Outsiders & Others

The Other OSR—Warlock! Compendium

Reviews from R'lyeh -

The Warlock! Compendium is the first supplement for Warlock!, the Old School Rennaisance-like Career and skills roleplaying game whose inspiration is a hybrid of Fighting Fantasy a la The Warlock of Firetop Mountain and Warhammer Fantasy Roleplay. Published by Fire Ruby Designs, it complies the first four expansions for Warlock!, each of which adds flavour and detail to the core rules, particularly when it comes to Careers and magic. In turn, adds new Careers for the non-human races of the Kingdom—or wherever the Game Master’s campaign is set, new magic, rules for magic from old body parts, and rules for what happens if you entreat the unholy powers.

The Warlock! Compendium opens with ‘Part 1: Different Paths’, in particular, ‘Community Careers’. One of major omissions in Warlock! was a lack of Careers for Dwarves, Elves, and Halflings. ‘Community Careers’ amends that with an expansion of the Career table in the core rules, which a player rolls on to determine his character’s first Career. This table extension adds six more, such as Dwarf Inventor, Elf Kin Guard, and Halfling Gong Farmer, which when rolled determine both a character’s first Career, but also his Community. This does not necessarily replace a player’s option to choose his character’s Community, but rather means that the character will definitely be a member of one if the right roll is made. Some of the Careers, such as Dwarf Tunnel Fighter and the Advanced Careers of Dwarf Slayer, Elf Champion, and Halfling Burglar, all feel very much inspired by a certain British fantasy roleplaying game. Warlock! however, is not a fantasy roleplaying game in which one Community is mechanically any different from any other, but ‘Community Careers’ adds potential flavour without adding any undue mechanical complexity or advantage.

‘Part 2: The Grimoire’ is all about magic. It starts by adding advice for discovering spells—essentially research, research, research—and copying scrolls. The latter is particularly trying, costing a wizard stamina which cannot otherwise be recovered. Now whilst this can be done, it definitely feels as if the author is persuading the wizard against such a rash action, suggesting instead that he concentrate upon exploration and the search already completed scrolls rather than create his own. This is followed by some forty spells, from Beam, Bleed, and Curse to Tremor, Whisper, and Yearn. These all fantastically gritty and down-to-earth, such as Dry, which protects the caster and anyone nearby from the rain, but makes all incredibly thirsty, or Glamour, which grants a bonus to the target for all actions where beauty is involved, but makes the target ugly and repulsive for several hours after the spell’s effects have worn off! ‘Rods, Staves, and Wands’ cover a wizard storing spells in them, whilst ‘Rare and Wondrous Artefacts’ adds a handful of magical items, typically with a sting the tail, such as the ‘Boots of Striding’ which enable the wearer to leap great distances, but with the chance that one boot will be left behind, the other at the destination, and the wear equally as split! ‘Lost Relics’ provides rumours of a handful of missing items, whilst ‘Community Spellcasters’ adds Advanced Careers for Dwarves, Elves, and Halflings capable of using magic, such as the Dwarf Runeforger, Halfling Conjurer—street magicians who use illusion and beguilement, and Elf Druid—who can sacrifice of the blood of sentient species for a much darker version of the Druid typically seen in fantasy roleplaying. 

‘Part 3: Necromancy’ presents the dark arts of dealing with the dead and the undead, practitioners often beginning with contacting the spirits of the departed to learn their secrets and then it is a slippery slope to degradation and terrible power. Of course, in the Kingdom, the art is forbidden and outlawed. From Bind Spirit and Create Guardian to Spirit Speak and Summon Dead, some eight necromantic spells are given as well as detailing the dangers of necromantic miscasts and some necromantic artefacts.

‘Part 4: Corrupted’ covers the effects and consequences of the dark arts, another slippery slope to power for ambitious—or foolish!—wizard, but does actually detail how a wizard might take such a path. With the inclusion of the Cultist and the Death Knight—a sorcerer who has fallen under the influence of a demon, demonic marks and gifts bestowed upon such Death Knights, along with  demon swords, demon goblins, and descriptions of such demon masters as the Cthulhu-like Delock, Lord of the Depths and the demon lord of war, Pazaali, the Warlock! Compendium strays ever closer to Warhammer Fantasy Roleplay in emulating its inspiration.

Physically, the Warlock! Compendium is a handy, digest-sized hardback. It is decently illustrated throughout, the occasional roughness of the artwork contributing much to the British Old School style and look that Warlock! seeks to evoke. The book is well written and an engaging read, and everything within its pages is easy to grasp and pull out into a game.

Although it offers a little more than that, the Warlock! Compendium is very much the magic supplement for Warlock!, adding new spells, magical Careers, necromancy, the dark arts, magical monsters, and so on. As useful a set of additions and expansions as they are, it is the six Careers—the Community Careers for Dwarves, Elves, and Halflings which feel the most useful addition in the Warlock! Compendium, for in giving them something that is intrinsically theirs, they flesh out the core game rather than just adding to it. Plus, they do it without adding to the rules or mechanics—just the setting. The Warlock! Compendium is overall, a solidly sorcerous expansion for Warlock!

Character Creation Challenge: Dungeons & Dragons, 3rd Edition

The Other Side -

D&D Player's Handbook 3rd EditionThe year is 2000. We don't have flying cars or stations on the moon, but we do get a new edition of the Dungeons & Dragons game.  Wizards of the Coast, known for Pokemon and Magic the Gathering, buy the cash strapped and deeply in debt TSR.  Soon TSR is folded into WotC and when D&D 3rd edition is announced, TSR is merely a memory.  Though WotC would go on to produce a hot new game that will still be played 20 years later AND set off a revolution in small press and fan publishing.

The Game: Dungeons & Dragons 3rd Edition

D&D 3rd Edition was by all accounts a revolutionary game.  It produced two (or three) direct descendants; D&D 3.5, Pathfinder, and Pathfinder 2nd Edition. It was the foundation for d20 Modern and the Star Wars RPGs from Wizards of the Coast. There was a Call of Cthulhu edition, a World of Darkness edition and not to mention thousands of games that used the d20 license and the Open Gaming License, and SRD.  The OGL and the SRD made so many other games possible including 90% of all the OSR releases on the market today.  D&D 3.x is also still widely played some 20 years later.

D&D retook the "Dungeons & Dragons" name, dropping the Advanced, to give D&D a single variant moving forward.  Basic and Advanced were no more. 

Of course, we also got the crowd of "never WotC D&D" forgetting that WotC gave out the SRD and OGL for free. Filled their website with free downloads and also created a very robust fan creation guideline that became the heart of the DMsGuild today, while TSR spent a lot of its early days on the Internet harassing BBSes, website owners, and AOL file areas as well sending C&D letters for anyone hosting Netbooks or fan-made D&D materials. 

The Character: Rowan McGowan

For this witch for D&D 3.5, I am going to use the sample custom witch class from the Dungeon Master's Guide.

The DMG witch class is a bit anemic really, it is just a reskinned Sorcerer with a new spell list.  But the goal for it was not to develop a full-blown witch class as I have done, but rather show how the classes can be altered for your own needs.   

Rowan continues my Celtic-themed named witches.  In 2000 I would have likely gone with Rowena, but I have a witch here already with that name.  She is "McGowan" instead of "nic Goibniu" because I want to represent her as being a little more "modern" than the previous witches.  Modern in the sense of rules updates.

Witches of the CoastLiliana Vess by Dopaprime, CC License

Rowan McGowan

Female Human Witch, Level 1 (DMG Witch)
Lawful Neutral

Abilities
Strength: 10 (0)
Dexterity: 11 (0) 
Constitution: 12 (+1)
Intelligence: 11 (0)
Wisdom: 12 (+1)
Charisma: 16 (+3)

Saving Throws
Fortitude: +1
Reflex: +0
Will: +3

AC: 7
HP: 8
BAB: +0
Initiative: +0
Speed: 30

Skills
Bluff +3, Climb 0, Concentration +5, Diplomacy +4, Disguise +3, Gather Information +3, Heal +1, Intimidate +3, Jump 0, Listen +1, Move silently +0, Ride +0, Search +1, Sense Motive +1, Spellcraft +5, Spot +1, Survival +1, Swim +0, Use rope +0

Feats
Scribe Scroll, Toughness

Special Abilities - Familiar
Familiar - Cat (level 1, 11 HP, 15 AC Attack +5)
Deliver Touch spells through familiar
Empathic Link (Su)
Share spells

Spells
Spell DC 13 + Spell level
Cantrips: Arcane Mark, Daze, Detect Magic, Mending
1st level: Burning Hands, Disguise Self

Not too bad, if a little light on options. 

Character Creation Challenge

Tardis Captain is the originator of this idea and he is keeping a list of places participating.  When posting to Social Media don't forget the #CharacterCreationChallenge hashtag. 

RPG Blog Carnival

This month's RPG Blog Carnival is being hosted by Plastic Polyhedra. They are doing Characters, Stories, and Worlds, so that fits right in with everything we are posting this month.

Check out all the posts going on this month at both of these sources.

Character Creation Challenge: Advanced Dungeons & Dragons, 2nd Edition

The Other Side -

Advanced Dungeons & Dragons, 2nd Edition came on the scene to much anticipation back in the Spring of 1989.  I was in college at the time but I still managed to get the books very close on release day.  The game was largely an update and cleanup of the AD&D 1st Ed rules.  Gygax had been gone from TSR for a while at this point and the rules lacked his "voice" but they were a significant improvement in many ways.  

But today no one talks about the 2nd ed rules as much as they talk about the settings.

The Game: Advanced Dungeons & Dragons, 2nd Edition

There is no doubt that the 2nd edition made many improvements to the AD&D ruleset. While Basic-era D&D moved on with the BECMI series, AD&D came here.  With the streamlined, but not simplified, rules in place TSR focused on what they believed to be their cash-cow, settings.  And to be fair the settings are what we all recall today.  There were also tons of splat books and eventually an update that was called AD&D 2.5 by some, but never by the company.  

This was also the edition that caved under the pressure of the religious right and bowdlerized demons and devils right out of the system.  It would not be till later with Planescape that we got them back in the forms of Tanarri and Batatezu. 

Since the Splats and Settings are so important to the identity of 2nd Edition it behooves me to mention a couple and my relationship with them. Not to mention the witch options they gave me.

The Complete Wizard's Handbook

Among 2nd Eds features were the "Kits" or archetypes you could apply to various classes to customize them.  Sadly like many splat books you see power creep in these. The Complete Bard's Handbook was one of the worst offenders along with the Elves book. But today is not the day to discuss those. Today I want to talk about the Witch Kit.

The Witch-kit appeared in the Complete Wizard's Handbook and was a mere 3 or so pages, but it was the first official witch class in AD&D.  She got powers every odd level and had a lot of role-playing potential.  This might seem more powerful than your average wizard, but at the time everyone was assumed to have a kit of some sort.

Ravenloft

My world of choice in the 2nd Ed era was Ravenloft.  The gothic horror tropes were too much of a lure to avoid. Interestingly enough it would not be until Spring of 2000 when Ravenloft would get their first witch class/kit and by this time they were owned by Wizards of the Coast.

This class/kit gave us the Witches of Hala, which is a kit that any non-magic using class could use, so only Fighter and Theif. But the witches did gain some spell abilities.  To differentiate between the two witches Van Richten's Monster Hunter's Compendium, Vol 3 calls the Complete Wizard Witch Kit the "Sorcerous Witch." To further distinguish them I took to calling the Witches of Hala "Hedge Witches."

Forgotten Realms

During the 2nd Edition years, Forgotten Realms was the undisputed King of the Campaign Worlds.  I largely ignored it.  I have made up for lost time since then and been spending more time in the Realms, but that is another post.  I did however know all about the Witches of Rashemen and Spellbound was one of the first Realms products I ever bought. This setting also uses the wizard kit and the Witches of Rasemaar kit.


Due to the amount of material I have here I am also going to do two characters.

The Character: Sinéad

Following my Celtic-influenced witches, I give you Sinéad.  Of course, she is named for Sinéad O'Connor whose album "The Lion and the Cobra" pretty much changed everything for me in 1988/1989.  

Sinéad is built using the Witch Kit from the Complete Wizard's Handbook. Now the witch kit says they can't be multi-classed, but the concept I want to try is. So I am going to do it anyway, but not choose a kit for the Bard class.  Some of the restrictions on this kit feel the same as the removal of the demons and devils; giving the players in-game reasons not to use it.

Sinéad is not a character I played back then, but this build is pretty close to what I would have created back in 1989 while living in Room 109 of the Wright I Hall Dorms.

Goodwife Sinéad
(Goodwife is how you address a witch whose marital status is unknown)
Half-elf 7th level Wizard (Witch Kit)/7th level Bard
Chaotic Good

STR: 12
DEX: 16
CON: 15
INT: 17
WIS: 14
CHA: 16

AC: 1 (Bracers of Defence)
HP: 50
THAC0 (Base): 17

Saving Throws
Paralyzation, Poison, Death: 12
Rod, Staff, Wand: 9
Petrification, Polymorph: 11
Breath Weapon: 13
Spells: 10

Weapons
Dagger

Proficiencies/Skills/Languages
Herbalism, Spellcasting, Artistic Abilities (Singing)
Climb Walls (30%), Detect Noise (40%), Pick Pockets (25%), Read Languages (90%)

Special Abilities
Half-elf: Resist Sleep (30%)
Bard: Spells, knowledge
Witch: Read Magic, Detect Magic, Secure Familiar (3rd), Brew Calmative (5th), Brew Poison (7th)

Spells
Bard: (1st) Light, Faerie Fire, Protection from Evil (2nd) Charm Person, Hold Person (3rd) Dispel Magic
Wizard (Witch): (1st) Audible Glammer, Magic Missile, Shocking Grasp, Identity (2nd) Continual Light, Spectral Hand, Ray of Enfeeblement (3rd) Lightning bolt, Fly (4th) Dimension Door

The Character: Nida

Nida is a character I have been playing around with for my War of the Witch Queens.  She is supposed to represent the "other" witches of 2nd Ed, the ones I didn't use but the ones everyone else did. That is the Witches of Hala and the Witches of Rashemen.  She is not a starting character because I need her to have some history.

Nida was a Rashmi girl born to poor parents.  She was playing when she was taken into the Mists and found herself in the lands of Ravenloft.  She became a thief to survive the world on her own until she tried to pick the pockets of a Witch of Hala. For the next ten years she trained with this witch and learned the secrets of Hala and her magic. One night she was hunting a particularly nasty Annis Hag when she found herself back in her homeland of Rashemen.  Unable to return, she tried to pick up her life before she left only to discover her family had long since died.  She began training as a Wychlaran, or a Witch of Rashemen.  Like the witches of her homeland she adopted a mask and changed her name to "Nida" which means "voice."

Note: Since Nida is a dual classed character, a Thief/Mage, there is no reason to assume she can't be a Thief (Witch of Hala) / Mage (Witch of Rashemen) even though the Witch of Hala can't be taken by a spellcaster (she is a thief at the time) and the Witch of Rashemen has to be a spellcaster (she is a mage at the time).


Lady Nida
Human 4th level Thief (Witch of Hala Kit) / 9th level Wizard (Witch of Rashemen kit)
Chaotic Neutral*
(Witches in Ravenloft can't be chaotic, but this is the character concept I have.)

STR: 11
DEX: 16
CON: 16
INT: 17
WIS: 13
CHA: 18

AC: 1 (Bracers of Defence)
HP: 48
THAC0 (Base): 18

Saving Throws
Paralyzation, Poison, Death: 13
Rod, Staff, Wand: 9
Petrification, Polymorph: 11
Breath Weapon: 13
Spells: 10

Weapons
Dagger

Proficiencies/Skills/Languages
Herbalism, Spellcasting, Artistic Abilities, Ancient History
Pick Pockets (35%) Open Locks (35%), Climb Walls (30%), Detect Noise (40%), Pick Pockets (25%), Read Languages (90%)

Special Abilities
Half-elf: Resist Sleep (30%)
Bard: Spells, knowledge
Witch: Read Magic, Detect Magic, Secure Familiar (3rd), Brew Calmative (5th), Brew Poison (7th)

Spells
Witch of Hala: (1st) Combine, Reveal the Weave, Luck (2nd) Arcane Insights, Master Coven Magic (3rd) Water Walk
Wizard (Witch of Rahemen): (1st) Circle, Alarm, Magic Missile, Shocking Grasp (2nd) Dazzle, Protection from Poison, Blindness, Tasha's Uncontrollable Hideous Laughter (3rd) Firelance, Lightning bolt, Suggestion (4th) Negate Magic Weapon, Magic Mirror (5th) Teleport

I like these builds. I certainly want to use Nida somewhere.  Maybe see what she is like with another system. Both are 14th level and have a similar range of abilities.

Character Creation Challenge

Tardis Captain is the originator of this idea and he is keeping a list of places participating.  When posting to Social Media don't forget the #CharacterCreationChallenge hashtag. 

RPG Blog Carnival

This month's RPG Blog Carnival is being hosted by Plastic Polyhedra. They are doing Characters, Stories, and Worlds, so that fits right in with everything we are posting this month.

Check out all the posts going on this month at both of these sources.


Character Creation Challenge: Advanced Dungeons & Dragons, 1st Edition

The Other Side -

AD&D Players ManualUp until 2000 if you said "D&D" most people thought of Advanced Dungeons & Dragons 1st Edition.   Indeed it was AD&D that dominated the later part of the 1970s, 1980s, and with 2nd Edition the 90s. Though that is for tomorrow's post.

Today I take on the game that I played the most and the one that dominates the imagination of so many still today.

The Game: Advanced Dungeons & Dragons

A lot of ink, both real and virtual, has been spilled on the whats, whys, and hows of the differences between Basic D&D and Advanced D&D, so I see no need to spill more here.  Suffice to say that they are different games, though we freely mixed them back in the day. 

The evolution of D&D from Original to 5th edition sees it's first divergence here. 

In the AD&D 1st Ed years there was no official witch class.  There were however many unofficial and semi-official witch classes.  I talked about the Dragon Magazine #43 witch yesterday but I used it for Basic D&D.  The class was famously, or maybe infamously, updated in 1986 for AD&D in the pages of Dragon #114.  It was, and maybe still is, one of the most popular versions of the witch ever made for D&D.

AD&D Players Manual, 4 versions

The Character: Rhiannon

Ah. If I had a dime for every Rhiannon I have run into over the years. 

Not that I can blame anyone. The Golden Age of AD&D was the early 80s and the Queen of the music charts was Stevie Nicks. "Rhiannon" by Fleetwood Mac was released in 1975 on the album Fleetwood Mac. The second Fleetwood Mac album to feature this title, and their tenth overall, but the first with new couple Stevie Nicks and Lindsey Buckingham.  But in the 1980s it wasn't this album or even the insanely good and popular Rumours or Tusk that grabbed me and my imagination. No it was Stevie's solo efforts Belladonna and (especially) The Wild Heart that began my deep, deep love affair with witches.

Rhiannon would be an old witch in my games today. Likely a relative or even a spiritual Goddess-mother to Larina.  But today she is the young Maiden who "rings like a bell through the night" and looks for a lover.  I can't help think of her as anything but the famous art Elmore drew in the Dragon #114 piece.  If she looks a little like Stevie, well, maybe Stevie looks like her.

Rhiannon
1st level Witch, Sisters of the Moon coven, High Secret Order
Chaotic Good

STR: 11
INT: 16
WIS: 13
DEX: 13
CON: 11
CHA: 15

AC: 9
HP: 3

Saving Throws
Witches use the best of Cleric & Magic-user Saves.

Poison or Death: 10
Petrification or Polymorph: 13
Rod, Staff, or Wands: 11
Breath Weapon: 15
Spell: 12

Saves +2 against other witch magic

Spells
1st (1+3):  Darkness, Mending, Seduction, Sleep

Equipment
Dagger, backpack, iron rations, water, 50' rope, staff.

AD&D Players Manuals and Dragon #114Everything you need for a witch character in 1986

I think an updated, and more mature, Rhiannon will need to grace my War of the Witch Queens games sometime.

Rhiannon rings like a bell through the night
And wouldn't you love to love her?
Takes to the sky like a bird in flight
And who will be her lover?

Character Creation Challenge

Tardis Captain is the originator of this idea and he is keeping a list of places participating.  When posting to Social Media don't forget the #CharacterCreationChallenge hashtag. 

RPG Blog Carnival

This month's RPG Blog Carnival is being hosted by Plastic Polyhedra. They are doing Characters, Stories, and Worlds, so that fits right in with everything we are posting this month.

Check out all the posts going on this month at both of these sources.

Character Creation Challenge: Dungeons & Dragons, Basic Edition

The Other Side -

Monday of the first week of the year and it is back to the day job for me.  Thankfully I planned an easy (for me) one today.  To continue with the editions of Dungeons & Dragons we are now up to Basic D&D. 

Basic D&D Boxed set

The Game: Basic Dungeons & Dragons 

I have told the tale here many times on how I began with Holmes Basic, but the first D&D I ever owned was the Moldvay Basic Set.  I played Basic D&D, just "D&D" to me then,  but soon I and everyone else, were mixing it liberally with bits of AD&D.  Sometimes I think of the days when a Blue or Red D&D Basic book was used side by side with the AD&D Monster Manual and modules.

Spend any time here and you will know of my love for Basic D&D. So there is little more I can say here.

The Character: Áine nic Elatha

The witch class I am pairing with this is the one from Dragon Magazine #43 and using the guidelines set out by Tom Moldvay on what a witch should be. 

Dragon Magazine #43 was published in November 1980; the high point of Holmes Basic, the start of AD&D popularity, and one year before Moldvay Basic was released.  The class is overtly designed for AD&D, but as I mentioned we used Basic and Advanced interchangeably.  I suppose if I am being true to Basic I should drop the bonus spells per Intelligence the witch gains.

Given the time and this tantalizing promise, I can justify making it for a bastardized Basic/Advanced D&D.

The witch from Holmes

Áine daughter of Elatha is a human magic-user (Basic after all).  She is "the path not taken" for me.  My first "witch-like" character was Luna, a cleric that worshipped an unnamed moon goddess. While she would later morph into something else, I soon created other witch type characters, Áine is what that character could have been if I had chosen Magic-user rather than Cleric.

Áine nic Elatha
1st level Human Witch

STR: 10
INT: 17
WIS: 12
DEX: 11
CON: 12
CHA: 11

AC: 9
HP: 3

Spells
1st (1+3):  Change Self, Cure Wounds, Light, Sleep

Equipment
Dagger, backpack, iron rations, water, holy water, darts (3), 50' rope, staff.


Holmes & Moldvay Basic sets

If you are doing this challenge as well please feel free to post on the Facebook group, I'd Rather Be Killing Monsters.

Also, this month's RPG Blog Carnival is being hosted by Plastic Polyhedra. They are doing Characters, Stories, and Worlds, so that fits right in with everything we are posting this month!

Do check them out!


For Cultured Friends XII: The Excellent Travelling Volume Issue No. 12

Reviews from R'lyeh -

For devotees of TSR Inc.’s Empire of the Petal Throne: The World of Tékumel, 2020 is notable for the release of not one, two issues of The Excellent Travelling Volume, James Maliszewski’s fanzine dedicated to Professor M.A.R. Barker’s baroque creation. The Excellent Travelling Volume Issue No. 11 was published in April, 2020—available direct from the author or the Melsonian Arts Council—and continues his exploration of one of oldest of roleplaying settings heavily influenced by the campaigns he has been running, the primary being his House of Worms campaign, originally based in, around, and under Sokátis, the City of Roofs before travelling across the southern ocean to ‘Linyaró, Outpost of the Petal Throne’, a small city located on the Achgé Peninsula, as detailed in The Excellent Travelling Volume Issue No. 8.

As per usual, The Excellent Travelling Volume Issue No. 12 opens an editorial from James Maliszewski. This highlights the gap between this issue and The Excellent Travelling Volume Issue No. 11–or rather the lack of a gap, one facilitated by the periods of enforced isolation that beset many of us in 2020, as well as the continuing influence of the author’s ongoing House of Worms campaign. That can be seen in the first entry in the issue, part of the ‘Additions and Changes’ series which examines the various non-human races on Tékumel and makes them playable. ‘Hláka Characters’ adds the three-eyed, bewinged, and sharp-tailed species capable of actual flight. Like many non-human races, they do not acknowledge the Gods of Stability and Change, but when living amongst human civilisations, may adopt one or more faiths to fit in! However, they make for poor worshippers at any temple. Notably, they have a reputation for being skittish and cowardly, but this does not stop the militaries of the Five Empires recruiting them as scouts and even into legions, many of which are listed, solely comprised of Hláka and occasionally as aerial artillery. In terms of Profession, there is no limit in terms of their options, but they make better Warriors than they do Magic-Users or Priests. Alongside notes on Hláka names and homelands, the article includes discussion of Hláka clans—there are none. That is, except for the Blue Clouds of Joy Clan in Béy Sü, an extremely notable exception. Rounding out the article are rules for Hláka flight. This is another fine addition to the series, which with the inclusion of names, makes them both reasonably playable.
The second entry in the ‘Additions and Changes’ series is ‘Psychic Ability and Spells (Additions and Changes) which presents an adjusted table for rolling the Psychic Ability, and discusses the dangers of wearing metal—almost any metal, when casting spells and gives a table of results should a Magic-User attempt to cast a spell whilst wearing metal. Having discussed and presented the dangers of combining metal and magic, the article is rounded off with a discussion of what a sorcerer might actually wear instead of metal, pleasingly adding some colour.
‘The Warrior (Proposal)’ is the author’s suggestion to develop and add context to the Warrior Profession in Empire of the Petal Throne: The World of Tékumel. It does this by dividing the skills in General and Soldier skills, so Spearman and Bowman are General skills and Drills and Logistics are Soldier skills. The aim here is to have General skills that any Warrior can learn, whilst the Soldier skills can only be learned by serving in the legions. Accompanied by the definitions of various skills, it nicely serves to individualise the Warrior Profession and a Player Character’s previous history.
The centre piece in The Excellent Travelling Volume Issue No. 12 is ‘Sa’á Allaqiyár, the Many-Towered City’, a detailed description of the capital of the northern empire of Sa’á Allaqi. It is accompanied by an excellent map, and covers the history of the city, an examination of its major clans—several of which have been adopted from the other four members of the Five Empires, and its notable features. These range from a sizeable Foreigners’ Quarter and an extensive number of brothels to the Pyramid of Néngetl, the long looted tomb of the first Engsvanyáli governor and the Ancient Sealed Gate, the former entry to the city on its eastern wall which was bricked up upon the advice of the priests of the One of Light, who stated that it would bring their god’s blessing and ensure that ‘Sa’á Allaqiyár would never fall. Of course, this is not canon, but this is another excellent article, one which is more than serviceable until such times as there is an official version of the city.
‘The Roads of Avanthár (Part 2)’ completes the short story by David A. Lemire begun in The Excellent Travelling Volume Issue No. 11. The story describes the discovery of a great book and the efforts by members of the military faction to get it to the emperor in Avanthár, and their own rivalries. Ultimately, the concluding part leaves questions unanswered and adds mysteries of its own, but is enjoyable nonetheless.
‘The Hollows of Gyánu’ is the adventure location given in The Excellent Travelling Volume Issue No. 12, the hideout for a group of Kilalammuyáni bandits in the mountains of Tsolyánu’s Chaigári Protectorate, who have been raiding local caravans. The local governor has posted a reward for their capture or their demise, but unfortunately, something already has happened to them by the time the Player Characters arrive to investigate their cave hideout. There are riches to be found in the caves and the sinkhole they are clustered around, but also terrible secrets of the Five Empires’ religious past. It is a nicely done encounter, a mixture of horror and exploration, which is easily transferred to a location of Referee’s choice.
The third entry in the ‘Additions’ series is ‘Bestiary (Addition)’ and presents two creatures as an accompaniment to ‘The Hollows of Gyánu’. The two creatures are the Achayá, ‘The Blood of Gyánu’ and the Chagrúo, ‘The Frozen Dead’, two nasty monsters emanating from the Expanse of the Cold Dark, also detailed here. Rounding out The Excellent Travelling Volume Issue No. 12 is ‘Initial Encounters (Additions and Changes)’, the third entry in the issue’s ‘Additions and Changes’, which presents a replacement table of visitors who might be encountered in the city of Jakálla and the nature of their task in hand. Again, both tables are easy to adapt to other civilised settings and so have a wider use.
Physically, The Excellent Travelling Volume Issue No. 12 is nicely produced, a sturdy little booklet in a thick card cover, pleasingly illustrated and tidily presented throughout. Both the illustrations and the maps are good too.
The Excellent Travelling Volume Issue No. 12 continues the author’s excellent support for Empire of the Petal Throne: The World of Tékumel. It is a solid issue, packed with content and background that the Referee can readily bring to her campaign.

War of the Witch Queens Session 2: Into the Ruins of Ramat

The Other Side -

We got a chance to play the second full session of War of the Witch Queens today, our last day of winter vacation.  Today's adventure dealt with leveling up the characters to level 1 and giving them a slight boost in HP.  The characters also got the chance to buy some real weapons and armor.

All in the process they learned about the terrible Ruins of Ramat from the villagers of Wydfield Woodfield.


The party searched the ruined church and found their way down into the underground structure where the clerics had lived and trained.   

They still need to find the spear and use it to defeat the ghost above.  Hopefully, we can get a session in this week, even with work.

The players are learning a key feature of Basic-era D&D.  Sometimes it is better to run away.  

Since everyone is now level 1, I am allowing the players to diversify their characters.  One thief is now an Assassin from OSE-Advanced. The magic-users are splitting up into a Blood Witch, Sorcerer, and Wizard.  I am going to let them choose from a common spell list, and then also a spell list unique to each class. One cleric is going to focus on being a healer.  So I need to get that written up with some ideas. 

For this game, I swapped out my New Big Dragon Game Master's Screen for the Old School Essentials Screen.  Both work great.

The tiles are Dwarven Forge and the temple is from Reaper Minis.

Can't wait to see where we all go next!

[Fanzine Focus XXII] Beyond the Borderlands Issue #1

Reviews from R'lyeh -

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & DragonsRuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry.
Beyond the Borderlands Issue #1 is a fanzine of a different stripe. Published by Swordfish Islands LLC (but also available in PDF from the author), best known for publishing Swordfish Islands: Hexcrawl Adventures on Hot Springs Island, it is a systems neutral regional hexcrawl inspired by B2 Keep on the Borderlands, most recently implemented by Goodman Games’ Original Adventures Reincarnated #1: Into the Borderlands. It is the first part of a trilogy which will explore the overland region in this the initial issue, then the underground areas in the second issue, and lastly provide the bestiary for the previous two issues. The setting for the Beyond the Borderlands, like B2 Keep on the Borderlands before it, is the edge—or just beyond it—of the civilised lands, the frontier outside of which lies untrammeled wilderness, barbaric tribes, and Chaos run rampant. Here a solid fortress has been established as the last outpost of civilisation, to provide a degree of protection to travellers making the journey beyond and against the possibility of an incursion from the ghastly Goblins, horrible Hobgoblins, obnoxious Orcs, grim Gnolls, and more, which lurk just out of sight, ready to strike…
The setting for Beyond the Borderlands is the Wicked Palovalley. Here Stronglaw Keep defends the Western Kingdoms against invasions from the monstrous forces of the Wicked Palovalley. It is presented as a six-by-six, thirty-six hex hexcrawl, divided into six different regions, each one with its own theme, content, rumours, and random encounters. The issue begins though with a description of Stronglaw Keep, which stands at the mouth of the Wicked Palovalley. Stronglaw Keep is an independent outpost, a last settlement of civilisation, the law—rigidly enforced upon pain of death or banishment, and the Church of the Holy Sun. Stronglaw Keep itself is delightfully presented in a vibrantly colourful isometric style, easy to read and use, and accompanied by two sets of thumbnail write-ups. The first provides simple descriptions of each of Stronglaw Keep’s eleven locations—though there are twelve, whilst the second lists the ‘Loot and Stuff’ to be found at each of the first eleven locations. This provides a little more detail, whether the Player Characters are looking for tools, to make a purchase—whether of goods or services, or purloin an item of vale or two. The possibility of the guards reacting to any theft is covered in a short table. Lastly, the Notice Board lists twenty rumours, events, and employment opportunities which can serve as a spur to the Player Characters to adventure and the Dungeon Master to create adventures.
Supported by a simple set-up—the Player Characters come to Stronglaw Keep, introduce themselves, pick up a job or two, and then go explore, and some simple travel, weather, and encounter rules, the bulk of Beyond the Borderlands Issue #1 presents the six six-hex mini-regions of the Wicked Palovalley. From the Keep’s Domain to the Scarlet Forest, each is presented in a two-page spread. An isometric map of the mini region is presented on the left-hand page, along with a table of rumours and a table of encounters, whilst write-ups of each the six hexes are presented on the right-hand page. Each write-up includes a short description, plus two or three bullet points which provide further details. So in the Sludgy Bog, there are rumours of a carriage full of supplies which never reached the hunting camp and the bog is said to be inhabited by a monstrous people, and any brave adventurers which put foot into the squelchy swamp, they might run into Slug-Leeches or Frogmen, and perhaps follow a trail of shells to a reclusive Sea Witch or find a former keep, flooded, but still with stairs leading down into the water…
All of the maps in Beyond the Borderlands Issue #1 are presented in isometric format, which when combined with their bright, vibrant colours, make them leap off the page. The writing needs an edit in places, but everything is well organised and packs a lot of information into relatively limited amounts of space. The format of the two-page spread used for each location and mini-region makes the contents of Beyond the Borderlands Issue #1 very easy to run from the page. If there is an issue with Beyond the Borderlands Issue #1 as a physical object, it is that it lacks a sturdy card cover.
The twelfth location in the write-up of Stronglaw Keep is a ‘Mysterious Cave’. It is simply left as that, awaiting the publication of Beyond the Borderlands Issue #2 to be fully detailed. This is not the only such location left undetailed the next issue of the fanzine. These include the Bloody Ravine where the infamous Caves of Chaos are located, the Flooded Shrine, and the Caves of the Unknown, a randomly generated, mythic underworld. Now of course, the descriptions of these underground locations were always going to be in the second issue of the fanzine, and then the bestiary in the third issue, but that cannot prevent a sense of deprivation in the reader and potential Dungeon Master, not in the sense of not having that information, but in not having that information and in not being able to bring it to the table and run it right now.
So Beyond the Borderlands Issue #1 is not complete, but it will be with the publication of first Beyond the Borderlands Issue #2—when the Dungeon Master could supply the stats of the monsters and NPCs herself and thus run both the region and its dungeons—and then Beyond the Borderlands Issue #3, when the Dungeon Master will have the official stats. In a sense, Beyond the Borderlands Issue #1 is delivering the promise of a full scenario, one that is inspired by B2 Keep on the Borderlands, but richer and despite the lack of dungeons or stats, has much more going on than B2 Keep on the Borderlands ever did. The vibrancy of the colours used in Beyond the Borderlands Issue #1 evokes a Saturday morning cartoon sensibility to this take upon B2 Keep on the Borderlands, as if it was an adventure written with the Dungeons & Dragons television series in mind. Beyond the Borderlands Issue #1 is the beginning of a charming and engaging take upon the classic B2 Keep on the Borderlands, but will definitely leave the Dungeon Master wanting the second and third issues to be complete.

[Fanzine Focus XXII] The Undercroft No. 12

Reviews from R'lyeh -

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & DragonsRuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry.

After a four-year gap between the publication of The Undercroft No. 10 and The Undercroft No. 11 in August, 2020, it was something of a surprise to see the publication of The Undercroft No. 12 the following October. Although previous issues provided support for Lamentations of the Flame Princess Weird Fantasy Roleplay, the new issue continues the move by the fanzine away from that retroclone towards a neutral position with regard to any one retroclone, such that its contents can be used with Old School Renaissance fantasy roleplaying game. Unlike the previous issue, The Undercroft No. 12 does not include any content for use with Dungeons & Dragons, Fifth Edition. It does though, include four articles which are interesting and easy to adapt to the setting or retroclone of your choice.
The Undercroft No. 12 opens with ‘The Mountain That is a Man and Also God’ by Chance Philips. This really stands out in being in verse form, a format rarely employed in gaming. It describes a mountain that is between slumber and death, worked over and within by machine men, copper-wire brained and regimented into a strict hierarchy, who send out agents to walk among normal mortals, dressed in Halfling skin and hefty wigs, claiming to be Dwarves. It is a weird, ultimately creepy piece of verse, suggesting that all Dwarves might not be what they seem or at least, some of them, from this one single living mountain, are not what they seem.
Luke Le Moignan’s ‘The Legacy of Vazimak the Thanaturge’ introduces a new type of spellbook—the ‘Mnemocrypt’. This is a device or artefact which predates the use of spellbooks, an externalised memory palace which encodes and encrypts spells in a highly personalised fashion and dates from an ancient age of powerful arcane warlords. The Mnemocrypt of Vazimak the Thanaturge takes the form of a finely etched black sphere which can be studied. As the student learns more and more of its secrets, it increasingly becomes a burden and his mind becomes paranoid and he comes to see patterns in everything. The spells that the Mnemocrypt of Vazimak the Thanaturge grants all of a necromantic nature, such as Dreadful Osseous Vitality which animates and awakens the skeletons of the living, forcing the target to make a Consitution check lest his skeleton tear itself free and Bone Grenado which makes a nearby skeleton explode and potentially other skeletons explode in a chain reaction. Some nine spells are included along with notes on the Mnemocrypt of Vazimak the Thanaturge and others. The spells are all enjoyably inventive and nasty, especially for a villainous necromancer, and so could easily be added to his spellbook even if the Dungeon Master is not using Mnemocrypts. However, they are a clever idea in themselves, adding elements of longevity and research to an artefact. Hopefully, there will be more of them detailed in future issues of The Undercroft, or even more collected in a supplement from the publisher.
Daniel Sell’s ‘Dwarfen Trinkets and Artifacts’ is a table of one hundred items that might be found in a Dwarven home or purchased from a deal in such things. They include a lock of your mother’s beard, a Dwarven novel, a nest of copper and steel wires that is in fact a Dwarven map of the region, a bar of extra strong hair wax, and more. It is all rather mundane and intentionally so. These are a hundred mundane and ordinary items, diverse and engaging in nature, good for adding colour to a campaign with Dwarves, but at the same time, it does feel like filler—a bit.
‘Gallowsport’ by Sándor Gebei describes a dark and unforgiving harbour area beset by poverty, squalor, and organised crime, but contrasted by oddities that have come from abroad. Beginning with the features—sights, sounds, smells, buildings, and activity day and night—of the neighbourhood, it is detailed in table and bullet point fashions. There are tables for ‘Curios From Dark Seas and Distant Shores’, ‘Encounters’, ‘Rumours’, and more, as well as thumbnail descriptions of various landmarks and interesting places. So a curio might be a stiletto used in thirteen successful royal assassinations, an encounter with two beggars brawling whilst sailors look on and place bets, a rumour that a nearby abandoned lighthouse holds cursed treasure protected by giant crabs, and a ship in port might be the Venus, an infamous pleasure boat decorated in bawdy style. Together, the format and the fact that it is systems-neutral, make ‘Gallowsport’ very easy to use. A Dungeon Master can easily take this as is and drop it into the port city or town of his choice, using the roleplaying system of his choice.
The Undercroft No. 12 needs an edit in place, but is otherwise neat and tidy, and enjoyably illustrated. The cover, wraparound in full colour, is weird and creepy, full of eyes and eye-people as a thief looks on. 
The Undercroft No. 12 feels slighter because of the long list of gewgaws and knickknacks to be found in the centre of its pages. This is not to say that this list is not useful, but it is not necessarily as interesting or as immediately useful alongside the rest of the issue. The other entries in the issue are more engaging and will likely support play in a long term. Overall, The Undercroft No. 12 is a solid, serviceable issue.
The return of The Undercroft No. 11 is certainly welcome, and despite the shift to support for Dungeons & Dragons, Fifth Edition for some of its content, it still presents oddities and weirdness just as the previous issues did. Thus Dungeon Masters can use the oddities and weirdness just as much as Referees can for the Retroclone of their choice. 

Reviews from R'lyeh Post-Christmas Dozen 2020

Reviews from R'lyeh -

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


—oOo—
Ancestry & Culture: An Alternative to Race in 5eArcanist Press ($24.95/£18.50)There can be no doubt that 2020 has been a fractious year and a year in which no subject matter has been more contentious than that of Race. So it was inevitable that questions about ‘Race’ and the stereotypes that the concept of ‘Race’ in roleplaying games such as Dungeons & Dragons enforces would be asked. Does a Gnome always live the forest and have an affinity for illusion magic? Does a Dwarf always have a beard, hate Goblins, and be trained as a smith, stonemason, or brewer? Why are there only Half-Orcs and Half-Elves? On the one hand, the answer is ‘yes’, because that is the way that it has always been—and in your Dungeons & Dragons campaign, there is nothing wrong in keeping it that way. On the other hand, the answer is a firm ‘no’. If you want your half-Orc to grow up amongst Halflings and have led a gentler life, or your character to have an Elf father and a Tielfling mother, than that is equally as acceptable. Ancestry & Culture: An Alternative to Race in 5e is a supplement which explores and addresses the issue of ‘Race’ in Dungeons & Dragons, Fifth Edition, providing options for you to create and play the types of characters that not only break the mold set by almost fifty years of Dungeons & Dragons history, but are the types of character you want to play.
Alien The Roleplaying Game – Starter SetFree League Publishing ($54.50/£39.99)Few starter sets for any roleplaying game come as packed as that for Alien The Roleplaying Game, the ‘Blue Collar’ Science Fiction-Horror roleplaying based on the films Alien, Aliens, and more. A rulebook, a complete scenario in ‘Chariot of the Gods’, a full-colour double-sided map showing charted space and starship plans, plus reference cards and counters, everything necessary to play a game of existential dread and horror in the isolation of deep space, all complicated by the personal agendas of the crew. Not only is the Alien The Roleplaying Game – Starter Set well appointed, it is superbly illustrated, in turns creepy and horrifying, and its mechanics—a variant of Free League Publishing’s Year Zero system—are designed to drive Player Character Stress up and up, first into hypercompetence, and then into panic and dread. Panic and dread that can spread and escalate… Lastly, the Alien The Roleplaying Game – Starter Set can be used to run Destroyer of Worlds, a scenario involving the Colonial Marines.
Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in GloranthaChaoisum, Inc. ($39.95/£29.99)2020 was a great for the Jonstown Compendium, Chaosium, Inc.’s community content programme for RuneQuest: Roleplaying in Glorantha and other roleplaying games set in Glorantha. One of the best is Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha, a complete introductory campaign set in Glorantha designed to take characters from children through initiation and into their first few seasons as adults among an isolated clan in Sartar. It is also a complete description of this clan and the Player Characters’ place in it, an initiation for the Player Characters, their players, and the Game Master into the mysteries of Glorantha, and more. Fundamentally though, it is a campaign which takes the players and their characters step-by-step into the setting of Glorantha before forcing them into a confrontation with events from wider world beyond their vale. Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha is a fantastic introduction to a fantastic world, one of the first titles a prospective Game Master of RuneQuest: Roleplaying in Glorantha should purchase from the Jonstown Compendium.
FATE of CthulhuEvil Hat Games ($39.99/£29.99)The influence of the Cthulhu mythos continues to ripple through the gaming hobby to spread and warp the options available when it comes to Lovecraftian investigative roleplaying. When it reached FATE Core, it did something completely different. It combined the Cthulhu Mythos with a ‘going back in time to save the world’ plot a la The Terminator not once, not twice, but five times! In FATE of Cthulhu, the End Times have come about and the survivors have made sacrifices to Yog-Sothoth to be able to go back before the disaster which befell humanity and perhaps foil its most twisted members in their attempt to welcome their inhuman masters back into the world. Whether it is Cthulhu, Dagon, Shub-Nigggurath, Nyarlathotep, or the King in Yellow, FATE of Cthulhu includes five timelines—or campaigns—which the investigators must go back to and disrupt the five events of which lead up to each of the Old One’s calamitous appearance, in the process facing not just the sanity-draining revelations of the true nature of the cosmos and mankind’s place in it, but also the potentially, physically corruptive effect of being exposed to it. FATE of Cthulhu is a more action-orientated, more direct, and more upfront about its confrontation with the forces of the Mythos and all the more refreshing for it.
Cyberpunk REDR. Talsorian Games Inc. ($60/£45)Forty years after the publication of Cyberpunk 2.0.2.0., the classic Cyberpunk roleplaying game returns in the form of Cyberpunk RED, set three decades before the computer roleplaying game, Cyberpunk 2077, also released this year. As well as improving and streamlining the mechanics—still familiar from the previous editions of the game—Cyberpunk RED pushes the timeline on two decades, into a post-mega-corp future where nation states are pushing back against rampant corporate influence, but the world, and the punk on the street, still has to deal with the fallout (sometimes literally)  from the Fourth Corporate War. Solos still provide jacked up, cybered muscle and cyber-eye targeting handguns to bring force and leverage to a situation, Media reports and now ‘makes’ the (fake) news, Execs represent cooperate interests, and Netrunners jack in and hack the post-NET world to steal data, sabotage, monitor, and more. Cyberpunk RED provides background, cyberware, streamlined and updated rules, solid advice on running the game and game types, and more to run a campaign on the edge, in a book which will look as good on the coffee table as on your shelf.
MÖRK BORG Artpunk RPGFree League Publishing ($39.99/£27.99)Stripped back to a stark brutalism, MÖRK BORG is a pitch-black pre-apocalyptic fantasy roleplaying game which brings a Nordic death metal sensibility to the Old School Renaissance. At the end of the world, there is one last dark age before all of the miseries come to pass as predicted by The Two-Headed Basilisks in which Fanged Deserters, Gutterborn Scum, Esoteric Hermits, Heretical Priests, Occult Herbmasters, and Wretched Royalty pick over the last remnants of civilisation on an island surrounded by an icy sea and as rotten as they are, make last grasps at heroism and their humanity, undertaking strange missions and tasks from the high and mighty, from The Two-Headed Basilisks’ gothic cathedral in Galgenbeck and Blood-countess Anthelia’s limestone palace, to the fields of death in Graven-Tosk and the barren wastes of Kergüs. From the doomed setting to the ultra-light mechanics, all of MÖRK BORG is wrapped up in vibrant washes of neon colour, splashes of sticky red blood, and stabs of polished silver, in what is an anguished scream of a game.
An Inner Darkness: Fighting for Justice Against Eldritch Horrors and Our Own Inhumanity is a Call of CthulhuGolden Goblin Press ($35/£25.99)Like the superlative Harlem Unbound: A Sourcebook for the Call of Cthulhu and Gumshoe Roleplaying Games—arguably the best supplement of 2017—before it, An Inner Darkness is a supplement for Call of Cthulhu, Seventh Edition which explores the darker side human history during the Jazz Age. Thus, the anthology’s subject matters include child exploitation, sexual assault, mob violence, nativism, religious persecution, and racial discrimination, which is why it carries a Reader Advisory and that despite the fact that it also deals with cosmic horror which can drive the Investigators mad. This is an undeniably an adult, or at least a mature, gamer’s book and is unflinching in its treatment of its subject matters. Never more so that in ‘A Fresh Coat of White Paint’ which draws parallels between the treatment of immigrants now and then, ‘A Family Way’ which forces the investigators to confront the terrible consequences of sexual assault, and in ‘Fire Without Light’ that explores the aftermath of the Tulsa Race Riots of 1921. All six scenarios are uncomfortable to both run and play, forcing Keeper and player alike to confront the horror of our actual history as well as the horror of the Mythos. They should be no less memorable for either the history or the horror.
Mausritter*Games Omnivorous ($25/£20)Mausritter is a little game about little heroes in a big world. In this rules-light fantasy adventure role-playing game, each player character is a brave mouse adventurer, faced with a dangerous world in which there is threat to mouse-kind under every log and in every bush. Rush nose-first into every situation, and a mouse is sure to come to a short, but nasty end. By being clever and brave and lucky, a mouse can overcome the dangers the world presents to him, find a solution to the problem threatening his community, and perhaps become a hero in doing so. Mausritter is fast to set-up and fast to play—all too fast if a mouse is foolish, or just plain unlucky—and presents a world we recognise from above, which become a big challenge from below when faced at mouse scale. As well as simple mechanics, Mausritter employs an innovative inventory system which streamlines what and how many things a mouse is carrying and brings a clever mechanical effect into play when a mouse suffers from conditions such as Hungry or Injured. The Mausritter book also includes an adventure location to explore and a mouse kingdom base a campaign in. All wrapped up in a totally charming little book.
* (In the interests of transparency, I did edit the new edition of Mausritter.)
Valley of PlentyChaosium, Inc./Troupe Games ($35/£25.99)2020 was a great for the Jonstown Compendium, Chaosium, Inc.’s community content programme for RuneQuest: Roleplaying in Glorantha and other roleplaying games set in Glorantha. One of the best is Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha, a complete introductory campaign set in Glorantha designed to take characters from children through initiation and into their first few seasons as adults among an isolated clan in Sartar. However, the Jonstown Compendium was so good that it did it all over again with Valley of Plenty, a starter campaign not for RuneQuest: Roleplaying in Glorantha, but for QuestWorlds (previously known as  and compatible with HeroQuest: Glorantha), but very much still set in Sartar. The first part of The Jaldonkillers Saga, which will take the player characters from the idyll of their childhood through the sundering of their tribe and beyond to its reconstitution in exile and then the efforts made to retake both their tribe’s lands and glory. Use of the QuestWorlds mechanics enables the campaign to narratively scaled to the characters and the campaign is very well supported in terms of its background and setting. This is another great introduction to roleplaying in Glorantha, which takes both players and their characters step-by-step into the setting, its mythology, and drama.
Aliens: Another Glorious Day in the CorpsGale Fore Nine, LLC ($60/£44.99)Aliens: Another Glorious Day in the Corps—or just another bug hunt—puts the players in command of Vasquez, Hicks, Ripley, and others, colonial marines or civilians as they land on and then investigate the strangely empty facility of Hadley’s Hope, looking for survivors, and answers… All too quickly they find out what happened as swarms of relentless monsters from hell which capture you for who knows what reason, have acid for blood, and if not capturing you, then ripping you apart, erupt from the walls and swarm towards you. The colonial marines are trained for anything, but not this and they had better keep their cool and stay frosty in this tense, co-operative, tactical standoff against an implacable, alien foe. The players work together against the board, whether on a bug hunt, or one of several missions which form a campaign. Aliens: Another Glorious Day in the Corps is richly appointed with reversable maps, character cards for members of the Aliens cast, equipment, and more, including miniatures for Ripley, Newt, five of the colonial marines, and xenomorphs. Aliens: Another Glorious Day in the Corps brings the science fiction-horror of Aliens to the table and lets you play out the tense standoff and cat and mouse action horror of the film.
Vaesen – Nordic Horror RoleplayingFree League Publishing ($55/£39.99)Based on the work of Swedish illustrator and author Johan Egerkrans, Vaesen – Nordic Horror Roleplaying takes you into a dark Gothic setting of the nineteenth century, one steeped in Nordic folklore and old myths of Scandinavia. Long have the vaesen—familiars, nature spirits, shapeshifters, spirits of the dead, and other monsters lived quietly alongside mankind, for mankind knew their ways and the vaesen understood ours, but as the century wanes, the Mythic North is changing. The young are moving to the cities, the cities are industrialising, and the old ways are being forgotten, but not by the vaesen—and they are becoming unruly and dangerous. As members of the newly refounded The Society, the player characters have the gift of the Sight, able to see the vaesen and despite all possessing their own dark secrets have decided to band together and protect mankind against the threat posed by the vaesen. Whatever mystery presents itself to them, whatever horror or suspense they must suffer, the player characters must find a solution to the disruption caused by the vaesen, a solution that requires means other than brute force. Vaesen – Nordic Horror Roleplaying is a beautiful game, oozing atmosphere and hiding secrets for the player characters to discover, secrets forgotten in this very modern, industrial age.
Dissident WhispersThe Whisper Collective/Tuesday Night Games ($30/£25)Dissident Whispers is an anthology of fifty-eight two-page adventures for roleplaying games as diverse as Basic/Expert Dungeons & Dragons, The Black Hack, Dungeon Crawl Classics, Dungeons & Dragons, Fifth Edition, Electric Bastionland, Mausritter, MÖRK BORG, Mothership Sci-Fi Horror RPG, Trophy Gold, Troika!, The Ultraviolet Grasslands, and more, including many systems neutral adventures. It has been put together by an international and diverse range of authors, designers, editors, and illustrators. So it includes ‘Graktil – The Citadel that Crawls’,  a hallowed scorpion corpse turned mobile goblin fortress; ‘Snake Temple Abduction’, the partly flooded dungeon home to a medusa queen; and ‘Necropolis of Pashtep’, an Aztec-themed puzzle dungeon. For the Mothership Sci-Fi Horror RPG, ‘Hideo’s World’ turns the player characters virtual, whilst ‘Flails Akimbo’ for MÖRK BORG has the player character wake up with their weapons nailed to their hands, and… There is so much to dig into in Dissident Whispers, in truth not all of it necessarily the best quality. However, there are plenty of adventures here that are worth the price of admission and of the adventures that are not worth that, there are many here that are worth rescuing or plundering for ideas. Last and best of all, every purchase of Dissident Whispers goes towards the support of the Black Lives Matter movement.

[Fanzine Focus XXII] Crawl! No. 6: Classic Class Collection

Reviews from R'lyeh -

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Another choice is the Dungeon Crawl Classics Role Playing Game.

Published by Straycouches PressCrawl! is one such fanzine dedicated to the Dungeon Crawl Classics Role Playing Game. Since Crawl! No. 1 was published in March, 2012 has not only provided ongoing support for the roleplaying game, but also been kept in print by Goodman Games. Now because of online printing sources like Lulu.com, it is no longer as difficult to keep fanzines from going out of print, so it is not that much of a surprise that issues of Crawl! remain in print. It is though, pleasing to see a publisher like Goodman Games support fan efforts like this fanzine by keeping them in print and selling them directly.

Where Crawl! No. 1 was something of a mixed bag, Crawl! #2 was a surprisingly focused, exploring the role of loot in the Dungeon Crawl Classics Role Playing Game and describing various pieces of treasure and items of equipment that the Player Characters might find and use. Similarly, Crawl! #3 was just as focused, but the subject of its focus was magic rather than treasure. Unfortunately, the fact that a later printing of Crawl! No. 1 reprinted content from Crawl! #3 somewhat undermined the content and usefulness of Crawl! #3. Fortunately, Crawl! Issue Number Four was devoted to Yves Larochelle’s ‘The Tainted Forest Thorum’, a scenario for the Dungeon Crawl Classics Role Playing Game for characters of Fifth Level. Crawl! Issue V continued the run of themed issues, focusing on monsters, but ultimately to not always impressive effect.
As the title suggests, Crawl! Issue No. 6: Classic Class Collection is all about Classes in the Dungeon Crawl Classics Role Playing Game. One of the interesting aspects of the Dungeon Crawl Classics Role Playing Game is that Goodman Games has supported it with scenarios and campaign settings, but not with expansions to the core rules. So no new volumes of monsters, character Classes, spells, and magical items, thus giving scope for the community to create this content, for example in fanzines such as Crawl! and the Gongfarmer’s Almanac. However, this does mean that in coming to Dungeon Crawl Classics Role Playing Game there are fewer Classes to choose from, certainly in comparison to classic Dungeons & Dragons. The choices include Cleric, Thief, Warrior, and Wizard, plus because Dungeon Crawl Classics Role Playing Game does ‘Race as Class’, then Dwarf, Elf, and Halfling each as a Class. Which means that there are some classic Dungeons & Dragons Classes omitted, and these omissions are what set Crawl! No. 6: Classic Class Collection sets out , if not to rectify, then at least, give the options if a playing group wants to rectify them. Crawl! No. 6: Classic Class Collection does not provide the playing group with all of the ‘missing’ character Classes, but just four of them, plus options for a standard Class in the Dungeon Crawl Classics Role Playing Game.
The first Class in Crawl! No. 6: Classic Class Collection is the first of two by Jose Lira and is the ‘Bard’, possibly one of the most contentious Classes in Dungeons & Dragons. Like the Cleric, Thief, Warrior, and Wizard, it is a Human-only Class, this version of the Bard being a knowledgeable performer, able to cast limited magic spells, and has a number of Bardic Talents. How the Bard performs depends on his Alignment. So the Lawful Bard is typically found as a village or town entertainer or historian, perhaps even a heard for royalty; the Neutral Bard is common, a travelling entertainer, collecting tales and songs, sometimes in a troupe; and the Chaotic Bard puts on challenging performances, such as walking on a tightrope over a waterfall or dancing around swords, and they might even be spies or con-men. The Bard’s spells are randomly gained from a limited list which changes and grows smaller as the Bard gains Levels from a limited list. The Bardic Talents are Call to Arms, Challenge, and Calm, and can be used in and out of combat, but all require a roll on the Bardic Talent Checks Table with the Bard’s Talent Die plus Personality modifier to give results ranging from ‘Failure’ and ‘Boo, Hiss’ to ‘A Noble Performance’ and ‘A King’s Show’. Overall, it is nicely playable, but stripped back version of the Class which retains its major features.
Jose Lira follows the bard with a version of the ‘Paladin’, the classic, holy warrior. Key to the Class is his Alignment. So Lawful Paladins follow gods of good, harvest, light, and protection, Chaotic Paladins worship dark gods of war and destruction, and Neutral Paladins adhere to a balance between the two. A Paladin has access to divine magic, use Smite to add a bonus or Smite die to his attack and damage rolls made against his god’s enemies, and can do Holy Deeds, such as Lay on Hands, Instil Bravery, and Cause Fear. These require a roll on the Paladin Holy Deeds Table, with a chance of failure. When that happens, the Paladin gains his deity’s disapproval and his Disapproval rating is raised by one. The greater a Paladin’s Disapproval rating, the greater the likelihood of his Holy Deed failing and the greater the act of attrition necessary. Lira’s version of the Paladin follows that of the Bard not feeling overly complex, but retaining the Class’ notable features and their potential for roleplaying.
The only non-Human Class in Crawl! No. 6: Classic Class Collection is the ‘Gnome’ by Yves Larochelle. Consisting of just five Levels, the Gnome is generally a Neutral Class and although a spellcaster, has access to a limited number of spells. Most of the Class’ spells consist of illusion, deception, and trickery magic, such as Charm person, Colour Spray, ESP, Mirror Image, and the like. The Gnome also has the Trick die, added to the roll to determine the outcome of a spell check, instead of the Gnome’s Level. The Gnome is also resistant to magic and can detect gems and precious stones, but more importantly, a Gnome can create sturdy illusions that can cause damage or even instil fear. It is accompanied by a new spell, Scripted Illusion, which enables the caster to build a programmed response into the illusion. This enables the caster to be inventive in setting up traps and effects, adding another engaging element to the Gnome Class. 
The last Class in Crawl! No. 6: Classic Class Collection is the ‘Ranger’ by Raskal. Another Human-only Class, it is again flavoured by a Player Character’s Alignment. A Chaotic Rangers is a fearless raider, dedicated protector of nature, or obsessive trophy hunter and a Lawful Ranger is likely to be an army scout, frontiers patrolman, or bounty hunter tracking down criminals, but most Rangers are Neutral, lone wanderers in the wilderness. Mechanically, the Ranger receives a Deed die instead of a fixed bonus to attack, can either become an Archery or a Two-weapon Expert, and gains various wilderness skills. It is a decent adaptation of the Class to Dungeon Crawl Classics Role Playing Game, but does not feel as inventive or as interesting to roleplay as the other Classes in Crawl! No. 6: Classic Class Collection
Lastly, Colin Chapman offers ‘My Thief, My Way! Custom Thief Skills in the DCC RPG’. It decouples Thieves’ Skills from the core tables in the Dungeon Crawl Classics Role Playing Game and thus Alignment. It instead offers the player with a Thief character more options in how his character’s skills progress. It is a small change, but gives reasons to look at the most skill-focused Class in the roleplaying game.
Physically, Crawl! No. 6: Classic Class Collection is neat and tidy. The few pieces of artwork are decent and the issue decently written. All four Classes basically do a good job taking traditional Classes from Dungeons & Dragons and mapping them onto the Dungeon Crawl Classics Role Playing Game. In many cases, there is an element or two of inventiveness that will encourage interesting roleplaying, such that Classes such as the ‘Gnome’ and the ‘Bard’ look interesting and fun to play. In fact, the four ‘new’ Classes feel lonely, as if there should be more of them to round out those missing from the Dungeon Crawl Classics Role Playing Game, as if Crawl! No. 6: Classic Class Collection should have been either longer or actually a supplement in its own right rather than just an issue of a fanzine. However, as an issue of a fanzine, Crawl! No. 6: Classic Class Collection is a solid edition, its contents easy enough to add to a Dungeon Crawl Classics Role Playing Game campaign and hopefully to be further explored in future issues.

A Year in the Iso-Cubes: The Mutants Recap 2020

We Are the Mutants -

Recollections / December 31, 2020 TELEMMGLPICT000137577656_1_trans_NvBQzQNjv4Bq0TrNspzLiqItVcUZLpZHegLAO3oYeUItLnNLiuBiSoY

2020 in action

MCKENNA: Christ on a bike, it has been a year. Who would have imagined back when we started 2020 with a frivolous piece on little plastic spacemen the grim turn things were about to take? And to think, back in a previous end-of-year mutants communiqué, we were hubristic enough to say that 2018 had been punishing, jejune fools that we were! 2020 didn’t like that and decided to show us what punishing really meant: an appalling bastard physically, mentally, and financially that has put immense numbers of people through nightmarish shit. So what better way to indulge in a bit of propitiatory magic in the hope of a better 2021 than by quickly listing a few of the gems your faithful muties have been fortunate enough to find embedded in the continent-sized turd that has been the year? So Mike, Kelly—what have you two stumbled across in the last twelve months that’s given you a glimmer of optimism?

GRASSO: Richard, first things first: when Jenny and I were going through our own presumed COVID infection back in the spring, one of the things that kept me going was chatting with you early in the mornings, whinging about symptoms, lamenting my suddenly swiss-cheesed brain, worrying about… well, nearly everything. So friends have absolutely kept me going this year, and having you and Kelly as comrades and creative partners for a fifth year has been the lifeline that’s largely kept me going.

Like I may have mentioned, much of everything before our recovery in about June is a bit of a blur, sadly. I did stay sane like many people during the first months of the pandemic by watching, yes, Tiger King, which, by the time it was over, got me wanting to watch an earlier, much better Netflix documentary on the tension created by the collision of cultic belief with American capitalist culture, Wild Wild Country. Both of these, though, paled in comparison to the recent release of Heaven’s Gate: The Cult of Cults on HBO Max, a terrific and nuanced look at the individuals who found themselves so damaged by a society that denied them wonder and companionship that they marched off to their deaths for beliefs that seemed insane to everyone outside the group. People were talking about it around the election for precisely the wrong reasons, I found.

Honestly, though, I haven’t had the attention span for much visual media this year. I’ve been doing far more reading and listening. I’ll start with Carl Neville’s fascinating novel of a sideways Earth where an out of control right-accelerationist America faces off against a mostly-Communist rest of the world (including the UK), Eminent Domain. Its deep, detail-packed examination of a “utopia with dystopian characteristics”—a largely post-scarcity “People’s Republic of Britain” where a 1990s revolution against the CEOs and toffs has allowed an ostensibly classless technologically-driven society to flourish—is a political thriller, a spy novel, an exploration of alternate-history culture and art, and in the character that I identified with most—a young American college student who falls in love with the PRB thanks to its cultural products, art, and music—a simultaneous celebration and warning about falling in love with a place you’ve never been. It changed my life in a lot of ways and I’m unimaginably proud I got together with Carl to talk about it back during the summer.

ROBERTS: A blur is right. It’s almost like I’m existing in somebody’s demented time-lapse photography experiment. These (so far) nine months have been hard and they have certainly changed my life—the extent of that change won’t be clear to me until some sense of normality (what does that word mean anymore?) reasserts itself (or my mind inserts it). With a full-time-plus job in a public university health system and two kids at home who are deeply bored and sometimes furious at the inadequacies of Zoom, I haven’t had a hell of a lot of time or energy for discoveries. But I did re-watch a lot of disaster movies, a genre we subsequently (and rather angrily, on my part) wrote about here.

And we did get some great news in 2020: we signed a contract with Repeater to do a book exploring the themes of reaction and resistance in American film from about 1967 through 1987, and it’s been a lot of fun, as well as a welcome distraction, watching so many films from the era and finalizing the chapter list with you guys. It’s also been really hard, because we have no choice but to leave out so many movies we love and admire. I’m really excited about the final list, though, a mix that’s heavy on genre but also includes a few blockbusters, a couple of documentaries, some exploitation classics, and some absolute gems that have all but disappeared from the public eye. The idea is that each chapter will pair two films that may not have much in common on the surface, but connect profoundly on a deeper level.

This project, as well as the videocasts we’ve done, has gone a long way in keeping me sane.

MCKENNA: Yes, having you two to shoot the breeze with has been good—well, those of you two that aren’t a grumpy, monosyllabic Californian. Naming no names. But this year’s definitely brought home how fortunate I am. Work’s been tough but at least there’s been some, which is more than a lot of people have had. I was sick in March—fuck knows what it was but I’ve never had such weird symptoms (annotated list available on request—really). It only lasted a week, but I was still in a weird state when it finished, because work was at a complete standstill, I spent it in bed, and for some reason it seemed to make sense to devote the time to watching or re-watching a lot of Bela Tarr films. At the risk of sounding a bit precious, it was an oddly therapeutic experience that I’d recommend, if you’re lucky enough to have the time. And even though I’m sick to the back teeth of Lovecraft, have had enough Nic Cage to do me for the next few decades and never had much time for Richard Stanley in the first place, I actually found myself quite enjoying 2019’s The Color out of Space.

Despite the numbing effect of events, one thing that did make a big impact on me was James Cawthorn: The Man and His Art. There’s so much beautifully rendered art around nowadays, but (and it may just be because I’m getting older) it often seems a bit too perfect—so intimidatingly slick that it can come off as strangely impersonal and unaffecting. That’s not the case with Cawthorn’s stuff—it’s like getting zapped with a cattleprod. I read John Varley’s Gaea trilogy, which I started off thinking was everything I dislike about SF but which turned out to be a lot that I love about it, and, prompted by the website Science Fiction Ruminations, I also read Nancy Kress’s brilliant Alien Light, Suzy McKee Charnas’s brilliant Walk to the End of the World, and finally read some Tanith Lee, which was even better than I’d been hoping since I first meant to read her in 1984.

Music-wise, I fell in love with Fushigi, a 1986 album by Akina Nakamori, Caterina Barbieri’s latest, 2019 Ecstatic Computation, which is just as great as its predecessors, and Yasmine Hamdan’s Arabology (after a tip off by fellow mutant Daniele Cassandro). And of course, a shitload of Hawkwind, after a review copy of Joe Banks’s brilliant Hawkwind: Days of the Underground (review on its way, but in the meantime Joe has written us a great article on the band) spurred me to pull out all my old Hawkwind records and blast myself into the cosmos.

GRASSO: I remember finding myself, immediately after recovering from COVID, really needing music on a near visceral level, spending hours listening to NTS Radio and ordering countless vinyl and DVD compilations from Numero Group, getting into micro-genres and musical scenes I’d never really delved into before. That died off somewhere in the autumn, as I began to mourn what really always attracted me to music, and that is the communal experience of listening and talking about it, which didn’t translate into my isolated life all that well. (One of the exceptions was listening to mixes made by friends and artists I love, but I’ll come back to that in a bit.)

But there was one musical experience in that very difficult autumn that did evoke a sense of community, and that was the release of Oneohtrix Point Never’s semi-eponymous masterpiece LP Magic Oneohtrix Point Never. Given the fact that I was already acquaintances with quite a few fans of Daniel Lopatin’s work, getting to share the experience of listening to and diving deep into the themes and symbolism around this intensely personal album was a delight. Lopatin has always acted as a theorist of nostalgia and media history, and on this album, he uses the conceit of a single day on old-school terrestrial radio, replete with “dayparts” aimed at distinct audiences and demographics, to explore his own career obsessions with the bits of our lives that fall through the cracks of a lifetime bombarded by media. Lopatin’s obsessions around our once-mighty collective pop culture monoculture, its historical fragmentation, and its digital afterlife spoke to me in a year where our collective isolation grew more grim:

“There’s a kind of thesis in [album closer “Nothing’s Special”]. It was a really rough fucking year and it’s been hard for everybody. Something that’s always given me a lot of solace when I’m in a funk is that I notice that I’ve become disenchanted. The thing that can kind of re-enchant me very quickly when I get there is to remember that—like the Philip K. Dick quote said—everything is kind of divine, and everything is interesting, including the stuff between the dials. The noise.

Honestly I did find myself revisiting what you might call media “comfort food” at various points in 2020; I did a complete re-read of James Ellroy’s Underworld USA trilogy and did (er, multiple) rewatches of my favorite Scorsese filmsGoodfellas, Casino, and new entrant to the Scorsese pantheon The Irishman—all those tales of white men behind the scenes in the shadows acting badly, those paeans to what Mark Fisher called a “desensitization [to] capitalist realism.” Somehow those old-fashioned, bloody, up-close-and-personal brutalities and cruelties seemed easier to take than the impersonal mass slaughter going on outside our quarantined walls. At least in a Scorsese film or an Ellroy novel you (might) get to look in the eyes of the guy who kills you.

One other old favorite author who surprised this year was Don DeLillo, whose efforts in the ’10s have become almost like prose-poetry: spare, evocative, sketching the edges of our collective collapse. In his slim but powerful 2020 release The Silence, he imagines the loss of our digital commons on possibly the most media-laden holy day of our American calendar: Super Bowl Sunday. Given the dislocations that coronavirus has wrought on all our senses of time and place (especially in relation to using professional sports to orient ourselves in our yearly cycles and how badly COVID scrambled these collective rituals), I found DeLillo’s haunting novella to be both a valedictory for his own career and for an older world of media and parapolitical action that he has helped explain and explore.

But mostly what got me through 2020 were my friends. As acutely painful as it was for me to be physically separated from those friends for a full year, they invariably kept me sane, safe, solvent, and prevented the worst of the demons from knocking at my door. Whether it was gathering online to play Among Us (I have lots of thoughts on why a video game based around betrayal and suspicion became the year’s biggest hit) or just hanging out in those cursed Zoom boxes, without this minimal level of contact I would have surely lost my mind completely. I started a new tabletop RPG campaign online this year, set in the Weird Seventies, and my players have knocked me out time and time again with their own worldbuilding, character development, and exploration of the game’s themes that have been for me much like a magickal Working. This includes, yes, a mix of psychedelic rock, funk, folk, soul, and Motorik music from ’69 to ’73 contributed by player and comrade Leonard Pierce that was a delight to discover and listen to over and over this year. So thanks to the URIEL team. And yes, the planning and writing of the Mutants book (in addition to the Repeater media channel I’ve been working on) has me excited to throw myself into new projects in 2021. So to everyone who’s stuck with us through a once-in-a-century calamity, who’s submitted their own thoughts to our pages, who has shared or commented on our pieces during this difficult time—thank you, yet again. You’re the reason why we keep at it, why we keep plugging away.

ROBERTS: When I have had a couple of hours to myself, I’ve been rewatching a lot of stuff from the late ’80s and early ’90s, starting with Predator and Predator 2, inspired by Alex Evans’s great piece on the first one. And you know what? I really like 2010’s Predators too. Everybody says Adrien Brody was miscast, but that’s bullshit. He’s great in it. He’s great in everything and people are always saying he’s miscast because he doesn’t look like Brad fucking Pitt. I also love 2004’s Alien vs. Predator—no, I will not be taking comments at this time. From there I revisited a really enjoyable Predator/Terminator rip-off called I Come in Peace (1990), starring my man Dolph Lundgren and, ahem, Brian Benben, who many of you will remember from HBO’s long-running series Dream On. It’s certainly nothing you haven’t seen before, but the chemistry between Dolph, the renegade cop, and Benben, the by-the-book FBI geek, is great, and the evil alien (Matthias Hues) shooting tubes into his victims’ brains to suck out the endorphins (an addictive drug on his home planet) is a nice touch.

Another buried treasure from that high-’80s period is Cherry 2000. I saw it when it came out on video (it did not receive a theatrical release in the US) and didn’t remember much, but it’s got a lot of spirit, and the plot is, er, unique: in 2017(!), a businessman’s sex robot shorts out, and he is so in love with it/her (a Cherry 2000 model) that he hires a tracker (human tough gal Melanie Griffith) to take him into Zone 7 (which turns out to be a destroyed Las Vegas) to find and bring home a replacement. I am in no shape to take on the sexual politics right now, but the film is really colorful and uses a lot of kitschy design elements from the ’50s and ’60s to describe its post-apocalyptic setting, there are some excellent action sequences, and supporting turns from Tim Thomerson (the bad guy, who ends up crucified on a Las Vegas casino sign) and legend Ben Johnson (Shane, The Last Picture Show) make up for the stilted performances of the leads. Director Steve De Jarnatt also directed Miracle Mile (1988), another low-budget cult classic that I watched again and still love.

Aside from research on the book, I’ve read literally jack shit this whole year. My mind can’t do it. Music is an endless loop of the Charlie XCX channel (apparently there is something called hyperpop, and I dig it), New Age ’80s ambient, and anything that resembles the ’80s output of Toto, Rick Springfield, and The Cars.

MCKENNA: I Come in Peace is a fucking rocker, on that we can all agree. And I also agree that Adrien Brody deserves more credit, not least for being one of the few credibly punk faces in a film (Spike Lee’s 1999 Summer of Sam). Anyway, as Mike has so eloquently put it, thank you on behalf of all of us to all of you who have taken the time to read We Are the Mutants this year and anyone who’s supported us in any way, whether by contributing or by commenting, or retweeting, or forking out cash, or whatever—it really is much appreciated. And while I’m at it, thank you two for putting up with me too! With so many going through so much shit, wishing anyone “Happy New Year” sounds a bit empty, but fuck it, Happy New Year anyway!

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