Outsiders & Others

2001: Zombies!!!

Reviews from R'lyeh -

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

—oOo—


The undead have arisen and are dead set on chewing down on any still alive. A handful of Survivors are stuck in the centre of a city, but know if they can get to the helipad, there is a helicopter which they can escape aboard. Between them though, is a cadaver cavalcade with Bullets in short supply—though nearby buildings can be scavenged for further supplies and weapons, and the Survivors are as equally as desperate to escape as each other. This is the set-up for Zombies!!!, which takes a classic zombies movie plot and turns it into a board game designed for between two and six players, aged fifteen plus. Originally published by Journeyman Press in 2001—and by Twilight Creations, Inc., since 2002, Zombies!!! combines dice rolling, hand management, and take-that mechanics with the themes of exploration, combat, and bloody zombie horror!

Open up Zombies!!! and you find a lot of components—thirty map tiles, a fifty-card Event deck, Life and Bullet tokens, six human Survivor miniatures, and a hundred zombie miniatures! Yes, really. A hundred zombie miniatures! The miniatures are simple. The humans all wield shotguns, whilst the zombies are all reaching out for their next victim whilst moaning , “Brainssss…” The map tiles are each four inches square and marked with a three-by-three grid of squares. They depict the streets and buildings of the town where Zombies!!! takes place. Some have named buildings like the Toy Store, Police Station, and Hospital. Each named building indicates the number of zombies found in the building and the number of Life and Bullet tokens which can be scavenged from the building. One map tile is marked with a helicopter. This is the Helipad, the destination which is one of the ways of winning a game of Zombies!!!. The map tiles are done in grey and muted tones, reflecting that this is a town at night.

What stands out though about the production values of Zombies!!! are its Event cards. Painted by Dave Aikins these are superb slices of horror, each depicting a Survivor dealing with the zombies swarming the town. Perhaps sneaking past as in ‘Alternate Food Source’, which stop all zombies from attacking that Survivor until his next turn; confronting them like throwing a ‘Grenade’ in the Army Surplus Store, killing all zombies inside, but inflicting damage on the Survivor too; or healing from their attacks, such as applying a ‘First Aid Kit’, which prevents the Survivor from taking damage when in the Hospital or Drug Store. Many of the cards are designed to complicate the lives of other Survivors. For example, ‘Butter Fingers’ forces a target Survivor to discard a weapon or two Bullets; ‘Your Shoe’s Untied’ halves the target Survivor’s movement roll; and ‘Slight Miscalculation’ fills a target building up with zombies, up to double the amount given on the named map tile. Many of the Event cards work only specific buildings, for example, the aforementioned ‘First Aid Kit’ and ‘Grenade’. Lastly, the rules are done in simple black and white and easy enough to read and understand. The rules run to three pages, the other page devoted to a piece of fiction and a nice little foreword by George Vasilakos, publisher of the zombie roleplaying game, All Flesh Must Be Eaten.

Set-up for Zombies!!! is easy. Each player receives a Survivor miniature, three Life tokens, three Bullet tokens, and three Event cards. The Town Square map tile is placed in the centre of the table, the other map tiles are shuffled and the Helipad tile placed at the bottom. Then on each turn, a player draws a new map tile and places it anywhere on the map as long as any of its roads connect to the adjacent tiles. Zombie miniatures are added to the new tile and building on a name tile as indicated. The player refreshes his hand of Event cards back up to three, rolls a die to determine how far his Survivor can move, fighting any zombies encountered square by square. To defeat a zombie, a player rolls a die and hopes to get a four, five, or six. If he does, the zombie is defeated and added to the player’s collection. If he rolls a one, two, or three, he loses a Life token. If he loses all of his Life tokens, his Survivor miniature is moved back to the Town Square map tile to start again, and he loses any weapons he has from Event cards and half of his accumulated Zombie miniatures. Alternatively, if the player has any Bullet tokens, he can spend them on a one-for-one basis and hopefully increase the value of the roll to survive the combat and continue moving. Lastly, the player rolls a die and moves that number of zombies in any direction he likes. Typically, this will be either away from his Survivor miniature to ease his path on his next turn or towards the Survivor miniature of another player to make his next turn just that bit more difficult, or a mixture of both. During the turn, a player can also play a single Event card and also discard one.

Play continues like this until the Helipad map tile is drawn. This is always placed by the player with the least number of zombies currently in front of him. This will typically be nearer that player’s Survivor miniature than those of his rivals, but at that point, Zombies!!! becomes a race game to get to the Helipad first. The player whose Survivor gets there first wins the game. The other way to win is by defeating and accumulating a total of twenty-five zombies in front of you.

Physically, Zombies!!! is a decently produced game—at least for 2001. The rule book is a bit plain, but the zombie miniatures are fun and the tiles decent, if a little thin. The Event cards are to reiterate, fantastic. They really capture the grim, bloody nature of the situation that the Survivors find themselves in, and they are the exact reason why Zombies!!! would go on to win the 2001 Origins Awards Best Graphic Presentation of a Board Game. They are also the same reason why later editions of Zombies!!! would raise the suggested minimum playing age from twelve to fifteen.

Zombies!!! manages to be both a great game and a terrible game at the same time. It is a great game because it is pure Ameritrash. It is high on luck, it involves lots of deadly combat, has a high take that aspect as everyone plays Event cards against each other, and it does not so much ooze theme, as bash it against the nearest wall and splatter it across the room. It is also easy to learn, easy to teach, and it can be fun to play. It can also be tense because each player is desperately trying to husband both Life and Bullet tokens against the need to search for more, entering the dark confines of buildings to do so. It is a terrible game because it is pure Ameritrash. It involves too much luck and the take that value is high; many of the weapon Event cards only work in specific buildings, which whilst thematic, limits their use; there is too much combat without any real significance, which slows game play—Zombies!!! does feel as if it should be a shorter game; and ultimately, the Survivors are just waiting for the Helipad map tile to be drawn and the race for the endgame to begin, because trying to get the twenty-five zombies necessary to win is really challenging.

In 2021 Zombies!!! is twenty years old. Not only did it win an Origins award, but would receive sixteen expansions, which in turn added a military base, a mall, a school, and more, including new themed map tiles, Event cards, and zombie miniatures. As much as these added theme and further showcased Dave Aikins’ art, they did have the side effect of increasing the space and time needed to play Zombies!!!. Plus, the game received spin-off titles enabled players to play as the zombies hunting humans, deal with an alien invasion, and even have the players face skeletons rather than zombies back in medieval times. Which all serve to highlight how successful Zombies!!! was. Indeed, it would ride the wave of popularity that hit board games in the noughties all the way up to the release of The Walking Dead television series, and beyond… Notably, it would make the jump from specialist shops that supported the hobby into mainstream shops, especially ones that sold CDs, DVDs, and the like. With its eye-catching, action-packed cover, this ensured that Zombies!!! reached a wider audience that it would not have done otherwise.

It is easy to dismiss Zombies!!!, but it has been highly popular and despite its flaws, it is still playable, it is very easy to bring to the table, and it can be fun to play, even after twenty years. Zombies!!! is a still a classic ‘beer ‘n’ pretzels’ treatment of a classic horror situation.
—oOo—
Twilight Games is currently running a campaign for the Zombies!!! 20th Anniversary Edition on Kickstarter. (With thanks to Niamh for her loan of her copy of Zombies!!!, which she can definitely have back.)

#AtoZChallenge2021: R is for Rakshasa

The Other Side -

The demon KumbhakarnaGoing to the other side of the world from where I have been spending most of my time in the A to Z of monsters to one that always fascinated me back in my younger days.  Flipping through the Monster Manual  I recognized many of the creatures from myth and story, but one was new to me (ok there were more than one, but this one stood out).  

The Rakshasa of Indian myth was new one.  I had read a total of two Indian myths by this time so the Rakshasa was new to me.  Looking at the entry in the Monster Manual you would be excused for thinking they were some sort of cat-headed humanoid.  Much like the similarity named Rakasta from the D&D Expert module Ilse of Dread. 

In my naïve understanding of the differences between what was Advanced Dungeons & Dragons vs to what I was playing Basic Dungeons & Dragons, I tried to reconcile many concepts, and the Rakshasa / Rakasta was one of the round peg in a square hole that got me thinking maybe these, in fact, different creatures and different games.

Now a day I just mix and match as I see fit.

But that was not the last time the Rakshasa was going vex my efforts. 

Soon after I reconciled the whole Basic vs. Advanced D&D thing the next question, and one that stayed with me for a while, is why aren't these guys Devils?  Certainly, they felt like devils, they were Lawful Evil outsiders. They liked Illusion magic.   I played around with that idea for a while but never got it right.  It wasn't until I dropped the whole "Demon vs. Devil" and embraced the "Fiend" idea did it come to me. WotC would end up doing the same thing in D&D 5 in 2014.

Back in 2013 I reclassified these creatures as Yaksas and I was pretty happy with this.   That is until I began my research for my One Man's God series.  For India, I went back and reread the Ramayana. Rakshasas in these are much more complicated. Especially named Rakshasa like Ravana and his sister Shurpanakha.  Plus I learned more about Yaksas.

So. Where does that leave me today?  Well.  I want to do more research, but I think the classification of Rakshasa as a fiend belonging to the group of Asuras, who are sometimes referred to as "anti-gods."

Is this my final take on it?  No.  I am still doing more research and going back to the myths and stories, but I feel like I am on a good path now.

The three headed RakshasaRakshasa
Medium Fiend (Asura)

Frequency: Very Rare
Number Appearing: 1 (1d4)
Alignment: Chaotic [Lawful Evil]
Movement: 150' (50') [15"]
Armor Class: -4 [23]
Hit Dice: 7d8+21** (53 hp)
THAC0: 13 (+7)
Attacks: 2 claws, 1 bite or special
Damage: 1d3+1 x2, 1d6+1
Special: Illusory appearance, special magic resistance, spell-like powers
Save: Monster 7
Morale: 10 (10)
Treasure Hoard Class: XVII (F) 
XP: 1,250 (OSE) 1,300 (LL)

Str: 14 (+1) Dex: 17 (+2) Con: 18 (+3) Int: 13 (+1) Wis: 16 (+2) Cha: 20 (+4)

Rakshasas belong to a group of evil outsider spirits known as Asuras.  These creatures are an ancient primordial race of fiends that are sometimes known as the "anti-gods".  Their main diet is human flesh and they use deception to get it.   They often appear as animal-headed humanoids, with baboon and tiger being the most common, but they and also appear as multi-headed demons with long tongues and huge tusks.  Regardless of the form they take a curiosity of the rakshasa is that its palms will always appear to be inverted; that is their palms on the "tops" of what humans would consider their hand and thus their fingers appear to bend backward. 

When first encountered a rakshasa will use its ESP to detect whomever the victim trusts, then use illusion to assume that form. Once the victim lets his or her guard down the rakshasa will reveal its true self and attack. They are immune to normal weapons and magical weapons below +3 only do half damage.  The rakshasa can’t be affected or detected by spells of 6th level or lower unless it wishes to be. It has a +2 on saving throws against all other spells and magical effects.  A rakshasa would prefer to avoid combat, but when they do choose to fight they are vicious, enjoying the taste of blood as they fight.

All rakshasa have the following spell-like abilities:

  • At will: detect thoughts, disguise self, mage hand, minor illusion
  • 3/day each: charm person, detect magic, invisibility, major image, suggestion
  • 1/day each: dominate person, fly, plane shift, true seeing

Rakshasas are evil but not unintelligent. They will know when to attack and when to hold back.  A poisoned cup of tea takes care of an enemy just as well as claw to the neck.

Multi-headed Rakshasas: It is believed that the more head a rakshasa the more powerful it is.  Each head would increase the creature's HD by 2 levels and Intelligence by 1 point for each head.  Rakshasas with five or more heads become Large creatures.

--

There is likely a lot more I can say and do with these guys, but this is a great start.  I am pretty happy with this as it is, but I know I am going to discover more.

April 2021 A to Z

#AtoZChallenge2021: Q is for Qliphoth

The Other Side -

QliphothOne of the things I want to establish in my Basic Bestiary II is there are a LOT of different kinds of "demons" out there.  In AD&D we basically had two, then three, major groups, demons (chaotic evil), devils (lawful evil), and the awkwardly named daemons (neutral evil).  When 2nd ed came around the publisher caved to the angry mom crowd the authors came up with the replacements Tanar'ri, Baatezu, and Yugoloths respectively.  While many of us chaffed under these names they did open all the fiends up to reinterpretation.  And that was a good thing.  Also, I preferred Yugoloths over Daemons anyway. 

As the editions continued on the "Species" of fiends also grew.  The official D&D products in the 3e era added the Obyriths and Loumara types of demons to represent to oldest and youngest races respectively (not subject to the OGL) and other companies began to add their own as well. 

I myself have added the Lilim, Eodemon, Shedim, Baalserph, and Calabim fiends.  I have a few more as well.  Personally, I like the idea of all these competing hordes of fiendish creatures, fighting each other as much as they want to fight the power of good. 

Some of the newer types are not included in the SRD or part of the OGL.  For example, I can't use Obyriths in my books. I can use Pazuzu who is described as an Obyrith, I just can say anything about his "species."  I do say he is an "Eodemon" or "Dawn Demon" which is what the obyrtihs are trying to do.  Pazuzu is from world mythology so he is fair game.  Pale Night, a very powerful obyrtih is not.

This brings me to the Qliphoth.  The Qliphoth is open in terms of the Open Gaming License. The term, קְלִיפּוֹת, itself comes from Jewish Kabbalah.  So I am free to use that.   The Qliphoth in Pathfinder have a particular background.  I want something a little different, though I am likely to keep them similar just to aid people moving from system to system.  Rereading "Eodemon" as "Obyrith" is no big deal.  Having a name refer to two completely different sets of creatures is something else.   

Borrowing from the Kabbalah where Qliphoth means "Peels", "Shells" or "Husks" (mostly husks) here is what I am saying the Qliphoth are.

Qliphoth

Æons before the first demons crawled out of the Primordial Chaos or the first Angel fell to become a Baalseraph there was a race of beings of surpassing knowledge, grace, and power. Akin to gods they were and like gods they wished to be.  Not for power or glory, but for the purpose of knowing the fundamental workings of the cosmos to become one with it.  Their success was gained when they came upon a plan to shed all that was impure, unholy, and evil in their natures and discard them.  They sluffed off this evil and became luminous beings of pure energy and light.  Leaving behind the husks of what they were, tainted with unspeakable evils as only an immortal race of super-beings can produce.  These husks began of a "life" of their own. Evil, knowing they had been discarded, and festering in the darkest parts of Chaos.  It took them millennia, and in that time other creatures had come to populate the sinkholes of evil they had called their prison and home.  They despised these creatures as much as they despised their former selves and their new selves.  The Qliphoth had been born.

Qliphoth inhabits the same areas that are inhabited by the Calabim, demons of destruction, the chaotic demons that call the Primordial Chaotic abysses their home.  They share some qualities, immune to poison, possessing telepathy, and darkvision. Like other demons, they take only half damage from electricity and fire, but also acid.  Their minds are so alien to humanoids that they are resistant to any mind-affecting magics like sleep, charm, and hold spells.  All Qliphoth are the stuff of nightmares and only vaguely resemble something the human mind can process, so a save vs. Petrify or Paralysis is required when they are first seen. If the subject fails they cannot attack for 1d4 rounds.

It is said that Qliphoth exists for one reason alone, to reunite with the begins that cast them off.  Each subtype of Qliphoth is connected to a particular individual.  If they can reunite then all of that type will cease to be.  Otherwise, they will attempt to kill and devour the being that abandoned them.  Until such time they will kill and devour anything else in their path of destruction.

The Qliphoth are named for the part of the Tree of Death they are said to have originated in. 

Nehemoth.  These are whisperers or the night specters.  They are the weakest of the qliphoth having only spirit forms.

Gamaliel. These are the "obscene ones" and appear as nightmarish distortions of human figures with exceptionally large and exaggerated sexual organs. They were the unnatural sexual urges cast off by the Luminous Ones.

Samael. These Qliphoh appear as beautiful humans but all their words are lies. They drip poison and are a horror to behold in their true form which takes the shape of nightmares.

A'arab Zaraq. These are the Ravens of Dispersion.  They appear as hideous demon-headed ravens with wings of molten lava. 

Tharirion. These are are the Zomiel, giant demons coated in dark black blood that burns to the touch. They constantly fight amonst themselves unless ordered by a stronger creature.

Golachab. These creatures are demons surrounded by fire. They constantly burn the exist only to cause destruction and pain.

Gha'agsheblah. These creatures are giants with the heads of demonic cats. They eat everything they can.

Sathariel. These creatures are heads surrounded by swirling black mists. Only their glowing red eyes can be seen.  Their riddles cause madness.

Ghagiel. Huge demons with serpents wound around them.  They are found of destroying libraries and other institutions of learning and wisdom. 

Thaumiel. The most powerful of the Qliphoth. The shadow of their former selves.  Appears as a towering beast of shadow and destructive purpose. 

--

Ok. No stat block on this one yes because I am not far enough along yet to merit one.  Plus I need to get these demons to really be scary. Right now they are not.  And I'll need to read some more Kabbalah to get a good feel about what these creatures do and how to tease them apart from other types of demons.

I have some time. This is just the first draft of these guys.

April 2021 A to Z


#AtoZChallenge2021: P is for Púca

The Other Side -

It began with Harvey. 

A little odd piece of trivia for you. Back in High School and College my knick-name was Harvey. Not because of the movie of the same name, but for other reasons too long to get into here. But people always asked me if it was because of the movie. I got tired of hearing about it so I watched the movie, as was my habit, with my dad.  He loved it of course, it had been a you man (younger than I am now) when it came out so he had good memories of it.  I enjoyed it too, but I enjoyed mostly because my dad did.  But that was my first introduction to a "Pooka."

Since then I have run into the pooka in other places. Robin Goodfellow of the Bard's Midsummer Night's Dream is another fine example. The creature always seemed perfect for D&D yet I can't find many examples of it outside of Celtic-focused gamebooks.

Puck (Fuseli, 1810-1820)Púca
AKA Phooka, Puka, Pwca
Small or Medium Fey (Chaotic)

Frequency: Very Rare
Number Appearing: 1 (1)
Alignment: Neutral [Chaotic Neutral]
Movement: 120' (40') [12"]
Armor Class: 7 [10]
Hit Dice: 2d8+2* (11 hp)
   Small: 2d10+2* (9 hp)
THAC0: 9 (+10)
Attacks: 1 bash 
Damage: 1d6-1
Special: Fey, invisibility, shape-shifter, vulnerable to cold iron
Save: Monster 2
Morale: 10 (NA)
Treasure Hoard Class: None 
XP: 35 (OSE) 47 (LL)

Str: 8 (-1) Dex: 16 (+2) Con: 14 (+1) Int: 12 (0) Wis: 10 (0) Cha: 14 (+1)

The púca (pl. púcaí) is a shape-shifting fey creature related to both goblins and to brownies. The natural shape of the púca is debated by scholars, but it is believed to be a small fey creature with animal-like features such as rabbit years, whiskers and pronounce front teeth.  It is suggested that they even have little horns.

While not an evil creature, the púca delights in causing all sorts of mischief. They can take the shape of any animal they choose from Small to Large. They can even shapeshift into a medium humanoid creature. They will appear human, or elflike, but will have some feature of an animal such as goat legs, rabbit ears, or a tail.  A favorite trick of a púca is to shift to a magnificent horse and tempt humans to ride it. Once the rider is on they burst into breakneck speeds and give their rider a terrifying ride. They will then deposit the confused and worn-out rider miles away from where they started. Another favorite trick is to shift into a small adorable animal such a baby bunny or kitten. When a human picks them up they will begin to yell at them in common speech and shift to a small, but ugly goblin. The púca delights in these pranks and never means to cause injury or harm. 

The púca prefers to avoid all combat situations. They are not strong fighters at all and will use their invisibility to stay out of most fights. They can become invisible at will and remain invisible until attacked. If force they can usually bask with a fist or head bash. The púca's innate fear of iron prevents them from picking up and using any weapon.  Iron weapons cause double damage to a púca.

Púcaí though can be bribed and even befriended if presented with their favorite blackberry wine.  A drunk púca can foretell the future in a limited fashion, resulting in anyone sharing wine and stories with one a +1 on any roll between the sunrise the next day and the next new moon. A drunk púca though is a handful as it randomly shape-shifts throughout the night.

There are tales of evil púca the eat humans or drink their blood. But this is likely some other creature. 

--

So not a creature you are going to go out to pick a fight with.  Not that you can't but there is not much point in that.  While I am keenly aware that D&D can often devolve into a game of just fighting monsters (and I have enjoyed those games in the past too), monsters don't have to exist just to be killed by the PCs.   Our púca here is a good example of that.


April 2021 A to Z


A Sartarite Starter Seven

Reviews from R'lyeh -

The Pegasus Plateau & Other Stories: Seven Ready-to-Play Adventures for RuneQuest is an anthology of scenarios designed for use with RuneQuest: Roleplaying in Glorantha. Published by Chaosium, Inc., the septet is designed for use by a Game Master new to Glorantha and is set across the various lands of the Sartarite tribes in Dragon Pass. The scenarios will see the Player Characters attend a festival and compete in a great competition, rescue clan regalia, come to the aid of a distant village beset by a ghostly monster, help lift a curse from a village in danger of famine, search for missing children in woods infested with ghouls and a skulk, investigate a previously unknown ruin, and venture out onto the Plains of Prax to attend a wedding ceremony. In order to run any of the scenarios, the Game Master will need no more than the core rules for RuneQuest: Roleplaying in Glorantha and the Glorantha Bestiary, although The Glorantha Sourcebook may prove useful for its further information. The scenarios in The Pegasus Plateau & Other Stories do not constitute a campaign, but they can be worked into a campaign, especially one set in and around the hamlet of Apple Lane and the lands of the Colymar tribe, such as RuneQuest Gamemaster Screen Pack and The Smoking Ruin & Other Stories.

The Pegasus Plateau & Other Stories opens with the titular ‘The Pegasus Plateau’. It takes place before the Three Emeralds Temple, which is dedicated to the Ernalda and stands below the Pegasus Plateau, a few miles south of Clearwine. Pegasus Plateau is notable as having been the home to a flight of Hippogriffs, which serve as the spiritual liaison between Earth and Sky and guide the Three Winds into Dragon Pass. Recently, a flight has returned to the plateau and the priestesses of the Three Emeralds Temple have decided to reinstate the Three Winds Celebration, a three-day festival which ends in a race up the almost unclimbable plateau to locate and a chance to bond with a hippogriff and so make it a competitor’s mount. The Player Characters not only have the opportunity to participate in the Three Winds games—and very much should participate—they also have the chance to interact with a number of different NPCs. These include the priestesses at the temple, the various traders attending the festival, and their fellow competitors. This can lead the Player Characters becoming involved with local politics—the nearby Locaem tribe is currently in turmoil following the death of its leadership during the Dragonrise, as well as creating both rivalries and friendships with their fellow competitors.

Ultimately, the winners of the Three Winds games will have to ascend to the top of the plateau, locate the flight of Hippogriffs, and attempt a bonding. The ascent is difficult and involves several unexpected challenges, not least of which can come from the other competitors. Good roleplaying throughout the festival may grant the Player Characters both clues and advantages. ‘The Pegasus Plateau’ is a good scenario, one that gives the Player Characters the opportunity to shine and the chance to really begin building their reputations and legends. After all, how much greater a starting point is there than bonding with a Hippogriff? However, it is a busy scenario with lots going on and several things for the Game Master to keep track off. The Game Master will also need to work with her players to get their characters involved, as unlike the other scenarios in the anthology there is no standard reason for them to attend the festival. Consequently, it feels a little underwritten in places and too busy in others for a scenario designed for a beginning Game Master and whilst it is the anthology’s titular scenario, it does not feel quite right as the opening scenario for the anthology. However the Game Master decides to use ‘The Pegasus Plateau’, its outcome is likely to be memorable for the Player Characters and their players, there are both NPCs which can become recurring members of the campaign, and hooks the Game Master can develop into further adventures.

The second scenario, ‘The Grey Crane’, is perhaps the easiest of the entries in The Pegasus Plateau & Other Stories to work into a campaign built around the content and scenarios contained in the RuneQuest Gamemaster Screen Pack. It takes place in the lands of the Hiording Clan, part of the Colymar tribe which shares Apple Lane with the Varmandi Clan, although it could be moved to another clan altogether. Either way, the Player Characters are summoned to the clan hall of their affiliated clan along with the great and the good of the clan as the chieftain is about to receive a small delegation from Lunar Tarsh under a banner of peace. Not all of the tribe are happy to see the Lunars—and some of the Lunar delegation are unhappy to be there—but the leader of the delegation causes an uproar when he politely asks to see a set of relics, known as the ‘Grey Crane’, sacred to the clan and associated with a clan legend involving the death of an overly ambitious and misguided alchemist known as Miskander. This is a chance for the Player Characters to test out their feelings about the Lunar Empire versus the demands of Sartarite hospitality, persuading the current holder of the relics either way. Whatever the outcome, a week later, the relics are stolen, and the obvious culprits are the Lunar delegation which just visited. The chieftain charges the Player Characters with recovering it, which means travelling to the Lunar Tarshite’s camp and again testing out their feelings about the Lunar Empire, but with the situation reversed.

‘The Grey Crane’ is a much more straightforward scenario. It does the social nuances of both receiving and ‘probably’ acting as a delegation nicely, and whilst the final twist as to where the ‘Grey Crane’ actually is feels a bit like a deus ex machina, it actually works and is explained why. The scenario also does a good job of humanising the Lunar Tarshites and if used with the adventures in the RuneQuest Gamemaster Screen Pack would serve to help pull the Player Characters into their local community.

Previously released to mark the anniversary of the passing of Greg Stafford, ‘The Rattling Wind’ takes the Player Characters east to the remote Antorling Clan hamlet of Farfield in the foothills of the Quivin Mountains near the Dog-Rat Valley. Of late, the village has been attacked by the ‘Rattling Wind’, a ‘monster in the night’ which has killed locals once a week for the last three weeks, its arrival heralded by a thunderous cadence and the shaking of shutters and windows as it passes, disappearing into the night after leaving its victims crushed. The desperate villagers cannot account for what caused this, only pointing to the arrival of a family of Ducks into the area as the only recent event of note.

‘The Rattling Wind’ is a classic action-horror-mystery which uses a well-worn plot, but uses it to good effect. It comes with secrets and consequences and a handful of not always likeable NPCs, including a grumpy Duck! It is more of an investigative scenario than the previous ones in the anthology, leading to a good mix of interaction and fantastic action scenes, as the Player Characters first poke around and then are confronted by the threat as it comes rattling out of the night to take its victims. The solutions to the situation are straightforward, enabling the adventurers to tackle with either brains or brawn. The former will be required early on in the scenario and perhaps later on if the clues are not necessarily found. There is no right way to address the situation in The Rattling Wind and the adventurers are pleasingly not penalised for choosing one means of resolution over another.

There is a degree of the Gothic to ‘Crimson Petals’, the fourth scenario, which takes place in the village of Greyrock, which has been forced to the edge of famine, forcing the inhabitants to wider hunting and even greater acts of raiding on nearby villages. The villagers are suspicious of outsiders and although in desperate need of help, not always welcoming of it, but astute investigation will reveal carefully hidden goat bones, a preponderance of red flowers, a blocked temple to Ernalda, and a sickness of red blotches found on men, women, and children alike. If they get nowhere, it is the children who will be able to supply the Player Characters with certain information, enabling them to investigate further. This is a lovely touch in an investigative scenario which will probably benefit from the inclusion of an Ernaldan priestess and a shaman—if not both.

‘Gloomwillow’s Hollow’ is set in the Woods of the Dead, the lands of Brangbane, the Ghoul King, between Herongreen and Alone, and includes a description of the Highwall Inn, previously detailed in Highwall Inn for HeroQuest and Questworlds to mark the first anniversary of Greg Stafford’s passing and The Coming Storm, a campaign sourcebook for HeroQuest Glorantha. The adventure, actually called ‘The Hollow’, begins with Player Characters in Alone, hired by the city’s desperate mayor to find the more than a dozen children who have disappeared into the nearby Woods of the Dead in the past few weeks—or to avenge their deaths. Harried by strange batrachian creatures, the Player Characters are drawn into the Woods of the Dead where they must explore a twisted, arboreal dungeon which almost seems to be alive as it thrashes about them. ‘The Hollow’ is a dark and twisted adventure which may well put off the Player Characters from entering another forest any time soon.

In some ways, ‘The Ruin on the Stream’ is the strangest adventure in the anthology. Whether due to rumours of strange lights, sounds, or sights or perhaps of indication of a ruin marked on ancient rather than modern maps, the Player Characters are drawn to a rich and verdant area where dinosaurs may be found as well as a set of ancient ruins. There they encounter a Dragonewt ready and willing to communicate and even teach them about the purpose of the ruins. He encourages their participation and if they do, the Player Characters are put through a series of tests, participating in his heroquest and in the process learning secrets of the past. This is a good scenario for any Lhankor Mhy Player Character, who might be nudged to investigate the site following the purchase of some maps available in the earlier ‘The Pegasus Plateau’. The Game Master will probably wants to conduct a little further information in The Glorantha Sourcebook, especially if she want to develop sequels to this scenario.

The last scenario in The Pegasus Plateau & Other Stories is ‘The Pairing Stones’, which takes the Player Characters east out of Sartar and onto the Plains of Prax. They are employed as caravan guards by a Trader Prince of Issaries who is taking a pack train carrying various trade goods to sell at a wedding. This wedding will be held at the Pairing Stones, two natural pillars of differing colours leaning towards each other, where it has become common for those of different tribes and nations to marry. The marriage in question is to be between a prince and princess of the Impala and Bison tribes, the hope being that the union will help end the ongoing feuds between the tribes. Unfortunately, when the pack train arrives at the Pairing Stones, the place is in uproar—the bride-to-be, Delenda Bretta’s Daughter, has been  kidnapped by Rhino Riders! The Player Characters’ employer quickly negotiates their involvement in the search for the missing bride. The situation is, of course, no simple abduction, and the story behind ‘The Pairing Stones’ has a familiar feel, but the scenario is nicely set up, the NPCs’ motivations well described, and the potential outcomes of the scenario explored in some detail. Overall, it is well told and the scenario will introduce Sartarite Player Characters to Prax and Praxian customs.

The Pegasus Plateau & Other Stories does not only include scenarios. In the case of ‘Gloomwillow’s Hollow’, there is extra information about the region in and around the Woods of the Dead and the dangers it contains, principally, of course, the Ghoul King and his ghoul horde. A quartet of adventure seeds provide further reasons for the Player Characters to revisit the area and perhaps put an end to the threats it is home to—though beginning Player Characters are likely to find these threats very challenging. Elsewhere, the anthology describes the Locaem, the tribe upon whose lands upon which the Three Emeralds Temple stands. The description includes its history right up to its difficult relation with the Lunar Empire, walking a fine line between deference and rebellion, until the last king and his family were killed in the Dragonrise. The tribe’s clans are also detailed as are the various places of interest on its territory. The last entry in the anthology is a write-up of ‘Renekot’s Hope’, a small village lying on the route between Tarsh and Dragon Pass. It is a community of refugees, ex-veterans, and exiles wanting to avoid the conflict between Sartar and the Lunar Empire, so is home—and a would-be home—for the disparate types which typically make up the Player Characters. Various NPCs are detailed, accompanied by some excellent illustrations, and along with the village major locations, a trio of potential threats are described, ready for the Game Master to develop. ‘Renekot’s Hope’ is designed as a starting location for the Player Characters and a campaign, though it is in a region which is not as well covered as Sartar and the area around the Colymar tribal lands currently is.

Physically, The Pegasus Plateau & Other Stories is as solidly presented as you would expect for a title for RuneQuest: Roleplaying in Glorantha. The illustrations are excellent throughout, the index good, and sections of boxed text provide supplementary information, such as a guide to the Great Winter or where to look for information about the full Draconic Creation Myth, or advice for the Game Master, such as setting the ‘Goals for this Scene’. Both provide help for the Game Master, especially for the Game Master new to RuneQuest: Roleplaying in Glorantha. Physically, there is an issue with the anthology, it is with the maps. A variety of styles is used, which gives the book a slightly inconsistent feel and the regional map, which shows the placement of the book’s content, is not necessarily an easy read. Certainly, some maps are easier to read than others.

None of the scenarios in The Pegasus Plateau & Other Stories are very long, each one needing two or three sessions to play through. This makes them easy to work into a campaign, especially one set in and around Sartar, though in some cases, they do require a degree of preparation, in some cases more than might be necessary for the beginning Game Master. Some of the stories verge on the cliché, but where this is so, the stories are well-handled, and in all cases, the potential outcomes of each scenario is usefully explored. Overall, the seven scenarios in The Pegasus Plateau & Other Stories: Seven Ready-to-Play Adventures for RuneQuest showcase the diversity of adventures and stories which can be told in Glorantha and a session or three.

Miskatonic Monday #63: Full Fathom Five

Reviews from R'lyeh -

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


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


—oOo—

Name: Full Fathom Five
Publisher: Chaosium, Inc.
Author: Paul Fricker

Setting: 1840s South Seas
Product: One-Shot Scenario
What You Get: Sixty page, 5.63 MB Full Colour PDF
Elevator Pitch: Moby Dick meets the Mythos (with Sea Shanties).Plot Hook:  The lure of the sea runs deep.Plot Support: Twenty-three pre-generated Investigator sheets, portraits for all NPCs and Investigators, staging advice for the Keeper, deck plans, glossary and location guide, five handouts, three Mythos NPCs/monsters.Production Values: Clean and tidy, decent deck plans, good handouts, and clearly done pre-generated Investigators.
Pros
# Nautical one-night, Blood Brothers-style one-shot scenario
# Potential convention scenario
# Different historical setting# Twenty-three pre-generated Investigators and/or NPCs
# Nasty series of deaths# Challenging switch between Investigators, victims, and/or NPCs
# Challenging roleplaying of Investigators, victims, and/or NPCs# Strongly plotted# Natty nautical X-card# Sea Shanties

Cons
# Twenty-three pre-generated Investigators and/or NPCs
# Involves whaling (animal cruelty)# Challenging switch between Investigators, victims, and/or NPCs# Heavily plotted# All male cast# Sea Shanties
Conclusion
# Different historical setting
# Challenging roleplaying of Investigators, victims, and/or NPCs# Nasty nautical one-shot# Sea Shanties

Sword & Sorcery & Cinema: Clash of the Titans (1981, 2010)

The Other Side -

Double Feature!

Clash of the Titans (1981)

I can't talk about monsters all month and NOT pop in the stop motion masterpiece of Clash of the Titans.

If you come to this blog I have no doubt you know this move and this story.  So instead lets talk about the production.  Let's get good look at the casting for the gods. Laurence Olivier as Zeus, Claire Bloom as Hera, Ursula Andress as Aphrodite, Maggie Smith as Thetis. Seriously these WERE the gods in 1981. Add in relatively unknown (pre L.A. Law) Harry Hamlin as Perseus and the captivating Judi Bowker as Andromeda then our cast is set.  Throw in some Burgess Meredith for comic relief and a bunch of Ray Harryhausen stop motion creatures and you have a classic.

I am not sure if Medusa was ever depicted as a half snake-woman before this movie, but she sure was after it.  Maybe more so than anything outside of Tolkien has left it's stamp on D&D more than the Greek myths and no movie did as much as Clash of the Titans.  Even people that have never seen the movie know "release the Kraken!"

The film almost has a Disney quality to it with it's score and cinematography. Cinematographer Ted Moore had worked on a lot of 70s Bond films and two of the Sinbad movies, the spiritual forefathers to this one.

Re-watching now (and again) the story holds up and the special effects are more charming than dated. Even Bubo was less annoying in reality than in memory. 

Clash of the Titans (2010)

Ok. The Greek myths endure because they are stories that can be told and retold again and again.  A remake then should always be welcome.  And on paper this one sounds good.  First lets look at our Gods again. Liam Neeson as Zeus, ok do we even care who else is playing the gods at this point?  Ralph "Voldemort" Fiennes as Hades.  Luke Evans (Dracula Unbound, The Hobbit) as Apollo, Danny Huston as Poseidon and Alexander Siddig (Deep Space Nine, Game of Thrones) as Hermes. Ok so, this is all good.  Sam Worthington as Perseus. Ok a good actor, but lacks a certain Harry Hamlin-ness. Alexa Davalos as Andromeda, also good.

Plus we know the special effects were going to be better since this was the new age of CGI.

And...yet it all falls so flat.  Zues' "release the Kracken" doesn't have Sir Laurence Olivier's gravitas and we know Liam Neeson can deliver a line.  Hades...exactly WHY was Hades here anyway? The rest of the gods were blink an you miss them.

The Kracken was underwhelming, but still fun.  Medusa, well. Actually I liked this one. While the first medusa was a spectacle of stop motion puppetry the new one with the face of supermodel Natalia Vodianova seemed more human. It also was one of the first certainly not the last time the story made you feel properly sad for Medusa.  But that is topic for another day really.


The movie is all glitz and spectacle and no heart.  The sign where they toss Bubo from the original movie aside might have felt funny, but it is a good example of the entire film.

Still for a popcorn flick it is fun.  You can even see this as a prequel of sorts to the Greek gods in Wonder Woman.

--

Game Material

Pretty much the entire movie to be honest. The original is so deeply imbedded into the DNA of 80s roleplaying it would be hard to tease out today what came from the Greek myths before this movie vs. after.

#AtoZChallenge2021: O is for Orc, Desert

The Other Side -

Given I kicked off this whole idea with a detailed round-up of the Orc across the editions, it behooves me to at least stat one up.  But which one?  I have a few.  In truth, there is one I have been sitting on for long while now and I should pull it out for a special occasion.  I think that day is today.  Plus I have done so many water-based creatures, time for something different.  

So here is a monster that I talked about in the first days of this blog nearly 12 years ago! The Desert Orc.

Orc, Desert

He was an orc. That was obvious. Though there was something different about him and the others.  What I had originally taken to be smaller, younger orcs were in fact elves. Orcs and elves! Traveling together across this great expanse of desert. More than that, they acted as if they were kin!  They invited us to their tents where one orc and one elf who referred to each other as “brother” went about an elaborate tea ritual where we were served first. The orc and the elf then presented to each other their cups of tea in something akin to prayer or benediction. Once they drank they turned and smiled at each other. Ritual satisfied, they turned to us. The orc, Nom’dosh Thurgash and his elven brother Nom’dosh Etain, both greeted us in the most cultured elven I have heard outside of the Silver Forests.

“Welcome fellow travelers. How may the humble members of the Nom’dosh Clan aid you?” 

- From the Journal of Larina Nix

Male Orc by Jacob BlackmonMale Orc by Jacob BlackmonMedium Humanoid (Orc)
Frequency: Rare
Number Appearing: 2d12 (3d20) with roughly an equal number of Desert Elves
Alignment: Neutral [Lawful Neutral (Good)]
Movement: 120' (40') [12"]
Armor Class: 6 [13]
Hit Dice: 1d8+2 (7 hp)
THAC0: 16 (+3)
Attacks: 1 weapon (halberd) 
Damage: 1d8+2
Special: Can move about in sunlight with no penalty
Save: Monster 1
Morale: 10 (12)
Treasure Hoard Class: I (P) 
XP: 15 (OSE) 15 (LL)

Str: 16 (+2) Dex: 12 (0) Con: 16 (+2) Int: 10 (0) Wis: 10 (2) Cha: 12 (0)

Desert Orcs appear to be normal orcs. However, these orcs have more than just a glint of intelligence in their eyes. While their faces are still animal-like, the fierce scowl has been replaced with a stoic set to their jaw, a purpose in their eyes, and a bearing that can't be described as anything else but noble.  These orcs, with their sandblasted faces and long pale hair strike you as something new and different. 

Desert Orcs are nomads, their ancestral homes in the deserts were destroyed centuries ago by humans. Though they fought back and shook off the yokes of slavery and tyranny by the humans.  They travel with the only other people that helped them in their great revolution, the desert elves.  Desert elves and desert orcs now consider themselves as one people.  They are brothers and every clan has orc and elf members that are equal in all things. 

Once united they then discovered that they had skills that were mutually beneficial to each other. Orcs are still militaristic with small war cadres connected to powerful elf families. For an orc, it is an honor to serve since the more powerful the elf family the stronger their own cadre is respected. The stronger the orc cadre, the more respected the family is and the more likely they will get goods to trade. An elf sultan will travel without his wife for example, but never without his orc escorts.

For every 10 desert orcs, there will be a cadre leader of the 2nd to 4th level.  For every 50 there is an additional war chieftain of 5th to 7th level. For every 100 there is a marshall and for larger groups a general.  Cadres will still fight against each other in mock skirmishes, and while damage will be done they are rarely fatal.  A desert orc will never raise a blade against an elf and likewise, a desert elf will never raise a blade against a desert orc.  Over 1000 years of mutual respect and fighting side by side has torn down the ancient hatred that has infected their rest of their brethren worldwide.

Tea Ritual

There is a ritual that all desert orcs and desert elves will practice.  When camp is made the sultan of the elves and the war chieftain of the orcs will meet in their open tent. The sultan will help the chieftain remove his armor while the war chieftain prepares the tea.  When both tasks are complete, and to do this correctly requires practice so both are done at the same time. The sultan and the chieftain offer each other the tea with the renewed promise that their lines will continue to fight and honor each other. Then the remaining elves and orcs will complete their camps.  If guests are present then they are served first but no elf or orc are allowed to drink until their respective leaders complete their oaths and drink.

The only species they truly distrust are humans. They both recall the tales of depredations at the hands of the Necromancer Kings.  Although humans approaching their camps or caravans with respect will be heard.

--

Ok. So yeah I did it. I made "Good" Orcs.  In fact, I made them 12 years ago.  I also did "Good" kobolds.

Orcs are like Klingons.  Yes, they were two-dimensional and evil in the TOS days, but now we are in the Next Generation and Orcs can be more.  Are violent? Of course! Do they still kill people? They sure can!  Are they inherently evil?  No. Not these orcs.  I have other orcs that are every bit as evil as are demons, but individuals can and do vary.

Likewise I am almost at a point in my games where Drow are going to split off into two separate factions, the evil demon-worshipping one and a less evil faction that wants reunification with the other elves.  

So if Orcs are my Klingons, then to use a metaphor I have been using since the early 80s, elves and drow are my Vulcans and Romulans.  Just like them the Vulcans and Romulans are now a new species, the Nivar.  I don't have a name yet for my combined elves.

I am also adding an occasional bit to some entries, "From the Journal of Larina Nix." Or how these creatures are from the point of view of an adventurer.  I figure my iconic witch is as good as any to present these details.

April 2021 A to Z


Dark Tales

Reviews from R'lyeh -

Published in 2015, Shadow of the Demon Lord is roleplaying game which feels like a combination of Warhammer Fantasy Roleplay and the Dungeons & Dragons Ravenloft setting that is slipping towards Fantasy Flight Games’ Midnight setting by way of The Dying Earth and some steampunk elements and an unhealthy dose of Heavy Metal. Published by Schwalb Entertainment, it combines fast character generation—taking no less than five minutes—and offers a player  plenty of choices in what his character becomes; models short campaigns which take a Player Character from Zero Level to Tenth Level, a group of characters going up in Level at end of each adventure so that a campaign can be played in just eleven sessions or scenarios; and as the titular Demon Lord rattles at the last bars that keep him imprisoned in the Void, his influence continues to despoil land and mind alike, the ‘Shadow’ of the Demon Lord and its effect upon the world can be adjusted and set by the Game Master. This can be something hinted at in prophecies, a rumour threatening in the background, an imminent disaster, or a catastrophe such as a pandemic, famine, earthquakes, the dead living and walking, the Wild hunt abroad in the land, a sudden winter out of season, wild magic warping all and sundry… and more.

Tales of the Demon Lord is a campaign for Shadows of the Demon Lord. It consists of eleven adventures set in the lands of the Northern Reach, the far-flung province of a dying empire, whose capital is Crossings, a city perched on shores of the island-strewn and fae-inhabited lake known as Dark Waters. The city is best known as a fishing port and for its Academy of Engineers established by the Empire long ago and the six faerie spires which have stood since long before the city was built. Originally founded by exiles, refugees, and bandits from the Empire, but since subsumed into its borders before being ignored as a distant province, the council rather than governor-led Crossings acknowledges Sixton as the capital of the province, but otherwise ignores it and decides what is best for the citizens of Crossings. However, as the Shadow of the Demon Lord looms over the Empire, Crossings is not immune to the impending doom, an ancient cult with a branch in the city, the Brotherhood of Shadows, scrambles to find a way to bore a hole into the Void that is home to the Demon Lord, and so release both him and hordes of demons intent on destroying the world. As the Player Characters undertake one task or mission after another, they will cross paths with not only these cultists, but also rival cultists who want to take control of the Brotherhood of Shadows and so claim the glory of successfully summoning their master and doom the world…

Tales of the Demon Lord provides several reasons why the Player Characters might be in Crossings according to their Profession—Academic, Common, Criminal, Martial, Religious, or Wilderness—and quickly lays out the basics of the plot and details Crossings and various NPCs. Some of the city is described in detail, including its government, various districts, and important NPCs. The description is accompanied by a decent map and is enough for the Game Master to run the Tales of the Demon Lord campaign or any other scenarios set within its walls, whilst still leaving plenty of room for the Game Master to add her own content. Very quickly though, Tales of the Demon Lord gets into the first part of its campaign.

The first of the eleven adventures in Tales of the Demon Lord is ‘Harvester of Sorrows’. A priest from Crossings’ poorest district, Grievings, has gone missing following a series of disappearances he was investigating himself, and the Player Characters are asked to find him. A little investigation will reveal that the priest was enquiring about a nearby dilapidated house, once home to an infamous demonologist, and after a run-in with a local gang, there the Player Characters will discover that someone else also has an interest in the house and accidentally released a dread creature that is preying on the inhabitants of the surrounding the district. This is a common aspect of the scenarios which will follow in Tales of the Demon Lord. ‘Harvester of Sorrows’ gets the campaign off to a grim start just as you would expect for Shadow of the Demon Lord, but is not too challenging.

‘Born to Die’ is the first of two scenarios for Novice-level characters. The gang encountered in ‘Harvester of Sorrows’ has kidnapped the daughter of a local merchant and is holding her for ransom, and her father engages the Player Characters to see to her safe return. However, the Player Characters are not the only ones looking for the daughter and will need to deal with at least one other faction to get to her. Mostly set on an island in Dark Waters lake, the first of several scenarios which will take the Player Characters out of Crossings, this is a hostage rescue scenario, which of course, will go wrong. The second scenario for Novice-level characters, ‘The Curious Case of the Errant Swine’, takes the Player Characters truly out of the city to the farm of Farmer Ham, who recently had one of his fine hogs stolen. He wants the thieves caught and his hogs returned, if possible. Signs point towards the nearby Sentinel Wood and investigation there will locate both the culprits and the reasons behind the abductions, but has horrid secrets of his own he wants kept hidden. This scenario has a nice mix of interaction, investigation, and exploration, in particular into a partially-flooded Elvish underground shrine.

‘Temple of Shadows’ sees the Player Characters back in the city as a vile plague sweeps through Purse, Crossings’ wealthiest district, its victims descending into gibbering madness before dying and rising as demon-possessed animated corpses! In this first scenario for Expert-level characters, the fact that house of Pentachus Katandramus, a wealthy aristocrat, has been destroyed in a recent explosion surely cannot be a coincidence and Inquisitor Randolfus and his henchmen, but have not returned. When the Player Characters get past the cordon and descend into the house, they discover another factional feud, this time for control of the vile temple under the remains of the house and what might be hidden there. ‘Temple of Shadows’ is followed by ‘The Moon Spire’, which will take the Player Characters away from Crossings again, this time to the hamlet of Carbuncle, infamous for the physical oddities and infirmities of its inhabitants, and the strange Moon Spire, an elvish tower which appears at the full moon. This is a strange exploration of an even stranger building, the Player Characters needing to find portal after portal to work their way up the tower without being kicked out. Again, this is another search for a relic which needs to be denied to the enemy, but one which will require the Game Master to track carefully where the Player Characters are as there is a high chance of their being separated.

Another theme in Tales of the Demon Lord, that of others uncovering things best left covered, continues with ‘Mines of Madness’. The third scenario for Expert-level characters, this has the Player Characters sent into the Black Hills west of Crossings, where the Dwarf, Gundren the Ironmonger, operates a mine. Ore shipments have stopped coming and he wants to know why. Arriving at the mine, the Player Characters discover that the miners are missing and must descend into the mine to find out what has happened. This scenario is incidental to the campaign, as is the next, but ‘Mines of Madness’ is a decent enough dungeon-bash. The fourth, and last scenario in the campaign for Expert-level characters is ‘In the Name of Love’, which takes place in the rapidly declining town of Verge. This is a more sophisticated piece, one-part sandbox, one-part character study, in which rumours of missing villagers and strangers seen about the place should drive the Player Characters to investigate. A combination of good roleplaying and investigation will reveal that not all is well in Verge as anger has awoken a demon-tree, strangers predate on victims’ tears, and brigands pick at the bones of the settlement in this bloody tragedy.

If the Player Characters have been working to prevent the coming of the Demon Lord and thus the end of the world, if only inadvertently at this point in the campaign, then they find themselves with a rival in ‘Shadows in the Mist’ in this first scenario for Master-level characters. When they return to Crossings, they hear reports of new-borns having gone missing, a new island appearing in the lake, and then a monster haunted fog rolls in and shrouds the city. The island and its inhabitants prove unwelcoming to visitors and when the Player Characters get to close to the culprit, they become the hunted. The steampunk elements of Shadow of the Demon Lord are played up in ‘Off the Rails’, as the provincial governor recruits the Player Characters to investigate a recent train crash and recover several iron titans, prototype mechanical soldiers which might replace the Empire’s Orc soldiery and which were aboard the train. As the Player Characters are investigating the crash site, they are drawn to a nearby village by the sound of an explosion. If they race to investigate, they discover the village under attack by Orc rebels in command of the iron titans—but the villagers have their own means of defence! The likelihood is that a big battle will ensure, either against the Orcs or villagers, not both, and then there is the matter of the remaining rebels to deal with…

The penultimate scenario in Tales of the Demon Lord is ‘Prince of Darkness which brings the summoning of the Demon Lord one step closer, but for the Player Characters, help comes from an unexpected quarter—a reformed demonologist who has escaped Hell! A demon has taken possession of the demonologist’s former stronghold and is tearing open a rift to the Void. With the demonologist’s aid, the Player Characters must enter his stronghold and find a way to defeat the demon or prevent it from opening the Void. The last scenario and campaign finale is ‘The End is Near’ in which the Brotherhood of Shadows moves openly to summon its master as rivals try to take control of the cult’s efforts. The scenario begins with an investigation into the death of Crossings’ mayor, the first of several possible murders in the city, and culminates in the Player Characters confronting several factions in an attempt to bring about the end of the world!

Tales of the Demon Lord is rounded out with ‘Appendix: New Creatures’, which presents several types of an insectoid species encountered in the mines in ‘Mines of Madness’. Physically, Tales of the Demon Lord is well presented, with decent artwork and some nice cartography. In terms of a campaign, Tales of the Demon Lord lives up the grim and bruising tone of Shadow of the Demon Lord, the Player Characters being constantly assailed by demons, cultists, and other vile threats. It feels compact, there being roughly two or four pages per scenario, each of which should provide two or three secessions’ worth of gaming.

However, Tales of the Demon Lord does not quite work as a campaign as written. Some effort is required by the Game Master to provide monster statistics and magical relics when found, but further, the Game Master will need to set up and provide continuing links between the scenarios, as none are provided. A patron is required for the Player Characters at the very least, but once the campaign gets under way, this should be less of an issue. It does add to the set-up requirements for the Game Master though. Similarly, the Game Master will be on her own when comes to the outcome—successful or failed—of any scenario, plus the outcome, if successful, of the campaign. The effects of failure though, is easier to determine. The lack of connective tissue between the scenarios means that not every scenario is specifically connected to the campaign’s story line as well, and whilst in places this means that the campaign is showcasing the ongoing, dying nature of the world around the Player Characters, it also means that sometimes it feels as if they are being shunted off scene whilst other things occur. However, the lack of connective tissue between the scenarios has an advantage too, providing some flexibility in terms of the order in which they can be played—though this would have to be within the confines of the Path the Player Characters are on (Novice, Expert, or Master)—as well as making them easy to extract from the book and either replaced, added to another campaign, or run as a one-shot. With some effort, a Game Master could also adapt the campaign to the roleplaying game of her choice, whether grim and perilous, or not.

Tales of the Demon Lord is as dark and twisted and as grim and perilous a campaign as you would want for Shadow of the Demon Lord. It is a solid, intentionally short campaign, which serves up a good mix of horror and insanity, but which will require more development and set-up than another campaign might not.

#AtoZChallenge2021: N is for Nuckelavee

The Other Side -

Much like the Merrow, this creature has been rummaging around in the back of my mind for the better part of 25 years.  I just never could get it the way I wanted it. I think today is that day! One of the true monsters of Celtic myth and legend, I present to you the Nuckelavee.

Nuckelavee by James Torrance (1859–1916)Nuckelavee
Large Monstrosity (Aquatic)

Frequency: Very Rare
Number Appearing: 1 (1)
Alignment: Chaotic [Neutral Evil]
Movement: 90' (30') [9"]
   Swim: 180' (60') [18"]
Armor Class: 6 [13]
Hit Dice: 8d8+8* (44 hp)
   Large: 8d10+8* (52 hp)
THAC0: 9 (+10)
Attacks: 2 claws or weapon + Breath Weapon
Damage: 1d4+3 x2 or 1d8+3, 
Special: Breath weapon (fetid gas), dark vision
Save: Monster 8
Morale: 10 (NA)
Treasure Hoard Class: None 
XP: 1,200 (OSE) 1,240 (LL)

Str: 18 (+3) Dex: 13 (+1) Con: 15 (+1) Int: 10 (0) Wis: 10 (0) Cha: 4 (-2)

The nuckelavee is a monster in the truest sense of the word. It appears to be a large horse with a human rider, but closer inspection reveals the true horror of the creature.  The "rider" and "horse" are the same creature.  The "human" part has a huge grinning mouth with arms that are so long that its claws drag the ground.  The "horse" part has legs that end in both fins and hooves, giving it the ability to move about on land and the sea. The "horse" head has one huge eye in the middle of its forehead.  The entire creature is skinless and the muscles and sinew are visible. The creature is covered in black blood.

The nuckelavee hates all life and will attack anything in its path.  It prefers to stay in the salt-water sea, freshwater is treated like acid to it (1d4 hp of damage per vial), so it will not come ashore when it is raining.  It hates the smell of burning seaweed and will come ashore to put out any fires burning seaweed and kill whoever is doing the burning.

Nuckelavee will attack with their claws most times. They are capable of wielding weapons and will choose a club or spear, but they prefer to use their own claws. They are strong (Strength 18) but only average intelligence (10).  The worst attack of the nuckelavee is their fetid breath.  From their horse head, they can breathe out a fetid poisonous gas that affects all in a 60' long, 30' wide (5' base) cone. Victims must save vs. Poison.  Those at or under 7 HD must save or take 4d8 hp damage (save for half), those over 7 HD save or take 2d8 hp of damage (save for none).  Anyone failing the save will incapacitate for 2d8 rounds and unable to move or attack. 

Nuckelavee prefer the flesh of warm-blooded creatures. It ignores merrows and selkies, though they can usually out-swim the nuckelavee in the sea and outrun them on the land.  

Water Horses

The nuckelavee would be a natural enemy to the kelpie and likewise, save for the fact that nuckelavees can not enter fresh water and kelpies rare venture out into the sea. There seems to be a relationship between the nuckelavee and the each-uisge.  The nuckelavee is also related, somewhat distantly, to the nøkk, though both creatures refuse to acknowledge this.  The best way to offend a nøkk is to ask if it is a nuckelavee.  Kelpies, each-uisge, nuckelavees, and nøkks are all either descended from a common creature or have all adapted similar forms as a means of capturing prey.  

--

Returning today are the Ability scores. I played around with them a bit more and have been getting some feedback so I wanted to pull them back out.  I think I am going to keep them in the stat block.

This creature is large and therefore has two lines for HD/hp.  In my games I will use the increased hp total. 

All in all I am happy with this one!

April 2021 A to Z


AND

If you are doing the A to Z Challenge Scavenger Hunt, you just found a Dragon!



Blue Collar Sci-Fi Chiller

Reviews from R'lyeh -

The Ana-Sin-Emid Report is a scenario for Those Dark Places: Industrial Science Fiction Roleplaying, the roleplaying game of Blue-Collar Science Fiction horror published by Osprey Games. It is written by the roleplaying game’s designer and presents a short investigative scenario which can be played through in a session or two. It takes a traditional type of Science Fiction setting and gives it a horror twist which echoes that of the film, Event Horizon. It can be played as a training simulation to determine their suitability for working between Earth and the frontier of space as part of the application process as described in Those Dark Places, or it can be run straight as an assignment during their years of employment. This also means that it can be run with new Player Characters or more experienced ones, but its horror elements will probably be more effective if the scenario is played with Player Characters who have encountered some scary situations and suffered Episodes of Pressure before. Either way, it will take relatively little time for the Game Monitor to prepare The Ana-Sin-Emid Report for play.

The setting for The Ana-Sin-Emid Report is the Iota Pegasi B System, the site of Grant Stellar Station, a Cambridge-Wallace, Inc. facility. The Player Characters are either stationed there or making a pickup or delivery, perhaps Cambridge-Wallace, Inc. employees, perhaps not. Whatever the reasons for their being on the Grant Stellar Station, a situation has arisen and the station manager grabs the first available crew and assigns them to resolve it. If they are Cambridge-Wallace, Inc. employees, then fine. If not, there is a set of emergency employment mandates written into their contracts—in very small print—which means that they have little choice in the matter. The situation is that in the last hour, the Deep Space Transport Vessel The Ana-Sin-Emid dropped out of FTL and began coasting towards the inner system. If it continues on its current path, it will disrupt operations and present a potential hazard. There has been no communication from the vessel and its current pattern of deceleration suggests that it is under automated piloting. The Ana-Sin-Emid is the property of the Wayne/Tanaka Corporation, but as it is Cambridge-Wallace, Inc. space, Cambridge-Wallace, Inc. has the right to offer assistance, board her and, if the opportunity presents itself, claim salvage. Which is where the Player Characters come in.

The Player Characters are tasked with getting aboard The Ana-Sin-Emid, get to the bridge, and report back to the station manager. If they have their own vessel, they can use that, but if not, the Player Character are assigned the Deep Space Reconnaissance Vessel Grahams, a small starship designed to jump into distant star systems and conduct preliminary survey sweeps and collect information upon which the decision to conduct deeper survey or resource exploitation missions can be made. If the Player Characters lack a pilot amongst their number, then one will be provided. The Player Characters have about twelve hours before another ship can be readied and sent out to The Ana-Sin-Emid, so they are the first response to the emerging situation.

Once at their destination, the Player Characters find The Ana-Sin-Emid under power, but unresponsive. Energy and heat blooms can be detected, there is no sign of damage, and the airlocks are closed. Essentially, the Player Characters are free to explore the two decks of the vessel, and its eighteen locations as is their wont. They will quickly find that it has been abandoned and that there are signs of violence scattered throughout the ship. However, as they explore The Ana-Sin-Emid, the Player Characters—singly or in groups—begin see strange things. Are they hallucinations? Are they something else? And whatever they are, what is causing them? Is there a chemical agent in the ship’s air supply or is it something else? Ultimately, the cause of the problems aboard The Ana-Sin-Emid is relatively easy to determine, but this does not mean that the Player Characters will necessarily solve it. Strange incidents may place them under too much Pressure, and there is scope for both accidents and incidents of violence during their exploration of the apparently abandoned vessel.

In addition to the plot, The Ana-Sin-Emid Report includes for increasing the Pressure upon the Player Characters—either because they knew somebody The Ana-Sin-Emid or due to past experiences of Episodes of Pressure. An option is given for having an NPC Helm Officer, who would of course abandon the Player Characters aboard The Ana-Sin-Emid at the first sign of trouble, and there are clear deckplans given for The Ana-Sin-Emid. There is decent staging advice for the Game Monitor too.

The Ana-Sin-Emid Report is cleanly laid out, though the text needs a slight edit and the labelling on the deckplans is a bit tight in places. The various incidences of Pressure could also have been slightly more clearly marked for ease of running the scenario, especially if the Game Monitor is running with minimal preparation. The scenario does not require a great deal of preparation, but this would have helped.

The lightness of the mechanics in The Ana-Sin-Emid Report means that it is more plot than necessarily stats. This has the advantage of making it not only easy to run for Those Dark Places, but also easy to adapt to almost any Science Fiction roleplaying game. Of course, it is ideally suited to those which already combine Science Fiction with horror, especially Blue Collar Science Fiction, such as MOTHERSHIP Sci-Fi Horror Roleplaying Game or even the Alien: The Roleplaying Game, whether that is to run it straight and as is, or as a training exercise. (In fact, Those Dark Places would work as a training exercise or employment application in the setting of those roleplaying games!)

The Ana-Sin-Emid Report is nasty, weirdly creepy, and short. It is easy to run as a one-shot or add to an existing campaign, and should provide one or two sessions of play. It would also work as a convention scenario and so easily fit within a four-hour slot.

#AtoZChallenge2021: M is for Merrow

The Other Side -

I have commented on how it is Greek mythology that brought to D&D via the Monster Manual and this month is largely a celebration of that. While Greek myths got me here, it is Norse and Celtic myths that have kept me coming back for more.

Today I had an undead monster ready to go, and it was fine, it was a good monster.  But it didn't excite me very much. It's great for my book, but not so much for a blog post trying to get excitement for that book.  So instead I am going with some more fey creatures, but this one is a little different.

John William Waterhouse - MermaidMerrow
Gwenhidw, Jennys
Medium Fey (Aquatic)

Frequency: Very Rare
Number Appearing: 1d4 (1d6)
Alignment: Chaotic [Chaotic Good / Chaotic Evil]
Movement: 90' (30') [9"]
 Swim: 240' (80') [24"]
Armor Class: 8 [11]
Hit Dice: 1d8+1 (6 hp)
THAC0: 18 (+1)
Attacks: 1 weapon
Damage: 1d6
Special: Magic cap
Save: Monster 1
Morale: 6 (8)
Treasure Hoard Class: Special
XP: 19 (OSE) 21 (LL)

Merrows are shy water faeries that appear off the coasts of the oceans.  They prefer to spend their time frolicking in the shallows of tide pools and having swimming contests.  All merrow seen by land dwellers will be female.  The males refuse to have anything to do with the people of the land and will not come close to it.

Similar to a mermaid, the merrow appears to be a beautiful humanoid woman's upper half. Her hair is often green, usually seafoam green, but darker sea plant colors are also common.  Her fish-like tail is of the same color.  The most notable thing about them though is their bright red cap. This is their only treasure.  

If she is spotted the merrow will immediately flee to swim back to her home under the waves. They will avoid combat whenever they can. Though some will curious enough to seek out any humans.  Merrow are curious about humans, in particular human men. Their own males are evil, brutish, and ugly.  By use of their magic caps, a merrow can change her shape to that of a human and walk on land.  As long as she posses this cap she can move freely between the sea and land.  As a sign of trust and love a merrow can give another human her cap and thus tying her to the land forever.   Land-based merrow are indistinguishable from normal humans, though they will often learn witchcraft.

Merrows are also known as Gwenhidw or "Jennys," but this could also be the name of one of their most famous members. The offspring of merrows and humans are completely human, but they feel a call of the sea and make exceptional sailors or sea witches.  A merrow still tied to the sea does not have a soul, but if they commit to the land then they are granted a new soul.  

Male Merrows: These creatures are as ugly as the women are beautiful and evil where their counterparts are good.  They never come to the surface when they can avoid it and they are generally not welcomed. Their faces are the worst combination of humanoid and fish and their whole body is covered in green fish scales.  It is said that when a Jenny comes to land and chooses a human husband her merrow father will follow her to bring her back.  The merrow will challenge the human to a game, usually, a drinking game, if the human wins the merrow returns to the sea and leaves his daughter behind.  If the merrow wins he returns to the sea with his daughter and the soul of the human.  Particularly old and evil merrow have a collection of these souls they keep in cages at the bottom of the sea as humans might keep a pet bird in a cage. 

--

This entry pulls together a lot of threads that have been rummaging around in my head for years.

Starting with the idea of Jennys and Merrows, they *might* two different creatures, but it is hard to tease apart all these myths especially when they are all so close to each other; both in content and in geography.  I like the idea of the merrows, or Jennys, as being genuinely curious about humans. Plus I liked the Jenny character from Anita. The Jenny stealing a kiss from Anita convinced me that these creatures were not evil and actually kinda liked humans.

 The idea of the Merrow men and the soul cages has been with me forever it feels like, though they were very nearly demons.  Here they are just assholes. Evil, dangerous, but still assholes. 

To say these ideas were not influenced by this would be disingenuous.

There are a lot of parallels between the merrow and pagans from the British Isles and the general belief that the Fey do not have souls.  In a game set in a magical Medieval Europe then a Jenny would need to be baptized before she would get a soul. Then of course she is no longer a merrow.   There are likely some unpleasant parallels here involving the patriarchy, salvation, goodness vs. freedom, choice, and more.  And it is all completely intentional.   Remember I am usually on the side of the pagans and freedom here.    I would rule that a Jenny deciding to stay on land with a witch would not need to give up her power or autonomy.  That's because witches understand this. 

April 2021 A to Z

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