Taking the left turn you continue down the hallway there is a door to your immediate right (18), and another further down to the left (19). The door to the right is open.  

This is a much larger cell, and inside are 6 Human Fighters (level 3, Chaotic).  They all wear platemail (AC 4) and carry swords (1d8+1).  Their hp are 16, 13, 11, 11, 10, 9.

Fighter #1 (16hp) has a dagger +1 that he will use if combat is going against them.

They have a total of 250 pp, 800 gp, 1,250 ep, 220 sp, and 3,000 cp.  This is the group that has been looting the dungeon ahead of the characters. Adjust their number and hp as needed. 

Board games have got big recently, as just about any newspaper headline on the subject will tell you, so much so that the headline has become a cliché. Yet there is some truth to the headline, for as long as anyone can imagine board games have always been popular, but board games really, really have got popular—and relatively recently. By recently, we mean the last forty years, and definitely the last thirty years as the board game evolved from something played during our childhoods to something that could be played and enjoyed by adults, who happened to be board game devotees. Then from this niche, the playing of board games as a hobby gained wider acceptance and moved into the mainstream to become an acceptable, even normal, pastime. Pioneered by classic titles such as Settlers of Catan, Carcassonne, and Ticket to Ride, board games have got big in the last few years. What these three designs have in common is that they all won the Spiel des Jahres, the German ‘Game of the Year Award’ which recognises family-friendly game design and promotes excellent games in the German market. To win the Spiel des Jahres is the equivalent of winning the Oscar for Best Picture. It is a mark of recognition not just for the game itself, but also for the designer and the publisher, and winning the Spiel des Jahres can mean tens of thousands of extra sales as everyone wants to try out the new critically acclaimed game. So, the question is, “What makes a Spiel des Jahres winner a good game?” It is answered some forty or so times by James Wallis in Everybody Wins: Four Decades of Greatest Board Games Ever Made.

Wallis, has of course, already explored the history of board games in the company of Sir Ian Livingstone with Board Games in 100 Moves: 8,000 Years of Play, but in Everybody Wins: Four Decades of Greatest Board Games Ever Made, published by Aconyte Books, he delves into the more recent forty-three years of the hobby to examine and give his opinion upon every one of the Spiel des Jahres winners, from the award’s inception in 1979 to 2022. The majority of them are good, some indifferent, and a few disappointing. Along the way he charts the changes in the hobby over the period as reflected through the awards, although as the author makes clear, this is not an actual history of the Spiel des Jahres award, its jury, and the deliberations it makes each year and the decisions it comes to. Its focus is very much on the games themselves and its tone and style is lighter, more that of a coffee table style book than some dry history. Consequently, this is a book which can be enjoyed by the casual board game player as much as the veteran. Further, the big, bold, bright format means that the book can be put in the hands of someone who does not play board games, and they will not be intimidated by the book itself or the games it showcases.

Everybody Wins is divided up into five colour-coded sections which each explore the different eras of the Spiel des Jahres, including the themes, the changes in design, and trends in the hobby in that time, beginning with ‘Opening Moves’ of 1979 to 1985, and going through ‘The Golden Age’ of 1996 to 2004 and ‘Identity Crisis’ of 2005 to 2015, before finding ‘New Purpose, New Direction’ since 2016. Each section opens with an overview of the period. For example, ‘Opening Moves’ explains how the award came to be founded and what it set out to do, which was to highlight, if not necessarily the best game of the year, then the most interesting, the most playable, and the most fun game of year, which had been published in German in the last year, and in the process, to broaden the acceptance of board games beyond just the hobby. Later eras examine the changing fortunes of the award and game design, for example, ‘The Golden Age’ exploring the effect that Settlers of Catan, winner in 1995, had on both hobby and industry, and how the period would not only see the rise of classic game, but also several heavier, more complicated games would not necessarily appeal to a family audience. Each overview is then followed by the winners for that period, every title receiving an essay that details its background, gameplay, the author’s opinion, and more. Notes give both the publisher and current  availability, plus whether or not the game was a worthy winner and is still worth playing now. The occasional sidebar explains particular rule types or gives a thumbnail portrait of a designer and every entry concludes with a full list of the nominees and winners of the various awards the Spiel des Jahres jury has given out over the years, initially special awards, but more recently the Kinderspiel and Kennerspiel awards.

Everybody Wins does not look at the winners of the other two awards that the jury gives out— the Kinderspiel and Kennerspiel awards. Neither are quite as important as the Spiel des Jahres, nor do they quite have the same effect on the industry, but where Everybody Wins does come up short is in not looking at the ‘what if’s’ of the Spiel des Jahres. Only once does the author look closely at another nomination for the award, Matt Leacock’s Forbidden Island, a nominee in 2011 when Quirkle won. This is less of an issue when what is regarded as a classic won in a particular year, such as Settlers of Catan in 1995, Dominion in 2009, or Codenames in 2016, but what about in 2002 when the stacking game, Villa Paletti won? Wallis tells the reader that, “In no possible sense was this the game of the year.” It would have been interesting to pull the other nominees out and give them the space to explain why they should have won instead. For example, Puerto Rico and TransAmerica in 2002, but also for Niagara in 2005 and later, Keltis in 2008. Later, Wallis does look at ‘The Ones That Didn’t Win’, but this is only a brief overview, primarily highlighting the commercialism of a game or it not suiting the Spiel des Jahres criteria, but there are games here that do fit those criteria, and would have been worthy winners, such as Pandemic in 2009.

Physically, Everybody Wins: Four Decades of Greatest Board Games Ever Made is lovingly presented, with every entry very nicely illustrated and accompanied with an engaging description. One obvious issue with the presentation is the book’s sidebars. Done in white on colour boxes, the text is not strong enough to read without the aid of good lighting.

The response to Everybody Wins will vary according to how much of a board game player the reader is. If the reader is a veteran, this will send him scurrying back into his collection to pull out titles and try them again, checking them against past plays and the author’s assessment. Or scouring online sellers for the titles that he does not have. The more casual player is more likely to pick and choose from the range of titles discussed in the pages of the book, probably looking for the classics and the titles that the author recommends as worth his time and the reader’s time. Whatever way in which the reader responds to the book, Everybody Wins: Four Decades of Greatest Board Games Ever Made is an entertaining and informative primer on the past four decades of the board game hobby and the winners of its greatest prize.

So new Kickstarters up from the last week or so. All are doing well and certainly don't need my signal boost, but I feel obligated to do so.

MythCraft | A Complete TTRPG Universe and Game System

https://www.kickstarter.com/projects/quasigrant/mythcraft-rpg?ref=theotherside

MythCraft aims high. It looks great and the team certainly put a lot of love and care into it.  What I am hearing most about it is the detailed character-building rules and options.  Indeed it looks quite fun to be honest and the game is attractive as hell. They are going all out here.

It *might* just be another Fantasy Heartbreaker, but even if it is, it is still detailed enough to have my attention.  There is a Quick Start here, and I am quite excited for them.

There is a lot, and I mean A LOT of material here and there is no way I can do it justice, but check them out and see for your self. 

Can You Play A Witch? Yes! In fact the witch is one of the four classes (out of 11) that they are featuring here.  You can see her on the cover, upper left. 

All the Witches

https://www.kickstarter.com/projects/allthewitches/all-the-witches?ref=theotherside

I interviewed the project lead and "head witch" Emmapanada yesterday. Well this one came screaming out the gate and was funded in under 3 hours!  

What else can I add? I love the art and I am really looking forward to seeing this one become a reality.

Can You Play A Witch? Yes! Correction. HELL YES! That's what this game is all about and honestly, I am all here for it.

Shadowdark RPG: Old-School Gaming, Modernized

https://www.kickstarter.com/projects/shadowdarkrpg/shadowdark-rpg-old-school-gaming-modernized?ref=theotherside

The current darling of the Old-School crowd. It is fun, I have had the QuickStart since Gary Con last year and played around with it.  The production values here are top notch, so it is certainly a very attractive set.

It is fun yes and has a lot going for it. I think it lives somewhere in between DCC and OSE. Though I do admit I can't really see what this does for me that OSE can't do.  Still, I know this will be fun for the right groups.

Can You Play A Witch? Yes, but you will need to grab her from the Cursed Scroll #1 zine to add her. 

--

Lots of great games out there!

For every Ptolus: City by the Spire or Zweihander: Grim & Perilous Roleplaying or World’s Largest Dungeon or Invisible Sun—the desire to make the biggest or most compressive roleplaying game, campaign, or adventure, there is the opposite desire—to make the smallest roleplaying game or adventure. Reindeer Games’ TWERPS (The World's Easiest Role-Playing System) is perhaps one of the earliest examples of this, but more recent examples might include the Micro Chapbook series or the Tiny D6 series. Yet even these are not small enough and there is the drive to make roleplaying games smaller, often in order to answer the question, “Can I fit a roleplaying game on a postcard?” or “Can I fit a roleplaying game on a business card?” And just as with roleplaying games, this ever-shrinking format has been used for scenarios as well, to see just how much adventure can be packed into as little space as possible. Recent examples of these include The Isle of Glaslyn, The God With No Name, and Bastard King of Thraxford Castle, all published by Leyline Press.

The Pocket Sized Perils series uses the same A4 sheet folded down to A6 as the titles from Leyline Press, or rather the titles from Leyline Press use the same A4 sheet folded down to A6 sheet as Pocket Sized Perils series. Funded via a Kickstarter campaign as part of the inaugural ZineQuest—although it debatable whether the one sheet of paper folded down counts as an actual fanzine—this is a series of six mini-scenarios designed for use with Dungeons & Dragons, Fifth Edition, but actually rules light enough to be used with any retroclone, whether that is the Dungeon Crawl Classics Roleplaying Game or Old School Essentials. Just because it says ‘5e’ on the cover, do not let that dissuade you from taking a look at this series and see whether individual entries can be added to your game. The mechanics are kept to a minimum, the emphasis is on the Player Characters and their decisions, and the actual adventures are fully drawn and sketched out rather than being all text and maps.

The Beast of Bleakmarsh is the second entry in the Pocket Sized Perils series following on from An Ambush in Avenwood. Designed for Second Level Player Characters, the scenario is more complex than An Ambush in Avenwood, involving a mystery to investigate, things most foul to reveal, and monsters to hunt. It can be played through in a single session, but might take a little longer as the Player Characters follow the clues across an area of marshland. The beginning of the scenario sets the Player Characters up as monster hunters who have been asked by their friend Godric to travel to the village of Bleakmarsh which is being plagued by a mysterious beast. As they make their way towards the ferry station, they hear cries for help coming from the marsh. When the Player Characters investigate the source, they find a women imperiled by a swarm of frenzied swamp beasts. After they have rescued her, the Player Characters will learn that she is a bard, travelling with her band to perform in the village of Bleakmarsh. Unfortunately, the frenzied swamp beasts have eaten her bandmates and their horses, so asks the Player Characters if they will escort her to her destination. As thanks, she offers to split the takings from her performance that night.

When they arrive, the Player Characters have the opportunity to learn more about the so-called ‘Beast of Bleakmarsh’ as well as other gossip, and also discover that their friend Godric has disappeared! With Bleakmarsh as their base, they can then begin their investigations into the locations of both the beast and their friend. Of course, the Player Characters do not have follow this path exactly. The Player Characters could simply be passing by, on their way to another destination, when they hear the cries of the bard emanating from the marsh, though the Game Master will need to make Godric important to the Player Characters in some other way. Instead of being asked by Godric, the Player Characters could alternatively have been asked by the authorities to deal with the beast threatening the village. In this way, the scenario can be be run as short sidequest. Whichever way the Dungeon Master decides to use The Beast of Bleakmarsh, it is easy to add to an ongoing game.

The mystery at the heart of The Beast of Bleakmarsh unfolds at the same time and pace as the Dungeon Master literally unfolds the scenario. The initial three double-page spreads provide and illustrate the scenario’s set-up and opening encounter, then the village of Bleakmarsh and its inhabitants and gossip, and lastly, an explanation of what is going on. Which is not quite as simple as there being a beast threatening the village—the threat comes from within rather them without. There is a list of clues and items to be found which may help the Player Characters, but the adventure literally opens up when the Game Master pulls The Beast of Bleakmarsh apart to reveal a map of the area with its important locations marked. Pull the map apart and the location of the scenario’s final confrontation and the details of those responsible for the disappearances.

The openness of the scenario means that The Beast of Bleakmarsh is slightly more difficult to run than the previous An Ambush in Avenwood. It is not as heavily plotted and is primarily player and Player Character-led as they follow up on the clues littered across the landscape and the scenario. One potential issue is that the Player Characters will weapons that either silvered or magical and it is unlikely that all of the Player Characters will have them. Fortunately, the scenario includes a means of solving this issue—if the Player Characters can find it. If they cannot, then the final confrontation with the real danger threatening the village will be very short indeed.

The Beast of Bleakmarsh has the feel of a bigger scenario parred down to fit a smaller page. In some ways it is more of detailed outline than a full detailed adventure, and the Dungeon Master may want to add a few NPCs for the Player Characters to interact with in Bleakmarsh and probably prepare some notes as the scenario cannot really be run just from the main map. Of course, the Dungeon Master will have to flip back and forth just as in other scenarios, but here there is some page folding too. And that makes running The Beast of Bleakmarsh just that much more fiddley than a standard scenario.

Physically, The Beast of Bleakmarsh is very nicely presented, being more drawn than actually written. It has a cartoonish sensibility to it which partially obscures the degree of peril to be found within the reaches of the marsh. There is a sense of humour too in the details of the drawings, obviously more for the benefit of the Dungeon Master than her players. The combination of having been drawn and the cartoonish artwork with the high quality of the paper stock also gives The Beast of Bleakmarsh a physical feel which feels genuinely good in the hand. Its small size means that it is very easy to transport.

The Beast of Bleakmarsh presents a simple little mystery at the heart of the marsh, with a limited trail of clues which lead to a dangerous confrontation with the villains threatening the villagers of Bleakmarsh. It has a slightly humorous, if no less grim—and slightly Lovecraftian—tone which the Dungeon Master is free to ignore or emphasise as is her wont. At its most basic, The Beast of Bleakmarsh is easy to prepare, but the Dungeon Master will probably want to spend a little more time developing it in places, especially if she wants to play up the horror and sense of bleak isolation which the scenario suggests, but does not really give itself the room to really present. The Beast of Bleakmarsh has the same charming physicality of the other entries in the Pocket Sized Perils series, but will need more effort—though not too much effort—than those others to get the fullest out of the scenario.

The hallway continues a bit and then turns to the left, but before that, there is another cell on the right.

The doors are open. Inside this cell are three orcs with swords.  They are searching the cell, but have not found anything, they attack the party.

They have normal amounts of treasure for wandering orcs.

--

The orcs come from a portal on the second level.

Something special today.  I had the chance to talk to Emma, aka Emmapanada, the lead designer of the RPG "All the Witches" that is Kickstarting today.  What is "All the Witches?"  Well, let us find out!

All the Witches

https://www.kickstarter.com/projects/allthewitches/all-the-witches?ref=theotherside

Tim Brannan/The Other Side: It is my pleasure today to be interviewing the team that is currently Kickstaring a new Witch-based RPG, “All The Witches.” Which you can find here, https://www.kickstarter.com/projects/allthewitches/all-the-witches

Today I am talking with Lead Designer Emma for today’s launch. 

Before we get into all the questions, please introduce yourself and tell us all what your role is on this team.

Emma: My name is Emma, also known as Emmapanada! I use they/she pronouns and I’m the Creator, Lead Developer, Lead Game Designer for All the Witches. I’ve been playing TTRPGs for a little over 10 years now, and I started creating systems in September of 2020. I’ve been working on All the Witches since about December 2021, and I’m incredibly excited to have it finally come to Kickstarter!

TB/TOS: What are some of your favorite games? Why?

Emma: Dungeons and Dragons 2nd Edition has a special place in my heart, because it was the first TTRPG I played long term. My friends and I would play every Saturday in College for 12-14 hours, and it was an absolute blast. Dnd 5e was starting to get playtested when we were playing, so we were way behind the times, but it was a ton of fun. Once I started playing more systems, I really fell in love with Kids on Bikes because sneaking around town hunting for ghosts and cryptids is really fun and stressful, and World of Darkness holds a special place in my heart because it was the first game I played with my partner. 

TB/TOS: That is great, I also rather enjoyed the World of Darkness, as well, and Kids on Bikes is great fun. Tell us a bit about this game and what backers should look forward to when they get it.

Emma:  Absolutely! All the Witches is an original Tabletop Roleplaying Game with some deck-building mechanics utilizing the standard array of dice except for the D100. In the system, you have 5 attributes that any skill checks made during gameplay will fall under. Those attributes are Power, Agility, Soul, Mind, and Endurance. When you try to make a check, your GM will tell you what attribute they think that check relates to, and then they'll tell you to roll a certain die. In this system, the die you roll determines the difficulty of the check, and you succeed on the check if you roll at or below the corresponding attribute's rank. So if your GM tells you to make a D10 Agility check, and your Agility is rank 4, then you succeed on rolling a 4 or below. As you play the game, your Attributes will rank up, and over time you'll automatically pass certain levels of difficulties for checks because you Attribute rank is higher than the value of the die. 

The deck building comes into play during encounters. Your deck is made up of number cards from either the Minor Arcana of a Tarot Deck, or from a deck of playing cards. At the start of the game, you'll have 5 cards in your deck that numerically equate to each of your Attributes' ranks. When you enter an encounter, you'll draw three cards from your deck and when it's your turn, you'll play a card from your hand. The card you play determines the number of Actions you get in that turn. If you play a 4 of Swords, then you have 4 actions that turn. You can use actions to cast spells, move, interact with objects, attack, or use abilities. As you play the game you'll add more numbered cards to your deck, some special face cards that give you special abilities on your turn, and as you reach certain parts of the game the suits of the cards you play will come into effect. 

Our goal as a team is not to create an entire world in All the Witches. Instead, our plan is to feature 3 regions of the world and flesh them each out with rich detail. Groups that play All the Witches can start off in one of these regions and have entire adventures there, they can go and travel to the other regions to explore, or they can collectively imagine what the rest of this world might look like and build things together to make their stories truly theirs. 

The three regions that All the Witches will feature are:

-Tane: A dense forest region that once thrived with life and beauty. Long ago, some adventurers slew a great spirit that resided in Tane, and its death sent the entire region into a spiral of corruption and Discordance. Not many live there now because the region is extremely toxic and dangerous, but those that do rely heavily on Witches to keep their towns free of corruption, poison, and dangerous creatures. Groups that start here will often find themselves fighting against the very nature around them in order to survive. 

-The Golden Islands: A large chain of islands that house two civilizations that couldn't be more opposite to one another. The United Islands of Sunder are a free people that use magic to sail the seas, explore the unknown, and keep the treasures they find. Darkhammer on the other hand is a society with strict rules that uses magic to strengthen and protect their ships and trading routes. These two come into conflict often, and groups that start here will find themselves fighting people from either civilization in order to survive. 

-Cyllynys: A verdant gem in the northern seas, Cyllynys is a small nation with a big impact on the world at large. Settled long ago by a diverse array of peoples, its earliest history is shrouded in myth and legend; ancient monuments of mysterious origin dot the landscape. The people of Cyllynys have, since their earliest days, put a tremendous value upon knowledge and wisdom, and this led to their development of steam technology. Now, that same technology threatens to take over the traditions and ancient monuments that once meant so much. Groups that start here will face a changing nation, and the tensions that arise because of that change.

We're committed to being a digital-only product with our Kickstarter launch for a number of reasons:

1. We're a small TTRPG project and printing generally takes up about a third of a project's entire budget. In a COVID world where a lot of groups are currently playing digitally, we think that money can be better spent on accessibility resources to help people learn and play our game. We're hoping to build a website to help people with character creation and upkeep, to incorporate links into our PDF that lead to short, professionally produced videos explaining certain portions of the rules for people that struggle learning systems just from reading text, and more.

2. Due to the world wide paper shortage the past few years, a number of TTRPG projects have been delayed, and we think that as a small project we should do what we can to encourage others to seek a paperless route. We hope to show the TTRPG industry what all can be done with your project when you aren't focused on physical prints of your books.

3. Because we're focusing on a digital product, we'll be able to include a lot more to enhance the player experience. With each purchase of All the Witches, we'll be including various music files, portraits for NPCs and Characters, digital maps, and more. 

Since this is a digital product where everyone will get all the resources that are made, there will only be a few pledge levels on the Kickstarter itself. The main pledge level will be $30, and that will get you the PDF as well as all other digital resources such as musical tracks, character and NPC portraits, maps, stream overlays, stream assets, emotes, and more. There will be a $50 pledge level that's for those that want to support the book a little more, and for those that pledge at that level there will be thank you pages dedicated to them at the back of the book with fun art. Then there will be a $200 pledge level that will get a personalized thank you at the back of the book, and a Character/NPC portrait will be made based on them. 

TB/TOS: What do you all feel makes All The Witches different from games currently on the market? What do you say makes it special? Or, bottom line, why should people want to buy this game?

Emma: On top of having a unique rule system that I think will surprise a lot of people, our commitment to being a wholly digital game gives us the opportunity to do a lot that other games aren’t doing. With the release of our game, we’re also sending backers tools to help enhance their online roleplaying experience including original orchestrations that tables can use in their games, NPC and Character tokens, emotes, stream overlays and assets, and professionally produced videos to help people learn our system who have a hard time learning just by reading. Additionally, since we’re digital, after release we can continue making new content for All the Witches and releasing it for free in content patches to the PDF. I like to think of All the Witches as a living TTRPG, because I have plans to keep updating it after release at no additional cost to those who have already purchased the book. 

TB/TOS: Tell me a bit more about the deck-building mechanic. This is a feature of a few games, but not really a lot.

Emma:  I talked a bit about the deck-building mechanics above, but it’s a really hard system to incorporate into a TTRPG without those mechanics becoming the sole-identity of the rules. I wanted to find a way to have deck building, but also have it be balanced with the rest of the system without stealing the spotlight from the other mechanics. It took me a long time to figure out, but I think I found a really great way to do it, and I’m excited for everyone to see the ways deck building influences the entire system and what it brings to it as a whole. 

TB/TOS: What sorts of games do you see others playing with these rules? In other words, what can players do in this game?

Emma: There are so many different kinds of games that people can play with All the Witches. Groups can use All the Witches to have a magical school simulator where you live as students, recruit new professors to your schools, meet new students, establish new traditions, and more. They can use the system to play an entire campaign centered around the magical sport that we’ve created called Ryndarost. They can follow a traditional story of adventure and fighting monsters that have been brought about due to the corruption in the world. They can even become heroes that ease the corruption in the world through a special mechanic called a Harmonization Ceremony! The goal is to build a system full enough that a group can take it and use it for any kind of story that they’d like to explore about Witches, and I think we’ve got a really amazing team in order to bring that vision together. 

TB/TOS: The art so far in All the Witches looks amazing. What is the diving vision here on the art and how does that influence the game design and vice-versa?

Emma:  That’s incredibly kind of you to say! I think art is one of the most important things for an indie TTRPG, and it absolutely helps bring life to the world. I’m not an artist, but working with artists causes me to think about how things look visually, because they ask me a lot of questions, and that causes me to have to make a lot of stylistic decisions about the system that have an impact on everything. Do Witches use a staff or a wand? What do they look like and what are they made of? Do Witches have to have them in order to cast magic? What benefits does using a staff or wand give to a Witch that they wouldn’t have normally? One simple question often branches off into so much more, which helps our team develop a fuller and more cohesive game. 

Because I’m not an artist, I’ve been working alone for a lot of this pre-Kickstarter process to pull together cool images to help give life to All the Witches. But hiring Nala Wu has been incredibly helpful, and they’re expertise has already proven invaluable. They’re going to start working fully on all the art for All the Witches after the Kickstarter, but they helped me put the cover and the landscape pieces together, and those pieces bring so much life and character to our game that I’m excited to see what we’re able to make together next once we have our funding. 

TB/TOS: Who would you say All the Witches is for?

Emma:  All the Witches is a game made for those who grew up escaping into worlds of fantasy and magic that have felt abandoned by those world’s creators. We are here to give you the tools and resources to explore a world full of magic and adventure with stories built by you and those you love. Escape into a new world of fantasy and magic built by a team of Queer and BIPOC writers and designers.

TB/TOS: What are your future plans for this game?

Emma:  If all goes according to plan and we successfully fund and are able to fully create and release All the Witches, the plan is that I’ll periodically keep updating the game with new content that will be released for free to everyone who owns a copy of the PDF while I continue working on my next two unannounced TTRPG projects. 

TB/TOS: And, for the benefit of my audience, well, and me (!), who are all of your favorite witches or magic-using characters?

Emma:  I grew up on Final Fantasy games and RPGs, so Vivi from Final Fantasy IX will always have a special place in my heart on top of Morrigan from Dragon Age: Origins! 

TB: And finally, where can we find you all on the internet?

Emma:  You can find us on Twitter @allthewitches_ to keep updated on everything going on, and you can find my personal account @emmapanada! 

--All the Witches is Kickstarting right now! Check it out.

This room is down the hall and to the left.

Inside this room is a Lesser Iron Golem. It is like an iron golem in all respects, but only has 4HD and it does 1d8+1 points of damage per hit.

It instructed to attack, the problem was it attacks everyone even its makers. So they left it here. 

There is double treasure type E scattered about the floor of this room. 

Once again, I am participating in the April A to Z Blogging Challenge, but this year I wanted to do something a little different than more normal witch or monster-related postings. 

This year is the 60th Anniversary of my favorite sci-fi show of all time, Doctor Who!

I thought it would be fun to celebrate all things Doctor Who next month. 

Not 100% sure what I'll talk about, but I know I have plenty to work with.

Just as a recap, the gallery is shut down. The keys went back to the leasing manager on March 9, and as of now , there is no plan to revive the Texas Triffid Ranch in any capacity. The site … Continue reading →

Continuing down the hallway there is another cell on the right (where the ghosts seemed to have been running too).

This room also has two more Wraiths. They appear to be two adventurers in the process of looting a corpse. The corpse is now only old bones.

The wraiths will break their loop and attack the characters.

The skeleton has a rusted sword, tattered clothes, and a dagger in its back.  There is a bag with 15 gp in it.

A couple of weeks ago, I mentioned the GoFundMe page for the funeral expenses of Jonathan Thompson. 

Pinnacle Entertainment has now set up a bundle on DriveThruRPG to help aid in more of his family's expenses. 

Jonathan M. Thompson Memorial [BUNDLE]
(not an affiliate link)

This bundle has close to 150 titles valued at $644.54, all yours for $25.

There is a wide variety here too. Old-school OSR, lots of Savage Worlds, even some Chivalry & Sorcery. Or, in other words, a lot of Jonathan's favorite games.

So please pick this up. Lots of great titles, and the proceeds go to help a grieving family.

Continuing down the hallway, you see two figures leaving the cell on the left.

The figures are two Wraiths and they are leaving the cell, as they have done 1000 times since they died. They are vaguely humanoid. One appears to be a male fighter and the other a female wizard or cleric.

When they spot the PCs they will attack.

There is a small hoard of treasure in Cell #14. Items from previous victims. They used to be adventurers themselves but are now dead. 

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

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

—oOo—
Name: Of FathersPublisher: Chaosium, Inc.
Author: Aleksi Martikainen, Sean Liddle, Jef Wilkins, Jukka Särkijärvi, & Petri Leinonen

Setting: Jazz Age Chicago
Product: ScenarioWhat You Get: Twenty-Six page, 2.09 MB Full Colour PDF
Elevator Pitch: Revenge isn’t something you just dream about. Plot Hook: Your father was murdered and the police say you did it. Plot Support: Staging advice, eight NPCs, one handout, and one Mythos entity.Production Values: Decent.
Pros# Straightforward, detailed plot # Potential introduction to the Mythos# Potential introduction to the Mythos for a cultist!# Easy to adapt to other time periods and settings# Somniphobia# Oneirophobia

Cons# Needs a strong edit and further localisation# Underdeveloped in places# Oddly out of period photographs# Linear plot
# No maps# No pre-generated Investigator included
Conclusion# Linearly plotted murder-mystery which wafts in and out of dreams tempting the protagonist with the power of revenge# Murder-mystery with the potential to create a hero or a villain

Not the art I will use for Lilith, but it is cool.

The work continues on my Basic Bestiaries. I spent some time over the weekend working on various Demon Lords, and working on revisions to my stat block that work well for me and any potential readers.  This has lead me to an issue I need to resolve.

One of the goals for all my Basic Bestaries is to provide players of whatever version of the Great Game they are playing (pre-2000) and their clones a useful and complete stat block for their games.  Another goal was to add what I felt were the best options for new school (post-2000) play. Generally speaking this has worked out well enough with a few extra notes added. But I have come to place where things have gotten messy. That is, how should I denote XP gained.

There are minor differences between all the various clones and even in the versions of D&D itself on how XP should be calculated and/or displayed for defeating a monster.

Let's take an example, the Aglæca from a previous Monstrous Mondays.

Here is the stat block.

Aglæca
Large Humanoid

Frequency: Very Rare
Number Appearing: 1 (1)
Alignment: Chaotic [Chaotic Evil]
Movement: 180' (60') [18"]
Armor Class: 4 [15]
Hit Dice: 8d8**+16 (52 hp)
  HD (Large): 8d10**+16 (60 hp)
Attacks: claw, claw, bite
Damage: 1d6+4 x2, 1d8+4
Special: Cause fear, magic required to hit, regenerate 1 hp per round, infravision, sunlight sensitivity. 
Size: Large
Save: Monster 8
Morale: 12 (12)
Treasure Hoard Class: XIX [D] x2
XP: 1,750 (OSE) 1,840 (LL)

Ok, a few things first. Items in RED are AD&D/OSRIC and some Swords & Wizardry add-ons to what would be a Basic D&D stat block. Items in GREEN are "new school" add-ons like ascending AC and the XP values for OSE and Labyrinth Lord.  I also want to point out one other item I have discussed in the past using different die types for size categories.  This is something from D&D 5 (and in the SRD). Not only does it make sense, it also replicates something I was doing in AD&D 1 anyway (though I only used d6, d8, and d10).  It helps solve a lot of issues with hp spread and size. 

But...there is a consequence of this. 

So my issue recently has been one of XP calculation. I want a book that can be used by players of AD&D and Basic D&D, as well as OSE, Labyrinth Lord, Swords & Wizardry, OSRIC, and Basic Fantasy.  The trouble is they don't all line up with XP point calculations.  And more to the point even something like my Aglæca here is a Large creature, so it's hp, and thus it's XP value, will be greater in AD&D and OSRIC than they would by the book.

What should I do about this?

Solution 1: List Them All

I did this above with just OSE and LL above.  It is comprehensive but unwieldy. 

S&W CL: 10 / XP: 1400
OSE: 1750
LL: 1840
BF: 1015
B/X: 1250
OSRIC: 1150
Advanced: 1150

The OSRIC and Advanced could be collapsed into one (and should).  My d10-based hp calculations do make some of these a little different. 

This works, but like I said, it is unwieldy.

Solution 2: The Point Spread

In truth DMs/GMs always tweak their numbers. So why not a point spread?  Something like this:

Min: 1015
Mean: 1365
Median: 1250
Max: 1840

Smaller. And provides a nice spread without going into details for each system (though the calculations are from all the systems).

Of course, when I publish, the B/X and Advanced numbers have to be removed.

I am also considering a median value or even a weighted mean.  And despite my desire to do so, I doubt I'll add anything like a standard deviation.  (ETA: I added the Median)

Solution 3: The Big Table

I could provide a huge table in the end with all the monster and all their XP calcs.

It wouldn't be that difficult since that is already what I have.

It will likely be some combination of "all the above."

Next task. Reorganize the stat-block for easier reading.

Taking the Right-hand turn in the chamber, you move about 20' in, and another cell is on your right.

This cell is large and empty save for the glowing light coming from it.

Standing in the light for a full turn will heal 1 hp of damage.  Characters can be healed for a total of 1d6+1 hp in this manner.

 Continuing on the hallway opens up to a large semi-circular chamber.  The hallway continues on beyond the chamber and there is another hallway to the right.

There are signs here of a recent battle. There is blood on the ground and spent arrows.

There are no bodies and no treasure.

Continuing down this hallway, there is another cell on the right.

The door to this cell is open. Inside are three Zombies. Two are visible in the center of the cell, and the other is propped up against the wall and blends in.

The first two will attack per normal, the other will not attack until the characters are within arm's reach (5 ft).  The third zombie is the experiment, it has a bit more intelligence and cunning for an undead corpse and can move faster. It surprises on a roll of 3 or less on a d6 and can attack at any point with its initiative rolls.  It attacks as a 3HD monster and has the respective XP.

The zombies have no treasure.

The Sunless Garden was originally published in 2004 as Dungeon Crawl Classics #10: The Sunless Garden. This meant that that it was first published for use with Dungeons & Dragons, Third Edition, but in 2022, publisher Goodman Games took the original module—regarded as a classic of its time—and updated it to not one, but two different fantasy roleplaying games. One is for Dungeons & Dragons, Fifth Edition as Fifth Edition Fantasy: The Sunless Garden, and the other is for Dungeon Crawl Classics Role Playing Game, as Dungeon Crawl Classics: The Sunless Garden, and both as Gen Con Exclusives at Gen Con 2022. However, the version for Dungeons & Dragons, Fifth Edition would be subsequently released as Fifth Edition Fantasy #23: The Sunless Garden. However, it is the version for Dungeon Crawl Classics Role Playing Game that is being reviewed here. Dungeon Crawl Classics: The Sunless Garden is designed for a party of Fourth Level Player Characters and details a strange cave below which there is a lengthy dungeon. Whether run for the Dungeon Crawl Classics Role Playing Game or Dungeons & Dragons, Fifth Edition, the scenario is easy to add to most ongoing campaigns and needs nothing more than a small village and a forest known for smugglers and Treants.
The Sunless Garden begins in or around the trading post of Garland’s Fork. Perhaps the Player Characters are passing through or visiting, or they have come to investigate reports of smugglers in the area, but when they discover to their horror that all of the inhabitants have been transformed into black trees! The trail of clues quickly leads to a strange cave, full of vegetation which seems to have been warped and mutated under a nauseous purple light. What has twisted the plants and fungi so, and caused the former guardians of the forest to turn dark and monstrous, if not outright evil?

The scenario consists of two levels—‘The Sunless Garden’ and ‘The Dark Garden’. It is entirely possible that the Player Characters will miss the entrance to the lower level, The Dark Garden, and even if they do, it will not necessarily affect the outcome of the scenario. The solution to the problem presented at the beginning of scenario—the villagers transformed into trees and the mutated vegetation—can be found in ‘The Sunless Garden’ and thus never need to go any further. However, this would be miss out on the contrast between the two levels and the contrast in tone between this scenario and others directly written for use with the for the Dungeon Crawl Classics Role Playing Game rather having been adapted. ‘The Sunless Garden’ and ‘The Dark Garden’ vary in several ways. The upper level of ‘The Sunless Garden’ is wide open cavern that almost has the feel of a mini-wilderness area with its lush plots of vegetation, trees, fungi, and mulch, all of it twisted—such as the infamous exploding apples which go off if plucked from the tree—and all under the baleful purple light. In addition, there are several side locations off the main cavern, mostly worked areas in contrast to the main cave, and all populated in intelligent fashion with plenty of detail for the Judge to describe to her players.

Once they discover its entrance, what the Player Characters find below in ‘The Dark Garden’ is much more of a traditional dungeon. It has long, worked corridors, traps, stairs going up and down, mostly empty storage rooms, and so on. Progress is mostly linear through the dungeon, especially through its later parts. There are some fantastic encounters on the lower level, such as with a Sea Hag—washed in via the level’s big trap—who waits manacled to a wall, waiting to be rescued, but ready to strike, and a handful of delightful locations like the smuggler chief’s secret sewing room and display room, the latter including a giant copper piece a la the penny in the Batcave. There are some fantastic treasures to found too. Some are mundane, but many are incredibly bulky and difficult to transport. There is the possibility here of the Player Characters surviving the dungeon with a lot of money if they carry it off. The magical treasures are delightfully inventive, such as a Ring of Dryness, which prevents the wearer from getting wet at all, including sweat. Which means that the wearer pants heavily to help regulate his body’s temperature!

The other contrast to The Sunless Garden is between its editions. The Dungeon Crawl Classics line has always harked back to an earlier age of adventure and dungeon design, indeed that was its selling point when Dungeon Crawl Classics #1: Idylls of the Rat King was published in 2004. Yet the original style of the Dungeon Crawl Classics line was to emulate the style, look, and feel of the modules for Advanced Dungeons & Dragons, First Edition, right down to the shade of blue used for the maps. This is not something that modules for the Dungeon Crawl Classics Role Playing Game aim for, having their own distinctive look and feel—especially in the isometric perspective of their maps and the taking of inspiration from Appendix N of the Dungeon Master’s Guide. As a consequence, Dungeon Crawl Classics: The Sunless Garden does not feel like a scenario for the Dungeon Crawl Classics Role Playing Game, or rather, one half does and one half does not. The upper half of ‘The Sunless Garden’ does feel like a classic Dungeon Crawl Classics, darker, twisted, and murkier, but the lower half of ‘The Dark Garden’ does not. It is bigger, emptier, and not strongly connected to the cavern above. Part of the issue is the lack of motivation in the scenario for the Player Characters to proceed further into the dungeon if they have cleared the cavern. Here a good Judge should be able to add motivation, perhaps connected to the band of smugglers mentioned at the beginning of the scenario.

Physically, Dungeon Crawl Classics: The Sunless Garden is presented in the classic style of the Dungeon Crawl Classics Role Playing Game. Thus, artwork is decent, the maps good, and the writing clear. However, it does need an edit in places and feels slightly rushed.

Dungeon Crawl Classics: The Sunless Garden is an adaptation of an earlier module and it shows. The adaptation does not feel as smooth as it could have been and is better in the first half than the second half. Consequently, the scenario will need some input from the Judge to make ‘The Dark Garden’ work as well as ‘The Sunless Garden’ does.

This cell is around the corner on the right. The cell door on the right is open and inside is a glowing portal. 

Standing in the room is a human woman. She has two crystals in one hand and is furiously writing notes. She speaks to the party very excitedly, but her language is unknown. She ignores whatever the party says to her; she is too excited about whatever it is she writing. 

She is really only interested in this portal. She has no treasure to mention. If she is attacked she jumps through the portal and runs off.

If the characters follow, the portal will close behind. Take the character sheets from the players and hand them their new Castles & Crusades character sheets for the same characters. 

You come to a turn in the hallway. It turns to right, but before it does, there is another cell door on your left.  These cell doors are open.

This room is empty. There are signs of a recent battle. A pile of bones that look like they belonged to a couple of dire wolves is here. 

There is no treasure in this room.

--

There is still a group of ahead of the party and they dealt with the skeletal dire wolves.