The Angry Sun bleeds on the Broken World. Some days it burns hot and cold. Some days it burns the land. Some days it drains the Wiz of their powers. Others it is cool and sleepy. Sky Wyrms hunt for meat below. Fallen towers radiate magic and hide spells. Ruins hide the secrets and treasures of the past. This is the Broken World. The Broken World is the world of the Gooz now. Warty, hairy, dirty, ugly, flute-eared Gooz. Once they were just vermin, but the Pretty Ones are long dead in the ground. The Gooz explore the world, search the ruins, and climb the towers, sometimes to save the Broken World, but mostly to get rich. They set out from Gooz City ready to face danger such as the Quetzplow, which will slurp out a Gooz’s brains, Assassin Bots, and coin-eating Mooku which can glue a Gooz to the ground with its snot. This is the setting for the Gozr – Sci-Fantasy RPG, a post-apocalyptic roleplaying game designed and drawn by James V. West. The author and illustrator is best known for the fanzine, Black Pudding, the Old School Renaissance, Swords & Sorcery fanzine, which he also draws and writes—just like the Gozr – Sci-Fantasy RPG. Black Pudding brought a slightly gonzo sensibility to the Old School Renaissance and every issue left the reader wanting to see a roleplaying based on its content. That roleplaying game is Doomslakers. It not the Gozr – Sci-Fantasy RPG, which instead is an over-the-top, gonzo, underground comic style post-apocalyptic roleplaying game in which everything is hand drawn and handwritten. Literally nothing in the Gozr – Sci-Fantasy RPG is printed using traditional founts or layout. Coloured in vibrant shades, it is a riotous mass of tables, rules, and illustrations that boggles the mind!

Gozr – Sci-Fantasy RPG is published by Random Order Creations following a successful Kickstarter campaign. It has an Old School Renaissance sensibility, one it shares with microclones such as Into the Odd, Knave, and Cairn, and in comparison with those roleplaying games and other retroclones, it has two primary issues—one obvious, one less so. The former is the presentation. It is bold, it is bright, it is a jumble, and that makes it inaccessible—or at least difficult to access with any ease. Everything jumps off the page, so it takes just that little more effort than another roleplaying game would. The latter is the lack of a ready to play scenario. Gozr – Sci-Fantasy RPG does include a table of ‘Recent Events of Some Gravity’, an ‘Adventure Machine’ table, and a ‘Towers’ table to help the Gooz Master create adventures from these prompts, but a scenario would have been a useful inclusion.

A Gooz in Gozr – Sci-Fantasy RPG starts with three attributes or Action Classes as they are called here—Cunning, Magic, and Prowess. Confusingly, they are abbreviated to ‘AC’, which sort of makes sense when the Gooz Master asks a player to roll against an ‘Action Class’. These are initially rated eight, ten, or fourteen, the lower the Action Class the better it is. He also has Hit Points; a Defence value, which reduces damage taken directly; and points of ‘Gooz’ to spend on doing extraordinary things. Creating a Gooz is a fourteen-point step, as a player rolls not just for starting Hit Points and armour, but also starting weapon, money, colour of blood, colour of skin, eyes, and hair, hair style, lucky symbol, talent, background, clothes, name, possessions, and ears. Talents include Alchemy, Psionic, Strong, Eyebeam, and more. Alternatively, many of these a player can simply pick from the table. A Gooz is just a Gooz unless he is a Gooz Wizard and even if not, there is a chance of his knowing a single vulgar spell or possibly more (if he knows more, he might as well be a wizard).

Name: Finus
Cunning: 8
Magic: 10
Prowess: 14

Hit Points 15

Gooz 5

Talent: Extra Arm
Armour: None
Weapons: Falx (2d4), Pistol (2d4 six-shot)
Lucky Symbol: Cat
Money: 3 Tossers
Blood: Orange
Skin: Pink Hair: None Hair Colour: Grey Eyes: Pink Ears: Triangles

Wearing: Crude loincloth
Possessions: Pyramid puzzle, lockpick kit, blanket
Background: Burglar
Need: Set up the best cat sanctuary in all of Gooz City
Deed: Stopped Kern from eating another cat

Mechanically, Gozr – Sci-Fantasy RPG is simple. It is player-facing, so a player rolls the dice both to attack and defend in combat, rather than the Gooz Master rolling for the latter. To have his Gooz undertake an action, a player rolls against the appropriate Action Class, aiming to roll equal to or higher than the value. Thus, lower Action Classes are better than higher ones. A natural twenty is a critical hit and a special effect will always apply, such as a knockdown or a disarm, whereas it may apply if the roll is a ‘Solid Hit’, five or more higher than the value of the Action Class and . A natural roll of one is a fumble, in which case the player describes the unfortunate outcome. However, a roll of just one under the Action Class is called a ‘Graze’ and while counted as a miss or failure, allows for a small benefit. A Gooz can be Lucky or Unlucky, in which case a +2 or -2 is levied on the roll, respectively. It is also possible for a Gooz to be luckier or unluckier than this. One nice touch about the Gooz Sheet for Gozr – Sci-Fantasy RPG is that space is given for both ‘Solid Hit’ and ‘Graze’ values for each Action Class.

Gooz can also be spent for the Gooz to be amazing. A point allows a Gooz to pull off a cool stunt, steal the initiative, succeed at die roll, learn a fact from the Gooz Master, gain an extra action, and even add a fact to current game. Gooz is the equivalent of hero or luck points and refreshes daily.

Combat in Gozr – Sci-Fantasy RPG is similarly simple, but can also be deadly. On a turn, a Gooz can do one thing—take an action or move, plus do something trivial. The Defence value is deducted from any damage rolled, but all damage dice explode, so can inflict a lot of damage and easily kill a Gooz. If an enemy’s Hit Points are reduced to zero, then it is dead, but a Gooz has a choice—death or debasement. The former is the noble choice and the player’s new Gooz gains a small boon. The latter means that the Gooz is knocked down, scarred, and suffers from the permanent effect of the deadly blow. Damage can also be ‘Real’ such as that suffered by a Wizard from his weakness. This ignores Defence. Beyond this, Gozr – Sci-Fantasy RPG covers rules for fumbles, cover, conditions, morale, poisons, nasty scars, travel, exploration, and more.

Magic in Gozr – Sci-Fantasy RPG is divided between the Vulgar, the Wizardly, and the True. . Vulgar magic includes spells such as Bite It or Sparkler or Hold Breath. Whilst magic requires a roll against a Gooz’s Magic Action Class, a Wizard can undo, counter, and even reverse the effects of Vulgar spells. True magic is not to be trifled with and all Gooz believe that doing so was what killed the Pretty Ones and really, really annoyed the Sun. An actual Wizard must adhere to the three Laws of True Magic—bear a Wizard’s mark, suffer a weakness that is his bane, and be followed by a Watcher who will always be following and judging the Wizard’s exploits. Wizard spells are more powerful than Vulgar spells and include spells such as Blend In, Exploding Doom, Ice Burst, and Liar. All cost Wiz to cast and a Wizard begins play with between two and twelve points of Wiz. Points of Wiz are recovered much like Hit Points, but the Wizard must choose between the two—he cannot recover both at the same time. A Wizard can also have a familiar and know a few tricks. One major difference between ordinary Gooz and Gooz Wizards, at least mechanically, is that ordinary Gooz begin with the equivalent of having gained a Level prior to beginning play. Gooz gain Levels by surviving adventures and with a new Level gain two out of more Hit Points, a spell, increased Wiz, a treasure, or some lucky rolls.

Treasure is where Gozr – Sci-Fantasy RPG begins show off the weirdness of its setting. Items of power can sacrificed in return for fortune. At worst, this result in scorched earth as the Sun rains down fireballs on the land and everyone knows about it, but at best, not only all the Gooz go up a Level, but the land is healed for a time… Quite what that means is left up to the Gooz Master to decode. There are long tables of treasure, including Frivolous Junk, Strange Items, Odd Armour, and Super Tech. The Gooz Master can even give any treasure secret properties with another table. In terms of setting, Goozer City, the last beacon of civilisation, first bastion of Gooz ascendancy, is detailed in terms of more tables that the Gooz Master can roll on to create streets, buildings, routes, smells, vendors, and more. Beyond the city there is map of the immediate regions with short encounter tables for each, an ‘Adventure Machine’ table and tables to create towers that leak sorcery and secrets, the daily effects of the Sun, and both a table to create monsters and a decent bestiary too.

Physically, Gozr – Sci-Fantasy RPG is cartoonishly presented, in a style that echoes Ralph Bakshi’s Wizards. It is busy, vibrant, and full of little embellishments that seem to sneak into view as you are trying to find something else. It is not so much well written as well hand drawn and written giving it a highly distinctive look. However, it could be better organised as the section on Wizards and magic is the middle of the section that ready should be for the Gooz Master.

There can be no doubt that the Gozr – Sci-Fantasy RPG is as much a piece of art—cartoonish art—but art nonetheless, as it is a roleplaying game. As a work of art it is more accessible than as a roleplaying game, its funky, gonzo fanzine-like style often inhibiting the technical nature of the roleplaying game. Not necessarily to the point where the Gozr – Sci-Fantasy RPG is unplayable, but rather to present the reader with a hurdle that has to be overcome in finding where everything is and thus learning how to play.  The other hurdle is the lack of scenario. Now there are plenty of tables which the Gooz Master can take inspiration from, but given that Gozr – Sci-Fantasy RPG includes a handful sample Player Characters, it seems odd not to have a starter scenario too.
Gozr – Sci-Fantasy RPG looks—and is—fun. Weird and wacky, funky and freaky, gonzo and goofy, Gozr – Sci-Fantasy RPG is a joyously higgledy-piggledy toolkit for cartoonishly post-apocalyptic fun.

The Incandescent Grottoes is a scenario published by Necrotic Gnome. It is written for use with Old School Essentials, the Old School Renaissance retroclone based on the version of Basic Dungeons & Dragons designed by Tom Moldvay and published in 1980. It is designed to be played by a party of First and Second Level Player Characters and is a standalone affair, but could be connected to another scenario from the publisher, The Hole in the Oak. Plus there is scope in the adventure to expand if the Referee so desires. Alternatively, it could simply be run on its own as a self-contained dungeon adventure. The scenario is intended to be set underneath a great mythic wood, so is a perfect addition to the publisher’s own Dolmenwood setting, but would be easy to add to the Game Master’s own campaign setting. Further, like so many other scenarios for the Old School Renaissance, The Incandescent Grottoes is incredibly easy to adapt to or run using the retroclone of the Referee’s choice. The tone of the dungeon is weird and earthy, part of the ‘Mythic Underworld’ where strangeness and a degree of inexplicability and otherworldly dream logic is to be expected.
The Incandescent Grottoes is, like the other official scenarios for Old School Essentials very well organised. The map of the whole dungeon is inside the front cover, and after the introduction, the adventure overview provides a history of the dungeon, an explanation of its factions and their relationships, and details—but definitely not any explanations—of its unanswered mysteries. The latter can be left as they are, unexplained, or they can be potentially tied into the rumours which will probably push the Player Characters into exploring its depths. Or of course, they can be tied into the Referee’s greater campaign world and lead to other adventures, or even developed from the players’ own explanations and hypothesises should the Referee be listening carefully. Besides the table of rumours, the adventure includes a listing of the treasure to be found in the dungeon and where, and a table of ‘Random Happenings’ (or encounters). These are not merely random encounters with wandering monsters, but a mix of those along with strange things like a sudden aura of cold that sends a shudder down the backs of the Player Characters or a floating skeletal hand which points to the nearest treasure before crumbling to dust.
In between are the descriptions of the rooms below The Incandescent Grottoes. All fifty-seven of them. These are arranged in order of course, but each is written in a parred down style, almost bullet point fashion, with key words in bold with details in accompanying parenthesis, followed by extra details and monster stats below. For example, the ‘Ritual Robes’ area is described as containing “Dark stone blocks (pockmarked, walls, ceiling 10’). Green tiled floor (zig-zag pattern). Black robes (flank the corridor, hanging from hooks).” It expands up this with “North (from Area 16): Intermittent crackles and blues flashes.” It expands upon this with descriptions of the door to another area and what happens when the Player Characters examine the black robes. There is a fantastic economy of words employed here to incredible effect. The descriptions are kept to a bare minimum, but their simplicity is evocative, easy to read from the page, and prepare. The Incandescent Grottoes is genuinely easy to bring to the table and made all the easier to run from the page because the relevant sections from the map are reproduced on the same page. In addition, the map itself is clear and easy to read, with coloured boxes used to mark locked doors and monster locations as well as the usual room numbers.
In places though, the design and layout does not quite work. This is primarily where single rooms require expanded detail beyond the simple thumbnail description. It adds complexity and these locations are not quite as easy to run straight from the page as other locations are in the dungeon.
The dungeon itself is driven by factions and their associated rumours. The factions include a demonic cult that has all but collapsed, a band of troglodytes riven by factionalism, a Necromancer who is using the caves as a base of operations, an Imperial Illusionist hiding out, and more… All are given quite simple motivations and wants, often clashing with each other, so that when the Player Characters do interreact with them, the dungeon will come to life and be more than a simple series of rooms, traps, and encounters. The Incandescent Grottoes definitely has the feel of a location on the edge of abandonment, one which swings back and forth between the weirdness and whimsy of caves and grottoes run through with strange crystals and mushrooms and the corridors and rooms of worked stone. Notably, the areas previously occupied by the cult are laced with deadly traps and puzzles, only adding to the often highly dangerous nature of the dungeon. Whilst this deadly nature is befitting of the Old School Renaissance, arguably The Incandescent Grottoes verges on being too deadly and dangerous for First and Second Level Player Characters especially if run as a first-time dungeon for players new to the genre. If so, it is perhaps better run as the deadlier half of The Hole in the Oak. Of course, there will be plenty of Game Masters who will see this as a feature rather than a negative aspect of the adventure and so will not have the potential issue. Either way, The Game Master should at least know beforehand and once at the table, it will encourage careful play, just as any classic Old School Renaissance dungeon or scenario should, and the likelihood is that the Player Characters will be making two or three delves down into it before exploring its fullest reaches.
Physically, The Incandescent Grottoes is a handsome little affair. The artwork is excellent, the cartography clear, and the writing to the point.
The Incandescent Grottoes can be used as an introductory dungeon—and it would be perfect for that, but it begs to be worked into a woodland realm of its own, its various details and connected rumours used by the Referee to connect it to the wider world and so develop context. Whichever way it is used, The Incandescent Grottoes is a superbly designed, low level dungeon, full of whimsy and weirdness and fungal flavour and crystalline detail that bring its complex of caves and rooms alive, all presented in a format that makes it incredibly accessible and easy to run.

Back when this little experiment in Dallas art started in its old location in 2015, I told myself and others “If it lasts 18 months, I’ll be thrilled.” The fact that the Triffid Ranch lasted five times that, in an … Continue reading →

And then there was one left. After years and years of wondering “are people not showing up to open houses because they don’t know about the open house or the existence of the gallery?”, I got the answer. Quite a … Continue reading →

This isn't going to be about a full conversion. Mostly because I feel the best conversions are done in situ by the GM. 

Today I want to talk about converting one of my D&D 5e campaigns, "Into the Nentir Vale."

A bit of background.  Into the Nentir Vale began as, obviously enough, a D&D 4e game.  I ran the intro adventures for it with a group, and the reactions were mixed. I tried again with some Pathfinder, a one-shot, but it never quite jelled the way I wanted it to.  Fast forward a few years, and D&D 5 was released. I did a series of posts on sunk cost analysis/bias and conversions leading up to it:

• RPGS and the Sunk Costs
• BECMI/4e Conversion, Ghost Tower of the Witchlight Fens
• Into the Nentir Vale (was BECMI/4e Conversion)
• Into the Nentir Vale, 5e Style

Once these were all done, the adventures went on under 5e.  Well...we know how this will turn out.

Somehow it seems fitting that I am converting it again to Pathfinder, this time 2e.

The adventures themselves are the HPE adventures from D&D 4e. Essentially I am removing about 1/3 of the content to make it play a bit faster.  I am scaling the monsters and encounters to fit a 20th level maximum (vs. a 30th-level one), but in many ways, the conversion between 4e and Pathfinder 2e is easier than converting between D&D 4e and D&D 5e.

The Character: Rowan McGowan

Rowan is my test character here. She is a reoccurring NPC and one I used as my internal tests of various combat situations.

Like the campaign itself, Rowan has seen some history and conversions. She began life as a witch for D&D 3.5. Her concept is a "Witch Knight" or "Witch Guardian."  This is a witch that takes up the sword to protect others, typically of their faith and/or other witches. Rowan is a protector of the "Old Faith." Some of her exploits found a home in my Pagan Witch book, for example. 

In D&D 5, Rowan was a multi-classed Warlock (Hexblade)/Paladin. Her background was an acolyte to cover her growing up in a religious order of witches. She picked up the blade when she saw others of her kind being killed.  Her devotion is like a Paladin, just to a different cause. Multi-classing her was pretty easy to do since Charisma is the prime ability of both Warlocks and Paladins.

When converting her to Pathfinder there were a number of key differences.

First, while warlock was a compromise in D&D 5 (I wanted a core book class) I can do a proper witch in Pathfinder.  But witch's main ability is Intelligence in Pathfinder (though I will argue with some authority that it should be Charisma). Also Pathfinder 2e does multiclassing VERY differently than what D&D 3.x/Pathfinder and D&D 5e do it. Interestingly enough, it is more similar to how D&D 4 did it.

In 5e Rowan's first level was Warlock (Witch) and then she took a level in Paladin. I have been leapfroging the classes. She is level 4 now with 2 levels in both Warlock and Paladin.

In Pathfinder Her class is Witch. I had her take Weapon Proficiency at level 1 so she could use simple weapons.  At level 2 she is still a witch but I had her take the Champion Dedication feat. This "multi-classes" her into Champion, the Pathfinder version of a Paladin. This is similar to the Multi-class feats of 4e.

Here she continues to 4th level.

The progression is more straightforward in Pathfinder with fewer options in the beginning.  The progression in 5e is less straightforward with lots of options. 5e Rowan has more spells for example, but her maximum casting choices will be limited at higher levels. Pathfinder Rowan will have access to much more powerful witch spells, even if she has fewer right now.

Rowan McGowanWitch 4Chaotic GoodMediumHumanVersatile HeritageHumanoid

Perception +7;
Languages Common, Draconic, Elven
Skills Acrobatics +1, Arcana +9, Athletics +4, Diplomacy +10, Intimidation +10, Lore: Scribing +7, Occultism +7, Religion +7, Society +7, Survival +7
Str +4, Dex +1, Con +0, Int +1, Wis +1, Cha +4
Items Half Plate

AC 22; Fort +6, Ref +7, Will +9
HP 32

Speed 20 feet
Melee Greatsword +10 (Versatile P), Damage 1d12+4 S
Devoted Guardian Requirements Your last action was to Raise a Shield. You adopt a wide stance, ready to defend both yourself and your chosen ward. Select one adjacent creature. As long as your shield is raised and the creature remains adjacent to you, the creature gains a +1 circumstance bonus to their AC, or a +2 circumstance bonus if the shield you raised was a tower shield.
Occult Prepared Spells DC 17, attack +7; 2nd ; 1st Command, Mage Armor; Cantrips Chill Touch, Daze, Mage Hand, Read Aura, Protect Companion
Arcane Innate Spells DC 20, attack +10; Cantrips Detect Magic
Arcane Innate Spells DC 20, attack +10; Cantrips Shield
Focus Spells (1 points) Pact Broker Range 30 feet; Targets 1 creature Saving Throw Will; Duration sustained up to 1 minute You offer to broker a pact of peace. If the target accepts and doesn't take hostile actions against you and your allies, you take a –1 status penalty to Deception checks to Lie to them. If they refuse and take a hostile action against you or an ally, they must attempt a Will save. If they accepted the offer and then take a hostile action against you or an ally, they must attempt a Will save and treat the result as one category worse. Regardless of the outcome, the target is then temporarily immune for 1 minute. Success The target is unaffected. Failure The target takes a –1 status penalty to attack and damage rolls against you and your allies. Critical Failure The target takes a –2 status penalty to attack and damage rolls against you and your allies.
Phase Familiar Range 60 feet; Targets your familiar You draw upon your patron's power to momentarily shift your familiar from its solid, physical form into an ephemeral version of itself shaped of mist. Your familiar gains resistance 5 to all damage and is immune to precision damage. These apply only against the triggering damage. Heightened (+1) Increase the resistance by 2.
Additional Feats Arcane Sense, Arcane Tattoos, Champion Dedication, Root Magic, Student of the Canon
Additional Specials Arcane Tattoo (Shield), Champion Archetype Cause (Liberator Cause), Familiar, Hexes, Patron (Pacts), Tenets of Good, Witch Spellcasting

--

Thankfully I still had her PDF from D&D Beyond. 

There are subtle differences to be sure. Pathfinder Rowan has better AC and HP compared to her D&D 5 counterpart on paper. I am not sure if those will make much of a difference though in play. 

I knew 5e (and 3.5s) Rowan had a tattoo on her shoulder blade but I was not certain of what yet. In Pathfinder I figure it is the symbol of her Goddess Desna.

• Rowan McGowan, D&D 5e (PDF)
• Rowan McGowan, Pathfinder 2e (PDF)

While putting these sheets in her folder I noticed I had also started AD&D 2nd Ed, Castles & Crusades, and DragonAGE versions of her started as well!

The conversion was pretty fast, to be honest. These systems still share DNA. In many ways, the Pathfinder version is much closer to my original concept of her so I am pretty happy about that. I will need to see how I can convert the other characters now.

Converting monsters will just be a one-for-one swap out. 

The odor from this room hits the PCs before they even get near the opening.

Free Art Assets - Grey Gnome Games - Jason Glover
Inside this room are 1d6+4 Zombies in this room. They are milling about the room aimlessly, but when the PCs enter, they will attack. Zombies always attack last. All the zombies have swords that look beat up and rusted. One zombie, though, has a sword +1. The only way the PCs can learn if it is magical is because it is not rusted like the others.

There is a fair amount of treasure here. In various bags, there are 100 gp, 35 SP, and 1000 cp. The PCs have no way to discover this, but they were left behind by a group of evil adventurers who killed an adventuring party and left these zombies to guard the loot they could not carry themselves. That evil party went deeper into the dungeons and has not been heard from since.  They even left an extra magical sword to make sure their loot was guarded well. 

The zombies look like they are a couple of weeks old. 

About a week or so ago, I talked about bringing in some "new" games into my life to substitute for D&D. Here is one of them.

Chivalry & Sorcery

When it comes to RPGs emulating an authentic Medieval experience there are generally only two games that people go to; Pendragon and Chivalry & Sorcery.  One could argue how authentic each of these are, but in general, they are far closer than D&D or anything else on the market. 

Chivalry & Sorcery has been around nearly as long as D&D (1977 and 1974 respectively) and like many gamers my age we saw a lot of ads for it in the pages of Dragon Magazine, especially the Fantasy Games Unlimited 2nd Edition.

Currently, it is in its 5th Edition and is published by Brittannia Game Designs.

I am not going to review it today, but this is a gorgeous book. It is also a huge book at 600 pages.

I picked mine up from my FLGS a while back for some ideas on various campaigns, but now I am going to try it out on its own instead. 

Brittannia Game Designs recently released the 5th Edition in a Print on Demand format AND a brand new "Basic Game." 

The Basic Game is just about 80 pages and will cost you a whole $2.00.  So well worth it for any D&D refugee.

I recently got my wife into the Showtime series "The Tudors," so maybe I could use that as an "in" for this game. 

Going back to Room #17 the PCs make a left (where they made the right before) and they turn left into a parallel hall to the one before (#18 to #24).

This room is empty save for some random glowing lights of unknown source or origin. The radiate magic (a wizard or elf can tell) but they don't actually do anything but float around. They are creepy all the same.

If anyone puts a weapon into one of the lights their weapon will glow for the next hour.  There is no magical effects, but it does look cool. 

Part of my goal this year now is to expand my game-playing a bit more beyond the realms of D&D and the clones.  But I am not venturing too far afield.  In fact, of late, I have been turning back to some old friends.

I have gotten these all in the mail over the last couple of days. 

Up first is an old favorite, Mage, in a new (to me) setting. Victorian Age Mage is based on the M20, Mage 20th Anniversary Edition, system/setting. I love Mage. I love the Victorian Age. So this one was a no-brainer for me when I saw it on DriveThruRPG's newest releases.

The book looks great, and maybe for the first time ever in Mage, I'll consider playing a character from the Technocracy!

I am also getting back into a really old favorite of mine, Chill 1st Edition via Cryptworld.

I picked up the two latest adventures from Yeti Spaghetti and Friends designed for Chill 1.0 and Cryptworld. Horror in Hopkinsville is good old-fashioned 50s UFO paranoid fun (or is it...) and The Blood Countess features a new take on the Other Side favorite Elizabeth Bathory. These do not have print options yet, I picked these up from Yeti Spaghetti directly.

The Fright Night Classics adventures are fun and would make for great NIGHT SHIFT or Dark Places & Demogorgons adventures too. 

Going through them reminded me how much I do love Chill. So I went back to look up some monsters. Imagine my surprise when I discovered I didn't have a copy in print of Monsters Macabre!

This one is from Goblinoid Games. Figure I'd toss them some coin while they work out what the next Labyrinth Lord will look like. 

So expect some more Chill/Cryptworld goodness from me soon!

Down the hall is the last room on the right. The room is the same sort as the rest on this side. 

The commotion in this room can be heard from the outside.

A group of Kobolds (2d6) are trying to spear a large boar-like creature (Dire Boar). They do not notice the characters until they enter the room.  Most of the kobolds have 4hp each, and the boar is down to 3 hp.

There is no indication of where the boar or the kobolds came from or how they ended up in this room.

The kobolds have 2sp and 5cp each (on average).

Down the hall is a half-flight of stairs to the right that meets up with a similar set, both going down and then meeting up with another half-flight going down. This is Encounter area #31 and will be dealt with then.

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

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

—oOo—
Name: Camp KillPublisher: Chaosium, Inc.
Author: Nicholas Reardon

Setting: 1980s California
Product: ScenarioWhat You Get: Twenty-six page, 11.15 MB Full Colour PDF
Elevator Pitch: Always remember, kids, when making a slasher flick to check that the slasher isn’t already on the set!Plot Hook: A bad movie, just turned really bad and it is every bad person for themselves.
Plot Support: Staging advice, two NPCs, seven handouts, two maps, and one Mythos monster.Production Values: Decent.
Pros# Murder and mayhem on the movie set# Server hunt/slasher flick?# Period style handouts# Enjoyably unpleasant Investigators# Scopophobia# Masklophobia# Eremophobia# Voraephobia# Paranoia
Cons# Needs an edit# Server hunt/slasher flick?# Enjoyably unpleasant Investigators# Investigators could be more unpleasant# Everybody wants to be Kimberly
Conclusion# Slasher killers, UFOs, horrible people, oh my!# Messy twist upon the eighties serial killer in a mask horror film

We have all seen the new proposed OGL. Honestly it looks like publishing under the OGL 1.0a  will soon be over, at least how it has been.  So, what am I do to with three separate monster-related projects?

Simple. I combine what I can and try to get something ready to go.

Here are the efforts of that.

Monster Mash

https://www.drivethrurpg.com/product/424046/Monster-Mash Here, there be Monsters!

For years brave adventures have been going into dark dungeons and fighting monsters. Now the monsters are fighting back.

Monster Mash is an Old-School Essentials Classic Fantasy compatible game supplement that allows you to take on the role not of a stalwart hero but as one of the monsters.

This book features 13 horror-based classes.

The Awakened Golem, Cat Folk, Ghosts, Haglings, Hobgoblins, Revenants, Shadow Elves, Shades, Werewolves, Wererats, Vampires, Profane Necromancers, and the Gothic Witch.

New spells for Haglings, Profane Necromancers, Shadow Elves, and Gothic Witches.
New occult powers ritual spells for Gothic Witches.

Fully compatible with Old-School Essentials and other Basic-Era games.
Fully compatible with other witch books from The Other Side.

Requires Old-School Essentials Core Rules.

--

I put in a lot of the art I was going to use for this, Monstrous Maleficarum and the Basic Bestiaries.  I had wanted to get this out for Halloween (naturally) but I had a lot going on.

Now I would LOVE to get a couple more of these out. I have nearly everything I need; I just have to put everything together. 

Will this be my last publication for OSE? I certainly hope not.

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

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

—oOo—
Name: Blood on the ChocolatePublisher: Chaosium, Inc.
Author: Jarrod Lipshy

Setting: 1930s Pennsylvania
Product: ScenarioWhat You Get: Forty page, 2.21 MB Full Colour PDF
Elevator Pitch: A night in Whishly Chocolate FactoryPlot Hook: Sabotage—unions or something else?
Plot Support: Staging advice, eight NPCs, three handouts, two maps, and one non-Mythos monster.Production Values: Decent.
Pros# Highly detailed location-based investigation# Solid mystery# Claustrophobic setting# Easily adapted to Cthulhu by Gaslight# Easily adapted to other cities and countries# Masklophobia# Mechanophobia# Neraidaphobia# Xocolataphobia
Cons# Folkloric rather than Mythos# Highly detailed location-based investigation# A lot for the Keeper to grasp# Requires non-standard Investigators, but no pre-generated Investigators provided
Conclusion# Highly detailed, location-based investigation which turns into a game of cat and mouse and something else...# Pre-generated Investigators would strengthen player and character engagement in a thematically mechanical scenario

Continuing down to the next room on the right has a strange glow coming from it.

The glow comes from a room full of glowing mushrooms, at least 40 to 50.  

Among the mushrooms are glowing Shriekers. 

There are 15 of them and they are indistinguishable from the other mushrooms in the room.  Once they start shrieking (see your Basic-era rules), it will become nearly impossible to tell them apart. Each attack on a mushroom only has a 1 in 6 chance of being a shrieker. 

At its most basic, The Labyrinth is an anthology of organisations for Delta Green: The Role-Playing Game, published by Arc Dream Publishing. However, delve into this supplement for 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—the forces and influences of Cosmic Horror—and it some becomes apparent that it is something much more. First, it marked the return of John Scott Tynes, one of the co-creators of Delta Green, to writing for the setting and for roleplaying in general. Second, that it won the Gold Ennie award for Best Supplement in 2020. Third, the organisations presented in the supplement are not just organisations, but also frameworks which slot onto a Handler’s existing campaign with plots and events which play out around that existing campaign. Fourth, although the organisations in The Labyrinth are split equally between four allies and four enemies (or four potential allies and four potential enemies), their roles within a campaign and how the Agents—the Player Characters—view them is likely to change. All eight organisations have their own agendas, their own reactions to the Agents, and that is likely to change as their interaction with the Agents grows. Fifth, these organisations are inspired by and drawn from the here and now. For a roleplaying game of modern conspiratorial horror like Delta Green: The Role-Playing Game, the enemies and allies of The Labyrinth are horrifically contemporary. Sixth, the eight organisations in The Labyrinth are connected. Not necessarily directly, but enough that if the Agents pull at one thread, they will find themselves wandering down a path and investigating and interacting with another organisation before they understand what they got themselves involved in with the first. Yet even as they get lost, the Agents may come to realise two things—that the influence and forces of the Unnatural reach deeper into the United States than they ever imagined, and that humanity is bad enough already…
The Labyrinth was published following a successful Kickstarter campaign. The book’s introduction begins with an overview of the eight organisations and some advice for the Handler on building or mapping her own ‘labyrinth’, essentially how to connect the eight organisations. Or rather connect those that the Handler feels will fit her campaign. Tynes provides his pinboard style, as well as suggesting how that labyrinth of connections can be used to build a campaign. The advice is not extensive, but forms a solid starting point. The other thing that the introduction does is suggest ways in which the Handler can also connect the various operations for Delta Green to the organisations presented in The Labyrinth. For example, ‘Agent Renko’ can be connected to the events of Music From a Darkened Room, Kali Ghati to the ‘Dream Syndicate’, Lover in the Ice to ‘The Prana Sodality’, and so on. Each of the organisations in the supplement is also connected to more than one operation, so there are multiple ways into the maze that The Labyrinth presents.

Each of the organisations is presented with a complete history, a description of its organisation, notable operatives and individuals, its beliefs and mandates, how it operates, and potential for friendly opportunities to work with them. It is followed by a suggested progression—or story arc—of how the interaction between the organisation and Agents will play out and how those involved will react, over the course of three stages. Lastly, the ramifications of this interaction is explored and possible connections between that other organisation and those elsewhere in the book. All of this is background, detail, and structure, but it is not a scenario. The Handler will need to develop the content to fit the nature and events of her campaign.

The first of the allies is the ‘Center for the Missing Child’, a non-profit organisation dedicated to locating missing children and supporting their families, which works closely with law enforcement. This potentially means the Agents as one of their number is likely to work in law enforcement. However, their involvement could lead to one of their consultants taking too much interest in their ‘other’ work and lead him down that path with disastrous consequences. ‘The Dream Syndicate’ examines the members of an online forum who have had very similar dreams of unnatural events. This organisation feels underplayed at first, but contact with them can become very personal for the Agents. ‘Agent Renko’—named in a nice nod to the novels by Martin Cruz Smith—is likely to be huge fun for the Handler to roleplay, an individual rather than an organisation, a GRU SV-8 agent who crashes into their lives and seems to be dogging their every move. The fourth possible ally is ‘The Witness Alliance’, another non-profit organisation, but one dedicated to tracking and exposing the activities of hate groups. Again, this organisation has knowledge that will prove useful to the Agents, but like the scenario, ‘Last Things Last’ in Delta Green: Need to Know, this story arc explores the calamitous effect that Delta Green operations have on their agents to the very last, putting the Agents in deadly peril.

Over half of The Labyrinth is dedicated to it quartet of antagonists, and if the allies were interesting enough and potential contact with them could lead to horror and despair, then the author really gets into his stride with this foursome of fear. The quartet starts with ‘New Life Fertility’, a private company that offers an extremely exclusive, one hundred percent successful fertility treatment and which has the means to protect itself and the families it helps—especially the families it helps. This combines modern science with a classic Old One and links back to the Severn Valley to potentially push forward to a ‘cuckoo in the nest’ situation on a scale never before imagined. ‘New Life Fertility’ could easily have been a campaign all by itself, but will likely form a major strand of any campaign run using The Labyrinth. In comparison, ‘The Lonely’ presents not so much a group as a number of individuals who are likely to prove to be irritants, although potentially very deadly irritants. Already isolated and alone, their loneliness is driven unnaturally deeper into misery, grim realisation, and then outright fury at the world. If other Delta Green content treats the Mythos surrounding the Hastaur Mythos and the Yellow King as a meme, here it is a vector that slips unseen through modern communication… Consequently, investigating this is going to be highly challenging. ‘The Sowers’ begins in the Rust Belt, a devout Christian sect with a secret path to absolution and near divinity, that appears to do good and brings its members prosperity and happiness—its male members at least. The entry points are interesting in that they take on a more personal touch in that an Agent could become involved with the sect as a possible path to redemption. The last antagonist is ‘The Prana Sodality’ and is perhaps the most complicated and isolated of the four in the supplement, primarily because it is so deeply tied into both the U.S. military-industrial complex and the history surrounding many of Delta Green’s adversaries. A photograph of a boy with a disturbing tumour in his eye draws the Agents to the town of Stanton, Washington state, one of the most polluted towns in the country and when they arrive, the Agents literally step into a mass shooting. Is this a coincidence? It only gets worse from there…

Physically, The Labyrinth is very well presented, as you would expect for a supplement for Delta Green. However, the artwork will feel familiar from previous Delta Green supplements. Lastly, if there is any issue perhaps with the antagonists, it is that ‘The Prana Sodality’ could benefit from a few more maps since the investigation is primarily based around the one location.

Ultimately, The Labyrinth is a toolkit, whether the Handler uses one of its tools—or organisations—in her campaign or several. Each one of the organisations, whether ally or antagonist, in The Labyrinth stands up on its own and can be used to supplement existing campaigns or even have campaigns built around them, such as ‘New Life Fertility’. Where The Labyrinth comes into its own is a campaign of its own, but in comparison to the classic campaign of Lovecraftian investigative horror, The Labyrinth greatly differs.
Fundamentally, it would not be a linear campaign and it would not be a campaign against one threat, but an interconnected web of allies and adversaries, threats and dangers, that the players and their Agents can navigate in a more open fashion. Although there would be a beginning and an end of sorts, at least in terms of the content presented in the page of The Labyrinth, neither would be obvious and consequently there is no cathartic sense of finality to the events of the campaign—just one aspect of cosmic horror in Delta Green. This is what the author describes as a ‘narrative sandbox’ and it means that a campaign involving The Labyrinth is going to be structured and very different to that run by another Handler. The horror of The Labyrinth is as evil and unpleasant as you would expect, though of course, dispersed far and wide by the ‘narrative sandbox’ nature of the campaign.

The Labyrinth is not ready to run—and that is the point. It is, however, ready for the Handler to prepare and run, to make it her own around the campaign she is already running. The Labyrinth brings a wealth of interconnected depth and detail to Delta Green: The Role-Playing Game, pulling its Agents deeper into an entanglement of the uncanny and the Unnatural, a secret world where the horrifying layers and links never seem to end.

Down from Room #21 is another room.

Free Art Assets - Grey Gnome Games - Jason Glover
This room is empty save for some bones and an empty barrel, much like Room 14. There are rats, but they are of the normal sort.

Game Masters can add some random bits here if they like. The idea is that those room has not been used in over a century save for various random monsters. 

Bastion stands as the world’s largest city, an industrial powerhouse whose factories pour out guns, chemicals, manufactured goods, and even newspapers that ships carry from the city’s wharfs. Citizens flock to the city for work—the factories chew up their employees almost as much as they take them on! Expeditions leave the city travelling far and wide, many returning with tales of places weird, wonderful, and worrisome, often too far to even map given the size of the world. Yet there are wonders and secrets to found closer to home. The Underground lies beneath Bastion, at first the sewers, then tunnels, and caves below, full of long-lost secrets and ancient vaults. Cultists plot the return of their strange masters, unions counter plot even as they try to protect workers’ rights, and the mill bosses squeeze more and more out of there employees heedless of the religious fervour that undo their industrial empire. Scattered and across these cities and the darkness below are the Arcana, devices from ages past that grant fantastic powers, from pieces of jewellery to almost unmoveable statuary. There are men and women who search for these Arcana, knowing they can make a name for themselves, make themselves rich, if they can find the rights ones and find a buyer. They are Explorers.
This is the setting for Into the Odd Remastered, an Old School Renaissance rules light microclone originally published in 2014 that has been beautifully redesigned and re-laid out and published by Free League Publishing following a successful Kickstarter campaign. It promises fast character creation, minimalist rules, strange things to encounter and be found, a complete hexcrawl and dungeon, and quite possibly the most fun set of tables available for any roleplaying game. However, it is very light in terms of setting, combining elements of cosmic horror, heavy industrial squalor, weirdness and wonder in the ruins of the past—above and below ground. Into the Odd Remastered is both a precursor to the author’s Electric Bastionland and an expanded version of the original, primarily in terms of supporting content.

An Explorer—or Player Character—in Into the Odd Remastered is lightly defined. He has three Abilities: Strength, Dexterity, and Willpower, which range in value between three and eighteen. He also a six-sided die’s worth of HP, or Hit Protection, rather than Hit Points, a Starter Package, potentially a Companion, and some silver shillings. To create an Explorer, a player rolls three six-sided dice each for the Abilities and one die for the Hit Protection. Then by cross-referencing the value of the Hit Protection with the Explorer’s highest Ability, he receives a Starter Package. An Explorer with either low Hit Protection or a low Ability will receive a more powerful Starter Package, including an Arcanum, whilst an Explorer with a high Ability or Hit Protection, will receive a more mundane Starter Package. Thus, an Explorer with six Hit Protection and a high Ability of twelve would start play with a Maul, a Dagger, and a length of chain, whereas if the Explorer’s highest Ability is nine and he only has two Hit Protection, he begins play with a Musket, a Sword (d6), a Flashbang, and the ability to ‘Sense nearby Arcana’. The process is incredibly simple and incredibly fast—two minutes if that!

Hattie Tuggery
Strength 8 Dexterity 10 Willpower 15
Hit Protection 3
Starter Package: Club (d6), Ether, Crowbar, Flute

Mechanically, if an Explorer wants to undertake an action, his player rolls a twenty-sided die against the appropriate Ability, aiming to equal to or under to pass. Initiative in combat is handled with a Dexterity save if needed. Combat is equally as simple. A player rolls the die for the weapon used to determine how much might damage be inflicted. The target’s armour is subtracted from this and the remainder is subtracted from first his Hit Protection and then his Strength. This necessitates a Strength Save and the possibility that the Explorer will be unable to act. Should a character lose all of his Strength, he dies. It takes only a Short Rest to recover lost Hit Protection, but a Long Rest lasting a week to recover lost Ability points. Saves against Willpower are used for several things, maintaining morale of course, but also in a pinch, maintaining civil discourse with others, and more interestingly, to manipulate the powers of Arcana.

Arcana are the motivating force of Into the Odd Remastered and are categorised into three types. Base Arcana are ‘Powers You Cannot Understand’, Greater Arcana are ‘Powers You Can Barely Control’, and Legendary Arcana are ‘Powers You Shouldn’t Control’, but any Arcanum does one specific thing and does it well. For example, a Soul Chain is a base Arcana which forces a Dexterity Save on a target lest he loses points of Will and gives away a glimpse of his current desire; the Book of Despair is a Greater Arcana that fills a floor area with tentacles that grab and constrain unless a Strength Save is made; and a Space Cube is a Legendary Arcana which transports the user and a companion to a location they have been to before. Some one hundred or so Arcana are detailed in Into the Odd Remastered, but there is scope for the Referee to create yet more and there is advice in the book on how they woke and should be handled.

Other advice for the Referee covers understanding how the game is played, handling obstacles, tricks, and hazards, monsters and encounters, money and treasure—including options for the Explorers to invest in enterprises and war, and how to award Experience Levels based on Expeditions completed. They are thus awarded on a narrative basis. Beyond Novice, there are only five Experience Levels and each gains an Explorer Increased Hit Protection and the possibility of an increased Ability. Notable of these is that hazards and traps can invariably be spotted unless an Explorer is running, locked doors can always be picked, and so on. Saves or rolls are required in these cases where there is a time factor involved or the course of action an Explorer is about to take might trigger the trap. In effect, this places the agency with the player and his Explorer and takes into account that when exploring, the Explorer is by nature being careful. Several sample hazards are provided as well as sample monsters. This is all accompanied by a lengthy example of play to help both player and Referee get the feel of how Into the Odd Remastered plays.

However, Into the Odd Remastered is not necessarily a forgiving system. Combat in particular, is deadly as every attack succeeds and what matters is the amount of damage rolled. So, hirelings or playing with multiple characters might be an option if a group wants to avoid a total party kill. That said, it does favour the players and their Explorers when it comes to the exploration and the discovery of obstacles and traps. Here in Into the Odd Remastered, the Explorers choose to engage with obstacles and traps and risk the consequences of doing so, rather than having such obstacles and traps sprung upon them as is the norm in other roleplaying games. Nevertheless, the unforgiving nature of its mechanics and play means that Into the Odd Remastered may initially have the feel of a Character Funnel as in Goodman Games’ Dungeon Crawl Classics Roleplaying Game and Mutant Crawl Classics Roleplaying Game, with its set-up of multiple Zero Level characters per player.

In terms of setting, Into the Odd Remastered gives its various locations—the city of Bastion, the Underground, Deep Country and other cities, and beyond civilisation to the Golden Lands and Polar Ocean little more description than a paragraph each. In this it does not expand upon what was in the first edition of the roleplaying game, and is in some ways its biggest disappointment. The Referee is definitely left wanting more flavour and detail about Bastion and the wider world. Some of that though, is covered in the ‘Oddpendium’ a set of tables at the rear of the book for name generation, occupations, abilities, manner, connections, and important little life events, all for quick NPC generation. Others generate city locations, routes, locations, weird creatures, cults, borough decisions and the reaction to the mob of this and anything else, whether or not a thing is an arcanum, and more. There are options for different character groups such as Mutants from the Underground and Simple Folk from the Deep Country unused to city ways, and alternative Starter Packages. These table are pointers, elements that the Referee can use to develop the world of Bastion and beyond around the Explorers.

In between the rules and advice for the Referee and the ‘Oddpendium’, Into the Odd Remastered details three locations as play environments. These are the scum-encrusted fishing town of Hopesend Port, the Last Port of the North; a dungeon, The Iron Coral, which lies off the coast off Hopesend Port; and the hexcrawl, The Fallen Marsh, the soggy stretch of coast which lies between them. Now these are presented in the order of The Iron Coral, The Fallen Marsh, and Hopesend Port, which feels counter-intuitive if the trio is run as a campaign, with the Explorers starting out from Hopesend and then travelling through The Fallen Marsh to The Iron Coral. That said, the inclusion of The Iron Coral first essentially means that it is good for getting straight into play as it can be run with very little preparation upon the part of the Referee.

This new edition of Into the Odd expands upon the original dungeon, The Iron Coral, adding depth and detail, but still presented in a succinct series of bullet points. There is plenty of detail packed into this strange, often random complex of rooms. Expanding out from this is The Fallen Marsh and then a point of civilisation, Hopesend Port, providing all together a complete hexcrawl campaign driven by exploration and rumour. As good as this is, it still leaves Bastion itself untapped and unexplored and even with the tools of the ‘Oddpendium’, a great deal of effort upon the part of the Referee will be needed if she is to do something with the greatest city in the world and actually bring it into play.

Physically, Into the Odd Remastered is as lovely a book as you would imagine given that Free League Publishing is releasing it and Johan Nohr—best known as the ‘Artpunk’ designer of Mörk Borg—did the graphic design. The result is a genuine remastering, elegant often subtle, but always hinting at a clash between the baroque and a lost modernity. The writing itself is succinct and always to the point, although that succinctness does not always help the Referee as it should. Primarily this means that as minimalist as Into the Odd Remastered is, it is not really suited to be played or run by anyone without some experience of doing either.

There is an undoubtable elegance to the highly economic combination of Into the Odd Remastered’s minimalism and its new presentation. Both the rules and the setting of Bastion are very light and very much open to interpretation by both players and the Referee, yet arguably, Into the Odd Remastered all but leaves the city itself and much of the setting begging be to be expanded upon and explored. Room perhaps for a city and underground book for the setting of Bastion? In comparison, Electric Bastionland, the sequel to Into the Odd, is far better at its implicit world building. Yet in comparison to other microclones, Into the Odd Remastered does present somewhere to start playing with The Iron Coral and its associated hexcrawl.

Ultimately, Into the Odd Remastered is a lovely re-representation of a world that is accessible and all but instantly playable mechanically, but remains strange and elusive, oddly Dickensian and technologically fantastical, in terms of setting, and that is by design.

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 too. 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 for 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.

—oOo—
What is it?The Pitcrawler Quickstart is a quick-start for a fantasy roleplaying game inspired by classic Fighting Fantasy and Lone Wolf solo adventure books, but instead of being a ‘Choose-Your-Own-Adventure’ game, it is designed to be played by two players. One is the Adventurer; the other is the Games Master.
The Pitcrawler Quickstart includes a basic version of the full game, but covers rules of Adventurer creation, an explanation of the rules and the roleplaying game’s implied setting, a table for creating scenario titles as inspiration, and four sample scenarios.
It is a twenty-seven-page, full colour booklet.

It is published by MacGuffin and Company.
How long will it take to play?
Each of the scenarios in the Pitcrawler Quickstart can be played through in a single session.

Who do you play?
One player is the Adventurer, but not a Wizard. The other player is the Games Master.

How is a Player Character defined?
The Player Character has five qualities. These are Face, Feet, Fingers, Fists, and Heart. Each is rated by a die type, from a four-sided die to a twelve-sided die. The die type attached to each quality is determined randomly. He starts play with seven Hit Points, a Background, three areas of Expertise, a Companion, and some equipment. The Backgrounds, which indicate what the Adventurer did before he came a Pitcrawler, include Artist, Burglar, Crop Farmer, Gravedigger, Mayor, and Sailor. Each Background provides two items of equipment and two areas of Expertise, one of which is mandatory, the other the player can choose. The third is determined randomly. The Background also provides some equipment, two other items are determined randomly, and the player choses a weapon.
The Companion assists with particular types of tests and can perform a particular ability once per scenario. For example, the Priest can assist with tests of willpower and pass a Complicated Heart test for the Adventurer once per scenario. The player should name the Companion and explain why the Companion is accompanying the Adventurer.
How do the mechanics work?
To undertake an action, the Adventurer’s player rolls an appropriate quality and aims to equal to or higher than a Difficulty set by the Game Master. The Difficulty ranges from three or Simple to eighteen or Inconceivable. When a quality die is rolled, it can explode, which means that it is possible for the Adventurer to overcome a challenge even if the die type is low. In addition, the difficulty of the test can be lowered one step if the Adventurer has a relevant Expertise, a Useful item, or is Assisted by a Companion or NPC willing to help.
Failure can lead to loss of Hit Points and/or a consequence which will send the scenario in a different direction. A critical success grants the Adventurer an extra reward.

If failure is likely, the Adventurer can instead ‘Put his heart Into It’ and his player roll the Heart quality die and add it to the total. If the roll is a failure, it is counted as a critical failure.
One clever mechanic is that of ‘Thumbs’, which apes the keeping of the thumb on a previous page in a solo adventure book as the player explores an option on another. In effect, this allows the player to turn back the clock in the scenario to a reset point and there make a different choice. A player can have up to five Thumbs depending upon the difficulty of the play.

In addition, the Game Master is advised to present actual physical or mental puzzles that the player as the Adventurer must solve at the table.
How does combat work?
Combat uses the same mechanics. Most weapons use the Fists quality to roll attacks, except where greater finesse is needed, in which case it is Feet instead. Fingers is used for missile attacks. If the quality roll is successful, the Adventurer inflicts a point of damage, more if it is a critical success. Failures mean that the Adventurer suffers damage. Enemies typically have one Hit Point each, so will be killed on a successful attack. Critical damage is inflicted against multiple opponents. 
How does magic work?
The Adventurer cannot cast magic in Pitcrawler. It is entirely the province of Wizards and their potentially world changing powers. The Adventurer can use arcane items.
What do you play?
There is no given world or world lore in the Pitcrawler Quickstart. It is presumed to be over-the-top grim fantasy, but one which eschews ‘Old School’ elements with its traditional treatment of females and races, alignments, and its play styles. It instead replaces these with Wizards who are powerful magicians capable of changing the world around them, not always to the benefit of the inhabitants. Wizards are also very rich and their tombs are often worth plundering. Wizards are sufficiently powerful that as a group they could destroy a minor god and even face down a major one!
The Pitcrawler Quickstart includes four sample scenarios. These include a raid on a tomb, an attempt to escape a murder-dungeon, a retrieval mission to recover a clockwork device from a swamp, and a retrieval mission on an island surrounded by a rainbow sea with the different colours having different magical effects.
Is there anything missing?
The Pitcrawler Quickstart could have done with more advice for the Game Master on running the individual scenarios and presenting the content to the player as well as mixing in the puzzles and traps, and giving the player meaningful choices.
Is it easy to prepare?
The rules are easy to grasp, but the preparation required by the Game Master could have been supported better.
Is it worth it?
The Pitcrawler Quickstart provides plenty of content to play with and it does something that few roleplaying games do and that is present a roleplaying game for one-on-one play. It is underwritten in terms of support for the Game Master, who will need to work a bit harder to prepare it for her player.
Where can you get it?
The Pitcrawler Quickstart is available here.

Moving down from Room #20 there is another room on the right (all rooms in this hallway are on the right).

Entering the room, there is a huge pile of gold and treasure with the bones of a dragon on top.

Jason Glover - Free Art Assets

When the first character touches the treasure or dragon there is a loud roar (Illusion) and all the lights and torches used go out (darkness spell).  Once the characters get the lights on they will find that the treasure and the character who touched it are gone!

The dragon and the treasure was a programmed illusion. The character who touched it has been hit with a Sleep spell and then turned invisible. If the character makes the Sleep save then the invisibility will not go into effect.

Otherwise, there is no treasure in this room.

We’re down to the two last open houses at the current Triffid Ranch location, with the next one on January 21 from noon until 6:00 pm. If you’ve been wanting to come out for years but couldn’t quite work it … Continue reading →