Now in its fourteenth year, Free RPG Day in 2021, after a little delay due to the global COVID-19 pandemic, took place on Saturday, 16th October. As per usual, it came with an array of new and interesting little releases, which traditionally would have been tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Of course, in 2021, Free RPG Day took place after GenCon despite it also taking place later than its traditional start of August dates, but Reviews from R’lyeh was able to gain access to the titles released on the day due to a friendly local gaming shop and both Keith Mageau and David Salisbury of Fan Boy 3 in together sourcing and providing copies of the Free RPG Day 2020 titles. Reviews from R’lyeh would like to thank all three for their help.

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Epic Encounters: The Hills Have Legs is designed as an introduction to Epic Encounters. Published by Steamforged Games for use with Dungeons & Dragons, Fifth Edition, the Epic Encounters line is a series of boxed adventure sets which include a scenario and both floor plans and miniatures for use with the scenario. Steamforged Games divides its Epic Encounters series in three Tiers of Play—Lower, Middle, and Higher—which determine the standard Difficulty Check value that a Player Characters has to roll and Damage Level (or die type) suffered by a Player Character throughout the scenario. For The Hills Have Legs, the Tier of Play is the Middle, which means the scenario is designed for Player Characters of Fifth to Tenth Levels and has a standard Difficulty Check for the players to roll of fourteen, whilst the standard Damage Level rolled throughout the adventure will be an eight-sided die. As with other titles in the Epic Encounters line, an experienced Dungeon Master should be able to adjust the scenario up or down to a different Tier of Play to make it suitable for Player Characters of higher or lower Levels respectively.

The set-up for The Hills Have Legs is that a foolish friend of the Player Characters was last seen entering the desert burrow of a spider-tyrant, and whilst there is every possibility that he will have got caught up in the giant arachnid’s web, there is an even greater chance that he will have been captured by the group of Goblins who make the burrow its home, picking over the leftovers and detritus dropped by the spider-tyrant. Well, the scenario says friend, but that ‘friend’ could just as easily be a criminal that the Player Characters are escorting across the desert or the merchant whose caravan they are guarding. Either way, the last thing that the Player Characters will want to do is leave him to his fate. Whatever the exact set-up, the authors do warn the Dungeon Master that The Hills Have Legs is a tough adventure—and that she should warn the players at the start of play.

As the Player Characters lower themselves down into the caves, they can hear the cries of their missing friend, but his cries have also alerted his captors and they are fully prepared for his would-be rescuers. The goblin denizens are smart and tricksy, and are very much written as such. They know their environment and have adapted to it, such that they can manoeuvre around the webbings left by the spider-tyrant, the clouds of poison that waft around certain chambers, and the dark… The scenario consists of just five locations, four of which come with maps. All four are quite dark and although marked with a grid, the squares are a little small for use with miniatures. The encounters, all of them challenging—whether fighting across a giant web or dodging in and out between giant poison spewing cauldrons—are action and combat focused and the use of the maps reflect that. Some are a little weird and creepy too, such as the fungus-infested caves where the Witch-Queen Goblins have their lair, who will use fungus to inflict confusion upon the intruders. Plus of course, spiders have a reputation for being creepy too.

Rounding out The Hills Have Legs is a short bestiary which presents the creatures that the Player Characters will encounter in the scenario. These include the Funnel Goblin Warrior—the standard Goblins found in the complex and capable of disengaging with a foe or hide with ease; Spider Weblings—essentially tiny spiders; and the one, not two, but five NPC Goblin threats, representing Papa Io, the Goblin chief, as well as his henchgoblins. These are slightly different from each and so pose a variety of threats when encountered.

Ultimately, the Player Characters will locate their missing friend and are free to climb back into the desert above. Or, because of course, The Hills Have Legs is a prequel to a forthcoming Epic Encounters title, Web of the Spider Tyrant, carry on adventuring and face the real danger at the bottom of the burrow—the spider-tyrant itself! The Hills Have Legs ends on a dramatic note and sets up a confrontation in the next part, should the Dungeon Master and her players want to carry on. Alternatively, The Hills Have Legs is just as easy to keep as a self-contained side trek on a journey to elsewhere which is easily slotted into a campaign.

Physically, The Hills Have Legs is a slim, but glossily presented scenario. It needs a slight edit in places, but is generally well written and easy to set up. If it is missing anything, it is an overall map which would have better shown the relationship between the scenario’s five locations and four maps. Further, given the verticality of the scenario, of descending into the burrow and of some of the encounters, a cutaway view of the burrow would also have been useful.

Epic Encounters: The Hills Have Legs is a short, one session scenario, heavy on combat and action, made all the better with its creepy, web-strewn atmosphere. Overall serviceable, whether as a one-shot, a side-trek inserted into a campaign, or as the prequel to Epic Encounters: Web of the Spider Tyrant.

If HARP Fantasy—first published by Iron Crown Enterprises in 2003 as High Adventure Role Playing or HARP—can be seen as a lighter, more streamlined version of the publisher’s original roleplaying game, Rolemaster, published in 1980, then HARP SF can be seen as the publisher’s Science Fiction equivalent of Space Master: The Roleplaying Game. All are percentile driven, Profession, Level, and Skills systems, but as with HARP Fantasy, what HARP SF is a fair degree of flexibility in terms of choices for both the player and the Game Master or SysOp—or Systems Operator as he is known in HARP SF. A player is free to decide what Race his character is, what Professions his character follows, and what Skills his character knows, whereas the SysOp is free to decide whether or not to include psionics, cybernetics, and whether or not she wants to run HARP SF in the setting included in the core book or one of her own devising. And even if she decides on the former, the SysOp has choices as to where she sets her campaign.

The default setting for HARP SF is the twenty-fifth century. Mankind has built a Ring City around the Earth connected to the planet by a series of space elevators, and not only populated the Moon, Mars, and Venus—both Mars and Venus have been extensively terraformed, but also the outer system. Although the Lunar Alliance, the Martian Republic, the Protectorate of Venus, the Belter League, and the Jovian Confederacy all remain independent governments, along with the Parliament of Earth, they have signed the Declaration of Man, forming the Terran Federation and binding them to pact of mutual assistance, defence, and governance beyond their own borders. Almost three centuries later this still holds sway, every new colony expected to become a signatory. Since the discovery of the Lagrange Drive at almost the same time as the Declaration of Man was first signed, over a hundred colonies have been established within a fifty-light year sphere of Earth, but more have been founded since with the discovery a portal device which was capable of transporting a starship across the galaxy at a speed equal to one light year per minute—as opposed to the one light year per day speed of the Lagrange Drive. The other side of the portal lies some four hundred light years away from the Terran sphere of influence and it was here, in what became known as the Nexus sector (named after the first portal found), in the year 2454 that mankind made first contact. This was initially peaceful with various alien species, but raids by the aggressive reptilian Silth would escalate into an inadvertent raid in the solar system and the retaliatory Silth War by the Terran Federation in the Nexus sector which would curb the Silth activities. More recently, in 2464 a larger portal was found in the asteroid belt and a space station, Tintamar, established nearby to handle travel through and from the portal. It is this space station from which the default setting in HARP SF takes its name.

The Tintamar setting is not hard Science Fiction per se, but harder than straight Space Opera. Technology is important, including Faster-Then-Light travel, anti-gravity technology, cyberware, and more, but not super-advanced technology like transporter devices capable of beaming people down to a planet and back again. Although the setting has cyberware, it is fundamentally positive in feel and tone, though far from a utopia. At the federal level, that of the Terran Federation, it leans towards being so, but the fact that planets and colonies retain their autonomy means that governments can vary from democracies and republics to theocracies and autocracies and unless the activities of a Terran Federation member spill over to another, the federal forces rarely intervene. Further pirates could be hiding out anywhere and the Silth still have designs for expanding their territory. Although the Tintamar setting is sketched out in relatively broad details, there are plenty of options as what the Game Master does with the setting. A humancentric campaign could be confined to the solar system and the sphere of human colonies, perhaps before first contact was made, whereas a broader setting that includes the presence of aliens would be set in the Nexus sector. Military campaigns could be fought against the Silth, an investigative campaign might be against the Terran Federation-wide crime Syndicate, and of course, the Player Characters could explore beyond the limits of human space. On the whole, the style and feel of HARP SF, and of its Tintamar setting, is one of Imperial style Science Fiction even if there is no Imperium or empire present. Alternatively, the Player Characters could adventure in an alternative future of the SysOp’s own design.

A character in HARP SF is defined by his Statistics, a Profession, Race, Culture, Skills, and Talents. A character has eight statistics—Strength, Constitution, Agility, Quickness, Self-Discipline, Reasoning, Insight, and Presence, which each has a value between one and one-hundred-and-five. There are eleven possible professions—Adept, Dilettante, Entertainer, Fusion, Merchant, Pilot, Researcher, Scout, Soldier, Spy, and Tech. Of these, the less obvious Adept studies and is capable of using psionics, and the Fusion combines the training of the Adept with another Profession. A Profession consists of Favoured Categories—the categories into which skills are grouped, such as Combat or Influence; Key Stats—those statistics favoured by the Profession; and one or more Professional Abilities unique to the Profession. For example, the key Statistics for the Pilot Profession are Agility, Insight, and Quickness, whilst its favoured skill category is vehicular, and its starting Professional Abilities a player can select from are Instinctive Evasion, Lightning Reflexes, Natural Astronaut, and Natural Gunner. At First Level, and then again at each Fifth Level, a Pilot also gains a +10% bonus to Vehicular skill.

In terms of Race, a player can choose from Human as well as five alien species. These include the inquisitive Krakur, amphibious, hexapodal, and tentacular, capable of changing their skin pigment and even separating a tentacle to perform a simple task; the short, pudgy Madji who have three eyes and multiple fingers on their hands, and who favour industrious co-operation; and the Runcori, intelligent, motile plants who can change shape slowly and have distributed senses all about their limbs, and who are brilliant scientists and technologists. The Cerans are large, muscular, but warm-blooded reptiles who have strong sense of territory—personal, intellectual, and social, whilst the Gorsivans are an avian-like species, intensely curious and often arrogant, capable of flight and possessing of telescopic vision. A sixth species, the cold-blooded, reptilian Silth are also given, but are only available as a Player Character species with the SysOp’s permission. Now what each Race provides are modifiers to a character’s Statistics, bonuses to his Endurance, Power Points, Resistances, Stamina, Will, and Magic, plus special abilities unique to each Race.

Also with a permission, a player can have his character possess genetic adaptations, represented by Genetic Talents, which model the character having adapted to the harsher conditions on which he was born. The Genetic Talents can be rated at major or minor, and a character needs to have the minor version before he can have the major, for example, High Gravity Adaptation would represent a character having grown up in a high gravity environment. If minor, High Gravity Adaptation would allow him to live under a gravity of up to 2g, whereas with the major version, it is up to 3g. Both grant bonuses to the character’s Strength, Quickness, and Constitution, but to have High Gravity Adaptation (Major), the character must also have High Gravity Adaptation (Minor). Typically, these are bought during character creation—and sometimes later during development when the character acquires a new Level—using Development Points.

HARP SF gives several Cultures—Aristocratic, Belter, Corporate, Cosmopolitan, Exotic, Frontier, Militaristic, and Scientific—each of which provides a basic language plus Skill Ranks gained as an adolescent. Skills come in nine categories—Artistic, Athletic, Combat, Concentration, General, Influence, Outdoor, Physical, Scientific, Subterfuge, Technical, and Vehicular—and are purchased in Ranks. There are some eighty or so skills, covering the sciences, technology and engineering, the arts, piloting, combat styles and manoeuvres, and so much more. Some of the slightly odder skills include Armour (training in to move and fight in armour to negate its lack of flexibility and its bulk), the Two Gun Combo Combat Style, Cyber Control (required to use particular types of cyberware, such as cybersenses or cyberlegs), Frenzy (essentially, going berserk), and Rope Mastery, but otherwise, the skills included are all appropriate to the genre! Lastly, a character can have Talents, such Biosculpted Body, Fast Fixer, Increased Lung Capacity, or Radiation Resistance.
To create a character, a player generates the Statistics, either by rolling dice or purchasing them with points, and then selecting a Race and Culture. Each character receives a pool of Development Points, modified by their Statistics, with which to purchase Skills and Talents. A limited number of Development Points can be spent to improve a character’s Statistics. There are oddities in the system which require the player to spend Development Points if he is to improve certain aspects of his character. One is that despite HARP SF being a Profession (Class) and Level system, a player does not simply roll his character’s Hit Points, but purchases the Endurance skill and its final value is how damage a character can have. A player will also need to put Development Points into Psi Energy Development if he wants his character to be able to use psionics, this in addition to purchasing active and latent psionic abilities. Even odder though, is the fact that the character’s Resistance Rolls—Stamina, Will, and Magic—are also skills and again can be improved by a player spending Development Points on them. Both Endurance and the Resistances have base values derived from a character’s Race, so there is a minimum value built into the mechanics. What this points to though, is how little a character’s Level has on the character—primarily it places a cap on how many Ranks a character has in any one skill and when and how many Development Points a character gains—and the degree of freedom a player has to build and modify his character.
Each time a character gains a Level—through earning Experience Points—the player acquires further Development Points with which to improve his character. He also gets the bonus Development Points as the character had at First Level and because these are derived from a character’s Statistics, it does mean that characters with better Statistics will develop faster and better in the long term.

Our sample character is Hurik, who grew up on Earth’s Ring City where life was easy. Having no real plans for a career, he attended for the Colony Resettlement Programme and attended Colony College, deciding that he wanted to do something different and see more than what home offered. He discovered that he like animals and growing things, and if he cannot have his own farm out on the frontier, then he wants to work on one.

Hurik
Race: Human
Gender: Male Age: 20
Height: 5’ 6” Weight: 136 lbs.
Culture: Cosmopolitan

Level 1 Scout

Strength 79 (+6) Constitution 90 (+8) Agility 56 (+2)
Quickness 44 (-2) Self-Discipline 60 (+2) Reasoning 52 (+1)
Insight 75 (+5) Presence 46 (+0)
Resistances
Stamina 0 (+10), Will 0 (+10), and Magic 0 (+10)

Endurance 80
Defence Bonus -4

Skills
Artistic: Painting 6 (+40)
Athletic: Climbing 1 (+13), Wrestling 1 (+15)
Combat: Brawling 2 (+18), Modern Ranged 2 (+18)
General: Appraisal 1 (+11), Computer Operation 2 (+16), Linguistics Anglic (Spoken) 6 (+36), Linguistics Anglic (Written) 6 (+36), Linguistics Other Species – Madji (Spoken) 4 (+00), Linguistics Other Species – Madji (Written) 3 (+16), Machine Operation 1 (+08), Mundane Lore: Own Culture 1 (+07), Mundane Lore: Cosmography 2 (+12), Mundane Lore: Geography 1 (+07), Perception 5 (+32), Resistance – Stamina 1 (+21), Rope Mastery 5 (+28), Vocation (Administration) 2 (+16)
Influence: Charm 1 (+10)
Outdoors: Animal Handling 6 (+35), Beast Mastery 6 (+35), Foraging/Survival 6 (+36), Horticulture 11 (+58), Navigation 6 (+36), Tracking 6 (+37)
Scientific: Biology 1 (+11)
Physical: Endurance 6 (+50), Jumping 1 (+13), Swimming 1 (+13)
Subterfuge: Camouflage 5 (+32), Sniping 5 (+29), Stalking & Hiding 5 (+29), Streetwise 1 (+10)
Technical: Engineering 1 (+11)
Vehicular: Driving (Conventional) 3 (+22)

Special Abilities
Bonus Skill Ranks (+5 Ranks), Profession Adaptation

Professional Abilities
Toughness (+10% Endurance)

Equipment (1005 credits)
Hunting Rifle with Scope, Handheld Computer, Personal Communicator, Backpack, All-Weather Bag, All-Weather Tent, Inertial Compass, Firelighter, Rope, Spade

Much like HARP Fantasy, the character creation process in HARP SF is neither fast nor easy, and in comparison to contemporary roleplaying games, it is actually cumbersome, especially once you figure adding psionics, which everyone can have access to. Finding everything in the book is also something of a struggle to the point where it hampers the process. Nevertheless, the process is comprehensive and a player will be able to produce the desired character at the end of it—just one of the benefits of HARP SF—plenty of options and no little flexibility in what sort of character a player could create. This is further enhanced with the use of Training Packages, limited groups of skills that represent a profession, guild apprenticeship, and so on. So, it might be Entrepreneur, Netrunner, Starsoldier, or Xenoarchaeologist, for example. Such packages are available at a discount, can be taken only the once per Level, and a player is free to design his own, with of course, the Game Master’s consent. Now the Game Master could also design his own and use those to help provide a place and occupation in his world for player characters and NPCs alike.

Being a Science Fiction roleplaying game, HARP SF encompasses a wide range of technology. It grades its technology levels at Unavailable, Prototype, Early, Mature, Advanced, and Obsolescent, rather than a numerical rating, which is actually easier to grasp on a case-by-case basis, and more obviously offers roleplaying and storytelling tags than just the plain numbers. The range of technology available covers neurowhips, vibroknives, blasters, lasers, needle guns, electrostunners, DNA scanners, poison sniffers, arterial fixers, skeletal healers, infrared contact lenses, laser listeners, inertial compasses, environment tents, and much, much more. All of this is rated at the Mature grade in HARP SF’s default Tintamar setting. Rules cover miniaturising and combining equipment too, although doing either will cost more.

Adventuring in HARP SF of course has to cover a wide variety of situations and conditions, since after all, it is a Science Fiction game. Computer issues, diseases and poisons, equipment—uses and limits, sensors, scanners, and countermeasures, occupational hazards and environments, and more are covered in sufficient detail in the likely event that they arise in play, although the rules do get more complex than you might expect when having to determine terminal velocity, sensor ranges, and the like. Here a bit more arithmetic creeps in than perhaps it should since working out the results of an equation at the table is not going to appeal to everyone. Nevertheless, the core mechanic in HARP SF is straightforward enough. When he wants his character to undertake an action or Manoeuvre, a player rolls the percentile dice and adds the character’s appropriate skill, whether that is Rope Mastery, Machine Operation, Ranged Weapon, and so on, and if the result is over one hundred, then the action or task has been done with complete success. Modifiers can apply, whether from the situation or equipment, as well as the difficulty. If the roll is open-ended, any roll of ninety-six and above on the dice, means that the player roll again and add the result. Even if a Manoeuvre attempt does not completely succeed, the result can also determine to partial degree of success—measured as a percentage on the Manoeuvre Table, which is useful if a Manoeuvre involves a time factor. In addition, the Manoeuvre Table can also determine whether the outcome of a Manoeuvre is a fumble—generally a roll of ten or less on the percentile dice, and depending upon the nature of the action, the Fumble table covers everything from grenade fumbles, melee combat fumbles, and ranged combat fumbles to physical fumbles, psionics fumbles, and vehicular fumbles.

Combat uses the same mechanics, and is generally more complex than the standard rules—and understandably so, since it has to encompass a greater number of variables, including multiple differing weapon and armour types. Initiative is rolled a single ten-sided die plus modifiers from Statistics, encumbrance, and the situation, rolled at the beginning of each two-second turn during which a character will perform one action, whether that be draw a weapon, attack, stand up, or move, or a combat action. All attack rolls are open-ended, to which the attacker adds his Offensive Bonus—determined by skill, statistic, talents, weapon, and positional bonuses, plus range and situational modifiers for range, and then subtracting the defender’s Defensive Bonus—determined by the Quickness statistic and armour, shield, talents, cover, Manoeuvre, equipment quality, and situational bonuses. If the result—the Total Attack Roll—is equal to one or more, then the attacker has hit the defender. It can be further modified by weapon size to give an Adjusted Attack Roll and it is this result which is compared to the Critical Table for the weapon type used. In HARP SF, there are Critical Tables for Crush, Puncture, Slash, Martial Arts Strikes, Martial Arts Sweeps/Unbalancing, Grapple, Cold, Heat, Electrical, Impact, External Poison, Internal Poison, Large, Huge, Ballistic Impact, Ballistic Puncture, Blaster, Laser, Neuro, Plasma, Radiation, Shrapnel, and Vacuum attacks. Essentially what HARP SF does is combine the attack roll with the critical results tables of the much earlier Rolemaster or Space Master, effectively streamlining them. Overall, the combat rules are comprehensive, but despite being supported by numerous examples, do require a close study. Certainly, the SysOp should work through several examples of her own before attempting to run them at the table.

Penultimately, HARP SF covers psionics, which come in variety of disciplines whose effects can be observed, but not adequately explained by science. They are divided into various fields—Biokinesis, Electrokinesis, Extrasensory Perception, Psychokinesis, and Telepathy. These are further broken down into disciplines, with characters possessing Latent Psionic Fields before Active Psionic Fields. The Adept and Fusion Professions have greater access to Psionics, though any character can have them by expending Development Points. The more Psionic Fields—Latent or Active—a character has, the more expensive they are to purchase. Each Psionic Discipline requires two things to activate. First, Psionic Energy Points, the number of which can be increased with the Psi Energy Development skill, and second the related Psionic Discipline skill. It is fair to say that much like magic in HARP Fantasy, psionics in HARP SF really require their own discipline to study and understand how they work and how they play in game.
Lastly, there are guidelines for the SysOp too, starting with ‘Have Fun!’ and ‘Know the rules!’. There is good advice here, though ‘Know the rules!’ is most obviously pertinent primarily because of their relative complexity in parts and the challenge of the imparting an understanding to the players despite that complexity. Similarly, the advice to ‘Work out the math in advance’, specifically when dealing with space-based combat, highlights the complexity of HARP SF. There is advice too on customising the SysOp’s game and some suggestions as possible campaign ideas and adventure seeds. Some of the roleplaying game’s more useful tables are printed at the back of the book.

However, there are elements missing from HARP SF and it is not complete in its treatment of the genre. It does not cover vehicles or vehicular combat in space or on the ground, and there is little in the way of cyberware or coverage of advanced computing. For that, the HARP SF Xtreme is required and is very much the companion or other half to HARP SF. That said, the contents of HARP SF would stand on their own to an extent, depending on how the gaming group wants to handle vehicles. It would result in a very planetary-based campaign, with travel between systems done as story rather than action, or even done via portals. Even then, what HARP SF does not have is rules or guidelines for creating worlds and systems, or indeed alien species, and again, the SysOp will likely need to create those without referring to rules or guidelines. What that means is HARP SF is not the toolkit that it could have been for the SysOp to create of her own, and that HARP SF Xtreme is a must buy purchase.

Physically, HARP SF is a plain, simple, greyscale book. The artwork is decent and the writing is clear and easy to read—for the most part. The game’s many examples of the rules are presented using light grey rather than black. This makes the examples difficult to read. In addition, the book’s numerous tables are often also too small to read. Another issue is the organisation of those tables. They are not repeated for easy access at the back of the book, for example, the Critical Tables for the various attack types, so the SysOp will need to bookmark the tables that get referenced a great deal during play, if not purchase or create his own reference screen. The book could have been slightly better organised in that the need to purchase Endurance, Power Point Development, and the Resistances as skills could been made more obvious, if not explicit. They are essentially buried in the skills section when they needed to be highlighted as part of the character creation process.

In comparison to the much earlier Space Master, it is clear that a great deal of effort has been put into making HARP SF a much more streamlined and simpler Science Fiction roleplaying game. However it cannot avoid a degree of complexity in places, especially the psionics rules which feel like a subsystem of their own, and so this does mean that HARP SF is still a challenge to really teach the players even once the SysOp has grasped how it works. In comparison to HARP Fantasy, which felt somewhat generic in its treatment of the fantasy genre, HARP SF does not, the Tintamar setting suggested a low Space Opera setting in which technology plays an important role rather than high Space Opera where the Player Characters push buttons and the spaceship just goes. The mechanics to HARP SF do suggest a harder edge to its Science Fiction though, which is slightly at odds with the setting. Nevertheless, its setting of Tintamar offers plenty of scope for gaming and expansion, and if a gaming group can pick the rules up, HARP SF offers a solid range of options and flexibility in terms of characters, combat, and even campaign frameworks.

“Space is big. Really big. You just won't believe how vastly, hugely, mindbogglingly big it is. I mean, you may think it's a long way down the road to the chemist's, but that's just peanuts to space.” It seems glib to be opening with a quote from Douglas Adams’ The Hitch-Hiker’s Guide to the Guide, but given the sense of scale to The Atlas Of The Imperium: Second Survey, it nevertheless feels appropriate. Published by Far Future Enterprises, this is a supplement designed for use with Traveller5: Science-Fiction Adventures in the Far Future, but actually compatible with any version of Traveller which brings together over sixty star maps which together show the vast expanse of the Third Imperium and nearby sectors in Charted Space. It covers an area roughly thirty-nine by twenty-nine sectors—each sector consisting of sixteen subsectors, and each subsector ten by eight parsecs across, meaning that—roughly—the area covered by The Atlas Of The Imperium: Second Survey is fifteen hundred and sixty by nine-hundred-and-twenty-eight parsecs across! Make no mistake, from the Coreward sectors of Gashikan and Trenchans to the Rimward sectors of Aldebaran and Langere, and from the Spinward sectors of the Vanguard Reaches and Tienspevnekr (and beyond!) to the Trailing sectors of Arzul and the Crucis Margin, this book covers a huge amount of space. 

However, The Atlas Of The Imperium: Second Survey covers a whole lot more than just space. Every sector is given a one-page map depicting all sixteen of its subsectors, marked up with world types—worlds with water, desert worlds, or asteroids, whether a gas giant is present in the system, the letter code for the type of starport present, and type of base present, including Imperial Naval Base, Scout Base, and so on. The list of symbols has been greatly expanded to cover an array of base types, such as a Zhodani Base, Corsair/Clan/Embassy, Research Station, Imperial Reserve, Penal Colony, and more. Worlds with large populations have their names given in uppercase, letter codes indicate political allegiances, and various worlds are ringed to indicate travel zones—Amber and Red. Lastly X-boat routes are marked, as the political borders in different colours. The name of each sector, plus those for each of the sixteen subsectors in the sector is given in the outer margin. 

Each sector is followed by a listing of the world data for every world in the sector, the data running for barely a page for the lesser populated sector, but as many as three pages! This is done in the Traveller5 Second Survey format. Thus, hex location and main world name, followed by the UWP or Universal World Profile (starport, planetary size, atmosphere type, hydrographic percentage, population, government type, law level, and tech level), all pretty much as you would expect for Traveller. The Traveller5 Second Survey format expands this with an extensive list of further classifications and remarks. Thus a world can have Trade Classifications such as Garden World or Non-Agricultural, Remarks indicating whether the world is home to an Ancient Site, a Penal Colony, or under Military Rule, the highest nobility found there if any, whilst Importance, Economic, and Cultural Extensions all expand upon the basic details of each and every world. 

However, in many cases, the Importance, Economic, and Cultural Extensions all have code strings of their own, though much shorter than the standard UWP, represent more numbers for the Game Master to interpret and attempt to bring to the gaming table. For example, the Cultural Extension includes ratings for the world’s Heterogeneity, Acceptance, and Strangeness, with seven being the norm. Overall, it is a lot of information to take in and interpret, and the process of doing so, is hampered by the way in which the information is presented. The content on the maps is small enough, but the text size for the world data is not that much larger and presented in dense columns of fairly text makes it a challenge to read and pick any details. 

The Atlas Of The Imperium: Second Survey is designed to be a navigational guide to the Third Imperium and its surrounding worlds—in game and out of game. In game, it is an update of the First Survey conducted by the Imperial Grand Survey, an office of the Imperial Interstellar Scout Service, and published in the year 420 after a hundred years of work. The Second Survey, a much-needed update and expansion of the obsolete First Survey was begun as part of the millennial celebrations of the Third Imperium, and published in 1065. The current version of The Atlas Of The Imperium: Second Survey has a publication date of 1105. Out of game, The Atlas Of The Imperium: Second Survey is an update of The Atlas Of The Imperium published by Game Designers’ Workshop in 1984, and provides a massive amount of information for the Game Master to explore and see how the many sectors, subsectors, polities, and worlds relate to each other, and at least have the basic information about world to hand, if not necessarily the specifics. One sector, Foreven, abutting the Zhodani Consulate, just Spinward of the Spinward Marches, apart from a few worlds, has been left intentionally blank, including the specific World Data entries which follow, essentially providing the Game Master with two pages of question marks. 

In some ways though, the most interesting aspect to The Atlas Of The Imperium: Second Survey is its credits pages. This names the designers and origins of each one of the supplement’s nearly seventy sectors, as well who most recently developed it for inclusion here. In doing so, it mentions many of the great names that long time Traveller fans will recognise, such as J. Andrew Keith, William H. Keith, Joe D. Fugate Sr. Martin Dougherty, and more, drawing on sourcebooks as diverse as MegaTraveller Alien, Volume 1: Vilani & Vargr, Crucis Margin, Gateway to Destiny, and many, many more. It is a reminder that a great deal of the setting to Traveller and its Third Imperium and beyond, was not necessarily developed by Marc Miller and Game Designers’ Workshop, but rather farmed out to other publishers to develop and publish content for.

Physically, The Atlas Of The Imperium: Second Survey is cleanly laid out, but does need another edit and barring the cover, is illustration free. Of course, the text and the maps may well be too small for some readers to read with any ease and a magnifying glass may be warranted. 

The Atlas Of The Imperium: Second Survey feels such a high-level product–both in the game and out of it, providing the ultimate in grand overview of the Third Imperium and its surrounds, that it is really difficult to say how useful the supplement truly is. It does provide both player and Game Master alike with swathes of maps and territories and data, that it is difficult to encompass. The likelihood after all, is that a gaming group and its campaign is going to dig down from the lofty heights presented here and be exploring, adventuring, and gaming at the level of the subsector and sector at most. For that, they will need further information, which of course, is not present in the pages of The Atlas Of The Imperium: Second Survey. Which is reasonable enough, since such a project would have the scope and stature of the Encyclopaedia Galactica of Isaac Asimov’s Foundation Trilogy, one of the primary inspirations for Traveller. Yet, The Atlas Of The Imperium: Second Survey does feel like it needs context. Perhaps a page devoted to each sector, providing an overview and some Library Data (there is none in the supplement)? 

Ultimately, however useful a Game Master and her players find The Atlas Of The Imperium: Second Survey, it is very much a huge update and an enormous improvement in both the amount and the presentation of the information first seen in 1984’s The Atlas of the Imperium. It really needs an Encyclopaedia of the Third Imperium as a companion. 

For every Ptolus: City by the Spire or Zweihander: Grim & Perilous Roleplaying or World’s Largest Dungeon or Invisible Sun—the desire to make the biggest or most compressive roleplaying game, campaign, or adventure, there is the opposite desire—to make the smallest roleplaying game or adventure. Reindeer Games’ TWERPS (The World's Easiest Role-Playing System) is perhaps one of the earliest examples of this, but more recent examples might include the Micro Chapbook series or the Tiny D6 series. Yet even these are not small enough and there is the drive to make roleplaying games smaller, often in order to answer the question, “Can I fit a roleplaying game on a postcard?” or “Can I fit a roleplaying game on a business card?” An example of the former is Smithy of Sacrilege.

Smithy of Sacrilege is a minimalist roleplaying which fits on the back of a postcard and comes with just about everything a gaming group needs in a roleplaying—bar a setting. The bulk of the game focuses on character creation and the rules, but there is an implied setting, sort of… In Smithy of Sacrilege, a Player Character is defined by three Abilities—Skill, Stamina, and Luck, and Health and Equipment Score (or EQ), the latter indicating how much a Player Character can carry. Both Health and Equipment Score start at eight and the value of the three abilities are determined by rolling a single die for a Background and an Occupation, both of which grant a single Ability bonus and a piece of equipment, and also an Aspiration, which only provides an item of equipment. For example, the Darksilt Ruffian Background grants a bonus to Skill and lockpicks, whilst the Alchemist Occupation adds to Luck and gives some Reagents. The Aspiration of ‘Dispense a cure’ comes with a sacred relic. (A Player Character generator can be found here.)

Eltaor Ninthalor
Background: Birchrift Elf
Occupation: Alchemist
Aspiration: Rout an army

Skill 0
Stamina 0
Luck 2

Health 8
Equipment Score 8

EquipmentCatgut Bow, Reagents, Bugle

Mechanically, as you would expect, Smithy of Sacrilege is very simple. When a Player Character has to undertake an action, his player rolls two six-sided dice against a Difficulty Value, which is either eight, ten, or twelve, and adds the appropriate ability and a point for any piece of equipment used. If the result is equal to or higher than the Difficulty Value, the Player Character succeeds. If the action is regarded as dangerous, such as against an enemy, the difference between the Difficulty value and the roll—if successful, determines the amount of damage inflicted. The Difficulty Value to hit an NPC is also its Hit Points and so as combat progresses and the enemy takes damage, it effectively becomes easier to hit!

For example, Eltaor Ninthalor and travelling companions have been ambushed by a bunch of Orcs. It is his turn to attack. These are tough Orcs and so the Game Master sets the Difficulty Value at ten, which also represents their Hit Points. His player rolls two six-sided dice and adds one for Eltaor Ninthalor’s bow. Eltaor Ninthalor is incredibly lucky—his player rolls twelve! The total result with the bonus from the bow is thirteen, which means that the Orc takes three points of damage, reducing its Difficulty Value to seven.

Now mechanically, that is the limit of Smithy of Sacrilege. There are no rules for NPCs beyond their Difficulty and initiative, so there is a whole lot more that you might expect to find in a traditional roleplaying game which is absent. However, such is the simplicity that the Game Master can decide on how these work herself, and easily draw them from the fantasy scenarios of her choice.

The other big element missing from Smithy of Sacrilege is a setting, although there is an implied one and the roleplaying game does open with, “At last your two-day hike is over. What you do next might not make the history books, but it’ll win you bed and board the next few times you tell the tale over a mug of ale. Let’s begin.” This suggests that the Player Characters have set out to do ‘something’—whatever that is—and each Aspiration gives an objective that a Player Character wants to do, such as ‘Climb Mount Ashpeak’ or ‘Best the Fang Gauntlet’. There is also the implied fantasy in Smithy of Sacrilege, with its Dwarves, Elves, Alchemists, and so on, but it leaves questions such as “What is the ‘darksilt’ of the Darksilt Ruffian Background?” and “What is a Toothduke Dwarf?” open to development and determination by the players and the Game Master. The aspirations ask similar questions about the world and about what the Player Characters want to do.

Physically, Smithy of Sacrilege is simply laid out, but the text is just slightly too small to read easily and it is not quite clear how Abilities are rolled for. For example, it states “Roll 3D6 for attributes and starting gear.” That reads as if three six-sided dice are rolled for each attribute (when it should be ability), but a much-needed close read through of the rules suggests otherwise.

The only piece of artwork on Smithy of Sacrilege is the front of the postcard and it is a fantastic piece, depicting a tentacular, trident-wielding deep-sea diver. However, anyone coming to Smithy of Sacrilege knowing that it is a micro roleplaying game would expect to see some kind of connection between that cover and the game, but there is none. Which is so disappointing.

Smithy of Sacrilege is not necessarily a terrible game, the mechanics are workable, and the implied background, likely to be fantasy of some kind, something to work from by the players and Game Master alike. Essentially, pick this up and there is not a lot to explain, roll up some Player Characters, ask a few questions, establish a few facts about the world to begin with, add some more as you go along, even grab a scenario—for example, Isle of the Damned or The Isle of Glaslyn would do, and away you go.

And yet… What does ‘Smithy of Sacrilege’ mean? Who or what is the tentacular, trident-wielding deep-sea diver on the front of the postcard? That will have to wait for another roleplaying game or even the back of another post card…

It’s nearing the end of November, and it’s coming up on the 57th anniversary of THAT day. No, not the “back and to the left” day, although you’d think it was a holiday in Dallas. Maybe the next time Dallas … Continue reading →

Last night was the premiere of Star Trek Discovery Season 4.  Not only that we also had a new episode of the Kid-focused (but adult enjoyed) Star Trek Prodigy.  Two new Trek episodes from different series on the same day.   That has not happened since Voyager and DS9 were on the air in 1999.

Both episodes had a similar plot element, though dealt with in very different ways.  On Discovery they are recovering from "The Burn" which destroyed all dilithium in use a little over a hundred years ago.  The new Federation president (who looks like she might have some Cardassian DNA) mentioned that there were ongoing Warp Drive developments.   She mentioned a new version of Discovery's Spore Drive and that a new Pathway drive had been developed and placed into the new Voyager.

Over on Prodigy, which shares the Voyager connection, we learn that the USS Protostar is more than just a neat name.  Its warp drive is not just powered by an anti-matter reactor, it has in its heart an actual protostar. 

There is a constant level of warp drive development going on in Star Trek. But the Spore Drive has proven difficult to get right or recreate, Trans Warp was a failure, and slipstream conduits are difficult to navigate.   

All of this and one other bit of information I recently unearthed sets the stage very nicely for what is going on in BlackStar.  

Let me restate something I said back in 2019. 

We don't see many Ambassador class ships in the TNG time-frame, why? I am going to say there was a design flaw that was later discovered after Starfleet Corp of Engineers went over why the Ent-C was destroyed. There is a flaw in the nacelle arrangement that was missed in the R&D phase and only seen in practice. This lead to newer warp nacelle configuration that gave us the Galaxy and Nebula class ships. Despite living in the 24th century, human Starfleet personnel can still be somewhat superstitious and the Ambassador class gained the status of a "cursed ship".

This is also why there are 21 decommissioned Ambassador class ships outside of Neptune Station. Here, Commodore Peter Quincy Taggert, with a signed order from Admiral Nyota Uhura (who had been fond of the Ambassador class and hated to see them go to waste), began work on the Mystic Project. The NX-3100 (mislabeled on the hull as NX-3000 due to a clerical error) was developed at the Klatuu Nebula Yards in conjunction with the Theremin Science Council and launched to Earth on SD 30007.21. (2351 or there abouts)

We have 21 (or 22) decomed Ambassador ships over in the "junk yards" of Neptune Station. A prototype (the Mystic) was b

uilt at the Klatuu Nebula Yards by the Theremins.  A desire by Starfleet to work on new types of warp drive, BUT all available engineers are working on the super-sexy new Galaxy-class project over a Utopia Planitia on Mars.  This is why CDRE Taggert gets them.  No one else wants them. But why are they here?  I said due to a flaw in the nacelle arrangement.  I said this because I replaced the warp nacelles on my model.  But is there more?  

Enter my "I have too much work to do, but instead I am watching Star Trek Starship videos on YouTube" moment earlier this week.

Enter TriAngulum Audio Studios on YouTube. They have a series called "Truth or Beta" that discusses Star Trek "Alpha" content (for Memory Alpha, or cannon material named for the Memory Alpha planetoid that is the Federation Library and the first stop for the USS Protector) vs. "Beta" (for Memory Beta, non-cannon material that appears in books).  This series collects various bits of Alpha lore and select bits of Beta lore to make for a fuller picture of what is going on.  

Here is their series on what went wrong with the Ambassador class ship.

The premise is basically the same.  After the destruction of the Enterprise-C, the Ambassador class was given a top to bottom inspection.  Where I claimed it was the warp nacelles, here it is an issue with the new warp core and other systems with the older duotronic computers. If you look at the Enterprise-C computer screens you can see they look more like the ones from the Enterprise-A and B eras.  Whereas newer Ambassador class ships have the isolinear computers and the LCARS OS. 

That works for me too.  In any case it explains why we never saw a lot of the Ambassador class ships in the TNG Era despite the class having had an Enterprise among its numbers. It also explains why I can have a couple of dozen just sitting out by Neptune waiting to be used for something else.

Now I just need to get my reviews up of Star Trek 2d20 and Achtung! Cthulhu 2d20 from Modiphius up. 

Now in its fourteenth year, Free RPG Day in 2021, after a little delay due to the global COVID-19 pandemic, took place on Saturday, 16th October. As per usual, it came with an array of new and interesting little releases, which traditionally would have been tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Of course, in 2021, Free RPG Day took place after GenCon despite it also taking place later than its traditional start of August dates, but Reviews from R’lyeh was able to gain access to the titles released on the day due to a friendly local gaming shop and both Keith Mageau and David Salisbury of Fan Boy 3 in together sourcing and providing copies of the Free RPG Day 2020 titles. Reviews from R’lyeh would like to thank all three for their help.
—oOo—
It is such a common trope in fantasy roleplaying that it is almost no surprise that amongst the releases for Free RPG Day 2021, there are not one, but two scenarios in which the Player Characters must protect a village against a threat. Common enough, of course, but in fact, the nature of the threat in both scenarios consists of the undead, in both scenarios the Player Characters have to protect the village overnight, and in both scenarios, the Player Characters face an onslaught not once, not twice, but three times! One is Reap and Sow, a scenario and quick-start for Warhammer Age of Sigmar Soulbound, but the other is Iron Kingdoms: An Echo in the Darkness. This is a scenario for Iron Kingdoms: Requiem, the version of the Steampunk and high fantasy setting best known for its miniatures combat game, Warmachine: Prime,  for use with Dungeons & Dragons, Fifth Edition. Published by Privateer Press, Iron Kingdoms: Requiem and thus Iron Kingdoms: An Echo in the Darkness bring the setting and intellectual property full circle, both having been first seen in The Longest Night, Shadow of the Exile, and The Legion of the Lost, the trilogy of scenarios published for use with the d20 System in 2001. The three would later be collected as The Witchfire Trilogy.
The Iron Kingdoms is noted for three things. First, its interesting mix of races—Gobbers, Ogrun, and Trollkin alongside the traditional Humans, Elves, and Dwarves. There are no Halflings or Gnomes, and even the Elves are different to those of more traditional Dungeons & Dragons-style fantasy. Second, the prevalence of technology, in particular, the use of firearms and Steamjacks and Warjacks, steam-driven robots with magical brains, used in heavy industry and on the field of battle. Third, the tone of the setting is fairly grim, there being an island to the west, Cryx, where the sorcerers have long experimented with combing the undead with Steamjacks and Warjacks, and have long planned to invade the Iron Kingdoms. 
Iron Kingdoms: An Echo in the Darkness is not a quick-start for Iron Kingdoms: Requiem, but a scenario, so the Game Master will need access to a copy of Iron Kingdoms: Requiem to run the scenario. It is designed to be played by between three and seven Player Characters of First to Fourth Level, but is optimised for five Third Level Player Characters. As the scenario opens, whether as envoys, on escort duty, or conducting family business, the Player Characters have come to the small coastal village of Ingrane, which is in the middle of celebrating Founding Day, the anniversary of its refounding. Surrounded by swamp, the village is a year old, having been refounded and rebuilt on the ruins of the previous village of Ingrane which was destroyed a little over three decades ago by Cryxian raiders. However, the village was also home to a late, great hero of the Iron Kingdoms, and many people have come from far and wide to rebuild the village in her honour.
Upon entering Ingrane the Player Characters have the chance to explore Ingrane and interact with the villagers, whether that is praying at the Shrine of the First Daughter—the statue of the fallen hero of the Iron Kingdoms, engaging in friendly competitions and games of chance, doing a little bit of shopping, and even testing out a new invention! These are chances for the players to roll the dice without having anything serious at stake, roleplay a little, and with luck establish some rapport with the villagers. Certainly the latter will be in their favour when the Player Characters have to defend the village, the Founding Day ceremony has barely been completed when the villagers are assaulted by the stench of burnt corpses! Which can only mean one thing—Ingrane is under attack by Cryxian raiders (again). Cryxian forces consisting of a mix of Bile Thralls—bloated reservoirs of digestive tract corrosives which fire their own intestinal acids at their targets via a Bile Cannon, Brute Thralls—great hulking things capable of knocking down the walls of, and then whole buildings; Mechanithralls—horrific fusions of corpses and machinery possessed of great strength; and Scrap Thralls—ramshackle amalgams of old jacks rebuilt to carry necrotite-infused bombs, assault the village in the course of the evening and into the night. 
In the first wave, the Cryxian attack the people on the streets of the village and target the garrison, whilst in subsequent waves, they will target individual buildings. The Player Characters will be forced to react time and time again, rushing to each flashpoint, with little chance for rest or recuperation. Perhaps the most fun encounter is with the Brute Thralls attempting to smash the village open, but the attacks in each the three waves are different and present different challenges for the Player Characters. Ultimately, the commander behind the raiders comes ashore and his real intentions revealed, all tied into the history of Ingrane.
There is plenty going on in Iron Kingdoms: An Echo in the Darkness, its structure differing between its two halves. In the first, there is a decent amount of roleplaying and a celebratory, playful feel, whilst in the second, the tension ratchets up as wave after wave makes their way ashore and assault the village. There is very much a nod to the wargaming play style of Warmachine: Prime in this second half, such that if a gaming group wanted to, it could easily map out the village on the table and use miniatures, and mixing the roleplaying with the defence of Ingrane. This is helped by the simple, clear map of the village provided with the scenario. Rounding out the scenario is a pair of appendices containing the stats and write-ups of all of the monsters and NPCs the Player Characters will face, as well as details of some magical items, firearms, and the village’s NPCs.
Physically, Iron Kingdoms: An Echo in the Darkness is a decently presented book. Not necessarily done on glossy paper as other releases for Free RPG Day, but full colour, with some excellent artwork. The scenario is well written and easy to understand, and consequently, relatively easy to prepare, and should provide one good, if not two sessions’ worth of play.
If there is a problem with Iron Kingdoms: An Echo in the Darkness, it is that it is not an immediately accessible adventure that perhaps a quick-start might have delivered, and so Iron Kingdoms: An Echo in the Darkness is much more demanding in terms of a Game Master bringing it to the table. That is not a criticism ofIron Kingdoms: An Echo in the Darkness as such, but rather a matter of highlighting the investment necessary to simply play it. Overall though, Iron Kingdoms: An Echo in the Darkness is a likeable, flavoursome adventure, which nicely shows off the feel and threat to the Iron Kingdoms.

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Learn more about the film at Wikipedia.

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Let's partake in a thought experiment.  I am going to take the Gods as written from The Deities & Demigods and take them on a little trip.

This thought experiment, or Gedankenexperiment, as Einstien was fond of saying, was designed to cover a thought I had going back to my first reading of Norse Myths.   That thought was what if the Norse Gods and Greek Gods were the same groups of gods represented in different parts of the world?

Roman-Norse Pantheon 

Imagine if you will some Roman Pagans, say circa 300-500 CE.  While Christianity is becoming the official religion of the Empire, not everyone is taking up the Christian Gods. There is still a mix of Pagan Roman gods, Greek Gods, local gods and spirits, house gods, and more.  The further you are from Rome (and later also Constantinople) the more likely you are to still hold on to your local gods.

Now, far to the North, there are the Nordic-Germanic tribes.  They are the "barbarians" of Roman lore, they want Rome's treasures, its power.  But most of these people just want to find new lands to grow food on.  While the Viking raids to England and Ireland are so stamped into our collective subconscious (and for many of us, our DNA) there were other forrays into other lands.  Some we know went South.  But the bulk of these did not happen till 800s CE when most of Europe was firmly Christianized.  We do know that the Romans had interactions with the Norse and made connections between their respective sets of Gods. Romans were rather practical when came to religion.   

We also know that the Norse, when confronted with Christianity adopted a uniquely Viking view of Jesus, recasting him as a great and powerful chieftain or king. 

So let's imagine a time. Sometime after 300 CE but maybe before 900 CE.  The Northmen are not all Viking raiders and the Romans are not all Christian.  I joke that there is a time when this would be all true, likely for about 6 hours on a Thursday in June 634 CE, but go with me on this trip anyway.  We have a group of Roman pagans moving north, a group of Northmen heading south.  They both drift west a bit and end up in the Black Forest region of Southern Germany.  Here they meet and instead of going to war, they build a community.  Here their beliefs find common ground and since both groups are polytheists, they accept each other's Gods.  Soon. The gods, like the people, become one.  

First conceit: Since they did not go to war when first meeting their war gods on both sides will seem more "reasonable" than their antecedents.   

Now keep in mind that at this time there were versions of the "Norse" gods in these Germanic areas. We know that Wotan and Woden would change and become Odin of the Norse.  So bringing these gods "back down" is almost an unnecessary step. They were already here in a different form.  Bu this allows me to focus on the names they have in the D&DG.  Plus if I need to "smooth things out" I can use the Germanic versions.

Second conceit: While here this group of pagans will speak a version of Old German. Both groups picked it up "along the way."

While I want to focus on the names in the Deities and Demigods, I am going to allow myself to step outside of that to make for a better pantheon.  Of course, life, especially when it comes to the Gods and syncretism, is never so ordered.  But as we have seen with the D&D pantheons in the past, such order is often implied or imposed.

Some of this flows from some reading I was doing around the same time I discovered D&D.  I had found this book of world myths. It had the familiar Greek, but it also introduced me to the Norse myths for the first time.  This book also had the tale of Beowulf in the back. I began to think there was a continuity between these three separate, but not entirely separate really, groups of tales. 

I should also note that these gods have similarities to each other not just because they were all invented by people that had similar experiences, but they all draw their inspiration from the same roots of an earlier Proto Indo-European pantheon of gods.  I am not trying to recreate these PIE gods here, but I will lean heavily on that research to inform my choices.  For this reason I am also including Celtic gods in this mix for now BUT I am not explaining that connection just yet.  Though we do know that the Celtic Hallstatt culture and was in this area at this time and this grew out of the La Tène culture from earlier.  Likely though the gods were not using the names in D&DG. I am so everyone here knows what I am talking about. I do like that there are three mythoi involved here.

Who's In Charge?

Let's start with who is the leader of this combined pantheon.  We know from historical records that it was Thor, or more to the point, Thunor or Donar, and not Odin, that was the chief god of the Germanic peoples. Odin/Wotan would come along much later (8th to 9th centuries).  This is good since already there was a lot of conflating of Thor/Thunor with Zeus/Jupiter. Thursday for example is both Thor's day and sacred to Jupiter.  From this notion, we can move on in thought experiments to make other associations.  

Now I am fully aware I am taking a historical god to make a precedent for game gods.  This would be academic dishonestly since I have made no claim, nor provided support why it is ok for me to do this.  Save for one.  This is not an academic treatise.  I am building something for a game, and for AD&D 1st Edition as it appears in the Deities & Demigods in particular. The Thor/Thunor/Jupiter connection is only the pin I am hanging everything else on. 

The Gods

I am going to use the abbreviated "stat block" I used in One Man's God Special: Syncretism Part 2 when I described the pantheon of  Greco-Egyptian Gods.   Also considering that I am having this all happen somewhere in Germany I am going to give these gods German names.  They are modern German names to be sure, I am not going to try to deconstruct 7th Century German when I have enough trouble remembering how to speak 20th (yes I know what I said) Century German.

While they have gods they are syncretized from they take on their own personalities.  Thor could be a bit slow at times but was never cruel (unless you were a giant) and Zeus could be a loving father, but a terrible husband with a mean streak and a temper. 

Unser Vater
Greater God
Alignment: Chaotic Good
Worshipper Alignment: Any Good (all)
Domains: Thunder, Lightning, Sky (including storms and rains), Warriors
Symbol: A Thunderbolt
Greek/Roman: Zeus/Jupiter
Norse: Thor, with a dash of Odin
Celtic: The Dagda
PIE: Dyēws

Unser Vater, "our father," is the chieftain of the gods. He rules because he is strong and powerful.  He keeps Der Hüne at bay and protects those who pay him homage. He tries to be good and just but he has a temper that can rage out of control.  He can usually be calmed by his wife Herde Oberin.

Other Gods follow.

Hüne Vater
Lesser (Intermediate) God
Alignment: Chaotic Evil
Worshipper Alignment: Any evil
Domains: Creation, destruction
Symbol: Fire
Greek/Roman: Chronos/Saturn
Norse: Surtr
PIE: Archdemon

Hüne Vater is the father of the current generation of the Gods. He killed his father and we in turn defeated by his own son. He is the leader of Die Hüne. Before his defeat he cursed the gods and all humankind with death. In Proto-Indo-European myths, he is the Archdemon.  He sits imprisoned in exile. 

Großvater & Großmutter
Lesser God
Alignment: Chaotic Neutral (Evil)
Worshipper Alignment: Any 
Domains: Father of Die Hüne (the Titans/Jötunn), Chaos
Symbol: The night sky
Greek/Roman: Caelus/Uranus 
Norse: Ymir
Others: Tiamat

Großvater/Großmutter is the name given to the quasi-anthropomorphic manifestation of the father/mother of the Die Hüne (the Titans/Jötunn).  He was destroyed by his son Vater Hüne to make the night sky.

Herde Oberin
Greater Goddess
Alignment: Lawful Good
Worshipper Alignment: Any good 
Domains: Home, hearth, women, childbirth
Symbol: Distaff
Greek/Roman: Hera/Juno, Hestia 
Norse: Frigg
PIE: Diwōnā

Herde Oberin is the wife of Unser Vater and one of a trinity of Goddess.  She represents the Mother aspect of the trinity and is the protector of home and hearth and the family.  She is responsible for all things that happen within the home.  Unser Vater may be the chieftain of the gods, but in the home her word is law. 

Mutter Natur
Greater Goddess
Alignment: Neutral
Worshipper Alignment: All
Domains: Nature, the wild
Symbol: Tree or a sheath of grain
Greek/Roman: Demeter/Ceres
Norse: Frigg with bits of Odin
Celtic: Danu
PIE: Dhéǵhōm

Mutter Natur is the mother goddess of all of nature.  She is sister to Vater Hüne and aunt (and maybe mother) to Unser Vater. She is an old Goddess who provides and destroys at her own times of choosing. Newer religions believe they control or tame her, but the people of the forest know better. 

Note: I am undecided on whether or not Herde Oberin and Mutter Natur are not aspects of the same goddess. Often times you see gods and goddesses getting reduced as the pantheons age.  BUT also you see gods and goddesses splitting off.  In this case, I am keeping them separate for now.

Ôstara (Geliebte)
Lesser (Intermediate) Goddess
Alignment: Neutral Good
Worshipper Alignment: All
Domains: Spring, Rebirth, the Dawn
Symbol: Half-risen sun or an Egg
Greek/Roman: Persephone/Proserpina with aspects of Dionysus / Bacchus
Norse: Ēostre and bits of Baldur.
Celtic: Brigit and Ceridwen
PIE: Hausos

Ôstara is the daughter of Mutter Natur and one that has retained her old name.  She is the goddess of the Spring, the Dawn, and rebirth.   Her title is "Geliebte" which means "beloved."   Persephone/Proserpina and Baldur are both loved by the gods and their "deaths" greatly affect all involved.

Liebhaberin
Lesser (Intermediate) Goddess
Alignment: Chaotic Good
Worshipper Alignment: Any good, lovers
Domains: Love, sex, sexuality, conception
Symbol: hand mirror or fire
Greek/Roman: Aphrodite/Venus 
Norse: Freya
Celtic: Brigit and Áine

Liebhaberin is the forever young patroness of love and sex. She serves as the Maiden in the trinity of Goddesses.  She is the spring maiden that stirs the blood and brings the world back to life. She is the patroness of nymphs and dryads. 

Note:  Again, I am unsure whether or not Ôstara and Liebhaberin are just different aspects of the same goddess.  

Helga
Lesser (Intermediate) Goddess
Alignment: Neutral
Worshipper Alignment: Any, witches
Domains: Death, magic, underworld
Symbol: woman's face in a hood
Greek/Roman: Hecate, Hades
Norse: Hel, Frau Holt, Heiðr
Others: Isis
Celtic: The Triple Goddess* (reconstruction)

Helga is the Witch Goddess, the Ghost Queen, and the Crone of the trinity.  She knows all secrets since they are whispered to her by the dead.  Thus she knows all the secrets of magic.

Hüter
Lesser (Intermediate) God
Alignment: Neutral
Worshipper Alignment: None
Domains: Death
Symbol: Skull
Greek/Roman: Hades/Pluto, Hermes/Mercury
Norse: Njord, Odin
Celtic: Arawn
Others: Osiris

Hüter is the dispassionate lord of the dead.  He is neither good nor is he evil. His role is to make sure the dead stay dead. Therefore undead are blasphemous to him. He controls the underground realm and thus all riches that come from the ground are his.

Betrüger
Lesser (Intermediate) God
Alignment: Chaotic Neutral
Worshipper Alignment: Any
Domains: Trickery
Symbol: Fox
Greek/Roman: Hermes/Mercury
Norse: Loki/Hermod
Others: Reynard the Fox (though this is about 900 years too early for Reynard)

Betrüger is the trickster of the gods.  He often appears in the form of a talking fox. His jokes can be somewhat dangerous, but he is rarely cruel.

Kriegskönig
Lesser (Intermediate) God
Alignment: Lawful Neutral
Worshipper Alignment: Any, warriors
Domains: War, Battle
Symbol: Sword
Greek/Roman: Ares/Mars
Norse: Tyr/Vidar
Celtic: Nuada

Kriegskönig, the War Lord, is the general of Unser Vater's armies. He commands legions to fight against Der Hüne.  He lives for war and when he is not involved in a war he is looking to create new wars. 

Note: Because my two sets of travelers did not immediately go to war with each other when they met this tempers the way the ward god is looked at.  He is not a warmongering asshole like Ares nor even the god of justice that is Tyr.  War is unfortunately a reality of life and one that must be respected or it quickly gets out of hand.

Jäger
Lesser (Intermediate) God
Alignment: Lawful Neutral
Worshipper Alignment: Any, hunters
Domains: the sun, hunting, poetry
Symbol: Sun
Greek/Roman: Apollo
Norse: Freyr/Bragi/Uller
Celtic: Nuada 
PIE: Sehaul

Jägerin
Lesser (Intermediate) God
Alignment: Chaotic Neutral
Worshipper Alignment: Any, women, hunters
Domains: Hunting, women, gathering Die Kriegerin
Symbol: Cresent Moon
Greek/Roman: Artemis/Diana and bits of Athena/Minerva
Norse: Freya / Skaði
Celtic: The Morrigan
PIE: Mehanot

Jäger and Jägerin are the twin god and goddess of the sun and moon respectively. They are also the god and goddess of the hunt since hunting in this area is important. They are based on both sets of twins Apollo and Artemis/Diana from the Greco-Roman and Freyr and Freya from the Norse.  If there were elves in German at this time then they are the gods of them as well. 

When needed Jägerin can don the armor of war and gather Die Kriegerin, the Goddesses of war (much like the Valkeries).  When the moon eclipses the sun it is said that Jägerin has put up her shield to protect her and her brother in battle. 

Others include, 

Schmied (Hephaestus/Vulcan and Wayland and Goibhnie) the God of Smiths.  I really should give him more detail. 

Vater Meeren (Poseidon/Neptune and Njord, Ægir, and Rán and Manannan Mac Lir) the God of the Sea (lesser importance here). 

Verwildert (Pan/Faunus and Freyr/Óðr/Vættir and Péhausōn) the God of Wild Nature and protector of wild places (greater importance now). 

Magni Stärke (Heracles and Magni) and Muthi (Iphicles and Modi) are the twin demi-gods of Strength and Courage respectively. Bits of Romulus and Remus and Hengist and Horsa are also here. 

Siege (Nike/Victory and Sigyn) and Glücke (Tyche/Fortuna and Hamingja) are the twin lesser goddesses of Victory and Luck respectively.

Fata Norne (The Fates and The Norns) are the three Fates. Even the gods have to answer to the Fates.

Die Hüne are the Titans and the Giants of both myths.  Primordial beings of great power that the gods defeated but still trouble them.  In this myth, the Gods fought Die Hüne and brought order out of chaos. These are not just giants and titans, these creatures are the demons of this mythology.  

Jäger and Jägerin are twins.  Magni and Muthi are twin brothers. Nike and Tyche are twin sisters. These sets are all examples of the Divine Twins we see in many, many myths. Something I like to include in many of the myths I create. 

I like it. It combines a lot of things that I have scattered notes on here and there. This also explains why this one has taken me a few months to write (it was Part 1 of this series at one point). I have notes dating back to the late 80s on a wholly new pantheon I was creating.  This is not that pantheon, but it is a good approximation to what I wanted there.  It's not the same, but it fits in the same sized hole.

Right now it is a little too "clean" and ordered.  There is no drama with these gods. Granted this is the same as what you could read in the Deities & Demigods, but we know the stories are much messier. 

I might need to come back to this one sometime. It would work well in my games to be honest and I even have some ideas on how to incorporate the ideas of Sol Invictus into this to set up one of my favorite themes, the battles of Monotheism vs Pagan Polytheism.  

If I write more and can come up with a stat block I like I might release it under Creative Commons or the OGL so others can add to it.  I hope to do more than just randomly recreate the PIE gods with new names.

Next on the refurbishing: the Nepenthes hemsleyana enclosure “Bat God.” When completed last year, the hemsleyana in it went into replanting shock for a short time, but then exploded with new growth. Over the last 11 months, it made up … Continue reading →

Sam Moore / November 18, 2021

When an older piece of art comes back into the world, one of the first impulses is to scan through it and look for the ways in which it has aged: outworn ideas and attitudes, characters who might be seen as quote-unquote bad representation. Lynne Tillman’s Weird Fucks — originally published in 1982 and recently reissued by Peninsula Press — is instead striking for how prophetic it is. And while it might be easier to simply assume that a novella about relatively anonymous sex with a revolving door of partners would mostly speak to the ways in which cruising and hooking up have gone digital, the truth of the matter is much more complex than that. 

Each one of the novella’s chapters centers on a different relationship that the nameless protagonist has. Even as she moves from one partner to another, the supporting cast — friends, discarded boyfriends — float around in her orbit. Early on, she catches the eye of an ex, and when their eyes meet, she thinks, “George looks guilty and embarrassed. I feel wanton and he is history.” The idea of history floats as aimlessly through Weird Fucks as its cast of characters; it’s only in the latter half of the book, when the 1972 Olympics are mentioned, that the story/ies are rooted in a specific moment in time. What’s fascinating is that, rather than taking the personal and writing it large, Weird Fucks takes the macro — the relationship between power and desire; the deliberately vague references to “murders, ‘the political situation,’ as it was called” — and draws it deeply into individuals, making these people pieces on a chessboard too vast for them to comprehend, and the center of the universe all at once. 

As she moves between men and around the world, what’s interesting isn’t just the way in which this kind of shuttling between partners — while old ones still exist in the background of your life — prefigured the ways in which technology changed the way we look at, and for, desire, but also the things that have stayed the same. The tension that exists in a contemporary (re)consideration of Weird Fucks is both how much the world has changed, and how little it has. One of the narrative cores of the novella  — which informs so much of its (mis)communication about sex and desire  — is the double standard existing between men and women when it comes to sexual agency and freedom. Tillman writes: “It was difficult, very difficult, for men to understand and appreciate how someone could fling herself around sexually and not know the terms, the ground, on which she lay,” a line that could be repeated ad nauseum decades after first appearing in print and still capture something true about the ways in which men expect women to behave. The language of “the terms” here captures something that runs through much of the book  — that these relationships are microcosms of a kind of conflict, that the terms in question are really rules of engagement. 

It’s easy to oversimplify any story about the relationships between men and women as being a “battle of the sexes.” The term is most frequently applied to romantic sitcoms that have the genders of their casts divided down the middle; shows like Friends in the US and Coupling in the UK draw a line between man and woman, trying to understand what it is that keeps them apart, even when they’re endlessly getting together. But in Weird Fucks, the word “battle” feels most emphatic and important; less a battle of the sexes than a battle of sex. So much of what defines the relationships in Tillman’s novella is power — as it relates to BDSM, consent, gender. All of this is rooted in the experience of the protagonist; there’s something liberating about diving this deeply into the experience and feelings of an individual, rather than using sexual tastes and dynamics exclusively as a way to make a broader, more abstract statement. As much as these things all work across multiple levels, TiIllman never simply leaves something as merely an intellectual idea; everything is felt deeply, and that’s what gives the book the power to speak both for and beyond the experiences of the characters. 

The protagonist is full of contradictions: narcissistic enough to see herself as the center of the universe, and naïve enough to make her deeply uncertain about why her relationships go the way they do. As a lot of contemporary fiction struggles to grapple with the ins-and-outs (so to speak) of sexuality that’s informed explicitly by ideas of power and violence, there’s something striking about the acknowledgement of how these dynamics work, and the way people struggle to understand their own place in them, all packed into this one line: “I couldn’t understand why a man would want a woman in pain. I wasn’t sophisticated about sadomasochism.” In a way that’s both liberating and surprisingly naive, carrying with it an air of innocence. She often seems uncertain of how the games around her need to be played, existing outside of expectations for better or worse.

This lack of understanding goes both ways, and underscores the melancholy that runs throughout Weird Fucks. It isn’t that the novella’s protagonist is sad because of the fleeting nature of her relationships. The thing that makes the book work so well as a kind of dispatch from the frontlines on power, masculinity, and desire as something performed, is the fact that these relationships are brief but vivid — seemingly through a shared lack of the ability to communicate and understand one another. That gulf between man and woman is a dangerous space to try and move between. The other women in the book are seen as backup performers in one way or another by the protagonist, who says of one of them: “I felt she had some sympathy for me, and had watched, from her position in the chorus, other, similar young women.” If men and women can’t understand each other, the protagonist of Weird Fucks is insistent, desperate, to understand herself. In a small moment of revelation near the end of the novella, prompted by the idea that not being attracted to a certain type of a man is a personal failing, she says, “I tend towards men who aren’t as nice.” 

And it’s fair to say that the men in Weird Fucks aren’t as nice; they seem more than willing to use the women around them, and have a fuzzy understanding of how consent works: “he thought, because I hadn’t resisted, that I liked it.” This lack of understanding, and the stripped back brutality of its consequences, capture the loss of innocence, and the price of knowledge, that defines the protagonist’s journey through these strange relationships. Early on, she’s more than willing to describe herself in ways that are performative, saying “I was a slum queen and in college” in an early story, before saying, at the beginning of the end of the book: “I should have known better.” These five words echo through a lot of Weird Fucks: what she should have known, what her partners should have known; it speaks to a lack of knowledge, obviously, but also an inability to learn about one another. Knowledge doesn’t come easily or freely in Weird Fucks. Across so many of these stories, knowledge is power, and the characters are constantly trying to work out if it’s a price worth paying.

The men of Weird Fucks, as much as they simply strut and fret their hour upon the stage, are all vividly drawn through Tillman’s eye for minute details. It’s this ability to create specifics for the men that move in and out of the orbit of the protagonist — one “looked something like Richard Burton,” another is simply “blond and weak” — that makes them explicitly different, but also magnifies their similarities. The specter of violence goes beyond those not understanding consent when the protagonist has a strange entanglement with a married man: “his enthusiasm grew as I retreated inside, and as if to draw me out, reach me, he whispered bloodlessly, “‘I’d like to kill you with my cock.’” What’s prescient about Weird Fucks is how everything both is and isn’t a matter of life and death; violence is an undercurrent, and every breakup may or may not be the end of the world. The world is ending and being remade seemingly every moment, from the nameless political tension to the endlessly changing ways that people define themselves and their relationships to each other. The surface of the world changes, but all the things that lurk beneath the surface stay the same. Weird Fucks captures the world that Tillman was writing in, the world the book is set in, and a new world — that isn’t that new — all at once.

Sam Moore‘s writing on queerness, politics, and genre fiction in art has been published by the Los Angeles Review of Books, Little White Lies, Hyperallergic, and other places. Their poetry and experimental essays have been published in print and online, most recently in the Brixton Review of Books. If their writing didn’t already give it away, they’re into weird stuff.

- source

As mentioned last week, the relative free time opened up by the end of outdoor show season and the Venus flytraps and Sarracenia pitcher plants going into dormancy meant an opportunity to go back and renovate enclosures that needed a … Continue reading →

Last week I reviewed that new monster book from BRW Games, Book of Lost Beasts.  Today I want to review the companion book from the same Kickstarter, Book of Lost Lore.  I went into this one less excited than I did with the Book of Lost Beasts, but not due to anything on the part of this book.  I am always more enthusiastic about monster books. I just have to make sure that I am not making unfair comparisons.  I will be making a lot of comparisons with this book and others, however.

Adventures Dark & Deep Book of Lost Lore

For this review, I am considering the Hardcover I received as a Kickstarter backer and the PDF from DriveThruRPG.  BRW does their print fulfillment via DriveThru, so I conveniently have my PDFs where I expect them and I know what sort of product I am getting in terms of Print on Demand.

The book itself is 134 pages, full-color cover, and has black and white interior art.  The layout and art are a tribute to the "2nd covers" of the AD&D 1st Edition line. So it looks nice with your original books and other OSR books designed the same way. 

Like the Book of Lost Beasts, this book carries the Adventures Dark & Deep banner, but it is not made for that game.  It is material from that game ported "Backwards" to the AD&D 1st Edition rules. So again like Book of Beasts, some of this material has been seen before, though not all in 1st Edition format/rules.  

Much of the material does come from Bloch's "What If" game, Adventures Dark & Deep, and in particular, the Players Manual which itself was derived from BRW Games' very first product A Curious Volume of Forgotten Lore (now discontinued).  This is all acknowledged in the Preface of the book.  The selling point of this book is that it is all revised and edited for the "First Edition of the world's most popular RPG."  Not to mention the layout now favors the 1st ed feel rather than the Adventures Dark & Deep feel.

Though as we move on you will see that the biggest comparison that needs to be made is this book to the AD&D Unearthed Arcana.  

On to the book proper now.

This book is split between a Players' Section (close to 98 pages) and GMs' section (36 or so pages).

Players' Section

This section covers new races, classes, and spells among other topics that I will discuss. 

Up first, the new races.  Here we are given three "new" races for player characters. These are the Centaur, the Forrest Gnome, and the Half-Drow, of which we get Human-Drow and Elf-Drow.  Those unfamiliar with AD&D 1st ed might be surprised to see level limits and ability limits for the races.  Some are pretty obvious, centaurs tend to be stronger but can't climb walls as a thief. Others are culture-based, drow women can advance more in most classes than their male counterparts due to their matriarchal society, but not as much as wizards since that class is not valued.  While back in the day we really ignored all these rules in AD&D (and they do not exist in 21st Century D&D) they are consistent with the rules and anyone who plays AD&D 1st ed exclusively will take to these easy.

The races seem balanced enough.  The centaur is a nice addition and one that really could go into AD&D well enough.  I personally have never had a desire to play one, but they do seem to work.  The forest gnome is also a good choice and a good option for people more familiar with 21st century D&D gnomes.  The coverage of the half-drow is very interesting and the stand-out of the three.  Given some other things I have crossed my awareness this past week or so I am wanting to try out a half-drow now.  I will need to come back to this one later on. 

Classes are likely the top feature of this book.  They are also the ones that we have seen before.  There are Bards, Jesters, Skalds, Blackguards, Mystics, Savants, and Mountebanks.  Let me repeat. While we have seen these before in other BRW products they are presented here as 1st Edition characters classes and as subclasses of existing 1st Ed classes. Except the Bard, the Bard is it's own class with the Jester and Skald as sub-classes of the Bard.  The Blackguard (or Anti-Paladin) is a subclass of the Cavalier to give you an idea where this book would "fit" into the AD&D 1st Ed lineup. 

It should be noted is a usable single Bard class.  No more advancing as a thief, fighter, and then druid to get to the bard, this is a straight out bard class.  The bard also has some nice powers too. The mystic class seems closer to the BECMI/RC version than it does to the monk.  It was also the focus of one of my very first "Class Struggles" features.   I am a little surprised we didn't see versions of BRW Games'  Necromancer, Witch, or Demonolater classes. Likey to keep these with the Adventures Dark & Deep game. 

From Classes, we move on to Secondary Skills. AD&D 1st Ed has never really been about skills outside of what your character class can do.  While back then I saw this as a problem, I am less inclined to think so now.  Still, a good selection of secondary skills are listed here and how they can be used. 

The next 35 or so pages are dedicated to new spells. Mostly these support the new magic-using classes, though some spells are cross-listed for other classes. 

The last part of the player's section is given over to combat and new weapons and armor.  The arms and armor described here do show an appreciated level of research.  One that would have made Gary and his 6 pages of pole-arms very happy.

Game Masters' Section

This section is not as large but still has gems; figurative and literal. 

Up first are some guidelines for social encounters including reactions.  There are some alternate treasure rules that uses the same Treasure Type classification but breaks it down into different categories.  Both the original system and this system can be used interchangeably, even within the same game, with the Game Master deciding what works better at the time. 

There are some new magic items, with updated tables to include them. 

Finally some discussion on the game environment including ability checks. 

Honestly, the only thing it is missing to be "Unearthed Arcana II" is an appendix on the gods of the Centaurs.

Some art has appeared before in other BRW books but all of it captures the Old-School gaming feel.

So. Who is this book for?

The obvious answer is for anyone that plays First Edition AD&D.  It should work fine with OSRIC, since that cleaves so close to AD&D, but not sure if players of Advanced Labyrinth Lord or Old School Essentials Advanced will get the same benefits. For example, both of those other games have a Bard class that works about the same.  That is not to say they would not get benefits from this book, it's just the base design principles are not 100% the same.

If you are a player of Adventures Dark & Deep then there is likely nothing new here for you.  But if you have those books and still play Advanced Dungeons & Dragons first ed. then there is enough here for you even if you can convert easily between the two games. 

If you play AD&D 1st ed then this is a great book and it will sit nicely on your shelf or on your table next to your other AD&D books. 

One minor point, the book was not released under the OGL.  Doesn't matter for play or use only if you wanted to reuse a class or spell elsewhere.  Though given the use I have seen of the OGL over the last 20+ years this is also likely not an issue. 

As of the end of the month, it’s been two years since the Triffid Ranch moved to its next stage, and nearly two years since lockdown shut down that next stage and caused everyone to regroup. Two years later, we’re … Continue reading →

It’s been a long roundabout trip over the last few months, but the future palaeontology-themed enclosure “Lagerstätte” arrived at the Heard Natural Science Museum & Wildlife Sanctuary in McKinney, Texas on Sunday, where it will have a long and successful … Continue reading →

The weekend before last I drove down to my parent's house to see my dad before his 92nd birthday (his doctor told him he'll likely live to a 100) and my sister for her 51st birthday.  Picked up a few books my sister had for me, mostly older occult books.  But driving through the state and back got me thinking about some more local horrors. I mean there HAS to be something interesting hiding in all those corn and soybean fields.  I also thought about how these creatures would work well in all the occult games I was talking about last week.  

Another thing is I love Bigfoot legends.  I don't believe any of them for a moment, but they are so great for games. Bringing these all together really helps capture the feel of the games I wanted to play in the early 80s. So for that D&D-loving kid in Central Illinois back in the 1980s who loved Bigfoot stories, this is for you. And by "you" I mean "me."

Illinois Hominids

When one hears about Illinois the first thing that comes to mind are cornfields, Chicago, and spectacularly corrupt politicians.  One doesn't typically think of 10 ft. tall hominids.   But for the residents of Illinois, these creatures are not unheard of.  They have been spotted all over the state from the northernmost points to the far south point, nearly 400 miles. 

In nearly all cases these creatures try to avoid humanity.  Their great size and obvious strength would make them a threat to any group of investigators, but thankfully they have so far shown no particular desire to attack.  

Illinois Hominids like all species of sasquatches are large, nocturnal creatures that walk upright like humans.  It appears to be omnivorous but its preference is for vegetables and fruits found in the wild.

For this posting, I am going with "Illinois Hominids" as opposed to "Bigfoots" or "Sasquatches" since both of those terms are more associated with creatures of the Pacific Northwest.  "Skunk Apes" are more commonly referring to creatures in the Southern United States. 

I am also grouping creatures together that may, or may not, be classified as Sasquatches in other Bigfoot lore. Most of these creatures have only been reported once.

Dogmen of McHenry County

These creatures are 7" tall creatures that appear to be some sort of simian/canine/hominid hybrid.  Their defining feature is their dog-like faces.  Similar creatures have been sighted in adjoining Cook County, and as far south as Christian (nearly 250 miles to the south) and Woodford Counties. They are noted for their howls in the night.  Many scholars classify these as separate sorts of creatures. 

Cole Hollow Road Monster

Found in central Illinois this creature has been sighted near Peoria, IL, and might be related to the similar Farmer City Monster found further to the east.  This creature is grayish in color and stands 7"-8" tall.  It is quite reclusive and can hide in natural environments with 95% effectiveness and can never be surprised.  

Swamp Hominids of Southern Illinois

Several creatures occupy the lands at the far end of the state. Unlike the other hominids featured here these usually range to about 10' tall and tend to live near swamps or other wetlands.  They also have a smell that can be detected for a 100 yards, any closer and investigators suffer a -3 (or roll with disadvantage) on any attacks.  They share this feature with the Skunk Ape of the southern part of the country. 

These creatures include the Tuttle Bottoms Monster of Harrisburg, IL which also has an elongated snout.  Nearby Enfield in White County also has The Enfield Horror, a fast-moving hominid. 

The Abominable Swamp Slob, also known as the A.S.S., are found in Jackson County near the Shawnee National forest. It can emmit an ear-shattering shriek.  The most famous of these is the Murphysboro Mud Monster and "Sassy" the Shannee Sasquatch. 

RPG Stat Blocks

Illinois Hominds
Basic Bestiary

Frequency: Very Rare
Number Appearing: 1d4 (1d6)
Alignment: Neutral [True Neutral]
Movement: 180' (60') [18"]
Armor Class: 6 [13]
Hit Dice: 6d8+18* (45 hp)
  Large: 6d10+18* (51 hp)
To Hit AC 0: 8 (+11)
Attacks: 2 fists or rock throw
Damage: 1d6+5 x2 or 2d8+5
Special: Camouflage, Howl (cause fear), Odor
Size: Large
Save: Monster 6
Morale: 8 (10)
Treasure Hoard Class: None 
XP: 650 (OSE) 680 (LL)

Str: 22 (+5) Dex: 18 (+3) Con: 19 (+3) Int: 10 (+0) Wis: 13 (+1) Cha: 8 (-1)

The hominid can attack with two fists or throw boulders, much like a giant.  The hominid can also howl.  This howl causes fear (as per the spell) to all that hear it who fail a saving throw vs. Paralysis.  Those that fail the save are too frightened to attack or move.

Illinois Hominids
DP&D, We Die Young

Armor Class: 15
Hit Dice: 6+6 (27 hp)
Move: On Foot - 18 (ignore rough terrain)
Actions: 2
Morale: 8
Terror: 12
HDE: 7

Attack Damage: Fist (d8), Slam (d8), 
Special: Large creature, 20 STR, Toughness +4, can run x4 Move, scream or howl can cause fear.

Bonuses: +5 to Melee attacks, +5 to Melee damage, +5 to Spot, +6 to Listen, +8 to Stealth, +2 to Initiative, +4 to Track.

Hug Attack: In combat, if he attacks with his fists and both hit, he will deliver a bone-crushing hug attack for an additional 2d6+4 hp damage.  A successful DEX check by the target will grant half-damage.
Don't forget about the SURVIVE THIS!! Dark Places & Demogorgons RPG Hardcover!

Illinois Hominids
NIGHT SHIFT

No. Appearing: 1-3
AC: 6
Move: 40ft.
Hit Dice: 6-8
Special: 2 attacks (fist) Strength, Camouflage, Howl (cause fear), Odor
XP VALUE: 240 (6HD) 480 (7HD)  960 (8 HD)

Camouflage: The hominid can hide with 90% effectiveness.

Howl: The howl of the hominids causes a fear reaction to any that hear it. This is treated like the cause fear spell. This happens only when the hominid is first heard, subsequent encounters with the same creature do not have this fear effect.

Odor: Anyone coming within 10 feet of a hominid must succeed at a Constitution saving throw or be at -3 to all actions due to the overpowering stench.

Illinois Hominids
Dark Street & Darker Secrets

Dogmen of McHenry County  6HD

Cole Hollow Road Monster, Farmer City Monsters 7HD

Tuttle Bottoms Monster, Enfield Terror, Abominable Swamp Slob 8HD

Special Abilities: Howl causes fear. Stench causes disadvantages to attacks. Very strong, +4 to all attacks. 

Illinois Hominids avoid the cities at all costs.  

Links

• Monstrous Monday: Bionic Bigfoot (DP&D)
• Monstrous Monday: Sasquatch (BECMI Special)
  
• #AtoZChallenge2021: Y is for Yeti, Almas
• October Horror Movie Challenge: Night of the Demon (1980)
• October Horror Movie Challenge: Sasquatch, the Legend of Bigfoot (1976)
• Going to Valhalla, Alaska

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

—oOo—

What is it?
GLORANTHA: The Avengers of Earth Temple is a scenario for use with RuneQuest: Roleplaying in Glorantha.

It is a four page, full colour, 1.93 MB PDF.
The layout is clean and clean. It is art free, but the cartography is reasonable.
Where is it set?
GLORANTHA: The Avengers of Earth Temple is set in Swenstown in Sartar. 

Who do you play?
Player Characters of all types could play this scenario, but an Ernalda worshipper or priestess many want to become involved, whilst any Chaos-hating character or character capable of fighting Chaos will be useful.

What do you need?
GLORANTHA: The Avengers of Earth Temple requires RuneQuest: Roleplaying in Glorantha and also Ye Booke of Monstres II. Alternatively, the Game Master can use the Glorantha Bestiary should she not want use Lovecraftian monsters and/or purchase another supplement, and instead prefers to generate somethings more Chaos-related herself.
What do you get?GLORANTHA: The Avengers of Earth Temple details a temple to the Earth goddess, Ernalda which was corrupted by Chaos following the defeat of various Earth and Air goddesses and gods in the past. One such temple is located in the caves below the town of Swenstown which sits on a hill, although it could be relocated to any Sartarite town with caves below where an Earth temple might be.
It is suggested that GLORANTHA: The Avengers of Earth Temple be used as a sequel to either GLORANTHA: The search for the Throne of Colymar or GLORANTHA: A Trek in the Marsh. Beyond the fact that the adventurers might have gained a reputation from undertaking either of those adventures, no actual reason is given as to why GLORANTHA: The Avengers of Earth Temple might be used as a sequel, so to actually make such a suggestion is hyperbole at best, codswallop at worst. In actuality, to make such a claim and then leave it undeveloped is sheer laziness upon the part of author.
As to the temple itself, it consists of a six-location cave complex based on a free-to-use map by Dyson Logos. Each location is given a sparse one paragraph description, placed around the edge of the map.
Where any flavour or detail is required, GLORANTHA: The Avengers of Earth Temple very much leaves it up to the Game Master to develop and add. This includes the monsters—Bouchers (rat monsters), Voors, a hell-Plant, and Proto-shoggoth, which she will need to create the stats for after buying Ye Booke of Monstres II. There are no notes or advice on handling such creatures in the different milieu of Glorantha and how Gloranthan magic will affect them for instance, and for some Game Master may push the limits of ‘Your Glorantha Will Vary’ in the choice of monsters used. Why the author could not have simply used the Glorantha Bestiary to create something horribly Chaotic to show off a modicum of inventiveness beggars belief.
GLORANTHA: The Avengers of Earth Temple is not badly written, but very much like the earlier GLORANTHA: The search for the Throne of Colymar and GLORANTHA: A Trek in the Marsh, it is underwritten and underdeveloped—and severely so given the temple’s bare bones description and the lack of advice on mixing the Gloranthan with the Lovecraftian. However, the set-up to the scenario makes more sense than that of the previous two scenarios and since it only defines—however underwhelmingly—six locations, it feels more self-contained with less of any legend or outcome left dangling and unaddressed by the author.
As with the previous titles with the author, there is plenty of development work for the Game Master to do before she brings GLORANTHA: The Avengers of Earth Temple to the gaming table. Probably more than it warrants, since if the Game Master is going to have to that development work, she might as well grab the map and start from scratch.
Is it worth your time?Yes—GLORANTHA: The Avengers of Earth Temple contains the germ of an interesting scenario if the Game Master is willing to completely develop the set-up, add the flavour, and the detail to this mini-dungeon which its author failed to do.No—GLORANTHA: The Avengers of Earth Temple is a self-contained dungeon bash which the author kindly leaves all of the detail, stats, and flavour to the Game Master to develop herself. Cheap, cheerless, characterless, and charmless.Maybe—GLORANTHA: The Avengers of Earth Temple is a perfect showcase of how to write an uninteresting dungeon bash for RuneQuest: Roleplaying in Glorantha, so if the Game Master wanted to know how not to do it, she should start here.

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