Friday Faction: At Death’s End

The world is dying and everyone knows it. The seas rise and the crops fail and war continues apace without reason, and the peasantry suffers taxes, plague, and worse. The prophecies of the Two-Headed Basilisks are coming to pass and for the great masses huddled on the handful of lands amidst the Endless Sea, there is no hope, only despair. Some take advantage of this empirical ennui, using the strength of their arms, to take what they want, pillaging and plundering gold and jewels, food and wine, and more—to make the time before the end, whether months, weeks, or days, at least less unpleasant, if not actually comfortable, even if this comes at the cost of the comfort, and likely the lives, of others. It is not enough for some. Three men make their way to a cemetery. The first is Lord Arrant von Shatten, a prince with something dark and offering power attached to his soul. The second is the soldier, Alstor Ironhead. The third is the dissolute wizard, Snaga. At the centre of the cemetery stands the Gates of Eternity, beyond which, if they can be opened, lie a dungeon and beyond that, on the other side of time and reason, at Death’s End, is the key and gate’s guardian. Confront them perhaps and they will find a destiny that transcends the fate that will befall the rest of the world.

The story of the three men is told in At Death’s End, a graphic novel set in a world that will be familiar to the roleplaying hobby. This is Mörk Borg, the Swedish pre-apocalypse Old School Renaissance style roleplaying game designed by Ockult Örtmästare Games and Stockholm Kartell and published by Free League Publishing. Written by Alex Jarcor and drawn by Chucho Mendoza and published by Sanity Check, this is a graphic novel that takes the reader far from the failing world, somewhere that is never depicted, but only hinted at in the setting of the roleplaying game. It is a gruelling journey, often pushing the protagonists to call upon themselves in ways that they would otherwise forget as they first seek to open and enter the gate before anyone else can and then march across the deserts of death in search of their desired destinies. Lord Arrant von Shatten wishes for the restoration of his kingdom and to be rid of the thing that leeches his soul and whispers promises of power in his ear (much like the sword Stormbringer does to Elric of Melniboné); Snaga wants to be recognised for his power and his thwarting of death; and Alstor Ironhead desires to be free of his bloody past as a soldier. In comparison to the options presented in terms of what you can play in Mörk Borg, these three are not grotesques, but they are each flawed and failed men. They arrive at their intended destination bruised, battered, and bloody, just as you would expect from a Mörk Borg tale, and once there, they do each achieve their destiny, though of course, not necessarily as they imagined. In this way, and in showing the journey through the Gates of Eternity to Death’s End, the Game Master could take inspiration should her Player Characters ever aspire to escape the fate that the mortal world otherwise has for them

If the endgame is perhaps familiar, getting there is a story of desperate violence, bloody and brutal even as the protagonists are trying to escape it. There is a tightness to Mendoza’s artwork and Jarcor’s writing that again and again explodes into swathes of frenzied action and savagery, as the three men are forced to rely on what has enabled them to make the journey, but now want to escape. At Death’s End is a dark and disturbing story that takes the protagonists and the reader to places only previously imagined in Mörk Borg, yet leaves it open for further tales that will perhaps explore its wider, doom-wracked world.

Dark Tales of the Dark Wine Sea

What if everything that Homer wrote of the greatest journey across the ancient world was false? What if its hero, the greatest general of the forces arrayed before the walls of Troy led by Agamemnon, renowned for guile and his cunning, was a liar? A bully and a freebooter, a reaver and a ravager, a slaver and a pirate. What if Odysseus and his men sailed the dark wine sea, from one end of the Mediterranean to the other—and beyond, not in search of a way home denied to them by the gods, but in search of plunder as recompense for the ten years before the walls of Troy? And what if you sailed with him? Roleplaying games and supplements, such as the island-hopping campaign of Agon from One Seven and Trojan War from Green Ronin Publishing, cast the Player Characters as the heroes, serving their kings and adventuring in the name of their gods. Not in Odyssey: Black Tales. This is a roleplaying game which casts the Player Characters not as ancient Greek heroes, but as the marauders and the pirates under the command of the wily Odysseus. Yet as the lost King of Ithaca commits them to darker and darker deeds in search of plunder, there are some who suffer pangs of conscience. Will they follow the commands of Odysseus and remain Marauders or will they answer the call of conscience and morality and reject his orders, instead becoming Saviours who protect the peoples that Odysseus targets?

Odyssey: Black Tales is a ‘Class and Level’-style roleplaying game from Italian publisher, Officina Meningi. Published via a successful Kickstarter campaign, it is one-part comic book, three-parts roleplaying game and has a mature, if not quite adults only, tone. The artwork, primarily consisting of two-page spreads, is very good, but whilst not explicit, does depict scenes of both torture and sexual acts. These are not illustrative of Odyssey: Black Tales’ game play, but rather of what monsters Odysseus and his crew have become and what the Player Characters revolt against—at least if they follow the Saviour path in an attempt to redeem themselves.

Odyssey: Black Tales presents its core game and associated game play first, interspersed between the comic book style scenes of the monstrousness of Odysseus and his crew. Six acts, from ‘The Sacking of Ismarus’ to ‘Seizing the Sirens’, take the crew across the Mediterranean, including partaking of the forbidden delights of the Lotus Eaters, battling the Cyclops, and selling souls on the shores of Hades, before the journey ends for the crew—if not, famously, Odysseus—as the Sirens take their revenge and the fate of the Player Characters is decided. Structurally, each act consists of three phases: ‘The Encounter’, ‘The Pact’, and ‘The Pillaging’. ‘The Encounter’ is when the crew come upon more People of the Sea and Odysseus gives orders as to how he wants to deal with them and the temperament of the People of the Sea, whether or not they are hostile, is determined. Away from the ship, the Player Characters together make ‘The Pact’ and forge a secret alliance that will raise Odysseus’ ire should he find out. This pact will vary according to whether the Player Characters act as Marauders, still in service to Odysseus, or as Saviours attempting to undermine Odysseus’ efforts to plunder the peoples of the Mediterranean. The reward will differ depending upon the role that the Player Characters decide to adopt. In general, the Saviours’ reward is narrative in nature, whereas the Marauders will receive material and materiel rewards. As the King of Lies, Odysseus will come to suspect the Player Characters if they act as Saviours and they may be forced to act otherwise against the People of the Sea to hide their intent, which will certainly not endear the Player Characters to the People of the Sea, who will come to regard them as Marauders anyway they are trying to avoid this. Consequently, this forces the Player Characters to tread a fine line, but this may not be enough to escape Odysseus’ wrath.

The core play of Odyssey: Black Tales is built around the six acts of Odysseus’ anger and avarice with his path to redemption and the repairing of his reputation taking place after he has confronted the Player Characters and escaped the revenge of the Sirens. The Cantor—as the Game Master is known in Odyssey: Black Tales—and her players can play through the six acts and finale, and be done. However, there is scope for the Cantor to expand her campaign by adding Quests, whether of her own creation—perhaps inspired by the maps in the Odyssey: Black Tales Map Pack—or adapted from other adventures. To that end, there are notes for the Cantor for handling roving monsters, doors and chests, secret paths, traps, and looting, as well as a bestiary, so that she can run a dungeon. The bestiary gives stats for ordinary men and women as well as classic creatures from Greek mythology, such as Cerberus, Chimera, Cyclops, Harpy, and so on. However, there is no advice as to what a typical quest for Odyssey: Black Tales might look like and how it might play. This leaves the Cantor with a lot of work to do unaided.

In terms of what the players roleplay, there are five Classes. The Spartan is a peerless warrior; the Athenian is a cultured warrior, able to read and write and well versed in the arts and philosophy; the Achaean is diplomatic and cunning; the Healer is a highly disciplined aesthete who harnesses spiritual energy to enhance his perception and change the laws of physics; and the Oracle instinctively understands the laws of sorcery to cast spells. Each Player Character has three abilities—Valour, Intelligence, and Cunning—which range between one and twelve. Each is primarily determined by the Player Character’s Class, but may be adjusted according to the difficulty that the Cantor wants to set her campaign at. The Player Character has Endurance Points, the equivalent of his Hit Points, whilst Strike Points represent the amount of damage that the Player Character can inflict, whether from a weapon or other source (but it can come from external sources). Protection is the equivalent of Armour Points, whether from actual armour or another source.

Creating a Player Character is simple. The player selects a Class and rolls the character’s Abilities. The Player Character receives some basic equipment and some money to buy more. The player also chooses a name (though there is no list included) and can add a background if he wants. The Player Character is Level 1 and has the Rank of Novice. The process is fast and simple.

Theokleia

Class: Oracle

Level: 1 Rank: Novice

Valour: 5 Intelligence: 7 Cunning: 4

Endurance Points: 5

Abilities: Sorcery

Equipment: Dagger, Burlap Sack

Mechanically, Odyssey: Black Tales is relatively simple. To have his character undertake an action, a player rolls six-sided dice and attempts to roll under the appropriate Ability. The difficulty determines the number of the dice the player rolls and the method of determining the outcome. For example, for an Easy task, the player rolls three dice and adds the two lowest results; rolls two dice and adds them together for a Normal task; and three dice and adds the two highest results for a Difficult task. A roll of two ones is always a success, but if two sixes are rolled on any dice, it is a critical failure. Overall, it feels inconsistent and it is not easy to grasp.

Combat uses similar mechanics. Initiative is determined by a six-sided die being rolled and the result deducted from the combatant’s Cunning. Combatants act in order, highest to lowest. In a round, a combatant, whether creature, NPC, or Player Character, can move or move and then act. Movement is intended to be handled using maps and figures, in particular the Odyssey: Black Tales Map Pack, but does not have to be. A combatant’s Valour determines the number of squares that can be moved. A combat action can be a Melee Attack, Ranged Attack, Defence, Manoeuvre, Retreat, Mental Power Activation, Recalling a Spell, or Casting a Spell. Of these, Defence increases the difficulty to successfully hit the defender; Manoeuvre covers any other action from changing a weapon and standing up from a prone position to picking a lock and drinking a potion; Retreat means moving towards or getting to an Escape Square on the map (or the equivalent if not using a map); Mental Power Activation is required to use the powers of the Healer; Recalling a Spell is needed to ready a spell to be cast; and Casting a Spell can be of any spell that an Oracle holds in his memory. An Oracle can hold as many spells as he likes in his memory, but there is a penalty to successfully cast a spell in combat if the Oracle holds multiple spells in his memory.

In order to successfully attack, a Player Character must make a successful Valour check. The Difficulty is Normal, meaning that two dice are rolled and added together. To determine the Strike Points—or damage—the player rolls a number of dice determined by the size of the weapon. One six-sided die for a light weapon, two for a medium weapon, and three for a heavy weapon. At higher experience Levels, a player adds more dice to this roll. The defender rolls dice equal to the Protection rating of any armour, natural or worn, and this is subtracted from the total number of Strike Points. If the Strike Points are reduced to zero, the attack inflicts no damage, but if not, the remainder are subtracted from the defender’s Endurance Points.

One oddity is the possible ‘Additional Effects’ for any attack, ranged or melee. If twelve is rolled on any attack, an Additional Effect is potentially triggered. This occurs whether the attack is successful or not. It can result in the attacker getting another attack, knocking the defender or his weapon to the ground, or even the defender striking back! Since most attacks are at Normal Difficulty and two dice have to be rolled, this means rolling double six. It is possible for a Player Character to have a Valour of twelve, the maximum value allowed by the gods, whether by increasing it through experience or setting the overall difficulty of the game to high at the start of the campaign. However, the Additional Effect is not based on skill, or rather on Ability. It is simply a lucky roll, and for almost every situation will occur when the attacker fails.

The casting of magic requires an Oracle to recall a spell to his memory, and he can hold as many spells in his memory as he wants, although this imposes a penalty to cast any spell during combat. The Oracle starts play knowing a wide range of destructive, psychic, and special spells, and will learn rituals at each experience Level gained. To successfully cast a spell, an Oracle’s player must succeed at an Intelligence check at Normal difficulty, minus the Complexity of the spell, which ranges from one to four. For example, Harmonious Lament is a Psychic spell that makes it harder for an attacker to successfully strike an opponent and has a Complexity of one, whereas Curse inflicts five six-sided dice’s worth of Strike Points and has a Complexity of four. If the attempt fails, the Oracle does not forget the spell, but can attempt to cast again, but with a bonus to the roll that reduces the Complexity penalty. This can be done again and again until the Complexity value is reduced to zero or the spell is cast.

Also included in Odyssey: Black Tales are rules for group checks and challenges, and the setting is supported by a decent equipment list and a lengthy loot section. The latter better supports long term play since the campaign itself gives out specific loot in each act. There is advice too on playing Odyssey: Black Tales solo or with two players, and these are workable enough.

One of the claims about Odyssey: Black Tales is that the rules are compatible with Dungeons & Dragons, Fifth Edition, Old School Essentials, and Mörk Borg. This is both true and untrue. It would be challenging to adapt it straight from the core rulebook, whereas what the Game Master will actually need to facilitate the process with ease is the expansion supplement, Black Tales – Adventures in the Mediterranean and Conversion Kit.

Physically, Odyssey: Black Tales is stark jet black throughout with white text and great art. The book is slightly overwritten in places, especially when trying to explain the rules, but a careful read-through is enough for them to be clear.

Odyssey: Black Tales wants to be two things and it succeeds at one and does not succeed at the other. In the first, it wants to be a storytelling game, telling the unrevealed epic of Odysseus before he retold it, not as an anti-hero, but as a villain, and the fall of the Player Characters who stood by him and the redemption of the Player Characters who stood against him, in secret at first, and then openly in the final act. Across the six acts and the finale, Odyssey: Black Tales gives the structure for the players and their characters to tell that tale. In the second, Odyssey: Black Tales wants to take the players and their characters beyond that epic. This could be after the end of the campaign and its confrontation between Odysseus, the Player Characters, and the Sirens, but it could be an entirely different campaign in the Ancient Greek world. To support that, Odyssey: Black Tales includes rules for Player Character advancement, monsters, loot, and various different situations, particularly if a dungeon-like environment is involved. What Odyssey: Black Tales does not provide is background to the Ancient Greek world or its gods and mythology or any advice for the Cantor, whether that is really on running Odyssey: Black Tales or on creating content of her own. In fact, the Cantor is left to her own devices and experience to that end. This is where Odyssey: Black Tales fails.

Odyssey: Black Tales is the basis for a solid, Old School Renaissance-style roleplaying game set in the Ancient Greek world that ably supports its retelling of Homer’s Odyssey with Odysseus as the villain and the path to his own rehabilitation as a hero. There can be no doubt that Odyssey: Black Tales has scope for play beyond this arc, but the support for that is simply not present. In the hands of an experienced Cantor, this is not an issue, but for anyone else, it makes the wider roleplaying and storytelling possibilities of Odyssey: Black Tales a challenge.

The Other OSR: Wraithborn

What happens when you die? Does your soul ascend to heaven and eternal peace as a reward for your piety and lifetime’s worth of good deeds? Are you cast down into hell as punishment for your sins and impropriety, suffering an eternity of torment and agony? Or are you washed ashore of somewhere in between, a liminal space that might be a purgatory, a place from which you move on, your soul washed of your sins, or simply trapped in the lands that border on nothing? Awakening under a blood red moon in lands of perpetual night, not living, not dead, but undead, the memories of who you once were stripped away from you and what cords of faith you had in life with the gods cut in twain. In lands where vampires proudly walk the streets and quest for more lands to conquer and blood to take, where the Fae quail from their vengeful god in their Lonely Isles, where mechanical monsters hunt the Mystland to taunt and torment the people hidden within their fortresses, and where in the perpetual lunar night, silver falls as rain the Ever Dusk to burn and scourge the skin and souls of the undead. Renounced, rejected, and reviled by those gods, the majority undead take on lives and roles that they might have had in life, though they cannot recall what they were. Others rise above that, perhaps becoming the monsters that their new forms embody, revelling in their new nature and imposing it on others, but others seek to rise above that, seeking honour and enlightenment even though there is no way to pass through the Veil that the gods have placed around the lands that make up their new home. These lands are the Tortured Isles in the world of S’Gàth, where the undead know that if they die, it is not permanent and they cannot pass on. Instead, they can only be reborn as undead again, memories lost of what they were, ready to start again.

This is the setting for Wraithborn: Role Play in the Realm of the Undead, a roleplaying game published by Theatre Macabre following a successful Kickstarter campaign. Mechanically Wraithborn is based upon Mörk Borg, the Swedish pre-apocalypse Old School Renaissance style roleplaying game designed by Ockult Örtmästare Games and Stockholm Kartell and also published by Free League Publishing. A player rolls a twenty-sided die, modifies the result by one of his character’s abilities, and attempts to beat a Difficulty Rating of twelve, though the Difficulty Rating can be higher or lower. The Difficulty Rating may go up or down depending on the situation, but whatever the situation, the player always rolls, even in combat or as Mörk Borg terms it, violence.

In terms of what you play, creating Player Characters in Wraithborn  adds tables for determining personality, physique, wealth, and monstrous feature. There are optional rules for each Player Character’s cursed existence—inspired by his monstrous feature, what his destined purpose might be, and Omens. The latter are tied to the Player Character’s destined purpose and work as gifts, and as he gains Levels, gives him options in terms of altering reality, reading the passage of time, hearing the unsaid, and manipulating the aether. All of these are optional, but they add depth and detail to a Player Character. One notable addition to a Player Character in Wraithborn is a fifth stat, ‘Clarity’, which is measure of a Player Character’s magic casting ability, memory, and intelligence, pushing Wraithborn away slightly from its Mörk Borg roots and towards a more traditional roleplaying game. 

The ten Classes in Wraithborn consist of Blood Seeker, Damphyr, FaeBound Daemon, Ironclad, Lunari Mage, Stormbringer, Wraithborn, Wyld Kin, Wyvern Rider, and Zarowka. The IronClad are faithful warriors who serve the IronLairds and who sought out and destroyed Heaven’s Gate, one of the events which triggered the Veiling of the Tortured Isles by the gods, and now protect the MystLand. Vampires come in several types, but hunger for blood and all practise Haematology or Bloodcraft and cast Blood Curses. Vampires in the Tortured Isles thirst for domination and sail from the north across the Severed Seas in their red-sailed ships and in the cities they conquer, they store the blood they tithe in banks. All vampires need to drink blood, and they suffer penalties if they do not . However, unlike a true Vampire, the Damphyr must drink daily, but can transform into vampiric beasts, create tonics, grow vampiric wings, gain greater presence, call forth the legions of the dead, and so on. Damphyr also suffers from ageing. The Blood Seeker is a hybrid Damphyr-arachnid whose spider-like protrusions can pierce victims and directly draw blood from them to store in the blood abdomens on his back and collect them for his master’s blood banks or sell them as part of the Blood trade. The Wyld-Kin connects to the natural world—both flora and fauna—through lyrical telepathy, can transform into both, taking on bestial forms such as arachnids, bears, and more.

A Wyvern Rider is tethered or soul-bound to the wyvern he rides, whilst the Zarowka is an incorporeal practitioner of umbral magic, his player spending Reaction Points to cloak others in Umbral Armour or with Drown in Darkness, suffocating and blinding them, or set them alight with Radiance or set a Light Trap of crystalline shards. The Stormbringer is so attuned to the Aetheric Elements that he can adapt and strange his physical form to embody Elemental properties of S’Gàth—flesh, gold, oil, salt, and stone. The Lunari Mageis a Fae who draws upon the light of the lost sun reflected off the Moon to cast magic, the power varying according to the Lunar cycle, whilst  the FaeBound Daemon is drawn from the Realm of Infernal Fire and bound in the body of a dead Fae and so suffer persistent Red Rot, but command powers of flame outside of magics of S’Gàth. Unfortunately, the creation process is not easy with a lot of paging back and forth through the book to look at the basic steps and then looking at individual Classes and then the various elements of each Class.

Wraithborn uses a unique magic system built around Aetheric Elements—flesh, gold, oil, salt, and stone. Instead of simply casting spells and forgetting them or using a simple points system, spellcasters invest dice of three types in spells to cast them. Ritual or six-sided dice are a caster’s inherent magical ability; Moon or four-sided dice represent the fleeting magical influence of the Aether; and Phase or eight-sided dice represent the phases of the Moon, but are only available to Fae. Ritual dice are gained as part of the Player Character’s Class and refreshed daily, whereas Moon dice are gained from in-game activities, such as killing foes, absorbing power, making offerings, and so on. When a player wants his character to cast a spell, he invests dice in an attempt to equal or exceed the casting threshold of the spell. Moon dice can also be used to boost the subsequent die roll. This is a standard roll of a twenty-sided die and its result will not only determine if the spell is successfully cast or not, but also if the dice are expended as result of the casting attempt. Further, elements can be combined to create new elements, so that a combination of flesh and oil make blood, gold and stone make steel, and so on. This is not without its complexity in comparison to spellcasting systems in other roleplaying games—especially those in the Old School Renaissance—but it also means greater player involvement and flexibility. The roleplaying game’s spellcasting Classes grant extra bonuses with the system. For example, the Stormbringer attunes to two elements daily to grant extra dice, whilst the Lunari Mage gains extra dice that are better depending upon the phase of the Moon.

Wraithborn oozes flavour and atmosphere, but it is a roleplaying game with problems. It provides some great Player Character options and a nicely done new magic system, but it does not help the Game Master with advice on how to run it—beyond addressing the horror of the setting before play and not revelling in this aspect of the setting—or really how to set up a campaign or what to do with it. It does not help in this with the lack of a scenario, whilst there are solo play rules, these are brief, and perhaps best work as a series of prompts for the Game Master rather than something to use to generate long term solo play. To be fair though, there is a scenario at the end of The Tortured Isles, the campaign setting for Wraithborn, but that is in another supplement.

Physically, Wraithborn: Role Play in the Realm of the Undead is vibrant swathes of black and red, swirled in with other colours and classic pieces of art. As good as it looks and as much atmosphere as it imparts, it is a problem. It takes the Doompunk art style of Mörk Borg and over-energises it, not only making it a challenging read (especially if you have conditions such as colour blindness or dyslexia), but also making content and details difficult to find. This could and should have been offset by an index, but it lacks one. This is an error of judgement for a volume that really needs one. 

Wraithborn: Role Play in the Realm of the Undead is the grim dark of Mörk Borg twisted and made even darker and grimmer under a perpetual night and a waxing, waning blood red moon and storm clouds of silver in which the undead twist and turn, wondering where they came from and wondering what the future holds, knowing that it holds nothing. It is potentially, a great sequel to the apocalyptic drowning of the last land of Tveland, as foretold by the prophecies of the Two-Headed Basilisks in Mörk Borg. Of course, it also stands as a roleplaying game in its own right. Or rather not quite. Amidst the interesting Player Character options and the sharp tang of its magic system, as well as the descriptions of the Tortured Isles, Wraithborn hints at possibilities and ideas, but it never really examines what the objective of the roleplaying game is or what it is that the Wraithborn do in S’Gàth. Wraithborn: Role Play in the Realm of the Undead is ripe with play options and drips atmosphere, but really is awaiting a Game Master with good ideas or a campaign.

Squawk Borg

If Pirate Borg pitches itself as the “Worst Pirate RPG Ever Made™!”, then get ready for the “Worst Parrot RPG Ever Made™!”. Well, to be fair, compared to pirates, there really is not any competition when it comes to parrot-themed roleplaying games. In fact, the only other one that springs to mind is Pirates of Pugmire from Onyx Path Publishing, and that actually also does pirates and parrots (as well as other anthropomorphic animals). To be even fairer, this review is not even of actual roleplaying game, so arguably, Pirates of Pugmire does not have any competition at all when it comes to actual pirates and parrots roleplaying games. Instead, Parrot Borg: A Scenario for Pirate Borg is an adventure for the the “Worst Pirate RPG Ever Made™!” published by Limithron via Free League Publishing, especially for ‘International Talk Like a Pirate Day’—or is that ‘International Squawk Like a Parrot Day’?—which takes place on Saturday, 19th September each year.

Parrot Borg: A Scenario for Pirate Borg is both a scenario and a mini supplement for Pirate Borg. It enables players to create and roleplay the parrot companions to their usual pirate characters, either as essentially what is a new character Class (though the Game Master will need to decide on the improvements should a Player-Parrot ever level up) or as an animal companion to each Player-Pirate. (And if you want to take a narrative note from Wraith: The Oblivion, you could even have each player’s Parrot companion be played by another player!) A Player-Parrot is treated just like a Player-Pirate in Pirate Borg with the same ability scores and limited Hit Points and Devil’s Luck. A Player-Parrot is of course capable of flight and has simple attacks including claws and beak, but also a ranged poo attack (which requires some reload time—or that straining time?) that each do minimum damage. A Player-Parrot also has a Type, Physical Trademark, Starting Weapon, and a Special Ability. The Type is a Player-Parrot’s species such as Macaw, Parakeet, Cockatoo, Grey, and Amazon, whilst the Physical Trademark can be clipped wings and scruffy, missing leg, or even being a skeleton or ghost! Starting Weapons include sharper beaks or talons, a weapon, a deadly spit, or even Mega Poo! A Special Ability can be an ability improvement, starting play with a random relic or ritual, or simply being lucky. Of course, Player-Parrots are meant to be throwaway—or is that ‘flyaway’?—characters, but as a mini-supplement, Parrot Borg: A Scenario for Pirate Borg provides a good mix of character types and abilities that a player can take as inspiration too for his parrot’s personality in less than half a page.

The scenario in Parrot Borg: A Scenario for Pirate Borg is a hexcrawl—or is that ‘wing-crawl’?—with a simple set-up and simple solution. The Player-Parrots’ pirate crew have gone ashore on a small archipelago to raid a small town and fort held by the English/Spanish/French (delete as appropriate), but left their parrot companions aboard ship because they heard a rumour that the commander of the fort has a menagerie of animals dangerous to parrots. Several days have passed and still the pirates have not returned. So, either the pirates have successfully raided the fort and town and have been celebrating since, or they have been captured or killed by the authorities. Either way, the Player-Parrots need to check.

From the Player-Parrots’ sloop, they can wing their way out over the islands looking for the missing pirates. There are twelve locations, each neatly detailed. There is a graveyard and a sea cave to explore as well as a villa—home to the fort’s commander, the small town, and the fort itself. Soldiers will take pot-shots at the Parrot-Players and there are birds who will harass them, but in some ways the biggest problem for the Player-Parrots will be the capuchin monkeys which will cause a nuisance wherever they are. They chase a ghost in the Graveyard to get a bite of her for the ASH and caper and agitate for fruit (but not bananas, they hate bananas). There are small stories here to be told too, some of which will play out the Player-Parrots explore.

Of course, what the Player-Parrots are looking for is their Pirates. Some are held in the gaol as you would expect, but others are scattered around islands. Some need rescuing, some do not, and some even need saving! How this is done is all up to the Player-Parrots, but their players will need to be inventive and work together to achieve their aims. This is primarily because the Player-Parrots are fragile and really should avoid combat if they can. However, if the Player-Parrots rescue a pirate, that pirate becomes a Player-Pirate. A player can either switch to playing a pirate or stick with his parrot, but if not, the pirate becomes a back-up or replacement character.

Lastly, Parrot Borg: A Scenario for Pirate Borg is different to other scenarios. One reason is, of course, the fact that the players are roleplaying parrots. The other reason is that the scenario has winning conditions. Rescuing pirates, finding treasure, killing soldiers, and pooing on things will all score points. If the scenario is being run on its own, then the points are not that important. However, Parrot Borg: A Scenario for Pirate Borg could be run as a tournament event and then the (parrot) points would mean a whole lot more.

Physically, Parrot Borg: A Scenario for Pirate Borg is very nicely presented. It is a trifold, pamphlet adventure done in full colours with a great cover and a very lovely map. The format means that the writing style is concise, but the content is neatly organised and laid out so the Game Master can run it straight from the one side.

Parrot Borg: A Scenario for Pirate Borg is a very silly affair, but it is also a fun affair. Whether as a one-shot from other roleplaying games or a diversion from a Pirate Borg campaign, Parrot Borg: A Scenario for Pirate Borg is a chance for the players to squawk if they want to fly faster and get polymerous with their parrots.

[Free RPG Day 2026] Terror in Tortuga

Now in its nineteenth year, Free RPG Day for 2026 took place on Saturday, June 27th. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Unfortunately, due to vagaries of International Customs, Free RPG Day in the UK did not take place until Saturday, 22nd August.

This review is possible due to the generosity of Waylands Forge in Birmingham.

—oOo—

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

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

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What is it?
The Terror in Tortuga: PIRATE BORG Quickstart & Adventure is the quick-start for Pirate Borg, the self-described, “Worst Pirate RPG Ever Made™!”. It is published by Limithron via Free League Publishing.

The Terror in Tortuga: PIRATE BORG Quickstart & Adventure is a twenty page, full colour booklet.

How long will it take to play?
The Terror in Tortuga: PIRATE BORG Quickstart & Adventure includes the scenario, ‘Terror in Tortuga’, a sandbox affair which is more open ended and can be played through in a single session or it might last two or three sessions.

What else do you need to play?
The Terror in Tortuga: PIRATE BORG Quickstart & Adventure needs a full set of polyhedral dice per player.

Who do you play?
The Terror in Tortuga: PIRATE BORG Quickstart & Adventure does not include any pre-generated Player Pirates. Instead, it gives full rules for creating a Player Pirate of a single Class, that is, ‘Pirate’, much like the Pirate Borg Starter Set. (Alternatively, players can create pirates using the publisher’s Random PC Generator or create them using the full rules in the Pirate Borg core rulebook.)

How is a Player Character defined?

In Pirate Borg, a Player Pirate is defined by his Abilities, Class, gear, and Devil’s Luck. The five Abilities are Strength, Agility, Presence, Toughness, and Spirit, each rated between ‘-3’ and ‘+3’. A Player Pirate also has a weapon, clothing, and hat as well as a container, a cheap item, and a fancy item. Additional tables also provide a background, distinctive flaw, physical trademark, idiosyncrasies, unfortunate incidents and conditions, and thing of importance. All of these things are rolled for along with the Pirate Borg’s core abilities.

How do the mechanics work?

Mechanically Pirate Borg is based upon Mörk Borg—hence the name—the Swedish pre-apocalypse Old School Renaissance style roleplaying game designed by Ockult Örtmästare Games and Stockholm Kartell and also published by Free League Publishing. A player rolls a twenty-sided die, modifies the result by one of his character’s abilities, and attempts to beat a Difficulty Rating of twelve, though the Difficulty Rating can be higher or lower. The Difficulty Rating may go up or down depending on the situation, but whatever the situation, the player always rolls, even in combat or as both Mörk Borg and Pirate Borg terms it, violence.

Every Player Character also has the Devil’s Luck. Each Class receives a different amount of this, but the Pirate Class, the only Class presented in the Terror in Tortuga: PIRATE BORG Quickstart & Adventure only has one or two points. It can be spent to inflict maximum damage on a single attack, reroll any die, lower the Difficulty rating of a Test, neutralise a Critical or a Fumble, and to lower damage suffered by a random amount.

It should be noted that the Terror in Tortuga: PIRATE BORG Quickstart & Adventure neatly summaries the rules, including those for combat, to a single two-page spread at the rear of the book.

How does combat work?

Initiative in the Terror in Tortuga: PIRATE BORG Quickstart & Adventure is a simple roll of a six-sided die, with the enemies going first if low, the Player Pirates if high. Violence requires a roll of a twenty-sided versus twelve, modified by Strength for a physical attack and Presence for a ranged attack, to hit. It is the same roll to avoid being hit, modified by Agility. Armour is represented by a die value, from -d2 for light armour to -d6 for heavy armour, representing the amount of damage it stops. Medium and heavy armour each add a modifier to any Agility action by the Player Pirate, including defending himself. This is pleasingly simple and offers a character some tactical choice—just when is it better to avoid taking the blows or avoid taking the damage? Armour can also be damaged, due to a Fumble when defending, reducing its protective effectiveness, and a critical hit in combat inflicts double damage or allows another attack. A fumble with a black powder firearm will result in a misfire. A Player Pirate whose Hit Points are reduced to below zero is dead, but at zero, is broken and can recover.

How does magic work?

In Pirate Borg, a Player Pirate has access to Arcane Rituals. They are not available in the Terror in Tortuga: PIRATE BORG Quickstart & Adventure.

What do you play?

The scenario in Terror in Tortuga: PIRATE BORG Quickstart & Adventure is ‘Terror in Tortuga’. It is a mini-sandbox on the island port of Tortuga, a self-styled ‘Cesspool of Scum, Filth, and ASH’, a sin city currently under the control of Anne Bonney and her crew; Calico Jack, ASH broker; and the Flail, Ghoul Lord of Tortuga. Besides describing the three NPCs, the scenario includes detailed descriptions of the various locations in the port, rumours and secrets, random events, and a projected timeline which suggests what might happen if the Player Pirates do nothing.

The scenario is preceded by a quick overview of the setting, including an explanation of what ASH is. Which is the desiccated ectoplasmic remnants of destroyed undead that can be inhaled or smoked for magical effects. It is also highly addictive. Four jobs and hooks are detailed and these can be mixed and matched to fit the length and scope of the intended session. These include clearing Tortuga of all undead, including the Flail; harvesting ASH and/or the undead; assassinating Calico Jack; and robbing an ASH warehouse. The scenario includes the full details of ‘Fort de Rocher’, the zombie-infested headquarters of the Flail.

Is there anything missing?
No. The Terror in Tortuga: PIRATE BORG Quickstart & Adventure is complete as is.

Is it easy to prepare?
Yes. The Terror in Tortuga: PIRATE BORG Quickstart & Adventure is easy to grasp and prepare. It is Player Pirate-driven, so the Game Master will need to adjust events for their actions.

Is it worth it?
Yes. The Terror in Tortuga: PIRATE BORG Quickstart & Adventure includes everything for a great introduction to Pirate Borg offering plenty to do in Tortuga, whether running as a one shot or adding to a campaign.

The Terror in Tortuga: PIRATE BORG Quickstart & Adventure is available to download here.

[Free RPG Day 2026] Creature Curation Presents #1

Now in its nineteenth year, Free RPG Day for 2026 took place on Saturday, June 27th. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Unfortunately, due to vagaries of International Customs, Free RPG Day in the UK did not take place until Saturday, 22nd August.

This review is possible due to the generosity of Waylands Forge in Birmingham.

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Creature Curation Presents #1 is a slightly different product for Free RPG Day because it is an anthology of three adventures for three different roleplaying games, all three of them compatible with Mörk Borg, the Swedish pre-apocalypse Old School Renaissance retroclone designed by Ockult Örtmästare Games and Stockholm Kartell and published by Free League Publishing. One of the three roleplaying games will be familiar, it previously having appeared as support for Free RPG Day with Into the Würmhole back in 2021, whilst the others will be less so. One thing to bear in mind with Creature Curation Presents #1 is that whilst it states that the quick-start rules are included, this is not actually the case. Instead QR codes are provided for each of the three roleplaying games as well as either a QR code to a character generator for the roleplaying game or a set of pre-generated Player Characters. This makes preparation a little slower than it ordinarily might have been if they had been included, but not overly so.

The first scenario, ‘Impaled Obelisk’, is for Vast Grimm, the pre-apocalypse Science Fiction roleplaying game set in a very future in which cultists have unleashed the infection of THEY, whose infection of Würms and the Grimm have hollowed out and shattered worlds, including the Earth. Humanity’s last hope is the Gate of Infinite Stars, through which the uninfected survivors can escape and find a universe where they will be free of the Würms and the gnawing… In the meantime, pirates and cultists prey on the survivors as desperate men and women gather together in Legions and explore what remains of the universe, perhaps hoping to find something that will towards humanity’s continued survival and the construction of the Gate of Infinite Stars

In ‘Impaled Obelisk’, the Legion answer the distress call of the Gallant Obelisk, a starship that went missing nine decades ago and is found to have crashed nose first into the surface of the planetoid, Caladron 7. It is unlikely that any of the original crew are still alive, but there may still be much to scavenge, some of which will be valuable, some of which might help mankind. Caladron 7’s low gravity means that the Player Characters can easily propel themselves up its length, exploring its corridors, research facilities, scientific laboratories, crew quarters, engineering spaces, and more. Everything seems to be covered in a Web Goo and none of the bodies of the crew can be found. ‘Impaled Obelisk’ is a classic ‘wrecked spaceship as dungeon’ scenario, not a little like Alien, but ‘Grimm’ in its own way. It is easy to run as a one-shot or add to a Game Master’s campaign.

The second scenario is for Raptor Ruckus. This is inspired by 1993’s Jurassic Park and is a survival horror roleplaying game in which the Player Characters are staff at the world’s new and greatest theme park about to excite the world about dinosaurs once again! Of course, things can go wrong. There can be storms or breakdowns or worse, agents of Basilisk, the anti-human doomsday cult, working to sabotage and undermine the whole project!

In ‘Airborne’, the Player Characters are returning to the island park after showing off one of the dinosaurs to investors on the mainland. They are travelling aboard a Lockheed C-130 transport along with a kentosaurus, sedated and caged. Suddenly, there is a bang and the aeroplane pitches nose down—is it about to crash? Just as bad is that one of the creature handlers draws a gun and points it at the Player Characters! Thus, the adventure starts with a bang and carries on from there as they are faced by one dangerously dinosaurous situation after another. They have to get out of the aeroplane, are attacked by Pteranodons on the way down, and find themselves on the wrong side of the fence back in the dinosaur park! And even when they get to the other side, it looks like saboteurs have been hard at work whilst the Player Characters have been away on the mainland. The scenario includes the stats for some dinosaurs, a pair of fanatical cultists, and an entertaining NPC to portray. Pleasingly, it does include a dinosaur chase, exactly as you would want, and overall, this is an excitingly tense chase scenario from start to finish that can lead into Fragmentation, the first campaign for Raptor Ruckus.

The third scenario is for Neon Bastardz. This is a near future roleplaying game inspired by Neon Lords of the Toxic Wasteland and all of the bad ‘B’ and straight to video trashy Sci-Fi movies of the eighties and noughties. The Player Characters are Skumdogs, lowlife-not-quite-scum pushed to take the dirty jobs no one wants to do, from cleaning the sewers of CHUDs to finding radical treasures in the wastelands for the Detroit-Prime Hyper-Lux.

In ‘Killing Detroit Prime Style’, the Player Characters are gangers, members of a war party perhaps hired to do a job for BioRent Worldwide, Detroit-Prime’s leading biotech manufacturer. The offices of BioRent Worldwide on floor #207 of the city’s megablock have been taken over by Ninja. It is up to the gangers to break into the building, ascend to floor #207, find the Ninja and beat their ass before sending them back to their dojo in body bags. Floor #207 is large with separate areas that might take up whole floors in lesser blocks, but whether the cubicle maze, client consultation room, organ storage, executive offices, and so on, the gangers will find Ninja. The gangers can earn ‘Friendship Points’ by saving civilians who are at risk, sparing an enemy who surrenders, giving an emotional speech, fighting back-to-back with an ally, and so on. They can be spent to re-roll any die, heal a downed ally, add a bonus to an ally’s attack, and so on. All very eighties buddy movie and cinematic. ‘Killing Detroit Prime Style’ is a beat ’em up scenario, very much more style than substance and easily the easiest of the three scenarios in the anthology to prepare.

Physically, Creature Curation Presents #1 is a blast of bright neon colour. Of the three, ‘Airborne’ for Raptor Ruckus is underwritten in places, but otherwise, all three are easy to grasp. The artwork is decent throughout, but the cartography is plain if serviceable.

Creature Curation Presents #1 packs in three easy-to-run scenarios that a Game Master can each run in a single session. ‘Impaled Obelisk’ for Vast Grimm and ‘Airborne’ for Raptor Ruckus are the best of the three, as ‘Killing Detroit Prime Style’ is Neon Bastardz is simplistic, but all three are solid introductions to their respective roleplaying games.

[Fanzine Focus XLIV] Börk Morgue

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another Dungeon Master and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. A more recent Old School Renaissance-style roleplaying game that fanzines are being based upon and inspired by is Mörk Borg, the Swedish pre-apocalypse Old School Renaissance retroclone designed by Ockult Örtmästare Games and Stockholm Kartell and published by Free League Publishing.

Börk Morgue Issue #666 is a fanzine for Mörk Borg, ‘An unofficial zine for a Dying World’ from GreysonWHY that contains a mix of options for both players and the Game Master. There is new arms and armour and combat options, new Powers, and new cultists and monsters as well as two new scenarios for the Game Master. It also reverses the titles of the roleplaying game it is written for, a not unamusing play on words. The first of the two scenarios is ‘The Börk Morgue Cvlt’. The Player Characters dream of a book being consumed by flames over which stands a berobed figure with two heads beseeching them to destroy the book and free them from this reality. Until the Player Characters decide to act on this, they are doomed (as their Omen is penalised) and so they are drawn to the Valley of the Unfortunate Undead where a cult is hiding out in the forgotten town of Börk. Its headquarters are, of course, located in the Börk Morgue, and for the most part, the Börk Morgue cultists will welcome the Player Characters as they believe that the Player Characters will want to join up… Of course, the Player Characters are free to react however they want, but of course, this is a scenario for Mörk Borg, so absolutely is not going to be on the level. It is a solid enough affair with the clear layout that makes it easy to run from the page.

‘Fvcking with the Dice’ suggests ways to make the Advantage and Disadvantage mechanic of a great many contemporary fantasy roleplaying. It suggests that both Advantage and Disadvantage—as in rolling extra dice for bonuses and penalties—are too great an Advantage or Disadvantage. It suggests replacing the standard die with a larger or smaller dice as necessary, effectively a dice step mechanic in terms of bonuses and penalties, and goes so far as replacing the twenty-sided die with rolling two ten-sided dice instead to give a probably curve that flat increments. The piece is subtitled ‘a small essay that no asked for by yours truly’ and there is no denying the veracity of that claim. Ultimately this is a house rule explained and up to the Game Master whether she thinks it is a good idea and her players agree.

The house rules continue with ‘Heavy Metal Reforged’. These give cutting and impaling weapons advantage in terms of damage, but so does armour! For five times the cost, a weapon can be forged as fine and do extra damage. Blades do not break on a fumble, but can be dulled and lose any Advantage on damage, or be bent and twisted. It expands the different types of armour available, from light to extra-heavy, plus shields adding extra detail here throughout along with new weapons like the estoc, katar, and katana. A Player Character can also track down Svara the heretical blacksmith and convince her to stick some spikes on his armour. They inflict damage anyone who comes too close and is intimidating, so can influence any Moral check! This all adds detail and may come at the cost of playability. It depends on the group.

Of course, the Player Characters in Mörk Borg are going to get hurt, so the counterpart to ‘Heavy Metal Reforged’ is ‘Scars and Other Ways to Break’ adds scars and injuries to make it just a little more forgiving for them. Injuries of a different type are examined in ‘Dental Manvscript’, which perfect for the Game Master who wants dentistry in her Mörk Borg game. The teeth vary in type and effects depending upon if they are sewn, implanted, or even crushed! For example, ‘Deserter’s Fangs’, whether taken from the dead or the living, can be implanted to increase the damage of a Player Character’s bite attack or the crushed molars blown into the face an enemy to potentially give them Toothrot! This is a gruesome set of options, but perfect for Mörk Borg.

The monsters in Börk Morgue Issue #666 include the ‘Jabborgmörky’, inspired by the nonsense poem by Lewis Carroll, which also introduced the vorpal blade and a version of that, the Mörkal Sword, is included too. ‘Cultists of Dying Gods’ is less interesting, a list of cultists who adhere to the worship of the old gods, many of them former inquisitors still willing to torture heretics of all sorts—cultists and non-cultists—in the name of their faith. It adds the ‘Pstress’, or ‘psychic stress’, which is gained from being tortured or suffering other trauma, including encountering something truly horrible. Fortunately, the subject of torture is treated very broadly, and it applies only to NPCs, who instead use Morale. When a Player Character accumulates Pstress six points greater than his Presence, he suffers a penalty to any action taken against the source, but a bonus to resist any more Pstress. If he gains Pstress double this value, a Player Character can suffer a heart attack, fall into a coma, and so on. Thus, what we have here is actually the equivalent of a Sanity mechanic for Mörk Borg, which unfortunately has been given a clunky name. After the details of the Pstress mechanic, there are stats for various cultists with very little detail of the cults, so actually not that useful or interesting.

The world of Mörk Borg is doomed, but what if there was a chance that it could be forestalled, if only temporarily? ‘Seven Palms for Seven Psalms’ is a strange, but friendly encounter with a seven-armed, seven-headed figure with goat’s legs who offers to play games with the players and if they win, will stop the current Misery. Slightly mocking and knowing in tone, the games are played between the player and the Game Master rather than Game Master and Player Character, and if the player wins, the Misery is definitely delayed. There is some intentional metagaming going on here between the figure and the players, and the figure may reappear later to play for another Misery. Of course, the degree of metagaming means that if the figure is not around, it will probably be enjoying the company of another group of Player Characters and playing games with them. Reminiscent of Ingmar Bergman’s The Seventh Seal in which a medieval knight plays Chess with Death by way of Bill & Ted’s Bogus Journey in terms of tone.

Other worshippers of other dead gods sometimes find their longships washed ashore on the Dying Land from across the Endless Sea. ‘The Odic Force’ adds Vikings complete with Seafaring Priests, Seafaring Marauders, and Seafaring Berserkers as well as Rune-carved tablets of power which work in a similar fashion to scrolls, but neither unclean nor sacred. A raging, pillaging encounter for the Game Master to create with some strange magical effects to loot. Of course, if the Game Master wants to run a session or two in a which the Player Characters are the raiders, then she could have them discover the world of Mörk Borg whilst running Berserkr.

Börk Morgue Issue #666 switches tone and style for its second scenario, ‘Trapped in a Mauß Borg’, which is inspired by Mausritter – Sword-and-Whiskers roleplaying and a dash feline cosmic horror. What if some mutant mice, living in a tumbledown cottage in the woods, want to be free of having to sacrifice their own to Cathulhu and beseech the Player Characters to help, promising in return that they will be treated as gods? Defeating Cthulhu is not going to be a problem, but the fun comes afterwards when the Player Characters discover that they have a cult devoted to them, that they can bless their cultists, and that some of the mice want to go on a pilgrimage with them. The mice can only communicate via an obsidian pebble, but can remember a single Omen for their gods or collectively replace it with one of their own. The resulting situation is very silly, but brings some joyous absurdity to the world of Mörk Borg.

Lastly, ‘Hand of Zauberei’ is a red and black, lacquered gauntlet for the left hand, grimy and worn, infused with the collective stenches of decay, vomit, and sulphur, ready to be found in a treasure hoard. It promises the wearer great power if fed the souls of the undead. This is the ability to reach into the spirit realm and rip out the soul of a single enemy. Of course, the ‘Hand of Zauberei’ wants souls no matter what and will take the wearer’s if it can and take control of the wearer’s body. There is a guide too, for what happens if a Player Character decides to eat a soul. As you can imagine, the results are mostly bad. This is a delightfully nasty magical item and suits the setting of Mörk Borg luring the Player Characters with great power, but at potentially a great cost.

Physically, Börk Morgue Issue #666 is presented in the Artpunk style of Mörk Borg, but not to the usual degree of being challenging to read. Otherwise, it uses publicly-sourced artwork to good effect, whilst the cartography is bland. 

Börk Morgue Issue #666 is a Mörk Borg medley. It contains some solid content for the roleplaying game including two good scenarios—one of which is actually amusing—and some interesting rules options. Some of the latter are more useful than others, for example, the contents of ‘Heavy Metal Reforged’ likely to find its way into a game than the other articles. Overall, Börk Morgue Issue #666 is worth picking up and picking over to find the best bits.

The Other OSR: THREE from the LOCKER

THREE from the LOCKER is a ‘Pamphlet Bundle’ for Pirate Borg, the self-described, “Worst Pirate RPG Ever Made™!”, published by Limithron. It is published by SkeletonKey Games, which previously released the excellent fanzine, Tales from the Locker #1, and consists of a mini-adventure, Sweet Tusk, and two mini-supplements, Blood in the Water and Raise the Black, that are also available separately. In turn, they give the Game Master a location-based scenario that combines H.G. Wells’ The Island of Doctor Moreau with George Orwell’s Animal Farm in the Dark Caribbean; six possible situations when the ship that the Player Characters are aboard is rendered into a derelict, whether from a ship-to-ship engagement, a terrible storm, a run in with sea monsters, or other threat, and about to sink; and what might happen when a pirate captain orders his crew to ‘raise the black’ and hoist the jolly roger! All pamphlets are available on their own as well as a bundle (or pack if physical). They do share the same trade dress, so definitely feel as if they should be bought together!

Sweet Tusk promises ‘Pigs Plot, Rum Flow, Adventure Awaits’ in detailing a costal rum plantation and rum distillery that was once home to a necromancer and his cult, but is now home to a passel of pigs, some sentient, some feral, many bipedal, most of them anthropomorphised. The Player Characters could simply wash ashore at the plantation a la Wells’ The Island of Doctor Moreau, but the adventure’s own hooks include looking for a new source of rum, being sent to exterminate ‘feral’ pigs to prevent them from spreading across the Dark Caribbean, or being hired to retrieve an item from the plantation for its previous owners. To get the best out of the location, the Game Master should ideally combine the latter with one of the first two as that will drive the Player Characters to interact with most of the inhabitants of the plantations, its plot threads, and explore its depths.

The plantation is dominated by two factions. One is lead by Lord Wembly Trembleton and wants to restore the rum distillery and sugar mill with the aim of becoming self-sufficient, whilst Scrofa, the plantation’s spiritual leader, her sorcery twisted by the necromantic studies she found that belonged to the previous owner, is becoming increasingly and brutally isolationist. The Player Characters will need to deal with them and explore the plantations—including the tunnels that have been dug under the plantation (and make it feel like a Vietcong tunnel network)—to achieve their given objectives. Alternatively, the Player Characters might ignore them altogether and clear out the whole of plantation and take it over and run it themselves as a going concern.

Sweet Tusk has a hot, sweaty feel, sticky with perspiration and sugar and piggy peculiarity. The latter is probably the only reason why the Game Master might not want to run Sweet Tusk, talking pigs not necessarily going to suit every campaign. As written though, it adds an off-kilter element that the Game Master can throw at her players and their characters and have fun portraying a passel of pigs in the process.

Blood in the Water gives the Game Master ‘Six Sinking Ship Scenarios’. The Game Master can use this when the Player Characters’ ship, or the ship that they are on, either selecting one of the options or rolling for it. Each one has events happening on deck and three zones surrounding the vessel, out to thirty feet and beyond. The six options include the ‘Feeding Frenzy’ of a shark attack on the ship going down; ‘Tentacles from the Deep’ that flail at the ship and its crew and passenger; a ‘Powder Magazine Explosion’ that sends fire and shrapnel across the deck and beyond; the ship and floating wreckage being thrown about by ‘Angry Seas’; ghosts that come looking for new crewmembers in ‘Revenant Recruitment’; and potentially the crew and passengers being saved with a kiss by ‘Meddling Mermaids’! Since the action in each divided into four zones—three plus the deck—where different things will happen, there is a degree of procedure to running any one of these post-disaster ship encounters. Not a lengthy procedure, but quite a simple one, and they all do add a bit of flavour to a sinking ship situation beyond the Player Characters abandoning ship and racing for the boats. Added to this is a sea shanty, Sharks in the Water, that a ship’s crew can sing to give its members bonuses to tests in the first few rounds of the sinking ship. The Game Master might want to have her players and their characters learn this in response to having been in a sinking ship the first time and so learn from their experience. Blood in the Water is quite specific in the situation it needs to trigger its use and that trigger is not going to happen that often, but definitely useful to have on the shelf though.

The third pamphlet is Raise the Black. This expands upon the various effects of the jolly roger in play. First, when ‘Raising the Black’, that is, hoisting the jolly roger and its effects upon the crew of the vessel being targeted by the pirate ship. In play, the ship’s captain of the pirate ship tests his Presence and result, which depends upon the size of the targeted vessel in comparison to the pirate vessel, may leave the crew plucky still and laughing off the threat or feeling doomed and wanting no part of the battle. There are plenty of options in between and effectively determines the morale of targeted vessels. ‘Witchjacks’ are special flags, ensorcelled versions of the jolly roger, that grant special powers that can be used once per day. For example, the Banner of the Black Whale grants an extra die of damage in ramming attacks and extra damage the further it has travelled, whilst the Pennant of the Mermaid grants an extra Crew Action. A pirate captain is unlikely to want to fly a flag other than his own, so there are rules included that enable to cut up a Witchjack and sew the resulting parts and its magic into the pirate captain’s own flag. This does not always work, but it destroys the original flag. Minor, but optional rules beyond this are included to help speed up naval combat and ‘D20 Pirate Flags’ give options for both a Player Character or an NPC crew if the Game Master needs to a pirate flag quickly. Given that a third of the pamphlet is taken up illustrations of jolly roger flags, Raise the Black is the least useful of the three pamphlets in THREE from the LOCKER and add the least to the play of Pirate Borg.

Physically, the three pamphlets of THREE from the LOCKER are all decently presented. They are clearly and simply laid out and all easy to read and use. Sweet Tusk is the busiest, so is harder to read, but only slightly so, and nothing that is going to impede the Game Master running the scenario from the page. The artwork is light, but the cartography is decent.

THREE from the LOCKER is solid support for Pirate Borg, the scenario Sweet Tusk being the highlight of the three, entertaining and enjoyable, a Player Character-driven plantation-crawl that is easy to add to a Game Master’s campaign. The other two pamphlets are shorter and not quite as entertaining as Sweet Tusk and Raise the Black not quite as useful, but in the right circumstances, still good to have in the ship’s locker.

The Other OSR: Another Bug Hunt

It is curious to note that since its original publication in 2018, the Mothership Sci-Fi Horror RPG from Tuesday Knight Games has been reliant upon the single rulebook, the Mothership Sci-Fi Horror RPG – Player’s Survival Guide. First as a ‘Zero Edition’ and then as an actual ‘First Edition’. Curious, because despite the horror roleplaying rules detailing no alien threats and giving no advice for the Warden—as the Game Master is known in Mothership—the has proved to be success, with numerous authors writing and publishing scenarios of their own as well as titles from the publisher. What the Mothership Sci-Fi Horror RPG offered was a stripped down, fast playing Science Fiction system that supported a number of sub-genres. Most obviously Blue Collar Science Fiction with horror and Military Science Science Fiction, the most obvious inspirations being the films Alien and Aliens, as well as Outland, Dark Star, Silent Running, and Event Horizon. Yet the authors of third-party content for the roleplaying game have also offered sandboxes such as Desert Moon of Karth and Cosmic Horror like What We Give To Alien Gods, showing how the simplicity of Mothership could be adjusted to handle other types of Science Fiction. This combination of flexibility and simplicity has made it attractive to the Old School Renaissance segment of the hobby, despite Mothership not actually sharing roots with the family of Old School Renaissance roleplaying games derived from the different editions of Dungeons & Dragons. It is thus, at best, Old School Renaissance adjacent.

With the publication of the Mothership Core Box and the Mothership Deluxe Box following a successful Kickstarter campaign in 2024, the Mothership Sci-Fi Horror RPG has a complete set of rules for what is its first edition. The includes rules the construction and option of spaceships with Shipbreaker’s Toolkit, monstrous threats with Unconfirmed Contact Reports, and a guide for refereeing the roleplaying game in the form of the Warden’s Operations Manual.

—oOo—

Contact has been lost with Samsa IV. A survey detected signs of biochemistry on the planet and the Company assigned a team of researchers, engineers, and marines to establish a base of operations, a terraforming station, and investigate the signs. Doctor Edem, the team xenobiologist reported finding a species of arthropods on the planet, nicknaming them ‘carcinids’ or ‘carcs’. A subsequent report informed the Company that one had been captured for further study and examination. That was nine months ago. Six months ago, communication ceased with Gretna Base on Samsa IV. Three months ago, the crew was hired to investigate the loss of communication and reestablish contact. Specifically, they are to rendezvous with the marine commander, Second Lieutenant Kaplan, re-establish satellite communication and restore the terraforming machinery to full operation, and if that fails, evacuate Doctor Edem and the colony’s synthetic science officer, Hinton, or at his logic core. After several weeks in cyrosleep and following a briefing by Company representative, Maas, the Crew finds itself dropped at the landing zone for Gretna Base, surrounded by jungle and in the pouring rain, the rusty, scarred, base ahead along the muddy path.

This is the set-up for Another Bug Hunt, which describes itself as ‘The Introductory Adventure for the Mothership Sci-Fi Horror RPG’. As an introductory scenario to the Mothership Sci-Fi Horror RPG, what Another Bug Hunt does is almost exactly not what you want it to be doing, but the good news is that it does it well. In fact, very well. What Another Bug Hunt does is take direct inspiration from the most obvious of influences over the Mothership Sci-Fi Horror RPG, which are the films Alien and Aliens. That would seem too obvious, too easy, too derivative. Whereas what you would expect the scenario to do is show how Blue Collar Science Fiction horror can be done without any reference to either film. Especially since the Warden’s Operations Manual was about running the game and creating your own content and Unconfirmed Contact Reports contained numerous examples of threats that the Player Characters might contend with in Mothership Sci-Fi Horror RPG. Instead, what Another Bug Hunt does is take that inspiration and show how it can presented as playable content without being derivative and does so as an extension of the Warden’s Operations Manual.

The Warden’s Operations Manual is the best of the core books for the Mothership Sci-Fi Horror RPG. It takes the reader and prospective Warden through the first steps of getting started the roleplaying game, helping her think about the sort of scenario and horror she might want to run, decide what obstacles to present, what she wants each of the roleplaying game’s four roles to do, and so on. It is obvious advice, but that does not mean that it is not helpful. It is, because the scenario is an introductory scenario, written to be run and played by those new to the Mothership Sci-Fi Horror RPG at the least. If the Warden’s Operations Manual tells the Warden how to run the roleplaying game, then Another Bug Hunt extends that advice by showing her. It goes beyond simply telling the Warden what she needs to run the scenario, but also calls out rules as needed, such as how to handle Fear Saves, how to describe locations, handle pacing and tensions, how to handle searches in locations, and asking something as basic as when should the players roll dice? At every stage of Another Bug Hunt, there is useful, helpful advice on how to handle the different aspects of the scenario, from set-up to the climax and then into the aftermath. This does include advice on running the individual parts of the scenario as one-shots, but doing so does mean that the players and their characters will not get the full story or the plot to the scenario.

The Warden’s Operations Manual is the best of the core books for the Mothership Sci-Fi Horror RPG. It takes the reader and prospective Warden through the first steps of getting started the roleplaying game, helping her think about the sort of scenario and horror she might want to run, decide what obstacles to present, what she wants each of the roleplaying game’s four roles to do, and so on. It is obvious advice, but that does not mean that it is not helpful. It is, because the scenario is an introductory scenario, written to be run and played by those new to the Mothership Sci-Fi Horror RPG at the least. If the Warden’s Operations Manual tells the Warden how to run the roleplaying game, then Another Bug Hunt extends that advice by showing her. It goes beyond simply telling the Warden what she needs to run the scenario, but also calls out rules as needed, such as how to handle Fear Saves, how to describe locations, handle pacing and tensions, how to handle searches in locations, and asking something as basic as when should the players roll dice? At every stage of Another Bug Hunt, there is advice on how to handle the different aspects of the scenario, from set-up to the climax and then into the aftermath.

In terms of that story, Another Bug Hunt is just another bug hunt. There is an isolated planet, contact has been lost with the team sent there, the Player Characters will find signs of chaos and discover a desperate situation on the planet, and the primary threat they face does consist of bugs, the aforementioned carcanids. Much like the Xenomorph of the Alien universe, the carcanids have a lifecycle which involves infecting victims—which it does with a shriek—and transforming them physically and mentally. The process gives a player with an infected character some interesting symptoms to roleplay before they completely transform and become an NPC for the Warden to control. If the parts of Another Bug Hunt are run as a one-shot, the Warden will need to speed the process up as it is more suited to the length of the whole scenario. Fortunately, there is scope for replacement Player Characters.

In terms of structure, Another Bug Hunt is divided into four parts. These start out simple and get increasingly more complex as the story progresses. The first part, ‘Distress Call’, is an exploration of the battered and chaotic ruins of Gretna Base, a mini-room crawl containing hints of the horrors to come. It ends with the first encounter with the carcanids, a surprisingly tough encounter that unnerve the players, let alone their characters. The Player Characters are free to move around wherever they want, so it is possible for them to encounter the carcanids very quickly. In ‘Hive Mind’, the Player Characters make contact with the survivors of the team sent by the company to investigate the biochemistry signals on Samsa IV. Here, the Warden has several NPCs to keep track off, three of whom give the Player Characters sub-missions to try and complete. These take place in and around the terraforming station, effectively a dam and pumping station, and they include attempting to call the dropship for evacuation, recover the team’s research from the laboratory, and rescue a squad sent to prepare the reactor against the oncoming storm. The latter, combined with the rising waters, is a growing threat in the scenario, especially when the Player Characters discover that the carcanids can swim! The Player Characters can tackle the three in any order, but the flooding makes them increasingly difficult to do. In addition, they have to deal with the tensions between the survivors and their clashing demands.

Each of the three missions has a cinematic feel to them, whether it is the drive and flight along the top of the dam; the creepiness of the laboratory which is completely in black; and descending down the chimney to cooling room of the reactor. If the first two parts take their cue from industrial spaces of Aliens, then the third part, ‘Mothership’, draws from Alien and Prometheus as the Player Characters ascend into the mountains and discover the carcanid mothership and clamber inside. The inside of the mothership is the setting for the scenario’s grand finale and showdown with its actual villain. It is great scene that the Warden should play for all its worth, terrifying and awe-inspiring, that should with a tense finale as the Player Characters flee for their lives! As the storm breaks and the carcanids swarm towards them in the fourth and final part, ‘Metamorphosis’, the survivors and the Player Characters race to evacuate the planet. This should be narratively exciting encounter as the Player Characters hold off wave after wave of the carcanids, now better equipped to deal with them—at least temporarily—as they make a run for it. This can end in a bang and a total party kill, but the subsequent scene has a sting in the tail and the final scene is a bit of an anticlimax as it purports to be a scene in which the spaceship combat rules for the Mothership Sci-Fi Horror RPG can be taught. As the scenario makes clear, the spaceship that the Player Characters are aboard is not capable of defeating the alien spaceship, so the best option is for them is to flee.

There are elements of the scenario that could have been better handled. For example, the flooding element lacks mechanical support, forcing the Warden to make up something to cover the omission. Which is pity since the scenario is designed to teach the Warden. The aforementioned spaceship encounter is a disappointment.

Physically, Another Bug Hunt is a busy affair. The layout is clean and tidy, accessible, but a little tight in places, but there is a lot going on. The artwork is decent and the cartography serviceable. It is well written and the use of the ‘Warden Educational Support’ to give out the advice is an entertaining touch.

Another Bug Hunt is not just ‘another bug hunt’. It is more than that. It is essentially a tutorial scenario for the Mothership Sci-Fi Horror RPG that draws from its primary inspirations and combines our familiarity with those inspirations with the unfamiliarity of its own story in a pleasing balancing act. Another Bug Hunt is well designed, it does a good job of showing where the rules come into play and where they do not, and it is a great introduction to both the Mothership Sci-Fi Horror RPG and its genre.