A few months back I went through a number of the AD&D 2nd ed Monstrous Compendiums and talked about the advantages and disadvantages it had over the 1st ed Monster Manual. Also at the time, I mentioned the design choices made that also separated them from their 1st edition counterparts. 

Since today is the 4th of the month, I figure it is a good time to talk about the Fourth Edition Monster Manuals and what also made them special.  

To begin with, I was and am a fan of 4th Edition Dungeons & Dragons. I know it was not everyone's favorite edition, to put it mildly, but there are some really great things about it.  For starters, I applaud the design team for daring to try something new and different with the D&D game. Of course, most fans don't want new. They want the same thing, but even for the open-minded D&D 4 was a bridge too far.  Secondly, D&D 4 was a masterwork of modular design. You could take out and move around sections of it as you needed.  Yes, everything worked together, but many of the pieces could be swapped out for other pieces.  This design notion extended to the layout of the books. Nowhere is this better seen than with the Monster Manuals.

To me it seemed that 4th edition took the design elements that had made the Monstrous Compendiums successful; namely one monster per page, and all sorts of information on the monster's habitat, environment, and variations.  It is also one of the main reasons I still keep my 4th edition monster books. There is so much information here that I have been using them to inform details in my 5th edition game. 

In all cases here, I am considering my hardcover books and the PDFs from DriveThruRPG.

Monster Manual for D&D 4e

Hardcover and PDF. Color covers, full-color interior art. 288 pages.

This was the third book published for D&D 4th edition, though that is a mere technicality since all books were published at the same time in June of 2008. I picked mine up as a boxed set at the midnight release.

Much like AD&D second edition, the monsters for D&D 4th edition are presented as one page per monster. More or less. Sometimes the monster runs two or four pages, but always a complete page.  Where 3e had monsters built exactly like characters, 4e monsters have their own rules, much like how 1st and 2nd Ed built them. 

Fourth Edition was most certainly a "miniatures" game or, as it was hoped, to have a lot of online support and content. That did not materialize in the way Wizards of the Coast wanted and strong sales of Paizo's rival "Pathfinder RPG" kept D&D sales low for the first in the history of RPGS.  Make no mistake, D&D still sold well, it just wasn't out selling everything else.  

That was too bad really.  D&D 4 had a lot about it I liked and still like.

The 4e Monster Manual is 288 pages with over 170 monster entries. Many entries have multiple monsters. For example, there are three different types of Aboleth, six types of kobolds, and seven types of orcs. Along with the stat blocks, we get an idea of the role each monster plays in combat, like Controller, Brutes, Skirmishers, or Leaders, and what tactics they can employ. All the monsters have Lore with appropriate DCs for learning more about them or what a particular die roll will bring up.  The monsters also include plot hooks and ideas for using them in adventures.  

Some interesting changes happened in 4e.  For starters, some major demons, like our cover guy Orcus here, got their own entry outside of the demons category.  He also had major henchmen listed with him. 

Also, a conscious effort was made to redesign the cosmology of D&D. The effect here was to have Succubi now listed as "Devils" and not "Demons." 

This caused some interesting in-game fluff with books like Erin M. Evans' "Brimstone Angels" trying to explain this "in-universe" from the perspective of the Forgotten Realms.  This lives on in 5e with succubi as now independent evil outsiders. Other changes were made to various monsters, Daemons/Yugoloths we moved over to the demons, including making them Chaotic Evil.  This might have messed with ideas of the Blood War, but there is no reason why there needs to be continuity between editions, it is just nice.

One of the things that irritated some people was not the monsters it had, but the ones it did not have.  It particular Demogorgon is nowhere to be found and many of the named devils are also not here. 

Monster Manual 2 for D&D 4e

Hardcover and PDF. Color covers, full-color interior art. 224 pages.

This book was published about a year later in May of 2009. This book also has over 170 monster entries. Some are expanded, like Giants (and I love what they did for giants in this edition) and more demons. This book also gives the impression that many monsters were held back for a second book.  Unlike previous books with the same name, Monster Manual 2, this one doesn't feel like added-on monsters. This feels more like the Vol 2 of the AD&D Monstrous Compendium.  In addition to some that are expected, there are some new monsters too.

Our cover guy this time is Demogorgon. He and all his minions get 9 pages. 

Monster Manual 3 for D&D 4e

Hardcover and PDF. Color covers, full-color interior art. 224 pages.  This is also the only book of the three that you can also buy as a Print on Demand softcover. 

This book was released in June 2010, another year after the MM2. Lolth is our cover girl this time. It would have been interesting to see Graz'zt, but Lolth makes sense too. Eclavdra also shows up in Lolth's entry.

Page for page, this one has a lot more new monsters. Not just new to D&D 4, but new to D&D.  These include the new Catastrophic Dragons which I had been looking forward to. There are a lot of new monsters and some additions to MM1 & MM2 ones, like new Fire Giants.  That is one of the features of this edition, each variation of a monster needs a new stat-block.  To be fair, D&D 3 and D&D 5 also did this a fair bit. 

The layout is such, that like the AD&D 2nd Edition Monstrous Compendiums, the D&D 4th Edition Monster Manuals PDFs can be printed out with just the monsters you want and organized in a binder.  The modularity of the design is so well planned out that it really makes me want to print out these PDFs and just make my own Monstrous Compendium style binder for it. Sure the page numbering will be wonky, but that would not matter, everything will be perfectly alphabetized.  I could even re-integrate demons like Orcus and Lolth back to where they belong under demons. 

The art is amazing really. The visual style of the monsters flows from the 3rd Edition monster books to provide a sense of continuity even if the worlds do feel different. 

I am not currently playing D&D 4th Edition, but I find these monster books still so incredibly useful even in my D&D 5th Edition and Basic/Expert edition games.  They are also just great-looking books.  

If you are curious, there is a list of all the 4th Edition monsters. 

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

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

*In the game.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

While it may not feel like it in Texas, today is Canada Day, and this entails the now-obligatory trip to Dallas’s best Canadian restaurant with the flower emblem of Newfoundland and Labrador. After that, it’s back to getting the gallery … Continue reading →

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A couple weeks back I posted a One Man's God using the AD&D 2nd Edition Legends & Lore.  I mentioned at the time that this falls outside of the scope of the original concept of my OMG posts; that is can I take creatures from the Deities & Demigods and re-classify them as AD&D 1st Edition demons. Not historical demons, not mythological demons, but 1st Edition demons.

Since I have spent this week discussing Castles & Crusades I have often talked about how this game is the spiritual successor to AD&D.  Do their books on gods also follow?  Or to be more precise, can I do a One Man's God post on the C&C god books?

When it comes to discussing gods, demigods, and heroes Castles & Crusades is really second to none here. There Codex series, written by Brian Young, is some of the best-researched material for an RPG ever produced.   

Gods and Demons in Castles & Crusades

You are not going to find stats for gods in C&C.  They are not meant to be fought. There are however plenty of gods to encounter. I covered many of these in the various Codex books by Brian Young.

• Codex Celtarum, 1st Printing
• Castles & Crusades Codex Classicum
• Castles & Crusades Codex Nordica
• Castles & Crusades Codex Germania
• Castles & Crusades Codex Slavorum
• Castles & Crusades Codex Egyptium
• Castles & Crusades Codex Celtarum, 2nd Printing

There is also the Gods & Legends book which I'll cover here and use as my basis for this One Man's God.  

Demons are well covered in the Tome of the Unclean from Troll Lords.  Tome of the Unclean follows pretty close to the AD&D standard demon with what I often refer to as "the Usual Suspects," so all the "Type" demons and succubi.  So while I could more properly compare the C&C gods to the proper C&C demons, I think everything is close enough that I can continue with my original purpose of comparing these gods to the AD&D demons.  If there are any differences they are so minor as not to be an issue.  Besides. These are gods and demons we are talking about, there will always be exceptions to the rules.

Gods & Legends

For the purposes of this review, I am considering the PDF from DriveThruRPG. 

PDF. 144 pages. Color covers, black & white interior art. Bookmarked and hyperlinked.  Written by Davis Chenault with contributions by Steven Chenault, Brian Young, Jason Vey, and Todd Gray.

This book largely replaces the Of Gods & Monsters book from a few years back, though it is smaller in size, 144 pages vs 162. I say replaces, but this is a new set of work. The original Of Gods and Monsters was written by James Ward of Deities & Demigods fame.  There are similar gods in both books but this new version is a rewrite of the older work with new entires to work better with the Codex series.

This book is divided into three(ish) large sections.

The Anvil of the Gods

This section covers how gods work in a Castles & Crusades game, how the Castle Keeper can play them, and how the characters can relate to them. This section also gives advice on designing a pantheon. Unlike the original Deities & Demigods that seemed to want to shy away from religion, this book acknowledges it and all the myriad combinations (within the space of this book) religions can take.  The focus here though is not a religious academic text (and Troll Lords has at least two people, Young and Vey, on staff with graduate degrees in religious studies, literature, and history) but more on how these manifest and work in an RPG, and in Castles & Crusades in particular. To this end there is advice on how to run and play gods and how they should interact with the PCs. 

Common deific abilities are defined with Greater, Lesser, and Demi-god statuses. Details are given to how the gods relate to the clerics and paladin classes, alignments, and other archetypes.  Holy symbols and characters with divine traits are also covered. Divine traits include the healing touch.

Of the Gods

This is the largest section of the book, detail-wise. This covers what could properly be called the Gods of Aihrde, the Castles & Crusades campaign world.  A brief overview of the basic deity characteristics is first. Up first are the human gods of Aihrde. This is the section that is most like the older Of Gods and Monsters book.

Some sections are the same as in the older book, many do look to be rewritten.  The art is used from the older text but I do not see an issue with that. Many gods here get more text as well.  Many of the Aihrde gods take cues and ideas from Earth gods. This is also not a big deal and in fact no different than the gods of the Forgotten Realms. In fact I am going to go out on a limb here and say the process to create these gods (from the Chenault home games no doubt) was very similar to what Ed himself did when he created the Forgotten Realms Gods.  Maybe one day I need to go through this pantheon and the Forgotten Realms ones and see what gods they have in common.  The obvious "Earth" gods are the All Father (Odin), The moon sisters (Diana, Artemis), Frafnog (Fáfnir, Midgard Serpent), Tefnut, Toth, Unklar (Chernbog), and Wenafar (Titania).  Again, I like seeing this stuff. It immediately gives me a hook.  If Frafnog is the god of dragons and there is a Fáfnir connection beyond the surface then there is a great reason why dwarves hate dragons more than just the Hobbit connection (which is of course drawn from the story of Fáfnir and The Ring of the Nibelung). There is deep religious animosity here. Is this what the Chenaults do in their home game? No idea, but this is what is happening in mine.

Following humans, we get the gods of the Dwarves, Elves, Halflings (LOVE the art of the halfling gods!), Gnomes, and then the humanoids (bugbears, gnolls, goblins, orcs, hobgoblins, lizardmen, giants, ogres, and trolls) there are even dragon deities, fey deities, and gods of mermen and sahuagin.  It is a wide variety and shows some original ideas beyond what we typically think of in the Deities and Demigods, but not quite the level of detail as found in the very focused Forgotten Realms Demihuman Deities book.

All the Other Gods

This "section" is actually many sections, but they are mostly the same format. They cover the various gods and pantheons found in our world and are covered in detail by the Codex series.  Where the Codecies give us a lot of details on the myths and stories of those pantheons, this section just covers game based stats. No stats as in hp and AC, but alignments, worshipers, granted attributes, preferred weapons and the like.  No details on the gods themselves, for that you will need the Codies.

Covered are the gods of the Celts, Greeks, Egyptians, Germans, Norse, and Slavs.

Who should buy this book?  Anyone playing Castles & Crusades and wants to go deep into the mythologies of Aihrde.  Also, anyone that owns the Codies and wants more game content. 

I also say this is a good book for the AD&D (first or second eds.) player/game master that wants a bit more detail on the gods in their Deities & Demigods/Legends & Lore books. Or who just want a different set of or more gods than they currently have.  Indeed the title of the book, Gods & Legends, seems to state that it is a book with the AD&D books in mind.

One Man's God - The Demons of Aihrde

As I mentioned the Demons of Aihrde are already the Demons of AD&D.  But what about the monsters and gods here in Gods & Legends?  Let's see what we have here.

The obvious choices will be the Lesser Gods and the Demigods in terms of the power level near that of the Demon Princes. But I am not going to ignore the odd Greater God if they fit.

For the Aihrde human gods, Frafnog might fit the bill, though he is really powerful. Onduhl is the god of evil beings and has a strong Lucifer or Loki vibe to him.  Unklar looks like a demon and has the Chernobog connection I mentioned above, but he seems more devil-like than demon-like. 

The gods of the Dwarves, Halflings, and Gnomes do not have anyone.  The Elves have Talahnatilia but that is something other than a demon or devil really. 

It is not really to we get to the gods of the humanoids that we find good candidates.

Jarga the Bloodless is worshiped by many humanoid types (gnolls, kobolds, orcs). He is a lesser god and chaotic evil. He is a god of blood and battle. He might or might not be a demon, but he will certainly has their hatred of life. His plane is listed as The Wretched Plains, one of only three gods to claim this plane. 

Bugbear gods here are Chaotic Evil. Hobgoblin gods are mostly Lawful Evil.  This detail tracks with my own personal use of them. Bugbears are goblins with demonic ancestry and Hobgoblins are goblins with diabolic ancestry. So. If I am searching for demons I am going to look towards the Bugbears first. The bugbear gods are both greater gods and don't really fit the AD&D notion of demons. Same is true for the hobgoblins.

Gnolls have been long associated with demons in AD&D through Yeenoghu. Most of these gods are either too powerful (Greater) and/or Lawful Evil.  Here is one of the issues of trying to apply the "rules" of one game on to another. They don't have to follow the same logic or premises. 

Among the Goblins, Beerkzurd could be a demon, a powerful on to be sure. He is Lawful Evil, but he feels more Chaotic Evil really.  He is also one of those gods people pray to not so much to get boons from him, but in order for him to leave you alone.

The Orc gods are quite war-like and many are Lawful Evil. They mostly seem like larger, more powerful versions of orcs. Which I guess can be said about most gods. They are just larger more powerful versions of the people that worship them.

Vasser of Lizardmen is another good choice. Lesser God, chaotic evil, looks like a demon. The same is all true for Grudznar of the Kobolds and Barg of the Trolls. In fact, all three do feel very demon-like. The lack of proper stats are really the only thing keeping me from deciding a definitive yes or no.  Barg though is such an interesting being in a demented sort of way. I wish I had knew of him during my Troll Week a while back.

I am not considering the Dragon gods. They are really their own thing and many listed here do not fit the idea of a demon well. Yeah...I know I have both Tiâmat and Leviathan as eodemons. Plus I mentioned Frafnog above as a potential demon.

Same with the Fey. They are really their own thing. Though in my personal campaign the Fey do war against the demons. So it could be possible a "fallen fey" is a demon (fits what history did to them in our world).  Not an evil fey. A "good" faerie still has more in common with an evil faerie than they do a demon.

Flathin of the Sahuagin also is a good choice as a demon. If we take the myths of Flathin and his sister Trimon it could be that Flathin was "cast down" as the patron of mermen and now is the patron of their evil counterparts, the Sahuagin. He is a chaotic evil lesser god and looks like a giant octopus with 10 tentacles (a decapus?). He grants little to his followers, save for what they get at their religious/war ceremonies.  

Again. I might be extending my One Man's God to the point of breaking.  Let this be a lesson in how scope creep or extending your theories beyond your testable hypotheses is a bad thing.

Other gods from Earth mythologies have been covered in previous postings of One Man's God.

It has been a while since my last Class Struggles post.  Since I featuring D&D this month and focusing on Castles & Crusades, in particular, this week I thought a look into the Castles & Crusades classes was in order. I am going to focus my attention on the Castles & Crusades Player Archive, but I will talk about more than just that.

Castles & Crusades, Players Handbook

One can't really talk about classes and not first look to the core, the Players Handbook.  This book serves the same purposes as the D&D Players Handbooks; it introduces the rules and the classes.  In this case, the comparison to AD&D 1st edition is most appropriate. 

I have repeatedly made the claim that Castles & Crusades is the spiritual successor to AD&D 1st Ed. No slight against 5e or other versions of D&D, but if you want modern rules and a 1st ed feel, your game is Castles & Crusades.  Obviously, the publisher, Troll Lords, feels the same way given the new cover art for the 8th Printing of the C&C PH.  

The classes in the C&C PH are: Barbarian, Bard, Cleric, Druid, Fighter, Illusionist, Knight, Monk, Paladin, Ranger, Rogue, Wizard, and the Assassin (a special class).  Compare this to the ones from the AD&D 1st Ed Players Handook: Cleric, Druid, Fighter, Paladin, Ranger, Thief, Assassin, Magic-user, Illusionist, Monk, and a special class for the Bard.  Add in the Unearthed Arcana we get the Barbarian and Cavalier along with the Thief-Acrobat.  So all in all a very, very similar list of options.

In Castles & Crusades, each class has a Prime Attribute which really helps define the class. This is a bit more "hard coded" into the class than say it is in AD&D.

The classes, even with the same name, do have some differences. For starters, all the spell casters can cast spells up to 9th level in C&C.   

A few details.  Bards do not get spellcasting ability here but a number of spell-like powers. Clerics are limited to wielding the weapon their deity favors. So a cleric of Thor naturally gets a hammer, but one of Odin might take the spear. Druids get a lot of abilities and spells. Fighters actually get a few abilities as well, especially involving weapon specialization. As mentioned Illusionists get spells to the 9th level.  The Knight fills the roles of the Cavalier.  Monks are fairly similar to their AD&D counterparts.  Both Paladins and Rangers are similar enough to their AD&D counterparts.  They both have a number of special powers but neither has actually spell casting powers.  At first, I did not like this particular change, but I did not miss it as much as I thought I might with the paladin.  I did in the Ranger, but I tended not to spend a lot of time on spells for my AD&D rangers to even begin with, save for spells that helped their normal ranger powers/skills.  Rogues are very close to their Thief ancestors.  Wizards get a nice boost at the 13th level when they start to get some new powers/abilities. It reminds me, rules-wise, of the BECMI magic users from the D&D Companion set.   The Assassin is a special class that is designed to be added to another class with the C&C Dual- or Multi-Classing and Class-and-half rules. 

Just looking at the classes, C&C can provide an interesting twist on the AD&D experience while retaining the essential feel of these archetypes.

Castles & Crusades Player Archive

The logical extension of the Castles & Crusades class discussion is to go through the Castles & Crusades Player Archive.  

I will give a brief review of this book so people will know what I am talking about.  For this review, I am only considering the PDF from DriveThruRPG. I thought I had the hardcover version of this as well, but I guess I don't.  Will need to remedy this.

PDF, 128 pages. Hyperlinked and bookmarked. Color cover art and black & white interior art.

This book collects most of the classes published in various Castles & Crusades books including the core and the Adventure's Backpack.  What is not here are some of the classes from the various Brian Young Codex books. There are some here, but I would have to go through all the books to know how many are here and how many are not.  I do not see this a miss. Many of the Codex classes are very specific to their time and place and to remove them from that context they would loose something special.

This book covers the basic (levels 1 to 12/13) and advanced (expanded) information (levels 13 to 24) for all the classes.  The classes are:

Arcane Thief, Archer, Assassin, Barbarian, Bard, Chromatic Mage, Cleric, Divine Knight, Druid, Duelist, Dwarf (Heisen Fodt), Elf, High (Oraalau), Ethereal Knight, Fighter, Foresworn, Gnome (Hugrin Dun), Goblin, Eldritch (Ieragon), Halfling (Felon Noch), Illusionist, Knight, Luminary, Magic-User, Monk, Oathsworn, Pacer, Paladin, Pirate, Primal Druid, Ranger, Rogue, Rune Mark, Seeker, Skald, Thief, Warrior Priest, and Wizard.

There is a split between the classes "Basic" entry which covers levels 1 to 12 or 13, and the Expanded entry later in the book for levels up to 24.  This has some immediate consequences. While I am not a fan of my class information getting split up like this, many games only go to about levels 12-14 anyway.  So this would cover the majority of all games played.  It does give us a nice split today port these classes over to any OSR game based on B/X D&D (max level 14) or something Hyborea (max level 12). Then you can pull in the expanded information as it is needed if it is ever needed.

The Core/Players Handbook classes are here as are some classes that only appeared in limited-run products. It is really nice to have them all in one place. Great for anyone playing a C&C game, you just need to make sure that your Castle Keeper agrees on them.

Old School Games based on D&D usually do not handle multi- and dual-classes as well as say more modern versions of D&D. Castles & Crusades makes some vast improvements here with rules on this.  They also add options of "Class Plus" or add some features from another class, Dual classing and Reclassing.  What is missing here is the Class and Half from the Core Players Handbook. While anyone with this book will have the Players Handbook, it might have been nice to see here.

I mentioned in my coverage of the Adventurers Spellbook that the spells can be ported over to other D&D and D&D-like RPGs. In particular, I mentioned the Chromatic Mage being used in the OSR clone Chromatic Dungeons. The class is presented here in the Player's Archive. Yes, this class can be moved over rather easily, maybe even easier than moving it over to AD&D.  Likewise nearly any class here can be used in AD&D or OSR clone.  Want to play a Primal Druid in Old-School Essentials? No problem, they can be added with ease.

Note: Speaking of which the layout here aims to give each class a two- or four-page spread to keep referencing the classes easy to read and view at the table.  The PDF then allows for ease printing of these classes.  Playing a Warrior Priest and don't want to cart your hardcover around? Print pages 90 and 91 back to back and staple them to your character sheet.  Everything you need. This does mean there is some unused white space after each class, but for me, this is well worth it.

With this book and the option within I could spend an entire month creating and posting characters and no two would even be remotely the same.  A must-have for any Castles & Crusades fan.

Yesterday I talked about how well, or more to the point, how easy it is to use the Castles & Crusades Mystical Companions with old-school D&D and in particular AD&D 1st Edition.  I want to do something similar today but a little more focused on bridging that gap.

Today I want to look at Castles & Crusades Adventurers Spellbook as my example, but in truth, this would apply to any C&C spell collection.

I'll do a quick review and then get into my Plays Well With Others.

Castles & Crusades Adventurers Spellbook

For the purposes of this review, I am considering both the PDF from DriveThruRPG and the hardcover I purchased from Troll Lords.

256 pages. Color cover, black & white interior art.

This book covers (mostly) the spells of the four major spell-casting classes in C&C; Cleric, Wizard, Druid, and Illusionist.   There are also two new types of spell-casters in this book, Runic Magic and Chromatic Magic.

The vast bulk of this book is given over to the spells of four classes (170+ pages). The spells are listed by class and then the alphabetic description follows.  Many of these are going to be familiar since they are pulled from various C&C books and the Player's Handbook in particular. This is not a bug, but a feature. I wanted a book that had all of these spells in one place and this is what they advertise it as.

There are minor typos here and there and the art is recycled, but none of that matters to me. I am here for the spells.  Honestly, I have no idea how many spells are here but it has to be upwards of 1,000. For example, there are 379 Cleric spells (0 to 9th level), 366 Druid spells, 437 Wizard spells, 305 Illusionist spells, and over 200 rune magic spells.  That's a lot of magic. 

I mentioned Runic Magic a couple of times. Rune Magic. Anyone can use runic magic, but the character has to master the runes first via an attribute check, this also assumes they have the necessary codices needed in order to learn the runes.  

The spells of the Chromatic Mage is also presented here.  This class is detailed more in the Castles & Crusades Player Archive, which I will cover more tomorrow.

If you are a fan of magic, spells or just have a desire to have a complete set then I would say pick this up.

Plays Well With Others

It has often been said that Castles & Crusades is one of the first professionally published OSR games out there.  It takes the 3rd Edition base, reforms it forms it for a 1st Edition experience and even gave us rules and mechanics that would later be seen in 5th Edition.  Castles & Crusades is essentially what AD&D could have become in the new millennium.

So it is no surprise then that C&C can Play Well with other forms of D&D rather easily. 

1st and 2nd Edition D&D

This one is such a no-brainer it barely needs to be mentioned, but there are some things to consider. C&C uses the same spell casting classes as 1st Edition AD&D, so that conversion is easy. Though it should be pointed out that all classes have cantrips and have spells that go to 9th level.

Converting the spells is so trivial it is hardly an effort. 

C&C spells casting times are in Rounds and saves are based on abilities. Largely you can save vs. Spells in AD&D unless some other sort of save (death, paralysis) makes more sense.

3rd Edition D&D

C&C might be modeled after 1st Edition, but its roots are in 3rd Edition D&D.  Spellcasters get cantrips and 9th level spells in both cases. 

Saves convert roughly like this Reflex = Dexterity (or rarely Intelligence), Fortitude = Constitution or Strength, Will = Wisdom or Charisma.

Likewise both games have focus components that can be used. 

5th Edition D&D

C&C and D&D 5 have so much in common that you can just drop these spells right in. 

Levels are the same. Cantrips are the same. Saves are the same. There is no warlock or sorcerer in C&C nor is there a dedicated Illusionist for D&D5, just the wizard archetype.  But the spells can be spread out well enough.  The Chromatic Mage though would make a good D&D5 style sorcerer to be honest with a little tweaking.

OSR Games

No point in going through all of these. If any of the above work then so do these.  A couple of caveats. 

Basic-Based Advanced Games

Basic D&D does not have the detail of spell descriptions that Advanced D&D does. So a lot of the stat blocks of the spells can be ignored or used as guidelines.  Saves are always vs. Spell.

In the special case of Chromatic Dungeons, all the above applies, but I also think it would work out well if the Chromatic Mage was ported over (even via the OGL) to Chromatic Dungeons.  IT would work well as another, but a different classification of Magic-User.  I would use Wizard level advancement in CD and the spell progression in the Adventurers Spellbook.

I'll discuss this more tomorrow when I do my Class Struggles post.

Well. It’s not understating things to say that June was an excellent month in the best quarter in the history of the Triffid Ranch, in what’s already the Triffid Ranch’s best year since it opened. Between open houses, Porch Sales, … Continue reading →

All month long I have been talking about D&D and mostly near-D&D FRPGs.  While last week was all Pathfinder, the one-time heir-apparent to D&D, this week I want to talk about a game that really does capture that feel of early, 1st Ed AD&D, with a more modern point of view.  

Of course, that game is Castles & Crusades.

I have never hidden my love of Castles & Crusades and I would play a lot more of it if I could. It really does capture the feel of older D&D, maybe something of a Basic-era mixed with Advanced, through the lens of 3rd Edition.  One really could consider it the evolution of AD&D2 into the new millennia. 

This week I want to do more with Castles & Crusades, but I am going to do it from the point of view of some of my regular blog features.  Today is Monday and that means Monstrous Mondays. So I am going to review and discuss the Castles & Crusades Mystical Companions book. 

I can't believe that it has been three years (almost to the day) since I reviewed the 5th Edition version of this book.  I had meant to do much sooner than this.

The Troll Lord's Mystical Companions is the update to their fantastic Book of Familiars.   It comes in two flavors, A Castles & Crusades version, and a D&D 5th Edition version.   I have both in digital and PDF formats, today I am going to focus solely on the Castles & Crusades version.  Yes, they are in fact different enough that two separate reviews are really needed.

I was always going to use this book in my Magic School games, whether that game used an Old-School ruleset (like Castles & Crusades or OSE) or (now) D&D 5th Edition.  I think that highly of it.  Now it is something I am using as part of my War of the Witch Queens campaign where every character has an animal companion, pet, or familiar.  My oldest kid has taken my 5th edition version and made it his own.

Mystical Companions for Castles & Crusades

For this review, I am considering both the PDF version from DriveThruRPG and the hardcover version I purchased from Troll Lord Games. 

Hardcover book and PDF. 192 pages, full-color art by Jason Walton and Peter Bradley.  PDF is bookmarked.  This book is divided up into 12 chapters and 5 appendcies. Largely focusing on the various Castles & Crusades classes and their respective animal companions.

Chapter 1: Familiars and Companions

This gives us our basic overview of the book and the concepts of an animal companion in the Castles & Crusades game.  Pro-tip. Even a casual read of the chapter titles should clue you in that if you wanted to use this with AD&D 1st ed you very easily could. There is also the notion that Animal Companions and Familiars, while similar and can perform similar roles and tasks are very different from each other. 

On Animal Companion vs. Familiar.  While rules in the book cover book and treat them somewhat interchangeably an Animal Companion is more like a loyal pet or friend.  A Familiar is a creature summoned to work with the PC.  Animal Companions are free-willed, familiars are not.

For ease, I am going to use"animal companion" for all cases unless a distinction needs to be made. 

There is the concept here of Advantages, this allows the character to summon an animal companion. In truth, I think this works better in 5e than it does here, but I will explore this a bit more.  Additionally, there are various Powers and Tricks animal companions can have or impart to their player characters.

Animal companions are all treated as other creatures from the beginning. They have HD, hp, AC and more scores. 

Advantages are a new mechanic for C&C to allow them to take on various "powers" or "features."  It was introduced in the Castle Keepers Guide as an optional rule, here it is required.  It is, very simply put, a "Feat" system for C&C.  That does not really describe it well enough, but it is close.

Different classes get new Advantages at different levels.  Various abilities and powers of the animal companions are detailed here. Including what sort of special powers you can get by taking another animal companion/familar at higher levels. 

If you are playing AD&D 1st Ed and really want to do familiars correctly then I highly recommend this book. 

The following chapters each deal with the various C&C classes (and their AD&D counterparts in my readings) and their respective animal companions.

Chapter 2: Barbarian Familiars & Special Mounts

I don't recall Conan having a pet, but Cú Chulainn is known to have had some pet dogs. Since Barbarians feel closer to nature they have totem animals; an animal or creatures revered by their culture. This chapter covered these, and all the expected animals are here, but there are also totems for mammoths, displacer beasts, dire creatures of all sorts, and even small dragons. 

Chapter 3: The Bard’s Familiar

Bards typically have familiars that aid in their singing or musical magics. Providing a number of powers to aid their abilities. 

Chapter 4: The Cleric’s Familiar

These are not so much as animals and more attendant spirits. The least of the messengers of the cleric's god(s).  Often they are here to provide the cleric guidance or omens. These creatures can, and often do, take on animal shapes. What that shape is depends largely on the cleric's domain. 

Chapter 5:The Druid’s Familiar

Similar to both the Barbarian's and the Cleric's familiar.  Here the deciding factor is the terrain/environment the druid is native to.  There is a large sidebar/section on Druid Familiars vs Druid Animal Companions.

Chapter 6: The Fighter’s Familiar

This one seems a bit odd, but they do make a case for it. A good historical example might be the Mongolian fighters and their horses, or the hunting dogs of Celtic cultures. 

Chapter 7: Monk Familiars

Again not one you normally think about. These seem to follow the same logic of the barbarian, but in stead of totem spirits they are manifestations of ancestor spirits. Think Mu-Shu from the animated Mulan.

Chapter 8: Paladin Special Mounts & Familiars

Paladins already get mounts. This extends that logic a bit more. 

Chapter 9: The Ranger’s Familiar

Honestly, all Rangers should have an animal companion of some sort. This codifies it. 

Every ranger needs a red panda familiar.

Chapter 10: The Rogue’s Familiar

Like the fighter, one does not normally associate Rogues/Thieves with animals, but honestly, it would be good. Think of Laurence Fishburne's character "The Bowery King" and his pigeons or D&D's own history of associating thieves with cats (the Grey Mouser from Lankhmar or Gord the Rogue).

Chapter 11: The Illusionist’s Familiar and Chapter 12: The Wizard’s Familiar

Putting these two together since they follow similar ideas.  This is as close as we can get to the classic idea of a familiar.  The natures of their familiars are different, which is great, it provides more distance between these two classes. 

Appendix A: Animals

"Monster stats" for various (51) mundane animals.

Appendix B: New Monsters

Likewise, these are new monsters (36). Many are either familiars or creatures that feed on familiars. 

Appendix C: New Spells

A bunch of new familiar summoning and related spells for all spell casting classes.

Appendix D: New Magic Items and Artifacts

Magic items to summon, control, or aid familiars and animal companions. 

Appendix E: Dragon Riders

This last section covers a new class/path, the Dragon Riders, and how these rules are used for that class. While many of the same rules are used here as for familiars this takes them to a new place and should be considered optional. 

This is the Appendix/Chapter that my son grabbed this book from me for, BUT he opted not use their Dragon Riders but kept the book anyway for everything else.

A Dragon Rider is a Path that can be added to any class, but some have more use for it than others.  If the idea of PC Dragon Riders concerns you, then keep in mind it is being sold as "optional".  And also Dragon Riders of some form or another have been around since the dawn of the game.  If it is something you want, then there is plenty here for you to use.

If I ever ran a Magic School game with this then Dragon Riders would be included.

Index 

We end with a robust index and the OGL section.

Final Thoughts

A note about art. There is not as much in this book as other Troll Lord books, but what is here is from the fabulous Peter Bradley and Jason Walton, who also gives us the cover art.

Your results may vary, but this book has quickly gone from a neat oddity to one of our must-have books for my Old-school games. My son uses it in the 5e games he has run so much that I have not seen my 5e version of this book in months since it is now in with all of his books.

Do you need this book?  I say yes, but only if you are adding animals of any sort to your game, be they pets, familiars, mounts, companions, or all the way up to Dragon Riders.

Use in Advanced Dungeons & Dragons

I am going to limit my thoughts here to AD&D 1st Ed. The only reason I am not considering 2nd Ed is that 2nd Edition has a skill system that should be incorporated with these rules a little more explicitly.  For 1st Ed, I can see a craft DM using this book more or less as-is. 

I know Troll Lords does not sell this book as an AD&D book. But anyone who is a fan of C&C is likely a fan of AD&D.  (Although I should point out I talked to a couple of real hardcore C&C fans at Gary Con who had never played AD&D First Edition.) But in any case, this is a fantastic reference for the 1st edition all the same. 

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

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

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

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

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

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

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

Every show away from the gallery brings up the eternal question about the volume of plants being hauled out: “Too little or too much?” Last year’s Austin Oddities & Curiosities Expo pushed that to the limit, with nearly everything being … Continue reading →

To be continued…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

—oOo—

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For most people attending shows and events in summer, especially a Texas summer, precious few are making plans for next year. For those of us vending, though, the vast majority are watching for announcements of registration for tables and booths … Continue reading →