Are You Invincible?

For decades, since the nineteen eighties, superheroes have been known about and been operating on Earth. The Guardians of Order, the planet’s greatest superheroes and greatest team of superheroes, working with the Global Defence Agency, a secret organisation based under the Pentagon responsible for managing situations beyond the capabilities of regular authorities, as well as overseeing and guiding the activities of super-powered individuals, faced challenges and battles again in both preserving law and order and in protecting the Earth. Now the Earth is in turmoil. The old Guardians of Order are dead and the new Guardians of Order are proving to be ineffective. Worse, it has been revealed that Omni-Man, an alien who has worked alongside the original Guardians of Order for decades and who came to be regarded as the planet’s mightiest protector, in a bruising fight with his son, Invincible, that not only did he come to Earth to prepare it for invasion by the Viltrum Empire, he also killed the original Guardians of Order. Now he is gone. In a world of superheroes, supervillains and supercrime, as well as the threat of alien invasion, can other superheroes, old and new, take up the mantle of keeping the Earth and its people safe?

This is the set-up for Invincible – Superhero Roleplaying. Published by Free League Publishing, it is based on Invincible, the American comic book series written by Robert Kirkman and illustrated by Cory Walker and Ryan Ottley, and published by Image Comics, and subsequently developed as a television series on Amazon Prime. Invincible – Superhero Roleplaying is a departure for Free League Publishing since presents a genre that the publisher has not previously explored. The roleplaying game presents the means to roleplay superheroes in the world of Invincible, whether that is one of the many characters adapted from the comic book or one of each players’ own creation. It presents the background to the Invincible setting, full write-up and stats for sixty-four characters from the Invincible setting, advice on running the roleplaying game, and the means to play solo.

The introduction covers the basic elements of the setting, the different types of scenes—Briefings (which typically start a mission), Action, and Social, time, and the roleplaying game’s key themes. There are ‘Coming of Age’, ‘Everyday and Epic Struggles’, ‘Bloody, High-Stakes Action’, ‘The Hero/Villain Dynamic’, ‘Power and Responsibility’, and ‘Realistic Heroism’. Most of these are a common staple of the superhero genre, but here also drawn from the comic book series and the story of Mark Grayson, Invincible, and his relationship with his father, Nolan, Omni-Man. The one that is particular to the world of Invincible is ‘Bloody, High-Stakes Action’ with its often bloody and graphic violence in which battles are intense, injuries can be brutal, and death is an actual possibility and often permanent. Neither Invincible the comic book and Invincible – Superhero Roleplaying have the equivalent of plot amour common to the genre.

A Superhero is first defined by his Rank. This can be Teen Upstart, Street Defender, Global Guardian, or Cosmic Champion. This determines how many points his player has to assign to his starting and maximum Attribute points, number of starting powers, and starting reputation. He has a role, six attributes, several derived stats, plus Powers, Talents, Drawbacks, Personal Details, Resources and Gear, and reputation. The eight Roles are Blaster, Brains, Brawn, Controller, Defender, Leader, Striker, and Wildcard, and they define how a superhero operates, but provide no mechanical benefit. The six attributes are Fighting, Agility, Strength, Reason, Intuition, and Presence, and they range in value between ‘1’ or ‘Poor’ and ‘12’ or ‘Invincible’. A superhero’s Powers, Talents, and Drawbacks will vary from superhero to superhero. Personal Details encompasses a superhero’s Occupation, Personality, Drive, Flaw, and Key Relationships.

The Superhero creation process is not difficult. The standard procedure is to choose an Archetype such as Bruiser, Gadgeteer, Powersuit, Psychic, Sharpshooter, Speedster, or Vigilante. This suggests a Role, Attributes, Powers, and so on. It also gives options for Power Source, Hero Talent, Drawback, Occupation, Personality, Drive, Flaw, and Hero Name that a player can choose from or roll for. The latter means that a Superhero is partly randomly generated, partly not. Alternatively, a player is free to choose everything about his Superhero from start to finish, taking inspiration from the Archetype or not. Or a player could choose to one of the Superheroes detailed in the background section of the roleplaying game. It is possible for a player to select extra Powers or Power Boosts during the creation process by taking an extra Drawback or sacrificing Attribute points. The question that many players will have is, “Can I create this ‘superhero’ from this comic book/television series/film/franchise?” and the answer is yes. Not perfectly, but with some effort, yes.

Invincible – Superhero Roleplaying includes some seventy or so Powers, from Action Plan, Adaptation, and Adhesion to Transformation, Water Control, and Weather Control. These are divided into six Power Types—Attack, Control, Defence, Modification, Movement, and Sensory Power Types. Most Powers are graded into four Power Levels—Basic, Major, Massive, and Monstrous—and a Superhero must have each Power Level before progressing to the next. Individual powers tend to be relatively narrow in their application, but can include Boosts which change how the Power is used and Limits which restrict its use. For example, ‘Flight’, whether from wings, jet pack, cape, or magic carpet, allows a Superhero to fly two Zones in a single action, or four Zones at a cost of a point of Stress. This doubles at the Major, Massive, and Monstrous Power Levels. Its single Boost gives the Superhero ‘Interstellar Flight’ (which also requires the Life Support Power), whilst its Limit is ‘Gliding’, which means that the Superhero can only glide and must get to an higher altitude to launch himself and cannot simply stop mid-air.

Of course, there are two difficult Powers in any superhero roleplaying game—gadgeteering and sorcery. In Invincible – Superhero Roleplaying, there is no specific gadgeteering Power. Instead, there is the Technology Control Power and Knowledgeable (Technology) Talent, which can then be backed up with other Powers. So there are no rules for building or designing gadgets. Sorcery does not list any spells, but simply enables a Superhero to instantly duplicate any other Power or for a few minutes by suffering a point of Stress.

Slipways

Name: Gavin Tuttle

Rank: Teen Upstart

Role: Mastermind

Occupation: Student

Personality: Reserved and thoughtful.

Drive: Acceptance. Gavin wants to be recognized and approval for being a hero.

Flaw: Naïve. Gavin is new to being a superhero.
Key Relationship: Spiteful Bully

Reputation: 0 Resources: 2

ATTRIBUTES

Good FIGHTING 3, Good AGILITY 3, Typical STRENGTH 2, Extraordinary REASON 5, Good INTUITION 3, Great PRESENCE 4

Health: 8 Resolve: 12 Slugfest Damage: 1

POWERS

POWER SOURCE: Mutation.

Basic INTANGIBILITY Gavin can turn himself sideways and two-dimensional

Basic TELEPORTATION Whilst Intangible, Gavin can slide along buildings and down the street

KNOWN TALENTS

Tactical Support, Knowledgeable (Technology)

DRWBACKS

Hard Times ×1

As well as each player creating his Superhero, together they also create a Team. Each Superhero has a specific relationship with another member of his Team in addition to the one provided by his Occupation. They have a Team Base too, which for a team of Teen Upstarts might be an unused wing of the school library or the basement of a tattoo parlour and for Street Defenders a former warehouse or family mansion. As with other roleplaying games from Free League Publishing, there are Base Upgrades that the Team can purchase using Karma, the roleplaying game’s equivalent of Experience Points.

Mechanically, Invincible – Superhero Roleplaying uses the Year Zero Engine, first seen in Mutant: Year Zero – Roleplaying at the End of Days. To have a superhero undertake an action, his player rolls a number of dice equal to the appropriate attribute value. The Game Master can add or deduct dice depending on the difficulty of the task, whilst Gear used and the support from allies can add dice. Each roll of a six is counted as a Success and only a single Success is required to succeed at most tasks. If more Successes are rolled, these can be used to gain bonus effects called stunts. These can be used to have a superhero to complete the task quickly or quietly, learn something new, and help a friend by passing him a Success if they are working on a similar project. However, if no Success are rolled, the Superhero has failed and that failure should ideally have dramatic effects. Alternatively, the player can choose to Push the roll. When this happens, the player rerolls any dice which do not show a one or a six. Whether the roll is a success or a failure, the Superhero suffers a point of Stress for each one rolled overall.

Conflict in Invincible – Superhero Roleplaying uses the same core mechanics. Initiative uses a deck of cards numbered from one to ten, and extra cards may need to be drawn if a Superhero has additional actions. In a round, a Superhero can perform a Full Action and a Quick Action or two Quick Actions. A Full Action is a Slugfest, Charge, or Shooting attack, using a superpower, breaking or lifting something, saving bystanders, and so on. Quick Actions can be to move into an adjacent zone, blocking a slugfest attack or dodging a shooting attack, engaging in banter, and more. Some of the Quick Actions can be used to interrupt the actions of an opponent and they can be saved for this purpose to use later in a round. A combatant can also give an Order to grant extra dice to an ally’s action. Movement can be on the ground and in the air with different elevations counted as separate zones. The action also allows for smashing through doors and walls. In a Slugfest attack, extra Successes can be spent on Stunts including Double Damage, Knockback, Stun, Bang Heads, Trap, Disarm, and Deadly Hit, and Special Stunt. Those for Shooting attacks include Double Damage, Suppressed, Trick Shot, Disarm, and Deadly Hit. A player is also free to create his own Stunts and use with the Game Master’s permission. Armour reduces damage, but when a combatant’s Health is reduced to zero, he is broken and suffers a Critical Injury. Critical Injuries can be inflicted without reducing a combatant’s Health to zero. Critical Injuries take weeks or months to recover from, but Health is recovered faster. A combatant can suffer Stress, often from a Banter Action in combat, but primarily through the use of a Superhero’s Powers. When a Superhero’s Resolve is reduced to zero due to Stress, he is stressed out, cannot use any Superpowers which require Stress to be gained or push any rolls.

The rules also cover minions, challenges, and other hazards. Notably, a Superhero can use a Slugfest attack to ‘Wreck a Zone’, the Superhero or Supervillain ripping up objects and using them to hit, throw at, or smash an opponent. This grants bonus dice to an attack, means the attack can be made into an adjacent zone, and completely wrecks the zone, meaning it cannot be wrecked again. It requires a minimum Strength wreck certain types of terrain and this means it is possible to level office interiors, city streets, and whole buildings! Just like we see in superhero films, Invincible – Superhero Roleplaying allows for the possibility that a fight between superpowered individuals is not without its consequences.

For the Game Master, there is good advice on running Invincible – Superhero Roleplaying, including tips and how to capture the tone, structuring play through the different types of scene, adventure, and campaign. Challenges, for example a building burning or a runaway travel, are outlined too, and campaign play is expanded with suggested story arcs for the roleplaying game’s four Ranks, including Alternate Reality, Corporate Interests, Desperate Rescue, Dimensional Crisis, Environmental Disaster, Gang War, Invasion Force, Recurring Foe, and more. Some of these are supported by breakdowns of storylines in the comic, but all are accompanied by an example countdown and social hooks that the Game Master can bring into her game. These are further supported by tables for random threats, such as criminal activity, global dangers, and cosmic perils, which provide prompt after prompt, and to go with all of this, there are plenty of NPC stats too.

In terms of background, Invincible – Superhero Roleplaying provides a good overview of the Invincible universe, from Earth to Mars and beyond the Viltrum Empire. Organisations like the Global Defence Agency, the Guardians of the Globe, the Lizard League, and Viltrum Empire are accompanied by both Action Hooks and Social Hooks. Specific locations, like the headquarters of the Global Defence Agency, Reginald Vel Johnson High School, and even Tailor Shoppe (where the budding Superhero can get a fitted tuxedo or prom dress by day and a flame retardant spandex suit by night) are also detailed, though not as much. The advice makes the city where a lot of the action of the comic book takes place is never identified—it is just the city. What that means is the Game Master can place all of the elements of the setting on Earth in the city of her choice and still have room for her material. In other words, play in the world of Invincible, but make it belong to both her as the Game Master and her players. Lastly, there stats and details for sixty-four characters from the Invincible setting, each given a page. Here and throughout the background section in particular, there are spoilers for the comic book. Nevertheless, this gives the Game Master a great cast of NPCs to use in her campaign.

Lastly, Invincible – Superhero Roleplaying includes ‘Crisis Mode’. This everything that the prospective player needs to run the roleplaying game as a solo experience. Effectively, the player is creating a crisis that his Superhero must respond to each time with a few dice rolls and possibly escalating its intensity, but then resolving it via the ‘Forecast Analysis and Trajectory Engines (FATE)’ which act as the Game Master. Free League Publishing has form with this kind of solo play set of mechanics and it works well to provide a threat or situation and then any questions that the player might. In addition, it could be used by the Game Master as an extra threat generator for a standard, multi-player group.

Physically, Invincible – Superhero Roleplaying is very well presented. The writing is good, but what is going to catch the eye is the artwork. Drawn from the comic series and animated series, it depicts a Four Colour style contrasting with its often bloody scenes of conflict.

The Superhero genre is not one that most people thought that the Year Zero Engine would ever try to tackle. After all, most Year Zero Engine roleplaying games are quite low key and often grim in tone. Invincible – Superhero Roleplaying proves otherwise, with a fast-playing, bruising, knockabout system that gives the players and their Superheroes lots of dice to roll and lots of Powers and Stunts to choose from, and so lots of options. In many ways, the core mechanic is simple—in fact simpler than most Year Zero Engine roleplaying games—and where the roleplaying game’s complexity does come, is in those choices and the spending of the extra Success to choose Stunts. In addition to that, Invincible – Superhero Roleplaying is a good treatment of the world of Invincible, whilst still leaving of room for the Game Master to develop her own content, the setting working as a framework rather than a tableau. In other words, Invincible – Superhero Roleplaying works as a superhero roleplaying game and as a roleplaying game set in the Invincible universe.

For the Game Master and her players looking for a fast-playing, battling and bruising superhero roleplaying game with lots of action and lots of options when in action, as well as a setting that details enough of the world, but not too much to get in the way (and keep fans of the comics happy), then Invincible – Superhero Roleplaying is a great choice.

[Free RPG Day 2026] Legend in the Mist Solo Learn-To-Play Comic Book Adventure

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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For Free RPG Day 2026, Son of Oak Game Studio, best known for City of Mist, the Pulp Noir, Urban Fantasy storytelling game, published the Legend in the Mist Demo Game 2026, a quick-start for the Game Master and three players that enabled them to learn to play the Legend in the Mist: The Rustic Fantasy RPG. However, that is not the only thing that Son of Oak Game Studio published for Free RPG Day 2026. This other thing is the Legend in the Mist Solo Learn-To-Play Comic Book Adventure. As its name suggests, it is a solo adventure designed to teach a player to play Legend in the Mist and to introduce him to its world, and it does it as a comic book. The artwork in Legend in the Mist: The Rustic Fantasy RPG and in the Legend in the Mist Demo Game 2026 is already good, but to have a whole fifty-six-page comic devoted to it? that is something. Now going all the way back to the early days of Tunnels & Trolls and the Fighting Fantasy series with The Warlock of Firetop Mountain, solo adventures have always been a great option when there are no players nearby to play regularly, but they have also been great ways to teach a player the rules as well as in many cases, introduce a player to the concept of roleplaying. As with Legend in the Mist, the player will need a pair of six-sided dice and a pen and some paper to track of the condition of the included Player Character.

The Legend in the Mist Solo Learn-To-Play Comic Book Adventure quickly sets the scene, placing the story long after a Great Age brought low by betrayal, greed, and wrath, in a distant mountain valley where unbeknownst the inhabitants is a seed of hope that perhaps calls to them to go forth and potentially make a great discovery. The story in the Legend in the Mist Solo Learn-To-Play Comic Book Adventure is much smaller than that. The Player Character is called to action when his mother falls dangerously ill after encountering something unnatural. A local healer tells him that he needs to search for a rare ingredient, Rime Thistle, found above the treeline on the north slopes of the mountain.

Very quickly, the Legend in the Mist Solo Learn-To-Play Comic Book Adventure runs through the concept of the Theme Cards and their Tags that help define a Player Character. Gerrin has ‘Spirited Youth’, ‘Deer Stalker’, ‘Skilled with a Bow’, and ‘Devoted to Family’, whilst in his Backpack, he has a ‘Protective Charm’ given to him by the healer. Then it is straight into the first encounter with bandits who are strongarming a peddler who wants to cross a low bridge and the first choice that the player will have to make. Now in a solo adventure book, these would be presented as text questions and a page number given for each that the player would have to turn to. Not so here. The options—usually three of them under the label, ‘What Do You Do?’—are presented as pencil sketches that illustrate what Gerrin does. So, in the first scene, they are ‘I observe from a safe distance.’ and he is shown in the undergrowth, ‘I slip further into the forest and sneak closer, unnoticed.’ and he is shown moving quietly, and ‘I march over and speak to them.’ and he is shown marching determinedly. Then instead of turning to pages scattered throughout the booklet, the player is instructed to turn over the page there he will find three panels, each with an accompanying piece text that clearly explains the outcome of Gerrin’s actions, whether that is a success or a consequence. Sometimes, it can be both! Bigger scenes and their outcomes get their page.

In the confrontation between Gerrin and the bandits, the booklet, acting as the Narrator, explains which Tags apply and the results of the dice roll, and then as the conflict develops and becomes more complex, how to apply the Power of successful rolls to inflict conditions on the bandits. Gerrin can also suffer a Status during the confrontation and this is detailed. By the end of the fight, whether he has won or lost, Gerrin will have gained the friendship of the Peddler, and together they climb the mountain as darkness falls… This though, is only the start and together they have a strange encounter in the woods with one of the Creatures of Twilight on the way up, with whom Gerrin may have to make a deal of some kind. Ultimately, Gerrin will find the Rime Thistle and be able to rush back to his village, but if he takes too much time on the mountain—represented by a status—his return may be too late… Lastly, the Legend in the Mist Solo Learn-To-Play Comic Book Adventure guides the player through the steps of seeing how Gerrin is changed by his experiences.

Physically, Legend in the Mist Solo Learn-To-Play Comic Book Adventure is one of the best looking releases for Free RPG Day 2026. The artwork is great and it captures the character of Gerrin in all of possible actions and their possible outcomes. The rules are clearly explained and the story is well written.

The Legend in the Mist Solo Learn-To-Play Comic Book Adventure is a genuinely enjoyable way to learn the rules and setting of Legend in the Mist. By its very nature, its story is short, but reading through it and learning the rules should take roughly half an hour or so for an experienced player. Anyone new to roleplaying will take a little longer.

Faraway Fantasy

From the Hintherdale and the North Star Region with their high, rugged mountains in the north, the lands of Easten Faraway stretches over a thousand miles to the south of the untamed frontier of the Buckwild and the lush Silver Woodlands beyond. Underneath, an extensive network of caves and caverns, connected by tunnels and in some places, the extensive mines of iron, gold, and silver—and even of adamantium and mithril, form the Underworld. Dug by Purple Worms, Deep Gnomes, and Duergar, the Underworld is heavily populated by Drow and rife with a variety of fungi. There are strange areas here and there also, known as Otherlands, such as Fey crossings and Shadow crossroads. Over time, going back thousands of years, the surface lands of Easten Faraway are settled by the Jötunn giants, by Dragons, and by High Elves, Mountain Dwarves, and Dragonborn. All left their mark and warred with themselves and each other. The Jötunn by the shattered rocks from other regions and huge thrones built from rocks, and also by the Three Swords, one hundred feet tall blades driven into the ground. The Dragons by the absence of Elemental Dragons, destroyed or driven out during the Second Winter War. The High Elves, Mountain Dwarves, and Dragonborn by numerous magical portals found across the region, some of which still operate today and lead to places far away and far beyond. Their Golden Age ended millennia ago, and in more recent times, following the Second Winter War, the region’s biggest volcano, Ilde Volcano, erupted, reducing its surrounding region to ash, killing over a thousand people, and triggering an earthquake that shattered parts of the Underworld; the Grey Pestilence spread like plague across the lands, only ending with quarantine and the burning of the dead; and the Silver Woodlands were burned by a rare Red Dragon before it was felled by an arrow to the eye. Although the lands of Easten Faraway have been subject to invasions from other lands and across the sea, the most recent threat came from below, when bloodthirsty Drow captured and sacrificed victims from the surface world to their goddess, the Spider Queen. Only with great personal sacrifice by the Winterhold Guards of the town of Winterhold, immolating themselves and the invaders in the town hall. It is an event that is still recognised today.

This setting is presented in The Adventurer’s Guide to Eastern Farraway. Published by Midnight Tower following a successful Kickstarter campaign, it is a campaign setting based on the authors’ homebrew campaign world, influenced by Norse mythology and Scandinavian folklore. Designed for use with Dungeons & Dragons, Fifth Edition, it presents the setting, its geography, history, legends and lore, religion and gods, culture, and a whole lot more. Throughout, it is peppered with plot hooks, almost one every two pages or so, but it also covers a lot of information about the setting in a fashion that never threatens to overwhelm the reader. So, it starts off with its calendars and time, geography and climate, flora and fauna, and languages pronunciation. None of these are extensive chapters, but it is enough. The history chapter is much longer and gives a good feel for how the region came to be like it is now. There is a timeline, but a more detailed one might have been helpful. The chapter on legend and lore details three fantastic locations that adventurers would have to quest for to find. They include the Ancient Temple of the Valkyria, only found by the brave and true of heart, most notably by paladins dedicated to her, who must pass the Sacred Trials that test their strength, wisdom, and valour, but which is said to hold treasures donated by faithful paladins over the years, thus attracting the attention of adventurers. Ilde Volcano is a prominent landmark in Eastern Faraway, known for the destruction above and below ground with its last major eruption, including the nearby Ice Dragons Peak and Drakenberg Castle and secret subterranean prophetic carvings, whilst some caverns, like those of the secretive Dragonborn, remained untouched. The Silent Woods are perhaps the strangest location in Eastern Farraway, a maze of tangled, burned trees, brought about by a giant conflagration laid as curse upon two feuding brothers for their greed. These are described in some detail, but the Game Master will need to develop them further to be playable locations.

The influence of Norse mythology and Scandinavian folklore upon the setting primarily shows in the choice of dominant pantheon, which is Norse, with gods such as Odin, Freyr, Hela, Loke, Thor, and Tyr. Their worship is detailed in turn as is that of several other gods not tied to the pantheon. Other links include the creation of Midgård upon Yggsdrisal, which includes the Prime Material Plane along with the Feyworld and the Shadowfell. This is simply part of the background and surprisingly, The Adventurer’s Guide to Eastern Farraway does not emphasise this aspect, whereas another fantasy setting might have done. The result is more a fantasy setting in which the Norse gods are worshipped, but which the peoples of Eastern Farraway are not the Vikings that you might expect. Another way in which it shows is in one of the setting’s two new Player Character species of the Norn. They are statuesque nomads living in the very far north, distant descendants of Val’kÿrian, goddess of battle and mercy, who value truth, honour, and loyalty. They have proficiency with the Survival skill, saving throws versus exhaustion, have advantage on first strikes daily, and wolves and ravens are always friendly to them. In some ways, they are the closest that the setting gets to actual Vikings. The other species is the Mist Elf, who live high in the mountains and are often called Mountain Elves. Curiously, unlike other Elves, they dream and sleep, and tend to be philosophers, poets, and writers. Consequently, they need to sleep at a third (if not half!) of the day, but can see through mist and fog, can communicate with others through their dreams, and if reduced to zero Hit Points, there is a slight chance that they will fade into the Ethereal Plane from whey they will return stabilised.

In addition to the two new species, The Adventurer’s Guide to Eastern Farraway details a new Player Character Background, that of the Messenger, who carries letters and other communiques across the land, whilst new adventure trinkets replace those from the Player’s Handbook for Dungeons & Dragons, Fifth Edition with more appropriate to the setting. Magical items are rare in Eastern Faraway, so adventurers and others often wield ‘Expertise Weapons’, whether Clanforged, Moors Birch, Strike Arrows and Bolts, Iron Oak, or Darksteel Blades. They typically grant a bonus to hit and/or damage, whilst the Staff Sling (or Goosegirl Sling) is used by Halflings and Gnomes and can double range or increase damage depending on the type of ammunition used. Darksteel is found in the Underworld and is so light that a two-handed weapon can be used in one hand! Heirloom items are magical and rare, dating back to the Golden Age, like the Belt of Thor’s Might, Horn of Summoning the Fallen, and Khali-Di-Zar’s Hammer. These are wondrous and require attunement and their powers can be unlocked at First, Third, and Fifth Level. For example, the Belt of Thor’s Might has twelve charges that refresh daily and the user can expend them to do a shattering strike, and he also learns the Shocking Grasp cantrip. He can also expend charges to cast spells such as Heroism, Thunderous Smite, and Witch Bolt, increasingly more powerful at tiers one, two, and three.

Chapters also present the nature of magic in Eastern Farraway, the region’s factions and organisations, politics and government, and more. It notes that magic is rare, and in the case of warlocks and sorcerers, deeply mistrusted. As noted above, magic items are rare and most are relics of the Golden Age. The supplement gets down to specific details of specific regions, looking in turn at the North Star Region in the north, Buckwild in the south (the default starting point for any campaign in Eastern Farraway), and then, surprisingly, the Underworld. In every case, there is a short history of each location, its important people and NPCs, and points of interest. For example, the Underworld chapter describes the city of Myl Argoth, the largest Drow settlement in Eastern Farraway, a Drow matriarch and assassin who resides on the surface and is in charge of negotiating mining rights with the surface authorities, and a Drow cultist who worships Selene rather than the Spider Queen. Locations detailed include the Spider Queen’s Bone Cathedral, built from the bones of her enemies (the bones of Drow are incorporated into ceremonial buildings, weapon hilts, jewellery, and the like), whilst the Duskryn Arena, once a religious site, is now where fights, duels, and executions are staged. All three region write-ups give flavour of how each feels content as well that the Dungeon Master can use. New monsters in The Adventurer’s Guide to Eastern Farraway include Gonks, known for their conical felt hats which make them look like mushrooms and for protecting forests and farmsteads, and Jötunn.

The Adventurer’s Guide to Eastern Farraway comes to a close with several pages of adventuring material. This starts with five adventure seeds—in addition to the plot hooks liberally scattered throughout the book. They include being accused of theft by a wily trader, but it is all a scam, investigating a haunted mill and confronting a ghost, and finding out why several people have quietly walked out of their homes in the middle of the night and then disappeared, and more. Some of them are easier to use than other and some will require fleshing out. The ‘The Thieves’ Guild’s Lair’ is a fully detailed and mapped location, ready to use bar a hook for the Player Characters to attempt to infiltrate it. Lastly, ‘Before the Times of Heroes’ is a short starting adventure set in Buckridge, a village in the default starting region of Buckwild. The Player Characters are all teenagers and Commoners, not yet having had the chance to advance to First Level and acquire the details, abilities, and trappings of a Class. They are asked by a local apple farmer to find two barrels that appear to have gone missing on his two-day journey to the village. In the course of their investigation, the Player Characters will come to the aid of a local woodland creature, find the missing barrels, and confront the thieves responsible. As a reward, they will be introduced to several NPCs who each offer them a chance to learn and train in a particular Class. The Player Characters will then return their home village at the start of the Hunter’s Moon Trilogy.

Physically, The Adventurer’s Guide to Eastern Farraway is very well presented. It looks and feels very much like a book for Dungeons & Dragons, Fifth Edition. It is well written, the maps are good, and the artwork is excellent.

At first glance, it is not easy to identify why play in the setting of Eastern Faraway because The Adventurer’s Guide to Eastern Farraway does not give the potential purchaser and Dungeon Master a strong or immediate selling point have that sets it apart from other settings for Dungeon & Dragons, Fifth Edition or that she can use as a pitch for her players. Yet the setting of Eastern Faraway does have one, and that it is a traditional Dungeons & Dragons-style fantasy setting offering all of the adventure that you would want without being radical or overwhelming either the Dungeon Master or her players with an abundance of lore. From its origins as a homebrew campaign, it is clear that a lot of love has gone into the setting and a lot of work in making the setting of Eastern Farraway engaging with The Adventurer’s Guide to Eastern Farraway.

Ultimately, it is this accessibility that is the selling point to The Adventurer’s Guide to Eastern Farraway. It presents a traditional Dungeons & Dragons-style fantasy setting with some Norse flavour, some mysteries, and some tensions, and makes it easily accessible, effectively uplifting its homebrew origins to professional standard. Overall, The Adventurer’s Guide to Eastern Farraway is a solid introduction to and overview of the Eastern Farraway setting.

[Free RPG Day 2026] Fossilized Violence QuickStart – Second Bite

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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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?
Fossilized Violence QuickStart – Second Bite is the quick-start for Fossilized Violence, the roleplaying game of prehistoric warrior cavemen hunt and kill the dinosaurs that are found lurking everywhere across the primeval supercontinent of Pangeon, published by R. Talsorian Games, best known for the roleplaying game, Cyberpunk RED.

Fossilized Violence QuickStart – Second Bite is a thirty-two page, full colour booklet.

How long will it take to play?

Fossilized Violence QuickStart – Second Bite will take five minutes to set up and about an hour or so to play through.

What else do you need to play?
Fossilized Violence QuickStart – Second Bite requires a set of polyhedral dice to play, at minimum (and probably more), whilst the Game Master also needs a plenty of extra twelve-sided dice. In addition, the Game Master will ideally want some terrain and lots of plastic dinosaurs as plastic cavemen. Alternatively, if playing at home, Fossilized Violence QuickStart – Second Bite encourages the Game Master to scavage what items she can find about the house to create the arena where the Player Cavemen will fight the dinosaurs.

Who do you play?
Fossilized Violence QuickStart – Second Bite includes four pre-generated Player Characters. They are all Cavemen Warriors armed with a variety of weapons.

How is a Player Character defined?

In Fossilized Violence QuickStart – Second Bite, a Player Caveman is defined by three stats—Attack, Defence, and Trait. These are defined by a die type, up to maximum of a twelve-sided die. He eight Traits—Brain, Eyes, Mouth, Skin, Arms, Hands, Legs, and Feet. Each has a Difficulty value attached to it, four at Difficulty 6, three at Difficulty 7, and one at Difficulty 8. He will also have some Hit Points, some armour, and some weapons and gear.

How do the mechanics work?

Mechanically, to have his caveman attempt a task a player rolls his caveman’s Trait die plus the four-sided die of Fate and compares the total with value of the associated Trait for the task. If the roll is higher, the Player Caveman succeeds. If the roll is failure, the player can reroll, but loses the ability to roll against that Trait until the next session. The four-sided die of Fate also explodes on a roll of a four and a player can keep rolling and adding as long as the result is four each time.

How does combat work?

Combat in Fossilized Violence QuickStart – Second Bite is where it gets exciting! To make an attack, the attacker rolls his Attack Stat die plus the four-sided die of Fate whilst the defender rolls his Defence Stat die plus the four-sided die of Fate. If the result of the Attack roll is higher than the Defence roll, the attack succeeds. If the roll is five or more higher than the Defence roll, the attacker inflicts a Critical, and if it is ten or more higher than the Defence roll, the attacker inflicts a Super Critical. There are critical tables for bludgeoning, piercing, and slashing attacks, plus a Super Modifier table.

A Player Caveman is encouraged to enact ‘Fossilized Moves’ and so fight with style. ‘Battlecry’ will get a Player Caveman and an ally each a Violence Point; ‘Fight Together’ means that a Player Caveman and an ally gain a Violence Point, both temporally roll a twelve-sided for all Stats, and gets an extra Movement when the other moves; and ‘Plunge Your Weapon’, a Player Caveman thrusts his weapon into an enemy, automatically inflicting an Impale piercing Critical, but lose hold of the weapon in the process. Many of have failure conditions too and many can also be used by dinosaurs as well as a Player Caveman.

A Player Cavemen also has access to Violence Points. He starts with one when combat starts and many more can be gained from using Fossilized Moves as well as good roleplaying in and out of combat. They can be spent for a variety of effects, including rerolling incoming damage and taking the lower result; to decrease a Super Critical to a Critical the Player Caveman is about to suffer; to spend the die type rolled by a dinosaur for its Attack Stat; to increase a Critical to a Super Critical when a Player Caveman attacks; and to roll a twenty-sided die instead of a Stat die.

How does magic work?

There is no magic in Fossilized Violence QuickStart – Second Bite.

What do you play?

The scenario in Fossilized Violence QuickStart – Second Bite is not so much a scenario as an arena battle. The Game Master is encouraged to run round the house and grab a bunch of things—books, bottles, newspapers, and craft supplies—and throw that down as the arena. The Game Master also secretly sets a timer that countdowns until a point when the Player Cavemen can escape the arena. Movement is not handled in squares, and instead uses a player’s hand length or finger length to determine movement and range. If a Player Caveman’s Hit Points are reduced to zero, there is a chance that he will recover, but with one Hit Point. Otherwise, he will die and an ally will gain a Violence Point. Dinosaurs do die when their Hit Points are reduced to zero. The last Player Cavemen standing has his Stats increased to twelve-sided dice for the reminder of the combat.

Fossilized Violence QuickStart – Second Bite includes four dinosaur types. These are the Allosaurus, Anzu, Brontosaurus, and Velociraptor. The bigger ones have two attacks and all of them have their own Critical tables.

Is there anything missing?
No. The Fossilized Violence QuickStart – Second Bite is complete as is.

Is it easy to prepare?
Yes. The Fossilized Violence QuickStart – Second Bite is easy to grasp and prepare.

Is it worth it?
Yes. The Fossilized Violence QuickStart – Second Bite includes everything for a solid battle in the world of Pangeon. It showcases the rules more than the setting, but that is good for an hour’s worth of dinosaur battling.

The Fossilized Violence QuickStart – Second Bite is available from the R. Talsorian Games.

2008: Saga of the Rat King

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

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In 2003, Goodman Games launched its long running Dungeon Crawl Classics series, which combined old style play with modern rules, with Dungeon Crawl Classics #1: Idylls of the Rat King. In that scenario, the Player Characters’ investigations into raids by Goblin bandits on caravans carrying silver ore lead to the nearby Gannu Silver Mine which turned out to be infested by not just Goblins, but rats and Wererats. The final confrontation in the mine is with Lawrence Gannu, cursed by the villagers of Silverton to be a Wererat after they blamed his father for a dangerous discovery in the mines, returned to take his revenge upon the villagers. This scenario was more recently republished as Fifth Edition Fantasy #31: Idylls of the Rat King, for use with Dungeons & Dragons, Fifth Edition. In 2006, the publisher released a sequel, Dungeon Crawl Classics #27: Revenge of the Rat King. The Player Characters have an opportunity to confront Aaron Gannu, father of Lawrence, in this sequel. However, he has other designs on the Player Characters and they are tested sorely as he lures them into his lair, weakens them and depletes their resources, before capturing them. Fortunately, the Player Characters, only armed with luck and wits, do have the opportunity to escape, find their possessions, and fully arm themselves once again before the final showdown. Both Dungeon Crawl Classics #1: Idylls of the Rat King and Dungeon Crawl Classics #27: Revenge of the Rat King were written for use with Dungeons & Dragons, Third Edition, rather than the publisher’s own (not yet published) Dungeon Crawl Classics Role Playing Game.

Dungeon Crawl Classics: Saga of the Rat King is not written for use with Dungeons & Dragons, Third Edition or Dungeon Crawl Classics Role Playing Game. Published in 2008 for sale at Gen Con Indy in 2008, it is instead a special module in more ways than one, First, it is written for use with Advanced Dungeons & Dragons, First Edition, rare in 2008 as it would be for today. second, it combined both Dungeon Crawl Classics #1: Idylls of the Rat King and Dungeon Crawl Classics #27: Revenge of the Rat King. Third, it not only compiles the previously published scenarios, but includes a third new part, ‘The Scourge of Silverton’. This connects the two scenarios and it means that together, all three parts can be played as a single campaign taking the Player Characters from First Level all the way up to Sixth Level.

The plot to both Dungeon Crawl Classics #1: Idylls of the Rat King and Dungeon Crawl Classics #27: Revenge of the Rat King remain the same. In the former, the Player Characters explored the apparently abandoned Gannu Silver Mine and find it crawling with Goblins and Wererats, one level of the mine being reworked with zombie slaves, and Lawrence Gannu the Wererat overseeing it all as well as something else hidden deep in the bowels of the mine. In the latter, the Player Characters are in the city of Soulgrave tracking down a ring of slavers and are lured in one big dungeon trap by Aaron Gannu, father of Lawrence, who will have his revenge! Divided over three acts, the Player Characters will be tested in each. First, with a series of challenging dungeon encounters designed to wear them down; second by capturing them and stripping them of all their equipment; and third, with dangerous battle against Aaron Gannu’s minions and finally, Aaron Gannu himself. It remains an evil dungeon. However, there are changes to both because, understandably, this is a compilation for Advanced Dungeons & Dragons, First Edition, not Dungeons & Dragons, Third Edition.

The most obvious change is from a roleplaying game with intrinsic rules for skills, skill checks, and other activities to a roleplaying game without those. Here we are in classic ‘rulings not rules’ territory, Dungeon Crawl Classics: Saga of the Rat King leaving it very much up to the Dungeon Master to decide upon the specifics of how resolve a Player Character action. Unfortunately, this is not consistently applied throughout the adventure anthology, giving it slightly unbalanced feel. Without the suggested mechanic solution for each and every situation, it feels authentic to the design and play of Advanced Dungeons & Dragons, First Edition, but where they are included, they intrude rather than feel natural.

However, the adaptation from Dungeons & Dragons, Third Edition to Advanced Dungeons & Dragons, First Edition has been less consistently applied to the ‘Idylls of the Rat King’ part of the campaign. One of these is narrative in that as a section of boxed text explains whilst Dungeon Crawl Classics #1: Idylls of the Rat King had Goblin Wererats as its main monsters, Advanced Dungeons & Dragons, First Edition restricts lycanthropy to Humans only. Thus, there are no Goblin Wererats in Dungeon Crawl Classics: Saga of the Rat King, only Human ones. Neither are there any Goblin Clerics in Dungeon Crawl Classics: Saga of the Rat King, these also having been changed to Human Clerics, though still devoted to the rat gods Narrimunth and Nimlurun. Similarly, the Goblin Wizard of the original has been changed to Human Wizard, but in this his illustration is that of the Goblin in the original, and whilst the bandit chief and his guards are now described as Human, their illustration still shows them to be Goblins. Lastly, Half-Orc slavers have been added to the scenario. These effectively replace the Goblins who would fight to the death to protect the young Goblins in the tribe’s nursery. So now the Half-Orc slavers will fight to the death to protect their slaves, which though ties in with the slave ring theme found in ‘Revenge of the Rat King’, it still does not make sense narratively.

It should be noted that ‘Revenge of the Rat King’ still retains the story element of the Player Characters being captured by the Rat King. As problematic as this in terms of storytelling and player agency, it is very difficult to change this because it is pivotal to the events of the scenario.

In between ‘Idylls of the Rat King’ and ‘Revenge of the Rat King’ is ‘The Scourge of Silverton’. This is designed for Player Characters of Third and Fourth Level. It is designed as a short bridging affair between the two scenarios, but it is not a full enough adventure to provide sufficient Experience Points to take the Player Characters from ‘Idylls of the Rat King’ to ‘Revenge of the Rat King’, so the Dungeon Master will want to run other content before it as ‘The Scourge of Silverton’ is a direct prequel to ‘Revenge of the Rat King’. It provides a specific reason for the Player Characters to travel from Silverton to Soulgrave. The scenario draws the Player Characters back to Silverton, which has been restored to its fortunes with the death of Lawrence Gannu and the driving out of his bandits at their hands. Lawrence’s younger half-brother, Marcus, equally as evil, has heard of his brother’s death and working with their father, has concocted a plan to take revenge upon the Player Characters. This will play out in ‘Revenge of the Rat King’, but to set this up and draw the Player Characters in, Marcus kidnaps several of the villagers from Silverton and holds them to ransom. The villagers of Silverton ask the Player Characters to deliver the ransom to the Deveraux Silver Mine and ensure the safe return of the hostages.

The Player Characters have the choice of handing over the ransom or fighting their way into the mine. Either way, they will have a fight to get to the hostages as the situation is not simply a ransom and hostage exchange, but of course, a trap! Marcus has seeded the mine with traps and groups of his men, who will snipe and harass the Player Characters as they work their way to where the hostages are being held. Ultimately, there will be a confrontation with Marcus, but he and his chief henchman will escape the mine in Indiana and the Temple of Doom style in a mine cart with the Player Characters in hot pursuit.

‘The Scourge of Silverton’ is a set-up and also a set-up to a set-up, that of ‘Revenge of the Rat King’. It is short and serviceable, playable in a single session or so, and primarily combat focused. The addition of Marcus Gannu is the main addition to the trilogy in terms of its storytelling, but the main problem with ‘The Scourge of Silverton’ is that it sets up Marcus Gannu as a villain, but then lets him exit the trilogy of scenarios as he does not appear in the updated version of ‘Revenge of the Rat King’.

Physically, Dungeon Crawl Classics: Saga of the Rat King is done in the then style of the Dungeon Crawl Classics line. The artwork is decent, though not always befitting the text, and the cartography varies in style and quality. This is from the very plain, even dull, maps of ‘Idylls of the Rat King’ to the detailed maps for ‘Revenge of the Rat King’ and ‘The Scourge of Silverton’. Unfortunately, Dungeon Crawl Classics: Saga of the Rat King is not let down by its adaptation to Advanced Dungeons & Dragons, First Edition, but rather by its lack of consistency when it comes to terminology and phrasing. Errors are strewn throughout the book. Not necessarily to make Dungeon Crawl Classics: Saga of the Rat King unplayable, but more than enough to irk the veteran of Advanced Dungeons & Dragons, First Edition and potentially confuse the Dungeon Master who has less experience of playing Advanced Dungeons & Dragons, First Edition.

Dungeon Crawl Classics: Saga of the Rat King provides three different styes of dungeons. ‘Idylls of the Rat King’ is a dungeon crawl; ‘The Scourge of Silverton’ is an extended combat encounter, a game of cat-and-mouse through the mines; and ‘Revenge of the Rat King’ is a challenging, even evil, obstacle course that will test the players’ lateral thinking and dungeoneering skills perhaps more than those of their characters. This gives it variety that is neatly tied to its theme of revenge that runs through all three parts.

Dungeon Crawl Classics: Saga of the Rat King is really a trilogy in two parts because ‘The Scourge of Silverton’ is not enough to bridge the gap between the events of ‘Idylls of the Rat King’ and ‘Revenge of the Rat King’. It does, however, provide a reason for the Player Characters to play through ‘Revenge of the Rat King’, so very much a mini-prequel. Which means that Dungeon Crawl Classics: Saga of the Rat King is not really a mini-campaign either, since it has a beginning and an end, but no real middle. The Dungeon Master will have to provide that, and perhaps one way of doing it, is to use Dungeon Crawl Classics: Saga of the Rat King as a precursor to the classic campaign, Against the Slave Lords, since there are elements in ‘Revenge of the Rat King’ inspired by that campaign.

[Free RPG Day 2026] The Crooked House

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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The Crooked House is a haunted manifestation of the Crooked Queen, a twisted wooden edifice in the American Gothic edifice that stands on the hill above the village and has many names and owners. Today it is known as Druskenvald Manor, named for the current owners Philip and Adela Druskenvald, given the building and its grounds as gift from the local mayor, eager to have someone own and restore it and perhaps bring some life to the village. In the past, it was Lockwood Estate, but they died or disappeared in a great tragedy, it has stood empty until the Druskenvalds arrived. Now they are in danger, for the building twists all who stay within its walls, playing on their worst fears, the minions of the Crooked Queen driving them to madness and preparing them for sacrifice within its walls! Now Philip and Adela Druskenvald are the next victims of both the house and the Crooked Queen, and the Player Characters have invited to dine with them. Most obviously to celebrate their good fortune, but also because Adela has been suffering from unsettling nightmares…

The Crooked House: Folk Horror Roleplaying for Four 3 Characters is a scenario for The Crooked Moon, the folk horror roleplaying game setting for Dungeons & Dragons, Fifth Edition published by Avantris Entertainment. It includes a dark and dangerous mystery and some thoroughly vile monsters and villains, all wrapped up in an atmospherically twisted haunted house.

The first thing that strikes you about The Crooked House are its production values. Against its sepia tones that make it stand out from anything else released for Free RPG Day, the artwork is excellent, especially of the monsters that appear in the scenario. The three dimensional cutaway map of the house is good too, although perhaps a little dark to read proper. The standard maps are really good though, capturing the feel of a lived in house that has gone to seed due to its misuse by the Crooked Queen and her servants, including Vessla Browntooth, the Weasel Hag, and the Crooked Man, Vessla’s minion, who will taunt the Player Characters again and again, before fading away each time.

In fact, the Crooked Man is the first person that the Player Characters will encounter in the adventure, hinting at that the things they will find inside whilst also relishing what might become of them once they are inside. Some of that is also foreshadowed in the paintings that they find in the foyer that in turn unsettlingly depicting the former occupants and the current occupants, and worse, the Player Characters! Even then, the paintings have been cursed and have deleterious effect upon anyone who examines them. They are the first of many things that have been twisted in the crooked house and there is a constant pattern of the familiar features of a family home so twisted and turned to horror. Many of these things are classic haunted house elements, such as the spirit board in the parlour and need to hold a séance, a self-playing harpsichord in the music room, a rich feast that quickly reveals itself to be rotten and then attacks the Player Characters, and so on. Yet there are some little tweaks here and there, like the haunted wooden doll which instead of attacking the Player Characters begs for their help in checking for monsters, and instead of a deluge of blood flowing out of a room and into the hallway a la the film The Shining, the Player Characters are in the bathroom when it fountains up from the plughole! In nearly every instance, the Player Characters need to engage with these in order find a half dozen artefacts connected to the history of the house and its former occupants.

As the Player Characters advance through the house, they are harried by a variety of nasty creatures including a sneak of weasels, which does not give up and they all speak in voice, saying the same phrase over and over, as well as a Boogleswarm, a swarm of fey weasels that covets and collects teeth (like the Tooth Fairy, but without leaving a pound coin under the pillow). In fact, teeth are one of the recurring motifs throughout The Crooked House, the Player Character find them crunched under foot and inserted into nooks and crannies. The weaselly nature of the scenario does not stop there, for eventually, the Player Characters will make their way to the top of the house and manage to open the way to the secret chamber where Vessla Browntooth, the Weasel Hag is performing the ritual she needs to sacrifice the souls of Philip and Adela Druskenvald. Will the Player Characters be able to stop her?

Besides the excellent maps, the Game Master is given full stats for all of the monsters in The Crooked House. Notably, all of them have a ‘secret’, something that a Player Character might know about with an appropriate skill roll. These are suggested, but it would have been nice if there was a way to discover them narratively as part of the playthrough of the scenario. The Treasury details a pair of interesting magical items found the house, but which are actually cursed (of course, they should be). Also included is a quartet of Player Characters. They consist of a Gnarlborn Druid, a Plagueborn Monk, a Stoneborn Cultist, and a Threadborn Reveler. They are not poor example Player Characters, but there is no explanation though how they relate to each other, the scenario, or The Crooked Moon setting. They fit a Gothic horror-fantasy setting, not a modern setting of any kind, and both Philip and Adela Druskenvald are depicted as modern characters, dressed for the Jazz Age of the nineteen twenties. Consequently, they feel out of place alongside the scenario.

Physically, The Crooked House: Folk Horror Roleplaying for Four 3 Characters is very well presented. The artwork and the artwork are both great and the maps excellent.

The Crooked House: Folk Horror Roleplaying for Four 3 Characters is thoroughly enjoyable, Gothic horror, haunted house scenario. What lets it does as a whole are the sample Player Characters which not match the feel of the scenario. That said, there is nothing to stop the Game Master from running the scenario with a slight adjustment using standard Dungeons & Dragons, Fifth Edition or a modern horror treatment such as FiveEvil.

Miskatonic Monday #452: Of Them

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

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Name: Of Them

Publisher: Chaosium, Inc.
Authors: Aleksi Martikainen, Sean Liddle, Jef Wilkins, Jukka Särkijärvi, and Petri Leinonen

Setting: Minnesota, 1921

Product: One-on-One Scenario

What You Get: Twenty-two page, 3.32 MB Full Colour PDF
Elevator Pitch: How far can a father trust a son when the son is in pain?

Plot Hook: My son is missing!
Plot Support: Staging advice, two NPCs, three handouts, three maps, and one Mythos monster.

Production Values: Good

Pros

# Spiritual sequel to Of Fathers

# One Investigator, one Keeper scenario

# Linear and straightforward to run

# Compartmentalised scenes easy to run

# Explores the consequences of the father’s choice

# Can be used as the background for an Investigator

# Great maps

# Eisoptrophobia

# Dermatophobia

# Capgras Delusion

Cons

# Linear plotting

# No Pre-generated Investigator(s)

Conclusion

# Clearly mapped out

# Underplayed, but desperately personal encounter with the Mythos