The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

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Most magazines for the roleplaying hobby give the gamer support for the game of his choice, or at the very least, support for the hobby’s more popular roleplaying games. Whether that is new monsters, spells, treasures, reviews of newly released titles, scenarios, discussions of how to play, painting guides, and the like… That is how it has been all the way back to the earliest days of The Dragon and White Dwarf magazines. Wyrd Science is different in that it is about gaming and the culture of gaming as well as the games themselves rather providing support for specific titles—and Wyrd Science Vol. 1/Issue 4 is different to the previous issues. Where both Wyrd Science Session Zero and Wyrd Science – Expert Rules adopted the ‘BECMI’ colour coding of the colours and the focus upon fantasy and the Old School Renaissance, and Wyrd Science – The Horror Issue (Wyrd Science Vol. 1/Issue 3) focused on the horror genre, Wyrd Science Vol. 1/Issue 4 comes with no announced theme. This does not mean that there are no themes with the issue, but rather that they are simply part of the issue rather than a feature. Thus, Wyrd Science Vol. 1/Issue 4 is very much more of an ordinary issue, setting the standard for future non-special issues to come.
Wyrd Science Vol. 1/Issue 4 was published in April, 2023 by Best in Show. It opens with a quartet of interviews. ‘PUBLISH AND BE DAMNED: SoulMuppet Publishing’ is with Zach Cox and explores how he co-founded the company and has developed it to the point where he began to experiment and begin to support authors from outside of the English-speaking hobby, such as with the ‘LATAM Breakout series’ for South American creators. Cox gives his views on the then changing nature of the hobby, how Kickstarter is being used by fewer and fewer would be publishers, who are then looking for other options. Nevertheless, he offers advice on how to run a successful Kickstarter project, but also highlights the difficulties in distribution that affect retail in particular. Although two years old, there is much within the interview that are still pertinent now. ‘CAST POD: What Am I Rolling?’ is part of the magazine’s regular series with podcasters, this time with Fiona Howat of the What I am Rolling? podcast, which hosts and runs one-shot games and in the process, showcases a wide variety of games. It is a nice introduction to the podcast and includes advice on trying new games and introducing new games to other players. ‘MAGIC GATHERINGS: Big Bad Con’ interviews the organisers of the California gaming convention which in recent years has shifted to offering a safer, more diverse, and inclusive space and encouraging the participation of persons from minority and LGBTQI+ groups. This showcases a fantastic effort to make the hobby a more welcoming place, one that should perhaps be looked to by other conventions.
Where the interviews are conducted by John Power Jr., Stuart Martyn kicks off the first of the issue’s themes with ‘The Game is Afoot’. As the title of the article suggests, that theme is investigative games, Martyn highlights roleplaying hobby’s fascination with mysteries and investigations. It pinpoints the issues with this type of scenario—their inherent logic puzzle nature which can frustrate some players and the capacity to miss clues. The primary solutions are twofold. First is to make the clues easy to find or automatically found, as in the GUMSHOE System, or have the solution to the mystery determined through play, as in Brindlewood Bay. Both feature heavily in the article and show how to date, the hobby has yet to come up with any better for the investigative style of scenario. ‘Scry Me a River’ by John Power Jr. neatly complements ‘The Game is Afoot’ and continues the investigative theme. This is a look at Rivers of London: The Roleplaying Game, which is based on the series of Urban Fantasy procedurals by Ben Aaronovitch and includes an interview with its creator, Lynn Hardy, exploring its genesis and development, made all the more interesting because the author has experience of gaming. There is even a list of tips from Hardy about running investigative games to go alongside it.
‘Bandes On The Run’ by Luke Frostick brings the investigative theme to a close with a look at and interview with Krister Sundelin, the creator of The Troubleshooters: An Action-Adventure Roleplaying Game, Swedish publisher Helmgast’s roleplaying game based on French and Belgian bande dessinée comics. This covers a wide range of inspirations from James Bond to the action-adventure television of the nineteen sixties and explores the heavier feeling mechanics. The Troubleshooters is a great little game that has not made the impact it deserved and it is nice to see it covered here. ‘Bad Moon Rising’, Mira Manga’s interview with Becky Annison, author of Werewolves of Britain for Liminal, continues the Urban Fantasy theme of Rivers of London: The Roleplaying Game, in exploring her inspirations for the supplement, some of it quite personal, in creating a very good expansion for the game and its setting.
‘Now is The Time of Monsters’ takes interviewer John Power Jr and Dave Allen, producer for Warhammer Fantasy Roleplay, Fourth Edition in a then totally different direction, something that the roleplaying game had been waiting decades for, despite the wargame it is based upon, visiting it more than once across its numerous editions. This is the supplement, Warhammer Fantasy Roleplay: Lustria, which details the mysterious continent far away from the Old World. It quickly catches up with the history of the current edition in publishing what is a director’s cut of the classic campaign, The Enemy Within, and then moves beyond that. It explores what an updated version of the Lustria looks like for the twenty-first century hobby and how it presents the players and their characters to engage in different, but no less deadly environment.
Walton Wood’s examination of the retroclone, Errant, and interview with its creator, Ava Islam, ‘Dragons Are Fucking Cool, Man’ starts off in slightly abstract fashion, explaining it pushes away from the classic design of Dungeons & Dragons-style play, attempting to be rules light, but ‘procedure heavy’ in terms of scope. The explanation is not really clear enough, but once the article begins telling you what you play—downtrodden outcasts ever wanting to improve their lifestyles and fund the lifestyles they have combined with Levelling requiring high expenditure of gold pieces in acts of ‘Conspicuous Consumption’—it does impart a sense of what the is about at the least. Ultimately, what is clear is that Errant is the designer’s commentary on the Old School Renaissance movement and it is far from a positive one. This combined with often obtuse explanations upon the part of the designer and the reader is left feeling dissatisfied.
‘Veni, Vidi, Ludo’ by Ciro Alessandro Sacco presents a fascinating history of the Italian gaming and roleplaying hobby, beginning with the importation of Avalon Hill and SPI wargames in the nineteen sixties and seventies and moving through bootleg versions of Dungeons & Dragons to early roleplaying games such as Signori del Caos—or The Lords of Chaos—published by Black Out Editrice in 1983 and then most spectacularly, the Mentzer version of Basic Dungeons & Dragons by Editrice Giochi in 1985. It is a great introduction and it is a pity that there is not scope for further examination of these early Italian roleplaying games. The breezy article comes to a close all too soon, leaving the reader with any interest in the history of roleplaying games wanting more. It is followed by a short overview of some of the Italian roleplaying games and settings then available in English, including Lex Arcana, Fabula Ultima, and Brancalonia.
The last few articles in the issue explore a handful of boardgames that are very close to the roleplaying hobby, whether that is because of their subject matter or because their publisher also publishes roleplaying games. Three of them combine to give the magazine its second theme—dungeon crawling and board games. The first, ‘Dungeon Crawling Classics’ by Matt Thrower is not, as the title might suggest about the Dungeon Crawl Classics Roleplaying Game from Goodman Games, but a history of the dungeon crawler board game, from Dungeon!, published by TSR, Inc. in 1975 to Descent: Journeys in the Dark published by Fantasy Flight Games in 2005 and its more recent 2021 update, Descent: Legends of the Dark. Also discussed here is HeroQuest, the boardgame from Milton Bradley and Games Workshop that introduced dungeon exploration-style play to a wider audience in the early nineteen nineties. It explores the enduring appeal of the format—its familiarity, excitement, and camaraderie—combined with a physical format that leans into the roleplaying style of Dungeons & Dragons, whilst providing a ready realisation of the action that Dungeons & Dragons does not (at least not without a lot of extra accessories). There are a lot of dungeon crawler board games that the article could have covered and it would have been interesting to look at those options, but overall, this is good introduction to the genre.
Matt Thrower follows this up with ‘The Big Chill’ in which he interviews Isaac Childres, the designer of the mammoth dungeon crawler and adventure game, Gloomhaven, discussing its development and that of its follow up, Frosthaven. There is some similarity between this and other interviews with the designer, such as that which has appeared in the pages of Senet magazine. What this means is that there is not much being said here that is new, but for anyone unaware of Gloomhaven and its heft and effect upon the hobby, this is worth reading. Andi Ewington returns to the classic HeroQuest with ‘Quest Drive’ and how he brought the new version of the board game from Avalon Hill into his home and got his family, some of them slightly reluctantly. It is a fun piece that brings the theme to a close with large dollop of nostalgia.
Finally, the issue comes to close with ‘Trading Places’. Here Emma Partlow talks to Max McCall from Wizards of the Coast to explore how Magic: the Gathering has with its ‘Universes Beyond’ line, produced expansions that draw on the intellectual properties of other publishers. For example, the television series, Stranger Things, and the miniatures wargame, Warhammer 40,000. It does point out that the response to these expansions have been mixed, some embracing them, others seeing them as a distraction from the more traditional fantasy releases for the collectible trading card game, but the point is made that the ‘Universes Beyond’ sets are attracting the interest of fans of the universes they are based on and thus attracting new players. The article is illustrated with some great artwork drawn from the series, but does not show how that artwork will be displayed on the cards, which would perhaps have sold the idea better.
‘LOOT DROP: Automatic Dice Roller’ and ‘LOOT DROP: More Random Treasure’ highlights some gaming knickknacks that might appeal to some gamers, the former also including an interview with the creator of the electronic dice roller from Critical Machine for those who want another means apart from rolling dice, whilst the latter includes a The Wicker Man-style effigy wax candle, complete with wax Sergeant Howe and the Win or Booze beer from breweryDeviant + Dandy which has a game on the back of the label. The best though is the Githyanki action figure from Super7 based on the Erol Otus’s classic cover image for the Fiend Folio. More interesting though, is ‘Hit Points’, the reviews section which takes in a good mix of board games, roleplaying games, and books. The board games include Undaunted Stalingrad from Osprey Games and the magazine’s ‘Game of the Month’ and Rebellion Games’ redone Judge Dredd: The Game of Crime-Fighting in Mega-City One, whilst the roleplaying games reviewed range from Cy_Borg and The Blade Runner – The Roleplaying Game Starter Set to Out of the Ashes and A Folklore Bestiary. Of course, reviewing reviews is something of a busman’s holiday, so ultimately, although the reviews all both interesting and informative, the most interesting are those of the books, Alan Moore and Ian Gibson’s The Ballard of Halo Jones, and Michael Molcher’s I Am The Law about 2000 AD’s Judge Dredd and how it influenced modern policing, both from Rebellion, are the more intriguing.

Physically, Wyrd Science Vol. 1/Issue 4 is clean and tidy, neatly laid out and well written. The artwork is well judged too and overall, the magazine looks great.

Wyrd Science Vol. 1/Issue 4 is a good rather than great issue. It is at its best when exploring something lesser known like Big Bad Con in ‘MAGIC GATHERINGS: Big Bad Con’ and its diversity programme or the look at Italian roleplaying games in ‘Veni, Vidi, Ludo’, but also taking a sidestep to look at something familiar, the dungeon crawl style game, in a different format, the board game with ‘Dungeon Crawling Classics’ and ‘Quest Drive’.

I pulled a Dragon for today, started in on it, and got about a quarter through it before I realized it was one I had done already. I had a duplicate in my stack. Ah well. So instead, we go back to December 1989, the Eve of the 1990s. On the radio "We Didn't Start the Fire" by Billy Joel and "Another Day in Paradise" by Phil Collins dominate. Gunge is still a little bit away for the mainstream. "National Lampoon's Christmas Vacation" and "Back to the Future II" dominate the box office. And on game tables and shelves everywhere is issue # 152 of This Old Dragon!

My copy lacks a cover, so I grabbed this image off of my Dragon Magazine CD-ROM. All these later and that purchase keeps paying off.

Our cover is by none other than the illustrious and late Jennell Jaquays. 

Letters discuss the issues of the day, namely more about the über-ridiculous character Waldorf and challenges to his title. Hopefully that is the last of that. Nitpicks on Hawks vs. Falcons and some bits on spells and dragon hunting. 

In his Editorial, Roger E. Moore discusses helping others in hard times, which was a novelty then and is talked about more and more now. In particular, he mentioned that gaming conventions rarely give to charity, whereas now that is much more commonplace. 

Forum has some discussions on using other game systems to aid D&D DMs (Marvel Super Heroes is given as the example), a thought that D&D in not really Medieval Europe, but 20th Century Earth where magic has prevented technology from advancing (neat idea really) and some ideas on various humanoids played intelligently. 

Sage Advice gives us some rule clarifications on the NEW AD&D 2nd Edition rules. 

Our Special Feature of this issue is all about the Underdark. Ok, this could be fun. Since I had to switch gears, I am discovering all of this issue as I write.

Up first, a nice surprise, Tony Jones (a name I don't recall) is up with The Ecology of the Umber Hulk. It's a rare (for the time) non-Ed Greenwood ecology article. Also I admit a certain fondness for the Umber Hulk. I think it was because when I first read about him in the Monster Manual, he was so different than other monsters I had seen before. Like all good Ecology of articles the details here can be used in any edition/version of the game. While the Umber Hulk growth table would need to be adjusted per game, the data is still good. There is even a good bibliography. 

Ads for Buck Rogers books and Activision video games. 

Thomas M. Kane is up with In a Cavern, In a Canyon. This covers metallurgy in fantasy games, though the emphasis is obviously AD&D here. It is still good and useful information and again, easily adaptable to new versions of the game. 

Another ad for the Science Fiction Book Club, which I am sad to report, has shut down after 70 years.

The Wanderers Below is a good set of random encounter tables from Buddy Pennington. The art is from module S4 by Jim Holloway and the list could be AD&D 2nd ed or 1st, I can't really tell to be honest. Likely works for both.

We break up our feature with Role-Playing Reviews from Jim Bambra. He covers Twilight: 2000, Top Secret S.I. and GURPS High Tech. 

Registration page for Gen Con 1990.

Eric Oppen is back with Servants of the Jeweled Dagger, a bit abotu the lives and habits of the duegar, the gray dwarves. It is a little like an Ecology of article, but less game stats. Not a bad piece at all. I read while thinking about the duegar you encounter in Baldur's Gate 3. It still works. 

None other than R.A. Salvatore is up for the fiction section The First Notch.

Greg Minter is next, is what is a loose interpretation on today's theme, In Quest of Adventure. It covers all sorts of quests, but for me the real treat is the Stephen Fabian art. 

My issue lacks the giant poster advertised. No idea what it was. 

The late Jim Ward waxes philosophical on "what do the simple folk do?" in The Game Wizards. He discusses well, I am not sure, it is a little rambling. 

The Lessers are all back with more video game reveiws in The Role of Computers. They loved DragonWars for the Apple II, and enjoyed The Kristal for the Amiga. They also got in a couple of MS-DOS games like Beyond the Black Hole and Indiana Jones and the Last Crusade. From what I can tell these are graphic (as in EGA) games and not text-based ones. An important distinction at this time that will soon no longer matter. 

TSR Previews gives us the new games and accessories for November and December 1989. A few novels to support the Top Secret, Dragonlance, and Buck Rogers lines.  Monstrous Compendium vol 3, the Bloodstone Lands, Pool of Radiance novel, and Kara-Tur trail maps leave no doubt that the Forgotten Realms is the darling of the time. 

Spider-Man to Wed Vanna White! from Fraser Sherman gives us the best article title of the issue. He discusses how to use real-world events in your Marvel Super Heroes games. I just watched the first two episodes of the Disney+ "Daredevil Born Again" and I can say Marvel does not have an issue using real world events in their tales.

Robert Bigelow has more new miniatures for us in Through the Looking Glass. I rather like the Joker and Batman minis from Grenadier Models. Very much in support of the Batman RPG. They have a real Neal Adams meet Jim Lee feel to them.

The Convention Calendar covers the last bit of 1989 and the winter of 1990. In general, I think there were more conventions back then. Am I wrong? I don't know. The Egyptian Campaign is listed. I can't recall if I went then or not. 

Not to be forgotten, we still have Make the Most of Your Missions from Merle and Jackie Rasmussen. This covers mission starters for the Top Secret SI game. 

Dragonmirth has our comics. Gamers Guide has our small ads. Among the ads is one to allow you edit your IBM versions of characters for Might and Magic and Pool of Radiance games. Just $15! Lots of ads produced on what look like AppleWriter printers.  Walter Moore will also draw your character, also just $15. Wonder if he is still in business?

Back page ads for the AD&D 2nd Edition Monstrous Compendiums and Spelljamer. 

So not a bad issue really. The special feature had a lot of material and nearly all of it is still useful today. The tone has shifted completely to AD&D 2nd edition and away from 1st Edition or Basic/BECMI. This will continue until all other games except those from TSR are shut out. Dragon was not unique with this, all game magazines were doing this. 

The underdark features were good and ones I can see myself using. I still love looking at all the old ads too.

 This past week, I finished a couple of newer witch-related TV shows. One was because we watched it all, and the other was because I just couldn't finish it. Both were based on popular books.

A Discovery of Witches

This was the treatment of Deborah Harkness's books. I read book 1 and book 2 some time back and had issues with them, enough that I avoided the series until now. But my wife wanted to watch it, and who am I to say no? 

Well. I am happy to report that the series was much better than the books. A lot of what annoyed me about the books was lessened or done differently when it hit the small screen. Diana Bishop was much more assertive in this, and any issues she had with being uncertain about the world of "creatures" were just that: uncertainty about a world she had chosen not to participate in not because she deflected to Matthew all the time. She even showed off some power which was nice. 

The casting was good, really, with Alex Kingston as a constant favorite. Matthew Goode performed well as the vampire Matthew Clairmont, making him much more interesting than he was on the page. Teresa Palmer was good as the witch Diana, though often I felt the script worked against the part she was trying to play. There were moments when the Diana I wanted to see came out. But maybe my expectations were out of line. Swedish actress Malin Buska was Finnish witch Satu Järvinen, who got a much larger role in television. Honestly, I wanted a lot more of her. Even Emily gets better treatment here, even though she still dies in the end of Season 2/Book 2. But it was not an empty, off stage death like it was in the books.

They made a little more sense of the time travel aspects, which is good, cause the book made zero sense. Still the rules of Diana's Time-Walking are a bit fuzzy.

I can't judge how well the story in Season 3 stuck to the events in Book 3, but it was much better than expected series. It also was nice to watch a series with a proper beginning, middle, and end. 

It was produced by Doctor Who's Bad Wolf Studio, which also gave us the televised version of "His Dark Materials" (for more great witch moments). Netflix described it as "Outlander meets Twilight," and that is fair. 

All in all, it was enjoyable and redeemed the books in my mind. I mean, I am not going back to re-read them, but the bad after-taste is gone.

Mayfair Witches

I really, really, REALLY wanted to enjoy this one. The AMC version of "Interview with a Vampire" has been great even with, or maybe because of, the changes. And I loved Anne Rice's Mayfair Witches books. Well...the first two anyway. And I adore Alexandra Daddario, who I still hope will get to play Zatanna one day soon.

But this show is a train wreck. Ok, the casting is great really. Harry Hamlin is brilliant as Cortland Mayfair, Beth Grant gave us a Carlotta Mayfair you both want to hate and understand at the same time. 

But there are just so many places where this show doesn't fall short; it falls right on its face.

Lasher is just annoying. Not the evil pervasive influence in the lives of the Mayfairs, but more like a stalker boyfriend or that ghost Beverly Crusher was having sex with in Star Trek: The Next Generation. 

And where the hell is Michael Curry? Some other characters are missing or seem to be merged with others. For example, Ciprien Grieve seems to be a combination between Aaron Lightner and Michael Curry. 

There is also a fair share of "idiot plot" here, the characters, who should be smarter than this, doing stupid things. 

I am not sure how far I am in this one, but I am ready to bail. I mean it has been 25+ years since I read these books, maybe my opinion of them could be less favorable now, but the series is just not great. 

Netflix still has a few more witch series I can check out, maybe one of the European ones I should check out.

Honorable (??) mention, Tidelands

Ok. I am slightly embarrassed to admit this one. 

Described as "beautiful garbage" by IMDB it is really an excuse to watch attractive Australian people run around without any clothes on. It deals with a group of people known as "Tidelanders" who are the offspring of sirens. They have a drug smuggling operation to fund their Queen's (Elsa Pataky) search for an ancient Sumerian (sure why not) clay horn that summons sirens (their mothers) and maybe destroys all the men in world? or Humans? Not clear. There is a rogue Tidelander, Cal aka Caliope (Charlotte Best), who spent 10 years in jail for a murder her human mother set her up for. She is really a powerful Tidelander and her brother (full human) sells all the drugs. 

Cal takes a lot of showers, a lot of baths, has sex with a lot of people and learns that the Queen wants her dead. 

The series ends on a cliffhanger and that was from 2018. Though given the lifespan of Tidelanders Season 2 could take place 10 from now. 

Why mention it? Well, it came up on my suggested watching and I was done with Mayfair Witches. My wife and binged watched the whole thing just to see how bad it would be. Spoiler it was bad. But like I said beautiful garbage. 

Maybe I should go back to watching questionable and dubious documentaries on Tubi.

Use in NIGHT SHIFT

I think I have done witches in NIGHT SHIFT, but the idea of Tidelanders, or more specifically the offspring of sirens or mermaids, has not been done by me.

Photo by Polina TankilevitchDaughters of Tiamat

I'll take the Sumerian horn seriously for a minute and say that these half-sirens are offspring of the ancient Goddess Tiamat. Back when she was spawning monsters to fight the new Gods, one of her creatures was the Siren. Their role was to seduce and kill Tiamat's enemies. They also worshipped Dagon, but their ancestry is from Tiamat.

Sirens (full or half) gain the following abilities.

Saving Throws: Sirens gain +3 to Toughness Saving throws. This increases by +1 per 3 levels (3, 6, 9, etc.)

Ability Bonus: Sirens gain +1 to Strength and +1 to Toughness. This may raise their abilities above 20.

Sea Adapted: Sirens can breathe air or water with equal ease. Full-blooded sirens adapt quickly, while half-sirens need one round to fully adapt to breathing the new element. Additionally, Sirens can see in darker depths and withstand the pressures of deep-sea life.

Charming Voice: Sirens can charm as per the spell. Once per day per the number of character levels the siren has.

Slow Aging: Sirens age slower than humans to age of about 300 years. Subject to their Feed (below).

The Feed: Sirens must return to the water, particularly the oceans or seas, or they will begin to lose their abilities and age like humans. Abilities are lost at random for each month, whether the half-siren is land-bound or each day, the full-blooded siren is.

Many sirens also believe that they must lure a human to the water to drown. In truth, they are compelled to do so, and they do derive pleasure from the act, but it is not required to keep their powers. 

 Nice little weekend mail call this past weekend for today. A game I backed due to interactions with the creators.

Nightbound is a Powered by the Apocalypse (PbtA) game from Creative Jam Games of modern urban horror. It was originally named "Nightshift" but we (Elf Lair Games that is) had to let them know that name was being used for our modern urban horror RPG already. They were super cool about it and changed their game to Nightbound. Because of that we all (ELG) promised to back their Kickstarter.  Well, the books are now coming in.

The game is great looking as you an see. While I am not a huge fan of Powered by the Apocalypse games, this one has a lot of potential. Plus they have a lot more titles than I knew about. 

I have a "Plays Well With Others" for this coming up, but I am waiting on one other thing first. 

Also, and I said this before, there is room on my shelves and table for more than one modern horror game, and I am certain that whatever version of "Night Shift" people choose to play, there are plenty of ideas from the other game to use as well. 

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. 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.

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Name: Blackthorne Bridge Club: New TricksPublisher: Chaosium, Inc.
Author: Gavin Bastiensz

Setting: New York, 1924Product: Scenario
What You Get: Fifty-five page, 4.39 MB Full Colour PDF
Elevator Pitch: Madness in an asylum, who would have thought it?
Plot Hook: Will it take half the corpse to put the plot together, or the whole body?Plot Support: Staging advice, four pre-generated Investigators, thirteen NPCs, and one Mythos monster.Production Values: Plain
Pros# A sequel to Blackthorne Bridge Club# More of a standard investigation than its predecessor# Nicely detailed pre-generated Investigators, complete with secrets# Intriguing showdown# Pleasing sense of closure to one personal plot strand# Chronomentrophobia# Apotemnohobia# Chronophobia
Cons# Needs a slight edit# A timeline would have helped with the structure# What are the Investigators supposed to do with Theodore Roosevelt in 1923?
Conclusion# Disappointing sequel that just feels a bit woolly# Showdown has mammoth ramifications barely touched upon

 Today I release the next Monstrous Maleficarum! For Volume #3 I present 13 nymphs for use in the 5th edition of the World's Greatest Fantasy RPG.

Volume #3 of Monstrous Maleficarum - Nymphs, Daughters of the Gods

Tales of the nymphs are as old as the Gods themselves. Semi-divine protectors of the natural world have also always been a part of the Fantasy RPGs since the beginning. 

With Monstrous Maleficarum #3 I return nymphs to the latest edition of the World’s Greatest Roleplaying Game. Nymphs, Daughters of the Gods for the new 5th Era.

Herein, you will find 13 types of nymphs to challenge and wonder your games. The sylph, whose feet hardly ever touch the ground. The melinoë who dance by the light of the moon. The mighty themeid, warriors among the nymphs. The underworld lampad, and the naiads, nereids, and oceanids, of their watery realms. 

Note: This product contains classical art that depicts some nudity.

One of the routes I came to Dungeons & Dragons was via Greek Mythology. I noticed a while back that the 5th edition of the game, both the 2014 and 2024 flavors, did not have nymphs as a creature type. I thought this was a serious oversight. So with Monstrous Maleficarum #3 I added them back.

I hope you enjoy!

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. 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: Hope’s EndPublisher: Chaosium, Inc.
Author Steen Stahlhut

Setting: New England, 1914Product: One-shot
What You Get: Forty-six page, 4.74 MB PDFElevator Pitch: Can a zombie be guilty of making a false instrument?Plot Hook: New England in a time of cholera.
Plot Support: Staging advice, four pre-generated Investigators, nine handouts, three NPCs, three maps, one Mythos tome, one Mythos spell, and two monsters.Production Values: Underwhelming.
Pros# Scenario near Lovecraft Country# Easy to adjust to other locations# Historically inspired scenario# Mythos elements pleasingly hidden under another investigation# Nosophobia# Necrophobia# Kinemortophobia
Cons# Why are grave diggers in Call of Cthulhu always drunk?# Needs a good edit
Conclusion# Medical turned Mythos investigation undermined by poor presentation# Potentially a very serviceable investigation

The light of the Emperor’s divine might reaches everywhere—but not always. Only in recent years has the Great Rift begun to unseal and the mysterious Noctis Aeterna begun to recede, the Days of Blinding ended, and links reforged with worlds in the Marcharius Sector lost under its pall and beyond the sector itself. As communication, trade, and psychic links have been reestablished with Terra, the Imperium has worked hard to restore its rightful authority and ensure that no deviancy from creed has taken place in the Days of Blinding. Despite this still, heretics turn to the Dark Gods with their promises and falsehoods and corruption is rife, wasting the Emperor’s resources and wealth, and from without, there is always the danger of raids by Orks or worse, Tyranoids. Yet routing out such heresies and corruption is no matter, but an issue of politics and influence as well as loyalty and devotion. The Emperor’s great servants search out those they deem worthy to serve them and the Imperium, directing them to investigate mysteries and murders, experience horror and heresies, expose corruption and callousness, whether in in pursuit of their patron’s agenda, his faction’s agenda, the Emperor’s will, or all three. In return they will gain privileges far beyond that imagined by their fellows—the chance to travel and see worlds far beyond their own, enjoy wealth and comfort that though modest is more than they could have dreamed of, and witness great events that they might have heard of years later by rumour or newscast. This though, is not without its costs, for they will face the worst that the forces of Chaos has to fling at them, the possibility of death, and if they fail, exile and loss of all that they have gained. In the Forty-First Millennium, everyone is an asset and everyone is expendable, but some can survive long enough to make a difference in the face of an uncaring universe and the machinery of the Imperium of Mankind grinding its way forward into a glorious future.

This is the set-up in Warhammer 40,000 Roleplay: Imperium Maledictum, the spiritual successor to Dark Heresy, the very first fully realised roleplaying game to be set within the Warhammer 40,000 milieu and published in 2008, the very first roleplaying game that Games Workshop had published in two decades. Warhammer 40,000 Roleplay: Imperium Maledictum is published by Cubicle 7 Entertainment and now it has its own introduction to the setting in the form of the Warhammer 40,000 Roleplay: Imperium Maledictum Starter Set. Given that this is from Cubicle 7 Entertainment, there is the likelihood that this is going to be a good product. After all, since the publication of the Warhammer Fantasy Roleplay Starter Set, the publisher has been releasing one good starter set after another. Which begs the question, what is a good starter set? Essentially, it has to provide everything that the Game Master and her players need to play a good scenario that showcases the nature of the setting and what the players and their characters do in the game, explains the rules, and provide content that can be played beyond the confines of the box.

Open the Warhammer 40,000 Roleplay: Imperium Maledictum Starter Set and the first thing that the reader sees is a set of nice percentile dice and a gatefold pamphlet that screams, “READ THIS FIRST!”. This starts with a broad overview of the setting, shows you what is in the box, what Imperium Maledictum and a roleplaying game are, how you get started and what you need to play, and where to go next once the contents of the box have been played through. In four pages, it provides the reader—both player and Game Master with a solid introduction to the setting. As an introduction to roleplaying games, it is more basic, so the reader might want to look elsewhere. Nevertheless, this does not mean that it does not do a good job. Below this are six Player Character sheets, again done as gatefold pamphlets. On the front they explain who the character is and why a player might choose to roleplay that character, gives the character some quotes that player could use in play, whilst inside the actual character sheet for the character is presented, along with a breakdown of the sheet alongside it and a list of the character’s goals, connections to the other characters, and secrets. Lastly on the back of the character sheet is a full-page illustration of the character. These pack a lot of information into their three pages—four including the illustration—but the layout never threatens to overwhelm the reader, keeping everything to hand whilst the focus remains on the character sheet at the centre. The six include a Zealot, a Penumbra (a stealthy assassin and infiltrator), an Interlocutor, a Psyker, a surgeon of the Adeptus Mechanicus, and a warrior.

In addition, the box also contains a set of tokens that include the Inquisitorial Seal, a prop that is used to indicate who has possession of it in the game, Character Portrait and Environmental Trait tokens for use on a map (there are no maps provided Warhammer 40,000 Roleplay: Imperium Maledictum Starter Set), Superiority Tokens to track the party’s Superiority, and Fate Tokens. There is a set of reference sheets that in turn explain the basic rules, combat, criticals and wounds, conditions and environmental hazards, factions and influence, Warp and Psykers, and trading and gear. These are done on sturdy cards and contain rules and background needed for each aspect of the game, and all together serving as the rules booklet in the set.

The meat of the Warhammer 40,000 Roleplay: Imperium Maledictum Starter Set consists of two books, ‘Adventure Book: The Blazing Seraph’ and ‘Rokarth: A Guide to the Hive’. The ‘Adventure Book: The Blazing Seraph’ provides a full investigation in the depths of Hive Rokarth where the Player Characters’ patron, Inquisitor Halikarn, assigns them to investigate the site of a purported miracle, Acid Refinery Delta-64, which has exploded, leaving behind a possible survivor. The Adeptus Ministorum is investigating to determine if this survivor is a saint. The Player Characters have three days to investigate, locate the survivor, and confirm whether or not he is actually a saint, or merely very lucky. Inquisitor Halikarn also provides them with the details of a contact who can help, but before he does that, the Player Characters will need to find and rescue him. This is an opportunity for the Game Master to show how the game system works and how combat works in it, and thus for the players to get used to both it and their characters. The investigation takes the Player Characters from the dank industrial confines of the hive deep into its bureaucracy and out again to the governor’s table and further into the foul, fetid bowels of the hive to confront heresy and corruption.

The adventure is designed to provide a learn as you play experience and it certainly does that in its opening steps. It is a relatively straightforward investigation, though with marked changes of pace as the Player Characters navigate the labyrinthine bureaucracies of the Hive Rokarth and particularly in the council with the governor they have to attend. This is probably the most difficult scene to run. In the later scenes the Player Characters descend into the depths of the Hive are quite detailed and require careful preparation that perhaps might have been easier with the inclusion of a map. One element that the Player Characters do need to take into account of, is the fact that their patron does not want to reveal his involvement in the investigation. He does give them an inquisitorial seal as a sign of his authority, but he is never happy with its use. Further, its use will attract the attention of those who are likely to take exception to Player Characters’ presence.

The second book, ‘Rokarth: A Guide to the Hive’, describes the setting for the adventure given in ‘Adventure Book: The Blazing Seraph’, the hive of Rokarth on the world of Voll. Surprisingly, it is only six centuries old, home to thirty billion souls who dedicate themselves through the Cult Imperialis to work that sees hive manufacture material and materiel for the Imperium of Man’s continuing war efforts. However, the facilities are being constantly corroded from without from Voll’s caustic environment and from within by the caustic waste product, as well as the corruption and criminal activity. The supplement provides details of the factions within the Hive Rokarth from House Castyx, the governing family on down. This includes the other noble Houses, the Adeptus Terra, which constitutes the vast bureaucracies and organisations that actually run the Imperium and to which every Player Character and their Patron is associated with, the guilds that hold monopolies on certain goods, and all the way down to the Infractionists, the gangs that control parts of the lower depths of the Hive, some of which have ties to the noble Houses. There are notes too on how commerce, the manufactorums, and how both the open and black markets work, noting that there is a silent trade in xeno artefacts smuggled into the Hive. There is a complete description of the hive from top to bottom, breaking it down from the Spire at the top down through the Upper Hive, Lower Hive, and into the Bowels & Beyond. All of these sections include a lengthy encounter table and descriptions of places and locations found there. Each of these locations is accompanied by a plot hook, and there are almost fifty of them! For example, the Player Characters might be asked by Sister Celestia of the Orders Hospitaller in the Upper Hive to move the last victim of the plague known as the Shivers so she can conduct further research; to find out for Lawrenca Parnam why her family secretly donates to the Cathedral of Obligatory Modesty—out of loyalty to the God Emperor or a shameful history; or either put down a gang war or broker a truce between in the wake of the events of the scenario in ‘Adventure Book: The Blazing Seraph’. Lastly, ‘Rokarth: A Guide to the Hive’ describes the presence and activities of the four Ruinous Powers and their cultists in the Hive. Of course, the plot hooks need development, but for the Game Master willing to make the effort, there is a lot to work with here.

Physically, Warhammer 40,000 Roleplay: Imperium Maledictum Starter Set is very well presented. The artwork is good and the books are well written. The inside of the box is illustrated with a map of the Marcharius Sector, whilst the inside of the box cover shows an image of Hive Rokarth, though it is not very clear.
There is a lot to like about the Warhammer 40,000 Roleplay: Imperium Maledictum Starter Set—the production values, a meaty scenario, and the combination of setting and extra plot hooks, but it is not quite as good as the earlier Warhammer Fantasy Roleplay Starter Set. This is because it does not have the extended content, the mini campaign that is further supported with content in Ubersreik Adventures: Six Grim and Perilous Scenarios in the Duchy of Ubersreik and its sequels, instead giving the Game Master numerous plot hooks that do require development. What Warhammer 40,000 Roleplay: Imperium Maledictum Starter Set very obviously does provide is something that the Warhammer 40,000 Roleplay: Imperium Maledictum rulebook does not and that is a ready-to-play scenario. Hopefully, Cubicle 7 Entertainment will develop scenarios for the Marcharius Sector from this starter set in the same fashion as the Ubersreik Adventures.

Warhammer 40,000 Roleplay: Imperium Maledictum Starter Set is another good starter set from Cubicle 7 Entertainment, providing the Game Master and her players with everything necessary to start playing and learning the rules, along with a dark investigation into heresy and corruption.

Twilight 2000: Roleplaying in the World War III That Never Was opens with the Player Characters on the run, attempting to escape the last hurrah of the US 5th Mechanized Infantry Division near the city of Kalisz in central Poland or the 2nd Marine Division near the central city of Örebro in Sweden. Where do they go? Where do they find shelter? Where do they find food and water? Spare parts for their vehicles? Extra ammunition for their weapons? Published by Free League Publishing, Twilight 2000 presents an expansive sandbox setting that the Player Characters can explore, forage, loot, protect, and even settle. A sandbox setting consisting of a broken world, torn apart and poisoned by war and weapons of mass destruction, followed by disease and starvation. In the immediacy of the aftermath of the war, it is a grim setting where every day is a struggle to survive at best, a fight at worst. Urban Operations is the first supplement for Twilight 2000: Roleplaying in the World War III That Never Was, examining the status of cities and other settlements in the broken world of 2000, presents new rules and expanded details for playing within their confines, and provides encounters, plots, factions, and scenario sites that the Game Master can add to her campaign. Lastly, Urban Operations presents two ready to play urban centres that can form the basis of urban-centred campaigns and potential destinations for the Player Characters. As with the first edition of Twilight 2000 from 1984 and the supplement, The Free City of Krakow, one of these is the city of Kraków in southern Poland, whilst the other is the town of Karlsborg, to go with the new alternative setting of Sweden as presented in Twilight 2000: Roleplaying in the World War III That Never Was.

Urban Operations comes as a boxed set that contains a ninety-six page book, sixteen Encounter Cards, fourteen modular battle maps—ten for urban environments and four for close quarters combat, four scenario site battle maps with two being for close combat quarters, fifty-four battle map tokens, and two double-sided maps. One of the double-sided maps is a city travel map for example city of Kraków in Poland and the example town of Karlsborg in Sweden, whilst the other is a battle map for Wawel castle in Kraków and a battle map for Karlsborg Fortress in Karlsborg. Everything is done in full colour and most of the maps are marked in hexes, whilst the close quarters combat maps are marked sectors. In turn they depict a large housing complex, a church, a nuclear power plant, a bunker, an industrial site, a housing estate, a hospital, a park, even a housing complex where a passenger airliner has crashed, and more. These are ready to be used in the game, the Game Master needing only to add the details of what might be found at each location. The maps also work well with those found in the box for the core rules.

The ‘Urban Operations’ book opens with a discussion of what the Player Characters might find in a town or city. What it emphasises, of course, is the differences between the now of after the war and what it was like before. So, law and order varying from town to city—even devolving on anarchy, but now always at the point of a gun; bartering has replaced currency, whilst in organised towns and cities, citizens sometimes have ration cards and may have to give up their labour in return for this, sometimes willingly, sometimes not; transportation options are extremely limited; politics continues, but is more individualistic, often feudal in nature, the consensus of party politics having been destroyed in the war; and the infrastructure has been broken, so no power, no running water, and so on. Lastly, the survivors are traumatised, damaged by the loss of friends and family and the society that they once knew. Some cities remain uninhabited, too damaged by the weapons of mass destruction deployed in the war. This presents a good overview and introduction to the situations that might be found in the major settlements in post-war Europe, suggesting a variety of different circumstances that the Game Master can use to make places different in her campaign.

New archetypes in Urban Operations include the Cop and the Criminal. Both are roles that can be created using the rules in Twilight 2000, but the archetypes enable the Game Master to create an NPC or the player a character quickly and easily without going through the full character creation process. The other new rules cover fog of war, city movement such as hugging walls, spotting shooters, breaching buildings and blocked hexes, and close quarters combat. These build on the wargaming aspect of Twilight 2000 and play out as a hex (or sector) and counter game. The rules are nicely supported by a decent set of examples. Similarly, the rules for city travel, which is harder than rural travel, are supported by decent examples. As well as the sixteen new encounters, Urban Operations adds Areas of Controls to indicate if a city hex is under the control of a specific faction, primarily replacing the military or marauder encounters with the local faction, whilst the actual encounters burning buildings, robberies, finding a spy dying in an ally, encountering the ‘Baker Street Irregulars’ gang of street kids, a pop-up market, and more. Other encounter tables cover situations when the Player Characters are stationary, radio chatter, and rumours. Four factions are described, three of which can be used in Sweden and three of which can be used in Poland. Each is given a plot and some notes, as well as a detailed description that includes goals and forces under its control. The Free Polish 6th Brigade is the one that can only be used in Poland, specifically tied in with the city of Kraków (though it could be used as a template for other local military forces in Poland), whilst the Life Regiment Hussars is the Swedish faction tied to the town of Karlsborg. The two factions that can used in both countries are the World Health Organisation and the Vorovskoy Mir, or ‘thieves’ world’. These two are also given two interesting NPCs as well.

The four factions are each tied into one or more of the plots described in the book. These are intended to provide a storyline that the Game Master can tie factions and encounters together rather than serve as a full adventure. To help this, each has a countdown of events and notes as to what factions and what sites—or rather maps—might be involved. The plots include a search by a group of fanatics for the lost and holy Spear of Longinus and the race to stop a new plague spreading in the face of desperate and brutal measures being used by the World Health Organisation (its staff in the post-apocalypse have mercenaries). Some are specifically tied to the locations described in the book’s appendices, such as getting involved in a mayoral election in Kraków or stopping a KGB power play in Karlsborg. The biggest plot is ‘OPERATION Reset’, which suggests that there were other aims than just military ones in this operation, which was to obtain secret Soviet technology. Only part of the whole plot is explained and available to play through here—the next part will play out in the supplement, Hostile Waters. Thus, ‘OPERATION Reset’ provides the beginning of an overarching espionage campaign that will carry over into several modules for Twilight 2000 and involve the CIA, DIA, KGB, and GRU at each other’s throats and the Player Characters caught in the middle.

The four scenario sites consist of a housing block where two gangs vie for access to the local resources and turf with the Vorovskoy Mir in between; a church whose flock looks to its faith for answers, but wonders if God failed to protect from the war or used it to punish them, whilst not every member of the clergy is honest; a nuclear power plant that is still operational, but are threatened by marauders and the staff believe it has a traitor amongst its midst; and a bunker, no longer a place of war or survival, but turned into a nightclub that offers many locals a few hours escape drinking and dancing, whilst behind the scenes is the target for a turf war. All four come with an explanation of the situation, rumours to fling about, a countdown of events, a description of the various locations within the site, and full descriptions of the major NPCs involved. Like the plots, these are not full ready-to-play scenarios, but rather storylines that can play out as the Player Characters get involved in them. They are all very nicely detailed, they all have their own scenario maps, and they can all be used in either setting for Twilight 2000—Poland or Sweden, Kraków or Karlsborg. Then again, like much of Urban Operations, they can be used in the city or town of the Game Master’s choice.

The last section in Urban Operations consists of a pair of appendices. These in turn, detail Kraków in Poland and Karlsborg in Sweden, after the events of the Twilight War. The descriptions begin with what the Player Characters might see on arrival before going on to give the history of the population centre, its current status, a handful of rumours, descriptions of its neighbourhoods, and its major NPCs. Kraków describes itself as the only ‘free city’ in Poland, a democracy on the verge of a new election in the face of an extremist political faction, a centre of commerce sat on the Vistula River which manufactures ammunition and various devices to trade for food whilst the Vorovskoy Mir smuggles in everything else, and the holder of one ace—a working Mil Mi-24 Hind helicopter, though fuel supplies are limited. At the heart of Karlsborg is the Karlsborg Fortress, back in control of Swedish forces and possibly the seat of the Swedish king, the town under the protection of a military which has very limited means to extend that protection, especially as more and more refugees arrive, and marauders control much of the surrounding area. Of the two, the description of the situation in Kraków is richer and deeper than that of Karlsborg, though this is understandable given that the authors had a previous work, The Free City of Krakow for the first edition of Twilight 2000, to draw from.

Physically, Urban Operations is very well presented. Everything is in full colour, the artwork is excellent, and the maps are clear and easy to use.

As much as Urban Operations provides further rules to run Twilight 2000 within the confines of the damaged and destroyed cities and towns of the aftermath of the Twilight War, what it really is, is a toolkit for the Game Master to run a series of plots in a variety of different locations in her own campaign, ideally in Kraków or Karlsborg. Each of the plots has its own scenario location and together they can easily be inserted into an ongoing campaign in whatever town or city the Game Master is using, or they can be run in one settlement after another as the Player Characters travel from one town or city or another. Either way, they offer several months’ worth of play as the Player Characters travel, get involved, survive, and build or move on. Lastly, Urban Operations does include the start of ‘OPERATION Reset’, a plot that will run through the next series of releases for Twilight 2000, so that there is an ongoing connection from one to the next. Overall, Urban Operations is an excellent expansion for Twilight 2000, providing the hooks and means to pull the Player Characters into the world around them, interact with the survivors, explore the consequences of a nuclear conflict, and hopefully make the world a better place.

As the world slides towards its seemingly inevitable end, there are those who desperately search for ways to stop its collapse—or at least forestall its ongoing effects, if only not to be the last king, the monarch whose reign would be the ultimate in failure. King Fathmu IX searches for ways in which his realm can be maintained rather than lost and now his eyeless scryers say they have seen traces of Verhu in the catacombs beneath the ruined Hangman’s Church, deep in the Valley of the Unfortunate Undead. Are these visions one more sign of the impending apocalypse or does Verhu’s chapel hide secrets that will enable the kingdom to survive? King Fathmu IX sends the worst of his servants to find out—his crypt breakers. They are given a map and a simple mission. Traverse the ruined paths and lands of the Valley of the Unfortunate Undead, gain entry to the ruins of The Chapel of the Hanged God and descend into the tunnels below, survey their extents, and take what they can, before reporting back to the capital with what information and evidence they can find.

This is the set-up for The Chapel of the Hanged God. This is a pointcrawl and dungeon adventure published by Loot the Room for use with Mörk Borg, the Swedish pre-apocalypse Old School Renaissance style roleplaying game designed by Ockult Örtmästare Games and Stockholm Kartell and published by Free League Publishing. This is a classic scenario for Mörk Borg, packed with its trademark mix of misery, weirdness, and horror. So much so of the latter that it carries a well-deserved content warning for suicide, self-harm, cannibalism, mind control, and more. Make no mistake, The Chapel of the Hanged God contains strong themes, suicide especially, so the warnings are necessary.

In terms of content, The Chapel of the Hanged God is a pointcrawl consisting of eight locations, one of the actual Chapel of the Hanged God. These are connected by a series paths, some known, some hidden, the hidden ones have to be found, but consist of shorter routes. All of the routes, whether hidden or not, shift and change, so that sometimes the journey along them is shorter, other times longer. This is handled by rolling a number of dice to determine how many ‘watches’ it takes to traverse along any one path. Each day consists of six four-hour watches, two of which can be spent travelling, two exploring or foraging, and two resting. So, it might take as little as two watches, or two days, for the Player Characters to make their way along a path, but on another attempt, it might take twenty-four watches, or twelve days.

Similarly, the various locations take a varying number of watches to cross. Seven of these are given a two-page spread, with an illustration on the left hand page and the description, along with a random encounter table on the right hand page. They include ‘The Wetlands’ where those who shamed themselves in service to King Fathmu IX and have been consigned to a pit of black filth which they wade across on stilts trawling the rot and the ordure for treasures that will enable them to return the king’s service; a maze of shifting walls, filled with writhing fat worms, faces leering out of the walls, and beset by torrential rains, as guards stand on the walls to stop the shambling dead and prisoners from escaping, and the Player Characters can search for treasures or a way out; and a Hermit’s Hut, wrapped in thick chains and with thick black smoke and heavy ash pouring from its chimney, whilst inside the hermit is bound and melded to the floor by thorny roots, his mouth the source of both the black smoke and heavy ash, and prophecies of dubious quality.

Eventually, the Player Characters will find their way to the ruins of the Chapel of the Hanged God. Inside is a dead man who speaks with one of three voices, making promises and attempting to persuade them that they can help the Player Characters. Of course, these are all lies and each voice is actually a demon trapped in the corpse. Below lies an ancient crypt dedicated to the Hanged God, full of looters and profane writings and dedications, but long abandoned bar one twisted servant who awaits the return of the Hanged God. There are worse things to be found though, including a gospel of the Hanged God that if read may enrapture a Player Character, proselytise him to worship the Hanged God, and even emulate the Hanged God and string himself up (this is where the content warning is required and the book actually repeats it here again to enforce the point). The ultimate secret below the Chapel of the Hanged God is the existence of the Book of the Hanged God. This vile tome is made from the skin of the god’s last priest, but is not yet complete and at least one of the Player Characters could be driven to follow the directions marked on a number of maps created via foul means—a combination of swallowing a ball of human skin, auto asphyxiation, and vomiting—each of which leads to the location of missing pages from the book. Once the book is complete it creates a book akin to one of the four described in IKHON, each of which provides numerous benefits, but at a cost in terms of sacrifices necessary and potential aftereffects. Although the Player Characters do carry a map marked with routes to the Chapel of the Hanged God, once there, it begins to change and push the owner to seek the catacomb where the Book of the Hanged God is kept, almost as if it wanted to be united with it…

Physically, The Chapel of the Hanged God embraces the neon bright colours of the artpunk style of Mörk Borg, but not the actual style. Thus, the colours are big and bold, and so is the layout with the map of the Valley of the Unfortunate Undead. The cartography, big and blocky, is serviceable at best. Despite the artwork being somewhat better than the cartography, the book does look most basic in several places.

The Chapel of the Hanged God can be run as a one-shot, the Player Characters essentially stumbling upon a map to the Valley of the Unfortunate Undead, but it works better as a scenario in which they in service—willingly or not—of King Fathmu IX and so are driven to search the loathsome, often repulsive confines of the Valley of the Unfortunate Undead to find clues and secrets that might hold back the apocalypse that everyone knows is coming. This is a journey into revulsion and perhaps the only thing driving the Player Characters onwards is the knowledge that they might find something to give them hope in the Chapel of the Hanged God, though this being a scenario for Mörk Borg, they may find something, but it may not be what they, or anyone, is really looking for.

Photo stolen from a demon.

Hello you wonderful people, monsters and other dungeon crawlers.  I am back from my long absence. 

Around three years ago, I was diagnosed with life changing health issues.  Issues for which medical science has no effective treatments.  So, my priorities changed and I went on a personal journey of exploration to find alternative treatments and solutions.  My path turned a bit dark and eventually drew the attention of law enforcement resulting in a host of criminal charges.  My trial was an absolute circus with the prosecution recklessly tossing around terms like "atrocity" and "ritual sacrifice."  I fought the good fight in court but the deck was stacked against me.  The final result was my sad, and untimely, execution by the State.

Fortunately, my younger brother has a real talent for unspeakable acts of necromancy.  This past solstice he pulled me back from my convalescence in the grave.  Sure, I had to give him back his soul and his spell makes me cluck like a chicken whenever he says the word "burrito," but that is a small price to pay for a new lease on life.  I do mean lease as I must pay the rent every equinox and solstice from now on and eat a very restricted diet, if you know what I mean.  At least I was able to get a lot of work done while in the dirt and I will now be able to get back to regular weekly posts for the next several months.  I have a lot of new figures to catch up with.  I hope you will all enjoy. 

 I made a few new choices about some of the features here on Ye Ole' Other Side blog today. Well...I have been planning these for a bit, but this morning over what has appeared to be one too many cups of coffee the ideas finally jelled.

I have been calling 2025 The Year of Fantasy RPGs, and this is going to continue. One of the ideas I had for this year was to do the April A to Z of Fantasy RPGs. I have a bunch ready to go, but only three written. To provide a full and proper review for a post like what I want takes a lot of reading and about a week's worth of writing here and there. So, it's not really something I want to cram into a month for 26 different games.

My goal was also to find games people could play that could, in a sense, replace D&D on their tables for a bit. Like I have said, I love D&D, and I likely always will, but there are a lot of games out there that are equally deserving of our attention. I can't do that in the way I want by only focusing on a bunch of games for a month.

Also, I have, for a while now, been pretty sour on the idea of supporting others' Kickstarters with my "Kickstart Your Weekend" feature. I mean honestly to be rather blunt about it. I spent a lot of time letting people know about Kickstarters, only to watch the ones I was part of creating not hit the levels I wanted. Selfish? Maybe. Pissy? Certainly. But I have to support the home team more. Yeah, I am still reviewing other people's games, but that feels different to me. 

All these combined have led me to my new feature, Fantasy Fridays. Each Friday over the rest of this year I will try to cover a Fantasy RPG in detail. I love reading these and making new characters so this could be a lot of fun. I would allow myself a little more flexibility regarding "fantasy" too. In June, I like to talk about Sci-Fi games, so this would be perfect for a Sci-Fi Fantasy game. I have a few others that are not 100% pure fantasy, but still would work fine.

I am still trying to clean up and publish all these works in progress I have collected over the years, so that will also continue (new one on Monday!). 

Since it first appeared in 2019, Old School Essentials has proven to be a very popular choice of roleplaying game when it comes to the Old School Renaissance. Published by Necrotic Gnome Productions, it is based on the 1981 revision of Basic Dungeons & Dragons by Tom Moldvay and its accompanying Expert Set by Dave Cook and Steve Marsh, and presents a very accessible, very well designed, and superbly presented reimplementation of the rules. There is plenty of support for Old School Essentials from third-party publishers, but Necrotic Gnome also publishes its own support, including scenarios such as Halls of the Blood King, The Isle of the Plangent Mage, The Incandescent Grottoes, and The Hole in the Oak. These are full length, detailed adventures and dungeons, but for the Game Master looking for shorter scenarios from the publisher, there are two options. These are Old-School Essentials Adventure Anthology 1 and Old-School Essentials Adventure Anthology 2. Each contains four adventures of varying difficulty and Level, with many of them being very easy for the Game Master to insert into her own campaign, and working well with Old School Essentials Classic Fantasy and Old School Essentials Advanced Fantasy.

Old-School Essentials Adventure Anthology 1 contains four adventures by noted contributors to the Old School Renaissance. The first three consist of dungeons designed for Player Characters ranging from First to Third Level, whilst the fourth is that rare creation, a high-Level adventure for Old School Essentials, in this case, Ninth Level. It is also different in that it is a hexcrawl adventure and not a dungeon, and it takes the Player Characters somewhere surprisingly odd. This means that in comparison to the other three adventures, it is not quite as easy to add to a campaign. The first two adventures require an urban environment.
The anthology opens with ‘The Jeweler’s Sanctum’ by Giuseppe Rotondo. It is designed for Player Characters of First to Third Level and opens with them being hired to investigate the secret workshop of a long-dead jeweller-magician by his grandson who has been worried by the strange emanating from the complex. He cannot pay, but he will let them take whatever treasure they find as recompense. It actually has multiple sources of noise that the Player Characters have to deal with in their exploration of the workshop. The complex has the rundown feel of somewhere abandoned for decades and despite consisting of just seventeen locations, it has lots of detail and lots of things for the Player Characters to look at and examine. There are some interesting and inventive magical items to be found in the process, like the Glove Of Curse Detection, which detects cursed rings and several items which aid magical research. In the long term, these are very powerful items for any Wizard in the party. Another nice touch is that there are no active threats in dungeon, although there are plenty of dangers. The Player Characters will often be able to make plenty of progress through talking rather than rushing into danger.

It is followed by Glynn Seal’s rather unpleasant ‘Curse of the Maggot God’. Designed for Player Characters of Second and Third Level. This is a sewer crawl, slightly linear in nature—especially if the Player Characters follow the drag marks—which begins with the Player Characters being hired by the Guild of Sewermen to enter a recently opened up set of tunnels and rescue a guildsman who has been lost inside. Inside, they find the cellars, all that remains of an ancient villa, almost Roman in style, occupied by the worshippers of a vile creature they believe to be a god. Rot and decay permeate the whole of the complex, and whilst there is treasure to be found, it is either distasteful or requires rooting around in muck to find it. This is more of an extended encounter than a full scenario and probably the easiest to add to a campaign, though in comparison to the other adventures feels sparse and even underwritten.

Brad Kerr’s ‘The Sunbathers’ is for Third Level Player Characters. If ‘Curse of the Maggot God’ had a slightly Roman feel with its cellar of a villa setting, then ‘The Sunbathers’ is more of a Greek island with a temple and strange cult which has harpies in oversized cloaks as orderlies! The Player Characters are hired to travel to Fos Imeras Island, famous for its healing, perhaps because nothing has been heard from the island in quite some time or because the champion Orsilochus has vanished and was known to be heading there. Once ashore, the Player Characters find men and women blissfully and all but mindlessly sunbathing on the island’s beaches whilst tended to by white-frocked attendants, whilst inside they will find patients catatonic, mindlessly playing instruments, violently playing with children’s toys, and the like. The island then, has been turned into a sanatorium for the insane, its patients and staff a contrasting mix of the silent and the savage, with the staff also accompanied by their lion protectors. If there is downside to the scenario it is that the fate of the former staff is never explored and neither are what happens after the Player Characters visit. Nevertheless, the situation is creepy and unsettling, not unlike a scenario for Call of Cthulhu, ‘The Sunbathers’ being a very quiet horror scenario.

The fourth and last entry in Old-School Essentials Adventure Anthology 1 is as different from the first three as it is possible to be. ‘The Comet that Time Forgot’ is a mini-hexcrawl for Player Characters of Ninth Level by D. M. Wilson and Sarah Brunt. As the title suggests this is a ‘lost world’ style adventure a la Edgar Rice Burroughs or Sir Arthur Conan Doyle, but also X1 Isle of Dread, but one set on a comet travelling through space. The comet is actually an ark for dying world, comprised of icy mountains and forests at one end, volcano strewn deserts and mountains at the other, with mountains, jungle, and swamp in between. Numerous species live on the comet, including Fire Giants and Ice Giants, Red Dragons and White Dragons, dinosaurs of all types, Neanderthals, White Apes, and more. Thousands of years have passed since their ancestors left their home world and they have long forgotten that they are searching for a new one.
When they arrive via the Portal of Time and Space—the only way off the comet—the Player Characters encounter the Neanderthals in their metropolis of ice and grey stone and discover that they have tasks that perhaps the Player Characters can fulfil. One is to cleanse the Neanderthals’ ancient Necropolis of the White Dragons that have taken up residence there and the other is to rescue the Neanderthals’ leader’s daughter being held prisoner by the Fire Giants. However, when the Player Characters go to the lands of the Fire Giants at the other end of the comet, they learn that the Fire Giants are also having a problem with Red Dragons. There are various different factions across the three zones on the comet, but all of them have similar quests, such as having deal with dangerous beast of some kind, rescuing one of their number held prisoner by another faction, and so on. Consequently, there is a degree of circularity—and similarity—in the way in which the various factions and their quests connect to each other.

The scenario can be played out in a leisurely pace, or the Game Master can add a degree of urgency by having the comet be in imminent danger of collapse. Similarly, the Player Characters can follow the quests or simply explore the comet in true hexcrawl fashion, or more likely, a combination of the two. Ultimately, the primary aim of the Player Characters is to get off the comet via the Portal of Time and Space, but in the process they will change the societies on the comet, so the Game Master had best be prepared for that. Overall, ‘The Comet that Time Forgot’ packs a lot of adventure into its pages, enabling the Player Characters to explore a whole world in a few sessions.

Physically, the Old-School Essentials Adventure Anthology 1 is very cleanly and tidily laid out and organised as you would expect for a title for Old-School Essentials. Notably, the content is split between columns of content and almost sidebars where the monster and NPC stats are highlighted in coloured boxes. Colour is used to spot effect throughout, whilst the maps are excellent. The full colour artwork is also good.

The Old-School Essentials Adventure Anthology 1 contains four good adventures, three of which—the first three—the Game Master is most likely to use as they are for low Level Player Characters and the easiest to use. Of the four, the very first, ‘The Jeweler’s Sanctum’ is the best, full of detail and flavour and with an emphasis on exploration and interaction rather than combat, whilst the third, ‘The Sunbathers’ is quietly creepy and unsettling.

At each equinox, mythical creatures gather in the magical forest to compete to be the ones to have their tales recorded in the Legendary Story Book and remembered in times to come. Only three will survive to have their stories written down, so the competition is fierce as they confront each other with their magical powers, but they only have one night to prove themselves worthy. This is the set-up for Equinox, a betting and bluffing, card placement game designed by Reiner Knizia, one of the board game hobby’s most prolific creators. That said, Equinox is more of a reimplantation of a reimplantation than a new design, though one which has been given a very attractive retheming. Mechanically, if not thematically, it is a redesign of Colossal Arena, published by Avalon Hill in 1997, which was itself a redesign of Grand National, published by Piatnik in 1996. So, the game has a bit of a history. Equinox itself, was published by Plan B Games, best known for titles such as Century Spice Road and Azul. It is designed to be played by between two and five players, aged ten and up, and can be played through in thirty minutes.

The very first thing that you are going to notice about Equinox is the quality of the components. The cards are large—2¾ by 4¾ inches—and the artwork is superb. The game’s stones, done in pastel colours, add a pleasing tactile feel and heft to the game, and the game even comes with nice little bags to store them in. (To be honest, this is the only thing the bags do, so they do feel superfluous.)

Equinox consists of one-hundred-and-ninety-nine cards, five cloth bags, and twenty-five stones. The cards break down in fourteen Champion cards, one-hundred-and-fifty-four Creature cards, eleven Chameleon cards, three Tree cards, six Row cards, and eleven Disappearance cards. The Champion cards represent the entrants in the competition, and consist of various animals and creatures, such as Squeak (mouse), Stag, Hoot (owl), Ursus (bear), Goatman, and so on. Each Champion has corresponding set of eleven cards in the one-hundred-and-fifty-four Creature cards, numbered from zero to ten. Each creature has a special ability, which is marked on their cards. The Chameleon cards are also numbered from zero to eleven, but do not have a corresponding Champion card. The Row cards, from zero to five, indicate the current round of the game. Their number also indicates the number of Prestige Points they will award the players who placed bets on the surviving Champions. The Disappearance cards are used to identify the creatures who have been eliminated from the game. The stones are used to indicate the players’ bets, each player being able to place a single bet per round.

Each round, the players will take it in turns to play Creature cards on the spaces in the current row underneath their Champion cards and place bets on the cards. A player can also reveal a secret bet made at the start of the game to gain control of a Champion, which allows him to trigger its special ability. At the end of each round, one Champion will be eliminated, so that by the end of the game, only three will have survived. The player who has earned the most Prestige Points from the bets he has placed on the surviving Champion is the winner. Bids placed earlier in the game are worth more than those placed later in the game.
Set-up is simple enough. Each player takes one set of stones and eight Champion cards are selected, either randomly or by choice. The six Row cards are laid out in a column, from zero at the top to five at the bottom. The selected Champion cards are laid out in a line in the top or row zero. They will be the Champions that the players will be betting on over the course of the five rounds. With fourteen Champions to choose from and only eight being used each time, Equinox offers a decent degree of replay value as it means different special abilities to try and activate over the course of the game. The Creature cards corresponding to the chosen Champion cards, the Chameleon cards, and the Tree cards are shuffled to form a single deck. Players then draw a hand of eight cards from this deck.

On each round, the players are playing cards and betting on the one row. A player’s turn has five phases. In the first, the player makes or reveals a prediction. In the first round, this can be an open prediction or a secret prediction, but can only be an open prediction in later rounds. A secret prediction is made on a Creature card from the player’s hand that he hopes will survive until the end of the game. It is placed face in front of him with a stone on top of it. If that Champion does survive to the end of the game, it is worth extra Prestige Points. An open prediction can be placed on a space or a card under a Champion in play, and once placed, no further predictions can be placed under that Champion in that row.

A player can also reveal his secret prediction. This can help him gain control of that Champion, though it means that the other players are more likely to try and eliminate that Champion.

A player can play one of three cards—A Creature card, a Chameleon card, or a Tree Card. A Creature card is placed in the row under the corresponding Champion and it can be played on top of another card. This will alter the strength of combined cards under the Champion, which is important in determining control if a Secret Bid is revealed, and it can activate a Special Ability if the player has control. A Chameleon card can be played on any space in a row and prevents the activation of any Special Ability if played, even if another Creature card is played. A Tree card is not played onto a row, but either forces the other players to reveal if they have made a secret prediction on a particular Champion or allows a player to take a previously played and visible card from any row.

The Special Abilities include drawing three cards for Squeak, retrieving a previously placed stone from any column—including for an eliminated Champion—for the Stag, and play a second card for the Twinz. There are a lot of Special Abilities and some of them are more useful than others.

Lastly, a player can discard cards from his hand, useful if he has cards in his hand for eliminated Champions, and draws back up. If all of the spaces in a row have been filled and one Creature card has the lowest value, its Champion is eliminated and the round ends, otherwise play continues until this happens. The game itself will end when either a Champion is eliminated on the fifth and final round or the deck is emptied.
Equinox is a game of betting and elimination and hoping that the Champion you are betting on is not going to be eliminated. When the Champion player is betting on is eliminated, it is likely to be devastating, because with it goes those bets and the possibility of Prestige Points and victory. It can lead to a player being knocked out of the game early because he cannot necessarily make up for the lost bets, so a player needs to be careful and not signal to the other players which Champion he is backing. Placing a Secret Bet at the start of the game can help with that as can taking control of a Champion if that Secret Bet has been revealed. Taking control of a Champion means that a player can potentially use the Special Ability for that Champion and with the right Special Ability it can give the player an advantage and even a way to counter the losses of backing an eliminated Champion.

However, once a Secret Bet and a potential player’s control of the Champion is revealed, it makes that Champion a target for the other players to eliminate. Also, not all of the Special Abilities are very useful. Further, if no Secret Bets are revealed, none of the Special Abilities will come into play. The likelihood is that only one or two Secret Bets are revealed and so equally, relatively few Special Abilities come into play. The difficulty with that is twofold. One is that sheer number of Special Abilities adds complexity because the players need to know what they are and what they do, despite coming into play infrequently. The other is that their use is an exception, meaning that the players have to look it up in the rules. (And even looking it up in the rules can signal to the other players that a player is about to do something.) It feels as if there should be a way of using the Special Abilities without having to reveal a Secret Bet.

Physically, Equinox is a gorgeous looking game. The artwork really is exquisite. The rulebook is easy to read and contains some good examples of play and scoring. There is an absolutely necessary guide to the Special Abilities on the back of the rulebook, though one per player would have been more useful. That said, the large cards mean that the game takes up a lot of space on the table and the bags, whilst nice, are a frippery too far.

Equinox is a great looking game and it is easy to see it origins as a horse betting game in which the players get to bet on the horses as they run the race and are left behind, one after the other (but hopefully not eliminated). Here though, beyond the core game play of placing bets and cards, it feels overdone in terms of its Special Abilities, that whilst seeming to add replay value, figure surprisingly infrequently during actual play and this makes them harder to teach and thus the game harder to teach and not quite as casual as it wants to be. Equinox is a decent game that will appeal to veteran players looking for a fast-playing cutthroat game of secrecy and bets, whilst for the casual player, its harder edge is hidden by its fantastic looks.

A while back I picked up the classic RPG, Lands of Adventure. While it is fair to say the game is not great, there is something about it I can't quite put my finger on that I love. Is it the  Bill Willingham art? Is it Lee Gold's attention to historical detail, even when the details are wrong? Ok, to be fair, some these details may not have been "wrong" when she was writing. But she is certainly good at building an interesting world.

No. I don't know what it is, but given this is my year to try out more (and different) fantasy RPGs, I owe it at least to myself to try this game out.  It will not replace *D&D on anyone's table today. But for a moment, let me pretend it is 1983. I'll put on K-Tel's CHART ACTION '83 and work on some characters!

Character Creation

This is the most tedious process of this game, really. The rules for playing are largely pretty simple. However, I do admit that I am really in the mood for a complicated character-creation process today. 

For this I'll start with the Lands of Adventure core rules and make adaptations based on the Culture Packs I have. I will do my two favorite witches, Larina and Skylla, for Medieval England and Ancient Greece, respectively. If I had had the other proposed Culture Packs I would have tried something for them as well. 

The game has 11 (yes, eleven) primary stats, but of those, only four are purely random. The others are often the averages of the others with some more randomness added in.  You can roll the d20 or d10 as needed, OR you can allocate 110 + 2d10 points among the 11 characteristics. 

The minimum score is 1, and the max is 20. 

Piety is also important and has it's own means of calculation, but to get that, I'll need some skills for the characters. Skills can also increase other stats.

This game also has three different "Hit Point" pools; Energy Points (EP), Body Points (BP), and Life Points (LP). Damage affects them differently, but none should be 0.

Skills are a roll-under mechanic of percentages, with 5% (96-00) always as a fumble. To roll 10% under your skill is a maximum or flawless success. There are 10 Skill categories and their base scores are based on a Major Characteristic and Minor Characteristics. So for example MAG (Magic) is TAL (Talent)/2 and then squared + INT (Intelligence).  Unlike some games, height and weight have mechanical effects on how fast you can move and how much you can carry respectively.

You have as many skills as you do PRU, the max you can have in any skill area at the start of the game is 10% of the skill area score. Given that this are also not starting characters I will use the options for Prior Experience Points to buff up some skills and spells.

Spells are an odd mix to be honest. I am not sure what would be right to choose since I am not 100% certain of all the game effects. But I can say that the magic section does feel like it is bolted onto this system and there are bits of game-design bondo and duct-tape holding it together. Not that this can't be fun, AD&D did it for decades. 

For Larina and Skylla here, I am certainly aiming to give them a witch-like background. Turns out that is pretty easy to do with this game. The Ancient Greece Culture Pack has the Pelasgians who are characterized as worshipping a Maiden-Mother-Crone Moon Goddess from the belief that older civilizations were more Matriarchal than Patriarchal. Following in the same logic, or even from the same logic, in the Medieval England Culture Pack, Gold lists Margaret Murray's now discredited "The Witch-Cult in Western Europe" as part of the suggested reading. I say "discredited," but I still use the central thesis in my own game writing for my books. Hey. I am writing about witches, not an academic anthropological treatise.  Though given Gold's inclusion of Murray, I would also have gone with Jane Harrison for Ancient Greece and Jessie Weston for Medieval England for a trifecta of Late Victorian/Early 20th Century independent women scholars.

Makes my choice of witches to stat up for this game even more appropriate. 

Larina Nix

Species: Human
Gender: Female
Height: 5'4"
Weight: 125 lbs (light frame)

Culture/Religion: Medieval England/The Old Faith
Piety: 6

CRF (Craft): 12            DEX (Dexterity): 12
TAL (Talent): 18          VCE (Voice): 19
INT (Intelligence): 16  PRU (Prudence): 14
APP (Appearance): 18 AGY (Agility): 12
STR (Strength): 10       CON (Constitution): 10
CHA (Charisma): 19   

COM (Communication): 52%
KNW (Knowledge): 44%
MAG (Magic): 97%
MAN (Manipulation): 32%
MIR (Miracle Working): 99%
MOV (Movement): 28%
OBS (Observation): 36%
PER (Persuasion): 55%
Melee: 16%
Missile 26%

Local KNW: 144%
General KNW: 84%

Non-Combat Specialized Skills
Reporting Accurately (Com), Legend Lore (Knw), Medical/Herb Lore (Knw), Astronomy/Astrology (Knw), Languages Speak (Knw) (English, French, Celtic)

Specialized Spell Skills
Stop Behaviors (Compulsion) PL 5, 10x10, 5 rounds, 1, 200 ft.
Energy Shield (Energy) PL 3, 10x10, 5 rounds, 1, 10 ft.
Energy Bolt (Energy) PL 4, 10x10, 1 round, 1, 200 ft.
Enchantment (Enchantment) PL 6, 10x10, 30 min, 1, 10 ft.
Darkness (Illusion) PL 5, 30x30, 5 rounds, 1, 10 ft.

EP: 36
BP: 12
LP: 10

Weapons: Dagger, Staff

Armor: None
Shield: None

Free Load: 60lbs

--

Skylla

Species: Human
Gender: Female
Height: 5'4"
Weight: 130 lbs (average frame)

Culture/Religion: Ancient Greece/Moon Mother
Piety: 4

CRF (Craft): 12            DEX (Dexterity): 11
TAL (Talent): 16          VCE (Voice): 14
INT (Intelligence): 14  PRU (Prudence): 10
APP (Appearance): 14 AGY (Agility): 12
STR (Strength): 9        CON (Constitution): 10
CHA (Charisma): 17   

COM (Communication): 37%
KNW (Knowledge): 34%
MAG (Magic): 78%
MAN (Manipulation): 29%
MIR (Miracle Working): 80%
MOV (Movement): 23%
OBS (Observation): 36%
PER (Persuasion): 42%
Melee: 22%
Missile 24%

Local KNW: 134%
General KNW: 74%

Non-Combat Specialized Skills
Lying (Com), Legend Lore (Knw), Medical/Herb Lore (Knw) x2, Astronomy/Astrology (Knw), Languages Speak (Knw) (Greek, Egyptian)

Specialized Spell Skills
Stop Behaviors (Compulsion) PL 5, 10x10, 5 rounds, 1, 200 ft.
Energy Bolt (Energy) PL 4, 10x10, 1 round, 1, 200 ft.
Enchantment (Enchantment) PL 6, 10x10, 30 min, 1, 10 ft.

EP: 31
BP: 13
LP: 10

Weapons: Dagger, Staff

Armor: None
Shield: None

Free Load: 65lbs

--

Ok. There is a lot here and even more that I didn't do. These are better than starting characters, certainly, but not 100% reflective of stats for them I have posted in the past. For the Point Allocation method, Larina has 160 points (30 above max) and Skylla has 137 points (7 above max). 

Magic is an odd affair, mostly using the "Spells on the fly" method. I could explore it more IF I ever choose to play this game. But I have enough here for now.

A few interesting quirks. The Culture Packs give a lot more detail to the characters, BUT you should have them next to you when you develop the characters. Skylla, for example, ended up having the Goddess Athena in her maternal line and thus added to some of her stats. Not sure how a virgin goddess was able to do that, but ok. Skylla gained an extra Herbalism skill as well. Larina had a mystical encounter. Since I was recently re-reading her 4th Edition D&D stats, I am going to say she saw a unicorn when she was a little girl. 

This game is rich in atmosphere, but the system itself leaves a little to be desired. Maybe I am just used to simpler systems now or unified mechanics. I do admit I am still very happy I have this game and I will likely come back to it. 

 I almost forgot I had backed this! But this came in the mail yesterday.

I got the Public School Edition because, as always, I am a sucker for a book with a ribbon bookmark.

It came with a lot of stuff.

A lovely bunch of coconuts. But we already had our own!

There is so much here. I have no idea if I'll play this or not, but it is a very silly game.

I know my oldest is going to love it.

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. 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: William Bailey’s Haunted Mansion: A Call of Cthulhu AdventurePublisher: Chaosium, Inc.
Author David Waldron

Setting: Ballarat, 1890sProduct: One-shot
What You Get: Thirty-nine page, 6.66 MB PDFElevator Pitch: Unhappy is the man whose home is haunted.Plot Hook: If it isn’t a haunting, then what horrors have been lurking in the home of the town’s most notorious man?
Plot Support: Staging advice, four pre-generated Investigators, eight handouts, six NPCs, and two monsters.Production Values: Decent.
Pros# Scenario for Cthulhu by Gaslight# Investigation starts from the get-go# Historically based pre-generated Investigators# Straightforward investigation# Layout eases the investigation# Phasmophobia# Sugrophobia# Paranoia
Cons# Layout a little tight# Needs an edit
Conclusion# Neatly organised, straightforward, easy-to-run investigation# Decent one-shot for Cthulhu by Gaslight

 I want to pick back up my reviews of my collection of Forgotten Realms books, I also want to keep up my exploration of various monsters that have appeared in past versions of the *D&D game. With the lack of "playable humanoids" in the current Monster Manual, I returned to my collection and found a book that fits my needs.  While this means I am skipping over a couple of books in my chronological order, they are all connected to each other, so I can justify it. 

Of note, this is another book I obtained from the Grenda collection. So that is also a good reason to feature it. It can also stand-in as an entry to my "One Man's God" series. 

DMGR4 Monster Mythology (2e)

1992, by Carl Sargent. Art by John Lakey, Laura Lakey, Keith Parkinson, Terry Dykstra. Softcover, blue&white and full color art. 128 Pages.

This book was the fourth in the DMGR, or Dungeon Master's Guide Rules, series for AD&D 2nd edition. I did not purchase many of these when they were new. At this point, most, if not all, of my gaming money went to Ravenloft-themed products. 

This book covers, not monsters really, but their gods, demigods, and heroes. The format is simialr to that of new Legends & Lore book for 2nd Edition, and it would be a prequel of sorts to various Forgotten Realms "Faiths & Avatars" books, with Demihuman Deities being its direct descendant. 

Now to be fair, Monster Mythology is not a Realms book per se. A lot of what goes on in this book will later get adopted to the Realms. Author Carl Sargent, also know for his Greyhawk From the Ashes boxed set, makes many mentions of various Greyhawk secific gods. It seems that he felt these two products would work together. And they do, quite well in fact, but the Forgotten Realms are also explicitly mentioned. 

What does this book actually have in it?

There are gods for the Elves (including sea elves), Dwarves, Gnomes, and Halflings, specifically for the Forgotten Realms, though we have seen these before in one form or another. There are "Goblinoid Deities" of the orcs, goblins, bugbears, kobolds, and others.  

There are the Gods of the Underdark: For Drow, Underdark Dwarves, Illithids, Beholders, Myconids, and Deep Gnomes. 

Gods for the Giants, for other monsters, and many more are also mentioned. This includes the Elder Elemental God, aka the Elder Elemental Eye. This book does nothin to clear up that confusion, but that is fine. I like my gods messy. Case in point, the Demon Lord Juiblex is listed as a Lesser God here. Indeed, one man's god is another man's demon.

In addition to Juiblex, other demons are mentioned and get deity-level treatment. This includes Demogogn, Yeenoghu, Kostchtchie, Baphomet, and Lolth (naturally). Additionally, other "monsters" get god-like treatments, such as Bahamut and Tiamat. 

Vampires, liches, and even hags get gods. Though I am not sure I'd ever use them as gods and more as "powerful examples" of each type. 

It is an interesting mix, especially rereading it with 2025 eyes. Some gods were ported over from the various Gods of the Demihumans articles from Dragon magazine, and others from previous Realms-based books and earlier as well. The Underdark gets more detail. It's no surprise; the early 1990s were all about the Underdark and Drow in particular.

All gods get mentions of their Specialty Priests. So in general, this book has more value to the game than does the Legends & Lore book proper. 

A couple of thoughts, though, of my own.

I'm not sure what happens with the gods of the Kobolds as they became less "goblin" and more "dragon."  I am likely to say that these gods were once powerful kobold heroes that fell into a sort of ancestor worship. 

I also can't see the Illithids or the Beholders having gods. For the Illithids, I say that their two gods, Ilsensine and Maanzecorian, are not real beings but rather constructs of the Illithid shared mindscape, something akin to a Tulpa. The beholders, on the other hand, have their "Great Mother," who I say is not so much a divine figure, but actually the mother of all beholders. So in a way she is more akin to Vlaakith of the Githyanki. 

The book is flexible enough to be used in any campaign setting, and it mentions just about every campaign setting from that time. 

While the book has been superseded by newer AD&D 2nd Ed books in the Forgotten Realms and by shifts in the pantheons in different editions, this is still a solid book.

The details on specialty priests alone makes it worthwhile.  

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. 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 Silent CurePublisher: Chaosium, Inc.
Author: Andrew ‘Lunitar’ Babcock

Setting: Modern DayProduct: Scenario
What You Get: Twenty-six page, 2.69 MB Full Colour PDF
Elevator Pitch: Inhalation of the Body Snatchers
Plot Hook: What if the cure is the infection?Plot Support: Staging advice, six hundred NPCs (victims), and four Mythos monsters.Production Values: Spotty. Literally.
Pros# Classic invasion/infection paranoia scenario# Easy to adapt to any modern small town# Creepy atmosphere# Paranoia# Nosophobia# Sternutaphobia
Cons# Needs an edit# No maps or floorplans
# Could have been better organised
Conclusion# Invasion of the Body Snatchers meets Night of the Living Dead# “You don’t have to fight anymore. Just breathe.”

From the detective stories of Sir Arthur Conan Doyle to the ghost stories of M.R. James, from the adventure tales of H. Rider Haggard to the speculative fiction of H.G. Wells, and the social commentary and mystery of Charles Dickens to the fantasies of Lewis Carroll, from the so-called perversities of Oscar Wilde to the murders of Jack the Ripper, from the fog-shrouded streets of London to the dusty frontier of the Punjab, from the refined and mannered lives of the aristocracy with their downstairs servants to the squalor of the slums and rookeries, there is much that we know about the Victorian Age in the latter half of the nineteenth century. This is the period of La Belle Époque, the Golden Age between the Franco-Prussian War in 1871 and the outbreak of the Great War in 1914 when the great European powers dominated the world like never before, their rivalries and tensions affecting millions of people around the world, but barely at home, a situation that would drastically change in the twentieth century when the great alliances that had previously helped to keep the peace calamitously clashed and changed the world like never before. This is a world that will be familiar to many, though both history and fiction, and has been ripe for gaming since “The first ‘Truly British’ role playing game”, that is, Victorian Adventure published in 1983. It is a roleplaying game that William A. Barton certainly saw and reviewed and perhaps was influenced by when he wrote Cthulhu by Gaslight: Horror Roleplaying in 1890s England, published by Chaosium, Inc. in 1986. This boxed set shifted the horror of H.P. Lovecraft’s Cthulhu Mythos from the Jazz Age and the USA of the 1920s as presented in Call of Cthulhu in 1981 (and ever since) to the streets of London and the far reaches of the British Empire in the Mauve Decade. It has remained a popular setting for Call of Cthulhu over the years, the setting receiving two further editions in 1988 and 2012, but it returns with a fourth edition with the Cthulhu by Gaslight: Investigators’ Guide.

The Cthulhu by Gaslight: Investigators’ Guide – Mysteries & Frights in the Victorian Age returns the Mythos to the Mauve Decade of the 1890s as a standalone book. What this means is that neither of the Keeper Rulebook or the Investigator Handbook for Call of Cthulhu, Seventh Edition is required to run and play Cthulhu by Gaslight. It thus means that the book include both introductions to roleplaying and the Cthulhu Mythos, as well as a comprehensive summary of the rules in the first of its two appendices. The setting and rules are compatible with Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos for a more adventurous style of play and with Down Darker Trails: Terrors of the Mythos in the Old West, should a Keeper and her players want to escape the stuffy confines of London and the East Coast of the USA and venture onto the American frontier. It provides a grand overview of Victorian England, paying particular attention to London, but also going far beyond that, as well as looking at Victorian society and attitudes. It also includes a guide to creating Victorian-era Investigators and delves into the quirks and oddities of the period that make history so interesting and help make it come alive. What Cthulhu by Gaslight: Investigators’ Guide – Mysteries & Frights in the Victorian Age is not though, is a guide to the Mythos—its gods and greater beings, alien species and monsters, and its horribly human adherents. That is saved for the companion volume, Cthulhu by Gaslight: Keepers’ Guide, and the Keeper’s eyes only.

What is clear about the Cthulhu by Gaslight: Investigators’ Guide – Mysteries & Frights in the Victorian Age is the wealth of information it presents, more so than any of the three previous editions. And to no little extent, if the player or Keeper has read or used those previous editions, or indeed, has an interest in the history of the Victorian period, then they will find much that is familiar within its pages. There is a guide to Victorian social class, life in the city and the country—including in the infamous slums known as rookeries, politics including the radicalism of the Fabian Society and anarchism, the Royal Family, the nature of domestic service, religion, philanthropy, death and mourning, women and the law, the place of ethnic minorities, and sex and society. It also covers communications—Royal Mail, the telegraph, and the telephone, as well as crime, policing, and the underworld. Throughout, many of these subjects are accompanied by little timelines of their own that highlight the notable events that changed them, often laws passed by parliament to improve the lot of society.

Perhaps the biggest factor here and the one that will most obviously affect an Investigator is that of class. Obviously, it plays a major factor in almost every social situation and the expectations of the different classes do limit the ways in which a person of one class can interact with another and do so correctly without being seen to act improperly. What this means is that Investigators of all classes are required to access different social spaces. Thus, members of the middle and upper classes would look out of place in a working-class area or space and any working-class person found there would not necessarily be as readily forthcoming in answers to queries as if they were a member of their own class. There is also a general deference to the classes above you, but this does not mean attitudes between classes did not vary. Although campaigns can be run with the Investigators all coming from a single class or group, the nature of Victorian society begs the question, how Investigators of different Classes be seen together given its constraints? Here is where the Cthulhu by Gaslight: Investigators’ Guide begins to get that little bit more interesting. It suggests a number of ‘Multi-Class Set-Ups & Locations’ as possible set-ups, such as charities operating in working-class areas, music hall performances, racecourses, seaside resorts, and so on.

This is the first of three sections in the book that suggest ways in which Victorian society was not quite as straitlaced and corseted as we imagine. Evelyn De Morgan, the female artist who painted male nudes, Benjamin Disraeli, middle class and Jewish, who rose to become leader of the Conservative Party and Prime Minister—twice, and Lillie Langtry, notorious ‘adventuress’, actress, producer, and theatre manager and mistress to the Prince of Wales and advertising face of Pears Soap, are among the notable Victorians listed as having defied the expectations of their backgrounds and so could serve as possible inspirations for Investigators. Similarly, there is a lengthy section on LGBTQI+ Victorians which explores their lives during the period. Unfortunately, the outwardly prudish attitudes of Victorian society means that what we know of it is drawn from its various scandals and criminal prosecutions, although this is contrasted by some calls for acceptance. The third looks at the subject of Race and place of minorities in Victorian society, highlighting the lives and places they made for themselves in the empire. Together—and despite the social mores of the period—the exploration of these three subjects open up a wider choice of backgrounds for Investigators and wider possibilities in terms of scenarios and storytelling than the Gaslight era might otherwise suggest.

Investigator creation is as per Call of Cthulhu, Seventh Edition, but with a handful of changes. One of these is class, determined by Occupation, as for example, Acrobat and Labourer are working class Occupations, Clergy and Scientist are Middle Class Occupations, and Aristocrat is an upper-class Occupation. Others span the classes, for example, Police Officer is working to middle class and Physician is middle to upper. Some Occupations are particular to Cthulhu by Gaslight, like Inquiry Agent and the Consulting Detective, whilst some are adaptations taken from Call of Cthulhu Investigator Handbook, such as the Alienist which adapts the Psychologist. The Labourer and Criminal Occupations are further split into specialisations, including the Chimney Sweep and the Navvy for the Labourer and the Footpad and the Swindler for the Criminal. The Adventuress is an exception being upper class, but only temporarily. In addition, there are guidelines for creating Heroes rather than Investigators for use with Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos and there is also a list of Occupations from the Call of Cthulhu Investigator Handbook suitable for use with Cthulhu by Gaslight. There is also a good interpretation of skills in the period along with the addition of Alienism (similar to Psychology), Mesmerism (replaces Hypnotism), Reassure (similar to Psychiatry), and Religion. It is a very broad range of options across the three social classes.

Similar to Regency Cthulhu: Dark Designs in Jane Austen’s England, there are rules for Reputation and how to both damage and repair it in Cthulhu by Gaslight, but they are optional. Suggestions are also provided for several Investigator organisations, including the ‘Mainwaring Society for the Betterment of the Working Classes’, dedicated to self-improvement, the ‘Nonstandard Club’, a slightly dubious dining society for the middle and upper classes which gathers to regale each other with frightening or embarrassing stories, and ‘The Lorists’, a middle-class organisation dedicated to investigating and dealing with goblins, giants, faeries, and weird local customs.

The Cthulhu by Gaslight: Investigators’ Guide provides an extensive price list of equipment, devices, and weapons, including a handful of Pulp Cthulhu devices, essentially everything that an Investigator might want at home and abroad. Once fully kitted out, whether for a night out to the theatre or the music hall or a walking holiday in the Lake District or a boat trip up the Nile to visit the Pyramids, the rulebook takes us there too. The book is self-admittedly London centric, so it warrants a detailed chapter of its own, covering the capital’s districts, hospitals and asylums, places of entertainment, museums and libraries, railway stations, cemeteries, places to stay and shop, clubs, and clubs for ladies and gentlemen. In comparison, the treatment of the four countries that make up the United Kingdom feels brief by comparison and feel as if they need a supplement of their own. Of course, this is not the extent of the British realm during this period, so the British Empire is given a similar treatment. Again, this quite literally has a lot of ground to cover, but from Cyprus, Gibraltar, and Malta in the Mediterranean to Australia, New Zealand, and Fiji in the Pacific, there is a solid overview of the extent of the British Empire at the time. Alongside this, there is advice on the need for the Keeper and her players to discuss the degree to which colonialism and racism should be present in their game, whilst the subject of slavery is explored historically, but not addressed in the same fashion.

The Victorian Age was one of exploration and adventure, with constant news flowing back from the furthest corners of the then unknown world to the European explorer of discoveries made and places reached to fill column inches. British Investigators need not travel very far to gain some semblance of the strange and the exotic, whether it is attending lectures hosted by the numerous societies and clubs, like the Alpine Club and Royal Geographical Society (to which they could also belong) or simply embarking on the Grand Tour of Europe. Again, and although not extensive, the book provides a good overview of exploration during the period.

For the most part, the Cthulhu by Gaslight: Investigators’ Guide – Mysteries & Frights in the Victorian Age is a very straightforward and straitlaced treatment of the period, but it does loose its stays and go beyond its ordinary limits and into the outré—and does so in three surprising ways. The first is to visit the shores of the eastern seaboard of the United States of America, noting both the differences in language during the period and violence between the two societies, before providing thumbnail descriptions of New York, Boston, and Chicago. However, the second is that it turns its sights on New England to visit a totally unexpected region, that of Lovecraft Country. Its examination of the major settlements of the Miskatonic Valley—Arkham, Dunwich, and Innsmouth—is cursory at best, but welcome acknowledgement of their existence in this period. A first for Call of Cthulhu. Of course, the description of Arkham in this period would work well in conjunction with Call of Cthulhu: Arkham.

Third and last, the Cthulhu by Gaslight: Investigators’ Guide goes beyond the mortal realms to examine the Victorian approach to pseudoscience and the occult, having just looked at science and medicine. This begins with the fringe sciences of mesmerism, electrotherapy, phrenology, and more—with a discussion of eugenics along the way—before delving into myth and folklore and the occult. This in turn covers Freemasonry, Druidism, and both the Hermetic Order of the Golden Dawn and The Theosophical Society. Particular attention is paid to both organisations, discussing their history and their beliefs as well as providing biographies of varying lengths of their leading members. So included in the membership of the Hermetic Order of the Golden Dawn are Samuel Liddell Macgregor Mathers, William Butler Yeats, and Aleister Crowley, and in The Theosophical Society, Madame (Helena Petrovna) Blavatsky. Also covered here is Spiritualism and ghost-hunting, including the Society for Psychical Research, although in the case of the latter, it feels slightly underwritten in comparison to the other entries. Again though, these are all good solid introductions to their subjects. Rounding out the volume is a good bibliography.

Physically, the Cthulhu by Gaslight: Investigators’ Guide is a good-looking book. It needs a slight edit, but the book is well written and very readable, and the artwork and the cartography are both excellent.

The Cthulhu by Gaslight: Investigators’ Guide – Mysteries & Frights in the Victorian Age is, of course, the book for both the players and the Keeper, so there are a lot of secrets and details of the Victorian era—at least in terms of Lovecraftian investigative horror—that have been left out. Those will have to wait for the Cthulhu by Gaslight: Keepers’ Guide. This does not mean that Cthulhu by Gaslight: Investigators’ Guide is by any means a bad book. It is in turns interesting and informative, packed with details and interesting facts, many of which will both intrigue the most ardent devotee of the history of the period and help bring the setting to life when brought into play. The Cthulhu by Gaslight: Investigators’ Guide – Mysteries & Frights in the Victorian Age is an impressively informative introduction to the Victorian Era and lays the groundwork for the Keeper to return the Mythos and madness to the Mauve Decade with the Cthulhu by Gaslight: Keepers’ Guide.