Friday Fantasy: Eve of Destruction

Eve of Destruction refers to the chief villain and the situation in which the Player Characters find themselves by the end of the scenario. It starts simple enough. In fact, it starts with a fantasy roleplay cliché. A village in peril. Beset by bandits. A desperate mayor. The Player Characters. Low Level. In a typical fantasy roleplaying scenario, the Player Characters would be hired by the Mayor to root out the bandits which are have been preying on the town and its surrounds. Then they would search area, locate the bandits, and strike, disrupting their operations and in the process discover that the bandit leader has a spy in town. Fortunately, Eve of Destruction is much more interesting than that and presents the players and their characters with a challenge or two, not all of which are combat-based. Eve of Destruction is a scenario for ShadowDark, the retroclone inspired by both the Old School Renaissance and Dungeons & Dragons, Fifth Edition from The Arcane Library. It is published by Jeff Stevens Games and is designed for use with Second Level Player Characters, but includes notes for scaling the scenario down for Player Characters of First Level and up as high as Seventh Level.

Eve of Destruction begins with the Player Characters in the town of Sunset Hill where they are approached by its mayor, Eugenia Stumpy. She wants help in dealing with a group of bandits that have been predating on the town and the surrounding farms, as well as generally being a nuisance, including the scenario suggests leaving obscene graffiti on a tavern wall, when not raiding or robbing. Once they decide to take up the job, the mayor warns them that the bandits’ leader, known as ‘Eve of Destruction’, is a known killer, but lets them know roughly where the bandits’ camp is. The journey is interrupted by the discovery of a band of Goblins holding up a wagon and once the Player Characters deal with them, the wagon and its passengers turn out to be Tart’s Traveling Thespians, who just happen to have been hired to perform a play for a nearby group of bandits. Coincidence? Of course, but it also turns that the actors of Tart’s Traveling Thespians no longer want to perform, having been rattled by the Goblin holdup. Ideally—and the scenario assumes so—the Player Characters will see this as an opportunity. After all, if the actors do not want to do it anymore, and were expected by the bandits, meaning that they could just roll into their camp, surely the Player Characters could go in their stead. The upside is that the Player Characters will be able to get into the camp unopposed, the downside is that they will have to put on a performance.

Eve of Destruction encourages all of this with a complete, five-page script that the players, as their characters, are expected to perform. Whilst all of this is going on, two of the cast, that is, two of the Player Characters as the cast, each receive a message. One is from ‘Eve of Destruction’ herself, another is from her deputy, Roark Gould. From these messages, the Player Characters learn that all is not well in the bandit camp. The leader and her deputy do not trust each other and want to kill each other, and have hired members of Tart’s Traveling Thespians. Eve of Destruction has the potential for a great third act when the Player Characters can hopefully bring the house down—on both the stage and on the bandits. How the former plays out likely depends in part upon the characters’ Charisma (or performance)-based checks. How the latter plays out is left open-ended and player-led, calling for roleplaying and intrigue upon their part, as well as a more experienced Game Master to handle it. Even so, some suggestions as to the possible outcome at the camp would have been useful as would details of the other bandits at the camp and their disposition and how the Player Characters might sway them in direction or another.

Physically, Eve of Destruction is cleanly and tidily laid out. Bar the cover, the scenario is not illustrated. It could do with a map.

Eve of Destruction is a short, entertaining scenario that is easy to slot into a campaign. It takes a classic fantasy roleplaying set-up, in fact, a cliché of a classic fantasy roleplaying set-up, and gets the players and their character to do something different. To get the Player Characters actually roleplaying themselves by performing stage as well as mixed up in some double-crossing intrigue and potential shenanigans. The scenario does leave the Game Master with a bit more work to do at the end than it really should, but the set-up and getting there is entertainingly different.

Friday Filler: Dying Message

Dying Message is an Oink game with a difference. Notably, it comes in a bigger box than the standard size for a title from the Japanese publisher. It is also particularly gruesome. Even bloody in its own way. Which is to say, a ‘felt’ way. Dying Message is a party game, a social deduction game with a classic theme. That is, to find out who committed a murder. The identity of the murderer—because this is a game—is determined randomly, but the role of the victim is always one of the players. In fact, the players take it in turns to be the victim, each time their killer being randomly determined. Only as the victim, a player does not start the game dead. Only dying. In classic murder mystery style, the victim gets to leave a message for anyone who finds his body. In blood. His own, of course. Only in the moment of death, he has forgotten the name of his murderer, so can only draw vaguely helpful clues that might help the authorities—as represented by the other players—identify who did the deed. At which point, the victim is dead and as his player, he can only listen in, keep his mouth closed, and try not to get too frustrated as the other players play detective and fail to detect any clues in his otherwise brilliant ‘dying message’.

Dying Message is published by Oink Games and designed to be played by between three and eight players, aged twelve and up, in roughly twenty minutes, and three modes. ‘Joint Investigation’ is the standard mode and has the players work together to solve the murder; in ‘Competitive Investigation’ the players race to be the first one to solve the murder; and in ‘Speedy Death Showdown’, the players race to create a message and be the first to die. Besides the rulebook, Dying Message consists of thirty Suspect Cards, fifty Message Cards, six Alphabet Tokens, a Judgement Card, thirty-two Score Tokens, a six-sided die, and a Dice Cover. The Suspect Card are large and each gives an illustration, the name, occupation, and description of a potential suspect. The Message Cards are double-sided and are marked with a symbol or shape or sign or line drawn in blood red. The Alphabet Tokens are marked ‘A’ to ‘F’, as is the die. They are used to indicate a Suspect Card in a lineup, whilst the die is rolled to determine the murderer and Dice Cover is used to keep its result hidden once rolled. Lastly, the Felt piece is intended to be used to enhance the theatre of the Victim’s death.

Set-up is quick and simple. The player to be the Victim draws six Suspect Cards for his cards, assigns their Alphabet Tokens, and then draws fifteen Message Cards. He rolls the die to see which of the Suspects did him in and hides the result under the Dice Cover. The Victim then has a minute to craft his message to the other players, the Detectives. Only the side of the Message Cards visible can be used, and when crafting the message, he cannot hint or point at or spell either the Suspect Card or its associated Alphabet Tokens. Otherwise, the Victim can arrange the Message Cards he uses—and he does not have to use all of them—as he wants, including covering parts of them up. Once done, the Victim essentially groans and falls dead on the table, his head resting the pool of blood (or on the felt!).

At which point, the Detectives enter the scene. They can read the details of the Suspect Cards, they can look at the Message cards in play, but cannot move them, and they can examine the Message Cards that the Victim did not use. The Detectives have three minutes to deduce who did it, at which point, they collectively point at the Suspect Card representing who they did the dirty deed. The Victim uses the ‘Judgment Card’—either its ‘Found Peace’ or the ‘Lost Hope side—to indicate whether or not they have been successful.

Once done, the next player becomes the Victim and the procedure plays out again until everyone has had a turn at being the Victim. Then each player awards points based on what he thinks was the best Dying Message using the Message Cards and which was his favourite Dying Message. The player who scores the most points at the end of the game is the winner.

The ‘Competitive Investigation’ plays out in the same fashion, but instead of the Detectives all pointing to the Suspect Card they all collectively think is the killer, they individually point to the Suspect Card they think is the killer. Scoring is more complex in this mode. No points are scored if all of the Detectives were either correct or incorrect. The Victim will score points for every Detective who correctly identifies the Suspect, whilst each Detective who is correct will score points for each Detective who was incorrect.

Lastly, in the ‘Speedy Death Showdown’, each player draws fifteen Message Cards and secretly chooses one of the Suspect Cards as his potential murderer. They then race against each other to be the first to craft a message using the Message Cards. The player to do so, takes the Felt and becomes the Victim. The other players become the Detectives. Play then proceeds as per the standard ‘Competitive Investigation’, including the scoring and winning conditions.

The heart of Dying Message is the Message Cards. Getting the most out of them and being able to craft the most effective message is the key to the game and its play. They are also where its fun lies too. Of course, sometimes a Victim will be faced with Message Cards that can easily be arranged to form a message, at other times not, and so he will be forced to do the best that he can. So, there is a luck element there, but it really is up to the Victim to do his best with what he can as after all, it is the last thing he will do. Yet even if a Victim has crafted what he thinks is a great message, there is no guarantee that the Detectives will be capable of deducing anything from it. Which leaves a lot of groaning to be done in the post-mortem as each Victim explains what he was trying to convey with his message.

Physically, Dying Message is very well produced. Everything is of a good quality and the rulebook is a quick and easy read that clearly explains the rules. The game is also easy to teach. The Felt is absurd, but fun.

With its  high number of Suspect Cards and Message Cards, Dying Message has plenty of replay value. It is a game that works better with a higher player count—especially ‘Speedy Death Showdown’—as there is more variation and more player input. At its heart, Dying Message is a classic murder-mystery, social deduction game which gets inventive by adding physical and creative elements to its play. It is clever and it is fun, and it can be enjoyed by casual, family, and veteran gamers alike.

Miskatonic Monday #413: The Phantom of Gloaming Thicket

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—

Name: The Phantom of Gloaming Thicket

Publisher: Chaosium, Inc.
Author: Andy Miller

Setting: Dark Ages Britain

Product: Scenario
What You Get: Forty-four-page, 41.17 MB Full Colour PDF
Elevator Pitch: “If you go down in the woods today, you’re sure of a big surprise

If you go down in the woods today, you better go in disguise”

—Henry Hall, Teddy Bear’s Picnic

Plot Hook: No matter if you are going north or south, there is horror to be found on the other side of the Watford Gap.

Plot Support: Staging advice, six pre-generated Investigators, seven NPCs, eight handouts, two maps, some Mythos and other monsters, and two artefacts.

Production Values: Decent

Pros

# Inspired by B10 Night’s Dark Terror

# Side-trek for Cthulhu Dark Ages

# Includes advice to adapt to other eras and settings

# Easy to slip into a campaign

# Easy to prepare

# Catoptrophobia

# Hylophobia

# Scoleciphobia

Cons

# From its size, the Keeper may be expecting more

Conclusion

# Extended ‘things in the woods’ encounter

# Very serviceable addition to any Cthulhu Dark Ages campaign (and other campaigns with some effort)

Miskatonic Monday #412: A Heady Draught

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—

Name: A Heady Draught

Publisher: Chaosium, Inc.
Author: J. Michael Arons

Setting: Modern day United Kingdom

Product: Single-Secession Scenario
What You Get: Eight-page, 30.28 MB Full Colour PDF
Elevator Pitch: Possession is ninth tenths of the bottle.

Plot Hook: “I see that a man cannot give himself up to drinking without being miserable one-half his days and mad the other.”

― Anne Brontë, The Tenant of Wildfell Hall

Plot Support: Staging advice, no pre-generated Investigators, one NPC, one handout, and one Mythos monster.

Production Values: Plain

Pros

# Simple investigation

# Suitable for one Investigator, one Keeper play

# Easy to adapt to other eras and settings

# Easy to slip into a campaign

# Easy to prepare

# Focusses on one NPC for strong roleplaying

# Dipsophobia

# Thanatophobia

# Dipsomania

Cons

# Needs an edit

# The Keeper may want to add a map and other NPCs

# Episodic; what are the Investigators doing the rest of the days?

Conclusion

# Episodic, tight scenario focused on one NPC

# Keeper may want to develop the scenario a little wider

Icelandic Stories

It is the Age of Vikings. From their homes in Denmark, Norway, and Sweden, the Norsemen have spread throughout Europe—and further beyond. They have conquered and settled in the British Isles, Ireland, the Faroe Islands, Iceland, Greenland, and Normandy, as well as following the trade routes deep into Eastern Europe. They have not always been welcomed and they have often been feared. They have a reputation as raiders and pillagers, plundering towns and monasteries wherever their boats can take them, even sailing up the Seine to besiege Paris! These are the infamous Vikingar—or Vikings—who banded together to honourably raid other lands, and less honourably to raid the lands of other Norsemen. Yet such Vikings are not the only perils that Norsemen face. Some from within, some from without. On the harsh island of Iceland, far to the west, they are independent and free of kings and queens and nobility. Instead, they answer to the law courts of the assemblies where disputes are settled by the chieftain-priests known as goðar, to their families, and to their honour. Yet this would lead to revenge killings and blood feuds that passed down generations and violence perpetrated to restore slights and injuries to honour—perceived and otherwise. The Norsemen of Iceland are not the only inhabitants of this land. It is home to spirits of nature and mythical creatures. The Hidden Folk watch mortal men and sometimes meddle, their motives unknown. Travellers abroad on the wind and ice swept island can be attacked by Trolls. Curses and spells can be laid upon family and friends as well as neighbours and enemies, for magic is real, whether in the form of Rune Magic drawn from the Well of Fate beneath Yggdrasil or the ritualistic Seiður magic that comes from communing with the spirits, the powers of the land, and the gods.

This is the set-up for Age of Vikings: The Roleplaying Game in which the Player Characters are farmers and adventurers in medieval Iceland. They seek fame and fortune through adventure and also raiding during the season, but to protect their honour and their family too. It is published by Chaosium, Inc. and it is not the publisher’s first foray into the Viking Age and medieval Iceland, having previously published Mythic Iceland and been associated with Avalon Hill’s Vikings: Nordic Roleplaying for RuneQuest, published in 1985. Like those roleplaying games, it uses the mechanics of the Basic Roleplaying: Universal Game Engine, but mechanically, it bears some similarity to RuneQuest: Roleplaying in Glorantha. Such that if you have played RuneQuest: Roleplaying in Glorantha, then mechanically, adjusting to Age of Vikings will not be an issue. That said, any experience with Basic Roleplaying: Universal Game Engine will work too. Lastly, it should be pointed out that Age of Vikings: The Roleplaying Game straddles the line between the historical and the mythical. It draws heavily upon both the history of the period and on the Icelandic Sagas, but allows the Game Master and her players to decide to focus on the historical elements of the setting or the mythic elements of the setting or both. The default is the latter as it reflects the outlook of the Icelanders upon the world and the land around them.

A Player Character in Age of Vikings: The Roleplaying Game is defined by his name and nickname, his Passions and devotions, family history, characteristics and skills, plus Spirit Animal, Devotions, Family, and distinctive features. A Player Character’s Passions represent his values and emotional desires, and in play, they can drive him to act (and mechanically grant a bonus) and bring him into conflict with others. He starts with three: Honour, Loyalty (goði), and Love (Family), and he will have more, typically created during the process of roll for his Family History. The latter gives the Player Character his backstory from the time of his grandfather in 900 CE all the way up through his parents’ history to his own 977 CE. The characteristics are Strength, Constitution, Size, Dexterity, Intelligence, Power, and Charisma. These are rated between three and eighteen, although the minimum value for Size and Intelligence is eight. Skills are divided in seven categories—Agility, Communication, Knowledge, Manipulation, Mythic, Perception, and Stealth, plus Weapons. His Spirit Animal reflects a Player Character’s soul and will grant a bonus for certain categories, such as the Owl, Snow Fox, or Weasel, which means that the Player Character is cunning and gains a bonus to Perception and Stealth skills. A Player Character’s Devotions are made to the gods that he most values and can draw upon for inspiration, represented by points of Dedication that grant him a bonus when acting according to their ideals. For example, the ideals for Baldur are light, happiness, and peace, whilst those for Óðinn are magic, war, and wisdom. The worship of Loki and Hel is rare and frowned upon.

Creating a Player Character in Age of Vikings: The Roleplaying Game is a mixture of random rolls and making choices. Options are given to simplify the process, but the default does take time. The player chooses or rolls for his character’s name and nickname, his family background, and then selects his Homeland skill bonuses. If the character is to be a Runemaster or a Seiðkona, his player selects from the skills for those options. He selects the three gods for his Devotions and assigns the Dedication points to them. Lastly, he rolls for his family details, its wealth, and its farm, and thus the equipment he has access to, as well as the distinctive feature.

Name: Álfdís Hallisdóttir
Nickname: Coal-brow
Passions: Honour 90%, Loyalty (Goði) 60%, Love (Family) 60%, Loyalty (Sweden) 60%, Hate (English) 70%, Loyalty (Norway) 60%
Devotions: Óðinn (1), Freyr (1) Forseti (1)
Animal Spirit: Cat (Spiritual)
Distinctive Features: Alluring expression, Eyebrows grown together, Red hair

CHARACTERISTICS
Strength 09 Constitution 13 Size 11 Dexterity 15 Intelligence 16 Power 18 Charisma 14

ATTRIBUTES
Move 10 Magic Points 18
Hit Points 14
Head 5 Left/Right Arm 5/5 Chest 6 Abdomen 5 Left/Right leg 5/5
Healing Rate 3
Maximum Encumbrance 10
Reputation 13
Status 25%

SKILLS
Agility (+10%): Ride 30%
Communication (+10%): Sing 45%, Skaldic Poetry 30%
Knowledge (+10%): Area Lore (Iceland) 40%, Customs (Norse) 35%, Farm 50%, First Aid 45%, Law 30%, Myth Lore 45%, Survival 35%, Treat Poison 25%, Treat disease 25%
Manipulation (+15%):
Mythic (+10%): Go Under the Cloak 45% Prophecy 40% Second Sight 40% Seiður Magic 60% (Weave), Worship (Forseti) 30%, Worship (Freyr) 10%, Worship (Óðinn) 30%
Perception (+10%): Insight 55%, Spot Hidden 45%
Stealth (+15%):
Weapon Skills (+15%): Knife 55%

Her grandmother, Bergdís, journeyed to Iceland from Sweden where she travelled, but did not settle. She was at the Alþing as one of the thirty-six first Goðar to preside over the law courts. The following year she was aboard Gunnbjörn Ulfsson’s ship when it sailed to the west, but what she saw there, she swore never to reveal. When she returned, she dreamed of the Fire Canyon breathing once again and her warnings persuaded her family to leave their farm in time. She dreamed again of the invasion of kings and fought at the Battle of Wineheath as part of the Norse army and fled when they were defeated. She hated the English ever after. Late in life she travelled far, dying with glory in the Battle of Constantinople. Her son, Halli, did not agree with his mother’s dislike of the English at first, but when in England fought alongside Eiríkur Bloodaxe at the Battle of Stainmore in England and saw him betrayed by the English, barely escaping with his life, he found himself in the wrong. Fleeing England, he found favour at the Norwegian royal court, but left for Iceland to avoid converting to Christianity. Sadly, King Haakon the Good followed him and began converting the Icelanders, but Halli resisted this and helped throw up a temple to Óðinn. When the prophet Þórdís visited the farm in honour of Bergdís, she prophesied that love would take someone away. Halli’s oldest son, Gaukar, disappeared a year later, only being seen with someone who was suspected of being one of the Hidden Folk. Halli fought honourably at the Battle of Assembly Bay, but his wound did not keep him from being at the assembly later that year where he spoke in favour of dividing Iceland and his words were greatly received.

In the Great Winter of Famine, the family survived by foraging and hunting and when the seas settled and the priests of Christ came to Iceland once again, Bergis mocked them in song to the pleasure of many. When the Goði’s hall was set alight, she rode a horse dedicated to Freyr and was rightly scolded even though she caught the culprit. More recently, she has been involved in the feud between the family of the renowned warrior poet Egill Skallagrímsson and Önundur Ánason over cattle grazing rights. She helped protect Egill Skallagrímsson against those who would kill him. Last year, she came across a spooked and bloodstained horse. In its saddle bag was a healing stone.

Mechanically, as a Basic Roleplaying: Universal Game Engine roleplaying game, Age of Vikings: The Roleplaying Game is a percentile system. All a player has to do is roll percentile dice and get a result equal to, or lower than the value of the characteristic roll or the skill, and his character succeeds. A characteristic roll is typically a characteristic multiplied by three, but can be higher or lower depending on difficulty. Any result of ninety-six and above is always a failure and can be a fumble, whilst a roll of one fifth of the success or less is a Special success and one twentieth a Critical success. These will give enhanced outcomes, such as increased damage. Rerolls may be possible, but impose a penalty each time. Age of Vikings: The Roleplaying Game does make use of the Resistance Table to make determining the outcome of opposed rolls, such as withstanding the effects of poison or overcoming the mind of another, easier and faster. It is possible to have skills above 100%, but not at the start of play. If a roll is failed and the situation is absolutely dire, a player can choose to spend his character’s Wyrd. This turns a failed roll into a successful roll, but at the permanent cost of a point of Power. Do this too often and a Player Character’s Wyrd or fate has played out.

Rolls can also be augmented prior to a characteristic or skill roll. This can be done with another skill as well as a Passion. A failed augmentation roll will actually levy a penalty on the roll being augmented, whilst a successful augmentation roll will apply a bonus, which will be better with a Special or Critical success. Passions lie at the heart of a Player Character for they reflect his emotions and values, but they are more than a means to augment a skill or characteristic roll, to explain why he is acting the way he is. They can also be used to compel a Player Character to act according to them. This can be with a roll or if high enough he can be forced to.

Combat uses the same core mechanic. Initiative is determined according to Dexterity values, and once in physical combat, each combatant can either make a physical attack and defend or make a magical attack and defend. Defending is either dodging or parrying, and the outcome of both is determined by comparing the quality of the success for both the attack roll and either the parry or dodge rolls. This requires reference to their own tables often from blow to blow and the need to consult both tables does slow the flow of combat, if only slightly. (It is where the Age of Vikings: Gamemaster Screen Pack will undoubtedly prove to be useful.) If an attack is a Special success, it will do roughly double damage, whilst a Critical success indicates that any protection or armour has been bypassed and maximum damage inflicted. Of course, it is possible to roll a Fumble for an attack or parry, and there is a table of results for that. Rune magic can be used in combat, but Seiður magic cannot as it takes too long.

Armour protects, but not all locations and the best armour—either helmets, chain, or scale—is expensive. Shields will also stop damage, but can be damaged too. Damage is done by location, but if the Hit Points in a particular location are reduced to zero, a limb becomes useless, the combatant is left bleeding to death, or knocked unconscious and dying. Damage done to locations is also applied to general Hit Points and reducing those will knock a combatant unconscious. First aid and healing magic are available, but natural healing takes weeks.

What Age of Vikings: The Roleplaying Game makes clear is that combat is deadly and should be avoided if possible. If it cannot, it suggests that the Player Characters should prepare beforehand, casting weapon-enhancing magic and defensive spells, if possible, ambush and attack first, use missile weapons, and wear even minimum armour. And lastly, be prepared to flee if necessary.

In keeping with the setting, the rules for Age of Vikings: The Roleplaying Game cover alcohol and drinking contests, ships and seafaring, the latter giving stats for the classic longship, as well as cogs, biremes, and triremes, plus combat and other dangers. Alongside the guide to Viking life, including the gods (and that does include a section on Christianity in the Iceland of the period), and there are rules too for running a raid, on anywhere from an isolated farm or monastery all the way up to a metropolis with their associated Risk and Reward Ratings. Once any immediate opposition has been dealt with, the Player Characters can search the location, what they find being primarily determined by the Loot Table. Depending upon the nature of the campaign, both the seafaring and raid rules will be consulted again and again when the Player Characters decide each year that it is the time to be ‘going Viking’. Similarly, the rules for Icelandic legal system will probably be consulted again and again as a means to resolve conflicts without resorting to combat—though it is likely too as going before the courts is a measure of last resort when everything has failed. The process takes the participants through the legal battle in four phases consisting of travel to the court, presentation of cases, giving testimony, and final arguments, in between which both sides—but primarily the Player Characters—can conduct manoeuvres, such as intimidating a witness, researching the law, and even offering a favourable marriage to a judge to persuade him to one side or another, in order to gain Legal Advantage Points. Acquire seven Legal Advantage Points and the case is won, but then the winning side has to enforce it. Depending on how underhanded the Player Characters want to be, there is plenty of scope for roleplaying a Viking legal drama.

Magic in Age of Vikings: The Roleplaying Game takes two forms. Rune magic has specific rules, but essentially involves him choosing and carving three Runes or more closely associated with the desired effect and dying them with the caster’s blood. He also needs to create a Galdur, a script that he intones upon casting them. The more runes carved, the greater the number of effects and the greater the number of Magic Points that need to be expended. In the form of the twenty-four Elder Fúþark, the Runes offer incredible flexibility. For example, Vend means bliss and has the purview of happiness, relationship, hope, and kinship, and it can be used to give a bonus to the Charm and Insight skills as well as increase Charisma. Vikings: The Roleplaying Game does not just detail the twenty-four Elder Fúþark, but gives multiple combinations, their effects, and Galdur in each case. As with any magic system in any roleplaying game, there is a lot to learn, but player and Game Master alike are encouraged to create and prepare scripts, lest play get bogged down as they try to put a script together.

Where Rune magic can be cast all but immediately and only has a short effect, Seiður magic requires a long ritual and once completed, has a much longer-lasting effect. The Seiður practitioner, or Seiðmaður, is only really limited by the number of Magic Points that his player wants to expend in determining the duration, distance, and dimension of the spell, and whether or not the effect falls within the preferred Realm. There are four of these—Mind, Body, Spirit, and Weave (fate)—and the Seiðmaður favours one over the other three. This means that he is at a penalty when working within the realm of the others. In this way, Seiður magic is even more freeform than Rune magic, only limited by the player’s imagination. There are no formulaic spells for Seiður magic, but there are examples given drawn from the sagas for each of the four realms.

Age of Vikings: The Roleplaying Game gives a history of Iceland, from the Mythic times all the way up to the start of the game, as well as a Traveller’s Guide to the land itself. The guide is threaded with numerous adventure seeds. There are details too, on the lands beyond Iceland, but they are very much not the focus of the roleplaying game. It also reveals the secrets of the Hidden People and gives a detailed bestiary, which lists a variety of mortals, from berserkers, foreign raiders, and goði to thralls, traders, and warriors. The Mythic Folk include the Hidden People, Jötunn, Merfolk, and Trolls. There are descriptions of beasts too, but also Draugur, Fallen Ravens, and Seal Mothers, plus horrors like Wicked Whales and Kraken.

Age of Vikings: The Roleplaying Game supports the long term with rules for experience and downtime activities, such as worshipping, the progress of the farm and family, which again though mechanical, can spur opportunities for roleplay and stories. In the short term, it provides a single scenario, ‘The Alþing’. This is the annual meeting of the community, at which there are opportunities to arrange for the collection of goods, conduct courtships, settle disputes, recruit for raids in the coming season, and so on. ‘The Alþing’ gives plenty of opportunity for the players to roleplay and learn more about the community and the scenario itself sets up a potential dispute between the Player Characters and some NPCs as well as having both players and their characters participate in the rules for the court. Certainly, its general set-up really does show off the social aspect of the setting and its mundane rather than mythical nature means that it is suitable for historical as well as mythical play. However, it is not necessarily the best adventure for the group that wants more of a directed adventure or one that deals with more of the mythical elements. The Game Master may want to work with her players to develop some motivations as what their characters want from attending and build those into the scenario. Yet is still a good adventure, its format being one that the Player Characters can return to again and again, with unused elements being saved for the next one and the Game Master adding new ones, perhaps more tightly tailored around the drives and activities of the Player Characters.

Physically, Age of Vikings: The Roleplaying Game is very presented. The book is well written, the artwork is excellent, and there are plenty of examples of play throughout, as well as a set of six ready-to-play pre-generated Player Characters. It needs a slight edit in places.

Given that Age of Vikings: The Roleplaying Game employs the Basic Roleplaying: Universal Game Engine, there is a complexity to the core rules, especially in combat, and whilst it can be argued that Rune magic and Seiður magic are both complex, that is more conceptual than mechanical. In comparison, the rules for Viking legal battles and for raiding do not add complexity, but rather add depth to the setting and help develop situations and opportunities for roleplaying. This is balanced by the richness of the medieval Icelandic setting and its historicity versus fantasy, leaning towards the former than the latter in portraying a people (and thus Player Characters) and their outlook rather than the clichés of Viking raiders. It places the Player Characters as farmers first, part of a wider community whose disputes and stories that they can become a part of as well as creating their own. Age of Vikings: The Roleplaying Game is a low fantasy, deeply historical  game that is designed to help tell stories of home, hearth, and honour, myth and magic, and bring new sagas to life, and in that it succeeds admirably.

The Twelfth Doctor

Every regeneration ushers in a new era, but the Twelfth Doctor ushers in one of uncertainty and reflection, a last era for the Doctor as he reaches the last of the twelve regenerations that every Time Lord has. Of course, he would be granted more beyond the dozen, but for this incarnation, the Doctor, initially unsure as to who he was, proved himself to be irascible and grumpy, unhappy with the state of the universe, and full of regrets about his failures. If the Eleventh Doctor looked back to the Second Doctor, the Twelfth Doctor looked back to the First Doctor, for he was more prickly grandfather than likeable uncle. This connection would culminate in ‘Twice Upon a Time’, the last episode for the Twelfth Doctor, in which he encounters the First Doctor at the South Pole as both are faced with their regeneration, but refuse to let it happen. The Twelfth Doctor could be funny and joyful, passionate and empathetic, but was always fierce, fearless, and gruff. This would change over time as he softened, but there were still regrets to be addressed and made, perhaps the greatest and most challenging of these being his failure to reform his oldest enemy and best friend, the Master. Sadly, he never would, for his old adversary cannot change his true nature, but in Missy, the most mischievous and malicious of the Master’s incarnations, there was hope. There are regrets of his own as well as the past, often due to his austere demeanour, self-importance, and sometimes dismissive attitude towards those he regarded as beneath him. Too often his companions would suffer for his nature, in turn, Clara Oswald, Danny Pink, and Bill Potts, all either dying or being lost as a result of their adventures with the Twelfth Doctor. Yet the reflections also meant the Doctor would encounter monsters old—Daleks, Cybermen, Zygons, and Ice Warriors—as well as new, whilst his desire to explore would send him and his companions on perhaps his most fantastic adventures yet!

The Twelfth Doctor Sourcebook is part of Cubicle Seven Entertainment’s celebration of Doctor Who’s fiftieth anniversary—celebrated itself with the special episode, ‘The Day of the Doctor’—for the Ennie-award winning Doctor Who: Adventures in Time and Space roleplaying game. It returns the series to its shorter page count, after the lengthier sourcebooks devoted to the Tenth Doctor and Eleventh Doctor, but actually reduces the number of chapters down to three, consisting of just ‘The Twelfth Doctor And Companions’, ‘Playing in the Twelfth Doctor’s Era’, and ‘The Twelfth Doctor’s Adventures’. What is missing here in comparison to previous sourcebooks is ‘The Twelfth Doctor’s Enemies’ chapter, its absence really pointing to the fact that the Twelfth Doctor’s enemies are not as memorable as those of previous incarnations of the Doctor. In fact, The Twelfth Doctor Sourcebook really treats what would be the most notable of the Twelfth Doctor’s enemies—Missy and Ashildar (Me)—as companions rather than enemies and even notes that there is a deceitfulness to Clara Oswald that the Doctor distrusts. Not since Turlough who travelled with the Fifth Doctor has there been companions that the Doctor cannot wholly trust or being himself to trust. Stats are provided for both the Twelfth Doctor and all of his companions, but like those in the rest of the sourcebook, they are written for use with the first edition of Doctor Who: Adventures in Time and Space roleplaying game, rather than the second. (That said, adapting them is relatively easy.)

In terms of themes, it presents and examines concepts such as ‘What’s Old is New Again’, ‘Hard Decisions’, ‘Places to See, People to Annoy’ all backed up with suggestions as to how they might be used. As already mentioned, the Twelfth Doctor would meet many of his old foes, but ‘What’s Old is New Again’ means that when he does, they are often radically different. Most notably, Missy rather than the Master, but also a Dalek who hates other Daleks and Zygons who can be persuaded to integrate into Earth society rather than conquer the planet. Similarly, he visits places that ‘Familiar, but Strange’, such as the Orient Express, but in space with a Mummy! The era of the Twelfth Doctor is one of ‘Hard Decisions’, sometimes having to decide who has to die and who has to live, and for how long, often because it up to the Doctor to make them because no-one else is coming to save the day. ‘Places to See, People to Annoy’ examines some of the motifs of the incarnation such as a love of deserted places and locations, though often these hide dark secrets, and perhaps because the Doctor has seen so much and cannot decide where to go, actually setting the TARDIS controls to random, so that nobody knows where they might end up. However, since the TARDIS has telepathic circuits, it can pick up on subconscious desires, and so The Twelfth Doctor Sourcebook suggests that the players and their characters might take it in turns to suggest a destination, adding a collaborative element to play. It also examines the more fantastical nature of the Twelfth Doctor’s stories, typified by ‘Robot of Sherwood’, ‘Kill the Moon’, and ‘In the Forest of the Night’, noting that ultimately a more Science Fictional explanation will prevail.

There is advice for the Game Master too, on different campaign frameworks, such as the companions being left behind when the Doctor runs off an adventure of his own, leaving them to try and cope with a situation where they have to do his job, or more extreme, running a campaign without a Time Lord, with the Player Characters being on equal footing. This is an option that the Doctor Who: Adventures in Time and Space roleplaying game has considered before, but never before has it been brought to fore as in the era of the Twelfth Doctor where he is not always present and his Companions have to emulate him as best that they can. Later, the relationship between the Doctor and Bill Potts lends itself to a campaign where the relationship between Time Lord and companion is that of teacher and student, with each new adventure becoming a learning opportunity, which again is another nod in this era and The Twelfth Doctor Sourcebook between the First Doctor and his companions. Penultimately, the supplement examines the relation between the Doctor and UNIT, standoffish at best, as is that of his relationship with Gallifrey which he engineered the return of, but has also left it to its own devices, with no real government or direction, suggesting that perhaps another Time Lord might need to get involved depending upon how its politics or lack of them play out. Lastly, The Twelfth Doctor Sourcebook details several of the gadgets and associated traits that appear in the era, most notably the Sonic Sunglasses.

The third and final chapter in The Twelfth Doctor Sourcebook is, as with the previous entries in the series, its longest. Again, it takes up some four fifths of the book, detailing all thirty-four of the Twelfth Doctor’s stories, from ‘Deep Breath’ to ‘Twice Upon a Time’. The format is simplified with the removal of the ‘Changing The Desktop Theme’ section—a reference to the changed look of the TARDIS interior after some thirty or so years—which suggested ways in which the story might be reskinned with another threat or enemy, and the like. Instead, all open with a synopsis, including notes on continuity—backwards and forwards to stories past and future, followed by advice on ‘Running the Adventure’. This includes ‘Further Adventures’ that the Game Master can develop enabling the players and their characters to visit its themes and setting.

Thus, for the episode, ‘Mummy on the Orient Express’, the synopsis describes how the Doctor offers Clara one last trip in the TARDIS, this time somewhere special. Once aboard the Orient Express, they discover that a Mummy is killing the passengers, but is actually a cover, not once, but twice. One for ‘The Foretold’, a deadly mythical creature, and one for the whole of train, which it turns out is a travelling laboratory on the train. ‘Continuity’ notes that premium travel in the future looks like premium travel from the past such as ‘Voyage of the Damned’ for the Tenth Doctor, how the Twelfth Doctor is dispensing Jelly Babies in a silver cigarette case, and how he offers Perkins, the engineer aboard the Orient Express, a job as ‘his engineer’! In terms of ‘Running the Adventure’, it suggests that the Orient Express is background and it can be set anywhere and that given that ‘The Foretold’ is an unstoppable killing machine, so the Game Master needs to be careful to have it kill the Player Characters (unless it really matters), and instead kill the NPCs they form attachments to. ‘Further Adventures’ suggests ways in which its elements can be further explored. For example, they could discover the site where ‘The Foretold’ are created and one of the companions is converted and has to be rescued, or the Player Characters suddenly find themselves aboard the Orient Express and have to work out how. There are no stats for ‘The Foretold’, but there are for Perkins.

The Twelfth Doctor Sourcebook adheres to this format throughout, for all of its thirty-four episodes and specials. The write-ups are lengthy, and in the process the Game Master is given detailed background and advice on running an array of great episodes, including ‘Dark Water/Death in Heaven’ which sees the return of Missy, and ‘The Zygon Invasion/The Zygon Inversion’ in which a new conflict with the Zygons is being fomented.

Physically, The Twelfth Doctor Sourcebook is well presented in what is very much a tried and tested format. The supplement is richly illustrated with lots of photographs from the series and decently written, all backed up with a good index.

The Twelfth Doctor brought a fractious relationship between the Doctor and his Companions as well as a sense of the fantastic to ‘Nu Who’ and The Twelfth Doctor Sourcebook enables the Game Master to bring these to her campaign for the Doctor Who: Adventures in Time and Space roleplaying game. There are some excellent suggestions as to how these and other themes can be used, as well as adventure hooks throughout the supplement to support the Game Master. That said, the nature of the relationship between the Doctor and his Companions is harder to run than the average Doctor Who: Adventures in Time and Space roleplaying game, since it brings in elements of mistrust and potentially challenging roleplaying into play. Ultimately, The Twelfth Doctor Sourcebook is a sound guide to the era of the Twelfth Doctor that captures its prickliness, its regrets, and its empathy in bringing the Doctor Who generation sourcebooks to a close.

Quick-Start Saturday: Gallows Corner – A Peasants’ Revolt RPG Prerelease Guide

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.

—oOo—

What is it?
Gallows Corner – A Peasants’ Revolt RPG Prerelease Guide is the quick-start for Gallows Corner – A Peasants’ Revolt RPG, the alternative history roleplaying game inspired by, and set five years before, the Peasants’ Revolt of 1381. The Player Characters are members of peasanty, barely recovering from the disastrously disruptive effects of the Great Mortality, who want to challenge the powerful, the greedy, and the tyrannical, and build a new version of England, one known as ‘The Anarchy’, where they would be free of bondage and have the liberty to live in peace.

It is a ninety page, 65.57 MB full colour PDF.

‘A Spark Takes Hold’, the introductory adventure is a thirty page, 15.48 MB full colour PDF.

It is decently written and the artwork really is very good.

How long will it take to play?
Gallows Corner – A Peasants’ Revolt RPG Prerelease Guide together with the scenario, ‘A Spark Takes Hold’, is designed to be played through in two sessions.

What else do you need to play?
Gallows Corner – A Peasants’ Revolt RPG Prerelease Guide requires three each of four-sided, six-sided, and twelve-sided dice, which should be of a different colour.

Who do you play?
Gallows Corner – A Peasants’ Revolt RPG Prerelease Guide does not include any pre-generated Player Characters. Players are expected to create their own using the included rules, but the process is quick and easy.

How is a Player Character defined?

A Player Character in Gallows Corner – A Peasants’ Revolt RPG is a peasant who has a

name and description, a Trade and a Job, as well as Experience, represented by three Traits which are Physical, Emotional, and Intellectual. Trade, Job, and the three Traits are each represented by a die. Six Trades and their associated Jobs are given. The Trades are Soldier, Herbalist, Barber-Surgeon, Pickpocket, Smith, and Scribe. Each has four Jobs. For example, the Scribe has ‘Teacher’, ‘Trusted Confidant’, ‘A Comfortable Life’, and ‘Local News’, whilst the Barber-Surgeon has ‘Setting a Bone’, ‘Bite down on this’, ‘Leeches’, and ‘Pain Artist’. Trade, Job, and two of the Traits have a six-sided die assigned to them, whilst the third has an eight-sided die assigned to it. These dice can change and grow in number over the course of a campaign.

How do the mechanics work?

Gallows Corner – A Peasants’ Revolt RPG Prerelease Guide—and thus Gallows Corner – A Peasants’ Revolt RPG—advises that a player relies upon his own abilities as much as those of his character, since he will be more aware of the world rather than the character, that collaboration is the key to success, death is likely and combat to be avoided—most of the time, and that they should embrace failure.

The roleplaying game uses a dice pool system. It advises that a player relies upon his own abilities as much as those of his character, since he will be more aware of the world rather than the character, that collaboration is the key to success, death is likely and combat to be avoided—most of the time, and that they should embrace failure. When a player wants his character to act and pass a Test, he forms a dice pool formed of his character’s Experience dice, Trade dice, and Job dice. A result of five or more is counted as a success, four or less a failure, and only singled success required for the peasant to succeed. The rules tell the player to advocate for as many dice as he can to form the pool, but ideally, a player and his character should rely upon roleplaying and Skills rather than attempting Tests. A Skill represents something that a Player Character can automatically do.

The players as a group can also spend ‘Opportunities’ to alter the world around or give an order to member of their Retinue. This might be to send a member of their retinue to scout out a village, to wait in ambush ready to strike at an enemy, or to gather resources or craftsmen to reinforce their camp or improve their community, but they can also be spent to allow a player to bring their character’s Job into play once again.

Gallows Corner – A Peasants’ Revolt RPG is played out over a series of Seasons, Scenes, and Clocks, the latter being used to track something that the Player Characters are struggling against, such as being hunted by a local Sherrif’s soldiery, attempting to erect fortifications in a hurry, and so on. They are attempting garner ‘Influence’, a combination of their fame and notoriety that enables them to do greater and bigger things as it grows. Primarily, it allows them to recruit a Retinue, but as it goes from ‘Unknown’ up through ‘Spoken Of’, ‘Recognisable’, ‘Well Known’, and ‘Notorious’ to ‘Famous’, they will be able to more, granting Benefits and Detriments that can be used once per Season. Their overall Collective Influence is measured against ‘Control’, which represents the power and domination that the state—the crown, the nobility, and the church—hold over the immediate county and over all England. By undertaking acts of liberation and challenging the power of the state such as writing and spreading mocking songs, disrupting the activities of tax collectors, and even burning the manors of the landed classes, the Player Characters can reduce the ‘Control’ value for the county. If the ‘Control’ value is reduced to under the Player Characters’ ‘Collective Influence’, a Showdown can be staged.

How does combat work?

Combat is quick and deadly. It is played out as a series of opposed Physical Experience rolls, each combatant attempting to reduce his opponent’s condition from ‘Standing’ to ‘Knocked Back’ to ‘Down’, and then ‘Retreating’. This also applies an increasing penalty to the roll. The victor always chooses the outcome, but can also improve his own condition, offer assistance to an ally, kill or capture an enemy, and so on.

What do you play?

Gallows Corner – A Peasants’ Revolt RPG Prerelease Guide does include some background on the counties north of London, a short adventure, ‘At the Centre of the World: A Stirbitch Adventure’ that could be dropped into a campaign and is really a set-up for a freeform, some NPC details, and various tables of events. These can be developed into fuller situations, but do suggest the consequence of success and failure. The main scenario in Gallows Corner – A Peasants’ Revolt RPG Prerelease Guide is ‘A Spark Takes Hold’ which opens with the Player Characters having been captured by the militia after agreeing to help a woman, Blackwater Maggie, a wanted outlaw, some hours earlier at a midsummer’s eve celebration the previous night. The bulk of the scenario is spent attempting to persuade the river port of Maldon and its most notable inhabitants to their cause, and working to reduce the ‘Control’ value the state has over the town, ultimately to force a Showdown. Effectively, this showcases the play of Gallows Corner – A Peasants’ Revolt RPG in just a single location which can then be scaled up to a whole county and the creation of The Anarchy.

Is there anything missing?
No. Gallows Corner – A Peasants’ Revolt RPG Prerelease Guide does not include the ‘Pointcrawl’ mechanics of the full game, instead focusing upon the core game play of ‘Influence’ versus ‘Control’.

Is it easy to prepare?
Yes. Gallows Corner – A Peasants’ Revolt RPG Prerelease Guide is easy to prepare, but there is a lot to read through. Ultimately, the rules are straightforward and easy to understand.

Is it worth it?
Yes. Gallows Corner – A Peasants’ Revolt RPG Prerelease Guide is a very good looking product that is somewhat overwritten for what is effectively a quick-start. That is, it does give a more than sound introduction to the rules of the roleplaying game and how it is played, but not all of it is pertinent to the playthrough of the included scenario. The combination though, of the rules and the scenario, ‘A Spark Takes Hold’ superbly showcases Gallows Corner – A Peasants’ Revolt RPG and gives a good taster of what is to come in the full RPG.

does a good job of introducing both the future that is Planet of the Apes and the rules to the roleplaying game, along with a solid adventure that gives the Player Characters more agency than most quick-start adventures and is thus more complex to run.

Gallows Corner – A Peasants’ Revolt RPG Prerelease Guide is published by Three Sails Studios and is available to download here.