Something strange happened in Willis, Alabama at 1:43 am on December 22nd, 1998. The temperature dropped from a typical seasonal average of 3 degrees Celsius to -30 degrees Celsius for a total of four hours. Every person, every creature, is dead. Frozen to death. Is this evidence of an extraterrestrial incursion? Is it freak weather, perhaps a recurrence of a local phenomenon known as ‘Jack Frost’? Or it something else. Above all, what can be learned from it? The authorities want to know. Authorities deep with the U.S. government and they will kill to keep it a secret including even their own staff. Scientists, drawn from an ultra-classified UFO research project, are assigned to investigate the freak incident. They are part of the infamous MAJESTIC programme, specifically PROJECT PLUTO from the top-secret labs at Area 51, supported by the pararescuemen and pilots trained to recover alien technology from OPERATION BLUE FLY, with security provided by NRO DELTA, the lethal ‘men in black’ who keep America’s secrets from America itself. On the ground they will come to realise that what they are examining lies beyond the scope of PROJECT PLUTO and as the weather oscillates, sending temperatures unnaturally plummeting and nerves soaring, events around them exacerbate the growing sense of fear and paranoia. Can the scientists of PROJECT PLUTO discover the cause of the frigidly deadly ‘Jack Frost’ incidents and prevent it from escalating before their own security turns on them? Christmas is certainly going to be one to remember—if they survive!
Jack Frost is a scenario published by Arc Dream Publishing for Delta Green: The Role-Playing Game. This is the modern roleplaying game of conspiratorial and Lovecraftian investigative horror with its conspiratorial agencies within the United States government investigating, confronting, and covering up the Unnatural. In traditional scenarios for Delta Green: The Role-Playing Game set in this period, the Player Characters are members of Delta Green, the organisation, at times official, but in 1998 unofficial and regarded as an antigovernmental conspiracy, dedicated to investigating the Unnatural, limiting its effects, and preventing the wider public from becoming aware of it. Not so in Jack Frost. In Jack Frost, the Player Characters are scientists working for MAJESTIC and PROJECT PLUTO and United States Air Force personnel from OPERATION BLUE FLY. This puts them on the other side, though their enemy is not the itinerant members of Delta Green, but a combination of themselves, their own security, and what they encounter on the cold nights in the Yellowhammer state.

Jack Frost is a one-shot scenario designed to be played in two to three sessions with six pre-generated Player Characters, four of whom are scientists and two of whom are United States Air Force personnel. It is played out over the course of three days and three nights in the lead up to Christmas Day. Potentially, if there are any survivors, their experiences as part of Operation WEATHERWATCHER may drive them to switch sides and begin working for Delta Green rather than MAJESTIC. However, Jack Frost is a challenging scenario—in fact, a very challenging scenario—and the likelihood of the Player Characters surviving beyond the events in Alabama, let alone in the long term, is low. Anyone surviving long enough to work for Delta Green following an operation a la Control Group is going to be a very remarkable individual and it is going to take a lot of skill and luck upon the part of his player.

Jack Frost begins with the Player Characters being transported to Willis, Alabama, where the scenario proper opens with a briefing. By the standards of Delta Green: The Role-Playing Game, it is an incredibly extensive and detailed briefing, the wealth of knowledge presented to the players and their characters a radical contrast to that normally given Delta Green agents. What it highlights, even as it threatens to overwhelm the players, is the means and resources that MAJESTIC has to hand with its extensive governmental funding, whereas Delta Green is operating with virtually no budget! However, with that budget comes not just responsibility, but also oversight. In the case of Operation WEATHERWATCHER, quite literally, as there will be a two-man team assigned to the Player Characters from NRO DELTA to provide security, obviously to protect them and and the operation, but also to watch over their actions every day. As the scenario progresses and events get weirder and weirder, this need to watch the actions of the Player Characters transforms into paranoia. The situation is not entirely hopeless for the Player Characters though, as a combination of their persuasiveness and their knowledge, they may be able to convince them that their actions are the right ones...

Over the course of the three nights, the situation gets worse and worse. There are some truly horrible moments in the scenario as you would expect, some of which make you glad that it is a one-shot. The threat faced by the Player Characters is Itla-shua, the ‘wind walker’ of the far north, whose presence is felt nightly until the temperatures are cold enough to facilitate an appearance. Meanwhile, his children rise and if not stopped, will go on a rampage that might not end, but occur again and again in deep winters for decades to come. Stopping his coming and then banishing him is very, very difficult. The situation has to play out in a certain way and things have to go right for the Player Characters. There is definitely no guarantee that this will happen and there is the strong possibility of failure and death for all concerned.

Structurally, Jack Frost feels tightly constrained with its time limits and difficult choices made all the harder by the fact that the Player Characters will often need to get permission to follow them through. The information dump at the start of the scenario is daunting and the two Player Characters who are not scientists, but United States Air Force personnel, may initially find themselves with relatively little to do. As the action picks up on subsequent nights, this changes when they may become vital to the survival of everyone. There is scope for the players to each roleplay a secondary character, again from amongst the United States Air Force personnel, as they are better suited to the action scenes in the scenario.
What marks Jack Frost out as a very different scenario for the Delta Green: The Role-Playing Game is not just the fact that the Player Characters are members of MAJESTIC, but that it is a science horror scenario. It is science that drives the Player Characters to investigate the Unnatural and only late into the their investigative efforts do they realise that what they face is beyond science or even beyond the remit of MAJESTIC with its obsession with obtaining the advanced technology of the Greys. Nevertheless, they have to rely on the scientific process, which lies outside the traditional means of investigating Lovecraftian horror and Lovecraftian investigative horror roleplaying games. As a consequence, both the Handler and her players need to make some adjustment in conducting the investigation and reading the majority of the handouts that take the form of instrument and sensor readouts. This is not to say that there are no traditional handouts, such as newspapers or letters, but they need to be searched for whilst under the watchful eyes of NRO Delta agents.

Physically, Jack Frost is very well done. The artwork is excellent, for the most part, and the handouts are all equally as good.

MAJESTIC has always been portrayed as the villain in the Delta Green: The Role-Playing Game and Jack Frost is no different. Except that the players get to see this from the inside, by roleplaying members of the programme who believe in its aims and know that it is doing the right thing. Their experiences in Willis, Alabama will change that outlook—if they survive. Jack Frost takes Delta Green: The Role-Playing Game through the looking glass to discover just how mercilessly cold it is with a shockingly frigid and fearfully difficult investigation.

In the far future, the Astral Union was invaded by the Strand Fleets of the Nephilim Colossi. It was totally unexpected and the enemy, having come another galaxy, unfathomable. Despite initial setbacks, the Astral Union drove the invaders out and the war was won. That was decades ago, and even today, remnants of the original invasion force, as well as individual Nephilim, can still be found lurking at the furthest reaches of the spatial translation Snap Rifts that bind the planetary systems of the Astral Union together. Perhaps the most significant technological development of the war was the mech. Before the war, it had been designed as an industrial machine for use in construction and mining, and later developed as a combat vehicle, but it rose to prominence during the defence of the Astral Union. Ion Core technology harnessed the latent psionic ability of all sentient beings using advanced A.I. systems to create a Sync-Bond between a mech and its user, enhancing the precision and dexterity of the Mech and enabling the Mech itself to develop a personality of its own and operate independently, but still linked to its Pilot. Today, Mechs are seen far and wide across the Astral Union, the bond between Pilot and Mech celebrated as they were a knight and his steed of old. Together, they adventure and explore, often helping where they can, like itinerant, if armed, ronin of old.

This is the future of Ion Heart: Solo Mech Exploration RPG.It is a solo journalling game published Parable Games, best known for the horror roleplaying game, Shiver – Role-playing Tales in the Strange & the Unknown. In the roleplaying game, the player will take the roles of both Pilot and Mech, who together explore a universe ravaged by war and now recovering, growing together and strengthening their bond. The roleplaying game provides prompts that will drive the story of their adventures that the player will record in short mission logs. These missions typically take the form of an ‘Exploration Loop’—arriving on a planet, discovering a settlement, encountering a Story Circuit, and engaging in combat and travel encounters, as necessary. A Story Circuit is a narrative arc consisting of six parts. The player needs to play through a minimum of three of these before his Pilot and Mech can play out the finale of the Story Circuit, and so complete its narrative before moving. The Story Circuit is pre-written, but the rest is created at the beginning of each loop. To play, Ion Heart: Solo Mech Exploration RPG needs nothing more than some six-sided dice and a means to record a journal.

Between them, the Pilot and the Mech are defined by Pilot Body and Pilot Presence, and Mech Brawn and Mech Reflex. Pilot Body is his physical capability and toughness, whilst Pilot Presence is his mental fortitude and reasoning skills. All of these start at zero, but are first modified by the Pilot’s Temperament and the Mech’s Weight Class. The Pilot is further defined by his Origin, either Apollonian, Varziss, Urvon, Chiros, Kirvae, and Mo’nau. The Apollonians are humans, whilst the rest are anthropomorphic species, roughly reptilian, ursine, bat-like—including being able to fly, centaur-like, and feline, respectively. The Pilot also has a Goal, either ‘Adventure forth’, ‘Return home’, or ‘Escape past’, and a Temperament, either ‘Outgoing’, ‘Reflective’, or ‘Mercurial’.

The Mech has a Class that can either be Light, Medium, or Heavy. This determines whether it favours speed, durability and powerful weapons, or a balance between the two, and thus its starting values for Mech Shielding and Brawn and Reflex modifiers. Each Mech has a Ranged Weapons System, Melee Weapons System, and an Auxiliary System, which will also help in combat. Since the end of the war with the Nephilim, all Mechs have been reconfigured or designed to have a civilian Specialisation and thus the capacity to be useful out of combat. This can be ‘Shepherd’, ‘Harvester’, or ‘Bridgebuilder’. All of this—for both Pilot and Mech—can rolled for or chosen by the player. Lastly, there is the Ion Core Sync Bond, which represents the connection between the Pilot and his Mech, and in play, determines how many Heroic actions or Ion Core engagements that can be conducted per day.

Pilot Name: Aeron
Pilot Origin: Kirvae
Pilot Temperament: Reflective
Pilot Goal: Escape Report
Pilot Presence 0 Pilot Body 0
Level 1
Ion Core Sync Bond 2
Mech Shielding 43
Mech Name:
Mech Weight Class: Medium
Attacks: 3
Mech Brawn 0
Mech Reflex 0
Weapons: Concussion Maul (Damage: 4+D6) [If you hit an enemy with this weapon add +1 to your defence rolls against them]; Auto Blaster (Damage: 3+D6) [You may make a free attack with this weapon when in ranged step of combat.]
Auxiliary system: Liquid-metal armaments
Battle Scars: 0
Mech Specialisation: Harvester
Mech Quirks: 0

At its core, Ion Heart is simple. When a player wants either his Pilot or his Mech to succeed, he rolls a single six-sided die and rolls of four or more means the attempt is successful. A roll of one is always a failure, whilst a roll of six is always a success. For the Pilot, bonuses can come from his Presence or Body as appropriate, but if he fails, the player can decide to have his Pilot undertake a Heroic Action. This automatically succeeds, but at the cost of a Sync Bond slot for that day. The Mech can operate by itself when the Pilot is not in the cockpit. In which case the bonuses for the Mech’s own Mech Brawn and Mech Reflex are used, and the roll required to succeed is still four or more. When a Mech has no instructions, it will revert to the Specialisation it has been programmed with.

Combat uses the same core mechanic, but on attacks, a roll of six is critical hit and inflicts more damage. Similarly, a roll of six to defend against an attack is a critical and deflects part of the damage back at the attacker. A round consists of three steps—Ranged, Melee, and Disengage. A Mech’s Level determines the number of attacks per round, but if the Pilot or Mech decides not to attack, they receive a bonus to the rolls to defend themselves. Damage reduces the Mech Shielding, and this is both when the Pilot is out of the Mech and in the Mech. If the Pilot is out of the Mech, it means that Pilot is not taking damage as such, but his ability to pilot the Mech is being affected.

The Ion Core of a Mech and it’s A.I. means that it can learn over time as it synchronises with the Pilot and it can also overcharge the Mech’s systems. There is no truly safe way to do this, as even if the Pilot and Mech have enough Sync Bond points—which determines the number of times it can be done per day—engaging the Ion Core can still damage the Mech and will damage the Mech if the number of times it is done exceeds the Sync Bond points. When the Ion Core is engaged, it provides the player with a number of choices, such as the aforementioned ‘Heroic Push’, which allows a failed Mech Brawn or Mech Reflex check to succeed; ‘Shields! Full Power!’, which partially restores Mech Shielding; and ‘Meteoric Thunderstrike!’ which enables a single attack that round and has it automatically succeed with extra damage inflicted. In the long term, through play and combat, the latter if the Mech Shielding is reduced to zero and the Mech is disabled, the Mech can acquire Mech Quirks such as ‘Gallant Protector’, which grants a bonus to Defence rolls if Mech Shielding is seriously reduced, and ‘Ocular Misalignment’, damaging its targeting optics! If there is an issue with the Ion Heart: Solo Mech Exploration RPG, it is that it is hard for the Pilot to improve in comparison to the Mech and the Mech is always more interesting than the Pilot as he has no special abilities or skills.

In terms of play and the ‘Exploration Loop’, Ion Heart provides the player with tables to generate its various parts. This includes its biome, a settlement and its amenities, which the Pilot can visit two of per day, Travelling Encounters-which can be friendly, neutral, or hostile, and a selection of enemies, from improved industrial units to one of the most feared mechs in the Astral Union, the Heriot Shieldbreaker. Together these establish a broad environment where the Pilot and Mech will adventure and explore, but what forms the basis the storytelling and the adventures are the Story Circuits. Two of these are provided in Ion Heart: Solo Mech Exploration RPG, ‘The Mech Circus’ and ‘Protecting the Herd’. In the first, the Pilot and Mech encounters Marsha’s Mecha Circus and get to enjoy a night at the circus, but with a Mech! In the second, the Pilot and the Mech find a rural town whose farmers are concerned something or someone has been interfering with their herds of Malhoons, so the Pilot and the Mech have to find the robo-rustlers! Both of these Story Circuits are short and can be played through in single long session of no more than two hours or several, very short sessions in which a single event is played out and recorded.

Physically, the Ion Heart: Solo Mech Exploration RPG is a nicely done roleplaying game. It is fetchingly presented in swathes of primary colours and easy to read and understand.

The Ion Heart: Solo Mech Exploration RPG is a tough little game given that until a Pilot and Mech survives a Story Circuit and can go up a Level, there is not much in the way of modifiers to affect the dice rolls needed for many actions. This is why the Sync Bond and engaging the Ion Core is so important as it can get the Pilot and Mech out of a tight scrape, but it is more important early on in the game when there are fewer modifiers to skill rolls and fewer chances to engage the Ion Core with any degree of safety. However, careful play and some luck will get the Pilot and the Mech through some situations. In the process, the player will discover a rather charming little journalling roleplaying game, one that is engagingly optimistic in its tone and the stories presented in its Story Circuits, which makes the Ion Heart: Solo Mech Exploration RPG a very welcome change in comparison to many other journalling games.

Dungeon Crawl Classics Lankhmar #14: Thieves of Cold Corner is a scenario for Goodman Games’ Dungeon Crawl Classics Role Playing Game and the thirteenth scenario for the Dungeon Crawl Classics Lankhmar Boxed Set. Scenarios for Dungeon Crawl Classics tend be darker, grimmer, and even pulpier than traditional Dungeons & Dragons scenarios, veering close to the Swords & Sorcery subgenre. Scenarios for the Dungeon Crawl Classics Lankhmar Boxed Set are set in and around the City of the Black Toga, Lankhmar, the home to the adventures of Fafhrd and the Gray Mouser and the creation of author Fritz Leiber. The city is described as an urban jungle, rife with cutpurses and corruption, guilds and graft, temples and trouble, whores and wonders, and more. Under the cover the frequent fogs and smogs, the streets of the city are home to thieves, pickpockets, burglars, cutpurses, muggers, and anyone else who would skulk in the night! Which includes the Player Characters. And it is these roles which the Player Characters get to be in Dungeon Crawl Classics Lankhmar #13: Treachery in the Beggar City, small time crooks trying to make a living and a name for themselves, but without attracting the attention of either the city constabulary or worse, the Thieves’ Guild!

Dungeon Crawl Classics Lankhmar #14: Thieves of Cold Corner is a scenario for Third Level Player Characters and is both an archetypal scenario for use with the Dungeon Crawl Classics Lankhmar Boxed Set, and like both Dungeon Crawl Classics Lankhmar #8: The Land of the Eight Cities and Dungeon Crawl Classics Lankhmar #13: Treachery in the Beggar City before it, it takes the Player Characters far beyond the walls of the City of Sevenscore Thousand Smokes. However, it is less of a sourcebook than either of those scenarios, although it does expand the world of Nehwon. Inspired by two stories by Fritz Leiber, ‘Stardock’ and ‘The Snow Women’, it takes the Player Character far to the north to Gnamph Nar and then along the frozen banks of the Mangrishik River to the foot of the Trollstep Mountains, and then from there climb over a mountain pass and down into the Coldwaste. They are providing escort for the merchant-lord Arishot who has arranged to meet the Snow Clan’s at its midwinter camp at Cold Corner and purchase from the clan, a cache of gemestones. Not just rubies, emeralds, and sapphires, but also snow-diamonds, the fabled invisible gemstones said to be worth a king’s ransom. Of course, being good thieves and cutpurses, they have no intention of simply escorting Arishot there and back again to Lankhmar. Instead, this is an opportunity for larceny—and not just petty larceny—but it will be far from easy. Anyone carrying out such a theft is sure to earn the ire of the Snow Clan and it will not only attempt to get the gems back, but is sure to want to have its revenge too. So, anyone who can steal snow-diamonds from the Snow Clan, escape its clutches, and get back to Lankhmar is certain to earn a reputation worthy of any thief in the City of the Black Toga.
The scenario does really need a Player Character who is a Wizard as otherwise they will all be sorely tested throughout the scenario by the abominable weather they will be subject to in the second half. The adventure itself can begin into two ways. The Player Characters can either be hired by the Thieves’ Guild as members in good standing, or they can be thieves who just happened to be in the same dive when a band of Thieves’ Guild members in good standing got hired to do the job and thought they would try and get there first. Either way, the Player Characters will have another band of thieves to contend with throughout the scenario who will attempt to steal the hoard of gemstones before they do or steal it from the Player Characters once they have. The action really begins in Cold Corner, the midwinter camp of the Snow Clan. Here amongst the ice and snow, under the trees, the Player Characters will have to put up with loud and boisterous youths issuing challenges involving ribald rhymes, drunken merchants and drunken barbarians, and perhaps even their rivals lurking, ready to pounce, but worst of all—the women! Known as the Snow Witches, they suffer from both xenophobia and misandry, so men, particularly men from outside the clan are subject to their most severe ire. They also control the clan’s magic, so they are powerful as well.
Of course, once the Player Characters—or their rivals—have made the theft, in their eyes, the xenophobic and misandrist outlook of the Snow Clan’s Snow Witches has been proven correct. Of course, the satisfaction being proven that you are right is not going to be enough and as the Player Characters flee back up and over the Trollstep Mountains the way they came, the Snow Witches bring their most powerful magic down upon the miscreants. Over the course of three days, they are beset by a fiercesome storm of freezing ice and snow as a result of this magic, impeding their flight and forcing them to find sufficient shelter should they freeze. Three such locations are described along the way—if they can recall where they were on the journey there (and doing so may require a little Luck to be expended)—as are the truly nasty weather conditions day and night and the menfolk who have been sent after them by the Snow Witches and are not expected to come back without the gemstones or the bodies of the Player Characters. It is a nasty challenge from start to finish, but any Wizard in the party will have a chance to shine as his continued efforts can alleviate the very worst of the Snow Witches’ storms, whilst all of the Player Characters have opportunities to find some treasure and even strike back if they believe themselves to be capable.
In addition to the stats for the various NPCs, the scenario includes for the ‘Skald’s Challenge’, the rhyming battles consisting of spontaneous songs and poems. The Player Characters will probably be forced to engaged in one of these whilst in Cold Corner and will do so again during their flight south. This time though, the consequences are deadly.
Dungeon Crawl Classics Lankhmar #14: Thieves of Cold Corner is a relatively short afair, probably lasting two sessions’ worth of play, perhaps three at most. If they succeed, it does leave the Player Characters rich—though not as rich as they might have hoped once a fence has had his cut—and thus subject to the attention of every other thief in Lankhmar. They might come away with one or two nice items in the meantime. Rounding out is another entry from ‘The Phlogistonic Eye Sees All!’, this time a report from Gen Con 2022, though not as good as the one detailed in The Goodman Games 2022 Yearbook.

Physically, Dungeon Crawl Classics Lankhmar #14: Thieves of Cold Corner is well presented. The artwork and cartography are both good, the artwork in particular, having a very frigid feel to it. That said, it would have been nice if the scenario had included a better map of the area where the adventure takes place and the route that the Player Characters are likely to take back over the mountains.
Unlike the earlier scenarios, Dungeon Crawl Classics Lankhmar #8: The Land of the Eight Cities and Dungeon Crawl Classics Lankhmar #13: Treachery in the Beggar City, before it, in Dungeon Crawl Classics Lankhmar #14: Thieves of Cold Corner, the Player Characters are very unlikely to be going back since opportunities for crime are light on the ground and word their involvement in the theft from the Snow Clan is likely to spread. So it is much less of a sourcebook then the previous two scenarios. As a scenario, Dungeon Crawl Classics Lankhmar #14: Thieves of Cold Corner provides a clash of cultures, temperatures, and temperaments for a more grueling experience than most adventures for the Dungeon Crawl Classics Lankhmar Boxed Set. The players and their characters may find it just enough just to survive, but if they are clever and a little lucky, they might get a bit more adventure and reward in addition to their frostbitten extremities and a box of gemstones.

In the far future of broken landscapes, stretched landscapes, and lost landscapes there is often only the appearance of the Gunslinger and the power of his Gun to bring order to the mouldering settlements and ruins of the uncertain past, to drive back the strange creatures, lurking, ready to pounce and rend the unwary, and to stop the ambitious and the foolish attracted to the power of magic which threatens what remains. The Gunslinger is a wanderer, a member of a brotherly order, arriving unbidden one day, dispensing justice and order, stopping the monster, perhaps engendering a little hope, all before finding the next Slip Door and the next world. Their peripatetic existence is the only constant and perhaps the only certainty they know. This is the Drifted World of We Deal in Lead, an Old School Renaissance-style roleplaying game published by By Odin’s Beard. It is set in a post-apocalyptic dark and weird west that combines a stripped-down presentation with the mechanics inspired by Cairn, Into the Odd, and Knave and it is very much inspired by Stephen King’s The Dark Tower series of novels, but also has the feel of a weird Spaghetti Western with genre-hopping possibilities.

Omega City – Ashcan Edition is the first supplement for We Deal in Lead and presents something very different, almost a point of permanence, even though, like much of the Drifted World, it is subject to decay and decline. It arose out of the Dungeon23 challenge, the aim of which was to design a mega dungeon in one year, one room per day, over twelve levels. Each day creators would add something to their dungeons, but creators also switched format, one of which was ‘City23’. Omega City was born of this switch, a city inspired by two things. One was the city of Lud from The Dark Tower III: The Waste Lands, part of the series that inspired we We Deal in Lead, and the other was the author’s home city of Edmonton, Canada. This being the Drifted World of We Deal in Lead, the universe is still breaking down and so this supplement mixes more than it matches its various locations, drawing on a wide variety of locations, situations, and creatures from different time periods and genres. In this instance, the actual setting and its disparate nature means that the designer had more freedom of design than his counterparts working on a more traditional Dungeon23 creation.

Omega City does not so much detail individual locations within a city, but provide small regions—a total of twelve—each with five or six buildings, locations, and landmarks. These are presented over a two-page spread, with the places listed on the left-hand page and a corresponding map on the opposite side. Each location is accorded a listing of two or three bullet points. Each location is accorded a listing of two or three bullet points. For example, Region 9 has five locations, a ‘Shanty Town’, a ‘Cracked Riverbed’, a ‘Lumber Mill’, a ‘Colossal Skeleton’, and a ‘Writhing Mass Grave’. The Shanty Town is described as a “Collection of lost souls and broken travellers”, being home to “Residents from different worlds and times, the languages spoken number in thousands”, and the inhabitants suffer as “More and more victims vanish each night, lost to the red claws in the sands”. Meanwhile, the Lumber Mill is “Overgrown with pungent thorns that ooze vicious orange liquid”, as “Flies swarm constantly, adding to the ooze”, and “Great grey swarms cover the dead trees of the nearby woods”. All of the entries are like this, a clash of the old and new, of the ordinary and the outré.

However, amidst the ‘Burned Out gas Station’, ‘Pitted Gibbet’, ‘Spiral Slough’, ‘Corpse-Corrupted Reservoir’, ‘Flesh-Warping Runoff Pond’, and ‘Partially Phased Office Building’, there is no room for the individual. There are groups of people, such as at the ‘Shanty Town’, but no individuals, and also no hooks. The individual descriptions are intriguing, but possibly not quite enough to get the Gunslingers to investigate every case. Also, ‘Omega City’ itself does not have an overview or broad description. To be fair, both are due to the intermittent nature of the creation process involved in Dungeon23, the creator coming back to the process day-by-day rather than sitting down and working at it. On the other hand, this nature means that lack of connections between locations means that the Warden—as the Game Master is known in We Deal in Lead—can pull them out and insert them into her own content as much as she can develop her own hooks to them.
Physically, Omega City is not yet fully formed. Only an Ashcan version is available. It is handwritten and not always easy to read, whilst the map, though serviceable, are rough. The writing though, is by intent short and punchy, often spurring more questions than answers.
Omega City – Ashcan Edition is by its very nature rough and ready, but it does present some sixty or more locations that present mouldering mysteries and decaying dangers in a minimalist fashion that the Warden can use and interpret as is her wont. In this way, Omega City – Ashcan Edition can serve as a series of prompts for the Warden’s own city or prompts for her own version of ‘Omega City’.

 Time once again to dip into the box of old Dragon Magazines under my desk. Today's magazine takes us back to December 1991. AD&D 2nd Edition is the new kid on the block, but there are still AD&D 1st ed holdovers. Hook and Star Trek VI: The Undiscovered Country are ruling the box office. In the US Michael Jackson's "Black or White" knocks out the superior (in my opinion) "Set Adrift on Memory Bliss" by P.M. Dawn. And on the magazine racks and shelves is Issue #176 of This Old Dragon.

As was common in the 1990s, this is a "feature" issue, and this month's feature was elves. Always a winner, to be honest. The cover art featuring elves fighting a group of goblins and gnolls, comes to us via Lissanne Lake. She would go on to do work for White Wolf and the Affliction: Salem 1692 game. 

The cover also tells me there is a Giant poster inside. But my issue doesn't have that. Neither does my Dragon DC-ROMs. A search reveals it to be a poster of the cover of Dragon #166.

Open to an ad for GDW's Dark Conspiracy. Nice to still see ads for other companies and games here. There is also an ad for "The NEW Easy to Master" Dungeons & Dragons Basic boxed set.  I covered this set a while back and it is fun.

Letters covers the concerns over the lack of a proper African campaign setting or myths in D&D, which  the new Egyptian art in the AD&D 2nd Ed Legends and Lore getting a particular call out. 

Is that Isis or Freya?

Dragon responds back with various excuses where a "Yeah, you are right, we should do better" would have been enough. 

Roger Moore's Editorial touches on this in a way. Providing some forward-thinking on how we should deal with people who are different from us, be that other ethnicities or other species (in D&D and ShadowRun terms). He does point to Star Trek the Next Generation as an example. 

More ads. Which, and lets be honest, are as fun as the articles. In this one for Waldenbooks (pour one out all you Otherworlds and Preferred Reader members out there!) and has some new D&D books on the way. One if the Ravenloft Van Richten's Guide to Vampires...and Other Undead. Ok so the content and cover changed from this to publication. Not the first time we have seen this. Nor the last.

We now get into our featured section on the Elves.

Servants of the Seldarine by Chris Perry covers and updates what we know about the gods and goddess of the Elves (and Drow) to AD&D 2nd Edition, with a bit of a lean in to the Forgotten Realms. I also have Monster Mythology sitting here on my desk for my next foray into the Realms, along with The Drow of the Underdark, so this is timely. This article predates Monster Mythology. While the information here for elven specialty priests will be superseded by newer books, the information is great to have and I'll add it to my cache of random Realms lore. 

If You Need Help - Ask the Drow! from Ed Greenwood and Steven E. Schend also adds more to the total of Realms lore. This time, obviously, about the Drow. This article also ties in with FOR2 The Drwo of the Underdark. There is a map of the Promenade of Elistraee, the "good" Drow Goddess and covers her specialty priests in more detail. 

And that appears to be it for the elves special feature. 

Forum covers some of the topics of the day, as usual, mostly related to past issues. The topic de jour deals with "psycho-pathic players" from issue #172's Forum. I am unsure if the authors' mean "players" or "characters."  The examples do lean in on characters, but the players have something to do with it. No advice is given really. 

Friend of the Other Side Bruce Heard is up with his Voyage of the Princess Ark, now up to Part 23. If you love Mystara/The Known World as much as I do then these are great reads. Nothing sets the tone for the BECMI line quite as well as these do. There is fiction here, but enough playable crunch to keep me coming back for more. 

The Convention Calendar gives us the run-down on the latest gaming conventions of the Winter of 91-92. None local to me though.

Ad for Vampire the Masquerade. Wonder if it will do well?

Spike Y. Jones has advice for "dressing up" your modern games in Propping Up Your Campaign. Though I can't see any GM wearing a suit and tie to a game session. Though there is some fun advice here. Among the things it suggests is raiding your little brother's toy box (with permission). A whiel back we did a huge cleaning and took a bunch of old toys from when the kids were little to WINGS. We kept anything that might be good for D&D props like toy dinosaurs and even some weird knock-off Pokemon and Yugioh toys we bought on a trip to Chicago's China Town. 

TSR Previews covers what is new for December 1991 and January 1992. Your mail-in registration for Gen Con 1992 is on the next page. Early bird entries much be post marked by January 31, 1992. 

The Lessers (Hartley, Patricia and Kirk) are back in The Role of Computers. Games covered are Heart of China (5 stars), J.B. Harlod Murder Club (4 stars), Phantasy Star III (4 stars), A-10 Tank Killer (5 stars), and Space Quest IIII (4 stars). 

Michael G. Ryan gives us this month's fiction piece, Time for an Experiment. 

Doug Niles is up with Role-Playing Reviews. He covers The Awful Green Things from Outer Space by Tom Wham and from Steven Jackson Games. This is an update of the same game that appeared in the pages of Dragon #28 all the way back in 1979. Niles still loves it. The Scotland Yard game from Ravensburger (German company fairly well known for their puzzles today) is a "whodunit" game where the players track down "Mr. X." It honestly sounds fun. He also covers the Battle of the Bulge game from who else, Avalon Hill. 

Marvel-Phile is up with lesser known characters like La Bandera, Windshear, and Witchfire. Ok, so I did already know Witchfire.

Ah. I knew thos toys we saved would come in handy! Gregory W. Detwiler gives us prehistoric beasts in Playing in the Paleozoic. These are AD&D 2nd Ed monster stats, but not the full monster listings with Combat and Habitat/Ecology sections. Still. We went to the Field Museum and the Illinois State Museum more times than I can recall. So we have tons of plastic prehistoric monsters here. This one is fun!

Skip Williams is up with Sage Advice. This time, covering the effects of various wizard spells. 

Not a review, not an ad, but somewhere in between is Novel Ideas by Marlys Heeszel. This time we cover the new R. A. Salvatore novel Canticle.

David Wise updates us on the AD&D Collector Cards in The Game Wizards. 

DragonMirth has our comics for the month including Yamara and Twilight Empire. 

Gamers Guide has our small ads. Ads for play-by-mail games (those will soon die out), music tracks for your games on cassette. Wargames West has their ad. A couple of ads look like they were printed out on a Macintosh pritner. Sign of the times. 

We end with Robert Bigelow's reviews of new minis in Through the Looking Glass. At the time of this issue I had maybe one or two minis I had saved up for. I read this ad now on a desk covered in all the minis I have been printing from our 3D printer. Currently all the lords of the Hels and then some are sitting here waiting for a coat of primer. 

So. A fun issue really, but the "special feature" was a little weak even if the articles themselves were pretty good. Loved the Paleozoic monsters the most really. 

 Last month I presented a few characters from Grenda's collection of Forgotten Realms material. It got me thinking I needed to continue my exploration of the Realms.  Among the books in his collection is the amazing The Forgotten Realms Atlas. Under normal circumstances at this point in my exploration of a new world I would go right to a publication like this. The fact that it is the next book in chronological order and it was part of my friend's collection makes it an even better choice. 

The Forgotten Realms Atlas (2e)

1990. By Karen Wynn Fonstad. Forewords by Ed Greenwood and Jeff Grubb. 178 pages.

Before I get into this book, I have a few words about Karen Wynn Fonstad. She is not a name usually associated with the Realms, but she is a "name." Prior to this book, she had given us the equally extensive Atlas of the Dragonlance World. She came to these via her work on The Atlas of Middle-Earth, The Atlas of Pern, and the Atlas of The Land from "Chronicles of Thomas Covenant." All epic works of cartography and staples of the Science Fiction and Fantasy Book Club during the 1980s.  All her books have a similar feel to them, and all are meticulously well-researched. She had been the Director of Cartographic Services at the University of Wisconsin–Oshkosh and had fallen in love with Tolkien's world back in 1975.  I don't know if she felt the same love for Toril, Krynn or Pern, but her work in all three was top-notch. She passed in 2005 at the young age of 59. She was remembered fondly in the New York Times this past January, nearly 20 years after her death.

The Atlas itself is a massive work. The book itself is 178 pages, with 3-color art. The only illustrations in the book are Fonstad's maps and there is nearly a map per page. These are not just geographical maps of places, there are maps of towns, homes, castles, even standing stones on the Moonshae islands. Everything is footnoted and cross referenced. 

It covers all the Forgotten Realms products, novels and RPG sources, up that point. So it is pretty comprehensive. 

The atlas is divided into four major sections.

Part One: Regions

This covers the large regions of the known world of the Forgotten Realms circa 1990. It includes large area maps of the Western Realms (most familiar) north and south, the Hordelands, and the Eastern Realms where Kara-Tur had been newly re-set. 

Part Two: The Moonshae Isles

This covers the Moonshaes and the places (and events) of the Darkwater Trilogy novels. I should probably read those at some point. The level of detail here is rather amazing, to be honest, and you do get the feel that this is a living, breathing world. 

Part Three: The North and West

Again, the areas most familiar even to the most casual Realms fan. Though, while I admit that now I am likely more than a casual fan, the amount of detail here is staggering to me. There is so much I don't know here. Reading it makes me feel like I have missed a lot since there are many references to the novels. I know I am never going to ever read everything Forgotten Realms, but this does make me appreciate the in-world and real-world history here.

Part Four: The Western Heartlands

This is the bulk of the book and is just packed. Here, I am further outside of the areas I know. Hell, even the areas I know I know I don't know well. But I think I am going to come back to this book very often.

Honestly. This book is a treasure. I had flipped through a copy of Fonstad's Atlas of Middle of Earth years ago and was blown away by it. I have the same feeling here. It is almost too much to take in at once.

Her References alone would be the basis of a great adventure, academically speaking, to read up on the Realms from 35 years ago. It is more than I could ever hope to read and still manage to get all my other reading in! But it also gives me ideas of other products to review, beyond what I already have. 

 

Today is the release day of the new D&D 5.5 Monster Manual. It does not have "monster stats" for orcs or drow (nor elves, dwarves, halflings, gnomes, and other playable species). In general, I am okay with this. I can add my own if I want. But the treatment of orcs, in general, seems to have some people bothered. My post on Nouveau Orcs has been constantly in my weekly top five posts since I posted it back in July. It also seems the most noise is coming from a section of gamers who have also bragged about how they have not played any D&D published in the last 10 or 25 years.

Frankly, we are still on the same road that Gygax put us on.

Drow and Romulans

I have mentioned that my wife and I are rewatching all the episodes of every series of Star Trek. Right now (tonight even) we are going to rewatch the classic "The Balance of Terror."  The first time since we rewatched it's alternate-timeline counterpart, "A Quality of Mercy."

The Balance of Terror changed Star Trek forever. We see its effects in the "Reunification" trilogy of episodes, its effects on Star Trek The Next Generation, Star Trek Picard, and Dungeons & Dragons.

I have mentioned it many times here before, but the introduction of the Drow as "Evil (with a capital E) Elves" was a parallel to the Romulans as Evil Vulcans in Trek. It was obvious to me back in the early 1980s when I first played through it, but sadly, that plot point was spoiled for me. I don't know the effect either the D-Series adventures or The Balance of Terror had on those unaware.  Since then, Drow and Romulans have followed a similar development path. 

Both of our pointy-eared races have begun to be more like their good-aligned cousins since their mutual rediscoveries. Relations with the Romulans were beginning to get better even in the time of the Next Generation and practically friendly in Picard to allies in the later seasons of Discovery. Same is largely true for the Drow, save we have not hit the friendly part yet.

I would add that the same relationship and development cycle has become true for Orcs and Klingons.

Orcs and Klingons

When the Next Generation was in the idea stages, creator Gene Roddenberry originally did not want any Klingons in it. The rumor is that the fall of the Soviet Union, the "Evil Empire" of so many decades, prompted him to change his mind and see Klingons as becoming part of the Federation. Good thing too. Klingon episodes were always some of the most interesting ones in the franchise. 

Orcs are taking a similar role to Klingons. Granted, while there are individual good, even heroic, orcs, none have stood out yet like Worf Son of Mogh or Drizzt Do'Urden. But this is the early days of orcs now being a part of our Dungeons & Dragons "Federation."

Personally, I have stopped using orcs as pure antagonists for a long time. I almost always got for undead, demons, or evil cultists of any humanoid sort. Does this mean orcs are off the menu? No more than Klingons were. It is amazing for allies how many battles between the Federation and Klingons we saw not just in The Next Generation, but also Deep Space Nine and Voyager. Discovery even began with a fight with the Klingons that started the Federation-Klingon war.

So really. Maybe it is time to shift away from orcs as always evil. They can still be warlike and brutal, but giving them a little more credit can only make them more interesting. Take Orkworld, for example. John Wick was doing what D&D is trying to do now, 25 years ago. 

Games should evolve. Otherwise, you are just doing the same old thing all the time. And if I choose to say have orcs and drow and whatever as antagonists again? Well. I can still do that.

But maybe, just maybe it is time to see what orcs can add to the game as a culture.

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

—oOo—
Deadfellas
Name: DeadfellasPublisher: Chaosium, Inc.
Author: Christian Grundel

Setting: New York, 1982Product: One-shot (though probably more, plus stabbings)
What You Get: Thirty-two page, 3.46 MB Full Colour PDF
Elevator Pitch: “A road trip is a way for the whole family to spend time together and annoy each other in interesting new places.” – Tom Lichtenheld
Plot Hook: The Drive. The Body. The Hit. The Horror.Plot Support: Staging advice, four pre-generated Mobsters, one handout, two maps, three Mythos spells, and one Mythos monster.Production Values: Excellent
Pros# Classic Mafia road trip set-up# Fantastic tensions between the Mobsters# Mafia memories are the worst# Almost deserves to be staged as if in a car# Paranoia# Thanatophobia# Detection apprehension
Cons# Needs an edit# Short
Conclusion# Four killers, four secrets, one monster, who gets put on ice?# Great set-up demands some great roleplaying # Reviews from R’lyeh Recommends

 Today's Monstrous Monday is a special one, the return of my erstwhile series "Monstrous Maleficarum." In this new and revised version for "5th Era Fantasy RPGs" I am featuring the return of the Orc as a monster you can have as an antagonist. 

Just in time for tomorrow's new Monster Manual release. 

Volume #2 of Monstrous Maleficarum - Return of the Orcs

Orcs have been a staple of FRPGs since the dawn of the hobby. These creatures are as iconic as they are ubiquitous. 

With Monstrous Maleficarum #2 I present the return of the orcs to the latest edition of the World’s Greatest Roleplaying Game. Orcs for the new 5th Era.

Herein, you will find the classic Pig-nosed orc, the mighty green and gray orcs, the blood-thirsty Blood Orcs, the violent Ghost-Face orcs, the noble and good Desert Orcs who call elves “brother,” and the intelligent and equally dangerous High Orcs.

What is Monstrous Maleficarum?

Monstrous Maleficarum is a series of smaller publications to feature new monsters for the 5th Edition of the World's Greatest Role-Playing game. Sometimes these monsters are from previous editions, brought into the new era via the Open Gaming License. Sometimes they are new takes on classic creatures of myth and legend. And other times they will be brand new creatures.

Each “issue” will feature a theme of related monsters.
Every issue will feature 100% Open Gaming Content text.

I will have more to say on Orcs and other "missing monsters" as time goes on.

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

—oOo—
Name: The Exhibition of DreadPublisher: Chaosium, Inc.
Author: Jared Tallis & The Stars Are Right

Setting: Modern Day Boston, USAProduct: Scenario
What You Get: Forty-five page, 4.97 MB Full Colour PDF
Elevator Pitch: Life is art
Plot Hook: What do you do if the haunting for inspiration becomes a haunting for real?Plot Support: Staging advice, five pre-generated Investigators, three NPCs, two handouts, one map, and one (or more) Mythos monster(s).Production Values: Good
Pros# One-session, one-shot# Challengingly creative end scene# Atmospheric haunting# Nice map and decent handouts# Phasmophobia# Ososphobia# Aportaldislexicartaphobia
Cons# Needs an edit# Pre-generated Investigators underdeveloped# Two good halves, barely connected
Conclusion# Art or die decision# Too good halves do not make an engaging whole

Beleriand Toy Soldiers of Russia has released a super high quality series of 60mm figure sets based on J.R.R. Tolkien's Children of Hurin.  They are among the best figures ever to come out of Russia.  They are very expensive ($10-$15 each fig).  Sadly, they are made of a very soft material that can distort under pressure.  That makes storage a little complicated.  

Set #1 Children of Hurin.

Set #2 Orcs.

Set #3 Donath

Set # 3.1 Donath

Set #4 Nargothrond 

Set #5 Dorlomin

Stock photo.

Set 5.1  Dorlomin.

Stock photo. 

Set #6  Beren & Luthien 

Stock photo. 

The extinction is coming and America is dying. It began in 1974 in the wake of President Ford pardoning Nixon after Watergate and an assassination attempt on Ford. A civil rights spokesman was blamed and in the demonstrations that followed, the Capitol in Washington D.C. was stormed and the US Army was sent into to quell the protestors, resulting in hundreds of deaths when they opened fire with live ammunition. Across the USA, people took up arms in response and incidents of guerrilla warfare broke out across the country. Within a year, the conflict escalated and first California and then Texas seceded, and the country was in civil war. The Second Civil War lasted until 1984, prosecuted by the sophisticated drone technology adopted by the military following the development of scientific field of Neuronics. There were no winners and the former USA remains divided still thirteen years later. In the west, the nation of Pacifica has arisen out of the old state of California, its wealth built on Hollywood and further development and widespread adoption of neurotechnology. The biggest company in Pacifica and arguably the power behind its president, Sentre, made Neuronics available to the public through Neurocasters. Wearers of these high-tech devices are not only capable of controlling drones, but also of accessing neuroscapes, hyperreal landscapes. With the release of Mode 6 by Sentre last year, something changed—and changed for the worse. Some suggested a God awoke within the Machine, some say Pacifica’s enemies were attacking via the system, but whatever it was, users became addicted to their Neurocasters. They preferred it to real life. Some, deeply immersed in the virtual worlds that give them every experience they want, wear their Neurocasters until they die. Others roam the roads and the landscapes, stilling wearing their Neurocasters and controlling hulking great drones. Nobody was immune. As more and more people have become addicted to their Neurocasters, the more services and tasks have begun to break down. This lassitude is spreading and with it an impending apocalypse… Elsewhere there are rumours of technocults hiding out far from the cities and shambling mechanical creatures assembled by the Neuronic network rather than man. Yet there are a few who are immune to the effects of the Neurocasters and there a few who want to move, to become Travellers ready to make the long and dangerous journey to elsewhere, to get away, to find something, to find someone.

This is current situation in The Electric State Roleplaying Game, a pre-apocalyptic Science Fiction dystopia set in 1997, based on the book by Simon Stålenhag, whose artwork has also inspired the roleplaying games, Tales from the Loop – Roleplaying in the '80s That Never Was and Tales from the Flood. All three are published by Free League Publishing and all three use the Year Zero mechanics first seen in Mutant: Year Zero – Roleplaying at the End of Days. This is the 1997 of Nirvana and Sony Walkmans, Bart Simpson Tee-shirts and Nintendo Game Boys, hoop earrings and slackers, and so on. Recognisable were it not for the rise in advanced technology that has given the world drones, robots, and Neurocasters. It is a world in which the Player Characters want to get somewhere else. They each have their different reasons, but travelling together is safer than travelling alone. Society is not what it was with everyone immersed in the worlds of their Neurocasters. The landscape is not what it was, swathes left untended or poisoned from the Second Civil War. The Journey that these Travellers undertake is the focus of The Electric State Roleplaying Game, its route marked by a Starting Point and a Destination, and in between, Stops. Stops can be a place where the Travellers get food, petrol for the car, find a payphone, and then move on, but they can be a place of danger and mystery…

A Traveller in The Electric State Roleplaying Game has four Attributes—Strength, Agility, Wits, and Empathy, which are rated between two and six. Health and Hope are derived from this, with Hope being a personal resource that can be reduced to push rolls or traumatic events. He also has an Archetype, a role representing what he is. The options here include Artist, Criminal, Devotee, Doctor, Investigator, Outsider, Runaway Kid, Scientist, and Veteran. Perhaps the one signature Archetype is the Drone Pilot, who will not bodily appear in play necessarily, but instead be represented by the Drone that he constantly controls via his Neurocaster. Each Archetype provides options—either chosen or rolled for—in terms of starting Talent, Dream, Flaw, Neurocaster, and Personal Item. The Talent will either grant him extra dice under certain circumstances, such as ‘Drone operator’ or ‘Sleuth’, or provide a more specific benefit, such as ‘Medic’ being able to stabilize someone who is Incapacitated or ‘Neuroresistant’ which means the Traveller is better able to resist the Bliss of neurocasting. Beyond this, the details of Traveller are more personal than mechanical. These start off with a Dream and a Flaw. A Traveller’s Dream is their motivation, their push to go far and make the Journey rather than give into the easy lure of Neurocasting. His Flaw is something that will hold him back and something that he needs to overcome. Roleplaying the Dream and the Flaw will give a chance for the Traveller to improve. The Neurocaster is the model that he owns (though he may not own one) and he also has a Personal Item and a favourite song.

To create a Traveller, a player selects an Archetype and then rolls for the Attributes on a single six-sided die each, with the minimum roll being two Then he rolls for the Talent, Dream, Flaw, Neurocaster, Personal Item, and Favourite Song. This is not the complete Traveller creation process, but that is done collectively during the set-up for the Journey.

Name: Jake
Age: 17
Archetype: Outsider
Strength 3 Agility 5 Wits 6 Empathy 6
Health 4 Hope 6 Bliss 0
Talent: Stealthy
Dream: Get a normal life, like everyone else
Flaw: You don’t trust anyone.
Neurocaster: None
Personal Item: Dog
Favourite ’90s Song: Wannabe (Spice Girls)
Tensions: A dispute about hierarchy (Karen Brooks) [1], Religious or political differences. There’s reason Americans say never discuss religion or politics (Jesus Castillo) [1]

The Journey is the central part of the play to The Electric State Roleplaying Game. Setting this up is a collective process. This includes creating a personal Goal for each Traveller which lies at the end the Journey, whilst the Threat which is working to stop the Traveller from fulfilling his Goal. The Threat is created by the Game Master, whilst key to the Goal is the Kicker, the event that pushes the Traveller to decide to make the Journey in that moment. Together, the Travellers have a vehicle and a shared item, such as a bottle of hard liquor or walkie-talkies. Each Traveller also has a difficult relationship with one of the companions in their vehicle, which could be ‘Hidden contempt pent up for ages.’ or ‘Distrust. Something another Traveler does offends you deeply. It’s all you can do not to scream at them every time they do it.’. This is measured by Tension, which ranges between zero and three. If a Traveller acts against another Traveller who he has Tension with, the Tension value is used as bonus dice. It is possible to reduce Tension simply by talking things through or even arguing about relationships can reduce it and this will restore Hope, but equally, Tension can go up depending on circumstances and roleplaying.

Mechanically, The Electric State Roleplaying Game uses the Year Zero engine, so the rules are light and fairly quick, with dice rolls primarily intended for dramatic or difficult situations such as combat, hiding from members of a Technocult intent on inducting you, making repairs in a hurry, and so on. To have a Player Character undertake an action, a player rolls a number of Base dice equal to the appropriate Attribute (notably, The Electric State Roleplaying Game does not use skills or skill dice), modified by an applicable Talent and the difficulty. To this can be added Gear dice for weapons and other gear if used. Rolls of six on either count as Successes. One result is enough to succeed, whilst extra successes can be used to do it in a showy fashion, quickly, quietly, and so on. However, if the player does not roll any Successes, which is a failure, or needs more Successes, he can opt to Push. In this case, he rolls any dice that are not showing a one or a six, and any Successes rolled count towards the task.

However, any rolls of one after the Pushed roll, have negative effects. For the Base dice, they reduce the Traveller’s Hope for each one rolled, whilst ones on the Gear dice reduce the bonus provided by the Gear used. When Hope is reduced to zero, a Traveller suffers a Breakdown and is in danger of suffering further mental trauma.

Combat in The Electric State Roleplaying Game uses the same mechanics. Initiative is determined narratively, and when a Traveller gets to act, he has an action and move or two moves. An action be an attack, reloading, taking cover, rallying a demoralised comrade, and so on. If in close combat, the defender can choose to take the hit or fight back, in which case it becomes an opposed roll, whilst if being shot act, the defender can dodge, and that too is an opposed roll. Cover provides protection if Successes are rolled on its dice. If a Traveller’s Health is reduced to zero, he is Incapacitated and if he suffers damage equal to twice his Health in one hit, he is dead. If his Traveller is Incapacitated, the player makes three Death Rolls with four dice. If he rolls a total of three Successes in the course of the three rolls, he survives, if not, the Traveller is dead. It is also possible for another Traveller to rally one who is Incapacitated and the Medic Talent means he can be stabilised without the need for Death Rolls. An Incapacitated Traveller also suffers an injury, which can be anything from a broken finger to internal bleeding.

The most important mechanic in The Electric State Roleplaying Game is Hope. It is a measure of a Traveller’s motivation and it can be lost in a variety of ways, such rolling ones on a Pushed roll or suffering a Traumatic Event like seeing a friend get badly hurt or being confronted by your worst fear. When it is reduced to zero, the Traveller suffers a Breakdown and potentially from mental trauma ranging from ‘Confused’ to ‘Personality Split’. The challenge after losing Hope is that there no automatic means of recovering it. Instead, the players and their Travellers have to work at it. It is possible for a Traveller to be rallied following a Breakdown and this will restore Hope, but otherwise the two means to increase Hope are to reduce Tension with another Traveller or spend time with an item of Gear that will increase Hope, like a dog or a Walkman, or a religious book. Certainly, in the case of Tension, this requires dedicated roleplaying between two players, and The Electric State Roleplaying Game makes clear that time should be set aside for this. Further, these scenes should not always be about reducing Tension, but about increasing it. This is because in the long term, if there is no Tension between one Traveller and another, there is no reason to reduce it and thus no means to increase Hope. It also reduces scope for interpersonal roleplay. This then is the ‘Hope Loop’ at the heart of The Electric State Roleplaying Game.

The ‘Hope Loop’ in The Electric State Roleplaying Game is complicated by Bliss. One of the most interesting aspects of roleplaying game is how Hope and Bliss interact. Bliss is a measure of a Traveller’s addiction to using his Neurocaster. A Traveller is going to be spending most of his time on the road or at Stops along the Journey, so in the physical, rather than the virtual worlds. However, this does not mean he will never have to enter a Neuroscape, which can be global or local, as he may need to find information, use or hack a system linked to the Neuroscape—such as drones and alarms, or interact or fight with the other avatars in the Neuroscape. It is possible to act in the physical world whilst Neurocasting, but it is slow and the option are limited. It is also possible for Travellers to help another who is Neurocasting.

However, any time a player fails a roll whilst his Traveller is Neurocasting, whether any ones were rolled or not, his Bliss increases by one. This is before the player chooses to Push the roll, which whilst the Traveller is Neurocasting, has its own extra danger. This is because any rolls of one after a player has Pushed a roll reduce his Traveller’s Hope by one each, and Bliss has dire effects if it equals or exceeds the value of a Traveller’s Hope. If this happens, the Traveller is trapped in the Neuroscape, is lost in the ‘Electric State’, and cannot willingly disconnect himself from it. A Traveller lost in the ‘Electric State’ can be forcibly disconnected, but this has disturbing consequences. It automatically reduces his Hope to zero, which again causes a Breakdown.

Bliss is lost at a point per day spent without doing any Neurocasting. However, this has its own dangers too, since there is a chance that the point lost that day will become permanent. Effectively reducing a Traveller’s Hope in the long term and modelling the effect that Neuroscaping has had on society with the introduction of Mode 6.

The focus of play in The Electric State Roleplaying Game is the Journey. As described earlier, setting this up involves deciding on a Starting Point, Destination, and the route. It also involves choosing the number of Stops, each one an adventure in itself that the Travellers’ Dreams and Flaws will drive them to explore. The number of Stops determines the overall play length, from one Stop for a one-shot to a long Journey of eight or more stops. The Game Master creates these Stops using the advice and prompts given in the roleplaying game, including a Setting, the Blocker (which what makes the Travellers pause their journey), and Threats, as well as adding a Countdown that is triggered by the arrival of the Travellers and will push events forward during the playthrough of the Stop. There is good advice for both creating and running Stops, including playing Neuroscapes, and it is supported by a range of threats each of which has their own example Countdown. Mechanically, this makes them easy to insert into a Stop. The Threats include people, such as cultists or local business leaders as well as the expected technological ones, like drone growths and robots, and environmental ones, such as extreme weather or disease. There are only two entries listed for the technological and environmental, which feels too few in either case. There are rules for travel and chases to reflect the nature of play as a Journey.

The Game Master is also provided with a complete mini-campaign, ‘Into the Dust’, which takes up a fifth of the book. This is a three-part Journey, though it could easily be expanded and some of the stops could be used as one-shots, which takes the Travellers from San Francisco Memorial City into the Blackwelt Exclusion Zone (former state of Nevada), but a long route which takes them south via the Sierra Nevadas and the Mojave desert in a run-down 1993 Buick Roadmaster Estate. Between them, the Stops involve a cult, a murder mystery, and a strange festival, and between the Stops, there are encounters that the Game Master can use to make the Journey even more interesting and exciting. There is also a pre-generated Traveller with their own Goals and Threats for each of the Archetypes in the roleplaying game, giving the players plenty of choice. Overall, this is the basis for a decent campaign that could expanded to eight or more Stops. Lastly, in The Electric State Roleplaying Game,  there are rules for solo play.

Physically, The Electric State Roleplaying Game is very well presented. It is clean and tidy and easy to read. Of course, what makes it stand out is the artwork of Simon Stålenhag which depicts an American landscape in decline as Neurocasters wander like zombies and kitschy robots loom and lurk almost everywhere. The Game Master should absolutely be using this artwork to show off the state of Pacifica.

The Electric State Roleplaying Game is not a traditional roleplaying game in that its world is designed for long term play. The story of the Travellers is going to be told in a single Journey rather than in multiple Journeys because the surviving Travellers are going to need new Goals if they are to set out again. Further, there is not a huge scope for development mechanically as arguably, if a Traveller is only doing the one Journey, however long it is, there does not need to be. The emphasis on Pacifica as a setting and journeying across it also limits the scope of the roleplaying game. These are not criticisms, because instead, what The Electric State Roleplaying Game is, is a narrative, storytelling roleplaying game designed for one-shots and short campaigns that tell specific stories about Journeys across a strange new landscape within which there is scope for interaction, discovery, and horror. In this way, The Electric State Roleplaying Game adds a new twist to the classic American road trip.

Miseries & Misfortunes is a roleplaying game set in seventeenth century France designed and published following a successful Kickstarter campaign by Luke Crane, best known for the fantasy roleplaying game, Burning Wheel. Notably, it is based on the mechanics of Basic Dungeons & Dragons. Originally, Miseries & Misfortunes appeared as a fanzine in 2015, but its second edition has since been developed to add new systems for skills, combat, magic, and more. However, the underlying philosophy of Miseries & Misfortunes still leans back into the play style of Basic Dungeons & Dragons. For example, the differing mechanics of rolling low for skill checks, but high for combat rolls and saving throws. Plus, the Player Characters exist in an uncaring world where bad luck, misfortune, and even death will befall them and there will be no one left to commiserate or mourn except the other characters and their players. Further, Miseries & Misfortunes is not a cinematic swashbuckling game of musketeers versus the Cardinal’s guards. It is grimmer and grimier than that, and the Player Characters can come from all walks of life. That said, it is set in the similar period as Alexandre Dumas’ Three Musketeers and Twenty Years After, so will be familiar to many players. The other major inspiration for Miseries & Misfortunes is Les Misères et les Malheurs de la Guerre, a set of eighteen etchings by French artist Jacques Callot that grimly depict the nature of the conflict in the early years of the Thirty Years War.

Miseries & Misfortunes – Book 4: Plus de Misères is the fourth of the roleplaying game’s rulebooks. The first, Miseries & Misfortunes – Book 1: Roleplaying in 1648 gives the core rules for the roleplaying game, and the second, Miseries & Misfortunes – Book 2: Les Fruits Malheureux provides the means to actually create Player Characters, and together they make up the core rules. Miseries & Misfortunes – Book 3: The Sacred & The Profane expands on this with rules for magic and related Lifepaths, whilst Miseries & Misfortunes – Book 4: Plus de Misères offers modes of play and further subsystems that also expand upon the core play. As the introduction to the supplement states, what it it offers is ‘More Misery’, with the majority of the supplement intended for use by the Game Master, but all of the new rules will add detail and flavour to her campaign and affect the lives of the Player Characters in some ways.

The supplement opens in interesting fashion. If the majority of Miseries & Misfortunes – Book 4: Plus de Misères is for the eyes of the Game Master, the opening essay should be read by player and Game Master alike. ‘Modernity’ provides the reader with an eye-opening perspective of what life was like and people believed in 1648. This includes the belief that the world was in decline, the high point having been classical Rome and Greece, that the science and philosophy of thought we know of today were not for the common man, history and its ideas were accepted truths, disease was spread by miasmas and worms, cities had yet to be transformed by the dictates of either mass or public transport and so streets remained as they did in the Medieval period, and so on. It is a fascinating read that does not swerve the worst that the era had to offer, including misogyny and ant-Semitism. This is not necessarily to enforce their presence in play, but rather acknowledge that they were part of the culture in 1648. This is an excellent start to the supplement.

The majority of Miseries & Misfortunes – Book 4: Plus de Misères consists of two sections. One is ‘Mode de Jeu’, or ‘mode of play’, the other is ‘Petits Systémes’. ‘Mode de Jeu’ begins with ‘Moments’, which examines the structure of play in Miseries & Misfortunes, which is made up of the eponymous ‘Moments’ in time, essentially situations or scenarios that the Player Characters can involve themselves in. It divides them into two types—‘Historical’ and ‘Novel’. The first of these are based around actual events, the aim being to involve the Player Characters in their events, whilst the second are plots and events that the Game Master creates herself. The Game Master sets up a timeline of moments, a mix of both types, that he weaves a plot through. The players do not roleplay through them one after another in linear fashion, but have the freedom to dip in and out of the timeline, according to their needs and those of the plot. There is even a full breakdown of a Historical Moment, making you wish that there was a full book of such events for the Game Master to use. To mark the passage of time, after the playthrough of a Moment and any subsequent downtime, the play of Miseries & Misfortunes switches to narrative scenes in which the lives of the Player Characters’ dependents are examined to see what has happened to them in the meantime and how they might have been affected by the actions of the Player Characters.

To support the ‘Moments’, ‘Mode de Jeu’ breaks down two types of plots—quests and intrigues—and discusses how to prepare for play. This includes right at the start of a campaign and comes with some excellent suggestions, such as having the player recap the adventures and heroics of their characters, even just the one of their characters. There is good advice on creating antagonists and the supporting cast too and the chapter ends with a discussion on safety tools. Arguably, given the nature of the setting for Miseries & Misfortunes, this could have been placed earlier in the book.

‘Petits Systémes’ or small systems, provides a number of sub-systems that expands options and rules for Miseries & Misfortunes. These begin with ‘Favour’, the gaining of the patronage from notable figures, based on the traits that these potential patrons seek or value, such as charm or cleverness or piety. If the Player Characters perform tasks and missions in accordance with those traits, they will gain patronage and be rewarded. If not, the patron will feel disappointed and even feel betrayed. The Player Characters can have more than one patron and it is suggested that beyond the first or major patron, the players should each control and roleplay a patron rather than the Game Master in what is another shift to narrative style play.

Perhaps the new addition that most players will be interested is ‘Duello’, which are rules for duelling in Miseries & Misfortunes. This starts with the legal difficulties of duelling, having been outlawed by the king’s father and grandfather, versus the desire of the nobility to satisfy their honour, and goes on to cover issuing a challenge, employing a duellist, the duelling code, and more. A duellist’s Duelling skill is based on his Mêlée and how many Lifepath skills he has in Fencer. This greatly favours the latter as it should, hence the need for some to hire a duellist to protect their honour. Ideally, the duel should be played out on a grid of squares—which can be constrained by the location and its features—with the actual cut and thrust of the swordplay done as series of initiative tests to first see who can outmanoeuvre the other and the options then available to both, such as ‘Barbed Words’, ‘Break Grips’ if the duellists are in a tie, ‘Trip’, ‘Inside Cut’, and more. There is a pleasing back and forth flow to the rules, but whilst they allow for manoeuvre and movement, these are not duelling rules for swashbuckling and cinematic play. So, footwork, but not jumping and leaping. This is all about swordplay and honour, but as the rules suggest, not necessarily to the death. Lastly, ‘Duello’ points out there are legal ramifications for duelling even when a duel does not end in a death, such as a six-month prison sentence for the soufflet—the slapping of another in the face with a glove! Overall, ‘Duello’ adds a nice combination of skill and roleplay to Miseries & Misfortunes and is likely to be one of the most used rulesets in the supplement.

Penultimately, Miseries & Misfortunes – Book 4: Plus de Misères takes an unpleasant turn with ‘Disease’, an examination of maladies and infections in the period. As noted in ‘Modernity’ earlier in the book, disease was rife in the period. The best that a Player Character can hope for is rest and the hope that he receives proper treatment—or at least what can be regarded as the proper treatment of the day. There are three recognised sources of treatment—Barber, Chirurgy, and Physic—which provide different means to treat different diseases. The use of the improper source, insufficient skill (represented by Gnosis , the degree of knowledge a practitioner knows, as detailed in Miseries & Misfortunes – Book 3: The Sacred & The Profane), and even a complete of skill can result in Quackery, the ability to appear to be aiding the sufferer whilst not actually doing anything to help or even inflicting further suffering. This can include a range of tonics, baths, and pills—and even prayer! The section includes a full list of diseases, their symptoms, and cures—both legitimate and quack. It all makes for very grim reading and a player had best hope that his character does not fall ill, because having to roleplay the treatment, let alone the symptoms, is not going to be pleasant. Lastly, Miseries & Misfortunes – Book 4: Plus de Misères gives guidelines on communications and languages in ‘Communications’.

Physically, Miseries & Misfortunes – Book 4: Plus de Misères is well presented and written with lots of period artwork and etchings which helps impart its historical setting. It does lack an index, but this is not so much of an issue given the compartmentalised nature of its various subjects.
Ultimately, Miseries & Misfortunes – Book 4: Plus de Misères is the equivalent of a Miseries & Misfortunes miscellany or a Miseries & Misfortunes companion. Some of the content is more useful than others and some does add more detail and complexity than every group will want to in engage with. ‘Chevaux’ is an example of the latter, whilst ‘Duello’ is an example of the former. Then some of it is fascinatingly revelatory, like the ‘Modernity’ essay, and in the case of ‘Disease’, both revelatory and grim. Elsewhere, Miseries & Misfortunes – Book 4: Plus de Misères provides support for campaigns with its discussion of ‘Moments’ and ‘Favour’ that also at the same time do shift the roleplaying game away from its Old School Renaissance roots towards a slightly more narrative style of play. Ultimately, the ‘Duello’ chapter is what is going attract the Game Master and her players to the supplement, but there is a lot more misery in the pages of Miseries & Misfortunes – Book 4: Plus de Misères to explore and bring into play.

Quick-starts are means of trying out a roleplaying game before you buy. Each should provide a Game Master with sufficient background to introduce and explain the setting to her players, the rules to run the scenario included, and a set of ready-to-play, pre-generated characters that the players can pick up and understand almost as soon as they have sat down to play. The scenario itself should provide an introduction to the setting for the players as well as to the type of adventures that their characters will have and just an idea of some of the things their characters will be doing on said adventures. All of which should be packaged up in an easy-to-understand booklet whose contents, with a minimum of preparation upon the part of the Game Master, can be brought to the table and run for her gaming group in a single evening’s session—or perhaps two. And at the end of it, Game Master and players alike should ideally know whether they want to play the game again, perhaps purchasing another adventure or even the full rules for the roleplaying game.

Alternatively, if the Game Master already has the full rules for the roleplaying game the quick-start is for, then what it provides is a sample scenario that she still run as an introduction or even as part of her campaign for the roleplaying game. The ideal quick-start should entice and intrigue a playing group, but above all effectively introduce and teach the roleplaying game, as well as showcase both rules and setting.

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What is it?
The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens is the quick-start for Cthulhu Awakens, the roleplaying game of Lovecraftian and Cosmic Horror investigative horror using the AGE System published by Green Ronin Publishing.

The time frame for The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens and thus Cthulhu Awakens is roughly one hundred years. It begins in the 1920s and runs up until the present day and is known as the ‘Weird Century’.

It is a forty-five-page, 22.36 MB full colour PDF.

How long will it take to play?
The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens and its adventure, ‘The God Beneath the Tree’, is designed to be played through in a single session, two at most.
What else do you need to play?
The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens needs three six-sided dice per player. One of the three dice must be a different colour. It is called the Stunt Die.
Who do you play?
The five Player Characters—or Character Types—in The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens consist of an immigrant athletic brawler and aspiring soldier, a stealthy refugee turned farmer, a volunteer farmer good with her hands, a cosmopolitan and observant merchant, and a veteran Soldier. The five Character Types represent a diverse range of backgrounds and origins, including a Black Briton and a Basque, whilst the veteran is a Sikh.
How is a Player Character defined?A Character Type in The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens is defined by Abilities, Focuses, and Talents. There are nine Abilities—Accuracy, Communication, Constitution, Dexterity, Fighting, Intelligence, Perception, Strength, and Willpower. Each attribute is rated between -2 and 4, with 1 being the average, and each can have a Focus, an area of expertise such as Accuracy (Pistols), Communication (Persuasion), Intelligence (Medicine), or Willpower (Faith). A Focus provides a bonus to associated skill rolls and, in some cases, access to a particular area of knowledge.
A Talent represents an area of natural aptitude or special training. For example, ‘Brawling Style’ increases base damage when fighting unarmed, whilst ‘Scouting’ enables a player to reroll failed Stealth and Seeing tests. A Player Character also has one or more Relationships with other Player Characters or NPCs and Fortune Points to expend on adjusting die rolls. He is further defined by a Drive, Resources and Equipment, Health, Defence, Toughness, and Speed, and Goals, and Ties.

How do the mechanics work?
Mechanically, The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens uses the AGE System first seen in in 2009 with the publication of Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5. If a Player Character wants to undertake an action, his player rolls three six-sided dice and totals the result to beat the difficulty of the test, ranging from eleven or Average to twenty-one or Nigh Impossible. The value for an appropriate Ability and Focus is added to this. If any doubles are rolled on the dice and the action succeeds, the value on the Stunt Die generates Stunt Points. The player can expend these to gain bonuses, do amazing things, and gain an advantage in a situation. Stunts are divided into Combat, Exploration, and Social categories. For example, ‘Lightning Attack’ is an Action Stunt which gives an extra attack, ‘Assist’ is an Exploration Stunt which enables a Player Character to help another with a bonus, and ‘Spot Tell’ is a Social Stunt which gives the Player Character an advantage when an NPC is lying to him.
How does combat work?
Combat in the The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens uses the same mechanics as above. It is a handled as ‘Action Encounters’ in which the Player Characters have one Minor Action and one Major Action per turn. Major Actions include attacks, running and chasing, rendering first aid, and so on, whilst Minor Actions can be readying a weapon, aiming, and so on. Damage suffered reduces a character’s Health, but a Player Character can also suffer a variety of conditions.

How does ‘Alienation’ work?
Although the genre for The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens and thus Cthulhu Awakens is that of Lovecraftian investigative horror, encounters with the unnatural, supernatural, or the weird do not cause madness in those that witness them. Instead, anyone who encounters the Mythos suffers from Alienation as his mind attempts to understand what he has witnessed actually disobeys the natural laws as mankind inherently understands them and forces us to challenge our preconception that mankind’s role in the universe matters.
Alienation can come from seeing Entities of the Mythos, from being confronted by Visitations from the Elder Gods and Great Old Ones, other Phenomena, and from Revelations contained in Mythos texts and other similar sources. A successful Willpower Test can withstand the immediate effects, but if this is failed, then the Player Character gains Alienation Bonds, one for the player and one for the Game Master. If either Alienation Bond exceeds five, it resets to one, but the Player Character suffers from distorted thinking. This can be roleplayed by the Player Character or the Game Master can provide false information based on the Player Character’s now flawed thinking.
The points in Alienation Bonds can be spent as bonuses. By the player as bonus Stunt Points in understanding and fighting the forces of the Mythos and by the Game Master as bonus Stunt Points to enhance the actions of the Mythos and its agents. Effectively, Alienation represents a Player Character’s capacity to confront the Mythos, but it also makes him more vulnerable to it.
What do you play?
The scenario in The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens is ‘The God Beneath the Tree’. This is based on a real historical mystery and takes place in 1940 at the height of the Birmingham Blitz during the Second World War in the nearby village of Hagley. The Player Characters are Home Front volunteers, ordered to keep an eye out for downed Luftwaffe airmen, or worse, German paratroopers, after the local Home Guard is ordered to help in Birmingham, which was badly bombed the previous night. As the Player Characters go about their duties of patrolling the town, there is some lovely period advice for the Game Master in terms of tone and they will be challenged with various tasks that will engender trust with the townsfolk who otherwise regard them as children. It is at this point, all very Famous Five, the Player Characters do begin to detect hints that something is amiss, but are not quite sure what. The scenario takes a dark turn when a storm descends on the village and a German aircraft crash-lands in the surrounding woods.
The scenario really consists of two parts. The first is primarily social, whilst the second is more exploratory and action-packed. Both halves are a lot of fun and all together, the scenario has knowing English sensibility to it. The scenario also provides an interesting explanation for the local and very real historical mystery. It is likely that players who are British and also have an interest in the oddities of history will get more out of ‘The God Beneath the Tree’ than those who are not.
Is there anything missing?
No. The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens includes everything that the Game Master and five players need to play through it.
Is it easy to prepare?
The core rules presented in The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens are easy to prepare. Anyone who has played or run an AGE System roleplaying game will adapt with ease.
Is it worth it?
Yes. The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens presents the basics for a fast-playing and slightly more action-orientated roleplaying game than most roleplaying games of Lovecraftian investigative horror, and supports them with an enjoyably bucolic scenario that turns nasty when something is unleashed from deep in the woods.

The God Beneath the Tree: A Quickstart Playset for Cthulhu Awakens is published by Green Ronin Publishing and is available to download here.

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Jonstown Compendium is a curated platform for user-made content, but for material set in Greg Stafford’s mythic universe of Glorantha. It enables creators to sell their own original content for RuneQuest: Roleplaying in Glorantha, 13th Age Glorantha, and HeroQuest Glorantha (Questworlds). This can include original scenarios, background material, cults, mythology, details of NPCs and monsters, and so on, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Glorantha Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Glorantha-set campaigns.

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What is it?The God Skin & Mad Prax: Sandheart Volume Four is an anthology of two scenarios and the fourth and final part of the campaign set in Sun County in Prax following on from Tales of the Sun County Militia: Sandheart Volume 1, The Corn Dolls: Sandheart Volume 2, and Tradition: Sandheart Volume Three for use with RuneQuest: Roleplaying in Glorantha.

The quartet is based on material present in Sun County: RuneQuest Adventures in the Land of the Sun.

It is a full colour, one-hundred-and-nine page, 28.95 MB PDF.

It is one-hundred-and-seven page, full colour hardback.

The God Skin & Mad Prax: Sandheart Volume Four is well presented, decently written, and has excellent artwork and cartography. Both scenarios are very well supported with handouts, maps, and illustrations for all of their NPCs, creatures, and monsters.

Where is it set?
As with previous volumes in the series, The God Skin & Mad Prax: Sandheart Volume Four takes place in Sun County, the small, isolated province of Yelmalio-worshipping farmers and soldiers located in the fertile River of Cradles valley of Eastern Prax, south of the city of Pavis, where it is beset by hostile nomads and surrounded by dry desert and scrubland. Where Tales of the Sun County Militia: Sandheart Volume 1 is specifically it is set in and around the remote hamlet of Sandheart, where the inhabitants are used to dealing and even trading with the nomads who come to worship at the ruins inside Sandheart’s walls, The Corn Dolls: Sandheart Volume 2 is set in and around Cliffheath, on the eastern edge of the county, and Tradition: Sandheart Volume Three focuses on  a cave known as Dark Watch on the edge of the county, The God Skin & Mad Prax: Sandheart Volume Four takes the Player Characters onto a bigger stage both in and beyond the borders of Sun County.
The events of The God Skin & Mad Prax: Sandheart Volume Four take place in ST 1621.
Who do you play?
The player characters are members of the Sun County militia based in Sandheart. Used to dealing with nomads and outsiders and oddities and agitators, the local militia serves as the dumping ground for any militia member who proves too difficult to deal with by the often xenophobic, misogynistic, repressive, and strict culture of both Sun County and the Sun County militia. It also accepts nomads and outsiders, foreigners and non-Yemalions, not necessarily as regular militia-men, but as ‘specials’, better capable of dealing with said foreigners and non-Yemalions.

What do you need?
The God Skin & Mad Prax: Sandheart Volume Four requires RuneQuest: Roleplaying in Glorantha. Both RuneQuest – Glorantha Bestiary and Sun County: RuneQuest Adventures in the Land of the Sun might be useful. 
What do you get?
The God Skin & Mad Prax: Sandheart Volume Four is a collection of two scenarios, ‘The God Skin Incident’ and ‘Mad Prax: Beyond Sun Dome’. The first will involve the Player Characters in a murder mystery and then a quest and several moral quandaries they are unexpectedly required to complete, whilst the second brings the Player Characters to the attention of Solanthos Ironpike, Honoured Count of Sun County, and involves them in events that are a precursor to the Hero Wars.
The Sandheart Militia is called into apprehend a band of murders and thieves at the beginning of ‘The God Skin Incident’. The culprits are already known, a group of Elves, actually allies of Sun County and tolerated visitors, that has murdered the head of a hamlet and stolen an artefact important to the hamlet’s economic future. In the first part of the scenario, the Player Characters chase them down into the scrublands on the edge of Sun County, where they face their first moral quandary. Do they aid the Elves, aid another group chasing them, or do nothing? Either way, as a result of this confrontation, the Player Characters find themselves under a geas to fulfil the same quest that the leader of the Elves had sworn to complete. This is possible because he and his cohorts worshipped a different aspect of Yelmalio known as Halamalao.
The second part takes the Sandheart Militia back into Sun County and out again into Prax, this time on a journey to Biggle Stone to complete against an ancient enemy known as ‘The Betrayers’.  The journey borders on the picaresque with numerous engaging encounters along the way in the company of an interesting, often demanding protector of the stolen artefact. Where the scenario feels weakest is that it does not make very much of the settlements of Horngate and Agape, both stops along the route. The climax of the scenario sour is dark and sour, dank and sodden, unlike anything that the Sandheart Militia are likely to have encountered before, making it all the more challenging. Its grungy, earthy feel and tone make it the more interesting of the two scenarios in the collection.
The epilogue to the scenario again presents the Player Character with a moral dilemma. Unfortunately, the options are presented in black and white, leaving no room for nuance or other choices.
Originally run at Necronomicon III in Sydney, New South Wales in 1991, ‘Mad Prax: Beyond Sun Dome’ has here been updated to bring the Sandheart Militia quartet to a close. When the Sandheart Militia come to the aid of Yelanda Goldenlocks, a would be Yelmalian hero held back by the conservative and misogynist attitudes of her fellow Sun Domers, they come to the attention of Sun County’s ruler, Count Solanthos Ironpike. Despite his disdain for her, he instructs Yelanda Goldenlocks to undertake an important mission, to deliver a package to the Sun Dome military forces which have been despatched elsewhere, and because of his disdain for her, he assigns the Player Characters to accompany her as well as Melo Yelo, a Baboon who is annoyingly keen to become a Yelmalio cultist. Which, of course, is completely anathema to the Sun Domers.
The scenario is again another travelogue, one that takes them to the River of Cradles, the journey interrupted by increasingly odd occurrences and encounters, including the very entertaining one of the title with a berserk Praxian which is made all the more challenging because it triggers all of Yelenda’s geases, riddles with an Orlanthi, and desperately running Trolls. There is a real sense of this part of Sun County being in disarray, though the Sandheart Militia will not discover why until the climax of the scenario. This occurs in Harpoon overlooking the River of Cradles and sees them participate in an assault on a Giant’s Cradle, something which has not been seen on the river for centuries. Ultimately, the Player Characters, posted to the Sandheart Militia due to their non-conformity, have the opportunity to prove themselves heroes in front of the whole of the Sun County military. It brings the  whole campaign to a big rousing climax, literally on a big stage!
Both scenarios are linear in nature and do not provide much in the alternative when it comes to dealing with the situations that the Player Characters find themselves in. To be fair, both are military missions and the Player Characters are under orders, so that they do have their orders. The Game Master will have fun portraying both Yelanda Goldenlocks and Yelo Melo, but there is also the option for them to be roleplayed by a player. This works better if the scenario is being run as a one-off.
Is it worth your time?
Yes—The God Skin & Mad Prax: Sandheart Volume Four brings the series to a rousing climax and provides an opportunity for the Player Characters to prove themselves worthy of Sun County.No—The God Skin & Mad Prax: Sandheart Volume Four is not worth your time if you are running a campaign or scenarios set elsewhere, especially in Sartar.
Maybe—Tradition: Sandheart Volume Three might be useful for a campaign involving Yelmalions and the worship of Yelm from places other than Sun County, but its framework structure may be more challenging to use if the Game Master has already run the previous scenarios in the campaign.

Between the quotas and the quanta, there is time for questions. Between the propaganda and proselytism there is time for pondering. Between the machinations and murders there is time for messages. Between the intrigues and insurgencies there is time for infatuation. Between the assassinations and alterations there is time for assignations. Between these moments, there is time for love. These are not moments that matter to great empires that believe that the only way to survive is to make the past, present, and future theirs, to adjust every version of themselves so that it survives and every version of their rival so that it does not. To wage wars violent in word and deed, but also subtle and imperceptible. There is a war up and down the timeline and sideways across the multiverse fought by armies and agents and two of those agents—one on either side—are beginning to question if the war will ever end? If either side will win? If there is more than the futility of fighting and thwarting each other’s efforts? If the other feels like they do? And if they do, can they shape reality so they are no longer foils for and reflections of each other, but together? After all, as elite agents in the war for time and reality, only they know what the other has experienced.

This is the set-up for The Words We Leave Behind, an epistolary roleplaying game for two players inspired by the multi-award-winning Science Fiction LGBT novella by Amal El-Mohtar and Max Gladstone, This Is How You Lose the Time War. It is published by Lunar Shadow Designs and uses the same mechanics and format as the publisher’s interstellar epistolary roleplaying game of increasingly challenging communication and saying goodbye, Signal to Noise. In Signal to Noise, the players, as friends, relatives, or lovers, beamed letters to each other back and forth across vast distances of space, between the Earth and a gigantic colony ship. In The Words We Leave Behind, the players take the roles of Proxies on opposite sides of a massive time war, one that has the capacity to spread to other worlds and dimensions. Each is their Faction’s ultimate warrior and agent because they perfectly embody the emotional profile which their Faction views as the ultimate driver behind the rise and fall of civilisations. In The Words We Leave Behind, each player will take the role of a Proxy, each guided by three emotions, which can be opposed to, or in direct competition with, the other Proxy. Over the course of play, the players will not exchange letters as in other epistolary roleplaying games, but draw cards to create points in the future and the past of a Timeline, each an Incursion which their Proxy will enter and alter details. As they play, they may visit previously visited Incursions, adding and changing other details, even to Incursions created by their rival Proxy. These changes can cascade down the Timeline to alter further points in the future. This is all played out on a shared document, meaning that The Words We Leave Behind is intended to be played online.
Besides the shared online document and a means to send each other messages, each player in The Words We Leave Behind requires a standard deck of playing cards. These have their jokers removed, separated into their four suites and shuffled in four decks. A card is drawn from each suit to form the starting hand and there is always a card from each suit in the suit. (An extra Hearts card can be added to simulate the themes of This Is How You Lose the Time War.)

A Proxy is first defined by the three emotions that also define the Faction they serve. The player is free to develop their Proxy’s Faction as much or as little as they want, including its objectives, and will also ask the other player what their Proxy’s Faction thinks of theirs and what their Proxy’s Faction calls their Proxy whom it regards as the enemy. A Proxy also has a preferred form, worn between missions, and three anchors or possessions, which helps maintain the association with their roots, one of which is a trinket, an actual physical object that the player owns. Lastly, each Proxy decides how they perceive themselves and their rival.

Verdigris
I am CALCULATING and you are RECKLESS
Prime Emotion: Hope
Secondary Emotions: Shame, Anger
Anchors: The skull of bird whose species was made extinct by dangerous technology (it reminds me of what we lost); a blade grass from my home farm (it is what we work to preserve and I leave behind on every mission to show what we are working to save); trinket: a single-sided die (from the game we played as children)

Play consists of several turns, typically four to five, in which each player will take control of the narrative and send a message as their Proxy to the other player and their Proxy. In subsequent turns after the first, a player will have their Proxy read the message from their rival, be assigned by their Faction to make an Incursion—roughly between five and thirty sentences long—and manipulate events there, before leaving a message behind for their rival to find. The Incursions are recorded on the Timestream document as are their effects on downstream Incursions. If a Proxy returns to an existing Incursion, their player can edit it by adding text at the beginning or end of the current Incursion, effectively changing the lead into the Incursion or the outcome. These changes can cascade down the Timestream, the current player examining subsequent Incursions and if necessary, adding, deleting, or altering a single sentence in the Incursion description. (Whilst the changes are made directly to the Timestream document, the prior state is tracked via the messages between the players. One of the potential issues with the play of The Words We Leave Behind is losing track of earlier incarnations of the Timestream.)

Cards are played randomly from the hand and provide two important details. First, the number determines the Incursion, whilst the suit advances the emotion which it matches. Once played, the cards represent a Proxy’s emotional state, the more cards a Proxy has in a suite, up to a maximum of three, the more intense the state. Roughly, Hearts equate to the emotion of love, Clubs to anger, Spades to uncertainty, and Diamonds to understanding. The emotional state will influence how the player describes their Proxy’s actions in an Incursion and their Proxy’s reactions to their rival’s actions.

A player can spend his Proxy’s Anchors for various effects. The first two anchors can be used to either let the player choose a card to play, alter three sentences in an Incursion when the changes cascade down the Timestream, or even to reverse the cascade, so back up the Timestream and into the past rather down into the future. The third anchor, a trinket, can be used to revert an Incursion to its original state, place an Incursion under a Temporal Lock so it is immune to the cascading effect, or to take a second turn.

The interaction between the proxies and thus the play of The Words We Leave Behind comes to climax when a player plays the third card from a suit and so acts on the emotional prompt it triggers. As in This Is How You Lose the Time War, this is the point when the Proxies decide to meet, and as in the novel, in The Words We Leave Behind it is not via the messages going back and forth between the Proxies, but in person, face to face (or alternatively, via a video call). Based on the current state of the Timestream, the messages exchanged, and their respective emotional states, the Proxies have a simple choice to make. Will they place their trust in each other or attempt to take advantage of the other. If they both place their trust in each other, their feelings transcend the conflict and they leave both it and their Factions behind together. If they attempt to take advantage of the other, the war continues to a calamitous end. Lastly, if one Proxy attempts to take advantage of the other and one Proxy places their trust in the other, the Proxy who attempted to take advantage prevails and their Faction gains greater control of reality. In all three cases, the outcome is then narrated.

Love and trust are not common themes in roleplaying games, with trust being a more common theme than love because it is easier to deal with via humour or politics or espionage rather than feelings. This is not to say that love cannot play a part in a roleplaying game, but in general, love is not a core theme of most roleplaying games. When it is, it has tended to come out of the storytelling and narrative style of design, such as Emily Care Boss’ The Romance Trilogy, consisting of Breaking the Ice, Shooting the Moon, and Under the Skin. Nor does this mean that more mainstream publishers have not ignored the subject, such as Thirsty Sword Lesbians from Evil Hat Productions and Blue Rose: The AGE RPG of Romantic Fantasy from Green Ronin Publishing. This, though, does not escape the fact that ‘love’ as a theme in roleplaying games is challenging to handle for the players because it requires trust between the participants and it requires them to roleplay feelings that are normally kept private. Lastly, The Words We Leave Behind has the possibility of the most devastating response to both love and trust—betrayal. As with those other roleplaying games, The Words We Leave Behind is best played by mature players.

The Words We Leave Behind can be played from start to finish in a matter of a few hours, but its epistolary format means that it can be played at a more leisurely pace over the course of a few days or weeks. It can also be played on an Earthly, Galactic, or Dimensional scale, but really this only adds to flavour and scope of the setting rather than the themes. Those themes are explored in the messages between the Proxies and in the changes made to the timestream, pushed and prodded by the suits of the cards played and then escalated. Each player and their Proxy is aware of how the other feels as the card details are exchanged in the messages and whilst for the most part the cards themselves are played randomly from their hands, each player has the choice to change how their Proxy feels by playing an anchor and being able to select a card instead of drawing it randomly.

Apart from the aforementioned issue with keeping track of the timestream, The Words We Leave Behind is more challenging to play if the participants have not read This Is How You Lose the Time War to understand the themes and structure of the roleplaying game. The roleplaying game is also part of the publisher’s Dyson Eclipse future setting, the same as Rock Hoppers, Signal to Noise, and The Kandhara Contraband: A System Agnostic Sci-Fi Adventure, but it is not clear how. Lastly, as an epistolary roleplaying game, The Words We Leave Behind feels that it should have more emotional prompts for longer play rather than the three for each suit which befit a game played in one go.

Physically, The Words We Leave Behind is neat and tidy and includes a lot of helpful advice and prompts on handling its themes, which undeniably are all needed give the nature of those themes.

Fans of This Is How You Lose the Time War will doubtless be intrigued by The Words We Leave Behind, but will find it a daunting prospect if they have not played a roleplaying game before or their roleplaying experience is with more mainstream roleplaying games. The Words We Leave Behind is a personally demanding game, asking us to explore themes and feelings that not every roleplaying game, but the epistolary format means that this exploration does not have to be immediate and it can be more considered, which ameliorates some of the challenge to The Words We Leave Behind. Nevertheless, for mature players willing to do so, The Words We Leave Behind presents the demanding means to explore the growth of love and trust—and potentially betrayal—in considered fashion in an age of a time war.

—oOo—
This review is of the ‘Ashcan’ edition of The Words We Leave Behind. The full version is currently being funded via Kickstarter.

Drelnza holding Daoud's Wondrous Lanthorn aloft.
Art by Jeff Easley, 2012.My son is getting ready to run Module S4, The Lost Caverns of Tsojconth, one of my all-time favorite adventures. And as it turns out I recently re-acquired my original S4 from my old DM's collection. So I have that, the 5e version from Quests from the Infinite Staircase, the 3e extension, and other variants so I am well prepared to help him out.

Then he asked about Drelnza.

Of course I know who she is in the context of this adventure. I know who she is in relationship to Iggwilv, but beyond that...there is just not a lot about her. So I set out to discover more. Was she once a Lawful Good Paladin? Who was her father? How did she become a vampire? I might not be able to answer all these questions, but I will give them a try as I go In Search of Drelnza, Iggwilv's Treasure.

In Search Of...Drelnza, Iggwilv's Treasure

What can we say we know for certain?

Drelnza (sometimes Drelzna) is a vampire found in the spherical chamber guarding Iggwilv's stash of magical treasure. 

She is called "Iggwilv's Treasure" and is her daughter. Whether that is a biological daughter can be debated.

 She is a standard vampire in the original S4 for AD&D 1st Ed. In later editions, she gets a few upgrades, including fighter (or Samurai) levels and a really powerful sword (named "Heretic").

What is tantalizing about her is how little we really know. 

From reading the original Winter Con V version of the adventure, we do know that she was originally just a "vampiress lord" sleeping on a stone slab, a bit like Sleeping Beauty, and designed to catch the characters and players off guard. It is a ruse that is only likely to be used once and lampooned in the later Castle Greyhawk adventure "Temple of Really Bad Dead Things."

Outside of that, there is very, very little about her in the adventure itself. However, I have learned that on Oerth-Prime, she was killed by Melf.

Drelnza's Life and Unlife

Nearly nothing is known here. We have one tidbit of information, though. The warlock Mary Greymalkin is the daughter of Drelnza and an Eladrin. This makes Mary the grand-daughter of Iggwilv. Something I should explore more. 

According to the Dastardly Decimal System Podcast, Drelnza was a warrior Princess. I like the idea of her being something akin to Xena. 

In any case, she must have had Mary while she was young, which means she is not a very old vampire at all.

Who's Your Daddy?

Gary never confirmed, or even really knew, who Drelnza's father was. He firmly left that in the hands of the players to decide in their own games if they ever felt the need.  According to Dragon Magazine #336 (October 2005), Drelnza was born between 481 and 491 CY. But this seems really late into Iggwilv's rule of Perrenland and not long enough ago to be "centuries" since Iggwilv was last seen. Reminder the "current" year in Greyhawk is considered to be 591 CY.  

In the article "History Check: The Iggwilv-Graz’zt Affair" from Dragon #414 it is stated that her father is still unknown and she might be the only being in the multi-verse Iggwilv ever truly loved.  So I'd like to think she was born early enough in Tasha's/Iggwilv's life when she was still capable of loving someone. 

Let's say that Iggwilv conquers Perrenland with her undead army in 481 CY. She is a Queen, but she needs a general, and who better to be a general of her undead army than her own vampire daughter, who also happens to be an excellent fighter (or even paladin/anti-paladin). 

So, her exact date of birth is really in question (by me), but honestly, I would push it back to the 460s or even the 450s. This would give Drelnza time to grow into a woman, have her own child (Mary), and then get turned into a vampire, likely something caused by Iggwilv herself. 

As for her father, there are many interesting prospects here. Let's look at them one by one.

Graz'zt

He has been the father of Iuz since his time with Iggwilv, but it is almost universally agreed that he is not the father of Drelnza.

Mordenkainen

Now here is an interesting idea. I like the idea that Iggwilv, maybe when she was still known as Tasha, and Mordenkainen having an illicit affair resulting in a daughter. The basic trouble here is one of timing. Back when Iggwilv/Tasha was young she had not met Graz'zt yet and it widely held that Iuz is older than Drelnza. Unless Drelnza is older, but was turned into a vampire and the age refers to her "living" age. Still...the timing is not exactly right. 

Ok. So not Drelnza's father, but maybe there is another child out there where Mordy and Tasha are the parents. Maybe this is the origin of the "Son of Pohjola" who she gave birth to on an alternate Earth?

Orcus

This is who I went with when I created the Noidan Tytär, or the Daughters of Iggwilv. However, I think I will stick with this for Iggwilv's Nine Daughters. I feel less inclined these days to make Drelnza among their number. This means Noidan Tytär, Iuz, and Drelnza are all half-siblings.

Tsojcanth

We also don't have many details on who Tsojcanth was. The ever-helpful OSR Grimoire features a bit of an interview with Gary about Tsojcanth, stating he was a powerful wizard, and almost certainly Good and human. This contradicts what is presented in Iggwilv's Legacy: The Lost Caverns of Tsojcanth. I am more inclined to go with Gary's notion that Tsojcanth was human and good if not Lawful Good. The "fiend" Tsojcanth feels lazy and dull to me. Not to say he was not corrupted later on, but it still feels lazy. Plus it just means that Tsojcanth is the same as Iuz, only instead of Graz'zt and Iggwilv it is Fraz-Urb'luu and Vilhara. Even down to the imprisoning. No. We can do better. 

I am more likely to go with Tsojcanth dying and Fraz-Urb'luu pretending to be Tsojcanth turned evil.

So let's say Tsojcanth was a lawful good wizard. Iggwilv in her search for more power seduces and corrupts him (she is evil, after all) but there is an unexpected consequence; Drelnza. Drelnza becomes a fighter, no, a lawful good Paladin, until Iggwilv twists her into her "treasure" and makes her a chaotic evil Anti-Paladin Vampire.

I like it. It is evil, devious, and filled with tragedy. 

BUT the dates don't work here either since Tsojcanth was also supposed to have been dead for centuries. 

Lerrek

One last choice comes from The Oerth Journal. In Issue #13 Lerrek (and sometimes "Lerrik") is mentioned as the father of "Drelzna." According to author Andy Seale (aka Fallon, Ranger-Sage of the Vesve), Drelzna was born in 453 CY. 

Now this is from a fan publication, but the Oerth Journal has some weight behind it, and in the absence of other details we might as well use it. 

Given her two "birth" years, I am going to say she was born in 453 CY and turned into a vampire between 481 and 491 CY. That 453 CY works well with my own thoughts on when she should have been born. 

Ultimately, I guess it doesn't really matter who Drelnza's father was. The more important relationship is between her and her mother Iggwilv.

In the current state of things, Iggwilv is shedding her past to become the new Arch Fey Zybilna, and her alignment is drifting from Chaotic Evil to Chaotic Neutral. I guess we all slow down as we get older. While it is often stated that Iggwilv truly loved her daughter, I don't think there would really be a joyous family reunion even if Drelnza had somehow survived. 

Still. I would like to say she did somehow and is still out there somewhere in the Multi-verse. Is she searching for her mother? And if so what will happen if they meet up again after so many years apart?

Sounds like something I might want to run someday.

Links

• The Adventures
• S4: The Lost Caverns of Tsojcanth (1e)
• WG4 The Forgotten Temple of Tharizdun (1e)
• S4 Acaeum.com entries
• My previous posts
• Daughters of Iggwilv
• Adventures in Hyperborea
• Iggwilv tagged posts
• Quests from the Infinite Staircase
• Posts tagged "Iggwilv"
• Drelnza wiki entries
• at the Great Library of Greyhawk
• at the World of Greyhawk wiki
• Drelnza, the Vampiress Lord
• Drelnza, The False Disney Princess, Sarah Dark Magic
• Dastardly Decimal System, Episode 31: The Daughter of Tasha: DRELNZA
• Tsojcanth
• Iggwilv
• Forgotten Realms Wiki
• Iggwilv's Legacy: The Lost Caverns of Tsojcanth
• Canonfire discussion
• Dragonsfoot discussion
• OSR Grimoire
• WinterCon V: The Lost Caverns of Tsojconth
• Drelnza the Vampiress Lord
• Dragon #414: History Check: The Iggwilv-Graz’zt Affair
• Iggwilv's Treasure Miniature

 A few days late to report this, I completed TARDIS Captain's 2025 Character Creation Challenge with 40+ characters. I am mentioning it today because last night, I finally got all of Grenda's characters added to protective sleeves and put into a three-ring binder.

No idea how many this is, upwards of 250 characters. Most have multiple sheets. The binder itself can hold close to 1000 pages. The characters are predominantly AD&D 1st Edition with an odd GURPS, AD&D 2nd Edition, and D&D Basic Edition character here or there. 

If I ever need an NPC, I'll have one, or a score, ready to go.

It was a bittersweet exercise and I admit I really pushed the limit on the spirit of the Challenge. Not exactly new characters, all the same system. But I was really happy to do this. These characters were important once upon a time, and I wanted to make sure that, if just for a month, they were important again. 

31 Day Character Creation Challenge

Follow Timothy's board 31 Day Character Creation Challenge on Pinterest.

Character Creation Challenge by Aurora Stark

Looking forward to next year, though I don't know what I'll be doing yet.

 I am still having fun with Jason Vey's Cd8 Fantasy Roleplaying game. I thought I would give it a spin with some more characters. Getting a feeling of what the various power level benchmarks are and so on.  So I thought, let's bring back the Fearless Five and give them a go at it!

Not sure what mission they will be going on next. They got already Bargle. I just 3D printed Kelek on a Warg so maybe they are going after him.

Skylla

Name: Skylla
Species: Human
Attitude: The only thing important is power

Gumption: 3
Moxy: 3
Chutzpah: 1
Childlike Wonder: 7
Cut of My Jib: 5
A Certain Je ne Sais Quoi!: 1

Life Points: 26
Armor: 0 None
Speed: 30 ft

Skills: Detecting 2, Doctoring 2, Fighting 1, Herbalizing 4, Magicking 6, Mythologizing 2, Performing 1, Running 1, Shooting 1

Benefits/BugsEnhanced Senses 1Prodigy (Magicking) 1 (3pts)Super stats (Child Like Wonder) 4
Super stats (Cut of my Jib) 4Psychic 3- TK, PK, Mind contrtol
Weapons
Staff

Aleena

Name: Aleena
Species: Human
Attitude: Helping others

Gumption: 3
Moxy: 1
Chutzpah: 1
Childlike Wonder: 4
Cut of My Jib: 2
A Certain Je ne Sais Quoi!: 1

Life Points: 10
Armor: Heavy
Speed: 30 ft

Skills: Doctoring 4, Fighting 1, Magicking 3, Mythologizing 2, Researching 3, Running 1, Shooting 1

Benefits/Bugswhy me? -5
Weapons
Mace

Mogan Ironwolf

Name: Morgan Ironwolf
Species: Human
Attitude: Hitting things

Gumption: 1
Moxy: 1
Chutzpah: 3
Childlike Wonder: 1
Cut of My Jib: 4
A Certain Je ne Sais Quoi!: 3

Life Points: 21
Armor: Medium
Speed: 30 ft

Skills: Detecting 1, Driving 1, Fighting 6, Running 3, Shooting 3, Sporting 3, Tumbling 1

Benefits/BugsTakes A Licking 1Keeps on Ticking 5Lucky 3
Weapons
Longsword, Bow

Duchess

Name: Duchess
Species: Human
Attitude: Helping herself

Gumption: 1
Moxy: 2
Chutzpah: 3
Childlike Wonder: 1
Cut of My Jib: 4
A Certain Je ne Sais Quoi!: 1

Life Points: 20
Armor: Light
Speed: 30 ft

Skills: Detecting 3, Fighting 3, Performing 2, Researching 1, Running 2, Shooting 3, Sporting 1, Tumbling 3

Benefits/BugsLuckyIron ConstitutionYou Want to Get Out of Here Real Fast? 4Stat Increase 4
Weapons
Short Sword, Dagger

Candella

Name: Candella
Species: Human
Attitude: Helping herself and have a good time doing it!

Gumption: 2
Moxy: 2
Chutzpah: 3
Childlike Wonder: 1
Cut of My Jib: 3
A Certain Je ne Sais Quoi!: 2

Life Points: 17
Armor: Light
Speed: 30 ft

Skills: Detecting 3, Fighting 3, Performing 2, Researching 1, Running 2, Shooting 3, Sporting 1, Tumbling 4

Benefits/BugsLuckyStat Increase 4
Weapons
Short Sword, Dagger

 OK! These are fun. I did not detail Skylla's or Aleena's spells, really. They have them. If I expand them into a one-shot, then I may. I would totally run a game at a convention with these—some sort of heist where everything goes sideways.

That is not really a bad idea. I already built them all for ShadowDark and now again for Cd8. Well, minus the Sorceress. She was done with Skylla's interference. 

Cd8 does not have "levels" for characters. The game assumptions between this and level/class systems are too different. But for this round, I was working under some assumptions about how many XP to give out to equal a level. So far, my numbers have panned out, but I want to try it with a few more to be sure. 

So far I rather enjoy this game. 

 I want to spend some time focusing on other fantasy table top RPGs this year. I still love my D&D and likely always will, but I also have a lot of other games I enjoy as well. Here is one I have been playing around with for a little bit now. It is the newest from Jason Vey at Elf Lair Games. Cd8 Fantasy Role Playing.

Cd8 Fantasy Role Playing is described as a "beer and pretzels" fantasy RPG. Everything you need to play (minus paper, pencils, some d8s and some friends) is included in 32 pages.

It is designed to be picked up in an afternoon and have you playing right away. It is based on his previous RPG, Chutzpah! A Certain Je ne Sais Quoi. While designed as a bit of a joke and a design challenge, it turned out to be a very solid game. Cd8 Fantasy takes that same game design and applies it to fantasy. You do not need either game to play the other. 

You have the same attribute stats as Chutzpah, "Gumption," "Moxy," "Chutzpah," "Cut of My Jib," "Childlike Wonder," and yes, a "Certain Je ne Sais Quoi," and build your character. It is a point spread, so you are given 10 points to fill in each attribute. Minimum 1, max 3 with 2 as the human average. Then can go all the way up to 10 with experience.

You have your skills, 13 of them, and another 10 points to spend. Obviously, some of these are going to be 0.  

Rolls are a number of d8s equal to Stat + Skill or sometimes Stat + Stat or Stat x2. So, it is a d8 dice pool mechanic. Rolls of "6," "7," and "8" are called "Fist Bumps" or successes in other games. An "8" counts as having rolled 3 "Fist Bumps," and a roll of 1 takes one away.  

Let's say that you want to cast a spell. That would be your Childlike Wonder stat (we will say that is a score of 3) and your Magicking skill (say a 2) for a total of 5. Roll 5d8. You get 1, 3, 5, 8, 8. That two "8s" counts as 3 fist bumps instead of 2. But the die roll of one takes one away, so you have a total of 2 fist bumps. The God of Me (GM) says you need 2 fist bumps (above average difficulty) to cast the spell, so you got it!

That's it. That is the entire system! Granted, the next couple of dozen pages have more details, but you can learn the game that fast.

There are options to change the die from a d8 to something else to adjust the difficulties. There are options for fantasy species ("Elves and Dwarves and other Crap?") and examples of various monsters. 

Given this is an Elf Lair Games product, there are also conversion notes for Wasted Lands. 

To give your characters more depth or variety, there is an appendix on Benefits and Bugs, an advantage/disadvantage system. 

Honestly, it is a really fun game and simple to pick up.

Characters

Characters are terribly easy to make in this game. Over the weekend my oldest and I decided to try out the new D&D 5.5 system and make some characters. I will come back to that in a bit, but on the average it took about 15-20 minutes to make a character.  

With Cd8, I can create a character in about 5 minutes. This year, I will spend a lot of time comparing and contrasting a few characters. So here are a couple of my iconic characters. 

Johan Werper VII

For these experiments, I am going to start a new Johan. This guy is the son of Johan VI and Lana, mine and my wife's D&D 5.0 (2014) characters, respectively.  I did do a version of him for D&D 5.5 that I will detail later on.

Name: Johan Werper VII
Species: Human
Attitude: Do good things

Gumption: 1
Moxy: 2
Chutzpah: 2
Childlike Wonder: 1
Cut of My Jib: 3
A Certain Je ne Sais Quoi!: 1

Life Points: 12
Armor: 3 (Heavy)
Speed: 30 ft

Skills: Doctoring 2, Fighting 3, Magicking 1, Mythologizing 1, Running 1, Shooting 1, Sporting 1

Benefits/BugsProdigy (Fighting): 1 (3pts)
Honorable: 1 (-3pts)
Weapons
Sword: 3 + FB

Not bad, really. I like it, a great starting character. 

How about a much more powerful one?

Larina Nix

Of course, I am going to try my witch in this. 

Name: Larina Nix
Species: Human
Attitude: Do witchy shit
Experience: 440

Gumption: 5
Moxy: 6
Chutzpah: 2
Childlike Wonder: 8
Cut of My Jib: 2
A Certain Je ne Sais Quoi!: 4

Life Points: 15
Armor: 1 (Light)
Speed: 30 ft

Skills: Doctoring 4, Fighting 1, Herbalizing 5, Magicking 8, Mythologizing 6, Performing 2, Researching 6, Running 1, Shooting 1

Benefits/BugsEnhanced Senses (Magic): 1
Prodigy (Magicking): 1 (3pts)
Psychic
- ESP- TK
Resist Magic
Everyone I Care About Dies: -1
Weapons
Staff: 1 + FB
Spells

Again, very quick, and I like the results. I gave her 440 experience to spend. No idea if that tracks well with a 20th-level Wasted Lands character, but it feels right.