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

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What is it?
White Stone Ruin: Part 1 of Red Deer Saga presents a campaign starter for the much-maligned Malani clan for use with RuneQuest: Roleplaying in Glorantha.

It is an eighty-eight-page, full colour, 21.69 MB PDF.

White Stone Ruin: Part 1 of Red Deer Saga is roughly presented and needs an edit.

Where is it set?

White Stone Ruin: Part 1 of Red Deer Saga is set amongst the lands of the Malani clan in Sartar in Dragon Pass.The illustrations are of variable quality.

Who do you play?

The Player Characters are members of the Namoldin Clan living along the Arfritha Vale. Six pre-generated Player Characters are provided, including a Humakti warrior, an Issaries trader, a Vinga warrior, an Orlanthi farmer, a Yinkini hunter, and an Odayla hunter.

What do you need?

White Stone Ruin: Part 1 of Red Deer Saga requires both RuneQuest: Roleplaying in Glorantha and RuneQuest – Glorantha Bestiary. Much of White Stone Ruin: Part 1 of Red Deer Saga was created using Sartar: Kingdom of Heroes, but is not absolutely necessary to run the campaign.

What do you get?

White Stone Ruin: Part 1 of Red Deer Saga is not broken, but a ‘fixer-upper’, the first part of a campaign set in Sartar which needs some work and a bit of some love and attention upon the part of the Game Master to be made into something which she can run for her group. This is not to say that it does not come with everything necessary to get the campaign started—it has both background and setting, it has both a guide to creating characters for the campaign and a set of pre-generated Player Characters, its own Prosopaedia—a quick glossary of the gods pertinent to the setting, plus new cults, Rune and Spirit magic, a scenario, and various secrets. So there is a lot to White Stone Ruin: Part 1 of Red Deer Saga, but that is lot is perhaps lots of bit and pieces that are in themselves interesting and likeable, but together feel scrappy and not immediately relevant to each other.

White Stone Ruin: Part 1 of Red Deer Saga begins by presenting a history of the Malani Tribe and its relationship to the neighbouring tribes, before its focus grows tighter and tighter. First, on the Namoldin Clan along with its history and clan relationships, then on its tula circa 1620st and on the settlements along the Arfritha Vale and the Boranini River which runs down it, notably Famous Bell and Red Deer. There are some fantastic locations here and about, such as Dark Water Pool, home to an ancient freshwater turtle with a penchant for winning beards in riddling contests. Second, on the steads and notable features around Red Deer, in particular, Heldar’s Stead. This is the setting for White Stone Ruin: Part 1 of Red Deer Saga, and is home to the clan's richest farmer and cattle herder. Heldar himself is described as arrogant—arrogant enough to commission Long Tooth, an enchanted bronze-cast lumber saw, which actually kills plants on touch and tears through timber with ease. All the members of his homestead and the nearby village are described with many given full stats also.

Full rules are given for creating Namoldin Player Characters for RuneQuest: Roleplaying in Glorantha, including Passions, cultural weapons and skills, and suggested cults. Both Orlanth and Ernalda are given as default, but many of these are also tied to a character’s Occupation. However, these are not necessarily to the gods, but rather to particular aspects of them. Thus, not Ernalda for a Healer, but Bevara, a healing goddess of Ernalda, and for a fisherman, not Orlanth All Father, but Poverri, an Orlanthi fisher deity. Most of these aspects are given some explanation in the following Cults section, but not all, which is slightly problematic. Not necessarily for veteran Gloranthophiles, who may appreciate the degree of detail, but anyone new to Glorantha and RuneQuest: Roleplaying in Glorantha, may be mystified by the level of detail and in places, the lack of accompanying explanation. However, the Cults section does include write-ups of some other cults for RuneQuest: Roleplaying in Glorantha, including the local Boranini River cult, Gustbran the Redsmith cult, Minlister the Brewer, Igruz Hardfrost, and Queen Bee, and these are accompanied by their associated spirit and rune magic, such as Igruz Hardfrost’s Ice Blade and Harden Liquor.

In addition, White Stone Ruin: Part 1 of Red Deer Saga provides rules for The Smithy—the  workshop home of Gustbran the Red-smith. Using these rules enables a Red-smith—whether an NPC or a Player Character—to cast weapons, to work out the costs of doing so, and possible outcomes. Craftwise this nicely adds to the world of Glorantha and not only shows just how much work goes into making the Player Characters’ weapons, but when combined with the earlier Weapon Naming Ritual Rune spell gives options for them to make or have made named weapons with interesting effects. As good as this, it does not really have any impact on the campaign, and it feels slightly out of place here.

In terms of adventuring content, White Stone Ruin: Part 1 of Red Deer Saga presents the short scenario, ‘White Stone Ruins’. It begins with the report of undead horrors being seen in the vicinity of ancient ruins in the forest that almost surrounds Heldar’s Stead, which will lead to exploration of those ruins and perhaps exposure of a secret cult operating in the area. This is primarily a combat and exploration scenario, and perhaps ‘The Missing Scythe’, a hunt for a scythe the brother to Long Tooth that has disappeared, is more interesting. There are also several other encounters and threads which a Game Master can work into the start of the White Stone Ruin: Part 1 of Red Deer Saga. Rounding out White Stone Ruin: Part 1 of Red Deer Saga is a full set of stats for various ‘Friends and Foes’ not given earlier in the supplement, as well as the pre-generated Player Characters.

White Stone Ruin: Part 1 of Red Deer Saga is rough around the edges and will need more effort upon the part of the Game Master to prepare and run than perhaps a more polished product would. It includes a lot of background material—which although interesting and good—which will be hard to bring into play, especially if the Game Master is new to Glorantha. The pre-generated Player Characters could have benefited from suggested ties and relationships to the community and inhabitants of Heldar’s Stead to better bring them into the campaign and perhaps the Game Master might want to create these prior to running the ‘White Stone Ruins’. Lastly, there are elements in White Stone Ruin: Part 1 of Red Deer Saga that a Game Master can extract and include in her own campaign—the rules for red-smithing, the new cults and spirit and rune magic, and more, could be used elsewhere.

Is it worth your time?

Yes. White Stone Ruin: Part 1 of Red Deer Saga is a decent, if scrappily presented campaign set-up in another part of Sartar which needs a bit of effort to work effectively, but which comes with background material and extras aplenty.

No. White Stone Ruin: Part 1 of Red Deer Saga is more background than campaign and its rough presentation and organisation make it challenging to prepare and run.

Maybe. White Stone Ruin: Part 1 of Red Deer Saga is more background than campaign and its rough presentation and organisation make it challenging to prepare and run. The background and extra rules are excellent and potentially worth adding to a campaign.

Shanghai—the ‘Pearl of the East’ has been a distant star in the Call of Cthulhu firmament. Yet since 1984 with its introduction as a chapter in the superlative Masks of Nyarlathotep, it has been an all-too far away, exotic destination, rarely visited beyond the confines of that campaign. Arguably, it was too strange, too difficult to research effectively, and in more recent years fraught with the dangerous possibility of portraying the inhabitants of the great city—whether natives or incomes—as stereotypes. That said, in more recent years, writers—both professional and amateur—have taken Lovecraftian investigative horror to Shanghai in scenarios such as Robin D. Laws’ ‘Shanghai Bullets’ from the anthology Stunning Eldritch Tales for Trail of Cthulhu, examinations of the original campaign in the Masks of Nyarlathotep Companion, and finally, in that campaign’s update, Masks of Nyarlathotep, for Call of Cthulhu, Seventh Edition. Yet as these campaigns, scenarios, and supplements have in turn shed a light upon the forces of the Mythos and their activities in the city, there has yet to be a definitive supplement of Lovecraftian investigative horror which focuses entirely upon Shanghai. That is, until The Sassoon Files.

The Sassoon Files: A Sourcebook for the Call of Cthulhu and GUMSHOE Role Playing Games was published by Sons of the Singularity following a successful Kickstarter campaign. With the initial print run being infamously destroyed by the Chinese authorities, it presents an overview and history of the city, a campaign framework and four scenarios which take place between 1925 and 1929. The four scenarios can be run as one-shots or together they work as a rough campaign, and are in addition supported by factional campaign set-ups and drivers each of which would put a very different spin upon the four scenarios.

Written by members of the China RPG community, The Sassoon Files opens with an overview and history of Shanghai, focussing in particular upon the ‘Century of Humiliation’ suffered by China at the hands of the Western powers which saw the rise of the city from a small town located in a swamp near the mouth of the Yangzi River into a metropolis, rent geographically and politically. Geographically between Concessions and Settlements controlled by the Western powers, and politically between the Communists, the nationalists of the Kuomintang—by 1925 led by Chiang Kai-Shek, and the meddling Japanese. All whilst the Triad gangs, such as the Green gang, led by the infamous Du Yue Sheng, ‘Big Eared Du’, feuded for control of the city’s gambling, prostitution, and opium rackets. This includes a timeline which runs from 2050 BCE to 1949 CE, a list of notable locations and buildings in the French Concession, the Chinese City, and the International Settlement—a merging of earlier British and American Concessions, and a list of the dramatis personae to found in the pages of The Sassoon Files. The latter includes historical figures and figures fictional to be found in the supplement’s quartet of scenarios, but it is one of these historical figures who is key to those scenarios.

Sir Victor Sassoon, 3rd Baronet of Bombay, is an enormously wealthy businessman, a historical figure who owned large swathes of Shanghai and built the famous Bund. Not only is he aware of the Mythos, but he is both corresponding with Doctor Henry Armitage of Miskatonic University and looking to thwart its influence and its agents’ activities in the city. Thus he engages the Player Characters—or Investigators—into looking into situations and cases of note, which he and often his equally rich friends believe to be odd or inexplicable. Essentially, Sir Victor will act as the Investigators’ patron who will call upon their services again and again.

The four scenarios follow the same format. This is as a spine of scenes and clues as is standard of Trail of Cthulhu, laid out at least in the first scenario, as a diagram. Throughout each scenario—and the book as a whole—mechanical elements for Trail of Cthulhu are in black as is the rest of the book, whilst those for Call of Cthulhu are in red. This makes them a lot easier to spot. Where particular locations are referenced, excerpts of the main map are used, and since the Investigators will be visiting several of these again, these map excerpts appear more than once. Throughout the Investigators will encounter actual historical figures and the supplement does include notes for the Keeper on how to roleplay them. 

The first of the scenarios in The Sassoon Files is ‘Strong Gates, Hidden Demons’. A strange body and a supposed cholera outbreak lead the Investigators on a MacGuffin chase between the International Settlement and the French Concession, to the site of a bloody massacre and back again. This is a fairly straightforward scenario, but begins to pull the Investigators into the city and its atmosphere. However, the second scenario, ‘Let Sleeping Dogs Lie’ is a whole lot more complex, starting with a flashback, and then comes back to the present for an even bigger, even more complex Macguffin hunt—or hunts—as Victor Sassoon wants to recover a recent purchase at an auction house and find out why it was stolen from him. Although the scenario requires a little effort in terms of set-up, there is a bravura quality to it, involving as it does the last Empress of China and a lot of tea. This potential for some weird, creepy moments too and a ‘what the hell?’ moment once the Investigators and their players realise quite what is going on.

Inspired by a traditional Chinese folk song of the same name, ‘There is This One Girl’ also ups the action scene upon action scene as the Investigators are sent haring after a gangster who seems to be winning at the racing track and the card table with unerring accuracy, this time because friends of Sir Victor want to reduce their loses and cannot account for the gangster’s success. The scenario presents an alternate interpretation of a Call of Cthulhu entity classic to Shanghai, who may well not be inimical towards the Investigators, as well as the opportunity for them to potentially find allies in their efforts against the Mythos. ‘There is This One Girl’ is also really the first part to ‘Curse of the Peacock’s Eye’, the fourth and final scenario in  The Sassoon Files. This has a weird flashback and has a quite linear sequence which is repeated. Although ultimately, the Investigators have funny choices to make, which may lead to the end of the world or not…

In terms of tone, the four scenarios in The Sassoon Files are presented in Purist mode. However, some scenarios do push at the dividing line between Purist and Pulp modes, and it would be very easy for the Keeper to take the campaign into a Pulp style of play. Certainly, as a city, Shanghai lends itself to that and there is advice in places on how certain Pulp Cthulhu abilities would work in particular scenes. Doubtless, pushed into the Pulp mode of Trail of Cthulhu or run using Pulp Cthulhu, and The Sassoon Files could be run as a rip-roaring campaign in the ‘Pearl of the East’. Either way, the Keeper is advised to check the chase rules for whichever roleplaying game of Lovecraftian investigative horror she is running and probably prepare some obstacles suited to the streets of Shanghai.

Using The Sassoon Files is not without its challenge. Obviously its remote location means that its four scenarios are not easy to add to an ongoing campaign and the timeframe for those scenarios is fairly specific. The most obvious and the easiest way to use the supplement is a standalone campaign. However there are other possibilities. One is to run the scenarios as sequels to a campaign which has ended in Shanghai after playing Masks of Nyarlathotep. That campaign runs throughout 1925 and The Sassoon Files begins at the end of 1925, so there is crossover potential. If the Investigators decide to leave Shanghai after completing Masks of Nyarlathotep, then The Sassoon Files could be run as an alternate timeline, the final scenario in the quartet, ‘Curse of the Peacock’s Eye’, supporting that possibility.

Being spread out over the space of four years, the quartet of scenarios in The Sassoon Files make up a loose campaign, so there is scope for the Keeper to add other scenarios she had adapted or written herself in between the given four. The Sassoon Files is both helpful and unhelpful towards that end. Helpful because it includes ten scenario hooks which the Keeper will need to develop herself, unhelpful because it is not the definitive sourcebook for roleplaying games of Lovecraftian investigative horror on Shanghai and its environs, and so does not explore the presence of the Mythos in the city and beyond, leaving the Keeper to develop that her self.

Each of the four scenarios in The Sassoon Files is accompanied by five pre-generated Investigators. These are okay for the most part. More interesting is the discussion of the factions involved in the four scenarios. These include the Locals—consisting of Sir Victor and his fellow expatriates and allies, the Communists under Zhou Enlai—later first Premier of the People’s Republic of China, and the Green Gang—Shanghai’s largest Triad gang, Japan’s Genyosha or Dark Ocean Society, and others. The discussion is accompanied by the options, hooks, and drivers for each of the four scenarios in The Sassoon Files for the players to roleplay members of the Communist party or the Green Gang, as opposed to allies of the Locals. The supplement also adds ‘Lore Sheets’ which provide both backgrounds and act as a resource or dice pool, equal to a couple of points, which a player can use to gain an advantage related to the Lore Sheet, each one of which is kept secret by its player. Although the end mechanical reward for fulfilling the objectives on the Lore Sheets feels bland, at the very least they provide more personal backgrounds for the Investigators and background information for their players.

However the publishers do miss a trick or two. For a supplement of this type, weirdly, there is no bibliography. Also, there are no maps of individual locations, which would have made the scenarios easier to run, and whilst as the scenarios proceed it becomes clear that they form a campaign, it is not clear at the outset, which again means they need more effort to prepare. Another issue is that whilst The Sassoon Files does provide a detailed overview of Shanghai, it is lacking when it comes to the kind of details and flavour which would help the Keeper portray the city on an ordinary, day-to-day basis. It is almost if the supplement needs a table of random encounters and events which would have helped the Keeper bring the vibrant and raucous hurly-burly of the city to life.

Perhaps the biggest trick missed by The Sassoon Files is when it comes to Investigators. First, there is a dearth of advice when it comes to the players creating their own, which may leave less experienced players of Call of Cthulhu or Trail of Cthulhu floundering for ideas and concepts. Second—and more disappointingly—the authors do not make enough of the Factions as playable options. Now yes, they are discussed and they do have their own section in the supplement, but not a single one of the pre-generated Investigators which comes after each of the four scenarios is from a different faction. All sixteen are essentially from the Locals faction, that is, the expatriate Europeans who serve as the Investigators’ patrons and their local allies, and as diverse a mix of ethnicities and genders as the represent, what this means is that there none from the suggested Triad gangs or Communist factions. For all that is made of the authors being part of the China roleplaying community and their being familiar with both the setting and the history, this really is a missed roleplaying opportunity upon their part.


Physically, The Sassoon Files is a generally well-presented book. It makes a great deal of use of period photographs and maps to present Shanghai, and is illustrated by some superb pieces of artwork. However, it is in places inconsistent in its layout and very much needs an edit.

There can be no doubt that Lovecraftian investigative roleplaying deserves—whether Call of Cthulhu, Pulp Cthulhu, or Trail of Cthulhu—a supplement dedicated to Shanghai. Unfortunately, The Sassoon Files is not the definitive guide to the Shanghai of the 1920s for any of those aforementioned roleplaying games. Yes, it presents a good, even comprehensive, overview of the city, but whilst this is enough to run the four scenarios in The Sassoon Files, it is not really quite enough from which the Keeper can develop her own scenarios or content without input from other sources. However, this is not to say that the background information will not serve as the spur or inspiration for the Keeper’s creativity.

Although far from perfect, and not really a definitive guide to the city, The Sassoon Files: A Sourcebook for the Call of Cthulhu and GUMSHOE Role Playing Games does something that no other supplement for roleplaying games of Lovecraftian investigative horror does, and that is present a campaign in Shanghai. It successfully combines both the history and noted inhabitants of the city with the Mythos for a quartet of entertaining and engaging scenarios.


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Currently, Sons of the Singularity has a Kickstarter campaign underway for Journal d’Indochine. This is a supplement of ‘Horror and Intrigue in French Colonial-Era Vietnam in a campaign for the Call of Cthulhu TRPG’.

Coriolis Scenario Compendium 1 is an anthology of three scenarios and more for use with the Middle East-influenced Science Fiction roleplaying game, Coriolis: The Third Horizon. Published by Free League Publishing and distributed by Modiphius Entertainment, it takes the Player Characters to three different worlds and three different mysteries, ideally at the behest of their patron. They are in turn a missing persons case—of a sort, a lost contact mission, and a murder mystery. Each of the three can be roughly be played through in a session or two, and be slotted into an ongoing campaign with relative ease after the scenario in the core rulebook for Coriolis: The Third Horizon and then before or worked into the campaign, Coriolis: Emissary Lost. As is standard for the Coriolis line, the Coriolis Scenario Compendium 1 is presented in full glossy colour, with some fantastic artwork. However, these are not quite as straightforward adventures as they could be, in part because of their background, and in part, because of the extra preparation required upon the part of the Game Master.

The anthology opens with ‘The Tailor from Mira’, which takes place in the Icon City on Mira and has the Player Characters employed to find the Tailor – a ‘Bionic’ or surgeon – for a well-paying, noble employer. Since this is designed as an action thriller, it quickly transpires that the Player Characters are not the only ones interested, as several factions vie to locate him, and together the chase will take them to the pilgrim or prayer train that traverses the planet. This is a fun location which the Player Characters will have to finagle their way onto—but unfortunately there is no map of it for the Game Master to use or refer to. This is a problem which hinders all three of the scenarios in the Coriolis Scenario Compendium 1 and all too often the Game Master will need to develop maps or location descriptions herself.

The second scenario, ‘Eye of the Beast’ is set on the strange forest moon of Arzachel where a strange new element, levitanium, which seems to make the planetary inhabitants and wildlife larger, and in some cases, capable of flight. Unfortunately contact with a harvesting team has been lost and the Player Characters are employed to find it before the latest shipment of levitanium is lost. They will encounter strange beasts, watchful Humanite natives, and ultimately a dilemma that needs to be resolved if lives are to be saved. This is a classic faith versus science, ecology versus commercialism situation, but being written for Coriolis: The Third Horizon this will in part be influenced by the Player Characters’ relationship with the Icons. The scenario is quite simple, and it comes with some very well explained solutions, but it advises that the Game Master will need to help the Player Characters by summarising what is going on and what they know. However, whilst this summarising is necessary, it does feel as if the Game Master at this point is holding the Player Characters’ hands as she guides them to the several solutions offered and so points to the fact that the three scenarios in the Coriolis Scenario Compendium 1 do feel as they are underwritten and lack clarity.

‘Algebra of the Icons’, the third scenario is a murder-mystery in the city of Mehrabi over the petroleum fields of the planet of Lubau. Doctor Humina Ghabi, a data djinn—a computer expert (or hacker)—working for Industrial Algebra developing advanced ship intelligences, has been found dead and the Player Characters are brought in to investigate. This will be at the behest of their patron rather than because they are necessarily qualified to carry out such a task, but certainly a data djinn amongst the Player Characters will be useful in conducting the adventure. This is a classic cyberpunk murder mystery, so much so that it verges upon cliché and may well disappoint the players once they realise quite what is going on.

Rounding the Coriolis Scenario Compendium 1 is a scenario location. ‘The Mahanji Oasis’ is also located on the planet of Lubau, beside a series of Crystal Lakes. It is a classic frontier town replete with intrigue and tension between the natives and the incomers who have come to man the mobile platforms and drill for oil, along with strange ruins, a diving centre for the lakes, and various mysteries. It comes with a map of the surroundings, several NPCs, and a handful of events around which to build adventures. Like other adventure locations described for Coriolis: The Third Horizon, the Game Master will need to develop these herself, but the information given is a good start. It should be noted though, that both ‘Algebra of the Icons’ and ‘The Mahanji Oasis’ do wear their Middle Eastern influences on their sleeves, both being located on petroleum fields and it being suggested to the Game Master that the city in ‘Algebra of the Icons’ being described like Dubai.

Physically, the Coriolis Scenario Compendium 1 is well-presented, being an attractive, full colour book. However, the lack of maps in places may hinder both the Game Master’s preparation time and the players’ involvement in the scenarios, especially in ‘The Tailor from Mira’ which actually states that, “It can be challenging to draw up comprehensive map of the kilometre long train, but the GM is encouraged to give its layout some thought…” This is of the prayer train and given that this is the setting for the scenario’s climax, it seems absurd to leave such a daunting task to the Game Master. 

The lack of maps, the plots which verge upon cliché, and their often underwritten nature means that each of the three scenarios in the Coriolis Scenario Compendium 1 needs a fair bit of preparation upon the part of the Game Master and each may well need a bit more of an explanation or briefing for the players and their characters as who exactly is involved and what they want. Ultimately, the Coriolis Scenario Compendium 1 is just not the easy-to-run collection of scenarios for Coriolis: The Third Horizon it should have been.

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As always, the Texas Triffid Ranch Sunday Flash Sale continues this coming Sunday from 6:00 am to noon. Until then, it’s time for music.

It is an undeniable truth that the Witch gets a lot of bad press. Not necessarily within the roleplaying hobby, but from without, for the Witch is seen as a figure of evil, often—though not necessarily—a female figure of evil, and a figure to be feared and persecuted. Much of this stems from the historical witch-hunts of the fifteenth, sixteenth, seventeen, and eighteenth centuries, along with the associated imagery, that is, the crone with the broom, pointy hat, black cat, cauldron, and more. When a Witch does appear in roleplaying, whether it is a historical or a fantasy setting, it is typically as the villain, as the perpetrator of some vile crime or mystery for the player characters to solve and stop. Publisher The Other Side has published a number of supplements written not only as a counter to the clichés of the witch figure, but to bring the Witch as a character Class to roleplaying after being disappointed at the lack of the Witch in the Player’s Handbook for Advanced Dungeons & Dragons, First Edition. Each of these supplements draws upon more historical interpretations of the Witch—sometimes to counter the clichés, sometimes to enforce them—and presents her as a playable character Class. Each book is published under the label of ‘Basic Era Games’, and whilst the exact Retroclone each book is written to be used with may vary, essentially, they are all compatible. Which means that the Game Master can mix and match traditions, have player characters from matching traditions, and so on.
The first book in the series, Daughters of Darkness: The Mara Witch for Basic Era Games is written is designed for use with Goblinoid Games’ Labyrinth Lord and presents the Witch as dedicated to the Mara Tradition, that of the Dark Mother—Lilith, the First Woman, the First Witch, and the Mother of Demons. The next book in the series is The Children of the Gods: The Classical Witch for Basic Era Games, which was written for use with Dreamscape Design’s Blueholme Rules, the retroclone based on the 1977 Dungeons & Dragons Basic Set designed by J. Eric Holmes, and which focused on not so much as ‘Evil’ or Chaotic witches, but upon the Classical traditions of Egypt, Greece, Phoenicia, Rome, and Sumeria. Again, Cult of Diana: The Amazon Witch for Basic Era Games, the next entry in the line presents a different take upon the Witch, but instead this series of reviews leaps over that entry to review which presents a very different, even slightly silly take upon the Witch. This is The Basic Witch: The Pumpkin Spice Witch Tradition.

The Basic Witch: The Pumpkin Spice Witch Tradition is written for use with Labyrinth Lord and like other titles in the series starts by presenting the same version of the Witch Class as in Daughters of Darkness: The Mara Witch for Basic Era Games and The Children of the Gods: The Classical Witch for Basic Era Games. What this means is that from one book to the next, this Class is going to serve as a template for the rest of the other supplements devoted to the Witch from The Other Side. So the Witch is spellcaster capable of casting Witch spells and Witch rituals—a mixture of arcane and divine spells, has Occult Powers including herbal healing, many are reluctant to cast ‘black’ or evil magic, many are of Lawful Alignment, and have answered the Call of their Goddess (or other patron).

The Basic Witch: The Pumpkin Spice Witch Tradition focuses on the one Tradition of the Witch Class, that is, a Witch of the ‘Pumpkin Spice Tradition’. Which straight off sparks images of the ‘fall’—or autumn, Halloween, and coffee houses serving a limited time flavour of coffee, and so a certain commercialism in its treatment of Witches and the Witch drawn from an American idea of what the Witch is. This is essentially all present in The Basic Witch: The Pumpkin Spice Witch Tradition and the danger is that this supplement could have so easily tipped over into a crass mix of the commercial and the kitsch. Thankfully, it presents a modern, urban version of the Witch, one which would really work in an Urban Fantasy or horror roleplaying game or campaign setting. That means though, that tThe Basic Witch: The Pumpkin Spice Witch Tradition is not really suitable for a traditional fantasy roleplaying campaign.
The first difference between the Pumpkin Spice Witch tradition and other traditions is that Pumpkin Spice Witches are limited in their choice of Familiars—bat, cat, ferret, rat, raven, owl, and so on. The only addition to this is a special Familiar, the Meowl, a combination of cat and owl, which also appears in the supplement’s bestiary. In terms of powers, the Pumpkin Spice Witch gains a Familiar, and knows ‘Things Man Was Not Meant to Know are Fire for Women’ and ‘Resting Witch Face’. The former grants a bonus to Intelligence and Wisdom checks related to magic and monsters for Witch who is making the check after a male Magic-User has failed to do so, whilst the latter in effect lets a Witch enforce a negative Morale on anyone attempting to talk to or approach her. This includes in combat! There is a certain modern, tongue-in-cheek sensibility to these powers, and whilst they do empower the Pumpkin Spice Witch, depending upon your point of view, may or may not stray into stereotyping.
Witches of the Pumpkin Spice Witch tradition are restricted in the choice of spells they can use, in general, not being allowed to use spells which inflict direct harm. They tend to favour a goddess as a patron and join small covens, often Sisterhood Covens, which sometimes may include Witches of other tradition, and also tend to be of Good or Neutral Alignments. Many also set up apothecaries, which are fronts for ‘Home, Hearth, & Heart’, a circle of black-market magic item shops!
Miranda TookSecond Level Pumpkin Spice WitchAlignment: Chaotic GoodCoven: The Sisterhood
STR 07 (-1 to hit, damage, and force doors)DEX 14 (-1 AC, +1 Missile Attack, +1 Initiative)CON 12 (-0 HP)INT 15 (+1 Languages, Literate)WIS 14  (+1 to Save versus Magic)CHR 14 (-1 Reaction Adj., 6 Retainers, Morale 9)
Armour Class: 7 (Padded)Hit Points: 7Weapons: Dagger, Bow, StaffTHAC0 20
Languages: French
Occult PowersHealing balms (1d4+1/three times per day)
Spells: (First Level) – Bad Luck, Bewitch, Control Face, Forget Me Knot
Familiar: Meowl (+1 Wisdom checks, Nightvision)
The Basic Witch: The Pumpkin Spice Witch Tradition includes some one hundred or so spells, a short bestiary of less than twenty monsters, some new magic items, and a trio of unique witches. Now although there are spells included which do inflict direct damage, like Prismatic Lightning, but most harmful spells for the tradition inflict harm in other ways. Thus, Agony inflicts pain, not harm; Babble confuses all verbal communication; and Eerie Forest makes an area of a forest unnerving, perhaps frightening those who walk through it. In general, the spells lend themselves to supporting effects, such as Calm Weather, Change Appearance, Create Wine, Find Child, Grandmother’s Shawl, and more, but at the same time, they give scope for a player to be inventive in how these spells can be used—not just mechanically, but also in terms of roleplaying. The other effect of the spells is to pull the Witch character away from traditional dungeoneering style play, and this is carried over into the monsters given in the bestiary. Most of those entries, such as the Autumnal Rider, Beheaded, Jack O’Lantern, Scarecrow Guardian, and more, all lend themselves to situations away from the dungeon and a ‘Monster of the Week’ style of play.
The range of the magical items given in The Basic Witch: The Pumpkin Spice Witch Tradition is inventive and fun. There are brooms, cauldrons, masks, and teas—for example, a Broom of Threshold Protection, Cauldron of Plenty, a Green Man Mask, and a Fortune Telling Tea. The miscellaneous items include the Bad Hair Day Hat, which always makes a witch’s hair appear to be perfect, a Luck Charm Bracelet providing a +1 to any roll several times a die, and Witch Bells, which ring loudly when an evil spirit enters a witch’s home. Lastly, the unique witches make up a coven, and range in Level from third to seventeenth, and may or may not be the Maiden, the Mother, and the Crone.
Physically, The Basic Witch: The Pumpkin Spice Witch Tradition is slimmer than the other books in the line and shows an improvement in the style and layout over the books before it. The artwork is much better handled, and many of the new magical items are illustrated. One minor issue is that the spells are listed in alphabetical order rather than Level by Level. It makes spell selection just a little more awkward and slower.
The problem with The Basic Witch: The Pumpkin Spice Witch Tradition is twofold. First, there is the title. ‘Pumpkin Spice’ suggests silliness and superficiality, but the witch presented in its pages lends itself to urban and modern settings a la television series such as Buffy: The Vampire Slayer, Charmed, and the like. Played in that context, and the Pumpkin Spice Witch would work really well. The other issue is the potential problem of stereotyping. The Pumpkin Spice Witch could be interpreted as such, though this is not necessarily the author’s intention. Put these issues aside and it is clear that there is a lot of invention and fun that has gone into the writing of The Basic Witch: The Pumpkin Spice Witch Tradition, which should come out in play using the spells and magical items.

What about that June, huh? Go to bed with the place looking as if Hunter S. Thompson had been camped on your couch for the last month, and wake up to July. Most people would just look at the waves … Continue reading →

Richard McKenna / July 16, 2020

Mission Completed
By Future World Orchestra
Dureco Benelux, 1982

Sometimes it’s in ephemeral fragments of the culture that time travel lurks. We learn to tune out the looming monoliths of the zeitgeist the same way we learn to tune out the sky: its ubiquitousness would otherwise be oppressive. But sometimes a corner of the firmament reflected in a humble puddle brings it back to radiant life. Released in 1982, Future World Orchestra’s Mission Completed is that kind of puddle, capturing a small shard of its time in strangely vivid colors.

Future World Orchestra have the lot: gauche mustaches, a demeanor to which the word “goofy” does not do justice, digital watches, white ties with piano keyboards on them, wristbands, bizarre bespoke overalls, uncomfortable dance moves, and an even more uncomfortable relationship with the camera. But somehow, it’s not a pastiche—it is instead from the Netherlands, and its creators are the astonishingly-named Robert Pot and Gerto Heupink.

The lens-flare cover and slightly bullish ring of the title might give a misleading impression of what Future World Orchestra are actually about, but as will become immediately clear upon watching any video footage of them, they’re very much not the high-fiving cock-jocks you might imagine. Rather, they meld a bouncy and vaguely unfashionable style of retro-pop with the elegiac electronics that had by then become an increasingly powerful element of the musical landscape: can you imagine a Frankensteinian welding together of, say, Jean-Michel Jarre, Genesis’s Tony Banks, and Neil Sedaka? Well, now you no longer need to try.

The record lays out its aesthetic manifesto on the first track, “I’m Not Afraid of the Future,” whose “Popcorn“-reminiscent arpeggios, hints of Hi-NRG, and upbeat vocal are shot through with a vague melancholy that runs counter to the song’s optimism—a sensation that underpins the whole record. I don’t know how to define this video of them lip-syncing to “Desire” except as punk chutzpah—a total don’t-give-a-fuck immersion in a personal aesthetic. Even though I love it, it makes me want to run out of the room screaming, so god alone knows what effect it might have on anyone who doesn’t like the music (though if you want more, have a slightly less uncomfortable version and a version from after they discovered coke). “Desire” mines the same kind of synthetic doo-wop shuffle of Andrew Gold’s wonderful “Never Let Her Slip Away,” a mood taken up later in a slightly less optimistic key in “Don’t Go Away.” “Airborne” hints at a kind of Schlager-trance, “Casablanca Nights” blends the “Popcorn” bubbling with an “I Feel Love” throb, while instrumental “Hypnos” is a Jean-Michel Jarre-ian monster. And aptly, Mission Completed ends with, yep, “Mission Completed.” Because it fucking was.

There are moments where the balancing act between something inspired and something awful falters—“Happy Moments,” for instance, would make perfect background music for a breakfast TV montage of Dutch pensioners visiting a petting zoo (and rips off 10CC‘s “I’m Not in Love” to boot)—but, all told, Mission Completed somehow manages to create its own beguiling futuristic world of mystery, excitement, and romance, all shot through with a vein of pensive melancholy. Is the undercurrent of angst a tacit admission that, for all of the album’s upbeat optimism, there was plenty about 1982 that actually was pretty frightening? Other groups, artists and authors that year certainly seemed to think so.

Apart from the obvious pop skill on display, I can’t quite put my finger on what it is about Mission Completed that I find so appealing. Is it the yearning that imbues the whole thing? The earnestness? Silly nostalgia for the time when I was still earnest myself? The record often feels a little like it’s straining against its own restraint, groping at new sounds and atmospheres and struggling to break free of the limitations of its own good pop manners. Perhaps it’s because I can see a bit of that in myself that it connects with me.

I’m not going to make any wild claims for Mission Completed as some neglected masterpiece, nor am I going to attempt to research its creators, because the truth is that I don’t really want to know: from the perspective of Mission Completed, even the iterations of Future World Orchestra performing the following year’s great and unexpectedly explicit anthem Captain Coke and Theme from E.T. are already so incomprehensibly alien that god alone knows where they went after that. I’m just going to hold it up as what I think it is: a charming collection of ironically elegiac pop songs, as frivolous as they are lovely.

Richard McKenna grew up in the visionary utopia of 1970s South Yorkshire and now ekes out a living among the crumbling ruins of Rome, from whence he dreams of being rescued by the Terran Trade Authority.

 

I love my Basic-era games, Holmes, B/X, and BECMI and their clones.
BUT I also love Astonishing Swordsmen & Sorcerers of Hyperborea.  The games are similar of course, drawing from the same sources, but there are also a few differences. 
Astonishing Swordsmen & Sorcerers of Hyperborea (AS&SH) is more closely aligned with "Advanced Era" D&D, but its feel for me has always been more OD&D, though over the last few years I have been treating it as another flavor of Basic.  

I have mentioned in the past that I see AS&SH as a good combination of B/X and AD&D rules.  Essentially it is what we were playing back in the early 80s.  Where I grew up it was not uncommon to come to a game where people would have an AD&D Monster Manual, a Holmes Basic book, and a Cook/Marsh Expert Book.  The rules we played by were also an equally eclectic mix.AS&SH is like that. It favors the AD&D side more, but there are enough B/X influences that I smile to myself when I see them.
In fact, it works so well with Basic that I have featured AS&SH with other Basic-era books in previous "Plays Well With Others."

• PWWO: Astonishing Swordsmen & Sorcerers of Hyperborea
• AS&SH and Magical Theorems & Dark Pacts: Plays Well With Others
• Classic Adventures Revisited: B1 In Search of the Unknown

I find the game that useful and that inspiring.
Class Struggles: Which Each Game OffersOriginally this was going to be a Class Struggles post, but with the inclusion of the monsters below, I felt it had grown beyond just that.  
If Basic-era D&D lacks anything in my opinion it is class options. Yes. I know the classes are supposed to be archetypes to play anything.  A "Fighter" works for a Paladin, a Ranger, a Barbarian, a Knight, and so on.  But I like a little game mechanics with my flavor.  I also like to have choices.
AS&SH achieves this in a beautiful way that can be adopted by any Basic-era game, but in particular, ones that cleave closest to the original sources and of course Holmes, B/X and BECMI.
So we are going to go beyond the Basic Four (Cleric, Fighter, Magic-User, and Theif) here.  I'll talk about demi-humans in a bit.
In AS&SH we have our Basic Four; Fighter, Magician, Cleric, and Thief.  Each also gets a number of subclasses.  Fighters get  Barbarian, Berserker, Cataphract, Huntsman, Paladin, Ranger, and Warlock.  The Magician has the Cyromancer (a new favorite of mine), Illusionist, Necromancer, Pyromancer, and Witch (an old favorite of mine).  The Cleric has the Druid, Monk, Priest, Runegraver, and Shaman (see BECMI).  Finally, the Thief has the Assassin, Bard, Legerdemainist,  Purloiner, and the Scout.  Each subclass is very much like it's parent classes with some changes. Every class goes to the 12th level.

Looking over at the Basic side of things we have a few more choices.  Holmes, B/X, and BECMI all cover the Basic Four in more or less the same ways.  BECMI gives us the additions of Paladin, Avenger, Knight, Druid, Mystic, and the NPC/Monster classes of Shaman and Wicca/Wokani/Witch.
Advanced Labyrinth Lord gives us the Assassin, Druid, Illusionist, Monk, Paladin, Ranger in addition to the Basic Four.
Old-School Essentials' Advanced options give us the Acrobat, Assassin, Barbarian, Bard, Druid, Illusionist, Knight, Paladin, and Ranger.  It also gives us the new race-as-classes Drow, Duergar, Gnome, Half-elf, and Svirfneblin.
The B/X RPG from Pacesetter has the Druid, Monk, Necromancer, Paladin, and Ranger along with the Gnome and Half-elf.  (Yes, a review for this is coming)

AS&SH classes go to the 12th level.  Basic classes, at least B/X flavored ones, go to the 14th level.  I like the idea of splitting the difference and going to the 13th level. 
Additionally, AS&SH has different cultures of humans to provide more flavor to the human classes.
All the Basic-era books have demi-humans that AS&SH lacks. Lacks is a strong word, the game doesn't need demi-humans by design, but they are still fun to have.  Combining these gives us the best of all worlds! Kelt Elves? Dwarf Picts? Lemurian Gnomes?!  This could be a lot of fun.
Plus the mix of cultures in AS&SH is second only to mix found in BECMI Mystara in terms of "let's just throw it all in there!"
I might let people choose one of the Basic Four and stealing a page from D&D5 allow them at 2nd or 3rd level to take "sub-class."  I'll have to see what the various classes all get at first level vs 2nd and 3rd level.
Monsters! Monsters!It's can't be denied that AS&SH has some great monsters.  Not only does it give us demons and devils (Basic-era is lacking on both) but also Lovecraftian horrors.  Sure, "At The Mountains of Madness" took place at the South Pole, who is to say there is not a similar outpost in the North? 
BECMI does talk about "The Old Ones" a lot and in the Core Rules is never very clear on who or what they are.  But it is not a stretch to think that those Old Ones and the Lovecraftian Old Ones have a connection.  

Oddly enough these things feel right at home in a Basic game.  If one goes back to the Masters and Immortals sets with the original idea that the Known World is our world millions of years ago this tracks nicely with some Lovecraftian mythology of our world.
I have talked about Demons in Basic/Mystara already, but AS&SH offers us "The Usual Suspects" and then some.  While Labyrinth Lord has always been good about opening the "Advanced" monsters to the Basic world, the monsters of AS&SH are of a different sort.
Maybe more so than the classes these require a bit more conversion.  Here is a monster we are all familiar with (and one I am doing something with later), drawing from the same sources to give us three or four different stat-blocks. 



Well. Not that different I guess. They are left to right, top to bottom, Advanced Labyrinth Lord, AS&SH, OSE, and B/X RPG.
AS&SH looks like a "best of" stats, combining features from both Basic and Advanced. Bite damage does a bit more on the average and the XP value is higher.  But nothing I am going to call game-breaking.
So the AS&SH monsters can be dropped pretty much "as is" into a Basic-era game. 
Anyone that plays these games should have no trouble with this really.
Putting it all Together and then Putting it in the NorthIt's settled then, AS&SH is part of my "Basic World" and where to put it is easy.In the Known World of Mystara, there is already a Hyboria. It is one of the features of both D&D (Mystara) and AD&D (Hyperboria, Oerth) just as Blackmoor is (Mystara, Oerth). but Blackmoor is a topic for another day.
While none of the maps can be reconciled with each other to make one perfect Hyperboria, the concepts certainly can. This is something I have been considering since I first got the 1st Edition Boxed set.I know that my family of witches, the Winters, come from the Hyperborean area.  Likely closer to more civilized areas, but not too civilized.  This became the basis for my Winter Witch book. 
BASSH is BornSo take what I love from AS&SH, mix in what I love from Basic and I have Basic Astonishing Swordsmen & Sorcerers of Hyperborea, or BASSH.  Yeah. This will be fun.

Shameless plug time: Dallas has a lot of restaurants, ranging from the corporate to the ethereal, and one of our best draws for visitors is our only Canadian restaurant. I’ve hyped the Maple Leaf Diner for years: when the old … Continue reading →

Personal interlude: the summer of 1980 was my first summer in the Dallas area. For those either unfamiliar with the area or who weren’t around when that summer hit us all like the fist of an angry god, June 1980 … Continue reading →

Eve Tushnet / July 14, 2020

Assign teenagers to different socioeconomic classes and require the lower classes to perform humiliating rituals of obeisance to the upper. Give other students the power to enforce class boundaries and punish those who get ideas above their station. Make sure the artificial hierarchy affects the students’ friendships and grades. What could go wrong?

This is the setup for Gloria D. Miklowitz’s 1985 young adult novel, The War Between the Classes. But it’s also the premise of a real classroom exercise developed in the late ’70s by Occidental College Professor Ray Otero. Otero’s “Color Game,” in which students wear armbands whose colors indicate whether they’re upper-class, upper-middle, lower-middle, or lower, is one of many similar classroom experiments in which students take on new identities in the hopes of gaining insight into social dynamics. (You can watch a short 1983 feature on the Color Game here.)

Perhaps the experiment that had the greatest impact on ’80s pop culture was “The Third Wave,” a 1967 exercise intended to teach California high school students about the rise of Nazism. The experiment got out of hand, of course, leading to both a fictionalized TV movie and a novelization, The Wave, in 1981. The Third Wave has inspired everything from a Canadian musical to an episode of the children’s cartoon “Arthur”—and even a Sweet Valley Twins book, 1995’s It Can’t Happen Here. The story of the Third Wave has had a recent renaissance in Germany, with a 2008 film and a 2019 Netflix series, We Are the Wave.

Although Miklowitz’s novel did get a 1985 Emmy-winning television adaptation, the Color Game never managed the big pop culture footprint of the Third Wave. And the real-life game didn’t please everybody, especially once it moved beyond the control of its developer. Otero was sued in 1988 by the parents of a high school student who claimed her experience as a “lower-class” Color Game participant had traumatized her. But as an exercise for college students, led by an experienced teacher, the Color Game proved popular—and Miklowitz’s fictional version offers far more insightful social criticism than the usual YA “the game got out of hand!” cautionary tale. The Wave has two fairly simple messages: “The desire to belong will dull your conscience,” and, “Anybody will buy into fascism if you market it right.” The War Between the Classes is teaching subtler lessons about shame, solidarity, and meritocracy.

Miklowitz specialized in YA novels about social issues: cult recruiting, nuclear war, teen suicide, single motherhood. Her prose in The War Between the Classes is workaday, her dialogue often preachy; characterization is quick and simple, and the obligatory YA romance is useful to the plot, but predictable. That romance crosses both color and Color Game lines. Emiko Sumoto—always “Amy” at school—is a middle-class Japanese-American girl whose boyfriend, Adam, is a rich white bro. His first romantic gesture in the novel is a flower with a note: “To my exotic, inscrutable Amy….” This is about the level of subtlety the book aims for.

Amy ends up wearing the armband of the upper-class Blues, whereas Adam is relegated to the lowest class, the Oranges. This is no coincidence. In the novel, the fictional Otero rigs the game so that students of color are assigned to the upper strata and the white kids are more likely to end up in the lower. Meanwhile, the game also reverses their sex roles: in a twist taken from the real-life Color Game, boys (called “No-Teks”) must now curtsy to and otherwise defer to girls (“Teks”).

In fact, the game relies heavily on shows of deference. The novel’s Otero explains, “Oranges must always show their inferiority by bowing when they meet their superiors, all colors above them. Light Greens must bow to the Dark Greens and Blues… But the Blues, bless them, don’t bow to anyone. Why should they?” He continues, “Inferior colors may not speak with or socialize with superior colors. A superior color may address an inferior one, but not vice versa.” Otero throws in derogatory comments about the “lower” colors (“I wouldn’t want to confuse you… Especially you Oranges”) and warns them that a “spy network” of enforcers called G4s have the power to report and punish disobedience. “You can be fined, harassed, given lower status”; you can also gain status by “squeal—er, uh, reporting” on others who break the rules.

The students must keep a diary of their impressions of the game; they can be punished if they’re caught without an up-to-date journal—even outside of school. Oranges sit at the back of class and wait at the end of the cafeteria line. “Lower” colors must run errands at the command of “higher” colors. Even when they break the rules, Blues get warnings; Oranges get punishments.

Amy is sweetly conflicted about the taste of power the game gives her over her boyfriend. Her blue armband gives her the power to confront the racism of the rich white kids, and uncovers an anger she didn’t realize she harbored. Adam has a harder time: “I was rewarded yesterday. You know why? For being submissive when a G4 chewed me out. I feel sick just thinking about it!”

The most noticeable feature of the Color Game’s understanding of class is how heavily it relies on humiliation. That’s simple necessity, since neither a college professor nor a high school teacher can actually take away their students’ food or shelter, deny them health care, or force them to live in unsafe neighborhoods. And yet necessity becomes a virtue here, as the students confront how deeply poverty and inequality humiliate those who endure them. Americans often blame the poor for their poverty (this is true across class lines; poor people blame themselves as well as their neighbors). All forms of need are treated as personal failure. This is the aspect of poverty that the Color Game can best replicate, and so the experiment overturns the assumption that the worst thing about poverty is that you have less stuff. (Monks have less stuff and they’re rarely ashamed of it, to use just one example.)

The “lower-class” students quickly begin to experience self-doubt, feeling constantly scrutinized and vulnerable, even helpless. The scene where Brian, one of the enforcers of the game’s hierarchy, forces a Dark Green student to turn over her game diary so he can mock her private thoughts aloud is startlingly raw. This humiliation is deepened by the way the Color Game (in the novel) exposes the flaws in the meritocratic ideal. Tests are handed out in order by color, so the better your economic position, the more time you have. The “higher” colors even get easier tests. And of course the point is that even before the Game started, the intelligence and academic ability of the students didn’t define their worth—and their grades were never fair.

The recurring use of the diaries to humiliate offers a strange, painful nuance. Why are the G4s so intent on learning, and exposing, what the “lower classes” really think? In the novel it’s camouflage so that Otero can monitor whether students are learning from the Game; but there’s an unexpected parallel with 2017’s Get Out, in which privileged characters similarly hunger to both understand and control the experience of the oppressed. Over the course of the Game, the students who are privileged in real life begin to feel that they’ve been missing something—something important that they neither knew nor wanted to know. Only when they themselves begin to experience humiliation do they wonder if their previous experience of power has somehow damaged them.

In the 1983 video on the “real” Color Game, one participant, like the fictional Amy, broke the rules by bowing to her “inferiors” and got busted down to Orange. She noted, “There’s not much unification among the upper classes. It’s kind of everyone for themselves… When you become part of the lower class, you’ll notice there’s much more of a sense of unity. People band together, we help each other out much more.” Miklowitz captures this solidarity too—a solidarity that is even harder to find outside the game now than it was in 1985, as low-income families, communities, and institutions are even more fragile.

The novel ends happily, of course. Amy leads a cross-class rebellion against the Game. There’s a cathartic ceremony in which the students shed their armbands and embrace, even hugging Brian, the G4 who seemed to relish his work. Interestingly—and depressingly—the characters walk away with relations between the sexes more obviously changed than relations between the classes. Amy has learned to assert herself in her romance with Adam, and he’s learning to see that as a gain for himself rather than a loss. Friendships have been forged across IRL class lines, and we can hope that some of them will last. And yet these friendships don’t seem to impose any obligations of change, the way the shift in Amy’s self-understanding requires Adam to change.

Ultimately, the girls learn to assert themselves, but class relations don’t budge: it’s easier to figure out how a boy might listen to a girl than how a rich kid might relinquish his power. Despite the confrontations in the mall food court and kids who use “black jive,” in some ways The War Between the Classes feels painfully contemporary.

Eve Tushnet is the author of two novels, Amends and Punishment: A Love Story, as well as the nonfiction Gay and Catholic: Accepting My Sexuality, Finding Community, Living My Faith. She lives in Washington, DC and writes and speaks on topics ranging from medieval covenants of friendship to underrated vampire films. Her hobbies include sin, confession, and ecstasy.

There has been some debate on the nature of good and evil when it comes to some monsters.  I plan on saying more about it later (spoiler: dropping alignment restrictions is a good thing!) but allow me to welcome D&D to 2,500+ years of organized philosophical debate and over 6,000 years of religious ones.  They have not worked out all the details yet so I don't expect D&D to do it yet either.
But that is not today's discussion.  Today I want to discuss Knockers.
Knockers are a subterranean species that frequent old mines.  They are common to Cornwall so they could be related to any number of Cornish faeries (and they have a lot of the Fey there) but in reality, they seem closer to the Kobold.  Or at least how the kobold has been depicted in German folklore.
Around the time of 2nd Ed Kobolds went from evil little dog men to evil little lizard men. Personally, I rather liked the change.  I love the idea of these scrappy little lizards running around. I am also fine with them being evil, or at least very, very self-centered as a species.  Their lizard brains only allow for survival in the most brutal ways possible. As such, they worship the things that look like them, only bigger, evil dragons.  If your god is evil then you probably are as well.  Do I leave room for a potentially "good" kobold? Of course, the world is vast, strange and wonderful, anything is possible.

But as it turns out I have good kobolds covered. 
Knockers are good* kobolds.  
I say good* because good ≠ nice.  
They are happy to work with each other, they get along fine with gnomes and the local pixies. They will even help lost miners find their way out of mines when they are lost.  But their reasons are hardly altruistic.  They feel that humans are big lumbering idiots and think they belong to the same species as ogres or trolls. They will lead miners out via a series of knocking or raps on stone not because they feel bad for the human but because one lost human brings in many more humans to look for them.
Knockers and kobolds share a history. Once they were the same people. Living in deep subterranean mines looking for veins of precious metals.  Their diggings brought them into contact with goblins, dwarves, gnomes, and even orcs.  All these encounters ended poorly for the kobolds as they were smaller in size. They grew to despise most other species.  As time went on the waters began to return as the last Ice Age began to thaw. When their homelands were taken by the sea, some moved west while others moved east and south.  The two peoples became distinct.  The kobolds of the south took on the worship of evil gods and dragons. Their lust for gold and power corrupted them into smaller forms and they took on more draconic features.  The kobolds of the west became more and more introverted and xenophobic.  Their distrust of others never abating but deciding that their best course of action was not to fight but to hide deeper and deeper in the Earth. The two sub-species of kobold barely resembles the other today, but there are still similarities if one knows how to look.
Knocker (Kobold)Basic-era GamesHumanoid (Subterranean) Frequency: RareNumber Appearing: 2-20 (2-4)Alignment: Neutral (Neutral Any)Movement: Basic 90' (30') [9"]Armor Class: 6 [13]Hit Dice: 1d6 (3 hp)Attacks: 1 Damage: 1d4 (weapon)Special: Hide in shadows 95%Size: SmallSave: Normal HumanMorale: 7Treasure Hoard Class: I (XIII)XP: 7
Knockers are a relative of the kobold. They resemble them in most respects save that these creatures appear to be more "humanoid" than their lizard-like counterparts.  Often described as "dog-faced" it is unclear whether that is a reference to their actual canine-like appearance or to their general ugliness.Knockers speak their own variation of the kobold language, but either sub-species can understand the other given a little time.
Knockers are believed to have interbred with gnomes and goblins in their travels west, and this is used to explain their changed temperaments.  Knockers generally get along well enough the gnomes and local fae and even tolerate goblins. Consequently, their greatest enmity is with kobolds and humans. 
For the most part, knockers look to be left alone to continue to mine their mines.  They will defend their communities if attacked using group tactics. If left alone, they will often leave others alone as well.
One Man's GodKurtulmak is the god of Kobolds, though in truth he should also be a Demon Lord like Yeenoghu.  He is described as being a bit reptilian as well.  In keeping with a theme the demon lord (lady) that evil knockers follow is Zsusr. 
KnockerNIGHT SHIFTNo. Appearing: 2-20AC: 6Move: 30ft.Hit Dice: 1Special: Hide in Shadow 95%, Pack tacticsXP VALUE: 7
Knockers are a subterranean humanoid people related to the fae.  They typically live in old mines and in the dungeons under old castles. 
Generation HEX: Some magical schools, particularly AMPA Cornwall in Great Britain, has a group of knockers living below the school. AMPA faculty have yet to decide what needs to be done with them if anything at all.
Ordinary World: Knockers have been known to live in the White and Adirondack Mountain ranges. They are believed to have migrated with English, Welsh, and Cornish immigrants. Here they have interacted with the local populations of Pukwudgie peoples.

Note: Want more information? Dump Stat goes into a Deep Dive of the Kobold across many editions.

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

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

—oOo—
Name: Ice Cream Man

Publisher: Chaosium, Inc.
Author: Michael LaBossiere
Setting: Modern day

Product: Scenario
What You Get: 1.018 MB nine-page, full-colour PDF
Elevator Pitch: How dangerous can a  Mr. Whippy be?
Plot Hook: When a father says the Ice Cream Man is the monster who took his son, and he wants you to kill him, is he mad, or is he right? Plot Development: A murderer, a victim, and chasing the sounds of the Ice Cream Man all summer...Plot Support: One handout, one picture, and a unique monster.

Pros
# Easily adapted to the ice cream carts of the 1890s and 1920s
# Strong, non-traditional set-up
# Investigator research pre-prepared
# When does hunting become stalking?
# Player driven# Potential kids versus the Mythos situation# Just how dangerous is a 99 and a Flake?
Cons# Why does the father know of the investigators?
# Needs a list of victims
# When does hunting become stalking?
# Needs a floorplan

Conclusion
# Easy to adapt to the 1890s and 1920s
# Strong, non-traditional set-up# Needs some support by the Keeper

mildlyinteresting-blog:

https://ift.tt/2ZktMFy “This street art I found behind a Bakery”

Jim Henson’s Labyrinth: The Adventure Game is a roleplaying game based upon the 1986 film Labyrinth. In that film, the frustrated sixteen-year old Sarah wishes away her baby brother, Toby, whom she has to babysit, but upon discovering that he has been kidnapped by Goblins, realises her error. However, Jareth, the Goblin King, offers here a deal—her dreams in exchange for the return of her brother. When she refuses, he gives an ultimatum: Enter and solve his labyrinth and find Toby before thirteen hours are up and he is turned into a goblin forever. In the course of the story, Sarah will find her way through the labyrinth, passing through the Hedge Maze, the Goblin City, and more, to confront the Goblin King in his castle and so gain her brother back, all with the help of friends and allies. In Labyrinth: The Adventure Game, several brave adventurers—each of whom has also lost something to the Goblin King—shall venture into the Labyrinth, solve its puzzles, overcome its challenges, make allies, and help each other in order to get back that which was lost.

Published by River Horse Games—the publisher of the surprisingly good Tails of Equestria – The Storytelling Game—Labyrinth: The Adventure Game is a self-contained roleplaying game, designed to be played by four or five players plus the Goblin King. In fact, it is so self-contained that open up the book and you will find a pair of dice sitting in a pocket punched through the corner of the pages. This is of course, in addition to the full rules and some ninety or so locations and encounters the adventurers can explore and have in the course of their making their way to the Goblin King’s Castle. Its format and style of play echo the solo adventure books of Fighting Fantasy—and others, but the number of encounters and scenes means that even if a group of players get through the Labyrinth and defeat the Goblin King, they could play through again and not necessarily repeat either encounters or scenes. The roleplaying game’s simple mechanics, quick set-up time, and linear way in which the encounters organised—though not necessarily played—means that the Goblin King, as the Game Master is known in Labyrinth: The Adventure Game, could bring to the game to the table with relatively little preparation.

Each Player Character in Labyrinth: The Adventure Game is defined by three things—his Kin or Race, a Trait—something that he is good at, and a Flaw—something that he is bad at. The six given Traits are paired abilities like ‘Singing and Dancing’ and ‘Lifting and Pushing’, but a player is always free to create his own as long as they fit the setting. The Flaws include ‘Overconfident’ and ‘Coward’, and again, a player is free to create his own. The listed Kin include not just the protagonists as in the film, but others that were at best minor members of the cast or adversaries. So, they include Human, like Sarah; Dwarf, like Hoggle; Horned Beast, like Ludo; and Knight of Yore, like Sir Didymus. The others are Firey, Goblin, and Worm. Each Kin has its own particular Trait. So, a Dwarf has a Job like Gardner or Plumber and associated tools; a Firey can separate his limbs and head and create small fires from his fingertips with Detachable Limbs and Fire Fingers; a Goblin gas Goblin Features and can get into a lot places unnoticed that others cannot; a Horned Beast has the Very Big Flaw, but can mentally control a type of object like plants or water; a Human has two Traits, not one; a Knight of Yore is Honourable and can find and tame a Steed; and a Worm has the Very Small Flaw and the Wall Climbing Trait. All of these model the character types seen on screen in the film, but there is nothing to stop a player and the Goblin King working out something else about their character if he wants to play something different.

To create a character, a player simply selects a Kin, a Trait, and a Flaw. He also decides on a name and a reason why he is in the Labyrinth, that is, what exactly does the Goblin King have of his? Given the limited number of options, a player could actually create his character in sixty-seconds, and four or five players create theirs and be ready to play in five minutes! Where there is a problem is with what drives the Player Characters forward, further into the Labyrinth. The discussion of this is a little light, and whilst experienced roleplayers will have no problems coming up with ideas, for anyone new to the hobby via Labyrinth: The Adventure Game, well some suggestions and inspiration might have been useful for them.

Our sample character is Bobby, a teenager with well-deserved reputation as a sneak and a thief. At home he is bratty and difficult as his parents are going through a divorce, and most recently his mother’s jewellery has disappeared. He fears for the consequences should he be blamed and desperately wants to get them back.

Bobby
Traits: Listening and Spotting, Sneaking and Hiding
Flaw: Selfish
Goal: To recover his mother’s jewellery

Mechanically, Labyrinth: The Adventure Game is very simple. Whenever a Player Character wants to undertake an action which has consequences, his player rolls a single six-sided die. If the result is equal to, or exceeds, a difficulty—ranging from two or ‘Piece of Cake’ to six or ‘It’s not fair!’—the Player Character succeeds. Should a Player Character have an advantage, such as from a Trait, the player rolls two dice and takes the better result. Conversely, if a Player Character is at a disadvantage, his player rolls two dice and takes the worse result. Having a suitable piece of equipment or another Player Character help a Player Character out using one of his Traits, lowers the Difficulty, or in some cases ensures that the acting Player Character succeeds.

Instead of combat mechanics, Labyrinth: The Adventure Game opts for action scenes, since this is not a game where the Player Characters or NPCs can be killed, or violence is necessarily the answer. In purely mechanical terms, characters do not have weapons, armour, or even the equivalent of Hit Points. This is not to say that neither weapons or armour could come into play, but their effects would really be narrative rather than mechanical, and the same goes for injuries suffered. However, there are no rules or little in the way of guidance for handling this and again, for anyone coming to Labyrinth: The Adventure Game as their first roleplaying game, this may be a problem. 

What it means though, is that the players and their characters will need to be more inventive in how they overcome the challenges they face. Ideally though, both the Goblin King and her players should be taking a cue for this from the film itself, so action scenes and what might be combats in other roleplaying games should here be slightly cartoonish in style and the way that they play out. 

Another aspect of the mechanics is that they are player facing, that is, the Goblin King never roles against the Player Characters—only the players roll, either to act, to persuade, or avoid a threat. The Goblin King can roll though on any one of the random tables that litter the scenes and encounters to determine something about the scene or an NPC, and she also rolls to determine how far the Player Characters will progress into the Labyrinth as they move from scene to scene. Throughout their progress through the Labyrinth, the Player Characters will find equipment and potions and things to help them, and these can be used to get past obstacles, to barter with the inhabitants of the Labyrinth, and so on. Ideally, although each Player Character can carry a limited number of items, each player should be looking to pick up as many as they can and be inventive in their use.

All of the rules, character creation, and advice for the Goblin King take up just the first thirty-five pages of the two-hundred-and-ninety-two pages of Labyrinth: The Adventure Game. The other almost ninety percent consists of descriptions of the Labyrinth itself. These are divided across five chapters—the Stonewalls, the Hedge Maze, the Land of Yore, the Goblin City, and finally the Castle of the Goblin King. Each one is strictly a two-page spread, which makes them very to use at the table—no need to flip back and forth anywhere. Each comes with a description to read to the players, a map and a key explaining its features and challenges, a table of random elements, and possible consequences. So ‘The Wrecking Crew’ in the Stone Walls has the Player Characters run into a Goblin gang demolishing a corridor for renovation and the bad news is that they have no idea what they are doing! Tables enable the Goblin King to randomise both explosives and the Goblins, and the consequences are either that they get past and continue onward, or the explosives are detonated, and the Player Characters are blinded, knocked down, coughing, and covered in green powder in the next scene. Some of Scenes, such as the Oubliette, The Land of Stench, and Ted’s Quest will be familiar from the film, but many are not from the film and so will surprise anyone who knows the film well.

These Scenes are ordered one after the other from The Gatekeepers to the Goblin Castle. Now the Player Characters will start at The Gatekeepers and end at the Goblin Castle, but they will not play them one after the other. Instead, at the end of most scenes, the Goblin King will roll a die and move the number rolled that number of Scenes forward. Their movement forward is measured as Progress and they need to complete Scenes to increase their Progress, but if a Scene proves too challenging or they want to revisit an earlier Scene, the Player Characters can move backwards. This does not mean that they reduce their Progress, but it does mean that Player Characters can go back to an earlier Scene and attempt to find another route forward if they get stuck, and it also builds the labyrinthine feel of the game. 

What this also means is that on an average playthrough of Labyrinth: The Adventure Game, a group of Player Characters will play between twenty-five and thirty Scenes before getting to the Goblin Castle. This is played differently to the previous Scenes, with the Player Characters chasing the Goblin King round his castle, moving more freely from room to room, and it more has the feel of a board game, Tortoise and the Hare-like, as they chase down the Goblin King and he runs away from them.

The other tracking factor that runs throughout Labyrinth: The Adventure Game is the time limit. Just like the film, the Player Characters have thirteen hours in which to penetrate the Labyrinth and get to the Goblin King’s Castle and defeat him. In general, as long as the Player Characters are moving forward and overcoming obstacles and challenges from one Scene to the next, they will not lose time. However, failing to overcome challenges in some Scenes, wasting time in certain Scenes, and occasionally, but not always, going back to an earlier scene, will cost the Player Characters time—an hour each time. Specifically, there is no countdown—though it would be fantastic to have a thirteen hour countdown at the table when playing Labyrinth: The Adventure Game—but when the thirteen hours are up and the Player Characters have failed to get to the Goblin Castle or have got there and failed to defeat him, then they do actually lose.

To win though, all the Player Characters have to do is defeat the Goblin King. That though is not physical confrontation, but rather like the film, a demonstration that he has not influence or power over the Player Characters. Fans of the film can of course cite the mantra from the end of the Labyrinth—and that is included in Labyrinth: The Adventure Game. Success means that the Player Characters can grab back stolen goods, kidnap victims, or the solution to whatever was driving them to enter the Labyrinth. Afterwards, Human characters can go home, other characters can get on with their lives, but in a nicer world free of the Goblin King.

Unfortunately, this final confrontation is really underdeveloped. The problem is that the Goblin King is not really described and whilst there is a Goblin King character sheet for the Goblin King to use, and it is suggested that the Goblin King create a Goblin King NPC of her own, there is no advice or help to that end either. Now obviously in the film, the Goblin King is mean to be ephemeral, almost a cypher, but Labyrinth: The Adventure Game leaves the Goblin King to make him as best she can, perhaps basing upon the version played by David Bowie in the film. Given that it is possible to play through Labyrinth: The Adventure Game more than once, this seems such a missed opportunity upon the part of the designers.

Physically, Labyrinth: The Adventure Game is stunning little digest-sized hardback. The artwork by Brian Froud—whose illustrations formed the basis of the film—is excellent as you would expect, but the other illustrations are also good. The writing is decent, and the maps are fantastic, and it is clear that a lot of thought put into layout and the organisation which make the book so easy to use. Further, Labyrinth: The Adventure Game comes with not one, but three cloth bookmarks, and not just because. The red bookmark is used to mark the Player Characters’ progress, the others where they might actually be in the Labyrinth, and so on, which is easier than perhaps making a physical note of it.

Of course, anyone who is fan of the film coming to Labyrinth: The Adventure Game needs to know that this is not something like the board game—also published by River Horse Games—that can be brought to the table, played in a single session, and put away again. As easy as it is to set up and start playing, Labyrinth: The Adventure Game will take multiple sessions to play through, unless you want to play through it in one long session.

Labyrinth: The Adventure Game is not the roleplaying game for the film, Labyrinth. In other words, it is not a sourcebook for the setting portrayed on the screen and it does not allow a Game Master or Goblin King to create that world which her players can visit again and again. Almost like a programmed module or solo adventure—or even a co-operative board game like Pandemic—Labyrinth: The Adventure Game presents a series of challenges and obstacles which the players and their characters can play through multiple times to see if they can defeat the Goblin King. In fact, they may need to if they do not first succeed, and further, the linear order of the Scenes combined with the Progress mechanic means that on a second, or even a third playthrough, the players might not repeat any Scenes except those at the beginning or the end. Though again, playing through it more than once is not a topic that Labyrinth: The Adventure Game addresses.

Labyrinth: The Adventure Game is adorable and charming and it captures the feel of the Labyrinth world with its mixture of bolshiness and bravado and beauty through Scene after Scene, but it is incredibly underdeveloped in places—motivations for the Player Characters, creation and portrayal of the Goblin King, revisiting the Labyrinth, and so on, are just explored enough or at all. None of this will challenge an experienced Game Master, but anyone coming to Labyrinth: The Adventure Game new to roleplaying games and they will find it challenging because Labyrinth: The Adventure Game provides no help—and it should do.

Labyrinth: The Adventure Game is a fantastic format and a fantastic adaptation of the Labyrinth film. It enables a playing group to revisit the story of the film multiple times—whether they succeed or feel in defeating the Goblin King—and do so with very light, easy to grasp storytelling mechanics that emphasise problem-solving and co-operation, all packaged in a beautiful book.

Mutant: Year Zero Zone Compendium 5: Hotel Imperator is the fifth supplement for Mutant: Year Zero – Roleplaying at the End of Days, the post-apocalypse set RPG based on Mutant - År Noll, the Swedish RPG from Free League Publishing distributed by Modiphius Entertainment. As with the previous supplements in this series—Mutant: Year Zero – Zone Compendium 1 – Lair of the Saurians, Mutant: Year Zero – Zone Compendium 2 – Dead Blue Sea, Mutant: Year Zero Zone Compendium 3: Die, Meat-Eater, Die!, and Mutant: Year Zero Zone Compendium 4: The Eternal War—this is a slim supplement that presents various scenario set-ups and situations, or ‘Special Zone Sectors’ which can be quickly and easily dropped into a Game Master’s campaign and the sectors of her Zone map.

Where Mutant: Year Zero Zone Compendium 4: The Eternal War was a supplement to a supplement, providing further robot encounters for Mutant: Year Zero – Mechatron – Rise of the Robots Roleplaying, Mutant: Year Zero Zone Compendium 5: Hotel Imperator returns to the Zone found in Mutant: Year Zero – Roleplaying at the End of Days—either the Big Smoke, the Big Apple, or a Zone of the Game Master’s own devising. It includes numerous encounters with the anthropomorphic animals of Mutant: Genlab Alpha and the sentient robots of Mechatron – Rise of the Robots Roleplaying, as well as some Humans of Mutant: Year Zero – Elysium. However, technically, Mutant: Year Zero Zone Compendium 5: Hotel Imperator is set before the events of Mutant: Year Zero – Elysium, and really, would work just as after its events too, perhaps in conjunction with Mutant: Year Zero – The Gray Death.

The first of the four ‘Special Zone Sectors’ in Mutant: Year Zero Zone Compendium 5: Hotel Imperator is the eponymous ‘Hotel Imperator’. This describes a weirdly still functioning hotel, complete with advanced features, but put to another purpose. It is the headquarters of a Psionically capable cabal called the Brain Ring with long term plans of domination for the Zone. If the Player Characters get inside, they will find an almost cornucopia of artefacts and things to be scavenged, but also a certain creepiness to both its atmosphere and its inhabitants. The situation and relationship between the inhabitants is on a knife edge, really awaiting the arrival of the Player Characters, but ‘Hotel Imperator’ is not best used simply plumped down as just another place for them to visit. Its write-up includes a number of events—some of them linked to previous entries in the ‘Zone Compendium’ series, suggesting how it can be worked into a campaign, but as a location it best works as the final part of plotline which the Game Master has worked into her campaign.

Of more immediate use is ‘The Long Road’, an encounter with relatively recently formed caravan operated by a band of anthropomorphic animals. Lead by an aggressive Orangutan, this is a relatively flexible encounter which does not have the big plot of ‘Hotel Imperator’, but rather can be used in a number of different ways, including trading partner, blockade, furthering another plot, and so on, but being nomadic, it can be moved around a lot.

Where Mutant: Year Zero Zone Compendium 4: The Eternal War took the robots to a theme park, the Wild West-themed ‘Fort Robot’, Mutant: Year Zero Zone Compendium 5: Hotel Imperator takes us to ‘The Zone Fair’. This is an amusement park, replete with various attractions such as Fortune Teller, Shooting Range, Casino, and more. The Player Characters can come here to trade, enjoy the entertainments, and even participate in the upcoming poker contest—rules are provided for ‘Zone Poker’, as well as get involved in other plots. As a static location, there is plenty for the Player Characters to do, and the likelihood is that they will return again and again. However, there is at least one element to do with an NPC which is left undeveloped and the Game Master wondering what to do with him if the Player Characters want to dig into his background.

The last of the four ‘Special Zone Sectors’ in Mutant: Year Zero Zone Compendium 5: Hotel Imperator is ‘The Great Zone Walker’. This is another mobile encounter, but where the caravan of ‘The Long Road’ consists of just a few vehicles, ‘The Great Zone Walker’ is a behemoth, a monstrously colossal device which trundles across the Zone, home to a small tribe. In fact, in comparison to the encounters the Player Characters will have had in the Zone, it is on the scale of Mortal Engines, and being so big, it is not a subtle thing to bring into a campaign, and indeed could smash it apart. As an object though, its huge physicality means it is a fantastic object to clamber over and swing across.

Rounding out Mutant: Year Zero Zone Compendium 5: Hotel Imperator is something different to the other titles in the series—new rules. These though are relatively minor additions and tie back to the ‘Hotel Imperator’ ‘Special Zone Sector’ found at the start of the book. They include a number of new psionic mutations and two related artefacts. These are the Psionic Enhancer and Psionic Blocker, and whilst their inclusion makes sense, the inclusion of the new mutations not quite so much. Unfortunately, they only seem to have appeared in the Mutant: Mechatron – Custom Card Deck and so needed to put into print, and since Mutant: Year Zero Zone Compendium 5: Hotel Imperator includes the one psionic encounter, it makes sense to have them included here.

Physically, Mutant: Year Zero Zone Compendium 5: Hotel Imperator is as well presented as the other titles in the series. The artwork is excellent and the maps, both illustrated and cartographic, are nicely done. In fact, the artwork also serves as great illustrations to show the players when they encounter the various locations and NPCs. The book is also well written, with solid descriptions and a handful of events and scenario ideas for the Game Master to flesh out.

Mutant: Year Zero Zone Compendium 5: Hotel Imperator presents a good collection of Special Zone Sectors. The second, third, and fourth—‘The Long Road’, ‘The Zone Fair’, and ‘The Great Zone Walker’—are generally easy to bring into a campaign and the Game Master’s Zone, but ‘Hotel Imperator’ will need some to work into a campaign and lay the groundwork for its payoff climax. In general, these are really useful to add to a standard campaign as detailed in Mutant: Year Zero – Roleplaying at the End of Days, but one which mixes elements from both Mutant: Genlab Alpha and the sentient robots of Mechatron – Rise of the Robots Roleplaying. Overall, Mutant: Year Zero Zone Compendium 5: Hotel Imperator is a great addition to a late campaign of Mutant: Year Zero – Roleplaying at the End of Days.

As always, expect a Flash Sale this Sunday, but until then, the Ray Harryhausen tributes continue. It’s only right.

Early mail-call this week and I can't be more pleased.


Night Shift: Veterans of the Supernatural Wars RPG
Hard copies my Jason Vey's and my new game are appearing in the wild and I am so happy.  Here are my leather and standard copies.
The insides also look fantastic.  Better than I had hoped for really.



And of course, it has my favorite of my Night Worlds, Generation HEX.

You can get PDFs from DriveThruRPG and Print copies (not PODs!) directly from Elf Lair Games.
Can't wait to share more with you all including an Other Side exclusive Night Spot. Come back for adventures in Valhalla, Alaska.  A Night Spot that can be used in the Ordinary World setting or added to any game.
Been looking forward to this for some time now!