Mutant Space Zero

For a decade now, since 2014, Free League Publishing’s Mutant: Year Zero post-apocalyptic future has been explored in a quartet of core books that each described and told the story of a different faction with the setting. The four factions—mutants, mutant animals, robots, and humans—each represent a classic group within post-apocalyptic roleplaying and each was given time in the spotlight with their respective books. In turn, mutants with Mutant: Year Zero – Roleplaying at the End of Days, anthropomorphic animals with Mutant: Genlab Alpha, robots with Mechatron – Rise of the Robots Roleplaying, and humans with Mutant: Year Zero – Elysium. The climax of the campaign in each of the four books would see members of the factions leaving the environment which had kept them safe throughout the apocalypse and beyond, ready to explore the wider world, interact with each other, and even discover some of the secrets that had led to the apocalypse in the first place. Yet at the end of each of the four campaigns, there remained an unanswered question: “What happens next?” The question was partially answered in 2018, with the release of The Gray Death. This was a sequel to Mutant: Year Zero – Elysium in which the Player Characters must thwart an attempt to prevent an expansive organisation known as the Army of Dawn from conquering all of the Zone that the Player Characters have made their home. However, at the end of ‘Path to Eden’, the campaign in Mutant: Year Zero – Roleplaying at the End of Days, the first book in the series, there is another story hinted at and it is this story that is explored in Mutant: Year Zero – Ad Astra.

Mutant: Year Zero – Ad Astra does something wholly unexpected, and in doing so, opens up a whole new number of worlds and environments to the Player Characters, ones that would ordinarily be beyond their imagination—space! The supplement most obviously provides a campaign whose outcome will decide the future of the Mutant: Year Zero setting, not just the devastated Earth, but habitants and worlds beyond. It also provides an overview of the Solar System, detailing bases, settlements, and habitats specific to the campaign, and gives new rules, equipment, and character options for playing in Zero-G and other hazardous environments. Although the campaign is intended to be run as a continuation of the ‘Path to Eden’ campaign in Mutant: Year Zero – Roleplaying at the End of Days, there are numerous suggestions in Mutant: Year Zero – Ad Astra as to where to place its starting point, including at the end of the most recent supplement, The Gray Death. The other suggestions encompass Mechatron – Rise of the Robots Roleplaying and Mutant: Year Zero – Elysium as well as Mutant: Year Zero – Zone Compendium 1 – Lair of the Saurians and Mutant: Year Zero – Zone Compendium 2 – Dead Blue Sea. Together this gives the Game Master several options to choose from, but whatever supplement the Game Master decides to use as the jumping off point for Mutant: Year Zero – Ad Astra, the Player Characters will find themselves in a rocket, being blasted into space, headed for the unknown, allegedly for their own safety.

The Player Characters find themselves transported into Earth orbit, to the space station Jotunheim. Once they have explained who they are and where they have come from, the administrator will tell them where they are and then ask them for help. Jotunheim is a perilous situation. Its core engine has been stolen and without it, the space station is unable to maintain orbit. Entry into the Earth’s atmosphere and burn up is inevitable, and with it the death of everyone aboard, let alone those on the surface that are struck by the falling debris. The perpetrators plan to use the core engine to power a starship—the Ad Astra—that is being constructed in orbit around Jupiter and will take the survivors to a hopefully better and brighter future in another star system! Unfortunately for them, their plans have been halted by Dirac Thirteen, a mutated ape and technician who has stolen memory circuits needed to allow the Ad Astra to launch. Despite having worked on the Ad Astra for years, he now sides with the Jotunheim and has fled from Jupiter into the Inner Solar System. This is an opportunity for the administrator and Jotunheim. Although he does not know what Dirac Thirteen has stolen, the administrator knows it must be important as a bounty has been placed on his head. Thus, he asks the Player Characters if they can find the escaped ape before anyone else can.

In order to find Dirac Thirteen, the Player Characters will need to travel across the Solar System, from Earth’s orbit to the Moon, Mars, and the Asteroid Belt before making the longer journey to Jupiter. To facilitate each of these perilous trips, the administrator lends the Player Characters a spaceship, the Mundilfari. Named for the Norse father of Sól, goddess associated with the Sun, and Máni, associated with the Moon, the Mundilfari is in a severe state of disrepair and this presents the Player Characters with their first challenge. On Earth, the Player Characters will have encountered a wide range of technology, some of it jury-rigged by themselves and their fellow survivors, some of it high tech leftover from the Old Age. In space, the technology is primarily and obviously that of the Old Age, far greater than the Player Characters will have had ready access to before. However, the technology aboard the Jotunheim and else where in the Solar System is either being barely maintained, breaking down, or beyond the capability of anyone to repair it. This includes the Mundilfari, which the Player Characters will need to repair and refuel in order to travel anywhere. In Mutant: Year Zero – Ad Astra, the Mundilfari becomes the Player Characters’ home, replacing the Ark in Mutant: Year Zero – Roleplaying at the End of Days.

The adoption of the Mundilfari as the Player Characters’ temporary home marks a radical shift in emphasis in the campaign in Mutant: Year Zero – Ad Astra. In Mutant: Year Zero – Roleplaying at the End of Days, the Player Characters face a constant struggle to find sufficient grub, water, and bullets, making the role of the Stalker with its ‘Find the Path’ special ability highly significant to the survival of a group. However, access to grub and water is less important in this campaign. Instead, the Gearhead has a much more prominent role. This is because of the constant need to repair and upgrade the spaceship, the Mundilfari. Without a Gearhead, the difficulty of the campaign is much more challenging.

The campaign proper begins on the space station Jotunheim and the Player Characters’ attempts to repair their newly acquired spaceship. This requires interacting with the various factions aboard the space station, including descending into the Dark Corridors where the Jotunheim’s Underfolk lurk, and bargaining with them for components that will either repair or upgrade the Mundilfari. This teaches the Player Characters some of the skills they will need to survive their greater mission, such as going on a spacewalk. Once they have managed to make the Mundilfari spaceworthy, the Player Characters have a number of objectives, chief of which is finding Dirac Thirteen and then getting to Jupiter. It is thought that Dirac Thirteen is on Mars and the Mundilfari has sufficient fuel to get that far and to other locations across the Inner Solar System. However, it does not enough to make the longer trip to Jupiter, so a visit to the Selene Mining Field on the Moon, the only working source of Helium-3, is also required. Each of the various destinations—the Moon, Mars, and also the Asteroid Belt—are given their own chapters and can be played in any order. The Jupiter chapter is played after these as the climax to the campaign.

Along the way to Jupiter, there are some great encounters. These include holding off an attack by the space pirates of the Rust Fleet, getting involved in a possible meat versus machine rebellion on the Moon, discovering some the dark secrets of the Titan Powers that fomented the war that ended the Old Age, and going out onto the range and deep into the Mariner Valley, chased by Bounty Hunters. The scenes on Mars in particular veer between the remains of the shattered colony in Total Recall and the Wild West feel of Tatooine in Star Wars, but the campaign in general has a pulpy Sci-Fi feel contrasted by the increasing state of disrepair as devices and technologies fail and cannot be repaired.

Ultimately, the Player Characters will make it to Jupiter and there confront both the future of everyone in the Solar System and on Earth and the architects of the situation on Earth, and then make some choices. The latter may see Jotunheim being repaired, the Ad Astra being repaired and leaving, and even the Ad Astra leaving the Solar System with the Player Characters aboard! What happens next is outside the scope of Mutant: Year Zero – Ad Astra, although if the Player Characters decide to stay in the Solar System, there is enough information in the supplement to start a campaign that focuses on exploring it in the wake of the events of Mutant: Year Zero – Ad Astra.

There is another option though, and that is to play through campaign using characters who have grown up in space, though this is not explored in any great depth. Even if Mutant: Year Zero – Ad Astra is played as a direct continuation of ‘Path to Eden’, the campaign in Mutant: Year Zero – Roleplaying at the End of Days, the Game Master will still need access to Mutant: Genlab Alpha and Mechatron – Rise of the Robots Roleplaying as they detail the mutated animals and robots to be found in Mutant: Year Zero – Ad Astra. If run as a direct sequel to ‘Path to Eden’, the Game Master may also want to play up the culture shock of the Player Characters encountering mutated animals and robots for the first time, as well as being in space for the first time.

Mutant: Year Zero – Ad Astra includes new rules and additions for roleplaying in the expanded setting of Earth’s Solar System. ‘Pilot’ is a new Role which specialises in flying spaceships, and has the specialist skill of ‘Drive’ which applies to all vehicles, not just spaceships. There is guidance too on adapting skills like Comprehend, Know the Zone, and Jury-Rigg to space and other planets, and on mutations such as Insect Wings and how they work in Zero-G. ‘Free-floater’, ‘Drone Pilot’, and ‘Flying Ace’ are amongst the new Talents given as well. Alongside the relatively short guide to how spaceships and spaceship battles work, there is a list of events in space and aboard space stations—for example, ‘Toilet Problem’ or ‘Magnetic Field’, and new gear. The later includes the ‘Scrap Rocket Launcher’, and the ‘Space Suit’ which has two slots for modules so that a Player Character can customise his space suit. Lastly, there is a decent overview of the Solar System, including descriptions of locations not visited as part of the campaign, that the Game Master can use to create her own adventures and encounters—though hopefully, Free League Publishing will support the setting with further material.

Physically, Mutant: Year Zero – Ad Astra is well written, nicely presented in full colour with excellent cinematic-style artwork. Fans of anthropomorphic creatures in spacesuits will certainly appreciate many of the illustrations in the book. 

Mutant: Year Zero – Ad Astra opens up the setting of Mutant: Year Zero and takes it in a wholly unexpected direction. As a sourcebook it lays the groundwork for a post-apocalyptic setting that is not confined to the one world, but found across many and awaiting further development and exploration. As campaign, it places the Player Characters fore and centre as heroes who can either save the day or found a whole new civilisation, and in the process confront the consequences of some of the actions made by the Titan Powers. The campaign itself in Mutant: Year Zero – Ad Astra is the fantastic continuation of the ‘Path to Eden’ campaign found in the pages of Mutant: Year Zero – Roleplaying at the End of Days that the roleplaying game’s fans have long been waiting for, whilst the sourcebook material provides scope to explore rest of the Solar System.

Tales from Spaaace...! (Part One)

For fans of Tales from the Loop – Roleplaying in the '80s That Never Was and Things from the Flood, the roleplaying games based on the paintings of Simon Stålenhag, as well as other titles from Free League Publishing, there is the Free League Workshop. Much like the DM’s Guild for Dungeons & Dragons, this is a platform for creators to publish and distribute their own original content, which means that they also have a space to showcase their creativity and their inventiveness, to do something different, but ultimately provide something which the Game Master can bring to the table and engage her players with. Such is the case with Deep Space Blues – Journey To The Stars: Part One.

Deep Space Blues – Journey To The Stars: Part One takes the kids out of the Loop and throws them into deep space. It takes the traditional stories of Tales from the Loop, which contrasts the wonder of strange technologies and mysteries with difficult, often fraught home lives, away from Sweden and Mälaröarna, the islands of Lake Mälaren, the site of the Facility for Research in High Energy Physics—or ‘The Loop’—to the west of Stockholm, and sets those tensions in an alternate timeline, very far from Earth. In this timeline, at the end of World War 2, Maximillian von Grau, a German scientist took advantage of the Nazi desire for more wonder weapons to develop an engine powerful enough to get a probe to Proxima Centauri. No one believed he succeeded, until pictures were received on Earth in 1977. There the story would have ended, but for eccentric entrepreneur billionaire Elton Dors. He offered to fund further research and development by von Grau. With the new engine, developed by the German and known as the Max Drive, Dors then built The Argo, the world’s first interstellar starship, capable of travelling to Proxima Centauri in thirty years, with its crew and passengers—the first two hundred colonists on a whole new world—in deep sleep. The Argo is regarded as the eighth wonder of the world and it is aboard this vessel that Deep Space Blues – Journey To The Stars: Part One begins.

The kids are the children of the crew and the passengers—or colonists—aboard The Argo. They and everyone else aboard the starship wake up and very quickly there is a lot of hustle and bustle around the children, though it is not immediately obvious why. They are quickly taken to the ship’s school room where their teacher, Miss Lovely, can keep an eye on them. It soon becomes apparent that The Argo has not reached Proxima Centauri, having stopped in deep space, and that one of the children aboard is missing. Could the two be related? Well, the answer is, of course they are. Exactly how is another matter, but the plot is relatively straightforward, whereas getting to solve it is not. The biggest obstacle for the kids is not the mystery itself, but getting round the adults to investigate the mystery, and then once that is revealed, solve the problem at its heart. The adults are preoccupied with the technical problems aboard The Argo, so will either ignore the kids or send them back to the supervision of Miss Lovely, who is definitely not as nice as her name suggests. The Game Master should have some fun roleplaying her.

Deep Space Blues – Journey To The Stars: Part One is a solid one-session scenario. It makes use of a range of different skills, so every kid should have an opportunity to shine. If it is missing anything, it is advice on creating kids for this scenario. They would still use the same rules from Tales from the Loop, but some questions related to who their parents are aboard The Argo and what they think of travelling to another star system could have helped set the scene. Perhaps a set of pre-generated kids could help with that? The only real issue with the scenario is with its aftermath. Even solving the problem is underwritten, and by comparison, the cost of failure is glossed over. This is severely disappointing, since the cost of failure in Deep Space Blues – Journey To The Stars: Part One is a tragedy that is very likely to be emotionally devastating for the kids as well as the adults. It may well be campaign ending were the Game Master to want to run the sequel to Deep Space Blues – Journey To The Stars: Part One.

Where Tales of the Loop captured the feel of Sweden of the eighties, Deep Space Blues – Journey To The Stars: Part One instead captures the feel of positive, even homely Science Fiction of the period, whether that is Space: 1999 or Star Trek: The Next Generation. Yet, there is a sly dig at its retro-optimism with everything being a triumph of design over practicality and it is not too difficult to work out who Elton Dors is a parody of.

Physically, Deep Space Blues – Journey To The Stars: Part One is well presented, but needs a slight edit here and there. The artwork is excellent, whilst the overview of The Argo gives an idea of the layout rather than specifics.

Deep Space Blues – Journey To The Stars: Part One is undeveloped in places, but contains everything that the Game Master and her players have to roleplay a mystery scenario in space from their kids’ perspective. It can be run as the first part of a campaign or it would work as a convention one-shot. Overall, Deep Space Blues – Journey To The Stars: Part One proves that some things do not change, no matter how far you are away from home, it is just a case that the consequences of failure are bad—really bad.

[Fanzine Focus XXIX] Planar Compass #2

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. A more recent retroclone of choice to support has been Old School Essentials.

The Planar Compass series takes Dungeons & Dragons and the Old School Renaissance on a journey that out where it rarely goes—onto the Astral Realm and out between the planes. Of course, the option for travel in this liminal space has always been there in Dungeons & Dragons, most notably from Manual of the Planes all the way up to Spelljammer: Adventures in Space and the Planescape Campaign Setting. Whilst those supplements were for Advanced Dungeons & Dragons, First Edition and Advanced Dungeons & Dragons, Second Edition, the Planar Compass series is written for use with Old School Essentials, and it not only introduces the Astral Realm, but adds new Classes and rules for one very contentious aspect of Advanced Dungeons & Dragons—psionics! Planar Compass #1 introduced both the setting of the Astral Realm, presented Dreamhaven, a first calling point for the Player Characters to visit and explore, and provided details of several new Races found across the Astral Realm as well as the rules for psionics. Which turned to be easy to use and did not break the game. Planar Compass #2 takes the Player Characters further out onto the Astral Realms, or rather prevents everything that the Referee will need to take her campaign further out into the Astral Realms.

Planar Compass #2 was published in November 2021. Following on from Planar Compass #1, it promises strange sights, ever changing environmental dangers, and monsters the likes of which the Player Characters will never seen. Opening with a quick table listing all of the planes and explaining that the contents of issue are designed for mid-level play, Fourth Level and higher, and what titles are required to use it contents. It notes that the waters of the Astral Realms are the thoughts, hopes and dreams, and nightmares of all sentient beings of the multiverse, physical matter alien to it and are always either an intrusion or a traveller. Such waters are endless and there are many places that a good crew with a solid ship will be able to sail far and away to strange places—if both survive the dangers of the Astral Plane, many of which are intrusions and breakthroughs from other planes.

The dangers begin with the monsters—oddly placed before the sections on astral ships, astral sailing, and so on. These are all native to the Astral Realm and include Bubonic Barnacles which feeds on the wood ships and can grow into humanoid forms or algae blooms; the Astral Amphiptere, a semi-translucent dragon which dwells in island caves, and whose can cause planar tears which it can escape through or even others to use; Psychic Dugong, capable of telepathy, whose Psionic Milk restores psionic energy; and the Kear Imago. This last is a much-feared astral predator which scoops up ships and feeds on the psionic energy of their crews, leaving them husks ready for their larvae to occupy and grow in… A table of ‘Pirate Encounters’ is ready for the Referee to flesh out.

The rules for Astral Ships use the rules for water vehicles found in Old School Essentials, but adds five classes of Saving Throw similar to those for Player Characters and monsters. These are Storm, Collison, Fire, Water, and Plane Shift. These are rolled when a ship is subject to wind and gale forces, strikes an object or is struck by an object, is subject to flames or extreme heat, is subject to facing huge waves and torrential rains, and when transitioning between planes or suffering planar stress respectively. Two pieces of artillery are given to outfit ships on the Astral Plane—ballista and the Onauki fire thrower. Stats are given for ten types of astral ship, which include pirate ships and trading ships and warships, more or less what a Referee will need to run an Astral Sea campaign. They range from the Aldhelsi Drakkar and the Aldhelsi Knarr to the Tortuga and the Psionic Ship! Some of these, like the Human Catamaran, lie within the scope of a group of Player Characters purchasing the, rather than travelling on ships belonging to others. There are pirate ships and trading ships and warships

A handful of magical items are detailed too. The nastiest is the Sword of Astral Tether Cutting, a cruel, thin blade made from the remains of a meteor which can cut the tether between the physical and Astral bodies of the target, killing them instantly! The most interesting is the Sand from the Shores of Dreams, which can be sprinkled on someone so that the next time he sleeps, everyone nearby experiences his dreams. This presents interesting story possibilities, potentially another realm to explore and more.

The rules for astral sailing uses what it calls a ‘hex-flower’ or rosette to determine prevailing conditions around an astral ship, the direction of nearby encounters, and the direction of movement. Effectively, it sits under the astral ship as it sails from one hex to the next. Each turn of movement is handled through the same sequence of play in which the players roll for navigation, weather, and nearby planes, which the Referee uses to determine hazards and create encounters, and rolls to see if a Kear Imago has detected the vessel. The Referee and her players work together to describe the region the ship is sailing through.

Notably, the direction of movement is randomly determined, though the Onauk and Astral Sailors—both detailed in Planar Compass #1—have the ability to nudge the roll so that it is in the right direction. If the Kear Imago detects the ship, then the leviathan-sized creature will come hunting for it. Options for the encounters, weather, and planes near and far, are detailed separately along with a lovely set of hexes illustrated with icons that the Referee is going to want to be able to pull out and slip under the appropriate hex on the hex-flower. Large and small icons are used to represent everything from sighted vessel or signs of land, instruction of a plane, and more, with the size indicating distance away. Large are of course hear, small are faraway.

What is not made clear until the Referee gets to the adventure, ‘The Hunter Beneath the Waves’ is that the crew of ship needs to mask its ‘psychic load’ lest it be detected by a Kear Imago. This can be done by Astral Sailors or by consuming Psychic Ambergris, one of the magic items given earlier. If detected though, the Kear Imago will hunt the ship until either the ship and her crew get away or the leviathan swallows it whole. This lands the ship in its gut and the crew—that is, the Player Characters—have to navigate their way out of the beast. This is simulated using the hex-flower again, but here the crew are navigating the corporeal body of a beast rather than the Astral Sea, hoping to find the brain and engineer an escape. As you would expect it is nasty environment, the various descriptions of rooms such as the stomach, intestines, and waste chamber accompanied by optional tables for traps, NPCs, and location details. The rules are more or less the same for navigating the Astral Sea using the hex-flower, but instead of being able to nudge the direction roll through abilities innate to certain Classes, the Player Characters acquire ‘Travelling Points’ for encountering denizens of this ‘Kear Dungeon’, discovering and disarming traps, gaining information from friendly NPCs, and so on. The adventure is intentionally odd, surprisingly non-linear given its origins, and it does include some tough encounters. Plus although the players are unlikely to replay the ‘Kear Dungeon’ again, there is the possibility of their encountering a Kear Imago again. The fanzine does leave the Referee wondering what to do in that instance. Of course, there are always to get the Player Characters needing to climb back into a Kear Imago again, such as having to find a Wizard who has not been seen for years or go after a criminal. Lastly, the issue includes a table for ‘Astral Fishing’ and a set of adventure hooks waiting to be developed by the Referee as well a decent little comic strip which follows on from Planar Compass #1.

Physically, Planar Compass #2 is hit and miss. It is well written and it is gorgeous-looking. In places, individual hexes are are too dark and too murky, whilst the layout feels a bit tight in places and odd in others. Plus the organisation is odd with the monster descriptions placed up front. Nevertheless, it is engagingly written, the artwork is excellent, and all together, it is a lovely little book.

Planar Compass #2 is a solid set of rules taking Old School Essentials and almost any Old School Renaissance retroclone in an expected direction, out into the beyond of the Astral Sea. It does feel like a transition, going from the Dreamhaven of Planar Compass #1 to the somewhere else, but not telling you where necessarily. Ideally that will be revealed in Planar Compass #3. In the meantime, Planar Compass #2 has all the rules to enjoy boat trip or sail away to location of the Referee’s own devising across the Astral Sea and back again, effectively, ‘Astral-jammer’ for Old School Essentials.

[Fanzine Focus XXVIII] Planar Compass #1

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. A more recent retroclone of choice to support has been Old School Essentials.

Published in Autumn 2020, Planar Compass Issue One begins a journey that takes Dungeons & Dragons and the Old School Renaissance out where it rarely goes—onto the Astral Realm and out between the planes. Of course, the option for travel in this liminal space has always been there in Dungeons & Dragons, most notably from Manual of the Planes all the way up to Spelljammer: Adventures in Space and the Planescape Campaign Setting. Whilst those supplements were for Advanced Dungeons & Dragons, First Edition and Advanced Dungeons & Dragons, Second Edition, the Planar Compass series is written for use with Old School Essentials, and it not only introduces the Astral Realm, but adds new Classes and rules for one very contentious aspect of Advanced Dungeons & Dragons—psionics! Planar Compass Issue One can be divided into two halves. In the first half, it explores a place of refuge and calm amidst the Astra Sea and provides a number of adventures on and below that location, whilst in the second half, it details both the four new races and their  Classes, as well as the new rules for psionics for Old School Essentials. The second half has been collected into a booklet of its own. The Planar Compass Player’s Booklet and thus the four new Classes and the rules for psionics are reviewed here.

Planar Compass Issue One starts with a quick introduction, explaining how old Palio One Eye, once a fearsome and notorious pirate on the Astral Seas, accidentally discovered the location of what was to become Dreamhaven by wrecking his ship upon it. Then when another ship anchored off its coast, instead of capturing the ship and resuming his career of piracy, he instead started selling his cargo of Aldhelsi mead to the other ship’s crew and thus he had a bar. Soon others were coming to Dreamhaven—the Onauk, behorned barbarian pirates, the Aldhelsi, short fey psionicists, the short and furry Belsorriso known for their charming smile (very Rocket Raccoon-like!), the Skullga, goblinoids with deer-like heads who are excellent shipbuilders and tinkerers, Chanicoids, clockwork beings serving a higher master, and of course, Humans. (The Onauk and the Aldhelsi, along with the Psion and the Astral Sailor are detailed as Classes later in Planar Compass Issue One and also in the Planar Compass Player’s Booklet.) Dreamhaven is actually quite small, but has extensive docks, adheres to Central Ordo Time or the time of Ordo, the plane of Law as marked by a series of clocks around the island, and although there is no night and day, no sun which sets and rises on Dreamhaven, the island keep to a day and night cycle of Central Ordo Time.

‘Beach Psiombies’ is the first of two short adventures in which Palio, still short of supplies, takes the Player Characters out on his clockwork, glass-bottomed boat, to go fishing for dinner. Unfortunately, they reel in something much worse—Psiombies! This is primarily a combat encounter, but again there are some moments for levity. The second shorter adventure is ‘All That Glitters’. Leonid, extravagantly wealthy high-Level Wizard and patron of The Slipstream Bar, covets an item of jewelry, currently in possession of his rivel, the Half-Ogre, Otis. Leonid will pay handsomely, or provide a significant discount to his magical services—including the casting of Teleport if the Player Characters are eager to get off Dreamhaven, if they can retrieve the necklace from aboard Otis’ ship, the Rude Awakening. As written, this is an assault upon the docked ship amidst a Psychic Storm which makes it all very challenging, but it is only the Psychic Storm which makes this encounter interesting. In fact, ‘All That Glitters’ is decidedly underwhelming in comparison to the other three scenarios in the Planar Compass Issue One.

The fourth and longest scenario in Planar Compass Issue One is ‘Deepwarren’. Various inhabits of Dreamhaven have an interest in what might be found in the Deepwarren, so by the time the Player Characters decide to explore it (they have an opportunity to do so earlier, but advised not to), they may have several motivations or at least several employers willing to pay for what they discover. The Deepwarren is a short, but detailed dungeon, which hides several secrets, including Dreamhaven’s  true nature. Revealing that nature has disastrous consequences for Dreamhaven, which will bring the mini-campaign to an exciting conclusion. However, these secrets need not be revealed all at once and if the Game Master hands out the offers of employment in a more piecemeal fashion, the Player Characters can explore the Deepwarren more than once and have the consequences of their exploration play out at a less tumultuous pace. One location in the Deepwarren does consist of a maze and it really does not serve any purpose in the dungeon except to get the Player Characters lost. It is nicely done, but really the Player Characters could just wander around to no real effect. Otherwise, ‘Deepwarren’ is a nicely detailed and flavoursome dungeon whose contents will bring the campaign in Dreamhaven to an end.

Physically, Planar Compass Issue One is very nicely done. It is engagingly written, the artwork is excellent, and all together, it is a lovely little book.

Where Planar Compass Issue One does feel lacking is suggestions on how to get the Player Characters there given the far off and  very strange location of Dreamhaven. Where it disappoints—in a way—is in probably bringing a campaign on Dreamhaven to an end. There is no doubt that it does so in a satisfying and appropriate fashion, but Dreamhaven is such a fun little place to adventure that more scenarios on the island would be more than welcome! After all, pirate coves and haven are not exactly uncommon in roleplaying fantasy, but the combination of its location on the Astral Sea and psionics serve to make Dreamhaven genuinely unique. It would be lovely to have a further anthology of adventures which would get the Player Characters there and give them the opportunity to explore the island a little more before the campaign proper in Planar Compass Issue One begins.

Whether it is the rules for psionics, which are as simple and straightforward as they can be, or the description of Dreamhaven, its inhabitants, and its adventures, Planar Compass Issue One is an impressively fantastic and self-contained first issue of a very well-done fanzine. If Planar Compass Issue Two is going to be as good as Planar Compass Issue One, then fine. If it is better, then Planar Compass Issue Two is going to be very good indeed.

The Old School Psionics Handbook

The Planar Compass series of fanzines takes Dungeons & Dragons and the Old School Renaissance out where it rarely goes—onto the Astral Realm and out between the planes. Of course, the option for travel in this liminal space has always been there in Dungeons & Dragons, most notably from Manual of the Planes all the way up to Spelljammer: Adventures in Space and the Planescape Campaign Setting. Whilst those supplements were for Advanced Dungeons & Dragons, First Edition and Advanced Dungeons & Dragons, Second Edition, the Planar Compass series is written for use with Old School Essentials, and it not only introduces the Astral Realm, but adds new Classes and rules for one very contentious aspect of Advanced Dungeons & Dragons—psionics! These new races and rules are collected in the Planar Compass Player’s Booklet.

The Planar Compass Player’s Booklet does not detail the Astral Realm or the setting’s central location, the port of Dreamhaven. Instead it details the four new Classes found in Dreamhaven and out on the Astral Realm and gives rules for psionics, all without any spoilers for the setting itself. The latter lack is not with its consequences. This is because as in Old School Essentials, in the Planar Compass series, Race is treated as a Class. Since each of the four new Classes in the Planar Compass Player’s Booklet is as much a race as a Class, and the Planar Compass Player’s Booklet is avoiding spoilers, their descriptions do lack context and do feel underwritten in terms of background rather than in terms of their mechanics. Nevertheless, all four Classes are very well presented and nicely adhere to the two-page layout of Old School Essentials which makes them accessible and easy to use.

The first Class in the Planar Compass Player’s Booklet is the Aldhesi, pale, slender, fey demihumans with pointed ear who are psionic warriors. In addition to their psionic powers, they have Planar Resistance, a bonus to saving throws versus effects of any plane they are on; a bonus to saving throws versus Charm and immunity to ghouls’ paralysis; and have an inherent chance of locating a planar portal. They are in effect, ‘space elves’, whereas the Astral Sailor is a swashbuckling or even piratical crewman aboard a vessel sailing the Astral Realm. The Astral Sailor has Swashbuckler, so can fight on uneven surfaces and has a bonus when duelling with a sword against an enemy also wielding a sword; gains a bonus to saving throws versus effects of any plane they are on; and can find safe Harbour, somewhere to sleep and occasionally someone to find information from. In addition, the Astral Sailor has several skills—Astral Navigation, Cartography, Fortune Telling, Heraldry, Looting, Signalling, and Shipwright. These are treated like the Thief Class skills in Old School Essentials.

If Aldhesi are ‘space elves’, then the Onauk look like ‘space orks’ or ‘space ogres’, as they are are tall, blue- or purple-skinned, have horns, enlarged lower canines, and long ears, but are really ‘space barbarians’. Their alien nature means that they suffer a Reaction check penalty, but can go Berserk and gain temporary bonuses to attack, magic resistance, and Hit Points when they attack a single target. They also have the skills of Astral Navigation, Looting, and Shipwright like the Astral Sailor. The last Class is the Psion, which simply specialises in the use of psionics.

What is interesting with two new Classes which use psionics—the Alhesi and the Psion, is that as written the Referee selects their psionic powers rather then the player. The Referee may allow the player to choose, but if not, it does allow her some leeway as what powers a Player Character has and can perhaps tailor them to her scenario or campaign.

Psionics in Dungeons & Dragons has always been a contentious ruleset, since they were either too powerful, not powerful enough, and if neither of those, often too complex to use with ease. The rules for psionics in Advanced Dungeons & Dragons were often regarded as game breakers. Now whilst anyone who has seen or played the psionics rules of Advanced Dungeons & Dragons will recognise much of them in the Planar Compass Player’s Booklet, the rules presented here for use with Old School Essentials are clearer, simpler, and easier to use. The Planar Compass Player’s Booklet devotes more than half of its pages to psionics, psionic abilities, and psionic combat.

A psionic-using Class, like the Alhesi and the Psion has a pool of psionic energy, equal to his Wisdom, modified by his Constitution and Intelligence. This pool will increase with each new Level. Every psionic power—of which there are forty-four listed in the Planar Compass Player’s Booklet—has a range, Power Score, Initial Cost, and Maintenance Cost. The Power Score is the modified attribute—either Intelligence, Wisdom, or Constitution—under which the player must roll to activate the psionic power. The Initial Cost is the psionic energy cost to start it, and the Maintenance Cost the amount to keep it going from one Round to the next. For example, Body Equilibrium, which allows a Player Character to adjust his weight so that he can walk on water or quicksand, has a Range of Self, a Power Score of Con -3 (meaning that the player must roll under his character’s Constitution score after it has been reduced by three), an Initial Cost of two psionic energy, and a Maintenance Cost of two psionic energy per Round. Some psionic powers require the user to make contact with the target and this increases the psionic energy cost. Overall, the list and abilities of the psionic powers is straightforward and easy to use.

Psionic combat involves Attack Modes and Defence Modes. The former includes Ego Whip, Id Insinuation, Mind Thrust, Psionic Blast and Psychic Crush, whilst the latter includes Intellect Fortress, Mental Barrier, Mind Blank, Thought Shield, and Tower of Iron Will. Psionic combat does require psionic contact with the target and rather than rolling against an Armour Class or similar factor as in normal combat, opposed rolls are made by those involved in the combat. The roll is modified by the attack mode used against the defence mode, so Ego Whip has a -4 modifier against Intellect Fortress, but a +5 modifier against Mind Blank. Apart from Psychic Crush, none of the attack modes actually do damage. Rather they inflict an emotional state, like Ego Whip making the target feel insignificant, or even believing that they have lost almost all of their Hit Points, as with Mind Blast. The various defence modes also allow a psionicist to use or maintain another power in addition to the defence mode.

The rules for psionics presented in Planar Compass Player’s Booklet are neither rule breaking nor game breaking. The combat rules are specifically designed for psychic duels between psionic Classes and psionic monsters, rather than using on the non-psionic, and whilst their effects can be devastating, they are not about blasting enemies with mental power to reduce mere Hit Points. They have a much more mental effect than that. Similarly, few of the psionic powers are designed to be offensive—telekinesis and body weaponry being amongst the few exceptions, but rather useful abilities. This does not means that an inventive player could not find a potential offensive use for some of them, but that is not how they are necessarily written. Overall, these really are a solid set of rules with which to introduce psionics to Old School Essentials.

Of course, the Planar Compass Player’s Booklet is designed to be used with the Planar Compass setting. If however, the contents of the Planar Compass Player’s Booklet are added to an existing game—and they can be, they will change a game. They introduce new powers and abilities which require new rules and a new level of complexity—not necessarily all that much, but some—and having psionic Player Characters means having psionic NPCs and monsters and so on. That said, the rules for psionics are specific to the two Classes—the Alhesi and the Psion—and there is no means of other Classes gaining them presented in the Planar Compass Player’s Booklet. Which means no sudden power rush or increase in complexity because everyone has them, and ultimately, it means that they remain specific and special. That said, it is not difficult to look at the psionics rules in the Planar Compass Player’s Booklet and wonder just a little, about an Old School Renaissance version of Dark Sun—or something very like it.

Physically, the Planar Compass Player’s Booklet is well written and nicely presented. The artwork is excellent throughout and everything is very readable and easy to grasp.

Ultimately, the Planar Compass Player’s Booklet needs the Planar Compass series of fanzines to come into its own. As a companion volume to that series, it does exactly what it should, present four Classes and a major rules addition associated with two of the new Classes in an accessible fashion. As a supplement on its own, it is understandably less useful, but for the Game Master and group who want to add psionics to their game, the Planar Compass Player’s Booklet is a good choice. The rules are clearly explained and do not overpower play because psionics are limited to the two new Classes. For the Game Master and her group who want to take their game onto a cosmic level, the Planar Compass Player’s Booklet is a handy little start.