Companion Chronicles #21: An Arthurian Gaggle of NPCs

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition and the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha, The Companions of Arthur is a curated platform for user-made content, but for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon. It enables creators to sell their own original content for use with Pendragon, Sixth Edition. This can be original scenarios, background material, alternate Arthurian settings, and more, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Pendragon Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Pendragon campaigns.

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What is the Nature of the Quest?

An Arthurian Gaggle of NPCs is a supplement for use with Pendragon, Sixth Edition.

It is a full colour, eighteen page, 1.23 MB PDF.

The layout is tidy.

Where is the Quest Set?

An Arthurian Gaggle of NPCs is a supplement for Pendragon, Sixth Edition. It is a collection of NPCs complete with between three and six adventure hooks that the Game Master can develop into full blown encounters and longer term content for for her campaign.

Who should go on this Quest?

Any type of Player-knight can go on this quest.

What does the Quest require?

An Arthurian Gaggle of NPCs requires the Pendragon, Sixth Edition Core Rulebook and the Pendragon: Gamemaster’s Handbook.

Where will the Quest take the Knights?

An Arthurian Gaggle of NPCs presents fourteen NPCs for Pendragon, Sixth Edition, each of whom can be used in a variety of ways and developed from a single encounter into a longer storyline. Each is simply presented on a single page with their background, anywhere between three and six story hooks, and a stat block. Some are name, others are presented as generic figures that the Game Master can easily adapt to her campaign. For example, ‘The Vengeful Squire’ is unnamed and can be former or current squire who could be spreading rumours about the Player-knight, accuses him of crimes—whether true or not, sowing discontent amongst his fellow squires, or even attempting to seduce the Player-knight’s spouse! Whereas ‘Sir Malcolm de Deux Visages’ is a knight well known and popular because he supports good causes, the church, and sponsors the knighthood of worthy squires. In private though, he is an entirely different character, cruel, greedy, and ambitious. He might persuade the Player-knights to do his bidding based on his reputation, plot to discredit a Player-knight to take possession of his land, and so on. As the entry notes, Sir Malcom’s reputation makes him a good recurring villain.

Many of the entries are magical in nature. For example, ‘Glutoniére, the Knight Giant’ details a French giant who after facing and defeating so many knights sent to kill him has developed a fascination with chivalry and comes to England to investigate and attempt to become a knight! The hooks suggest that he might develop an ardour for a young lady—much to the family’s dismay, actually ask to serve a Play-knight as his lord or squire, and more. The gender-flexible ‘The Knight of the White Hare’ might taunt and trick the Player-knights and ‘Pegleg, the Wooden Horse’ really is a wooden horse, but one who will serve the worthiest of the Player-knights until he returns to the fairy land of Gwneuthurwr Ceffylau!

Should the Knights ride out on this Quest?

An Arthurian Gaggle of NPCs is both a useful and an enjoyable supplement, providing the Game Master with a range of interesting NPCs that will add colour and flavour to her campaign. Many of their accompanying hooks are simple enough that the Game Master can easily prepare a quick encounter, whether to foreshadow later events or simply run something in the here and now when there are fewer players available or between longer scenarios.

Miskatonic Monday #374: Plus Ultra

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.

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Name: Plus Ultra

Publisher: Chaosium, Inc.
Author: Michał Pietrzak

Setting: Hispaniola, 1665

Product: Scenario
What You Get: Twelve page, 499.59 KB Full Colour PDF
Elevator Pitch: Zombies of the Caribbean

Plot Hook: “This town (Town)

Is coming like a ghost town”

– ‘Ghost Town’, The Specials

Plot Support: Staging advice, four pre-generated Investigators, five NPCs, and some zombies

Production Values: Plain

Pros

# Unwinnable war against a warlock can turn into a time chase

# Decent pre-generated Investigators

# Kinemortophobia

# Necrophobia

# Chronophobia

Cons

# Unwinnable war against a warlock can turn into a time chase

Conclusion

# An experience in horror before the Investigators have the chance to put the knife in

# Can be the end of the world if the Investigators do not get the hint

Action Against the Odds

Your rival killed your favourite pet when all you wanted was a quiet life. Your daughter—or even the President’s daughter—has been kidnapped. Terrorists have occupied the New York Stock Exchange and are threatening to blow it up when in reality they are raiding the markets. A train has to keep going because if it drops below a certain speed, bombs will detonate the dangerous chemicals it is transporting. A secret cabal plot against you as you try to uncover hidden truths that will reveal the real history of your nation. A team of superspecialists sets out to pull off the heist of a century by stealing from the wealthiest casino in Macau. A madman holds Chicago hostage with a nuclear bomb. A supervillain threatens world domination with an array of space lasers, supposedly put in orbit to protect against asteroids, but now turned inwards. Any of these hooks could be and possibly have been the plot of an action movie, a film that focuses on fast storylines, furious action, astounding stunts, and incredible tension to deliver a great cinematic experience with a tub of popcorn and a bucket of soda thrown in. They could also be the storylines for any scenario for Outgunned, the cinematic action roleplaying game inspired by the classic action films of the past sixty years—Die Hard, John Wick, Goldfinger, Kingsman, Ocean’s Eleven, Hot Fuzz, Lethal Weapon, and John Wick.

Outgunned: Cinematic Action Roleplaying Game continues the wave of Italian roleplaying games reaching the English-speaking market and is now reaching a wider audience thanks to being published by Free League Publishing. Originally published by Two Little Mice following a successful Kickstarter campaign, Outgunned is the roleplaying game of eighties action films which won the Silver Ennie for Best Game and Silver Ennie for Product of the Year in 2024. It is designed to do three things. First, to handle a variety of different action films, from chases and heists to Spy-Fi and hostage situations. Second, to help deliver short action-packed sessions, tending towards one-shots or ‘Shots’, and in keeping with the genre, sequels. Third, to play fast and easy—Outgunned only uses six-sided dice—and to encourage action, so that whilst the Heroes will constantly face terrible odds and be hounded by enemies from start to finish, the game mechanics favour success, with failure only a setback, a chance for the Heroes to take a breath, and come back to put the villain’s chief lieutenant down, the villain himself in handcuffs, and save the day, if not the world.

In keeping with the genre, there is a certain snappiness to Outgunned. It wants to get the players and the Director to the play as quickly as possible, so it quickly defines what its themes are, where and when the roleplaying game is set, and what its core tenets are. The themes are ‘Doing the right thing’, ‘Alone against all’, ‘Spirit of sacrifice’, ‘Revenge and forgiveness’, ‘Friends as your real family’, and ‘The broken system’, and whilst Outgunned takes its inspiration from a wide variety of action films, it is set somewhen between the eighties and the early noughties, in a world that looks exactly like own, but a whole lot cooler and in surround sound. The roleplaying game’s pillars of action are that ‘Action never stops’, ‘Like at the movies’, and ‘You don’t know everything’, whilst as a Real Hero, a Player Character is ‘Someone with a mission’, will ‘Live dangerously’, and is ‘One of the good guys’. If the Director and the players are fans of action films—and obviously, for Outgunned, they should be—most of this will be familiar, but the roleplaying game distils it all down into the core essence of the genre and makes it easy to grasp.

A Player Character or Hero in Outgunned is defined by a Role and a Trope, Attributes, Skills, and Feats. The Role of which there are ten—the Commando, Fighter, Ace, Agent, Face, Nobody, Brain, Sleuth, Criminal, and Spy—defines what the Hero’s job is or was, gives him a choice of Catchphrases (the use of which can earn a Hero points of ‘Spotlight’) and Flaws, set points to assign to Attributes and Skills, and some Feats and Gear to choose from. Every Role is given a two-page spread that includes a list of the films where that Role has appeared. Tropes represent an archetype, such as ‘Bad to the Bone’, ‘Jerk with a Heart of Gold’, or ‘Vigilante’, and provide more points to assign to Attributes and Skills, plus a Feat to choose. The five Attributes are Brawn, Nerves, Smooth, Focus, and Crime and they are rated between one and three as the roleplaying game’s skills. Lastly, Feats typically allow a player to reroll his dice under a certain situation, but can have other effects such as giving a Hero more Cash or having useful Contacts, and some may take effect immediately or require a whole turn of game play. Some also require a player to expend Adrenaline.

To create a Hero, a player simply selects a Role and a Trope. From these, he assigns the points to Attributes and Skills as directed, and chooses Feats, Catchphrases, Gear, and so on. He also receives two extra points to assign to Skills. The process is quick and easy, and adjustments can also be made for age too.

Name: Ottilie Harsholm
Role: The Brain Trope: Neurotic Geek
Age: Adult
Catchphrase: “Have I ever been wrong before?”
Flaw: “Without my glasses, I am nearly blind.”

Brawn 2: Endure 1 Fight 3 Force 1 Stunt 1
Nerves 2: Cool 2 Drive 3 Shoot 1 Survival 1
Smooth 2: Flirt 1 Leadership 2 Speech 3 Style 1
Focus 3: Detect 3 Fix 3 Heal 2 Know 3
Crime 3: Awareness 2 Dexterity 3 Stealth 3 Streetwise 1

Feats: Hacker, Intuition, Outsmart
Gear: Portable Computer, notebook, pencil

Mechanically, Outgunned is player-facing, so the Director never has to roll and uses what it calls the ‘Director’s Cut’. At its core, it plays a little like Yahtzee, but from there it very quickly escalates both the action and the urgency. What a player is trying to roll is matches on a pool of six-sided dice, which can be numbers if standard dice or symbols if using the Outgunned dice. The base number of dice is equal to an Attribute plus a Skill, but can be modified by gear and any Conditions that a Hero might have suffered. Most rolls will be Action Rolls, made when a player wants his Hero to act, whilst Reaction rolls are made to avoid a bad situation. A player is free to choose the Attribute and Skill he wants to combine for an Action roll, but the Director dictates them for a Reaction roll.

The difficulty for any task is the number of matches required. ‘Basic’ difficulty requires two matches, ‘Critical’ difficulty requires three matches, ‘Extreme’ difficulty requires four matches, and ‘Impossible’ difficulty requires five matches. Better results than those required can give better outcomes, primarily in gaining extra actions, but if a player rolls six or more matches, then his Hero has hit the ‘Jackpot!’ and he gets to be the Director and narrate how amazing his Hero is. A player only needs to roll the dice when it matters and, in most situations, the difficulty is ‘Critical’. This is the standard roll, but beyond this, the ‘Director’s Cut’ escalates the difficulty that a player and his Hero has to overcome mechanically to reflect the challenge that the Hero has to overcome in the story. It also escalates the consequences.

In Outgunned there is no failure, only the consequences of a temporary setback. In general, a Hero should fail with style, whether that is to ‘Roll with the Punches’, ‘Pay the Price’, or ‘Take the Hard Road’. In the next step up, the difficulty can be doubled, requiring the player to roll two sets of matches to fully succeed. If he manages to roll only one of the matches, he will be unable to avoid one of the consequences. However, if the situation and the roll is classed as ‘Dangerous’, then the consequences are that the Hero loses points of Grit, the equivalent of Hit Points in Outgunned. The greater the difficulty of the failed roll, the greater the loss of Grit. It is possible to do Damage Control to reduce the loss of Grit, but every Hero has twelve boxes for Grit on his character sheet. When the eighth box—the ‘Bad Box’—is filled in, the Hero gains a Condition and when the ‘Hot Box’, the last box, is filled in, Hero gains two Adrenaline. Losing all of his Grit puts a Hero on the Death Roulette, ‘spinning’ and rolling against it, on a failure causing him to be ‘Left for Dead’ and on a success, getting back up, but loading up the Death Roulette with another lethal round and making it difficult to survive next time. A Hero can come back after being ‘Left for Dead’, but with a scar and a preposterous story of his survival, and then only at the appropriate point in the storyline. Grit is recovered through rest or when the Hero is allowed to ‘Catch a Break’ or ‘After a Shot’.

Beyond Dangerous rolls, when a Hero’s life or the situation is on the line, a roll can be a ‘Gamble’. For each one rolled after the last roll, the Hero loses a point of Grit.

Of course, the audience of an action film really wants to see the Hero succeed and so does Outgunned. If a player rolls at least one Basic match and needs more, he can reroll any dice that did not match. If this fails, one of the previously rolled matches is lost. Many Feats grant a free reroll which does not carry this penalty. Either way, the player is encouraged to reroll because it increases the chances of his Hero succeeding. Lastly, if a player still does not have enough matches or the right sort of matches, he can go ‘All In’ and reroll any other dice not part of a match. However, this carries with it the risk of losing all of the matches rolled if the result does not improve the player’s roll and this is discouraged as an act of desperation.

A Hero also has Adrenalin. For one Adrenalin, a player can add a single die to a roll or activate a particular Feat, and for a total of six Adrenalin, gain the Spotlight. Adrenaline can be regained for essentially good play. A Hero can hold three Spotlights, which can be spent to gain an Extreme Success, to save a friend who is on the Death Roulette, remove a Condition, save a Ride—a vehicle of any kind, about to be destroyed, and so on. A Hero can gain a Spotlight with the appropriate use of his Catchphrase or Flaw, and can keep a spent Spotlight with the flip of a coin.

Combat uses these mechanics, but since the Director never rolls in Outgunned, alternates back and forth between the Heroes’ Action Turn and the Heroes’ Reaction Turn. In an Action Turn, the Hero takes a full Action Roll and a Quick Action, such as reloading, whilst in the Reaction Turn all rolls are ‘Dangerous’ rolls. Extra successes work as a counter and inflict Grit loss on the Enemy. Brawls and gunfights are covered in a surprisingly speedy fashion, as is Gear and Cash which are kept simple, and in the case of Cash, abstract.

Enemies are divided into three types—Goons, Bad Guys, and Bosses, to which a Director can add a Template and Feats. Enemies are simply defined. Goons require a ‘Basic’ success to hit and defend against; Bad Guys require a ‘Critical’ success to hit and defend against; and Bosses require a ‘Critical’ or an ‘Extreme’ success to hit and defend against. All just have Grit and not the Death Roulette that each Hero has. Each Enemy Type is given five Templates to apply, so Template 1 for the Bad Guys might be armed hooligans, two well-trained agents, or a large guard dog, whilst Template 5 is a team of ninja, the perfect shot assassin, or a pair of big bruisers. Goons might have only a single Feat, but Bad Guys and Bosses get a lot more. Feats might be ‘Automatic Weapons’, ‘Mob’, ‘Armoured’, ‘Shotguns’, ‘Flamethrower’, ‘Rage’, and more. In addition, some Enemies can have a Weak Spot, and can also be the environment as much as the actual Enemy. For example, an unsafe structure nearby that a Hero can knock over on an Enemy to inflict damage or the Enemy can be drawn into a trap, enabling all of the Heroes to skip their next Reaction Turn.

Chases use the same alternating Action Turn and Reaction Turn as combat. This plays out over a Need Track, between six and eighteen boxes in length, and represents what the Heroes want to get out of the Chase, whether to flee from an Enemy or to chase after them. The Heroes’ Ride will have a Speed of between zero and three, but it can be increased through the Heroes’ actions and decreased by the Enemies actions. At the end of the Action Turn, the Need Track is filled in with the current Speed, but if it is not yet completely filled in, the Reaction Turn occurs, and so on. As with combat, the ‘Director’s Cut’ includes plenty of ways in which the Director can make a chase more challenging.

For the Director, there is advice on running Outgunned and creating content to run. This focuses on the structure around an ‘Establishing Shot’, a ‘Turning Point’, and a ‘Showdown’, and what aspects of the game are triggered within each. For example, the Villain cannot be defeated until the ‘Showdown’ and prior to that, rolls against the Villain carry a penalty and Spotlight cannot be used to thwart a Villain. There is decent advice on how to define both the villain, including his weak spot, and supporting characters, and there is also a tool given for the Director to track the tension over the course of a mission. This is Heat, which starts at a level equal to the number of Heroes and can rise as high as twelve. It will go up at the ‘Turning Point’ and the ‘Showdown’, when a Hero is ‘Left for Dead’, the Heroes suffer a stinging defeat, and so on. As it rises, it complicates the Heroes’ progress by adding a Lethal Bullet to their Death Roulettes, giving Enemies another Feat, and then adding another Lethal Bullet to their Death Roulettes as well as granting them a point of Adrenalin. The Director can also use the Heat Track to trigger events in her campaign.

It is in the middle of this advice that the players and their Heroes are given another resource beyond Adrenalin and Spotlight—and it is the most powerful. ‘Plan B’ is a group resource and comes in three types. These are ‘Bullet’, ‘Backup’, and ‘Bluff’. Each can only be used once in the whole of a campaign and only one can be used per session. Each is really powerful and gives the Heroes an immediate advantage that will get them out of the dire situation they find themselves in. It seems odd to have this at the back of the book where the players are not going to find it and the Director definitely has to tell them about it. In addition, there is advice on running heists, the Heroes creating a Master Plan that they can attempt to follow, and the Director can react to. This is the most specific advice that Outgunned gives about a type of plot.

However, the advice is broad, and it talks about campaigns rather than individual missions. The advice can be applied to individual missions, but a Director looking for advice on how to create her own missions is going to be disappointed. There is not any real analysis of the genre that she can take and adapt to create her own content, the assumption being that both Director and players will have watched and studied a lot of eighties and nineties action films. Some plot breakdowns and some analysis would really have bolstered the advice the Director and overall, what is given, especially with its focus on campaign, is underwhelming.

As well as a filmography and all of the roleplaying game’s forms, the section for the Director ends with a sample scenario. This is ‘Race Against Time’ is the ‘Introductory Shot’ involving a hunt for a MacGuffin which involves lots of fights, a chase, and an exploding aeroplane! It is an entertaining affair that can be played through in a single session and there is actually some good advice, suggesting manoeuvres that the Heroes might take in the various situations they find themselves in throughout the scenario, given in the margins alongside the main plot. The scenario is intended as a lead into Project Medusa, which is fine, but what is not fine is that the scenario is included in Outgunned – Hero to Zero, which might leave the Director without anything to run from the core book for the roleplaying game if she has run the quick-start.

Physically, Outgunned is a good looking book. The artwork is excellent and the layout clean and tidy, and easy to read.

Outgunned is a book and roleplaying game that makes you want to play or run an action movie by presenting easy to grasp character archetypes and at its core, a very basic dice mechanic that is backed up by ways to avoid having the Heroes fail. In this way, it emulates its genre. However, it complicates things by making rolls more complex as the stakes grow higher—not too more complex, but just that bit more complex—so that it ratchets up the mechanical demands in time with the tension. This too, emulates its genre, but does slow game play down, if only a little, at that time of tension. Where Outgunned truly disappoints is in the lack of analysis of the genre which would have helped inform the Director and the underwhelming advice for the Director which could have been better in helping her create and run Shots rather than focusing on campaigns.

For the Director and her players who know their eighties and nineties action movies, Outgunned: Cinematic Action Roleplaying Game delivers on what it promises—the means to run intense and action-packed stories of cinematic thrills and spills.

Magazine Madness 37: Autoduel Quarterly Vol. 1, No. 1

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

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Autoduel Quarterly was Steve Jackson Games’ quarterly magazine dedicated to Car Wars, the publisher’s game of vehicular combat in a future America. Specifically, fifty years into the future after fossil fuels had been severely depleted forcing a switch to electric engines and a worldwide grain blight triggered a limited nuclear exchange that the world survived, but in the USA forced a partial collapse and fortification of towns and cities due to raiders and bandits. The USA’s armed society went from personal arms to vehicular arms as protection on the road and autoduelling is not only legalised, but organised into a sport of its own. Car Wars was a skirmish wargame in which each player could control one or more cars, pickups, vans, and motorcycles, and battle each other in arenas or on the road. Every vehicle was detailed with a chassis, suspension, wheels, engine, armour, armament, and other devices. Common weapons include machine guns, flamethrowers, and minedroppers. The appeal was not only the fact that every player was effectively driving a car armed with a machine gun, but that they could design the vehicles themselves and test them out as well as use the standard designs in the game. Inspired by Alan Dean Foster’s short story, ‘Why Johnny Can't Speed’, and Harlan Ellison’s short story, ‘Along the Scenic Route’, as well as the films Death Race 2000 and later Mad Max 2, Car Wars proved to be popular and award-winning, receiving the Charles S. Roberts Award (Origins Award) for Best Science Fiction Boardgame of 1981 and being included in the Games Magazine Games 100 list in 1985. Initial support for Car Wars appeared in the pages of The Space Gamer, also published by Steve Jackson Games, adding further vehicle designs, new rules, scenarios, and expanded background.

Autoduel Quarterly Vol. 1, No. 1 was published in March, 1983. The conceit was that it was also ‘The Journal of the American Autoduel Association’ and was actually the Spring, 2033 issue. What this meant was there was a duality to the magazine, one that continued throughout its forty issues, in that the authors were writing about a game being published in the eighties, but writing for a game set in the thirties of the next century. This was particularly obvious in the adverts, most notably for ‘Uncle Albert’s Auto Stop & Gunnery Shop’ which combined advertising pitches for the latest arms, armour, ammunition, and equipment which would sell the product to the reader with Car Wars stats underneath. ‘Uncle Albert’s Auto Stop & Gunnery Shop’ was a regular feature of the magazine and its content would be collected in six ‘Uncle Albert’s Auto Stop & Gunnery Shop’ yearly catalogues. The same was done with new vehicle designs, providing in-game advertising from the manufacturer and then the game stats. For Autoduel Quarterly Vol. 1, No. 1, these vehicles are The Morningstar from Rothschild Auto Works, a luxury automobile with turreted laser and rear minedropper as well as patented Velvet Glove trimmings, and the Conquistador Flamenco, a Mexican compact with a forward-firing machine gun and a rear Artful Dodger flaming oil jet. (Even miniatures manufacturer, Grenadier Models, Incorporated gets in on the act, if just a little, with an advert for its line of licensed Car Wars miniatures as coming from Grenadier Motors.)

The opens with an introduction from publisher Steve Jackson, promising that the Autoduel Quarterly be as much a quarterly supplement for Car Wars as it would be a magazine, but that elements of the latter, such as editorials, (real-world) adverts, columns, and so on, would be kept to minimum versus the actual support for the game. This the issue manages, and it would be something that Autoduel Quarterly continued to manage fairly effectively throughout its run. ‘The Driver’s Seat’, David Ladyman’s editorial has a tentative quality, highlighting some of the content for the issue, but as much looking back to some of the support for Car Wars in the pages of The Space Gamer and forward in a request for submissions and ideas that would develop the setting of Car Wars in the twenty-thirties.

‘Newswatch’ provides a snapshot of some of the history of the future that is Car Wars, in the first issue quite broad, but in later issues it would focus on particular aspects of the setting. ‘50 Years Today’ presented snippets of news stories from 1983 as if they were being viewed from 2033 and include reports from Army magazine that the U.S. Army is purchasing fast attack vehicles from the Emerson Electric Company and a report from the Austin American-Statesman that fights, assaults, and shootings on Houston’s freeways were up 400% in under a year!

‘Excerpts from NORTH AMERICAN ROAD ATLAS AND SURVIVAL GUIDE, 3rd Edition’ describes various locations around the USA in the 2030s, giving their history and current state, describing various facilities, organisations, and hazards. In this first issue, written by Aaron Allston, the location is Midville, Ohio. This small town is the default setting for Car Wars, highlighted in the first expansion for the game, Sunday Drivers, which pitched the pedestrians, law enforcement, and autoduellists of Midville against attacking motorcycle gangs. This neatly summarises the town and the immediate region, giving an area in which to set Car Wars sessions, especially in conjunction with Sunday Drivers, and add background details that can set up storylines and reasons to duel.

The big feature in Autoduel Quarterly Vol. 1, No. 1, taking up almost half of its content at over fifteen pages long, is ‘Convoy’ by Steve Jackson and David Ladyman. This is a scenario, subsequently published on its own as Convoy which sees a team of duellists hired to guard a tanker carrying disease-resistant algae from Lexington, Kentucky to Memphis, Tennessee whose algae farms have been infected by a mutant bacterium, leaving the city on the verge of starvation. ConTexCo is providing the truck and paying well, but the duellists only have thirteen hours to get their charge to Memphis, and they will lose part of their fee if they are late, or the truck is damaged. ConTexCo also want the situation kept secret as it does not want it widely known that Memphis has come this close to starvation. ‘Convoy’ can be played by between one and eight players, plus a Referee, though between three and six players are recommended and each given a budget in which to buy or build a vehicle. (It could even be played solo without a Referee, an option given in the published book.) In addition to Car Wars, a group will need a copy of Car Wars and ideally, a copy of the then newly published Car Wars, which added trucks to the game and was only the game’s second supplement. Truck Stop is not required to play and a counter for the ConTexCo truck is given on the back cover of the magazine for the Game Master to copy. However, using Truck Stop adds a lot of detail and mechanical options to the play of the scenario.

‘Convoy’ is a programmed scenario, the players’ duellists driving from Lexington down the Bluegrass Parkway and onto I65 and I40 to get to Memphis. Along the way, they will need to stop at truck stops—points of safety and respite along the way—to recharge their engines, and whilst this happening they have the opportunity to interact with the locals and other travellers and perhaps pick up some rumours about the route ahead. The main play will be with the ten encounters along the route, one after the other, some benign, others aggressive, which the players can get through with a mixture of good roleplaying and combat. In fact, the players are advised that fighting at every turn will slow them down and thus reduce their fee. The encounters do escalate in hostility, including a nasty driving challenge against a clever paint spray trap.

‘Convoy’ is a detailed, but very enjoyable scenario. It challenges the players’ judgement—as is in what is and is not a threat—and skill and luck in combat, but there is potential for roleplaying too. Of course, it also serves as an advert and showcase for Truck Stop, but it is nice touch that the scenario can be run without the supplement.

‘Creating a New Character’, also by David Ladyman and Steve Jackson expands on the roleplaying aspects of Car Wars, which are very light. It looks at the five skills of the game for characters—Driver, Cyclist, Gunner, Trucker, and Mechanic—and explains their levels and what they mean. In particular, it expands on the Mechanic skill can do and the difficulty of repair jobs. Overall, a generally useful article.

Rounding out Autoduel Quarterly Vol. 1, No. 1 are two regular columns. One is ‘ADQ&A’, a questions and answers forum for players to ask and receive rules clarifications, whilst the other is ‘Backfire’, the letters column. The former would have been useful at the time and the latter is interesting enough.

Physically, Autoduel Quarterly Vol. 1, No. 1 is well presented. The artwork is good and the writing clear. The cartography is simple, but the vehicle layouts are slightly rough.

In 1983, Autoduel Quarterly Vol. 1, No. 1 would have provided welcome support for Car Wars, at a time when the game only had two supplements—Sunday Drivers and Truck Stop. The issue really is pack with useful content. The background to Midville, new equipment and vehicles, questions answered, so on. There is no fiction in this first issue, something that Autoduel Quarterly would become known for later (and has been since collected into a single volume, Autoduel Tales: The Fiction of Car Wars), but instead has the terrific scenario, ‘Convoy’. This is certainly a scenario many, many Car Wars fans will have played over the years, and it appeared here first in the pages of Autoduel Quarterly Vol. 1, No. 1. Were it not for the fact that Convoy is available separately, Autoduel Quarterly Vol. 1, No. 1 would be worth revisiting for that alone, but this is a still good issue with a good mix of content that set a blueprint for the issues to come that it would stick to.

Solitaire: Escape the Domain of the Night Hag

A monster lurks somewhere… Perhaps in the fetid, green mist-enshrouded Miasmarsh or on the stoney shoreline of the Shore of Lost Souls where tormented souls linger. A Hag, who may have captured a friend or whose domain needs to be mapped out for someone else. These might be the only reasons that the unwary, or the foolish, descend into the Domain of the Night Hag, search for her and face her minions before being unlucky enough to confront her or her sisters and face certain death. Perhaps it is better to flee, knowing that you are as wise as you are cowardly, but alive, or attempt to defeat her, foolishly and bravely. This is the story of the protagonist, the would-be hero, who delves deep in desperation into the realm of the Night Hag in Escape the Domain of the Night Hag.

Escape the Domain of the Night Hag is published by Uknite the Realm, best known for Samurai Goths of the Apocalypse. It is a solo roleplaying game, but it can also be played by up to three players without the need of a Game Master. It is a dark, grim roleplaying game of monster hunting and survival horror that uses what it calls the ‘Decksplorer System’ which requires a standard deck of playing cards, a token to represent the location of the characters, two six-sided dice, and as the roleplaying game puts it, “Misplaced hope that your efforts shall not be in vain…” Only the Spades suit and all of the Jacks and Kings from the other three suits are required to play. The numbered cards will represent the regions within the Hag’s Domain, the Ace card the start and exit point for the Player Character, whilst the Court cards will form the Encounter Deck, consisting of the Jacks and Kings, her Basic and Elite Minions respectively, and the Queen of Spades, the Hag herself.

A Player Character in Escape the Domain of the Night Hag is simply defined. He will have some Hit Points, a weapon, and an ability. The Ability can be either Evasion (better at escaping combat), Veteran (better at inflicting damage), and Blessed (better at withstanding damage inflicted by the Hag). He may also be wearing some armour and carrying some equipment. To create a character, a player rolls for all of these, but could also roll on the ‘Quickstart Characters’ table which gives more detailed—but not too detailed options.

Jerome
Hit Points: 6
Weapon: Hand Axe
Ability: Evasion
Armour: Mail (3)
Equipment: Torch

Mechanically, the dice are rolled when a player wants his character to undertake an action and then to generate an Encounter entering a new Region, and to search for Loot. Two six-sided dice are rolled, and each dice is counted. Rolls of three or less are Failures and rolls of four or more are Successes. Rolling two Failures will have bad consequences, which can be taking full damage in fight; failing to flee and taking half damage when fleeing to a neighbouring region; and drawing two Encounter cards when entering a Region. Rolling a Mixed Outcome—one Success and one Failure, would mean suffering and inflicting half damage in a fight; successfully fleeing, but having to roll on the Consequences table; and drawing one Encounter card. Two Successes means dealing full damage; fleeing without taking any damage; and drawing no Encounter cards, but rolling on the Loot table instead.

In addition, in a fight, armour does not protect absolutely. There is a chance that it will stop every point of damage, but there is also a chance that it will not or that it will not, plus the armour is also damaged itself to the point where it is useless. This is rolled for on a point-for-point basis. Typical attacks inflict either one-two, or three points of damage, so the rolling for armour protection is not too cumbersome.

The set-up for the play of Escape the Domain of the Night Hag involves shuffling the Region deck and laying out its cards in any connected fashion that the players want and then the Encounter Deck from which the players will draw the monsters that their characters will face. The players should also decide or roll for an objective. Four such objectives are suggested, meaning that the replay value of this admittedly small roleplaying game is limited.

In play, the Player Character (or Player Characters) starts on the Ace card and moves from one card to the next. The new Region card is turned over and its location noted (though it does not affect game play) and then a check is made to determine how many Domain cards are drawn from the Encounter deck. If the Player Character defeats the minions of the Hag or enters a Region without any of her minions, he can search for Loot. Most of the items found will be useful—weapons, healing elixirs, armour, and a Holy Symbol or a Clock that will grant the Player Character an ability like Blessed or Evasion.

The ultimate aim, of course, is to locate the Hag and defeat her. The effort to do so is gruelling, the mechanics rarely letting up or offering any respite, the player hoping that he is going to get lucky on the dice rolls, whether that is to defeat the minions, have his character’s armour withstand the blows, and perhaps find something useful when looking for loot.

Escape the Domain of the Night Hag is not about entering her domain as such, but about when to decide to run away, whether that is because the Player Character has been successful, or more likely, he is so hurt that he cannot continue. Unfortunately, it is all a bit mechanical and lacking. The nine Regions of the Hag’s Domain are named and described, but never come alive and have no effect on game play, so just remain spaces in which the Hag’s minions lurk, waiting for the arrival of the Player Character. There are no encounters with anything other than Hag or her minions, and so there is no variation in play except what type of minion the Player Character will be fighting. If a player was keeping a journal of his play through of Escape the Domain of the Night Hag, he would likely have to work a little harder to give it that bit more of a story. If played as a group, then the players might want to take it in turns to add some narration to give their play through some substance. That said, Escape the Domain of the Night Hag is not designed for extended play or multiple plays. It can be played through in an hour or so, and thus quickly set up again if the previous attempt failed.

Physically, Escape the Domain of the Night Hag is white and green text on a dark, almost black background in which things lurk and writhe in green. It is concisely written, so the player will need to read through it with a little care.

Escape the Domain of the Night Hag is more serviceable than engaging. Mechanically, it plays well, presenting a daunting challenge, but the world of the Night Hag is underwritten, and a player will need to work hard to bring it to life and imagine a story.

Friday Fantasy: The Croaking Fane

Bobugbubilz was not always Demon Lord of Amphibians. In aeons past, Schaphigroadaz was the Lord of Evil Amphibians, but when his followers, the Salientian Knot, grew fat and complacent on the sacrifices them made to him and the riches they gathered, part of the Croaking Despot’s congregation rebelled and rose up against the Salientian Knot, and even Schaphigroadaz himself. Instead, they worshipped the toadfiend, Bobugbubilz, one of Schaphigroadaz’s own spawn, and in one bloody year, they marched on the Croaking Despot’s temples and drowned anyone who refused to renounce Schaphigroadaz in his Spawning Pools and saturated his altars in their blood. Thus, the Toad War, little known outside of the obscure scrolls held by eccentric scholars and the most ancient of libraries, come to an end. Schaphigroadaz was forgotten and the Salientian Knot no more. Yet there were survivors, and they did go quietly into the swamps and marshes where they could hide their faith from the outside world and bide that time. Now that time has come, the stars are right, and the Salientian Knot is almost ready to strike at the followers of Bobugbubilz and take its revenge. The cultists of the Salientian Knot have immersed themselves in their Spawning Pools to bathe in the waning vestiges of Schaphigroadaz’s divinity and so emerge, transformed and powerful enough to be a threat not only to the worshippers of Bobugbubilz, but the world!

This is the set-up for Dungeon Crawl Classics #77: The Croaking Fane, the tenth scenario to be published by Goodman Games for use with the Dungeon Crawl Classics Roleplaying Game. Designed by Michael Curtis, this is designed for a group of six to eight Third Level Player Characters and is a highly thematic scenario. Designed by Michael Curtis, this is designed for a group of six to eight Third Level Player Characters and is a highly thematic scenario. The Dungeon Crawl Classics Roleplaying Game draws heavily on the fiction listed as inspiration for E. Gary Gygax in the Appendix N of the Dungeon Master’s Guide for Advanced Dungeons & Dragons, First Edition, and this is no exception. In its batrachian theming, Dungeon Crawl Classics #77: The Croaking Fane draws on works of cosmic horror by authors such as H.P. Lovecraft and Clark Ashton Smith, but it also draws upon Dungeons & Dragons itself. Such inspirations include the original scenario Temple of the Frog by Dave Arneson, but also Dave Cook’s I1 Dwellers of the Forbidden City with its Bullywugs and even E. Gary Gygax’s D2 Shrine of the Kuo-Tuo with its fishmen. So, there is plenty of precedence for this scenario, but the author fully embraces it theme as everything seems to ooze, flop, croak, and slime in presenting a temple to a lost, anuran god!

The scenario requires some set-up. The simplest set-up is a trash and grab raid on the fane dedicated to Schaphigroadaz whilst his followers are weakened in their preparations, but there is a strong religious aspect to the scenario that if brought to the fore, casts the Player Characters as a theological strike team! Whatever the set-up, the Player Characters need to become aware of the Salientian Knot and their disappearance and dig around for more details of the obscure Toad War. A more direct way of learning about the situation is from the Player Characters’ Patrons who wish to end the threat of the Salientian Knot and its plans. The scenario suggests that is the case if any Player Character has Bobugbubilz as patron, which is possible since he is detailed in Dungeon Crawl Classics. Bobugbubilz will certainly direct such a Player Character to undertake such a mission for him or otherwise face grave consequences.

The dungeon is split into two levels. The upper level, the main temple, is really one big area, a church or temple area dedicated to Schaphigroadaz, built within a great rock that has been carved like a toad. It is full of so many details and elements that it has been broken down into multiple areas and descriptions. The first transept is dominated by a trickling fountain of scummy water that hides a rippling mass of ravenous flesh-eating tadpoles that will strip the flesh of any hand or limb dipped foolishly dipped into it. There is even a table for when this happens and what effects it will have. Drain the fountain—and this is possible—and the Player Characters might find a magical ring which offers some protection against the toads elsewhere in the temple. Moldering frescos depict the worship and the history of the worship of Schaphigroadaz; winged toad-goyles lurk in the walls, ready to vomit choking swamp water on any intruders; a triptych depicts the three earthly aspects of Schaphigroadaz—the Great Winged Toad, K’Tehe, the Destroyer, and Kroagguah, the Mother of Multitudes; and even a great toad statue with gems in each of its four eyes that echoes the cover of the original Player’s Handbook. There is a lot here for the Player Characters to explore and examine, even in this one giant space.

The lower area, the Undercroft is no less detailed, but it is different in tone and feel. It is split in two, one part the quarters for the priest and his staff, members of the Salientian Knot, who have since thrown themselves into the Spawning Pools of their Croaking Despot master, the other part the toad caverns, the breeding pool, and the spawning pool. If the focus in the Main Temple above is on exploration and examination, the focus in the Undercroft is on exploration and combat, apart that is, from an encounter with a member of the Salientian Knot, the scenario’s only roleplaying scene. He is loathsome and toadyishly unpleasant, wheedling with the Player Characters to follow him to the Spawning Pool where he happily throws himself in even though his fellow cultists considered him underserving of joining them in welcoming waters of Schaphigroadaz. The scenario will come to climax in the Undercroft, first against the mutated cultists, and then in a big fight against one of Schaphigroadaz’s servants who is very, very hungry. If the Player Characters manage to defeat this creature, and it is a tough fight, they will be rewarded with plenty of treasure.

However, the scenario does have a nasty afterbite—or rather three. One is immediate, in that the giant statue in the Main Temple will come to life and attack the Player Characters on their way out, whilst the other two have longer lasting effects. One is a curse, Schaphigroadaz’s Spoilation, which a Player Character might suffer from after touching the wrong thing and in need of a cure, turn to Bobugbubilz for help. This means that the Player Character will owe the Demon Lord of Amphibians a big favour. A version of Schaphigroadaz’s Spoilation is given at the back of the book as the spell, Plague of Toads, for the mutated Salientian Knot high priest to cast. The other is that any remnants of the Salientian Knot are going to be extremely angry with the Player Characters after they have sacked the fane.

Physically, Dungeon Crawl Classics #77: The Croaking Fane is very well presented. The scenario is very nicely written, especially descriptive text intended to be read out to the players, whilst the artwork is good, with several pieces that the Judge can show to her players. There is only one handout, a depiction of the Spawning Pool. The scenario feels, though, as if it should have had more. The cartography is excellent.

If there is anything missing from Dungeon Crawl Classics #77: The Croaking Fane, it is more handouts showing off the great artwork in the scenario and perhaps details of Schaphigroadaz as a patron. The scenario is rife with details and objects which when the Player Characters touch and interact with, a Cleric will probably earn the disapproval of his patron. It would be interesting to explore the possibility of the Cleric falling from the worship of Bobugbubilz and into the alternative batrachian embrace of Schaphigroadaz.

Dungeon Crawl Classics #77: The Croaking Fane is a pulp fantasy adventure with a tinge of horror, one that will reward the players and their characters for careful, thoughtful play. It is not a big adventure, but it makes great use of its theme with its clammy and cloying, mucilaginous and moist atmosphere.

Friday Filler: Flip 7

Flip 7 is a simple, push your luck card game. It is easy to learn and easy to teach and it plays fast. It also suitable for families, and if truth be told, it is really simple. Yet there is a tension to the game play that really can keep the players on the edge of their seat from one turn to the next. Published by The Op Games—responsible for the highly pleasurable Tacta—it is a designed for play by three to seven players, aged eight and up, and a game can be played though in roughly fifteen to twenty-five minutes. The aim of the game is to be the first person to score two hundred points. Points are scored based on the total value of the cards a player has in front of him. Each turn, a player receives a card from the Dealer and turns it over, adding it to the cards he has in front of him. If he receives a card with the same value as a card he already has, he is bust and out of the round, scoring nothing, but if a player receives seven cards that do not match, he scores a ‘Flip 7’, and is awarded bonus points.

Flip 7 comes in a bright and breezy box which contains just ninety-four cards and a rules leaflet. Eighty-one of these cards consist of numbers ranging from zero to twelve. The number of cards with each value is equal to value on the cards. Thus, there are ten cards marked with ten, seven cards marked with seven, three cards marked with three, and so on. The exception to this is, of course, the card marked with zero, of which there is just the one.

The other cards are Action cards and Modifier cards. There are three types of Action card. ‘Flip Three!’ forces a player accept and flip three more cards, whilst ‘Freeze!’ forces a player to end his participation in the round and bank the total score. When he receives a ‘Flip Three!’ or ‘Freeze!’ Action card, a player can play them on himself, but he can also play them on another player. A ‘Second Chance!’ Action card must be kept by the player who receives it and comes into play when he receives a duplicate value card, in which case both the ‘Second Chance!’ card and the duplicate value are discarded. A player can only use one ‘Second Chance!’ per round and if he receives a second, must give it to another player. The Modifier cards range in value from ‘+2’ to ‘+10’ and also include a ‘×2’ card. These do not count to the ‘Flip 7’ bonus, but will alter a player’s score for the round.

Set-up and play are simple. The cards are shuffled, and one person is designated the dealer, who in turn deals out a single card to each player and they place the cards in front of them or resolve any Action card. Each turn a player can decide to ‘Hit’ and receive another card or ‘Stay’ and not receive any further cards, ending his participation in the round. If a player receives a card whose value is equal to a card that he already he has, he is ‘bust’, which ends the round for him with no score. Play continues until all of the players have either gone ‘bust’ or decided to ‘Stay’, which ends the round. A round will end if a player achieves a ‘Flip 7’. The game continues until a player has scored two hundred points.

The risk and the push-your-luck aspect of Flip 7 lies in both the value of the cards and the number of them in the deck. Higher value cards score more points, of course, but there are more of them the higher the value, and thus there is a greater chance of a player receiving a duplicate card and being forced to go ‘bust’. So, a player wants the higher value cards for their scoring value, but is constantly wary of receiving duplicate cards and scoring no points at all. Conversely, the lower value cards will score fewer points, but there are fewer of them and the chance of a duplicate is lower. From the start of a round the player is aware of the number and values of the cards in the deck and as a round progresses, the cards his rival players have in front of them will also indicate how many cards there are left in the deck and what their values are going to be.

The tension between the desire to score points and the increasing possibility of going ‘bust’ and scoring no points is made that much more sharper because everyone can see what cards everyone else has in play. So, they can see how close they are to going ‘bust’ and feel that tension too. Is that player going to go ‘bust’ or is he going to be lucky and receive another card that pushes him one step further closer to a ‘Flip 7’? The luck of the draw can go the other way, of course, and a player might find himself going ‘bust’ after receiving just two or three cards! Further, as the rounds progress and the total scores rise, the tension also goes up as players attempt to catch up with their rivals—and the thing is, with the right cards and perhaps a Modifier card to two, it is entirely possible.

Physically, Flip 7 is nicely put together. The cards are big, bright, and easy to understand, whatever the age of the player. The rules are also clearly written and include scoring examples for the Modifier cards as well.

Flip 7 is really no more complex than Vingt-et-un or Blackjack, though of course, without the gambling aspect. It is a really simple game to play and understand, one that constantly asks a player to push his luck and wonder if another card is worth the risk. Flip 7 is a real filler of a game that just sometimes can be a real thriller of a game.

Companion Chronicles #20: Sicut Corvus Volat

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition and the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha, The Companions of Arthur is a curated platform for user-made content, but for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon. It enables creators to sell their own original content for use with Pendragon, Sixth Edition. This can be original scenarios, background material, alternate Arthurian settings, and more, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Pendragon Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Pendragon campaigns.

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What is the Nature of the Quest?

Sicut Corvus Volat: Being a Wayfarer’s Companion for Sarisberie is a supplement for use with Pendragon, Sixth Edition. It describes itself as ‘A Resource Supplement for Pendragon’.

It is a full colour, eighty-six page, 18.60 MB PDF.

The layout is tidy.

Where is the Quest Set?

Sicut Corvus Volat: Being a Wayfarer’s Companion for Sarisberie is a supplement for Pendragon, Sixth Edition. Its title is Latin for ‘as the crow flies’ and it fulfils this by providing a gazetteer of the immediate twenty miles around the city of Sarum, the Castle of the Rock, seat of power for Earl Robert of Salisbury, and thus the default set-up in both the Pendragon Starter Set and the Pendragon Gamemaster’s Handbook.

The supplement very much falls under ‘Your Pendragon Will Vary’ as it suggests that in that it is placed in an alternate timeline in which the connection between the world of men and the Land, caused by an imbalance in reality or ‘The Enchantment of Britain’ by the Great Betrayal of Vortigern on the Night of the Long Knives. The Player-knights are to play a role in Merlin’s plan to heal this imbalance. To reflect this, the supplement uses a fictional narrator of the time, ‘Gregory the Watcher’, who that also serves to strengthen the period worldview. However, this is an overview particular to this supplement and the Game Master is free to use it or not.

Who should go on this Quest?

Any type of Player-knight can go on this quest.

What does the Quest require?

Sicut Corvus Volat: Being a Wayfarer’s Companion for Sarisberie requires the Pendragon, Sixth Edition Core Rulebook and the Pendragon: Gamemaster’s Handbook.

Where will the Quest take the Knights?

The majority of Sicut Corvus Volat: Being a Wayfarer’s Companion for Sarisberie consists of a gazetteer of the immediate twenty miles around the city of Sarum , encompassing much of the County of Salisbury and as far as a knight can ride in a single day. The circular area ranges from the tiny village of Huish in the north to Bisterne in the County of Dorsette in the south, said to be a large hall built from a single tree by the Queen of the Fair Folk for one of her knights and from hamlet of Littleton in Hantonne County in the east to the dwelling of Kingston Deverill in the west in the County of Summerland. The map and gazetteer, inspired by King Arthur’s Round Table in The Great Hall in Winchester, is organised into sixteen arcs and within each arc, towns, villages, hamlets, and places of interest are described in turn. All of the places are taken from the Domesday Book of 1068. (That said, not every location in the region given in the Domesday Book is included. For example, Blaneford, now Blandford Forum, is absent.)

Primarily what this provides is a sense of the geography surrounding Sarum. Many of the details are mundane, but there are locations with interesting hooks that Game Master can develop, such as the aforementioned Bisterne in the County of Dorsette. The Player-knights might be given manors in these locations to manage and live in as well as raise a family, and of course, they might find themselves fighting against invading armies across this land too.

The second half of Sicut Corvus Volat: Being a Wayfarer’s Companion for Sarisberie is dedicated to ‘The Book of Days’, a great calendar that that explores different ways of looking at time and the year throughout this period. Specifically, this includes the years leading up to ‘The Arthurian Break’ when its history breaks from ours, followed by overviews of the Pagan Year, both solar and lunar, including dates of the full moon throughout the Pendragon Era, as well as the Christian Calendar. This includes important dates of celebration and religious observance, which can be effectively used in conjunction with the chapter on religion in the Pendragon: Gamemaster’s Handbook.

Should the Knights ride out on this Quest?

Sicut Corvus Volat: Being a Wayfarer’s Companion for Sarisberie is a useful supplement for the Game Master whose campaign focuses on Sarum and the County of Salisbury and wants to add verisimilitude and bring the region, its geography, and its year to life.

Miskatonic Monday #373: The Hollow Beneath Clapper Tor

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.

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Name: The Hollow Beneath Clapper Tor

Publisher: Chaosium, Inc.
Author: Sean Liddle

Setting: World War II Plymouth

Product: Outline
What You Get: Nine page, 268.07 KB Full Colour PDF
Elevator Pitch: Three Go Mad in Devon (Again)

Plot Hook: Tremor at’ Moor

Plot Support: Staging advice

Production Values: Plain

Pros

# Sequel to HUM and The Borrowed

# Pleasing sense of dreams from the past

# Detailed outline

# Potential for child-like curiosity and terror

# Alastair, not Algernon Blackwood!

# Definitely part of a series rather than a one-shot

# Potential for sequels

# Speluncaphobia

# Claustrophobia

# Oneirophobia

Cons

# No pre-generated Investigators
# No advice on creating teenage Investigators

# Definitely part of a series rather than a one-shot
# Outline rather than scenario

Conclusion

# Detailed outline still leaves the Keeper with lots of work to do in what is an ‘in-between’ scenario

# Engaging low key scenario that draws the Investigators into the secrets of the past like a British children’s television series from the seventies

Your Post-Apocalyptic Application

When the old world burned, was it in the searing flash of nuclear atomisation? Was it in the rage of disagreement turned to violence, war, and misery? Was from the unseen and insidious infection that spread on the air and felled millions? Was it at the claws and teeth of the dead, new arisen and hungry for the flesh of the living? Was it from environmental chaos that destabilised the world after years of unchecked development? Was from the weapons and technology wielded by an extraterrestrial threat that none saw coming? However the world came to end, the survivors can now look on a land made new and be challenged by simply eating and sleeping, in facing other survivors who want to take control unbidden, and threats that the Old World never had to face. There may be monsters never seen before, environmental threats never seen before, and situations that the survivors may never have encountered before—the latter especially if the apocalypse is days or weeks old or the survivors have been in cryogenic sleep for decades or even centuries. From the ashes, there is still the chance of survival, the chance of growth, the chance of renewal. In this new world, born of the ashes, the survivors will search the remnants of the old world for supplies and devices that can still be used, found and build new communities, confront and overcome threats, and in the process forge the world anew.

Ashes Without Number is published by Sine Nomine Publishing and is a post-apocalypse roleplaying game. Just as with the publisher’s Stars Without Number for Science Fiction, Worlds Without Number for fantasy, and Cities Without Number for cyberpunk, Ashes Without Number is a toolkit, one that is also compatible with those roleplaying games. Ashes Without Number provides the Game Master with everything she needs to create and run the post-apocalyptic world of her own design. Campaign ideas, campaign set-up and focus, creating regions, encounters, crises, and adventures, plus of course, the dangers of the post-apocalyptic world—disease, radiation, monsters, and other people—all of which is intended to be run in a sandbox style. Plus, a complete setting and extra content. All of which is designed to be Old School Renaissance compatible, but with a great deal of content that is systems neutral and so can be used with any post-apocalyptic roleplaying game.

Ashes Without Number focuses on three types of post-apocalyptic futures, two immediate and one in the far future. The first of the immediate campaigns is the ‘Deadlands’ campaign, the classic rise of the dead, zombie style campaign, with survivors from diverse backgrounds are driven together to survive and find respite against the wave upon wave of the undead, whilst the second is the ‘After the Fall’ campaign, in which a great calamity—global pandemic, meteor strike, climate shift, civil war, or even an alien invasion—forces the collapse of society. In either case, the survivors will be in search of somewhere safe that they can use as an enclave. An After the Fall’ campaign could become the third type of campaign, the ‘Mutant Wasteland’ campaign, typically set long after the apocalypse in which the landscape and environment has been radically changed. The Player Characters are likely to be or face mutants of all kinds amongst a variety of threats to their enclave, but also searching the ancient ruins for lost technology and secrets of the past.

It should be noted that unlike other roleplaying games by the same author, Ashes Without Number is not a Class and Level roleplaying game. Instead, it is Level roleplaying game, from one to ten, in which a Player Character is defined more loosely and by the choices of the player. A Player Character in Ashes Without Number has six attributes—Strength, Dexterity, Constitution, Intelligence, Wisdom, and Charisma—which range in value between three and eighteen. They can either rolled for or assigned from a standard array. He will also have a limited number of skills, the value for each ranging from zero to four, with a Level-1 indicating an experienced professional in that area of expertise. He will also have a Background that will determine beginning skills, which can be rolled for or selected, plus two Edges (and an extra if his total attribute modifiers are negative). Edges are categorised as either Universal or by the campaign type. The Universal Edges include ‘Comrade’, which as a pillar of the group, a Player Character can encourage—as an Instant Action—another Player Character or NPC to reroll any roll they have just made, or ‘Survivor’s Fortune’, which lets the Player Character potentially avoid a terrible situation through luck alone. For the ‘Deadlands’ Edges there are ‘Systemic Immunity’ against the zombie infection and ‘They’re Here' to detect them as a sixth sense. The ‘After the Fall’ Edges include ‘Forged by Fire’ in which the Player Character starts with no Edges, but gains more as the result of experience in play and ‘Cold Blood’ with which the Player Character becomes acclimatised to the horror of the post-apocalyptic future. The ‘Mutant Wasteland’ Edges focus on genetics. With ‘Hardened Genetics’, a Player Character cannot be mutated by radiation and other causes (the equivalent of the ‘Pure Strain Human’), but cannot take the ‘Mutant’ Edge, whilst the ‘Mutant’ Edge grants mutation points that the player then spends to give his character mutations. Lastly, besides equipment, a Player Character will have a Focus, a special ability or aptitude, such as ‘Armsmaster’ or ‘Scrapsmith’. These come in two levels and as a Player Character gains Levels, he can improve an existing Focus to Level 2 or gain a new one.

To create a character, a player either rolls or assigns the values for his character’s attributes. He then rolls for or chooses a Background and either chooses or rolls from its skills—he gains more if they are rolled for, and selects two Edges and a Focus. He also receives a fee bonus skill at the end of the process, which includes choosing starting languages, name, goal, and ties. The process is not difficult, but a checklist would have made it a little easier.

If a character has mutations after selecting the ‘Mutant’ Edge from ‘Mutant Wasteland’ Edges, his player receives a pool of points on which to spend on choosing or randomly determining what they might be. More points can be gained by taking negative mutations and a mutant also has a stigma that marks him as a mutant. Mutations are categorised into structure types that alter the physical nature of the mutant, sense types that enhance his awareness, hybrid mutations make him plant- or animal-like, cognition enhances his mental capabilities, Pseudo-psychic mutations mimic psionic abilities (but do not mean that the mutant is actually psychic), and exotic mutations are odder, uncategorised ones. There are sixty mutations detailed and enable the creation of a wide range of mutant Player Characters and NPCs.

Name: Tallula
Level: 1
Background: Courtesan
Skills: Connect-1, Notice-1, Perform-0, Talk-1
Edges: Mutant, Survivor’s Luck
Foci: Unnumbered Friends
Strength 10 (-1) Dexterity 9 Constitution 12 Intelligence 13 Wisdom 9 (+2) Charisma 15 (+1)
Armour Class: 10
Hit Points: 4
Mutations: Feathered Arms (Stigma), Voracious (Negative), Augmented Cognition, Predictive Analysis, Intuitive Leap, Functional Wings

Mechanically, Ashes Without Number is typical of the Old School Renaissance in that it uses a number of different subsystems to handle various situations. Or really, just two. Saving Throws and combat rolls are made on a twenty-sided die whereas everything else is rolled on two six-sided dice. In both cases, the aim being to roll equal to or over. Skill checks are rolled on two six-sided dice. The add player adds his character skill, attribute, and bonuses from technology and allies, plus any situational modifiers, difficulties typically ranging from six to twelve, with the average being eight. Morale is rolled on two six-sided dice and if the roll is higher, then the target retreats or gives up. Saving Throws, made against either ‘Physical’, ‘Evasion’, ‘Mental’, or ‘Luck’, are rolled on a twenty-sided die.

Combat begins with initiative, which rolled on an eight-sided die. A combat round lasts six seconds and, on his turn, a combatant a take a Main Action, a Move Action, and as On Turn or Instant Actions as the Game Master allows. A Main Action is typically an attack, but could also be using a skill or reloading. An On Turn Action is a simple, reflective action such as saying a few words or falling prone, whilst an Instant Action might be a held action or the use of a power. Instant Actions can also be done during another combatant’s turn. Rolls of one always miss, whilst rolls of twenty always hit. Damage is modified by the attacker’s appropriate attribute modifier and if the Traumatic Hit rule is being used, it is possible to inflict even more damage. Some weapons and attacks inflict Shock damage even on a failed attack, but use of a shield can block this damage once or even completed if the defender takes the Total Defence action.

The core rules for Ashes Without Number are straightforward and easy to use. Anyone with experience of the Old School Renaissance will find much that is familiar, and for anyone else who does not have that experience, the roleplaying game includes a very handy ‘System Quick Reference Sheet’ that summarises just about everything that a player is going to need to know to play the game.

In play, a Player Character can take damage from a number of sources, losing Hit Points in the process, but he is also limited by the amount of System Strain, typically biochemical manipulation, that his body can withstand. This can be from healing, the use of mutant powers, various poisons and diseases, the use of various drugs, radiation and other biological and chemical contaminants, and even something as simple as natural privation and hardship. The amount that a Player Character can withstand is equal to his Constitution and when equalled, he can longer benefit from healing or drugs, use mutant powers, and suffers the consequences of radiation and the like. The primary means of reducing System Stress is rest, but sometimes the System Stress gained can be permanent. Thus, the Player Characters can be heroes, but even with mutant powers, they are not always the equivalent of superpowered, meaning some mutations almost have to be harboured as resources.

The counterpart to System Strain is ‘Stress’, which is specifically designed for a ‘Deadlands’ or ‘After the Fall’ campaign in which ordinary men and women are pitched into a catastrophically unexpected situation—a zombie uprising, civil disorder and collapse, alien invasion, and the like—and forced to rely on themselves and each other to survive. It can be gained from killing others, witnessing a massacre, committing acts of theft or cruelty, and simply from period of extended hunger, and when it exceeds a Player Character’s Wisdom, it can result in a breakdown. Depending upon the cause, the Player Character might gain a death wish, flee, or be confused. Alternatively, the Player Character might become hardened and gain a psychic scar such as being self-destructive or self-doubting. This is the horror—or reaction to the horror—mechanic for Ashes Without Number and gives a space in which a Player Character can react to that horror as an ordinary person before becoming hardened to their new situation.

As a post-apocalyptic roleplaying game, Ashes Without Number gives rules not just for the standard environmental problems, such as travel, scouting, foraging, hunger and thirst, but also radiation. There is an extensive equipment list, covering technological levels from neolithic stone tools and wood implements and ultra-advanced and mysterious tech, as rules for scrap and salvaging, building and crafting gear, modifying gear—backed up with modifications aplenty for armour, weapons, and vehicles. Plus, for the ‘Mutant Wasteland’ campaign, there are descriptions of lots and lots of highly advanced items, including consumer items, which together with the rules for identifying the advanced technological devices of the past, enables the classic scavenger style campaign set-up.

If the first aim of an Ashes Without Number campaign is survival, then the second aim is either founding and protecting, or simply protecting, an enclave. This will vary according to the campaign types. ‘Deadlands’ or ‘After the Fall’ will focus first on survival, whilst an enclave is immediately important in a ‘Mutant Wasteland’ campaign. The rules for enclaves are designed to support a Game Master’s campaign, one providing a base of operations for the Player Characters and a handful of other communities being used as a source background stories and hooks. Mechanically, an enclave can be anything from a refugee camp or small village to a multi-regional hegemonic city or multi-city power, each with its Power rating and action die, the larger the enclave, the bigger both of these are, from one to five, and a six-sided die to a twenty-sided die. An enclave also has a value for Cohesion, how resilient it is to outside forces or disasters. It will also have features and problems. The value of the problems is total as the enclave’s Trouble. If an enclave’s Cohesion drops to zero, it will collapse, as it will if its Trouble equals its action die.

Enclaves are further defined by tags that can be enemies, friends, complications, things, and places—and these are reflected in the extensive list of possible tags, as well as a Feature, something that is good at or renowned for. Creating an enclave involves assigning a tag or two—or more depending on its size, a Power rating, a Feature, and some Problems. It can also have points of Dominion, generated through enclave actions and the actions of the Player Characters, which can then be spent on actions that the enclave can take as a whole. It also has some points of Interest in nearby enclaves, representing its connections and goals with its neighbours. Lastly it has a goal.

In play, an enclave will be undertaking a number of actions each game month. These consist of a single internal action, such as ‘Build Strength’ to organise and build resources and give it points of Dominion or ‘Enact Change’ to establish a Feature or address a problem, or a number of external actions equal to its Power, including ‘Attack Rival’, ‘Remove Interest’ of outside agents, and ‘Aid an Ally’. The Player Characters can be involved in these actions, although how they influence the outcomes will be down to the narrative and the interpretation of the Game Master.

For the Game Master, there is advice on mixing and matching the various character types from other roleplaying games from the designer, handling various aspects of the rules and game play—kept relatively short, and on setting up a campaign. This includes determining who the game is for and what its scope is, and so on, as well as its themes and the elements that go into the three different campaign categories covered in Ashes Without Number. There Game Master is guided through the process of setting up her campaign sandbox, considering numerous aspects from crises, communications, and food to sewage and waste, transport, and water, and adding and detailing encounter sites, and on to creating adventures. The advice here is not to build more than a single session’s worth of play, to present problems rather than solutions, and make NPCs people too. There is a bestiary too, which covers beastfolk, cyborgs, humans, mutant animals and humanoids, robots, zombies (of course), and nemeses for the Player Characters. Ashes Without Number includes extensive tables for the Game Master to consult and make use of, giving her numerous prompts and ideas to spur her creativity. There is so much here that the Game Master will be coming back again and again for inspiration, and bar the stats and numbers, all of this material can be sued in almost any post-apocalyptic roleplaying game.

In terms of an actual setting, Ashes Without Number presents ‘The Albuquerque Death Zone’. This describes a region of North America sometime after the year 2665. In that year, an interstellar burst of psychic energy known as the ‘Scream’ wreaked havoc on the psitech-reliant Terran Mandate, isolating worlds and sent its arch-psychics insane and as the now deranged Crazed, inflicted horrifying changes from one world to the next, whilst in thrall to their own delusions. The Albuquerque Cultural Area, already turned into a Wild West playground populated by incorrigible malcontents drawn from around the world, neuro-imprinted to think they lived and worked on the frontiers of the nineteenth century USA, was also affected. Albuquerque was hit by a nuclear missile and the Highshine and its nanite Dust which had previously ensured the planet’s stability and the health of its inhabits was radically and chaotically reprogrammed by the Crazed. It mutated survivors and many species of animals, repopulating the regions with lifeforms unknown. The surviving inhabitants of what would become known as the ‘Albuquerque Death Zone’ proved surprisingly resilient, benefiting from the adjustments to a more primitive lifestyle made by their neuro-imprinting.

The ‘Albuquerque Death Zone’ is quite a detailed setting, covering an area of over three thousand square miles and describing its major settlements, trade, common weapons, and more, as well giving specific advice on starting a campaign in the setting. It includes the option for a Player Character to become a Cowboy, represented first by an Edge and then ‘arts’, such as ‘Cattle Wise’, ‘Lightning Hand’, and ‘Two-Gun Style’, sort of skills and tricks, that he can select over time. There notes too, to turn it into a Class, pushing towards the mechanics of Stars Without Number and Worlds Without Number. What it does reinforce is that ‘Albuquerque Death Zone’ is post-apocalyptic Wild West setting. This could have been more simply stated, for the actual history to ‘The Albuquerque Death Zone’ is certainly the densest writing in the roleplaying game and is far from easy to grasp quite what is going on and how it relates to the setting. It does become clear once the reader gets to the actual description of the setting after the history, but it is an abrupt change in clarity in the meantime and a lot of backstory that the players and their characters are not necessarily going to learn.

It should be pointed out that there are two versions of Ashes Without Number. Both include all of the content described, but the deluxe version adds extra content. This includes the Evil Techno-Wizard for the Game Master who wants a science-sorcerer nemesis style threat, whilst for the players there are Ash Sorcerers who wield the sinister arts of a half-damnable path similar to that of the Evil Techno-Wizard, but not quite; the Mentalist, a psychic Class; and Modular Power Armour for knights of the radioactive dust. These verge on Classes as per the Cowboy earlier. Lastly, the Hub Settlement Rules provides more detailed rules for settlements than the Enclave rules if the focus of a campaign wants to be on running the Player Character’s home and its survival.

Physically, Ashes Without Number is cleanly and tidily, if plainly laid out. The artwork is decent, but the overall look of the book is serviceable rather than engaging. Similarly, the writing is more serviceable rather than engaging.

One of the impressive features of Ashes Without Number is the fact that despite it being located within the Old School Renaissance, it is not Class and Level roleplaying game. Or rather, it is not a roleplaying game in which a Class defines what a Player Character is capable of. Or rather, there is just a single Class which defines what every Player Characters gains at each Level, but leaves what a character is capable of in terms of skills, Edges, and Foci, firmly in the hands of the player, giving him the freedom to create and develop a character as he wants.

Similarly, the Game Master has a lot of freedom to do what she wants with Ashes Without Number. There are plenty of post-apocalyptic roleplaying games to choose from, whether that is a print-on-demand version of Gamma World or the more recent Fallout: The Roleplaying Game, and these will do many of the things that Ashes Without Number will do and Ashes Without Number will do many of the things that they do. They have the advantage of coming with ready-made backgrounds too and they will also do certain things better than Ashes Without Number because they are specifically designed to do so. Whereas Ashes Without Number is designed as toolkit and provides everything that a Game Master needs to create a setting of her own and handle the various elements of the genre. This it does in a solidly workmanlike and comprehensive fashion with an impressive multitude of options, prompts, and tools, all of which are easy to use, even if the Game Master is not familiar with the Old School Renaissance—and even easier if she is. For the Game Master who wants to create her own post-apocalyptic campaign setting, Ashes Without Number is undoubtedly a good choice.