Outsiders & Others

This Old Dragon: Issue #87

The Other Side -

Dragon Magazine #87I mentioned the collection I got from my old DM and a few Dragons in it. As it turns out, this is the only one I had not done a "This Old Dragon" for. So. Let's go back nearly 40 years ago this month to a very different time. "When Doves Cry" by Prince dominated the airwaves, But I am sure I was listening to a lot of "Piece of Mind" by Iron Maiden. I was going through Module A1, mixed with a lot of Grimtooth's Traps. I had seen Ghostbusters about a dozen times by this point and wanted more and more horror in my D&D games. On the shelf was Issue #87 of This Old Dragon!

I am very certain that when this issue was new I was at my DM's house for his birthday (which is today by the way!) playing some D&D.  This might have even been the rather infamous session where I was carrying my D&D books in one hand, a large chocolate shake in the other and I tripped falling face first into and through their storm door. Made a huge mess. Thankfully (or maybe this was a sign), I did not have glasses yet.

On to the magazine at hand.

I will freely admit this is not one of my favorite covers. After seeing so many great covers from this time period, this one felt too "Cartoony" to me. Granted, it works with the article inside quite well, that is not something that can always be said about Dragon.

Kim Mohan's Editorial is up first. It covers the very dangerous ground of TSR's/Dragon Magazine's relationship with Tolkien Enterprises.  Basically saying there isn't one and they can't really say much more than that.

Letters section covers PBM and DragonQuest questions.  One of the great things about these older Dragons was how willing they were to cover other games. 

Nice big ad for the James Bond 007 RPG. Still, one I have never played. Another ad for Lords of Creation later on. I also never played that one but wanted too.


Forum asks questions about the Elemental Planes and Monty Haul campaigns.

Our first real article is from Dragon mainstay Katharine Kerr. Here we get Part 1 of her series Beyond the Dungeon, covering everything outside. She largely focuses on movement here for AD&D. But also what the characters should expect to find and what they are not expected to know.

Shaun Wilson is up with one of my favorite Ecology of articles, The Ecology of the Dryad. I do admit that after reading this article, I considered what it would take to have a Dryad PC race option. It lacks some of the style and personality of the Ed Greenwood articles, but it is still quite good. In fact when I had my own copy of this magazine, I cut this article out and stuck it into my AD&D Monstrous Compendium.

Ecology of the Dryad

Len Lakofka is back with the next installment of Gods of the Suel Pantheon. This time we get Kord and Phaulkon.

The Legacy of Hortus is our cover story. The author is the same as the cover artist, Jack Crane. This covers a wide variety of fantastic plants that honestly should be used in any addition of the game. Some are whimsical, like Beebalm (a plant we have in our garden), but this one grows its own bees and cowslip with the face and heads of cows. Others are bit on the nose, like Foxglove and Dandelion. But all are rather fun. 

The Legacy of Hortus

In Reviews, we get Jerry Epperson's opinion on the Tri Tac Stalking the Night Fantastic. Personally, I rather liked the game, but I am a fan of the source material. We both agree that the game's list of encounters is great. 

We get two centerfold sections here. The first is Whiteout, a Top Secret game adventure by none other than Merle Rasmussen himself. Like the James Bond RPG, I never played, or really even read over, Top Secret. I am no judge of this adventure but it does look fun. It is quite detailed and I could use it for other games. It is part three of a three-part series of adventures. Anyone who played it should let me know how it was/is.

Our other center section is the games listing for Gen Con 17. Lots of AD&D games listed but I am also seeing a lot of Car Wars. Some Chill, James Bond, Star Frontiers, and even some D&D.  Crazy that is all used to fit inside of Dragon.

Gen con 17
Gen con 17

John E. Stith has our fiction section, Simon Sidekick. Interestingly enough, it is a science fiction story about a personal AI assistant. Wow! Have you ever heard of anything so advanced Siri? How about you Alexa or Cortana?

This Dragon is early enough that we still get a proper Ares section.

Kim Eastland has Freeze! Star Law! for law enforcement officers in Star Frontiers.  Pretty good article to be honest.

Luna: A Traveller's Guide is another part of the "Luna" series Ares had been running. This one is naturally from Marc Miller. I think I need to go back sometime and collect all of these and do a special on them for Sci-Fi month. That could be fun. 

Jim Ward shows he is not be outdone and has A Field guide to Lunar Mutants for Gamma World.

Roger Moore answers some StarQuestions about the Universe game.

Nice big ad spread for the FASA Star Trek line. It is also old ads like this that make me realize how lucky I was. Illinois had, and still has some great hobby shops. They have 29 listed here. That is over 4.5 times what California had, and twice what all the neighboring states had combined. 

FASA Star Trek

Gamer's Guide covers the small ads. Always a treat to look at.

Couple of pages of Wormy. Dragonmirth has the short-lived Tal an Alan comic. A three pages of Elmore's Snarf Quest.

So a good issue, but more memorable for the time period rather than all the content. 

#Dungeon23 Tomb of the Vampire Queen, Level 7, Room 6

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 There is a large chamber beyond Room 6.  This room is wide and open, and small flames can be seen leaping from fissures in the floor and walls.  

Room 6

Embedded in the walls are several uncut rubies. They are worth 1d8x50 gp each but if taken to a gem cutter their value will increase 1d4+1 times.  There are 5d20 such rubies here, but removing them causes 1d4 hp of damage due to heat and flame for each ruby removed.

There is one other chamber to the rear of this one.

AD&D Haul from the Jon Cook Collection

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 This past weekend I went down to my old hometown to see my family for my mom's 80th birthday. She is honestly doing great, and it was a pleasure to see all my family.  I even got the chance to run into an old friend, Jon Cook.

Jon and I met in Jr. High, we both played saxophone in the school band. But it was D&D that got us to be friends. I had been playing around with my very rudimentary knowledge of D&D at that point, Jon had some AD&D books and, like me, the B/X books. So we spent our time in band class when she should have been practicing rolling up characters.

We decided to meet up because he wanted to sell me his collection!

How could I say no?

Jon Cook Collection
Jon Cook Collection
Not a huge collection, but a really great one to be honest.  It shows our strange, eclectic blend of AD&D 1st Ed and Basic/Expert D&D in a way that only 1981-1983 could produce. 
I am pleased to get all the Monster books, and it has given me an idea for some edits to Basic Bestiary. Getting his copies of B4 and A1 really took me back too. Especially his weird blend of A1 with his idea of a worldwide assassin's guild. It was also the scene of one of my first character deaths!
Jon Cook Collection
Jon Cook Collection
I think I might be most thrilled with these dice.  Those orange dice came with MY Expert set. Jon and I traded since his set came with blue, and I wanted blue. Now I have them back. They are going to go into my "Halloween" set.
Those armory dice markers are a rare treat.

Jon Cook Collection
Some art books that my youngest brother is going to hold on too till I see them next. He called these "Elmore Porn."
Jon Cook Collection
The Lejendary Adventures are like new, and I can't wait to try them out!
Jon Cook Collection
Another DM's screen!
Jon Cook Collection
Some more Dragons for This Old Dragon.  ETA: Looks like the only one I have not done here is #87.

Jon Cook Collection

And the infamous Grimtooth's Traps. Gods I hated it when he would pull out this book.

I can add all of these to his minis he sold me a couple years back.

Jon Cook Collection - Minis
Jon Cook Collection - Minis
Jon Cook Collection - Minis
Jon Cook Collection - Minis

Those are the real deal lead minis.  The last one was the mini I had used for my cleric Johan Werper, but back then he had a blue robe and white hair. He also had a hand. No, I did not paint him myself.

This is all rather fantastic to have.

I have already added some of these to my collection, others have gone into my "extras" pile for when people come over to play (an extra Player's Handbook is always welcome), and some others have been claimed by my youngest.  He already called dibs on the B/X books and adventures along with the Traps book. Pity his poor players.

Tomorrow is his birthday, and I know he will use the cash to buy some more train gear. This was his previous hobby before D&D and the one he and his son are really enjoying together now. 

So Happy Birthday, Jon! 

Thank you for all these books, the memories of going through the A Series with your crazy ass traps, and our own blend of Advanced and Basic/Expert rules. Your books have a loving home where they will get used all the time!

#Dungeon23 Tomb of the Vampire Queen, Level 7, Room 5

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 Going back to Room #2 and taking the next left leads to room where the party can smell the strong stench of brimstone.  Fires can be seen flickering in the tunnel and the party can feel heat.

Inside the room is a sight the party is not prepared for.

Burning Bunnies

Inside the room are three Burning Bunnies.

These creatures are the Elemental Plane of Fire analogs to the common rabbit.  They are here eating coal and sulfur. Thus the smell.  Like regular bunnies, they are quite scared and mostly harmless.

Picking one up (if you can) causes 1d8 points of fire damage. When scared (which is all the time), they will explode. This is how they get back to their home plane. The explosion causes 2d8 points of fire damage to anyone within 5' of the rabbit. This behavior has given them the nickname Boom Bunnies.

In an interesting side effect of their diet, the Burning Bunnies leave behind 1d3 small diamonds worth 10 gp each as their "droppings."

They have no other treasure.

Mail Call (of sorts) Tuesday: Birthday and Father's Day gifts

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 This is a bit late, but one of my birthday gifts finally came in.

Dungeons & Dragons books

I got the three core D&D 5 books in Spanish. I have been taking Spanish all year and wanted an RPG to read. So my wife an kids got me these. The Player's Handbook was back ordered and I just got it. 

Now to practice my Spanish some more!

For Father's Day, in addition to having some of the best smoked food and strawberry pie my kids have ever made for me I got this ridiculous toy.

3.5" Floppy drive

Yup. A 3.5" USB floppy drive for my retro computers. I have to decide now if I want to mount it or leave it free to use elsewhere.

#Dungeon23 Tomb of the Vampire Queen, Level 7, Room 4

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 Following the lava tube past the hellhounds, it gets hot. The party enters a large room with glowing rocks. The floor is cooling (but by no means) cool, lava.  Inside "cooling off" there are three Fire Nymphs

Fire Nymph

The nymphs look tired, but they do not attack. Nor do they attempt to charm. The floor is too hot to wal across and the nymphs move further back. 

They will ask the party what they want, and try to figure out if they have a ruby or diamond of good size (50 gp). They will say they missed their opportunity to get back to the Plane of Fire and are stuck here. If the party has a ruby or diamond, they can use a ritual to get back home. The gem will be destroyed though in the process.

If the party coporates with them and lets them have a gem. Then they should receive the same XP as if they had defeated them.  If there is a party member with Charisma of 16 or higher they will offer a "Kiss of the Fire Nymphs" to the party.  This will grant anyone who receives it a +1 against all saves vs fire and fire magic for 24 hours.

If the party chooses to attack the nymphs, instead they will use all their burning hands attacks and try to charm anyone onto the lava floor. Grant the party only 1/2 the normal XP for defeating the fire nymphs in combat.

Monstrous Mondays: Fire Nymph for Old School Essentials

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 It's a warm one out today (and I am posting remotely after visiting with my mom on her birthday) so let's get a conversion in shall we?

Here is a Fire Nymph from the Tome of Horrors now for Old School Essentials.  An update to my 5e version.

Fire NymphNymph, Fire

Armor Class: 5 [14]
Hit Dice: 2* (9hp)
Attacks: 1 x magic (charm) or burning hands (1d6 damage)
THAC0: 18 [+1]
Movement: 120’ (40’)
Saving Throws: D10 W11 P12 B13 S14 (4)
Morale: 6
Alignment: Neutral
XP: 25
Number Appearing: 1d4 (1d6)
Treasure Type: D

This creature appears as a very attractive and beautiful female with long, flowing fiery-red hair. Her eyes are pale blue and her skin is lightly colored with a cinnamon hint to it.

A fire nymph is a very beautiful creature that dwells on the Plane of Fire. It is akin to the nymph and dryad, though its origins obviously lie elsewhere. Fire nymphs rarely visit the Material Plane, though mages are known to request their company on occasion. A fire nymph is most easily summoned on Midsummer's Eve where they can walk about and interact with mortals and other fey. A fire nymph usually wears translucent robes of white or ash.

Fire nymphs can charm like a their terrestrial cousins, but they can also cast a burning hands spell three times per day. Additionally, they have immunity to fire and take double damage from cold.

Summoning a fire nymph is relatively easy but not without dangers.  The nymph's passionate nature causes her to move from one emotional extreme to the next very quickly. When a fire nymph is angry, her hair will burst into flames.

Also, due to their passionate nature, there are many gifted pyromancers that claim to be the offspring of a wizard and a fire nymph.

Fire Nyphs are also known as Pyroeads in some arcane circles.

Miskatonic Monday #203: Camp Hollow Lake

Reviews from R'lyeh -

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

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

—oOo—
Name: Camp Hollow LakePublisher: Chaosium, Inc.
Author: Daniel Stephens

Setting: Modern day New EnglandProduct: One-shot
What You Get: Twenty-Eight page, 2.15 MB Full Colour PDF
Elevator Pitch: Summer camp clichéPlot Hook: Sometimes the best thing to do is buy into the clichés and run with them.
Plot Support: Four pre-generated Investigators, seven handouts, two floorplans, one map, and two monsters.Production Values: Reasonable.
Pros# Fully embraces the Summer camp clichés# Multiple inventive mini-scenes of unnamed students getting slashed# Easy to adjust to the nineties, eighties, seventies, or sixties# Scopophobia# Phonophobia# Aichmophobia

Cons# Needs a strong edit# Another summer camp slasher stalker horror# Non-Mythos scenario# Unlikeable pre-generated Investigators# Fully embraces the Summer camp clichés# A runaround until the solution can be found
Conclusion# Another summer camp slasher stalker horror with all the clichés# Unlikeable pre-generated Investigators who deserve to die, but sadly the scenario drags their time to die out until the climax

#Dungeon23 Tomb of the Vampire Queen, Level 7, Room 3

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In Room 2 there are five round passageways that lead out.  They look like old lava tubes and are larger than the one the salamanders came out of.

On the first tube on the left the party will come face to face with the three large mastif-like hounds. They are large, vicious, and on fire.

Hellhound

These are powerful Hellhounds

One has 7 HD, and two have 6 HD. They attack the party.

#Dungeon23 Tomb of the Vampire Queen, Level 7, Room 2

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 The area at the bottom of the stairs is an oval-shaped natural cave. There are small openings in the walls where fires can be seen. In one of the larger holes to the left of the stairs a glow can be seen. The glow, and the heat, grows stronger by the moment.

Fire Salamander

From the hole emerges a large lizard-like creature, a Fire Salamander

There are two in total, they crawl out to attack the party. 

They have Treasure Type F x2 hidden in their lair. 


Triskaidekaphobia

Reviews from R'lyeh -

Lucky for None: A comedy-horror game could almost be said to not be a roleplaying game. This is because its mechanics amount to about three rules. Those rules consist of character generation, which is a single roll, an action mechanic—roll high and add a bonus from the character’s occupation, and then roll for just about everything in the game—mostly bad things and random things. It consists mostly of tables, each with thirteen entries—for good reason—which the players will roll as play progresses. The entries act as prompts, which can be used in two way, either as a group of players, or as a single player, who records his character’s reactions or actions in a journal. The nominal setting for Lucky for None is the village of Grimhaven, which is about to be beset by dark, strange things. In fact, they will be beset by a rash of dark, strange things and bad things to the point where they die or wish they had. Standing between them and the strange events are the Player Characters, residents themselves. The setting for Lucky for None is nominally the village of Grimhaven, located on the coast of Monshire. So it has a quaint British feel to it. That said, it can easily be adapted to other settings.

Published by Beyond Cataclysm Books other notable aspect to Lucky for None is that it uses a thirteen-sided die or ‘d13’ and only a thirteen-sided die. The number thirteen proliferates through the whole roleplaying game. Every table uses the thirteen-sided die, the village has thirteen locations, and events take place every thirteen minutes in real time. The game begins with a roll on the ‘Village Problem table’. This could be ‘sky’ and ‘hunger’ or ‘local government’ and ‘size’. The players develop the actual problem from these prompts, and then create a character. This again, is a simple a roll on ‘The Character Table’. This can be a Labourer, Barkeeper, Child, Mayor, Farmer, or Police Officer, and each has an associated skill. For example, the Mayor has Leading, the Police Officer has Securing, and the Labourer has Building.

To undertake an action, a player rolls the die and consults ‘The Action Table’. The outcome ranges from Absolute Failure to Absolute Success. If a Player Character has a skill related to the action, he can add two to the result. He also has two Luck Points. These can be expended to each add four to the roll, but if used up completely, he is out of luck and all rolls are made at disadvantage.

Of course, rolling a thirteen-sided die means that bad things above and beyond what is normally rolled whenever a player rolls thirteen. On ‘The Character Table’ this means that the character has an occupation and associated skill, and is also personally afflicted by the Village Problem. On ‘The Action Table’, it means that the action has been an ‘Absolute Success’, but also requires that the player roll on the on ‘The Bad Things Table’. This develops a ‘Vibe’, ‘Who It Affects’, and a ‘Severity’. For example, ‘Asphyxiation’, ‘A loved one/another PC’, and ‘Death, explosive’. In addition, Events are rolled or every thirteen minutes of real time on ‘The Events Table’, which give a ‘Location’, ‘Incident type’, and ‘Severity’. For example, ‘Church’, ‘Disease’, and ‘Inconvenient’. In general, the higher the roll, the worse the effect…

Play continues like this until the last and thirteenth Event is rolled and its effects play. The game is then over. The minimalist storytelling rules do intrude upon play, of course, most obviously in ‘The Bad Things Table’ and ‘The Events Table’, but between that, the players are free to discuss and develop the world around their characters, and how first the Village Problem, Events, and then Bad Things affects them, the locations in the village, and the residents. The story of this near constant cavalcade of catastrophes should play out of this as series of disasters and consequences that compounds each other, over and over, building and connecting as it progresses and the Player Characters react to everything around them.

That then is all there is to Lucky for None: A comedy-horror game. At least mechanically. There is an ‘Important and Useful Facts About the Number 13’ table and an ‘Alternative Village Problem Table’, but both are extra additions beyond the core of the game. There is an example of play and tips for the Game Master, both of which are actually useful.

Physically, Lucky for None: A comedy-horror game is a cleanly presented, vibrantly red booklet. It is simply written, very easy to grasp, and thus bring to the table. A combined ‘Character Sheet & Disaster’ is included, which sits in the middle of the table.

Lucky for None: A comedy-horror game is a one-session torrent of terror in which the Player Characters are inundated with issues and deluged with difficulties. It is an impossible situation, a dirty disaster drama of ridiculous proportions, played out in a single session or recorded in a dreadful diary, all good for a refreshingly farcical folly in between playing other roleplaying games. Or just good for getting your hands on a ‘d13’.

#Dungeon23 Tomb of the Vampire Queen, Level 7, Room 1

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 The passageway beyond the opening on level 6 leads to long, long stair going down.

Level 7, Room 1

Giant visages of the soulless damned are carved into the walls on either side of this massive staircase. The detail is phenomenal and you swear it looks like they could reach out and get you. 

The air here is hot and quite fetid. The heat seems to come from everywhere, and even the rocks glow with a soft hellish light.

While on this level humans, elves, forest gnomes, and halflings will suffer a -1 penalty to hit due to the heat. Dwarves, deep gnomes, and others accustomed to the deep caves of the nether dark suffer no penalties.


Friday Night Videos: Songs of the WASTED LANDS

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Nothing gets me in the mood for working on a campaign or writing new material quite like a good playlist.
My memories of old-school gaming are inexorably linked to old-school rock and metal. In fact back in the 1980s we would stop our games if a particular video, mostly Iron Maiden or Judas Priest, came on MTV.
So here is a playlist from Jason Vey, author, and lead designer for the Wasted Lands RPG currently in Kickstarter.

Enjoy!



Friday Fantasy: Halls of the Blood King

Reviews from R'lyeh -

Halls of the Blood King is a scenario published by Necrotic Gnome. It is written for use with Old School Essentials, the Old School Renaissance retroclone based on the version of Basic Dungeons & Dragons designed by Tom Moldvay and published in 1980. It is designed to be played by a party of Third to Fifth Level Player Characters and is a standalone affair, but can be easily added to a campaign by the Referee. What it primarily needs is a world where vampires are known about, either as actual threats or legendary ones, and perhaps an old tale about a vampire hunter having gone missing a century ago. Since it involves the vampires and the undead, if the scenario is run using Old School Essentials Classic Fantasy, then a Cleric will be useful, and possibly a Paladin if it is being run using Old School Essentials: Advanced Fantasy. Unlike the earlier, official scenarios for Old School Essentials, such as The Hole in the Oak and The Incandescent Grottoes, it is not a suitable addition to the publisher’s own Dolmenwood setting. The scenario is also notable for winning the 2021 ENNIE Award for Best Adventure and the 2021 ENNIE Award for Best Cartography.
The Halls of the Blood King appears once a century, on night of a blood moon. It stays for that night and then is gone. It is home to the Blood King, the the first vampire, and on this night, as he does on nights like this on other worlds, he calls all of his children from across the lands to come pay him both homage and what they owe him—blood tax. The appearance of the Blood King and his mansion is a temporary stain upon the land where it appears, its baleful influence spreading fear and terror as every vampire in the land descends upon it and the lands and villages nearby... Several reasons are suggested why the Player Characters might want to break into the mansion. This includes rescuing any villagers who have been kidnapped from nearby, merely wanting to loot the place, or looking for a specific magical item known to be in the possession of the Blood King. Perhaps the most interesting are having the Player Characters seek revenge for a vampire said to have been lost in the halls of the Blood King—whether because one of their number is descended from the vampire hunter or they are hired by a descendant, or because they have been receiving the desperate dreams from a princess imprisoned by the Blood King, imploring them to rescue her. It is also possible to mix and match these hooks too.

The Halls of the Blood King follows the same format as the other scenarios for Old School Essentials. This includes an overview, which covers history, rumours, and a complete list of the adventure’s treasure by location. What sets it apart is two things. One is a time limit. The Blood King’s mansion is only present for one night. If the Player Characters stay too long, who knows what world or plane they will end up on? The other is a single page of vampire details, this included to save space from having to repeat their abilities in every monster entry, but it also makes it a handy reference for the Game Master—especially as it is reprinted on the inside back cover. Included at the end of the long list of their capabilities and unfortunately for the Player Characters, few vulnerabilities, are several alternatives to the Energy Drain ability, which leeches Levels, Experience Points, and Hit Points from an afflicted Player Character. Options include ability damage, permanent Hit Point loss, and a global penalty levied on all actions. Also included is a breakdown of the various factions and their relationships in The Halls of the Blood King, and it is here that the scenario begins to shine.
The factions in the Blood King’s begin with the Blood King himself, bored and disdainful, but under the right circumstances willing to see the Player Characters as more then a food source. Around him is his court and its guests, several of them quite alien, but all wanting something, and in many cases having something to hide. His daughter—who of course, is the one sending dreams to the Player Characters of an imprisoned princess—plots with a desperate vassal and other allies to supplant her father. His mother—or is she?—now a Banshee, lurks, seeking recognition by her son. Below the mansion, the Blood King’s pet, the Blood Spider Queen, grown big and fat on diet of blood, wants her court to be the equal of his. Elsewhere, the vampire hunter, thought lost a century ago, hides out behind a barricade of traps, waiting for an opportunity to strike at the Blood King... All of these factions want something and see the Player Characters as a means to strengthen their hands. Some will prove to be the allies the Player Characters need to survive The Halls of the Blood King, others not.

What this all means is that The Halls of the Blood King is not an adventure at which to go full tilt. Players and their characters wanting to rampage their way through the halls and room of the Blood King’s mansion, will first face guards with flesh-ripping blades and then the vampires themselves. The immunity from mundane weapons, the charming gaze, and the ability to drain Levels combined their numbers means that the vampires are too tough to face directly—and that is for Fifth Level Player Characters, let alone Third Level. Instead, the Player Characters need to find a less direct way to deal with the Blood King and his vampires. The scenario provides several, including gathering information, finding certain important items, and of course, creating alliances. Whilst there are opportunities for combat in the scenario, what this means is that The Halls of the Blood King is much more of a social and roleplaying scenario than it looks at first sight. Whomever the Player Characters decide to ally with, they have a chance to really change the status quo at the Blood King’s court.

Physically, The Halls of the Blood King is as well presented and as organised as previous scenarios for Old School Essentials from Necrotic Gnome. The maps are excellent with excerpts used on every page where individual locations are described. The location descriptions use the same sparse, almost bullet-point style seen in the other other scenarios with key points in bold. There is plenty of rich detail in those descriptions though, such as Shadow Hounds that are as “Dark as night” and “Long and tall but very lean (as if stretched)” and dungeon stairs “Made of rough hewn stone (looks like a stone beast’s gullet).” All of which makes the scenario very easy to use from the page. What really stands out is the artwork. Done in rich blues, purples, and reds with yellow highlights, it echoes the style of Philippe Druillet in his depiction of Michael Moorcock’s Elric of Melniboné, making The Halls of the Blood King have more of a baroque look than a gothic one.
The Halls of the Blood King is not without precedent, all the way back to Palace of the Vampire Queen from 1976. Of course, it would be remiss not to compare The Halls of the Blood King with its more well known precedent, I6 Raveloft. The Halls of the Blood King is a far less grand affair, in every sense, lacking the Gothic romance backstory of I6 Ravenloft’s Count Strahd von Zarovich and the love of his life, his former sister-in-law, Tatyana, and the epic scale of his castle. The lower scale has advantages, the mansion having less room for the seemingly endless swathe of the undead to be found in Ravenloft, making both exploration and accessing the social aspects of The Halls of the Blood King that little bit easier. It also means that The Halls of the Blood King is no mere imitation, possessing an atmosphere and sense of horror that is its own.

More social minefield than gory bloodbath—though it has plenty of potential to end that way—The Halls of the Blood King is a genuinely challenging adventure, presenting a highly detailed and atmospheric vampire lair in which the Player Characters will have to tread very lightly if they are to survive, let alone succeed.

Kickstart Your Weekend: Wasted Lands and Sherwood

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A couple of Kickstarters close to my heart today.

Wasted Lands: The Dreaming Age Role Playing Game

A tabletop RPG of cosmic horror, swords, and sorcery in a savage lost epoch, 1000 years after the Old Ones fell to their eternal sleep.

 The Dreaming Age Core Rules The Dreaming Age Campaign Guide

https://www.kickstarter.com/projects/jasonvey/wasted-lands-the-dreaming-age-role-playing-game?ref=b0ulif

I have been talking about this Kickstarter all month, and now it is live. Please check it out and give Jason your support.

Sherwood: The Legend of Robin Hood 5E

Sherwood 5e

https://www.indiegogo.com/projects/sherwood-the-legend-of-robin-hood-5e#/

Adam Thompson, brother of the late Jonathan Thompson, has taken over Battlefield Press and plans to get Jonathon's unfinished work completed.  And I, for one, could not be happier.

Jonathan was a great guy, and he had such a love for RPGs and everything about them. It is great knowing that there are still guys like Jonathan and Adam for every crappy person in this biz you meet.

I have only gotten to know Adam over the last few days, and he also seems like a great guy.  I can think of nothing more fitting than getting all of BPI's projects out there for gamers to enjoy.

Sherwood, here is something that should have been a no-brainer. Robin Hood, for D&D. Yeah. Let's make this one happen!


Miskatonic Monday #201: The Thing in Tunnel 12

Reviews from R'lyeh -

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

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

—oOo—
Name: The Thing in Tunnel 12Publisher: Chaosium, Inc.
Author: Alison Cybe

Setting: North of EnglandProduct: Scenario
What You Get: Twenty-Three page, 1.41 KB Full Colour PDF
Elevator Pitch: Sometimes locals really do have something to hide...Plot Hook: A body in the mine means murder!
Plot Support: Five pre-generated Investigators, two NPCs, and one Mythos monster.Production Values: Plain.
Pros# One session industrial horror# Easy to adjust to the eighties or twenties
# Nice sense of locals with something to hide# Claustrophobia# Cleithrophobia# Taphephobia# Submechanophobia
Cons# Needs an edit# Not clear who the Investigators are meant to be# Underdeveloped historical background# No maps# Underdeveloped pre-generated Investigators
Conclusion# Underdeveloped historical and Investigator background# Solid one session industrial horror easily adapted to other time periods

Miskatonic Monday #200: The Grindhouse: Ultimate Collection – Vol. 1-3

Reviews from R'lyeh -

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

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

—oOo—
The Grindhouse: Ultimate Collection – Vol. 1-3 is an anthology of seven scenarios within the grindhouse genre of cinema—low-budget horror, splatter, and exploitation films for adults which had their heyday in the seventies. Each one is short, designed to be played in a single session, involves a locked room type of situation—sometimes literally, which keeps the action and the horror focused, and involves desperate, often bloody and brutal horror. Each scenario is presented in full colour, comes with its own set of pre-generated Investigators, and follows the same format. This consists of ‘Prelude’, ‘Objectives’, ‘Secrets’, ‘Cast’, ‘Signs’, ‘Threats’, and ‘Changes’. The ‘Prelude’ sets up and explains the scenario, the ‘Objectives’ the Player Characters’ involvement, ‘Secrets’ reveals what is really going on, ‘Cast’ lists minor NPCs, ‘Signs’ details clues which can be found, ‘Threats’ the dangers both Mythos and mundane, and ‘Changes’ the major events which occur during the scenario. The format does not always though, as in some places there is a lengthy description of the locations where the scenario takes place before the Keeper gets to the ‘Secrets’. In addition, there are Keeper Notes throughout and options, decent maps or floorplans of the location for each scenario, and indications of the type of horror each involves at the start of each scenario. Not all of the scenarios involve the Mythos, but their horror is all strong and bloody.
The Grindhouse: Ultimate Collection – Vol. 1-3 opens in underwhelming fashion with a non-Mythos scenario which involves a literal locked-room situation and little if any real investigation or agency. ‘The Crimson King’ is set in the early eighties and has the Player Characters invited to an exclusive Goth nightclub. Perhaps they want to attend, perhaps they are looking for a missing young woman? Unfortunately, there is very little for them to do or find out before the situation suddenly changes and they suddenly find themselves fighting for their lives and trying to escape. Which would be fine, but there is no other plot than this. The result is underplotted and one-note.
Fortunately, the next and subsequent scenarios are much better. ‘Isle of the Damned’ takes the Player Characters to a small island off the coast of Maine. It is 1974 and they have rented a small holiday home, intending to relax, fish, drink, and spend time away from the grind of modern life. Unfortunately, the island idyll is ruined by multiple somethings which a previous owner left behind after he had to flee following his name being linked to the disappearances of fresh corpses. That name is West, and since this is a Mythos scenario, that means reanimated bodies and body parts. The author has some fun with creating some freshly animated corpses and corpse cuts with which to scare the Player Characters, foreshadowing some of the bloody horror with bumps and knocks from below. Thus, the Player Characters find themselves trapped on an island surviving a zombie-style ‘uprising’ of a different kind.
‘The Dark Brood’ takes place in 1977 at a summer camp in the Appalachian mountains where the Player Characters are camp counsellors. Summer camp horror scenarios are a cliché unto themselves, invariably involving a madman who will stalk the counsellors and students, slashing them, and picking them off, one-by-one. Fortunately, ‘The Dark Brood’ eschews this cliché completely. When the children complain of upset stomachs and nausea, they are given something to settle their stomachs and set to bed early, but later, when the Player Characters suddenly awaken, the children have gone missing. Investigation reveals there is something very sour going on, something similar to that done in other scenarios for Call of Cthulhu, but made all the worse by being inflicted on children. Although they do not know it, the Player Characters are up against a time limit in what is one of the creepier scenarios in the anthology.
‘Jacknife’ is a classic road about to go very, very wrong. When the driver of an eighteen-wheeler picks up hitchhikers, he drives himself into a world of trouble. There is really only the one location for the scenario and that the truck and the flatbed of lumber it is hauling from Colorado to Texas. Anyone who has played the author’s The Highway of Blood will suffer flashbacks as the Player Characters are chased across New Mexico by snake cultists and dustbillies. On the downside, the Keeper will need to acquaint herself with the Chase Rules from the Keeper Rulebook, but on the plus side, a chase sets up plenty of tension and action, and setting the majority of the scenario aboard one moving vehicle adds a sense of claustrophobia to that too. The scenario could be run as part of The Highway of Blood or even a sequel of sorts, but gives too much away to run as a prequel. Otherwise, a great set-up for a horror scenario.
‘Hell Block Five’ casts the Player Characters as inmates of Irongate Penitentiary in Aylesbury, Massachusetts, incarcerated with some of the most infamous criminals in the United States. One night in 1978, the cell doors unlock and slide open in Cell Block Five, but without any alarms going off or sign of any guards. The blood and bodies of other inmates lie everywhere and the cell block seems infested with fungi and insects. The set-up and development has an intentionally nightmarish feel to it as the cell block fluctuates between its current state and something increasingly unreal. One issue is that the Player Characters do need to be driven to a bout of madness in order to discover an important clue and potentially push the story onwards. Another possible issue is that the Player Characters may encounter their worst fears, but none are listed for the pre-generated Player Characters. The players are, of course, free to create their own, but hints would have been useful. Overall, this is a solid prison-set horror scenario.
‘First Night’ takes another horror film cliché and does something interesting with it. It is 1980 and a group of college girls decides to spend the night in the mansion that was recently purchased by their sorority. So, we have a sorority house slumber party which takes a horrifying murderous turn after they find a witch board, which of course, they decide to play around with. Awaking later in the middle of the night to the sound of their bedroom doorknob being turned, something moving about the house, and the house being surrounded by a thick fog. The next few hours consist of the girls being chased round the house by nightmarish, incredibly stealthy monsters which can crawl across the ceilings and simply refuse to die. ‘First Night’ is a spiritual successor to ‘Hell Block Five’, but it apes its inspirations more closely by having the last girl standing receive a bonus to her Luck and a Bonus Die to all her actions. If it comes to this, then the players whose characters did not survive, should definitely control some of the monsters. Like ‘Hell Block Five’, there is the issue of the Player Characters possibly encountering their worst fears, but none being listed for them. The scenario also requires the Player Characters to participate in the use of the witch board, as it does not work without it happening. The players should be encouraged to have their characters do so in order to get this survival horror, monster chase scenario started.
Lastly, ‘The Hoodlums’ is a bonus scenario in The Grindhouse: Ultimate Collection – Vol. 1-3. Set in Worcester, Massachusetts, during the summer of 1983, it begins when a group of high school friends breaks into an abandoned train station to smoke some weed and one of their number suddenly disappears with cry for help! Following the cries leads into the sewers below and what seems to be a buried mansion decades old… The place feels old and macabre and plays out initially in exploratory fashion, which can turn into a deadly hunt depending upon how the young Player Characters interact with the inhabitants. The pre-generated Player Characters are nicely invidualised, they play Dungeons & Dragons, which lends itself to interesting roleplaying possibilities, and there is even a rule given for peer pressure.
Physically, The Grindhouse: Ultimate Collection – Vol. 1-3 is decently presented. Although it needs a slight edit in places, it is well written, and it decently illustrated throughout. In fact, some of the artwork is very good. The cartography is also good throughout.
The Grindhouse: Ultimate Collection – Vol. 1-3 would be an excellent anthology of Grindhouse-style horror one-shots. However, it is let down by the first scenario, ‘The Crimson King’, which is simply not of the same quality as the rest that follow. In fact, had ‘The Crimson King’ been left out or the bonus scenario ‘The Hoodlums’ simply replaced it, The Grindhouse: Ultimate Collection – Vol. 1-3 would be that excellent anthology. Consequently, The Grindhouse: Ultimate Collection – Vol. 1-3 is a good Grindhouse collection, providing the Keeper with a selection of easily prepared, brutal, often bloody, one-shots.

Everyday Endeavours

Reviews from R'lyeh -

Everyday Heroes is the spiritual successor to d20 Modern. What d20 Modern did for Dungeons & Dragons, Third Edition in 2002, Everyday Heroes does for Dungeons & Dragons, Fifth Edition in 2202. It is designed to facilitate and handle roleplaying in the here and now, in the world we see outside our windows, on our television screens, and at the cinema. It can cover military or mercenary scenarios, police procedurals, urban fantasy and investigating the supernatural, visits to lost worlds, conspiracy thrillers, dinosaur rampages, face-offs against killer robots (whether from the future or not), run or defuse scams, and more. Although it does not delve into any one of these genres or scenarios in any depth, the core rulebook provides all of the rules and the mechanical tools the Game Master will need to run and her players to roleplay them. There are tweaks and adjustments throughout the rules to account for the modern genre, but the core rules remain faithful, and will be familiar, to anyone who has played Dungeons & Dragons, Fifth Edition. In keeping with the setting, all of the Player Characters are human, and in keeping with the scale and concept of ‘Everyday Heroes’, are limited to between Levels one and ten. Further, Everyday Heroes provides some twenty character Classes, divided into six Archetypes, modern skills, proficiencies, and feats, rules for modern gun combat, vehicles and chases, hacking, modern environments and hazards, and a bestiary. Essentially, all of the tools the Game Master needs to run a campaign today.

Everyday Heroes is published by Evil Genius Games, following a successful Kickstarter campaign and begins with the Player Character. Everyday Heroes is a Class and Level roleplaying game, so it begins there, along with the six abilities—Strength, Dexterity, Constitution, Intelligence, Wisdom, and Charisma. A Player Character also has a Background and a Profession, which each provide languages known, Proficiencies, Iconic Equipment, Ability increases, and a Special Feature; and an Archetype and Class. Backgrounds can be Activist, Book Worm, Caregiver, Misfit, Social Butterfly, and more, whilst the professions include Academia, Creative, Law, Trades, and so on. There are six Archetypes—Strong, Agile, Tough, Smart, Wise, and Charisma—corresponding to the six abilities—Strength, Dexterity, Constitution, Intelligence, Wisdom, and Charisma. These are divided into three or four Classes. So, the Brawler and Heavy Gunner fall into the Strong Archetype, the Scoundrel and the Sharpshooter into the Agile Archetype, the Commando and the Bodyguard into the Tough Archetype, the Engineer and the Hacker into the Smart Archetype, the Hunter and the Sleuth into the Wise Archetype, and the Duellist and the Leader into the Charming Archetype. Together, Archetype and Class provides a Player Character’s Hit Dice, Defence rating, Proficiency Bonus, Talents, and Feats. The latter, Feats, are intrinsic part of Player Character development in Everyday Heroes.

Creating a Player Character in Everyday Heroes is a matter of making choices. A player selects his character’s Background, Profession, Archetype, and Class, and decides on the options they provide. He has the choice of determining his abilities randomly (roll four six-sided dice, discarded the lowest), assigning points, or using an array. The process is relatively straightforward and enables a player a wide range of character types. A player can decide to specialise in his choice of Background, Profession, Archetype, and Class. For example, a hacker could have Gamer as a Background, Information Technology as a Profession, and then the Smart Hero Archetype and the Hacker Class. Or he could mix and match to reflect wider experience. For example, an Ordinary Background could lead to the Emergency Services Profession and then be a Smart Archetype and the Scientist Class or a Tough Archetype and the Bodyguard Class. Notably though, the twenty Classes are also divided by complexity. Thus, the Heavy Gunner is a Simple Class, the Hacker a Complex Class, and the Leader a Medium Class in terms of their relative complexities. This is a useful guide for the players and can influence their choices when it comes to creating characters. Lastly, a player decides on his character’s Motivation, Attachments, Beliefs, Virtues, Flaws, and Quirks. As a Player Character advances in Level, he will improve via new or better Talents, Feats—some general, some specific to the Class and Archetype, Hit Points, and Proficiency Rating, so on.

Name: Henry Brinded III
Archetype: Mastermind Level: 1
Background: Bookworm
Profession: Military
Motivation: Duty Attachment: Family Belief: Not so much a statement of belief as a methodology
Role: Intellectual Virtue: Thoughtful Flaw: Nosy Quirk: Claps when excited

Strength 11 Dexterity 15 (+2) Constitution 15 (+2)
Intelligence 19 (+4) Wisdom 15 (+2) Charisma 16 (+3)
Defence: 14
Hit Points: 8
Passive Perception: 14
Proficiency Bonus: +2
Skills: Athletics +2, Computers +6, Insight +4, Investigation +8, Perception +4, Persuasion +7, Social Sciences +6, Stealth +4
Mental Expertise: Insight, Persuasion
Skill Proficiencies: Athletics, Computers, Insight, Investigation, Perception, Persuasion, Social Sciences, Stealth
Saving Throw Proficiencies: Intelligence, Wisdom
Equipment Proficiencies: Basic Equipment, Advanced Equipment, Military Equipment
Languages: English, Latin, Spanish
Talents: Plans, Genius, Know-It-All, You’re Doing It Wrong
Special Features: Have You Ever Read?, Servicemember

Everyday Heroes includes a lengthy equipment section. Starting equipment is handled via equipment packs, such as a Hacker Pack or a Weekend Warrior Pack, but the extensive list includes weapons of all types—from knives and 9 mm handguns to rocket launchers and tanks, vehicles from bicycles, golf carts, pickup trucks, and bulldozers to tanks, eighteen-wheeler trucks, wingsuits, and bullet trains. The vehicles and weapons are listed by type rather than name and model, but it is easy for the Game Master and player to assign these details if they want them in their game.

Mechanically, the core rules of Everyday Heroes are the same as those of Dungeons & Dragons, Fifth Edition. Throw a twenty-sided die and add Ability and Proficiency bonuses as appropriate, the aim being to roll equal to, or higher than, a Difficulty Class, which ranges from ten for Easy, fifteen for Challenging, twenty for Difficult, and so on. The rules for Advantage and Disadvantage also work as they do in Dungeons & Dragons, Fifth Edition. Saving throws are based on the six abilities. Combat works the same too, but changes have been made to account for modern conflict. This includes firearms capable of suppressive fire and burst fire, as well as the use of explosive devices. Armour Class is replaced by a Defence value, which represents how hard a target is to hit, and can come from the cover a target is behind or the innate ability of a target to avoid being hit. Personal armour worn has an Armour Value. If the Penetration Value of an attack is higher than the Armour Value, the attack has penetrated the armour without reducing any of the damage, but if the Armour Value is higher than the Penetration Value, than an Armour Saving Throw can be made. A successful saving throw prevents all damage, but damages the armour, reducing its effectiveness, whilst a failed saving throw stops none of the damage.

The rules also cover environmental challenges such as dehydration and underwater combat, using companions—the Hunter Class has animal companions and the Engineer Class robot companions, laying and disabling traps, and of course, chases and vehicles. Vehicles have their own ratings for Strength, Dexterity, and Constitution, Armour Value, and in some cases, special abilities particular to the vehicle. Chases, whether on foot or by vehicle, are played out round by round, with the participants accumulating Chase Points. The aim is acquire more than the other participants before the end of the chase, by overcoming hazards or challenges like dodging around two men carrying a long rolled up carpet or leaping from one building to the next. Success grants a participant Chase Points, failure Chase Points to his opponent. The chase rules scale up to take account of vehicles and combat, including actions such as aiming at tires, ramming, and the like.

For the Game Master, there is advice on handling the rules, including chases—the latter with lots of complications to throw into the path of the Player Character in a wide variety of environments, different types of encounters, computer hacking and security, and more. The advice on hacking is to keep its use in check lest it become too powerful a feature of the game, but the rules handle it in a simple enough fashion, also avoiding it becoming too technical. They make a point that the Security and Deception skills are as equally important as the Computer skill. There is guidance too on common, but often difficult situations in modern set games, such as snipers, standoffs, and calling in the authorities, which is so obvious in its inclusion, but so very helpful. Optional rules cover sudden death, tracking ammunition, poison, injuries above beyond simple Hit Point loss, diseases, and recreational drugs. Advice for the Game Master begins with the basics and builds from there, including ‘Saying, “Yes, and…”’, giving time in the spotlight for each Player Character, and knowing the players and their play styles. It also examines adventure structure and creation and some of the key points of the genres that Everyday Heroes is designed to cover—action, adventure, comedy, drama, horror, mystery, and survival.

Almost a fifth of Everyday Heroes dedicated to opponents and allies, and it is here that Everyday Heroes goes further than suggesting the various genres and settings and types of scenarios which can be run using its rules. There are numerous ordinary NPCs from all walks of life, but these are joined by cultists, crazed maniacs, mad scientists, and slashers. Alongside these, there are robots and animals, including a swarm of piranha, before the selection delves into historic and prehistoric NPCs, Science Fiction aliens and bugs, futuristic robots, mutants, and supernatural creatures from demons and vampires to zombies and werewolves. Variants are included too, so for zombies, there are zombie bloaters, zombie dogs, zombie lickers, and elite zombie warriors. These are all ready for the Game Master to use and build as part of a scenario.

Physically, Everyday Heroes is very well presented. It is well written, easy to read, and comes with a good index. The artwork varies in quality a little, but is all decent enough. Also included is an appendix of the changes between Everyday Heroes and Dungeons & Dragons, Fifth Edition. This is useful, but would have been more useful if page references had been included.

There is one final addition to Everyday Heroes which is not included in the core rulebook. This is access to a number of source and scenario supplements all based upon a surprising range of films. In fact, a range of films which nobody expected to see turned into roleplaying material despite their popularity in the hobby. These consist of The Crow™ Cinematic Adventure, Escape From New York™ Cinematic Adventure, Highlander Cinematic Adventure, Kong: Skull Island Cinematic Adventure, Pacific Rim Cinematic Adventure, and Total Recall Cinematic Adventure. These showcase at least, what Everyday Heroes can do and are, equally, six good reasons to play Everyday Heroes. Beyond these of course, there is plenty of scope for supplements which could explore the genres suggested in the Everyday Heroes core rulebook, as well as other support and useable content.

Everyday Heroes takes the bones of the Dungeons & Dragons, Fifth Edition rules and adjusts them with a surprising degree of comfort to fit the modern day. From that basis, the core rules fleshes out the here and now with a wide range of Player Character options and monsters and NPCs which together lend themselves to genres and settings both ordinary and outré. In between there is literally all of the rules, backed up with solid advice, needed to support a modern day set roleplaying campaign. With Everyday Heroes, Evil Genius Games has not so much created the spiritual successor to d20 Modern, as taken on its mantle.

Red Reports

Reviews from R'lyeh -

Tales of the RED: Street Stories is an anthology of missions for Cyberpunk RED, the fourth edition of the classic Cyberpunk roleplaying game. It provides the Game Master with nine—technically eight because the last two in the book make up a two-part adventure—scenarios which take place in and around the Night City of 2045. The scenarios are all easy to add to an ongoing campaign, as well as to mix and match with missions of the Game Master’s own devising or Screamsheets from a supplement such as the Cyberpunk RED Data Pack. Published by R. Talsorian Games, Inc., the nine missions will find the Edgerunners chasing vampires, investigating a kidnapping, working a film set, diving off the coast of Night City, making a delivery run of the best threads in town, hunting down a deadly A.I. program gone rogue, fending off an attacker who is hunting Edgerunner teams, investigating murder on the virtual club floor, and ultimately tracking down the perpetrator of the murder! Whilst offering a wide variety of mission types, they all adhere to the same format as seen in the core rules for Cyberpunk RED. This is the Beat Chart system which breaks a Mission down into a ‘Background’—intended to read aloud to the players, ‘The Rest of Story’ which summarises the Mission for the Game Master, ‘The Opposition’ which describes the threats the Edgerunners will face, and ‘The Hook’, which is what will draws them into the Mission. The remainder is divided into Developments—non-action beats, and Cliffhangers—action beats, before coming to a close with the Mission’s ‘Climax’ and ‘Resolution’. These are all labels as much as beats and of course, the nature of each beat will vary from Mission to Mission.

From the start, there are a couple of issues with the anthology. One is that the Beat Chart system does read a little oddly in that ‘The Hook’, the beat which covers how the Edgerunners get involved in the Mission, comes after several beats. So, the Missions need to be read carefully and their format adjusted to in order for the Game Master to get used to the format. The other issue that a lot of the context and stats for the nine Missions are not placed with the individual Missions, but in a set of three appendices at the back of the book. ‘Mooks and Defences’ provides the stats for the generic threats that can be encountered in the various Missions; ‘Locations’ marks every place and location visited by the nine Missions; and ‘Biographies’ provides thumbnail backgrounds for all of the named NPCs in the nine Missions. This includes the maitre’d at a fancy restaurant in the second scenario! Thankfully each entry also tells the Game Master which of the Missions they appear in or are mentioned in. Not all of them have stat blocks, but they do, it is in the Missions where they appear. Having the biographies all in one place sort of works for easy reference, but separating them from their stats, not as much…

Tales of the RED: Street Stories opens with ‘A Night at the Opera – Darkness and Desire in Night City’. Night City’s University District has been beset by a rash of disappearances of young women over the past four weeks, but to date neither Campus Security nor Night City Police Department have made any progress. So the father of the latest victim hires the Edgerunners to investigate and find his daughters. Canvassing the campus—which involves some fun encounters with members of the student body—points to the involvement of a poser gang, the Philharmonic Vampyres, who embrace the whole vampire aesthetic—fangs, pale skin, Goth-style clothing, and pale skin. The best way to contact the Philharmonic Vampyres is to attend one of their parties. Unfortunately, when the Edgerunners do, the event erupts into a gang-on-gang gunfight! The Edgerunners do need to pay attention to the ordinary events going on around them to get the most out of the scenario, but this is a fairly, direct simple scenario underneath its gothic trappings.

If the first Mission in the anthology looked weird, then the second, ‘Agents Desire – The Case of the Missing Girlfriend’, actually is weird. A fixer—who may be just little impatient for the Edgerunners, if not their players—puts the Edgerunners in touch with a high-ranking corporate whose partner was kidnapped from one of Night City’s top restaurants, La Lune Bleu, and he fears that he will only get her back if he gives up company secrets. The biggest problem for the Edgerunners is actually getting past the restaurant’s snooty maitre’d, and numerous options are suggested, including buying the right quality outfits and booking a table, hiring on as waiting staff, and so on. This presents a great social challenge for the Edgerunners and their players. Once inside, they can get further information and the story takes a turn for the strange, which foreshadows, but is not connected to, the events of Cyberpunk 2077.

The third Mission is different again. ‘A Bucket Full of Popcorn-Flavoured Kibble – Lights, Camera, Drama!’ gives the chance for the Edgerunners to hit the silver screen and be extras in the latest film by one of burgeoning Addis Ababa film studios. Not only do the Edgerunners get to make money from this job, there is opportunity aplenty for them to make money on the side. These include tracking down a supply of actual organic food for the film’s picky star, plant a listening device for a sleazy journalist, provide cybertech support, make a delivery for the film’s other star following his divorce, and so on. The Edgerunners are free to pick and choose which tasks they undertake, but the Mission has a picaresque quality to it, as the Edgerunners bounce from one small task to the next. There are some nice rewards too if the Edgerunners do play it—mostly—straight and promise of extra work too.

The change in the nature and style of the Missions continues with ‘Drummer and the Whale – Treasure Beneath the Sea’, in which the Edgerunners are hired for an easy job in—or under—Night City Bay. Their employer, whose hobby is looking for patterns in in the remnants of the global Net which got shattered during the Fourth Corporate War, and he has detected a patten off the coast of Night City. With limited funds, he hires to locate some washed up cargo container, which means searching the shore, part-shanty town, part-waste dump, all one environmental hazard. It seems that something is operating on the bed of the bay and shipping containers ashore on a regular basis. The question is, what is it, how dangerous is it, and how much will the right people pay for it? The aquatic nature of the Mission is challenging in itself and is in parts more technical than the earlier Missions, which should challenge the Edgerunners’ Tech and Netrunner. Overall, the Mission has a claustrophobic, dated feel to it as traditional rivalries straight out of Cyberpunk 2.0.2.0. surface in Night City Bay and threaten a legal incident!

‘Haven’t Got a Stitch to Wear – A Suit Worth Dying For’ is more straightforward. High-end tailors Torrell and Chiang have proved popular with Night City’s rich and famous and demand for their suits and outfits has grown and grown in recent months. The demand is such that Torrell and Chiang have been forced to out-source minor alterations as their own staff are too busy working on new commissions, but that solution has gone awry when the couriers they normally use stop doing deliveries. With a growing number of impatient clients, the tailors hire the Edgerunners to find out why. The problem is that the couriers have competition. The Mission covers most eventualities, including the Edgerunners dealing with the problem, siding with the competition, or even setting themselves up as the competition. In whatever way the Mission is resolved, the Edgerunners do get to look at how Night City’s small business economy works and potentially make some contacts.

‘Reaping the Reaper – The Call is Coming From Inside Your Head!’ is a classic Cyberpunk scenario. A Night City urban legend tells of a rogue A.I. known as The Reaper, which body-hops Netrunner after Netrunner killing them one by one, only turns out that there is very much a basis of truth to the legend. This is a good scenario to run if the Edgerunners have played through ‘Digital Divas Burn It Down’ and ‘Don’t Fear the Reaper’ Missions from the Cyberpunk RED Data Pack, especially for Tech or Netrunner Edgerunners. However, it is potentially problematic in a number of ways. First, it is combat heavy in comparison to the other scenarios in Tales of the RED: Street Stories. Second, the Edgerunners are accompanied by a pair of NPCs, one a Solo, the other a Tech, which are there to cover the Edgerunners if they fail. Their presence definitely gives the Game Master more to keep track of, potentially undermines the efforts of the Edgerunners, and feels clumsy in terms of storytelling.

‘Staying Vigilant – Three Crews Dead, Will Yours Be Next?’ brings the action to the Edgerunners. It starts with them being invited to the Afterlife, the bar from the computer game, Cyberpunk 2077, as opposed to the Forlorn Hope, where they have been meeting previously. Trace Santiago, the Media and son of famed Nomad Santiago, wants help in investigating the recent deaths of three Edgerunner crews. With his media drone in tow, the Edgerunners need must battle their way past Night City’s Hot Zone to locate the ‘killer’. Like the previous Mission, this is combat orientated, but is more nuanced.

It seems like they are being plagued by vampires when another group of them seems to have committed murder at Delirium, a virtuality club, on the Edgerunners’ night out in ‘Bathed in Red – A Night of Fun or Night of Terror?’. With a body on the dance floor, their night is over and their reputation too when they are framed for the death. This is a murder mystery that builds into a conspiracy, with the vampire posers, who out to be homeless street children, holding some of the initial answers. There is a great contrast here as the story switches from a grubby virtual reality dance club where everyone wears visors to view the night as one of five different environments—Dark Cabaret, Deathpunk, Horrorpunk, Skatepunk, or Synthpunk—to the squalid home of the street children, and then again, as the mother of the murder victim, a rich corporate, gets involved. This is most complex of the Missions in the anthology and the most adult in tone, and that continues in the Mission’s sequel, the last Mission in the anthology. ‘One Red Night – The Final Curtain Falls’ picks up where ‘Bathed in Red – A Night of Fun or Night of Terror?’ left off, involves yet more of the murder victim’s family, and comes to a close in bloody, physical confrontation with the true perpetrator of the murders.

Physically, Tales of the RED: Street Stories is well presented with excellent artwork and cartography. It needs an edit here and there, but the Missions themselves are easy to read and digest.

What is so good about Tales of the RED: Street Stories is the diversity of Missions and stories in the anthology. Yes, there is a Mission involving a rogue killer A.I., which is classic cyberpunk and consequently a cliché, but the majority of the Missions will first surprise the Game Master and then her players with the situations their Edgerunners will find themselves in and having to resolve. Nor do they always focus on combat, though there is plenty of that as well as solutions to the Missions which involve means other than force. Although some are better than others, there is not a single bad Mission in the pages of Tales of the RED: Street Stories, the best including becoming couriers for a tailoring firm, working a film set, diving for salvage, and more. Tales of the RED: Street Stories is an inventive and challenging anthology of scenarios for the Cyberpunk RED which gives the Game Master a great range of choice to choose from. In fact, the choice is so good that she will probably end up running most of them!

Cutlery & Chaos

Reviews from R'lyeh -

Have you ever wondered what would happen if the adventurers from your Monday night Dungeons & Dragons, Fifth Edition game was put in charge of a café? Or the shadowrunners from your Shadowrun campaign decide to open a coffee shack in the Barrens of Seattle? Or the heroes, protectors of Freedom City, from Dave’s Mutants & Masterminds game inherit a bohemian restaurant? Or just for a change in Mel’s Call of Cthulhu game, one of the investigators inherits a tea shop from her uncle rather than a mystery about his disappearance? All of these are possible in the Coffee & Chaos – Comedy Café Roleplaying Game. In fact, not only are these options possible, but they almost do also not matter, because what does matter, is how the Player Characters cope with the ever-changing nature of the day-to-day business of running a café. Published by Cobblepath Games—best known for Locus: A roleplaying game of personal horror (and guilt)—Coffee & Chaos – Comedy Café Roleplaying Game is actually two things. First, it is a standalone storytelling game which can be set up and run without a Game Master, everyone working towards telling a story of a single day, or perhaps more… Second, it is a corollary storytelling game which can be used to explore some of the time that the Player Characters in an ongoing campaign might have in between longer, probably more dangerous activities. In whatever way a playing group decides to use the Coffee & Chaos – Comedy Café Roleplaying Game, they will also need a standard deck of playing cards and a selection of cutlery.
No matter the genre or setting for the café, the first thing that the players decide is where their establishment sits on three scales. These are Fresh/Cosy, Small/Big, and Professional/Friendly. The score in each, which ranges between one and ten determines the number of items the players have in their Cutlery Pool, whether Teaspoons, Forks, or Knives. Each of the three items represents a different way of approaching and solving a situation in the café. Knives are used for a quick decisive approach, Forks for the resourceful, creative approach, and Teaspoons for the considered, well-thought-out approach. Each item of cutlery is also associated with a suit in the card deck—diamonds for Knives, clubs for Forks, and spades for Teaspoons. In addition, each player also creates a character who has two notable methods—and thus two associated items of Cutlery—of dealing with problems. One is his favoured approach, which he can always use even if he runs out of Cutlery, whilst the other he has learned to use through experience. A character begins play with an item of Cutlery associated with his learned approach and a Teaspoon. A Teaspoon can be discarded to allow the character to go on a break and whilst on the break, the character can gain Cutlery based on the learned way of dealing with issues.
If a character is brought into the Coffee & Chaos – Comedy Café Roleplaying Game from another roleplaying game, the rules from that roleplaying game do not come with him. Instead, the Cutlery rules in the Coffee & Chaos – Comedy Café Roleplaying Game are used, but when dealing with a difficult situation or problem, the character is still roleplayed and his stats, skills, abilities, spells, superpowers, cyberware, favourite gear, and so on, can be used to influence how the character resolves a problem at the café. In effect, it is a classic fish out of water situation and the character has do his very best the only way he knows how…
Coffee & Chaos – Comedy Café Roleplaying Game is played in rounds. At the start of a game, a Hitch is drawn. This is a persistent problem that cannot be resolved at all and instead, must be worked around. It is a constant presence throughout the game. At the beginning of the round, the first player draws a single card from the deck. This the Catastrophe for the round and it is resolved immediately by a single player. It is followed by each player drawing a card which indicates the Snafus besetting the café that round. Tables are provided of Catastrophes, Snafus, and Hitches. For example, a Hitch could be a visiting Film Crew, the Catastrophe might be a Power Cut or a Scam Artist, whilst a Snafu could be involve Happy Hour, a Wardrobe Malfunction, a Bad Tipper, or Broken Glass.
To deal with a Snafu, a player wages an item of Cutlery. This can come from their own stock of Cutlery or the general pool of Cutlery. The item of Cutlery waged determines the defending suit. The outcome is determined by comparing the suites of the Cutlery used and a new card drawn. Knives or diamonds beat Spoons, Forks or clubs beat Knives, and Spoons or spaces beat Forks. Hearts beat everything and count as an automatic success. If the player wins, the Snafu is resolved and discarded. If the player loses, the wagered Cutlery is lost, the Snafu remains in play, and worse, an item of Cutlery already dedicated to a Catastrophe is also lost.
A Catastrophe requires Cutlery to be dedicated to it. As long as an item of Cutlery is dedicated to it, it remains resolved. However, if the Cutlery dedicated to it is lost because a player loses a Wager on a Snafu, the Catastrophe reoccurs and becomes a problem for every character until resolved.
A game of Coffee & Chaos – Comedy Café Roleplaying Game begins with everyone possessing an item of Cutlery and there being Cutlery in the café’s pool. It will not be long before any Cutlery is in short supply as play progresses, primarily through failed Wagers on attempts to deal with Snafus and Cutlery having to be dedicated to catastrophes. Lost or discarded Cutlery can be recovered by a player going on a Break. This requires the expenditure of a Teaspoon and is done with another player. A cup of tea is also recommended as is taking the time to reflect and discuss the events of the day so far. This enables the players on the break to recover an item of Cutlery related to their learned means of resolving problems rather than the one they favour. In the meantime, the players still work will continue the round without them, attempting to deal with a new catastrophe and more Snafus as they are drawn. The players on a break are free to return at any time.
There is no set ending for a game of Coffee & Chaos – Comedy Café Roleplaying Game, but perhaps a shift should end when everyone is out of Knives, Forks, and Spoons. It is a game of storytelling in the face of dwindling resources and mounting problems, most temporary, but all too quickly, too many permanent unless a solution—however temporary—is applied to them. Initially, successes will drive the storytelling, but that will change as failures to deal with both the Snafus and the Catastrophes mount. In some ways, this works better when the staff of the café are drawn from other roleplaying games, their inexperience at running a café quickly becoming evident as the failures mount and their methods, invariably useful in the other roleplaying game setting, not being as useful in the ordinary place of work.
Physically, Coffee & Chaos – Comedy Café Roleplaying Game is well presented, coming as a folder containing two trifold pamphlets. They are bright, colourful, and easy to read.
Coffee & Chaos – Comedy Café Roleplaying Game is playable as is, a storytelling game about running a café and coping with the problems that beset its staff and customers almost every day. Its lack of ending and objective, whether as a whole or for individual characters, does leave its purpose hanging, whereas if the Player Characters are drawn in from another game, Coffee & Chaos – Comedy Café Roleplaying Game comes into its own. When that happens, the players get to explore their characters through a slice of life, doing something very ordinary, but often only having the most extraordinary means to do that ordinary thing. That exploration gives Coffee & Chaos – Comedy Café Roleplaying Game its purpose and its comedy as the ordinary and extraordinary clash over coffee and cake.

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