Saturday 18 May 2024

A Class Collection

The Masterclass Codex is a compilation of compilations. It complies two supplements—A Touch of Class: Seven New Classes for 5th Edition and A Touch More Class: 9 More Classes for 5th Edition—into one volume, both of which compile content from EN5ider, EN Publishing’s Patreon magazine dedicated to supporting Dungeons & Dragons, Fifth Edition. Together, it compiles a total of sixteen new Classes, from the Alchemist and the Bloodweaver to the Savant and the Tinkerer. In between there are a lot of new spellcasting Classes, though physical Classes are not totally ignored, and a lot of options for the Dungeon Master and player alike. The player, of course, to play, but the Dungeon Master to pick and choose from in terms of what she wants to see in her game world. Thus, a Dungeon Master could take one, two, or more of these Classes and make them particular to her campaign—or parts of her campaign—or she could throw everything into the mix and say have them all come together in a setting like Planescape.

The format of the Classes in The Masterclass Codex follows that of The Player’s Handbook. It opens with an explanation of the class, suggestions for a quick build, features of the class, before delving into the particulars of the class. Added to this is a little fiction to add flavour. Alongside all of this, there are new Feats and spells, monsters, and a whole bit more. This ‘more’ rounds out the entries in the supplement and develops ways in which they can be brought into a game.

The Masterclass Codex opens with the Alchemist. This combines magic with scientific rigour for a spellcaster that throws acid, cold, or fire bombs, and then concocts potions and mixes for its spells. It is not quite clear if the Alchemist is throwing these vials or drinking them. The Alchemist makes Discoveries, which can be Smart Alchemy which allows a bomb to explode and target only hostile targets, Extend Potion to double its duration, Potion of Rejuvenation to restore a spell slot, and Spontaneous Recovery to amplify his healing without a short rest. Advanced Sciences are the Alchemist’s specialities and include the Sciences of Creation, Destruction, Illumination, Mutation, and Regeneration. These respectively enable the Alchemist to craft a homunculus out of clay and remould it as a servant and combatant; to enhance his bombs; to temporarily enhance mental attributes and gain mental spells; to physically enhance the body though a cost to Intelligence, though this cannot be repeated too often, lest the Alchemist poison himself; and to enhance healing and even gain resurrection! To this, ‘Scientific Sorcery’ gives the Alchemist’s Apprentice Background, new items, and even Feats like the Alchemical Artillerist, making him better at throwing alchemical weapons, and Pernicious Poisoner, to faster produce poisons.

There are a lot of interesting options here, but some step on the toes of other Classes. The Science of Mutation pushes the Alchemist towards the Barbarian Class, whilst the Science of Regeneration leans towards the Cleric Class. Other aspects feel underdeveloped, like the Pernicious Poisoner Feat. It is great for creating poisons, but not using them. What about adding their use to the bomb-throwing ability of the Class, so what you have is a battlefield poisoner? Combine that with Smart Alchemy and you have targeted poison bombs—nasty! Lastly, if this Class is supposed to be about adding science to magic, what about being able to identify potions and poisons?

The Cardcaster draws on the Tarot deck to cast spells, and actually requires a player to have one in order to determine what spells his character can cast. For example, a First Level Cardcaster has a hand size of two and draws two of the Major Arcana. The Fool gives the options Detect Poison and Disease, Expeditious Retreat, Hideous Laughter, and Mage Armour, whilst The Magician lists Burning Hands, Create/Destroy Water, Detect Magic, Floating Disc, Unseen Image, or Silent Image. The Cardcaster selects the spell and expends the card. In game, the Cardcaster can also throw cards to inflict magical slashing damage. In terms of development, the Cardcaster focuses on particular arcana, the Knight of Swords turning the Cardcaster into a sword-wielding spellcaster; Page of Wands gives greater command of the user’s Tarot deck; the Queen of Cups lets the user spread her love by supporting others; King of Pentacles makes the Cardcaster richer; and Jack of Beasts has the caster summon and control beasts. Not all of these are necessarily adventure options, the Queen of Cups and King of Pentacles feel like they suited to campaigns where adventuring rarely done, and the Jack of Beasts is an oddity that does not fit the tarot. Overall, the Class would be interesting play, adding a physicality and uncertainty with its card-drawing aspect.

The Diabolist is an Evil Class enters into dark pacts with devils and possibly demons. It is accompanied by range new types of both like the Accuser Devil or the Coloxus, and includes the feat Voodoo, which raises its own issues in tying an aspect of a real-world religion into an evil Class like the Diabolist. The Diabolist is suited to certain campaigns or in general as an NPC Class, and even then, perhaps it could have been presented as a variant of the Warlock Class which fundamentally is very similar. The Feywalker draws from the powers of the Fey realms to become a chaotic, even whimsical, combatants that flit around the battlefield, gaining a fey companion and fey charm, and binding his soul to the fey through either the Sphere of Beasts, Sphere of Plants, or Sphere of Entropy. Of these Spheres, the first two step into similar areas to that of the Druid Class, whilst the third plays up the randomness of chaos. Ultimately though, this is a fighter best at home in the forest, embracing its mysteries. The Morph Class is a shapechanger, connected to either nature or the fey, either specialising in infiltration and deception as a Doppelganger, raw animal power and presence in Primordial Beast, the scoundrel’s antics of the Trickster. Again, it feels a little like the Druid, one who has specialised in shapechanging, yet at the same time wondering whether Primordial Beast would better fit the Druid and the Trickster the Feywalker.

If the Alchemist is one of the Classes that stands out in 
The Masterclass Codex, the other is the Noble. Like its Warlord counterpart from Dungeons & Dragons, Fourth Edition, the Noble is all about supporting his allies. The Noble can offer a rallying word for an ally to recover Hit Points direct them to take an action on his turn. The Noble either follows the Path of the Brave to become a better warrior; the Path of the Heart to beguile others with his innocence, though this comes at the cost of martial abilities; the Path of the Mystic Royal to combine spellcasting and command of others; and the Path of the Tactician to further direct and command the actions of his allies. This is very nicely done Class overall, perhaps best suited to larger groups where the Noble has the room to stand to the side offering advice and actions. Of the four subclasses, the Path of the Heart really stands out for its roleplaying potential as everyone around such a Noble works to keep her alive whilst benefiting from her advice and actions. Throw in a few scoundrel-like Classes alongside the Noble and it could be a lot of fun.

The Occultist stands out as the oddity in 
The Masterclass Codex, because it is not a Class that specialises in the occult per se, although it does bring an element of horror into play. Instead, it is a transformative Class in that Occultist delves into dark lore or suffers from a tainted family bloodline that will turn him into a supernatural beast or monster of some kind. These are represented by multiple paths. These are the Abomination, more Mister Hyde than Doctor Jekyll; the cosmic power of the Horror; the dark energies of the Nightmare; the primal acidity of the Ooze; and the classic powers of the Vampire and the Werecreature. Of these, the Path of the Ooze is the most original. The Class as such feels more suited to either NPC use or a horror-focused campaign or setting.

If the Occultist brings the macabre to 
The Masterclass Codex, the Bloodweaver uses his abilities to control blood to empower himself and affect others. The Traditions of the Class enable the healing of the Bloodweaver and his allies with Bloodbinder; to curse, cripple, and kill with Crimson Witch; and even to turn the Bloodweaver’s own blood into weapons as a Scarlet Reaper. This is in addition to Disciplines, such as Blood Reach which turns the Bloodweaver’s fingernails into hard-as-steel (surely iron would have been better?), ten-foot-long talons, or Taint Blood, poisoning a target’s blood! The Class lists multiple Disciples, all of which require the expenditure of points from the Player Character’s Sanguine Reservoir. Some of these Disciplines and abilities do require the Bloodweaver to suffer damage as well as expend point from the Sanguine Reservoir. The Bloodweaver is an enjoyably horrible Class, being more akin to a blood-themed superhero—or rather anti-superhero—than necessarily a classic Dungeons & Dragons-style Player Character.

The superhero feel continues with the luck-based Fatebender. Where the Bloodweaver has points from his Sanguine Reservoir, the Fatebender has, of course, Fate Points. They can be expended to have something improbable happen nearby or force someone nearby (including himself) to reroll an attack, ability check, or saving throw. The Destined Prospects for the Class include Mascot who radiates good luck around him to his allies and benefits from their good fortune in return; the Jinx instead radiates bad luck to his enemies and benefits from their misfortune in return—including ‘Under a Ladder’ and ‘Wardrobe Malfunction’; and Weaver lets him change fate around him. The latter is not as fun or entertaining as Jinx, and with both Mascot and Jinx, there is something of the swashbuckler to the Class.

If the Occultist was the oddity from A Touch of Class: Seven New Classes for 5th Edition, then the Gemini is the oddity from A Touch More Class: 9 More Classes for 5th Edition. As the name suggests, the Class is all about twins and doubles, and thematically, it has Balances between the two rather than disciplines or paths. The Atavist plays with age, balancing between young and old; Equalist between mind and body, one embodying the former, the latter the other, and this changes every day; and the Reluctant Hero between fear and fearlessness. Roleplaying wise, this has possibilities, but it forces a player to roleplay two characters rather one and that complicates things. The Geomancer draws from the five Chinese elements—earth, fire, metal, water, and wood—and follows one four different Orders. These are Order of the Apothecary, Order of the Architect, Order of the Conqueror, and Order of the Rune Knight. They are respectively, healers, builders—civil servants and city planners are suggested, seekers of peace through conflict, and mighty warriors. The Geomancer is underwritten and of the subclasses, the Order of the Apothecary and Order of the Architect just about fit, whereas the others do not quite.

The Gunfighter lets the Dungeon Master and her players bring firearms into the game. It has its particular Fighting Styles—Archery, Carbineer (gunfighting from horseback), Harquebusier (using hand cannons!), Matchlock Mobility, Point-Black Shooter, and Sharp Aim—though Archery is the odd one out here. The Codes of the Gun are Bushwhacker, for the Player Character who prefers to ambush his targets; Drifter, for the famous or infamous travelling gunfighter; and Maverick, which brings magical gun tricks to the battlefield. Annoyingly, there are no rules for actually using guns to accompany the Class, a major omission. Otherwise, this is a sold Class inspired by Westerns, but mapped back onto earlier firearms.

The Lodestar begins play with a broken soul, but able to coalesce those pieces of broken soul into physical magical spheres that the Lodestar has to constantly keep tethered to his soul. As tethered as they are, the Lodestar can fling them at an enemy to inflict damage, use them to block attacks, and more. Training method include Control, which grants fine manipulation of the spheres; Imaginative to enhance the Lodestar’s artistic capability and imagination as well as the Lodestar’s form; and Instinct in which the spheres become part of Lodestar’s training and combat regimen. The Class feels inspired by the Ioun stones of Dungeons & Dragons, but then turned into an odd sort of martial artist. Overall, it does not really come together in a way that is enticing to play.

The Monster Tamer offers different ways to capture and train pets. The Class adheres three different Regimens. The Animalist has respect for animals and his pet to enhance it; the Monstrous finds kinship with monsters rather than beasts; the Oddball is drawn to the weirder creatures, like the Gelatinous Cube or the Otyugh! The Monster Tamer also teaches his pets tricks, including attacks, using the features of the creature, and even unnatural behaviour! The choice of tamed monster can be really powerful, backed up with a surprisingly high number of Hit Points for the Class.

Inspired by Sir Arthur Conan Doyle’s Sherlock Holmes, the Savant is a Class with the Aptitudes of Adversary, which is all about manoeuvring the enemy into danger; the Chirurgeon and its focus on healing; and the Co-ordinator, who uses knowledge to aid others on the battlefield and make deductions about others. The third of these then, combines elements of the Noble with classic detective, whilst the first is a fighter variant. These are backed up with Tricks which distract or direct opponents across the battlefield. Inspired, of course, by Sherlock Holmes and similar figures with genius levels of observation and deduction, there is lots of roleplaying potential in the Class, even if, ultimately the Aptitudes slightly underwhelm as choices.

Lastly, the Tinkerer brings the gadgeteer to Dungeons & Dragons, Fifth Edition. The Tinkerer—not necessarily a Gnome, of course—craft ‘Affect-Engines’ that consume mystical power and transform into elemental energy, either cold, flame, or lightning, which can be spat out for various effects. One issue is that upon first glance, the Class cannot do anything really interesting until its gets to Second Level. This is not quite the case, as the Tinkerer can build items, which require an Affect-Engine, for example, a hand-rocket or a power-tool. Once a Tinkerer acquires a few Levels and the ability to have more than one Affect-Engine in play, he can construct more powerful items and items which a few more options in their use. All this is really only obvious in looking at the list of example items at the end of the Class description, so only then does the Tinkerer not look as underpowered at First Level. That said, the creation of these devices does not money as well as a bit of time.

Once the Tinkerer is Second Level, he can cast spells and can attack an Affect-Engine to a weapon or object to add its elemental effect, including inflicting extra damage by expending a spell slot. The Tinkerer focuses on one of three Fields of Study. The Bombardier turns his Affect-Engines into artillery pieces; the Mechanic over engineers his Affect-Engine to improve its efficiency; and the Steam Knight turns the heavy armour worn by the Tinkerer into power armour! Overall, this looks like a fun Class to play around with and if there was a suitable Steampunk setting, this would make a suitable addition.

In addition to the extra demons and devils for the Diabolist Class and backgrounds for the Alchemist, 
The Masterclass Codex adds ‘Tailored Magic Items’ that a Player Character of a particular Class gets better at using. For example, the Diabolist’s Whip increases that Class’s ability to conjure demons and devils and gains bonuses to both attack and damage, but later inflicts extra necrotic damage. There are items listed for both the supplement’s new Classes and the standard ones in the Player’s Handbook.

Physically, 
The Masterclass Codex is very much two books in one—A Touch of Class: Seven New Classes for 5th Edition and A Touch More Class: 9 More Classes for 5th Edition—with one having a red trade dress and the other a green trade dress. The layout is clean and tidy, and everything is very accessible, especially with its larger typeface. The artwork, some of it publicly available images, is variable in its quality. Overall, it is and it does feel very much a like a compilation.

Ultimately, 
The Masterclass Codex is what you might call a Marmite book, Marmite soft, dark brown foodstuff that is so salty-tasting—without actually containing any salt—that it divides most people into two groups. They either love it or they loath it. So it is with The Masterclass Codex, and not once, but twice. People are going to either love it or loathe it because it is written for Dungeons & Dragons, Fifth Edition, and then people are going to either love it or loathe it because they like or dislike one, two, or more of the Classes in its pages. For those that dislike it, for either reason, The Masterclass Codex is book to avoid, though there is nothing to stop a Game Master from taking any one of the Classes in its pages and stripping it down to adapt to the Dungeons & Dragons-style game of her choice. On the other hand, there is a lot to like in the pages of The Masterclass Codex. The sixteen Classes are interesting and will add both a different flavour and a different style of play to a game, as well as presenting challenges in terms of getting used to how they play. Their inclusion both adds to the play of Dungeons & Dragons, Fifth Edition and to the Dungeon Master’s campaign world. The Gun Fighter adds firearms and so they exist in the world, the Occultist suggests a horror element, perhaps similar to that of Ravenloft, and the Noble adds a sense of command and control and so on. The Noble is the one Class that will make it to play, particularly if a group is missing the Warlord from Dungeons & Dragons, Fourth Edition.

The Masterclass Codex is not a book that every Dungeons & Dragons, Fifth Edition group or Dungeon Master is going to want or need. Its contents are, after all, optional. However, as a set of options, having them on the shelf is no bad thing. They are a set of new play options to try out, a set of new play options around which to build a world.

Deadly Dinners

A woman sits at the dining table, the meal ready before her, a housewife and siren awaiting the arrival of her husband home, working late, or is he? Lovers, one poisoning the other to keep them even as they stray. Siblings, monsters all, confined by their father’s love and control until they have had enough and decided to ensure their escape by eating him. A nuclear family of loving cannibals whose predations have become too much and as the police closes in, enjoy one last meal of each other. A New Year’s Eve party at the end of 1999 when the world might end at the stroke of midnight and the ball drops, whilst visions of an alternate present haunt the party-goers. Mealtimes—dinner especially—can be times to celebrate, but sometimes they are performances of tension and despair, each course serving up another dish and another act that ratchets up the tension until it becomes unbearable and someone snaps. Seething. Shouting. Screaming. Raging. Worse. Thankfully, these are not scenes of everyday domestic distress, but of set-ups for—and from—the
Suburban Consumption of the Monstrous.

Suburban Consumption of the Monstrous is an anthology of American freeform live action horror roleplaying games that use the themes of food and consumption to explore horror in suburban environments. Published by Pelgrane Press—better known for Trail of Cthulhu and 13th Age and similar roleplaying games—following a successful Kickstarter campaign,
Suburban Consumption of the Monstrous is written and designed by Banana Chan and Sadia Bies, and contains a total of fourteen ‘Live Action Role Playing’ games or LARPs. These are not the traditional fantasy LARPS with multiple participants wielding foam weapons, but much smaller, more intimate affairs, that emphasise drama and tension. This is done via the set-up and then through character design and prompts. The players are free to interpret these prompts within the play, but these LARPS are designed to tell a particular story even if the outcome will vary from one playthrough to the next. The format and style is influenced by the Nordic style, but the fourteen here are classified as American freeform LARPS. All fourteen though, are reminiscent of murder mystery parties, each twisted into their own American horror story.

Suburban Consumption of the Monstrous opens with a short explanation of what LARPS, before delving into a discussion of calibration tools and setting expectations, essentially safety tools. Some of these are particular to LARPS, like ‘Tap and Scratch’, tap being used to indicate that a player wants to step out of a scene, ‘scratch’ to indicate that a player is enjoying a scene. Others, such as ‘Lines and Veils’ and the ‘X-Card’ will be familiar to standard tabletop roleplaying games. There are notes too on expectations for solo play, since some of the LARPs in the anthology are designed for one, and the experience of play can be made all the more intense because of the solitary situation. There is advice too for how to handle the debriefing following a solo LARP, necessary because being designed for one, there is no scope for post-play discussion with others as there is in a standard LARP with more participants.

The fourteen LARPs in
Suburban Consumption of the Monstrous range widely in terms of length and number of participants. From one to as many as eight players, and from under an hour to no more than three. All follow the same format. This includes, obviously, the playing time and the number of players, but to this are listed content warnings, tone and media touchstones—inspirational reading and watching, calibration tools—safety tools to be observed for the particular LARP, and items needed. The latter typically begin with a dinner meal and a table, and can be as simple as print-outs of the LARP’s prompt cards and a mannequin, or as complex as an unusual ingredient, a washcloth, a bathtub, a cup of water, a coin, and a pair of pyjamas. Others require video recordings, particular room types, and more. Following some background there is always a guide to how the LARP will work, but beyond that, each of the LARPs will vary. Many include character and prompt cards that are required in order to play.

Suburban Consumption of the Monstrous opens with ‘A Housewife in Her Twenties’, a solo affair in which a housewife—who happens to be a siren—who goes through the steps of preparing to have her husband come home from work. Doing her make-up, dressing, and preparing and cooking the evening meal, before sitting down to eat—and all this is actually doing those things rather than describing acting them out as you would in a roleplaying game. Throughout there are prompts and questions as to how you react, and there is potential here for transgression, and it is intentionally designed to scritch and scratch and needle, both physically and emotionally. Similarly, ‘TV Dinner’ is very personal as the player, living alone, enjoys a takeout meal, and suddenly realises that someone in the television series he is watching is talking to him. This explores loneliness and what might change as a result of the interaction. All three of the solo LARPs here have the feel more of solo journalling games, although the LARP aspect calls for a physicality that most journalling games do not.

‘My Love, A Poison’ is designed for two players. It is about a relationship that is about to founder, one poisoning the other after discovering their infidelity. It is intimate, consensually so, the player poisoner lacing the victim’s food with an unusual flavour. There is no reveal in the sense that the poisoned participant is caught unaware, both players knowing from the starter who is the poisoner and the poisoned. ‘Goodbye Father’ is not dissimilar. It is for three players, all taking the roles of monstrous siblings who want to escape the constraints their father has placed on their lives and have jointly decided to kill and consume him. The tension and horror of knowing what is coming is ratchetted up by much of the play being done in silence, communication being done via notes or even texts, except when Father speaks, and ultimately when he is dead and they escape. Then they freely find their voices… ‘Love and Betrayal’ begins with three of its protagonists waking up to encounter a Personal Assistant hurrying to get them to rehearsals for scenes from a soap opera. As they do so, the Personal Assistant interrupts with notes from the ‘Director’ on how he wants them to perform, stuck to their scripts becoming increasingly revelatory with secrets about themselves rather than their characters in the soap opera. It is short and direct and very quickly the players will learn that their characters are in a seriously perilous situation. For more players—as many as six—is ‘What Lies Beneath’ is another family affair, which begins on a sombre note. One of their number, the youngest, recently died, and there are revelations about his death to be made by each of the other members of the family. The LARP requires a fair bit of set-up in terms of questions, both as a group and a player. There is a lot in this LARP that is unspoken, and that includes quite literally the ‘Unspoken’, an unacknowledged presence that literally lurks under the table. The ‘Unspoken’ is almost the LARP’s director, using certain actions to indicate that someone is lying, when to reveal secrets, and ultimately to replace one of the family. It is weird and requires quite a lot upon the part of the person playing the ‘Unspoken’.

Physically,
Suburban Consumption of the Monstrous is a lovely book. It is well written, with clear and careful instructions and advice. The artwork is a colourful range of the weird and the disturbing, each piece pointing to the horrors to come in the LARPs that follow. Thankfully, the tooth motif on the dust jacket does not follow through into the pages of the anthology.

Inspired by films such as Get Out and Hereditary, television series like Hannibal and Sharp Objects, the French folk tale Bluebeard, and Jean-Paul Sartre’s 1944 play No Exit,
Suburban Consumption of the Monstrous is a demanding set of horrifying situations, fraught with emotion and tension that preys upon the participants, whilst asking a lot of them in terms of commitment. Players new to LARPS, even mature players—which is what the anthology demands—may find that too much, even with the excellent advice on safety tools and running each one. Nevertheless, they likely benefit from the presence and guidance of more experienced players. Who, of course, will find a great deal to engage with and run here. In terms of physical set-up and commitment, the contents of Suburban Consumption of the Monstrous are less demanding, because they are all designed to be run at home.

Suburban Consumption of the Monstrous is an excellent anthology of LARPs that brings the horror of the family and its relationships to the perfect venue—at the dinner table—and keeps it at home.

Friday 17 May 2024

Friday Fantasy: The Veiled Vaults of the Onyx Queen

It is a year to celebrate. The Queen’s Onyx Jubilee is about to begin, marking the ninety-fifth year of the merciful monarch’s glorious reign. Queen Yoros has the good fortune to be so long-lived and so youthful still, and her people rejoice at her fortune and the beneficence of her reign. She is even gracious enough to invite subjects from all levels of society, including the peasantry. For them, this is a chance to see the queen, to enjoy her hospitality, to pay their respects, and to make memories that they will tell their grandchildren. Unfortunately, only one of these facts is actually true. Whilst the queen is holding a celebration—of a sort—and does want the peasants to attend, hence the invitations, this is not necessarily to their good fortune, although it might be the making of them… They awake to find themselves in an opulent palace, a bitter taste in their mouths and bestial death cultists looming over them. Where are they? How did they get there? How do they get out? These are questions to be answered in Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen, a scenario for the Dungeon Crawl Classics Role Playing Game.

Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen is, as the title suggests, the one-hundred-and-first title in the ‘Dungeon Crawl Classics’ line from Goodman Games. Befitting the fact that it has passed that milestone, Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen is a Character Funnel. This is a feature of Dungeon Crawl Classics, a scenario specifically designed for Zero Level Player Characters in which initially, a player is expected to roll up three or four Level Zero characters and have them play through a generally nasty, deadly adventure, which surviving will prove a challenge. Those that do survive receive enough Experience Points to advance to First Level and gain all of the advantages of their Class. Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen certainly is tough, a great mausoleum turned fouled fane, crawling with savage cultists, sepulchres marked with vicious traps, the smell of death and decay unavoidable, all the while something monstrous lurks in the upper halls ready to vomit flesh-burrowing grave worms at intruders, and a mellifluous voice urges intruders to come to her rescue… Inspired by the short stories ‘The Charnel God’ by Clark Ashton Smith and ‘Imprisoned with the Pharaohs’ by H.P. Lovecraft—and surprisingly—Queen Elizabeth II’s Platinum Jubilee. The whole complex has been turned into a temple to Mordiggian, a god of death, and it combines a slightly eerie feel with a Lovecraftian undertone and a sense of dread and uncertainty, all punctuated with screams of terror and death…

Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen begins en media res. The Player Characters awake to find themselves lying on the floor amidst rows of bodies. Cultists pick over the corpses. It is a wonderfully creepy opening. Once the Player Characters have dealt with the cultists—as is typical for a Dungeon Crawl Classics Character Funnel—with a mass brawl relying on luck rather than skill, because after all, they are intentionally incompetent, they can begin to explore. There is a lovely scale and grandeur to what is the royal funerary complex, dwarfing the Player Characters, its opulence, let alone the persistent and pervading stench of the grave, constantly serving to remind them that they are out of place.

The Player Characters have two objectives. One is to find out where they are, the other is to get out of wherever they are. To do that they are pulled onwards by the mysterious voice into the first of several funeral vaults. These are the last resting places of various royal personages, holding not just the bodies of kings and queens, but items that are necessary for the Player Characters’ survival in helping them defeat the ghastly threats they are likely to face towards the end of the scenario. They are also the opportunity for the author to have some fun with the Judge in presenting puzzles and traps for the players and their characters to overcome and/or survive. They often include a great table of random (or appear to be random) events that can befall the Player Characters, either killing them in interesting ways or changing them radically in true Dungeon Crawl Classics fashion. If the Player Characters can overcome these nicely detailed set pieces, they have the means to defeat the threats they will later face. Wielding these means also hints at possible roles or Classes that the survivors can take after completing the scenario, that is, Cleric, Thief, Warrior, and Wizard.

Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen being a Character Funnel means that there is a possibility of a Total Party Kill. Fortunately, the scenario offsets that by providing a ready supply of bodies, some of which like the original Player Characters, may not actually be dead. These can readily replace the original Player Characters, so that a player could easily play through the scenario and complete it with a completely different set of Player Characters. Given the deadliness of the scenario in places, this is a distinct possibility, as is the chance that the Player Characters make an attempt to escape the funeral palace, totally unprepared, get killed, and almost have to start again, looking for the means to defeat the foul foes that killed their forbears and successfully gain their freedom.

Physically, Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen is very well presented. If the frontispiece looks a little goofy, the rest of the artwork is decent and the cartography is excellent, nicely depicting the scale of the funeral complex. The scenario also includes four handouts and these are nicely done.

Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen is a really nicely done Character Funnel with lots of atmosphere and dread, but it does leave the Judge and her players wanting at the end. The issue is that in escaping the funeral palace and in the process, both discovering quite why Queen Yoros has managed both to stay so young and achieve the ninety-fifth year of her glorious reign and ending that reign, their actions have potentially calamitous consequences for her kingdom. The question is, what happens next? What happens to the kingdom which has just lost its (evil) queen? What are the consequences for the Player Characters? Of course, this is entirely up to the Judge to develop, but the idea of having inadvertently brought down a kingdom is such a delicious idea that you wish that Goodman Games would actually publish a sequel exploring what happens next.

Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen is a richly detailed and enjoyably thematic Character Funnel. It gets the Dungeon Crawl Classics Role Playing Game’s second century of scenarios off to a delightfully grand and morbid start.

—oOo—

Goodman Games will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.

Feathering Fantasy

One of the most interesting and innovative roleplaying games of 2021 has to be Inspirisles. Published by Hatchlings GamesInspirisles is an Arthurian storytelling game in which young teenagers find their way into the mysterious lands of the fae that mirror the British Isles where through the Shaping of magic collect Belief enough to protect the World Tree and so become Pendragons, the descendants of Arthur and Guinevere. It is specifically designed to do three things. First it is designed to be played by young adults. Second, it is designed to be played by the deaf and the hard of hearing. Third, and as a consequence of the latter, it is designed as both an introduction to and to help teach, Deaf culture and sign language—both American Sign Language and British Sign Language. To do that it uses sign language as part of game play. Just as words, letters, numbers, and expressions are shaped out in sign language, in Inspirisles, the players Shape out their characters’ magical control of the Elements, meaning that the players are literally Shaping what their characters are Shaping, and it gives the game a wonderful physicality.

Overisles [https://www.drivethrurpg.com/en/product/460542/overisles-campaign-setting-for-inspirisles?affiliate_id=392872] is the first campaign for Inspirales, following on from the scenario collection, Shapes of Adventure: An Inspirisles Anthology [https://rlyehreviews.blogspot.com/2022/10/scenarios-for-shaping.html]. Published following a successful Kickstarter campaign [https://www.kickstarter.com/projects/tatteredbear/overisles], it takes the roleplaying game in a wholly direction—into the air and island hopping across the archipelago with the Pendragons riding astride their great feathered beasts, the Nimbus. At stake is the fate of the islands. All over the islands, Disbelief, brought about through greed, corruption, cruelty, and bloodshed, is bubbling up under the Nests of the Nimbus, masses of darkness that enable the great birds’ eggs to be stolen, Belief to weaken, and the islands to be dragged down from the skies. Could the culprits be Wyrm Pirates, infamous for stealing the eggs, or could it be something else? The Silver Apples, former Pendragons who stayed on once their quests were complete rather than returning to their lives on Earth far below, have searched far and wide for the cause, but all they have found so far, are hints of shadowy creatures roaming the islands committing theft after theft.

Although Overisles does include a quick guide to creating Pendragons, but the Inspirisles rulebook is needed to create the Player Characters. In addition, the Grail Guide—as the Game Master is called—requires a pair of six-sided dice for use with the campaign’s various tables. The actual play requirements for Overisles are simple. Just five participants, one of whom will be the Grail Guide, the others taking the roles of the Pendragons, ideally one for each of the setting’s four Elements. Control and use of these four Elements is done via Shaping, the magical means used to overcome Belief Barriers and enter into Disbelief Battles. The former are puzzles or problems which the Pendragons need to solve or overcome, whilst the latter are contests against a threat infused with Disbelief, for example, a troll who has built a bridge into a community and is about to pillage it. Players and their Pendragons work together to solve a problem, explaining how their Shaping and their use of their Element contribute to the solution, working through a Leader. The Leader will change from problem to problem, depending upon which Element is best suited to dealing with the current situation. Key to Shaping, of course, is the use of Sign Language.

Overisles adds another form of Shaping. This is Feathering, which represents communication between the Nimbus and the Pendragon. Eight new words are added in both British and American Sign Language to handle the instructions that a rider will give his Nimbus, whilst in game, his Pendragon will bond with his Nimbus, its feathers coming to reflect the hue of the Element that the Pendragon specialises. There are other means to cross from one island to another, such as the Sky Bridges, but riding a Nimbus gives Pendragon the freedom of movement.

The play of Overisles involves the Pendragons travelling from island to island, encountering NPCs and possibly ‘monsters’, searching for signs of Disbelief, and hopefully solving each situation or problem on each island. Their progress is tracked in two ways. One is by the Pendragons and their players, in terms of the number of Nimbus Eggs and the amount of Belief they retrieve and offer. As they retrieve and offer more of both, they will unlock stronger Shapes and gain access to better items. The other is by the Grail Guide, and is the degree of Calamity which can befall the Archipelago. Whilst Disbelief can be reduced by recovering Nimbus Eggs, if it and Calamity increase, it can trigger calamitous events, starting with a Vorm Storm, when the captain of The Gallant Gull, which takes the Pendragons to Wingrest, the biggest island of the archipelago and the starting point for the campaign, loses control of his emotions all the way up to one of the Nests plummeting to the ground below, and beyond. When this occurs, the Pendragons have to act immediately in order to prevent a disaster.

Overisles details numerous NPCs across the Archipelago, including the four Crests who lead the peoples across the islands, the elite of the Silver Apples—including a very truthful Squirrel, and dangerous beings, like the Corrupted Glow (Glow are winged and birdlike creatures who research Belief, but the Corrupted Glow have been overcome by Disbelief) and Wyrm Pirates. Wingrest is described in broad detail, and there are a number of interesting NPCs that the Pendragons can encounter here in addition to the Crests.

A good quarter of Overisles is dedicated to describing the twenty islands of the Archipelago. For example, Felisia is home to many cats, including its king, Cat Sith. Its notable features include the Great Cat Tree, decorated with colourful tassels and ribbons, and dotted with sun dappled platforms and homes; the Sunning Hills, carpeted with lush grass where the Feliseans can bask or catch fish from the verdant pools; and the Green Fields, which consist of fields of catnip and cat grass, all to please the inhabitants’ sense of smell. It is inhabited by the Feliseans, anthropomorphic cats. Of late though, dark clouds have been rolling over the Sunning Hills at a moment’s notice, and where Cat Sith once hosted picnics, festivals, fishing competitions, and more, he has not been seen in weeks. The Pendragons will want to find out why and this is presented as a series of tasks that will see them climb the Great Cat Tree to Cat Sith’s palace, stand in for him at a festival, and come to his aid. These tasks are presented in succinct fashion and the Grail Guide will want to flesh them out and add a little colour too. All of the island descriptions follow a similar pattern—a description of a handful of important locations and NPCs, the problem causing Disbelief on the island, and the tasks to be done to overcome the Disbelief.

What this means is that the Pendragons have twenty islands to explore in any fashion that they want. That though may be a problem. The Players may not necessarily know which island to visit first and there are no real links in terms of hooks or pointers which will pull the Pendragons from one island to the next. On the one hand, this gives both them and their players a lot of freedom, but that freedom can be daunting. Thus, the Grail Guide may want to throw in some hooks and rumours in order to give her players some ideas as to where their Pendragons should go. One thing that the Grail Guide has to do is decide who is actually responsible for the rise in Disbelief across the Archipelago. Several suggestions are given, but the Grail Guide will need to decide as to who and why.

Physically, Overisles is brightly presented and decently written. The artwork is bright and engaging, one particularly enjoyable piece is of the island of Wingrest floating unseen over the British Isles.

Where Overisles has a problem is that it is underwritten in places and is perhaps too open in its structure, such that it lacks a good starting point and hooks to give reasons for the Pendragons to go to an island and their players to want their Pendragons to go to an island. It is here that it needs development upon the part of the Grail Master and that is in addition to deciding who the villain of the piece is. Inspirales does deserve a campaign, but Overisles is not quite the campaign it fully deserves. It needs a bit more input to run than it should and for less experienced players this could be off-putting. Of course, there are no other campaigns for Inspirales, so Overisles is the only option. Once the preparation has been done, Overisles will be a decent option, not just the only option.

—oOo—

Hatchlings Games will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.

Monday 13 May 2024

Miskatonic Monday #282: Sell Yourself

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—
Publisher: Chaosium, Inc.
Author: Michael Reid

Setting: USA, 2008
Product: One-Location, One-Hour Scenario
What You Get: Eight page, 1.35 MB Full Colour PDF

Elevator Pitch: You’ll go through hell to get this job!
Plot Hook: In a recession, it is every man for himself
Plot Support: Staging advice and four pre-generated Investigators.
Production Values: Plain

Pros
# Sanity scouring sweatbox
# Calls for strong roleplaying under duress
# Easy to adapt to other times and settings
# Potential convention mini-scenario
# Heliopobia
# Rogophobia
# Thanatophobia

Cons
# Highly adversarial

Conclusion
# Short, sharp bloody hour of incandescent interrogation
# Aggressively antagonistic affair that calls for good roleplaying

Miskatonic Monday #281: Dreams to Fill the Vacuum

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

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

—oOo—
Publisher: Chaosium, Inc.
Author Richard Watt

Setting: Detroit, 1995
Product: Scenario
What You Get: Thirty page, 23.75 MB PDF
Elevator Pitch: Dreams aren’t always the right things to have
Plot Hook: Talk of demons and cults are a sure sign of distress
Plot Support: Staging advice,
eleven handouts, two floorplans, and  four NPCs.
Production Values: Good.

P
ros
# Weird contrast of madness and mirage
# Easy to adapt to other times and locations
# Delightfully creepy, upfront antagonist
# Decent handouts
# Designed for experienced Investigators
# Could steer into the Dreamlands
# Oneirophobia
# Automatonophobia
# Melophobia
# Leophobia

Cons
# Designed for experienced Investigators
# Feels underwritten and more of a detailed outline

Conclusion
# The demons are real in a race to save a woman from her dreams
# Weird and woozy mix of action and aberration

Sunday 12 May 2024

Sixth World, Sixth Edition

The world has endured much in the last eight decades in what has been an interesting twenty-first century. December 24th, 2011, marked the end of the five-thousand-year Mayan calendar and the beginning of the next, and with it came unimaginable change. U.G.E., or ‘Unexplained Genetic Expression’, gave rise to the birth of mutant and changeling children, followed by ‘Goblinisation’, in which a tenth of the population mutated into hideous forms. Although their appearance triggered global race riots, they became recognised as Dwarves, Elves, Orcs, and Trolls, separate species in their own right, members of Metahumanity known as the Awakened. Dragons appeared in the skies and were greater than anyone even imagined, owning corporations, becoming media stars, and one even getting elected president—before being assassinated on the day of his inauguration. Corporations were recognised as sovereign states unto themselves, so rose the power of the mega corps, all chasing status on the ten-member Corporate Council, regulating their activities where once national governments had done so. Recognition of the corporations and their extraterritoriality weakened the United States as the Native American demand for recognition turned into an armed struggle that would eventually force Canada, Mexico, and the United States to recognise the Native American Nations under the terms of the Treaty of Denver. Worse was to follow with the data Crash of ‘29 as a killer virus destroyed data and systems worldwide, toppling governments and threatening to destroy the USA. In response, operatives co-opted by the US government and using advanced cybertechnology entered cyberspace and fought the virus. Not all survived, but several of those who did took that technology to market, ultimately leading to personal cyberdecks which allowed individuals to easily access cyberspace and travel anywhere from the comfort of their own homes. In the wake of the Crash of ’29, what remained of the United States merged with Canada to form the United Canadian and American States in order to save both their economies and resources. It was followed by the secession of the Confederated American States four years later, and the founding of Tir Tairngire, an Elf nation just outside of Seattle. The rise of two types of technology—cybernetics and virtual reality would lead to widespread adoption of cyberware as augmentations and the Matrix, the descendant of the World Wide Web, its virtual reality or augmented reality accessed via cybernetic implants, a commlink, even the natural ability of the Technomancer, has run parallel with the rise and study of magic through various traditions.

By the year 2080, the divide between rich and poor, between SIN and SINless has only got wider. A SIN or ‘System Identification Number’ provides state and corporate recognition, access to education, healthcare, and potentially a job, but that job is going to be as a wage slave serving the interests of a corporation. Some of the SINless see their not being part of the system as a badge of honour. It enables them to undertake jobs and tasks that having a SIN would make very difficult, whether that is protecting the rights of fellow slum dwellers or becoming Shadowrunners. Shadowrunners do the jobs, perform the heists and personnel extractions, steal data, babysit assets, investigate mysteries, and the like that corporations and other agencies with a budget big enough do not want to be seen doing. Employed by a ‘Mister Johnson’, they are a corporate fixer’s deniable assets, willingly paid to do underhand tasks that would otherwise ruin a corporation’s reputation, until that is, the Shadowrunners become a liability!

This is the setting for Shadowrun – Sixth World, the roleplaying game originally published in 1989 by FASA, Inc. and subsequently developed over the course of thirty years into novels and short story anthologies, miniatures games, card games—collectible and otherwise, computer games, and more, including, of course, a detailed background and history of the Sixth World setting itself, which also spanned the roleplaying game’s thirty year history, from 2050 to 2080. It combines three genres in particular, two of them particularly not being obvious bedfellows—Cyberpunk, Fantasy, and Urban Fantasy. It is a roleplaying game in which the Player Characters take the roles of Shadowrunners, freelance operatives trying to get by without attracting too much attention, but getting involved anyway.

Shadowrun – Sixth World is the latest iteration of the rulebook, published by Catalyst Game Labs essentially the sixth edition for the setting’s Sixth World. It introduces the setting, provides the means to create the numerous types of Player Characters possible, run the different aspects of the setting—primarily magic and the Matrix, details a wide array of threats and other NPCs and creatures, lists numerous items that the Player Characters can equip themselves with, and hidden at the back, almost like an afterthought, provides a handy introduction to the Seattle of 2080 that includes several NPC contacts and almost twenty scenario hooks! This is all peppered with fiction set within the world of
Shadowrun that helps to impart its flavour and feel, examples of the rules in action, and a pair of pullout sections that showcase just a little of the artwork of the roleplaying’s past thirty years. Veteran players will recognise many of these pieces.

One of the first things
Shadowrun – Sixth World does is highlight the differences between it and previous editions. This is aimed at the veteran player coming to the new edition. So, what then are those changes? First, and foremost, it includes faster easier rules for Edge, the undefinable element of risk taking, guts, and heedless ignorance in the face of danger, stripped down skills, Armour not being part of the Damage Resistance test, the Elimination of Limits, a hangover from the previous, more complicated rules, simplified action, spells no longer needing Force, and altered Matrix functions. The aim is to provide simpler, more streamlined mechanics that encourage greater, faster, and more dynamic action, whilst ultimately making play easier.

A Player Character in
Shadowrun has a mix of physical, mental, special attributes, typically one to six. The four physical attributes are Body, Agility, Reaction, and Strength, and the four mental attributes are Willpower, Logic, Intuition, and Charisma. The four Special attributes are Edge, Magic, Resonance, and Essence. Of these, only magic-using Player Characters have Magic and only Technomancers have Resonance, whilst all Player Characters have Edge and Essence. The latter measures how much cyberware, bioware, and other augmentations that a Player Character can have before he becomes too machine-like. It also measures the capacity for a Player Character to use magic. Install too many augmentations and the Player Character’s Essence is reduced, and so is his capacity to use magic. Skills, on the same scale as attributes are divided between active skills and knowledge skills, plus languages. A Player Character has a Metatype—Dwarf, Elf, Human, Ork, or Troll—which conform to the classic fantasy versions of them, plus a Lifestyle, ranging from Street and Squatter to High and Luxury, which apart from Street has to be paid for and maintained. He can also have Qualities, positive or negative, such as Analytical Mind, Catlike, AR Vertigo, or Combat Paralysis.

A Player Character will also have a broad role, either Arcane Specialist, Face, Street Samurai, or Technology Specialist, but within them there are several ways of achieving what each role is designed to do. The Arcane Specialist can be a Mage, a Shaman, or an Adept, the latter being able to focus his magic inwards to enhance himself either physically or socially; a Face can be skill based, a social Adept, or augmented with the right cyberware or bioware; and a Street Samurai can be all skill focused, a physical Adept, or heavily augmented with cyberware. The Technology Specialist can either hack into the Matrix or operate vehicles and drones, either through technological means or innate magical means. The Decker uses technology to hack the Matrix, whilst the Rigger uses it to control technology. The Technomancer uses innate magical ability to hack the Matrix, whilst the Dronomancer uses it to control technology. In general, Player Characters will be specialists in their role. There is some flexibility in terms of character design and the degree to which a character is augmented, but that degree will always be limited by how much a player wants his Arcane Specialist character to be able to use magic.

Character creation itself is not an easy process and takes some getting used to. It uses an updated version of the Priority System first seen in Shadowrun, First Edition in 1989. A player sets the priorities for his character’s Metatype, points to assign to skills and attributes, Magic or Resonance capability, and Resources. Metatype also includes Adjustment Points, which are then spent on Edge, attributes for that Metatype, and either Magic or Resonance. Resources are not just spent on weapons, armour, and other equipment, but also cyberware. At the end of the process, a Player Character receives some Knowledge and Language skills for free (but can purchase more), chooses Contacts and some Qualities, and spends Karma to customise the character. This is in addition to a series of questions designed to help the player envision his character and his motivation as well as his place in the Sixth World. Alternatively, a set of ten pre-generated archetypes provide ready-to-play Player Characters or examples to show what the end result looks like.

Kimama Sanchez
Metatype: Ork Role: Shaman
Racial Qualities: Low-light Vision, Built Tough 1

Body 6 Agility 4 Reaction 3 Strength 6
Willpower 4 Logic 2 Intuition 2 Charisma 5
Edge 4 Magic 6 Essence 6

Attack Rating: 9 Defence Rating: 6+3 Initiative: 5+1d6
Composure: 9 Judge Intentions: 6 Memory: 4 Lift/Carry: 10

Skills: Astral 1, Athletics 1, Close Combat 1, Conjuring 5, Influence 1, Perception 1, Sorcery 5 (Spellcasting +2)

Knowledge Skills: Spirit Types, Seattle Dive Bars

Languages: Or’zet

Spells: Analyse Truth, Antidote, Armour, Confusion, Detect Life, Detect Magic, Heal, Mindlink, Stabilise, Stunbolt

Rituals: Circle of Healing, Ward

Qualities: Mentor Spirit (Bear), Combat Paralysis, Quick Healer, Built Tough (2)

Contacts: Bartender (Connection 2/Loyalty 3), Beat Cop (Connection 2/Loyalty 3), Fixer (Connection 3/Loyalty 2), Mechanic (Connection 3/Loyalty 3), Mafia Consigliere (Connection 3/Loyalty 1), Mentor (Connection 3/Loyalty 3)

Equipment: Extendable Baton, Combat Knife, Lined Coat, Metalink Commlink, Credstick, Lifestyle – Squatter (Prepaid, One Month), Evo Falcon, ¥3557

Mechanically, at its most basic,
Shadowrun – Sixth World is quite simple. To have his character undertake an action, a player rolls a dice pool of six-sided dice, results of five and six counting as successes or hits. If more than half of the results consist of ones, then there is potential for a glitch or critical glitch. The dice pool typically consists of the total of an attribute and a skill, a task having a threshold, which represents the number of hits a player has to roll to succeed. This is a straightforward Simple test, whilst an Extended test consists of two Simple tests, the side rolling the most hits winning the outcome. Extended tests are essentially a series of Simple tests, the Player Character having a period of time in which to roll them in order to achieve a greater threshold. Alternatively, a player can buy hits, dividing the number of dice in his dice pool by four and counting the result as the number of hits.

Edge gives an advantage to a Player Character’s action. The cost ranges from one to five Edge. So, for example, a one-Edge Boost will enable a player to reroll a die or add three to Initiative; a two-Edge Boost lets him add one to a die, give an ally an Edge, or Negate an Edge used by an enemy; a three-Edge Boost grants an automatic hit or heals a some Stun damage; a four-Edge Boost can add Edge to the dice pool and make results of six explode or reroll all failed dice; and a five-Edge Boost can make results if two count as glitches for the enemy or create a special effect, that benefits the action. These are not the only Edge Boosts, but in addition, there are Edge Actions. These include making a Big Speech, a Called Shot, a Knockout Blow, or gaining Sudden Insight, all of which have their benefits. Lastly, Edge can be permanently burned to gain a ‘Smackdown’ when a Player Character really, really has to hit hard, and ‘Not Dead Yet’ when otherwise, it looks like the Player Character should be.

Edge is integral to play. A Player Character can earn Edge through, especially in combat encounters, up to a temporary maximum of seven, so a player should not only be looking for opportunities to earn it, but opportunities to spend it too. Thus, ideally, there should be a constant turnover of Edge as play progresses. Yet, this is hampered by the sheer number of Edge Boosts and Edge Actions and they are a lot to remember. In fact, too many to remember with having a reference sheet to hand for every player, let alone the Game Master.
One Saturday night, Kimama Sanchez gets home from the bar where she has been drinking to find four gangers, members of the 7th Avenue Slashers, attempting to lift her Evo Falcon. They have a Professional Rating of two, so their attributes are all two with skills to match, except for their intimidating manner and willingness to throw their weight around. Kimama Sanchez just wants to go to bed, so to avoid a fight, she attempts to intimidate the gangers. As a tough-looking Ork, Kimama is definitely more physically powerful than any of the gangers. This gains her an extra point of Edge from the Game Master. Kimama’s player keeps that in reserve and rolls her dice pool, which consists of six dice, equal to her Charisma + Influence. This will be opposed by the gangers’ Willpower + Intuition, equal to two each. The Game Master rolls this as a group, stating that for each hit that Kimama’s player scores more than the gangers, one of them will flee. The Game Master rolls three, three, six, and six. Kimama’s player rolls two, three, four, six, six, and six, a good roll, but only enough to affect one ganger. Fortunately, Kimama has the extra Edge awarded because she is tough-looking and her player decides to use it as well as a point of her innate Edge to purchase a two-Edge Boost to add one to one of the die results. She turns the result of four into five and now has two hits. This means that she has successfully intimidated two of the gangers, who after Kimama asks gruffly, “Hey, squishies, you really wanna be trying this, this time of the morning?”, decide that taking on a tough-looking Ork this time of the morning is not for them.
The core mechanics are used throughout Shadowrun – Sixth World, including all of the mechanical subsets that handle the different aspects of the rules—magic, Technomancy, the matrix, rigging, and so on. Combat is surprisingly treated in just twenty pages, but that also includes plenty of examples that really help the Game Master grasp the rules. At the core, combat revolves around comparing Attack Rating to Defence Rating, and if one is greater than the other by four or more, that combatant gains a point of Edge. More Edge can be gained from the situation, from gear, and more. Edge can be spent before or after the roll. Damage can be soaked by rolling hits generated from a roll based on the Body attribute. Damage is applied to the defendant’s Condition Monitor. Overall, the combat covers ranged and melee combat, grappling, knockdown, explosives, gas attacks, spray attacks, and more.

Magic is divided into two traditions, Hermeticism and Shamanism, the former being academic in nature, the latter more experienced and performative in nature. The first relies on Logic as its attribute, the second on Charisma as its attribute. The rules cover spells, conjuring, summoning, enchantments, alchemy, and more. Adepts have innate powers, such as Astral Perception, Danger Sense, Killing Hands, and more. One danger of using magic for any tradition is the possibility of Drain because using or casting magic is tiring. Every spell has a Drain Value, and when it is cast, the magic-using character’s player must make a roll to withstand its effect. For every hit, the Drain Value is reduced. Any Drain Value left over inflicts stun damage, but this is stun damage that cannot simply be healed. It must be rested to recover from!
It is Sunday morning following a Seattle night out and Kimama is still facing down two gangers who want to steal her bike and were not put off by her intimidating manner. One of them draws a streetline special and points the pistol at her and with a sneer says, “Whatcha gonna do ’bout it, trog?” The other one pulls out a knife. Things have taken a bad turn, one which Kimama wanted to avoid. Combat is about to ensue, which begins with initiative. The Game Master will roll one die and add four for the gangers, whilst Kimama’s player will roll one die and add five. However, Kimama has the negative Quality of ‘Combat Paralysis’, which not only halves the result, but means that she goes last in the first round. The Game Master rolls one, adds four, for a total of five. Kimama’s play rolls a five and adds five for a total of ten. Halved, this is five. What this means is that after the first round when Kimama has to go last due to her Combat Paralysis, she has the same Initiative as the remaining gangers. However, since her Edge is four compared to their one from their Professional Rating of one, this breaks the tie and she will go first in subsequent rounds.

The lead ganger, armed with his Streetline Special, opens fire at Kimama. The Game Master rolls the ganger’s Firearms 2 + Agility 2, Kimama’s player will be rolling Reaction 3 + Intuition 2, whilst the Attack Rating of the Streetline Special is compared against Kimama’s Defence Rating. The Streetline Special has an Attack Rating of eight, whilst Kimama has a Defence Rating of nine, which includes the benefit of her lined coat. Since the Attacking Rating is not four greater than the Defence Rating, there is no Edge benefit. From the situation, the Game Master states that it is dimly lit in the alley alongside Kimama’s squat, but since she has low-light vision as an Ork, gives her a bonus Edge. The Game Master is rolling four dice, getting a result of four, six, six, and six, whilst Kimama’s player rolls two, three, three, five, and six. The Game Master rolled one more hit than Kimama’s player. This is added to the damage value of the Streetline Special, which is two, for a total of three damage. Kimama’s player now rolls to soak this damage, which is six for her Body. Her player rolls two, three, four, four, five, and five for two hits, leaving Kimama with a point of damage to suffer. Given how tough she is, this really is a scratch! This is marked off on the Physical damage Track of her Condition Monitor on the character sheet. Fortunately for Kimama, the other ganger thinks that the pistol is enough to change her mind and does not attack this round.

It is time for Kimama to act. She is not keen on violence, so decides to cast Stunbolt at the ganger with the gun. Kimama’s player will roll her Magic 6 + Sorcery 5 (Spellcasting +2) for a total of thirteen dice! This is definitely four higher than the ganger’s Defence Rating of three, so Kimama is awarded a bonus point of Edge, plus another one because of the poor light conditions and her Low-light Vision. So, she has two. The ganger will oppose the roll with his Willpower + Intuition total of four. Kimama’s player rolls one, one, one, one, three, three, four, four, four, five, six, six, and six, which is four hits and four ones. Fortunately, for Kimama, the number of ones rolled is not enough to cause a glitch. Her player decides to spend the two bonus points of Edge to turn two of the fours into fives, and now she has six hits. This is added to the total effect of the Stunbolt, which is five. The ganger is about to take eleven points of damage, though it is only stun damage. Since damage from direct combat spells cannot be resisted, this is applied directly to the ganger’s Condition Monitor, which is only nine. So down he goes, asleep in charge of a cheap gun. Still, Kimama must check for the effects of Drain because she has cast a spell. Stunbolt has a Drain value of three, so Kimama’s player must roll three hits or more, using her Willpower 4 + Charisma 6, to negate the effect. Kimama’s player rolls one, two, two, two, four, four, six, six, and six, which means three hits and no effect due to Drain! In the meantime, the last ganger is standing there with a knife, just having seen his compatriot fall over, wondering if he should run for it, grab the gun, or use his knife…
The general effect of simplifying the mechanics is to streamline play, most notably with the different subsystems. The magic feels a lot more fluid and easier to run, whilst the rules for handling the Matrix, hacking, and the Decker character type have been adjusted so that Hackers are no longer quite playing what was essentially a separate game or combat to the rest of the Player Characters. This has been done by reducing the number of hacking related skills in the roleplaying, just as the number of skills have been reduced elsewhere in the rules; keeping Noise—the factor, such as distance, which occludes hacking attempts, which ensures that a Decker is on-site with the other Player Characters rather than somewhere else; and by shifting the timeframe of hacking attempts to be in line with that of the other Player Characters in the ‘real’ world. It is still quite technical, so actually something that both Game Master and a player whose character is a hacker, need to learn, and do so separately from the other players. As does the Technomancer, but there is a more personal feel to the play of this character type in comparison to the Decker. Similarly, the Rigger has a lot to encompass in terms of what the role can do, with the Technomancer’s equivalent feeling a bit more fluid. All of which stems from the efforts of the designers Shadowrun – Sixth World to ease play and reduce the seemingly insurmountable technicalities of the different subsystems in previous editions. This is not to say that they have not been removed completely, but they have been reduced.

The other aspect of
Shadowrun—cyberware, is listed at the back of the book in the lengthy chapter of gear. Here is where the Game Master and her players will find all of the guns, katanas, armoured trench coats, cyberdecks, and cyberware they will need. Much of it is illustrated, and it also includes vehicles and a wide range of tools as well, all of which can be used to outfit the Player Characters as well as the NPCs, the latter according to their NuYen, the latter according to the needs of the budget. Here is where the players will spend the amount of money listed under Resources in the Priority Table for character creation.

For the Game Master there is a good selection of NPCs, including threats and surprisingly detailed contacts for the Player Characters, and critters, both mundane and awakened. Many of the latter are quite nasty, such as the Basilisk, the Ghoul, and the Vampire, and listings also include dragons, though not the named dragons of the setting. The section on running the game is fairly short, but the advice is good and there are rules here too, for handling ‘heat’, the measure of which the Player Characters might have come to the attention of the authorities. Beyond this—and beyond the numbered pages of the book, the Game Master is given an extra set of bonus content. This includes an overview of Seattle in 2080, its isolation and independence from the United Canadian and American States making a good spot in which to base a campaign, just as it did in the 2050 and the first edition of
Shadowrun. There are even some extra Qualities which a Player Character can have as an inhabitant of particular districts in and around the city! The four NPCs given are fully rounded out and detailed, all ready for their involvement in some of the plots and hooks listed here at the end of the book. There are almost twenty of these, all ready to be fully fleshed out by the Game Master, so they will need some work to prepare for use with a playing group. Overall, the support for the Game Master is generous.

However, as complete as
Shadowrun – Sixth World does feel, it is not perfect. Whilst it goes out of its way to explain what the changes are with the new edition and what the slang means in the setting, what it does not do is give a glossary of game terminology. That would have helped in places where game terms are mentioned before they are properly explained. There is no full example of character creation, so it is different to know quite what you are doing with the creation process, at least initially. There are just too many nuances to it for it to flow easily. There is no example of play. There is plenty of in-game fiction and examples of the rules, but not of general play, and again that would have helped ease the learning process of the game. In terms of background, anywhere beyond Seattle is glossed over, which is disappointing for anyone coming to the city from the surrounding area, especially from any of the Native American Nations or Tir Tairngire.

All that aside, the biggest issue with
Shadowrun – Sixth World is its complexity. It is a complex game, one with several separate sets of rules for handling the activities of various roles in the game. All of which need to be learned and understood by a player and the Game Master if they are going to be brought into play. None of which is insurmountable, but it is a hurdle nevertheless, and it always has been since Shadowrun first appeared in 1989 and subsequent supplements and rulebooks added new roles. That said, the rules for Shadowrun – Sixth World really have been streamlined and they do a great deal to reduce the complexity. The challenge of learning to play is still there, but it has been eased.

Physically,
Shadowrun – Sixth World is decently presented. In general, it is well written, but it does need an edit in places. The artwork though is good, and it is very nice to see the artwork of past editions presented in the book’s several pullouts.

Shadowrun – Sixth World is a great setting with a lot to explore and experience. That is not quite present in Shadowrun – Sixth World, which instead hints at it whilst presenting the means to access it and explore the wider world presented in other supplements. That means—magic, hacking, rigging, technomancy, combat, and more—have been reworked to be streamlined, and faster and easier to run and play, and so make playing or running Shadowrun not as daunting as it has been in previous editions. That is an impressive feat, and whilst Shadowrun still remains a roleplaying game that calls for more than a casual commitment, Shadowrun – Sixth World has made it more accessible and easier to learn.

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