Every Week It's Wibbley-Wobbley Timey-Wimey Pookie-Reviewery...

Monday, 16 March 2026

Miskatonic Monday #424: The Innsmouth Terror

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

—oOo—
Publisher: Chaosium, Inc.
Author: John Hedge & Miskatonic Playhouse

Setting: 1923 Lovecraft Country
Product: Scenario
What You Get: Forty-six-page, 68.09 MB Full Colour PDF

Elevator Pitch: Hollywood horror comes to Innsmouth
Plot Hook: A stolen artefact leads from the Miskatonic University to a Technicolour film set on the edge of madness
Plot Support: Staging advice, five pre-generated Investigators, thirteen NPCs, three handouts, and a town full of Mythos monsters.
Production Values: Excellent

Pros
# Potential sequel to Stage
# Straightforward investigation
# Great double finale
# Fine addition to any Miskatonic University-based campaign
# Addition to The Society for the Exploration of the
Unexplained-based campaign from the Call of Cthulhu Starter Set
# Camerophobia
# Batrachophobia
# Chapodiphobia

Cons
# Works best as a sequel to Stage Fright at the Playhouse
# Straightforward investigation
# No maps

Conclusion
# Innsmouth investigation leads to Train to Busan Innsmouth-style
# ‘The Shadow over Innsmouth’ writ large, but in an entertaining fashion
# Reviews from R’lyeh Recommends

Miskatonic Monday #423: Hunger at the Campsite

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

—oOo—

Publisher: Chaosium, Inc.
Author: Phanzar

Setting: 1982 USA forest
Product: Encounter
What You Get: Three-page, 2.99 MB Full Colour PDF

Elevator Pitch: A cat-tree-cat god is hungry
Plot Hook: An abandoned campsite deep in the woods
Plot Support: Staging advice, four Investigator templates, one NPC, and two Mythos monsters.
Production Values: Decent

Pros
# Short and easy to understand
# Could be set in any period or country
# Ailurophobia
# Dendrophobia
# Hylophobia

Cons
# Investigator templates rather than pre-generated Investigators
# No motivation for the Investigators
# No plot
# Playable in thirty minutes

Conclusion
# Plotless
# Hookless
# Reviews from R’lyeh Discommends

Sunday, 15 March 2026

Work is Scary

“A new life awaits you in the Off-world colonies! A chance to begin again in a golden land of opportunity and adventure!”—Blade Runner

Building Better Worlds is the second campaign supplement for Alien: The Roleplaying Game. It is unfortunately, the last supplement for Alien: The Roleplaying Game. It is fortunately, compatible with Alien: The Roleplaying Game – Evolved Edition, just as is every other release for Alien: The Roleplaying Game. There are several ways in which Alien: The Roleplaying Game can be played. It has three themes, two modes, and three models. The three themes are Space Horror and Sci-Fi Action, combined with a Sense of Wonder, whilst the two modes are Cinematic and Campaign. Cinematic mode is designed to emulate the drama of a film set within the Alien universe, and so emphasises high stakes, faster, more brutal play, and will be deadlier, whilst the Campaign mode is for longer, more traditional play, still brutal, if not deadly, but more survivable. Of the two, the Cinematic mode is suited to one-shots, to convention play, and as introductions to the mechanics and setting of Alien: The Roleplaying Game. The three models are Colonial Marines, essentially military missions like Aliens; Frontier Colonists—miners, prospectors, and settlers trying to survive for a better life on an all but barren planet; and Space Truckers—starship crews hauling goods and resources, as in Alien. Of the support to date, the trilogy of scenarios—Chariot of the Gods (also available in the Alien: The Roleplaying Game Starter Set), Destroyer of Worlds, and Heart of Darkness—have all been in the Cinematic mode, but for different models, focusing in turn upon Space Truckers, Colonial Marines, and Scientists. Together they form a thematically connected campaign, whereas the Colonial Marines Operations Manual not only detailed the United States Colonial Marine Corps, it also provided a full campaign for the Colonial Marines model. Building Better Worlds does the same, but for Frontier Colonists and Space Truckers.

Building Better Worlds is a book that will take you out—far out—into the Alien universe to the Outer Rim Territories as far as the frontier of the Weyland Isles Sector, and then quite literally beyond, that is, ‘Beyond the 20 Parsec Limit’ where there is little hope of help or rescue if an outpost or colony gets into trouble or needs rescuing. Building Better Worlds is a book about the future of humanity and finding new worlds, living on worlds and settlements far from Earth not always best suited to colonisation, about making the lengthy journeys between them, and surviving some of the deadliest of secrets and dangers in the galaxy. With Building Better Worlds, the Game Mother can run campaigns that focus on searching for and discovering new planets—hopefully suited to settlement or exploitation, if not both; on settling, working, and developing colonies; and on transporting goods and passengers between them. It is designed to be used by both player and Game Mother and so is book of two halves. The first half includes an explanation of the fundamentals of exploration and colonisation, the colonisation timeline, a mix of governmental non-governmental organisations, guidelines to creating suitable Player Characters as well as two new careers, numerous weapons, vehicles of all types, and other equipment, and some ideas around which campaigns could be based. This half, roughly a third of the book, is for the player, whilst the longer second half is for the Game Master. That half includes two catalogues, one of the systems and colonies of the frontier, the other of the parts of the Weyland-Yutani Extrasolar Species Catalogue that Weyland-Yutani does not want you to see, ‘The Lost Worlds’, a complete sandbox campaign beyond the frontier, and the expanded means to create new worlds and colonies, and for running a colony.

The supplement opens with the facts of colonisation and space travel. That it is heroic, that it is dirty, that it is dangerous, and that it is expensive. That explorers need to be hardy and well-trained and that the pay is invariably good, whilst colonists need to be even more hardy, prepared for life on another world, and expect to be paid little, if at all. Both are likely to need to pay back for their training, though this is easier for explorers who make more income, and both exploration and colonisation expeditions are going to be funded by wealthy corporations, governments, or institutions. The history of colonisation runs from 2029 CE and the Weyland Era to the 2190s and the Black Gold Rush following the terrorist nuclear bombings of petroleum supply colonies, the Colony Wars, and the Great Mother Mission launched to contact lost colonies. However, the explanation of events is organised by category and the timeline crammed into a two-page spread, so it is difficult to get a proper feel for the flow of events.

The organisations chapter includes descriptions of positions on Scientific Exploration Vehicular (SEV) Expeditions and the Extrasolar Colonization Administration (ECA), useful as potential roles for both Player Characters and NPCs, whilst the governmental organization and corporation descriptions are a mix of the familiar and unfamiliar. The Weyland-Yutani Corporation, the Seegson Corporation, United Americas, Colonial Marine Corps, Union of Progressive Peoples, and more will be familiar, expanding upon the information in both the Alien: The Roleplaying Game corebook and the Colonial Marines Operations Manual. The less familiar includes the Central Confederation of Africa, which is a minor, but rising interstellar power, and the New Albion Protectorate, a former colony located in the Weyland Isles, which seceded from the Three World Empire (3WE) and is prompting other colonies to follow suit in an effort commonly called ‘3WExit’ (you can tell that the author is British).

In terms of character options, Building Better World offers two new Careers as well as discussing how the different Careers from Alien: The Roleplaying Game can find their way onto exploration missions and colonisations expeditions and why they might join both, along with a table of possible personal agendas, which is very good. Each is also given two new Frontier Talents and two items of Frontier Gear. For example, the Frontier Talents for the Colonial Marshal are ‘Menacing’ and ‘Tough’, whilst the items of Frontier Gear are a ‘Bounty hunter/Investigator licence’ or ‘Handcuffs’. The two new Careers are the Wildcatter and the Entertainer. The Wildcatter is a prospector or surveyor who explores new worlds looking for resources or suitable sites for colonisation. The Entertainer is suggested as being a performer, croupier, unofficial club owner, waiter, barkeep, or other profession, which is less useful for most campaigns. It would need a static set-up—a base or a colony or a space station—to be a logical character option, and when things go sideways as they should, would also be the basis for a replacement Player Character.

There is a good selection of new gear and ships which can be found all across the frontier and beyond. New weapons, armour and suits, other equipment, vehicles, and spacecraft. The other equipment ranges from items as simple as a Folding Spade and Digging Fork (which of course, can be sued as a weapon) and as complex as the ‘Omni-Tech SDDG Sonic Deterrent Defence Grid’ designed to deter indigenous wildlife and pests from getting inside a perimeter. It is effective against humans though, inducing stress. The vehicles are typically large, multi-wheeled, and rugged, the COBB-C/D ‘Grasshopper Multivector Helijet’ an exception. The spaceships include the Lockmart Model 439SL Class 7 Excavator which has a heavy mining drill in its prow; the Weyland Heliades-Class, the first FTL-capable spacecraft; and colony vessels such as the Lockmart Model TB22C Borrowdale Class Transfer Vehicle and W-Y Model CY78.3 Affiance-Class U Colony Ship.

Surprisingly, the advice and suggestions for campaigns is in the half of Building Better Worlds for the player rather than in the section for the Game Mother. There are rules for surviving new environmental conditions, but the most interesting content here is the discussion of campaign types, set-ups, and expedition types. There are some colony classifications described too, including the ‘Shake and Bake’, ‘Extra Crispy’, ‘Giffy Popped’, and ‘Armed and Hammered’, that will give certain colonies similar feels. The two types of campaign discussed are Explorer and Colony Campaigns and together with the list of potential expedition types, such as supply and cargo runs, salvage ops, prospecting, scientific field-trips, and more, gives the Game Mother a decent range of ideas around which to base campaigns and plots. These are solid prompts, but as much they give the Game Mother some good starting points, the reader is left wanting more as each is worthy of further expansion and discussion.

For the Game Master, Building Better Worlds is also broken into two halves, one more general in nature, the other specific to the campaign, ‘The Lost Worlds’. The more general half begins with details of eighteen new systems located in the Outer Rim Territories, the Frontier, and Beyond the 20 Parsec Limit. Each has a description that gives its history and current status, plus list of stats and details that includes affiliation, classification, climate and temperature, terrain, notable colonies, population, and key resources. There are no hooks given so the Game Mother will need to work hard to develop these into fuller adventure locations with reasons why anyone would visit them. At half a page, they are underwritten and perhaps point towards the need for a world guide for Alien: The Roleplaying Game – Evolved Edition.

The second section is the ‘Weyland-Yutani Extrasolar Species Catalogue’. From Abominations and Fulfremmen (Perfected) to Protomorphs and and Xenomorphs, this is an expanded bestiary of your worst nightmares that nobody wants to meet and this being for Alien: The Roleplaying Game, unfortunately will. Many of these have been taken from the film Prometheus and the cinematic scenario, Heart of Darkness. Some also appear in the campaign that follows, but this still expands the options available to the Game Mother wanting to surprise and unnerve her players and their characters.

The second half of the section for the Game Mother is ‘The Lost Worlds’, a campaign that takes up just under half of Building Better Worlds. It builds off the timeline given earlier and set in the 2190s, concerns the Great Mother Mission. This is a combined multi-national, multi-corporation humanitarian, recontact, and recolonisation expedition launched by the United Nations Interstellar Settlement Corps to discover what happened to the settlements and peoples of the Far Spinward Colonies following their isolation from the Outer Rim due to a series of massive solar ejections, gamma bursts, and waves of radiation. It has been seventy-five years since contact was lost and numerous vested interests want to know what has happened to the millions of people who settled the region. There is even hope that if successful, the Great Mother Mission will serve as an example of co-operation and goodwill in the face of increased hostilities between the United Americas and the Union of Progressive Peoples. Of course, the expedition is rife with tensions and issues, both political and corporate, and these will drive the actions of the expedition members NPCs for much of the campaign and influence those of the Player Characters too.

The Player Characters are members of the expedition assigned to the UNCSS Solovetsky Island, one of Great Mother Mission’s four Magellan-class J Science Exploration Vessels (SEV). They can take just about any role about ship, but need to be free to conduct planet-based missions too. Otherwise, the players have a lot of freedom in terms of what characters they can create and roleplay. The campaign consists of seven chapters or expeditions, the first six of which can be played in any order as a sandbox, the completion of each one reward the players and their characters with another piece of the campaign’s metapuzzle, whilst the seventh serves as the campaign’s finale. Alternatively, they can be run as one-shots, but that would negate the tension and mystery that builds as the campaign progresses. The lose structure of the campaign also means that the Game Master has room to create her own scenarios set on other worlds in the Far Spinward Colonies. She may want to do that to have her Player Characters discover what happened to the other colonies that were not necessarily affected by the campaign’s emerging threat. The campaign includes a Session Zero for set-up and guidance on how to handle downtime scenes between the expeditions, as well as list of events that can occur as necessary or because of the Player Characters’ actions.

Over the course of the campaign, the Player Characters will colonies riven by a family feud, divided into extreme haves and have-nots, on the edge of insurrection, and seemingly empty bar strict automation. They will also conduct a search and rescue mission for a lost expedition vessel and even help set up and run a colony. The latter makes use of the colony creation and operation rules and advice in the supplement’s appendix which also include expanded rules for creating star systems and planets. Structurally, since ‘The Lost Worlds’ can be played in any order, it does lack a sense of space or urgency as written. Rather urgency is going to build from the narrative and the discoveries that the Player Characters make as opposed to inbuilt timing mechanism. Thus, by the end of the sixth part of the campaign, the Player Characters will have uncovered, even encountered, and hopefully understood the nature of a threat to not just the Far Spinward Colonies, but all of occupied space. Again and again, the Player Characters will find signs of ‘alien’ activity and even be confronted by it, but where in a Cinematic scenario, the objectives are simply survival and escape, here they are also to learn and wonder at some the secrets that the campaign will reveal.

Building Better Worlds does feel as if it should be two books, one focusing on its themes of colonisation and exploration, the other on its campaign. Perhaps as two books, the one devoted to colonisation and exploration would have had more room for colonies of the Alien universe to be expanded upon and detailed. Plus, ‘The Lost Worlds’ is more of a re-exploratory campaign than an exploratory campaign and were it not for the expedition where the Player Characters get to set up and run a colony, that part of the supplement would have been ignored. However, this does not mean that as just the one book, Building Better Worlds is a bad book by any stretch of the imagination.

Physically, Building Better Worlds is a great looking book. It is well written and the artwork is as excellent as you would expect for the line. As with other books for Alien: The Roleplaying Game, the layout is fairly open and thus easier to read. Being for the first edition of the roleplaying game, it still uses the black background that some readers have an issue with.

Building Better Worlds expands Alien: The Roleplaying Game—and consequently Alien: The Roleplaying Game – Evolved Edition—with a wealth of options, campaign ideas and playstyles, threats and other dangers, that all together open the possibilities of the roleplaying game’s Campaign mode and the Frontier Colonist campaign model. It then showcases them with a great campaign that delivers an escalating combination of horror and hubris.

Saturday, 14 March 2026

A Supernatural Search

Although Pendragon, the roleplaying game of Arthurian chivalry and romance can be run using adventures and stories of the Game Master’s own devising, at its heart is the great chronicle of King Arthur and the Knights of the Round Table, the period between his drawing the sword from the stone in 410 CE to his eventual death in 466 CE. It is an epic tale of romance, chivalry, questing, and generational adventure in which great knights uphold ideals, serve the king, and protect all against the threats that beset King Arthur and his kingdom. The heart of this chronicle is the highly regarded Great Pendragon Campaign, which encompasses the years 495 CE to 570 CE, and would win the H.G. Wells Award for Best Roleplaying Supplement of 1985 (as the Pendragon Campaign) and Diana Jones Award in 2007 (as the Great Pendragon Campaign). For Pendragon, Sixth Edition, that chronicle remains at the roleplay game’s core with The Sword Campaign of the Pendragon Starter Set which initiates the Boy King Period with the drawing of the Sword in the Stone, covering the years 510, 511, and 512 CE. Pendragon: The Grey Knight continues the story, laying the groundwork for storylines that will be resolved later in the campaign and covering the years 513, 514, and 515 CE.

Pendragon: The Grey Knight is a scenario that delves into the weirdness and the supernatural of King Arthur’s kingdom, on a quest that will take the Player-knights across a land blighted by the Dolorous Stroke and a fairy kingdom, and back again, their faith tested again and again, and all the while bearded and tempted by those that would see them fail, Arthur’s honour besmirched, and the shining star that is his realm tarnished. It is a reprint and update of the first adventure to be released for Pendragon in 1986, written by Larry DiTillio no less, the author of the much revered Masks of Nyarlathotep campaign for Call of Cthulhu. It can be played using either the Pendragon Core Rulebook or the Pendragon Starter Set as well as a direct sequel to the latter. Where the original consisted of the one scenario, that is, The Grey Knight, this update has been expanded to include two scenarios that make it a trilogy and fills in the years between the end of the Pendragon Starter Set and the beginning of ‘The Grey Knight’. They bridge the gap between the two just as Pendragon: The Grey Knight bridges the beginning and the end of Boy King Period.

The first of the two prologue scenarios is ‘Bearding the Lion’. It is set in 513 CE and when news reaches King Arthur that King Ryons is besieging King Leodegrance at Castle Terrabil, near Stafford in Cameliard, he orders army to war in an attempt to lift the siege. A chance occurs for the Player-knights to shine and earn Glory when they have the opportunity to capture King Ryons on the eve of battle. The scenario ends with the Battle of Terrabil, offering another chance to try out Pendragon’s battle rules, and then with the appearance of the Lady Guenever. This brings in another aspect of the roleplaying, the Adoration Passion, which may have long term effects for the Player-knights. The second scenario is ‘King Pellinore’s Quest’. It takes place in 514 CE and is a slightly busier affair. The Player-knights begin on the road to Carlion, King Arthur’s capital, to attend his marriage to Guenever. Along the way, there is the opportunity to hunt for Questing Beast, chase after a dastardly knight, and rescue a very fair maiden. Both scenarios lay the groundwork for ‘The Grey Knight’ scenario—‘Bearding the Lion’ in particular—and both are playable in a session or so. Given that they are relatively slight affairs, there is scope too for Game Master to insert scenarios of her own in these years and if the Game Master has access to Pendragon Gamemaster’s Handbook, could add to ‘King Pellinore’s Quest’ using the Feast rules for the wedding celebrations.

In between the two shorter scenarios and ‘The Grey Knight’ scenario, is a description of Carlion, which the Player-knights will return to in 515 CE at the start of the scenario for the Easter Tournament. There are some good roleplaying encounters on the road and at the court, with at least two of the Player-knights irritating to other knights in the process, and others attracting the attention of a lady. This sets up rivalries and love triangles that can be duelled during the tournament the following day, but the event is brought to a halt with a clap of thunder and out of a rolling mist ride a strange trio. A Dwarf, a Lady in Black, and a Black Knight. The Lady in Black makes grave accusations against the king and challenges to have her Black Knight face the king’s champion, and if he loses, the king will have been proven unworthy to rule. It is Sir Gawaine who throws down the mantle, but Merlin prophesises that he will fail unless one of the Thirteen Treasures of Britain is found and used to aid him in the duel. The Player-knights will ride forth in search of one of these, the Whetstone of Tudwal Tudglyd.

The Player-knights are faced with three challenges. First, determining where the Whetstone of Tudwal Tudglyd can be found; second, actually finding it; and third, returning it to Carlion in good time. This is because the duel between Sir Gawaine and the Black Knight is due to take place at Pentecost, some six weeks hence. The Player-knights will need to ride north and deep into the Wastelands. Here they will be constantly challenged by the strange encounters they have, especially if they are Christian knights, less so if they are Pagan knights, and not at all if they are Wotanic knights. Nevertheless, the Traits and Passions at the heart of Pendragon, Sixth Edition are given a thorough workout as the Player-knights progress. The trek through the Wasteland is a test of character as much as it is endurance, though there is one such test so severe that it could end the quest for a Player-knight (and the scenario for the player too)—and if too many fails, end the quest for all and place the kingdom in peril. (The scenario does include options as to what could happen if the Player-knights do fail.) After a big fight, the Player-knights can obtain the Whetstone of Tudwal Tudglyd and begin the journey back to Carlion, though this has its own challenges.

‘The Grey Knight’ is a linear scenario with no room for the Player-knights to deviate from the path of the quest. This does not mean that the Player-knights are bereft of agency, they are free to act as they want (or as their much-tested Traits dictate) throughout all of the encounters in this scenario as well as both ‘Bearding the Lion’ and ‘King Pellinore’s Quest’, though of course there are benefits to certain actions and penalties to others. Another point about player agency is that the scenario makes clear that it is the Player-knights who are the heroes of the tales because they are the ones that find and return with the Whetstone of Tudwal Tudglyd and so ensure the victory of Sir Gawaine and that without it, the king’s champion is doomed. Structurally, as written, the Player-knights are always going to arrive during the duel between Sir Gawaine and the Black Knight, the scenario providing the Game Master with extra encounters to run should the Player-knights have managed to have completed the quest in good time. Narratively, this means that six week time limit between challenge and duel does not actually matter, so really it is a means of keeping the tension high for the players and their knights and keeping them focused.

If the Player-knights do succeed, they will, of course, be well rewarded with Glory. There however, two further potential rewards. Both of which are fantastic, but will really only benefit one player each. One of them will grant extra responsibility (and even the potential for early retirement of the knight), but provide ongoing Glory and income. The Noble’s Handbook will be required to get the best use out of the reward. Hopefully future scenarios will offer similar opportunities for reward for the other Player-knights in the future.

There are really only three issues with Pendragon: The Grey Knight. One is that the maps showing particular locations and regions are difficult to locate on the full map of England in the back of the book. Another is that although it is subtitled a campaign, Pendragon: The Grey Knight is really too short to be that. Whilst it does have two extra scenarios before ‘The Grey Knight’, they are more like one session prologues to the main event. Lastly, it would have been useful to have had a pronunciation guide handy. As amusing it was to hear an American mangle many of the place and creature names whilst playing through Pendragon: The Grey Knight, it could easily have been avoided.

Physically, Pendragon: The Grey Knight is well very presented. The artwork is excellent and the illuminations entertaining. The maps are decent and add much to the manuscript-like feel of the book. The inclusion of the author’s notes is a pleasing and informative extra.

Pendragon: The Grey Knight is a great scenario made all the better by the addition of the two smaller scenarios which add depth and lay the groundwork for what is to come, much as ‘The Grey Knight’ does itself for The Great Pendragon Campaign. It tests and pulls at the Player-knights from start to finish, and in doing so, presents some delightful opportunities to roleplay as they are confronted with some of the more supernatural and more magical aspects of Arthurian Britain. Any Game Master and player who enjoyed the Pendragon Starter Set will definitely want to continue the story of their knights in Pendragon: The Grey Knight.

—oOo—

With thanks to Scott Joest and my fellow knights.

The Other OSR: Creatures of the Dying World

Mörk Borg is not short of monsters.
Since its publication in 2020, the Swedish pre-apocalypse Old School Renaissance style roleplaying game designed by Ockult Örtmästare Games and Stockholm Kartell and published by Free League Publishing, has been supported by numerous third-party supplements and scenarios, which includes numerous new threats. The world of Mörk Borg is a dangerous, even lethal one with relatively little chance of survival for the Player Characters, so new monsters are always going to be useful. Primarily to confront the characters with foes that their players have never seen before, so in game such as Mörk Borg, a bestiary is invariably going to be useful. Creatures of the Dying World: A Bestiary by Jonny Bloozit #1 gives the Game Master some twenty-one monsters, parasites, magical constructs, lurkers, and other threats, all of which are presented in full, succulent colour. This is because they are written and drawn by the author and in some ways, Creatures of the Dying World: A Bestiary by Jonny Bloozit #1 is as much an artbook as much as it is a roleplaying supplement. There is a looming, lurking quality to the art style, often spattered with the muculent and malodorous mess of the midden. All of the entries get a full-page entry with the minimal stats of Mörk Borg monsters leaving plenty of room for the illustrations and the descriptive text. The latter varies in length from one entry to the next and places an emphasis on the folklore to the creatures described. Even this varies from one entry to the next. However, Creatures of the Dying World: A Bestiary by Jonny Bloozit #1 is no A Folklore Bestiary, The Merry Mushmen’s gold standard by which any Old School Renaissance or Old School Renaissance-adjacent bestiary must be measured. In fact, the folkloric elements are underwritten in place and the Game Master will need to extract them from the text rather than use them as written.

There are some common themes running through Creatures of the Dying World: A Bestiary by Jonny Bloozit #1. There are creatures from swamps and marshes and associated with filth and decay, such as the Bogmen which seek to suffocate, envelop, and digest its victim, but is immune to weapon damage, whilst the ‘Giant Leechworm’ is exactly what you think it is. The ‘Miasma’ is an evil spirit attracted to filth and decay and spreads diseases like the sniffles and the plague, whilst the ‘Plague Fly’ settles on carrion, fresh battlefields, and rubbish dumps in swarms, causing fever-like symptoms in those it bites and laying eggs in open wounds. Worm-like creatures are common too, such as the Cavern Worm that is like a deep sea tube worm that hides in crystalline tubes only to snap out and bite at its victims, The weirdest of the worms are the ‘Howling Worm’, a magical plant-human hybrid which howls and shrieks loudly when anyone comes near, so they are used as alarms much to the annoyance of anyone else living nearby. 

Not all of the entries in Creatures of the Dying World: A Bestiary by Jonny Bloozit #1 are simple foes that the Game Master can throw at his players and their characters. There is a version of the ‘Crystal Skull’ that is a combination of magical artefact and personality, containing the bound soul of a priest or herbalist who is not very happy about being so bound. Consequently, he is ill-mannered, angry, and contemptuous of the Player Characters, but might be persuaded to help. What is in no doubt is the Game Master will have fun portraying the unfortunate soul! The entry for ‘Dagon’ is really more illustration than description and adds little that is of use. The ‘Plague Doctor’ is an adaptation of the seventeenth century figure that sought to treat the bubonic plague, both as NPC and Player Character. It is suggested that the towns and cities setting of the Dying World are home to many Plague Doctors, who attempt cures through bloodletting, which can be dangerous if failed, and similarly use magical cures to shorten illnesses, though such an attempt will lengthen the illness if the attempt fails. In comparison to other Classes for Mörk Borg, this is underwritten, but there is perhaps scope for development.

Creatures of the Dying World: A Bestiary by Jonny Bloozit #1 is a slight affair at just twenty-one entries and sparse descriptions for too many of them. Similarly, the emphasis upon folklore in the entries veers towards the meagre rather than the substantial, and in places, that lack gives less for the Game Master to work with and work into her campaign setting. And whilst there is no denying the effectiveness of the artwork in Creatures of the Dying World: A Bestiary by Jonny Bloozit #1, it cannot wholly make up for the underwritten nature of some of the bestiary’s entries. Creatures of the Dying World: A Bestiary by Jonny Bloozit #1 does not wholly suffer from a case of style over substance, but the Game Master is likely to want to develop some of that substance herself to make fuller use of the bestiary.

Friday, 13 March 2026

Friday Fantasy: The Lost & Found Forest

Villagers have been disappearing from Amber, one of the hamlets known as the Sisters Three that stand on the shore of Loch Maeglen, and nobody knows why. Only one has reappeared, the florist, Mirabel Gobel, and she is unable to recall where she went and what happened to her. Only now she can hear a mysterious woman’s voice calling to her to “Find me! Find me and longer taste sorrow,” and
go to the nearby Lost & Found Forest and she fears for her life. What kind of danger is she in and where have the other villagers gone? Perhaps the Player Characters are hired to investigate by a previous employer, like Kelvin Belmont from the adventure The Alchemist’s Fire: A Sisters Three Adventure, or they are camping in the area when they come across Mirabel Gobel walking towards the woods in a trance, or they come across a tumbledown cottage on the edge of the woods from which can be heard muffled cries of a woman. However the Player Characters get involved, this is the mystery and set-up at the heart of The Lost & Found Forest: A Sisters Three Adventure. This is a scenario for Dragonbane: Mirth & Mayhem Roleplaying, the roleplaying game published by Free League Publishing.

The Lost & Found Forest: A Sisters Three Adventure is published by Gallow’s Tomes as part of Free League Publishing’s Free League Workshop community content programme. It is part of the same series as The Alchemist’s Fire: A Sisters Three Adventure and can be run as an indirect sequel since both are set in the same area. This setting
is the Bailwick of Fenwick and the three hamlets—Amber, Burgundy, and Lapis—which stand on the shores of Loch Maeglen, which can be used as or adapted to fit the Game Master’s own setting, or it can be slotted into the Misty Vale setting as detailed in the Dragonbane Core Set. To that end, it is suggested that they be placed around the unnamed lake in the Misty Vale just south of the Temple of the Purple Flame and the Magna Woods. Alternatively, they can be placed on the other side of the Drakmar Pass from where the ‘Secret of the Dragon Emperor’ campaign begins. Each of the three hamlets is associated with and named for a statue of a woman, collectively known as The Sisters. In the case of Lapis, the starting point for The Alchemist’s Fire: A Sisters Three Adventure, the statue is of lapis, whereas for Amber, the starting points for The Lost & Found Forest: A Sisters Three Adventure, the statue is of amber. Amber is decidedly bohemian in nature, home to artists and craftsmen of all kinds, as well as the Honey Well Playhouse, the region’s only theatre. The Player Characters can speak to various villagers most of whom have an interest in the arts or crafts, picking up clues and rumours, some the latter actually being repeated from The Alchemist’s Fire: A Sisters Three Adventure to give the whole region a cohesive feel and to connect to other adventures.

Eventually, the Player Characters will decide to investigate the woods and this where The Lost & Found Forest: A Sisters Three Adventure gets interesting. This is because there is no map of the forest, but rather a set of nine forest sites and one end site, called the Hovel Site. The nine forest sites are divided into three bands reflecting how far they are into the forest, but as the Player Characters try and move from one site to the next, they may find themselves returning to the site they just left or another site that they previously visited. There is guidance for the Game Master when to make the Hovel Site accessible narratively or there is ’Hovel Dice’ mechanic which she can roll to determine when the Player Characters discover the Strange Tracks that lead towards the Hovel Site and when they reach the Hovel Site itself. Either way, the aim here is make the search for the cause of the disappearances from Amber a cross between a search and chase, following a set of strange tracks. The encounters in the forest are often creepy and odd, and dangerously soporific.

The final confrontation with the witch behind the mystery is a tough, two-stage battle. First against the Hovel which she makes her home and is actually mobile and whose strange tracks the Player Characters have been following, then against the witch herself. This is the first encounter proper that they will have with one of the ‘Sisters Three’ of the series’ title and if there is an issue, it is that her motivation is underwritten. The Game Master may want to strengthen it and make it more obvious in the Player Characters’ interactions with her.

The Lost & Found Forest: A Sisters Three Adventure can be run as a standalone adventure, but it can be a sequel to The Alchemist’s Fire: A Sisters Three Adventure. There is advice to set up the adventure either way, but like the latter scenario, The Lost & Found Forest: A Sisters Three Adventure still leaves numerous questions answered. Hopefully, future scenario releases will address them, especially when the Player Characters encounter the other of the titular ‘Sisters Three’.

Physically, The Lost & Found Forest: A Sisters Three Adventure is well laid out in the style of Dragonbane. It does feel heavier in its use of colour and art style, even a little cartoonish. That said, the artwork works, whilst the maps are decent.

The Lost & Found Forest: A Sisters Three Adventure does bring the hamlet of Amber to life and give a very different feel and tone to that given for Lapis in The Alchemist’s Fire: A Sisters Three Adventure. The set-up is strong and it has a dark fairy tale atmosphere, backed up with some decent encounters and a big finale, but the motivation behind the adventure and the villainess’ actions are underwritten.

Peninsular Peregrinations

Since 2007, the 2004 Spiel des Jahres award-winning board game Ticket to Ride from Days of Wonder, has been supported with new maps, beginning with Ticket to Ride: Switzerland. That new map would be collected in the Ticket to Ride Map Collection: Volume 2 – India & Switzerland, the second entry in the Map Collection series begun in Ticket to Ride Map Collection: Volume 1 – Team Asia & Legendary Asia. Both of these have proved to be worthy additions to the Ticket to Ride line, whereas Ticket to Ride Map Collection vol. 3: The Heart of Africa and Ticket to Ride Map Collection: Volume 4 – Nederland have proved to add more challenging game play, but at a cost in terms of engaging game play. Further given that they included just the one map in the third and fourth volumes rather than the two in each of the first two, neither felt as if they provided as much value either. Fortunately, Ticket to Ride Map Collection Vol. 5: United Kingdom + Pennsylvania came with two maps and explored elements more commonly found in traditional train games—stocks and shares in railroad companies and the advance of railway technology. This was followed by Ticket to Ride Map Collection Vol. 6: France + Old West, which provided two maps exploring a common theme—telegraphing each player’s intended placement of their trains; then by Ticket to Ride Map Collection Vol. 6½: Poland, which focused on borders and connecting them; and lastly, by Ticket to Ride Map Collection Vol. 7: Japan + Italy which examines two ways in which long routes affect game play. Thematically, the next entry in the series is connected by peninsulas.

Ticket to Ride Map Collection 8: Iberia + South Korea gives the Ticket to Ride fan with another Asian map and another European map, both of them depicting peninsulas and offering two new, and quite different ways to play Ticket to Ride. The standard game play remains—draw Destination Tickets and attempt to connect them via various routes between cities using sets of Train Cards that match the route colour, scoring points for both claiming routes completing the Destination Tickets. On each turn a player can still draw two Train Car Cards, either from those face up or from the deck, play Train Car Cards to claim a route, or draw new Destination Tickets. Or not, because in this expansion, there are limits placed upon when a player can draw Destination Tickets, and this is not the only way in which Ticket to Ride Map Collection 8: Iberia + South Korea differs from either the base game for Ticket to Ride or other map sets.

Of course, Ticket to Ride Map Collection 8: Iberia + South Korea requires the base game for its train pieces and scoring tokens, and both of its maps are designed to be played by between two and five players. The Iberia map includes one-hundred-and-ten Train Car Cards, fifty-four Festival Cards, a Ticket Draft Card, and fifty Destination Ticket Cards. The map itself depicts the Iberian Peninsula, primarily Spain and Portugal, but routes over the Pyrenees into southwestern France and ferry routes across the western Mediterranean to Palma, capital of the Spanish island of Mallorca. There is nothing radical or different about the map. Rather, the game play is different. This begins with the set-up. After the standard number of Train Car Cards are dealt to the players, the fifty-four Festival Cards are shuffled into the deck of Train Car Cards and the Ticket Draft Card is inserted into the combined deck. The players are dealt a total of Destination Ticket Cards. Instead of deciding to keep several of them and discard the rest, each player drafts on passes the remaining Destination Ticket Cards to the player on his left. This is done until each player has six Destination Ticket Cards, at which point, he can chose to discard two. This will mean that a player will get to see most of the Destination Ticket Cards that the other players have rejected and have some idea as what they have kept. There is the luck of the draw in drawing Destination Ticket Cards in any version of Ticket to Ride, but this draft mechanic randomises the draw even further, and it makes it difficult for a player to tailor his Destination Ticket Cards so that they fall along similar routes. Yet, Ticket to Ride Map Collection 8: Iberia + South Korea adds an extra twist to this.

When the Ticket Draft Card is drawn from the deck of Train Car Cards, a second draft takes exactly like the first, but going in the opposite direction. This has a player draft six new Destination Ticket Cards and keep four. It forces a player to consider eight new destinations that he has to connect and again they may not fall along similar routes. It also forces a player to marshal his train pieces since he knows will need some in the latter half of the game to complete the new Destination Ticket Cards. This also has another effect, which is to prevent a player from claiming as many routes as he can to speed up the end of the game. Up until this point, the players have not been allowed to draw new Destination Ticket Cards, but the other effect of the Ticket Draft Card is that now they can. However, with eight Destination Ticket Cards in hand, there is going to be less diving for new Destination Ticket Cards in the hope of scoring big.

The other means of scoring that Ticket to Ride Map Collection 8: Iberia + South Korea adds is Festival Cards. When drawn from the Train Car Card deck, a Festival Card is placed on the edge of the board nearest to the Festival City mentioned on the Festival Card. Many of the cities have multiple associated Festival Cards and when drawn these placed in a stack. When player claims a Route that connects to a Festival City, he can take all of the available Festival Cards for that city. At the end of the game, a player scores points for each set of Festival Cards he has for each city. This is a set collection mechanic similar to the railroad shares for the Pennsylvania map from Ticket to Ride Map Collection Vol. 5: United Kingdom + Pennsylvania.

Of the two new mechanics in Ticket to Ride Map Collection 8: Iberia + South Korea, for the Iberia map, the draft mechanic and the Ticket Draft Card are better than the Festival Cards mechanic. The draft mechanic alters some of the fundamentals of play and forces a player to think in the long term, husbanding his train pieces as important resources not knowing how many he will need towards the end of the game, and knowing that at some point the scoring opportunities are going to get more complicated. The Festival Cards does offer extra scoring opportunities that are easier because a player can claim routes even if they are not on any of his Destination Ticket Cards, but is just a bit busy and adds clutter around the edges of what is a large board.

The South Korea map is noticeably different and has a direct effect on play. This is because instead of the route colours being distributed across the map, they are clumped together in zones. There are a few grey routes as you would expect, but otherwise, all of the red routes are together in a zone, all of the blue routes are together in a zone, and so on. This has an immediate effect upon drawing Train Car Cards, because no matter what colour Train Car Cards a player draws, he is signalling which zone he wants to claim a route in.

In addition to the new map, the South Korea expansion includes fifteen Express Train Cards, forty-four Destination Ticket Cars, a Province Mat, and a province Scoring Card. The first rule that the South Korea expansion adds is the same draft mechanic in the Iberia map, but not the Ticket Draft Card. The second is for the Express Train Cards. Each player is given three of these, marked ‘+1’, ‘+2’, and ‘+3’. Each can be used once per game to either increase the number of Destination Ticket Cards a player can draw or the number of Train Car Cards a player can draw. This will give a player a one-time boost when each is played.

A player has another action that he can do after claiming a route. This is to place an extra train car on the Province Board. The Province Board is marked with several lines matching the colours of the Train Car Card and numbered from one to eight. The Train Car must be placed on both the line corresponding to the colour of the route just claimed and on the number equal to the length of the route just claimed. A player can also expend extra Train Car Cards to claim a higher number. If that number has already been claimed, the Train Car is placed on next free number of a lower value instead. An Express Train Card can also be expended to claim a higher number. At the end of the game, each player totals the combined value for the numbers claimed on each line and is awarded points according to their rank.

The South Korea map is a simpler, more direct map than Iberia. It rewards faster, more efficient play because the competition to claim routes is more open. Players telegraph to each other the zones where they want to claim routes when they draw Train Car Cards of a particular colour and so the race to claim routes within a zone can become tighter. Similarly, there is a race to claim routes because having done so, a player can claim numbers on the Province Mat that will contribute towards their final score. The Express Train Cards do give players a one-off advantage each time they are used, so should not be wasted. Overall, the South Korea map is much more competitive in comparison to many other Ticket to Ride Maps.

In addition, both maps offer something to the wider Ticket to Ride family. The drafting mechanics from the Iberia map could be used with other maps as could the Province Mat from the South Korea map. The drafting mechanic would have a greater effect upon play since it counters common game play elements such as collecting Destination Ticket Cards with roughly the same routes, playing Train Cars in order to speed up the end of the game, and drawing Destination Ticket Cards late in the game to score extra points along already claimed routes. Certainly, it would be interesting to see these rules implemented elsewhere and their effects examined, perhaps in a book dedicated to new rules for Ticket to Ride?

Physically, as you would expect, the production values for Ticket to Ride Map Collection 8: Iberia + South Korea are excellent. Everything is of a high quality and both looks good and feels good in the hand. The only item that could have been a better quality is the Province Mat, which is on card and not mounted. It is a pity that there is not room on the South Korea map for it either.

Given that Ticket to Ride Map Collection 8: Iberia + South Korea changes the way in which Ticket to Ride is played—the Iberia map in particular with the far reaching, even structural effects of the drafting rules—this is not an expansion for the casual player of Ticket to Ride. Rather it is for the fan of the game who wants to be challenged in new ways and the board game player who wants to be challenged more than the standard play of Ticket to Ride offers. Of the two maps, the Iberia map is the better, but the South Korea map is still good. Ticket to Ride Map Collection 8: Iberia + South Korea continues to offer new ways to play a tried and tested, even venerable format.