Outsiders & Others

100 Days of Halloween: Echelon Reference Series: Witch (3pp+PRD)

The Other Side -

 Witch (3pp+PRD)Back in August, I reviewed the Echelon Reference Series: Witch Spells which covers every witch spell for Pathfinder.  It is a great series that represents a near Sisyphean effort to track all these spells. An effort that is only apparent once you dig into it.  Tonight I thought I might go for their collection of witch class material.  Basically, everything for the witch but the spells.

As always I will be following my rules for these reviews.

Echelon Reference Series: Witch (3pp+PRD)

Again this one comes as two PDFs. One for Pathfinder and one for Pathfinder and all other Third Party material.  The author points out that these are "living" documents as the material will be updated periodically.

Presently the Pathfinder book is 78 pages and the Pathfinder + 3PP book is 196 pages.

Both books follow the same format.  

About the Echelon Reference Series

This give you an overview of not just these two books but the series as a whole. Explains the differences between the PRD (Pathfinder SRD) and PRD+3PP (Pathfinder SRD plus Third Party Publishers) and the multiple versions of various books. 

This section also covers the issue of duplicate names; that is when one publisher calls something "X" and another publisher calls something "X" as well but they do different things.  Also some things may have different names but do remarkably similar things.  In both cases everything is here.

Classes and Archetypes

Covers the basic witch class and the published (and Open) archtypes. The PRD covers just material that is open from Paizo and can be found (for the most part) in the Pathfinder SRD.  The PRD+3PP covers the same but also all of the Open 3PP material.

Class Features

For the witch, this covers all her Patrons and all the various Hexes she can take. This might be one of the more useful chapters in the book. 

Other Options

Here we get favored class options, feats specifically for witches, and spell casting options. No spells since those are covered in multiple other Echelon books.

NPCs

What it says on the tin. The PRD has five and the PRD+3PP has the same five plus five more

Appendices

Not much here yet save for the Index and the OGL.

There is no art, nor is art required. This is a massive data dump designed for people that want only the crunch and none of the fluff.

This does not replace the products it gets its OGC from. The "source" products may have in-world examples or other materials that situate all of this to give proper perspective. This is the RAW OGC as is.  For me? I use Section 15 of the OGL statement here as a shopping list.  I use the original books/sources as my inspiration, but I sue this as my quick reference.

Looking forward to seeing what else is added! 

Mail Call: D&D in Miniature

The Other Side -

Oh good another Mail Call Tuesday!  They say great things come in small packages, so let's see what these small packages have for me today?

Little D&D and Mini Me

Up first I finally decided to do myself in Mini form from HeroForge.  So here is DM Tim in 25 mm scale. Complete with a laptop, a stack of books, and my always-present giant ass mug of coffee.  The only detail missing is the pencil behind my right ear.

Mini TimMini TimMini Tim

I didn't care for their sneakers options so I am wearing my Gen X-mandated Doc Martens with yellow laces. 

Might need to use this as "The Editor" in my Weirdly World News games.

I also grabbed my next to last 21st Century miniature reprint of the AD&D 1st Edition hardcovers.  And this one is from the personal collection of Heidi Gygax.

Dragonlance Adventures
Dragonlance Adventures
Mini AD&D Books

Now I am just a Dungeoneers Survival Guide away from completing my set of the mini AD&D hardcover books.  Though I doubt it will have the pedigree of my Dragonlance book.


100 Days of Halloween: Sisters of Rapture

The Other Side -

Sisters of RaptureWe are getting much closer to Halloween now! It is cooler here in Chicago and I am ready for the seasons to change.  Here at the Other Side, I am kicking up the witch topics hitting on products I have had for a while but have not reviewed or talked about.

Tonight is a good case in point.  I have had this particular product in both the OGL and Pathfinder versions for years. I have not found a group that it would work well for, however.  There is a lot of material here that I can use in my witch worlds.  But, well. Let me get into the products and you decide.

As always I will be following my rules for these reviews.

Sisters of Rapture

OGL (d20 3.5) and Pathfinder versions. 

PDFs, both 72 pages of content (76 and 74 total respectively). Color covers and interior art.

For Mature Readers. Let's approach this one upfront. The art featured on the cover is a rather tame example of the art that can be found inside. Point blank, there is a lot of nudity here and lot of sexual situations. The entire idea of the Sisters of Rapture is a class of semi-divine spellcasters centered around love and sacred sex. If this is not your thing then best to back out now.  Again I have struggled with how to use some of these concepts in my games. 

We know that history has had temple prostitutes, sacred sex, and many pagan rituals involving fertility. There are historical examples to fit this book more so than say the martial arts monk side by side with a horse-riding paladin in a quasi-European Medieval setting.  

Plus, and I want to be truthful here, there is a lot a great and well-written material here that begs to be used. So let's get to it.  Also, why am I doing these along with witches?

Unless mentioned the OGL and Pathfinder sections are largely similar. They are not 100% the same, more like 90% but both deal with their source game where they need too.

Introduction

Here we are introduced to the central concept of this book. That of the power of love. We learn of the Sisters of Rapture, a "close-knit organization of warrior-priestesses, dedicated to preserving and protecting the ideals of the various goddesses of love, beauty, sex, passion and other related concepts."  

In terms of RPG applications the author (and artist) T. Catt, points to the various artists of fantasy art.

Chapter One: Love's Blessed

Here we are introduced to the Sisters of Rapture base class, also known as the Rapturous. They are a bit of a fighter, a bit of divine spellcaster, and maybe some rogue added in. They are dedicated to the various goddess of love.  Their raison d'être is to spread pleasure and love around their worlds. 

Here we also get our first look at the art of T. Catt; mostly nude women. Now I just finished watching HBO's hits Rome and Game of Thrones, so this fits that aesthetic, but like I said it is not going to be for everyone.

In terms of 3.x OGL/Pathfinder classes, they have somewhat medium combat abilities, good Fort and Will saves, with low Reflex saves. They can cast spells up to the 9th level, same as all full casters. They also get a power every other level. Their spells are known as "Carnal Domain" Divine spells. They get d8 HD and can only be women of any species.

There is a limit on the number of spells they know like sorcerers. Their powers largely focus on and around their sex and sexuality. There are several "kiss" powers for example. I actually rather like the Kiss powers, I have used something similar and lets be honest history is repleat with various sorts of powerful or significant kisses. 

Depending on the Goddess they follow they can gain different powers. So Aphrodite grants her Rapturous different powers than Freya.  Freya in particular grants her Rapturous a "Righteous Rage" ability to Rage like a barbarian of half her level. 

What does this sound like? Yeah. Witches and their patrons. 

Chapter Two: Love's Chosen

This covers the various Prestige Classes. I mentioned before that I like Prestige Classes, I always have. These classes work well with this base class. Though I will point out that other classes should be able to qualify for these to be within the spirit of the d20 rules; these don't really do that.

The Inamorare is something like a muse. They get some Bard-like abilities (mostly inspiration) and of the five levels they advance in spell casting in three of them.  The Patron Mother takes on the role of training the next generation by taking on a Rapturous apprentice. In this respect, she more similar to a cleric. The Spellswinger (and I admit I like that name) swings both ways, Divine and Arcane magic. NOW this Prestige Class does require that character be able to cast Rapturous and Arcane spells.Yes, they are all about sex magic. My favorite though might be the Stormsister. These Rapturous are the strong arm of the Sisters and they punish anyone that harms women or stops love. 

The Pathfinder version also includes various archetypes for the base class. These include the Abbess (closer to her Goddess and church), Divine Virgin (celebrates the pure divine love and refrain from sex), and the Sacred Prostitute (think of the Epic of Gilgamesh), 

Chapter Three: Love's Method

This covers skills and feats.  For skills there is Knowledge (Carnal). I can't help but wonder if the author was familiar with the old AD&D Netbook Book of Unlawful Carnal Knowledge. No, don't go dig it up, it's not worth it. There is also Perform (Sexual Techniques) and various Professions.

Feats are an interesting lot and could have a lot of interesting applications.  Blown Kiss, for example,  allows the Rapturous to "blow a kiss" or deliver a touch spell/power attack at range. 

The Pathfinder also covers various traits.

The next portion of this chapter covers the Carnal Domain Spells. There are only nine, but since the publication of this book there have been plenty of others that would work.

There are some magic items. The Rings of Faithfulness are certainly interesting. 

Chapter Four: Love's Divinity

This chapter covers the various goddess of love, beauty, and sex. These include the expected Aphrodite/Venus, Isis, and Freya. Others are briefly mentioned. Shout outs to my favorites Astarte and Brigit. Additionally, we are presented with a "new" Goddess, Parvati. 

The Pathfinder version is largely the same but I think a mention of the Goddess of Love Shelyn and her lovers Desna and Sarenrae should be in order here. I feel that their combined faiths would be perfect for the Sisters of Rapture. (I know these goddesses are not "open" in terms of the OGL so they could not be included in this book).

Chapter Five: Love's Order

This details the society and church organization of the Sisters of Rapture.  This includes the religious practices of the Sisters and the roles they are play within the church organizations. 

Chapter Six Love's Relations

It seems odd to call these creatures monsters, but they are creatures/people that are associated with or related too the Sisters of Rapture. There are the Theliel, the Archons (Angels) of Passion. The Beloved, undead victims of the Succubus. The Congress of the Wolf, an all-male group in opposition to the Sisters. We just call them the Patriarchy.  There is Lileetha the Queen of the Succubi. The Half-Nymph and Huldra. The Pleasure Ooze looks like a woman but is really an ooze that wants to eat you.  As does the Venus Mantrap. 

I will say this for Pathfinder. The "Evolved" monster stat block makes it a lot easier to read than the base D&D 3.x one.

Appendix 1: Who's Who

This covers various Raprurous NPCs. Theophania Leandros the current Overmother, Althea Acarides a half-nymph Sister of  Aphrodite, Saereid an elven Sister of Freya, Ninythys a human Sister of Isis, and Kamala Siddah a humanSister of Parvati.

Appendix 2: Modern Rapturous (OGL)

Here the books differ quite a bit. The OGL version covers the Modern d20 book and how the Sisters of Rapture exist in the modern age. 

The OGL book ends with one of the most attractive-looking character sheets I have ever seen. 

Appendix 2: The Nefer-Sefet (Pathfinder)

This is a special sect of Isis-worshiping Sisters of Rapture that attach themselves to an Arcane spell caster and bolster their powers. Essentially they are a living Meta-magic battery for these arcane spell casters. 

Both the required OGL pages.

So. What to make of all of this.

Well, there is a  lot of great mechanics here. The class is solid and even if you toned down the sexual aspect of it there is a lot her that is good to play.  You have to ask though what is here that a cleric could not do or even should be able to do. This is a divine spellcaster. There are some powers, but I think a cleric could cover similar ground.  I guess at some level the differences are the same between a cleric and this class and a wizard and a witch. 

I also can't but help but admire the complete level of detail the creator has gone in on this. While others might scratching their head about where to use this class you know that T. Catt has thought about all of these things and more. It's obvious from the level of detail here.

Among other things, the half-nymph is a great idea, the various feats have some wonderful uses, and the creature section has some surprise hits.

For me there is a lot here that could be used with my various witches. I have reviewed Swine Witches and Worm Witches already in the last week. I have Green, Winter, Pagan, Hedge, evil and more witches in my own catalog, a sex(y) witch is not too far from any of those. Hell. Some of the material here would have worked just fine in my Pumpkin Spice Witch book. 

I guess each Game Master has to decide on their own how to best use this sort of book. 

 


The Other Side - 100 Days of Halloween

Monstrous Mondays: Twilight Fables (5e & OSR)

The Other Side -

Taking a break from Pathfinder for a bit on this first Monstrous Monday of Fall 2022 to do something a little darker.  There is a chill in the air here in Chicago. I have a flannel shirt on and my mood ever shifts more and more to Halloween.  A Halloween bestiary would be nice and thankfully Izegrim Creations has just the thing I need.

Twilight Fables

Twilight Fables

I swear the Kickstarter for this had just ended and I got my DriveThruRPG notification that the hardcovers were available. 

So for this I Monstrous Monday, I want to talk about both the 5e and OSR versions of this book, the Print on Demand and PDF versions, plus all the other material that makes up this line. 

OSR and 5e

Overview

Both books are huge volumes at 336 pages (5e) and 326 pages (OSR) each. The covers are full color as is all the interior art.  And the art is fantastic.  

Twilight Fables books
Twilight Fables books

Both books have a solid 5e aesthetic to them; colorful art and backgrounds, text describing the creature and its place in the environment/land/myths, and followed by a stat block.

art

The 5e book features a standard-looking 5e stat block, the OSR one is largely a modified Basic-era stat block. It includes everything you would expect along with descending and ascending AC, an entry for THAC0, and XP. The art for both books is the same.  There is a good reason for this, the OSR version was added on a little bit later in the Kickstarter.  The 5e version, with art, was done before the kickstart began (minus some edits I am told) so adding on the OSR version was a matter of adding the new stat blocks.  One nitpick there are listings for "DCs" in the OSR version for magic item creation (more on that later). I would have preferred something that felt a little more pre-2000.

Now in most situations, I would fear translation errors, but the author Roderic Waibel had already developed that very successful Chromatic Dungeons RPG (reviewed here) which is solid OSR.  So I know he knows OSR.  My only gripe is kinda wanted the OSR stat blocks to look as nice as the 5e ones!  But that is only a gripe for people that own both.

Like many of Waibel's publications we get nice sidebar discussions from the intelligent and rather civilized Gnoll "Fleabag." It is a very nice touch (I have done something similar with my 'From the Journal of Larina Nix') and it gives these (and his other books) character. 

Regardless of which one you get (get both!) you are in for a treat.

I grabbed both and will be using the OSR version in my Old-School Essentials game. My oldest grabbed the 5e version and is using it in his weekly 5e game. So far he says it is great and he loves all the different sorts of monsters it offers.

The Fables

The name of the book is Twilight Fables.  So you can expect that these are monsters from various myths, legends, and tales. And you would be 100% correct. Waibel has done his reading and there are a lot of great creatures here.  Even ones that might be familiar get new life and feel "new."  

For example, I mentioned one of my favorites, the Basajaun who appears in three different monster books. 

statblocks

Each one is a little different and yet each one 'feels' right. Perfect for DMs that want a familiar, yet different creature.

The creatures largely come from the myths, legends, and folklore of Europe. This is also what is advertised and leads to the logical assumption of Twilight Fables of other lands for future volumes. One for Africa, one for Asia, one for the Americas, all are possible.

In addition to the monsters, there are various legendary NPCs like Baba Yaga, Beowulf, Cailleach Beira, Cú Chulainn, Guy of Warwick, King Arthur, Little Red Riding Hood, Merlin, Morgan Le Fay, Robin Hood, Scáthach, Queen Úna of Faerie, and Väinämöinen. So yeah. Lots.

Cú Chulainn

There is a section on Mythological Treasures and Magic items. This includes some rules on how to make magic items as well. It is a very nice value add.  You saw this sort of thing with the old Mayfair "Fantastic Treasures" and something you see Troll Lord Games do with their Monster and Treasure books.

Both books also have rules for new character species (wanna play a Pech? You can!) and for 5e there are class options such as Warlock patrons and cleric domains.

There is even a small adventure (20 pages) to introduce these new monsters. 

The Monsters

All that is gravy.  The real meat here are the monsters.

In both cases, the monsters take up full pages. This includes the background and descriptions, the stat blocks, and whatever else is involved with this particular creature such as "Lore & Rumors", any special treasures, habitat, behaviors, and more.  In some cases, the material bleeds over to another entry, but not so much as to be an issue. 

There are, by my count, nearly 220 monsters here ranging in HD from 1-1 to 30+ (OSR) and CR 1/8 to 30 (5e).  So plenty of creatures to challenge any level of characters.

I have to say these are great books and well worth grabbing for your games, 5e or OSR, or both.  There is a lot of material here and plenty to keep many groups engaged for some time.

Extras

When you get the digital copy from DriveThruRPG you also get a bunch of tokens that can be printed and used in f2f table games or digitally online. It is another value add this game offers. There is also an RTF version of the book, a printer-friendly/no background version, and maps for the included adventure.

If you love monsters like I do then this is a must-buy.

Twilight Fables 5eTwilight Fables OSR


Miskatonic Monday #132: Fork in the Road

Reviews from R'lyeh -

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

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

—oOo—
Name: Fork in the RoadPublisher: Chaosium, Inc.
Author: Riley Kruger

Setting: Jazz Age USAProduct: Scenario
What You Get: Fourteen page, 6.91 MB Full Colour PDF
Elevator Pitch: Devil at the Crossroads meets the MythosPlot Hook: Jobbing musicians forced to make a choice
Plot Support: One NPC, one Mythos monsters, and five pre-generated InvestigatorsProduction Values: Plain.
Pros# Short thematic scenario# Excellent artwork
Cons# Short thematic scenario# Linear scenario# Tortuous imposition of the Mythos# Needs a slight edit# Underwhelming ‘Investigator’ agency# Tortuously difficult to envision and portray the scenario’s central gamut
Conclusion# Short thematic scenario imposes the Mythos on the ‘Investigators’ in a linear, difficul to grasp, gamut.# Tortuous affair terrorises the ‘Investigators’ and leaves them with little agency.

“One Nite Only”: When Frank Zappa Played at State U

We Are the Mutants -

James Higgins / September 26, 2022

 

In the summer of 1970, the launch of the humor magazine National Lampoon was not going well. In his memoir of his time as publisher of the Lampoon, Matty Simmons observed that the first six months of the magazine’s existence were troubled ones: “By the fifth issue, the magazine was floundering. It was funny but haphazard. Circulation, after a first issue [i.e., March 1970] sale of 225,000, was now lingering around the 175,000 mark. Advertising was minimal. But some interesting things were happening.” (To put these numbers in perspective, Esquire‘s monthly circulation rate in summer 1970 was nearly 1.2 million.)

Those interesting things included increasing orders from college bookstores, a signal that the magazine was gaining popularity with young people. Dissatisfied with what he felt was artwork that failed to make the magazine stand out on newsstands, Simmons took charge of the cover for the September 1970 issue, commissioning Sagebrush Studios to create a garish red-and-yellow color scheme that promised (among other things) “Raquel Welch Undressed.” The cover showcased Minnie Mouse in disarray: “Minnie flashed tiny little titties covered somewhat discreetly by flowery pasties.” 

Two days after the September issue went on sale, Walt Disney sued the Lampoon for $8 million (eventually dropping the suit in exchange for a promise by the magazine to never again misappropriate Disney characters). But the September issue was a turning point, as circulation thereafter began to rise. A standout feature was “College Concert Cut-Ups,” a parody of Archie Comics created by Michel Choquette, a Canadian from Montreal who ultimately would spend three years at the magazine and contribute some of its most celebrated comic book parodies.

32-years-old in 1970, Choquette was knowledgeable about the rock ‘n’ roll music scene, including one of the most idiosyncratic bands then performing, Frank Zappa and the Mothers of Invention. In 1970, the group released two albums, Burnt Weeny Sandwich and Weasels Ripped My Flesh. Both relied on freeform, avant-garde-flavored compositions that were the antithesis of the songs then appearing on the Top 40 singles charts. Along with poking fun at the idea of wholesome, Midwestern college kids being subjected to Zappa’s anything-goes approach to music (and life), “College Concert” found humor in the vagaries of life on the road for a rock band, a theme that Zappa was to cover in-depth in his 1971 movie 200 Motels.

The lead artist for “College Concert” was Joe Orlando, a veteran of the comic book industry who, in 1985, would be made the Vice President of DC Comics. Assisting with the art was Henry Scarpelli, who in fact went on to work for Archie Comic Publications, and Peter Bramley, the Lampoon’s Art Director.

Alas, there is no record of what Zappa thought of “College Concert,” but he must have liked it to some degree, as he contributed to Choquette’s comic book history of the 1960s, the Someday Funnies (which, unfortunately, didn’t see print until 2011).

James Higgins grew up in upstate New York and, like many baby boomers, thrived on a steady diet of sci-fi, fantasy, and horror content in movies, TV, and print media. Now retired, he devotes his days to excavating and examining pop culture artifacts from the Cold War era, both to generate nostalgia among his peers and to ensure that newer generations of young minds are themselves irreparably warped.

Miskatonic Monday #131: Contact

Reviews from R'lyeh -

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

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

—oOo—
Name: ContactPublisher: Chaosium, Inc.
Author: Cameron Tressler

Setting: Modern Day TexasProduct: Scenario
What You Get: Nine page, 1.42 MB Full Colour PDF
Elevator Pitch: Modern Myth & Mythos collidePlot Hook: Missing persons case reveals a terrible truth behind a belief.
Plot Support: Three NPCs and a Mythos monsterProduction Values: Plain.
Pros# Straightforward, modern day investigation. # Easy to adapt to other locations# Potential modern day campaign starter# Suitable for convention play# Has the feel of a television series episode# Dramatic finale# Potential X-Files-style (Delta Green) investigation
Cons# Underwhelming scenario hook# Has the feel of a television series episode# Familiar plot for experienced Investigators/players# Needs a slight edit
Conclusion# Straightforward, modern day investigation which will be too obvious for experienced Investigators and their players.# Solid, introductory X-Files-style one-shot which would work as a convention scenario or even a campaign starter.

100 Days of Halloween: Runewild Preview 1: Missus Switch, Swine Witch

The Other Side -

 Missus Switch, Swine WitchA couple of nights ago I reviewed a Worm Witch. Tonight, why not a swine witch?

This preview for the Runewild Setting is worth the time to download.

As always I will be following my rules for these reviews.

Runewild Preview 1: Missus Switch, Swine Witch

PDF. 8 pages. Color cover and interior art. Price: Free.

This small 8-page book (1 cover, 1 ad, 1 page of OGL) introduces us to the Ruenwild setting I reviewed last year

We are given a little bit of background on the Runewild (coming soon to Kickstarter!) and the witches of the Runewild. 

We are also introduced to the titular Missus Switch, something known as a "Swine Hag" (yes there are stats) and a small background "Adventure," actually an adventure location. Runewild is a hex crawl-friendly setting for 5e.

For free we get a good introduction to the Runewild and Missus Switch. 

It would play well with the Worm Witch and Wickerpunk books.


The Other Side - 100 Days of Halloween




1999: Pokémon Jr. Adventure Game

Reviews from R'lyeh -

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

—oOo—
Pokémon is one of those huge intellectual properties and franchises that has never had a roleplaying game. Arguably it is too big to have something as small as a roleplaying game and arguably a roleplaying game is too small a vehicle to really push the brand or really expand its reach. Yet, whilst Pokémon has never had a roleplaying devoted to its world of Pokémon Trainers catching and training Pokémon to battle other Pokémon for sport, it has had a storytelling game designed to be played by children aged between six and eight and run by their parents. Published in 1999, the Pokémon Jr. Adventure Game was designed by Wizards of the Coast with the publisher planning to release twelve titles in the series. Unfortunately, despite it be a big seller for the publisher, only the first entry in the series, Pokémon Jr. Adventure Game #1: Pokémon Emergency was released.
Pokémon Jr. Adventure Game #1: Pokémon Emergency is designed to be played by a Parent and one to six players aged between six and eight. It employs simple, easy-to-understand mechanics, makes every player a Pokémon Trainer and gives them a checklist of Pokémon to capture and train, and has them participate in a lengthy story which will take them from Professor Oak’s laboratory to choose their first Pokémon to going out into the wild to find more to facing Team Rocket and a whole lot more. Pokémon Jr. Adventure Game #1: Pokémon Emergency comes in a tiny box which contains twenty-six Pokémon ‘Power Cards’, six ‘Pokémon Trainer Checklists’, two ‘Pokécoins’, 48 ‘Hit Tokens’, a sixty-page ‘Rule & Story Book’, and a single six-sided die. 
For the players or Trainers, the twenty-six Pokémon ‘Power Cards’ are the heart of the game. Bar a double or two, each one represents a different Pokémon and designed to be look like a data entry on a Pokédex. Each is double-sided. On each side there is a picture of the relevant Pokémon, an ability and how much damage it does to another Pokémon, its Hit Points, an extra effect when the ‘Pokécoin’ is successfully flipped (though not all Pokémon have this), and a little information. For example, Pikachu is depicted on his happy side as having nine Hit Points, a Thunder Wave attack that hits on a roll of five and six, inflicts more damage if the Pokécoin’ is successfully flipped, and a note from Professor Oak telling the owner that Pikachu does not being inside Poké Balls. On his unhappy side, his Growl Roll attack hits on a three, four, five, or six, and inflicts a point of damage, allows an extra attack if the Pokécoin’ is successfully flipped, and Professor Oak telling the owner that Pikachu can be moody and shy. 
For the Parent, as the Narrator, there is the sixty-page ‘Rule & Story Book’. This is not as intimidating as it sounds as the rules run a few pages and the bulk of the book is devoted to some sixteen stories or episodes which would enable the Narrator to run a mini-campaign. The ‘Rule & Story Book’ even opens with with ‘A Note to Parents’ explaining what the game is, and that is a game in which they and their children tell a story together, the children exercising their imagination and their minds, with the game emphasising reading, mathematics, and creativity. It advises the parent to encourage questions and interaction, to praise everyone’s efforts because there are no wrong answers in the game, and above all to ensure that they all have fun. Its last point is that the parent should have fun too, especially as it is time with their children and to use voices and to get into character. So it is pitched very much as a collaborative storytelling game in which everyone has fun, but not as a roleplaying game. In fact, roleplaying is never mentioned in Pokémon Jr. Adventure Game #1: Pokémon Emergency, and so the spectre of Dungeons & Dragons is avoided…
Play starts with each Trainer selecting their Pokémon from the basic six— one Charmander, one Squirtle, and two each of Bulbasaur and Pikachu. Each child ticks the box for their Pokémon on their ‘Pokémon Trainer Checklists’. The Narrator selects a story from the ‘Rule & Story Book’ and play begins. There are sections for the Narrator to read aloud and sections with staging advice, both of which are clearly marked, with prompts in the narration where the Narrator asks the Trainers what they want to do or say. For example, in ‘Episode 2: Gotta Catch ’Em!’, the Trainers go outside to the edge of Pallet Town to catch their first Pokémon in the wild. When they have done so, the Trainers are attacked by a Spearow flock and must work together to defeat it. Afterwards, Police Officer Jenny arrives on her motorcycle and thanks the Trainers for helping her out. At that point, the Narrator says to the Trainers, “What do you say to her?” It is designed to be simple and direct and to encourage a response.
Although play starts with the Narrator and her narration, from there it proceeds around the table, starting with the player on the Narrator’s left. This avoids any one player dominating the story and gives everyone their turn, and in addition, using the prompts, allows the players to build the world around their Trainers. Primarily, this will be drawn from their having watched the Pokémon cartoon series, but it also allows space for the players to go beyond this and bring their imagination into play.
The rules of Pokémon Jr. Adventure Game #1: Pokémon Emergency focus on Pokémon duels as you would expect. Each Trainer selects his Pokémon and chooses which side of the card he will use—this can be switched at the beginning of the round. Pokémon duels are simultaneous, both Trainers or the Narrator and the Trainer rolling to successfully activate and hit the other Pokémon with their Pokémon’s ability, inflicting hits and reducing their opponent’s Hit Points in the process. Some Pokémon have an extra ability when the ‘Pokécoin’ is successfully flipped, such an extra attack, inflicting more hits, healing Hit Points, or even doing damage to the attacking Pokémon. When a Pokémon’s Hit Points are reduced to zero, it faints rather than dies, and if a Pokémon Hit Points get too low and the Trainer has other Pokémon in his Pokédex, he can bring one of them into play instead.
The ‘Rule & Story Book’ is sixty pages long, but it is a small rulebook and the rules—such as they are—take up less than a quarter of the book. The rules for sixty-page Pokémon duels are clearly explained and are supported by a good example of how they work. The remainder of the ‘Rule & Story Book’ consists of stories, ranging length from one to four pages. Depending upon the number of players the playing time for can be as short as five minutes or as long as thirty. Essentially, none of these should challenge the attention span of the players too much and the chance to explore the world of Pokémon and capture more Pokémon to add to their collection should keep them interested (this essentially also being the equivalent of Experience Points in the game).
Physically, Pokémon Jr. Adventure Game #1: Pokémon Emergency is bright and cheerful. The various Pokémon ‘Power Cards’ are nice and sturdy, as are the game’s various counters. The rulebook uses lots of illustrations from the cartoon and is well written, its language direct and simple for the then-Parent with no previous experience with the storytelling type of game to grasp the rules, understand how the game is played, and run it for her children and their friends. Then in a few years, an older child could easily read through the rules and run Pokémon Jr. Adventure Game #1: Pokémon Emergency for his friends. An obvious issue with Pokémon Jr. Adventure Game #1: Pokémon Emergency is that there are only twenty-six Pokémon ‘Power Cards’. Enough to play through the stories in the ‘Rule & Story Book’, but not beyond. Had there been more entries in the Pokémon Jr. Adventure Game series, then that would have solved that issue, but it was not to be.
Pokémon Jr. Adventure Game #1: Pokémon Emergency is a bright, cheerful, and simple game. It uses the basic elements of the Pokémon cartoon to draw the players into the world and get them imagining themselves doing all of the things that they see Ash and his friends doing on screen. It obviously then uses these to inspire both the Parent and the children interact and work together to tell a story and develop a world as they play the game. In the process, it gets everyone roleplaying very quietly and without even mentioning the word. Two decades on in 2020s, there are more than a few roleplaying games designed to introduce younger players to the concept, but what got there first was Pokémon Jr. Adventure Game #1: Pokémon Emergency—and with little in the way of fanfare. It might have very different had the Pokémon Jr. Adventure Game series not been cancelled. It might have been a case of Pokémon Jr. Adventure Game #1: Pokémon Emergency having been many players’ first adventure game, first storytelling game, and first roleplaying game.

100 Days of Halloween: Wickerpunk

The Other Side -

WickerpunkTime to move to 5e for something a little more flavorful.  One of my favorite themes is the struggle of paganism vs the rise of monotheism.  The dark twisted child of this struggle is Folk Horror. This new book looks like covers a little bit of all the above.

As always I will be following my rules for these reviews.

Wickerpunk

PDF. 276 pages. Color cover. Black & White (as appropriate) interior art.

First things first. I love this name. I am kicking myself for not coming up with it first.

We get an introduction that, "Wickerpunk is where heroic fantasy and folk horror meet."  Interesting premise.

Chapter 1: What is Wickerpunk

Here we learn how a "Wickerpunk" game differs from your normal heroic fantasy.  It is not grim-dark, but it is dark. Nature is more dangerous, strange pagan gods still roam the land, and the locals still practice forgotten rites and ceremonies. 

The author also lets us know that "wickerpunk" could be called "wyrdpunk" due to horror elements added to the game. This is not quite a gothic horror, but we can see that genre from here. The author is careful to let us know this is not horror and that horror-fiction and wickerpunk are cousins, not siblings. But kissing cousins to be sure.

Like my fascination with Pagans vs. Monotheists, this book covers the Wyld vs. Industry. The extension of this is Arcane vs. Divine magic. Where one is wrong and the other is a gift. My "old-faith vs. new-faith" is even covered later on.

There is a lot here, more than I will detail in this review, but suffice to say there is a lot of great ideas here on setting up your games. 

Just under 25 pages I am now wanting to rip out the roots of my "War of the Witch Queens" campaign to add more of these ideas. 

Chapter 2: Campaign Elements

This chapter details how a wickerpunk campaign affects your rules.  up first is alignment. Law and Chaos are replaced by Industry and Wyld. Good and evil are replaced by Benevolence and Malice.  Again...I want to use this instead of what I am using now.

Planes of existence have little use here since all that matters is the struggle of Industry and Wyld in the world of humans. 

This chapter also covers various time periods from Stone Age to Victorian. And adventures from Mysteries, Treasure Seeking, and exploration among the eight presented.

There are some encounter tables which include types, places and motivations. 

Chapter 3: Players and Characters

This chapter covers the 5e base classes and how they are altered in a wickerpunk game; both in terms of Wyld and Industry.  These changes are not really mechanical, but rather thematic. They also include player hooks, example adventures, enemy hooks and NPC hooks. Throughout the book, inspirational reading or viewing is presented in a sidebar.

The same is done for the main PC species. 

Chapter 4: Monsters

This chapter takes the types of monsters and discusses how they can be used in a wickerpunk game. There are more details on fey, fiends and undead as expected, but nearly every type of monster is considered. It is very flavorful. There is not much or anything in the way of "crunch" or game mechanics, but honestly, it is not needed here since the material is so good. It reminds me a bit of the old Ravenloft materials.

Chapter 5: Enemy Organisations

What is "The Wicker Man" without Lord Summerisle and his cult? Or "Children of the Corn" without the children? Not much really. This chapter covers the various organizations, or Cults and Cult Hunters.  The PCs find themselves between the Wyld Cults (and Gods) and the Industry Inquisition. 

Yes, this chapter also includes ideas for witches (even though 5e does not have a real witch class). 

Chapter 6: Magic and Technology

The tools of the Wyld and Industry.  There are some new ideas for magic items and spells, but only one spell is presented, "The Evil Eye."

Chapter 7: Sample Campaigns

There is a sample campaign here, the Island of Eye. Which looks a lot like England. Detailed here are what the humans and the older inhabitants of the land are doing.  Plenty of locations and adventure hooks are detailed here. As well as plenty of interesting NPCs 

Chapter 8: Appendix N

A nod to the famous Appendix N in the 1st Ed AD&D DMG. This covers various campaign periods. Each section includes movies, novels, television, comics, and video games. With commentary. 

--

There is very, very little game-specific information here. If you are looking for mechanics or "crunch" then you are likely to be disappointed.  But if you are looking for something more thematic or "fluff" then this is fantastic.

This is also this book's greatest unadvertised strength. It can be used with any version of D&D you like. While reading I kept thinking about how can I use this with say Old-School Essentials or even B/X D&D and the answer is "Easy."   In fact one of the few actual bits of game material, the Evil Eye spell, is something I did years ago in my first witch book.  But even then the conversion is super simple. 

There are a lot of things I can use here for my War of the Witch Queens campaign, but I would also suspect that any D&D 5e DM could use these ideas for their Ravenloft or the Wild Beyond the Witchlight campaigns.

In any case, there is so much here to love.


The Other Side - 100 Days of Halloween



100 Days of Halloween: Worm Witch: The Life and Death of Belinda Blood

The Other Side -

 The Life and Death of Belinda BloodHead back to not only just the OSR but to Old-School Essentials. This one is from Knight Owl Publishing who has been putting out some really great stuff lately.

As always I will be following my rules for these reviews.

Worm Witch: The Life and Death of Belinda Blood

PDF. 73 pages. Color cover, black & white interior art.

This book is a sequel and elaboration on The Chaos Gods Come to Meatlandia. I don't know much about that other product save that it seems to be a wild "anything goes" sort of setting.  This has a similar feel. 

This product includes both the Worm Witch and Worm Warden, classes.  Witches and Wardens are classes I have also explored in my various book so I am quite excited to see these.

The Worm Warden is like a paladin, ranger, or guardian for the witch cult. They are fighter types. Their primes are Strength and Charisma. 

The Worm Witch is a witch class and it shares many similarities with other witch classes. This is largely due to books we all read and the various means we all use to make classes.  Personally, I find this great. The Worm Witch could fit in well with all the witches I have played and still have enough unique features to make her special. What makes her special of course is her connection to worms. Even the worm witch's special abilities could be mapped on to my Occult Powers.

Both the Warden and the Witch share a secret language

The Worm Witch also gains witch spells. And there are some great ones here.  There is the expected ones like Animal Friendship and Charm Animal, and some really interesting ones like Infect with Worms, Mass of Maggots, Wave of Worms, and more.  Yeah, they do pretty much what you expect.

This is all about one-third of the book. And this was all then I would be really happy. I am glad someone wrote this book. This is a needed sort of witch that I would not likely write. Ok. I would have never done this one. Worms are great for my wife's garden, and that is about all the use I have for them.  So kudos to Wind Lothamer and Ahimsa Kerp for doing this.

We still have the rest of the book. 

Belinda BloodThe next section covers the land of Annalida, a land near Meatlandia. This is another third of the book and it is interesting, but I have no context for it. Still, the Witch Wood is very cool. 

The last third (or so) covers the monsters of the land, which as you can imagine, is full of worms. 

The NPC witch, Belinda Blood, is also presented. She was a very powerful Worm Witch and could fit the bill as a Witch Queen for my War of the Witch Queen Campaign.  It is also all written for Old School Essentials so that is another good fit. Alive or dead she would be a great Witch Queen.

As I mentioned this book is written for OSE and fits well.

So I bought this hoping for a class and a few new spells. I got that. I also got another class, a campaign setting, some monsters, AND a new Witch Queen to add to my Old-School Essentials campaign. 

That's pretty nice if you ask me.


The Other Side - 100 Days of Halloween


Solitaire: Caltrop Kaiju

Reviews from R'lyeh -

Imagine if a giant monster, a Kaiju, attacked the city where you lived? Stormed ashore and began stomping across one neighbourhood to the next, one district to the next? Crushing cars underfoot, smashing buildings, driving thousands upon thousands out of the city to flee to safety? Do you have friends and family in the city, and can you ensure their safety, let alone your own? As you move back and forth across the city, you will see the Kaiju again and again, and perhaps discern its weakness. Armed with that knowledge there are those who bring it to bear—the military, whose forces can drive the Kaiju from the city and back into the sea! It sounds like a film starring Godzilla, or Gojira, but is in fact the set-up and play for Caltrop Kaiju: A Monstrously fun and fast-paced TTRPG published by Button Kin Games. This is a small game which can be played in two ways, both of which are in solo mode. The first is as a mini-board game, whilst the second is as a solo roleplaying game in which the player keeps a diary of both his character’s actions and those of the Kaiju, much like other solo journaling game such as Thousand-Year-Old Vampire.
Caltrop Kaiju: A Monstrously fun and fast-paced TTRPG is designed to be played by one player aged ten and up. It requires a seven-by-seven grid to represent the city, marked with locations such as the nuclear power plant, city hall, and telecommunications tower, a two four-sided dice (the ‘Caltrop’ of the game’s title comes from the use of this die type), and a token to represent the player and a token to represent the Kaiju. The Kaiju comes ashore at the harbour and the game starts from there, whilst the player begins play in his mountain home. The player moves first, then the Kaiju. The player can only move one space, but the Kaiju moves three spaces in a randomly determined direction. As the Kaiju travels, it does damage to each square or each neighbourhood it passes through. If it passes through a neighbourhood three times, it is completely destroyed and becomes impassable for the player. The player can pass through partially destroyed locations, but whether due to the falling wreckage, flailing power lines, explosions, or collapsing buildings, there is a chance that he will be wounded. This means that the player rolls at a disadvantage on all die rolls. If the Kaiju does damage to the various locations, there are extra effects. For example, destroy the nuclear power plant and all of the surrounding squares are also destroyed!
In the short term, the aim of Caltrop Kaiju is for the player to trail the Kaiju and gain sightings of the gargantuan beast—hopefully whilst avoiding being stomped on and so wounded. If the Kaiju passes through the same square as the player, there is the chance that it will wound or even kill him in a dramatic fashion. However, from the same square as the Kaiju or an adjacent square—where there is no chance of the player being stomped—the player can attempt to gain a sighting of the leviathan. With each sighting, there is a chance that the player will learn the Kaiju’s weakness (if unsuccessful, the player automatically learns this weakness on the fifth attempt). Armed with that knowledge, the player can search for the secret military base, which necessitates a die roll, and if successful, pass on the knowledge to the military whose forces will attack the Kaiju and force back into the sea. However, the Kaiju now has the player’s scent and will be actively hunting him. Although the Kaiju is slowed as it hunts, the game becomes a race to find the base and pass the knowledge of the monster’s weakness before the player is stomped on or zapped or burned to a crisp. If that happens, the player, of course, loses the game.
Caltrop Kaiju is a simple mix of puzzle and programmed movement with the player playing against the game and the Kaiju. It can be enhanced and become something else if the player records a journal of his travails across the city in the wake of the massive monster, what he sees, and what he discovers about the Kaiju. To set this, Caltrop Kaiju suggests the player answer a few questions, such as who his character is, how he is the best person to determine the Kaiju’s weakness, what family he has in the city, and more. The player is also free to determine what sort of Kaiju the attacking beast is and what its weakness is. In this mode, the player records a journal of his character’s success or a journal of his character’s failure that will be found on his dead body in the rubble of the city long after the Kaiju has wandered back into the sea…
In comparison to other journaling games, Caltrop Kaiju is lacking in terms of tables and thus prompts. Other journaling games have numerous tables that the player can roll on or draw cards for, and use the indicated prompt to drive the narrative being recorded in the journal. Caltrop Kaiju lacks these. There are no tables for the type of Kaiju, its powers, or its weakness, or who and where the character’s loved ones are. There is a table for describing otherwise empty neighbourhoods, which though useful, seems an odd inclusion given the lack of other tables. With that lack of other tables, there is not perhaps the replayability of other journaling games because there is not the obvious variability.
Physically, Caltrop Kaiju is cleanly and tidily presented. Despite being a British game, it is written in American English which might be confusing for a younger audience. 
Caltrop Kaiju: A Monstrously fun and fast-paced TTRPG is a small game about a big event and facing a big behemoth. On one level, it is a simple puzzle, but on the other, it has the scope to tell a classic tale of man versus a colossal Kaiju tale in a modern city, done as an exercise in creative writing. However, if the player wants to return to the city and once again, face the Caltrop Kaiju, he may well want to create some random tables of his own to add a wider degree of variability.

Cable Cars & Souvenirs

Reviews from R'lyeh -

The very latest entry in the Ticket to Ride franchise is Ticket to Ride: San Francisco. Like those other Ticket to Ride games, it is another card-drawing, route-claiming board game based around transport links and like those other Ticket to Ride games, it uses the same mechanics. Thus the players will draw Transportation cards and then use them to claim Routes and by claiming Routes, link the two locations marked on Destination Tickets, the aim being to gain as many points as possible by claiming Routes and completing Destination Tickets, whilst avoiding losing by failing to complete Destination Tickets. Yet rather than being another big box game like the original Ticket to RideTicket to Ride: Europe, or Ticket to Ride: Nordic Countries, it takes its cue from Ticket to Ride: New YorkTicket to Ride: London, and Ticket to Ride: Amsterdam. Part of the cities series for Ticket to Ride, it is thus a smaller game designed for fewer players with a shorter playing time, a game based around a city rather than a country or a continent. It is also notably different in terms of theme and period.

Published by Days of Wonder and designed for play by two to four players, aged eight and up, Ticket to Ride: San Francisco is easy to learn, can be played out of the box in five minutes, and played through in less than twenty minutes. As with the other entries in the Ticket to Ride ‘City’ series, Ticket to Ride: San Francisco sees the players race across the city attempting to connect its various tourist hotspots. Ticket to Ride: New York had the players racing across Manhattan in the nineteen fifties via taxis and Ticket to Ride: London had the players racing across London in the nineteen sixties aboard the classic double-decker buses, although Ticket to Ride: Amsterdam took the series back to the seventeenth century and had the players fulfilling Contracts by delivering goods across the Dutch port by horse and cart and claiming Merchandise Bonus if they take the right route. Ticket to Ride: San Francisco continues the lack of trains in the series by having the players travel around ‘The City by the Bay’ aboard its icon form of transportation—the cable car! In Ticket to Ride: San Francisco, the players can take the ferry from Pier 39 to Alcatraz, travel to the Golden Gate Bridge, and stop off at Sunset or Potrero Hill, and if they do, collect some souvenirs too!

Inside the small box can be found a small board which depicts the centre of San Francisco, from the Golden Gate Bridge in the northwest to Potrero Hill in the southeast and Sunset in the southwest to Alcatraz in the northeast. Notably, several of the destinations are marked in red, including Alcatraz, Golden Gate Bridge, Potrero Hill, Sunset, and The Embarcadero. This is where the Tourist Tokens—representing the souvenirs collected by the players when they connect to those destinations—are placed at the start of play. There are also the expected Cable Car pieces (as opposed to the trains of standard Ticket to Ride), the Transportation cards drawn and used to claim routes between destinations, and the Destination Tickets indicating which two Destinations need to be connected to be completed. The Cable Car pieces are nicely sculpted and can actually be seen through from one side to the other. Each player has twenty of these at the start of the game. The Transportation cards come in the standard colours for Ticket to Ride, but are illustrated with a different form of transport for each colour. So black is illustrated with a bus, blue with a tram, green with a car not unlike the Ford Mustang as driven by Steve McQueen in the film Bullitt (which of course is set in the city), purple with a Volkswagen Camper, and so on. This really makes the cards stand out and easier to view for anyone who suffers from colour blindness. Similarly, the Destination Tickets are bright, colourful, and easy to read. As expected, the rules leaflet is clearly written, easy to understand, and the opening pages show how to set up the game. It can be read through in mere minutes and play started all but immediately.

The board itself is also bright and colourful. The scoring track round the edge of the board is done as a series of cable car tickets in keeping with the form of transport used in Ticket to Ride: San Francisco. Most routes are one, two, or three spaces in length, and there is one five-space route. One difference with the previous titles in the series is that it includes ferries, the slightly more complex routes first seen in Ticket to Ride: Europe, though only three of them, two of which go to Alcatraz. There is a very knowing joke on the board. 

Play in Ticket to Ride: San Francisco is the same as standard Ticket to Ride. Each player starts the game with some Destination Tickets and some Transportation cards. On his turn, a player can take one of three actions. Either draw two Transportation cards; draw two Destination Tickets and either keep one or two, but must keep one; or claim a route between two connected Locations. To claim a route, a player must expend a number of cards equal to its length, either matching the colour of the route or a mix of matching colour cards and the multi-coloured cards, which essentially act as wild cards. Some routes are marked in grey and so can use any set of colours or multi-coloured cards. Three routes are ferry routes and require a Ferry or multicolour Transportation card and the indicated number of Transportation cards in the right colour to claim. 

When a player claims a route connected with one of the cities with the Tourist Tokens on it, he takes one Tourist Token. At the end of the game, each player will be awarded a number of points depending on how many Tourist Tokens he has collected. This is reminiscent of, is the Stock Share cards of the Pennsylvania map from Ticket to Ride Map Collection Vol. 5: United Kingdom + Pennsylvania. In that expansion, every time a player claimed a route, he could in most cases, also claim a Stock Share card in a particular company. At the end of the game, a player would score bonus points depending upon the number of Stock Share cards he held in the various companies in the expansion. In that expansion though, all routes had a Stock Share reward, but in Ticket to Ride: San Francisco, they can only be gained from five Destinations on the outer edge of the map and two other locations. These other locations can be anywhere on the map and are chosen by the two players who go last in the turn order.

The number of Tourist Tokens each player has at the end of the game can tip the balance and potentially help a player win the game. However, their limited location limits access to them, as can the Destination Tickets each player draws and completes over the course of the game. Only half of the Destination Tickets in the game have Destinations with Tourist Tokens. This means that a player should take this into account when drawing and discarding Destination Tickets as it will alter his score at the end of the game. This can be offset by the placement of the Tourist Tokens by the last two players in the turn order during the set-up of the game, which adds an element of randomness. Connecting to Destinations with Tourist Tokens can counter one issue with Ticket to Ride: San Francisco and that is it is possible to draw Destination Tickets it is impossible to complete because a player can only draw two and must keep one. So a possible strategy might be to complete a fewer number of Destination Tickets and try to get more Tourist Tokens instead.

Physically, Ticket to Ride: San Francisco is very nicely produced. It is bright and breezy and has a very sunny disposition. Everything is produced to the high standard you would expect for a Ticket to Ride game.

Like Ticket to Ride: New York, Ticket to Ride: London, and Ticket to Ride: Amsterdam, what Ticket to Ride: San Francisco offers is all of the play of Ticket to Ride in a smaller, faster playing version, that is easy to learn and easy to transport. In comparison to those games, it is tighter with players needing to more carefully balance the number of Destination Tickets they attempt to complete versus the number of Tourist Tokens they can grab. Ticket to Ride: San Francisco is a great addition to the Ticket to Ride family, offering fast, competitive play, and tactical choice in an attractive, thematic box.

Miskatonic Monday #130: A Small Tremor in the Mountains

Reviews from R'lyeh -

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

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

—oOo—
Name: A Small Tremor in the MountainsPublisher: Chaosium, Inc.
Author: Laurie Hedge

Setting: Modern Day IcelandProduct: Scenario
What You Get: Twenty-two page, 1.18 MB Full Colour PDF
Elevator Pitch: What scares the scary down below?Plot Hook: Earthquake opens a new cave network. What thrills and treasures does it hide?
Plot Support: Staging advice, cave plans, three NPCs, two Mythos monsters, some vermin, and a Chase diagram. Production Values: Decent.
Pros# Linear, physically-orientated one-shot# Claustrophobia# Speluncaphobia# Good use of the Chase mechanics# Dramatic finale# Finally, an Investigator gets to use the Climb and Jump skills!
Cons# Primary NPC actions poorly handled# Needs a slight edit and localisation# Little scope for Adventurer/Mythos interaction or finding out what is going on in the scenario# Main Mythos threat not really a threat, not even to the Minor Mythos threat—until dislodged.# Finale kicks in with little time for interaction
Conclusion# One-shot with strong physical element puts the adventurers on the path to confrontation with—and desperate escape from—the Mythos, ending in a good use the Chase mechanic.
# Backstory remains hidden and the main Mythos threat is not a threat until dislodged.

Miskatonic Monday #129: Radio Killed Verna Starr

Reviews from R'lyeh -

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

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

—oOo—
Name: Radio Killed Verna StarrPublisher: Chaosium, Inc.
Author: Michael Schaal

Setting: Jazz Age PennsylvaniaProduct: Scenario
What You Get: Thirteen page, 2.83 MB Full Colour PDF
Elevator Pitch: Radio control in rural PennsylvaniaPlot Hook: Strange deaths in small town Pennsylvania reveal the dangers of new technology
Plot Support: Staging advice, three handouts, six NPCs, one Mythos monster, and one Mythos entity. Production Values: Decent.
Pros# Weird first encounter # Works as a single Investigator scenario# Keeper can prepare period recordings as handouts and atmosphere# Switch to the 1950s for televisiophobia?# Radiophobia# Pun title# Finally, an Investigator gets to use the Electrical Repair skill!
Cons# Underwhelming hook for the Investigators# Needs a strong edit# First encounter should be the hook# NPCs with similar names# Pun title
Conclusion# Weird first encounter signals an entertaining period side-trek Call of Cthulhu investigation highlighting our fears of technology and the new.# Pun title does give the plot away, but solidly plotted, easy to run twist upon the zombie horror genre (and back again).

Cyberpunk IV

Reviews from R'lyeh -

Cyberpunk is back. Or rather it returned in 2019. The original roleplaying game which drew from Cyberpunk literary subgenre—of which William Gibson’s Neuromancer was a leading example—was first published by R. Talsorian Games Inc. in 1988 as Cyberpunk (now known as Cyberpunk 2013) before being given a second edition with Cyberpunk 2.0.2.0. in 1990. Putting aside the less than well-received Cyberpunk V3.0 of 2005, what is in effect the fourth edition of the roleplaying game—Cyberpunk RED: The Roleplaying Game of the Dark Future—came out ahead of the highly anticipated computer roleplaying game, Cyberpunk 2077, but was not only designed as a standalone roleplaying game in its own right, being set in the year 2045, it also serves as a bridge between the period of Cyberpunk 2.0.2.0. and the computer game. Thus there is much that will be familiar to the Game Master and the player of Cyberpunk 2.0.2.0. There are the same ten character Roles, many of the MegaCorporations are still present, the same Interlock mechanics are used, as is the ‘Friday Night Firefight’ combat system. However, Cyberpunk RED has almost post-Post Apocalypse feel to it, taking place in and around a city which is recovering and suffering from environmental and radiation damage, the influence of the MegaCorporations has been reduced, and mechanically, the Interlock system has been streamlined for ease of play.
Cyberpunk Red: The Roleplaying Game of the Dark Future takes place in the Time of the Red. The Golden Age of Cyberpunk, of freewheeling embrace of technology, acceptance of cyberware as a way of life, of easy access to the NET where Netrunning console cowboys and cowgirls jockeyed for prestige as raided corporate networks, of the massive growth of corporations as extraterritorial entities, all radically dividing the future into one of extreme haves and havenots... That ended on August 20th, 2023, when a ‘pocket nuke’ was detonated in the Arasaka headquarters in the west coast metroplex of Night City. It ended the Fourth Corporate War between Arasaka and Militech, devastated Night City, and brought economic and environmental devastation to the world, causing a depression which continues two decades on... It ended corporate domination, reducing corporations to being local and international; turned much of the USA into a new Wild West where safe travel could often only be promised by the Nomad tribes. For years after the nuclear detonation, the sky was red and still is at dawn dusk, leading the new age to be known as the Time of the Red.

Night City is a frontier town, an independent city state rebuilding after the effects of the bomb. Services, supplies, and law enforcement are what you pay for. The reduced corporations still supply and provide almost everything, from power to food to medical services to media, with goods often brought in by Nomad tribes that run transport in the new North America, independents do grow real food though, and whilst the corporations have their own security, freelancers and bodyguards are available for hire, though the city maintains a Maximum Force Tactical Division or ‘Psycho Squad’ or ‘MAX–TAC’ which handles cybernetic criminals or anyone suffering from Cyberpsychosis. As inhabitants of Night City, you get your information from city wide freestanding dataterms and news from screamsheets downloaded to a personal agent helps you with your daily life from phone calls to shopping; you wear clothing able to emit sounds and video, even monitor your condition; you do your shopping at self-contained, armed and armoured Vendits; you eat kibble or good prepack food if you can; and you go armed. Either a Polymer One-shot easily bought or printed, or something bigger purchased from a Fixer after it has been scavenged from the Fourth Corporate War or smuggled into the city and purchased at a secret Night Market. The same goes for Cyberware...

The world of Cyberpunk RED is violent, neon cast, and dominated by technology to the point where it has been subsumed into the body. Cyberware enables humanity to be faster, stronger, have better senses, and more. Some have reacted to this mechanical invasion of the body with technoshock, but other have embraced it, living on the edge, taking advantage of their enhancements to be able to rip doors off with their cyberarms, drive their car or aerodyne with inhuman reflexes via interface plugs, tune into the infrared with cybereyes, or even cast their consciousness into local NET architectures at the speed of data. All to survive, make money, and build their rep. They are known as Edgerunners.
In terms of what you can play, Cyberpunk RED offers ten Roles or Edgerunner types—Execs, Fixers, Lawmen, Medias, Medtechs, Netrunners, Nomads, Rockerboys, Solos, and Techs. Execs represent the MegaCorporations, protecting their interests and reputations; Fixers are dealmakers smugglers, organisers, and information brokers; Lawmen enforce what law they can on the streets and the highways; Medias are journalists, media stars, and influencers who bright stories to light and make names for themselves; MedTechs are street doctors, capable of patching up wounds and damage to flesh and metal alike; Netrunners are the cybernetic master hackers of the post-NET world and brain burning secret stealers; Nomads are transportation experts and the ultimate road warriors; Rockerboys are rock and roll rebels who use performance and rhetoric to fight authority; Solos are assassins bodyguards, killers, and soldiers for hire in a lawless new world; and Techs are renegade mechanics and inventors who build devices and keep others running.
An Edgerunner has ten stats—Body, Cool, Dexterity, Empathy, Intelligence, Luck, Move, Reflexes, Technique, and Willpower—typically ranging between one and eight, but can be higher. Of these, Empathy is important because it helps withstand the potential effects of Cyberpsychosis, and is primarily lost due to the implantation of cyberware. The Luck stat is used as a pool of points to apply to skill rolls if needed. It refreshes at the start of each session. In addition, an Edgerunner will have numerous skills, again rated on a one to ten scale, as well as various items of cyberware and equipment. Each Role has its own Role Ability, also on the same scale. The Exec builds on ‘Teamwork’, gaining all the corporate benefits of being employed—housing, health insurance, and more—as well as loyal team members to do his bidding, such as a bodyguard, driver, netrunner, or spy. The Fixer has ‘Operator’ which represents his contacts and reach as well as his skill at haggling. The Lawman has , indicating the number of law enforcement officers he can call into help. The Media has ‘Credibility’ and can get rumours, gain access and sources for stories, and build both an audience and his believability. The Medtech has ‘Medicine’ which enables him to perform surgery, operate medical technology, and use pharmaceuticals. The Netrunner has ‘Combat Awareness’ which enables him to run the Net and do various actions within the Net. The Nomad has ‘Moto’ which represents their familiarity with vehicles and the various types of vehicles he has access to in the family motorpool and can upgrade. The Rockerboys has ‘Charismatic Impact’ which determines the size of clubs he can play and his ability to affect his fans, from one to a single group. The Solo has ‘Combat Awareness’, which lets his player determine his combat effectiveness from round to round, such as Damage Deflection, Precision Attack, and Threat Detection. The Tech has ‘Maker’ which enables him to specialise in various types of expertise, such as Field Expertise, Upgrade Expertise, Fabrication Expertise, and Invention Expertise, and so repair, invent, and improve technology.
Not all of the Role Abilities are necessarily that easy to use or bring into play or even that interesting. The ‘Combat Awareness’ of the Solo will always be useful in a fight whereas the ‘Backup’ Ability of the Lawman has a limited use—after all, how many times can he call for backup? Most of the Role Abilities of the other Roles have specific uses, and whilst in general easy to use, those of Rockerboy and the Tech—especially the Tech—require closer reading to fully understand.
In terms of Edgerunner creation, a player is provided with three options—‘Streetrats’, ‘Edgerunners’, and ‘Complete Packages’. ‘Streetrats’ uses templates to create an Edgerunner; ‘Edgerunners’ starts with templates, but lets a player customise them; and ‘Complete Packages’ allows a player to create his Edgerunner using pools of points. Beginning with the player selecting his Edgerunner’s Role, ‘Streetrats’ is the simplest and fastest, with the other two increasing in both complexity and time to complete. Each one sets both the level of the game and its relative complexity. All three use a Lifepath set of tables to determine the Edgerunner’s cultural origins, personality, dress and personal style, motivations and relationships, background and more, all the way up to life goals. These can be customised as necessary, and a player can roll or select as is his wont. Each Role has its own subset of Lifepath tables. Altogether, they add to the detail and background of an Edgerunner without providing any mechanical benefit. The process is quite fun too.

Melina ElviraRole: TechRole Ability: Body 7 Cool 4 Dexterity 7 Empathy 6 (4) Intelligence 6Luck 5 Move 5 Reflexes 7 Technique 8 Willpower 4Hit Points: 50Humanity: 60 (48)Athletics 2 Basic Tech 6 Brawling 2 Concentration 2 Conversation 2 Cybertech 6 Education 6 Electronics/Security Tech (x2) 6 Evasion 6 First Aid 6 Human perception 2 Land Vehicle Tech 6 Language (Spanish) 6 Language (Streetslang) 2 Local Expert (Your Home) 2, Perception 2 Persuasion 2 Science (Chemistry) 1 Shoulder Arms 6 Stealth 2 Weaponstech 6

Equipment: Shotgun, Basic Shotgun Shell Ammunition ×100, Flashbang Grenade, Light Armorjack, Body Armor (SP11), Light Armorjack Head Armor (SP11)Agent, Anti-Smog Breathing Mask, Disposable Cell Phone, Duct Tape ×5, Flashlight, Road Flare ×6, Tech Bag, Generic Chic: Bottoms ×8, Tops ×10, Leisurewear: Footwear ×2Cyberware: Cybereye, MicroOptics, Skinwatch, Tool Hand

Cultural Origins: South/Central AmericanLanguage: SpanishPersonality: Moody, rash, and headstrongClothing Style: Bag Lady Chic (Homeless, Ragged, Vagrant)Hairstyle: MohawkAffectation You Are Never Without: TattoosWhat Do You Value Most?: HonestyHow Do You Feel About Most People?: Every person is a valuable individual.Things You Value the Most?: A public figureMost Valued Possession You Own?: A piece of clothingFamily Original Background: Nomad Pack (You had a mix of rugged trailers, vehicles, and huge road kombis for your home. You learned to drive and fight at an early age, but the family was always there to care for you. Food was actually fresh and abundant. Mostly home schooled.)Childhood Environment: In a decaying, once upscale neighbourhood, now holding off the boosters to survive.Family Crisis: Your family vanished. You are the only remaining member.Friend’s Relationship to You: Someone with a common interest or goal.Enemy: Person you work for. You just don't like each other. Connected to a powerful gang lord or small Corporation.Revenge Against the Enemy: Backstab them indirectly.Tragic Love Affair: Your lover is imprisoned or exiled.Life Goals: Hunt down those responsible for your miserable life and make them pay.Tech Type: WeaponsmithWorkspace: Everything is colour coded, but it’s still a nightmare.Workspace Partner: Possible romantic partner as wellMain Clients: Local Fixers who send you clients.Source of Supplies: Corporate Execs supply you with stuff in exchange for your services.Who’s Gunning For You?: Larger manufacturer trying to bring you down because your mods are a threat.
Mechanically, Cyberpunk RED is relatively straightforward. To have his Edgerunner undertake an action, a player rolls a ten-sided die and adds the Edgerunner’s Stat and Skill to beat a Difficulty Value. This Difficulty Value ranges from nine for Simple to twenty-nine for Legendary with thirteen for Everyday and fifteen for Difficult. A Critical Success is a roll of ten and another roll of a ten-sided die is added to the result of the first roll. A Critical Failure is a roll of one and another roll of ten-sided die, plus the Edgerunner’s Stat and Skill, is added to the result of the first roll. Combat or ‘Friday Night Firefight’ uses the same core mechanic, for example when shooting at an opponent, the player rolls a ten-sided die and adds the Edgerunner’s Reflexes and Weapon Skill to beat a Difficulty Value, that either can be the Range to Target or the Defender’s Dexterity plus Evasion Skill plus a roll of a ten-sided die (the latter because a Defender with a Reflexes of eight or more can attempt to dodge a ranged attack). Melee attacks take into account the various forms and special moves for various martial arts, whilst ranged attacks cover the use of crossbows and bows as well as autofire. ‘Friday Night Firefight’ stresses the use of cover and armour—including the use of a human shield if grappling—as it can be deadly. One or two rounds can be enough to kill an unarmoured target and if two or more of the dice rolled for damage are six, a critical hit is inflicted. A critical hit has nasty effects. The ‘Trauma Team’ rules, named for the subscription ambulance service, cover damage of all kinds, including Cyberpsychosis. ‘Friday Night Firefight’ also takes in vehicle combat, but it adds another form of combat too—Reputation. An Edgerunner builds this through his actions and the things he has done, and it can be good or bad. As well as being used to determine if an NPC has heard of the Edgerunner, it is used as a modifier when a facedown occurs and there is a battle, not so much of wills, but to see which person is more Cool.
One of the potentially more complex aspects of Cyberpunk and Cyberpunk RED is Netrunning. A signature aspect of both roleplaying game and genre, in the past this involved the Netrunner jacking into the vast datasphere of the NET, rendering him unconscious whilst his fellow Cyberpunks were actually on the mission. Mechanically, it was also complex and time-consuming, a sub-game within the roleplaying game, but for one player only and only taking up seconds of in-game time in comparison to real time. As a result of the Fourth Corporate War, by the Time of the Red in Cyberpunk RED, the NET has been shutdown and whilst the Netrunner still has to jack in, he does it on scene and wearing Virtual Goggles. Which means he is present with the other Edgerunners and he can switch back and forth between the real world or ‘meatspace’ and the virtual space of the local NET. Netrunning is modelled as riding in an elevator going up floor by floor, opening the doors at each floor where the Netrunner might face a Program, Black ICE, another Netrunner, File, Control Node, and so on. This NET Architecture can also branch.
Netrunning runs at the same scale as ‘Friday Night Firefight’. The Netrunner is limited to a Move Action in Meatspace and another Meatspace Action or a number of actions—between two and five—in the NET determined by his Interface Role Ability value. A Netrunner can use these actions to Cloak his presence in the local NET Architecture, use a Control Node to direct connected cameras, drones, turrets, laser grids, and so on, examine files with an Eye-Dee program, implant a Virus, attack or defend against another program, and more. The Netrunning rules include descriptions of various programs and Cyberdeck hardware, advice for the Game Master on building NET Architecture, and notes for the Edgerunner who wants to install his own NET Architecture as home security. The rules are focused, streamlined, and within a game, keeps the Netrunner on scene, as well as keeping him at the same time scale as combat. However, they do still feel that when doing a Netrun, the player and the Game Master are doing a mini-game, one that is comparatively more complex than the rest of the game. Fortunately, the rules are not as complex or as time consuming as those of Cyberpunk 2.0.2.0. or Cyberpunk 2013.
In terms of background, Cyberpunk RED provides details of numerous pieces of gear and equipment—weapons, cyberware, food, fashion, and more. There is flavour too in the inclusion of in-game adverts and three short stories. ‘Never Fade Away’, the first, is set in 2013 and retells the reasons behind the Rockerboy icon Johnny Silverhand’s hatred of the megacorporation, Arasaka, which will lead to the final confrontation in Night City which triggered the end of the Fourth Corporate War as detailed in the second story, ‘The Fall of the Towers’. The third short story, ‘Black Dog’ brings the history up to date with events in 2045.
There is a lengthy timeline, which runs from the nineteen nineties up to the twenty forties, and descriptions of what the world and Night City is like in the Time of the Red. This includes the major corporations of the period, a mix of the old and the new, and for Night City, the various districts, gangs, and influential persons. Quick overviews are provided of the nations beyond the borders of the USA, but these only set the scene rather than provide any actual detail. The default setting is still Night City though, and here it gets down into the personal, everyday life, explaining how a personal Agent works, the legalities of weapons and how to get them, travel, what you eat, your entertainment, where you shop, and a lot more. There is a lot of flavour and detail here, all of which can be used by the Game Master to bring the future of 2045 to life for her players and their Edgerunners.

For the Game Master, there is plenty of advice on running Cyberpunk RED. This includes genre advice such as using the urban environment, trust no one, set the mood, know the world, and so on—there is similar advice for the player at the front of the book—and campaign types, typically built around specific team types like a band or gangs or Trauma Team unit, and character and player types. It suggests using a ‘Beat Chart’ to script plots and stories and goes into the various types of beat that the Game Master can use. It has a pleasing modularity and comes with examples which the Game Master can use or adapt. Besides various NPCs and encounter charts, there are two Screamsheets, essentially newspaper headlines around which is presented a scenario. Both are quite short and should provide a session or two’s worth of play. The rules for Edgerunner improvement are placed here too, which feels a little odd. They are interesting though, Cyberpunk RED offering an optional ‘Playstyle-Based Improvement’ system which rewards players and their characters depending upon what they favour and whether their playstyle is that of a Warrior, Socialiser, Explorer, or Roleplayer. Determining this requires each player to take a small quiz after Edgerunner creation, which is why it feels so odd being placed almost at the end of the book.
Physically, Cyberpunk RED is an imposing volume, containing a lot of information. For the most part it is well written, with excellent artwork and cartography. There is some repetition between some of the tables and sections in the Edgerunner creation rules and the sections where equipment and cyberware is explained in more detail. This, though, is really designed to help speed up Edgerunner creation, and speeding this and other processes is clearly the layout designers’ intent. There are pointers to other sections of the book if a player wants to know more about particular aspects of the setting or rules (numbered pages for the print book, hypertext links in the PDF), flowcharts pull the player through the Edgerunner creation process. Despite the wealth of information contained in the book, there is every effort here made to ensure that it is accessible.
Yet, for all of the degree of detail and flavour, especially at the level of living and working the streets of Night City, where Cyberpunk RED does not quite succeed and feels as if it could have used more of, is in-game branding. A lot of the equipment, the weapons, the cyberware, and the Netrunning gear are generic, and although there are a few weapon names and the like, finding this is not easy and it definitely needed more to help enforce the verisimilitude of the Time of the Red. This though is a minor complaint and if the Game Master has access to supplements for Cyberpunk 2.0.2.0. then she can cannibalise all of the branding and names from the Golden Age of the Cyberpunk and put them on sale at a Night City Night Market.
Cyberpunk RED: The Roleplaying Game of the Dark Future is a streamlined and accessible update of the classic Cyberpunk roleplaying game. It brings the Time of the Red to life with a wealth of detail and engaging flavour and supports it with familiar mechanics and solid advice—for both the player and the Game Master.

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