Out of Time is the first campaign for Tales from the Loop – Roleplaying in the ’80s That Never Was –and quite possibly the last. With Out of Time, Free League Publishing brings the award-winning roleplaying game based on the paintings of Simon Stålenhag to a close. Throughout this alternate childhood of the 1980s, young teenagers have explored rural small-town Sweden, but a rural small-town Sweden in which its streets, woods and fields, and skies and seas are populated by robots, gravitic tractors and freighters, strange sensor devices, and even creatures from the long past. To the inhabitants of this landscape, this is all perfectly normal—at least to the adults. To the children of this landscape, this technology is a thing of fascination, of wonderment, and of the strangeness that often only they can see. In Tales from the Loop, it is often this technology that is the cause of the adventures that the children—the Player Characters—will have away from their mundane, often difficult lives at home and at school. Taking place at the end of the decade, Out of Time takes place over the course of year, but has potential to be something more—and all because the campaign involves time travel…

Out of Time begins with a rash of pets and farm animals going missing, followed by flyers asking for information about lost pets going up across the neighbourhood, then rumours of a mechanical contraption seen roaming the fields outside the small communities of the Mälaren Islands. When the Player Characters investigate, they discover the first of many strange experiments taking place, experiments which get stranger and stranger as the campaign progresses. Later, their summer takes a decidedly strange, literally ‘Out of the Body’ turn, which reveals more of the Mystery, before the weather gets randomly worse and storms threaten to shut the region down. Ultimately, to solve the Mystery and even save the world, the Player Characters must sneak out during a lockdown and break into the Facility for Research in High Energy Physics—or ‘The Loop’—the world’s largest particle accelerator, constructed and run by the government agency, Riksenergi. There at last they can discover what links the storms out of nowhere which bring strange mud and sand, the repeated crashes of the magnetrine ship Susi Talvi, the weird flashbacks at their summer camp, and the 1969 moon landing.

The campaigns consists of a trilogy of scenarios—‘The Animal Ark’, ‘Summer Camp’, and ‘The Storm in the Hourglass’. The first takes place just before Christmas, 1988, which only serves to heighten the fractious state of their home lives, but at the same time, there are reports of missing animals, strange devices can be found scattered throughout the area, and a magnetrine ship appears out of a rip in the sky to crash again and again. ‘The Animal Ark’ is quite a short scenario, but does a good job of setting up the campaign, whilst giving the players scope to develop their characters’ home lives. There is advice for the Game Master and suggestions as to what can be added to reflect the heightened anxiety and emotions which seem to occur at Christmas, but many players will have had experiences of their own and can make suggestions of their own too. Essentially setting the scenario at Christmas serves to strengthen the two contrasting strands of a Tales from the Loop game, one being the Game Master presenting the weirdness of its alternative setting and the Mysteries of The Loop, the other being the players exploring the emotional, but mundane complexities of their characters’ home lives.

‘Summer Camp’ moves the time on to the summer of 1989 and the tradition of children being sent to summer camp. Here the Player Characters and other local children are kept busy with a range of outdoor activities, from hut building and gymnastics to orienteering and telling ghost stories round the fire. Things get strange though, when each of the Player Characters wakes up to find that not only is he not in his own body, but he is not in his own time—it is 1969! This presents a challenge for both character and player, as he must negotiate life in an unfamiliar period and negotiate unfamiliar relationships. This is in addition to the ups and downs of life at the summer camp, a strange old man in the woods, and weird dreams… Although replacement characters are provided for the players to roleplay in 1969, one of the options is for the Game Master to create the parents of the Player Characters from back in 1989. Here is a fantastic opportunity for the players to roleplay their characters’ parents and what they were like as children. However, this will take some extra effort upon the part of the Game Master to set up and develop, but the emotional payoff, as the Player Characters realise that their parents had Mysteries of their own to solve and weirdness going on around them just as their children do in 1989, is a great piece of storytelling…

‘The Storm in the Hourglass’ brings the campaign and the 1980s to a close. Set in the autumn of 1989, the storms back in ‘The Animal Ark’ appear again and begin to escalate, forcing the authorities to declare an emergency as the weather worsens. ‘Men in Black’ are seen around the Mälaren Islands as ‘time bubbles’, which when the Player Characters investigate, turn out to be unstable, appear across the region. There are indications too that the technology which has been a fixture of the Player Characters’ childhood is malfunctioning, including the Loop itself. The climax of the campaign will see the Player Characters hopping from time bubble to time bubble and breaking into the Graviton at the heart of the Loop, there to confront their antagonist and the threat she has created.

Of the three scenarios in Out of Time, ‘Summer Camp’ is the longest, mainly because there is a large number of camp activities and events to involve the Player Characters in before anything strange happens. Potentially, this may unbalance the tension between the ordinary and outré strands of a typical Tales from the Loop scenario. Probably the best solution would be for the Game Master to tailor the camp activities and events to the Player Characters to avoid this. As the campaign progresses though, it does grow in complexity, especially in the finale with all of the hopping from time bubble to time bubble.

As a campaign, Out of Time introduces an aspect intrinsically excluded from TTales from the Loop, and that is the potential death of a Player Character. In 1969, the Player Characters are threatened by the campaign’s antagonist with a gun—and she is not afraid to use it. Now in this sequence, it is not as much of an issue, since the Player Characters are not in their bodies, but it highlights the greater peril they face in the campaign. Of course, if the Game Master has decided to port the Player Characters back into their parents, it amplifies the peril, even threatening a Grandfather Paradox should one of the parents be shot and die… Back in 1989, there is the possibility that the Player Characters will fail and unlike in previous scenarios for Tales from the Loop, that has world-ending consequences…

The possibility of the Player Characters facing their death in Out of Time foreshadows another possible option for the campaign, which is to run it as a link between Tales from the Loop and its nineties sequel, Things from the Flood, where death for the Player Characters is a possibility. The authors suggest that the final part, ‘The Storm in the Hourglass’ be shifted forward to 1994 when the ‘Mälarö Leak’ occurred, hot, brown liquid bubbling up out of the ground, forcing an evacuation that would last for years, flooding the Loop, and precipitating to a scandal that would force the Swedish government to shut down Riksenergi and sell the Loop. The advice on this is perhaps somewhat underwritten and it does mean that there is a much longer gap between the events of ‘Summer School’ and ‘The Storm in the Hourglass’, during which time events will have moved out of the framework for Tales from the Loop. However, Out of Time does provide options which would bridge this gap.

The first option is a nonet of ‘Secret Places’, a Mystery Landscape which fits both the 1980s of Tales from the Loop and the 1990s of Things from the Flood. These range from the strange platforms, mechanical marvels, and scrap ships being seen throughout the area of ‘Castle in the Sky’ to the lone concrete foundation with a single hatch which appears having thrust up from the ground in ‘Extra Life’. All of the Mysteries come with an explanation as to the Truth, Hooks, Countdown, and the Antagonist, and can be easily slotted into a Game Master’s campaign or expanded as necessary. The second option is ‘The Mystery Machine’, a set of tables for inspiring and generating Mysteries of the Game Master’s own design, whilst the third, ‘The Mix-CD of Mysteries’ presents an octuple of Mysteries based on eight classic CD tracks from the nineties, such as Nirvana’s Smells Like Teen Spirit and Pulp’s Common People. Again, these come with an explanation as to the Truth, Hooks, Countdown, and the Antagonist, and can be easily slotted into a Game Master’s campaign or expanded as necessary. Again, just like the Mystery Landscape of ‘Secret Places’, they will need some development upon the part of the Game Master. However, most of the tracks listed come from the mid to late nineties and so thematically, do not quite bridge the gap between Tales from the Loop and Things from the Flood as well as a wider selection might do. In many cases, the mature nature of the lyrics and the Mysteries they inspire better suit the nineties and thus Things from the Flood than they do Tales from the Loop. Nevertheless, thematically they can be used to foreshadow the nineties and events of Things from the Flood and of course, inspire the Game Master to write her own using other lyrics.

Physically, Out of Time is as well presented as you would expect for a Tales from the Loop title. Of course, it highlights Simon Stålenhag’s fantastic artwork, but the writing is also good and the layout is clean, tidy, and accessible. All three scenarios follow the same format, making them easy to access and relatively easy to run.

It is great to finally have a campaign for Tales from the Loop, even if it is bringing the decade and the roleplaying game to a close. It should be no surprise that the campaign is challenging given it involves time travel, and although the plot is given a clear diagram for the Game Master to follow, it is complex and will require her to read through the plot with some care. With that preparation, Out of Time is a fantastic campaign, presenting the Player Characters with a challenging and enjoyably complex mystery, a mystery which brings Tales from the Loop to the conclusion it deserves.

I created Monster Brains fifteen years ago today, January 23 2006. I started the site by sharing the art of Mat Brinkman, Wayne Barlowe, Ernst Fuchs and Zdzislaw Beksinski. Monster Brains has grown from a link sharing blog to more of a dedicated gallery onto itself. One of the highlights from consistently posting over the past decade and a half was having film director Guillermo del Toro proclaim the site "One of the greatest websites in the world: MONSTER BRAINS!!" 
I'm a working artist and keeping the site updated over the years while making a living as an artist has grown more difficult. That said, I'm still devoted to keeping it updated with an ever growing collection of obscure and interesting monster related art. 
 It takes many hours tracking down artwork, scanning, editing, cleaning up and formatting much of the content shared on the site. You can show your support by donating any amount.  The donation link can be found in the top right, thank you!

We have all had this one on our shelves at one point or saw it in the book stores and thought to ourselves, "wow I should REALLY do something with that one day."

Today is that day.  I am going to make a character for Bruce Galloway's Fantasy Wargaming. 

The Game: Fantasy Wargaming

There is a lot to unpack here. Not just in terms of the game itself, but the history of the game.  There is no way I could provide a good review of it for this particular post.  I am not even sure I want to try.  For starters, there is such a disdain for RPGs in this book and for D&D in particular.  I would call it a Fantasy Heartbreaker, but it never lets you get close enough to it to break your heart.  

So instead I am going to defer to the experts here.  They have spent more time on this that I will or ever will.  Plus my copy is so musty it is giving me a headache and it is still four feet away from me as I type this.

• Grognardia Retrospective: Fantasy Wargaming
• Swords & Dorkery: Bruce Galloway’s Fantasy Wargaming (the best overview)
• David Trimboli's Character creation guidelines
• G.L. Dearman’s RPG Site, Fantasy Wargaming

Again, given the musty state of my book, I am going to refer to these sites often in my character creation. G.L. Dearman's site in particular has some good character sheets.

The game does cover witches and witchcraft, all be it in a roundabout manner.

Few questions in anthropology have raised as much controversy as the nature of witchcraft. There are three quite separate views of the witch-the peasant magician, the pagan, and the devil worshipper. Fantasy Wargaming accepts all three as valid. Witches clearly exercised magic. and not just Supernatural powers by appeal Equally, the theory of a surviving pre-Christian Celtic fertility cult bas some force. Some ritual elements, notably the sacred dance and orgy, appear at the very beginning of the period, before diabolism bad really taken root. There are echoes of Bacchic revels, and of Diana's Wild Hunt.
Some medieval witches strenuously asserted their worship of a "different" god. Yet equally, the evidence for devil worship among medieval covens is overwhelming. (FW p. 24)

Well, that works for me. I can use this. 

For the character, I was hoping to make a Satanic witch.  Would have been great for the Satanic Panic call-back to when was made.  But I opted for today's date as her birthday and that made her Aquarius.  And I have a perfect Aquarian Witch. 

The Character: Marie Capet

Marie is another quasi-mythical character from my games.  I know that she was most active in the year 1012 AD.  Marie is also an Aquarian Tradition witch from my first Basic-era book of witches which, in a few thousand years, will become the Sisterhood of the Aquarian Order.   In later years she would have been called a neo-pagan. Margaret Murry would have embraced her.  As my prototype Aquarian, Marie sees no problem with grabbing what ever bits of esoteric knowledge comes her way.   To the Church, this makes her little better than a heretic and at worst, a follower of Lucifer.  She actually feels that Lucifer has been mischaracterized by the Church and that as "The Light Bringer" he is more of a Promethean-like figure.  She is doing what she can to bring on the next Age of Mankind.  This would not be known as the Aquarian Age, or the New Age, until much later on.

Given the rolls, I figure she was the 2nd daughter of a poor noble. She was going to go into the nunery but instead ended up marrying the Baron that her sister was supposed to marry.  She was married at age 14, so she has a couple of children (that survived) now by age 21. She has a level in Religious and a level in Magic as a Witch.  I assume she is discovering witchcraft from an Italian ladies' maid who knows of the "old ways."

Marie Capet
Female Frankish Witch

Star Sign: Aquarius

Ability Scores (adjusted for Star Sign)
Physique: 1110
Agility: 12
Endurance: 10

Intelligence: 18
Faith: 1416

Charisma: 1213
Greed: 89
Selfishness: 13
Lust: 12
Bravery: 12

Social Class: 17

Height: 5'3"  Weight: 110lbs
Current Agility: 12

Literate: Yes
Speaks: Frankish, Latin, German
Chance to Speak Language: 60%

Leadership: 15

Birthrank: Second Daughter
Father's Social Position: Poor Baron (16)
Husband's Social Position: Rich Baron (17)

Misc. Traits: Paranoia

It is the Paranoia that helped me figure out she was learning her witchcraft on the sly.  Given the time and the culture, I thought an Italian Strega might be the best bet.  Maybe someone with a direct connection to Aradia. 

I did not pick and spells or rituals.  This game is crazy.  But there are a few ideas I want to use from it. 

The Dark Forest – A Call of Cthulhu Scenario Set in the Modern Day is a scenario for Call of Cthulhu, Seventh Edition. Published by Stygian Fox Publishing, it is the second release from the publisher as part of its Patreon programme. The scenario is a missing persons case—that of a child at a detention and rehabilitation centre for youth offenders—which takes the Investigators to Michigan state’s Upper Peninsula and deep into the Hiawatha National Forest where they will confront ancient gods and the pernicious influence of the Mythos, all hiding behind a façade of corporate greed and child rehabilitation. The set-up of the scenario means that The Dark Forest could easily be run using Delta Green: The Roleplaying Game as it can Call of Cthulhu, Seventh Edition, although it introduces an agency of its own, The Advocacy, an independent consultancy which takes U.S. government contracts and investigates unusual events. However, the scenario does carry a ‘Contains Explicit Content’ warning and the advice that some players might find its mature themes disturbing, dealing as it does rape, molestation, and institutional violence against defenceless teenagers. 

The Dark Forest – A Call of Cthulhu Scenario Set in the Modern Day begins with the Investigators being contacted by Martina Love. Her son, Donte, is nearing the end of his sentence at the P.J. Nelson Training School for Boys in Michigan state’s Upper Peninsula, but she has not heard anything from him, the staff say that he is at an external facility, and she is becoming increasingly worried. She asks the Investigators to find her son for her, but when the Investigators begin to make enquiries, they quickly learn that the youth correctional facility is currently in lockdown because several of the boys have absconded. All this and more will need to be determined before the Investigators arrive in northern Michigan, where the mobile phone network is unpredictable and connection to the Internet even worse. Beyond this however, there is relatively little to be learned through the research methods traditional to Lovecraftian investigative roleplay and consequently, the scenario has just the single handout. An alternative set-up for The Dark Forest is to have the Investigators be teachers at the P.J. Nelson Training School for Boys. This is a stronger set-up if the Keeper wants to run the scenario as a one-shot, but does require the Keeper to prepare and present a lot of information that the teachers would know upfront because they work at the facility, rather than delivering them piece by piece as Investigators coming from the outside conduct their enquiries. 

Once the Investigators get to Hiawatha Township and the P.J. Nelson Training School for Boys, the investigation takes place in three stages—interviews at the prison, at the prison’s work camps where the boys undergo vocational training for life beyond their sentence, and with the prison’s de facto warden, Bill Nelson. The Investigators are likely discover that the staff and inmates have grown used to the oddities of life in and around the Hiawatha National Forest, and are not necessarily hiding anything sinister, but simply corrupt. (Well, the scenario is set in a privatised prison system after all.) A radically transformative and horrid encounter with one of the missing boys definitely points to the former though, that is, if the Investigators survive the encounter, as it comes at a moment when they are unaware of what is to come and thus unprepared. The scenario does not deal with the fallout from this, but it will point towards something going on deep in the forest. 

Initially, there is an ethereal feel to the Investigators’ incursions into the forest, but as their search for answers continues and takes them it deeper and deeper, the feel becomes darker and darker, as well as literally as the foliage and canopy thickens, and the light fades… Ultimately, the Investigators will confront the evil at the heart of the scenario, a confrontation which will take them into the Finnish equivalent of the ‘Upside Down’. The change from the here to the ‘Upside Down’ is nicely handled, but the confrontation itself, although climatic, is one note—a fight. No other means of defeating the threat are suggested and the likelihood is that the antagonist will defeat the Investigators unless they are forewarned and thus well-armed. Unfortunately, that is not necessarily likely since Investigators do not have the opportunity to learn very much about what it is that they are facing, and less so if the Investigators are teachers at the P.J. Nelson Training School for Boys. The advice is that the Keeper should allow the Investigators to retreat and make a plan, before coming back to face the threat. Notably, at the end of the scenario, there is a Sanity reward for retreating from the threat, which is only slightly less than for defeating it. 

Physically, The Dark Forest – A Call of Cthulhu Scenario Set in the Modern Day needs an editor. 

Yet in other ways, The Dark Forest is a superbly presented book. It is done in quite a rich palette of earthy colours and the artwork is, for the most part, excellent. Besides the absence of editing, the book could have been better organised in places, but that is something that the Keeper can easily adjust to. 

As interesting as The Dark Forest is in reinterpreting the forces and influence of the Mythos through another mythology and pantheon, that of Finnish myths of the Kalevala, the execution is ultimately underwhelming. The Investigators are never quite able to prepare for, or understand, what they will face in the Finnish equivalent of the ‘Upside Down’, and the singular solution of violence is disappointing. The Dark Forest – A Call of Cthulhu Scenario Set in the Modern Day starts strong with an intriguing mystery and its presentation of mature themes is well-handled and there are some creepy scenes, but its dénouement leaves much to be desired.

Woman Of The Apocalypse  Saint Michael Fighting The Dragon  The Four Horsemen  Angel With The Key Of The Bottomless Pit  Saint John Devouring The Book  Seven Angels With The Trumpets  Beast With Two Horns Like A Lamb  Adoration Of The Lamb  Martydom Of Saint John  Opening Of The Fifth And Sixth Seals  Saint John Before God And The Elders  Whore of Babylon  Four Avenging Angels  Four Angels Holding The Winds 
"The Apocalypse, properly Apocalypse with Pictures (Latin: Apocalipsis cum figuris) is a series of fifteen woodcuts by Albrecht Dürer published in 1498 depicting various scenes from the Book of Revelation, which rapidly brought him fame across Europe. These woodcuts likely drew on theological advice, particularly from Johannes Pirckheimer, the father of Dürer's friend Willibald Pirckheimer. Work on the series started during Dürer's first trip to Italy (1494–95), and the set was published simultaneously as a 15-page book in Latin and German at Nuremberg in 1498, at a time when much of secular Europe feared an invasion of the Ottoman Empire and Christian Europe anticipated a possible Last Judgment in the year 1500. Dürer was the publisher and seller of this series, and became the first artist to publish a book and create a copyright." - quote source

Harrowing of Hell, from the Engraved Passion series (1512), Hand-coloured by Hans Mack, 1585  Harrowing of Hell, from the Engraved Passion series, 1512 

 Artworks found at The Chester Beatty's Digital Collections and The Harvard Library.

The holidays are long-over, and everyone is craving a touch of green, so it’s time for the January Carnivorous Plant Tour: Sunday from 10:00 am to 4:00 pm. Best of all, for regular visitors, expect a few surprises. It IS … Continue reading →

Today is part 2 of my two-part character creation.  Yesterday I re-introduced you all to Siân ferch Modron and the game Keltia.  Today is her soon-to-be husband, if they don't kill each other first, Lars son of Nicholas from the RPG Yggdrasill.

The Game: Yggdrasill

Like Keltia, Yggdrasill is from the French publisher Le 7ème Cercle (The 7th Circle) and was published in English first by Cubicle 7.  Now it is published in English exclusively by Le 7ème Cercle.  The games have a lot of similarities in rules and in tone, so using them together is expected really. The production values for Yggdrasill are higher, with full-color pages and a stylized character sheet, and it leads me to believe it was the newer game. However, the publication date of it is 2009 and Keltia is 2012.

Yggdrasill is, as you might imagine, a game of the Epic Sagas of the Vikings and Norsemen.  I do have to point out that "Viking" is not a group of people but rather describes what they do.  It is handy for describing the era though, 800 AD to 1100AD or so.  Already we are talking about a time period later than what we see in Keltia which is usually depicted in the 100AD to 500AD era.  This works out well for me since I would want to play in a time that is an overlap of the eras; the end of the Druids and the rise of the Saxons, Angles, Jutes, and, well yes, the Vikings. Maybe there was a time when Northmen raiders came ashore to Ireland or Wales and encountered Druids. Maybe not.  That is why we have games.  

Also like Keltia, there is a TON here that I could use with Troll Lords' Codex Nordica and visa versa. All four books combined? Now there is a campaign worth playing! 

I have to admit one of the reasons I was drawn to both of these games was that the art for the Volva (witch) archetype, reminded me so much of Larina.

The Character: Lars son of Nicholas

Lars got his start a little bit before Siân did.  Lars' name of course was easy, I knew my witch Larina was named after her father because of the red hair they both share. Nicholas, or sometimes Nichols, was named for a professor I had at the beginning of my Ph.D. studies.  I imagined him as a traveling scholar, from somewhere far away, maybe in the North.  His travels brought him to a new land where everything was the most verdant green as far as the eyes could see. He was born a Northman, but he was an Irishman in his heart.  The rest came easy.

In this version, Lars came to Cymru (Wales) while traveling on a ship. He was to sole survivor of a shipwreck.  He was to be sacrificed but his ability to play the harp showing he was a Bard (Skald in his world) saved him.

Lars son of NicholsLars Nicholason
Archetype: Sage
Profession: Skald
Kingdom: Denmark

Runes: Ansuz+, Perth+, Mathr-
Gifts: Initiate (Galdr), Scholar
Weakness: Curious

BODY
Strength: 2
Vigor: 2
Agility: 2

MIND
Intellect: 2
Perception: 2
Tenacity: 2

SOUL
Charisma: 2 
Instinct: 3
Communication: 2

Reaction: 6
Physical Defense: 6
Mental Defense: 7
Move: 4
Enc: 4

HP: 37

Furor Pool: 6

Skills
Art (Skaldic) 7, Eloquence 7, Languages (Norse, Brythonic) 2, Sagas 7
Galdr 7
Long Weapons 3

Incantations
Illusion: Hearing (3), Sight (6)
Charms: Sleep (3)

Like Keltia there is a LOT to go with here.

While reading over this I just HAVE to make a Finnish Volva/Witch of Tasha/Iggwilv. That would be a lot of fun.

It has been almost thirty-five years since the publisher of Britain’s longest running Science Fiction comic, 2000 AD, dabbled in the field of roleplaying. Both times, it was with solo adventure books, first with the Diceman comic, and then with You are Maggie Thatcher: a dole-playing game, but that changes with the initial release of a new publication from Rebellion. This is Adventure Presents, essentially a complete roleplaying game and scenario in a magazine format. The first issue is Tartarus Gate – A Roleplaying Game of Sci-Fi Horror, from the designers of Spire: The City Must Fall. This consists of a simple roleplaying game and a full, three-session scenario designed for up to six players and the Game Master for which everyone will need three six-sided dice and some pencils. The Game Master will need to do some careful preparation, but Tartarus Gate – A Roleplaying Game of Sci-Fi Horror comes with everything necessary to play—six ready-to-play pregenerated Player Characters, a handful of NPCs, and some absolutely gorgeous cartography and art.

The setting for Tartarus Gate is the year 2130. For years, Earth has been dominated by the OBOL Corporation and in search of a better future—or at least proper employment, the Player Characters have taken positions as unpaid interns aboard the transport ship Charon, entrusted with shepherding cargo from Earth to the Tartarus Gate Waystation. Six months into the journey, they are awoken from their Deep Sleep Pods and after recovering from the process, they are given their first task. Visual feeds from the lower decks have gone down, but before they did, the computers registered that something was moving. All the interns have to do is descend to the lower decks, restore the visual feeds, and ensure that there is nothing moving down there that there should not be… The Charon is six months’ travel from the nearest help, so it is down to the interns. With luck, they can impress their employer and make their temporary employment permanent.

The format of Tartarus Gate is important. The centre twenty-two pages are intended to be pulled out. They start with the six four-page character sheets, each of which includes a briefing, the character description, equipment list, and deck plans of the Charon. Then they followed by the various map handouts, all done in three dimensions and full colour, the four-page explanation of the rules for Tartarus Gate, and the eight-page GM Reference Book. This leaves the other twenty-two pages of Tartarus Gate devoted to the actual scenario.

A character or intern in Tartarus Gate is simply defined. He has four Abilities—Toughness, Agility, Smarts, and Wits—each ranging in value between one and four. He has a value for his Health and his Resolve—his willpower, the former as high as twenty, the latter as high as twelve. He also has three Drives, for example, Hasty, Selfless, and Haunted. Each character has a background and a given role, such as Veteran or True Believer, and an excellent illustration. It is left up to the player to name the character.

Mechanically, Tartarus Gate is simple and straightforward, its key mechanic, known as the ‘Adventure system’, best described as ‘roll three and keep two’—mostly. For his character to undertake an action, a player rolls three six-sided dice and removes one die. Which die depends upon the rating of the Ability being tested. If the Ability has a value of one, the highest die value is removed; if two, the die with the middle value is removed; if three, the lowest die value is removed; and if four, no die is removed, and all are counted. Either way, the total value of the remaining dice needs to equal or exceed the value of a Target Number to succeed, the Target Numbers ranging from six or doable to twelve or extremely difficult. The Game Master can adjust the difficulty of a task by temporarily increasing or lowering the Player Character’s Ability value. A supporting Player Character can help another and so temporarily increase the supported Player Character’s Ability, whilst the acting Player Character can spend Resolve to also increase his Ability value. Resolve can be regained by a Player Character pursuing one or more of his Drives and in Tartarus Gate, and may be reset at the beginning of some chapters, as can Health.

Combat in Tartarus Gate consists of opposed rolls. The lower roll is subtracted from the higher roll and the remaining value deducted from the losing combatant’s Toughness. Combat is designed—much like the rules in general—to be fast and in the case of combat, potentially deadly.

Tarsus Gate as a scenario is broken down into three chapters. In the first chapter, the Player Characters will waken from their Deep Sleep Pods and put through their paces as a ‘recovery process’, much like the first though steps of a video game as a player is taught the controls and what each button does. Given their assignment by Assisti, the ship’s AI, they make their way to the engine room and there they have their first and then second strange encounter—the former with a bloodless, mangled corpse, the latter with a figure from Earth’s recent and wrought past… This figure will come to dominate the mystery which lies in the bowels of the Charon and will be revealed as the Player Characters moves from one chapter to the next.

It should be no surprise that the plot and structure to Tartarus Gate is linear. After all, the Player Characters have been tasked with going from one end of a spaceship to another and the scenario is quite short. However, there is still plenty for them to do and explore, and interact with the handful of NPCs the Game Master has to portray. As well as the detailed NPCs to run, the Game Master also has events to throw at the Player Characters in every location.

The chapter breaks are also used as moments of reflection, for the players to check how the game is going and perhaps a chance for them to change their characters’ Drives if necessary. Tartarus Gate also makes clear that its play is meant to be fun—for everyone, and that if anyone is made uncomfortable, then he should raise his hand and say so. 

Physically, Tartarus Gate is very nicely presented. It is well written, but what really stands out is the artwork—which is as good as you would expect from a publisher which puts out 2000 AD each week. If the illustrations are good, then the maps are even better. Overall, the production values, for what is just a ‘magazine roleplaying game’ are stunning.

Adventure Presents Tartarus Gate – A Roleplaying Game of Sci-Fi Horror is intended as a first roleplaying game and for the most part succeeds. Its combination of a simple, straightforward plot, set-up, and quick mechanics certainly supports that, as does the vibrantly exciting presentation. However, whilst it works as a first roleplaying game for those new to roleplaying, it is a slightly different matter for the prospective Game Master. If the Game Master has played a roleplaying game or two before, then not as much of an issue, but if the Game Master is coming to this totally anew, it will be more difficult for her. For the experienced Game Master, readying and running Tartarus Gate is relatively easy.

Adventure Presents Tartarus Gate – A Roleplaying Game of Sci-Fi Horror is an impressive first issue, an attractive package that is easy to pick up, prepare, and run—it could be done in thirty minutes!

You can read about the challenge here: http://tardiscaptain.com/gaming/character-creation-challenge/

I don’t have an interesting backstory for this character. Probably because I didn’t randomly roll them up. When I create a character randomly I’m usually get inspiration during the process. This character is simply an exercise to see how far I can push various abilities within the V&V system. For this character I chose Shaping. Shaping allows a character to create and/or shape and manipulate a form of matter–in this case, steel. The interesting part to me is that these ‘Shapes’ can be given their own Abilities and can receive Actions during combat. There were a few hurdles to overcome to make this interesting and effective. Firstly, to give an Action to a Shape you have to have one. I want Fabri-Kate to be able to manipulate multiple shapes, so I gave her Super Speed which grants extra Actions each Turn. Shaping also requires Line of Sight to your Shapes or they dissipate. To counter this handicap I chose Heightened Senses: ‘Global Vision’ so that Kate can see 360 degrees around themself. Lastly, Shaping is extremely Power hungry, so I chose Energy which grants increased Power which is the resource characters use to fuel their Abilities. The rest of the Abilities are chosen for protection. Meet ‘Fabri-Kate’.

Fabri-Kate, mistress of fabrication–naturally.

So how does Fabri-Kate fight? They animate their steel spheres granting them the Flight, Laser, and Flash Abilities. They can move about, shoot, and emit blinding flashes of light to temporarily blind foes. Kate can also use Shaping on her suit of armor to use these Abilities., but prefers to let the little spheres of death do it. I keep thinking this character would be a lot of fun to draw, but never seem to get around to it.

First of a two-parter today!  I delve into a game I REALLY wanted to play more of, but is now out of print from it's English publisher.  The games are Keltia and Yggdrasill, two games that really capture the feel of the Post-Roman Celtic and Norse worlds.  Both use the same base system and both really grab my attention. Today for part one I will focus on Keltia.

The Game: Keltia

Keltia, or Keltia, the Chronicles of Arthur Pendraeg, is from the French publisher Le 7ème Cercle (The 7th Circle) and was published in English first by my good friends at Cubicle 7.  The game is set roughly in the years following the exit of the Romans from Britain.  There are mentions of Roman civilization and Christianity, but this is a purely Celtic world.  Or rather, it is a world of the Celts of Myth, Legend, and Folklore.

It is the Dark Ages, but this isn't the one you read about in history books. This is a game-world; so not Britain exactly, but Ynys Prydein.  It uses a lot of Welsh so already it has my undivided attention.

This game is quite good and character creation was pretty fast.  Again, there are a lot of options and I really must come back to this one in the future.  I can see using this in conjunction with Troll Lord's Codex Celtarum for Castles & Crusades.  Both cover similar ground and one would easily work as a background and as a supplement for the other.

I am rather fond of the Mind/Body/Soul stat groups.  I was working on something similar a long time ago, but that work eventually became NIGHT SHIFT.

The Character: Siân ferch Modron

In a lot of ways Siân is not just the main reason I wanted to try out Keltia, she is also the reason I wanted to do this challenge.   Siân ferch Modron is the mother of my iconic witch Larina.  Tomorrow I will feature her father Lars. If you have been a long time reader here you will recognize her as also being one of my playtest characters for The Craft of the Wise: The Pagan Witch Tradition for Old-School Essentials.

Siân (along with Lars) was featured with her "Irish" name, Siân nic Stefon.  She is the daughter of Stefon and Modron; nic and ferch being the Irish and Welsh (respectively) way of meaning "daughter."

These though are Siân's and Lars earliest days.

Siân is the daughter of a Druid and High Priestess, so she follows in her mother's footsteps and will become a high priestess as well. She is a bit haughty and this comes out in her Arrogance weakness.  She certainly feels her culture is superior to all others.  It is not until she meets Lars, a "Gogleddwr" (Northman), that her ideas begin to change.

Siân
Siân ferch Modron
Archetype: Wise One
Profession: Priestess of Avalon
Kingdom: Cymru

Gifts: Blood of the Ancients, Scholar
Weakness: Arrogant

BODY
Strength: 1
Vigor: 2
Agility: 2

MIND
Intellect: 2
Perception: 3
Tenacity: 2

SOUL
Charisma: 3
Instinct: 2
Communication: 2

Reaction: 7
Physical Defense: 6
Mental Defense: 6

HP: 26

Furor Pool: 6

Skills
Art (song) 3, Knowledge (Ritual) 7, Languages (Brythonic), Ogham 7, Traditions 6
Awen 7
Short Weapons 3

Spells (Priestess of Avalon)
Sense Awen 1, Blessing of the Gods 1, Read Omens 1, In the Arms of Dôn 1

I like how this character is shaping up.  I would use Keltia and the Codex Celtarum to inform how she would be played in Old-School Essentials.

Looking forward to seeing how her future husband turns out tomorrow!

(The Texas Triffid Ranch Occasional Newsletter and Feedlot Clearance Sale is a regular Email newsletter, with archives available on the main TTR site at least a month after first publication. To receive the latest newsletters, please subscribe.) Installment #22: “The … Continue reading →

Backstory: it’s January, we don’t have any distractions, and the plants need us. Therefore, it’s time to discuss methods to clean up carnivorous plants for spring. For details, go back to the beginning. And now we get to the heart of the … Continue reading →

You can read about the challenge here: http://tardiscaptain.com/gaming/character-creation-challenge/

Meet the Pistol Shrimp:

The Pistol Shrimp, protector of the vulnerable.

Paul was a humble social worker and teacher at an alternative school for disadvantaged youth. One day Paul tackled a shooter that had attacked the school, saving the lives of his students and the other faculty. Suddenly he was getting his 15 minutes of fame. There was an award ceremony with the mayor of L.A. and he did some interviews and TV apprearances. A few weeks after the fervor died down he was approached by eccentric millionaire Frank Shim. Shim said he had been looking for someone like Paul for years. Someone to wear his armor and take up the mantle of his superhero persona–the Pistol Shrimp. Shim had made his millions with his miniaturization technology, and some questionable weapons contracts with the U.S. Government. Paul was reluctant but eventually gave in an accepted the hi-tech suit of armor. He’s been fighting crime in and around LA for some time now. Ever the progressive, his favorite thing to do is show up to protests to ensure that no violence breaks out, on either side of the thin blue line.

This is my week to tackle games I have always wanted to play, or play more of.  Today is the day I take on one I have had sitting on my shelf since 2017 or so, The Dark Eye.  

The Game: The Dark Eye

I have known about this game for a while, both The Dark Eye and the original German Das Schwarze Auge. I always wanted to own the original German, having taken German in both high school and college, but not using a language for, well longer than I care to admit, you lose it. Das tut mir leid.

The Dark Eye always attracted me as a sort of a darker fantasy RPG.  A game where Mirkwood is replaced by the Black Forest.  

I picked the 2nd Printing of the English edition at my local game auction.  I grabbed the core rules and a bunch of add ons that I suspect came from the Kickstarter. There is a lot and it all looks so good. There is even a basic QuickStart.

The game is very moody, but also surprisingly, well, bright.  The art is fantastic and the design and layout are great. A really gorgeous game.  Can't wait to do something more with it.  And there is just so much material to be had, both to buy and for free. 

I went through the character creation and poured over the book.  I am overjoyed AND overwhelmed with all the options.  I can easily see why this game is so popular here and in Germany.  It is a game I would love to do more with and there is even a Community Content section for fan-produced works.

This could become a new obsession if I allowed it.

The Character: Katherina

Katherina is a character I would have likely created in German class.  I will say this, the Dark Eye character sheets are among the nicest I have ever used.  Though now I also want to make a Dwarven Witch and maybe a version of my Larina.  I might do them as part of a larger review.

I might be missing some of the details here, but I think I have her set. 

Character art by Ramona von BraschKatherina
Female Human Middenrealmer Raven Witch

COU 12
SGC 13
INT 14
CHA 15
DEX 12
AGI 12
CON 13
STR 9

Life Points 32
Arcane Energy 40
Spirit 2
Toughness 1
Dodge 6

Experience Level: Experienced (1,100 AP)

Advantages
Spellcaster, Hidden Aura, Increased Arcane Energy (V), Increased Life Points (I), Difficult to Enchant

Disadvantages
Negative Trait (Obessesed with Magic)

Special Abilities
Tradition (Witch), Languages (4 when I know more of the languages), Curses (4), Flying Balm, Connection to Familiar, Mimicry

Skills
Physical: Flying 6, Gaukelei 4, Stealth 2
Social: Empathy 6, Fast-Talk 4, Persuasion 4
Nature: Animal Lore 4, Plant Lore 4, Survival 3
Knowledge: Astronomy 4, Geography 4, Magical Lore 3, Myths & Legends 5, Religions 4
Craft: Alchemy 4, Treat Disease 2, Treat Soul 4

Combat Techniques
Brawling 8, Pole Weapons 8

Familiar
Krähe (Raven)
SA: First Among Equals

Spells
Fighting Stick 5
Witch's Bile 4

Age: 18
Birthday: Nameless 5
Social Status: Free
Hair: Black
Eyes: Blue
Height: 5'5"

I am sure I need to pick out more spells and more rituals. Again, there is just SO MUCH here.

Backstory: it’s January, we don’t have any distractions, and the plants need us. Therefore, it’s time to discuss methods to clean up carnivorous plants for spring. For details, go back to the beginning. Anyone raising North American pitcher plants (Sarracenia) in North … Continue reading →

I am actually quite thankful for this challenge right now.  I feel my creative batteries are in need of a recharge and this has been a help.  

The Game: Dragonquest

Everyone has that "one game" the game they admire from afar, want to learn it or more about it, and maybe, just maybe get to play it one day.  For the early 1980s that game for me was DragonQuest.  I can recall looking over the 2nd Edition book sitting prominently out front of Belobrajdic's Bookstore in my hometown.  I'd flip through it and marvel how "Not D&D" it was.  I always wanted to buy it but since my gaming budget was limited to what I could make on my paper route it was a fascinating game that no one I knew played OR the next AD&D hardcover.  Not a question of who was going to win really. 

Thankfully I am at a point in my life now where my RPG budget is several orders of magnitude greater and even expensive aftermarket books are within my grasp.  So I was quite pleased to have picked up DragonQuest 1st Edition boxed set a while back.  It confirmed everything I had thought at the time.
The game is wonderful in it's "Not D&D"-ness, it is wonderful to read and a joyful look back into the past of our hobby.  And I also know that no one I gamed with at the time would have played beyond one session.  Ah well.  I have today.

I do recall reading more about DragonQuest in the page of Dragon Magazine and I remember when TSR bought SPI (DragonQuest's publisher) that a new 3rd Edition was going to come out. I even held out hopes that the dual systemed D&D/DragonQuest adventures would lead to more crossovers.  But sadly that never occurred.   

At some point, I will need to do a deep dive into this game. But for now, let's make a character.

The Character: Phygor

In my games Phygor was one of the greatest wizards to have ever lived.  He was a well to do student in Glantri's Magic School. He was smart, well-liked, and had a very rich family. He was sitting in the courtyard of the school one day when just decided that he could not learn anything else here. So he got up left his books, belonging, and half-eaten lunch and he walked.  He kept walking until he had gone all over the world learning esoteric magics from hundreds of different spell casters.  He was something of a magic "Batman" in my games, only with no tragic backstory.  When he returned to Glantri he was able to quickly and decisively put down a rebellion of other wizards; having no defense against his new and strange magics.  While he was in the D&D sense a Lawful Good Wizard, he has the respect of almost all the magic-users, wizards, witches, and warlocks of my world. Even the evil ones since Phygor believed in the crazy notion that magic should be for all so he made all of his discoveries public.   

He was never really a character.  Just a name and a myth. I would then claim that my wizard character Phygora was named for him and of course he would also go on to learn a lot of strange magics.  Sort of like how Harry Houdini named himself after his idol Jean-Eugène Robert-Houdin. 

So let's go back in time. To a point before Phygor at age 25 got up and left his life to learn different magics.  This is 18-year-old Phygor just getting started at his school. Not discontent, but bright-eyed and eager to learn.

Phygor
Human Male, 18 years

Primary Characteristics
Physical Strength 12
Agility 10
Magical Aptitude 21
Manual Dexterity 16
Endurance 16
Willpower 18
Appearance 13

Secondary Characteristics
Fatigue 20
Perception 5
Action Points 9

Starting XP 140

Adept, College of Ensorcerlments and Enchantments
Talents: Witchsight
Spells: Spell of Telekinesis
Rituals: Ritual of Enchantment

Skills
None yet

He looks like a likable chap. He would have to be, he is going to travel the world and seek out all the masters of esoteric and occult knowledge.  

There is an absolute ton to like about this game.  Frankly, I'd love to get some more XP and see what skills I could start with this guy.  Maybe even advance him far enough to even start his big world-spanning journey.

I could even see a future feature here where I try to stat him up in other FRPGs but each time have him a little more advanced.  Maybe even ending with his BECMI stats at 36th level.

What are your memories of DragonQuest?  I'd love to hear them.

You can read about the challenge here: http://tardiscaptain.com/gaming/character-creation-challenge/

Summary: The idea is to create a new character every day for the month of January. It doesn’t matter what RPG system you use, or if you use the same one or many different ones. The points is to get more familiar with the mechanics of games you have an interest in by creating characters. I’m 18 days late to the challenge, but I’m going to give it my best. I’m starting out with a villain I randomly generated using the Villains and Vigilantes 3.0 rules (aka Mighty Protectors). Meet the Geminator:

The Geminator

Castor was caught in a freak lightning storm that struck him down. When he awoke he was face to face with an exact copy of himself. They fought discovering their superhuman ability to control electricity, fly and move at super speeds. The fight lasted for hours due to the twins ability to gain energy from the very air around them. It ended with one absorbing the other in a flash of lightning. Castor was reluctant to summon his clone again, but the more he tested his abilities and turned them to selfish ends, the more help he needed. He would always reluctantly summon his duplicate and there was always a fight or an argument about who the real Castor was. Sometimes they would sulk for days only to have one ambush the other and reabsorb them. Who was the real Castor–and who was the fake. Neither of them know for sure. When I randomly rolled Phobia as one of his two Weaknesses, I thought it would be compelling to give this character a fear of his other self. This creates a chaotic and unrelaible character, much like the unpredictable nature of lightning itself.

Backstory: it’s January, we don’t have any distractions, and the plants need us. Therefore, it’s time to discuss methods to clean up carnivorous plants for spring. For details, go back to the beginning. And now we get to the most labor-intensive carnivores, … Continue reading →

Today is something new for me. All the games I have done so far and have planned have been games on my shelf.  This weekend I have been playing around with this idea of a Sea Witch character.  The idea of this has been floating around in the back of my mind since the 2nd Ed days when we ran a short-lived campaign sea-based campaign.  So I went out bought 7th Sea, 2nd Edition.

The Game: 7th Sea, 2nd Edition

7th Sea was always an interesting game to me. I picked up the 1st edition a couple of times at my FLGS to buy but never bought it.  When I was at the Ennies a few years ago when 7th Sea, 2nd Ed won a bunch of awards and I thought about picking it up then too. 

The setting is an alt-Europe during the Age of Sail. I have to admit the idea, and the setting is a very intriguing one.  Reading through the game I am overwhelmed with ideas.  Not just for this game, but also to add to various other games.  

One day I should really do a Blue Rose / 7th Sea / Mage the Sorceror's Crusade mash-up.  I also could see all three of those games adding more depth to my D&D games, in particular to Glantri. 

Really there is so much here I will need to come back to this one. Might have to pick up the hardcover. It really looks like a great game.

The Character: Gwenhwyfar

For this character, I went with very familiar territory or as familiar as I can get here.  Really it was the fact that characters can be Pagans that sold me on the character idea here.  Also, the thinly-veiled version of Ireland in Inismore grabbed my attention. 

Gwenhwyfar
Concept: Sea Witch
Nation: Inismore
Religion: Pagan

Traits
Brawn ••
Finesse ••
Resolve ••••
Wits •••
Panache ••

Skills
Aim •
Athletics •
Brawl ••
Convince •
Empathy ••
Hide •
Intimidate
Notice ••
Perform ••
Ride
Sailing ••
Scholarship •
Tempt •••
Theft •
Warfare
Weaponry •

Background
Saoi (Wise one), Sailor

Advantages
Bar Fighter
Able Drinker
Direction Sense
Disarming Smile
Eagle Eyes
Linguist
Sea Legs
Team Player

Sorcery: Glamour

So I don't know about this character, or this system, yet.  But I am looking forward to learning more about both.  I am not sure if Gwenhwyfar and Seren would get along (my stand-ins for Irish and Welsh respectively).