can sense changes in time flow, she can move about realities, she knows things that she otherwise would not know or not be capable of knowing. This new edition is explicit on the fact that the Time War changed history and the future and what we thought happened didn't or happened differently. Jenny can sense that.

Focus: Adventure

Jenny is nothing if not about adventure. She doesn't bemoan her abilities or lot in life, she embraces them.

Distinction: Shifter

This is what she is. It defines her. Since this is a major one her Story Points are reduced per page 47.

Valerie Beaumont

To paraphrase the Doctor, she is not my character but I have put a lot of work into her. Valerie is an immortal and she is always search for others like her, somewhat out of companionship and kinship but mostly to discover why she is the way she is. 

Concept: Immortal seeker of knowledge

Everything about Val revolves around her desire to learn more about who she is and her place in this cosmos. 

Focus: Discovery

Val is cautious not to let people know who she is until she knows who they are first. But when it comes to a mystery or discovering something new she jumps in feet first and then figures out how she will land on the way down.

Distinctions: Immortal, striking appearance

This one was easy, and the examples are given in the book. She also takes a minor reduction in Story Points.

Larina Nichols

Ah. Now this girl. We go way back. 

She is a witch. Regardless what that means in any given world that is who she is. If anything she lives by the quote "A witch is not what you do it is who you are." Sounds like a Concept to me.

Concept: Modern Witch

She believes in magic, in the power of crystals and more. She does not view these as "paranormal" just "extra normal." Certainly in the universe of Doctor Who she can be justified.

Focus: Curiosity

Larina wants to know things just for the sake of knowing them. Her curiosity is insatiable and it gets her into trouble. A lot.

Distinctions: Psychic, striking appearance

Ah, now here is where the Distinctions work better than traits. In the First Edition, I had to buy a lot of traits to get her the powers I wanted, even if in a small bit. Here she takes a Major Distinction, Psychic and I work out with my GM (well...me) and figure out what she has when. So she is telepathic and empathic and can have visions of the future (precognitive) when needed.  There are plenty of examples of these sorts of humans in Doctor Who, well traveling with this bunch has turned her abilities up. Turned up so much that they might even become dangerous. 

The balance here is do I reduce her Story Points OR as the GM use her as a plot device?  Both sound appealing. 

I have to admit. I rather love these. I knew with the new 2nd Edition system, things like my group of weirdos here would work so much better.

Right now the only thing keeping me in the First Edition game is inertia, but if I had too I could switch over to the Second Edition with no looking back.

I'll reiterate this with more clarity.

If you are new to RPGs and/or new to Doctor Who, then this is the version of the game to get.  Get to your FLGS (preferably) or Amazon (if you must) and grab a copy. Or if you are a Save the Trees type (good for you!) then head over to DriveThruRPG and grab a copy in PDF. It has everything you need except dice.

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

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

—oOo—
Name: The Terror in the TapestryPublisher: Chaosium, Inc.
Author: Ryan Sheehan

Setting: Dark Ages EnglandProduct: Scenario
What You Get: Thirty-two page, 22.80 MB Full Colour PDF
Elevator Pitch: What would drive someone to commit tapestry theft?Plot Hook: Part of a holy tapestry has been stolen. Can the thief be found?
Plot Support: Four pre-generated Investigators, two handouts, eight NPCs, one map, one Mythos spell, one Mythos tome, one Mythos artefact, and two Mythos monsters.Production Values: Serviceable.
Pros# Scenario for Cthulhu Dark Ages# Can be run using Cthulhu Through the Ages. Better with Cthulhu Dark Ages.# Set near Totburh, setting for Cthulhu Dark Ages.# Nicely detailed ritual# Good mix of action and investigation# Ophidiophobia# Homichlophobia# Textophobia# Pentiliarphobia
Cons# Needs a slight edit.# Plain map.# Some terminology could be called ‘problematic’# Odd means given of obtaining the ritual
Conclusion# Solid scenario for Cthulhu Dark Ages themed around an interesting artefact# Suitable addition to a campaign set in and around Totburh

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

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

—oOo—
Name: The Cult of Gl’thol’ticPublisher: Chaosium, Inc.
Author: Jess Charle

Setting: Jazz Age Massachusetts
Product: ScenarioWhat You Get: Thirteen-page, 39.00 MB Full Colour PDF
Elevator Pitch: Small town murder mystery, plus the MythosPlot Hook: Can your god be summoned before they come for you?Plot Support: Two handouts, five NPCs, and one map.Production Values: Plain.
Pros# The very definition of a ‘fixer-upper’ scenario# One-shot with the players as cultists# Call of Cthulhu Investigators as the enemy# Small town mini-murder mystery# Pretty map# Paranoia# Capiophobia
Cons# Needs an edit# Player Characters are not supposed to know they are cultists# Murder mystery mostly incidental# No staging advice# No sense of the Player Characters being investigated# No option for the Player Characters to act against the Investigators# No pre-generated Player Cultists# Bryce Wane. Millionaire Vigilante. Industrialist. Notorious playboy. Fights crime as ‘Rat Man’.# Yes. You read that correctly.# Bryce Wane. Millionaire Vigilante. Industrialist. Notorious playboy. Fights crime as ‘Rat Man’.# No. Not kidding. Really is an NPC in the scenario.
Conclusion# Potentially interesting scenario with Player Characters as cultists undone by severe lack of development# Lack of pre-generated Player Cultists significant omission # Bryce Wane. Millionaire Vigilante. Industrialist. Notorious playboy. Fights crime as ‘Rat Man’. 

In almost forty years of The Terminator films as a franchise and intellectual property, it is surprising to note that there has never been a roleplaying game based on them. After all, the concept is pretty simple—an unstoppable killing machine comes back from the future to kill the mother of the resistance leader who will defeat its A.I. master in the future—such that it is probably one of the easiest Science Fiction/horror time travel plots to adapt to the system of the Game Master’s choice. Yet still no roleplaying game when there have been two roleplaying games—one from Leading Edge Games and another from Free League Publishing—based upon the Alien franchise. Leading Edge Games did manage a set of miniatures wargaming rules, TERMINATOR 2 Year of Darkness – Miniatures Combat System and several sets of miniatures, but not a roleplaying game. Fortunately, Scottish roleplaying publisher, Nightfall Games, best known for the dystopian roleplaying game of corporate horror, SLA Industries, gained the licence in 2020 and following a successful Kickstarter campaign, published The Terminator RPG and The Terminator RPG Campaign Book, plus The Terminator RPG Quick Start. One notable inclusion in the writing team for The Terminator RPG is Andrew E.C. Gaska, the franchise consultant for 20th Century Studios on Alien, Predator, and Planet of the Apes, who was also on the writing team for the Alien: The Roleplaying Game.

The Terminator RPG is based upon The Terminator, the original film by James Cameron from 1984 and then on the seventeen or so comic book storylines published by Dark Horse Comics between 1990 and 2019. The Science Fiction horror roleplaying game enables play in two time periods. The first is the future of the here and now, or at least an alternative here and now. This is the future of Judgement Day, in which the A.I. Skynet attempted to destroy its creators and the rest of humanity in nuclear, biological, and chemical conflagration before sending out increasingly sophisticated machines to wipe out humanity, whether through brute force or infiltration followed by brute force. The Resistance arose, led by those who had been preparing for Judgement Day and the rise of the robots, most notably, John Connor, to defeat Skynet and its forces. By the end of the 2020s, the Resistance would prevail, but not before Skynet developed temporal technology with Time Displacement Equipment, enabling it to send Terminator units back into the past and attack those who would become a danger to it in the future. Thus, the war against the machines became not a war of resistance and rebellion against Skynet, but a war through time, a hunt for Skynet’s agents across the later twentieth and early twenty-first centuries. This opens up the second time period, the 1980s, and whilst it would be possible to run campaigns in both periods without any crossover, travelling back from the 2020s opens up the possibility of some entertaining ‘fish out of water’ style roleplaying. In general, the emphasis in The Terminator RPG is on the period of the 2020s, but there is still plenty of information about the 1980s to run a campaign set there.

A Resistance Fighter in The Terminator RPG has a Role, such as Engineer, Hacker, or Scout. This provides a Resistance Fighter’s initial stats and a Resistance Ability. For example, the Grunt has ‘Physical Training’ which enables the Resistance Fighter to trade in a Skill die on a Strength or Dexterity related Skill Test and ensure that the result on the Success die is always a ‘Messy Success’ whatever is rolled. The Grunt also has extra Hit points. The Pilot, for example, has ‘Mechanised Warrior’, which enables the Pilot to control a vehicle passively and specialise in a particular type of vehicle. The Resistance Fighter has six stats—Strength, Dexterity, Knowledge, Concentration, Charisma, and Cool. Stats are rated between zero and six, whilst the skills are rated between one and four. A Resistance Fighter also has FATE, a replenishable representation of his luck, and he can have Traits, such as Addiction, Arrogant, Exceedingly Cool, or Vision (Good). He also has Hope Points, which are divided between three categories—Body, Brains, and Bravado—and indicate the ways in which a Resistance Fighter can emulate the cinematic style of The Terminator. For example, with Body 2, Brains 3, and Bravado 1, Minguez the strategist could ‘Go Crashing In’ to dive into a room and gain a single charge or ranged action before combat begins, to make a ‘Luck Guess’ and gain a free bonus to a Knowledge or Concentration skill roll, or ‘Lead From The Front’ to lead soldiers into battle and bolster their morale. To create a character, a player selects a Role, assigns seven points to the stats, receives the base skill ranks for the Role and spends thirty-six points to purchase more skill ranks, and selects traits—both negative and positive so that they balance. A Resistance Fighter does not have to have any traits and there are relatively few of them, with fifteen negative traits versus only seven positive traits.

Name: David Renko
Role: Historian
STATS
Strength 1 Dexterity 1 Knowledge 5
Concentration 1 Charisma 2 Cool 1
FATE 1/1
HOPE
Brain 2 Bravado 1
Hit Points: 16 Willpower: 16
MOVEMENT
Closing: 2 Rushing 5 Encumbrance: 4 Initiative: 3
Resistance Ability: Natural Academic
SKILLS
Diplomacy 3, Education: Academic (Mathematics) 4, Education: Natural (Physics) 3, Endurance 1, Interrogate 1, Language: Russian 3, Lore: Skynet 3, Melee Weapons 1, Oratory 2, Pistol 1, Rifle 1, Stealth 1, Survival 1, Tactics 1, Time Science 1, Unarmed Combat 1
TRAITS
Anxiety (Rank 1), Natural Aptitude: Time Science (Rank 1)

The Terminator RPG allows for two further Resistance Fighter types. One is the Cyborg as per Terminator 2: Judgement Day. There are no specific rules for creating this Resistance Fighter type, but guidelines suggest building it as a Grunt with the additional traits of ‘Learning to Run’, ‘All Hope is Gone’, and ‘Unstoppable’. The other is the Fated. They are NPCs or Resistance Fighters already known to Skynet (and so cannot have the associated negative trait) and worse, are in its crosshairs. The obvious character from The Terminator for this is Sarah Connor.

Mechanically, The Terminator RPG uses the ‘S5S’ System first seen in SLA Industries, Second Edition. This is a dice pool system which uses ten-sided dice. The dice pool consists of one ten-sided die, called the Success Die, and Skill Dice equal to the skill being used, plus one. The Success Die should be of a different colour from the Skill Dice. The results of the dice roll are not added, but counted separately. Thus, to each roll is added the value of the Skill being rolled, plus its associated stat. If the result on the Success Die is equal to or greater than the Target Number, ranging from eight and Challenging to sixteen and Insane, then the Operative has succeeded. If the results of the Skill Dice also equal or exceed the Target Number, this improves the quality of the successful skill attempt. However, if the roll on the Success Die does not equal or exceed the Target Number, the attempt fails, even if multiple rolls on the Success Dice do. FATE can be spent to reroll the Success Die or any of the Skill Dice. It can also be spent to add a modifier to a Skill Test or a Resistance Test.
For example, David Renko is part of a resistance squad which has broken into a Skynet facility and discovered that it has Time Displacement Equipment or TDE. Unfortunately, the TDE was partially damaged in the assault on the facility and the date to when the Terminators have been sent back is not readily accessible. The resistance squad’s hacker has already managed to get the TDE computer working and Renko needs to determine the date from the accessible data. The Director—as the Game Master is known in The Terminator RPG—sets the Difficulty of the Skill Test at Challenging or 11. Renko’s player assembles his dice pool. This consists of the Success Die plus a Skill Die for his Skill rank of one in Time Science plus an extra Skill Die. To the result of each die, Renko’s player will add the Skill rank of one in Time Science. Renko’s player rolls five on the Success Die, and three and five on the Skill dice. This a serious failure as none of the dice rolled a success. Renko’s player decides to use Renko’s of Natural Aptitude: Time Science, which at Rank 1, allows him a reroll in the skill. This time he rolls an eleven on the Success Die and a nine and a five on the Skill Dice. This is a Messy Success, which means that Renko can identify which year the Terminator units travelled back to, but no more. So, his player uses a point of FATE to reroll the Skill Dice. He rolls both of them and gets an eight and a ten. Adjusting the results with Renko’s Skill Rank of 1 in Time Science, the results are eleven on the Success Die and on one of the Skill Dice. This counts as a Solid Success and narrows the temporal destination for the Terminator down to a month.In terms of the rules, The Terminator RPG runs implacably through the key elements of the setting, starting with combat. This is a major aspect of the setting so receives no little attention here, and is designed to be deadly, fraught, and highly tactical. It takes into account offensive and defensive manoeuvres, rate of fire, recoil, damage inflicted on armour, cover, aiming, and so on. Against ordinary opponents, combat is designed to be desperate and dangerous, but this only escalates when Terminator units become involved. As well as being physically dangerous, the unstoppably callous nature of Terminator units is extremely stressful and frightening, which can trigger Fear Tests, which typically occur when the Fear Rating of the situation is above a Resistance Fighter’s Cool stat. Failed Fear Tests lead to a loss of Willpower. As well as seeing a Terminator, being trapped or attacked, witnessing the brutality of Skynet, the loss of a close one, can all lead to Fear Tests if their Fear Rating is high enough. The rules also cover vehicle combat, traps, biological warfare and toxicants, and more, whilst the rules for traps cover disarming them as much as building them, so that the Resistance Fighters can lay traps as much as disarm them. Similarly, particular attention is paid to infiltration and exfiltration, as stealth is a key part to survival and moving around in the wasted world of the future as well as learning to get by in the bright and brazen world of the eighties.

Another major feature of The Terminator RPG is Hacking. The rules cover hacking and computers in both the past and the future and the radical differences in terms of technology. One of the given Roles in the roleplaying game is the Hacker and he will primarily be hacking electronic devices and computer systems. In general, hacking small systems requires only a simple skill test, but for bigger systems and where it is narratively appropriate, the hacker can attempt to infiltrate a system consisting of a series of connected nodes represented by a ‘Network Architecture Diagrams’. The player rolls Computer skill tests to generate points of Progress which can be expended to move deeper into the network, create a backdoor, capture a node, exploit a subroutine. If alerted, Network Security, or ‘NetSec’, will spread through the system attempting to locate the hacker and halt his progress, the Director rolling for and handling this process. In effect, hacking is in effect a two-player mini-game between the Hacker’s player and the Director. Fortunately, it is intended to take place at the same pace as combat rounds do, so it can be run in parallel with them if need be. It needs careful study by both the Hacker’s player and the Game Master, and although there is an example hacking attempt given of the system included, it would be a good idea for the Director to run through this at least once to understand it before bringing it into play.

In terms of technology, The Terminator RPG has lengthy sections devoted to both equipment and the machines of Skynet, the latter longer than the former. One nice touch is the equipment is organised not by name or type, but by the skill required to use each item, thus combining their description, the rules for their use, and their effects effectively under they are used. So, for example, dogs are listed under Animal Management, Time Displacement Equipment under Time Science, and everything from a flatbed truck to a main battle tank under Vehicles. Also covered are beam weapons, particle beam weapons, and other weapons deployed by Skynet. Then when it comes to the machines of The Terminator setting, The Terminator RPG covers much more than seen in the original film. So obviously the HK-Tank, HK-Drone, and T-800 Terminator, but The Terminator RPG also draws deeply from the comic book series published by Dark Horse Comics. So there are basic T-000 models, humanoid Hunter-Killers, as well as T-700 or ‘Data Junkies’, which pose as the homeless and are sent back into the past to collect data and then hide until after Judgement Day; the T-K90 or ‘Labrador Deceivers’, which hide amongst the Resistance’s dogs and acclimatise them to the presence of metal; and even T-R80 or ‘Cyberbats’, used as reconnaissance units. This offers a wide variety of threats and suggests possible story ideas for the Director to use and develop. This is all backed up by the discussion of the various components, features, and design of Skynet’s machines, so that the Director can understand how they work. Unsurprisingly, there is a focus on the T-800 as seen in The Terminator, including what happens when one loses various components. All of the machines given have game statistics as per a Resistance Fighter, but with high armour values and special rules which vary from model to model. Notable amongst the models are those developed by MIR, the Soviet Union’s answer to Skynet, which has an interesting relationship with its American counterpart.

In terms of background, The Terminator RPG also explores the rapid technological progress of the late twentieth century which ultimately led to the development of Skynet. This includes other corporations which contributed technologies later incorporated by Skynet, giving the Resistance another set of targets in the past. Numerous NPCs, drawn from both film and comic, are also given, complete with full stats, starting with Sarah Connor and Kyle Reese in 1984, John Connor in 2029, Lieutenant Ed Traxler, LAPD, in 1984, and more. If there is a potential issue here is that a lot of these NPCs will be unfamiliar to the players and the Director—especially the Director, forcing her to scurry off in search of the Dark Horse Comics. A nice touch is that every NPC entry includes notes made by Doctor Peter Silberman, providing an often-deluded psychological profile for each person, as well as an assessment by Skynet itself. The Director gets to choose which of the two assessments is worse…

The Terminator RPG terminates with not one, but two missions for the Director to run. Neither is original. The first, ‘The Phone Book Killer’, is based on the story seen in The Terminator, whilst the second, ‘The Killer in Me’, is based on the graphic novel, The Enemy Within. In both cases, the missions are designed to emulate rather than simulate the stories on which they are based. Thus in ‘The Phone Book Killer’, set in 1984, the Player Characters can be members of the LAPD investigating the case of the Sarah Connor murder spree or as Resistance Fighters sent back to stop the T-800. In the case of the latter, this will mean the players taking the roles of Sarah Connor and Kyle Reese, and essentially roleplaying the events out to see how they might differ, though there is scope for other Player Characters to get involved too. As a police investigation, the key Player Characters are Ed Traxler and Hal Vukovich, but again more Player Characters can be added, including Sarah Connor and Kyle Reese. Essentially, this is more of a toolkit to set up and explore the events of the story.

‘The Killer in Me’, the second mission is much more straightforward in its set-up and plot and is not the toolkit to set up and explore the events of its story that ‘The Phone Book Killer’ is. However, it does have the benefit of unfamiliarity, so the players and their Resistance Fighters can come to it unaware of its plot. Set in the 2020s, the Resistance Fighters are assigned to Lompoc Base, north of Los Angeles. The base is in danger of being overrun by Skynet, so when the base receives a message from a missing comrade that he has a cache of weapons and some survivors, both of which can help the base, its commander orders the Resistance Fighters to investigate. This requires a 150-mile trip, not through enemy territory, but under it via the sewerage tunnels. As the title of the mission suggests, this is a far more dangerous assignment than the Resistance Fighters will expect.

Physically, The Terminator RPG is very well presented. It is well written, the artwork is really good—the depictions of the various NPCs look right and the Terminators look scary, and throughout, there are plenty of examples of the rules and suggestions for the Director.

If there are issues with The Terminator RPG, they are relatively minor. For example, the list of Traits for Resistance Fighter creation seems paltry at best, and having ‘The Phone Book Killer’ as one of the two missions could also be seen as a cheap cop-out. Arguably, the former is more of an issue than the latter, limiting options in terms of Resistance Fighter creation, whereas the inclusion of The Terminator storyline as a playable scenario lets you roleplay and explore a situation which many a gaming group has already done inspired by the events of the film already, but do it with proper guidance and advice on how to do it differently. The inclusion of ‘The Phone Book Killer’ essentially lets you roleplay a story or situation you have been waiting forty years to do and do it with the licenced roleplaying rules.

Perhaps more problematically, is the roleplaying game’s complexity. The Terminator RPG looks complex and in some places it is. Then again, it has to be. This is roleplaying game and setting which involves near-unstoppable killing machines, which take tactics and ingenuity to destroy rather than brute force; computer systems which require infiltration against a faster, better, more capable enemy; and both desperation and courage. Yet, The Terminator RPG is not overly complex by the standards of most roleplaying games, simply requiring patience to learn and get used to the mechanics. (As an aside, the most obvious licensee back in the day would have been Leading Edge Games, since it had the licence for the TERMINATOR 2 Year of Darkness – Miniatures Combat System. However, it would have produced a roleplaying game based on The Terminator akin to its Aliens Adventure Game and that would have been complex. So, complexity is relative.

If there is a complex aspect of the roleplaying game, it is in the hacking rules, and that is to be expected. Hacking computers is not simple, especially if they are designed by an advanced A.I. Even then, the hacking rules are not that complex in comparison to other roleplaying games, but they do require attention and they do need to be learned how they work lest their inclusion slow play down.

Lastly, there is the issue of the source material for The Terminator RPG. The original film is readily available. The comic books from Dark Horse Comics not so readily. The Director will probably need to track them down. The inclusion of a bibliography would have been useful to that end, let alone for reference. That is the single real omission The Terminator RPG. However, the lack of relatively ready availability of the collected comics means that the Director’s players are unlikely to be as familiar with them and so she can easily plunder them for story ideas.

The Terminator RPG includes everything that a Director and her players need to run a game inspired by the original film—campaign ideas and advice, full stats and details on numerous killing machines, guidance on handling time travel, and fear in the face of the Terminators! The Terminator RPG is the roleplaying game we have been waiting for, for almost four decades, enabling us to enter the future and past of James Cameron’s Science Fiction dystopia, overcome our fear in facing the Terminators and take the fight to Skynet.

Long ago, at the beginning of the 13th Age, war raged between the Elves and the Dwarves. The Elf Queen commanded the magic of the wild and the fey capable of defeating her people’s enemy, but could not truly control it. Liris, a nature goddess, voluntarily underwent a ritual to contain this magic by binding her into a vault. The ritual was a success and it bound both the magic and the three elven districts—Greenwood, Darkwood, and Lightwood—to the Elf Queen’s own Thronewood. With the magic, the Elf Queen helped withstand the Dwarven assault and as time passed, the relationship between the Elves and the Dwarves eased and they became allies. Yet the power which Liris helped contain and control and so save the Elves corrupted her and drove her to attempt escape and wreak revenge upon those she blamed for her imprisonment—even though it had been voluntary upon her part. The Elf Queen and her greatest spellcasters from all three districts offered a Key up to perform a great ritual which would ensure that the vault imprisoning Liris would remain closed. Then the Keys were returned to their respective districts and placed in three mystical towers, hidden from those who did not know the means or routes to find them. More recently, the Elf Queen senses that the ritual keeping the vault containing Liris is weakening and needs to be performed again. For that, she needs the three Keys from each of the three districts, but relationships between the Elf Queen and the three districts were not they once were and many of those who readily knew the locations of the three towers have long since died. As the magical bindings on Liris’ vault weaken, her dark influence is being felt across the Thronewood and beyond as shadows and sorrow deepen. With her strength dedicated to withstanding Liris’ influence and preparing for the forthcoming ritual, the Elf Queen needs agents she can trust to find the three mystical towers, assail their heights (or depths), and return in time for her to perform the ritual which will save her kingdom.
This is the set-up for Elven Towers, an adventure for the Champion Tier for 13th Age, the roleplaying game from Pelgrane Press which combines the best elements of both Dungeons & Dragons, Third Edition and Dungeons & Dragons, Fourth Edition to give high action combat, strong narrative ties, and exciting play. The adventure requires access to both 13 True Ways and the 13th Age Bestiary to play and mostly obviously, will hook in Player Characters with Icon relationships with the Elf Queen or her allies. Options though are suggested for involving Player Characters with other Icon relationships, even ones so adverse to the Elf Queen that they would be prepared to betray both her and the efforts of their fellow adventurers should the need arise! Several ways of handling the interaction of the Player Characters with Court of Stars are offered, each of varying complexity or detail. The simplest is to run it as a group test, but alternatively, the Player Characters can attend the court and get involved in its activities and events, fully interacting with the various courtiers and hangers-on. There are plenty of NPCs detailed here as well as some nice means of handling the effects of Liris’ growing influence and the Player Characters being unsuccessful in their interactions with the Court of Stars. This includes increasing the amount of time it takes to get information, temporary penalties to saving throws, and temporarily delaying the increase of the Escalation Die in combat.
Once the Player Characters have worked out where the three Keys are located, they can set out to each of the locations. Consisting of the Tower of Memory in Greenwood, the Tower of Dreams in the Darkwood, and the Tower of Fate in the Lightwood, they can be tackled in any order, but they all adhere to the same format—a montage travel scene followed by three or four encounters between the Court of Stars and each tower, and each tower consists of four encounters before a finale. The encounters, inside the tower or outside of the tower, are essentially big set pieces, each different, but themed along the lines of the region the Player Characters are travelling through and the tower they are trying to reach. The format provides room for the Game Master to insert encounters of her own, if thematically appropriate, but to fair, the given encounters will be challenge enough. The Tower of Memory and the Greenwood are home to the Wood Elves and are forest-themed with the Tower of Memory being a giant tree. The Tower of Dreams and the Darkwood are home to the Dark Elves—or Drow depending upon the Game Master’s campaign—and the Tower of Dreams may be entered via a tree, but is actually in a spire protruding down into the Underworld. Many of its encounters veer between dreams and nightmares. The Tower of Fate is in the Lightwood and is home to the High Elves, with the Tower of the fate ascending to the Overworld. Many of the encounters in the Lightwood and the Tower of Fate relate to oracles, fate, and destiny.
The design of the scenarios as a series of big set pieces, means that the author gets to be inventive. For example, in the Tower of Memory, the Player Characters have to race across a rope bridge high above the forest floor, the missing slats of the rope bridge hidden by illusion, harassed by a Pixie knight and a Drunken Sprite Swarm; on the way the Tower of Dreams in the Darkwood, an ambush involves a Player Character being dragging back and forth behind an enraged wild boar and then back again after confronting equally enraged Owlbears, the whole encounter threatening to collapse into chaos; and a surprisingly creepy encounter in the Tower of Fate in the Lightwood in a cave of birthing pools left over from the Elves’ first creation of the Orcs a very long time ago, that should really resonate with any Half-Orc Player Character or Player Character with Icon Relationships with the Orc. The final encounter atop each tower always includes facing agents of one or more of the other Icons and there are stats and suggestions on how to tailor the forces of each Icon to each encounter. This allows the wider involvement of the Player Characters’ Icon Relationships, including both those with Icons who oppose the Elf Queen and those who might have interest in limiting or disrupting her power and influence.
Not all of the encounters in Elven Towers involve combat, though most of them do or will result in combat. Answering riddles or sharing secrets are a common feature, and is making trades. The sharing of secrets involves a roleplaying upon the part of the players, whilst riddles some deductive reasoning, though rules are given for skill checks and rolling dice for those players adverse to riddles. Trades will often see the Player Characters give up minor magical items, Revives, even Icon Relationship rolls—temporally!—and more. All of the encounters include advice on staging them and if necessarily, scaling them up to make a tougher battle.
Finally, the Player Characters will return to the Court of Stars with the three Keys—or not. The Player Characters may not necessarily gain all three Keys to Liris’ vault and the fewer Keys they have, the more difficult and dangerous the ritual that Elf Queen has to perform, becomes. The Player Characters get invited to a big party before the ritual to celebrate their success in obtaining the Keys and an even bigger party if the ritual is a success. The Player Characters are, of course, invited—or is that expected?—to help defend the ritual, which leads to a big boss, end of adventure-level fight. There is scope here too, for the Player Characters to betray the Elf Queen, if that is what their Icon Relationships demand. How that plays out is down to the Game Master, but if the betrayal succeeds, or the ritual as a whole fails, there could actually be a change in one of the Icons! However, if the ritual succeeds, there are rewards aplenty, including powerful magical items, the Elf Queen’s favour—which mostly means she will use them as her agents again, no matter what their Icon Relationships are, and even gaining or improving an Icon Relationship with the Elf Queen.
Physically, Elven Towers is well presented. The artwork is excellent and individual encounters are all easy to use and reference. However, some of the maps are a little dark and murky; the text requires a slight edit in places (one monster inflicts over three hundred points of damage, when it should be just over thirty); and an index would have helped. There are lists with page numbers for all of the monsters.
Elven Towers is an adventure that the Game Master will want to run if she has an Elf amongst her Player Characters or a Player Character with a strong Icon Relationship with the Elf Queen. The adventure is harder to run without either of these, but once involved in the adventure, Elven Towers is an entertaining, often exciting affair, with plenty of opportunities for roleplaying alongside the big, sometimes bigger, fights. Elven Towersis a grand quest in traditional fantasy and fantasy roleplaying style, well designed and executed with plenty of variation that reveals some of the secrets and nature of the Elf Queen and her realm.

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Pelgrane Press will be at UK Games Expofrom Friday 2nd to Sunday 4th, 2023.

There is a big difference between making ends meet and making a living when it comes to operating a starship. With expansive docking fees, fuel costs, and repairs to be made, let alone paying the crew, making a profit is never easy, unless that is, you pick up a contract from a crime boss. A crime boss like Algoth Nieminen, who just happened to take over and expand the Jitana Syndicate to the point where it is the primary crime organisation in the binary. Now he has a cargo which he needs transporting both carefully and speedily and he is short of his usual ships and crews. He will not say what it is, but it is sensitive and highly illegal. He will, however, say where it is. The cargo is aboard a ship which has been impounded and the held at the impound yard in orbit around Kandhara. So all the crew has to do is, fly to the Shan system, infiltrate the Kandhara Independent Impound yard, get aboard the ship, steal the cargo, and deliver it as Algoth Nieminen, as promised, right? Wrong. We not entirely wrong. The crew do have to fly to the Shan system, infiltrate the Kandhara Independent Impound yard, get aboard the ship, steal the cargo, and deliver it as Algoth Nieminen promised, but it is nowhere as simple as that. First, there are three ships and crews who worked for Algoth Nieminen in the impound and one of them has the cargo. Second, Algoth Nieminen has hired four other crews to retrieve the cargo and will only pay the bonus to the crew which successfully retrieves the cargo. Third, there is a detective who wants to make a name for himself—and if that means arresting Algoth Nieminen and breaking up the Jitana Syndicate, then all the better.
This is the set-up for The Kandhara Contraband: A System Agnostic Sci-Fi Adventure. Published by LunarShadow Designs, this as the title suggests is a rules free, mechanics free, stats free scenario for the Science Fiction genre. So more plot than numbers—and more set-up than plot—this is also a scenario which involves space crime. Which narrows it down to the types of roleplaying game it will work with. In terms of generic roleplaying games, Savage Worlds or GURPS or FATE Core would all work easily with this plot. In terms of setting, the set-up and theme points to two obvious choices. Star Wars is the most obvious, whether that is the D6 System version from West End Games or Fantasy Flight Games’ Star Wars: Edge of the Empire. The other option is the Firefly Roleplaying Game published by Margaret Weis Productions. But whichever system or setting the Game Master decides to run The Kandhara Contraband, the key elements are crime and space travel.

Half of The Kandhara Contraband is dedicated to the set-up and describing the other interested parties in the adventure. This includes the three syndicate ships and their captains who got impounded, as well as the four rival ships and their captains that Algoth Nieminen has also hired to retrieve the cargo, plus of course, the police detective. These are all given a good paragraph or two’s worth of description, which in most cases is accompanied by a question, which the Game Master has to put to her players. For example, Jacinda Sedius is the captain of The Icarus, a ship which though the same make and model as the Player Characters’, but is often on the verge of breaking down and in need of much maintenance. Captain Jacinda and her crew has suffered a rash of bad luck and really needs the payout that successfully retrieving Algoth Nieminen’s cargo would bring. The accompanying question is, “Ask the PCs about a time they have previously helped Jacinda and her crew. How many drinks does he owe them?” The Kandhara Contraband asks similar questions for each of the NPCs in the scenario, as well as at Kandhara Station, the orbital station. The effects of this are twofold. First, it involves the players in the creation of elements of the scenario, tying locations and NPCs to their characters and into the setting or game that the Game Master is running, and in the process setting up background details and roleplaying hooks. Second, if The Kandhara Contraband is run as a convention scenario—and it is about the right length to do that, even if there are no suggestions as to how to that or pace the scenario—each time it is run, it will be different for the Game Master.

The second half of The Kandhara Contraband is devoted to the scenario’s locations, which consist of the barren mining world of Shan, Kandhara Station, the orbital station above Shan, and the Kandhara Independent Impound Yard, and the final destination for the cargo. Here individuals, facilities aboard Kandhara Station, and events are all described. Most of the detail is spent on Kandhara Station, as it is here that the Player Characters will find the crews of the impounded ships and learn more about the cargo—which is very much far from ordinary.

Physically, The Kandhara Contraband is a plain and simple affair. Behind the decent cover, the scenario is unaccompanied by either maps or illustrations. Otherwise, the layout is tidy and the booklet a clean affair.

The advice for the Game Master in The Kandhara Contraband is brief. For the Game Master with experience of running a fairly improvised scenario, this should not be an issue. A less experienced Game Master might well have wanted more help and advice, or at least a summary of the events and hooks which help her more readily prepare the scenario and give her some idea as to what might happen once the players and their characters get involved.

The Kandhara Contraband: A System Agnostic Sci-Fi Adventure is plot and set-up. Both though, are more than enough to get a good session or two’s worth of Sci-Fi action and intrigue going, as well as provide content that the Game Master can easily add to her campaign and the players add to their characters’ backgrounds. Of course, it is going to need some effort upon the part of the Game Master to supply the stats, but once she has that, the Game Master is ready to run her Player Characters into trouble and hopefully, back out again, hopefully with The Kandhara Contraband in their cargo hold and out again.

. Dungeon Crawl Classics Lankhmar #1: Gang Lords of Lankhmar is a scenario for Goodman Games’ Dungeon Crawl Classics Role Playing Game and the first scenario for the Dungeon Crawl Classics Lankhmar Boxed Set. Scenarios for Dungeon Crawl Classics tend be darker, gimmer, and even pulpier than traditional Dungeons & Dragons scenarios, even veering close to the Swords & Sorcery subgenre. Scenarios for the Dungeon Crawl Classics Lankhmar Boxed Set are set in and around the City of the Black Toga, Lankhmar, the home to the adventures of Fafhrd and the Gray Mouser, the creation of author Fritz Leiber. The city is described as an urban jungle, rife with cutpurses and corruption, guilds and graft, temples and trouble, whores and wonders, and more. Under the cover the frequent fogs and smogs, the streets of the city are home to thieves, pickpockets, burglars, cutpurses, muggers, and anyone else who would skulk in the night! Which includes the Player Characters. And it is these roles which the Player Characters get to be in the Dungeon Crawl Classics Lankhmar #1: Gang Lords of Lankhmar, in which they they get recruited by a gang and that gang goes to war with the rival gangs on its block. As the situation escalates and the tit-for-tat situation turns bloody, can the Player Characters keep their gang safe and avoid the attention of either the Thieves’ Guild or the Overlord’s constabulary before either starts handing out bloody lessons?
Dungeon Crawl Classics Lankhmar #1: Gang Lords of Lankhmar is designed for First Level Player Characters and it is as different from other Dungeon Crawl Classics scenarios as could be. In a typical Dungeon Crawl Classics scenario, there is an issue which threatens a tribe, a village, or some other organisation, and the Player Characters are instructed to go out and either deal with it or investigate it. In Dungeon Crawl Classics Lankhmar #1: Gang Lords of Lankhmar, the Player Characters help initiate a situation and then manipulate it, before trying to weather the consequences and come out on top. Consequently, there is a sophistication to the scenario and more moving parts than us usually found in the average scenario for Dungeon Crawl Classics. The scenario takes place in the slums between the Old Slave Barracks on Chapel Street, Rookery Way, the Shrine of the Rat God on Squalor Row, and Pimp Street. Here, three gangs run the roofs and work the streets with smalltime protection rackets, gambling dens, pickpocketing, and more. They are the Knife Twisters, the Pimp Street Scuttlers, and the Forty Owlets. All three are consist of petty criminals and crooks and strictly small fry, not worth the notice of the Thieves’ Guild or the Overlord’s constabulary, but that is about to change.

The scenario begins with the Player Characters coming to the notice of, and being hired by, King Korvul—perhaps after their Meet in the scenario, ‘Dungeon Crawl Classics Lankhmar #0: No Small Crimes in Lankhmar’, to be found in the Dungeon Crawl Classics Lankhmar Boxed Set. King Korvul wants the Player Characters as part of his gang because he wants to be boss of the block, which means taking out the Pimp Street Scuttlers, and the Forty Owlets and taking over their operations. The Player Characters are disrupt the operations of the Scuttlers, play one gang off against each other, and protect the gang against reprisals. If the Player Characters can put up with King Korvul’s ego, then this is a pretty good deal. However, once the other gangs get wind of his aims, things do not go to plan and the Player Characters are going to firmly in the crosshairs.
The play of Dungeon Crawl Classics Lankhmar #1: Gang Lords of Lankhmar is built around three moving parts. The first of these is a timeline of detailed encounters which take place over the course of eight days. The second is a  ‘Neighbourhood Tension Tracker’ which presents a series of consequences which can occur as the shadow war between the gangs escalates and the bloody feuds break out into violence on the streets and action in the alleys. These consequences can come multiple sources, including the other gangs, and the Thieves’ Guild and the Overlord’s constabulary. Neighbourhood Tension begins at three and can rise to above forty or more, driven by assaults on other gangs, deaths of other gang members, acts of arson, and more. Bribes will alleviate it though, at least as far as the constabulary is concerned. So at a Neighbourhood Tension of eight or more, members of the rival gangs prowl the neighbourhood spoiling for a brawl with the Player Characters, whilst the Player Characters begin hearing that there are strangers about, asking questions about them. At thirty-five or more, the Thieves’ Guild dispatches assassins to kill the Player Characters, who are also declared enemies of Overlord and Wanted posters are put up with their names and faces on them!
 Third is the encounter areas, which in turn detail the major locations for the area where the scenario is set. This includes the bases of operation for all three gangs and the Dogfish, a dive bar roughly equidistant between them, all complete with maps, as well as other locations. There is also a table to randomly detail and populate (or not) the other tenement blocks in between, this being the city of Lankhmar, details of the roofs above and sewers below. pride of place though goes the centerfold map of the neighbourhood, which the Judge really needs to copy and put out on the table in front of her players so that they can plan their campaign against the other rival gangs.

There is a problem with the set-up in Dungeon Crawl Classics Lankhmar #1: Gang Lords of Lankhmar and that is that the Player Characters have to join the Knife Twisters for the scenario to really get going. What if the Player Characters wanted to join the Pimp Street Scuttlers or the Forty Owlets instead? The Forty Owlets is less of an option because it is an all-female gang, but not so the Pimp Street Scuttlers. The players and their characters may be put off by King Korvul being such an oligeaniously odious man and might want to side with another gang. This is not an option that the scenario explores, but had it done so, the scenario could have been a more rounded toolkit. However, there are enough details given that the Judge could make this change if necessary, but it would take some effort upon her part.

In play Dungeon Crawl Classics Lankhmar #1: Gang Lords of Lankhmar is a busy scenario with a lot going on in comparison to other scenarios for Dungeon Crawl Classics. This is both in terms of the Player Character actions—the scenario is very player-led—and NPC reactions, and there is a lot of interplay back and forth between the two. So the Judge is going to need to track both and the result of the ‘Neighbourhood Tension Tracker’.

Physically, Dungeon Crawl Classics Lankhmar #1: Gang Lords of Lankhmar is decently presented. The scenario in general, well written, the maps clear, and artwork constantly captures the grimy and grimy nature of life on the streets of Lankhmar.

Dungeon Crawl Classics Lankhmar #1: Gang Lords of Lankhmar is a busy scenario and a different scenario. It is primarily player-led, it focuses upon one small location which the Judge can bring to life, and potentially, it sets the Player Characters up with a base of operations in Lankhmar, gives them a small source of income, and provides them with something to care about with both the gang and the neighbourhood—if only as petty crooks. Dungeon Crawl Classics Lankhmar #1: Gang Lords of Lankhmar is great first scenario for the Dungeon Crawl Classics Lankhmar Boxed Set, which rightly focuses on crime in the City of Sevenscore Thousand Smokes. In the process, it provides opportunity aplenty for action, roleplaying, and skullduggery for Dungeon Crawl Classics Lankhmar.
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Goodman Games will be at UK Games Expofrom Friday 2nd to Sunday 4th, 2023.