Today I want to wrap up my tour of the Victorian era with two of my favorite characters of the time, Sherlock Holmes and Dr. John Watson. 

I have, sitting on my hard drive or a flash drive somewhere the stats for Holmes for every Victorian-era game I have ever played.   I keep meaning to post them and never get around to it.  So of course today is a set of stats I am coming up with now.

The issue with doing Holmes in many games, but modern occult ones, in particular, is that Holmes does not live in a magical world.  He lives in a world with predictable laws of science that follow predictable patterns.  This is what makes him so good at what he does, he can see these patterns and connections. Holmes works because the world is mundane and what he does looks like magic.

For NIGHT SHIFT there is no one class that would do him justice.  While I could get away with making him a 10th level Survivor (and I feel 10 levels is right) he is missing a couple of key ingredients. So time to try another multiclass.

Here he is for Night Shift. NIGHT SHIFT is available from the Elf Lair Games website (hardcover) and from DriveThruRPG (PDF).

Jeremy Brett as Sherlock HolmesSherlock Holmes
6th level Survivor / 4th level Sage (Human)
Archetype: Consulting Detective

Strength: 16 (+2) 
Dexterity: 16 (+2) S
Constitution: 14 (+1) 
Intelligence: 18 (+3) P
Wisdom: 16 (+2) S 
Charisma: 10 (0) 

HP: 35
Alignment: Light
AC: 8
Attack: +3 

Fate Points: 1d10

Check Bonus (P/S/T): +5/+3/+2Melee bonus: +2 Ranged bonus: +2Saves: +4 to death saves. +2 to all others.
Survivor Abilities
Stealth skills; Climbing; Danger Sense (1-4); Sneak Attack +2, x3; Read Languages 80%

Stealth Skills (8th level)

• Open Locks: 85%
• Bypass Traps: 80%
• Sleight of Hand: 90%
• Move Silently: 90%
• Hide in Shadows: 80%
• Perception: 90%

Sage Abilities
Survivor Skills (factored in above); Mesmerize Others; Lore; Languages (18); Spells* (to Holmes they are not "spells" merely "advanced techniques.")

Spells
First level: Command, Detect Snares & Pits
Second level: Find Traps

Skills
Athletics (Bartitsu), Sleight of Hand, Research, Science, Insight, Notice

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Holmes combines a variety of class abilities and skills to create one investigator.  Would an "Investigator" class have been better?  Not really.  In this case, I feel the mix of classes and skills point to obscure training and thus a unique character.  Holmes is certainly that.

If you are interested in playing Sherlock Holmes in a game system more suited to the world he lived in then might I suggest both Victoria and Baker Street: Roleplaying in the world of Sherlock Holmes.  Both are very fine games.

Want to see more of the #CharacterCreationChallenge? Stop by Tardis Captain's Blog and the #CharacterCreationChallenge on Twitter for more! 

Published by Lantern’s Faun, Into the Bronze: Sword & Sorcery RPG in Bronze Age Mesopotamia is a minimalist roleplaying game built on the architecture of Into the Odd. As the title suggests, it is set in the Bronze Age in Mesopotamia on the plains between the Tigris and Euphrates rivers. Here the first city states were founded, here the first men and the women strode forth to explore the lands between the first two great rivers known to mankind, to enter the silent, gloomy valleys where demons and their acolytes hid and devised their evil plans, here they would encounter the very gods of Sumeria, and here they would build the first great civilisations. As those first men and women to stride the land, the Player Characters are Sumerian ‘Bounty Hunters’ those willing to go forth and undertake dangerous tasks—explore the unknown, hunt down criminals, kill monsters, and more… In return, their wicker baskets will be filled with great wealth—treasures, secrets, and favours. With their treasures, their wealth, and their secrets, they not only have the potential to make their mark on the world, but go onto to stamp on the world by building and constructing civilisation around them.

Into the Bronze: Sword & Sorcery RPG in Bronze Age Mesopotamia includes thirty-six backgrounds, a flexible narrative system for enchantments, a simple system for building and construction, exploration, encounter creation, god creation, and a bestiary. A Player Character or Sumerian in Into the Bronze is lightly defined—and needs to be! A Sumerian is a fragile thing, weapons and monsters both being deadly, so a Sumerian can be quickly and easily replaced. Sumerian has three Ability scores—Strength, Dexterity, and Willpower, his Hit Protection, some Obsidian (the currency), a Background which provides two Items of Equipment. Depending on the Background, a Sumerian may have Magic Words, though they count as an Item. To create a Sumerian, a player rolls three six-sided dice for each Ability and keeps the highest two, a six-sided die each for his Hit Protection and Obsidian, and then cross references the values of his Hit Protection and Obsidian to determine his Background. A Sumerian also has a weapon of his choice, a single torch, and his Omens. Garments and physical features can also be rolled for. Rolling up a Sumerian takes minutes at most.

Harran
Background: Beer Brewer
Omens: In the night Harran was born, they saw sandstorms (Reckless/Sanguine)
Physical Feature: Has a falcon
Strength 6
Dexterity 11
Will 9
Hit Points: 3
Obsidian: 3
Item: stone spoon (1.5 m), torch, yeast, spear
Garment: Black Linen

Mechanically, Into the Bronze is simple. To undertake an action, a Sumerian player rolls a twenty-sided die, attempting to roll equal to or less than an ability. When it comes to combat, Initiative is handled narratively, with the Game Master foreshadowing events around the Sumerians to both engage them and determine when they act. Otherwise, mechanically, combat involves rolling for damage rather than to hit. Every attack hits and does damage, rolled on a six-sided die. All weapons ‘explode’ and allow an extra die to be rolled and added to the total if a six is rolled. Heavier weapons explode on a four, five, or six. Damage is inflicted on a Sumerian’s Hit Protection and then his Strength. Any time a Sumerian suffers Strength damage, his player must make a test against his Strength, failure indicating that he has suffered a critical hit. The effects of this are determined by a roll of an eight-sided die on the Critical Hit Table, and can be anything from a scar, teeth being knocked out, loss of a limb, all the way up to death. The life of the average Sumerian who ventures out from the safety of the city is likely to be nasty, brutish, and short.

Another effect of combat and other situations is that a Sumerian may suffer Conditions. Unfortunately, these are not given in ‘Annex 1’ as Into the Bronze states, but are attached to the character sheet for the game. Many of these Conditions also cause a player to roll with Disadvantage. This is not explained in Into the Bronze either, but essentially this should be taken to refer to the Advantage/Disadvantage mechanics common to other roleplaying games, first seen in Dunegons & Dragons, Fifth Edition. In play, Conditions also take up slots in a Sumerian’s Inventory, much like Mausritter. Lastly, items such as torches, lanterns, and the like all have a Usage die, which is rolled on six-sided die, one use being marked each time a player rolls four, five, or six.

Some Backgrounds such as Archivist, Astrologer, Enuuch, Scribe, Mathematician, and Tapestry Weaver have access to Magic Words, and so through Divine Intonation, the Language of the Sacred. At the start of play, a Sumerian with such knowledge knows two words, such as Treason, Clay, Bones, or Steps, but can learn more. The player of such a Sumerian describes the effect he wants using the Words his Sumerian knows and casts the combination automatically as an enchantment. However, the Game Master determines the cost of casting the enchantment in terms of Hit Protection, or Strength if the caster has no Hit Protection. For example, Gizzal the Enuuch knows the Words Treason and Shadow. Chased by some bandits, he calls upon the gods to direct the bandits’ shadows to betray them and so confuse them as to the direction they are heading in. The Game Master decides that since this is affecting several bandits, Gizzal will lose two points of Hit Protection, but he will get away from the bandits. The Enchantments rules are simple and engaging to use, encouraging player inventiveness, whilst at the same time being far more narrativist than a roleplaying like Into the Bronze usually would be.

More than half of Into the Bronze is about building the world around the Sumerians. This includes elements such as weather and travel, but much is devoted to creating the terrain nearby for the Sumerians to explore and then populating these hexes with encounters across steppes, swamps, deserts, and mountains, and adventure sites. These are backed up with a lengthy table of adventure hooks, a table for creating the gods who walk among men, and a bestiary of classic creatures, such as Ghouls, Griffins, and Minotaurs. These are joined by monsters and creatures out of Sumerian myth, such as the Ekkimu, unburied bodies who have returned as demons and hunt in packs of seven to hunt for human flesh.

Physically, Into the Bronze is decently presented with a range of Public Domain Artwork and laid out in an exciting style. In places, the artwork is poorly handled though, and worse, the roleplaying game is underdeveloped. For example, the lack of explanation of for the Disadvantage mechanic, whether or not there is a corresponding Advantage mechanic, and the missing Conditions. An experienced Game Master will be able to address this issue, but having to do so, adds more effort than is necessary in running the game—if only little. In terms of running Into the Bronze, the Game Master will need a fair bit of effort with Into the Bronze given the brevity of the rules, but at least a bibliography is included for further research. Certainly, the Game Master will need a few more monsters and threats to throw at her players. As a framework, it is potentially too sparse, but that does mean there is room aplenty for input by both the Game Master and her players.

Despite its flaws, Into the Bronze is a fantastic little toolkit for running games in a version of ancient Mesopotamia that the roleplaying game provides a means to create and the Player Characters to then explore and go onto building civilisation. Simple and easy to play, Into the Bronze: Sword & Sorcery RPG in Bronze Age Mesopotamia is an enjoyably nasty, brutish, and short roleplaying game set at the dawn of civilisation.

After a short but much-needed hiatus, the Texas Triffid Ranch open houses are starting back up again, with the first of 2022 running this Saturday from noon until 5:00 pm. Keep checking back, too, because the plan is to have … Continue reading →

Mouth Brood is an exploratory horror scenario set in the wilds of Canada in the Yukon on the Kaskwulsh Glacier. Here a strange discovery has been made—a great biodome jutting out of the ice, revealed no doubt due to the effects of global warming and the melting of the glacier. Buried here for millennia, the biodome has clear walls, but what is inside is hidden by leaves and mist and smears of algae. There is though, something moving inside. Clicking and humming and crying. Thousands of things. Millions of things. Are they alien? Are they vestiges of a prior epoch? Are they the results of an abandoned biological project—corporate or governmental? With the discovery of the biodome, Astralem Biotech has been sent a biologists to enter the structure, investigate and catalogue its contents, and above all, return with five live specimens with promises of a bonus for each extra one brought back. What will the team discover? Is it safe? Is it dangerous? Will the team survive?

As with other scenarios from Games Omnivorous, Mouth Brood is a system agnostic scenario, but unlike previous scenarios—The Feast on Titanhead, and The Seed, but like Cabin Risotto Fever before it, this scenario takes place in the modern world rather than a fantasy one. Where Cabin Risotto Fever was set in northern Canada in 1949, the setting for Mouth Brood is the Canada of the here and now—although it does not have to be. As a module, Mouth Brood combines Science Fiction and Horror in its investigation, and like the other titles in the ‘Manifestus Omnivorous’ series is systems-agnostic. Although a modicum of stats is provided to suit a Dungeons & Dragons-style roleplaying game, Mouth Brood would work with, and be easy to adapt to any number of modern or Science Fiction roleplaying games. These include Call of Cthulhu, Seventh Edition or Chill, third Edition, as well as Alien: The Roleplaying Game, Traveller, and MOTHERSHIP Sci-Fi Horror Roleplaying Game. The point is, Mouth Brood need not be set in Canada, it could be shifted to the Antarctic or the Himalayas, or it could even shifted off world entirely, say to Mars or even to a planet in a different system (although that would break one of its rules listed below, but nevertheless, the possibility is there). Its set-up is simple, flexible, and easy for the Game Master to adjust as necessary. However, just like The Feast on Titanhead, The Seed, and Cabin Risotto Fever before it, Mouth Brood adheres to the Manifestus Omnivorous, the ten points of which are:

1. All books are adventures.
2. The adventures must be system agnostic.
3. The adventures must take place on Earth.
4. The adventures can only have one location.
5. The adventures can only have one monster.
6. The adventures must include saprophagy or osteophagy.
7. The adventures must include a voracious eater.
8. The adventures must have less than 6,666 words.
9. The adventures can only be in two colours.
10. The adventures cannot have good taste. (This is the lost rule.)

As we have come to expect for scenarios from Games Omnivorous, Mouth Brood adheres to all ten rules. It is an adventure, it is system agnostic, it takes place on Earth, it has one location, it has the one monster (though like the older scenarios, those others that appear are extensions of it), it includes both Saprophagy—the obtaining of nutrients through the consumption of decomposing dead plant or animal biomass—and Osteophagy—the practice of animals, usually herbivores, consuming bones, it involves a voracious eater, the word count is not high—the scenario only runs to twenty-eight pages, and it is presented in two colours—in this case, a dark green and greenish-blue over snowy white. Lastly, where previous entries in the series have exhibited Rule #10, it is debatable whether or or not Mouth Brood fails to exhibit good taste—though perhaps that may ultimately be up to how the players and their characters react to it.

The scenario is self-contained detailing a biodome and its almost fizzing, swarming ecology filled with strange creatures that the intruding Player Characters—or indeed anyone—will have seen before. It consists of the outer cover with a map of the biodome on the inside, descriptions of its locations layered out over three levels, from the Undergrowth up through the Canopy to the Emergent, plus a lengthy Bestiary of some eighteen creatures and species. Like all Manifestus Omnivorous titles, it is bound with an elastic band and thus all of the pages can be separated. The advice for the Game Master is to use the Undergrowth, Canopy, and Emergent pages as a screen, and refer to the pages of the Bestiary during play. There is a set-up too, that of Astralem Biotech team, and there are notes on the roles, gear, and advantages of the Expedition Leader, Ecologist, Micro-biologist, and the Bio-Mathematician. These can be copied and given to the players, but the Game Master can also use them as prompts to create pre-generated Player Characters for the roleplaying game of her choice.

Mouth Brood is also a hex-crawl—though very much a mini-hex-crawl, there being seven locations for each of the biodome’s three levels (Undergrowth, Canopy, and Emergent). Each of the hexes is given a thumbnail description, but the bulk of Mouth Brood, twenty-four pages out of its thirty-six, is devoted to its Bestiary. Each entry is accorded a fantastic illustration, a description, a table of things it is doing or is being done to it, and details of what it is doing when observed. They lifeforms of all sorts, such as Acris Motorium, a semi-mobile plant with acrid acid for its sap; the similarly motile Cryptostoma Dilitatus, a swarm-like organism which can contract and spread, and stings in proportional response to contact with it; and the Velox Sanguinus, the brachial apex predator with two sets of jaws, one in its swiveling head, the other in its belly. There is something quite verdant, fetid, and even feverish about the inventiveness of all of these creatures, which could be taken from the pages of Mouth Brood and used elsewhere if the Game Master so desired.

Mouth Brood is primarily a setting, a small environment awaiting the intrusion of the Player Characters, the creatures and species in the biodome reacting to their invasive presence. There is a slight here, that of the biological team collecting samples (and a bit more), but as an exploratory scenario and a hexcrawl scenario, Mouth Brood is very much player driven, the Game Master having to the extensive ecology react to them for much their Player Characters’ explorations. In some ways, this does require a fair bit of preparation upon the part of the Game Master, who has to understand how each of the different species will react to the Player Characters’ presence and actions. In terms of play, there will be a lot of movement and then just being still and observing, such there is almost something sedentary to the scenario. That will probably change once the Player Characters come to the notice of the biodome’s predators. If using pre-generated Player Characters, the Game Master might also want to add some storyhooks and relationships to them, not only to encourage interaction, but also to ramp up the tension when the dangers of the ecology within the biodome become apparent.

Physically, as with the other titles in the  Manifestus Omnivorous series, Mouth Brood is very nicely presented. The cover is sturdy card, whilst the pages are of a thick paper stock, giving the book a lovely feel in the hand. The scenario is decently written, if a little spare in places, but the artwork is excellent and when shown to the players, should have them exclaiming, Ugh what’s that?”, at just about every entry in the Bestiary. 

Inspired by films such as Annihilation and Roadside Picnic, Mouth Brood presents a hellishly febrile ecological unknown, its self-contained nature suggesting that its horror is all inside, when ultimately, the true horror is realising the consequences of what would happen if it were outside…

It’s not the greatest photo (if anything, it reveals the limitations of an iPhone camera in low-light conditions), but those familiar with the Nepenthes rajah pitcher plant in the gallery enclosure Gyre might be intrigued to discover that its pitchers … Continue reading →

Sticking with my Victorian-era and moving south from Lincoln's ghost to New Orleans and her voodoo queen.  

But "Wait," you say. "Marie Laveau died in 1881. Long before your 1890s game." True. That's what people believe. There is a lot of confusion about her exact date of death. There is even doubt as to where she is actually buried.   So for my purpose, this works for her faking her death so she could go on do her thing.  Besides there have been rumors that she survived her own death for years.

Marie Laveau is not just synonymous with Voodoo she is very much part of New Orleans herself.  No New Orleans. No Marie Laveau.  Also, what was she exactly?  She was the self-proclaimed Voodoo queen of New Orleans sure, but what *is* that in terms of NIGHT SHIFT? A Witch? A Theosophist? Sage?

No Marie is something special and in NIGHT SHIFT terms she is something from the new Night Companion book.  She is an immortal Spirit Rider.

Here he is for Night Shift. NIGHT SHIFT is available from the Elf Lair Games website (hardcover) and from DriveThruRPG (PDF).

Marie Laveau

6th level Spirit Rider (Supernatural, Immortal)
Archetype: Voodoo Queen

Strength: 10 (0) 
Dexterity: 16 (+2) 
Constitution: 14 (+1) S
Intelligence: 13 (+1) Wisdom: 15 (0) SCharisma: 17 (+2) P
HP: 33
Alignment: Neutral
AC: 9 
Attack: +1

Fate Points: 1d8

Check Bonus (P/S/T): +4/+2/+1Melee bonus: +0 Ranged bonus: +2; Wisdom is added to Spell attacks (+6)Saves: +3 Death Saves and area effects, +2 to Wisdom and Charisma-based saves
Immortal PowersUnique Kill: She has to be removed from New Orleans and killed with a ceremonial knife.
Spirit Rider SkillsInnate Magic (6 spells up to 3rd level); Arcana (100%); Arcane Powers (4); Commune with Spirit (Loa); Limited Power (New Orleans); Magical BatteryArcane Powers: Charm Person, Detect Thoughts, Suggestion, Telepathic Transmission
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As the Voodoo Queen of New Orleans, Marie Laveau is tied to the city. This includes the City of New Orleans and the combined Orelans Parish.  She can leave, but her power and her immortality is threatened.
She is a Spirit Rider instead of a witch because I really wanted to try something different.  Plus in voodoo, it is said that the "Loa rides you" when you are communicating with them. This is a description of her powers. Much like Nellie in London, Marie Laveau is someone the characters might have to seek out for information.  

Want to see more of the #CharacterCreationChallenge? Stop by Tardis Captain's Blog and the #CharacterCreationChallenge on Twitter for more! 

How do you like your GM Screen?

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

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

Once you have decided upon your screen format, the next question is what you have put with it. Do you include a poster or poster map, such as Chaosium, Inc.’s last screen for Call of Cthulhu, Sixth Edition?  Or a reference work like the GM Resource Book for Pelgrane Press’ Trail of Cthulhu? Or scenarios such as ‘Blackwater Creek’ and ‘Missed Dues’ from the Call of Cthulhu Keeper Screen for use with Call of Cthulhu, Seventh Edition? Or even better, a book of background and scenarios as well as the screen, maps, and forms, like that of the RuneQuest Gamemaster Screen Pack published by Chaosium, Inc. In general, the heavier and sturdier the screen, the more likely it is that the screen will be sold unaccompanied, such as those published by Cubicle Seven Entertainment for the Starblazer Adventures: The Rock & Roll Space Opera Adventure Game  and Doctor Who: Adventures in Time and Space RPG.
So how do I like my GM Screen?
The Mörk Borg GM Screen comes as a five-panel screen, very sturdy, in portrait format. The outside of the screen is perhaps anything unlike which has been seen before for Mörk Borg, the pitch-black pre-apocalyptic fantasy roleplaying game which brings a Nordic death metal sensibility to the Old School Renaissance. Instead of the riotous assault of electrically vibrant yellow and pink highlights on swathes of black, abrupt font changes, and metallic embellishments. Instead, we have a polyptych of images in white and red on black depicting scenes from the last days of Tveland’s pre-apocalypse. Bloodied demonic skulls, ominously dark towers in the distance, a cultist with sacrifice, a headless statue—or is it?—of angel in a graveyard, and great beasts scrapping over a mound of corpses. The end is nigh and the Mörk Borg GM Screen lest you know it…
The inside of the Mörk Borg GM Screen reverts to its traditional vibrant yellow and with various tables laid out across the inner panels. Working from the left, the first panel provides the means for the Game Master to create NPCs on the fly, including name (both male and female) and trade, along with a concern, a want, what he or she thinks of the forthcoming apocalypse, and lastly a trait to help make him or her memorable. Thus, Urkin the Shitshoveller, who walks with a limp, is concerned because she has kidnapped kin and wants bloodshed in response, but ultimately believes that mankind is doomed. Should the Game Master want it, an optional table can add a twist like Urkin actually being the head of a murder cult or an inquisitor! The next panel—‘Prices May Vary’—covers just about everything that the Player Characters might want to purchase, from chalk and chewing tobacco to scissors and scrolls, as well as weapons, services, armour repairs, and beasts.
The middle panel is the meat of the game and comes with the admonition that the Game Master ‘Only ever roll when failure is interesting’. So here the Game Master can see the Difficulty Ratings, rules for Violence—who Goes First?, Attack, and Defence—and tables for ‘Where Does it Hurt?’ and when an NPC, or probably a Player Character, is ‘Broken’, all at a glance. The next panel provides the stats for Sword Fodder, Worthy Foes, and The Big Bad, whether that is an Underpaid, tired guard, something all Claws, eyes, spidery legs, or The Demon Appears! Beneath this is pair of tables, one for ‘Unclean Powers’ and one ‘Sacred Powers’. All together—and in some cases combined with the NPC creation tables on the first panel—the Game Master can quickly pick and modify an opponent without the need to refer to the rulebook. The last panel is more perfunctory, proving a big table of ‘Items and Trinkets’ and another for the weather, but the entries on the former can be quite intriguing.
Across the top of the panels are pointers for the Game Master. For example, ‘Stores might be understocked’ and ‘Some will try to scam the PCs’ on the prices panel, which add just a little extra. Now initially, it does look as if the Mörk Borg GM Screen does not come with anything extra. This is in part because the extras it does come with are slim, the same shade of yellow as the inside of the screen, and are actually attached to the screen by means of corner pockets that the sheets neatly slip into—perhaps a little too neatly as they are slightly awkward to slot back in. On the front of the first sheet is devoted to Traps—how Player Character triggered the trap, what the trap is, who or what built it. On the reverse, is ‘Somewhere to Drink’ with a select menu, a menu for those who lack funds, patron traits, and answers to the question, ‘Why is the Innkeeper Twitching?’, all of which goes to creating an encounter or even an adventure in itself should the Game Minister want it. On the other separate sheet on the one side is ‘The Tablets of Ochre Obscurity’ is a set of random spell effects worked into tablets, whilst on the other, is a big table of ‘Forty City Events’.
Physically, the Mörk Borg GM Screen is a sturdy game aid. It feels solid in the hands and should withstand reasonable handling, as well as stand up on the table. Everything on the inside of the screen is easy to read—the black on yellow is very clear—including the cursive founts used. If there is an issue with the durability of the Mörk Borg GM Screen, it is that two separate sheets, as cleverly stored with the actual screen as they are, are not as solid and are likely to get separated and lost.
As a roleplaying game, Mörk Borg is mechanically light enough that the Game Master can get away without needing to resort to a screen. However, the Mörk Borg GM Screen is useful in both providing the tables routinely referenced during play and tables of prompts and ideas that the Game Master can very quickly pick or roll up—even at the table if necessary. Ultimately, the Mörk Borg GM Screen is not a necessity, but if you have one, it is perfectly functional and serviceable.

One of the things I feel is my privilege is the ability to share with you my readers and friends all the new and wonderful artists I can find.  I love getting art and if I can help out an artist on the way, well that is even better. 

But when the artist shares something with me?  That is the best of all!

So imagine my delight when the postman rings my doorbell today to have me sign for a package from Italy!

And what a package it is!

I had just featured some art from Djinn in the Shade this morning on my Dirty Nellie write-up.  She was the first artist I have ever had make some art for Nell.

And here is what I got!

This one is one of my favorites and it is based on Witches going to their Sabbath (1878), by Luis Ricardo Falero.  It features her OC sorceress Solaine (who is her Pathfinder/D&D character and star of her own comic strip) and my witch Larina.  There is an uncensored one as well. 
Halloween

Stickers!

Djinn also featured our witches in jail in a new bit of art this week to mark her "shadow ban" from Instagram for having "inappropriate art."  

So I am thrilled to death with these!

You can find Djinn on Twitter, Facebook, Instagram (for now!), and most of all on her Pateron site. She was also one of my first Featured Artists here.

Thank you my friend for such wonderful art!

So far my dive into Dracula and then Victorian characters for NIGHT SHIFT has been a lot of fun.  Also, my characters have largely been based on other people's characters or, in the case of Lincoln, real people. 

Today I want to do one of my original characters (OCs for the kids online). She is also one of the characters I had in mind for the Supernatural character rules.

I had introduced you all to Dirty Nellie a few years back (2009!) for various Victorian-era games including Ghosts of Albion, Savage Worlds, and Victoriana 2nd Edition.

Briefly, she is a Street Faerie. These are members of the Fae that have chosen to live in cities.  They are like pixies, complete with wings, but are more human-sized, if a bit shorter.  Their wings look like those of the Peppered Moth.   The obvious reason why is due to the case of the evolution of the peppered moth due to the Industrial Revolution.  Just like the moth, these fae have adapted to the grim, gaslit streets of London.

Nell herself is a central figure in my Victorian games.  She begins as a streetwalker but soon works her way up to running the notorious Gentleman's Club (in the Victorian sense of the term) "Mayfairs" in the late Victorian age.  She is an occult information broker and nearly anyone who is anyone in the occult underworld owes her a favor. Knowledge is power and Nell knows everyone and knows what they know.

Here she is for Night Shift. NIGHT SHIFT is available from the Elf Lair Games website (hardcover) and from DriveThruRPG (PDF).

Nellie by Djinn in the ShadeDirty Nellie

10th level Survivor (Supernatural, Faerie)
Archetype: Party girl Information broker
Strength: 10 (0) 
Dexterity: 14 (+1)
Constitution: 13 (+1) 
Intelligence: 15 (+2) SWisdom: 17 (+2) SCharisma: 20 (+4) P
HP: 55
Alignment: Neutral 
AC: 6
Attack: 3

Fate Points: 1d10

Check Bonus (P/S/T): +5/+3/+2Melee bonus: +1 Ranged bonus: +2Saves: +6 against magic and supernatural attacks
Feed: Nell must engage in some revelry to feed.  
Faerie PowersInnate Magic (Every 3 levels: Magic Missile, Charm Person, Produce Flame, Teleport), Double Damage from Iron weapons, +2 to Dexterity or Charisma, Glamour
Survivor SkillsDanger Sense, Sneak Attack +4 (x4 damage), Ritual MagicOpen Locks: 105%Bypass Traps: 100%Sleight of Hand: 110%Move Silently: 110%Hide in Shadows: 100%Climb: 95%Perception: 85%Read Language: 80%
--
Nell is a great character and I have loved using her in many games. By the 1890s she is quite rich, very powerful, and someone that the PCs will run into at some point. 

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A break from combined househunting and enclosure construction: the first Texas Triffid Ranch open house of 2022 goes live at noon on Saturday, January 15 and runs until 5:00. Expect lots of weirdness, as well as king cake and an … Continue reading →

You can't grow up in Central Illinois and not know something about Abraham Lincoln.  I have been to Lincoln's tomb many times, the old Illinois State Capital, I have been to all the places he debated with Stephen Douglas, memorized many of his important speeches, and went on the Lincoln Pilgrimage a few times. 

While I would categorize myself as merely an armchair Lincoln Scholar (I know two bonafide Lincoln Scholars) I would also say I am a bit more than an amateur, but certainly a fan.

Lincoln has, no surprise really, featured in a few of my games.  His ghost is part of both my Ghosts of Albion games and my AD&D 2nd Ed Masque of the Red Death games.  He was part of my Haunted Illinois for both games, and that material is seeing new life in the NIGHT SHIFT Night Companion.  The Order of Lincoln was a secret society in my Leagues of Adventures games as well. 

In the 1890s though, Lincoln is dead.  But that is not stopping him from fighting the forces of evil and darkness.  Lincoln still walks at midnight. 

Here he is for Night Shift. NIGHT SHIFT is available from the Elf Lair Games website (hardcover) and from DriveThruRPG (PDF).

Abraham Lincoln

5th level Chosen One (Supernatural, Ghost*)
Archetype: Supernatural fighter of injustice
Strength: 16 (+2) S
Dexterity: 17 (+2)
Constitution: 13 (+1) 
Intelligence: 17 (+2) SWisdom: 15 (+1)Charisma: 17 (+2) P
HP: 28
Alignment: Lawful
AC: 6
Attack: 4 (Damage bonus +2)

Fate Points: 1d8

Check Bonus (P/S/T): +3/+2/+1Melee bonus: +8 Ranged bonus: +7Saves: +3 to supernatural attack saves, +2 to all Saves
Feed: Lincoln must destroy other supernatural creatures to sustain his existence. 
Ghost PowersIntangible. Can only be hit by magic or supernatural attacks. Unique Kill (same gun that John Wilkes Booth used). Can't leave their place of haunting, Supernatural Attack, Invisible. Supernatural Power: Manifest Weapon (Rail Splitter Axe).  Drawback: Cannot Lie.(Ghosts are not defined as a character race yet.) 
Chosen One SkillsBrutal Warrior, Stunning Blow, Killing Blow, Difficult to Surprise, Supernatural Attack, Improved Defense, Survivor Skills (2nd level)
--
So there are no Ghosts as a playable race in NIGHT SHIFT.  At least not yet.  I have been playing around with some ideas.  One idea is that every ghost will be able to choose a supernatural power like a Witch does.  In Abe's case here he can manifest a spectral axe like the one he used in his "rail-splitter" days to fight evil supernatural creatures. This replaces the "scare" and "age 10 years" powers monster ghosts have.
Additionally, all Ghosts will have some sort of drawback relating to their life or death.  Abe here can't willingly tell a lie.  All those years of being called "Honest Abe" have put something akin to geas on him.  For his "feed" he must defeat a supernatural creature every night.  With nearby Jackson (see the Night Companion for more on that!) and ghosts from the Civil War, to ghosts dating back to the Ice Age (Ghost Mammoths!), to strange hominids and ghost panthers, there is plenty to keep Abe busy every night. (And plenty for me to think about when I used to go to the Illinois State Museum as a kid.)
Lincoln here is also a Chosen One.  He was supposed to do more in his life and defeat more evil until he was prematurely assassinated.   He continues his quest after death. 
Lincoln haunts the Illinois State Capitol building and his tomb in Springfield IL.  The first sighting was reported by a night guard in 1876.  There are rumors he is also haunting the White House in Washington DC (hey maybe Nixon wasn't crazy!) as well. 
I will be posting a lot more about Jackson, IL here as a "Blog exclusive."
Spirit of '76:  Lincoln's ghost can also be used in my Spirit of '76 games.

Want to see more of the #CharacterCreationChallenge? Stop by Tardis Captain's Blog and the #CharacterCreationChallenge on Twitter for more! 

Ask any old school gamer to name four classic D&D artists you are likely to get some combination of Elmore, Easley, Caldwell, or Parkinson.  

Ask the REALLY old gamers and they are likely to include Otus, Dee, Tramp, and Willingham to that list.  Sadly, though this has been changing, one of the artist generally not mentioned despite her work is Darlene.

It has taken a long time, but within the last decade or so Darlene is finally getting to accolades and respect she should have been getting since the dawn of D&D.  Her name may not jump out at you, but her art certainly does.

She is foremost the creator of the full-color map of the Flanaess that came with the World of Greyhawk folio and then again with the boxed set.

She did the cover art for Mike Carr's module B1 In Search of the Unknown.

Art in the Dungeon Master's Guide,

Many of the logos from the classic days of D&D,

Jasmine (and This Old Dragon Retrospective)

But her most personal, and certainly longest lived, project was her comic strip Jasmine.  Jasmine appeared in the pages of Dragon Magazine from issues #37 to #48 and no continues on her Patreon site. Darlene retained the copyright to Jasmine.

The Dragon kicked off her debut in style with Darlene's art on the cover.

The Dragon #37

In addition to that wonderfully lovey cover, we are introduced to the tale of Jasmine as "a princess marching cheerfully to her doom."  This is one of the very first color comic strips (though "illustrated adventure story" might be better) I remember seeing in the pages of Dragon.  Darlene's style is watercolor dreamlike.  We are viewing this tale through the mists of time.  They are beautiful to behold but sadly too far away to interact with.  

The Dragon #38

The Princess is ambushed and captured by a rider in all black.

Dragon #39

The magazine is now just called "Dragon" but Jasmine continues. With none of her guards perusing the cloaked the rider the Princess begins to realize that help is not coming.

Dragon #40

A bit of recap, and extended to three pages, we learn that Princess Flavia had been placed under a spell and sent to this land because she had refused all other suitors.  After two day straight of riding with her captor, the hooded man in black from #38, they enter a grove.  Their horse rears up throwing them both off. The hooded man is knocked unconscious.  Flavia then meets up with two gnome-like men who introduce themselves as The Guardians and say they are here to help her.  Flavia says she does not need their help. They reply back that she says that because she has no idea what sort of danger she is in.

Dragon #41

We learn that Princess Flavia is destined to become the next Thaumaturgist!  And it appears she already has a mystic ring of some sort on her hand.

Dragon #42

Flavia recounts to Brother Ethelred how the Ring of Emeth came to her possession. We learn of the peril her father the King is now in. We also learn that another seeks this ring.

Dragon #43

(Ah, the Witch Issue!) Here we get more background on the Guardians and the ring.  There are two who seek it, archenemies Bardulf and Thorgall the Ice King.  Only they can remove it from her finger. 

Dragon #44

Flavia spends a few days considering the Guardians' advice.  She feels trapped in destiny and soon wanders off to a bridge to be confronted by bandits!

Dragon #45

The bandits attack and attempt to rape her until they see her ring and their greed overtakes them.  She is "saved" by a Dwarf warrior who kills both bandits, but the bodies already appear to be burned and withered. When he asks her for her name she replies "Jasmine."

Dragon #46

The dwarf warrior, Glynn Kedaroakenheart has also been drawn up in a prophecy about someone named Jasmine.  Meanwhile Jasmines growing enemies plan and plot.

Dragon #47

Glynn discovers more about Jasmine and encounters others hunting for Princess Flavia.

Dragon #48

Jasmine continues her way up the temple. She is pursued by soldiers who try to attack.  When she is discovered by Glynn the soldiers have all been blinded by a powerful light. 

Sadly here ends our tale of Jasmine in the pages of classic Dragon.  Though her tale continues on Darlene's website and on her Patereon.

Links

• Her website, Darlene the Artist
• The Story of Jasmine
• Storefront
• Her Patreon Site
• Facebook Fan Page
• Discussion about the Fan Page on The Piazza, with postings from Darlene herself.
• Darlene's Transformational Art Store
• Powerful Maidens Coloring books
• Darlene and saying "No" to NotTSR. (Facebook)
• On her site

One of the nice things about having absolutely no natural light in the back area of the gallery, and having all of the lights on timers to encourage winter growth patterns and spring blooming, is that it gets DARK back … Continue reading →

The book "The Picture of Dorian Gray" certainly fits well with my Victorian theme.  The movie, and my first experience with this tale, belongs to a later time (1945) but it still works.

I am not sure when I first saw the 1945 movie starring Hurd Hatfield and a young Angela Lansbury, but it left a mark on me.  That picture! Only hinted at and eluded too through most of the film was bright and vivid in its final reveal. 

Dorian Gray can be seen in the NIGHT SHIFT game as an Immortal. His unique kill would be to destroy the painting.  

Here he is for Night Shift. NIGHT SHIFT is available from the Elf Lair Games website (hardcover) and from DriveThruRPG (PDF).

Dorian Gray

2nd level Survivor (Supernatural, Immortal)
Archetype: Immortal Amoral Libertine 

Strength: 10 (0) 
Dexterity: 11 (0)
Constitution: 14 (+1) S
Intelligence: 15 (+1) SWisdom: 11 (0)Charisma: 17 (+2) P
HP: 7
Alignment: Dark
AC: 9 
Attack: +1

Fate Points: 1d6

Check Bonus (P/S/T): +2/+1/+0Melee bonus: +0 Ranged bonus: 0Saves: +3 Death Saves and area effects
Immortal PowersUnique Kill: Destroy painting, Immortals regenerate 1d8 hit points every minute. +3 to Intelligence
Survivor SkillsOpen Locks: 25%Bypass Traps: 20%Sleight of Hand: 30%Move Silently: 30%Hide in Shadows: 20%Perception 45%Danger SenseSneak attack +4, 2x damage--
Dorian here is a different sort of immortal. There is a tendency to make immortals all sword-wielding warriors out for each other's head (Highlander, The Old Guard) but not Dorian. He is a lover, not a fighter.  Ok, he is an amoral lover and wicked man, but he is not going to go off to battle. 
In some other ways, he is much like a successful lich, with his painting as his Soul Cage. 
Dorian is described as a lot of things, but an RPG character is usually not one of them.  He is, by all accounts, a normal human.  I made him a 2nd level Survivor because I am sure he picked up a thing or two in his "adventures." 

Want to see more of the #CharacterCreationChallenge? Stop by Tardis Captain's Blog and the #CharacterCreationChallenge on Twitter for more! 

Since things are a bit slow at the gallery due to the end of the growing season, now is a perfect time to discuss winter carnivore cleanups. This time, the subject is one that keeps coming up concerning Nepenthes pitcher … Continue reading →

My week of doing the characters from Dracula has been an absolute blast. Can't wait to go reread the novel again.  It got me thinking about others from this time period that might work out well and there are dozens. More than I will do for this challenge for sure, but enough to keep my busy.

One such character is Dr. Henry Jekyll and his evil counterpart Mr. Edward Hyde.

This also gives me a chance to try out something different with the new Lycanthrope rules.  

Here he is for Night Shift. NIGHT SHIFT is available from the Elf Lair Games website (hardcover) and from DriveThruRPG (PDF).

Dr. Henry Jekyll/Mr. Edward Hyde

4th level Inventor (Supernatural, Lycanthrope)
Archetype: Disturbed Scientist/Human madman

Strength: 13 (+1) [16 (+2) p]
Dexterity: 11 (0) S [14 (0) s]
Constitution: 11 (0) [11 (0) s]
Intelligence: 16 (+2) P [16 (+2)]Wisdom: 12 (0) S [12 (0)]Charisma: 15 (+2) [15 (+2)]
HP: 18
Alignment: Light/Dark
AC: 9 [7]
Attack: +2 

Fate Points: 1d6

Check Bonus (P/S/T): +3/+2/+0Melee bonus: +1 [+2] Ranged bonus: 0Saves: +3 to Inteligence and Wisdom saves   
Powers (Jekyll): Danger Sense,  Stressful Transformation, Gadgets (Hyde serum, delivery system, antiserum). 
Powers (Hyde): Danger Sense, Regenerate 1d6 hp, Natural Weapons, Rip and Tear, +3 to wisdom saves.Feed: Must commit an act of violence every night.
Skills:Medicine, Science, Knowledge (Chemistry), Research
Madness: On a roll of 1 or 2 on a d6 Jekyll will transform into Hyde.--
I opted to make Dr. Jekyll an Inventor rather than a sage because that seems to work out the best.  His inventions are his serum and the means to deliver it.  There was a great scene in the otherwise forgettable Edge of Sanity (1989) starring Anthony Perkins as both Jekyll and Hyde.  Basically, Hyde is walking around London, killing prostitutes and hitting on, for all purposes, a crack pipe. The movie was not good, but Perkins was and the scene stuck with me. 
Also the Jekyll/Hyde transformation can be used as a special type of Lycanthrope, or more generally, a "science" based Therianthrope.  This would be the same thing we would use for the Hulk and Cú Chulainn.
There are some more tweaks I can do to this character, but this is a good place to start.

Want to see more of the #CharacterCreationChallenge? Stop by Tardis Captain's Blog and the #CharacterCreationChallenge on Twitter for more! 

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

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

—oOo—
Name: The Catcott CollectionPublisher: Chaosium, Inc.
Author: Peter Willington

Setting: Jazz Age Bristol, United Kingdom
Product: Scenario
What You Get: Fifteen page, 1.96 MB Full Colour PDF
Elevator Pitch: “Mirrors don’t lie. They only show a part of truth.”Plot Hook: Getting lost in your studies may cost you more than your Sanity...Plot Support: Detailed plot, staging advice for the Keeper, one floorplan, two handouts, and one NPC (sort of).Production Values: Excellent.
Pros# One-to-one format more engaging# Good staging advice for the Keeper
# Short, one-session, one-to-one scenario# Strong sense of personal horror# Strong sense of isolation# Nicely done feel of decay and dream-like uncertainty# Would work as an introduction for any Academic Investigator# Easy to adjust to Cthulhu by Gaslight or Cthulhu Now
Cons
# Requires a slight edit# Tome at the heart of the scenario not written up# One-to-one format more demanding than traditional scenario# Pre-generated Investigator not given as an Investigator sheet# The intimacy of the personal horror may not suit all players
Conclusion
# Isolated, intimate horror one-shot# Nicely done feel of decay and dream-like uncertainty# Demanding horror scenario for both player and Keeper

The year is 1965. On March 19th, 1964, a joint Japanese-French mission landed on the Moon aboard the giant atomic rocket Kaguyahime, the Moon Princess – affectionately called Monsieur Renard (‘Mister Fox’) in France because of its orange-red paint job. Two space stations orbit the Earth—the US Aurora and the Soviet Budushcheye-1. In the skies over Europe and far-flung cities, the Aérospatiale/BAC Concorde carries passengers at the speed of sound with BOAC, Air France, and Air Majestique. Around the world the Cold War continues between the United States of America and the Union of Soviet Socialist Republics, with Europe divided by the ‘Iron Curtain’. This includes Arenwald, the alpine principality formerly part of the Austro-Hungarian Empire, squeezed in between Hungary, Sylveria, and Yugoslavia, famous as a stop on the Arlberg Orient Express line from London to Athens, and its Soviet counterpart, the Socialist Republic of Sylveria. The Cold War is not the only threat to the world, a secret organisation known as the Octopus, a centuries-old criminal organisation, has designs on world domination. There are other dangers too, as well as mysteries and conspiracies, many of which the authorities are not best-placed to deal with. Step forward the Troubleshooters, bands of friends and adventurers who are prepared to travel the world and investigate the mysteries, crimes, and dangers that the authorities decline to do. And if they can have fun along the way, all the better!
This is the set-up for The Troubleshooters: An Action-Adventure Roleplaying Game inspired by French and Belgian comics—bande dessinée or bédé—such as Tintin, Spirou et Fantasio, Blake & Mortimer, and Yoko Tsuno. Published by Helmgast following a successful Kickstarter campaign, this is an action-adventure roleplaying game set in the second half of the sixties and first half of the seventies, an era of glamour, optimism, and technological advances. Its outlook is optimistic and exciting, a metropolitan world primarily set across a Europe full of diverse and exotic locations. The players will take the roles of the Troubleshooters, freelance adventurers and investigators, friends ready to look into mysteries and crimes, travel to exotic locales, and have adventures! The Troubleshooters can have a theme and thus be a band of curious adventurers, sleuths, agents, or criminals (in the tone of ‘gentleman thieves’)—and The Troubleshooters starts off by discussing these and giving sample inspirations. Each Troubleshooter should be competent, have a particular role in the group—such as the Doer, Investigator, or Muscle, want to adventure, possess a weakness which enhances the story, be fun to play, and fun to play with.

A character in The Troubleshooters is defined by Skills, Max Vitality, Plot Hooks, Traits, Abilities, Complications, and Story Points. Skills—rated as percentiles—are broken down into Background, Social, Investigation, Action, and Combat skills, and they include skills such as Agility, Endurance, Strength, and Willpower, which in other roleplaying games would be used as attributes. Plot Hooks, such as ‘Do-Gooder’ or ‘Media Darling’, are used to pull Troubleshooters into a scenario, and published scenarios will use specific Plot Hooks to involve Troubleshooters. Abilities mark the Troubleshooter out as a special and come in three Tiers with increasingly harder requirements, but at each Tier provide a means for the Troubleshooter to spend Story Points. For example, the Actor Ability requires the Entertainment skill at 65%, and when used with other skills like Charm or Subterfuge, enables a Troubleshooter pretend to be another person. For one Story Point, the Troubleshooter can flip a Subterfuge task check when pretending to be someone else, but for two, he can make a new task check for Entertainment or Charm, and keep the new roll. Complications are roleplaying hooks, for both the player and the Director of Operations—as the Game Master is known in The Troubleshooters is known—and also a source of Story Points. For example, a Troubleshooter with the ‘Amorous’ Complication will earn three Story Points when distracted by his emotions and receives a −2 pips modification to task checks not related to said emotions, three Story Points if a romantic interlude causes him trouble, and six Story Points when a date or romantic interlude prevents him from participating in an important scene.

Troubleshooter creation is template based, though guidelines are included which allow a new template to be built or a Troubleshooter to be built without using a template. Fifteen templates are included from Adventurous Scholar, Aspiring Student, and Caring Veterinarian to Racing Driver, Suffering Artist, and Vigilante Lawyer. Each template includes some background, eleven skills, five Abilities, three Complications, Vitality, extra languages, three gear kits, and some Plot Hook suggestions. A player can modify the skills, but must choose two Abilities, one Complication, five gear kits (this is three more than the template gives, but there is an extensive list of gear included in the book), and two Plot Hooks. He also chooses languages if his Troubleshooter has any and finally decide—or roll—where he met the other Troubleshooters. (Alternatively, the players could just use the six signature Troubleshooters included as examples who figure in all of the examples through the book.)

Dickie Jones – Curious Engineer
Skills: Contacts 45%, Electronics 65%, Engineering 75%, Investigation 45%, Machinery 65%, Science 65%, Search 65%, Security 45%, Melee 45%, Vehicles 45%, Willpower 45%. (All other Skills 15%.)
Abilities: Curious, Tech Wiz
Complications: Combat Paralysis, Crude
Vitality: 5
Languages: –
Gear: Camping Gear, Ham radio set, Electronics toolbox, First Aid Kit, Mechanic’s toolbox (Signature)
Plot Hooks: Friends in High Places, I Owe You

Mechanically, The Troubleshooters is a percentile system. To undertake a Task, a Troubleshooter’s player rolls percentile dice and if the result is equal to or less than the skill and the Troubleshooter succeeds. If the roll is a double and below the Skill value, then the Troubleshooter earns Good Karma, succeeding with a bonus and gains a Story Point. Conversely, Bad Karma is gained if a double is rolled and it is above the Skill value. The Karma can be mechanical or storytelling in nature. The former might be +2 or -2 Pips for Good or Bad Karma, the latter reinforcements turn up, either to help or hinder the Troubleshooters, depending upon whether it is Good or Bad Karma. Modifiers to the roll come in the form of Pips, which range from +5 to -5. If the number of Pips is positive, then any result equal to, or less than the number of Pips on the Ones die will always succeed, even if the actual percentile roll is greater than the Skill value. Conversely, if the number of Pips is negative, then any result equal to, or less than the number of Pips on the Ones die will always fail, even if the actual percentile roll is less than the Skill value. Pips can be applied because the environment, such as in the middle of a storm, or equipment used, such as a tool kit. The Pips system does feel a little weird, even counterintuitive, but it does not take much adjusting to, and once you have, it is very workable.

Notably, if a test is failed, it cannot be repeated, either by the current Troubleshooter or any other Troubleshooter—unless circumstances have changed significantly. Failure though is not intended be an absolute, but rather that the Troubleshooter ‘Fail Forward’ and either learn from the failure or push the story on in interesting ways. For example, in a fight, a Troubleshooter might not be killed, but rather captured, or if a Troubleshooter fails to defuse a bomb in time, he at least learns something about the design. In addition, every Troubleshooter has Story Points. Their most common use is to flip the results of a percentile roll. However, they can also be spent to activate Abilities, get gadgets beyond the standard five a Troubleshooter starts play with, gain clues, and either add something major or minor to the ongoing story. Adding something to the story may require a little negotiation with the Director.

For example, Dickie Jones is participating in a rally across Sylveria. He is the co-driver in a car driven by his fellow Troubleshooter, Tristan Narbrough, but in addition to wanting to place well in the event, they are after a Soviet spy who is heading for the Socialist Republic of Sylveria with some information stolen from one of the sponsors of their car. However, during a night stage, in the middle of a storm, their car, a Mini-Cooper breaks down. Dickie leaps out of his seat, tool kit in hand, and pulls up the bonnet. To determine the fault and fix is going to require a Machinery 65% Test. The Director of Operations sets the Task at ‘-2 Pips’ for the storm, but Tristan’s player describes how he is holding a torch to make sure that Dickie can see what he is doing, which negates the ‘-2 Pips’. Plus, of course, Dickie has his signature Mechanic’s toolbox, which gives him two Pips. So, Dickie’s player is rolling his Machinery 65% Skill at ‘+2 Pips’. Dickie’s player rolls 99%! Not only is this a failure, but it is also one with Bad Karma. This could be bad news for both Dickie and Tristian, but Dickie has the Tech Wiz Ability, which enables his player to reroll an Electronics, Engineering, or Machinery Task for one Story Point. Dickie’s player spends the Story Point and rerolls, but the result is a 71%--better but still a failure… Except no, the value on the Ones die is less than the Pips, which means that Dickie finds the fault, fixes it, and they are back on the road again, driving hard to catch up with and capture the industrial spy!

Combat in The Troubleshooters is more complex and is built around opposed Tests between attacking and defensive Skills, for example, Melee versus Melee Skill or Ranged Combat versus the Agility Skill. The Troubleshooters, as Player Characters, have Defence Skills, but unless they are important, Director characters (or NPCs) do not. Initiative is handled with an Agility Test, with the rests of the two dice added together if successful. Damage is rolled on six-sided dice, typically just two for unarmed attacks, all the way up to seven for machine guns. Rolls of four, five, and six inflict a point of Vitality damage per die, with results of six exploding and potentially doing more damage. Armour allows Soak rolls which negate points of damage, but do not explode. Recovery rolls, made to recover Vitality work the same as Soak rolls. A Troubleshooter or an important Director character is out Cold when they run out of Vitality, although either can take the Wounded or the Mortal Peril Condition instead of suffering Vitality loss. This typically to void being Out Cold, but both have consequences after the fight and take time to heal. What is stressed throughout The Troubleshooters is that it is not a roleplaying game about killing and that it is very difficult for a Troubleshooter to die. Indeed, the most common way of a Troubleshooter dying is when it is dramatically appropriate and the Director has stated that it is a possibility in a scene. As to killing, if a player has his Troubleshooter kill a Director character in cold blood, then the Director is advised to deny the Troubleshooter any free improvement checks at the end of the adventure, and remove all of the Troubleshooter’s Story Points, as well as half of the Story Points of those Troubleshooters’ who could have stopped him. This is harsh, but The Troubleshooters is intended as a positive roleplaying and roleplaying experience.

For the Director of Operations, there is good advice on setting up combat scenes to make them interesting and challenging, adjudicating the use and awarding of Story Points, an extensive list of Gear—including Weird Tech with which to equip the bad guys or interest any budding Tech Wiz Troubleshooter. The advice also covers hosting and running the game, portraying the Director’s characters—including how to make the bigger villains camp, and creating adventures and campaign. She is accorded a full description of the Octopus, its organisation, members, aims, and technology, plus plenty of stats and write-ups of various Director characters and animals. In terms of background, ‘The World of The Troubleshooters’ presents the period and setting in some detail, highlighting not just the differences between the sixties that we know from history and the sixties of The Troubleshooters, but also the similarities. It covers technology, travel, and more before providing a whirlwind guide to some of the interesting places and cities around the world, from Paris and Berlin to Buenos Aries to Ice Station X-14. These are really good, describing each location in a couple of pages including lists of where to stay, things to do, and why that location is being visited as part of the Troubleshooters’ adventure. In fact, these location descriptions feel reminiscent of the Thrilling Locations supplement for the James Bond 007 roleplaying game from 1983 and certainly that sourcebook could be useful until The Troubleshooters gets one of its own. Rounding out The Troubleshooters is a set of appendices which include a calendar for 1965, lists of first names in various languages, a table of character traits, and several lists of profanities, but not profanities, which should allow a Troubleshooter to swear, but not swear, and still maintain the spirit of the bande dessinée. “Blue blistering barnacles!” indeed.

Physically, The Troubleshooters is a stunning looking book. The artwork, done in the ‘Ligne claire’ style pioneered by Hergé, nicely sets the signature cast of The Troubleshooters against the well-drawn backdrop of the real world. Make no mistake, the artwork is excellent throughout, really capturing the feel of the roleplaying’s inspiration. Although it needs a slight edit in places, The Troubleshooters is well written and an engaging read from start to finish. Throughout, the rules and situations are explained in numerous examples of play, all using the signature cast of The Troubleshooters and narrated by Graf Albrecht Vogelin Erwin von Zadrith, the Number Two of the Octopus, as the Director. These are all entertaining to read and tell a story as much as they inform about the rules.

If there are any issues with The Troubleshooters, then there are two. First, there is no scenario. Second, the other thing is that although it references various bande dessinée, it does not list actual titles. Fortunately, there are three scenarios available for the roleplaying game in The Troubleshooters’ Archive. The lack of a bibliography can be got around using the pointers included here as a starting point. In addition, The U-boat Mystery scenario is already available.

The obvious thing about The Troubleshooters is that could be used to run a James Bond style roleplaying game. It could be, and it would work well as a James Bond roleplaying game, but The Troubleshooters is not as cynical in tone or even as murderous as the world of James Bond is in comparison. Much lighter in tone, The Troubleshooters is of course a roleplaying game of adventure tourism in the style of bande dessinée, but also that of the ITC Entertainment television series of the period. For example, The Saint, The Persuaders!, and The Protectors, and whilst it is specific in its bande dessinée inspiration, The Troubleshooters is really the first roleplaying game to look back to the period since Agents of S.W.I.N.G..

The Troubleshooters: An Action-Adventure Roleplaying Game is great looking book with artwork which wonderfully evokes its source material. The rules and mechanics support play in the style of that source material, enabling the players to create fun Troubleshooters, and jet or drive off on amazing, exciting adventures with each other and tell great stories. With its comic book or bande dessinée sensibilities, there can be no doubt that The Troubleshooters takes us back to a simpler, if headier and more optimistic time. The combination means The Troubleshooters is engagingly, delightfully European and charmingly chic.

Quincey Morris is the odd man out here in the Dracula tale. He is a rich American, friends with Holmwood and Seward, and like Van Helsing he has had dealings with blood-suckers, in this case, vampire bats, before.  He is also the character that gets left out of most other media more times than not.

It is Quincey, or rather his Bowie knife, that is instrumental in bringing down Dracula so Harker and Holmwood can kill him.

Had he survived the attack by Dracula he would have been a great character to become a vampire hunter.  Other authors have picked up this challenge and have told stories of a survived Quincey, a vampire Quincey and even Quincey's younger brother (called "Cole" in at least one story).  Quincey lives on in John and Mina's son, Quincy Harker.

Again, one of the best portrayals was Billy Campbell in Bram Stoker's Dracula (1992) which was also one of the most book accurate portrayals.  Another good one is Ethan Chandler in Penny Dreadful

Here he is for Night Shift. NIGHT SHIFT is available from the Elf Lair Games website (hardcover) and from DriveThruRPG (PDF).

Quincey P. Morris
4th level Veteran
Archetype: Rich Texan

Strength: 13 (+1) S
Dexterity: 17 (+2) P
Constitution: 16 (+2) S
Intelligence: 11 (0) 
Wisdom: 13 (0) 
Charisma: 15 (+2)

HP: 24
Alignment: Chaotic Good
AC: 8
Attack: +2 

Fate Points: 1d6

Check Bonus (P/S/T): +3/+2/+0Melee bonus: +1 Ranged bonus: +2Saves:  +2 to all saves. 
Powers:  Combat Expertise, Improved damage, improved defense, Supernatural Attack, tracking
Skills:** Beast Whisperer, Steady Hands, Notice, Wilderness Survival
** Skills are optional in NIGHT SHIFT, but for Seward, Holmwood, and Morris I feel they are what set the characters apart and above and beyond their class abilities. 
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You can see why Arthur and Quincey are often combined in movies where they work better in a book. Here their stats are not very different, they are both even 4th level Veterans.  I did that on purpose to show that with the optional skills rules you can provide more customization with the characters.  They are also played quite differently. 

Want to see more of the #CharacterCreationChallenge? Stop by Tardis Captain's Blog and the #CharacterCreationChallenge on Twitter for more! 

The mystery—as opposed to the mysterious, which has always been there—has long been a part of roleplaying, all the way back to The Maltese Clue, the scenario published by Judges Guild in 1979.  It really came to the fore with roleplaying games like Call of Cthulhu, Gangbusters, and Justice, Inc. and more recently seen in the GUMSHOE System with roleplaying games such as Mutant City Blues, which combines superheroes with the police procedural. What these all do with the mystery is provide the Game Matron with a plot and a set of clues that the players and their characters investigate the mystery and hopefully piece together the clues to uncover the mystery. However, what if the mystery and its investigation was set up the other way around? What if there was no set solution and instead the solution to the mystery could be constructed from the clues uncovered by the players and their characters and would be, if not absolutely correct, then very nearly so? This is what Matrons of Mystery—and Brindlewood Bay, the roleplaying game by Jason Cordova it is derived from—both do.

Both Matrons of Mystery and Brindlewood Bay are Powered by the Apocalypse roleplaying games in which players take the roles of women of a certain age who investigate murder—often much to the consternation of local law enforcement. Brindlewood Bay has an American feel and behind the series of murders a Lovecraftian conspiracy, whereas Matrons of Mystery focuses entirely on the murder mysteries, employs a parred back version of the Powered by the Apocalypse mechanics, and has a decidedly British sensibility being inspired by television series such as Miss Marple, Rosemary & Thyme, Agatha Raisin, Queens of Mystery, Father Brown, and so on. This is not the world of the hardboiled mystery, or even mystery on a medium heat, but that of the ‘cozy’ mystery, set in a small town or village where everyone knows everyone—except that recently arrived stranger, and of course, everyone’s secrets—and there is a strong sense of community, and is of course, suitable for afternoon or Sunday night viewing with all of the family gathered round the television.

Matrons of Mystery: A cozy mystery roleplaying game is designed for three or four players, plus the Game Matron, and each mystery ideally takes a session to solve. This makes it good for one shots or convention games, and the familiarity of its genre means that Matrons of Mystery will be easy to grasp and familiar to most players. In Matrons of Mystery, players take the roles of ladies of a certain age, who are perhaps single, widowed, or divorced, certainly retired or have more than enough time to throw themselves into their community and various activities and charities. For example, keeping the parish church clean, attending meetings of the W.I., helping run Meals on Wheels, doing the village Christmas Pantomime, and so on. Of course, when murder strikes—as it invariably does in their surprisingly high murder count communities—it is the ‘Matrons of Mystery’ who take up their handbags, put down their trowels, and ever ready to make a nice hot cup of tea, discover whodunnit before the local bobby on the beat, Police Constable Plodd, and Inspector Witless from the nearest big town, can work it all out.

Character generation and game set-up in Matrons of Mystery is quite quick. First, the players name and decide on some details about their Matrons’ village. Then, every Matron has a name, a Personal Style, a Hobby, a Background, an Investigation Style, and a Contact. So a Name might be Audrey or Nettie, a Personal Style could be ‘Smart and Classic’, ‘Punk’, or ‘Twinset and Pearl’, and a Hobby Baking, Gardening, Collecting, or Amateur Dramatics. The Background consists of answers to three questions—the first is about a Matron’s former partner or whether or not she was married, what was her career before she retired, and whether she has any children, or if not, young relatives she is fond of. Her Investigation Style—Physical, Logical, Intuitive, or Gregarious—represents different approaches to solving mysteries, and the Contact is someone that the Matron knows well from her past and can rely upon to help out in a pinch. To create a Matron, a player decides upon all of these factors, answers the three questions for her Background, and then assigns +2 to her primary Investigation Style, +1 to her secondary Investigation Style, sets a third at 0, and assigns -1 to her least favoured Investigation Style.

Henrietta Wyndham
Personal Style: Punk
Hobby: Painting
Background: Divorced (to Nigel Wyndham, Stage name: Nasty Nigel), Former Record Producer, Children include Freddy, Pandora, Ned
Contact: Gordon Blythe-White (Record Exec)
Physical 0 Logical -1 Intuitive +1 Gregarious +2

Mechanically, Matrons of Mystery uses Powered by the Apocalypse. To undertake an action or ‘Move’, a player rolls two six-sided dice, adds his Matron’s Investigative Style and aims to roll high. The results fall into the ‘Yes’, ‘Yes, but…’, and ‘No and…’ Roll ten and more and the Move is successful; roll between seven and nine, and the Move is successful, but comes with a Complication; and roll six or less, and the Move not only fails, but adds a Complication. A Complication hinders the Matron’s investigative efforts, such as her slipping and injuring herself climbing in or out of a window or the suspect taking umbrage at one or more of the questions posed to him. This can lead to an ongoing Condition, such as a sprained ankle or being thrown out of a society dinner. (If there is one issue with Matrons of Mystery, it is that it could have done with a bigger list of Complications and especially Conditions to inspire the Game Matron.)

Rules are provided for gaining Experience Points and either using them in play to improve dice rolls or saving them to improve a Matron’s Investigative Styles. They do feel optional though.

Unlike most versions of Powered by the Apocalypse, the rules in Matrons of Mystery include an Advantage and Disadvantage mechanic. Thus when a Matron has the Advantage, which can come from her Personal Style, Hobby, Background, or the situation, three six-sided dice are rolled instead of two, and the best used. Conversely, when she is at a Disadvantage, her player rolls three dice and keeps the lowest two. Another difference between other roleplaying games using Powered by the Apocalypse and Matrons of Mystery is that it does not make use of Playbooks, each of which provide an archetypal character and its associated Moves. Instead, Matrons of Mystery provides a standard set of nine Moves that all of the Matrons can use. The first five Moves—‘Investigate’, ‘Interrogate’, ‘Take Action’, ‘Lend A Hand’, and ‘Ask A Favour’ are used to gain clues and conduct the Investigation. The next three, ‘Reminisce’, ‘Nice Cup of Tea and a Sit Down’, and ‘Go To Adverts’, enforce both the genre and the format of the genre. ‘Reminisce’ enables a Matron to recall something from her past which will help with the current investigation; ‘Nice Cup of Tea and a Sit Down’ lets two or more Matrons sit down, have a nice hot cup of tea, have a chat with each other, and in doing so, each remove a single Condition; and ‘Go To Adverts’ enforces a break in the story when a Matron is in danger, ends the scene on a cliffhanger, and lets the players discuss how the cliffhanger is resolved with the imperilled Matron unharmed when the adverts end!

The final Move is ‘Put It All Together’. This happens at the end or near the end of the game when the Matrons gather their collected clues and deduce the identity of the murderer. Instead of using an Investigative Style to modify the roll, the player uses the number of clues and secrets found out so far, minus the number of suspects involved in the murder. Typically, there are eight suspects per murder, so the Matrons will need to have gathered at least eight clues and secrets to negate this, plus more to gain a modifier to the roll. Roll ten or more and the Move is successful, the Matrons are correct in their deductions and have identified the Murderer and his motive; roll between seven and nine, and the Move is successful, the Matrons are correct in their deductions and have identified the Murderer and his motive, but there a Complication which the Matrons will need to overcome in order to apprehend the Murderer; and roll six or less, and the Move fails, indicating that the Matron’s deductions are incorrect. The Game Matron has to explain why and then sends the Matrons back off to continue their investigations and try again.

For the Game Matron, there is good advice on designing a mystery, from the theme and the set-up through to defining the secrets and listing the clues. There is also good advice on running the game—both online and at the gaming table, how to handle clues, secrets, Complications and Conditions, and so on, as well as optional rules for one-on-one play and playing away from the Matrons’ home village. A short bibliography provides some inspiration for the Game Matron. Then there are three ready-to-play Mysteries, complete with set-up, teaser, eight suspects, and a long list of clues. The first is ‘Gardner’s Question Crime’ in which the village hosts the popular radio show, Gardeners’ Answers in the grounds of Hatherly Hall. With most of the village present, the guest speaker, celebrity gardener and host of the television series, Gardener’s Life, Alan Jefferson, drops dead as he is about to take to the stage. This is followed by ‘Dicing With Death’ in which the village hosts a roleplaying convention (!) and award-winning game designer, Scott Sallow, is found dead on the last day of the convention with his mouth stuffed full of polyhedrals! Lastly, ‘Ding Dong Death’ is takes place just before national bell ringing championships and with the village wanting to put on a good performance, the bell ringing team is getting in some last-minute practice. Unfortunately, the lead bell ringer, Walter Bell, is found hanging upside down from one of the bell ropes. All three scenarios are great set-ups, though ‘Dicing With Death’ feels both improbable and a direct appeal to its intended audience.

Physically, Matrons of Mystery is a tidily done digest-sized book. The cover is appropriately rural, whilst the internal artwork, all publicly sourced, is there to break up the page rather than necessarily illustrate the game. The book is well written and easy to read—especially with the slightly larger fount size.

Matrons of Mystery is fun to play and it is simple to play. Having just the one set of nine Basic Moves eases play no end. Given the age of the Matrons, it is much more of a social game than physical game necessarily, although some sneaking around is probably going to be necessary and perfectly in keeping with the genre. Although it does present her with eight suspects to roleplay, the lighter nature of the rules do provide the Game Matron with the opportunity to really focus on her roleplaying and have fun with it too. The nature of the game and its ‘no given perpetrator’ set-up also strips Matrons of Mystery of any sense of stress or competition which might arise in the players and the Game Matron as they worry whether their deductions and solution to the crime is actually right. Instead, the players and their Matrons construct the murder solution and motive from the clues, thus emphasising storytelling—both the storytelling of the murder and the storytelling of it being solved.

Matrons of Mystery: A cozy mystery roleplaying game is cleverly cozy, taking the structure of Brindlewood Bay and parring it back to focus on its core game play. It is a smart, sprightly roleplaying game which delightfully evokes its genre from the page to the table. And if you are going to play this at the table, a nice hot cup of tea is an absolute necessity.