Outsiders & Others

Micro RPG IIIc: Blades & Spells IV

Reviews from R'lyeh -

Lâminas & Feitiços or Blades & Spells is a minimalist fantasy roleplaying game from South America. In fact, Blades & Spells is another Bronze Age, Swords & Sorcery minimalist fantasy roleplaying game done in pamphlet form from Brazil. In actuality, Blades & Spells is a series of pamphlets, building from the core rules pamphlet to add optional rules, character archetypes, spells, a setting and its gods, and more, giving it the feel of a ‘plug and play’ toolkit. The Storyteller and her players can play using just the core rules, but beyond that, they are free to choose the pamphlets they want to use and just game with those, ignoring the others. So what is Blades & Spells? It describes itself as “…[A] simple, objective and dynamic minimalist RPG game where the Storyteller challenges the Player and not the character sheet.” It is written to pay homage to the classic Sword & Sorcery literature, uses the Basic Universal System—or ‘B.U.S.’—a simple set of mechanics using two six-sided dice, and in play is intended to challenge the player and his decisions rather than have the player rely upon what is written upon his character sheet. Which, being a minimalist roleplaying game, is not much. So although it eschews what the designer describes as the ‘classic restrictions’ of Class, Race, and Level, and it is very much not a Retroclone, there is no denying that Blades & Spells leans into the Old School Renaissance sensibilities.

Blades & Spells: An agile, objective and dynamic minimalist RPG provides the core rules to the roleplaying game. They are a simple, straightforward set of mechanics, emphasising a deadly world of adventure in which the heroes wield both weapons and magic. Beyond the core rulesBlades & Spells is fully supported with a series of optional pamphlets which expand upon its basics and turn it into a fully rounded roleplaying game. All together these might be seen as  the equivalent of a ‘Blades & Spells Companion’, although they just as easily could be combined into the one publication, including the setting supplements of Blades & Spells: The Land of Aaman and Blades & Spells: The Lands Beyond. To date, Blades & Spells has been mostly focused on the Player Character and the Game Master, but that changes with the Blades & Spells – Dark Pack.
The Blades & Spells – Dark Pack contains not one, but three pamphlets. All three focus on the villains, providing them in turn with archetypes, dark spells, and even grotesque spells. They provide the means for the Game Master to assign basic descriptors and abilities to the villains in her campaign, as well as their henchmen and their mostly loyal lieutenants. Not just that, they offer over fifty new spells, dark and shadowy, bloody and aberrant. Together, these enable the Game Master to quickly create the basics of any vile enemy or other NPC, and if a spellcaster, equip them with a raft of horrid spells that embody their malicious and cruel natures. Alternatively, and for a very alternative campaign, there is nothing to stop a playing group from creating and playing a band of villainous Player Characters with dark designs upon the setting that the Game Master has created.
In the core rules, the Blades & Spells: Characters Archetypes/Compendium of Magic does two things. First, it expands upon each Player Character’s Focus. This is his occupation or something that he is good at, either Fighter, Mystic, Intellectual, Support, or Specialist. The supplement divides some twenty-nine archetypes into these five categories with a simple thumbnail description. The second thing is provide spells for the roleplaying game. Blades & Spells – Dark Pack provides both of these, but more like an evil, villainous twin—or rather its set of evil, villainous triplets that Blades & Spells never knew it had.
Blades & Spells: Dark Archetypes gives twenty-five archetypes, five for each category. Some of these fall within typical roleplaying archetypes, like the Assassin or the Burglar for the Specialist, whilst Support Archetypes such as Armourer, a weapons and equipment engineer, and the Mender, are not necessarily dark in themselves, but rather that their clientele likely consists of characters who make use of the other archetypes in this supplement. Those other archetypes are definitely ‘dark’ though. For example, the Bloody Blade is a loyal servant to the gods, handing out their justice as instructed by the voices of the cursed weapon you wield on their behalf; the Parasite has taken possession of the character and grants extraordinary powers, but takes control of the character’s mind; the Fallen Noble has been reduced to near penury, but will do anything to restore his fortunes; the Thug is a bodyguard or muscle for a gang, ready to solve a problem using physical means; and a Shadow Sorcerer can shape darkness and command the things within it. Like all three supplements in Blades & Spells – Dark Pack, this does carry an advisory warning and archetypes like the Bloody Blade which suggests the player roll on the Insanity Table and the Drug Mage which manufactures and uses potions and drugs and uses the Optional Rules for ‘Poison, Drunkenness, or Insanity’ all support the necessity of those advisory. Tables for both can be found in Blades & Spells: Optional Rules.
Blades & Spells: Dark Spells details over thirty dark and nasty spells, with themes of necromancy, shadow manipulation, and more. In the case of necromancy and shadow manipulation, these neatly tie into the Necromancer and Shadow Sorcerer  Archetypes given in Blades & Spells: Dark Archetypes. For example, Rigor Mortis causes the touched victim to suffer convulsions and their nerves to become painfully paralysed, as well as taking on the appearance and feel of a dead body, whilst Bone Weapon summons a temporary weapon from the ground that inflicts poison damage and can harm both material and immaterial beings. Cloak of Shadows shrouds the caster in living darkness and makes him undetectable in shadow or at night, whilst Umbral Binding sends his shadow stretching unnaturally out to touch the shadows of others and in doing so, temporarily paralyses them. Not every spell follows either them, such as Cauterize, which makes the caster’s hands as hot as red-hot iron, or Parasite Weapon which summons a mutated parasitic worm from the underworld which mutates into a weapon and defends the caster, but demands to eat the flesh of the still living, but defeated opponents. This a great range of spells for darker games or darker characters or villains, including a few more inventive entries. These are nasty spells that the players are likely to hate the villain—if not the Game Master—when he casts them at their characters.
Both Blades & Spells: Dark Archetypes and Blades & Spells: Dark Spells carried content advisory warnings, but of the three pamphlets in Blades & Spells: Dark Pack, it is Blades & Spells: Grotesque Spells that deserves it the most. The thirty or so spells it describes are all vile, unpleasant concepts. So be warned. They involve a great of manipulation of the flesh. For example, Decomposition forces the flesh of the touched victim to rot at a rapid rate through gangrene and then death; Cursed Cure first heals wounds and then turns the flesh cancerous and tumorous; and Flesh Armour forces muscle to strengthen and thicken until it is cable of protecting against injury. One can actually be useful, the unfortunately named Relink Members enables large cuts to heal and lost limbs to be reattached. The rest though are all foul, disgusting affairs, likely to be highly memorable when cast by a villain the Game Master’s campaign.
Physically, the three pamphlets in Blades & Spells: Dark Pack are fine. Their layout is clean and tidy, and all three titles are easy to read, though a slight edit would not have gone amiss. The artwork on the front page of each is good too.

Blades & Spells: Dark Pack is optional. Some of the ideas and things—especially the spells—in its three pamphlets are not going to be suitable for every campaign or even what every player wants to include or encounter.  As a potential source of character ideas and spells—especially the spells—for the villain or henchman in the Game Master’s campaign, Blades & Spells: Dark Pack is good for most Swords & Sorcery settings.

Larina Nichols for Amazing Adventures

The Other Side -

I have some projects going on right now that I am trying to get organized for my big Christmas break this year.  I am planning on burying myself in writing. So I am finding bits of text here, and some ideas there, and I have not even gone through my bookmarks* yet.

(*I scribble ideas on bookmarks while I read. Habit from my undergrad days.)

A couple came to me more or less at the same time.  The first was more details on what I am doing with the various incarnations of my iconic witch Larina. The other was some notes about an Amazing Adventures street-level supers game I keep batting around in my notes.  Since the new printing of Amazing Adventures (well, new printing and reorganized material) is now up on Indiegogo I thought, let's clean up one stack of notes with a post. 

The Game: Amazing Adventures

I have always been rather fond of Amazing Adventures. It is a modern version of Castles & Crusades and with the 2nd printing, the rules cleave much closer to the C&C SIEGE Engine rules. My understanding is that this new printing (a bit like a 2.5) is even closer. So close that the three books of Castles & Crusades are called "The Three Sisters" and the new three books for Amazing Adventures are called "The Three Brothers." Three brothers and three sisters? That sounds like my family. 

If you like modern games then this is a great time to get into Amazing Adventures. Especially if you are a fan of Castles & Crusades.

The Character: Larina Nichols

Larina Nichols, witch

One thing that I do with my Larina is to have different versions of her in different games. These are truly different versions of the same character in the multiverse but connected a bit like the Eternal Champion.  These are my worlds, I get to do these things. The GREAT thing about Amazing Adventures is that it IS so much like Castles & Crusades I can make moving between a modern world and a fantasy world much easier. If I can do that with her, you can do it with any character.

Also for me, there is this notion of adventures connected by places or people and displaced in time. This would be my trilogy of adventures "All Souls Night," "Blight," and "The Dark Druid" dealing with D&D-like fantasy, Victorian-age Gothic horror, and modern supernatural respectively. Larina, or someone like her, would be there in all three, reincarnated each time to deal with the threat of the Dark Druid.

But before I can do that right, I have to make sure I can move characters, or their other incarnations, to each time.  Here is my Drosophila melanogaster for these experiments.

Larina photoLarina Nichols

19th Level Witch (Arcanist)
Race: Human

Strength: 10 (0)
Dexterity: 11 (0)
Constitution: 13 (+1) P
Intelligence: 17 (+2) 
Wisdom: 17 (+2) P
Charisma: 18 (+3) P

Hit Points: 79
Alignment: Lawful Neutral
AC: 10 
BtH: +4
MEP: 226Primary Spellcasting Attribute: Charisma
Sanity (SAN): 90 (Max), 75 (Current)
Fate Points: 6Fate Die: 1d12

Languages: English, Latin, Gaelic, Greek, Russian (native language is English)
Background: Scholar (Librarian)
Skills: Mythology (Celtic, Norse)Traits: Spellgifted (Enchantments/Charms)

Powers
Familiar: Cotton Ball
Spellcasting

Spells
Cantrips: (9) Arcane Mark, Dancing Lights, Detect Illusion, Detect Magic, Light, Magical Aura, Mage Hand, Prestidigitation, Stun
First: (5+1) Color Spray, Command, Darkness, Identity, Shield, Sleep
Second: (5+1) Alter Self, Blur, Burning Hands, Hold Person, Pyrotechnics, Scare
Third: (4+1) Aid, Blink, Nondetection, Remove Curse, Tongues
Fourth: (4) Dispel Magic, Emotion, Phantasmal Killer, Seeming
Fifth: (4) Feeblemind, Mass Suggestion, Projection, True Seeing
Sixth: (3) Mislead, Veil, Wind Walk
Seventh: (3) Prismatic Spray, Teleport without Error, Word of Recall
Eighth: (3)  Antipathy, Prismatic Wall
Ninth: (2) Astral Projection

That went pretty fast really. Like creating an AD&D 1st Character.  In fact, that should really be the main reason to check this game out; how close it is to AD&D. 

In truth, that was a LOT of fun to do. Makes me realize how much I miss playing C&C and AD&D too.

So everyone get in on that Indiegogo campaign so others can see just how much fun this game really is. 

Amazing Adventures


The Witch Babylon: Daughter of Eros, Mother of Harlots

The Other Side -

So back at the end of September, I guess we had, and missed, another end of the world. Yup. I was reading that September 25, 2022, was supposed to be the Rapture. There were a bunch of videos on TikTok and YouTube that frankly I can't be bothered to link to it. Suffice it to say nothing happened.

But it does give me the excuse to post this picture from Spire Christian Comics

The GREAT SNATCH!!!

I know. I am a juvenile. 

BUT. In the process of looking for that image, I found this one from the same comic.

Babylon Mother of Harlots

Black magic? Witchcraft? Demon contact? Sorcery?

Someone has been reading my letters to Santa again! 

And she is such a groovy cool looking 70s witch too.  I learned that the artist, Al Hartley, had done "Betty and Veronica" comics and some softcore comics prior to being born again. 

This is supposed to be the Whore of Babylon, a character from Revelations. I get that she is supposed to be largely symbolic and not a real person, but sometimes it reads like she is. 

From Revelations Chapter 17.

  1. And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication:
  2. And upon her forehead was a name written, MYSTERY, BABYLON THE GREAT, THE MOTHER OF HARLOTS AND ABOMINATIONS OF THE EARTH.
  3. And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus: and when I saw her, I wondered with great admiration.

I don't pretend to know what all this is supposed to mean. But the imagery is fascinating like most of what is happening in Revelations. 

Of course, I am going to use her as a witch. Come on? 70s occult propaganda? That's my Appendix N!

Who is Babylon?

That art above is plenty to get me going. Given her role in Revelations, I am going to have to say she is a Witch Queen naturally.  But what kind? In my mind, each Witch Queen is head of a large coven and/or Tradition. She is not a Mara Witch, I have plenty of those. Nor is she a Pagan. And she is most certainly NOT a Pumpkin Spice Witch! No, she has a calling and it is not any of these. It could be close to the Classical Witch, but still not exactly right. No I think she is the Queen of a completely different tradition.

Daughters of Eros

Her tradition is something I have been mulling over for a couple of years now. In my recent reviews of the Love WitchThe Pantheon and Pagan Faiths, Sisters of RaptureJeremy Reaban's Beguiler and Enchanter, I have some more ideas of what a new tradition, The Daughters of Eros, could be.

Note I have nothing I am going to publish in a book yet OR even if there is any need/desire/want for such a book. 

Babylon, Mother of Harlots

Babylon
23rd Level Witch, Daughters of Eros Tradition 

Strength: 11 (0) Saving Throws (base) Dexterity: 16 (+2) Death Ray, Poison 5 Constitution: 13 (+1) Magic Wands 6 Intelligence: 14 (+1) Paralysis, Polymorph or Turn to Stone 5 Wisdom: 17 (+2) Dragon Breath 5 Charisma: 19 (+3) Rods, Staffs, Spells 7

Hit Points: 55 (10d4+13)+10
Alignment: Chaotic (evil)
AC: 1 (Ring of Protection, Garter of Defence)
THAC0: 12

Occult Powers (Daughter of Eros Tradition)
Familiar: Familiar spirit (comes in the shape of a cupid cherub or an incubus)
7th level: 
13th level: Devil's Tongue
19th level: Curse

Spells
Cantrips (6): Analyze Fertility, Clean, Daze, Message, Object Reading, Warm
First (7+3): Bewitch I, Block the Seed, Burning Hands, Charm Person, Command, Drowsy, Increase Sex Appeal, Sleep, Soothe, Twisting the Heartstrings I
Second (6+2): Alter Self,  Bewitch II, Ecstasy, Enthrall, Fever, Hold Person, Rose Garden, Twisting the Heartstrings II
Third (6+2): Astral Sense, Bestow Curse, Betwitch III, Continual Fire, Fly, Mind Rash, Tongues, Witch Wail
Fourth (5+2): Bewitch IV, Elemental Armor, Emotion, Moonlit Way, Neutralize Poison, Spiritual Dagger, Drawing Down the Moon (Ritual)
Fifth (5): Anti-Magic Candle, Bewitch V, Bull of Heaven, Dream, Song of Discord
Sixth (4): Bewitch VI, Heroes' Feast, Mass Suggestion, Wall of Roses
Seventh (4):  Bewitch VII, Breath of the Goddess, Peace Aura, Serpent Garden
Eighth (4): Astral Projection, Bewitch VIII, Greater Mislead, Mind Blank

--

The Witch BabylonNamed for the city she was born in (Βαβυλών), Babylon is a near-immortal witch. Some say she is the daughter of Lilith, some say she is the bastard child conceived when the demon Astaroth forced himself onto his mother Astarte, but the majority claim she is the youngest child of Eros and Psyche.  She is beautiful like her mother, grandmother (Venus), and older sister, Hedone* (also known as Volupta) but was jealous of all three. 

(*Followers of Hedone are known as Hedonists and are also part of the Daughters of Eros Tradition. Though they tend to be more good and neutral in alignment.)

Whatever her origin she is the patroness of whores and debauched witchcraft. She has allied herself with the forces of evil and will stand as their herald of the end times.  She also represents the corrupting nature of civilization.

Babylon is the quintessential "lover, not a fighter" though she also has no problem charming, compelling, or wiping someone's mind to be her lover. She has an entire cadre of former adventurers that had been on a quest to kill her that are now her mindless slaves.

She shares many attributes with Nocticula and the two try to avoid each other when possible. There is an ongoing rivalry between the two. If Babylon hears that Nocticula is having a Midsummer's Eve party with 1,000 guests, then she will try to increase her own party to 1,100 or more.

She will act as a witch priestess, but to what Patron she will not divulge. All witches are welcome in her court.

Babylon in War of the Witch Queens

Babylon is not likely to change what she is doing during the War of the Witch Queens. Indeed she will remark on how neutral she is and will try to avoid the whole thing. In truth, she is trying to figure out who has done the deed and will figure out if she needs to ally with them or betray them. 

The 1979 Campaign

Come on! You know she needs to be in this! She is too groovy not to be.

Babylon in NIGHT SHIFT

As a nearly immortal witch, Babylon will still be active in the worlds of NIGHT SHIFT. Now she would be living in LA, New York, Paris, or some other large metropolitan city.  She will be involved in all sort of illicit dealings but most especially drugs and human trafficking. On the surface, she runs an "Adult Entertainment Empire" called simply enough, Babylon.


RPG Blog Carnival

This is my entry to this month's RPG Blog Carnival hosted by Campaign Mastery.

This month's theme is "Art-spiration." This is my entry for the Al Hartley art of Babylon above.  I am likely to have more since this is such a fun topic.

RPG Blog Carnival

Mail Call: Old-School Essentials Classic and Advanced

The Other Side -

Been on an Old-School Essentials bender now for a while. It has pretty much taken over as my OSR game of choice. So I was quite pleased when my OSE boxed sets came in the mail this past week.

They are quite great.

Old-School Essentials Boxed Sets

Old-School Essentials Classic Rules
Old-School Essentials Advanced Rules

Let's take a look at that Old-School Essentials Product Catalogue 2023. Cause I have to admit that hit me right in the nostalgia.

Old-School Essentials Product Catalogue 2023
Old-School Essentials Product Catalogue 2023
Old-School Essentials Product Catalogue 2023

It reminds of the old "Gateway to Adventure" ones we got in the various Basic Sets and it is the size of the old Kenner Star Wars ones.

2023 Gateway to Adventure

It is reasonable to ask why did I get this when a.) I have a bunch of OSE material already and b.) It is really the same game I bought 40 years ago?

Well, I am running my War of the Witch Queens game and my oldest is running his own OSE/BX game now in addition to his 5e games.

Old-School Essentials Family
Old-School Essentials Family
Old-School Essentials Family

These will get a lot of use.

Miskatonic Monday #152: Back to Nature

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 InvictusThe PastoresPrimal StateRipples from Carcosa, and Halloween Horror, there was Five Go Mad in EgyptReturn of the RipperRise of the DeadRise 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: Back to NaturePublisher: Chaosium, Inc.
Author: Bored Stiffs

Setting: 1970s California
Product: Scenario
What You Get: Forty page, 54.34 MB Full Colour PDF
Elevator Pitch: Nature’s roar reaches out to those who hear it and make a wholesome offer!Plot Hook: Take a escapade and really get back to nature...
Plot Support: Staging advice, three NPCs, twelve handouts, two maps, one (Mythos) monster, and Pearl the pig.Production Values: Fabulously freaky.
Pros# Back to nature as nature reaches out# Entertainingly gonzo layout and art inspired by Gilbert Shelton# Investigator sheets done as comic book small adds# Period NPC portraits (including Pearl the pig)# Could lead into the Dreamlands# Easily pushed back to the sixties# Notes to run it in the Jazz Age or the Purple Decade# Interesting playnotes# Mycophobia/Mycophilia
# Dendrophobia
Cons# Period piece# May need careful timing to run as a convention one-shot# Bigfoot notes including, but no Bigfoot?
Conclusion# Thematically entertaining twist upon the Green Man# Drop out, get off the grid, in this psychedelic trip to the woods one-shot 

Monstrous Monday: Year of the Monster and Mastodon

The Other Side -

I am at a pivot point with my Monstrous Mondays.

I have a bunch of projects I am desperate to get out because I am tired of them languishing on my hard drives and instead need to be on my, and hopefully your, game shelves.

So much so that I am dubbing 2023 "The Year of the Monster." I just have so much I want to do.  I ma hoping to have the first thing in your hands by December 26, 2022, the last Monday of the year. But I really need to get my butt moving on that.

In other news, I have a new place to scream into the void. I set up an account on Mastodon. I don't have much there right at the moment.  Now I have no intention nor no desire to leave Twitter. So you can still find me there.

Ok, let's bring this all together for a post.

One of the coolest things about living in Illinois is the number of mastodon fossils that can be found here. My uncle dug some giant molars from my maternal grandparent's property 60 years ago and we still have them now. I also used to love going to the Illinois State Museum in Springfield to see the Mastodons and other Ice Age fauna on display.  So why not an ode to my new social media account, one of my oldest favorite ice age creatures, and all for the newest iteration of my oldest favorite game.

Mastodon at the Field Museum of Natural History, Chicago, IL

Mastodon, Undead

For Old-School Essentials

Undead remains of an ancient elephant species. Prized mounts of winter warlocks and sought-after guard animals of frost giants.

AC: 4 [15], HD 12 (45 hp), Att 2 x tusk (2d6) or 1 x trample (4d8), THAC0 10 [+9], MV 120' (60'), SV D8 S9 P10 B10 S12 (8), ML 10, AL Chaos XP 1,900, NA (0) (1d4), TT Tusks

  • Charge: In the first round of combat. Requires a clear run of 60 feet. Tusks inflict double damage.
  • Trample: 3-in-4 chance of trampling each round. +3 to hit medium (human-sized) or smaller creatures.
  • Ivory: Each tusk is worth 2d6 x 100 gp.
  • Undead: Makes no noise until they attack. Immune to effects that affect living creatures (poisons, gases). Immune to mind-affecting magics (charm, hold, sleep).  Turns as a 7-9 HD monster. 

Mastodons are larger than elephants but smaller than Mammoths.

“Have a Good Time All the Time”: ‘This Is Spinal Tap’ and the Art of Longing

We Are the Mutants -

Lisa Fernandes / November 7, 2022

1984’s This Is Spinal Tap is all about the pining—epic pining, as high and fulsome as the band’s hair and the wailing notes they (try to) hit. Every single member of the band and their entourage is longing after something they want, something they need, but the real world thwarts them with a passionate glee. They’re either too recalcitrant to claim what they need, assuming that if they keep plowing on as they have been, glory will return to them; or, when their heart’s desire finally falls into their lap like a willing groupie, they’re completely unprepared for the responsibility of the task at hand.

Nobody in the band is content with how things are going, except for perhaps bassist Derek Smalls (Harry Shearer), whose storyline—which originally contained divorce-based angst—was generally abandoned to the cutting room floor, and Viv Savage (David Kaff), who seems to require nothing more than a good time and a keyboard to be happy. Lead singer David St. Hubbins (Michael McKean) longs for the respect the band once earned, and if he can’t be seen as a purveyor of popular music, he at least wants to be enrobed in the sort of dignity that most elder statesmen of rock are afforded. His wife on the astral plane, Jeanine Pettibone (June Chadwick), longs to prove that she has the skill and smarts to manage the band and isn’t just an astrologically-obsessed groupie who happened to get lucky with the lead singer. Manager Ian Faith (Tony Hendra) wants someone, anyone, to respect his authority and listen to what he has to say as chaos unspools around him. And newbie drummer Mick Shrimpton (R.J. Parnell), one in a long line of ill-fated skin-pounders who have lived and died by Spinal Tap’s ethos, just wants to make it through the tour without spontaneously combusting.

At the center of the movie—occasionally apoplectic, mostly filled with a cool and detached sense of calm—stands lead guitarist Nigel Tufnel (Christopher Guest). His longing is the most ardent of them all: he’s nearly visibly boiling beneath his skin with an obvious and ardent desire for the rest of the world to disappear and leave him alone with David. 

This Is Spinal Tap has undergone multiple queer readings over the years, one of the very first suggested by Roger Ebert himself, who, in his Great Movies review of the film, declares that Nigel “longs for St. Hubbins with big wet spaniel eyes.” The movie’s cast is definitely aware of this interpretation of events. During a live-streamed 2020 reunion to benefit Pennsylvania’s Democratic party, McKean declared that someone once told him that This Is Spinal Tap is “the world’s greatest love story,” a statement McKean seemed to agree with and find flattering.

The film is also a story of watchful envy. It’s hard to ignore the look in Nigel’s eyes as he watches David, who is watching Jeanine, who is watching the stars. When Jeanine shows up in the middle of the tour and David races off to hug her, the camera lingers on Nigel’s downtrodden face as they hold each other. Later in the film, when Nigel enters the room with his Japanese tour trump card, the frame takes in Jeanine’s fury and disappointment. The tables turn in Nigel’s favor, firmly and utterly. The triangle cannot remain neatly balanced: Jeanine may have David’s body, but Nigel has captured his heart.

David’s physical affection for Nigel shows up in various moments in the film—most notably in the way he jollies Nigel into the room so he can hear a local radio station playing their early hit “Cups and Cakes.” There’s more proof in the pudding of the deleted scenes. Nigel teases David about “Nino Bidungo,” a sailor David had an affair with when the two shared an apartment; the two of them play “All the Way Home,” a skiffle-esque tune and their first composition, as a way to apologize to each other for the vicious fight they’ve just had. With David’s fingers dancing along the fretboard and Nigel plucking away at the strings, there’s a sense of harmony and affection, and the look on David’s face says it all. 

Jeanine’s story would be a pitiable one were she not her own worst enemy, so hungry for power that she forces Ian out of his managerial role so that she can run things. It’s possible that she’s looking for control here because she never sees David and—in excised scenes from the film—he is not faithful to her while he’s on the road. If she runs his career and holds his purse strings, then he’ll have to respect her and she’ll be able to keep an eye on him. And in the meantime she can get onstage and bang a tambourine for a few minutes—after all, Linda Eastman got started the same way. But in Jeanine’s case the situation is actually sort of tragic, and just as emotionally provoking as David and Nigel’s unspoken love. The trouble with Jeanine’s attempt at climbing the band’s social ladder is, naturally, that she’s even worse than Ian is at booking the band into suitable venues. Working via astrology and David’s star charts, shoving him out front and letting him indulge his worst tendencies, her machinations are ultimately so clumsy that they result in Spinal Tap playing an amusement park where they’re billed second to a puppet show. What Jeanine longs for—David’s respect—she will never get. She’s left on the sidelines with nothing to be proud of, her influence on the band completely wiped away, longing for somebody to give her attention. But David’s attention remains fixed on Nigel’s face—perhaps forever.

In the very center of this push-pull triangle stands Ian, who just wants the band to get through the tour intact without any further disasters blowing the entire enterprise apart. Once upon a time, one assumes, he sat in some towering office complex, managing the careers of hard-rocking bands that were successful if not famous: a B-grade Led Zeppelin, an off-market Journey. Whatever led him to the door of this down-at-heel rock band, Ian is determined to at least gain some respect from these kids. But the band could care less about respecting him, and he takes his frustration out on inanimate objects. It’s not that the members of Spinal Tap set out to embarrass their fearless managerial forces; it’s that inept staff members, out of pocket creative decisions, and poorly operating stage props embarrass him, staining and straining the tour. 

All of this tension is paid off by an orgasmic on-stage reunion and triumphant Japanese tour, which Jeanine can only watch from the sidelines as Ian smugly keeps an eye on her, tapping his cricket bat against his palm. The film chronicles a long, muddy battle for the band’s soul, and Nigel undeniably wins. Yet it’s not a sexist victory; while rock ‘n’ roll and brotherhood win the day, none of this is due to Ian developing a sudden ability to direct the band successfully. While Jeanine might be a bad manager and a worse girlfriend, the film’s other female characters—Bobbi Fleckman (Fran Drescher) and Polly Deutsch (Anjelica Huston)—are shown to be smart about their individual talents and the music business at large: they exist to point up the fact that Ian’s managerial skills are fairly terrible. What they want is for Ian to act like a sensible person. 

Spinal Tap goes through a long conga line of humiliations before receiving its Japanese rebirth. While most of the movie’s characters get exactly what they need out of the long, strange trip they take to overseas stardom, some are left with their noses pressed against the plate glass window. But as the Rolling Stones famously sang: “You can’t always get what you want/But if you try sometime you’ll find/You get what you need.”

Lisa Fernandes has been writing since she could talk. Her bylines include Newsweek; Women Write About Comics; Smart Bitches, Trashy Books; and All About Romance.

Miskatonic Monday #151: The Flooding of Black Tarn

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 InvictusThe PastoresPrimal StateRipples from Carcosa, and Halloween Horror, there was Five Go Mad in EgyptReturn of the RipperRise of the DeadRise 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 Flooding of Black TarnPublisher: Chaosium, Inc.
Author: Jonas Morian

Setting: Jazz Age SwedenProduct: Scenario
What You Get: Twenty-three page, 3.06 MB Full Colour PDF
Elevator Pitch: Change must come, even if not all want it.Plot Hook: The secrets of the past stand in the way of modernisation.
Plot Support: Staging advice, ten NPCs, seven pre-generated Investigators, one handout, and one (Mythos) monsters.Production Values: Decent.
Pros# Gold medalist for the 2022 national Swedish Call of Cthulhu scenario competition# Eerie Sweden-set investigation# Backwoods folkloric horror# Engaging portrayal of period Sweden# Good NPC portraits# Easy to adapt to other time periods# Gerontophobia# Hippophobia
Cons# Pre-generated Investigators need mechanical development# Map would have been useful

Conclusion# Gold medal winner in the 2022 national Swedish Call of Cthulhu scenario competition sees the modernity of the Investigators clash with the past in backwoods folkloric horror# Eerie, under-played one-shot drawn from Swedish history and Norse folklore.

A Delicate Balance

Reviews from R'lyeh -

The year is 10,181. The Imperium has stood for 10,000 years under the rule of House Corrino, currently headed by Padishah Emperor Shaddam IV. Balanced against him are the Landsraad, the alliance of Houses Great and Minor, whose feudal seats are granted by the Imperial house, and a combination of the Spacing Guild and CHOAM. CHOAM—or Combine Honnette Ober Advancer Mercantiles—controls all trade and contracts across the Imperium, including that of Spice. The spice melange is harvested on only one world—the desert planet of Arrakis—and bestows longevity, enhanced awareness, and prescience. Although highly addictive, it has one other property. It enables the mutated Guild Navigators to safely navigate interstellar space and thus the Spacing Guild to maintain its monopoly on all space travel between systems, for the Imperium bans the construction of thinking machines and has done so for millennia, ever since the Butlerian Jihad. Yet beneath this façade of stability, the Houses Great and Minor jockey and feud for power, such as the centuries old rivalry between House Atreides and House Harkonnen, the Great Convention preventing such feuds from breaking out into open warfare, but allowing economic wars and wars of assassins. Emperor Shaddam IV sits over it all, ready to unleash his dreaded Imperial Sardaukar, shock troops raised and trained in the harshest of environments, should the conventions be broken, a House gain too much power, or too strong a voice in the Landsraad. Four Great Schools provide services to the Emperor and all of the Houses. The Sisterhood of the Bene Gesserit provide wives, counsellors, and concubines; the Order of Mentats, strategists, spymasters, consellors, and advisors capable of computer like calculations; the Suk School incorruptible and unbreakable physicians; and the Swordmasters of Ginaz, commanders, generals, security officers, and bodyguards, trained in the use of swords and other weapons capable of piercing the personal energy shields worn as protection.

This is the setting for Dune – Adventures in the Imperium: The Roleplaying Game, published by Modiphius Entertainment and based on both the recent film and the fictional universe and novels originally created by Frank Herbert. Using the publisher’s house rules of the 2d20 System, it enables players to take the reins of a House in the Landsraad, and as its heirs and advisors, direct it fortunes in the quietly turbulent politics of the Imperium. Perhaps they will negotiate new contracts, gain the right to harvest spice from Arrakis, form an alliance with another house, or feud with a rival house. All of these are possible in a rules system which allows the players to play at two levels—‘Architect’ when they will direct the fortunes of their house and ‘Agent’, the personal level of the Player Character. Of course, Dune – Adventures in the Imperium is not the first roleplaying game to be set within Frank Herbert’s creation, Dune: Chronicles of the Imperium having been designed by Last Unicorn Games and published by Wizards of the Coast in 2000, but it does have the advantage of already being better supported. Dune – Adventures in the Imperium: Agents of Dune provided a campaign starter that offered a different beginning than might be expected in the setting, and it should be noted that by being set over a century before the start of the first novel, Dune, there is a greater flexibility in what is possible in Dune – Adventures in the Imperium: The Roleplaying Game.

Dune – Adventures in the Imperium begins with an introduction to the setting of the Known Universe that takes up a quarter of the book. Its primary focus is on the situation in the year 10,181, but also explains how that came about using the history and background drawn from the expanded series of novels by Brian Herbert and Kevin J. Anderson. Potentially, this history offers scope to play in different time periods, although that is not the focus of core rulebook, and in addition, the history does not push beyond the year 10,181 and the events portrayed in either Dune or its film adaptations. As well as a timeline, the background covers the major factions and balance of powers, the schools, and more. There is a degree of repetition here as the book looks at each in more depth, but this a very solid overview which will be appreciated by fans of both the novels and the films, as well as helping to cement the setting for anyone coming to Dune – Adventures in the Imperium: The Roleplaying Game after watching just the films.

Playing and running Dune – Adventures in the Imperium: The Roleplaying Gamereally begins with the creation of a House, the noble family with feudal holdings around which much of the roleplaying game’s play will be directed. The choice of Nascent House, House Minor, House Major, or Great House will determine much of the framework. It will determine how many Domains, areas of interest the House will have, how many enemies, and mechanically, how much Threat (used to create problems and difficulties for the House and the Player Characters) the Game Master will have at the start of each session Apart from the enemies, who can be created on the given table, all of this is down to player choice.

House Hauteville is a renowned for its skilled military and its tacticians based on the world of Menerth III. It is also known for its diary products made on the vast upland pastures it owns, and had to protect in the past, hence its development of its military prowess. This includes its former vassal, House Indermauer, whose founders originally trained with House Hauteville, and has continued offer rival services to this day.

House Hauteville
House Minor
Primary Domain: Military
Secondary Domain: Farming
Banner: A red cow on a green background
House Trait: Stalwart (Military)
Enemy: House Indermauer (Rival)

When it comes to Player Character creation, a player decides the role that his character will take in the house. This can include the heirs, councillors and advisors, swordmasters, warmasters, and more. A player will have a main character and possibly supporting characters too. A Player Character in Dune – Adventures in the Imperium is defined by Skills, Focuses, Drives, Traits, Complications, and Assets. The five Skills are Battle, Communicate, Discipline, Move, and Understand, whilst the five Drives are Duty, Faith, Justice, Power, and Truth—both of which are rated between four and eight. Focuses represent skill specialisations, such as Deductive Reasoning for Understand or Dirty Fighting for Battle. Traits can be Talents, which make a test possible or make it harder or easier depending upon its nature. So the Bene Gesserit Talent of Hyperawareness grants a Bene Gesserit Sister the ability to ask two questions rather than one when spending Momentum to Obtain Information, whereas the Bold Talent can be selected by anyone and when used with the Battle skill, the player can additional twenty-sided dice by generating Threat for the Game Master to use, the player can reroll one of the dice in the pool. Assets include equipment, contacts, and so on, for example, a personal shield or someone in a criminal gang on Arrakis.

Although character creation can be done in play, and that process is fully detailed too, the standard process involves selecting an Archetype, which sets the base skills, assigns four focuses to the skills, three Talents, assigns the values and statements to his character’s Drives, chooses three assets which the Player Character will always have access to, and then finally, a Trait, Ambition, and any personal details. Faction templates are also available if a player wants his character to be a Bene Gesserit Sister, Fremen, Mentat, Spacing Guild Agent, or a Suk Doctor, but these are optional and a player is free to pick and choose as he likes.

The sample character is a Mentat, sponsored by the Spacing Guild to work with House Hauteville in ensuring that the house’s goods and services find markets.

Name: Benedikt Winter
Faction Template: Spacing Guild Agent
Archetype: Analyst
Ambition: To ensure the economic prosperity of my house

Skills
Battle 4 Communicate 5 (Bartering) Discipline 8 (Composure) Move 4 Understand 7 (Attention to Detail, CHOAM Bureaucracy)

Drives
Duty 8 (I serve at the pleasure the House) Faith 4 Justice 5 Power 6 (Power must be used wisely and cleverly) Truth 7 (You will know me by my deeds)

Traits: Analyst, Guild Agent
Talents: Calculated Prediction, Guildsman, Intense Study
Assets: Sapho Juice, Ixian Dampner

Dune – Adventures in the Imperium employs the 2d20 System first used in the publisher’s Mutant Chronicles: Techno Fantasy Roleplaying Game and Robert E. Howard’s Conan: Adventures in an Age Undreamed Of, and since developed into the publisher’s house system. To undertake an action, a character’s player rolls two twenty-sided dice, aiming to have both roll under the total of a Skill and a Drive. Each roll under this total counts as a Success, an average task requiring two successes. Rolls of one count as two Successes and if a character has an appropriate Focus, rolls under the value of the Skill also count as two Successes.

In the main, because a typical difficulty will only be a Target Number of one, players will find themselves rolling excess Successes which becomes Momentum. This is a resource shared between all of the players which can be spent to create an Opportunity and so add more dice to a roll—typically needed because more than two successes are required to succeed, to create an advantage in a situation or remove a complication, create a problem for the opposition, and to obtain information. It is a finite ever-decreasing resource, so the players need to roll well and keep generating it, especially if they want to save for the big scene or climatic battle in an adventure.

Now where the players generate Momentum to spend on their characters, the Game Master has Threat which can be spent on similar things for the NPCs as well as to trigger their special abilities. She begins each session with a pool of Threat—equal to the number of players if their characters’ House is a Minor one, but can gain more through various circumstances. These include a player purchasing extra dice to roll on a test, a player rolling a natural twenty and so adding two Threat (instead of the usual Complication), the situation itself being threatening, or NPCs rolling well and generating Momentum and so adding that to Threat pool. In return, the Game Master can spend it on minor inconveniences, complications, and serious complications to inflict upon the player characters, as well as triggering NPC special abilities, having NPCs seize the initiative, and bringing the environment dramatically into play.

Combat uses the same mechanics, but offers more options in terms of what Momentum can be spent on. This includes creating a Trait or an Asset, or taking advantage of one in the situation, either of which can then be brought into the combat, and keeping the initiative—initiative works by alternating between the player characters and the NPCs and keeping it allows two player characters to act before an NPC does. It takes in various forms, scaling up from duelling and skirmishes to espionage and warfare, taking in intrigue along the way. These are supported by descriptions of the various assets which the Player Characters can bring into any one of these conflict types. Where Dune – Adventures in the Imperium differs from other 2d20 System roleplaying games is the lack of Challenge dice, and instead of inflicting damage directly via the loss of Hit Points, combatants are trying to defeat each through the removal of Assets and attempting to create—cumulatively—Successes equal to or greater than the Quality of the task or the opponent. Minor NPCs or situations are easily overcome, but difficult situations and major NPCs will be more challenging to defeat and will require extended tests.

In addition, a Player Character has access to Determination, typically a point at the start of an adventure. Determination is used in conjunction with a Player Character’s Drives and their associated statements, and when spent, a point of Determination can be used to set a die automatically to one, to reroll dice, create a new trait, or take an extra action. However, if the action is at odds with the statement attached to a Drive, then the Game Master can force the Player Character to comply or challenge the Drive and its statement. Compliance means that the Player Character suffers a Complication, unable to overcome the Drive, but Challenge means the Player Character can act freely, but leads to the loss and use of the statement, at least temporarily. It can be recovered, but with some difficulty. Either way, the Player Character gains a point of Determination.

What Determination highlights here is the degree of nuance in the combination of Skills and Drives for each Player Character, a Skill often being used over and over again, but the how and the way being determined by the Drive. A Player Character will have a greater chance of success if his highest Skill is combined with his highest Drive, representing the best that the character can do and for what he believes to be the best of reasons. However, even shifting away to another Drive, because it is more appropriate, for example, Duty versus Faith, may well mean that the Player Character is still as skilled, but not as personally motivated.

Overall, the iteration of the 2d20 System in the Dune – Adventures in the Imperium lies at the simpler and easier end of its implementation. It is not as simple as Edgar Rice Burroughs’ John Carter of Mars: Adventures on the Dying World of Barsoom, but is roughly on a par with Star Trek Adventures.

For the Game Master, there is advice on setting up and running a game, the type of campaigns possible, managing the types of conflict in the game, as well as on running a gaming with safety and comfort in mind. It pays particular attention to bringing key aspects of Dune as a setting—faith, prophecy, prescience, and hyper-perception, all versus the freedom they can be often seen to impinge. It is solid advice throughout, and there is further support of stats for the major figures in Dune—Duke Leto Atreides, Lady Jessica, Paul Atreides, and more. They take in the Atreides household, plus notables of House Harkonnen and House Corrino, amongst the Fremen on Arrakis. Alongside the notables, there are sample NPCs and Houses that the Game Master can more easily be brought into her campaign, and advice on creating them too. Many of the NPCs come with story hooks too. Rounding out Dune – Adventures in the Imperium is the adventure, ‘Harvester of Dune’, in which the Player Characters are assigned to check on their House’s fiefdom on Arrakis. What they discover is trouble, deceit, and betrayal. It is a solid enough affair, and could be easily become the starting point for a campaign.

Physically, Dune – Adventures in the Imperium is cleanly and tidily laid out. The book is well written and easy to read. The artwork throughout is excellent as well.

Dune – Adventures in the Imperium: The Roleplaying Game is very much pitched at the fans of Herbert’s novels, but provides enough background and explanations that the more casual player, intrigued after the seeing the more recent film, could better understand the setting to play in it. And this is all done whilst focusing on one period within Dune’s millennia long future history and avoiding the more immediate future history of Frank Herbert’s novels. From there, it builds the means to create campaigns played at dual scales—the personal and the epic, and involve intrigue, espionage, warfare, and more, whether that is down some dirty alley or at a grand ball, at a reception for an Imperial envoy or across the sweeping deserts of Arrakis. Overall, Dune – Adventures in the Imperium: The Roleplaying Game takes an incredibly rich and detailed setting and makes it impressively accessible and playable.

Waaaaaaaaaaaaaaaaaa!!!

Reviews from R'lyeh -

“All right my Orcy Borgy boys and girls, dis great trash rocket, da Derelict, just smashed in a new ship. We gonna break it and smack it open, and hack the snot of any hoomies and gobbos and pointy ears, and make it good like any Orc home, like our dear old Derelict. Da goods have rumbled and yelled today and they say no DOOM today, but DOOM tomorrow. And we wantz that DOOM! We when have DOOM, we crash the Derelict into Heaven and scream every dead-hard big-toothed bastard in a glorious tide of violence. And when dat happens, ya wanna be at the front to be the first to kick Heaven right proper in its bollox. So ya gonna fight and yell and steal and kill to be at the front, but no DOOM today, but DOOM tomorrow!”

This is the set-up for ORC BORG, a fanzine-style roleplaying game of brutal action and violence, published by Rowan, Rook & Decard, following a successful Kickstarter campaign. It is modelled upon Mörk Borg, the Swedish pre-apocalypse Old School Renaissance retroclone designed by Ockult Örtmästare Games and Stockholm Kartell and published by Free League Publishing, the result being a doom-laden, death metal driven, dark fantasy roleplaying game set in a grim-dark world of despair. ORC BORG also shares with Mörk Borg its same neon and yellow colour palette, but not its despair. Instead, ORC BORG is a more action-orientated roleplaying game, even a more optimistic one, though still not a positive one. Rather, its optimism is driven by Orcish anger and energy—every Orc absolutely positive that DOOM is going to happen and until it does, and afterwards too, hand out plenty of punches, headbutts, and stabbings! This includes the dread Orcborgs, machine-Orc, Orc-machines turned into even brutaler killin’ machines with scrap and junk, and even the Big Robots, clankin’, smoking’, metal-screechin’ machines of war piloted Orcs who wire themselves in.

An Orc in ORC BORG has four abilities—Presence, Strength, Agility, and Toughness. For a standard Orc, a player rolls four six-sided dice and discards the lowest result, the total used to determine the ability values, which range from -3 to +3. (If a player is rolling up an actual Orc Borg or Big Robot, the two Classes in ORC BORG, only three six-sided dice are rolled.) Then the player rolls for his Orc’s Origins, Physical Features, plus gear that includes Stuff, Armour, and Weapons. This can include powers such as Technowizard Runes or Prayers, the latter to the Orc Gods. For example, the ‘Metronomicon’ Technorune summons a monorail car to the Orc’s location, whilst the ‘Rip and Tear’ Prayer allows an Orc to ignore armour in attacks. Technowizardry comes installed on single-function computers, data slugs, or ancient punch cards, whilst prayers are inscribed on steel plates, printed on clothing, or tattooed on flesh. This can be determined randomly, or chosen at the cost of some armour and weapon selection. If an Orc does not have either, he can easily beat up an Orc who already has, or simply steal them from his corpse! In comparison, the standard Orc is more straightforward than the Orc Borg or the Big Robot.

Bumhug Gorzharz
Presence +0
Strength +3
Agility +2
Toughness +1
Hit Points: 9

Tek: 10

Origins: Hunted by wild humans in Spacer territories until he was strong enough to defend himself.
Physical Feature: Huge Fuckin’ Teeth
Stuff: Yelling Helm, Alien Dogbeast, 25 m reinforced extension cable
Armour: Junk and Scrap (-d2 damage taken)
Weapon: Club (d4)
Technowizardy: Rite of the Blue Key

Mechanically, ORC BORG is simple. When he wants his Orc to act, his player rolls a twenty-sided die, adds the appropriate ability, and succeeds if the result is equal to or greater than the Difficulty Rating, which range from ten for Simple Enough to eighteen for Barely Possible. Technowizardy and Prayers have a limited number of uses per day—determined randomly, and can go wrong if the test is a failure. Combat is more complex, allowing natural criticals and fumbles, as well as Dodgin’, morale, and more. An Orc reduced to zero Hit Points is not dead—this occurs at -6 Hit Points—but ‘Mangled’. This in general, has a negative effect upon the Orc, but bionic prosthetics can be purchased to offset them. A head Mangle though, can result in a quirk, like mistrusting anything in writing or the Orc alone becoming the voice of DOOM!

For the Game Master, there is a map of the Derelict, marked with all of the ships that have crashed into it over the years. There are stats too for Angels of the Dark Gods as well as threats such a Spacers (Hoomies) and Rival Orcs, and it is fairly easy to create more threats. One set of tables determines whether or not the Derelict is one step closer to DOOM that day and what that day’s prophecies might be, whilst another suggests ways of mapping the Derelict to create easy adventures and jobs for the Orcs to carry out. They are all quick and dirty, and will run out fairly quickly if ORC BORG is overplayed. That said, it should not be too difficult to create more.

Physically, ORC BORG is a neon assault on the senses and scrappy stab in the eyes. It is big, it is bold, and it intentionally based together. Thankfully, ORC BORG is simple enough. With this layout and this colour scheme, anything more complex would be a pain in the proverbial and rightly require you to go all Orcy on the publisher.

ORC BORG is a cathartic scream of a roleplaying game. It demands a single session of brutal violence and Hoomie stompin’ and no more, before the Game Master and her players switch back something more involved and more restful. Then come stompin’ back to more yellin’ and stabbin’ action when a break is needed again!

By Ferry and by Bullet

Reviews from R'lyeh -

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. This was followed by Ticket to Ride Map Collection Vol. 6: France + Old West, which provided two maps exploring a common theme—telegraphing each player’s intended placement of their trains, then by Ticket to Ride Map Collection Vol. 6½: Poland, which focused on borders and connecting them.

The next entry in the Ticket to Ride Map Collection is Ticket to Ride Map Collection Vol. 7: Japan + Italy. This introduces another pair of maps, two sets of different mechanics, two different ways to score points, and of course, two gorgeous maps. Both can be distinguished by their long sweeping routes and consequently they are played out on what is a very large board for Ticket to Ride. On the Japan map, the players will take advantage of the bullet train network, which everyone can use once built to connect their routes, whilst also building into, out of, and across subnetworks of routes that represent the city of Tokyo’s subway system and the island of Kyushu. On the Italy map, the players will not only connect cities up and down the peninsula, but also regions, whilst also making use of the new Ferry cards to travel by sea to Sicily and Sardinia, and up and down the coast. Like other entries in the Ticket to Ride Map Collection series, it only requires a set of Train cards, train pieces, and scoring markers from a base Ticket to Ride set to play.
The first of the new maps in Ticket to Ride Map Collection Vol. 7: Japan + Italy is Japan. Its board is beautifully illustrated and introduces a new type of route—the ‘Bullet Train’. These represent Japan’s high-speed train network which run the length of the country. They are grey routes, but unlike on other maps for Ticket to Ride, when they are claimed using standard Train cards, they do not use a player’s train pieces. Instead, they use the Bullet Train pieces, of which there are sixteen. When a player builds the ‘Bullet Train’ route, he places a single Bullet Train piece on the route, and once the route is built, not only can that player use the route, but so can everyone else! This introduces an element of forced co-operation into Ticket to Ride, each player knowing that he will have to build ‘Bullet Train’ routes to connect his destinations and complete Destination Tickets at the same time as knowing he will probably share them.
A player is subtly encouraged to build ‘Bullet Train’ routes throughout the game. First, the more ‘Bullet Train’ routes a player builds, the more points he will score at the end of the game as a bonus. Second, he will receive a hefty penalty to his score at the end of the game if he does not build any ‘Bullet Train’ routes at all. Third, each player begins play with only twenty train pieces, which limits the number of coloured, non-‘Bullet Train’ routes he can claim. In effect, the ‘Bullet Train’ routes create a core network of routes that run the length of Japan, off of which the players will build.
The other feature of the Japan map is a pair of zoomed in submaps, one for Kyushu Island and one for Tokyo subway. These have Destination Tickets for destinations within their submaps, but there are also Destination Tickets which connect a destination on the submaps to a destination elsewhere in Japan. To complete one of these Destination Tickets, a player will have to build or use the various routes and ‘Bullet Train’ routes from the destination in Japan to the city of Tokyo or Kyushu Island on the main map and then into the submap itself.
The network of routes on the Japan map feels highly organised and ordered, and that is reflected in another, not so obvious feature, of this expansion. This is extra Destination Ticket-drawing, the aim being to draw Destination Tickets that a player has already completed as part of play, or nearly completed, as part of play. The shared network feature of the ‘Bullet Train’ routes encourages this, but the result is fairly underplayed in comparison to the Switzerland map of Ticket to Ride: Switzerland.
The Japan map for Ticket to Ride Map Collection Vol. 7: Japan + Italy is engaging and fun. The Bullet Trains are a great feature that both encourage a different play style and enforce the Japanese feel of the map as well as pushing the players to work together—just a little bit.  
The Italy map takes in all of the Italian peninsula, as well as the islands of Sardinia and Sicily. It also connects to the neighbouring countries of Monaco, France, Switzerland, Austria, Slovenia, and Croatia. The various cities across Italy are divided up amongst its various regions and a player will score more points for connecting more regions. The busy feel of the Italian north with this its many, compact two-train routes gives way to long sweeping routes that lead south, which are often paralleled by the long ferry routes which run from the mainland to the islands of Sardinia and Sicily, and across the Adriatic to Slovenia and Croatia. Several of these Ferry Routes are as many as seven spaces long, which even given the fact that each player begins with forty-five train pieces, means that a player will quickly be using up his train pieces.
The Ferry Routes on the Italy map do not work like the traditional Ferry Routes of Ticket to Ride. Since Ticket to Ride: Europe, a Ferry Route has required a single Locomotive or wild card as well as the indicated Train cards of the same colour to complete. On the Italy map, Ferry Routes make use of Ferry Cards. Both the Ferry Routes and the Ferry Cards are marked with ‘Wave Symbols’. The Ferry Cards have two Wave Symbols on them and instead of drawing Train Cards as normal or Destination Tickets, a player can instead draw a single Ferry Card, up to a maximum of two. The Ferry Routes have one, two, three, or four Wave Symbols on them. To claim a Ferry Route, a player must play Ferry Cards with same number of Wave Symbols on them combined, plus a number of Train cards of the same colour equal to the other spaces on the route. A Locomotive card can substitute instead of a single Wave Symbol. For example, if the player wants to claim the four-space Ferry Route between Roma and Olbia, he needs to play two cards of one colour and one Ferry Card as this will have the same number of Wave Symbols as marked on the Ferry Route. The maximum number of Ferry Cards a player can have is two. Where taking Train cards of a particular colour can indicate the routes that a player might be wanting to claim, here taking a Ferry Card definitely signals the intent to claim a Ferry Route. 
Although they feature in the Italy map, the Destination Tickets which connect to Italy neighbouring countries do not play as big a role as they do for Ticket to Ride: Switzerland or Ticket to Ride Map Collection Vol. 6½: Poland. Where they differ is that some connect from one of Italy’s regions to a country rather than from a city. The regions also figure in the scoring at the end of the game as players score more for connecting more regions together with their train networks.
The Italy map in Ticket to Ride Map Collection Vol. 7: Japan + Italy is playable, entertaining, and challenging in its own right, but it is not feel as exciting as the Japan map. It is stately and much closer to the original Ticket to Ride than the Japan map, which has an energy and excitement of building new routes and in the main competing, but also working together just a tiny little bit in the construction of the ‘Bullet Train’ routes.

Physically, Ticket to Ride Map Collection is Ticket to Ride Map Collection Vol. 7: Japan + Italy is as well produced as you would expect for a Ticket to Ride expansion. Everything is high quality and the rules are easy to understand. If there is an issue, it is that the otherwise beautiful maps, are big, and consequently, unwieldy to unfold for play and fold up to put away.

What Ticket to Ride Map Collection is Ticket to Ride Map Collection Vol. 7: Japan + Italy shows is that you can mix and match the old with the new in Ticket to Ride. The Japan map is modern, sweeping, with a sense of speed and energy, offering a different style of play. The Italy map provides a variation upon the standard game, but still feels very traditional. Together, Ticket to Ride Map Collection is Ticket to Ride Map Collection Vol. 7: Japan + Italy offers something old and new, and is a solid addition to the Ticket to Ride family.

Friday Fantasy: DCC Day 2021 Adventure Pack

Reviews from R'lyeh -

As well as contributing to Free RPG Day every year Goodman Games also has its own ‘Dungeon Crawl Classics Day’, which sadly, is a very North American event. The day is notable not only for the events and the range of adventures being played for Goodman Games’ roleplaying games, but also for the scenarios it releases specifically to be played on the day. For ‘Dungeon Crawl Classics Day 2021’, which took place on Saturday, July 26th, 2021, the publisher released two books. One was Dungeon Crawl Classics Day #2: Beneath the Well of Brass, a classic Character Funnel, one of the features of both the Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic and the Dungeon Crawl Classics Role Playing Game—in which initially, a player is expected to roll up three or four Level Zero characters and have them play through a generally nasty, deadly adventure, which surviving will prove a challenge. Those that do survive receive enough Experience Points to advance to First Level and gain all of the advantages of their Class. The other was an anthology, the DCC Day 2021 Adventure Pack, which contains three adventures. One for Dungeon Crawl Classics Role Playing Game, one for Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, and one a preview for the forthcoming Dungeon Crawl Classics: Dying Earth.
The DCC Day 2021 Adventure Pack opens with ‘Temple Siege!’. This is designed for five to six First Level Player Characters and draws directly from ‘Appendix N’ by being inspired by the Cossacks stories of Harold Lamb, an influence on Robert E. Howard. The Player Characters will definitely encounter horse nomads—and they prove to be a rough, evil lot, ready to kill the Player Characters and take whatever they have. ‘Temple Siege!’ is a very different scenario. Rather than being an atypical dungeon, it takes place entirely in the confines of a single location. Such a constraint is a challenge to the author. Can he create an interesting location and an interesting plot built around the one place? Often, these are ‘locked room’ style adventures, but ‘Temple Siege!’ is not quite that. Rather, the Player Characters are trapped within the confines of the site, but the door is open and the enemy really wants to get in!
‘Temple Siege!’ takes place on the nomad steppes where the Player Characters have come to plunder an ancient temple, but not long after they enter its confines, they are besieged by a band of nomads. The Player Characters have a limited number of actions they can take between wave upon wave of nomad incursions inside the temple, but they also have a lot to examine in the temple. There are puzzles to be solved and traps to be discovered, some of which will lead to means and ways that the Player Characters can use to their advantage. To that end, the Judge is provided with a wealth of detail which she will need to understand and be able to impart to her players as their characters, as well as handle the three different waves of vile nomads, each of which is slightly different. The progress of the Player Characters will be greatly hampered if they do not have a Thief amongst their number. ‘Temple Siege!’ is a scenario which will keep a Thief really busy just as it will keep a Fighter—and other Classes—busy facing off against the nomads outside. ‘Temple Siege!’ might be slightly too long a scenario to run in a single session and its isolated, nomad steppe location make it a little too difficult to add to a campaign, although the prominent role of the Thief Class in the scenario means that it could work with the Dungeon Crawl Classics Lankhmar Boxed Set. Overall though, this is a detailed and fun scenario which combines traps, puzzles, and combat in an entertainingly fought situation.
The DCC Day 2021 Adventure Pack is really notable for its inclusion of the first scenario for Dungeon Crawl Classics: Dying Earth, the adaptation of the world of Jack Vance’s Dying Earth. ‘Fathoms Below Witch Isle’ is again a scenario for First Level Player Characters, but just three or four. However, it does not require the use of Dungeon Crawl Classics: Dying Earth and does not make use of the new Classes from Dungeon Crawl Classics: Dying Earth, but can instead be run using the standard rules from the Dungeon Crawl Classics Role Playing Game. (Doubtless, this will change once Dungeon Crawl Classics: Dying Earth is widely available.) The scenario opens with their travelling aboard the Calealen, a vessel pulled by giant sea worms that need careful handling throughout the journey. Due to circumstances beyond their control—and heedless of the Calealen’s somewhat scurvy crew—the Player Characters find themselves cast ashore on a decidedly strange island. One that has been turned upside down! To find out how this came about and perhaps make their escape back to sea, they must descend the upturned mountain and confront a mad hermit! 
‘Fathoms Below Witch Isle’ is intentionally odd and weird, just as you would expect from something set in the world of Jack Vance’s Dying Earth. For the Judge, the language itself is ostentatious and takes some getting used to, but the scenario works just as well under the Dungeon Crawl Classics Role Playing Game as it will under Dungeon Crawl Classics: Dying Earth. However, it does not quite feel weird enough, primarily because the players cannot engage with it as Dungeon Crawl Classics: Dying Earth characters yet, and only as Dungeon Crawl Classics Role Playing Game characters. This is still a decent scenario and will be enjoyable which ever version of Dungeon Crawl Classics is used.
‘The Neverwhen Rock’ is a Character Funnel for Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic. It can be run on its own, or if the Judge has access, run together with ‘Ruins of Future Past’, the scenario from the DCC Day 2020 Adventure Pack. As part of their Rite of Passage, the Player Characters are instructed by the tribal shaman to examine a strange boulder not too far away and explore the cave inside of it, the likes of which no one has ever seen before. Although their characters will have no idea as to what is going on, the players will quickly realise that this is a time travel adventure. It is a very basic one though, with an obvious nod to Doctor Who, and the Player Characters never get the chance to explore the strange boulder, merely get thrust out of it in different locations. It definitely feels like it should be more and like some of the great ideas presented in other titles from Goodman Games, it leaves the Judge left wondering what to do next if she wants to do more with that idea.
Physically, DCC Day 2021 Adventure Pack is decently done. The artwork is fun and the maps clear. The maps for both ‘Temple Siege!’ and ‘Fathoms Below Witch Isle’ are both well done. All three scenarios are well written and easy to read.
The DCC Day 2021 Adventure Pack contains three scenarios which vary in their utility and their capacity to entertain. ‘Temple Siege!’ is the standout entry, a thrillingly constrained and nicely detailed encounter which will challenge the player and their characters and is suitable for almost any Dungeon Crawl Classics Role Playing Game setting. ‘Fathoms Below Witch Isle’ is a serviceable introduction to Dungeon Crawl Classics: Dying Earth, but will really come into its own when the Judge and her players can experience the whole of what the setting has to offer, including characters Classes. In comparison, ‘The Neverwhen Rock’ feels too slight, as if it wants to be something more, but the page count is constraining it. There are more than enough Character Funnels for Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic that the Judge not really need look at this unless she has access to ‘Ruins of Future Past’ from the DCC Day 2020 Adventure Pack.

Friday Faction: The Hellebore Guide to Occult Britain

Reviews from R'lyeh -

There are plenty of good guides to the weird and wonderful past of Great Britain. The country is rich in folklore, the occult, magic and mysteries, horrors and hauntings, and much, much more, and so has been subject to numerous books and guides. The Readers Digest Folklore Myths and Legends of Britain and The Lore of The Land, backed up with Brewer’s Dictionary of Phrase and Fable, will give anyone with an interest in the myths and legends of the United Kingdom a good grounding in the subject, but both are hefty books. So they are not easily carried on the go, and in the case of both The Readers Digest Folklore Myths and Legends of Britain, several decades old. The Hellebore Guide to Occult Britain does a similar job and covers much of the same material, but differs in two important ways. First, it is a more recent treatment of the subject and second, it is smaller and thus infinitely portable. In fact, The Hellebore Guide to Occult Britain is actually designed to be portable for it actually includes the post codes for each of the numerous locations and sites described in its pages—though it is unlikely that all of these sites actually receive anything via Royal Mail (other delivery services may deliver). What this means is that the sites of the various standing stones, ghost sightings, occult personages, and more, are all easy to find. The Hellebore Guide to Occult Britain may not be pocket-sized, but digest-sized, it is easy to carry around.

The Hellebore Guide to Occult Britain is published by Hellebore, which collates various essays and pieces devoted to British folk horror—including folklore, myth, history, archaeology, psychogeography, witches, and the occult—into a series of fanzines. It covers the United Kingdom, region by region and country by country, so Wales, Scotland, and Northern Ireland, as well as England—with London as a separate location. It starts in the southwest in Cornwall, and moves steadily east and north. The maps are marked with clear icons, including ‘Witches and Cunning Folk’, ‘The Old Gods’, ‘Magic, Rituals, and the Occult’, ‘Ancient Megaliths’, ‘Ports to the Otherworld’, and more. So in Dorset, Bradbury Rings and Cerne Abbas are the site of ‘The Old Gods’; Avebury and Stonehenge sites of ‘Ancient Megaliths’ in Wiltshire; ‘Witches and Cunning Folk’ of Pendle in Lancashire; and the ‘Curses and Portents’ of Cleopatra’s Needle and the ‘Magic, Rituals, and the Occult’ at both the Science Museum and the Victoria and Albert, all in London. This barely touches upon the hundreds and hundreds of entries in The Hellebore Guide to Occult Britain.

The various regions across The Hellebore Guide to Occult Britain are colour coded, each region’s entries combining a mixture of short descriptions with slightly longer pieces. For example, Worcestershire has short entries on the Fleece Inn with its three white circles inn front of its fireplace to prevent the entry of witches via the chimney and Penda’s Fen, the children’s television series from the seventies, but longer entries on Bredon Hill and Wychbury Hill, the latter the site of an iron age hillfort, several follies, and the mystery of Bella in the Wych Elm. London is an exception to this with numerous entries under several different banners, such as Bloomsbury with the British Museum, Freemason’s Hall, and amusingly, both Treadwell’s Bookshop and The Atlantic Bookshop, and Hawksmoor’s London and Doctor John Dee’s London (Dee will also have entries for Manchester and Oxford).

Where The Hellebore Guide to Occult Britain differs from other books of legend and folklore is its inclusion of sites particular to film, television, and literature. As with the other categories used in the book, these are clearly marked on the maps. For example, Aldeburgh in Suffolk is listed under ‘Film and Television Locations’ for the Martello Tower there, as it was the basis for M.R. James’ ‘A Warning to the Curious’, whilst several locations across southwest Scotland are listed as locations for the classic British folkloric horror film, The Wicker Man. There are not too many of the film, television, and literature locations throughout the volume, but in the case of the film and television entries, they add visual cues in particular for the imagination.

Physically, The Hellebore Guide to Occult Britain is cleanly, if tightly laid out, primarily in black and white with the occasional use of spot colour. If there is an issue with the book it is that the liberal illustrations are not as crisply produced as they could be. The book does include an index and a list of references as well.

For roleplaying purposes, The Hellebore Guide to Occult Britain is a useful book to have to hand. It is a veritable fount of ideas and hooks that the Game Master could turn into roleplaying encounters, scenarios, or mysteries for her gaming group. No more than that though, for the entries are thumbnail-sized and should be considered to be pointers or starters for the Game Master who will then need to conduct a little more research to flesh out the scenario or mystery. Nevertheless, much of the content would work in a wide range of horror roleplaying games, including They came from Beyond the Grave! from Onyx Path Publishing or Call of Cthulhu, Seventh Edition from Chaosium, Inc., as well as specifically United Kingdom-based roleplaying games, like Liminal from Wordplay Games, The Dee Sanction: Adventures in Covert Enochian Intelligence from Just Crunch Games, Vaesen – Mythic Britain & Ireland for Vaesen – Nordic Horror Roleplaying from Free League Publishing, or Fearful Symmetries for Trail of Cthulhu from Pelgrane Press.

The Hellebore Guide to Occult Britain is an indispensable travel guide to the legends and folklore of Britain. It is not so much a definite reference guide, but more a reference starter, a point from where the reader (or gamer) can have her interest piqued and from there conduct her own further reading and investigations. Compact, but full of interesting content, The Hellebore Guide to Occult Britain is an excellent little tome to take off the shelf and flip through or even have handy in the bag when you want to find something really interesting to visit nearby.

The Isles of Avalon

The Other Side -

The Isles of AvalonOne of the reasons I do the long projects here like 100 Days of Halloween or BECMI Month or even shorter week-long deep dives into topics is to take a topic and explore it as deeply as I can. Some topics just need longer to figure out than a one-off blog post. Another reason is to recharge my creative batteries.

So I am fresh off October and last night I feverishly got nearly 10,000 words into a project. Nothing I am ready for the public eye yet, but it felt good to be full of such raw creativity again.

Another little project that grew out my October is this idea of The Isles of Avalon. In truth, it has been there ever since I first picked up Clark Ashton Smith and thought I needed an Empire of Necromancers. But it was rereading my Complete Book of Necromancers and the Avalon Hill game Wizards that the idea became something I want to pursue in depth. 

I do not have all the details yet, but I do know the following.

It is an Archipelago of Islands

There is one large island, the main one, and many smaller islands around it / near it. Right now my mental model is something like the Hawaiian Islands only not tropical. I need some cold places, so another model are the British Isles. Since I am re-reading Tolkien's Unfinished Tales I can't help but add some Númenor into my mental mix.

It is Old

This place needs to have risen to its height ages ago and now fallen into decay. There are still people here and still living their lives, and there are still wizards galore here. But one of the consequences of this is the islands still feel like they are in some sort of lost past. For me to get this feeling I want everything to look like 1970s art. More specifically I am thinking something along the lines of the album art Roger Dean used to do for Yes and Uriah Heep. In fact, those two groups, in particular, would also provide the soundtrack for this endeavor.  This is not the NWOBHM of the 80s I typically do. This needs to sound and feel different to me. 

Another feeling I want is not just that this place is old, but nature has reclaimed it. So there are, or more to point were, mighty citadels here that are now abandoned and nature has moved back in. What strange magics are here? Are there wizards still sleeping in long-forgotten chambers? Do the experiments of long-dead necromancers still haunt the dungeons?  Again with the Yes album cover idea I want this place to look beautiful and feel dangerous. 

It is Advanced D&D

I am pretty well-known for my love for Basic-era D&D. B/X is my jam.  BUT I want a 1970s feel here, and B/X and BECMI are quintessentially 80s.  Now I could very easily merge this with my "1979 Campaign Idea." Indeed, parts of that plan work well in this one, in particular using Warlocks & Warriors as an add-on to module B1.

Though I won't rule out using something like Advanced Labyrinth Lord or Old-School Essentials Advanced.  Especially since I have some new OSE-Advanced books coming from the last Kickstarter and there is a Labyrinth Lord 2nd Edition on the way.

Mix and Match

As usual, I am going to look for existing material to use with it and hopefully things that were published before 1980.  

Again why use other stuff when I can easily create my own? Simple I enjoy doing it. I like to see what pieces I can put together from various other products. That way it feels familiar and new all at the same time. 

I already have a few things in mind I will adapt for this and I am going to have fun doing it. So let's put on some Yes and come with me to these islands and let's visit for a while. 

100 Days of Halloween and October Movie Challenge, Visual Guides

The Other Side -

Today has been a day of collecting pages of notes, half-jotted ideas, and plans. What are those plans? Oh so many, enough that I am calling 2023 The Year of the Monster now. More on that later.

But before I go forward, one last look back.  Here are some visual guides to both my 100 Days of Halloween and October Movie Challenge thanks to Pinterest.

100 Days of Halloween

Follow Timothy's board Witch Books on Pinterest.


October Movie Challenge

Follow Timothy's board October Horror Movie Challenge on Pinterest.

Wow I guess that puts me at nearly 460 Horror movies. I should pass 500 next year.  I should really an go back a rewatch ones I enjoyed and not on these lists for a full and proper record.  Something to consider.


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