Well. More like, "New Year, time to get rid of games I have not played in forever."

Expect some odd ball reviews coming up.

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition and the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha, The Companions of Arthur is a curated platform for user-made content, but for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon. It enables creators to sell their own original content for Pendragon, Sixth Edition. This can original scenarios, background material, alternate Arthurian settings, and more, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Pendragon Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Pendragon campaigns.

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What is the Nature of the Quest?The Barnyard Tournament: A Three Damosels of the Fountain Adventure is a scenario for use with Pendragon, Sixth Edition.

It is a full colour, eight-one page, 11.63 MB PDF.

The layout is tidy and it is nicely illustrated, often to amusing effect.

Besides six pre-generated Player-knights, The Barnyard Tournament includes thirty-three handouts, a game board and thirteen tokens, one map, and a Game Master reference card.
Where is the Quest Set?The Barnyard Tournament is set in Huntland County and quite literally, beyond, on the border between Logres and the Saxon kingdom of Anglia.
It takes place in the Boy King period directly before a battle, either against the Rebel Kings during the Civil War or against the Saxons in the Saxon War.
Who should go on this Quest?
The Barnyard Tournament is suitable for knights of all types. The Passion of Hate (Saxons) is likely to be advantageous, but not necessary to complete the scenario.
What does the Quest require?
The Barnyard Tournament requires the Pendragon, Sixth Edition rules or the Pendragon Starter Set.
Where will the Quest take the Knights?The Barnyard Tournament is a grand adventure which begins with the Player-knights as exploratores on the road, conducting a scouting mission for King Arthur on the eve of battle. An encounter with three ‘Weird Sisters’ will divert them onto three different paths that together allegorise the need to grow up and assume the responsibilities of adulthood, in the scenario on a small scale, but in the kingdom at large, on a much bigger scale. The diversion is actually a dishonourable act for the Player-knights, as it will take them away from their assigned mission, but there is much to be learned and much to be gained by taking the path rather than ignoring it. (Plus, there is a chance to redeem themselves at the end of the adventure.) The paths in turn lead the Player-knights to a prosperous manor, almost an idyll in the face of the oncoming war. None are prepared for the conflict to come, including the young man due to inherit the manor. On the first path, the Player-knights are directed to inspire the young man to follow in the footsteps of his father, a famous knight, and prepare both him and the manor in case of an attack by Saxon raiders, looking for easy pickings. On the second path, the Player-knights find themselves in a very strange situation where they must attempt to bring together squabbling, but potential allies in the face of greater aggression and so protect the king—much like the situation with the young King Arthur. On the third path, the Player-knights must put into practice what they have preached and defend the manor from the marauding Saxons.
The first path introduces the location and the cast, presenting a community and pastoral respite that the Player-knights can indulge in, just a little, as they begin to teach the folk of the manor more of the wider world. There is a playfulness to this first chapter, one that the Player-knights tumble out of and into the second chapter and into the magical realism of tooth and claw in the nearby forest. Here on second path, the scenario is at its strangest, not just in terms of what both their players and their knights are now playing, but also in terms of how it is played out, more like a board game than a roleplaying game. If the first path teaches the lesson, the second cements it, and the third enforces the need for it. On the third path, the Player-characters become the generals as a wild assault is made on the manor by marauding Saxons. The likelihood is that the second path will be remembered for its oddness, whilst the first and third paths stand out for their roleplaying and storytelling opportunities, the third path offering opportunities for heroism.
The Barnyard Tournament is designed to showcase the various aspects of Pendragon Sixth Edition and its rules. Thus, there is a mock tournament, a battle to engage in, and opportunity aplenty for the Player-knights to show off their knightly virtues. All of which veiled in the mystical strangeness of Arthur’s realm and a little beyond. The scenario is written for use by Game Masters new to Pendragon—though this does not mean that old hands will not either appreciate or enjoy it—and to that end there is advice throughout its pages on how to stage and run The Barnyard Tournament with numerous possibilities and outcomes suggested and discussed.
Should the Knights ride out on this Quest?If as the Game Master, you do not yet have The Barnyard Tournament: A Three Damosels of the Fountain Adventure, then you should, and if as a player your knight has not yet participated in The Barnyard Tournament: A Three Damosels of the Fountain Adventure, then ask your Game Master why not? This is an excellent adventure, one that showcases the richness of King Arthur’s realm—if only in miniature—and have the Player-knights become part of it and defend it. All of the scenarios to date on The Companions of Arthur have been good, so it no slight against any of them to say that The Barnyard Tournament: A Three Damosels of the Fountain Adventure is the best community content adventure published for Pendragon Sixth Edition to date.

 This is the first Monday of the new year and the first day back to work for many. So it is good that I am starting off the week with this character. 

Finn Danis was a Cheysuli Starmaster.

Ok, that is a sentence I need to parse out a bit. 

Back in 1986 both Grenda and I were heavy into making our own classes. I have detailed that tera here plenty of times with my Witch class. This era also produced my Healer, Necromancer, and Sun Priest classes.

Grenda created the Riddlemaster, Shadowmaster, Beastmaster, and finally the Starmaster classes. I will detail these classes this month as they come up more and more. But suffice to say they were extremely overpowered. This was be design, and they had the XP requirements to match. 

I posted my own Riddlemaster last year. The Starmaster class was essentailly a proto-prestige class similar to the original Bard or Acrobat classes. A potential Starmaster had to advance as Riddlemaster, then a Shadowmaster and then a Beastmaster. Never reaching level 10 (The Black of Mastery; levels had colors) in any. Then you progress as a Starmaster.

Finn was the head of the School of Riddlery in Grenda's game. He was his test character for for all his Riddlemaster classes. He was, in pretty much every aspect, his "Larina."

The notion here was all the Riddlemaster classes were Psionic. Their powers were psionic/psychic based. We decided that the powerful Wizard's Guilds and Priestly Orders had worked together to make psionic powers illegal in our realms. So the Riddlemasters (also called "Adepts") had to disguise their powers to look like magic. They could take wizard spells, had thief skills, turn undead, and had great combat. Did I mention they were overpowered? 

Finn was also a Cheysuli, from Jennifer Roberson's Chronicles of the Cheysuli. He was a tall dark-skinned, shape-shifting warrior who could also become a large panther. Since Finn was 6'7" we figure he turned into a giant panther.  I was not into Roberson's books as much as Grenda was. But I liked Finn. 

Think of Dean Henry Fogg from The Magicians, but instead of being played by Rick Worthy, he is played by Tony Todd. 

The biggest problem with Finn is how do I represent him in other games?

On the surface he is a Psychic, with enough heroic touchstones to give him some other abilities. But even with a heroic touchstone per level I am not sure I could replicate him well enough.

Finn Danis

Class: Psychic / Scholar
Level: 20
Species: Cheysuli
Alignment: Light Neutral
Background: Cheysuli

Abilities
Strength: 19 (+3) 
Agility: 19 (+3) 
Toughness: 13 (+1) 
Intelligence: 15 (+1) N
Wits: 16 (+2) A
Persona: 19 (+3) N

Fate Points: 1d12
Defense Value: 1
Vitality: 140
Degeneracy: 0
Corruption: 0

Check Bonus (A/N/D): +8/+6/+2
Melee Bonus: +4 (base) +1 (touchstone) 
Ranged Bonus: +4 (base)
Psychic Attack: +7
Saves: +7 vs Persona (Psychic), +1 to all (touchstone)

Background
Shapeshift to a large panther. Speak with Animals.

Psychic Abilities
Psychic powers: 5, Supernatural attacks, Supernatural power: Astral Projection

Psychic Powers
Bio-feedback
Psychokinesis
ESP
Telepathy
Temporal Sense

Sage Abilities
Languages: 15, Lore 95%, Mesmerize others, suggestion, Renegade Skills: 3rd level, Spells 3/2/1

Stealth Skills
Open Locks: 30%
Bypass Traps: 25%
Sleight of Hand: 35%
Sneak: 30%

Spells
First level: Arcane Dart, Light, Mystical Senses, Command
Second level: Lesser Renewal, Unlock
Third level: Concussive Blast

Heroic/Divine Touchstones 
1st Level: Glamour
3rd Level: +1 to melee combat
5th Level: First Level Spell: Command
7th Level: Divine Smite
9th Level: +1 to all checks, attacks, and saves
11th Level: Immunity to Undead Attacks
13th Level: Character ceases to age
15th Level: Persistent Luck
17th Level: Down but not out
19th Level: Overwhelming Aura

Heroic (Divine) Archetype: Natural Order

Gear
Sword (Mistweaver)

Ok. There is no way I can do Finn justice and stay within the rules as written for Wasted Lands. Or pretty much any other game really. For amusement sake I started a D&D 4e version of him, but even that was unsatisfying.

No. Finn is really too much for any game and he is even stretching AD&D to point of ridiculousness. 

But, that was the point. He was an experiment who just happened to also be a great character. 

There is a question here though.

Does anyone want to see the Riddlemaster classes? Is there any interest out there for these über-powered classes?

Mind you, I LOVED playing my Riddlemasters. Maybe as much as I did my witches. But I am sure they are a lot more niche than my witches are. 

You can get the Wasted Lands RPG and the NIGHT SHIFT RPG at Elf Lair Games.

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

—oOo—
Name: Thicker Than WaterPublisher: Chaosium, Inc.
Author: Jack Currie

Setting: Arkansas, 1933Product: Scenario
What You Get: Thirty-four page, 679 KB Full Colour PDF
Elevator Pitch: Monstrousness runs through more than the blood.Plot Hook: A kidnapping sends the Investigators down southPlot Support: Staging advice, one handout, one Mythos Tome, One Mythos spell, and one-hundred-and-ten Mythos monsters.Production Values: Plain
Pros# Short and straightforward# Scope for development by the Keeper# Hemophobia# Anthropophagusphobia# Teraphobia
Cons# Needs a good edit# More plot outline than investigation# Why isn’t the FBI involved? # No maps or floorplans# Much, much shorter playing time than suggested
# Scope for development by the Keeper
# If they are tied to the kidnap victim, why no pre-generated Investigators?
Conclusion# More plot outline than scenario with limited scope for investigation# Underdeveloped, but not without potential
# Reviews from R’lyeh Discommends

 I am not sure how many old players had generational characters, but Grenda and I certainly did. This stack of characters I have were not sorted by date and certainly not by family. So, finding Adnerg's grandson here is kind of neat.

Damelon Myrildean was not just a wizard; he was an avatar of fire. He was trapped on the Elemental plane of Fire for a number of years. Yeah, he was part of the "lost son" cliché, but here I am embracing the clichés.  Which is fun, because Damelon was not much like his grandsire, but he was who you called when you absolutely needed everything burned from orbit.

Damelon is also one of the first characters I have detailed here from "Rivendell." Not the "Rivendell" but the city he created while we were in High School. It was part of our great city project, the Urban Survival Guide.

He did rename the city later to "Riddleholm." 

Damelon also seems to be somewhat influenced by Elric, with his Strength and Constitution scores of 3/18. Again, I am not 100% sure what was happening here, but I like it.

Damelon Myrildean

Class: Sorcerer
Level: 18
Species: Human
Alignment: Twilight Neutral
Background: Scholarly

Abilities
Strength: 3 (-3) / 18 (+3)     
Agility: 17 (+2)     
Toughness: 3 (-3) / 18 (+3)
Intelligence: 18 (+3)  
Wits: 17 (+2) 
Persona: 17 (+2) 

Fate Points: 1d12
Defense Value: 3
Vitality: 40 (d4)
Degeneracy: 3
Corruption: 1

Check Bonus (A/N/D): +8/+6/+4
Melee Bonus: +3 (base)
Ranged Bonus: +3 (base)
Spell Attack Bonus: +9
Saves: +4 vs magic attacks and area effects

Arcane Powers
Astral Projection, Polymath, Shapeshifting, Wild Form

Spells
1st level (5+2): Arcane Darts, Black Flames, Gout of Flame, Mystical Senses, Restore Vitality, Flame Ray (Chill Ray), Phantom Lights
2nd level (5): Conjure Flame, Eternal Flame, Heat Metal, Invoke Fear, Vampiric Augmentation
3rd level (5): Blinding Speed, Concussive Blast, Conjure Fireworks, Dark Lightning, Protection against Energy 
4th level (4): Conjure Fire, Globe of Daylight, Improved Invisibility, Metamorphosis
5th level (4): Blight, Elemental Wall, Summon Elemental, Telekinesis
6th level (4): Disintegrate, Evaporation, Envoke Weather, Instant Death
7th level (3): Ball of Sunshine, Drain Life, Wave of Mutilation
8th level (3): Mind Shield, Snuff Life, Summon Other
9th level (2): Feedback Barrier, Orb of Imprisonment

Heroic Touchstones
Level 1: First level spell
Level 3: Additional first-level spell 
Level 5: Aspect control: fire
Level 7: Additional mode of movement: fly
Level 9: Magic recovery
Level 11: Conjure element: Fire
Level 13: Aspect: Fire
Level 15: Metamorphosis: Fire
Level 17: Divine Aura: Fire

Heroic (Divine) Archetype: Magic/Fire

Gear
Dagger, staff

You can get the Wasted Lands RPG and the NIGHT SHIFT RPG at Elf Lair Games.

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary, and the new edition of that, Dungeons & Dragons, 2024, in the year of the game’s fiftieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

—oOo—
Tunnels & Trolls was famously written and published in response to Dungeons & Dragons. The designer, Ken St. Andre, wanted something that played like Dungeons & Dragons, but was both faster and easier to play. The result was a short booklet, running to just forty-two pages, that he would write and publish in 1975 and find popularity, first in Phoenix, Arizona, followed by the USA and the rest of the world, being published in the United Kingdom and Japan and going through over eight editions. The Tunnels & Trolls 1st Edition Reprint was published as part of the Kickstarter campaign for Deluxe Tunnels & Trolls and it gave fans of the roleplaying game a chance to look at the original version of the game, previously all but impossible, since only a hundred copies were published.

The Tunnels & Trolls 1st Edition Reprint begins with an introduction by Ken St. Andre, which explains how both it and Tunnels & Trolls came to be, making it available after his last remaining copy was made available to, and selected by, one backer as part of the Kickstarter. He makes clear that his aim was not to invent fantasy roleplaying, but to simplify it and what he created was a style that was not derived from miniatures gaming as was Dungeons & Dragons, but more from literature and comics. In the process, as he says, he showed that there was another way to roleplay. Given that this version of Tunnels & Trolls was written and published in 1975, there are two issues with it in terms of content. One the author addressed in 2020, the other he has not. St. Andre states in a footnote that the spell Obey Me was originally called ‘Yassa Massa’ and that although his original intention was simply to amuse with what he calls his “thoughtless word play”, he changed it to avoid giving further offence as well as giving an apology. Whereas, in the section on ‘Human Auxiliaries’, a hero can hire two types of auxiliary character to accompany him on his delves. One is the hired henchman, the other is the slave, who is said to have no luck and no charisma ratings, and usually be of low I.Q. Female slaves cost extra. This could and should have been addressed at the time of publication, in 2013, or even 2020, but even now, it could be addressed, just as the ‘Yassa Massa’ spell name was.

Tunnels & Trolls 1st Edition begins by explaining the basics of the game, which though very familiar today, would have been strange in 1975. The game is set in, “…[A]n alternate world where fantasy is alive and magic works (a world somewhat but not exactly similar to Tolkien’s Middle Earth) there exist numerous enchanted tunnel complexes with many types of treasure, and abundantly guarded by every imaginable form of monster, magic, and trap.” and that, “Brave men and women arm themselves and venture within the tunnels at the risk of body and soul to seek treasure and experience.” This requires that someone create or ‘dig’ and stock a dungeon with magic, monsters, and treasure, and that as the ‘Dungeon Master’, this person would act as the god within the dungeon, but till be fair to the other players, who will create and equip the character who will venture into this dungeon. Once set up, “The game is played something like Battleship.” Not the sense that there are two boards of which each player can only see their own, but rather that there is only one, which is, of course, known to the Dungeon Master, who will then reveal to the players as their characters explore its depths. It is clear from the introduction that St. Andre is explaining what would have been a very new concept to the reader. After all, Dungeons & Dragons had only introduced it the previous year, which the author acknowledges in thanking both E. Gary Gygax and David Arneson for creating the original roleplaying game. The author also makes clear that the game is not his beyond making it available to others and encourages the reader to improve the rules as their imagination dictates.
After some advice on creating and stocking dungeons, Tunnels & Trolls explains how to create characters, noting here for the first time that their details can be recorded on three-by-five-inch cards. A character has six Prime Attributes. These are Strength, Intelligence, Luck, Constitution, Dexterity, and Charisma. In addition, the character has a note of the Gold Pieces possessed, and the weight he can carry and is carrying. He will also have Armour and Weapons, and will speak Common, but may know some other Languages. In terms of what he can be, the three types are Warrior, Magic-User, and Rogue, inspired by Conan, Gandalf, and Cugel, respectively. The Warrior cannot cast spells; the Magic-User can cast spells, but is extremely limited in what weapons he can wield; and the Rogue can both use weapons and cast spells, but do not start with spells, must find someone to teach him any spells, and cannot rise beyond Seventh Level without choosing to continue as either a Warrior or a Magic-User. Creating a character involves rolling three six-sided dice for each Prime Attribute and then again for the amount of gold he has to spend on equipment. Note that six-sided dice are used throughout Tunnels & Trolls rather than the polyhedral dice of Dungeons & Dragons, the aim being to make the game more accessible since it did not require special dice.
Name: Trigeor Type: Magic-User Strength 11 Intelligence 18 Luck 14Constitution 09 Dexterity 14 Charisma 12 Gold 5Weight Possible: 1100 Weight Carried: 136 Experience Points: 0 Weapons: Dagger (1 die) Armour: None Equipment: Calf-High Boots, Warm Dry Clothing & Pack, Day’s Provisions, Ten Torches, Magnetic Compass, Makeshift Magic Staff Languages: Common, Elvish, Dwarfish, Draconic, Orcish, Trollish, Undead

Tunnels & Trolls quickly moves onto monsters and combat. Monsters have a single stat, called a Monster Rating. It indicates how tough a monster is and how many dice are rolled for it in combat, and it starts at zero and goes up and up. A minimum Monster Rating of ten gives one die, but for every five points after that, it increases the number of dice by one, and beyond one hundred, it increases the number of dice by one for every ten points. On the first round of a combat, half of a monster’s Monster Rating is added to the roll, but only a quarter is added on subsequent rounds. This addition is known as the monster’s ‘Add’. What Tunnels & Trolls does not do is give a list of monsters or a bestiary. The Dungeon Master is expected to set the Monster Ratings for his dungeon denizens according to the level of the dungeon, with the nearest advice given by Tunnels & Trolls is that a good fighter should have an equivalent Monster Rating of between twenty-six and forty and be roughly equal to a troll. However, this is probably the weakest aspect of Tunnels & Trolls since it is not clear what Monster Ratings the Dungeon Master should be assigning to his dungeon dwellers.

Interestingly, the rules do not give a set way in which to handle monsters encountered on the lower levels of the dungeon, but instead give options, because opinions vary in how it should be done. The monster could have more dice and bigger Add, its dice roll could be multiplied by the level, a monster could even be stated up like a character, or simply a bigger Add. This calls back to St. Andre’s statement in the introduction about the game not being his.

Combat is either missile combat, melee combat, or shock combat for that initial engagement. There is advice on the differences between these types, plus monster reactions, wandering monsters, and even capturing monsters, but once engaged, combat is a simple matter of comparing hit point totals. Not the amount of damage that a character or monster can suffer before dying, but the totals of the dice rolled plus any Adds. This can be individually, one-on-one, or it can be collectively. The latter means that the Dungeon Master can add up all of the Monster Ratings for his monsters and roll their dice and add their Adds, all in one go, rather than individually. The lower result is subtracted from the higher result and that is the number of hit points the losing side suffers. For the monsters, this reduces their Monster Rating, but for characters, it is deducted from their Constitutions. Both armour and shields will protect against incoming hit points, but armour will be damaged in the process.

Magic-Users are not expected to fight, and indeed, are restricted to single die weapons and shields, but can use their spells to protect them if they have the right ones. Also, when determining who suffers from hit points taken, the Magic-User also does so last. Warriors and Rogue do get Adds, whereas the Magic-User does not. For each point of Strength and Luck above twelve, a Warrior or Rogue gains one Add to dice rolls in combat, but subtracts one for each point of Strength and Luck below nine. This is the same for Dexterity, except for missile fire where the Adds are increased to two per point above. Although a character will always have a single die to roll in combat, the main means of increasing the dice rolled and the Adds is by purchasing weapons. Later on, a character’s Primary Attributes can be increased, which will raise the Adds and the character will find magical items that will increase both dice rolled and Adds.

Name: Glorimnaeck Orchelm Species: DwarfType: WarriorStrength 26 Intelligence 08 Luck 13Constitution 26 Dexterity 11 Charisma 10 Gold 1Weight Possible: 1300 Weight Carried: 136 Experience Points: 0Weapons: Warhammer (4+1), Poniard (1)Armour: Gambeson, Chain Hauberk, Chain Gauntlets (4 total), Target Shield (2)Equipment: Calf-High Boots, Warm Dry Clothing & PackLanguages: Common, Elvish, Dwarfish, Draconic, Orcish, Trollish, Undead Base Adds: +28 For example, Trigeor and his Dwarven friend, Glorimnaeck Orchelm, have ventured into a dungeon, known as the Orc ‘Ole. Despite carrying a compass, the pair get lost and find themselves being attacked by a band of Orcs. There are three of them, each with a Monster Rating of twelve. Individually, the Dungeon Master would be rolling one die and adding an ADD of six on the first found, but only two on later rounds. Collectively, they have a Monster Rating of thirty-six, meaning that the Referee will roll five dice and add eighteen on the first round, but only nine on later rounds. Glorimnaeck Orchelm’s player will roll four dice and add one for his Warhammer, and then another twenty-six for his Adds.  The Referee rolls two, three, three, three, five, and six for a total of twenty-two, which together with the Orcs’ Adds, gives a total Hit Points of forty. Glorimnaeck Orchelm’s player rolls better with four, four, five, six, and six and adds one to give a total of twenty-six, which with the Dwarf’s Adds, means he has a grand total Hit Points of fifty-two! The Orcs’ Hit Points are subtracted from Glorimnaeck Orchelm’s and the resulting twelve Hit Points reduce the Orcs’ Monster Rating by twelve to twenty-four. The twelve is also enough to reduce one of the Orc’s Monster Rating to zero, so the Dungeon Master rules that Glorimnaeck Orchelm has smashed his head in and he goes flying back into the cave. Next round, the Orcs will have a Monster Rating of twenty-four, meaning that the Referee will roll three dice and only apply an Add of four!The other main mechanic in Tunnels & Trolls is the Saving Throw. It is rolled to avoid a trap, to dodge a missile weapon attack, to withstand a poisonous brew, and so on, and it is always rolled using a character’s Luck. It also varies according to dungeon level. Thus, in the first level of a dungeon, a character’s Luck is subtracted from twenty to give the target number, but on the second level of the dungeon, it is subtracted from twenty-five, and so on. The resulting number gives a target that the player must roll equal to or higher, on two six-sided dice, but the target can never be lower than five. (For example, Trigeor’s Saving Throw will always be six on the first level of the dungeon, rising to eleven on the second level, and sixteen on the third level, until Luck is raised.) Rolls of doubles enable a player to add and roll again, so an impossible Saving Throw can be made if the character is lucky.
Experience points in the game are earned for combat, treasure found, for the deepest level of the dungeon a character visited, using and finding magic, and for successful Saving Throws. The progression table is all the same for all three character types, goes up to Seventeenth Level, and awards a character with a new title at each Level. The main reward for going up a Level is for a player to increase his character’s Primary Attributes, though typically only one can be increased per Level.

Tunnels & Trolls provides a basic list of equipment, in the second half of the roleplaying game, ‘Elaborations’ it includes a lengthy list of arms and armour and further equipment. There is an Advanced Weapons Chart in turn for swords, pole weapons, hafted weapons, daggers, spears, bows, and other missile weapons. Then for shields and defensive weapons, weird weapons, poisons, and armour. There are rules too for weapon breakage, depending on their composition. From flamberge, talibong, and shotel to riding mail, scale armour, and arming doublet, here then is the basis of all the weird and wonderful weapons that have been listed in all of the subsequent editions of Tunnels & Trolls.
Also in the ‘Elaborations’ section is ‘The Peters-McAllister Chart for Creating Manlike Characters and Monsters’, which like the advice and opinions on adjusting Monster Rating per dungeon Level, highlights the collaborative nature of the design of Tunnels & Trolls. This chart lists adjustments for creating Dwarves, Elves, Leprechauns, Fairies, and Hobbits, which can be both used to create monsters and characters. That said, playing characters in general of these species grants greater improvements to Primary Attributes with no downsides. There is guidance too, to adjust for Giants, Trolls, Ogres, Half-Ogres, Goblins, and Gremlins.
The largest section in the ‘Elaborations’, taking up nearly half its length and a quarter of Tunnels & Trolls as a whole, is on magic. Magic-Users are encouraged to use a staff, even a make-shift one through which to cast their magic, as they reduce the cost of casting magic, although a makeshift one will burn out very quickly. A proper magic-staff costs a lot of gold. The section notes that, “There are recognized laws of magic that we have mostly ignored in dreaming up the spells--the Law of Contagion, the Law of Similarity, the principles of necromancy and control of spirits, preferring instead to base most of these spells on inherent abilities of the magic-user a la Andre Norton.” What this means is that casting spells in Tunnels & Trolls is meant to be quick and easy. Spells have a cost in the caster’s actual Strength Primary Ability, which then has to regenerate. (This also means that Strength as a Primary Attribute is still important to a Magic-User and a Primary Attribute that he will want to increase to give spell-casting capacity.). All Magic-Users know First Level spells, whilst spells of higher Level have a minimum I.Q. to learn and cost in gold to purchase. One of the notable spells at First Level is Teacher, which lets a Magic-User teach a spell to a Rogue. Of course, here also, are the first appearances of the humorous, some would say silly, spell names for which Tunnels & Trolls is infamous. For example, Take That, You Fiend as a damage spell, Tunnels & Trolls for the healing spell, and so on. If they are in the main, tongue in cheek in tone, they are not always clear in their intent. The Dungeon Master would have had to adjudicate on things like the Will-o-Wisp spell, whose effect is, “provides light & drains strength”. Yet, the magic system for Tunnels & Trolls is simple and straightforward, even elegant, effectively a points-based system—the first—that empowers the Magic-User and constantly makes him useful in play. As Glorimnaeck Orchelm gamely holds back the band of Orcs, Trigeor holds a torch so that it is not dark and prepares himself just in case he has to cast a spell. Just behind the melee, the Magic-User spots another Orc, bigger than the others. This is their boss and he has a Monster Rating of eighteen, meaning that the Dungeon Master will roll two dice for him and include an Add of nine in the first round and an Add of three in later rounds. Quickly, Trigeor cries out, “Take that you fiend!” and casts the spell of the same name at the newly arrived Orc. It costs him five Strength rather than the usual six, since he is casting it through his staff, which being only a makeshift one, fizzes and burns as the magic passes through it. The spell means that Trigeor will be using his I.Q. to attack the Orc, and in addition will gain a single die as normal. Since Trigeor has an I.Q. of eighteen, it is going to kill the Orc. The Orcs attacking the Dwarf look behind them as they hear a popping sound to discover their boss collapsing to the floor, steam rising from his eyes and ears!Physically, the Tunnels & Trolls 1st Edition Reprint—and thus Tunnels & Trolls 1st Edition—is a scrappy , scruffy, inconsistent affair. It looks and reads very much like a fanzine of the period. Yet it is readable and it is illustrated in very spritely, engaging fashion.

—oOo—The second edition of Tunnels & Trolls was reviewed in ‘Tunnels and Trolls: A Review of Sorts’ by Brant Bates in The Space Gamer Issue Number 3 (1975). He highlighted the differences between Tunnels & Trolls and Dungeons & Dragons, beginning with, “There is no sexist bias In T&T, Female characters come out exactly as created by the dice--not reduced in size and strength by an arbitrary fraction just because they are female.” before going on to look at other differences in terms of character creation and combat. He was overall positive about the art, saying, “It is mostly by a Phoenix fan artist named Rob Carver, and it ranges from the gorgeous to the ridiculous--mostly the latter. The cartoon to illustrate the magical spells are very droll, and the portrait of St. Andre captures his very soul.” He concluded with, “T&T has been sold from coast to coast, but is still most popular in Phoenix, where it has become the official game of the organized SF club there. It is very playable, and a lot of fun--great for stretching the old imagination. I recommend it for fantasy fans who are not purists, and who do not necessarily believe a game’s quality depends on its cost.”  Lewis Pulsipher reviewed the British version published by Strategy Games Ltd. in ‘Open Box’ in White Dwarf Issue No. 2 (August/September 1977). He said, “The excuse for publication here and now, presumably, is that there is a need for a cheap and understandable role playing game for those who can’t afford or make sense of D&D.” but was otherwise not positive, criticising the lack of clarity in the rules, the amount of creative effort that a Referee had to put into the game, and the humour in the game, especially in the names of the spells. His conclusion was that, “Anyone who likes T&T will sooner or later ‘graduate’ to the much more satisfying (and much more widely played) D&D. In considerable wargaming travels in the USA I never encountered anyone who played T&T, though D&D players are everywhere, and I’ve not even heard of anyone in this country who plays it. When it first appeared in America I said there was no point in it, and nothing has occurred to change my opinion.” —oOo—
Tunnels & Trolls is rough and just about ready. It is playable and by modern standards, just about has the bare minimum need to play. This should be no surprise. It was written fifty years ago when no one knew quite what a roleplaying game was—literally, as the term had then yet to be defined—and no-one knew how to write one. So, if the writing is not right and the explanations are not as clear as they could have been, and the contents are not in the order that we might expect them to be, then that is perfectly understandable. Yet, as scrappy as the resulting rulebook is, Tunnels & Trolls 1st Edition is a likeable game, one that is not taking itself too seriously and reads as if it is actually fun to play and faster to play. What is amazing is that within four years, Flying Buffalo would take the very basics of what is here and develop it into the fifth edition of Tunnels & Trolls that would remain its mainstay for over twenty-five years! The Tunnels & Trolls 1st Edition Reprint is an important piece of roleplaying history, the opportunity to look at the first roleplaying response to Dungeons & Dragons, to look at the origins of the world’s second longest fantasy roleplaying game, and to look at the beginnings of the roleplaying hobby as the concept spread beyond Dungeons & Dragons.

Troika! is both a setting and a roleplaying game. As the latter, it provides simple, clear mechanics inspired by the Fighting Fantasy series of solo adventure books, but combined with a wonderfully weird cast of character types, all ready to play the constantly odd the introductory adventure, ‘The Blancmange and Thistle’. As the former, it takes the Player Characters on adventures through the multiverse, from one strange sphere to another, to visit twin towers which in their dying are spreading a blight that are turning a world to dust, investigate murder on the Nantucket Sleigh Ride on an ice planet, and investigate hard boiled murder and economic malfeasance following the collapse of the Scarf-Worm investment bubble. At the heart of Troika! stands the city itself, large, undefined, existing somewhere in the cosmos with easy access from one dimension after another, visited by tourists from across the universe and next door, and in game terms, possessing room aplenty for further additions and details. One such detail is Whalgravaak’s Warehouse.

Whalgravaak’s Warehouse is the start of a new series of scenarios for Troika! from the Melsonian Arts Council. This is the ‘1:5 Troika Adventures’ series, which places an emphasis on shorter, location-based adventures, typically hexcrawls or dungeoncrawls, set within the city of Troika, but which do not provide new Backgrounds for Player Characters or ‘Hack’ how Troika! is played. Whalgravaak’s Warehouse lives up to that, in that it dungeoncrawl takes place in a large, in places, impossibly large interdimensional warehouse that served as major import/export house for the city of Troika. Whalgravaak was once known as the cruel, but efficient logistics wizard who could get anything from anywhere and ship anything to anywhere, which made him and clients rich as the city became a shipping nexus between the sphere without the need or the expense of training staff to crew and maintain the golden barges that still traverse between the spheres today. However, Whalgravaak grew paranoid in his old age, destroyed the instruction manual to the great device by which goods were transported, and retired. When the device became a threat to the city of Troika, the Autarch ordered Whalgravaak’s Warehouse permanently closed and locked. That was centuries ago. Whalgravaak is long dead. His warehouse still stands, a looming monolithic presence in a bad part of the city. Nobody goes in and nobody comes out. Though some claim there is movement on the room. Now, someone wants something from inside and have decided that the Player Characters are best equipped to find their way in and navigate its darkened offices and deep storage bays with their vertiginously stacked crates, which surely must still contain something interesting after all that since Whalgravaak himself died?

Whalgravaak’s Warehouse gives one main reason why the Player Characters might want to break into and explore the warehouse. This is to locate a book called The Tome of Sable Fields, for which they will be paid handsomely, but there are others and the Game Master can easily come up with more. Finding a way into the warehouse is a challenge in itself, but inside, the Player Characters will find strange worm-headed dog gone feral, creeping bandits and burglars looking for goods to fence or places to dump bodies, cultists who worship the still breathing nose of a titan, a clan of dustmen sieving the heaps of dust on the expansive roof of the warehouse where the air glows aquamarine like the Dustmen of Charles Dickens’ Our Mutual Friend, and more. There are rooms full of great lengths of rope that are mouldering into slime, a vegetable store where an onion has become an Onion Godlet, a room of sponges so dry it will suck the moisture from anyone who enters, and a set of employee records laden with bureaucratic despair… The roof is a post-apocalyptic hexcrawl of its very own, a separate environment that is essentially a desert of dust, marked only by the flickering head of one the giants that still work in the warehouse below and an Oasis of Tea, that will take the Player Characters days to explore. They had better come prepared for hot weather!

Locating The Tome of Sable Fields is a relatively simple matter and the Player Characters may do so relatively quickly, but actually getting hold of it is another matter. It is actually suspended over the very means by which Whalgravaak transported goods from one dimension to another by a crane. Unfortunately, none of the parts of the crane are talking to each other and the only way to get the crane operating is to get them to talk to each other. Essentially one bit of the crane is more noble than the other and the Player Characters will probably need to persuade them to overcome their individual problems and snobbery. This will drive them into exploring the warehouse further in the hopes of finding the means of getting each one to co-operate.

As part of the ‘1:5 Troika Adventures’ series and thus a dungeoncrawl, although one in a warehouse, Whalgravaak’s Warehouse is designed to be played like a dungeon and explored like a dungeon. Thus movement, noise, and resources become important, the Player Characters need a source of light and the scenario is played out in ten-minute turns in true Old School style Dungeons & Dragons. This also means that Whalgravaak’s Warehouse is played differently to other adventures for Troika!, with less of an emphasis on narrative play and more on environmental, location-based exploration. In keeping with the style, the adventure is perhaps deadlier and more challenging than the typical Troika! adventure, requiring more caution and care than a Troika! player might be used to.

Physically, Whalgravaak’s Warehouse is very well presented. The artwork is as weird and wonderful as you would expert, the cartography is decent, and the layout is clear and easy to use. There is also good advice for the Game Master on how and why she should use Whalgravaak’s Warehouse, and a clear explanation of what is going on in the warehouse.

Whalgravaak’s Warehouse is a great set-up for an adventure. Take the warehouse of an interdimensional import/export house, abandon it for centuries, and then turn it into an industrial dungeon with weird Dickensian undertones. The result is eminently entertaining and constantly going to screw with the heads of both the players and their characters as they discover one example of industrial decline after another and just what happens when you leave a dangerous interdimensional magical industrial complex alone for far too long.

 I only vaguely remember Torvak. He was a lawful good Paladin (as they all were back then) and dedicated to the ruler of his realm, who might have been Pathon. Not sure. He is certainly an old character, and his various character sheets show a long career, but he is not always super active.

He is a great candidate to test out the Divine Warrior class from Wasted Lands.

Torvak Con Dain

Class: Divine Warrior
Level: 16
Species: Human
Alignment: Light Good
Background: Warrior (Wasted Lands p. 185)

Abilities
Strength: 18 (+3) A
Agility: 18 (+3) 
Toughness: 17 (+10) 
Intelligence: 16 (+2) 
Wits: 17 (+2) N
Persona: 17 (+2) N

Fate Points: 1d12
Defense Value: -1
Vitality: 120 
Degeneracy: 0
Corruption: 0

Check Bonus (A/N/D): +7/+5/+3
Melee Bonus: +6 (base), +3 (STR)
Ranged Bonus: +6 (base)
Saves: +6 to all Wits and Persona Saves, +2 to Toughness (Warrior background)

Divine Warrior Abilities
Sixth Sense, Heal Injury and Illness (20d6), Supernatural Attacks, Protection from Evil, Turn Undead (level 15), Spot Hidden (1-3 on d4).

Heroic/Divine Touchstones
1st Level: +1 to melee attacks
3rd Level: Cure Light Wounds Spell
5th Level: Favored Weapon, Sword
7th Level: Zone of Protection vs Evil
9th Level: Special Attack
11th Level: Smite
13th Level: Extra Attack
15th Level: Great Smite

Heroic (Divine) Archetype: Justice

Gear
Longsword, Full plate armor, Holy symbol

I am really happy with the Divine Warrior class as a Paladin substitute. I played a LOT of Paladins over the years and this class feels right to me. Tweak it with some spells or levels of other classes to get just the right mix.

You can get the Wasted Lands RPG and the NIGHT SHIFT RPG at Elf Lair Games.

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

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

—oOo—

What is it?Outgunned – Hero to Zero is the quick-start for Outgunned, the roleplaying game of action movies from the eighties and nineties (and beyond), inspired by Die Hard, True Lies, Lethal Weapon, Kingsman, Ocean’s Eleven, Hot Fuzz, and even John Wick.

It is also the English language quick-start for the Italian roleplaying game of the same name.

It is a seventy-one-page, 83.90 MB full colour PDF.

How long will it take to play?
Outgunned – Hero to Zero and its adventure (also known as a ‘Introductory Shot’), ‘Race Against Time’, is designed to be played through in a single session, two at most.
What else do you need to play?
Outgunned – Hero to Zero can be played using a total of nine six-sided dice, ideally per player. (The full game uses its own set of Action Dice.)
Who do you play?
The four Player Characters—or Heroes—in Outgunned – Hero to Zero consist of an undercover police officer, a hotshot driver and pilot, an ever cheerful bounty hunter, and a charming martial artist.
How is a Player Character defined?A Hero in Outgunned – Hero to Zero is defined by his Name, Role and Trope, Job, Age, Catchphrase, and Flaw. The Role and Trope determine a Hero’s starting Skills, whilst the Job grants access to information and contacts. Together with the Catchphrase, they can be combined by the player to define an action film archetype. The Catchphrase is a tag line or a creed, something guides the Hero to act when it comes time for action. The Flaw is an aspect of the Hero that will hinder him throughout his adventures.
A Hero has five Attributes and twenty Skills. The Attributes are Brawn, Nerves, Smooth, Focus, and Crime. Brawn handles action, Nerves handles reflexes and steady hands, Smooth is used for interaction and manipulation, Focus is for concentration, perception, and recall, and Crime is for awareness and secret action. Feats are granted by a Hero’s Role and Trope and typically allow a ‘Free Re-Roll’ when the Hero acts according to one of his Feats.
Experiences, of which there are four types—Achievements, Scars, Reputations, and Bonds—will affect a Hero’s dice rolls. These are not used in Outgunned – Hero to Zero.
Damage suffered is handled by Grit, ‘You Look’, and the ‘Death Roulette’. Grit is the amount damage a Hero can suffer, whilst the ‘Death Roulette’ is what the Director rolls against if there is a chance that the Hero will die. The chance—or the number of Lethal Bullets it holds—increases each time the Director rolls and the Hero survives. ‘You Look’ is actually a measure of how the Hero looks to others, as in, “How do I look?” and is actually a way of keeping track of the Conditions that a Hero might suffer.
A Hero has access to types of luck points, Adrenaline and Spotlight. A Hero has access to Adrenaline, up to maximum of six. It is earned for getting a success against all odds, making a great sacrifice, and so on. It can be spent to gain a bonus to a roll, to activate certain Feats, and to get an immediate Spotlight. The Director is encouraged to be generous with Adrenaline and every player is encouraged to spend it. A Hero can have three Spotlights and they can be expended to gain an ‘Extreme Success’ automatically, ‘Save a Friend’ who has lost at the Death Roulette, ‘Remove a Condition’, and even do something dramatic!
Weapons and gear will help under specific circumstances. There is an emphasis on guns and rides.
How do the mechanics work?
Mechanically, rolls in Outgunned are either an Action Roll or a Reaction Roll. The number of dice rolled for either always consists of the combined values for an Attribute and a Skill. For example, ‘Nerves’ and ‘Shoot’ to fire a gun at someone or ‘Smooth’ and ‘Streetwise’ to persuade a crook that you are one of them. Equipment and conditions will alter the number of dice a player has to a minimum of two and a maximum of nine. To succeed at a task, a player needs to roll sets of the same symbols (or numbers if not using Outgunned dice). The size of the set indicates the level of success. Two of a kind is a Basic Success; three of a kind is a Critical Success; four of a kind is Extreme Success; five of a kind is an Impossible Success; and six or more of a kind is a Jackpot! If the roll matches the difficulty of the task set by the Director—the Difficulty being either Basic, Critical, Extreme, Impossible, or Jackpot!—the Hero succeeds. A higher success can grant a better outcome, an advantage, or even extra actions, whilst a Jackpot! means that the player becomes the Director temporarily.
If the roll is not a success and the player has one success, he can reroll any dice that do not match. If the re-roll is a success, he keeps them, but if not, he loses a rolled success. Certain Feats allow a free re-roll without any possibility of losing successes. Lastly, after a re-roll, a player can go ‘All In’, push his luck and re-roll all dice that do not match any successes. However, if he fails, he loses everything, including all of successes rolled.
Even after a Re-roll and an ‘All In’, a roll that does not succeed is not a failure. Instead, a hero succeeds, but with consequences. Essentially the equivalent of a ‘Yes, but’.
How does combat work?
Combat in the Outgunned – Hero to Zero as per the rules above, but actions become ‘Dangerous’, which means that a Hero can lose Grit if a roll is not a success. If he loses too much Grit, he will suffer from one or more conditions, and even force rolls of the Death Roulette on the Hero. In comparison, the enemies—Goons, Bad Guys, and Bosses—have only Grit, not the Death Roulette, and when this is reduced to zero, they are knocked out. Bosses have Hot Boxes on their Grit track, indicating that they receive Adrenaline to spend on special actions of their own. The rules for combat cover range, cover, counting magazines (rather than bullets), and so on. There are also rules for car chases as well
What do you play?
‘Race Against Time’ is the ‘Introductory Shot’ in Outgunned – Hero to Zero, a classic movie action plot involving a hunt for a MacGuffin. Naturally, it involves lots of a fights, a chase, and an exploding aeroplane! It is, of course, an entertaining affair and is made all the better by the staging advice given alongside the length of the scenario. The advice is excellent, suggesting possible maneouvres that the Heroes might take in the various situations they find themselves in throughout the scenario.
The scenario is open-ended, so the Director could run a sequel by adapting some of the content in Outgunned – Hero to Zero.

Is there anything missing?
No. Outgunned – Hero to Zero includes everything that the Director and four players need to play through it.
Is it easy to prepare?
The core rules presented in Outgunned – Hero to Zero are not easy to prepare. They are not difficult to prepare, but rather they take a slight adjustment as they are not as straightforward or as obviously intuitive as most rules are. So they require careful attention upon the part of Director.
Is it worth it?
Yes. Outgunned – Hero to Zero presents the basics of an exciting action-orientated game that plays fast and encourages the players to both indulge in all of the clichés of the action movie genre and be inventive in when it comes to their Heroes being cool and cinematic. The rules are just different enough to make them initially a little challenging, but after that, the session is full of bullets flying, fists lashing, and wheels screeching action.

Outgunned – Hero to Zero is published by Two Little Mice and is available to download here.

It begins with a great crashing and splashing. The Player Characters are aboard the Morro, caught in a fearsome storm of raging winds and seas that is driving the ship ever closer onto the jagged rocks below towering black cliffs. Despite their efforts, and those of the crew, with a mighty crack, the ship is thrown onto the rock and shattered, and the Player Characters cast into the water. Before them lies the cliffs or a dark cave mouth… Whichever course the Player Characters take, they will find themselves in a Fallen Chapel, guided by a large black goat, a cat, an enormous boar, a raven, a trio of toads, a large snake, a wide-eyed owl, and more before a Witches’ Sabbat where they will learn the true reason behind their current situation. The thirteenth of the robed figures, a hag known as Baba Iaga (yes, really…) will tell them that the coven’s master, the Horned King, lord of the Wild Hunt, who bestows his blessing upon heathen witches, barbarian shamans, and warriors that exalt the wild savage hidden within, has lost his vigour. Instead of riding forth, at the head of pack of hounds, he lazes atop his throne of bones, thrall to the ice giant’s daughter. Baba Iaga tells them to enter the Thrice-Tenth Kingdom that is the Horned Lord’s realm and once in his citadel, steal the great antlered crown from his head and come back through the Black Gate render it into her care! In return, she and the Witches of Asur shall reward them mightily!
This is the set-up for Dungeon Crawl Classics #72: Beyond the Black Gate, the sixth scenario to be published by Goodman Games for use with the Dungeon Crawl Classics Roleplaying Game. Designed by Harley Stroh for a group of six to ten Fifth Level Player Characters, which takes beyond the far North into the mystic realms of Thrice-Tenth Kingdom, encrusted in snow and ice and there confront the Ice Giants who have turned his citadel into a foul fane. It has an unworldly feel, grim and dank, and has some fantastic encounters, such as two larger giants bullying a younger one for his cowardice and forcing him to fight the Player Characters alone, refuse chambers full of bones and plague rats, and an ice-mirrored hall slick with frost and ice that turn the cave into a maze of refracted light from the Player Characters’ torches and the hunting ground of a blind, aging Ice Giant Warrior. The Ice Giants are tough challenging, especially when faced in groups, but careful, even cautious play upon the part of the players and their characters will enable them to pick them off one by one.

Penultimately, the Player Characters will confront the gaunt, drained, and haunted figure of the Horned King slumped upon his throne before a Giantess, dancing, twirling, and spinning for this pleasure, whilst the vile, vampiric salamander, feeds upon the Horned King’s blood. She is Vefreyja, the Ice Giant’s Daughter, and the Player Characters should be beware of her kiss, whilst the salamander has secrets of his own. It is a grand fight, but ultimately, the Player Characters have a choice in what they do. They can simply take the crown of the Horned King or kill him, they can free him and take him as Patron, and they can even kill Baba Iaga and her coven. Whatever they decide to do, there are consequences to the Player Characters’ actions. If they return to the Crown of the Horned King to Baba Iaga, she will genuinely reward them—there is no betrayal of the Player Characters here! The Horned King will reward them with his patronage if they rescue him, but alternatively, one of the Player Characters could take the Horned Crown and ascend the throne of the Thrice-Tenth Kingdom. There are great duties involved in bearing the Horned Crown, but great benefits too. This is not as fully explored in the scenario as it should be, but the potential is there and the Judge will need to develop this more fully herself. In addition, there are a number of good magical items to be found and also be earned as a reward if the Player Characters give the Horned Crown to Baba Iaga, so it will not feel as if one player and his character is being rewarded more than another by taking the Horned Crown.
To support the scenario and beyond, Dungeon Crawl Classics #72: Beyond the Black Gate includes details of the Horned King as a Patron, which gives the Patron Invoke effect, Patron Taint, and the spell, Slaying Strike. This is followed by details of the Horned Crown and the other magical items in the scenario.
If there is an issue to the scenario, it is that it is linear and the set-up forces the Player Characters to follow Baba Iaga’s diktats, so it will not seem as if they have much in the way of choice. There is some truth to this, but the players and their characters do have plenty of choice in how they resolve the scenario. Another issue is the maps of the Citadel of the Horned King and the Dungeons of Horned King below it and their accompany descriptions. The description of the dungeon comes in the middle of the Citadel of the Horned King which makes it feel as if the description is forcing the Player Characters to explore below before coming back upstairs to face the Horned King. The inclusion of the dungeon is important because it offers another way into the Citadel of the Horned King, but the inclusion of its description in the middle of the description of the upper Citadel is an annoying intrusion. It would have made more sense to keep the descriptions separate.
Like the Dungeon Crawl Classics #71: The 13th Skull before it, Dungeon Crawl Classics #72: Beyond the Black Gate includes a second, smaller scenario. This is Terry Olson’s ‘Crash of the Sky People’, a short, Science Fantasy scenario designed for four to six Player Characters of Third Level. Designed for convention play and thus having a running time of roughly four hours, it opens with a starship of the infamous winged sky-pirates from the planet Tahlmohl crashing to earth near the Player Characters. When they go to investigate, they discover the wreckage is guarded by robots and strange traps the likes of which they will never have seen before. The scenario has the feel of S3 Expedition to the Barrier Peaks, though on a very much smaller scale. Ultimately though, this is all a set-up to get the Player Characters into a Sky Joust with other Tahlmohlian sky-pirates! The scenario is decent enough for a convention scenario and could easily be tied into other scenarios for Dungeon Crawl Classics which have a similar Science Fantasy feel.
Physically, Dungeon Crawl Classics #72: Beyond the Black Gate is decently presented. The artwork is good and the maps clear and easy to use. In comparison, ‘Crash of the Sky People’ feels more perfunctorily presented, but is okay rather than poor in terms of its appearance.
Dungeon Crawl Classics #72: Beyond the Black Gate is a short, but epic and entertaining Swords & Sorcery scenario. It has a grim grandeur and is brilliantly brutal in taking the Player Characters to the winter of the Mystic North and back again in a thoroughly enjoyable scenario.

 Every campaign needs a high-level wizard. Whether that is Elminster, Gandalf, Merlin, or Mordenkainen, a high-level wizard is good to know. In Grenda's campaign, this was Adnerg Myrildean.

Adnerg was a wizard supreme. He picked up some levels of fighter to stay alive, but he was a wizard through and through.

If I continue with my ham-fisted Freudian analogies here, Adnerg was Grenda's "Super-Ego." 

Adnerg was a great character. 

When my characters first met him, he was in a bar gambling. He was loud and boisterous and not at all like a wizard, until combat came around. Then he became the "nuclear option."

Notes about High Levels

Adnerg here is the third character from this collection and in many ways is the poster child for our games in the 1980s.

I have four character sheets for him at different parts in his career. The image above has hi at level 97 Magic-user / level 30 fighter. Yeah. I know. BUT there are good reasons for this. First off keep in mind that these characters are old. Adnerg here has a creation date of 8/14/1984. So they go a lot of play. I think for a while there I was playing every weekend and sometimes three or four nights per week in the summers. 

Also, there was BARDD. BARDD was our computer-based combat simulator for the TRS-80 Color Computer 2. We would put our characters in to the software and let it run. Our rule was that if the characters died in it, they were dead. This was the fate of my first and only half-orc character. Grenda put his characters in and let it run. His characters earned a lot of XP.

We were both good at math, but I was better and calculated the XP tables and spell-progression tables for levels beyond 30. These skills served me well when I would later work on my witch class and Grenda would work on his various Riddlemasters (more on that later).

Like all good wizards, he had many names. He was also known as Erife'nur, the Rune Fire mage.

Adnerg "Erife'nur" Myrildean

Class: Sorcerer
Level: 20
Species: Human
Alignment: Twilight Neutral
Background: Scholar

Abilities
Strength: 9 (+0)     
Agility: 14 (+1)     
Toughness: 16 (+2) 
Intelligence: 20 (+4)  
Wits: 16 (+2) 
Persona: 18 (+3) 

Fate Points: 1d12
Defense Value: 3
Vitality: 110 (d4)
Degeneracy: 0
Corruption: 0

Check Bonus (A/N/D): +8/+6/+4
Melee Bonus: +4 (base)
Ranged Bonus: +4 (base)
Spell Attack Bonus: +10
Saves: +5 vs magic attacks and area effects

Arcane Powers
Astral Projection, Beguile, Polymath, Precognition, Shadow Walking, Telekinesis 

Spells
1st level (6+1): Arcane Darts, Black Flames, Gout of Flame, Luck Stone, Night Vision, Sense Death, Sleep
2nd level (5): Beguile Person, Conjure Flame, ESP, Lesser Renewal, See Invisible
3rd level (5): Concussive Blast, Conjure Fireworks, Dark Lightning, Dispel Magic, Fly 
4th level (5): Befuddlement, Conjure Fire, Globe of Daylight, Protection against the Deeper Dark, Serpent Arrow
5th level (4): Banishment, Command Winds, Elemental Wall, Summon Elemental
6th level (4): Dispel Evil, Evoke Weather, Move Earth, Part the Seas
7th level (4): Ball of Sunshine, Drain Life, Wave of Mutilation, Zone of Peaceful Conduct
8th level (3): Gaze of the Abyss, Mind Shield, Summon Other
9th level (3): Feedback Barrier, Orb of Imprisonment, Sleeping Village

Heroic Touchstones
Level 1: Additional First level spell
Level 3: Additional Arcane Power: Telekinesis 
Level 5: Additional Vitality Points
Level 7: Luck Benefit
Level 9: Spirit Guide: Hawk "Rynn"
Level 11: Level 1 of Warrior
Level 13: Level 2 of Warrior
Level 15: Magical Recovery
Level 17: Level 3 of Warrior
Level 19: Level 4 of Warrior

Heroic (Divine) Archetype: Magic

Gear
Staff ("Lacham"), mace ("Shatterside")

Note, unlike the Addingdales, Adnerg has no psionics. 

This is a really great build and "feels" like Adnerg. It would be a pleasure to add him to the Wasted Lands RPG.

You can get the Wasted Lands RPG and the NIGHT SHIFT RPG at Elf Lair Games.

What is great about boardgames today is that designers can go back in time to revisit old films and old television series and create if not great games based on them, but then good solid, playable games that at the very least do the films and television series they are based on justice by making you feel that you are playing those films or television series. The design team at Prospero Hall proved this to be the case again and again with multiple titles like Fast & Furious: Highway Heist, E.T. The Extra-Terrestrial, Horrified, Jaws, and more. Back to the Future: Back in Time is Prospero Hall’s version of the classic eighties time travel film starring Michael J. Fox, which happens to be forty years old in 2025. Back to the Future: Back in Time is also published by Funko Games, so from the start, the pedigree of the game looks good. The result is a co-operative game for two to four players, aged ten and up, which focuses not on the obvious theme of the film, time travel, but on what the lead character, Marty McFly, has to do to get back from 1955 to 1985, which is make sure his parents get together and are in love and the DeLorean is in right place and ready for time travel. Of course, this is not easy. The photograph of Marty McFly and his siblings must not have faded away by the time this happens, Biff will be constantly interfering and so needs punching, the DeLorean needs repairing, and there are a lot of other obstacles that the players will face.

Since Back to the Future: Back in Time is from Funko Games, the production values are great. This starts with the image of the Fluxx Capacitor on the base of the board. This adds nothing to the game play, but it is a little detail that just adds a little extra… The rulebook is not presented as a rulebook per se, but as an issue of the ‘Tales from Space’ comic book, this time containing a ‘Shocking SCIENCE-FICTION Rulebook’. The look of the cover to the comic book is matched by the game’s artwork, which is all drawn and painted in the style of a bande dessinée comic book rather than the game using stills from the film. There is no doubt that there are good film stills that could have been used in the game, but the look of Back to the Future: Back in Time is classier and all the better for not using film stills.

Underneath the board, in addition to the rulebook, you will find four Character Mats plus their Starter Power Tiles and Player Figures, three Non-Player Figures, eight dice, a Clock Dice Tower, a DeLorean Car piece, decks of Movement, Opportunity, Trouble, and Item Cards, DeLorean Part Tiles, Knockdown Tokens, a Turn Tracker, McFly Photo Sections, and a Love Meter. The board depicts the various locations in Hill Valley, including the Clock Tower, Town Square, Hill Valley High, Doc Brown’s House, and the houses of both Lorraine and George. The four Character Mats plus their Starter Power Tiles and Player Figures are for Marty, Doc, Jennifer, and Einstein—and yes, you really do play Doc Brown’s pet dog! The Character Mats depict each character, have spaces for the Starter Power Tiles with room for more, and details of each character’s Special Power. Marty McFly can move Lorraine closer to him, Doc Brown can move to the location of the DeLorean, Jennifer can move Marty, Doc, or Einstein closer to her, and Einstein can move Biff away if he is too close to him. The Power Tiles represent Actions that a player can do on his turn, including moving his Character, attempting a challenge, modifying a die roll, and using Item Cards. The three Non-Player Figures are George, Lorraine, and Biff. Throughout the game, the players will be escorting George and Lorraine to get them together and thus fall in love, whilst keeping Biff away.

The Movement Cards give instructions to move George, Lorraine, and Biff. Whereas George and Lorraine will move around the board, Biff will move towards them and if in the same location as either, will reduce the love between George and Lorraine as tracked on the Love Meter. The Opportunity Cards, each based on a scene from the film, present a chance for the players to gain an advantage. For example, ‘Provoke Biff’ Opportunity Card shows Biff and his gang chasing you in his black 1946 Ford Super De Luxe convertible and if the player is successful, he will gain an extra Power Tile and the Skateboard Item Card, whilst the ‘Get Your Damn Hands Off Her’ Opportunity Card shows George punching Biff and rewards the player by moving Biff to the School Parking Lot, knocking him down, and giving him a Knockdown Token. The Item Cards show items and pieces of equipment, many of them iconic to the film, which give a player an advantage each turn. For example, the ‘Remote Control’ Item Card enables a player to attempt a Move DeLorean Challenge from anywhere on the board, whilst with the ‘George’s Notebook’ Item Card, a player can move George closer to him. Apart from the ‘Backpack’ Item Card, which has the constant effect of granting a player more Power Tiles and is never exhausted, an Item card is exhausted after each use and it can be used every turn.

Where the Movement, Opportunity, and Item Cards are quite small, the Trouble Cards are larger and square in shape. They represent factors that will hinder the players throughout the game and come in three levels so that they get more difficult to overcome and have a greater negative the higher their level. For example, the Level One Trouble Card, ‘Strickland Looks for Slackers’, prevents anyone from attempting a ‘Fight Biff Challenge’ and if dealt with, grants a player a new Power Tile, whilst the ‘Starlighters’ Guitarist Injured’ Trouble Card is Level Three and has the chance of forcing sections of the McFly Photo to be flipped over, and if dealt with, grants a player a new Power Tile. There can only be one Trouble Card in play, but remains in play until resolved or removed from the board.

The Love Meter shows two things. One is the McFly Family Photo which depicts Marty McFly and his older siblings, Dave and Linda. The McFly Family Photo is made up of six sections that can be flipped over during play to represent their fading from the timeline. Around the edge of Love Meter is a track that runs from ‘-4’ to fifteen. The top three spaces are marked with a Heart and called the ‘Heart Zone’. If the Love Meter Cube (or marker) is in this zone, George and Lorraine are in love. The lower numbered spaces track the progress of their potentially falling in love and whilst the Love Meter Cube is in this area, there is the chance of the six sections that McFly Family Photo will fade…

Lastly, there is the Turn Tracker, which acts as a countdown towards 10:04 p.m. on November 12th, 1955 when the lightning bolt will strike the Clock Tower overlooking the Hill Valley Town Square and provide the DeLorean’s flux capacitor with the 1.21 gigawatts of pure power needed to propel it forward it in time, back to 1985. One side is intended for player with three players, which the other is for two or four. The spaces on the Turn Tracker indicated what cards are drawn on each turn, including Movement Cards and Trouble Cards and checking the Love Meter and the McFly Family Photo.
Back to the Future: Back in Time does have a lot of pieces and a few moving parts, so that it looks more complex than it actually is. A player’s turn consist of two phases. In the Turner Tracker Phase, he will move the Turn Tracker Cube along one space and resolves the instructions it gives. This will always be a Movement Card to move George, Lorraine, and Biff, but can also be adding new Trouble Card to the game board or having to check the Love Meter and the McFly Family Photo. In the Action Phase, a player uses the Power Tiles to move his character around Hill Valley and Attempt Challenges. The Starter Power Tiles—five per Character—either enable the Character to move or a particular set of dice. Some of the extra Power Tiles, which can be gained by overcoming various challenges, do exactly the same, but others do more than this, such as reroll all dice that show ‘Biff’ symbols or change the symbols rolled on the dice to another. A Power Tile can be used only once per turn, but together with his Character’s Special Power, they give a player six actions on his turn and this can be expanded up to nine if a player overcomes enough Challenges.

There are six types of Challenge in Back to the Future: Back in Time. For the ‘Influence Love Challenge’, George and Lorraine must be together with the Character, whose player rolls the dice to generate Heart symbols to raise the Love Meter and so cause the potential lovebirds to fall in love. The ‘Move DeLorean Challenge’ is done to move the DeLorean around the board to get it to the Town Square in readiness for the lighting bolt striking the Clock Tower, whilst the ‘Prepare DeLorean Challenge’ has the Characters prepare the DeLorean with the Cable, the Hook, and the Gasoline at Doc Brown’s house before it can be moved to the Town Square. This only needs be done once per DeLorean Part per game, unlike the other Challenges. The ‘Fight Biff Challenge’ is conducted to try and knock Biff. This disables his action and movement, in particular, preventing the rolling of ‘Biff’ symbols on the dice. The ‘Opportunity Challenge’ gives a chance for the player to gain an advantage, a Power Tile, and other rewards, whilst a ‘Trouble Challenge’ is a chance for the player to overcome a ‘Trouble Card’ that is hindering everyone’s progress.

The dice come in four sets of two. The different types have certain symbols on them that need to be rolled for the various Challenges, but they all have ‘Biff’ and ‘Wild Card’ symbols on them too. The ‘Wild Card’ symbols can be used as any symbol to meet any Challenge and a player can reroll as many dice as he wants on an attempt against a Challenge, depending upon the Power Tiles used, of course. However, ‘Biff’ symbols are bad. Once rolled, they cannot be rerolled, and for each one rolled, the Biff figure is moved closer to Lorraine or George and once at the same location, lowers the Love Meter. Each Knockdown Token that Biff has counters a single ‘Biff’ symbol rolled on the dice. A player can roll as many or as few dice as he wants, which has its advantages and disadvantages. Rolling more dice means that there is likelihood of rolling Wildcard symbols, which means getting more of the symbols he wants, but it also means that he might roll more ‘Biff’ symbols. Further, as long as he does not roll ‘Biff’ symbols, a player can roll the dice as often as he wants or needs to.

Once set-up, the play is all about getting the right pieces to the right places. George and Lorraine together and all the way up on the Love Meter, Biff away from them, and the DeLorean, first to Doc Brown’s House to get the items needed for the lightning strike, and then to the Town Square. As the players push all of their characters and pieces into place, the game is annoyingly pulling them apart, splitting up George and Lorraine, getting Biff too close, causing trouble, and so on. And if the game sounds complex, once you actually have it set up and start playing, everything clicks into place, because what you realise is that you are playing out the plot of Back to the Future and quite literally time is against you. This is where the fun of the game comes to the fore along with the tension in the mechanics, so ultimately, the question of the game is, “Can you do as well as director, Robert Zemeckis, and the film’s cast?” And whilst you might not be able to first time, when you do, you will have told your own version of the story.

The fact that Back to the Future: Back in Time hews so close to the film is both a blessing and a curse. It means that the game is familiar to most players and that from the start, they understand what the overall objective is, and from there it is not that difficult to learn how to achieve that objective using the game’s rules. However, it does mean that Back to the Future: Back in Time cannot actually offer all that much in terms of variability and replayability. This is less of an issue for casual boardgame players than it is for the veteran player, but still, play it more than a few times and it begins to feel like you are watching the same film over and over. Lastly, as a co-operative game, it has the potential suffer from the Alpha Player Problem in which one player starts directing everyone else’s action, especially given that this game is aimed at a family audience and an experienced boardgame player may be the one teaching others to play it.

Physically, Back to the Future: Back in Time is very well produced. The standout piece is the DeLorean car which looks really good and there is even a Clock Tower Dice Tower that you can put together and have sat on the board where it can be used to roll dice and to add a little more physicality to the game. The artwork on the cards and in the rulebook is all excellent, capturing the likenesses of the various characters, items, and places an engaging comic book style. What lets the production values down are the figures. They are not particularly detailed and they really just about capture a feel of the likenesses of the characters. Plus, they are a little light. However, done in different colours, it is easy to work out which character is which.

Back to the Future: Back in Time is very good adaption of the classic time travel comedy. Almost too good in fact. Fans of the film will enjoy this game a great deal, but without being daunted by the rules which really do help them tell the story of Back to the Future. Hardened boardgame players will enjoy what is a very well designed, very nice looking, co-operative game (though not much beyond a few plays). Back to the Future: Back in Time is another excellent game from both Prospero Hall and Funko Games.

 Yesterday, I introduced you to Pathon Addingdale, the patriarch of the Addingdale line. But he almost wasn't. He had a twin brother who was "lost."  Today, I'll talk about that twin.

Worluk Shadowreaper aka Torin Addingdale

The story goes that Pathon and Torin were separated at birth. Years later, Pathon was due to ascend the throne of his kingdom when he fought a notorious assassin, Worluk. They had disarmed each other, and Worluk picked up Pathon's mace Stormshadow. The mace glowed, something it only did in the hands of the true heir. Thus, they both learned that Warluk was really Torin. 

Derivative? Maybe. But like I said before, we ALL did stuff like this back then, and it was great fun. It still is, to be honest.

If Pathon was Grenda's "ego character," then Worluk would be his "Id." Worluk would show up in the game, and he ran as a foil for my largely Lawful Good group of characters. He wasn't presented as an enemy so much as a chaotic force. An evil one, but never directed directly at us. When I would play my own evil character, Death Blade, Worluk would show up as a rival. 

Years later, I revived another Grenda character, Yoln. I misremembered his last name and gave him the Shadowreaper last name as a title. 

Worluk Shadowreaper for Wasted Lands

I am going to provide playable stats for the Wasted Lands RPG from Elf Lair Games. Why? Well, one I want to do is provide Dungeons & Dragons alternatives, and Wasted Lands is my game of choice. 

Though, like Pathon, I am pulling his class from NIGHT SHIFT. While mechanically, Worluk is a survivor, he is even more of one thematically. While a Wasted Lands "Renegade" would also work, I like the idea of Survivor better.

Class: Survivor (from NIGHT SHIFT)
Level: 15
Species: Human
Alignment: Twilight Evil
Background: Warrior

Abilities
Strength: 18 (+3) N    
Agility: 16 (+2) A    
Toughness: 16 (+2) N
Intelligence: 16 (+2)  
Wits: 16 (+2) 
Persona: 14 (+1) 

Fate Points: 1d12
Defense Value: -1
Vitality: 79 (d4)
Degeneracy: 0
Corruption: 2

Check Bonus (A/N/D): +7/+4/+3
Melee Bonus: +4 (base)
Ranged Bonus: +4 (base)
Saves: +5 vs Death attacks and area effects

Survivor Abilities
Improved Defence, Ranged Combat, Stealth Skills, Climbing, Danger Sense (1-6 d8), Perception, Vital Strike x5, Read Languages, Stealth Skills

Heroic Touchstones
Level 1: Psychic Ability: Teleport
Level 3: +1 to melee attacks
Level 5: "Luck" benfit
Level 7: Powerful Defense vs. melee
Level 9: Reroll
Level 11: Spell: Invisibility
Level 13: +1 to attacks, checks, and saves

Heroic (Divine) Archetype: Warrior

Gear
Sword, elven chain, hat of disguise, thieves tools

Ok, I like this version a lot.  Much like Nigel, I imagine Worluk (maybe now going by Torin again) is alive in NIGHT SHIFT.

I did notice that Pathon, in his early versions, worshipped Zeus. Worluk worshiped Loki. This was common for us back then, mixing up mythologies. This was certainly the genesis of my Black Forest Mythologies. Here, Pathon and Worluk would worship Unser Vater and Betrüger, respectively. 

You can get the Wasted Lands RPG and the NIGHT SHIFT RPG at Elf Lair Games.

Happy New Year!

Other than "Fantasy RPGs," I have not worked out my theme or even my new banner for the new year yet. But I am participating in Tardis Captain's 2025 Character Creation Challenge. 

For this month, I wanted to celebrate the life of my friend and former DM, R. Micheal Grenda, by featuring his characters. When I picked up his collection from his widow this past autumn, it struck me how all of these characters' stories were never going to be told again.  My oldest immediately wanted to take them and use them all in his AD&D 1st Edition game to give it "a feeling of authenticity" and could not disagree.  

Some of these characters are old, as in the dawn of AD&D. Others came from the end of AD&D 1st edition when we were both at University. Some are well known to me, others are not. There are multiple versions of the same characters. There are even versions of some of my own characters.  I won't be featuring those, just his characters. 

Why Do This?

I got to thinking. There are so many of us, players from the first few years of RPGs, who have someone who is no longer at our tables. The Empty Chair. I can't feature everyone's character here, but I can feature his. While I am doing this, you can think back to the characters (and players) who are no longer with you and remember them.

For this, I will feature a character a day, talk about my memories of the character, and talk about how I might use them in my games. 

Pathon Addingdale

This was Grenda's "ego" character and the Patriarch of the Addingdale line. Pathon was born in Oerth CY 632. So in the future if you consider that the "current year" of the World of Greyhawk is 591.  According to his sheet he began in 1976. I know Grenda began playing around then with the OD&D rules, plus the Greyhawk and Eldritch Wizardry supplements. The sheets I have are obviously updated ones. These are newer sheets. Grenda updated to AD&D 1st ed like many of us did.

He was a cleric/fighter. Depending on which sheet I use, he was a 98th/30th level cleric/fighter (hey, it was the 1980s), a 14th level cleric, or a 20th level cleric.  

Pathon, like many of Grenda's characters were part of the Addingdale family. He was one of a twin, but that twin was "lost" in a battle, only to show up later as "the evil twin."  He will come up later.

I am going to pause here. We are going to embrace the tropes here. Sure, some of these might seem edgy, cliché, or even "cringy" by today's standards, but I will not judge them by today's standards. I will look at them in situ as they were when they were made. Let us enjoy them for what they are, not what we might want them to be.

We had rules back then that if you had psionics, your children were more likely to have them as well. Also, we felt that psionics was a sex-linked trait (thank you, high school biology and X-Men comics!), so women characters always had a +5% chance of being psionic. So. You are going to see a lot of psionics here.

Pathon Addingdale for Wasted Lands*

I am going to provide playable stats for the Wasted Lands RPG from Elf Lair Games. Why? Well, one I want to do is provide Dungeons & Dragons alternatives, and Wasted Lands is my game of choice. 

I say Wasted Lands with an asterisk because I will also add material from NIGHT SHIFT and Thirteen Parsecs. This works since there is DNA from my games with Grenda in all the O.G.R.E.S. games, especially NIGHT SHIFT and Thirteen Parsecs.

Class: Theosophist (from NIGHT SHIFT)
Level: 14
Species: Human
Alignment: Light
Background: Warrior

Abilities
Strength: 18 (+3) N    
Agility: 13 (+1) 
Toughness: 14 (+1) 
Intelligence: 16 (+2) N 
Wits: 18 (+3) A 
Persona: 14 (+1) 

Fate Points: 1d10
Defense Value: 0
Vitality: 76 (d6)
Degeneracy: 0
Corruption: 0

Check Bonus (A/N/D): +6/+4/+2
Melee Bonus: +4 (base)
Ranged Bonus: +4 (base)
Saves: +5 vs Wits 

Theosophist Abilities
See Dead people, Turn Undead x2, Summon Dead, Channel Dead, Death Knell, Suggestion, Command the Dead, Life Drain, Slay the Unliving, Call the Reaper

Heroic Touchstones
Level 1: Psychic Ability: Body Control 
Level 3: Additional 1st level Spell: Mend wounds
Level 5: Level 1 of Witch/Sorcerer
Level 7: Psychic Ability: Bio-feedback 
Level 9: Level 2 of Witch/Sorcerer
Level 11: Smite
Level 13: Great Smite

Spells
1st Level: Bless, Cure Light Wounds

Heroic (Divine) Archetype: Divine Warrior

Gear
Mace, Armor, Holy symbol

Not a bad version. I could tweak it a bit, but in truth, I am happy with how he turned out. There are differences between Wasted Lands and AD&D, and thus some differences in characters. I went through these all last year, but I have been pretty happy so far.

Looking forward to seeing how the other characters turn out.

You can get the Wasted Lands RPG and the NIGHT SHIFT RPG at Elf Lair Games.

Since 2001, Reviews from R’lyeh have contributed to a series of Christmas lists at Ogrecave.com—and at RPGaction.com before that, suggesting not necessarily the best board and roleplaying games of the preceding year, but the titles from the last twelve months that you might like to receive and give. Continuing the break with tradition—in that the following is just the one list and in that for reasons beyond its control, OgreCave.com is not running its own lists—Reviews from R’lyeh would once again like present its own list. Further, as is also traditional, Reviews from R’lyeh has not devolved into the need to cast about ‘Baleful Blandishments’ to all concerned or otherwise based upon the arbitrary organisation of days. So as Reviews from R’lyeh presents its annual (Post-)Christmas Dozen, I can only hope that the following list includes one of your favourites, or even better still, includes a game that you did not have and someone was happy to hide in gaudy paper and place under that dead tree for you. If not, then this is a list of what would have been good under that tree and what you should purchase yourself to read and play in the months to come.

—oOo—
The Making of the Original Dungeons & Dragons 1970 – 1977
Wizards of the Coast ($99.99/£75)
In an exceptional year for books about the history of the hobby, the first entry on the list is the most controversial, but an absolute must for the Dungeons & Dragons fan who has an interest in the early history of the world’s most popular roleplaying game. To help celebrate the fiftieth anniversary, this massive volume charts the gestation and development through letters and fanzines of the ideas that would ultimately lead to the publication of Original Dungeons & Dragons in 1974. The hefty tome draws heavily on the archives to fully reproduce Chainmail – rules for medieval miniatures and its Fantasy Supplement that were the precursors to Dungeons & Dragons, the very first draft of Dungeons & Dragons, and much, much more, all the way up to the published version and beyond. Were you so inclined, the reproductions in this book are so good that you could actually run a game based on the rules they present! Everything is faithfully reproduced and accompanied by a commentary from Jon Peterson, one of the hobby’s few historians, the result is a superb book, one that genuinely gives the fan of the roleplaying game the opportunity to look at documents and correspondences that they would otherwise never have the chance to look at or read. The Making of the Original Dungeons & Dragons 1970 – 1977 is like having a Dungeons & Dragons museum of your own, but one that you can pull from your shelf and browse any time you like. If you really have any interest in the development of the roleplaying hobby, let alone that of Dungeons & Dragons, this book is essential.

Eat The Reich
Rowan, Rook, & Decard ($30/£25)
Why bother punching a Nazi, when you can fucking eat a Nazi? Eat The Reich is the all-action roleplaying game in which the Player Characters are a team of crack vampire commandos coffin dropped on Paris in 1943. And then cutting, stabbing, biting, rending, and blood draining their way across the City of Lights and up the ranks of the German occupiers to the top and beyond. And beyond means getting hold of Adolf Hitler himself—currently lurking in his zeppelin moored to the Eiffel Tower, so atop Paris effectively—and drink all of his amphetamine-fuelled blood. If that does not sound like a great hook for a session or three of over-the-top, blood-drenched action, then what the hell are you here for? Eat The Reich is designed to be fast-playing with an emphasis on carnage, blood magic, meaningful flashbacks, and the slaughter of hundreds and hundreds of Fascists. Which is not enough Fascists. All of which is packaged in a swathe of vibrant pinks, blues, and yellows that give the combined roleplaying game and scenario a neon punk energy all of its very own. Play Eat The Reich. Kill Nazis. Drink their blood. Is there anything better?
The Horrendous Hounds of Hendenburgh
The Merry Mushmen ($28/£22.50)
The village of Hendenburgh stands in the middle of the Kryptwood, an ancient forest steeped in legend and history recently beset by murderous demon hounds, ripping apart anyone who dares enter its reaches and even snatching lone villagers from the streets of the small settlement. These are the only dangers faced by the villagers: Highwaymen lurk in the forest, ready to pounce on Hendenburgh’s misfortune; a coven of witches wants everything to be returned to normal; the old silver mine stands abandoned, infested with monsters that drove out the miners and sowed the seeds of Hendenburgh’s poverty; a Bridge Troll has gone on strike after a drunken pixie failed to pay the toll; and at its heart, the Tomb of the Tyrant, the last resting place of the Kryptwood Tyrant, a despot who ruled the region a thousand years ago. This is a great set-up for the fantastically well-produced The Horrendous Hounds of Hendenburgh, a story-packed low-Level hexcrawl with lots going on and plenty of plots for the Player Characters to get involved in. It is also a fine sequel to the equally as good Nightmare Over Ragged Hollow (and that is worth picking up too) and both are written for use with Old School Essentials, but The Horrendous Hounds of Hendenburgh is a just that much more fun with its combination of Hammer Horror with shades of Monty Python.

Aces Over The Adriatic – A Solo RPG
Critical Kit Ltd. ($15/£12)
Since lockdown there has been a rise in interest in and play of the solo journaling games that rather than tell a story in the choose-your-own-adventure-path of classics like The Warlock of Firetop Mountain, provide the situations and the prompts that the player will react to in order to write the story of his character’s experiences and how he reacts to them. Many offer a chance to experience and tell a story of horror or wonder, such as a Thousand Year Old Vampire or Colostle: A Solo RPG Adventure, but Aces Over The Adriatic takes the reader back barely a century to explore the wonders of the age in the gleaming skies over the azure of the Adriatic. In the latter half of the Jazz Age, the cutting age technology and the future of flight lay in the seaplane! In a golden age of aeronautical development, experimentation, and speed, the great nations of the era competed to win the Schneider Cup, awarded to the fastest seaplane in the competition held twice a year. As a pilot, the reader not only gets to fly the greatest aeroplanes of the age and enter the Schneider Cup, but soar into the skies and embrace the romance of the air. However, this is a solo journalling game inspired by Hayao Miyazaki’s Porco Rosso, so the pilot has to deal with air pirates as well as his rivals and the weather! This is a chance for the reader to tell the stories of his pilot’s adventures and encounters with most famous men and women of the time in a glorious epic of another age.
Moria – Through the Doors of Durin
Free League Publishing ($46/£36)
For all the dungeons that the roleplaying hobby has given us in the last half century, there is the one dungeon from literature that inspired them all and lives in our imagination—Moria, from Tolkien’s Middle-earth. In The Lord of the Rings we discover the fate of Balin’s expedition and see Gandalf confronted by the great evil that is the Balrog, Durin’s Ban, but in Moria – Through the Doors of Durin for The One Ring, Second Edition, we get to explore it ourselves. Originally the city of Dwarrowdelf, the seat of a Dwarven kingdom, for centuries it has been infested with Orcs, Goblins, and, of course, much, much worse. However, it has a scope and grandeur that could never be mapped out in a single book, being too large and extensive to map every nook and cranny, so instead, Moria – Through the Doors of Durin details over twenty great Landmarks, each a potential destination involving danger and adventure, and each a major location within the mines. Getting to them is no easy task though, so every trek to and between them these Landmarks, employs the Journey mechanics of The One Ring, so that whilst getting there can be fraught with dread and danger, the focus is what the Player-heroes discover at the Landmarks. Combine this with a hoard of Patrons, foes, encounters, and treasures, and the Loremaster has all the means to take her players and their heroes into the greatest dungeon in literature, whether for a single delve or an extended campaign!

BattleTech Universe
Catalyst Game Labs ($49.99/£45)
Whilst it might be first, Dungeons & Dragons is not the only roleplaying game or game with an anniversary in 2024. BattleTech: A Game of Armoured Combat was published in 1984 and in the forty years since, through multiple publishers, the game has received numerous sets of new rules, supplements, several ranges of miniatures—both plastic and metal, over one hundred novels, a cartoon series, a collectible card game, and multiple computer games. All of which has constantly developed the setting and background and stories to the Inner Sphere—and beyond—at the beginning of the thirty-first century, so that from the beginning of the Fourth Succession War to capture of Terra by the returning the Clans, the focus is upon one-and-twenty-six years of history! It is however, a rich, detailed, and daunting history, so difficult to fully grasp and comprehend. However, BattleTech Universe is a sourcebook that presents the history to BattleTech is an easy to digest and understand fashion, highlighting the factions and individuals and their objectives, at every juncture and turn of events, all lavishly illustrated drawing upon artwork form forty years of BattleTech games, supplements, and novels.
Dreams and Machines
Modiphius Entertainment ($45/£35)
Most post-apocalyptic roleplaying games present harsh and unforgiving futures, with technology that has to be scavenged and hard fought for, but the future of Dreams and Machines is more positive and hopeful, set on a colony world where everyone can see the signs of the technology that turned on their ancestors and triggered the Builder War. These are the Wakers, the mechs built to serve the Builder, a programme to develop resource and power control, which litter the landscape and everyone fears will react and carry out the instructions of their corrupt programming. This is a world where the Player Characters work to build their community and forge links with other communities, to make lives better and protect them against dangers such as the Wakers and the Thralls, humans wrapped in loops of wire and marked with ash and paint, who up out of the ground to aggressively raid and steal food and technology from the communities. One of the interesting legacies of the technology is the way in which it can be interacted with, through GLIFs, or ‘Graphic Layer Instruction Format’ patterns that that once learned enable Archivists to use them spells to instruct technology and the Wakers, whilst the Spears, dedicated to protecting communities with their vicious Electrospears, mark themselves with Hunter-GLIFs that temporarily conceal them from the optical sensors of hostile machines. Overall, Dreams and Machines feels cleaner, more positive, and more hopeful than other roleplaying games of its genre.

Call of Cthulhu: Arkham
Chaosium, Inc. ($59.99/£48.99)
The city of Arkham crown—if not the jewel that is Miskatonic University—in the milieu of Lovecraft’s fiction, the New England town at its heart, witch-haunted and fabled, rich in secrets and conspiracies and crime. Call of Cthulhu: Arkham returns it to print for call of Cthulhu, Seventh Edition, to detail everything from town and its history, its inhabitants, its shops and its societies to its dread secrets and even worse, the people and things that keep them! Just as the original Arkham Unveiled was in 1990, this supplement is the keystone to the Lovecraft Country series of scenario anthologies and setting books, and it enables the classic Call of Cthulhu Investigator to remain at home and have a family and a job to investigate the strangeness all around him rather than going on some expensive round the world, never to be seen again. This sets up a very different style of campaign, one based in the community as much as it is in the surrounding region with the Investigators discovering secrets and facing threats which are much closer to home. Call of Cthulhu: Arkham is a great updating of a classic supplement and setting that successfully makes them both more accessible and useable, whilst laying the groundwork for a terrible series of encounters and threats to faced by the Investigators in the future. (And if this is not enough Arkham, then Welcome to Arkham: An Illustrated Guide for Visitors to the Town of ARKHAM, MASSACHUSETTS, and Environs Including DUNWICH, INNSMOUTH, and KINGSPORT is also good.)
Outgunned Adventure
Two Little Mice ($55/£45)
Sadly, we do not have an official Indiana Jones roleplaying game, but we do have one which will do all of the action of the Pulp action and archaeology genre. This is Outgunned Adventure, a roleplaying game inspired by Raiders of the Lost Ark and The Mummy, which of course, sends the adventurers off in search of treasures and secrets in the remotest parts of the world, from deep in the jungles of Central America to the sandy deserts of Egypt, from the mountains of the Himalayas to the islands of the South Seas, more often than not, chased by rival archaeologists and treasure hunters, cultists and Nazis. The heroes and heroines of Outgunned Adventure must search and research, jump and duck, and punch and kick their way to glory and success if they are get that invaluable treasure to the right place and prevent it from falling into the wrong hands! Outgunned Adventure is a Genre book for Outgunned, the Cinematic Action RPG inspired by Die Hard, Kingsman, Ocean’s Eleven, Hot Fuzz, and much, much more. Outgunned—and thus Outgunned Adventure—is a roleplaying game in which the Adventurers cannot fail. At worst, they can succeed in an uninteresting way, so it is better to gamble in succeeding in a more exciting and thrilling fashion in keeping with the genre! Outgunned Adventure is fast playing and captures all of the pace and excitement of some our favourite action films.

XCRAWL Classics Roleplaying Game
Goodman Games ($59.99/£45.99)
Imagine a world where the number one sport is not football or cricket, but a death sport called Xtreme Dungeon Crawling! Some adventurers do delve deep into the caverns and labyrinths below the earth, but if they really want to become famous, they turn Professional and form teams which enrol in leagues which stage manufactured dungeons live-streamed via spellphones throughout the North American Empire and beyond. If they can survive the arena, with its horrific monsters, lethal traps, magical hazards, and challenging puzzles, then they had better wish their agent is good, because he has to navigate the shark-infested waters of corporate sponsorship, rival teams and their agents, the networks, and even the Action Guild, responsible for running the events. But then it is the only way to become the superstar influencers and live celebrity lifestyles few in the Empire can imagine, backed up with for endorsement deals and corporate sponsorships, and the fabulous cash prizes earned for slaying monsters. Using the Dungeon Crawl Classics Role Playing Game rules, what the XCRAWL Classics Roleplaying Game does to take Dungeons & Dragons-style play and modernises it with all of the razzmatazz and energy modern wrestling! This is as witty and as entertaining to play as it sounds and creates some great over-the-top gaming.
Pendragon Core Rulebook
Chaosium, Inc.  ($49.99/£39.99)
The Pendragon Core Rulebook returns to print the classic Arthurian roleplaying game that designer Greg Stafford considered be his masterpiece with a brand new, illuminated edition. It provides all of the rules and details to create young Cyrmic knights ready to ride out in service to the liege lord and ultimately King Arthur, to go in search of adventure and quests, to attend court and participate in tournaments and more. There is so much more to Pendragon with the Pendragon Core Rulebook covering the creation of a Player-knight and the duties he will undertake, combat, and the duties of a knight, but focusing very much on how he will behave and carry himself. At the core of the game are thirteen pairs of Personality Traits—Chaste and Lustful, Honest and Deceitful, Valorous and Cowardly, and so on—that the player will roleplay as they determine how his knight will act, usually in the best interests of the knight in mind, but at other times, especially when the knight is being tested, against the interests of the knight, and possibly those of his fellow knights! The Personality Traits are flexible though, and will change over time, enabling a player to roleplay his knight becoming a better person, knowing that sometimes, the Personality Traits will tell him otherwise. The Pendragon Core Rulebook provides everything that a player needs to begin playing and the Game Master with the basic rules, thus laying the groundwork for the Pendragon Gamemaster’s Book and Great Pendragon Campaign to come.

This is Free Trader Beowulf
Mongoose Publishing ($59.99/£45)
In the year of its fiftieth anniversary, it was no surprise that Dungeons & Dragons got all the fanfare and the attention, but 2024 also saw the release of another good history of another long-lived game. Indeed, there are very few roleplaying games that have the depth and detail and storied history to have an actual book devoted them, but Traveller is one of them. With multiple editions and multiple publishers, Traveller has almost as many years to explore in This is Free Trader Beowulf from Mongoose Publishing. This charts the history and development of the world’s longest running Science Fiction roleplaying game, examining the many decisions and changes made with each new edition and supplement, not just upon the part of the creators and developers, but also the fans who would make their own contributions too. Accompanied discussions of books that would have been and comparisons with the rest of the hobby for context as well as lengthy lists of everything published for the roleplaying game in each of its iterations, This is Free Trader Beowulf is written by the authors of the Designers & Dragons series of roleplaying histories and he provides a thoroughly detailed and well researched book that every fan of Traveller will want and every roleplayer with an interest in the development and history of roleplaying games.

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary, and the new edition of that, Dungeons & Dragons, 2024, in the year of the game’s fiftieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

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1984 produced two of greatest roleplaying games designed in response to the Cold War and two of the greatest humour roleplaying games. One of the Cold War roleplaying games was Twilight 2000, whilst one of the humour roleplaying games was Toon. In both cases, the other roleplaying game was Paranoia. Published by West End Games, previously known for its wargames, Paranoia: A Role-Playing Game of a Darkly Humorous Future is a Science Fiction post-apocalyptic dystopian satire inspired by classics of the genre, such as Nineteen Eighty-Four, Brave New World, Logan’s Run, and THX 1138. It is both a satire on capitalism and communism, a roleplaying game of trust and distrust—mostly the latter, laced with black humour, drenched in irony, and if it was not the first roleplaying game that specifically pitted the players and their characters against one another, it was certainly, the roleplaying game to not only embrace it wholeheartedly, but also to actively encourage it. What it was though, was the first roleplaying game in which the Game Master was as much an adversary to the Player Characters as they were to each other, and it was the first roleplaying game in which knowledge or possession of the rules was punishable by death. The play and the setting of Paranoia is one of ignorance and fear built on a series of contradictions which the players and their characters attempt to navigate, rarely with any success, and generally, with consequences both disastrous and funny for all concerned.
The setting for Paranoia: A Role-Playing Game of a Darkly Humorous Future is Alpha Complex, a vast underground city where the last of humanity survives thanks to the protection and facilities provided by the Computer. The Computer is their friend. Citizens of Alpha Complex are decanted into Clone Families of six identical clones and raised to serve meaningful and satisfying lives in service to Alpha Complex and in return be provided with nutritious food and enjoyable entertainment. Most clones and their families possess a Security Clearance of Infrared. Depending upon the role and assignment of a Citizen, he may achieve a higher Security Clearance (if he is not executed first). This is based on the colour spectrum, so in ascending order is RED, ORANGE, YELLOW, GREEN, BLUE, INDIGO, VIOLET, and ULTRAVIOLET, the latter clearance only available to High Programmers and (on a temporary basis) Game Masters. Unfortunately, Alpha Complex is at war and has been ever since it was established. Three are forces outside of Alpha Complex which want to see it and its way of life it provides its friends with destroyed. Worse though are those who would destroy it from within. First and foremost, Commies. Commies are Traitors. Commies are everywhere. Then there are Mutants and members of Secret Societies. Mutants and members of Secret Societies are Traitors. It is the duty of every Citizen of Alpha Complex to report all signs of treasonous activities, including being a Commie, a Mutant, or a Member of a Secret Society. Not reporting signs of treasonous activities, including being a Commie, a Mutant, or a Member of a Secret Society is treasonous.
Fortunately, Alpha Complex has a solution: Troubleshooters. Troubleshooters are carefully selected Infrared Clones trained and equipped to further serve the Computer, including spotting Traitors and signs of treason. To reflect their training, equipment, and responsibilities, they are promoted to RED Security Clearance level and assigned to a Service Group that can be the Armed Forces, Central Processing Unit, Housing Preservation & Development and Mind Control, Internal Security, Power Services, Production, Logistics, and Commissary, and Research & Design. Unfortunately, each Troubleshooter has a secret. He is a Traitor. He is a Traitor because he is a Member of a Secret Society. So, he has to keep this a secret. Unfortunately, each Troubleshooter has another secret. He is a Traitor. He is a Traitor because he is a Mutant. So, he has to keep this a secret. Guess which roles the players roleplay in Paranoia? And the good news is that in event of a Troubleshooter’s death, whether in the patriotic and glorious service of the Computer or because he has been identified as a Traitor and dutifully reported for Self-Termination, his current assignment and duties will be immediately undertaken by the next member of the Troubleshooter’s Clone Family, who is fully trusted by the Computer and is not a Traitor.
Paranoia: A Role-Playing Game of a Darkly Humorous Future was published as a boxed set. It contained three books and a pair of two twenty-sided dice, marked one to ten twice. The three books are the twenty-four-page ‘Player Handbook’, the sixty-four-page ‘Gamemaster Handbook’, and the fifty-two-page ‘Adventure Handbook’. Notably, the ‘Adventure Handbook’ is actually the scenario booklet and done as a then traditional module format and the page numbers actually run concurrently from the ‘Player Handbook’ through the ‘Gamemaster Handbook’ to the ‘Adventure Handbook’.
A Troubleshooter in Paranoia has eight primary attributes. These are Strength, Agility, Manual Dexterity, Endurance, Moxie, Chutzpah, Mechanical Aptitude, and Power Index. These are range in value between two and twenty, with Chutzpah being defined as, “…[T]he quality of a man who kills both his parents and then pleads for mercy because he is an orphan.”; Moxie as the ability to comprehend the unusual; and Power Index the strength of a Troubleshooter’s mutant power. He belongs to a Service Group and a Mutant Power, and he belongs to a Secret Society. He also has several skills, which are represented as percentages. Skills are organised into skill trees with the lower the skill is down a skill tree, the more specialised it is and the higher the skill bonus it grants. To create a Troubleshooter, a player rolls for everything bar the skills which he assigns points to with the few points a beginning Troubleshooter is given. He is given some mandatory equipment and 100 credits with which to purchase more. The skills are not written down on the Troubleshooter sheet as a list, but drawn as a skill tree.
Name: Budd-R-FLY-1Clone Number: 1Security Clearance: RedService Group: Research & DesignSecret Society: Spy for Armed ForcesMutant Power: Extraordinary Power – Mental BlastCommendation Points: 0Treason Points: 0
Credit: 100
Strength 13 Agility 18 Manual Dexterity 14 Endurance 11Moxie 06 Chutzpah 08 Mechanical Aptitude 13 Power Index 14Carrying Capacity: 30 Damage Bonus: —Macho Bonus: — Melee Bonus: +17%Aimed Weapon Bonus: +07% Comprehension Bonus: -10%Believability Bonus: -05% Repair Bonus: +04%
SKILLSBasic Operations 1 (20%); Melee Combat 2 (25%); Aimed Combat 2 (25%)Technical Services 1 (20%); Robotics 2 (25%)
EQUIPMENTred reflec armour, laser pistol, laser barrel (red stripe), jump suit, utility belt & pouches, Com Unit I, knife, notebook & stylus
The ‘Player Handbook’ does not explain the rules to the game, because, after all, that requires ULTRAVIOLET Security Clearance, but it does have details of bookkeeping, how a typical mission and how combat works, the etiquette to playing Paranoia, and so on. Bookkeeping involves the tracking of several types of points. Credits can be rewarded to spend on more equipment. Commendation Points are earned for completing missions, distinguished service, and eliminating Traitors and will go towards a Troubleshooter being promoted. Treason Points are earned by failing to follow or complete orders, doubting or acting or speaking against the Computer, being a member of a Secret Society or a Mutants, and so on, if at any time they exceed Commendation Points by ten or more, the Computer will issue a Termination Order for treason. Secret Society Points are earned for fulfilling a Secret Society’s aims and will reward a Troubleshooter with promotion and access to information, equipment, and help, some of which might be useful.
A typical mission will begin with a briefing from the Computer and the assignment of useful equipment that will want testing. A Troubleshooter may also receive a private briefing from the Computer, from Internal Security, or from his Service Group. However, because he is also a Traitor, he receive an additional private briefing from his Secret Society. Throughout the mission, a Troubleshooter is expected to route out and eliminate Traitors, complete the mission, and keep safe the lives of the Computer’s valuable agents (including himself). Actual play exacerbates all of the tensions that this sets up because Paranoia is a game of secrets. A Troubleshooter’s character sheet is a secret, the contents of the ‘Gamemaster Handbook’ are secret, and all of the notes passed and the private asides between the Game Master and her players are secret. Consequently, separation of player knowledge and Troubleshooter knowledge is a necessity and some cases, failure to separate the two is treasonous. For example, demonstrating knowledge of the ‘Gamemaster Handbook’ is treasonous. Further, in play, the Game Master is encouraged—and shown in an example of play—to watch and listen for player knowledge being expressed by his Troubleshooter. So, for example, when a Troubleshooter on a mission to the Outside calls the small fluffy humanoid with tiny arms and legs, a tiny nose, and a rearward facing, long and very fluffy arm without a visible hand a ‘squirrel’, the first question on the mind of Game Master as the Computer (and also on the mind of his fellow Troubleshooters), is how does the Troubleshooter know it is called a ‘squirrel’? Followed by, ‘Where did he get such treasonous knowledge?’ Even if the Troubleshooter is a member of the Sierra Club Secret Society and actually does know what a squirrel is, knowledge of what a squirrel is treasonous, as is, of course, being a member of a Secret Society.
Mechanically, the ‘Player Handbook’ does not teach the player the rules of Paranoia because he does not have sufficient Security Clearance. What it does do is show him with a solitaire adventure. It is short at fifty-four entries and three pages long, but it nicely demonstrates the tone and style of play in Paranoia. As the player reads through it, he will earn letter codes, each of which determines whether he has earned Commendation Points, Treason Points, and so on. It will not take a player very long to play through it, but it is short enough for a player to explore the untaken storylines within it to see the consequences of other actions. Doubtless, this is treasonous behaviour, but it gives a player an idea of what to expect.
The ‘Gamemaster Handbook’ does explain the background, setting, and rules to Paranoia. The background is quite slight, almost inconsequential given the post-apocalyptic nature of setting. The setting description covers everyday life in Alpha Complex, the Service Groups, Security Clearances, and so on. All seventeen of the Secret Societies are described—Anti-Mutant, Communists, Computer Phreaks, Corpore Metal, Death leopard, First Church of Christ Computer-Programmer, Frankenstein Destroyers, Free Enterprise, Humanists, Illuminati, Mystics, Pro Tech, Programs Group, Psion, Purge, Romantics, and Sierra Club. In addition, a Troubleshooter can also be a spy for another Service Group or even another Alpha Complex! In each case, their objectives, doctrines, friends, and enemies are listed along with a general description and means of advancement. Special rules cover what a Secret Group might actually teach a member if he survives long enough. Mutant Powers are given a similar treatment.
In terms of mechanics, Paranoia looks more complex than it actually is. The roleplaying game uses ten-sided dice. For an attribute check, a player rolls a number of ten-sided dice and attempts to roll equal to or less than the attribute to succeed. The difficulty is measured in terms of the number of dice a player has to roll, from one for Extremely easy to five for Outrageous. Otherwise, Paranoia is a percentile system and skill-based. The aim is to roll equal to, or lower, than the skill to succeed, with a Troubleshooter always having a minimum chance of success of 5%. A skill is modified by an appropriate Troubleshooter’s Attribute Modifier and by the circumstances. It is the latter where Paranoia does get more complex. The skill categories are described in some detail and there are a lot of modifiers, which vary from skill or skill, and can result in a skill rating being divided or multiplied or simply added to or detracted from.
When it comes to combat, the ‘Player Handbook’ states that it eschews the, “…[E]laborate movement and combat systems reflecting their ancestral wargame heritage.” of other roleplaying games and instead aims for a ‘dramatic tactical system’—“[A] sort of unsystem – to encourage fast and flamboyant action.” Thus, it was writing against what had come before in terms of roleplaying games and their combat systems and what West End Games, the publisher of Paranoia, was best known for doing at the time, which was wargames. It was wholly reliant upon the Game Master, as she of course, had the Security Clearance to know how the rules—fully explained in the ‘Gamemaster Handbook’—worked, and today, the ‘dramatic tactical system’ of Paranoia would be best described as theatre of the mind style play, since it did not rely on maps or miniatures. (The irony here being that miniatures have since been released for subsequent editions of Paranoia.) Some of this seen in how damage is handled in that a Troubleshooter does not have Hit Points, but weapons instead inflict effects such as stun, wound, incapacitate, kill, and so on. If combat is meant to be dramatic and exciting for all, there is still a set of combat mechanics that need to be learned by the Game Master. These are not complex, but the Game Master still needs to know them to apply them to the ‘dramatic tactical system’ that Paranoia wants her to run the game as and there are quite a lot of weapon special effects, such as the various ammunition types of slug throwers and cone rifles, ice guns, and tanglers, which she needs to be aware of. Not necessarily in every mission, but they are there in the rules.
Perhaps the most important section in the ‘Gamemaster Handbook’ is on ‘Gamemastering Paranoia’. This is because Paranoia was—and in some ways, still is—different to any other roleplaying game, certainly in comparison to the ones that came before it. The Game Master has many roles in Paranoia. Like any other roleplaying game, the first was to portray the world and act as the eyes and ears of the players and their characters. After that? All bets are off. The Game Master has to portray an NPC, the Computer that both cares about the Citizens of Alpha Complex and thus the Troubleshooter, and loves them. It even trusts them. It also does not trust them. It also fears that one of them, if not all of them are Traitors. It is a mass of contradictions that builds tension and distrust and instils fear and ignorance with the Game Master knowing everything and the players and their Troubleshooters knowing nothing. As a representative of a nasty, totalitarian enclosed society, the Game Master may not be actively trying to kill the Troubleshooters—though she very probably is—but she is definitely looking for reasons to kill the Troubleshooters.
The advice for running Paranoia is excellent throughout. It amounts to controlling information and rationing it with a miserly reluctance, killing the bastards, fighting dirty, accepting that sometimes situations are hopeless, and letting the players feel that bad luck or idiocy is responsible for their Troubleshooters’ fate, rather than maliciousness upon the part of the Game Master. Similarly, the advice for running combat is to keep things moving, never give the players and their Troubleshooters the time to think, reward flamboyance and strange ideas, to kill the bastards, and to really, really keep things moving. Topped by the fact that the Game Master should ‘Sound Impartial’, despite the fact that she probably being anything other than that. All of which is supported by examples of play that showcase how Paranoia is intended to be run and played. Combined with advice on writing adventures—though the designers admit to liking pre-written packaged adventures for various reasons, and beginning, running, and ending adventures, the advice throughout Paranoia is excellent.
The Game Master is further supported with the ‘Adventure Handbook’. It begins a little oddly with the first ten pages devoted to detailing bots (or robots) and vehicles, before presenting a full, pre-packaged, adventure. ‘Destination: CBI Sector’ is designed as a starting adventure and sample of what a Paranoia adventure is intended to look like. This is for both the Game Master new to Paranoia and her players who are new to Paranoia, and the scenario includes a set of six pre-generated Troubleshooters, each of which comes complete with a ‘Mission Report Form’ to fill in and return to the Computer at the end of the mission. The mission involves the recovery of a robot from a previously abandoned industrial sector and will be complicated by whatever the Troubleshooters find there, their duplicitous group leader, and of course, each other. It is a fun, silly, and infuriatingly absurd affair that captures the tone of Paranoia to a tee.
Physically, Paranoia: A Role-Playing Game of a Darkly Humorous Future is Alpha Complex is well presented and wonderfully embraces its black humour. There are constant messages and interactions with the Computer, there are very examples of play, and Jim Holloway’s artwork perfectly captures the absurdities of life in Alpha Complex and the irreconcilable situations that the Troubleshooters will face. Best of all are the covers to the roleplaying game’s three books in the box. Each cover depicts a scene in which those present are being watched by someone else on another cover so that there is a sense of constant sense of surveillance and mistrust even on who the roleplaying game looks. If perhaps there is an oddity in the look of the roleplaying game, it is that Paranoia looks like and it laid out like the rules for wargame rather than a roleplaying game, irony being that this was everything that it was against!
In 1984, Paranoia: A Role-Playing Game of a Darkly Humorous Future is Alpha Complex was a shockingly radical design that stuck two fingers up and sneered at every roleplaying game that had become before it. It was blatantly uncooperative and adversarial in its play, embracing death in the fragility of its Troubleshooters and almost a nihilism in their uselessness, and possessing a lack of hope given that despite the roleplaying game presenting a means of progression, the actual play was actively obstructive to such progression. This meant the roleplaying game was suited to one-shots and short play rather than campaigns. Lastly, it was the most American and the most anti-American of roleplaying games, especially considering that it was released at the height of the Cold War and the Presidency of Ronald Reagan. It was the most American of roleplaying games because it was rabidly anti-Communist and it fully embraced McCarthyism and pushed the fears that McCarthyism espoused to their fullest extremes—and beyond. It was the most anti-American of roleplaying games because it made every Troubleshooter, every Player Character, what McCarthyism feared—a traitor, effectively a Commie and the enemy within. Of course, that included the Computer and thus Game Master because everyone in Paranoia is the true enemy within. And then the designers of Paranoia effectively turned it into a horrifyingly funny cartoon.
Paranoia: A Role-Playing Game of a Darkly Humorous Future is a brilliant piece of design, a savage satire on roleplaying, politics, and social attitudes at the height of Cold War that set player against player, Game Master against the players, and forced everyone at the table to play differently. All of which it hides behind the blackest of humour and the bleakest of futures, whilst presenting a genuinely different and challenging roleplaying experience.

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

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Despite its popularity in Japan, it is surprising that there is so little support for it as a setting in Call of Cthulhu. Barring Secrets of Japan from Chaosium, Inc. in 2005, which was a modern-set supplement, most of the handful of scenarios set in Japan have been placed their tales of Lovecraftian investigative roleplaying firmly in the feudal period, so enabling the Samurai, the classic Japanese warrior to go up against the Mythos. For example, ‘The Iron Banded Box’ from Strange Aeons II from Chaosium, Inc. and ‘The Silence of Thousands Shall Quell the Refrain’ from Red Eye of Azathoth from Kobold Press. Incursions into Japan in Call of Cthulhu’s classic period of the Jazz Age are almost unknown, Age of Cthulhu VI: A Dream of Japan from Goodman Games being a very rare exception. It is a trend that continues on the Miskatonic Repository, Chaosium Inc.’s community content programme for Call of Cthulhu, Seventh Edition. Here, A Chill in Abashiri – A 1920s Taisho-Era Japan Scenario is the exception alongside titles such as Thing torments poet, Daimyo calls on greatest help, Will the players fail? and After the Rain. Even Japan has its very own supplement devoted to the Taisho-Era of the nineteen twenties and nineteen thirties, in the form of ‘クトゥルフと帝国’ or ‘The Cthulhu Mythos and the Empire’, published in 2011 by Kadokawa. More recently, the well received Japan – Empire of Shadows: A Call of Cthulhu sourcebook for 1920s Imperial Japan further explored the Japan of the Jazz Age in much more detail. However, nearly all of this was one way. Despite popularity of Call of Cthulhu in Japan, few if any scenarios originating in Japan have been translated into English. With the release of Japonism 2024 – Three Modern Day Japan Call of Cthulhu Scenarios, all that changes.
Japonism 2024 – Three Modern Day Japan Call of Cthulhu Scenarios presents three scenarios originally published in Japan in 2019. All three are set in the 2020s, involve technology to some degree or another, and have a running time of three to four hours, making them suitable for one-shots or as convention scenarios. The introduction provides a guide to modern Japan, covering its geography and climate, language and religion, money, education, getting a driver’s licence, ownership of firearms—exceedingly rare and the police, and more. Much of this could easily been discovered with some research upon the part of the Keeper, but it is handy to have it all here. In addition to individual scenarios themselves, the supplement provides an overview of each of the three cities—Tokyo, Kyoto, and Yamaguchi—where the three scenarios are set.
The first of the anthology’s trio is ‘Do Gods Dream Of Digital Drugs?’. Written by Byoushin, it is set in November in Tokyo and it opens in shockingly bloody fashion. The Investigators are meeting a friend who is participating in the ‘Hills Music Festa’, which they are also attending, when the friend as he goes to leave, suddenly screams and then begins stabbing himself in the face, inflicting multiple wounds upon himself before he dies. Investigating the death reveals that the events company organising the music festival and its staff have been the subject of threats and protests from a cult—the Church Of Serialism—and that the friend was not the first to die in similar circumstances. The investigation is hampered by the presence of security guards at many of the locations involved, but in most cases, there are NPCs who will talk to the Investigators who are patient and polite. The threat is tied into cutting edge technology, which if gets out could lead to a series of mass suicides similar to that suffered by the Investigators’ friend. Music related skill such as Art/Craft (Piano) and both Computer Use and Electronics will be useful in resolving this Science Fiction-themed horror scenario which very nicely draws on contemporary fears. If the Investigators fail, the climax of the scenario is even more shocking than the opening scene, one that the media will likely put down to mass hysteria, but of course, the Investigators will likely know better.
The second scenario is Lom’s ‘Sutra Chanting Network’, which continues the Science Fiction horror of ‘Do Gods Dream Of Digital Drugs?’ This takes place in Kyoto with the Investigators being invited to attend a ceremony at Shimogamo Shrine in Kyoto by a relative who is a priest there. The ceremony is the ‘Tsukinamisai’, conducted at the beginning of every month, in which participants pray to the enshrined deity, Kamomioyasume Omikami, for the prosperity of the Imperial Household and peace for the nation. The Investigators have a chance to see Kyoto first, but at the ceremony, the Shinto prayer that the priest is chanting suddenly changes and the attendees are wracked with pain and a feeling of being drained, some actually falling unconscious. Examination of the priest reveals that he has a cut on the back of neck and with further examination that he has had a foreign object implanted in his neck, which turns out to be a computer chip! The son of the priest is actually a hardware engineer. So, could he know something about this? Again, this scenario involves cutting edge technology, this time the Internet of Things, but with a Mythos twist which sees that Internet of Things expanded to include people. And also, again, the scenario involves a threat that can be spread or work through a mass medium. The climax of the scenario is a confrontation not only with the villains of the piece, but also quite possibly the silliest threat that anyone has faced in Call of Cthulhu. Nevertheless, as silly as it sounds, having to fight a mechanised shrine hall as if it was a mini-kaiju feels very Japanese.
The trio comes to an end with ‘Unseasonable Blooming And Minuet’ by Aka with Lom. This takes place in December in the fictional Chugoku-region city of Hodaka in the modern-day Yamaguchi Prefecture. It has a more traditional feel in terms of its threat, drawing upon Japanese history and folklore, but as with the previous two scenarios, uses modern technology and concerns about that technology as vectors to spread its threat. In this scenario, the technology is social media. The Investigators are invited by a friend and his sister, to visit Hodaka, the city where they grew up which is known for the Hodaka Tenmangu Shrine and Mount Hodaka, and not long after they all arrive, the sister goes missing. Her disappearance is not the first of young girl in the city and upon looking into the matter, the Investigators will learn that the disappearances all linked to a particular social media account and the images of a blossoming plum tree posted on the account. This has a horrifying combination of the modern with the traditional and has a very chilly ending, so the Investigators had better come dressed for the cold.
Physically, all three scenarios in Japonism 2024 are reasonably presented, although a little untidy in terms of layout. The writing is dense in places, so the Keeper will need to give the three a careful read through and study.
Japonism 2024 – Three Modern Day Japan Call of Cthulhu Scenarios presents three good, richly detailed scenarios set in Japan. All three share common threads in terms their fears of technology and the ways in which it be twisted—advertently or inadvertently—by the influence of the Mythos to become a mass media threat. Although all three require a little extra time to study and prepare, the scenarios in Japonism 2024 – Three Modern Day Japan Call of Cthulhu Scenarios will very well as one-shots, or even better, convention scenarios.

 We are nearing the end of 2024. I did not get as much done here as I wanted. That is sort of my theme for 2024, really. Since I had no specific plans for 2025, I will continue with some threads started here in 2024. But I am going to go into some newer areas too.

Fantasy RPGs

This upcoming year I want to focus more on other, non-D&D, Fantasy RPGs. I still love D&D, I am just tired of the conversations around D&D. I am still playing. I am still enjoying it; I am just going to play and enjoy other games as well. 

I *will* talk about how these games can provide a "D&D-like experience" because I am sure that a lot of my readers here are still reading for D&D-related content.

Forgotten Realms

I still want to work through all my Forgotten Realms material and talk about it in terms of my own history of the game. I enjoyed it too much to put aside.

The Enchanted World

I also want to keep working through all my Enchanted World books. I wanted to finish them all in 2024, but that didn't happen. 

Thirteen Parsecs and Wasted Lands

I plan on doing more with these games in 2025. Gotta support the home team.

Basic Bestiary

Ok, this is the big one. I wanted to get this done. I have the monsters written, edited, and ready to go. What I am lacking is art. Monster books need a lot of art, and art is expensive. I am not 100% convinced that a huge monster book would make enough to cover the costs of the art. 

So I am thinking of breaking it up into smaller chunks now, a little like my Myths & Monsters (for AD&D) and my ill-fated Monstrous Maleficarum (for 5e). The goal will be to put a few monsters in a volume with art I have now, and I hope to make enough to buy art for the next one. As business plans go, it is not a great one, but it will do. 

My brain automatically goes to themes. I hope I can do that here. So a collection of hags, then of demons, and more. I am not going to try to kill myself to get one done a week, but I do want to get a few out in 2025.

 

Well. Here's to a better 2025!

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition and the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha, The Companions of Arthur is a curated platform for user-made content, but for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon. It enables creators to sell their own original content for Pendragon, Sixth Edition. This can original scenarios, background material, alternate Arthurian settings, and more, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Pendragon Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Pendragon campaigns.

—oOo—
What is the Nature of the Quest?The Knights of the Hounds: A Mongrel Order for Pendragon is a supplement for use with Pendragon, Sixth Edition.

It is a full colour, twelve page, 54.41 MB PDF.

The layout is tidy and it is nicely illustrated.

Where is the Quest Set?The Knights of the Hounds is set primarily along the borders between Logres and the Saxonkingdoms and Berroc, Silchester, and Thamesmouth in particular. However, it is potentially of use wherever there is a clash between the Britons and the Saxons.

It opens in the year 508.
Who should go on this Quest?
The Knights of the Hounds is both an organisation that the Player-knights can join if they qualify and if not, an organisation that can serve as an ally or an enemy of the Player-knights, depending on their actions and attitudes.

To join the Knights of the Hounds, a Player-knight requires a high Valorous Trait, a reasonable Honour Trait, and low or no values in either the Hate (Saxons) or Hate (Cymri) Passions.
What does the Quest require?
The Knights of the Hounds requires the Pendragon, Sixth Edition rules or the Pendragon Starter Set.
Where will the Quest take the Knights?The Knights of the Hounds presents an organisation or informal order of knights dedicated to showing that Saxon and Cymric knights can work together for the betterment of all and be one people rather than divided. Members of Knights of the Hounds bear dogs or hounds on their shields and keep their identities secret. They face antipathy, even hatred, from the Saxons who regard its Saxon members as betraying their ambitions to conquer the whole of Britain and from the Britons who regard its Cymric members as betraying the memory of those killed in the Night of Long Knives and in subsequent Saxon atrocities. Their detractors have nicknamed the members of the order, ‘Mongrels’.
The supplement presents its origins as a reaction to the poor treatment of prisoners taken by some Saxons and suggests how its members might react to future events in the Pendragon timeline. Three NPCs are fully detailed who the Player-characters may encounter as is the leaders of the order and their manor, known colloquially as the ‘Kennel-Hall’, which is secretly the base of their operations. Also included is a Battle Card for Knights of the Hounds, which can be used as an ally or enemy, depending upon the situation.
The Knights of the Hounds will feature in releases such as The Serpent of Mildenhall and Spares and Heirs.
Should the Knights ride out on this Quest?The Knights of the Hounds is a nice little supplement that presents the basics needed by the Game Master to further explore the conflict and relationship between the Saxons and the Cymri throughout the reign of King Arthur and do so in multiple ways.

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary, and the new edition of that, Dungeons & Dragons, 2024, in the year of the game’s fiftieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

—oOo—

Walker in the Wastes is a campaign published by Pagan Publishing in 1994. It was the first of the three campaigns from the publisher, all of which would be designed and written by John H. Crowe III. Designed for use with Call of Cthulhu, Fifth Edition, it is a grand campaign in true Call of Cthulhu style, that will take the Investigators from arctic Canada to Alaska and beyond to the remotest part of northern Japan, New Jersey, and New York state, and from there to the North Pole, with a corollary that culminates in Iraq. It is an ambitious, bruising campaign that is well organised and supported, but which is best run by an experienced Keeper and best played with players who have some experience of Call of Cthulhu under their belts. There is a Pulp sensibility to the campaign in that it involves flight and airships, but Walker in the Wastes is not a Pulp-style campaign. Further, it differs in terms of set-up, rationale, and radically, in terms of the Great Old One the Investigators will face and the plans of the cultists devoted to him, that they must thwart. This is Ithaqua, the ‘Death-Walker’ or ‘Wind-Walker’, a Great Old One who has appeared in many a scenario for Call of Cthulhu, especially rural or wilderness scenarios, but only once, here in the pages of Walker in the Wastes has he been of the subject of a campaign. Running from Saturday, 10th November 1928 to Sunday, 21st December, 1930 (and beyond), Walker in the Wastes details the attempts by the Cult of Ithaqua to fly from various points around the world and congregate at the North Pole where the cult will free its master from the Temple of the Winds in which the Elder Gods bound the Great Old One in times beyond imagining.

“In 1848 the Franklin Expedition vanished in the ice searching for the Northwest Passage. Eighty years later, you and your associates travel to Northern Canada to research the disaster - and find yourselves launched in a globe-spanning race to defeat the terrible god of the icy wastes. Hundreds of hours of research have gone into creating the most realistic 1920s campaign ever. Japanese gangsters, Iraqi archaeological digs, secret airships, and a legend older than humanity serve to challenge even the most experienced of CoC players. Walker in the Wastes is a huge campaign of discovery and horror, and is suggested for experienced Keepers.”

—Back cover blurb, Walker in the Wastes, Pagan Publishing, 1994

Walker in the Wastes has a strict set-up that means that as campaign it cannot easily be run with Investigator types typically found in Call of Cthulhu. Here they are anthropologists, archaeologists, artists and photographers, botanists, geologists, physicians, and zoologists, as well as guides, employed by the University of Toronto and the Canadian government to live and work on a base in the Arctic in the Northwest Territories. This is on the Adelaide Peninsula, near King William Island. This is near the location of some of the remains of members of the Franklin Expedition, the British Royal Navy’s infamous expedition to discover the Northwest Passage which disappeared in 1848. Now unlike the back cover blurb of the campaign suggests, the expedition is not stationed on the Adelaide Peninsula to specifically investigate the remains of the Franklin Expedition. This does not mean that the expedition and its fate will not play a role in the campaign, but rather it is not and should not be the focus of the campaign.

The campaign itself opens with a prologue, ‘The Dead of Winter’. Set in November 1928, the Investigators have already been on Adelaide Peninsula for over a year and the only excitement to date has been the rescue attempt of the crew of the Italia, a second polar airship commanded by the Italian explorer, Umberto Nobile. This changes when two of their fellow expedition members return to the base with the frozen corpses of two Inuit men, both badly mauled. What got their interest is that it is clear that neither man was attacked by a wolf or polar bear. Could they have been attacked by an unknown Arctic predator? Talking with the local Inuit reveals that they believe that the creature responsible for the deaths is a supernatural creature known as a ‘Yiige’, which has awakened to hunt again after many years dormant. Pushing for further information reveals that two particular clans might know more, the Red Caribou clan and the Blue Seal clan, but that the Blue Seal clan attacked the Red Caribou clan recently and all but wiped it out! Taking an active interest in either clan will push the story forward and lead to further discoveries. Most obviously that there is a monster lose on the ice—the dread Gnoph-Keh—and that despite what the rational, scientific minds of the Investigators would believe, that magic is real. The latter discovery is important as it will open up the minds of the Investigators later in the campaign as to the scope of what they face and potentially, prepare them to arm themselves with that magic to use against the cult and its plans.

‘The Dead of Winter’ will end in a chilly confrontation in the snow and ice of King William Island with the vile Blue Seal clan and the awful Gnoph-Keh. The nature of the environment and the advantages that the Blue Seal clan and the Gnoph-Keh have as compared to those of the Investigators make the scenario quite a physical challenge. Defeating both does not mark the end of the expedition, nor necessarily the very end of the scenario. There are some loose ends to wrap up, but otherwise, ‘The Dead of Winter’ could actually be run as a scenario all by itself, without the need to run the full campaign. However, where would the fun be in that? What it does do, is lay the groundwork for what is come and open the eyes of both the players and their Investigators as to the dangers to come.

The campaign proper begins with ‘Into the Realm of the Wind-walker’ after the Investigators have returned to Toronto. Having completed their reports and debriefings for their employer, the Investigators are approached by Doctor Alfred Barrowman, an archaeologist, who has heard reports of a creature similar to the one encountered by the Investigators and worshiped by local cultists, but in Alaska. He wants to hire them and join him on an expedition to investigate. Amidst tales of missing hunters and surveyors and government disinterest, the Investigators will likely make an amazing scientific discovery and come across the first hints that what they encountered in Canada was not an isolated situation. The big questions are, why there is a secret air base deep in the Alaskan forest and what are its highly armed occupants planning to do their aircraft? By the end of this investigation, the Investigators should have learned that the cult has many branches, that December 1930 is an important date to the cult, and that all of the major branches are preparing to fly to the North Pole for this date. The Investigators will also have gained Doctor Barrowman as sponsor, thus funding their efforts to save the world.

At this point, Walker in the Wastes opens up and the Investigators can tackle any of the newly discovered locations—the Kurile Islands in Japan and Camden, New Jersey, back in the USA—in any order. Unlike in Alaska, where government indifference and lack of awareness combined with the isolated location of the cult’s base make it relatively easy to deal with, the sites in Japan and the USA are much harder to deal with. The Kurile Islands are isolated, but the Investigators face a language barrier, a government with a distrust of foreigners that has also been bought off, and a nearby Japanese naval base. Conversely, the base in Camden, New Jersey is in a public location, a shipyard on the Delaware River across from Philadelphia. Further, the airship being constructed there and the expedition to the North Pole are both public knowledge and sponsored by the United States Navy, the Massachusetts Institute of Technology, and Howard Hughes! Of course, the involvement of the cult is not. Although the situations and the challenges are different for each base, the Investigators are essentially attempting the same thing each time. Finding out about the base, scouting the base, infiltrating the base, and ultimately, finding a way to sabotage the activities of the cult and the aeroplanes and airships its members are building. One of the discoveries that the Investigator will probably make in the Camden, New Jersey base is that the cult has a fifth, secret base, this time in Camden, New York state! Its secret nature makes it easier to tackle than the bases for Camden, New Jersey and the Kurile Islands.

Ultimately, the Investigators will join in the flight by the cultists to the North Pole for the Winter Solstice of 1930 where the Temple of the Winds will manifest and they will attempt to break the Great Seal inside which has kept Ithaqua from doing no more than visiting the world’s northern climes for aeons. This has the scope to be a grand, bruising finale, on a scale with the Rising of the Island of R’lyeh in The Shadows of Yog-Sothoth—with the Investigators facing multiple, often well-armed cultists—both in terms of materiel and magic. There is the possibility of aerial combat too if the Investigators have armed their means of transport. If the Investigators travel via King William Island, there is the possibility that as they travel north, they make a startling discovery—the Erebus and the Terror—the two lost vessels from the Franklin Expedition. Should they land and investigate, this leads to a memorable encounter aboard the Erebus (as depicted on the front cover) and although optional, this is a pleasing callback to the Investigators’ original expedition as detailed in the prologue.

Although it may seem that the campaign ends with the thwarting of the cult’s plans and ideally, the prevention of the cult’s attempt to break the Great Seal in the Temple of the Winds and free Ithaqua, it is only a preclimax to Walker in the Wastes. Having stopped an attempt once, the focus of the campaign switches to finding a more permanent solution. One of the aspects of Walker in the Wastes is that air gods are found in multiple pantheons in cultures around the world, some of which appear in the campaign and seen as avatars of Ithaqua. One of these is Enill, the Sumerian and Babylonian ‘storm god’ and ‘chief demon’ who was in possession of the Tablets of Destiny. If they are real and if they can be found, perhaps their reputed great powers can be used to prevent the cult from returning to the Temple of the Winds and making further attempts to break the Great Seal? Unfortunately, the cult is also aware of the existence of the Tablets of Destiny and not only wants to obtain them to prevent from falling into the Investigators’ possession, but also to use them to its own ends.

Where Walker in the Wastes was a race to prevent the Cult of Ithaqua from getting to the North Pole and the Temple of the Winds, now it becomes a race to find, study, and utilise the Tablets of Destiny. If the race to the North Pole was dangerous because the environments and the dedication of the cultists, it now becomes deadly as the cultists possess a hatred of the Investigators and more readily and openly move against them. Previously, the cult was more careful, not wanting to bring attention to itself and its plans, which were, of course, its true focus. The points to the nature of the Cult of Ithaqua and its members. Most are devoted members and fervently want to see Ithaqua freed, but they are not evil per se and do not wish mankind great ill. Of course, by any standards, they are all insane, and of course, there are members, such as the infamous Reinhold Blair (named after the late artist, Blair Reynolds, who are actually evil and he in particular, will take great delight in enacting his revenge upon the Investigators and their associates (if he still lives by then).

Thematically and mechanically, this switch in the campaign is challenging, since its focus changes from northern climes and the Arctic and the often-physical difficulties posed, to warmer environs and a more traditional style of Call of Cthulhu that Investigators may not be suited to if they have survived thus far. One skill required here is the ability to read Sumerian Cuneiform and unless there is replacement Investigator at any point after the Investigators were at the North Pole, they will have to rely on a translator. (One is provided, but he is old, doddery, and incredibly cantankerous. Great for the Keeper to roleplay, but only adding to the Investigators’ woes.) In true classic Call of Cthulhu style, the Investigators have the opportunity to conduct research at the British Museum in London and learn what they can about Ancient Mesopotamia. Obtaining the Tablets of Destiny will potentially involve a trip to a cult-sponsored dig in Iraq and if the Investigators failed at the North Pole, a terrible encounter with Ithaqua, and to the current resting place of the Tablets of Destiny in southern Turkey. Here, there is likely to be tussle between the Investigators and the cultists for possession of the artefacts, spoiled potentially by the obvious interest of the Turkish government, but more likely by the presence of an ancient Serpentman sorcerer entombed at the same location and who is likely to be awoken by the digging at the site.

‘Day of Reckoning’, the actual climax to Walker in the Wastes takes place in British Columbia, back in Canada. Here the likelihood is that the cultists have possession of the Tablets of Destiny given their muscle and the Investigators will have chased back across the Atlantic and North America. There the Investigators have a chance to foil the Cult of Ithaqua once again—and if not permanently—then long enough for almost nobody alive in 1930 to worry about… (That said, if the climate suddenly gets a lot colder from December 2031 onwards…) It does involve making a terrible moral choice though, one that in some ways makes the Investigators as bad as the cultists, but for the greater good…?

Walker in the Wastes includes three separate scenarios, interludes intended as red herrings. ‘Chirihoi’ takes place in Japan and is set on the island of the same name, and is intended to distract the Investigators whilst they investigate the cult’s base in the Kurile Islands and ‘The Osbrook House’ is a supposed haunted house mystery set in Camden, New Jersey. Neither has any connection to the campaign’s main plot and certainly in the case of ‘The Osbrook House’ feel out of place as part of the campaign. The third interlude, ‘The Monolith’, is connected to the campaign—if only slightly—and is an actual red herring. It does involve a cult dedicated to Ithaqua and is a classic rural cult Call of Cthulhu scenario set in Scotland.

Walker in the Wastes is incredibly well supported. The campaign is given a good overview and the aims and motivations of the Cult of Ithaqua is clearly explained and accompanied by good advice. The resources include details of the Wind-Walker, his associated magics—many of which the Investigators have an opportunity to learn, an examination of Ithaqua in multiple different cultures and his role as a god of the air, associated legends, a guide to the Inuit and Inuit mysticism (which is treated with respect), the Arctic environment and survival in the region, and airships and aerial combat. There are then new spells such as Banish Gnoph-Keh and Chill of the Wendigo, and new skills like Boating, Botany, Cartography, Forensics, and Land Navigation and Sea/Air Navigation. Plus, there is background to the Franklin Expedition, which of course, is what would have been as much as was known about its fate in 1994.

Every chapter and scenario includes an introduction and an outline at the start and a list of Sanity rewards and penalties along with the NPC stats at the end. In between, each chapter or scenario is well presented and organised and accompanied with advice as needed. Rounding out Walker in the Wastes is a Miscellany of ‘Player Aids’ which collates all of the campaign’s handouts, though not all of the maps. Indeed, the campaign is lacking versions of many of the maps suitable for the Keeper to give to her players. There is also a lengthy bibliography which showcases how deep the research the author conducted in creating the campaign. Lastly, an engaging afterword by the author explains how the campaign came to be and how it was developed and written.

Physically Walker in the Wastes looks amazing. The campaign is well written and presented, the maps clear and easy to use, and there is a good index at the end. However, the artwork is incredible, black and white, but reversed shadows, giving the campaign a twilight look of foreboding and distrust.

—oOo—

Walker in the Wastes was not extensively reviewed at the time of its release. It was a ‘Pyramid Pick’ by Scott Haring in Pyramid Number 12 (March/April 1995). He said, “You don’t know when a Pagan product  is going to come out, but when it does, you’re usually in for a treat.” before continuing, “Walker in the Wastes is certainly no exception. A massive 200+ page book, Walker is the first major campaign for CoC that Pagan has ever published. Author John Crowe claims that four years of writing and research went into Walker, and it shows. Walker in the Wastes immediately zooms to the top of the list as one of the finest Call of Cthulhu campaigns ever produced.”

Earl P. Thatony (surely a pseudonym) reviewed it in ‘Reviews’ in Shadis Issue #26 (April 1996). He warned that, “Player need to keep sharp, think about what’s going on, and ask the right questions or they’ll get nowhere. There are some vexing (and possibly deadly) red herrings waiting for them, and even the best groups might, and even the beat groups might get tripped up. The GM needs to be top of things as well. There are several warnings in the introductory pages about the complexity of the scenario and the need for the GM to not just read, but study the campaign. These warnings need to be taken to heart, but rest assured the effort will pay off.” However, he concluded on a positive note, saying, “Walker in the Wastes is an amazing product. It’s organised, tremendously well-researched, engrossing, and fun to read. Anyone interested in running a mega campaign is advised to take a closer look at it, as it’s a fantastic example of how to do a project right. For the GM and players who are willing to spend the time it provide months of entertainment.”

—oOo—

Walker in the Wastes is great campaign, with a grandeur that showcases both what a highly thematic campaign can be like and the potential of Ithaqua as global threat as never before. At times, with its themes of the Arctic and aeronautics, it can feel Pulpy, but it never lets up on the brutality of the story and the awful aims of the cultists, who with a few notable exceptions, are portrayed as human beings rather than monsters. Above all, Walker in the Wastes is a demanding campaign, for both the Keeper and her players, requiring a great of deal of preparation upon the part of the former and some adjustment in play style from the latter. There are some great moments in the campaign, such as the battle in the snow against the Blue Seal clan, the flight to the North Pole, the return of Ithaqua to Mesopotamia should the Investigators have failed at the Temple of the Winds, and that last, final, agonising choice… Throughout, Keeper and player alike will be challenged by Walker in the Wastes from start to finish, and if their Investigators succeed, they will have done something truly heroic and had an incredible experience doing so.

—oOo—

Sadly, Walker in the Wastes is a lost campaign. It has been out of print for over two decades and is currently unlikely to be reprinted or made available in electronic format.