The Alchemist, 1650
 The Alchemist, detail 1, 1650

The Alchemist, detail 2, 1650

Witchcraft Scene, 1600-78

Pluto comes from Tartarus, 1640.

Pluto and Proserpina, variation of Jacques Callot's "Temptation of Saint Anthony" 17th Century

Allegory of the Apocalypse , 1674

It's "shelter in place" time here in Illinois.  So I am spending my time playing D&D and CoC with my kids and doing research for my BlackStar game.


To that end, I am pouring over my Trek books, both sourcebooks, and RPGs, to find a nice mix.

Plus I am doing research on my favorite class of starship, The Ambassador Class.

https://memory-beta.fandom.com/wiki/USS_Enterprise_(NCC-1701-C)
https://memory-beta.fandom.com/wiki/Ambassador_class

Up first a few "history of" and "technical specifications of" the Ambassador Class ship










This is a "walk through" but I think they got the size of the bridge wrong.




Star Trek Online takes the same "space" as Starfleet Battles for me.  Similar, but a separate timeline where there is more war.   Here is a player taking his Ambassador class "Support Ship" through some paces.



Enjoy the videos.

By 1980, RuneQuest had begun to mark itself as a roleplaying game and setting in the form of Glorantha, which was very different in comparison to other fantasy roleplaying games. It was skill-focused and emphasised every player characters’ faith and belief system and world view in the context of the world of Glorantha, especially in the form of the superlative Cults of Prax. Then came along Plunder, a supplement detailing some six-hundred-and-forty pre-generated treasure hoards and forty-three magical treasures of Glorantha. Plunder does not add as much to the world of Glorantha, but it does support it, both in terms of the mechanics and the background.

The first half of Plunder consists of ten tables, each an eight-by-eight grid, thus providing sixty-four results in each table. In each space is the listing for a treasure hoard that the player characters might be found in their intrepid adventures in Glorantha. This might be nothing; 38 Clacks; 406 Clacks, 364 Lunars, 30 Wheels, and a single gem or piece of jewellery; or 1068 Clacks, 1383 Lunars, 332 Wheels, four gems or pieces of jewellery, and a special item. When the Game Master needs to determine the contents of a hoard, he turns to a table and rolls two eight-sided dice to get a result. Two further tables enable the Game Master to determine what the gems and jewellery are if there are any and what the special items are if there are any. So the gems and jewellery might be an excellent gemstone worth 900 Lunars or costume jewellery worth 45 Lunars, and special items might be a scroll written in Stormspeech which grants a +5% bonus to the Dagger skill if studied, an eleven-point Power storage crystal, or a wand with the Glamour matrix on it.

Mechanically, this all ties into the use of Treasure Factors from the second edition of RuneQuest, recently republished as RuneQuest Classic. Treasure Factors are are means of determining how much loot a monster or an NPC might. The Treasure Factor for any one creature derived from its Hit Points, combat skills, how many extra dice are rolled when it inflicts damage, armour, combat spells, special powers, any poison used, and any extra attacks. If there is more than one monster or NPC, their individual Treasure Factors are added together, and the final value broken down into groups of a hundred. When it comes to using Plunder, the Treasure Factor is used to determine which table the Game Master will roll on when it comes to generating the hoard for a monster or an NPC. So for a single Trollkin with a Treasure factor of six, the Game Master would roll on the very first table in Plunder, but add a whole lot more Trollkin and mix in a Dark Troll or two, and the Treasure Factor rises rapidly so that the Game Master will be rolling on a table later in the book. In general, if the Game Master knows the Treasure Factor, she can generate a treasure hoard with just a handful of rolls.

The second half is dedicated to just some of the magical devices to be found on Glorantha. These range from the marvellously mundane, such as the Golden Torches which never go out, even underwater or in great darkness or Soup Bones which can always be boiled to provide soup, to amazingly magical, like Tora’s Hammer, a stone Warhammer wielded by a hero during the Dawn Ages who slaughtered untold numbers of Mostali with it and which returns to the hand if thrown, and Glass Butterflies, tireless magical messengers which will deliver a spoken phrase anywhere in the universe! Many are very particular in terms of who can use them, such as Morokanth Thumbs, black lumps of thumb-like flesh which when Power is sacrificed, the thumbs can attach to a Morokanth’s hands and enable him to be as dextrous as any human, whilst others are tied to a particular cult. For example, the Lightning Bands once worn by the bodyguards of a high priest of Orlanth Thunderous, which when imbued with Power, enables the wearer to blast out a bolt of lightning via a spear. There are treasures from the Aldryami and the Mostali, Chalana Arroy, Chaos, Kyger Litor, Dragonewts (and from Dragonewts), Waha, Stormbull, and more. Some have more generic links such as Fire or Sky cults.

Every item follows the format. A description, followed by a listing of the cults associated with the item as well as those friendly, hostile, or enemy to it; a discussion of how common knowledge of the item is, ranging from common to one of a kind or owner only; its history and the procedure required to use it (and sometimes make it); and lastly powers and value. The latter should one come up for sale. For example, Bajora’s Shield is a large iron shield with a glowing Death rune on it. It is associated in friendly fashion with Humakt and knowledge of it is automatically known to Humakt’s cult, though it is a cult secret, it is famous and one of a kind. Its history is that it was originally carried by Bajora, a friend of Humakt who sacrificed his life to save Humakt from a thing of Chaos. All that was left of Bajora was his shield, which Humakt carried for the rest of Godtime in his honour. Humakt refused to use it though and so since time began, none of his followers can either. They do know of the shield’s powers, so anyone wielding it and wanting to use if to its fullest powers needs to be on good terms with Humakt’s cult.

The procedure to use it requires the wielder to be a Rune Lord of a cult not an enemy of Humakt. He must then sacrifice a point of Power. Once attuned it grants a +20% bonus to the wielder’s Shield skill, the same effect as the Shield 4 spell when in melee, Light spells on command with no expenditure of Power, and immunity to Sever Spirits when cast anyone other than a Humakti. The value 120,000 Lunars and selling it would offend any Humakti (although buying it to donate to the temple is fine).

One issue perhaps is that a few of the items are unlikely to come into play, for example, the Aluminium Tridents of various sea cults, and of course there are some treasures which are unlikely to fall into the hands of the player characters—mostly Chaos related. Plenty of the others though will be desired by the player characters and some will certainly be subject of great hero quests. If there is an issue with the selection it is that there are few treasures related to the Air and Earth cults, but that is likely due to the contents of Plunder, like Cults of Prax before it, being set in Prax rather Sartar and its surrounds.

Physically, Plunder is again a book of two halves. The first is tables—large, open, and easy to read tables, but tables nonetheless. The second is more open, with one or two entries per page. Some are illustrated, some not, but the artwork is decent, if a little ‘Swords & Sorcery’ in style in places. If any of the artwork is disappointing, it is the cover, which comes from the ‘chainmail bikini’ school of female depiction in fantasy. The skull panties are a notable feature.

At the time of its release, critics could not agree about Plunder. In Space Gamer Number 33 (November 1980), Forest Johnson said that, “About half this book is not very useful. It consists of a shorthand method for generating treasure. (This does nothing to lighten the real work – adding up all those cursed treasure factors.)”, but ended on a positive note, concluding that, “The lack of exotic magic items has heretofore been a weak point in RuneQuest. These items have authentic Gloranthan flavour, complete with history and cult affinities. The discreet use of these items will add spice to a campaign without reducing it to Monty Haul.” Conversely, writing in The Dungeoneer’s Journal Issue: 25 (February/ March 1981), Clayton Miner said, “The variety of the items, and the detailed information included with the great treasures is sure to make this book very useful to Judges. Of more use to a Runequest Judge is the first section of Plunder, which presents easy to use tables for determining that value of a lesser treasure…” and that, “…[T]his book would make a welcome addition to a Judge’s stock of Runequest items. Plunder is definitely a useful piece of work and shows a great deal of imagination, and the only question I had with the book as a whole is, why so none of the items listed under Treasures of Glorantha have a negative side effect on the user.”

Other reviews were more balanced. Oliver Macdonald, reviewing Plunder in White Dwarf No. 25 (June/July 1981) awarded the supplement just five out of ten, adding that, “All points considered Plunder is an interesting but by no means essential RuneQuest play aid, certainly not worth buying if you have a limited budget.” Plunder was reviewed by John Sapienza, Jr. in Different Worlds Issue 12 (July 1981). Of the first half, he wrote that, “I think that a bit of reflection will let the GM realize just how dull it is putting treasure descriptions together, particularly those that get improvised during gaming. Once you realize this, the usefulness of this play aid makes it attractive.” He was more positive about the second half, saying that, “…[T]he treasures are, by and large, not out of balance, and most of them come complete with cult associations that provide effective limits on their use. Other limits are the tendency of certain races to take offense and kill the wearer, such as a suit of dragonewt skin armor. Use this at your own risk, in other words. Neat.” before concluding that, “Plunder is a useful idea, and well done. I recommend it to all RQ GMs.”

Plunder is a curio from a bygone age and another style of play. That style of play is one in which plunder is important. In Dungeons & Dragons, it was treasure and it would directly count towards the number of Experience Points a character gained in addition to that gained from killing monsters. In RuneQuest and Glorantha, the plunder paid first for any dues you owed to your cult and temple, second any monies owed to a cult, temple, or guild for prior training, and third for any skill or spell training undertaken with your cult, temple, or guild. Certainly in RuneQuest II, all of this would cost a character thousands of Lunars. Not so in the latest iteration, RuneQuest: Roleplaying in Glorantha, which presumes that a character’s training has already been paid for, though a character still owes his tithes to his cult and is encouraged to purchase further training. So there is less of an emphasis today on plunder when roleplaying and exploring Glorantha, as evidenced by advice given in the back of the core rulebook to cut the value of the treasure found when playing classic scenarios. 

So, forty years ago in Glorantha, the need for treasure was greater. Player characters had debts. Thus, the Game Master had to seed his scenarios with plunder aplenty—well not too aplenty because the characters had to have a reason to be coming back for plunder and the peril which went with it—and that took time and effort. Forty years ago then, the tables in the first half of Plunder were useful as they helped speed the process. Not so now when they feel redundant. Similarly, the second half of Plunder with its listing of forty-three magical treasures was useful forty years ago because so few of them had been then detailed in the early days of RuneQuest. So the forty three were useful, many of them tying into the cults described in Cults of Prax and so helping to build the world of Glorantha just a little further. 

Conversely, at this point in the history of RuneQuest: Roleplaying in Glorantha, the current iteration of the roleplaying game has the same problem—few if any treasures of note have been detailed. There is background and detail to many of these forty-three items that the Game Master could bring them to her Glorantha today and they would still work. Doubtless, new supplements will appear detailing new treasures of Dragon Pass, but the conversion process is anything other than challenging. Until such a supplement is published, Plunder is actually more than a curio.

There can be no doubt that Plunder is no Cults of Prax, for it is very much a curate’s egg. Its dual focus and character—divided equally between the mundane and magical—mean that one half is at best utilitarian, at worst bland, whilst the other by comparison rich in detail and flavour. Conversely, the Game Master is likely to have got more use out of the Treasure Tables than the individual items, even if they are mundane, but nevertheless, the actual treasures in Plunder further showcase the more fantastical nature of Glorantha.

We are on vacation this week.  Were supposed to drive down to see my wife's sister, but instead we are holed up here.  So I am starting my mini-campaign of "The Deserts of Desolation & Death" today.

Going through my books last night I figured I needed something new.  Everyone has seen all the old monsters.  Plus I wanted to up the feeling of necromantic dread.  So this guy popped into my head.

Besides. I like undead beasties.

So here it is for 5e D&D (what I am playing today).

Sand Ghoul
The Ghoul by Les EdwardsSand Ghouls are formed when naturally occurring mummies in the desert are possessed with demonic or necromantic power.  They are stronger and faster than normal ghouls.  The drying process also robs them of their stench.
Elves are immune to the Paralyzing touch of the Sand Ghoul.  Desert Orcs living in a combined Desert Elven / Desert Orc community are also immune.

Medium undead (Desert), chaotic evil
Armor Class 16 (natural armor)
Hit Points 31 (7d8)
Speed 30 ft., burrow 40 ft., climb 20 ft.

STR 14 (+2)
DEX 16 (+3)
CON 10 (+0)
INT 10 (+0)
WIS 9 (-1)
CHA 5 (-3)

Saving Throws Str +4, Dex +5
Skills Acrobatics +5, Perception +1, Survival +3
Damage Vulnerabilities fire, radiant
Damage Immunities poison
Condition Immunities poisoned
Senses darkvision 60 ft., passive Perception 11
Languages Common
Challenge 3 (700 XP)

Undead Fortitude. If damage reduces the sand ghoul to 0 hit points, it must make a Constitution saving throw with a DC of 5 + the damage taken, unless the damage is radiant or from a critical hit. On a success, the sand ghoul drops to 1 hit point instead.

Keen Sight and Smell. The sand ghoul has advantage on Wisdom (Perception) checks that rely on sight or smell.

Actions
Bite. Melee Weapon Attack: +2 to hit, reach 5 ft., one creature. Hit: 9 (2d6 + 2) piercing damage.
Claws. Melee Weapon Attack: +4 to hit, reach 5 ft., one target. Hit: 7 (2d4 + 2) slashing damage. If the target is a creature other than an elf or undead, it must succeed on a DC 10 Constitution saving throw or be paralyzed for 1 minute. The target can repeat the saving throw at the end of each of its turns, ending the effect on itself on a success.


Stat block Generator: https://tetra-cube.com/dnd/dnd-statblock.html

It has been a great time for genre TV for the last few years.  Now we are getting a bunch of new witch shows on TV and you know I am happy.  So let's have a look.



Charmed (2018)
Last years Charmed reboot got a second season and turned the premise of the show upside down.   The Charmed Ones are still, well Charmed, but they lost their powers. They can still cast and there are still demons to be fought and witches to be saved. The show is subtly different and in many ways better.  It's taking a while to get to the main plot but from what I have seen so far, I am a few episodes behind, looks fun.



Chilling Adventures of Sabrina
We just got Season 3 and it was great.  Satanic witches, Lilith, Hecate, and Pagan witches. Again, it's like someone has been reading my Christmas list.  Very fun.



Luna Nera
This is an Italian series on Netflix. Taking place in 17th Century Italy it features more witches vs. witches. This time it is witches vs. Benandanti; it sounds like one of my games!



Motherland: Fort Salem
This is the big premiere from the previous week.  An alternate reality where the U.S. Government made a deal with the witches at Salem to create an elite unit of witches in the U.S. Army.
The first episode was fun. Again we have two groups of witches fighting each other as our main plot.  Or at least one of them so far. Looking forward to seeing where this one goes too.


Magicians
This show gets crazier all the time. Though now we are in our last season. Going to miss them all.

Witcher
Not a "Witch show" per se, but plenty of magic and witches here.

Vampires
Not witches but Vampire the Masquerade: The High School Years.  I only watched two episodes of this French import on Netflix, so not as sure about this one yet.

In classic Lovecraftian investigative horror roleplaying, news of the weird and the unnatural is spread by letter, by newspaper, and by word of mouth. Information spreads slowly. Not so in the modern age. Information spreads as fast as social media picks up on it. So when an Internet video of woman, crying and shouting about a community that does terrible things, including taking women and children, whilst society takes its money and looks the other way, before suddenly vanishing, screaming in agony, goes viral, it is sufficient to attract the attention of Delta Green. In response, the highly secret government agency assigns a cell of agents to investigate and establish what happened in the video, but not only investigate. If there are any signs of continuing danger, the agents need to save lives; if there are indications that this was an incursion of the Unnatural, they need to locate its source and stop it; and if this was due to an incursion of the Unnatural, they need to establish a mundane narrative for the video, make sure that nobody suspects Unnatural phenomena to be the cause; but above all, they need to make sure that nobody learns of Delta Green.

This is the set-up for Delta Green: Hourglass, a short investigation for Delta Green: The Role-Playing Game and Lovecraftian investigative horror published by Arc Dream Publishing. It can be played using the roleplaying game’s full rules or those from Delta Green: Need to Know. It also includes notes for running the scenario with agents who members of the Program—and thus members of Delta Green, and those who are Outlaws—thus not members of Delta Green. Like Ex Oblivione before it, Hourglass is another slice of horror which explores the subjugation and corruption of the innocent—though in not quite as brutal or obvious a fashion—and like Ex Oblivione before it, Hourglass also has links back to the very foundation of Delta Green, though not as obvious. In fact, the agents will probably have to dig deep into the scenario in order to find them, but their very presence suggests both a greater framework for both Hourglass and Ex Oblivione—though one that it not necessarily obvious—and the far wider influence of the peoples and things which drew the attention in 1928 of what would one day become Delta Green to the unnatural.

Were it not for the video, the community of Hourglass would be unremarkable. In fact, the only thing of note is the Church of the Twelve Martyrs, a staunchly conservative and insular commune of Christians with grounds just outside the town. A commune which the woman who disappeared belonged to. Could this be the community that woman was raging about before she disappeared? That the woman was a member of the Church of the Twelve Martyrs is easy enough to determine, learning more than this will prove to be a challenge for both the agents and their players. Although insular, the Church of the Twelve Martyrs is an accepted part of the Hourglass community, it pays its taxes, and if its interpretation of Christianity is counter to that of the town’s devout Catholics or evangelical Christians, then it is at least Christian. So the town authorities are reluctant for any agents—if they become aware of their presence—to investigate either the disappearance of the women, believing the video to be a fake, or the Church of the Twelve Martyrs.

Most investigations by Delta Green require a degree of delicacy and so it is here. Agents who jump readily to conclusions or run headlong into examining the Church of the Twelve Martyrs may quickly find their efforts blocked or even themselves reassigned and under investigation. If they take a more systematic approach and dig into the clues and evidence before they approach the church’s compound, they will be better prepared. Even so, getting anything more than hints that there might be something weird going on with the Church of the Twelve Martyrs is going to be difficult for the agents. The compound seems to be normal enough, including a ranch and a farm as well as the church, but there is tension and a sense of paranoia in the air. Hopefully this should be enough to persuade the agents to tread carefully, for if they do not, the members of the Church of the Twelve Martyrs will react in an all too paranoid a fashion. There should be no doubt that its members will go to almost any lengths to protect the church’s secrets—with any luck the agents will have picked up on this after investigating the video. When the members of the Church of the Twelve Martyrs do react, the Handler is given some fun—sorry, I mean nasty—ways in which to mess with and torment the agents. Some of these are quite subtle, but others are enjoyably weird and brutal. These though will need careful staging by the Handler since the players may feel like she is messing with their characters. It is here perhaps that Hourglass could have done with some staging advice on how to handle that. (I would suggest taking the player aside to explain the situation and then letting him roleplay it out.)

Just as it is difficult for the agents to investigate the Church of the Twelve Martyrs, it is equally as difficult for the Handler in two ways. First in maintaining a balance between the paranoia of the various NPCs and their unleashing all hell on the agents, and second, in supporting the investigative efforts of the players and their agents without frustrating them in the face of some very careful and very paranoid NPCs. Another problem with the scenario is that it does have a high number of NPCs for the Handler to deal with. The difficulty of the investigation in Hourglass is really highlighted by the fact that resolution deals more with what could wrong and the subsequent repercussions than with effect of a successful outcome, though of course, the odds are against this. 

Physically, Hourglass is a slim, cleanly presented book. As ever, the artwork is excellent, but the area map feels as if it should have more detail and although there are floorplans of the church on the Church of the Twelve Martyrs, there is no map of the compound itself. It needs a slight edit, but the scenario is otherwise well written.

Delta Green: Hourglass showcases how far the forces of the Unnatural will go to work themselves into society, how far they will go to prey upon the weak, and how willing they are to corrupt the innocent. Coming to this realisation will be undoubtedly be horrifying for the agents and their players, but getting to it is not easy. Delta Green: Hourglass presents a challenging scenario for both Handler and players alike, and with its potential for frustration, is best suited to an experienced gaming group.

It is impossible to ignore the influence of Dungeons & Dragons and the effect that its imprint has had on the gaming hobby. It remains the most popular roleplaying game some forty or more years since it was first published, and it is a design and a set-up which for many was their first experience of roleplaying—and one to which they return again and again. This explains the popularity of the Old School Renaissance and the many retroclones—roleplaying games which seek to emulate the mechanics and play style of previous editions Dungeons & Dragons—which that movement has spawned in the last fifteen years. Just as with the Indie Game movement before it began as an amateur endeavour, so did the Old School Renaissance, and just as with the Indie Game movement before it, many of the aspects of the Old School Renaissance are being adopted by mainstream roleplaying publishers who go on to publish retroclones of their own. Dungeon Crawl Classics Role Playing Game, published by Goodman Games is a perfect example of this. Other publishers have been around long enough for them to publish new editions of their games which originally appeared in the first few years of the hobby, whilst still others are taking their new, more contemporary games and mapping them onto the retroclone.

Yet there are other roleplaying games which draw upon the roleplaying games of the 1970s, part of the Old School Renaissance, but which may not necessarily draw directly upon Dungeons & Dragons. Some are new, like Forbidden Lands – Raiders & Rogues in a Cursed World and Classic Fantasy: Dungeoneering Adventures, d100 Style!, but others are almost as old as Dungeons & Dragons. One of these is The Fantasy Trip, published by Metagaming Concepts in 1980. Designed by Steve Jackson, this was a fantasy roleplaying game built around two earlier microgames, also designed by Steve Jackson, MicroGame #3: Melee in 1977 and  MicroGame #6: Wizard in 1978. With the closure of Metagaming Concepts in 1983, The Fantasy Trip and its various titles went out of print. Steve Jackson would go on to found Steve Jackson Games and design further titles like Car Wars and Munchkin as well as the detailed, universal roleplaying game, GURPS. Then in December, 2017, Steve Jackson announced that he had got the rights back to The Fantasy Trip and then in April, 2019, following a successful Kickstarter campaign, Steve Jackson Games republished The Fantasy Trip. The mascot version of The Fantasy Trip is of course, The Fantasy Trip: Legacy Edition. 

The Fantasy Trip: Legacy Edition is a big box of things, including the original two microgames. So instead of reviewing the deep box as a whole, it is worth examining the constituent parts of The Fantasy Trip: Legacy Edition one by one, delving ever deeper into its depths bit by bit. The first of these is Melee, quick to set up, quick to play game of man-to-man combat. It is designed to be played by two or more players, aged ten and over, with a game lasting roughly between thirty and sixty minutes. The second is Wizard, which brings in more options in terms of tactical play because it introduces magic to the arena. Although the two integrate well, Wizard is more complex and harder to learn, yet offers more for a player to get into. The third is Death Test.

Death Testactually consists of two adventures—‘Death Test’ and ‘Death Test 2’—both originally published as MicroQuest 1: Death Test and MicroQuest 1: Death Test 2 in 1980. The new, combined edition comes in a box which contains the two adventures and some sixty-six new counters. Both require the map from Melee and can either be played using just Melee or a combination of Melee and Wizard. Both can also be played in a number of ways. They can be played solo, one player or several players against the adventure, instructions being included in the text as to how any monsters or NPCs will react to the player characters. They can be played with a Game Master controlling and rolling for the monsters and NPCs, whether is with just one player or several. They are designed to be played by between one and four characters. Ideally, these should not be beginning characters, but unfortunately ‘Death Test’ does not say how experienced the player characters should be. In addition, although having more characters in play will provide more tactical options—especially if they include a wizard, they do reduce each character’s final score at the end of the test. If they get to the end of the test, that is. In this way, ‘Death Test’ sets its own difficulty. It is easier with more characters, but the rewards will be less.

The background to ‘Death Test’ has the character—or characters—travelling to the city of Ardonirane, which is ruled by the famous and powerful war leader, Dhallak m’Thorsz Carn. He is once again hiring mercenaries, but will accept only those that pass a test—enter the labyrinth beneath his palace and there fight animals, monsters, prisoners, wizards, and rival would-be employees—and survive! Although there is treasure to be found, what matters to Thorsz is the mercenary’s or mercenaries’ performance. The more foes they defeat or kill, the more they will rank in his estimation and the higher position they will attain in his army.
The labyrinth consists of twelve colour coded rooms connected by a series of corridors. There are no doors, but entrances and exits are marked by black curtains, or rather black magical illusions which the player characters can sometimes pass through and others not, but which they can never see through. This means that in order to find out what is in a room, one or more of the player characters must enter said room. Most of the time, they can leave the way they came. Each room then is its own discrete encounter and with just a dozen of them, it allows for variety of denizens and challenges. ‘Death Test’ is not a dungeon in the traditional roleplaying sense though, the focus being more on combat—as the background suggests—than exploring, finding traps, and so on. Nor is it really a roleplaying adventure, a ‘programmed adventure’ certainly, but not a roleplaying adventure as there is very little, if any, roleplaying involved. That said, run ‘Death Test’ with a Game Master and one or more players and then there are opportunities for the Game Master to roleplay and bring some of the NPCs to life and thus for the player characters to interact with them rather than fighting them.
Consisting of one-hundred-and-sixty-seven entries over seventeen or so pages, there is a greater physicality to ‘Death Test’ in comparison to other solo adventure titles. This not surprising though, for Death Test is an expansion for a man-to-man combat game. So instead of sitting down and reading through a book and rolling dice as necessary, this is definitely an at the table affair with the map, the counters, and the dice in front of you. In further comparison with those other solo adventure books, ‘Death Test’ has a greater replayability factor. Only score enough points to get hired as a recruit? Well, why not try again to see if you can attain a better position or try it with a different mix of characters?
‘Death Test 2’ is double the size of ‘Death Test’. Again, it can either be played using just Melee or a combination of Melee and Wizard, but it can also be played using Into the Labyrinth, which covers roleplaying, character creation and experience, and advanced magic and combat rules for Melee and Wizard. Like ‘Death Test’, it can be can be played solo, one player or several players against the adventure, instructions being included in the text as to how any monsters or NPCs will react to the player characters. They can be played with a Game Master controlling and rolling for the monsters and NPCs, whether is with just one player or several. This is certainly the case if ‘Death Test 2’ is run using the rules from Into the Labyrinth. Unlike ‘Death Test’, ‘Death Test 2’ is intended for a party of four characters rather than between one and four, and it includes advice as how experienced the player characters need to be, for like ‘Death Test’, it is not designed for beginning characters. ‘Death Test 2’ can also be run like a traditional dungeon adventure, and this is supported with advice on adding it to a campaign and on expending gained Experience Points.
The background to ‘Death Test 2’ is that Dhallak m’Thorsz Carn is unimpressed with the candidates to join his army who succeeded at getting through the labyrinth in ‘Death Test’. So he has another built, one which is more involving and more challenging. Consisting of some two-hundred-and-eighty-seven entries over thirty-six pages, ‘Death Test 2’ only adds a few more rooms in comparison to ‘Death Test’. The increased number of entries allow for more detail, more things to happen, and more things for the characters to do. There are traps and puzzles, a greater range of monsters to encounter and magical items to find, players will find their characters tested in other ways than combat—‘Death Test 2’ includes the need to make Saving Throws. This is a richer environment for them to explore and no mere complex of arenas to enter and fight in. This does not mean that ‘Death Test 2’ is not a combat focused adventure—it very much is—but it is written far more like a traditional solo roleplaying adventure and presents a richer playing environment, so is far more engaging. 
Physically, both ‘Death Test’ and ‘Death Test 2’ are plain, simple booklets with paper covers. Behind the full colour covers, they are black and white throughout. Each is lightly illustrated, but the artwork is excellent throughout.
Of course, of the two, ‘Death Test 2’ is better than ‘Death Test’. It is more detailed and offers more options than just combat, plus it supports more roleplaying, especially if Into the Labyrinth is being used. On the downside, because it has more secrets to be found, it is not as readily replayable. In other words, there is less of the simple board game to its play than there is in ‘Death Test’. Yet ‘Death Test’ should not be discounted. Its simplicity means that it can more readily be replayed, and it is easier to both set up and play. At its very simplest, ‘Death Test’ provides a reason to play Melee and/or Wizard than just fights in an arena.
Death Test is a good combination boxed set, presenting two solo adventures of differing complexity and detail that offer a great deal of flexibility in terms of their set-up and play options. More so than traditional solo adventures. If you have Melee and/or Wizard, then you should put yourself through the Death Test—both of them.

Since 2007, the 2004 Spiel des Jahres award-winning board game Ticket to Ride from Days of Wonder, has been supported with new maps, beginning with Ticket to Ride: Switzerland. That new map would be collected in the Ticket to Ride Map Collection: Volume 2 – India & Switzerland, the second entry in the Map Collection series begun in Ticket to Ride Map Collection: Volume 1 – Team Asia & Legendary Asia. Both of these have proved to be worthy additions to the Ticket to Ride line, whereas Ticket to Ride Map Collection vol. 3: The Heart of Africa and Ticket to Ride Map Collection: Volume 4 – Nederland have proved to add more challenging game play, but at a cost in terms of engaging game play. Further given that they included just the one map in the third and fourth volumes rather than the two in each of the first two, neither felt as if they provided as much value either. Fortunately, Ticket to Ride Map Collection Vol. 5: United Kingdom + Pennsylvania came with two maps and explored elements more commonly found in traditional train games—stocks and shares in railroad companies and the advance of railway technology. The next map collection in the series, Ticket to Ride Map Collection Vol. 6: France + Old West, explore a common theme, but each offers very different game play.

As is standard with the Map Collection series, both maps in Ticket to Ride Map Collection Vol. 6: France + Old West will require the use of the train pieces and train cards from a Ticket to Ride core set. Designed for between two and five players, it includes fifty-eight Destination Tickets cards, two Bonus cards, and sixty-four Track Pieces. The map board is played vertically rather than horizontally and depicts the rail routes across France. The very first thing that strikes you about the France map is that nearly all of the routes are blank—not grey, but blank. Single routes are coloured as standard, nearly all of them running west from Paris to Nantes on the Alantic coast and from Paris north to Le Havre on the English Channel. Besides the city to city routes, the map has links to four countries—Belgium, Germany, Switzerland, Italy, and Spain, and grey ferry routes to the island of Corsica. The routes on the Destination Tickets include the standard city-to-city routes as well as city-to-country and country-to-country routes. The bonus cards are the Globetrotter card for the most Destination Tickets completed and the Longest Route card for the longest continuous route. The Track Pieces come in the standard colours of the Train Tickets from a Ticket to Ride core set and are either two, three, four, or five sections long.

At the start of the game, each player receives eight Train Cards and five Destination Tickets—of which a player must keep three. He also receives forty Train pieces rather than the standard forty-five. On his turn, a player can do one of three things as per Ticket to Ride. Either draw two Train Cards, play Train pieces and claim a route, or draw new Destination Tickets. What prevents a player from claiming most of the routes is that they are blank, so before a player can claim a route, he must lay the track first. After a player draws two Train cards, he also takes one of the Track Pieces and places it on one of the blank routes. That route can now be claimed by anyone, including the player who placed it. When the route is claimed, the player places the requisite Train pieces, claims the points, and removes the Track Piece which goes back into the regular supply from where it can taken on any of the players’ subsequent turns.

There are also routes which cross over other routes. When a Track Piece is laid over one of these, it renders all of the other blank routes it is played inaccessible and means that nobody can claim them. It is possible that when a player does this, he will block shorter routes to cities that another player might want to get to, forcing him to take a longer series of connections that he had originally intended. And in a game where a player has forty Train pieces rather than the standard forty-five, this may well mean that a player will finding himself running out of Trains if this happens too many times.

So, in order to connect the cities or countries on the map, a player has to build the routes first. Fundamentally, what this means is that when a player lays a Track Piece, he is signalling to the other players where he intends to build. Sometimes the other players can use this against him, for example, by claiming the route before him or by placing a Track Piece of a colour on a connecting route which they think he does not have Train Cards for. A player could also place a Track Piece elsewhere on the map completely away from where he actually needs to build as a means of misdirection. As the game progresses, there will be more and more Train Pieces on the board, which will often limit what and where a player can place a Track Piece. In these later stages of the game, the placement of Track Pieces is not always relevant and does feel like an unnecessary step, slowing the flow of the game down.

At its heart, the France map for Ticket to Ride adds another set of choices for the players to make, not just what routes they claim, but what routes to lay first. So, it is more complex whilst at the same time the colour of the routes change from game to game. Overall, the France map is more complex to play and so not quite as light as other Ticket to Ride maps, and longer to play because more decisions need to be made. So the France map is definitely one for Ticket to Ride devotees rather than a family audience.

Designed for between two and five players, it includes fifty-eight Destination Tickets cards, two Bonus cards, and sixty-four Track Pieces. The map board is played vertically rather than horizontally and depicts the rail routes across France. The very first thing that strikes you about the France map is that nearly all of the routes are blank—not grey, but blank. Single routes are coloured as standard, nearly all of them running west from Paris to Nantes on the Alantic coast and from Paris north to Le Havre on the English Channel. Besides the city to city routes, the map has links to four countries—Belgium, Germany, Switzerland, Italy, and Spain, and grey ferry routes to the island of Corsica. The routes on the Destination Tickets include the standard city-to-city routes as well as city-to-country and country-to-country routes. The bonus cards are the Globetrotter card for the most Destination Tickets completed and the Longest Route card for the longest continuous route. The Track Pieces come in the standard colours of the Train Tickets from a Ticket to Ride core set and are either two, three, four, or five sections long.

At the start of the game, each player receives eight Train Cards and five Destination Tickets—of which a player must keep three. He also receives forty Train pieces rather than the standard forty-five. On his turn, a player can do one of three things as per Ticket to Ride. Either draw two Train Cards, play Train pieces and claim a route, or draw new Destination Tickets. What prevents a player from claiming most of the routes is that they are blank, so before a player can claim a route, he must lay the track first. After a player draws two Train cards, he also takes one of the Track Pieces and places it on one of the blank routes. That route can now be claimed by anyone, including the player who placed it. When the route is claimed, the player places the requisite Train pieces, claims the points, and removes the Track Piece which goes back into the regular supply from where it can taken on any of the players’ subsequent turns.

There are also routes which cross over other routes. When a Track Piece is laid over one of these, it renders all of the other blank routes it is played inaccessible and means that nobody can claim them. It is possible that when a player does this, he will block shorter routes to cities that another player might want to get to, forcing him to take a longer series of connections that he had originally intended. And in a game where a player has forty Train pieces rather than the standard forty-five, this may well mean that a player will finding himself running out of Trains if this happens too many times.

So, in order to connect the cities or countries on the map, a player has to build the routes first. Fundamentally, what this means is that when a player lays a Track Piece, he is signalling to the other players where he intends to build. Sometimes the other players can use this against him, for example, by claiming the route before him or by placing a Track Piece of a colour on a connecting route which they think he does not have Train Cards for. A player could also place a Track Piece elsewhere on the map completely away from where he actually needs to build as a means of misdirection. As the game progresses, there will be more and more Train Pieces on the board, which will often limit what and where a player can place a Track Piece. In these later stages of the game, the placement of Track Pieces is not always relevant and does feel like an unnecessary step, slowing the flow of the game down.

At its heart, the France map for Ticket to Ride adds another set of choices for the players to make, not just what routes they claim, but what routes to lay first. So, it is more complex whilst at the same time the colour of the routes change from game to game. Overall, the France map is more complex to play and so not quite as light as other Ticket to Ride maps, and longer to play because more decisions need to be made. So the France map is definitely one for Ticket to Ride devotees rather than a family audience.

If the France map from Ticket to Ride Map Collection Vol. 6: France + Old West is different to Ticket to Ride, the Old West map is really different. First, it is designed for two to six players, something that rarely features in a Ticket to Ride game. To support this, an extra set of Train Pieces—in white—is included in Ticket to Ride Map Collection Vol. 6: France + Old West, along with a white scoring marker. It also comes with fifty Destination Tickets, two Bonus cards—Globetrotter and Alvin, eighteen City Markers, and the Alvin the Alien Marker. The map is again played vertically and looks like a standard Ticket to Ride map, that is, a mix of coloured and grey routes (rather the blank ones of France map). It depicts the western half of the United States of America, from Roswell and Wolf Point in the east to Seattle and San Diego in the west on the Pacific coast. A single ferry route runs from Los Angeles to San Francisco.

At the start of the game, each player receives five Destination Cards and must keep three. He also receives three City Markers to match the colour of his Train pieces. As part of the set-up, each player places one of his City Markers in the city of his choice. This is important because when a player begins claiming routes and placing Train pieces, he must start from the city where his City Marker is placed. And then when he next claims a route and places Train pieces, it has to be connected to a route he has already claimed. He cannot claim a route that is not connected to a route he has already claimed. So just like the France map, players on the Old West map are telegraphing where they are building to, if not more so!

When a player claims a route, he can also place one of his City Markers in the city he is building to if the city does not have one already. This costs two extra cards of the same colour as the route just claimed. Or a player can use Locomotive (or wild) Train cards.

The placement of City Markers not only affects what routes a player can claim, it can also affect what points he will score for claiming a route. If the route claimed is connected to a city with a City Marker, the points go to the player who owns the City Marker—even if that is another player! If the route connects two cities which both have City Markers, then the two who own the City Markers score the points score the points. If it happens that the player owns both City Markers at either end of the route being claimed, then he scores twice—one for each for City Marker—even if the route is being claimed by another player!

What is interesting here is that play on the Old West map—like the France map—involves the players signalling to each other where they planning to build next. On the France it is with the Track Pieces and not always quite as obvious, but on the Old West map is more obvious because each player must claim routes which connect to his existing network. The addition of the City Markers brings an element of area control to the game because players will want to avoid connecting to cities which have other players’ City Markers in them as it costs them points to connect to them. Conversely players who have City Markers will want other players to connect to these cities for exactly the same reason. Of course, the likelihood is that the players will have to connect to cities with other players’ City Markers in them in order to complete their Destination Tickets. This is especially so with more players as they compete for the same routes.

The Old West map includes a variant. This involves Alvin the Alien, a character from the Ticket to Ride: Alvin and Dexter expansion released in 2011. Fortunately, that expansion is not required to play this variant as a cardboard counter is provided to represent Alvin the Alien. In this variant, the Alvin the Alien counter is placed—naturally, or unnaturally, enough—in the city of Roswell. The first player to claim a route which connects to Roswell also captures Alvin. This scores him an extra ten points and he has to move the Alvin the Alien counter to a city which he controls, including his starting city. If another player then connects to the new city where Alvin the Alien is now located, then he scores ten points and has to move Alvin the Alien to a city that he controls, and so on, and so on. This can occur multiple times, but the player who has control of Alvin the Alien at the end of the game scores another ten points.

The effect of this variant is to counter the inclination for players to not want to connect to cities already connected to by other players, especially if that city contains a City Marker. This is because connecting to a city with Alvin the Alien in it will score the player points and score him more if one of his cities contains Alvin the Alien at the end of the game.

Thematically, the Alvin the Alien variant does not really suit the Old West map. Of course with the inclusion of Roswell on the map it does, but this is a map of the Old West and not the modern west of the post-Roswell alien saucer crash.

Physically, Ticket to Ride Map Collection Vol. 6: France + Old West is for the most part, the same high-quality product we have come to expect for the Ticket to Ride line. Both maps are large, mounted, and clear and easy to use, both sets of cards are easy to read and orientate to the board, and the rulebooks again, clear and easy to read and understand. The new plastic Train pieces are serviceable, but the cardboard Track Pieces do feel somewhat cheap in comparison. They are not done on thin cardstock, but not thick cardstock either. They are also a little fiddly in play. Thematically both maps and cards match their settings, so there is a richness of colour and style to the France map and cards, whilst those for the Old West are dusty and dry. Certainly the Old West map feels as if you are playing the expanded half of the North America map from the original Ticket to Ride (which leaves one to wonder if there might be the equivalent of an Old East map covering the eastern half of the United States, and if there were, could the Old West and Old East maps be joined and played together?).

So both maps in Ticket to Ride Map Collection Vol. 6: France + Old West are about telegraphing to your fellow players where you intend to claim routes next. Each map presents a different solution though and thus different challenges for the players. Of the two, Old West is the easier, even more direct when it comes to claiming routes and so will be easier to play by the more casual audience, whereas France includes a greater complexity which forces every player think about the routes they need to claim, not once, but twice—once to build and once to claim. Overall, the combination of new mechanics and challenges serve to make Ticket to Ride Map Collection Vol. 6: France + Old West a solid expansion which will definitely appeal to the Ticket to Ride devotee.

(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.) Originally published on February 21, 2020. … Continue reading →

Because even a pandemic is a little better when narrated by Vincent Price.

This is an excerpt from the transcription of the Technical Air-to-Ground Voice Transmission (GOSS NET 1) from the Apollo 11 mission. Communicators in the text may be identified according to the following list. Spacecraft: CDR Commander Neil A. Armstrong CMP … Continue reading →

17th Century Minimalist from Games Omnivorous is an Old School Renaissance roleplaying game of small-time tricksters, conniving thieves, stalwart ex-soldiers, swashbucklers with panache and gambling debts, and minor physicians, banding together out of necessity and the need for coin (glory optional). The rules-light Class and Level roleplaying game set in the seventeenth century which features firearms, no magic, a task-based experience system, and a fast, deadly combat system, was introduced in 17th Century Minimalist: A Historical Low-Fantasy OSR Rulebook, and whilst it was complete in terms of rules and mechanics, what it lacks is a scenario. One issue with the 17th Century Minimalist: A Historical Low-Fantasy OSR Rulebook is that it lacks an adventure, but fortunately, its setting and its mechanics are compatible with any number of Old School Renaissance scenarios set in the Early Modern period, of which many of those published by Lamentations of the Flame Princess, including the author’s own The Squid, the Cabal, and the Old Man as well as No Better Than Any Man, Scenic Dunnsmouth, or Forgive Us, would be suitable. In addition, 17th Century Minimalist has its anthology of adventures with the 17th Century Minimalist: Mini Adventure Folder.

One of the physical qualities of 17th Century Minimalist: A Historical Low-Fantasy OSR Rulebook is that it feels handmade, or at least, artisanal. This continues with 17th Century Minimalist: Mini Adventure Folder, which comes as a sturdy card folder which contains five separate adventures, each presented in its own folder in an almost postcard format on the same cardstock as the folder for the full set. Each presents a relatively short adventure, more of a detailed outline rather than a full scenario, which can be run as a one-shot or a convention scenario. The format means that each is easy to handle, although in some places, the text is perhaps a little small and cramped to read with ease.

Opening up the 17th Century Minimalist: Mini Adventure Folder, the first adventure is ‘Hedge Death Maze’. As the player characters are passing through remote, but mid-sized town, they learn of a challenge extended to anyone by a local noble. He has grown a fiendishly difficult hedge maze on his estate and promises gold to anyone who can defeat it. After showing off his estate—a zoo of exotic animals, Greek statuary, a gallery of paintings depicting scenes of slaughter, and a library of diverse, often macabre books—and thus his enormous wealth, he blindfolds them, deposits them in the centre of the maze, and challenges them to find their way out.

‘Hedge Death Maze’ has physical component in that each player is given a map of the maze and then thirty seconds to draw his route out of the maze. Then the Game Master collects these and plots each player’s and each group of players’ routes of the maze, placing four or five encounters along the route of each player or group. All of these encounters have a Greco-Romano theme, drawn from both myth and history, and grow in increasing difficulty from the first to the fifth. As the name suggests, this is a ‘death maze’, quite possibly the closest that 17th Century Minimalist will get to an actual dungeon, which throws challenge after challenge at the player characters—singly or in groups, all for the entertainment of the sponsoring noble.

‘Hedge Death Maze’ highlights not just the differences in wealth between the nobility and the peasantry, but also the arrogance of the nobility in what is a lavishly wasteful display of money. It also highlights the place of the player characters somewhere in between, but at the same time at the beck and call of the nobility. This is a theme that 17th Century Minimalist: Mini Adventure Folder will return in later adventures, including the next adventure, ‘Ticking Time Bomb’.

In ‘Ticking Time Bomb’, the player characters are hired by a merchant to transport a locked chest to another merchant in a town roughly a week or so away. This is a more straightforward scenario, an on-the-road adventure of encounters ordinary and odd, capped off with a run-around to try and make the delivery. Nominally set in Italy and parodying the mercantile wars between conflicting city-states of the period. There is scope here for the Game Master to expand this into a mini-campaign, slotting adventures—for example, ‘Hedge Death Maze’—along the route as well as the given encounters.

‘Black Plague Now’ is the first of the five adventures which runs to a six-page folder rather than four and the first to be really player character led rather than the motivation being provided by an NPC. The player characters arrive in a river port struck down by the bubonic plague with the aristocracy having fled, people dying, and no one in charge. With the townsfolk in disarray, this is perfect opportunity for chancers like the player characters—but for what? ‘Black Plague Now’ is sandbox situation which asks the player characters what they will do in the face of a naturally occurring horror and allows them to go where they want and do what they want. Bring aid to the town and its current population? Slaughter everyone just to make sure and take over? Set up a haven for robbers and bandits? The adventure suggests all of these and their possible outcomes, supporting them with a good map of the town marked with places of note and rules for just what happens if one of the player characters happens to come down with the plague…

Similar in length to ‘Black Plague Now’, ‘Cluster Fuck Inn’ is an event driven scenario in which the player characters are hired to rob an inn. This inn is run by a member of the Rosicrucian order who is rumoured to possess an important alchemical formula. Unfortunately, the rumours mean that other parties are interested in obtaining the formula and it just happens that the night on which the player characters execute their planned heist, so does everyone else! Mixing secret societies, science and alchemy, double-cross, and more, as the title suggests, ‘Cluster Fuck Inn’ quickly descends into a fun farce as the Game Master piles event upon event. The scenario’s initial encounter, which turns out to be with a black cape wearing man whose name just happens to be Oliver Reed (!), sets the tone. One issue with ‘Cluster Fuck Inn’ is that the Game Master will need extra dice to add to the Initiative bag used to determine order in 17th Century Minimalist.

‘Wild Witch Chase’ takes place in a town beset by a series of tragedies and odd events, none of which can be put down to nature. And if they cannot be explained by nature, then something unnatural must be responsible. Which means witchcraft! The mayor asks the player characters to investigate. Armed with a map of the town, the player characters will need to investigate and interview the townsfolk if they are to gather clues and evidence—the latter needing to be solid enough to send any accused to be burnt at the stake. This will be against a background of a town rife with paranoia and distrust and continued daily events. Some twenty-five or so NPCs are provided as potential suspects and hooks for the investigation as well as the map, the structure of the scenario being freeform and player character led. One issue with the scenario is that it does not list any of the uncanny events prior to the player characters’ arrival and another is that there are elements from the backgrounds of the NPCs which the Game Master will need to set up prior to the arrival of the player characters, both of which would help her build the sense of moral panic and suddenly fervently religious beliefs that the scenario demands. In general, there is no right way to solve this ‘Wild Witch Chase’ and there is the distinct possibility that the chase may all be for nothing…

Physically, the 17th Century Minimalist: Mini Adventure Folder is very well presented. It is a gorgeous little artefact, employing the same art style as 17th Century Minimalist: A Historical Low-Fantasy OSR Rulebook, so has illustrations suited to a child’s all too dark storybook, as well as solid maps by Dyson Logos. As good as it looks and as good as it feels in the hand, the 17th Century Minimalist: Mini Adventure Folder does need another edit and all too often it feels just a little cramped, as if it is pushing against the limits of the format.

The 17th Century Minimalist: Mini Adventure Folder contains five solid scenarios, each of which explores aspects and themes pertaining to the seventeenth century—alchemy and science, secret societies, witchcraft and paranoia, the effects of disease, and more. The one issue it does not touch upon is the religious schism which runs throughout this period, hopefully that will be explored in a future scenario. The themes also make the scenarios adaptable to other roleplaying games set during the period. The scenarios do require a little more preparation than the format suggests, but once done, the Game Master can run these more or less straight from the folders. Also, with some effort, the five could be strung together to form a campaign, perhaps with ‘Ticking Time Bomb’ as the framing device. The Game Master may want to write an encounter or other small scenario or two to flesh out such a campaign, but the 17th Century Minimalist: Mini Adventure Folder has the potential to support a complete campaign of 17th Century Minimalist, its five adventures matching the five Levels attainable by the player characters.

The high-quality nature of both 17th Century Minimalist: A Historical Low-Fantasy OSR Rulebook and 17th Century Minimalist: Mini Adventure Folder does actually make you wish that they were available together. They deserve a ‘white’ box—or rather a blue box given the eggshell blue of both 17th Century Minimalist: A Historical Low-Fantasy OSR Rulebook and 17th Century Minimalist: Mini Adventure Folder—of their own, along with a set of dice and of course, a 17th Century Minimalist Initiative bag. Which only goes to showcase how much the two go together and if have one, you want the other. Much like 17th Century Minimalist: A Historical Low-Fantasy OSR Rulebook, the 17th Century Minimalist: Mini Adventure Folder is not perfect, but it not only ably supports and matches the brutal charm and flavour suggested in 17th Century Minimalist: A Historical Low-Fantasy OSR Rulebook, but highlights them and enables the Game Master and her players to explore them.

The Touch of the Beast is a low-Level Old School Renaissance scenario published by SoulMuppetPublishing, best known for the retroclone, BestLeft Buried. Inspired by the eighteenth-century French fairy tale, La Belle et la Bête, and the 1991 Walt Disney film, Beauty and the Beast, it is a dark tale of forgotten history and obsessive horror on the eve of the French Revolution. This period setting makes the scenario a little difficult to use in the more traditional fantasy roleplaying of the Old School Renaissance, but there are roleplaying games with which it will work. These include both 17th Century Minimalist and Lamentations of the Flame Princess Weird Fantasy Roleplaying, as well as All For One: Régime Diabolique, though with some difficulty. Further, because The Touch of the Beast is stated up for Basic/Expert Dungeons & Dragons, the scenario is relatively easy to adapt to the retroclone of the Game Master’s choice.
The scenario is set in France in 1789 during the Ancien Régime as the peasants and bourgeoisie of the Third Estate drive the nobility of the Second Estate out of their feudal holdings. Thus, castles and chateaus are being left empty, so ripe for plundering! One such chateau lies outside of the village of Alsace, rumoured to be still left untouched by the villagers and by robbers. It is also rumoured to be occupied by some terrible beast, but no one in these enlightened times believes such twaddle. Two occupants of the village take an interest in both the castle. One is an ex-soldier who wants them to confirm the existence of the castle and determine whether it can safely be plundered, the other is a young woman who claims that the castle and the great beast which resides within its walls are cursed, and that this curse is spreading… She wants an end to this curse before foolish bandits or robbers blunder into the castle and inadvertently unleash the curse on first the villagers, then beyond…
Getting to the castle is an arduous trek through increasingly worsening weather; getting into the castle and wandering around its halls and grounds will prove to be less of a challenge. In fact, the adventurers are free to wander around the castle at will, which seems to be uninhabited, but filled with the signs of it having been inhabited. The furnishings and fittings, decorations, gewgaws and nick-nacks are all indicative of the wealth lavished on the castle and its grounds by the ‘former’ occupant of the castle. The castle—consisting of three storeys—harpsichords, fine wallpaper, fancy dresses, porcelain plumbing, paintings, chandelier, and more. There are odd, even weird things to be found in the castle too, such as a room filled with wax, a thick red carpet which seems to sway in a non-existent breeze, and a wardrobe which spews clothing.
All of this is mapped out storey by storey, but then room by room. So The Touch of the Beast includes a map of the grounds, each of the castle’s three floors, plus its cellars. Then accompanying each entry in the room by room description is an excerpt from the main map showing both the room and its adjacent corridors and rooms. These sub-maps are typically on the same page as the room descriptions, although on occasion they only appear on the opposite page. What this means is that although The Touch of the Beast is perhaps a little cramped in places and a little busy, the Game Master has been given an easy means of tracking the progress of the player characters through the castle and its grounds. In effect, this is not just room by room, corridor by corridor, but page by page, and all this without the need for constant reference back to the main storey maps by the Game Master. On the downside, the likelihood is that The Touch of the Beast would be a much shorter book without this admittedly useful map feature.
Now despite appearances, the castle is not uninhabited. Strange creatures lurk in certain rooms—and lurk is important here, because The Touch of the Beast is not a scenario with a random encounter table. Instead, the behaviour of the inhabitants is reactive in nature, responding to the actions of the player characters, and to support this, the scenario includes certain triggers which will cause the inhabitants to act. When this happens, certain of the inhabitants will actively hunt the player characters. For this though, the Game Master will need not one ordinary deck of cards, but four! And from these decks, the Game Master will just use the Jack, Queen, King, and Ace cards to form four separate decks. One of these is the Starter Deck and whenever the player characters make a noise in certain locations in and around the castle, the Game Master will draw a card. If the Ace is drawn, the associated inhabitant of the castle reacts and begins hunting the player characters, certain seemingly random events such as all naked flames flaring or time seeming to skip. Then the next deck is added to the current deck, and so on and so on. Make too much noise, in too many locations, and draw too many cards in the wrong order, and the player characters may themselves being hunted by multiple inhabitants!
Unfortunately, having four separate decks is possibly too much to ask of the Game Master. It is a pity that no other means of handling the inhabitants’ actions is suggested and likewise, it is disappointing that the Game Master is not warned ahead of time of the nature of the set-up which the scenario requires. Also, the grounds of the castle do feel underwritten in comparison to the castle itself, and despite the castle being depicted as having walls and towers, they are not described.
In terms of theme, The Touch of the Beast is based on both the French fairy tale, La Belle et la Bête and the 1991 Walt Disney film, Beauty and the Beast. So yes, there is a curse which can be lifted as per both sources of inspiration, but the main monsters are more inspired by the Walt Disney, being greatly weird and twisted versions. It does seem a pity though that the corridor of grasping arms from 1936 film by Jean Cocteau was not included. In terms of design, The Touch of the Beast echoes a number of classic dungeon designs. Perhaps the earliest is X2 Castle Amber for Expert Dungeons & Dragons with its madhouse feel, but S1 Tomb of Horrors for Advanced Dungeons & Dragons, First Edition follows as a close second for the design of its touch or interfere at your peril, no Saving Throw, you are dead, nature of its traps. It also feels similar to several scenarios for Lamentations of the Flame Princess Weird Fantasy Roleplaying in that devices from other times and places can be found within the walls of the castle.
Physically, The Touch of the Beast is scrappily presented and does need an edit in places. It could also have been better organised—especially at the start—to help the Game Master prepare the scenario. The artwork though, is decent, and the cartography is big and easy to read. It is also clear that some thought has been put into organising the maps and room descriptions to make the scenario easy to run.
The Touch of the Beast is a fairly simple scenario, more weird and creepy rather than out and out horror. The combination of its period setting and use of familiar fairy tale as inspiration serves to make it accessible—though the scenario does lay a trap or two for anyone who is too familiar—but not necessarily easy to use in a campaign or setting. That said, the scenario is relatively easy to adapt to a Game Master’s campaign or setting of her choosing.

A while back I did a post, Which Witch is Which? Swords & Wizardry Edition in which I broke down all the various S&W witch books I had done.  What each contained and what they covered.

I have since done a few more books and that question is being asked again.  Since my goal here is to get you to buy the one book you really want instead of three or four you might like.

Let's break them all down.


Let's start with my first Witch book.

The Witch: A sourcebook for Basic Edition fantasy games
This book is designed with the "Basic" rules in mind.  So Holmes, Moldvay, or Mentzer or them modern clones like Basic Fantasy or Labyrinth Lord.  Largely compatible with my Swords & Wizardry line.  In includes:

• The Witch Class, levels 1 to 36
• Six Traditions (Aquarian, Classical, Faerie, Family, Maleficia and Eclectic)
• Cantrips for witches
• 381 New Spells, 20 New Witch Rituals
• 29 Monsters
• Magic items
• 120 pages

This book is the most basic of the Basic witches.  If you don't know which book to get, get this one.

Then I opted to do other books.

Daughters of Darkness: The Mara Witch for Basic Era Games
This book is designed for the Labyrinth Lord game.
The witches of this book are from the Mara Tradition, witches dedicated to the Dark Mother.

• Levels 1 to 20
• Spell bonuses for high Charisma
• Level limits for Dwarf, Elf, Gnome, Half-elf, Half-orc and Halfling witches
• The Daughters of Darkness coven
• 175 Spells and Rituals for witch characters
• 39 Monsters to challenge or be allies including the Lilim demon race.
• 3 Non-player characters. 
• “Bloody” Mary Worth
• Darlessa, The Queen of Vampires 
• Lilith, Queen and Mother of all Lilim
• 80 pages. 

If you like your witches evil, have powers to seduce people, summon demons or raise undead then this is your book.

Cult of Diana: The Amazon Witch for Basic Era Games
This book is designed for the Blueholme Prentice Rules game.
The witches of this book are a revised version of the Amazon Tradition, witches associated witht he Amazons and Diana.

• Levels 1 to 20
• The witch class and two new witch covens
• 40 Spells and 8 Rituals for witch characters
• 26 Pages.

If you want to play an Amazon witch, then this is your book.  This book is also FREE, so grab it anyway.


The Children of the Gods: The Classical Witch for Basic Era Games
This book is designed for the Blueholme Journeymanne Rules game.
The witches of this book are a revised version of the Classical Tradition, some of the first witches the world has known.  Witches from the ancient time of myths and legends.

• Levels 1 to 20
• The witch class and four new combination classes, using Blueholme rules
• Witch-Cleric, Witch-Fighter, Witch-Theif, Witch-Magic User
• Guidelines for playing any species of witch
• Six witch covens of the Classical Tradition
• 120 Spells and Rituals for witch characters
• 25 Monsters to challenge or be allies
• 29 magic items and six artifacts
• Three Non-player character witches from pages of mythology
• Circe
• Medea
• Medusa
• 84 pages.

If you want to play witches from a Greek, Roman or Egyptian background then this is your book.

The Basic Witch: The Pumpkin Spice Witch Tradition
This book is designed for the Labyrinth Lord game.
The witches of this book are from the Pumpkin Spice Tradition. A somewhat silly origin that led to one of my favorite traditions.

• Levels 1 to 20
• Spell bonuses for high Charisma
• Level limits for Dwarf, Elf, Gnome, Half-elf, Half-orc and Halfling witches
• The Sisterhood coven
• 122 Spells and Rituals for witch characters
• New magic items including magic cauldrons, masks, and tea. Plus the magic item black market
• 24 Monsters
• 3 Non-player characters
• Becky
• Karen
• Carol
• 64 Pages.

If you want to play a "Hollywood" style witch or a witch with some unique spells then this is your book.
The Craft of the Wise: The Pagan Witch TraditionThis book is designed for the Old-School Essentials game.  The witches of this book are members of the Craft of the Wise, the Pagan tradition of northern Europe.

• Levels 1 to 14
• The Bándrui and Followers of Aradia covens
• Cowans, the champions of the witch
• 100 Spells and Rituals for witch and non-witch characters
• 28 Monsters to challenge or be allies
• 4 Non-player characters
• Bodhmal
• Liath Luchara
• Alice Kyteler
• Morgane le Fey
• 66 Pages.

If you want to play a pagan witch or a follower of "the Old Ways", then this is the book for you.

All the books are pretty much inter-compatible.  The witches all use the same XP, to hit and saving throw tables.  Sometimes there are differences between what level the witch goes to or what species can become witches, but that is also something that can be worked out in your games.

If you want to mix and match Basic-Era and Swords & Wizardry that is also fine and will work well.

So let's say you want a Basic-era Tiefling Winter Witch.  Or you want to play a Pagan Witch to level 20? You just get the books with those and mix as you like.

Now if you are curious about what is in each book, well the preview on DriveThru covers the first few pages including the table of contents.  But sometimes you want more details.

So here is a break down of all 1,060 spells I have used and 229 monsters.

Witch Books - Google Sheets



I hope this helps you make a good choice!

I have a couple more I want to do.  One is a book on High Witchcraft (Ceremonial) and then either a Demonic witch or a Blood magic witch.

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.


—oOo—
What is it?
Monster of the Month #2: Geiron, Lord of Elephants is a short supplement presenting a great beast akin to a ‘Terror’, but which is not Chaotic, for RuneQuest: Roleplaying in Glorantha.

It is an eight page, full colour, 2.16 MB PDF.

Monster of the Month #2: Geiron, Lord of Elephants is well presented and decently written.

Where is it set?
Geiron is rarely seen outside of the Spirit World and when he is, it is at one of the oases of Prax and the Wastelands. In particular, the oases of Eiritha’s Print, Greystone Well, and Agape, and once a century for Eiritha’s High Holy Day at the Paps where he joins in the celebrations.

Who do you play?
Geiron, Lord of Elephants, the King of the Elephant Tribe in Genert’s Garden, who sacrificed his tribe at the Battle of Earthfall, so that Genert’s army could flee. Thus, none of the Elephant Tribe survived to swear the Survival Covenant with Waha.
What do you need?
Monster of the Month #2: Geiron, Lord of Elephants requires both RuneQuest: Roleplaying in Glorantha and RuneQuest – Glorantha Bestiary. 

What do you get?
Behind its excellent cover, Monster of the Month #2: Geiron, Lord of Elephants describes a great spirit beast whose statures is that of a ‘Terror’, but associated with the Earth rather than Chaos. Full stats are provided for him as well a detailed background which explains why and where he appears in the Middle World. Two adventure seeds are provided, one in which the Lord of Elephants can be hunted and the other in which he must be placated. Lastly, the Geiron Spirit Cult is detailed for the Shaman wanting to worship a long lost great beast. This is supported the unique Rune magic and the specialised Spirit magic associated with the cult and a list of sample Elephant spirits.

Although Monster of the Month #2: Geiron, Lord of Elephants falls into the category of ‘Your Glorantha May Vary’, this is a nicely detailed addition. If there is an issue with the supplement, it is that the rewards for completing the adventure could have been discussed or included to help the Game Master out a little more.

Is it worth your time?
Yes. If you are running a campaign or adventure set in Prax, Monster of the Month #2: Geiron, Lord of Elephants is worth your time and interest. Plus in terms of the game mechanics, Monster of the Month #2: Geiron, Lord of Elephants showcases how to create a ‘Terror’ which is not associated with Chaos.
No. If your campaign or adventure is not set on the plains of Prax, then Monster of the Month #2: Geiron, Lord of Elephants is unlikely to be of interest to you.
Maybe. An encounter with Geiron might come about as part of a quest and mastodons, which are part of his domain, may be found elsewhere, plus in terms of the game mechanics, Monster of the Month #2: Geiron, Lord of Elephants showcases how to create a ‘Terror’ which is not associated with Chaos.

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.


—oOo—


What is it?
Monster of the Month #1: Spirits of Madness is a short supplement presenting a new monster and a means of handling insanity in RuneQuest: Roleplaying in Glorantha.

It is a five page, full colour, 2.22 MB PDF.

Monster of the Month #1: Spirits of Madness is well presented and decently written, but it does need another edit.

Where is it set?
Madness spirits can be introduced to anywhere where an insane person can be found or to places strong in the Moon Rune, such as Lunar temples. They may be found in Dragon Pass in the ruins of New Lunar Temple—the site of the Dragonrise—and the ruins of Whitewall, as well as sites where the Lunar Colleges of Magic summoned great powers, for example, at Moonbroth Oasis.

Who do you play?
Madness spirits are a variant of disease spirits which inflict insanity rather than pestilence.

What do you need?
Monster of the Month #1: Spirits of Madness requires both RuneQuest: Roleplaying in Glorantha and RuneQuest – Glorantha Bestiary. 

What do you get?
Madness spirits work just like disease spirits in that they initiate spirit combat in order to overpower their victims and infect them with insanity rather than pestilence. Notably they are not attracted to victims already infected by other madness spirits and a shaman already twisted by a madness spirit, might actually try and command other madness spirits to infect others.

Once infected by an insanity—and some ten are listed, from Vestiphobia to Chaophilia—the insanity is treated like a Passion, which the Game Master can check to see if the player character will act in accordance with the effects of the insanity. The Passion also represents the acute degree of the illness. Continued resistance to the insanity is handled by Intelligence checks, which if successful will reduce the Passion, if failed will increase it.

Madness spirits have a trap-like quality, lurking in ruins to attack the unwary and this aspect is nicely illustrated with an fully worked example encounter. Unfortunately, Monster of the Month #1: Spirits of Madness does not explore the idea of those already infected with a madness spirit with examples. Nor does it give any scenario hooks which the Game Master could develop for her own campaign. Another issue is that only ten example insanities are given, but to be fair RuneQuest: Roleplaying in Glorantha is not a roleplaying game in which insanity plays a major role.

Is it worth your time?
Yes. If you are running a campaign or adventure which involves delving into Lunar ruins or the side effects of the conflict with the Lunar Empire or you want to introduce an intriguing, insidious, and challenging variant of disease spirits, then Monster of the Month #1: Spirits of Madness will be of interest to you.
No. If you do not want to explore or add insanity and its effects to your campaign, then Monster of the Month #1: Spirits of Madness will not be of interest to you.
Maybe. What is included is solid, but unfortunately, Monster of the Month #1: Spirits of Madness does not quite as develop all of the ideas it suggests or support them with an example.

Happy St. Patrick's Day (today), Ostra and Spring Equinox (Thursday)!
We just had a Friday the 13th and a full moon so the timing is perfect for witches and pagans.

After many delays, and one detour for the Pumpkin Spice Witch, here is my newest witch book designed for the Old-School Essentials RPG.

The Craft of the Wise - The Pagan Witch Tradition


This is the fifth book in my "Basic Era Games" series of books for the witch class.

Introducing the Pagan Tradition, witches dedicated to the ”Old Ways.”
- The Bándrui and Followers of Aradia covens
- 100 Spells and Rituals for witch and non-witch characters
- 28 Monsters to challenge or be allies
- 4 Non-player characters to challenge the mightiest characters

Fully compatible with Old-School Essentials and other Basic-Era games.
Fully compatible with other witch books from The Other Side.

Both the PDF and Print-on-Demand versions are ready now!


And as a special bonus, I commissioned James V. West to design a witch-specific character sheet for both your Basic-era and Swords & Wizard witch characters. You can get those for FREE.
Want more? There is also a special PWYW Witch Character Folio which has both sheets and tables for your witch character's advancement.





All the books in the Basic Era Games series are 100% compatible with each other. 

Each features a different witch tradition, different rules for the game they are designed for, new covens, new NPCs and new witch spells and rituals.  Each includes some monsters associated with witches to use in your games.

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.


—oOo—

What is it?
The Corn Dolls: Sandheart Volume 2 is the second part of campaign set in Sun County in Prax, a sequel to Tales of the Sun County Militia: Sandheart Volume 1. It is an investigative sandbox scenario set on the far eastern edge of Sun County.

It is a forty-five page, full colour, 4.63 MB PDF.

In general, The Corn Dolls: Sandheart Volume 2 is well presented and decently written. It does need another edit and the artwork is a little rough, but the maps are excellent.

Where is it set?
As with Tales of the Sun County Militia: Sandheart Volume 1 before it, The Corn Dolls: Sandheart Volume 2 takes place in Sun County, the small, isolated province of Yelmalio-worshipping farmers and soldiers located in the fertile River of Cradles valley of Eastern Prax, south of the city of Pavis, where it is beset by hostile nomads and surrounded by dry desert. Where Tales of the Sun County Militia: Sandheart Volume 1 is specifically it is set in and around the remote hamlet of Sandheart, where the inhabitants are used to dealing and even trading with the nomads who come to worship at the ruins inside Sandheart’s walls, The Corn Dolls: Sandheart Volume 2 is set in and around Cliffheath, on the eastern edge of the county.

Who do you play?
The player characters are members of the Sun County militia based in Sandheart. Used to dealing with nomads and outsiders and oddities and agitators, the local militia serves as the dumping ground for any militia member who proves too difficult to deal with by the often xenophobic, misogynistic, repressive, and strict culture of both Sun County and the Sun County militia. It also accepts nomads and outsiders, foreigners and non-Yemalions, not necessarily as regular militia-men, but as ‘specials’, better capable of dealing with said foreigners and non-Yemalions.

The Corn Dolls: Sandheart Volume 2 does not include any pre-generated characters. Six pre-generated members of the Sun County militia in Sandheart can be found in Tales of the Sun County Militia: Sandheart Volume 1, as well as guidelines to create ‘quirky’ members of the Sun County militia in Sandheart.

What do you need?
The Corn Dolls: Sandheart Volume 2 requires both Tales of the Sun County Militia: Sandheart Volume 1 and RuneQuest: Roleplaying in Glorantha. 

Although not absolutely necessary, the Game Master may also find the supplements Cults of Terror, Lords of Terror, Sun County, and The River of Cradles, plus issues of the fanzine Tales of The Reaching Moon issue 14 to be of use in providing deeper background.

What do you get?
The Corn Dolls: Sandheart Volume 2 is an investigative sandbox in which the members of the Sun County militia based in Sandheart are sent out to a remote area of the county to investigate and purge the area of disease. Infected barley crop has been detected in the annual tithe collected from the ‘out of the way’ farms at Cliffheath. Not only is the presence of detrimental to the health and welfare of the people of Sun County, if taxes are not paid on time then the Sun Dome Temple will be displeased. So the head of the militia at Sandheart wants the mystery solved before calling in their notoriously efficient—or ‘heavy-handed interference’—support.

This being a scenario for RuneQuest: Roleplaying in Glorantha, the ultimate culprit behind the infection will be obvious. Determining the who, the what, and the how on the Mortal Realm is another matter, for The Corn Dolls: Sandheart Volume 2 is a complex affair in which everyone has their secrets and the player characters will find themselves crisscrossing back and forth to speak to inhabitants of Cliffheath multiple times. The scenario includes almost fifty NPCs—major and minor—plus ‘monsters’, almost twenty events, and eleven handouts!

In many ways, The Corn Dolls: Sandheart Volume 2 is not a traditional scenario for RuneQuest: Roleplaying in Glorantha. Rather it reads and is structured like a scenario for Call of Cthulhu, and like a scenario for Call of Cthulhu, there is a certain insidious nature to its core antagonists. Also like a scenario for Call of Cthulhu and unlike a scenario for RuneQuest: Roleplaying in Glorantha, there is some research involved as part of the investigation, which in this case means visiting the temple archives. The investigative nature of the scenario also means that there is plenty of opportunity for roleplaying, both for the players and the Game Master, who is given good advice for each of the major NPCs to that end.

Essentially, The Corn Dolls: Sandheart Volume 2 is a ‘Police Procedural’ in Glorantha, providing four or five sessions of play. Players who charge in or expect a fight straight off or show a lack of respect will probably themselves in some difficulty, socially as well as in terms of the investigation. That said, there are opportunities in the scenario for combat, for heroism, and for the militia members to make a name for themselves as the scenario comes fantastic climax.

Is it worth your time?
Yes. If you ran Tales of the Sun County Militia: Sandheart Volume 1 and are looking for the sequel, The Corn Dolls: Sandheart Volume 2 is a rich meaty case for your Sun Dome County Militia—even the ‘specials’ of Sandheart.
No. Tales of the Sun County Militia: Sandheart Volume 1 is not worth your time if you are running a campaign or scenarios set elsewhere, especially in Sartar as per ‘The Broken Tower’ from the RuneQuest: Roleplaying in Glorantha – QuickStart Rules and Adventure or in in and around Apple Lane as detailed in the RuneQuest Gamemaster Screen Pack. The Corn Dolls: Sandheart Volume 2 would be a difficult scenario to add to such a campaign.
Maybe. Although it would be difficult to involve outsiders in the events or the investigation of The Corn Dolls: Sandheart Volume 2 or the setting of Sandheart and Sun Dome County, many of the elements of its mystery could be adapted to the edges of the home area where the Game Master’s campaign is set.

See more of Kovalev's illustrations at Maxima Library.

Artist previously mentioned here.

Not monsters really, but NPCs from my upcoming The Craft of the Wise: The Pagan Witch Tradition.  Bodhmal is a Bándrui witch, Liath is her Cowan, or witch's companion or champion. A cowan is a non-witch class that has the ability to learn some witch magics. I detail the benefits of a cowan in the new book.

Bodhmal
Female Witch 7th level, Pagan Tradition (Bándrui)
Armor Class 8 [11]
Hit Dice/Level 7+ 7 (25 hp)
Attacks 1 × weapon
THAC0 18 [+2]
Movement Rate 90’ (30’)
Saves D8 W9 P9 B12 S11 (Witch 7, Bracers +2)
Morale 10
Alignment Lawful
XP for Defeating 1,250
Number Appearing Unique
Treasure Type P (J)

Str 10 Int 14 Wis 14 Dex 10 Con 14 Cha 18

Bodhmal has the following witch spells and Occult Powers.
She casts as a 7th level witch.

Occult Powers
Familiar: Wolf
7th level: Shape Change

Spells by Level
1st (3): Cure Light Wounds, Empathic Senses, Ceremony
2nd (2): Animal Messenger, Pins and Needles
3rd (2): Call Lightning, Scry
4th (1): Polymorph

Magic Items
Bracers of Protection +2

Bodhmal’s father was a druid but she chose the path of the Bándrui.  She is the foster mother to Fionn MacCumhail and also his aunt. Fionn is her sister’s son.  She has been bonded to Liath, the Grey warrior, as Cowan for many years.
'Sí mo laoch mo ghile mear'Sí mo Scáthach, gile mearSuan gan séan ní bhfuair mé féinÓ chuaigh I gcéin mo ghile mear

Liath LucharaFemale Ranger 8th level (Cowan)Armor Class 5 [14] +2Hit Dice/Level 8 + 16 (52 hp)Attacks 1 × weapon (1d8) THAC0 18 [+2]Movement Rate 90’ (30’)Saves D8 W9 P10 B10 S12 (Ranger 8)Morale 12Alignment LawfulXP for Defeating 1,750Number Appearing UniqueTreasure Type None
Str 13 Int 12 Wis 14 Dex 16 Con 16 Cha 12
Ranger AbilitiesTracking: 90%
Spells by levelDruid, 1st (1): Animal friendshipWitch, 0 (3): Ensure a Successful Hunt, Merry Greetings, Summon a Witch
ItemsLong Sword, Witchlight +2Leather ArmorSpear, Gáe Assail
Liath Luchara, the Grey Warrior, has been defending her clan since she was old enough to hold a spear.  She has joined with Bodhmal as Cowan to help protect the babe Fionn MacCumhail, who she has started calling “Deimne” because of his fair hair.
Special shout out to Brian O'Sullivan who has also written a lot about Liath and Bodhmal. These stats are based more on the versions I have used over the years, but his characters are great too.  Pick up his books if you want to read more.
The Craft of the Wise: The Pagan Witch Tradition out tomorrow!