[Free RPG Day 2026] The Archivist’s Curse

Now in its nineteenth year, Free RPG Day for 2026 took place on Saturday, June 27th. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Unfortunately, due to vagaries of International Customs, Free RPG Day in the UK did not take place until Saturday, 22nd August.

This review is possible due to the generosity of Waylands Forge in Birmingham.

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Quick-starts are a means of trying out a roleplaying game before you buy. Each should provide a Game Master with sufficient background to introduce and explain the setting to her players, the rules to run the scenario included, and a set of ready-to-play, pre-generated characters that the players can pick up and understand almost as soon as they have sat down to play. The scenario itself should provide an introduction to the setting for the players as well as to the type of adventures that their characters will have and just an idea of some of the things their characters will be doing on said adventures. All of which should be packaged up in an easy-to-understand booklet whose contents, with a minimum of preparation upon the part of the Game Master, can be brought to the table and run for her gaming group in a single evening’s session—or perhaps two. And at the end of it, Game Master and players alike should ideally know whether they want to play the game again, perhaps purchasing another adventure or even the full rules for the roleplaying game.

Alternatively, if the Game Master already has the full rules for the roleplaying game the quick-start is for, then what it provides is a sample scenario that she still run as an introduction or even as part of her campaign for the roleplaying game. The ideal quick-start should entice and intrigue a playing group, but above all effectively introduce and teach the roleplaying game, as well as showcase both rules and setting.

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What is it?
The Archivist’s Curse is the quick-start for Vaesen – Nordic Horror Roleplaying, the roleplaying game based on Vaesen: Spirits and Monsters of Scandinavian Folklore as collected and illustrated by Johan Egerkrans, and published by Free League Publishing. It is an investigative horror game set in Scandinavia during the nineteenth century that explores the clash between modernity and folklore.

The Archivist’s Curse is a forty-four page, full colour booklet.

How long will it take to play?
The Archivist’s Curse can be played in roughly a single session or two.

What else do you need to play?
The Archivist’s Curse needs at least six six-sided dice per player and a set of cards numbered from one to ten. These can be taken from an ordinary deck of playing cards.

Who do you play?
The Archivist’s Curse includes five pre-generated Player Characters. The consist of an Occultist, Private Detective, Servant, Academic, and Vampire Hunter, who all five have the ‘Sight’ and can see vaesen.

How is a Player Character defined?

A Player Character in Vaesen – Nordic Horror Roleplaying is defined by his Attributes and Skills; a Motivation, a Trauma, and a Dark Secret; a Talent and a relationship with another Player Character, a memento, and some equipment. The Attributes are Physique, Precision, Logic, and Empathy, and rated between two and five, whilst Skills are rated between one and five. Motivation explains why the Player Character is prepared to hunt down and confront vaesen, whilst Trauma explains why or how the Player Character gained the Sight; and the Dark Secret is something that the Player Character wants to keep. Each Talent is a special ability, such as ‘Medium’, which enables the Player Character to predict other people’s futures and to contact the dead or ‘Elementary’ which lets a player ask the Game Master to explain how certain clues are connected once per session. A Memento is a possession which the Player Character holds dear that by interacting with it, will help him overcome a Condition.

How do the mechanics work?

The Archivist’s Curse and Vaesen – Nordic Horror Roleplaying uses the Year Zero Engine. When a player wants his character to undertake an action, he rolls a number of six-sided dice equal to a combination of his character’s Attribute and Skill, plus whatever bonus or penalty dice the Game Master awards, such as from the situation or a Talent. To succeed, the player typically needs to roll a single Success or six—though sometimes it may be more—on any of the dice. Extra Successes can be expended to gain various effects. In combat, this will be more damage, but in other situations it will usually mean learning more information.

If a player fails a roll, he can instead choose to Push the roll. This enables the player to reroll the dice which did not result in Successes in the hope of getting some or more Successes. Doing so will inflict a Condition on the Player Character, either Exhausted, Battered, or Wounded for Physical Conditions, or Angry, Frightened, or Hopeless for Mental Conditions. Suffer too many of either Physical or Mental Conditions and the Player Character will be Broken, meaning that he cannot act.

How does combat work?

Initiative in Vaesen – Nordic Horror Roleplaying uses Initiative Cards, numbered from one to ten, which determines when a Player Character, NPC, or Vaesen acts each round, though it is possible to swap Initiative cards between Player Characters and/or friendly NPCs each Round. In each Round, a Player Character has a Slow action and a Fast action. A Fast action is typically movement or a reaction—such as dodging or parrying—whilst a Slow action will usually be an attack, whether ranged or melee. Each weapon has a base damage, which can be increased with extra successes on an attack roll, whilst some weapons also grant a bonus to attack rolls. Damage from combat is also inflicted in terms of Conditions.

In general, vaesen cannot be killed or destroyed in combat. Investigators in Vaesen – Nordic Horror Roleplaying usually confront and fight a vaesen long enough to perform a ritual that will drive it away or destroy it.

How does fear work?

A Fear test is required if a Player Character encounters a vaesen or magic, the number of Successes required determined by the Fear value of the creature, magic, or situation. Although it can be bolstered by the presence of allies, if a Fear test is failed, the Player Character can suffer from one or more metal conditions, but will be Terrified. In which case, the Player Character will either flee, freeze, faint, or frenzy. A Terrified Player Character can attempt a Fear Test on subsequent Rounds to act normally.

What do you play?

The Archivist’s Curse includes the scenario of the same name. It is not a traditional scenario for Vaesen – Nordic Horror Roleplaying in terms of its set-up. Usually, after the Player Characters have each had an encounter with one of the vaesen, they are individually invited to join The Society, an organisation dedicated to investigating and cataloguing the vaesen and their clashes with mankind. Unfortunately, The Society was dissolved and nobody has been investigating the vaesen for decades. The Player Characters are handed the keys to its decrepit headquarters, Castle Gyllencreutz, in the Swedish city of Uppsala, and directed to begin its activities once again. In ‘The Archivist’s Curse’ all five Player characters have reasons to visit the National Archives on Knights’ Isle in central Stockholm in Sweden. The set-up also requires that two Player Characters appear first in the scenario, one after the other.

The scenario is entirely location bound in the four-storey building of The National Archives. It combines a haunting and a family tragedy which are revealed over the course of the Player Characters’ investigation and exploration of The National Archives—the Esoteric and Egyptology Sections in particular. There are plenty of handouts, a superb map of The National Archives, and a countdown of weird and spooky events which will drive the story to its climax. Overall, it is a very well done investigation.

However, ‘The Archivist’s Curse’ is set up to tell the story of one particular Player Character, whilst another Player Character has been hired to investigate the other. This calls for careful roleplaying upon the part of the two players assigned those characters. The scenario also does not involve traditional vaesen and players expecting a Nordic threat may be disappointed. The scenario also works best with all five Player Characters.

‘The Archivist’s Curse’ can be played as a one-off scenario, but it could also be used as a prequel, especially if the players decide to keep the same characters from the scenario. This can be as a prequel to both the Vaesen – Starter Set and Vaesen – Nordic Horror Roleplaying itself, the former providing a short, but effective introduction to Castle Gyllencreutz and the activities of The Society. Another option is as a prequel to Vaesen: City of my Nightmares, an urban-based campaign set in and around Stockholm which involves a scenario in The National Archives.

Is there anything missing?
No. The Archivist’s Curse has everything that a Game Master needs to run the included scenario.

Is it easy to prepare?
Yes. The Archivist’s Curse uses a familiar set of rules in the Year Zero Engine and their explanation is very clear and includes several examples of play.

Is it worth it?
Yes. The Archivist’s Curse is well-appointed with great artwork, good handouts, and a superb set of floorplans of The National Archives. The scenario is excellent and a very good introduction to Vaesen – Nordic Horror Roleplaying.

The Archivist’s Curse is published by Free League Publishing, and is available to download here (coming soon).

Vaesen d’Italia

Italian Chronicles is a supplement for Vaesen – Nordic Horror Roleplaying, the Roleplaying Game of investigative folklore horror set in nineteenth century Scandinavia published by Free League Publishing. There has been a push to explore the set-up at the heart of Vasen, that of the clash between folklore and modernity in an age of industrialisation, shifting populations, changing attitudes, and forgetting the customs of past as a secret organisation attempts to catalogue those forgotten customs and prevent the clashes between folklore and modernity in countries beyond Scandinavia. However, most of them have remained north of the Alps, leaving the rich folklore and culture clashes of Southern Europe under much sunnier climes unexplored. Italian Chronicles introduces us to the world of the Vaesen and the Society in nineteenth century Mythic Italy. This includes a discussion of the conflicts which lie at the heart of Italian society in the late nineteenth century—the rich versus the poor, the nobility versus the bourgeoisie, the bourgeoisie versus the proletariat; and the north-south divide between the industrialised and modernising north and the agricultural, poorer south. It provides basic introductions to the cities, many of whom are undergoing major transformations as they industrialise and peasants emigrate looking for work and a better life. There are descriptions of the leading Italian great and the good of the period, societies and groups active up and down the country; details of mysterious places; and a short history of the Society and its investigation of Vaesen in Italy. All of which is supported with three new archetypes and six new supernatural creatures.

Italian Chronicles is published as part of the Free League Workshop and starts with a description of Mythic Italy. This highlights the notable divides in the country during the period and its important cities. These include the northern industrial triangle of Turin, Milan, and Genoa, the medieval and Renaissance grandeur of Bologna and Florence, before moving south through the splendour of Rome as it rushes to be the city’s new capital, and down to Naples and Palermo, undergoing their own transformation with their loss of independence. Turin is the ‘magical city’, Italy esoteric and occultic capital which has its own zones of light and dark influencing magic in the city, whilst also standing in an alchemical triangle of ‘white magic’ along with Prague and Lyon, and an alchemical triangle of ‘black magic’ with London and San Francisco. How these zones affect magic in the city is not explored, but short descriptions of numerous arcane and occultic sites across the city, as well as legends up and down Italy, are included.

Numerous notables, including Cavour, Garibaldi, Verdi, and Puccini are given thumbnail portraits, alongside less well known figures such as Carmine Crocco, the so-called ‘Napoleon or the General of the Brigands’, the spiritualist Eusapia Palladino, and Cesere Lombroso, the father of modern criminology. The most notable of the societies and groups alongside the actual Society is the Inquisition, which is still operating in the nineteenth century and which the Society suspects of harbouring all manner of secrets, of already knowing about Vaesen, and of some of its members actually possessing the Sight that the Society’s members possess. The Inquisition has long suppressed occult practices and broken op occult organisations, most recently in the seventeenth century, the Accademia della Mandragora. One survivor of this suppression found refuge with the Society in Scandinavia and another, a herbalist, found refuge in southern Italy. The herbalist would later found the Order of Herbalists, based in Turin.

The three new archetypes are Teacher, Notable, and Migrant. Of these, the Teacher and the Migrant are obvious in what they are, whereas the Notable is not. It might be an administrator or a lawyer or a tax collector and some context would have been useful to make clear what it is. The Migrant does a new Talent, ‘Folk Wisdom’, which gives him a knowledge of folk traditions and customs as well as fairy tales, legends, and myths concerning supernatural creatures. Unfortunately, this has not been translated from the original Italian.

Numerous mysterious places and legends detailed as well as six new supernatural creatures. They include the Borda is a witch-like that haunts the swamps and marshes of the north looking to strangle the unwary with rope or ligature; Sprites are pranksters that differ in how they look across Italy, but the Monacello live in old houses in cities, has the appearance of a hooded monk, and can bring good luck, and the Salvanel, is wilder and dresses in leaves, and often makes travellers in the woods get lost; and the Marrabbecca is a shapeshifter that likes to live in the dark or shadows, preferably in old wells and water cisterns, from where it bewitches those who lean too close to the well such that they throw themselves in and are drowned. Besides their stats, all of the creature write-ups include secrets of the creatures that can be used against them and example conflicts that the Game Master can develop into fuller encounters.

Physically, Italian Chronicles is a basic affair. Unfortunately both artwork and writing are amateurish, but are at least in English. Not all of the supplement is.

One of the problems with Italian Chronicles and its version of Italy in the nineteenth century is that it attempts to present, “[A]n idealized, slightly timeless version, suitable as a backdrop for the activities of the Player Characters and the peninsula’s supernatural inhabitants.” Where that works in Vaesen is because its setting of Sweden is singular whole for whole of the nineteenth century, whereas Italy is not. In fact, Italy does not actually exist as a political entity until the Risorgimento—the unification of Italy—in 1861. Before that, the Italian peninsula consisted of a mix of kingdoms and duchies, some which were dominated by neighbouring France and the Austro-Hungarian Empire, plus the Papal State. Arguably, Italy was not fully Italy as we recognise today until the capture of Rome in 1871. And before that, before the Napoleon Wars, the Italian peninsula was even more balkanised. Now it is this balkanisation that underpins many of the geographical, cultural, and linguistic divides in Italy and thus the conflicts in Italian Chronicles, whilst the others come from the drive to modernity and industrialisation that followed unification. The result is that even though it does not say so, Italian Chronicles really only focuses on the last forty years—and arguably—the last thirty years of the nineteenth century.

The authors do make the point that, “History should be a servant that gives the game a distinctive flavour rather than a master that stifles possibilities.” Which is a valid point, and if you are not aware of this history, then this perhaps less of an issue. If you are, then it feels as if that servant and those sixty years of history are being ignored and the whole of the century is being flattened into its last third.

However, perhaps the biggest problem with Italian Chronicles is that the description of its equivalent of the ‘Society’ is underwritten with a very short history and description and an address. We are never told how different it is to those in other countries and consequently the starting point or base of operations for any investigations into the Vaesen in Italy lacks character.

There is a surprising amount of content in Italian Chronicles, but most of it varies between short and brief, meaning that if the Game Master wants to set her campaign in Italy or send his Player Characters to Italy, she is going to have to do a lot of research herself to develop its content. There is no official supplement for Italy for Vaesen – Nordic Horror Roleplaying and until there is, Italian Chronicles will have to do, but what it does is provide is only the most basic of introductions.

Vows & Vaesen

Vaesen: City of my Nightmares is a campaign for Vaesen – Nordic Horror Roleplaying, the Roleplaying Game of investigative folklore horror set in nineteenth century Scandinavia published by Free League Publishing. It differs from campaigns and scenarios for the roleplaying game in that they are primarily set along that boundary between the rural and the raw countryside where modernity and progress clashes with tradition and folklore as the knowledge of the customs that enabled Vaesen and man to live alongside each other is being lost. Instead, Vaesen: City of my Nightmares takes in or near the ‘Venice of the North’, the city of Stockholm. Here, in the Swedish capital, the Player Characters will still be confronted with the clash between the old and the new. Between science and savagery, monarchism and unionism, new institutions replacing the old, and quite literally the past and the future, but all driven by all too human fear, ambition, and revenge. This is a city-based campaign that will involve the Player Characters in the doings of the nouveau rich, the avantgarde, and the poor and the oppressed, and more importantly in terms of the roleplaying game and its background, will involve them in both the history of the Society they belong to and the history of its founder. As a consequence of all of this, Vaesen: City of my Nightmares is better suited to be run with experienced Player Characters, ones who have conducted several investigations, thus enabling their players to appreciate the campaign’s contrast in terms of setting and the revelations that will be uncovered as part of their investigations. The campaign is ideally run after the events of Vaesen: Seasons of Mystery and whilst it will be helpful have copies of Johan Egerkrans’ The Undead and Vaesen to hand, they are not absolutely necessary. In the case of the latter, the ‘Codex Occultum’ from the Vaesen – Starter Set is an easy substitute. Lastly, although Vaesen: City of my Nightmares is set in and around the city of Stockholm, it can be shifted to other European cities if the Game Master prefers. Of course, the Game Master will need to change the setting details to fit the new location.

Vaesen: City of my Nightmares was funded as part of the joint Kickststarter for Vaesen: Mythic Carpathia. It takes place in late nineteenth century Sweden and involves numerous historical figures that have been adjusted slightly to fit the setting, its events playing out over the course of a year and consisting of four parts with several months in between. This enables the Game Master to run a scenario or two between the events of Vaesen: City of my Nightmares, which is also the best way in which to run it. There is a plot that runs through the whole campaign, but it is not a strong one. Certainly not strong enough to drive the Player Characters to continue their investigation from one part to the next directly and this is reflected by the months long gaps between scenarios and the instigating factor for each scenario. This is the cork magnet, August T. Lysander, a self-made wealthy capitalist, who has taken an interest in the activities of the Society and made several donations to keep its current incarnation operating. In turn, he will ask the Player Characters for their help and reward them for giving it. Of course, these adventures can be run their own, but that would negate the plot to the campaign. All four scenarios are organised in the same fashion. They start with the background and breakdown the Countdown of events that will occur as time goes on, ultimately leading to a Catastrophe if the mystery remains unsolved and the situation unresolved. This is followed by a list of the clues that become available after each step of the Countdown, pleasingly with the core, key clues clearly marked, and then the scenario’s pertinent locations. Each scenario ends with a breakdown of the climax and its aftermath. The organisation is consistent and accessible throughout, and in addition the scenarios are supported with a good overview of Stockholm in the late nineteenth century accompanied by excellent period maps. Notably, the period map of the city is included on a poster map in the book, but further, the back of this poster map is presented as the front cover for a copy of the City Gazette, Stockholm’s conservative newspaper. It is full of clues and hints for the four scenarios in Vaesen: City of my Nightmares, but especially the first scenario. Each of the scenarios should take roughly two to three sessions’ worth of play to complete.

The first part of the campaign is ‘Scent of a Killer’, which takes . Businessman August T. Lysander makes a request of the Society. Of late, the Town Between Two Bridges district of Stockholm has beset by a series of killings, common criminals found ripped apart. Now a noted tenor at the Royal Swedish Opera has been found dead too, and so the newly founded Police Department is being pushed to investigate this death at the very least. However, the nature of the killings means that the police cannot make head nor tail of them, let alone any progress. The case is a matter of medical malpractice—of a sort, as is another situation in the city. Experienced players will likely work out what the problem is very quickly, but knowing what the problem is and both identifying the culprit and dealing with is another matter. This is a good start to the campaign, setting the tone for the urban mysteries that are to come.

The Player Characters get some respite the following year in ‘Song to the Moon’, when August T. Lysander invites them to stay with him and his family at his summer retreat on Goose Island in the Stockholm archipelago. This is not only to say thanks for their efforts helping the city Police Department the previous autumn, but also to consult with them about the nature of Vaesen. The beguiling idyll is broken by series of strange drownings that trap everyone on the island. The deaths are not the only strangeness pervading Goose Island, though the Player Characters may not uncover all of it. This scenario combines horror with a classic country house murder and hints that not all is well in the Lysander family.

August T. Lysander’s interest in Vaesen comes to the fore a matter of six months later in the autumn in ‘The Haunted Library’. He makes another request of the Society and the Player Characters, this time to help him to find the lost notes of Carl Linnaeus, the founder of the Society himself. He believes that they are hidden in a secret library beneath the National Archives on Knights Island in Stockholm. So far, he has been unable to penetrate far into the labyrinthine catacombs under the National Archives and thinks that those with the Sight—in other words, the Player Characters—will have better luck. The Player Characters will be faced with a maze, and despite being haunted by a number of ghosts, but will eventually be able to find their way to a ‘Chamber of Riddles’. Doing so reveals the strangest of encounters in the campaign—windows into the very past of Carl Linnaeus! These are essentially mini-mysteries that reveal the biologist and physician’s past and some of his secrets, many of which are pertinent to the mystery at the heart of the campaign.

‘The Haunted Library’ climaxes with the intervention of the Rosenbergers, the rival organisation which split from the Society. Their appearance in the campaign is an oddity since they have rarely appeared in previous scenarios for Vaesen – Nordic Horror Roleplaying and whilst they appear in the next and final scenario in campaign, the eponymous, ‘City of My Nightmares’, it is a pity that there is not greater scope to explore this aspect of the setting. It is perhaps a missed opportunity, perhaps one that the Game Master could follow up herself.

In ‘City of My Nightmares’, the Player Characters are once again recalled to Stockholm, but this time not by August T. Lysander. Instead, the letter is from a renowned spiritualist and artist who received a portentous message from a spirit during a séance. They find a city tense with worker unrest and filled with an uncertainty that quickly tips over into dance and destruction. Against this backdrop of increasing civil agitation, the Player Characters must work out who is being warned about in the message and find a way to stop the threat. This is a much more challenging scenario than the previous three, but it ultimately reveals the real threats that the Player Characters and the Society face, one of them a returning from previous scenarios. The ‘City of My Nightmares’ brings the campaign to a satisfying climax. After which, the Player Characters are likely going to be relieved to return to the countryside for a more traditional investigation!

If there is an issue with Vaesen: City of my Nightmares, it is one that is found in many scenarios and campaigns—the introduction of an NPC that the players and their characters have to trust. This is as much a problem with stories and players themselves and their not always trusting nature when it comes to such NPCs. It may well be a good idea to introduce the major NPC in this campaign and portray him as helpful and useful long before the campaign starts.

Physically, Vaesen: City of my Nightmares is very well presented. It is well written and easy to understand, whilst the cartography—old and new—has a pleasingly period feel. The artwork, including the handouts, is, of course, excellent.

Vaesen: City of my Nightmares is an engaging campaign, best played intermittently as written, that veteran players will enjoy, whilst wholly new players may find a bit more challenging. Vaesen: City of my Nightmares presents a contrasting backdrop, a chance to explore the history of the Society, and brings urban fantasy and horror to Vaesen – Nordic Horror Roleplaying, if only for a little while.

An Intriguing Invitation

This is a beautiful artefact. Inside the stark black and alabaster box is a cornucopia of gaming content and again, all of it is beautiful. This includes a small white silk bag—almost like a wedding favour—containing two six-sided dice that are done in the style of early nineteenth dice. Below that is a hard back book. This is the fifty-four-page ‘Archeterica Invitation Rules’. Linen finish and heavy stock paper with line art. Below that is the first of three scenarios. These are ‘Game Scenario: The Good Mayor’, ‘Game Scenario: The Bastinarys’, and ‘Game Scenario: Shady Deals in Strange Alley Ways’. Each of these is sixteen to twenty-pages long and again printed on heavy paper stock, but with sturdy card covers with a linen finish. There are two envelopes. One contains nine quite lovely handouts, whilst the second contains character sheets for six pre-generated Player Characters and six blank sheets, all of which are on sturdy paper stock. Penultimately, there are thirty-four standees and twenty-four counters, the former depicting the six pre-generated Player Characters and NPCs in the three scenarios. These are laser-cut on wood. Lastly, there is a Combat Status Chart which tracks the position of the Player Characters and the NPCs and their actions in combat. Along with a letter from the publisher, this is everything in Archeterica: The Invitation. Everything is delightfully tactile and again, it is a beautiful artefact.

Archeterica: The Invitation is published The Imago Cult following a successful Kickstarter campaign. The Ukrainian roleplaying game describes itself as the ‘game of genteel conspiracy’. It is set at the Dawn of the New Times. The opening years of the nineteenth century as the world is beset by revolution and occultism. The Industrial Revolution brings changes to the daily lives of workers, bankers, and the increasingly rich industrialists, whilst actual revolution brings about political change as bright young republics burst in existence alongside the older, staid monarchies and colonial powers. All of this takes place on the Disc, for no sailor is yet to brave the edge and beyond to see whether some scholars’ claims that the world is a sphere is true. The Old World lies in the west, its continents of Adriano and Al-Avid being similar to Europe and the Near East, respectively, whilst the New World is in the east, its continents of Salmandia and Graaldo being similar to Africa and the Americas, respectively. This is an alternate world in a Napoleonic Age of its own.

This is no mundane world though. It is full of secrets and conspiracies and the paranormal. Proper society dismisses such subject matters and discussions of them as being the realm of the fool and foolishness, often pointing to the countless charlatans, pseudo-scientists, and straight-up madmen that indulge the gullible or indulge themselves in such matters to no good end. Yet there is hidden truth in the occult and the Unearthly is real. Curses are real, paranormal abilities are real, rituals that take months of study and research that when enacted have the potential to grant enlightenment or change the movement of the heavens are real. Artefacts known as ‘Diablica’, perhaps ritualistic or occult objects or devices employing technologies not yet known, brought home from the New World or constructed by the enlightened (or the mad), continue to fascinate both researchers and collectors, yet their possession is banned by churches and governments alike. The authorities consider such artefacts dangerous sources of spiritual corruption and fear the powers they grant lest they be turned to revolution. Yet interest in the occult and diablica is rife, with amateur occultists forming local societies of their own to research and discuss such matters, their interests often benign, but all too often becoming a danger to themselves and others. Other societies have transcended mere parochialism, growing in power and influence, abutting, competing, and feuding with not just other occult brotherhoods, but also secret political and criminal organisations. Fear and suspicion of these secret cabals is fuelled by the sensationalism of the yellow press which sees and blames conspiracies everywhere.

The elevator pitch for Archeterica: The Invitation is The X-Files in the Napoleonic era. It is not though a roleplaying game about alien invasion or the fear of alien invasion, but rather a roleplaying game of Napoleonic conspiracy and the occult. Inspired by the television series Sharpe and Taboo, the film The Prestige, the Assassin’s Creed series of computer games, Archeterica: The Invitation casts the Player Characters as seekers of enlightenment, occult researchers, conspiracy theorists, and so on, who investigate both signs of the occult and conspiracy and work to prevent either from having too strong an influence on society.

A Player Character is defined by a concept, Narrative Attributes and their associated Talents, Burdens, combat skills, and inventory. The concept is who he is, whilst each Narrative Attribute represents an area of expertise or knowledge, profession, background, or previous experience. For example, a student radical might be represented by the ‘Student’ and ‘Firebrand’ Narrative Attributes, muckraking yellow journalist by the ‘Agent’ and ‘Journalist’ Narrative Attributes, and dilettante occultist by the ‘Aristocrat’ and ‘Occultist’ Narrative Attributes. Talents are the skills associated with a Narrative Attribute. Burdens are his personal flaws and weaknesses and are rated I, II, or III depending on how much of a hindrance they represent. Archeterica: The Invitation gives four options for combat skills—‘Fine Choice’, ‘Resourceful Ranger’, ‘Artful Daredevil’, and ‘Peaceable Socialite’.

Ottilie van Tulleken
Concept: Campaigning Journalist

GENTLE FOLK
Мanners II, Etiquette I, Social Connections I

JOURNALIST
Journalistic Reputation I, Subtle Bribery I, Reporting II

DETECTIVE
Information Gathering I, Sharp Eye I

BURDENS
Feminist II, Adventurism I, Vanity I

COMBAT SKILLS – PEACEABLE SOCIALITE
Classic Fencing II, Shooting I, New Beginnings 2, Instinct 3

INVENTORY
Pocket Pistol, Dagger, Umbrella, Small Set of Tools (lockpicking kit) Aristocratic Wardrobe, 1 mark in savings

Archeterica: The Invitation does detail several Narrative Attributes and their Talents as well as sample Burdens. A player is free to pick these or create his own and they do give a surprisingly wide choice. The creation process is not fully explained however, and it is only clear from the example that ranks are applied to the Talents. It does include some tables for character ideas, suggesting a character’s home country, social class, and former secret society. The entries for the table of home countries do draw parallels between the nations of the Disc and those of our Napoleonic era. Alternatively, the players can instead use the pre-generated Player Characters included in Archeterica: The Invitation. They include a ‘Gentleman Incognito’ with the Narrative Attributes of ‘Gentleman’ and ‘Malefactor’; a ‘Barricades Queen’ with the Narrative Attributes of ‘Revolutionary’ and ‘Commissar’; a military ‘Pioneer’ with the Narrative Attributes of ‘Sapper’ and ‘Expeditioner’; a ‘Foreigner’ with the Narrative Attributes of ‘Secret Broker’ and ‘Mystic’; a ‘Modern Day Hero’ with the Narrative Attributes of ‘Doctor’ and ‘Businessman’; and a ‘New Times Child’ with the Narrative Attributes of ‘Courier’ and ‘Opportunist’.

Mechanically, whenever a player wants his character to undertake an action in Archeterica: The Invitation, he rolls two six-sided dice, attempting to beat a Narrative Test Difficulty Level, which ranges from three and ‘Trivial’ to twelve and ‘Desperate’ with eight and ‘Challenging’ being the median. A player can lower the Difficulty Level by using his Talents, but the Game Master can increase it depending upon the character’s Burdens. Talents at Rank II or Rank III also enable a player to ‘Flip’ a roll, that is, to Flip it up or down, by turning the dice over to reveal and apply their reverse faces. In general, a player will want to perform an Upward Flip to have his character succeed at a task, but certain situations might mandate a Downward Flip. A player may only perform an Upward Flip once every twelve hours and it always incurs a complication of the Game Master’s choice. This might be to suffer Stress, which if ever reaches twelve means that the Player Character breaks down under the mental trauma, but it could also be a time delay, a loss of reputation, and so on.

In comparison to the core mechanic, combat in Archeterica: The Invitation is more complex. Actions require the expenditure of Action Points, whether that is step from one hex to another, run, aim, shoot, reload, cock a weapon, and so on. However, the number of Action Points a combatant has each round is rolled randomly. An attack requires a Mastery Test determined by comparing the attacker’s Mastery against the target’s Difficulty and rolling equal to or higher than the given target value. Although there are plenty of firearms listed, fencing is the preferred form of combat. It allows a combatant to attack as well as react to an attack against him. Such a reaction also costs Action Points, so it is wise to save some for that very purpose. Five styles are given, including ‘Classic’, ‘Savage’, ‘Court’, ‘Knightly’, and ‘Trickster’, and each comes with its form of attacks, reactions, and stances, all with their own Action Point costs.

Success indicates a successful strike and damage is rolled on two six-sided dice—for all weapons and attacks, though it can be modified depending on the weapon or type of attack. Some armour is available, which blocks damage, but all Player Characters have twelve Endurance Points whilst NPCs have ten. When a combatant’s Endurance is reduced to zero, it indicates that he has suffered an extra effect, the severity depending upon the amount of damage inflicted with the blow that reduced his Endurance to zero. This might be an insignificant scratch, being knocked out, receiving a scar, a severe wound, or death. Once every twelve hours, a player can Flip Down the damage his character receives in a single blow to reduce it. Each combatant’s number of Action Points and Endurance Points can be tracked on the Combat Status Chart.

Ottilie van Tulleken is conducting an investigation in a rookery when she is set upon by Albert, a thug who does not like her poking her nose into things. Albert has ten Endurance Points as an NPC, plus Savage Fencing II and is armed with a club that does three to seven points of damage (2d6/2+1). In the first round Ottilie has five Action Points and Albert has ten! Albert opts for a Battering Assault as part of his Savage Fencing Style. It costs him seven Action Points and will leave him with three. This enables him to attack twice. Ottlie opts for a Clean Block as a Reaction, using her umbrella. It costs three Action Points and will leave her with two. Not enough to repeat the action though. The Target Difficulty for Albert is seven because Ottilie has Classic Fencing II, which reduces it to five. Similarly, Ottilie’s Target Difficulty is also seven because of Albert’s Savage Fencing II and her Classic Fencing II. The Game Master’s Mastery Test for Albert’s first Battering Assault is ten, meaning his first punch lands, but Ottilie’s player’s is twelve meaning she blocks the first blow with her umbrella. For Albert’s second Battering Assault, the Game Master’s Mastery Test is nine and his second connects. This time Ottilie cannot defend against it and the Game Master rolls for damage. This is on two-sided dice and halved because it is non-lethal. The Game Master rolls ten and Ottilie’s Endurance Points are reduced to seven.

In the next round, Ottilie’s player rolls eight for Action Points, whilst the Game Master rolls four for Albert. With little he can do, Albert backs off, but not before Ottilie thwacks him one with her umbrella. This is a standard test and her player’s Mastery test result is six, meaning that she has succeeded. Unable to defend himself, Albert takes five points of damage from the Thrust. Ottilie still has four Action Points to spend. In turn, she uses two Action Points to draw her pocket pistol, another to aim it, and her last one to cock it. Albert finds himself at the point of her gun and steely gaze when she asks him, “Who sent you to lay your hands on me?”

Throughout, a Player Character can suffer Stress, which is tracked on a twelve-point scale, from ‘Clarity of Mind’ to ‘Onset of Madness’. The Game Master imposes Stress upon the Player Character, anything from a minor misfortune like the death of an acquaintance, worth one or two points, to the five or six points from the loss of a loved one, regarded as a major tragedy. That said, a Player Character resist Narrative Stress by making a Desperate Test, halving the number suffered, and when suffering an Archeshock from encountering the Unearthly, a Player Character can force himself to forget the experience and replace the memories of it with something mundane, or retain it and suffer the Stress. In the long term, taking a holiday or engaging in a hobby can reduce Stress. If however, the Player Character’s Stress exceeds twelve, he does go insane and he gains a point of Deep Stress, which cannot be removed. The nature of the insanity is a matter of discussion between player and Game Master, giving the player control over the effects. Should a Player Character’s Deep Stress also rise to twelve, the madness is permanent and he becomes an NPC. One side effect of Stress is that if the Action Point roll in combat is under a Player Character’s Stress level, he panics rather than acts.

In terms of Player Character development, players are rewarded three types of points. The first is Narrative Points which are used to buy and improve Talents. The second are Combat Points, used to improve Combat Techniques. The third are Burden Points which can be exchanged for Narrative Points, Combat Points, or used to reduce a Player Character’s Stress. The neat aspect is that the higher the Ranks of the Burden and the more of a hindrance, the better this exchange rate is. Although more complex than simple Experience Points, this encourages players to roleplay all aspects of their character as they will be rewarded for doing so.

Mysticism is the study of occult secrets and otherworldly knowledge, found in the whispers spread in the most select salons, in spirits that haunt the edge of vision, and tomes of esoteric knowledge that appear to be nothing more than the ravings of the deluded. However, the line between delusion and the actuality of the Unearthly is uncertain, giving scope for the charlatans, the believers, mystics and occultists, and the unfortunate who have been driven mad by their experiences. Archeterica is the pseudo-scientific study of Occultism and all that relates to the Imagosphere, the otherworldly plane of ideas and images, the Hexen Cauldron where the boundary with the Imagosphere is at its weakest and where most Diablica are found, and the Vladyfus, the ethereal rulers of Otherworld who have attained True Enlightenment and who most occultists want to emulate. All beings and some artefacts have an Imago, their esoteric essence and reflection of their soul. This is manifested in mystics, otherworldly entities, and artefacts as their mystical powers and represented by Imago Strings, ranging from between one and twelve. The greater the number of Imago Strings, the greater an Imago’s power.

For the Player Character, it is possible to increase the number of Imago Strings he has. To do so, he has to acquire Focus Points, whether through spiritual practices, studying occult literature, suffering shock enlightenment, or experiencing events of historical significance that further herald the Dawning of the New Times. He can also purchase Mystical Abilities such as Intuition, Manipulation, Fortune’s Favourite, and Anomaly Compass. Only six such Mystical Abilities are detailed and they are relatively low key in their application. As with the capacity to either ‘Flip Up’ or Flip Down’, they can only be used once every twelve hours. Conversely, a Player Character or NPC can gain a Metamorphosis, the mystical manifestation of a sin that they have committed, such as hearing ‘Wicked Voices’ or suffer ‘Sinner’s Shame’. There are ways of Absolving yourself of a Metamorphosis and its sin, but this would be a demanding task.

Rounding out the ‘Archeterica Invitation Rules’ are details of several of the Shadow Clubs, Shadow Leagues, and Shadow Empires lurking across The Disc. These are its secret societies, from local clubs to grand conspiracies, such as ‘The Evercourt’, the society of aristocrats and kings and queens, many of whom who have been forced into exile following revolutions; ‘The Blackwater Marauders’, Strangers from the other side of The Disc who have inveigling their way into societies across this face of The Disc; and the travelling warlock communities known as ‘The Wandering Cities’. Each description includes details of known agents, known vassals, and associated conspiracy theories.

‘Archeterica Invitation Rules’ is surprisingly comprehensive, but far from complete. The secret societies details are large rather than small and there is no advice for the Game Master or any discussion or presentation of any threats. So, no monsters or NPCs. The description of the occult is understandably brief, but one of the pre-generated Player Characters does have Mystical Abilities that will show off that aspect of the setting in play. However, what Archeterica: The Invitation does have is three scenarios. Each of the three comes with a good introduction, some character hooks that can be used to get the Player Characters involved, a breakdown of the plot, the dessert, and handouts. Some also include some lore as well, but the ‘dessert’ actually gives the supplementary information for the Game Master, including the stats for any NPCs or Imago.

The first of these, ‘Game Scenario: The Good Mayor’ is designed as an introductory scenario that can be played through in a single session. The Player Characters are employed by the Senate Special Services in the small town of Tsaplyny in the Brasian Republic to stifle any news of the death of the town’s mayor. It quickly escalates into a search for the body and a race to get a new one! The second, ‘Game Scenario: The Bastinarys’, switches the action to the end of the eighteenth century during the revolution in the Spohledian Protectorate that led to the founding of the Brasian Republic. It takes place in the capital of Bramastadt where the Revolution Commissary appoints the Player Characters to take control of the Bastinarys, the city’s royal fortress prison. They have to decide which faction they need to align with and free the prisoners previously incarcerated by the monarchy. Unfortunately, one of the inmates is much more than they expect and ultimately, they need to avoid ending up being executed by the Revolution Commissary. The third scenario is the most sophisticated of the three. ‘Game Scenario: Shady Deals in Strange Alley Ways’ begins with the Player Characters in possession of a mystical tome as they attempt to find a seller in Bramastadt without attracting the attention of the authority. Each of the scenarios in their own way deal with the occult elements of the setting, but not the conspiratorial elements. That will have to wait for a fuller longer scenario or game.

Physically, Archeterica: The Invitation is—as already mentioned—lovely. The quality is amazing and the artwork is superb. The writing is not always as clear as it should be, but the examples of play help illustrate the rules and make it easier for the Game Master to grasp them. Of course, it is so lovely that really, as the Game Master, you do not want your players getting their grubby little mitts on it.

As a starter set, what Archeterica: The Invitation is missing is perhaps ready reference material for both the Game Master and her players. Some tables and explanations of what various aspects of each Player Character are and how they work would have been useful. The setting itself probably does not receive as much attention or explanation as it should, and in places the rules really rely upon the examples to impart full understanding of them. It also leaves the reader wanting to know more about the Occult and the things that threaten the real world.

Of course, what grabs the reader first about Archeterica: The Invitation is its stark physicality. This is a gorgeous boxed set whose contents are genuinely delightful. Yet this is not just a pretty box with pretty contents. Inside the very well appointed quick-start not only makes a ‘I want to play now’ elevator pitch of a Napoleonic-era meets The X-Files world of the occult and conspiracies, but whilst not quite perfect in its execution, delivers on that promise. Archeterica: The Invitation is absolutely worth accepting and it would be impolite not to try this, the introduction to the first Ukrainian roleplaying game to reach the English-speaking hobby.

Your Vaesen Starter

A good starter set has to do a number of different things. It has to introduce and explain the roleplaying game it is a starter set for, whether that is the roleplaying game’s setting, mechanics, or both. It has to both tell and show what the players and their characters are expected to do in the setting and how they do it, first with the rules and then with a scenario. It has to provide everything that a group needs to play—rules, scenario, pre-generated Player Characters, and dice—and ideally more. Maps, handouts, tokens, and the like are all items that will help bring the world of the roleplaying game’s setting to life and give the players something to look at and interact with. Above all, a good starter should showcase the roleplaying game and entice both Game Master and her players to want to roleplay more with the rules and in that setting by picking up the core rulebook, and if the contents of the start set support continued play, whether that is providing an extra set of dice or maps for the setting, then all the better.

—oOo—

The Vaesen – Starter Set is the introduction to Vaesen – Nordic Horror Roleplaying, the roleplaying game based on Vaesen: Spirits and Monsters of Scandinavian Folklore as collected and illustrated by Johan Egerkrans, and published by Free League Publishing. It is an investigative horror game set in Scandinavia during the nineteenth century, using the Year Zero engine first seen in Mutant: Year Zero – Roleplaying at the End of Days, and subsequently a wide array of roleplaying games. It is set in the Mythic North of Scandinavia in the nineteenth century, a time when old traditions and secrets of the past clash against modernity and industrialisation. In dark forests and deep valleys, along brown rivers and at the edge of forgotten groves, in the eaves and in the shadows, there lurk creatures and monsters called ‘Vaesen’ that have begun to hate man. In ages past, everyone knew how to interact with Vaesen so that both could live alongside each other. Now many of those that knew have died or left to find work in the cities, whilst others have come to the mountains and the rivers and the forests to plunder and exploit what they want in the name of progress, so destroying the homes of the Vaesen and making them feel unwanted and unloved. In the past, a secret organisation known as The Society investigated both the Vaesen and their clashes with mankind, but it has long dissolved, its members retired or confined to an asylum, and its headquarters, Castle Gyllencreutz, in the Swedish city of Uppsala, shut up. Yet there are still those who have the Sight, those Thursday’s Children, who can see Vaesen, and perhaps they need a purpose worthy of their gift?

This is the set-up for both the Vaesen – Starter Set and Vaesen – Nordic Horror Roleplaying, but the Vaesen – Starter Set is designed to be an introduction to not just the rules and the setting for Vaesen – Nordic Horror Roleplaying, but also to its set-up. This will involve both players and their characters learning about the Vaesen, The Society, and Castle Gyllencreutz, and preparing for further investigations and more mysteries. It designed for play by five players and the Game Master and will provide them both one or two sessions’ worth of play.

Open up the Vaesen – Starter Set and what the Game Master will find first is a set of ten Vaesen dice and Initiative cards. Below that is the ‘Getting Started’ sheet which provides a quick introduction to Vaesen – Nordic Horror Roleplaying, what to do first with the contents of the Vaesen – Starter Set, and what to do after a group has played through its contents. Below that are three books. The first is the sixteen-page ‘Rules’ booklet, the second is the twelve-page ‘The Haunting of Castle Gyllencreutz’ scenario book, and the third is the forty-four-page ‘Codex Occultum’. Underneath that is a set of five Reference Sheets—one per player, three handouts for the ‘The Haunting of Castle Gyllencreutz’ scenario, five pre-generated Player Characters, and two maps. One of the maps is a particularly good cutaway map of Castle Gyllencreutz, which is new to Vaesen, whilst the other, larger map is double-sided, one side showing the Mythic North, the other the city of Uppsala, home to Castle Gyllencreutz.

Anyone who has played a Year Zero roleplaying game will instantly grasp the rules for Vaesen, but they are quickly and easily explained in the ‘Rules’ booklet. To have his character undertake an action, a player will roll a number of six-sided dice equal to a combination of his character’s Attribute and Skill, plus whatever bonus or penalty dice the Game Master awards, such as from the situation or a Talent. To succeed, all he needs to roll is typically one Success or six—though sometimes it may be more—on any of the dice. Extra Successes can be expended to gain various effects. In combat, this will be more damage, but in other situations it will usually mean learning more information. These are tailored to the scenario in the Vaesen – Starter Set, but are further expanded upon in Vaesen – Nordic Horror Roleplaying.

If a player fails a roll, he can instead choose to Push the roll. This enables the player to reroll the dice which did not result in Successes in the hope of getting some or more Successes. Doing so will inflict a Condition on the Player Character, either Exhausted, Battered, or Wounded for Physical Conditions, or Angry, Frightened, or Hopeless for Mental Conditions. Suffer too many of either Physical or Mental Conditions and the Player Character will be Broken, meaning that he cannot act. Damage from combat is also inflicted in terms of Conditions. The Initiative Cards, numbered from one to ten, determine when a Player Character, NPC, or Vaesen acts each round, though it is possible to swap Initiative cards between Player Characters and/or friendly NPCs each round, and in each Round, a Player Character has a Slow action and a Fast action. A Fear test is required if a Player Character encounters a Vaesen or magic, the number of Successes required determined by the Fear value of the creature, magic, or situation. Overall, the explanation of the rules in ‘Rules’ booklet is brisk, but covers most situations and is backed up by examples of play. It also provides explanations of what roleplaying is and what Vaesen – Nordic Horror Roleplaying is.

The ‘The Haunting of Castle Gyllencreutz’ scenario book opens with the Player Characters being invited to a tavern in the poor part of Uppsala where they will meet the elderly Linnea Elfeklint. She will tell them that like herself, they are one of Thursday’s Children and have Sight, which means that they can see creatures known as Vaesen that most people cannot. She will also tell them about The Society and Castle Gyllencreutz and that she wants to restart The Society. However, she will explain that she does not have access to Castle Gyllencreutz as her ex-fiancé possesses its deeds and that recently other Thursday’s Children have gone to the castle and not returned. This half of the scenario sets up its mystery, whilst second half involves investigation in the castle itself. The castle is in a dilapidated state inside and out, and is haunted by strange lights. The final confrontation is ethereal in nature and players who are prone to fight may be at a disadvantage. The scenario is short, but it set the Player Characters with ready access to Castle Gyllencreutz and further play of Vaesen – Nordic Horror Roleplaying.

The five pre-generated Player Characters consist of a Hunter, a military officer, a priest, a writer, and a vagabond. All five have an illustration and some background as well as full stats and game details, including notes on what each think of the other four Player Characters. Each player will have a Reference Card, which neatly summarises the rules for ease of play.

The third booklet in the Vaesen – Starter Set, the ‘Codex Occultum’, is actually the thickest and is effectively the players’ own copy of Vaesen: Spirits and Monsters of Scandinavian Folklore as collected and illustrated by Johan Egerkrans and their characters’ guide to the Vaesen. From the Ash Tree Wife to the Wood Wife, it illustrates and describes some twenty-two Vaesen and how they might be banished, appeased, or otherwise dealt with. This is lovely little reference work—both in game and out—and it is highly likely the one item in the Vaesen – Starter Set that the players will return to over and over. Lastly, the maps of both Uppsala and Mythic North are excellent, whilst the one of Castle Gyllencreutz shows it in its prime, potentially a status that the Player Characters cab return it to in the long run. It certainly gives the Player Characters some idea of what the castle was like and what might be behind the locked or otherwise inaccessible parts of the castle.

Physically, the Vaesen – Starter Set is very well presented. Both the ‘Rules’ booklet and ‘The Haunting of Castle Gyllencreutz’ are easy to read and grasp, whilst the physical components are of a high standard, particularly the maps and the ‘Codex Occultum’.

The Vaesen – Starter Set is a good starting package for Vaesen – Nordic Horror Roleplaying, except for one thing and that is the depth of play it offers in the box. A single scenario is less than what is expected of a good starter set today, yet the straightforward physicality of the Vaesen – Starter Set actually makes it a worthwhile purchase. Not just the Vaesen dice and the Initiative cards, but also the maps, especially the one of Castle Gyllencreutz, and of course, the ‘Codex Occultum’ handout will all support continued play of Vaesen – Nordic Horror Roleplaying long after the players have roleplayed the scenario in Vaesen – Starter Set. Arguably, the Vaesen – Starter Set is a better accessories kit than an actual starter set, but its scenario is by no means bad, and will get a Vaesen – Nordic Horror Roleplaying campaign off to a good start.

Zombies on the Thames

It is the year 1829 and polite society’s horror and disgust at the poor and the great unwashed is once again being stoked by reports of them shambling about at night, faces ashen, and looming out of the miasma along the River Thames to scare anyone and everyone, whether going about legitimate business or not. In sordid South London, in the notorious slum that is Jacob’s Island, right on the banks of the Thames, people are going missing—and worse, they are coming back very much in a discombobulated fashion! It is a very strange matter indeed, and despite it having been brought to the attention of Sir Robert Peel and his recently founded Metropolitan Police Force, there is not the manpower, or indeed, the political willpower to do a great deal about it. Which is why the Apollonian Society, whose members investigate the unseemly and the unnatural, is approached to look into the matter.

This is the set-up to Mists of Old London, a scenario for use with Vaesen – Mythic Britain & Ireland, the campaign supplement for Vaesen – Nordic Horror Roleplaying, which details the United Kingdom of Great Britain and Ireland in the nineteenth century and the clashes the arose between the old ways and the new with rapid industrialisation. The scenario is set primarily in the rotten rookery and sodden slum of Jacob’s Island, home to some of the city’s poorest inhabitants, on the south bank of the river, notable as being the home of Bill Sykes in Charles Dickens’ Oliver Twist. Investigation will reveal the area is rife with tension. There has been a recent influx of immigrants from Jamaica into the slum as well as the people vanishing into the mists and then reappearing at their homes, as cold as the grave. There are also strange figures stalking the streets. One is hooded in rags and mutters curses and incantations as she clambers across the rickety walkways and bridges that connect many parts of Jacob’s Island, whilst the other strides purposefully, a gentleman in frock coat and top hat as well as a mask. She is Madame Otay, he is Monsieur Thursday.

It should be pretty clear that to the players that what their characters are facing is an infestation of zombies, appropriate for the threat that the Player Characters face, though since the word would have been little known at the time when the scenario is set, it is very unlikely that the characters will initially know they are facing and extremely unlikely that they will have come across the term before. There are opportunities for both Madame Otay and Monsieur Thursday to educate the Player Characters though. Being a scenario for Vaesen – Nordic Horror Roleplaying, there is a countdown in which things get worse, the mists will rise and worsen, and the zombies will walk the streets of Jacob’s Island openly. There are a limited number of lines of investigation, but the Player Characters should get enough clues to work out what is going and where they need to go—whether either of the major NPCs want them to, or not. All of which will lead to classic showdown at a summoning by the villain of the piece and the Player Characters in position to stop it.

This is a most serviceable scenario with a pleasingly tense and strong, if sodden atmosphere of uncertainty, tinged just a little with a fear of the unknown. Smart or experienced players will probably crack on through and complete it in a single session, though it should take no more than two sessions’ worth of play at the most otherwise. It could work as a convention in the case of the former, but it is not really set up for that. Thematically the plot could work with the Rivers of London: the Roleplaying Game or period wise with Regency Cthulhu: Dark Designs in Jane Austen’s England, both from Chaosium, Inc. In fact, retooling it for the latter for the Miskatonic Repository would work rather well.

Mists of Old London is not without its issues and the likelihood is that the complaints about are going to come from both ends of the spectrum. One is that the scenario makes use of African diaspora religion of Obeah as a feature of its plot. The other is that one of the NPCs is called ‘Nigel Barrige’, who as MP for Southwark, “…[N]ow seeks to consolidate his power by stoking parliaments [SIC] fears of the working class and social revolution.” The author goes further than this though, in what is a parody of a contemporary British political figure. To be fair, the first of these is more of an issue than the second, but the author does make clear that it is not intended faithful representation of the religion, but sticks to being a Western, dramatised version for the sake of the scenario’s plot. The author also suggests that if the Game Master is unhappy with this, then it is possible to some research and adjust as necessary. A link is provided should the Game Master want to get started. As to the second, it is parody, and parody is fair game.

Mists of Old London is published via the Free League Workshop, the community content programme for Free League Publishing, so not professionally produced. As a consequence, physically, Mists of Old London is rough. The layout and the few pieces of illustration are fine, but it really, really needs a good edit. There are also no maps.

Mists of Old London is far from a bad scenario. It just needs to be more clearly and tidily presented and supported with a map or two. Otherwise, Mists of Old London is eminently serviceable, enjoyable scenario.

An Interrupted Party

The Stolen Child is a short, one session scenario for Castle Falkenstein, the roleplaying game of manners and magic, faeries and fabulative fiction, action and adventure all set in an alternate nineteenth century in which Bayern (or Bavaria) leads a Second Concordant against an alliance between Baron Otto von Bismarck, the Iron Chancellor, and the Unseelie Court, the presence of Dragons and Faeries is commonplace, Prussia has failed to unite the Germanies, steampunk technology is being adopted everywhere, and fact meets fiction and fiction meets fact. Published by R. Talsorian Games, Castle Falkenstein is a highly regarded roleplaying classic that is as polite and as well-mannered a roleplaying game as ever you would want. It is not even so gauche as to use dice for its mechanics! Published by Az AVU Emberei and translated from the original Hungarian, The Stolen Child is easy to add an ongoing campaign or even use as a demonstration scenario.

In The Stolen Child, the Player Characters are invited to the birthday party of Rudolf von Dunkelberg, the son of Prince Johann of Dunkelberg, a principality so small that it can barely be found on the map. However, following an English education and training as an army officer, Rudolf von Dunkelberg has made a name for himself as a loyal and stalwart companion of the Player Characters. Hence, they are invited to his birthday party. They arrive on the day of the birthday ball—the principality being so small it does not have a railway station for its one town, also called Dunkelberg. An early morning stroll in one of the town’s parks throws them straight into the action en media res! A woman’s scream alerts them to the perfidious kidnap attempt of herself and a small boy by three men with scarves wrapped around their faces. The kidnappers make every attempt to kidnap the boy at least—and if they fail, will try again. The authorities do not seem to want to help and if the Player Characters rescue the woman, if not both the woman and the boy, she will be thankful, but initially quite close-lipped about who their kidnappers were and what they want.

Ideally, what should happen is that the boy be kidnapped and the Player Characters rescue the woman, who it turns, is his mother. After the local soldiery arrives to conduct a surprisingly cursory investigation, the woman will reveal that she is actually Irene von Drachenfels, the boy is her son, Hans, and her husband is Major August von Drachenfels, a Prussian armoured officer who is disillusioned with Bismarck’s regime and wants to escape Prussia. Of course, should he manage to defect, von Drachenfels’ knowledge of the LandFortress Works and his experience as a commander of a LandFortress, will provide Bayern and the Second Compact, with a wealth of knowledge about the Prussian military. Understandably, the Iron Chancellor does not want Major August von Drachenfels to what is effectively defect to the enemy and has despatched his own agents willing to doing anything to prevent that, including kidnapping the major’s wife and son.

Unfortunately, the scenario does have an issue in how the Player Characters get from the kidnapping scene to the next scene, no matter whether both the woman and the boy are kidnapped or just the boy. It is possible to chase the automotive vehicle that the kidnappers escape in all the way to a seemingly abandoned shoe shop at the foot of Dunkelberg mountain, but this really requires that one of the Player Characters be a Dragon and thus able to fly. If the Player Characters manage to capture one of the kidnappers, they can interrogate him or find some clues from the contents of his pockets. However, if this is not the case or if the Player Characters fail to foil the kidnap attempt, what should ideally happen is that one of the kidnappers should accidentally drop a key to the door of the shoe shop and since that has the name of the shop on it, should help get the Player Characters to the next part of the scenario.

The town of Dunkelberg and thus the shoe shop abutt the base of Dunkelberg mountain, itself famous for its mines now abandoned. The Player Characters find themselves in a case, running after the kidnappers as they run pell-mell through the mine. Their progress is potentially hampered by a Knocker Faerie who distrusts any intruders, especially after his run in with the Prussian agents. How well the Player Characters do in persuading the Knocker that they are not his enemy greatly influences the amount of time they have left when they confront the Prussians and hopefully rescue the kidnap victims.

Physically, The Stolen Child is simply presented, although there are some nice flourishes around the borders. There are a couple of pieces of period art and it is a pity as there is not more of it as adventure feels plain without more. It does need an edit in places and it does feel as if it is rushed towards the end. More information about the town of Dunkelberg would have been useful if the Player Characters deviate from the linear story of The Stolen Child, as well as extending the usefulness of the supplement. 

The Stolen Child is a simple affair. It does feel underdeveloped, or at least, not as clearly explained as it should be, though with careful preparation by the Game Master this should not be a problem. Overall, The Stolen Child is best suited as pick-up or filler scenario that the Game Master can easily slot into her campaign between longer adventures.

1994: Castle Falkenstein

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

—oOo—

It is 1870 and the war has been won these past four years. The Battle of Königsgrätz is over. The Second Compact, an alliance of Albert Edward, Prince of Wales, Sir Richard Frances Burton, Lord Kelvin, the Seelie Court led by Lord Auberon, Science Minister Jules Verne of France, the Templars and the Freemasons, led by King Ludwig of Bayern and Bayernese Aeronavy has stopped the conquest of all the Germanies by Otto von Bismarck, the Iron Chancellor of Prussia and his mighty Landfortresses, and a secret alliance of the Unseelie Host and the Steam Lords of Great Britain with their Babbage Engines. There have been many adventures since as a cold war descended upon New Europa and Bismarck, licking his wounds in Berlin, sought to reunite all of the continent, using whatever underhand means he could. He is yet to succeed though, and so there are plots to be uncovered and treachery to be foiled, as well as romances to be had, places to visit, balls to attend, duels to be fought, and adventures to take far and wide.

This then is the setting for Castle Falkenstein: High Adventures in the Steam Age, a roleplaying game of high fantasy, swashbuckling action, manners and magic, Wagnerian myth, Victorian melodrama, Anachrotech developed from the Lost Notebooks of Leonardo da Vinci, faerie, and fiction, that would win both the 1994 Origins Award for Best Roleplaying Rules and the Nigel D. Findley Memorial Award for the Best Role-Playing Product of 1995. Published by R. Talsorian Games, Inc., it was then a radical departure that contrasted sharpy with prevailing trends in roleplaying at the time and it was also a conceit. The early nineties were dominated in roleplaying terms by the World of Darkness series of roleplaying games published by White Wolf, such as Vampire: The Masquerade, Werewolf: The Apocalypse, and Mage: The Ascension, horror games that tended towards darkness and introspection. Castle Falkenstein did not. It was bright, exciting, and optimistic. It was also colourful—quite literally. In another departure from the then norm, Castle Falkenstein was in full colour—or at least half of it was—that presented the world of New Europa in a richly painted vibrancy that was startlingly different. The other difference between Castle Falkenstein and other roleplaying games was mechanical. It used an ordinary deck of playing cards rather than dice, because well, cards are more civilised than dice!

The conceit was that the world of New Europa, with its sorcery and faerie, Anachrotech and Babbage Engines, vile villains, dashing heroes and heroines, was real. An alternate universe into which computer game designer, Tom Olam, is kidnapped—or ‘spellnapped’—by Lord Auberon as a secret weapon to help restore Crown Prince Ludwig of Bayern to the throne, and once he finds his place in Bayern, the equivalent of Bavaria in our world, located at the end of the Inner Sea which splits much of New Europa, goes on to serve the newly restored King Ludwig the Second, the definitely not ‘mad king’, and has lots of adventures. He also finds time to introduce a roleplaying game to the aristocracy and write a cross between a novel and diary and that is what lands at the doorstep of designer Mike Pondsmith. The other conceit is that New Europa is a world where fiction meets fact. Sherlock Holmes attends concerts with Sir Arthur Conan Doyle, Jules Verne is Science Minister of France even as Robur the Conqueror has designs upon the whole world, and Rudolf V needs rescuing in neighbouring Ruritania! This is a world where it is possible to encounter Captain Sir Harry Flashman, VC, Count Dracula, Lady Ada Lovelace, Captain John Carter, Charles Dickens, Lola Montez, the Time Traveller, and Mark Twain. In the roleplaying game, Tom Olam even describes New Europa as being, “one part Lord of the Rings and two parts Jules Verne science fiction, with a little Prisoner of Zenda thrown in for good measure”.

Castle Falkenstein was upfront about the divide in terms of organisation of the book, with the world and its background presented first in colour, followed by the rules and mechanics of the roleplaying game on the parchment-style pages of the section that followed. It said, “The best way to think of Castle Falkenstein is as a novel that allows you to write your own sequels.” Which made sense, because the means to create those sequels came after the fiction of the setting. That fiction is not so much a novel as a cross between a journal and diary in which Tom Olam relates his experiences and then describes the wider world. Since it is written as a journal, we are introduced to Tom’s situation as he experiences the world, from his immediate arrival after his ‘spellnapping’ through to the aftermath of the Battle of Königsgrätz. In between we are introduced the Lord Auberon and the Wizard, Morrolan, who cast the spell; Castle Falkenstein itself, even more fantastic castle than Neuschwanstein Castle, and Bayern beyond its walls; the companions to be in his adventures to come, including Rhyme, a mad scientist Dwarf; and the threats faced by Bayern in the form of Bismarck and the Unseelie Court allies, led by ‘The Adversary’. Castle Falkenstein does not ignore the wider world and there are some interesting divergences here such as America being divided into three nations—the USA, where sorcery saved the life of Abraham Lincoln, the Twenty Nations Confederation which formed and stopped expansion westward by the white man in 1830, and what was once California, Nevada, Washington, and Oregon are now the Bear Flag Empire ruled by the benevolent, but probably potty Emperor Norton the First. The Ottoman Empire remains the ‘sick man of New Europe’, ruled by a crafty, if insane Sultan and various sorcerously powerful Viziers, whilst China is ruled by the First Dragon Emperors, who are actually dragons! Tom also tells about some of the people he has met and places he has been, some of the Masterminds threatening the world, from Captain Nemo and Doctor Manchu to The Invisible Man and Count Iglio Cagliostro, and many of the ingenious Steamtech devices being invented in New Europa and beyond. These are three types—‘Anachrotech’ consists of Victorian versions of twentieth century devices; ‘Gadgetech’ are everyday items adapted to be powered by steam; and Infernal Devices are typically weapons, vehicles, automata, formulations, and the like, the unique creations of Mad Scientists and evil Masterminds. The Steam Age was not only in full power well before Tom Olam arrived in New Europa, the resulting devices and gadgets were more widespread and progress had been enhanced by Dwarven engineering. Access to the Lost Notebooks of Leonardo da Vinci would speed it up further as well as enable Bayern to create an Aeronavy to defend itself.

Although Castle Falkenstein does not stint of the details of the weird and wonderful things to be found in New Europa, including information about the Dwarves, such as their being embarrassed about their ducks’ feet, and all the types of faerie that the adventurers might encounter, it also takes the time inform the lady or gentleman reader about the mores of polite Victorian society. This includes dressing the part, common phrases and manner of speaking, society and manners, the social order—noting that women of this ‘Neo-Victorian Age’ are emancipated, and good manners, virtue, and honour are not enough, then the etiquette of the duel. In Tom Olam’s journal, Castle Falkenstein presents a wealth of background and detail, all of it interesting, useful, and rich in flavour. What is also very good is the way in which the information is presented, all of it in quite short essays. So easily digestible, but at the same giving the Host—as the Game Master is known in Castle Falkenstein—and player alike, enough information without immediately needing another supplement. Of course, other supplements did follow, but as a rulebook, Castle Falkenstein: High Adventure in the Steam Age feels complete.

The second half of Castle Falkenstein: High Adventure in the Steam Age is titled ‘High Adventure in the Steam Age: The Great Game’. This is the roleplaying game itself, devised in what is the third conceit in Castle Falkenstein, by Tom Olam with the assistance of Albert Edward, Prince of Wales and King Ludwig the Second. The aim is to present an authentic Victorian Adventure Entertainment, for each player will have his own Dramatic Character and the company will need two decks of ordinary playing cards, ideally of two different colours. One is the Fortune Deck used to determine Fate’s influence during play, whilst the Sorcery Deck does the same for magic in ‘The Great Game’. What is not needed are character sheets, or rather it is suggested that each player keep a Diary for his Dramatic Character. Not only will it be used to record the story of the Dramatic Character’s adventures, but also Offstage activities between Entertainments—as Castle Falkenstein calls adventures—and personal goals, and so on. There is good advice for the Host on running the game and the various aspects she should ideally be drawing from Victorian melodramatic fiction—fiendish plots, insidious peril, imprisonment rather than the villain killing the heroes outright, ladies being menaced by a fate worse than death, and also the archetypes to be used as members of the supporting cast. These are categorised as either Heroes, Heroines, or Villains. A Hero is either a Heroic Hero, a Tragic Hero, or a Flawed Hero, whilst a Heroine is The Innocent Heroine, The Clever Heroine, the Tragic Heroine, or the Fallen Heroine. The Villain is either Honourable or Dishonourable. The descriptions include a good example each, such as Harry Flashman as a Flawed Hero and Irene Adler as a Clever Heroine. Add to this an array of supporting cast and the Host has a good choice of archetypes to choose from when it comes creating and portraying her cast.

The Dramatic Characters of the players will either be Heroes or Heroines. Various archetypes are suggested, including the obvious Adventuress, Consulting Detective, Dashing Hussar, Explorer, Gentleman Thief, Journalist, and Writer. Less obvious are the Anarchist, Mad Scientist, and Mastermind, whilst the Brownie, Dwarf Craftsman, Faerie Lord or Lady, Pixie, and Wizard are particular to the world of New Europa. Each suggests the Suits they are strong in, such as Fencing, Marksmanship, and Fencing for the Adventuress, plus possessions, what in their diary, and why they are involved in the Entertainment. If a Brownie, Faerie Lord or Lady, or Pixie, the Dramatic Character has a Faerie Power, such as Enchantment Faerie Lord or Lady and Love Charm for the Pixie. A Dramatic Character has several Abilities, which can be skills and different aspects of the Dramatic Character. They include Athletics, Charisma, Comeliness, Connections, Courage, Fencing, Fisticuffs, Social Graces, Tinkering, and more. Faerie have Etherealness and Kindred Powers, the first their ability to change shape or walk through walls, the latter their innate ability. Each Faerie also has very limited Sorcery, and it is also available to Wizards. A rating in an ability can either be Poor, Average, Good, Great, Exceptional, or Extraordinary. Each ability falls into one of the four suits from an ordinary deck of playing cards and when cards drawn from the Fortune Deck match the ability suit, a bonus is gained.

To create a Dramatic Character, a player selects an archetype, and then chooses one Ability he is Great at, four he is Good at, and one he is Poor at. He also answers a lot of questions about who the Dramatic Character is, filling in background and also deciding upon ambitions. Most Dramatic Characters will be men and women of good character, but some are also Dragons, Dwarves and Faeries. In their natural form, a Dragon is large, but fragile, being designed for flight, and naturally knows the spell Firecast, but it costs Health to cast. It is also exhausting for the Dragon to switch between his Human and natural forms. A Dwarf is immune to fire and highly resistant to magic, can only be male (Dwarves mate with other Faerie), gain a bonus to Tinkering when working metal, and begin play without a name. Earning a name is an important motivation for a Dwarf. A Faerie is subject to the Rule of Iron and iron and steel can irritate or even hurt him, and although cannot use Sorcerer, will have an innate ability according to the Faerie type.

Mrs. Harold McKinnon

Demimondaine

Abilities: Charisma [GR] • Comeliness [GD] • Connections [GD] • Courage [GD] • Fencing [AV] • Perception [AV] • Physique [PR] •Social Graces [GD]

Health 5 pts

Mechanically, Castle Falkenstein: High Adventure in the Steam Age uses a Fortune Deck, represented by an ordinary deck of playing cards. The players share one, whilst the Host has one of her own for the actions of her villains and other members of the supporting. To have his Dramatic Character undertake a Heroic Feat, all a player has to do is compare the difficulty of the task with the Ability required. If it is equal to, or greater than the difficulty of the task, the Dramatic Character at least partially succeeds. For example, to sway a mob requires a Charisma of Great, whilst leaping a yawning chasm of an Athletics of Good. Thus, Mrs. Harold McKinnon, with her Charisma of Great will sway the mob, but with an Athletics that is just Average—the default for any skills not selected—will need to rely upon the cards from the Fortune Deck to succeed or do better.

The cards have a face and a suit. The numbered cards have their straight value, whilst a Jack has a value of eleven, a Queen a value of twelve, a King a value of thirteen, and an Ace a value of fourteen. A Joker is worth fifteen points and when played, the player gets to choose the suit for that action. Similarly, the Ability Ratings also have a value, ranging from two for Poor and four for Average to ten for Exceptional and twelve for Extraordinary. The aim is to ensure that the combined value of the cards played and the Ability is equal to, or greater than, the difficulty of the Heroic Feat. A player has four cards in his hand and can play as many cards as he wants. However, if the suit of a card played does not match the suit of the Heroic Feat, it is only worth a single point, but if it does match, then the full value is used. The Clubs suit is for physical actions, the Diamonds suit is for mental and intellectual activities, the Hearts suit covers emotional and romantic feats, and Spades suit is used for social and status-related situations. The comparison of the total value of the Dramatic Character’s Ability and the cards played will determine how well the Dramatic Character. Results include Fumble, Failure, Partial Success, Full Success, and High Success. The total needs to be equal to the value of the Heroic Feat for the Dramatic Character to gain a Partial Success, equal to half the value of the Heroic Feat again for it to be a Total Success, and so on.

Combat is an extension of this, using either the Fencing, Fisticuffs, or Marksmanship Abilities, and are played out as contests with the quality of the outcome determining the amount of damage inflicted. The rules for duelling are more complex and do take some getting used to in comparison to the standard rules. Duels are fought over several Rounds with each Round consisting of three Exchanges, each Exchange a single clash of blades. Each duellist has a hand of six cards—two black, two red, and two face cards. Black cards are used for defence, red cards for attacks, and face cards for rests. On an Exchange, each duellist selects and plays two cards and both cards are compared. A defence card will automatically stop an attack card, but a rest card will not. So, there is tension built into duels as each participant knows what cards the other has played and it can get quite tactical and even cinematic once the terrain is taken into account. There is a good example of a duel to help the Host grasp the rules.

Combat does scale up once the great war machines come into play. For the most part it will be kept personal, and one way in which it is kept personal is no killing blows. The Dramatic Characters are by nature heroes and heroines and do not simply engage in wanton killing. Thus, in combat a Dramatic Character will wound someone or knock him unconscious, but not kill. Killing someone is a deliberate act and the intent has to be clearly stated rather than being accidental.

Sorcery requires an Ability of at least Good to cast spells. A spell can either be researched or learned at a magical college or society, and every spell has a Thaumic Energy Requirement. This is fulfilled by drawing cards from the Sorcery Deck, which represents the amount of Thaumic energy in the surrounding area. The Sorcery Deck can be depleted, indicating that all of the Thaumic energy is also depleted, but when a spell’s Thaumic Energy Requirement is met it can be cast. This works like a standard Heroic Feat, the difficulty set by the spell itself. Spells have aspects, which match the suits in the Sorcery Deck—Clubs for elemental magic, Diamonds for material magic, Hearts for emotional and mental magic, and Spades for spiritual and dimensional magic. There are guidelines too for magical artefacts and sorcerous duels. Lastly, there are rules for inventing and building Steamtech devices, a short adventure, some scenario hooks, and a bibliography.

Physically, Castle Falkenstein: High Adventure in the Steam Age is a book of two halves. It is well written and an engaging read, but the appearance of the two halves differs radically. The first half, the background, is gorgeous. In 1994 it looked amazing and it still looks good today. The second half, the rules section, works as a notebook, but is plain and even unattractive. It could also be better organised, so that the various sections are not interrupted by advice for the Host.

—oOo—

Castle Falkenstein: High Adventure in the Steam Age was reviewed by E. Ken Fox in ‘Closer Look: Reviews of Games and Related Products’ in Shadis Issue #116 (November/December 1994). He was highly complimentary, starting by calling it, “… [O]ne of the most exciting games in the industry today” and praising the look of the book, “With its incredible artwork and layout the book fairly transports you into the realms of the world, while not taking away from the exchange of information. While some may find it difficult working within the boundaries of this format. I personally find it an exhilarating change to what has become the Standard Format.” Finally, he concluded by describing it as a “A sure-fire system with a fantastic world of adventure: isn't that just what we all have been looking for?”

As a ‘Pyramid Pick’ in Pyramid Number 10 (November/December ’94), Scott Haring was equally as praiseworthy of Castle Falkenstein, saying, “This is not a game of sullen anti-heroes, angst and moral dilemmas; this is a grand game of world-spanning plots, pure heroes and diabolical villains. [Designer Mike] Pondsmith has done a great job of setting the stage for grand dramatic battles between good and evil without once letting it descend into melodrama or parody. This is a game that believes in itself and its premise 100%, but without drowning in pretentiousness or self-importance.” His conclusion was that, “Castle Falkenstein is a breath of fresh air in roleplaying, a game where real heroes matter and don’t have to apologize. The book is physically gorgeous, the game mechanics fit the tone of the game world like a glove, the writing is wonderful, and the game world is enchanting.”

In the issue’s ‘Feature Review’ of Castle Falkenstein in White Wolf Inphobia #51 (January 1995), Rich Warren asked, “It’s high adventure in the Victorian age with a mixture of magic and technology. They’ve all been tried before, so what makes them work now?” He awarded the roleplaying game four out of five and said, “The game’s mechanics are simple but unique; it can take a while to adjust.”

In Dragon No. 214 (February 1995), in ‘When dungeons won’t do; Alternative fantasy RPGs’ for ‘Role-Playing Reviews’, Rick Swan reviewed Castle Falkenstein alongside ARIA and the ARIA Worlds Book, awarding a rating of six out of six and stating that with Castle Falkenstein that, “… [T]his is about as good as it gets.” He described the setting of the roleplaying game by saying that “… [T]is isn’t Victorian London per se, but an alternative reality that’s one part fact, ten parts fun house; it’s as if Pondsmith tossed a history text, a copy of Alice in Wonderland, and a Monty Python video cassette into a blender. New Europa, the game world, is a crazy quilt of steam-age technology and social anarchy.”

Castle Falkenstein: High Adventure in the Steam Age was voted in at number forty-five in ‘The Top 50 Roleplaying Games’ in Arcane Issue 14 (December 1996). Editor Paul Pettengale said, “Castle Falkenstein is one of those games that people tend to either love or hate. It has a unique atmosphere, combining alternate history, Celtic mythology, steampunk and a somewhat whimsical, fairy-tale feel. Likewise, the rulebook itself is quite different from many, being laid out as a novel, with important information pulled out in sidebars, and the rules coming later. This reflects the main thrust of the system, which is heavily geared towards roleplaying and storytelling over game mechanics and numbers, and drops dice in favour of a couple of packs of playing cards.”

—oOo—

Castle Falkenstein: High Adventures in the Steam Age is a marvel of its age—optimistic, fun, and exciting—and like any classic, it still stands up not just as a superb design, but an innovative one as well. Its choice of mechanics are not only civilised, but they give a player choice and agency as to his Dramatic Character’s actions too. Above all, Castle Falkenstein: High Adventures in the Steam Age is a tremendous fabulation of fantastic Victorian fiction, Ruritanian romance, and swashbuckling Steam Age action.