Cthulhoid Choices: Ripples

Call of Cthulhu is the preeminent roleplaying game of Lovecraftian investigative horror and has been for over four decades now. The roleplaying game gives the chance for the players and their Investigators to explore a world in which the latter are exposed, initially often indirectly, but as the story or investigation progresses, increasingly directly, to alien forces beyond their comprehension. So, beyond that what they encounter is often interpreted as indescribable, yet supernatural monsters or gods wielding magic, but in reality is something more, a confrontation with the true nature of the universe and the realisation as to the terrible insignificance of mankind with it and an understanding that despite, there are those that would embrace and worship the powers that be for their own ends. Such a realisation and such an understanding often leave those so foolish as to investigate the unknown clutching at, or even, losing their sanity, and condemned to a life knowing truths to which they wish they were never exposed. This blueprint has set the way in which other games—roleplaying games, board games, card games, and more—have presented Lovecraftian investigative horror, but as many as there that do follow that blueprint, there are others have explored the Mythos in different ways.

Cthulhoid Choices is a strand of reviews that examine other roleplaying games of Lovecraftian investigative horror and of Cosmic, but not necessarily Horror. Previous reviews which can be considered part of this strand include Cthulhu Hack, Realms of Crawling Chaos, and the Apocthulhu Roleplaying Game.

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Something terrible happened to the town of Shingleford in 1962. The enigmatic, if friendly, Peddler came to town and sold the people what they wanted. Trinkets. Trinkets which unknowingly twisted their resentments into Curses and as they became exhilarated by the eldritch power granted by their Trinkets, their owners cast Curses on others and spread the influence of the Peddler. Fortunately, due to the efforts of a troop of River Scouts led by Hilda Buckle, under the eye of the Watcher, these Curses and the influence of the Peddler were stopped in 1962. Unfortunately, it was not without loss, for it led to the deaths of several of the River Scouts. Sixty years later, the Peddler returns, spreading Curses once again, poisoning the river and the lands on either side of its banks. It is another group of teenagers, who discover the old River Scouts clubhouse, abandoned after the events of 1962, who turn it into a den and are then visited by the ghost of a young girl who told them of how she helped lift the Curse in 1962. Other ghosts asked them to read the River Scout Pledge and provide protection for the Clawfoot and Shingleford once again, presenting them with Sashes that will help them defeat the Curses.

This is the set-up for Cryptid Creeks, a roleplaying game of eldritch investigative horror, that takes its inspiration from films such as The Goonies and Stand by Me, television series like Gravity Falls and Stranger Things, and graphic novels such as The Lumberjanes. Although a roleplaying game of eldritch investigative horror, and thus adjacent to it, Cryptid Creeks is not a roleplaying game of Lovecraftian investigative horror and does not involve the Cthulhu Mythos. Published by Hatchlings Games following a successful Kickstarter campaign, it is described as ‘Cosy Horror’, meaning that it is suitable for a family audience, much like its earlier roleplaying game, Inspirales. Cryptid Creeks is also ‘Carved from Brindlewood’, which means that it is a Powered by the Apocalypse system roleplaying game, but one using the lighter, more investigative-focused variant of Brindlewood Bay. Ripples: Cryptid Creeks Curse Collection is the first supplement for Cryptid Creeks.

Ripples: Cryptid Creeks Curse Collection is primarily a collection of eight Curses, mysteries and situations, that the River Scouts can investigate, determine a cause, and ultimately resolve. Three of those are set in the present, but of the rest, Ripples takes the River Scouts—the characters and their players—somewhere interesting, and that is the past. These five Curses are the ‘Ripples’ of the title and they take place over the course of the summer of 1962. They explore what happened that fateful summer when the Peddler was stopped for the first time and the River Scouts were disbanded. They are triggered by certain situations and also tell the stories of the River Scouts who lost their lives in the effort to defeat the Peddler and whose sashes the Player Characters in the modern day were given and wear as River Scouts. They are essentially flashbacks in which the players roleplay not their usual characters, but the River Scouts of 1962.

Each Ripple is introduced by a Seed, of which three are given for each Ripple. The playthrough of a Ripple requires some changes to the play of Cryptid Creeks to take into account the fact that events of each Ripple have not yet taken place and thus not yet had an effect on present of the modern day. Thus, there is no River Phase or associated Riverbank Stops and Playbook Moves tied to the River Scouts’ Clubhouse Collection and the Sash of Ages are unavailable. Instead of the River Phase, the ‘Bond Move’ allows a one-to-one moment with another Scout to gain a Clue or Advantage on a subsequent roll. Similarly, the ‘Guidebook Move’ replaces the ‘Hilda Move’ to gain advice on the current situation. The most radical change is the inevitability of character death, since the players are roleplaying the original River Scouts who in the future will become the Clubhouse Ghosts. However, such deaths take place offscreen and River Scouts cannot recall exactly how they died, but once they do, the dead characters become Ghosts, not just for the rest of the Ripple, but all subsequent Ripples. This sets up a challenge in that Ghosts cannot communicate with the living, only themselves, and can only impart information gained from an investigation via a haunting.

Of the five Ripples, ‘The Cryptid Creek’ must be run first and ‘The Curse of ’62’ must be run last, but the others can be played in any order. ‘The Cryptid Creek’ handily takes the Navigator and her players through the process of going back into the past and into what is the very first encounter with the Watcher and the Curse he suffered at the hands of the Peddler. ‘The Curse of the Old Hackitt House’ explores a haunted house and how its owner became a figure of both fear and fun; ‘The Curse of the Lich Root’ examines how and why the flora around Shingleford changed and warped following the events of the town gardening competition in 1962; and in ‘The Curse of Heartwood Locket’, the River Scouts make a new friend as they find out why the forest became strange and seemed to strike back at the loggers working it in 1962. Lastly, ‘The Curse of ’62’ confronts the River Scout with the terrible events that led to the deaths of the remaining Clubhouse Ghosts and the temptation of Hilda Buckle aged twelve, which will set in motion of the events and involvement of the new River Scouts in the modern day.

The five Ripples are not the only Curses explored in the supplement. The other three are all set in the modern day. Children run wild in ‘The Wildren’s Curse’ and the River Scout must find out if faeries are involved or there is another cause; the people of Shingleford are beset by waking dreams in ‘The Curse of False Awakenings’ and the River Scouts must find a way to shift between the realities of ‘The Night’, ‘The Library’, and the ‘Waking World’ to locate the cause and deal with it; and lastly, ‘The Curse of the Rogue Playthings’ has the River Scouts chasing after an beloved, but beloved toy, now awakened, that is breaking into houses and toy shops to steal other toys. Of the three, ‘The Curse of False Awakenings’ is the most challenging to run and play, yet feels like a more traditional weird mystery. The other two provide inventive ways in which different aspects of childhood can be explored. Lastly, ‘Ripples’ closes with short, but entertaining piece of fiction.

Physically, Ripples is tidily organised. It is light on artwork, but what is there is good. What stands out is the layout, which is not only well done, but includes pages colour-coded to each Ripple or Curse. For example, ‘The Curse of the Old Hackitt House’ involves a haunted house, so its pages are dark grey, but ‘The Curse of the Lich Root’ involves plants and so has light green pages. It is a small detail that adds a difference between the various Curses and Ripples.

The Ripples are a fantastic idea, enabling the Navigator and her players to journey back into the past and explore the events that set up the here and now. They work better played before—as a prequel—the events of Cryptid Creeks or doing the campaign itself with the flashbacks worked into the main story. This is not to say that they cannot be played after a Cryptid Creeks campaign has been finished, but the ramifications of the original River Scouts’ actions and deaths will be not as great if run as a sequel. Any Navigator wanting to run Cryptid Creeks should definitely look at Ripples: Cryptid Creeks Curse Collection as a possible addition to her campaign because it will add depth, back story, and just for one last summer, bring the Clubhouse Ghosts to life.

Jonstown Jottings #107: Sironomandidi: Hero Wars in the East Isles – Volume 4

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition, the Jonstown Compendium is a curated platform for user-made content, but for material set in Greg Stafford’s mythic universe of Glorantha. It enables creators to sell their own original content for RuneQuest: Roleplaying in Glorantha, 13th Age Glorantha, and HeroQuest Glorantha (Questworlds). This can include original scenarios, background material, cults, mythology, details of NPCs and monsters, and so on, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Glorantha Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Glorantha-set campaigns.

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What is it?
Sironomandidi: Hero Wars in the East Isles – Volume 4 is the fourth volume of source material and scenarios begun in Korolan Islands: Hero Wars in the East Isles – Volume 1 and continued with Fires of Mingai: Hero Wars in the East Isles – Volume 2 and Islands of the Lost: Hero Wars in the East Isles – Volume 3, all written for use with RuneQuest: Roleplaying in Glorantha.

It is a one-hundred-and-seventy-four page, full colour, 48.83 MB PDF.

The layout is clean and tidy, but the text feels disorganised in places and requires an edit. The artwork varies in quality, but some of it is very good.

The cartography is decent.

Where is it set?
Sironomandidi: Hero Wars in the East Isles – Volume 4 is set Sironomandidi, a large islands in the Shorenti Chain of islands located to the north-east of the Korolan Islands.

Who do you play?

Sironomandidi: Hero Wars in the East Isles – Volume 4 is designed to be used with Player Characters who are native to the Korolan Islands. The possibility of outsiders playing the scenario, along with a Player Character native to the islands, is explored in more depth than in previous volumes in the series, suggesting that alongside at least one Player Character who is native to the islands, the outsiders could be ‘new hires from strange lands’.

What do you need?

Sironomandidi: Hero Wars in the East Isles – Volume 4 requires Korolan Islands: Hero Wars in the East Isles – Volume 1, Fires of Mingai: Hero Wars in the East Isles – Volume 2, Islands of the Lost: Hero Wars in the East Isles – Volume 3, RuneQuest: Roleplaying in Glorantha, the Glorantha Bestiary, and The Red Book of Magic. In addition, the Guide to Glorantha and The Stafford Library – Vol VI Revealed Mythologies may be useful.

What do you get?
Sironomandidi: Hero Wars in the East Isles – Volume 4 explores an island that is radically different to those visited in the previous supplements. It is notable for its lack of buildings and other structures, the earth god Olaraoshay having forbidden their construction. Indeed, any building put on one day will be found collapsed the following day. Instead, the inhabitants of the island live in cave dwellings, several of them the size of cities. Indeed, the only building still standing on Sironomandidi is a temple to the antigod, Bodastu, located in the Bleeding Morass, an anti-god-infested swamp. Three Human factions dominate the island’s politics. The Lingbutans are ruled by hereditary nobility of the northern clans; the Polished Grounders worship the gods rather than recognise mortal leaders; and the Gouvanists are followers of the ancient Dragon of Gou, who long ago defeated a heartless trio of rock monsters and transformed Sironomandidi into the vibrant island it is today. However, the Dragon Gou has not been since before the coming of the demonic Slavering Horde, and his worshippers have become adept martial artists, capable of protecting themselves. Besides Humans, Sironomandidi is home to Varanids, Mostali, Black Elves, and the Eresteenes of the swamp.

Sironomandidi: Hero Wars in the East Isles – Volume 4 provides a wealth of setting and background information on the island. This includes its history, descriptions of its cave cities and other places of note, full write-up of all the island’s current leaders and notable personalities, and the cults particular to the island. Amongst these are Sedsaru,the antigod associated with theft and deception, the Cave City Gods, and Dragon Gou, all written up in the standard format. The combination of its large size and the urban nature of its cave cities means that certain Occupations are found here that are rarely followed on the other Eastern Isles. Thief is the one that stands out, but the others include Captain, Noble, and Scholar. There is a surprisingly extensive bestiary too, with entries for such creatures as the Three-Eyed Blood Bat; a variety of the demon breeds known as Andin; the Manananggal, the demonic female which can grow bat wings from its back and preys on pregnant women; Orangutans who sometimes learn Roaring Orangutan Martial Arts; and the demonic shapeshifting Rakshasa. Varanids, a lizard men species with semi-intelligent workers and warriors and intelligent Shamans are presented as a playable option. More fully detailed Sofali, whose culture is tied to the lifecycle of the turtle and with so few breeding islands and beaches, they are very much dispersed across the Eastern Isles.

The Game Master is supported with a wide selection of rumours and an even wider selection of encounters and events, some which the supplement notes the Game Master should use to lay the groundwork for Bezarngay Boil: Hero Wars in the East Isles – Vol 5. There is no help to that end and it would have been useful had the rumours and events been marked in some way to help the Game Master in that objective.

The ‘Korolan NPCs Encounter Table’ and the ‘Sironomandidian NPC Encounter Table’ are both useful since they also lists= the possible mini-adventures they are involved in, as well as the adventures, involvement in previous supplements, and where extra information about them may be found. Some of the encounter write-ups are surprisingly lengthy and many can be developed into fuller adventures. There are some interesting and entertaining encounters here, such as being asked by a Dream Dragon for help, receiving helpful advice from a Great Sea Turtle, needing to appease a Hungry Ghost in a set of temple ruins, and discovering a tribe of red-skinned islanders who revere a giant crocodile who walks on two legs and definitely do not want the adventurers to leave.

In addition to the some detailed forty encounters of the encounter tables, Sironomandidi: Hero Wars in the East Isles – Volume 4 includes eight mini-adventures such as coming to the aid of a Sofli tribe on whose island hunters from a neighbouring island who have set up camp to hunt the tribe’s totem animal, the Olive Sea Turtle; guarding a caravan of dinosaurs on a trip into the interior of Sironomandidi; and the High Chief of the Lingbu Caves, fearing that he is soon to die, hires the Player Characters to clear out a tomb despite it still being occupied by Queen Rogo’s gold-masked mummy! This is followed by forty adventure seeds! All together what this means is the Game Master is given an impressive array of playable content—and yet, none of this is immediately playable content. To one degree or another, the Game Master must prepare this content. Plus given that unlike the previous supplements detailing the Eastern Isles, there are no pre-written scenarios, the Player Characters are not necessarily going to experience particular plots, events, encounters, and intrigues on Sironomandidi. Instead, Sironomandidi: Hero Wars in the East Isles – Volume 4 includes will play out more like a sandcrawl and feels radical compared to the previous supplements in the serious. As much as this gives a lot of freedom of action to both the Game Master and her players, it is not the best set-up as a lead into the scenarios in Bezarngay Boil: Hero Wars in the East Isles – Vol 5.

Sironomandidi: Hero Wars in the East Isles – Volume 4 is rounded out with a selection of supplementary information. These include details of various martial arts schools from across all of the islands; a description of  Ferendalo, an island to the north of Sironomandidi in the Haragalan Commonwealth; and descriptions of Dream Magic, which is practiced in the islands. It possible for a Player Character to become a Dream Magician, but it takes years of sacrifice, and in the Eastern Isles, its practitioners are not always trusted. It depends primarily on if the Dream Magician are worshippers of Thella, Goddess of Dreams, or Avanapdur, the God of Nightmares.

As with the previous entries in the series, Sironomandidi: Hero Wars in the East Isles – Volume 4 would have benefitted from the inclusion of a set of pre-generated Player Characters. Given the differences between the setting of Dragon Pass and the Korolan Islands, pre-generated Player Characters would serve as a way to ease the players into and past those differences, showcasing the different Occupations and Cults. It would make the content in Sironomandidi: Hero Wars in the East Isles – Volume 4 easier to run and give the Player Characters motivations to be involved in the many plots and scenarios presented in the supplement. The number of encounters, mini-adventures, and adventures also make a campaign on and around Sironomandidi more challenging to run since the preparation requirements are higher and more demanding.

Is it worth your time?

Yes—Sironomandidi: Hero Wars in the East Isles – Volume 4 continues the exploration of the Eastern Isles, but with almost a hundred encounters and adventure ideas. This gives the Player Characters the freedom to explore the islands like never before.

No—Sironomandidi: Hero Wars in the East Isles – Volume 4 is too location specific and too radical a change in cultural outlook to be of use in a general RuneQuest: Roleplaying in Glorantha campaign.

Maybe—Sironomandidi: Hero Wars in the East Isles – Volume 4 is too location specific and too radical a change in cultural outlook to be of use in a general RuneQuest: Roleplaying in Glorantha campaign, but its scenarios could be used to explore a clash of cultures.

Miskatonic Monday #444: Lost Library

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: Lost Library

Publisher: Chaosium, Inc.
Author: Wille Ruotsalainen

Setting: Somalia, 1920s

Product: Scenario

What You Get: Twenty-four page, 59.42 MB Full Colour PDF
Elevator Pitch: ‘King Solomon’s Library’

Plot Hook: The promise of adventure and discovery
Plot Support: Staging advice, four pre-generated Investigators, six NPCs, two handouts, one map, one floorplan, one Mythos tome, and two beasts.

Production Values: Plain

Pros

# Atmospherically dusty journey into a hidden corner of Colonial East Africa

# Horror in the library is enjoyably not what you think

# Very light on the Mythos

# Decent introduction to Somali history and culture

# Bibliophobia

# Ammophobia

# Herpetophobia

Cons

# Needs an edit
# Very light on the Mythos

# Pre-generated Investigators could have been better designed around the scenario

Conclusion

# The horror of the Great War lingers in a cat and mouse hunt in a lost library

# Refreshingly different scenario in Colonial East Africa

Realms of Resistance

As the Third Age draws to a close and the Shadow stretches out across Middle-earth, in the west, there remain three bastions of Light. The Elder Days when the Elves once sang and danced under the canopy of the forests that stretched the whole of Middle-earth are long gone, their numbers greatly reduced in the wars against Sauron and his predecessors and by the loss of hope that led others to take the secret paths and ways to the Grey Havens, and from there sail into the West and find peace in the Undying Lands. For those that remain, the Long Defeat yet looms over them, the triumph of Sauron and Shadow, even as they take refuge under the protection of four great Elf lords and ladies, protected by the greatest magic of all—the Three Rings! These are the Elven Rings of Power, forged in the Second Age by Celebrimbor in Eregion—Vilya, Narya, and Nenya—hidden away and untouched by Sauron. Worn respectively by Elrond, Círdan the Shipwright, and Galadriel, they have each used their Ring of Power to protect their realms—Rivendell, Lindon, and Lothlórien—against unwanted change. They remain long into the Third Age and are the subject of Realms of the Three Rings.

Realms of the Three Rings is a setting supplement for The One Ring: Roleplaying in the World of Lord of the Rings. Published by Free League Publishing, it expands upon the setting material given in the core rulebook for The One Ring and Ruins of the Lost Realm, the regional guide to the lands of southern Eriador, and adds depth to the background of any Elven Player Character in a campaign for The One Ring. There is scope for the lords of these Realms to become Patrons to the Player Characters, for non-Elves to become Elf-friends, and potentially some of the secrets that these lords hold. Of course, the Realms are not safe and even as they feel inviolable, Sauron and the forces of Shadow plot to undermine them and Realms of the Three Rings details three of these plots. Nine landmarks are described, some of which are tied into the three plots, some of which are located within the Realms. Lastly, the supplement offers options for the player, but in the main, Realms of the Three Rings is primarily a book for the Loremaster.

Ruins of the Lost Realm begins with a history of the Eldar from the Elder Days to the Twilight of the Third Age and what is surprising about it is that it kept to just two pages. It could have been much, much longer given how lengthy and detailed the history of Elves is in Middle-earth lore, but to be fair that history is available elsewhere and much of it is unlikely to have a direct effect upon a Loremaster’s campaign. This does not mean that the Loremaster cannot instead do her own research and bring elements of that history into play, because effectively that is what the authors of Ruins of the Lost Realm are doing. Their focus is upon the Three Rings of Power, how they were created by Celbrimbor, and the rise of Sauron as he used his own ring to subvert the Free Peoples of Middle-earth. It may not be an extensive history, but is enough here at least.

The influence of Three Rings of Power can be seen in the strange experience of staying in one of the surviving Elf-lands. There are literally a timelessness and an introspectiveness to the Realms that means that visitors will often initially feel overwhelmed by its apparent idleness and lack of urgency. In time, they either learn to live in step with it or never quite shake of its dream-like feel. The timelessness also means that visitors are never quite aware of how much time passes whilst they are there, weeks passing by before they are ready to leave again. There benefits to staying in an Elf-realm though. When a Company visits one of the three realms, it automatically triggers a Fellowship Phase. One of the things that that Player-hero can do is the Heal Scars Undertaking and remove a Shadow Scar. However, this is in addition to whatever Undertaking the Player-hero wants to do. It costs Adventure Points to do so. Otherwise, Player-heroes who are not Elf-friends or native to one of the realms cannot spend their Yule Fellowship Phase there.

Each of the three realms—Rivendell, Lindon, and Lothlórien—is richly detailed with information about its numerous locations, its Ring of Power, notable figures, and more. For example, the description of Lindon includes details of the Nine Houses of Mithlond, guild-like organisations that regulate labour and professions, organise festivals, sponsor festivals, and more. These are a ready source of NPCs and possible plots should the Loremaster decide to develop them. Of the three realms, Rivendell is the most well-known, having previously been detailed in The One Ring Loremaster’s Screen & Rivendell Compendium, but it makes sense have it described here with the other two Elf-lands. That said, Realms of the Three Rings does not simply reprint the previously presented information, but expands on it to detail the wider hidden valley of Imladris, so now the Player-heroes can spend time with Gandalf sharing stories and music under the Hoary Old Chestnut, and perhaps hear a rumour or whisper on the wind, or follow the sound of the Piper in the Woods. Of the three realms, Lothlórien is the most mysterious and the most closed off, understandable given its proximity to Moria. Indeed, given that proximity, the Loremaster may want to have Realms of the Three Realms close to hand if she is planning to run Moria – Through the Doors of Durin. Much like the Fellowship, Player-heroes here may receive the Gifts of Galadriel if they take the Meet Patron undertaking and one Player-hero and his Fellowship Focus can even ne allowed to look into the Mirror of Galadriel. Of course, there is a chance that the Player-hero will see a harrowing vision, scarring him as much as it does give him insight, but looking into the mirror is a momentous event and should be treated as being very special.

One nice touch is that although all three realms are described as unyielding and unchanging, each includes a table that adds a fitting random element. For Lindon, this is ‘Exploring the Markets’ giving a range of interesting traders and craftsmen to buy from and learn from; for Rivendell, it is ‘Many Meetings in Rivendell’, a table of NPC types that the Loremaster can develop; and in Lothlórien, there are ‘Elf-Minstrel Songs’ that the Player-heroes may be lucky to hear. These add a little variation and again, can be developed further by the Loremaster to add extra detail and flavour.

The encroaching nature of the Shadow comes to the fore in Realms of the Three Realms with a plot directed at the Elven realms, each intended by Sauron to bring ruin to the Elves. Each includes some background and explanation of the plot, stats for the NPCs involved all of them nasty and evil in their own way, and a timeline that stretches twenty years into the future from 2965 TA. These are set-ups more than anything else, but they are detailed set-ups whose suggested plots and events can be woven around other adventures. As expected, these are particularly strong storylines for Player-heroes who are Elves, exposing them to some of the vile fates that Sauron and his minions have inflicted upon their fellow Elves. In ‘Perils of the Last Road’, Sauron sends Morlhoss, the Dark Whisper, a vengeful, spurned Elven spirit, and Zagruk, the Voice From Beyond, a gifted Orc Sorcerer who bears The Mask of Spirits, an iron mask that enables him to become a host for Morlhoss, to prey upon those Elves who have decided to journey into the West, making travel difficult across the Misty Mountains in particular. The Dark Lord targets Rivendell in ‘Memories of Ancient Wounds’ as he sends Cauthlin, an ancient spirit known as the weasel-lady, to take her revenge on the Elves of the Last Homely House. Playing on his grief at the loss of his wife, Celebrián, and fears of the possible loss of his daughter, Arwen, Sauron hopes that Elrond can be drawn out of his refuge where he will be vulnerable. In ‘Old Hatreds May Still Breed War’ sees Sauron drive a wedge between the Elves of Lindon and the Dwarves of the Blue Mountain when an Elf, recently escaped from captivity of the Orcs of Mount Gram, claims to have seen a great hoard of Dwarven arms, armour, and treasure in the Orc hold and that the Dwarves must be paying tribute to Mount Gram! This is an insult that cannot stand on either side as the lack of wisdom amongst the young Elves and their yearning for valour and glory pushes them into confrontation of the infamous stubbornness of the Dwarves.

All of the NPCs are nicely drawn here and it should be noted that not all of the villains are totally and utterly villainous. There is a path to redemption for some of them, though not all. Cauthlin, the weasel-lady, is genuinely evil and that is clear from the unsettling illustration of her that accompanies her description. If there is a downside to the three plots, it is that Lothlórien does not receive one, though given how closed off and inaccessible that realm is, it may be that Sauron has not yet devised a scheme which he thinks will make it vulnerable.

Lastly, Realms of the Three Rings details nine Landmarks, adventure sites across Eriador. Some of these can be tied into the plots described in the previous section. For example, Ost Breniellin is a fortress that guards Lindon’s north and is home to the House of Exiles, who now make the accusations against the Dwarves of the Blue Mountains in ‘Old Hatreds May Still Breed War’, whilst ‘The Valleys of the Dwarves’ is home to the accused. ‘The Singing Stones’ are Elven ruins on the edge of the Misty Mountains where songs can be heard in dreams, but not remembered, and is where an NPC tied to the plot of ‘Memories of Ancient Wounds’ could be encountered, whilst events later in that plot can play out at ‘The Wailinghole’, a worked cave network that has been turned into an outpost by the Elves of Rivendell and has secrets of its own. ‘The Winter-horn’ is both a sound and a place in the High Pass of the Misty Mountains, whose sound is said to be strong enough to keep giants at bay, and perhaps can be found as part of the ‘Perils of the Last Road’ plot, as can ‘Whitehorn Hay’, a farm where Men welcome Elven visitors.

The others include ‘The Palace of the Sea-birds’ is the ruined island home of an old Elf-lord, now the seat of King Arovall, a massive seagull who rules over all of the region’s seabirds; ‘The Vineyards of Glauria’ sit high on the side of the valley above Rivendell where the ancient winemaking practices of the Eldar are still continued to this day; and ‘The Falls of Nimrodel’ lie on the edge of Lothlórien, potentially a place of refuge from nearby Moria, whilst the nearby ‘The Ruins of Dwarferry’ details an ancient Dwarven crossing point across the Anduin. Where most of these Landmarks are given a location, both ‘The Hollow Wood’, a refuge for Elves on the road westwards, and ‘The Isle of the Sorceress’, a refuge of a more mystical nature, can be placed anywhere by the Loremaster.

Finally, the appendix adds options for the Player. These include two new Heroic Cultures. One is the High Elves of Rivendell, which previously appeared in The One Ring Loremaster’s Screen & Rivendell Compendium, whilst the other is the Elves of Lórien. The High Elves of Rivendell have the Cultural Blessings of ‘Elven-Wise’, able to spend Hope to achieve a Magical success with a skill roll, but also ‘Beset by Woe’, meaning that their long memories cannot forget the mark left by the Shadow on their spirit, limiting when they can remove Shadow points. Their notable Virtues are ‘Artificer of Eregion’, enabling a Player-hero to craft Marvellous Artefacts like the Elven-smiths of old or identify qualities about a Marvellous Artefact or Wondrous Items, and ‘Might of the Firstborn’, which lets a Player-hero expend Hope to negate a point of Hate or Resolve spent by a foe to activate a Fell ability. The Elves of Lórien have a single Cultural Bless, that of ‘Tree-People’, which lets a Player-hero spend a point of Hope to achieve a Magical success with a skill roll when in a forest, but more Virtues to choose from. These include ‘Lembas’, gaining access to the famous waybread after spending time in Lothlórien; ‘Deadly Archery’, granting the ‘Prepare Action’ with a bow whilst in the Rearward Stance as a secondary action; and ‘Favour of the Lady’, which grants the blessing of Galadriel to gain more Hope points during the Fellowship Phase, but at a cost of an extra Shadow point, which can be negated by returning home. There is a lot of flavour to both Heroic Cultures, enabling players to create interesting Player-heroes. The last item in the appendix is ‘Elf-Lords in Solo Play’, a guide to creating powerful Elves born in the First and Second Ages who have yet to make the journey West. These are specifically designed to work with the solo rules for The One Ring—called ‘Strider Mode’—and enable a player to roleplay a much more powerful figure who can more readily face greater foes. It is a welcome new option for the ‘Strider Mode’.

Physically, Realms of the Three Rings follows the look of The One Ring: Roleplaying in the World of Lord of the Rings with an almost parchment look upon which the pen and ink art sits beautiful artwork, some of which, like the depiction of the weasel-lady is quite unnerving. The cartography is also very good.

If there is an Elven Player-hero in the Company, Realms of the Three Rings is a supplement that his player will want his Loremaster to purchase. It places the Elves in the spotlight in the Third Age of Middle-earth, a place that ironically, they would rather avoid. It not only details their realms as places to visit, but provides the Loremaster with the means to bring their reticence, their waning hope, and their elegance into play and develop her campaign around their included plots. Realms of the Three Rings adds depth and detail to Eriador, scope for Elven Player-heroes to shine, and other Player-heroes to explore their grandly elegant, but declining world.

Convict Conscript Combat

It should be no surprise that the future is a corporate future despite our aspirations. So, governments and agencies might do all the scouting and exploration, but the corporations have the money to invest and they expect a return on that investment. In the Corealis System, the conglomerate known as the Corporate Echelon is attempting to squeeze as much profit from the system and that includes protecting their facilities, let alone the colonies. There are reports of bug infestations and scab pirates attacking ships and outposts. In response the Corporate Echelon has instructed its Military Foundation to find a cheap solution to the problem. The result is the Rehabilitation Incentive Program (R.I.P.), a programme of enforced conscription from the Corporate Echelon’s private prisons. Convicts are given basic training and sent off on relentless tours of duty. They will eradicate bug infestations, assault pirate bases and spaceships, conduct salvage missions, run supply missions, and more, but no matter the type and nature of the mission, the Convicts, known as ‘Dirtbags’, are expendable. However, if a Dirtbag survives long enough, there is the promise of freedom and reintegration.

This is the set-up for Dirtbags! A Sci-Fi Shooter RPG, published by The Dungeon’s Key following a successful Kickstarter campaign. Inspired by films such as Starship Troopers, Tank Girl, and Aliens, plus The Dirty Dozen and an unhealthy dose of the Borderlands video game franchise, it is a satire on corporate greed and capitalism and deals with a lot of mature themes. The dystopian satire starts with the look of the rulebook, which is heavily graffitied in a running commentary upon service in the Rehabilitation Incentive Program, the Convict Conscripts sticking two fingers up in punk attitude at the corporate commanders and masters.

To create a Convict Conscript, a player divides five points across three abilities—Bones, Cunning, and Nerves, rolls for his Convict Conscript’s Pardonable Offence and the Fallout, and then selects a role assignment, loadout, and trait. The Convict Conscript’s upbringing, personality trait, and appearance can all be rolled for. Each Convict Conscript also receives a fifty-credit signing bonus. The roles are Ape (Infantryman), Pill (Combat Medic), Tech (Combat Engineer), Hen (Reconnaissance), and Muscle Head (Support Gunner). Each provides three options in terms of Loadouts and Traits. Both the Pardonable Offence and the Fallout provide an extra bonus. In addition to his loadout, a Convict Conscript wears a Prisoner Identification Collar, which of course, is fitted with a small amount of explosives which can be detonated remotely, as a deterrent against escape attempts.

Name: Louise Kincy (MD)
Bones 1 Cunning 2 Nerves 2
Pardonable Offence: Medical Malpractice (75 years)
Fallout: High-Strung (No breathers in combat)
Role Assignment: Pill
Traits: Field Surgeon
Upbringing: Water Carrier in the circuit city sweatshops
Personality Trait: Petty
Appearance: Old World Prosthetic Hand
Loadout: 350-SI Service Pistol (three magazines), Surgery Kit, Juice Box Energisers (two), Tourniquet (one)

Mechanically, Dirtbags! uses a dice pool system. In fact, it uses three dice pools. These are Action, Ammunition, and Reserve. The Action pool is based on the Convict Conscript’s abilities. It is the number of dice that a player can assign to any one action. Using six-sided dice, any result of a four, five, or six is a success, although this range will increase or decrease depending upon if the Convict Conscript has Advantage, Disadvantage, or Severe Disadvantage. Any failed results go into the Convict Conscript’s Reserve where they cannot be used. Various traits will restore dice from the Reserve to the Action pool, but the primary means is to ‘Take a Breather’. Out of combat, this takes fifteen minutes, but in combat, it takes a whole turn in which the Convict Conscript can nothing else. A critical success, a roll of two sixes on an action will also restore a single die from the Reserve to the Action pool.

The number of actions that a Convict Conscript can undertake in a round is determined by his Ability values. For example, a Convict Conscript with a Bones of two has two physical actions in a round. So, his player might describe his actions in cleaning out a bug nest as first throwing a grenade at the hole out of which a bug swarm has erupted and then charging to its lip. Whilst a Convict Conscript with Cunning of two operating a drone might send it to hover over the hole and then scan for movement. In either case, the Convict Conscript’s player needs to roll a success for each action. Notably, none of the actions involve shooting or attacking. This is a free action. Nor does a player roll to hit. Instead, he rolls the Ammunition pool for his Convict Conscript’s weapon. The Convict Conscript can fire as many times as he wants. The only limits are the ammunition capacity of the weapon and its firing mode. Firing at targets beyond a weapon’s range reduces the number of Ammunition dice the player rolls. Every success is a hit, but if two ones are rolled, it means that the weapon has jammed. All dice rolled from Ammunition pool go into the Reserve pool and can only be refreshed when the Convict Conscript takes a turn to reload.

When hit, a Convict Conscript can defend using his Action pool or his Ammunition pool and every success negates a hit. Armour negates hits and can be destroyed. Damage is inflicted per location and if a hit location suffers two more points of damage, it is bleeding and will suffer more damage loss. Limbs can be ruined and amputated; if the torso is reduced to zero Hit Points, the Convict Conscript cannot ‘Take a Breather’, but can talk and still take free actions like shooting; and if a Convict Conscript’s Hit Points in his head are reduced to zero, he is dead. In addition to possible access to a Pill or Combat Medic, every Convict Conscript carries at least one ‘Muscular Intravenous Liquid Koka’ (M.I.L.K.) Energiser in his Prisoner Identification Collar. This can be automatically injected to negate hits of damage, ignore Ability limits, gain advantage on the Convict Conscript’s next roll, reroll any number of dice with disadvantage, and spend a success to gain an extra action. However, consume too many Energisers and a Convict Conscript can suffer an emotional outburst, such as hyperventilating, suffering a nervous breakdown, fleeing, and so on. Similarly, witnessing another Convict Conscript’s death, suffering an amputated limb, and other dire situation may also result in an emotional outburst. An emotional outburst is resisted with a Nerves roll.

Mechanically, Dirtbags! is simple and it does give a player plenty of freedom in terms of how and what his Convict Conscript does. Primarily this is because it removes the need to declare an attack as action and have it happen automatically if the player declares it. All the player has to do is roll for the effect. It means that the player can focus on his Convict Conscript moving and taking other actions. The limits are his Ability values and the size of his Action pool and the flow of the play is going to be from action to rest and back again from running and gunning and hiding and ducking to needing to ‘Take a Breather’ and back again. The Action pool and the Ammunition pool are both resources that need relatively careful handling.

Dirtbags! A Sci-Fi Shooter RPG is played out as a series of tours of duty, each of which consists of several operations, the number randomly determined reflecting the difficulty of a campaign. Effectively, length of play determines the campaign difficulty. A completed operation reduces a Convict Conscript’s sentence by five years and for every twenty years his sentence is reduced, he can improve an ability, take a Retinal Curriculum Projector course which grants a trait, or take a trait from his role. Between tours of duty, a Convict Conscript can take Shore Leave, which may be a relaxing time or it may leave the Convict Conscript without an internal organ, which reduces his torso’s Hit Points. The Convict Conscripts also have access to a wide range of military surplus that they can purchase and in return they can sell their military surplus and salvage. A sample mission, ‘Occam’s Razor’, a training mission that goes to hell with a bug invasion!

Dirtbags! A Sci-Fi Shooter RPG does not feel quite complete. There is background to the setting, but no advice for the Game Marshal and it could have done with a random mission generator at the very least. There is content sufficient to inspire the Game Marshal, but such a table would have been useful. It also does not address what happens if a Convict Conscript manages to reduce his sentence to zero, which is possible, but difficult after ten to fifteen operations. Whomever has amended the training manual that is Dirtbags! A Sci-Fi Shooter RPG calls it a return to slavery. The Corporate Echelon states that the Rehabilitation Incentive Program has an eighty percent success rate. One option here might be to look at Gangs of Titan City, a roleplaying game of criminal gangs and life in a spire city, as to what happens next, but otherwise, the Game Marshal is left to decide what happens next.

Physically, Dirtbags! A Sci-Fi Shooter RPG is a scrawling mess of a book and intentionally so. It is all punk attitude verses corporate bullshit and sometimes that does get in the way of what is relatively simple, straightforward roleplaying game. The example of play is actually the easiest and quickest means of learning the roleplaying game’s rules. The artwork is decent though.

Dirtbags! A Sci-Fi Shooter RPG has the potential to be manically chaotic fun, throwing it as it does a disparate, desperate group of poorly trained conscripts into one dangerous mission after another, whilst the Game Marshal throws every military movie cliché into the mix. It would be interesting to see what happens if the Convict Conscripts are actually rehabilitated, but that will have to wait for a supplement or another roleplaying game. In the meantime, the Dirtbags have one last chance to prove they are not scum in a light, but surprisingly detailed military Science Fiction shooter.

Solitaire: Bloody and Alone in Appalachia

Maybe it went wrong when you drove off the highway and into that small town? Needed some gas or a place to stay for the night or simply a rest room. Took a wrong turn on the trail and found yourself outside a house in the woods? For whatever reason, you have found yourself in the small town of Bludworth Hollow in the Appalachian Hills of Eastern Kentucky. And them Appalachians take against strangers and to them there is no one stranger than city folk. And you are definitely city folk. The store owner took one look at you and with a curl of his lip, he knew you were not from around here. And then that was when everything went black… When you woke up, there was a bruise on the back of your head, you were in a barn, your wallet gone, and you had no idea where you were. There was a radio nearby that you might be able to call for help and if all else fails, you have been left with a video recorder on which you might have time to record what happens to you. Or maybe that is what they want, to record your last hours. To record your terror as the situation closes around you. As you scramble to switch the recorder on and point at it your face, your hands trembling, you think you hear movement. Is someone coming? Are they coming to help? Are they coming to hound you…?

This is the set-up for Bloody and Alone in Appalachia, published by Beyond Cataclysm Games following a successful Kickstarter campaign and based on SURVIVE THIS!! Bloody Appalachia, the Old School Renaissance roleplaying game published by Bloat Games. Where SURVIVE THIS!! Bloody Appalachia is a typical roleplaying game, Bloody and Alone in Appalachia is a solo journalling game, and is thus best played when all but the last Player Character has been hunted down and butchered! Further, instead of using rules derived from Dungeons & Dragons, for its mechanics Bloody and Alone in Appalachia uses the rules and format of The Wretched, the Science Fiction journalling game published by Loot the Room. Thus, the game requires two ordinary decks of playing cards without the Jokers, a six-sided die, a Jenga or similar tower block game, and a set of tokens. In addition, the player will require a means of recording the results of the game. It is suggested that audio or video logs work best, but a traditional journal will also work too. The roleplaying game is inspired by films such as The Blair Witch Project, Cabin in the Woods, Deliverance, and just about any backwoods horror film you care to name. Lastly, one major difference between Bloody and Alone in Appalachia and The Wretched is the number of antagonists that it offers. Typically, a solo journalling game like The Wretched presents a difficult situation and one threat. In Bloody and Alone in Appalachia there are not one threat, but thirteen! The Butcher. Bigfoot. Children of the Corn. Dirty Hoof. Fairies. Iris Lynch. Jack the Scarecrow. Piggy Lee. Reggie ‘The Mad Miner’. The Sheriff. Las Bandisas. The Ruby Mind Cooperative. The Wild Wrestler. The player will only face one of these at a time, and what that means is the player can return to play Bloody and Alone in Appalachia over and over in an attempt to escape and defeat a different foe each time. This gives it a replayability factor that is rare amongst solo journalling games.

Set-up is simple. The Jenga tower is set up with a random number of blocks pulled to represent the battering the player has already suffered and the stress he is currently suffering. Every time the player is instructed to pull a block, it represents another wound suffered, and if the Jenga tower collapses, it means that the player has died, whether from this one last wound or stress as his heart gives out. Each deck of playing cards is shuffled. One becomes the Event deck, the other the wound deck. Each day of the player’s travails is divided into two phases. Phase One is ‘The Tasks’, whilst Phase Two is ‘The Log’. There are four steps in Phase One and two in Phase Two. In ‘The Tasks’, the player draws a random number of cards from the Event Deck and works through them one by one, consulting ‘The Tourist Guide’ for each one. ‘The Tourist Guide’ is broken into four card types corresponding to the four suits in an ordinary deck of playing cards.

Hearts represents an encounter of a ‘Personal’ nature. For example, the nine of hearts entry reads, “A rusty hook bounces off the chain-link fence as someone—or something—tries to entangle you. You vault the fence in a single burst of adrenaline, but the razor blades at the top cause you to stumble. Pull from the tower.” Diamonds are the ‘Physical’ world about the player, representing places in and around Bludworth Hollow. For example, the seven of Diamonds entry reads, “The Bokenheel Bridge tricked you—it’s desperately dangerous and can’t leave the town here. How did you learn that miserable lesson? Pull from the tower.” The clubs are ‘People’, individuals that the player can meet in and about Bludworth Hollow.  For example, the eight of club reads, “When Mayor Hooper asked you to follow him, you hoped it would be the first favour in a chain that would lead you to freedom. What you saw at the Town Hall instead taught you that hope comes to Bludworth Hollow to die. What did you see?” Lastly, spades represent the monster stalking the player in and around Bludworth Hollow. Each one of the thirteen monsters has its own set of entries. This enhances the replay value of Bloody and Alone in Appalachia simply in terms of variety, but with thirteen entries per monster, the player could actually replay Bloody and Alone in Appalachia with the same monster and it still be different. Further, each monster not only has thirteen entries, it also has some background, but also two locations which can visited if the right diamonds card are drawn.

In Phase Two, or ‘The Log’, the player takes the time to consider what has happened to him that day. What he learned about the town and its inhabitants? Did he encounter the monster? How is he feeling? He then records his diary for the day.

The Wound deck simply gives fifty-two options for injuries the player might suffer. They are simply described, leaving it up to the player describe them as graphically as wants. The player is further supported with advice and a decent example of play—a nice addition for a solo journalling game—plus tables for NPC motivations and things to be found in and about the town. There is also a map of Bludworth Hollow which the player can use or create his own during play.

Like all of journalling games based on The Wretched, the subject matters of Bloody and Alone in Appalachia are dark and distressing. The player is going to be chased and cut, stalked and stabbed, pursued and punched, and more. In other words, the horror is not going to let up. However, it does lean into the clichés of rural, back woods, redneck horror, but ultimately, it is up to the player to decide how he handles these elements of his playthrough.

Physically, Bloody and Alone in Appalachia is cleanly and tidily presented. There is no art bar that on the front and back cover. There is more artwork than is typical for a solo journalling game based on The Wretched, primarily illustrating the thirteen monsters in Bloody and Alone in Appalachia.

Bloody and Alone in Appalachia is easy to play, but challenging to win. And win not once, but thirteen times! It all depends upon the draw of the cards, but every card is potentially interesting prompting the player to be creative in telling his own story. This is in line with The Wretched format, but Bloody and Alone in Appalachia goes bigger and bloodier than most solo journalling games. With thirteen monsters, Bloody and Alone in Appalachia dishes up more hillbilly horror than you ever imagine you wanted and will bring the player back to the back woods again and again to see if he can survive another monster.

Friday Fantasy: Dungeon Crawl Classics #81: The One Who Watches From Below

We are all fascinated with what is to come, what will happen in our futures, such that many consult horoscopes and seek out fortune tellers and pray to the gods for answers. Such means are rarely reliable, but what if there was a source of true prophecy? A place where answers of true meaning and accuracy can be gained for those willing to seek out its location and pay the price? There have always been rumours and stories of such places, but it one case they are actually true. The Cave of Secrets does exist and if the seeker of his future can find it and pay coins, gems, or magic items as tribute, he can ask the questions that he wants answers to. There are other rumours about Cave of Secrets though… So many men and women have sought answers that a great hoard of treasure has been amassed down the ages. Enough to buy whole kingdoms! Razor-edged swords and powerful wands! Precious gems and jewels that rain through your fingers! Which means that the Cave of Secrets has attracted an entirely different class of person  interested in what it contains! Mercenaries! Robbers! Raiders! Treasure hunters! Adventurers! Now the adventurers have followed the map with an ‘X’ marked ‘Cave of Secrets’ and stand before the cave entrance with its wooden sign which reads, ‘ENTER’.

This is the set-up for Dungeon Crawl Classics #81: The One Who Watches From Below, a scenario published by Goodman Games for use with the Dungeon Crawl Classics Roleplaying Game. Designed for a group of six to eight Player Characters of First Level, the scenario is notable for three things. The first is that it is the winner of the Mystery Map Adventure Design Competition that was included in the pages of the Free RPG Day 2012 adventure module and the second is that as the competition winner, the scenario is actually good. The third is the nature of the curse that dominates the scenario and for the length of the scenario at least, will change how the players roleplay. The curse is triggered by the Player Characters’ greed when they touch the wrong items. Anyone who suffers the curse collapses to the floor, comatose, as his eyes tear themselves from their sockets and flesh grows back over the sockets, and then…! Then, the victim’s eyes move across his body and slide onto the floor and across the walls. The player is no longer roleplaying his character’s body, but just his eyes and he can send them hither and thither. However, the eyes can be attacked and there are some things, like the Eye Slime, which actively hunt these cursed eyes. Further, the only way in which the Player Character can communicate is by blinking or other eye moment and by tracing letters in the air or writing them down, which takes time. To facilitate this, the scenario includes a handout which the Judge can copy and cut out so these is a gap which the Player Character’s eyes can be seen. On the plus side, the Player Character can dominate unintelligent creatures, but this is not easy and the Player Character still cannot communicate using his voice, only the growls and howls of the creature dominated. Ways to remove the curse are suggested, but they are challenging, and ultimately, so is having to roleplay without being able to speak. This does not mean that it will not be entertaining though!

The theme of eyes runs all the way through Dungeon Crawl Classics #81: The One Who Watches From Below. Sets of eyes slide across the walls, blinking and spying on the Player Characters, they bounce down from looming stalks to batter and bruise them, and in one case, they even attempt to blink a message to them! The Player Character Eyes can slide through pipes and cracks and the scenario facilitates this, though the party will need to penetrate beyond the Cave of Secrets that make up the first part of the dungeon. Beyond lies the Temple, clearly a working area, although oddly devoid of its inhabitants. This does not mean that it is free of any dangers. For example, the Player Characters will be able to scour the library for the means to result the eyes to victims of the Cure, but it triggers an attack upon them by every single book in the library! They will likely also discover references here to ‘Shigazilnizthrub’ and ‘The One Who Watches From Below’. There is a room containing ‘Guard Pillars’, eyestalks of a gargantuan subterranean beast that pierce up through the floor and once aware of intruders, bounce up and down on them and rolling over them. The Temple level is the most detailed of the scenario’s four levels and there is a lot here for the Player Characters to discover and examine.

Underneath the Temple are the Brood Pit and the Undertemple. The former injects an arcano-technological element into the scenario as the location of the birthing pools of the abominable Halfling Hybrids that work and protect the complex. The latter is the location for the scenario’s finale and what a finale it is! For players who feel that they have not had enough combat up until now, will certainly get in the final scene. It takes place in ‘The Vault of Eyes’, a massive cavern marked by an abyssal central pit surrounded by mounds and mounds of treasure! There are even wheelbarrows nearby that the Player Characters could use to ferry treasure out of the cavern. Fortuitously, this is one of the treasure vaults of Shigazilnizthrub. Fortuitously, Shigazilnizthrub objects to thieves. So, before the Player Characters have time to go over treasure there is, a titanic black rubbery mass of tendrils, fins, and eyestalks shoots up from the depths of the cavern and surveys all before it. At the same time, the eyes on the walls of the cavern all open and look at the Player Characters. It is a sweet moment of cosmic horror… and choice. Do the Player Characters stay and fight? Do the Player Characters make a run for it? Do the Player Characters make a run for it and attempt to take as much treasure as possible? Make no mistake, this a very challenging, deadly encounter that could end in a total party kill. Or they could defeat Primordial Titan and make off with everything, and become legends. It is possible. More likely, the scenario will end somewhere in between as the Primordial Titan thrashes its tentacles up and down, and the Player Characters make a run for it with what treasure they can carry, chased all the way through the dungeon to the cavern exit by eyes sliding along the walls. It is a memorably great finale.

To support the Judge, Dungeon Crawl Classics #81: The One Who Watches From Below includes notes on how to run the final scene, in particular how to use the Primordial Titan’s ‘powerful suggestion’ which has been changed from ‘domination’ to make for a more interesting and less player agency-denying encounter. There are playtest notes too and a bonus encounter that that did not appear in the original printing of the scenario. There are also another three handouts, images of various locations. It is a pity that there are not more of them as they really help the players visualise the dungeon.

For the long term, Dungeon Crawl Classics #81: The One Who Watches From Below details Shigazilnizthrub as a Patron. This includes his Patron Taint, three Patron spells—Remote Seeing, The Crawling Eye, and Book of the Dead, and his Spellburn. This is an entertaining addition to Dungeon Crawl Classics canon and would work well with Player Character and NPC wizards.

If there is an issue with Dungeon Crawl Classics #81: The One Who Watches From Below it is that the treasure rewards do feel very light. At least in terms of what the Player Characters can carry in terms of coin and gems and thus carry out of ‘The Vault of Eyes’. The scenario is supposed to be giving the Player Characters life-altering amounts of treasure, but the scenario does not allow for that and effectively, the encumbrance rules feel as they limit what can be carried.

Physically, Dungeon Crawl Classics #81: The One Who Watches From Below is as well presented as you would expect for a scenario for the Dungeon Crawl Classics Roleplaying Game. The writing, the artwork, the cover in particular, and the cartography are all excellent.

Dungeon Crawl Classics #81: The One Who Watches From Below is a great dungeon crawl infused with a sense of cosmic horror, given lots of detail and entertaining encounters, and topped off with brilliantly weird gimmick of a curse. The combination will not only present a challenge to any player, but also really make for a fun playing experience.

—oOo—

Dungeon Crawl Classics #80.5: Glipkerio’s Gambit was the previous scenario •

The next scenario is Dungeon Crawl Classics #82: Bride of the Black Manse.