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Showing posts with label Vikings. Show all posts
Showing posts with label Vikings. Show all posts

Friday, 24 July 2026

Friday Fantasy: The Cursed Farm

It is midsummer, and Hrafn Reginsson, the local goði, asks the Player Characters for help. He asks them to visit the farm of a distant neighbour, Björg Finnsdóttir, who unexpectedly and uncharacteristically, has requested his help. He fears that the situation must be fraught if she is asking for his help. When the Player Characters arrive, it appears that the goði’s fears are well placed. Björg Finnsdóttir’s farm has clearly fallen into a state of disrepair and disarray. The kale patch has overgrown and seems to rustle strangely; the barley field has been trampled and its soil churned up by several cows that aggressively rove its extent; and then there is Björg Finnsdóttir’s pride and joy, a grove of red currant berry shrubs that made the farm famous for miles around, now reduced to burned and shattered stumps. Björg Finnsdóttir herself—and her family, which includes two farmhands, are tired and drawn, clearly deeply concerned at their plight and that of the farm. This is the situation that the Player Characters find in The Cursed Farm.

The Cursed Farm is a scenario for Age of Vikings: The Roleplaying Game, the low fantasy, deeply historical game published by Chaosium, Inc. and designed to help tell stories of home, hearth, and honour, myth and magic, and bring new sagas to life. Subtitled ‘An Introductory Scenario for the Age of Vikings Roleplaying Game’, it is designed as a first scenario be played for the roleplaying game and in many cases it has been. That said, it is not designed as a quick-start. In other words, it does not come with the rules necessary to play it, although links are provided so that the Game Master has a set of ready-to-play Player Characters. Instead, The Cursed Farm works as a demonstration scenario. It not only tells a tale of how dark Viking magic can come to affect the innocent, of past lives, and misplaced ambitions, but involves a classic Norse monster too! Further, it can be run in a single session. This means that is very easy add to a campaign, to be run as a showcase for the Game Master’s own group, or run as a demonstration scenario at a convention. In the case of the latter two options, this includes teaching the rules to the players. The rules themselves are not difficult to learn and anyone with experience of Basic Roleplaying: Universal Game Engine will pick them up with ease.

The family will quickly reveal what they know and the Player Characters are free to examine the farm and its current state, and will very likely discover that as the title of the scenario states, that it is cursed. The Second Sight skill is important here and a mixture of interaction and perception skills will play a major part in determining what is happening at the farm. The likelihood is that the Player Characters will quickly track down the source of the curse and deal directly with it. This can result in combat, and in particular, there is a chance for a warrior and his honour to shine, and even ultimately benefit. Combat is not the only solution though, and the source is willing to communicate and wait. That said, the Game Master is given an optional combat encounter if the Player Characters have avoided combat so far or if she wants to add another combat encounter. Ultimately, resolving the situation in The Cursed Farm relies upon interaction and perception. To that end though, the NPCs are simply drawn and the Game Master will need to strengthen their individual characters in her portrayal of them. This is due more to the limited page rather than any other reason.

Physically, The Cursed Farm is solidly presented. It is well written, easy to understand, and quick to prepare, and the artwork is good. The cartography, done in colour and black and white, with versions for both the players and the Game Masters, is clear and easy to read.

The Cursed Farm is good little scenario for Age of Vikings: The Roleplaying Game. It is straightforward and easy to prepare, whether to add to a campaign or run as a demonstration, and gives a good flavour of Icelandic horror and mystery.

Saturday, 18 July 2026

[Free RPG Day 2026] Age of Vikings Quickstart

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.

—oOo—

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

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

—oOo—

What is it?

Age of Vikings Quickstart: Further Adventures in a Land of Sagas and Mystery is the quick-start for Age of Vikings: The Roleplaying Game, the low fantasy, deeply historical game published by Chaosium, Inc. and designed to help tell stories of home, hearth, and honour, myth and magic, and bring new sagas to life.

The
Age of Vikings Quickstart is a thirty-nine page, 8.38 MB full colour PDF.

How long will it take to play?
The Age of Vikings Quickstart
includes the scenario ‘Belly of the Beast’. It can be played in roughly two hours.

What else do you need to play?
The Age of Vikings Quickstart needs a standard set of polyhedral dice.

Who do you play?
The Age of Vikings Quickstart includes four pre-generated Player Characters. They include two warriors, an archer, and a skaldic poet.

How is a Player Character defined?
A Player Character in the Age of Vikings Quickstart is defined by his name, his Passions and Devotion to a single god, characteristics and skills, and personality. A Player Character’s Passions represent his values and emotional desires, and in play, they can drive him to act (and mechanically grant a bonus) and bring him into conflict with others. He starts with three: Honour, Loyalty (goði), and Love (Family). The seven characteristics are Strength, Constitution, Size, Dexterity, Intelligence, Power, and Charisma. These are rated between three and eighteen, although the minimum value for Size and Intelligence is eight. Skills include combat skills and standard skills. A Player Character’s Devotion is made to the gods that he most values and can draw upon for inspiration, represented by points of Dedication that grant him a bonus when acting according to their ideals and then spent. For example, the ideals for Baldur are light, happiness, and peace, whilst those for Óðinn are magic, war, and wisdom.

The Player Characters in the Age of Vikings Quickstart are stripped down versions in comparison to those that can be created using the full rules in Age of Vikings: The Roleplaying Game. What is not included are the Spirit Animal, Family details, and extra Devotions that such Player Characters will have. Full versions of the demonstration Player Characters are available, but not all of the rules in Age of Vikings are used in the Age of Vikings Quickstart. An experienced Game Master for Age of Vikings could easily run the scenario in the Age of Vikings Quickstart using standard Player Characters, whether the demonstration versions or ones created by the players.

How do the mechanics work?
The Age of Vikings Quickstart uses the Basic Roleplaying: Universal Game Engine as its mechanics and is thus a percentile system. Rolls equal to, or lower than the value of the characteristic roll or the skill, and a character succeeds. A characteristic roll is typically a characteristic multiplied by three, but can be higher or lower depending on difficulty. Any result of ninety-six and above is always a failure and can be a fumble, whilst a roll of one twentieth a Critical success (the full rules also also for a Special success).

Rolls can be augmented with another skill or Passion. A successful augmentation roll will apply a bonus, which will be better with a Critical success. A failed augmentation levies a penalty whilst a Critical failure results in the temporary despair of the Player Character. Devotion points can be spent to gain a bonus and Player Character can also call upon his Wyrd to change his fate. This turns a failed roll into a successful roll, but at the permanent cost of a point of Power. Do this too often and a Player Character’s Wyrd or fate has played out.

How does combat work?
The combat rules in the
Age of Vikings Quickstart and Age of Vikings are skill-based. Order of action is based on Dexterity, and during a round, a combatant can move, act or attack, and defend. Attacks can be dodged or parried and armour deducts damage, as does a shield, but only a few points in each location. Damage is done by location, but if the Hit Points in a particular location are reduced to zero, a limb becomes useless, the combatant is left bleeding to death, or knocked unconscious and dying. Damage done to locations is also applied to general Hit Points and reducing those will knock a combatant unconscious. First aid is available, but natural healing takes weeks. (Age of Vikings includes rules for healing magic.)

How does magic work?
The Age of Vikings Quickstart does not include rules for magic. Age of Vikings: The Roleplaying Game details two types of magic. These are Rune magic, which uses the Elder Fúþark and can be cast relatively quickly, and Seiður magic, which requires ritual casting and takes much longer to cast.

What do you play?
The Age of Vikings Quickstart includes the scenario ‘Belly of the Beast’. It beings in media res with the Player Characters waking up to find themselves in a strange tunnel after their boat encountered the kraken! They must extract their boat before it gets crushed and attempt to climb up out of the temple. Fortunately, the Player Characters are not alone in the tunnels and can find allies who will help them as they try and find their way out. They will also encounter monsters. The fight is clearly staged with advice and instructions for the Game Master on when the Player Characters act, what they might do, and how the monsters work. The final scene is treated in the same way.

‘Belly of the Beast’ is short and linear, but it clearly teaches the rules and advises the Game Master on how to handle and stage its encounters. There is some limited opportunity for roleplaying, but the main focus of the scenario is on action and combat. As its title suggests, the action of the scenario takes place within the belly of the Kraken from which the Player Characters must escape. It is a great set-up and the tale of escaping from it is worthy of a saga.

Is there anything missing?
No. The
Age of Vikings Quickstart has everything that a Game Master needs to run the included scenario.

Is it easy to prepare?
Yes. The
Age of Vikings Quickstart is direct and to the point and the advice makes the rules easy to understand and the various scenes easy to run.

Is it worth it?
Yes. The Age of Vikings Quickstart is a well done, solid introduction to the basics of Age of Vikings: The Roleplaying Game. It clearly explains both rules and the action of the scenario.

The Age of Vikings Quickstart is published by Chaosium, Inc., and is available to download here.

Sunday, 1 February 2026

Icelandic Stories

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Saturday, 29 June 2024

Runes & Ragnarök

Ragnarök has fallen and the Twilight of the Gods nears when all will end, as the Norns have foretold from the beginning. The celestial wolves, Skoll and Hati, have finally chased down the Sun and the Moon, and in devouring them plunged Midgard into a time when there is little difference between day and night. The howl of Garm, Hel’s hound, has been heard all across the realms of Yggdrasil, and Fimbulwinter has fallen on Midgard, blanketing all of the known lands in ice and snow so that no man can sow seed or raise crops, and man has been set against man, family against family, karl against karl, kingdom against kingdom, as food and resources grow scare and they are forced to fight to survive. Where the Vikings once raided foreigners for gold and other plunder, and were greatly feared across all of Midgard, now they raid each other. It is the Sword Age, the second act of Ragnarök, the Wind Age when Surt, the Jotun Keeper of Fire, will lead his fiery host across Bifrost Bridge lay siege to Asgard is yet to come. Beyond that lies the Sword Age, when the final battle will be joined between the gods—or Aesir—and the Jotun and Surt will split the sky with a sword brighter than the sun and so set Yggdrasil ablaze with divine fire. After that, who knows? As the gods and the Jotun prepare for battle, the people of Midgard are faced by another threat—the crusaders of the White Christ ride from the south to drive out all Aesir and Jotun, and convert at the point of the sword. Yet even in this time of great stress and desperation, as the gods prepare for war against the Jotun, as in tales and sagas told of old, there is the need for heroes, for mighty warriors, clever skalds, and wily witches, to stand against the chaos of now and the chaos to come. Some will fall in the fight, some will return, and many will take inspiration from those who have fallen before them! Will they change destiny or will they embrace the fate of Midgard and the other realms of Yggdrasil as was foretold?

This is the set-up for Fate of the Norns: Ragnarök, a roleplaying inspired not only by Norse myths and sagas, but by the Norse runes too. Published by Pendelhaven, Inc., this is a radically immersive roleplaying game that presents its end of days in swathes of swallowing black, blanketing white, and fiery orange and engages the players and their heroes through thematically appropriate, but challenging mechanics. Make no mistake, there is a steep learning curve to Fate of the Norns: Ragnarök, both in terms of learning to play and teaching to play. This is because Fate of the Norns: Ragnarök is a diceless roleplaying game, instead using the Norse runes or Futhark, as a gaming mechanic. Therein lies one of the first issues with Fate of the Norns: Ragnarök—and that is the degree of buy-in upon everyone’s part. Every player requires his own set of Runes, tokens marked with the Futhark, plus a bag from which they can be dawn. These Runes can be cardboard, but there are more expensive options, including a set of steel Futhark! A print and play option is readily available, but they are not as effective and lack the impact of drawing something physical and uncertain from a bag. In addition, playmats are required for various aspects of the game’s play, and admittedly, all of this combined, especially with the pulling of the Runes from the bag gives Fate of the Norns: Ragnarök a very physical feel at the table.

A Player Character in Fate of the Norns: Ragnarök is a Dweller, an inhabitant of Midgard, whereas the NPC inhabitants are called Denizens. He has three types of Runes—Physical, Mental, and Spiritual. They range in value for a Dweller between one and six, one being weak in that area, whilst six represents the peak of human potential. Beyond that and the Viking is approaching the gods in terms of his abilities. The Runes are colour coded to the three types of Ayetts of the Futhark. Red Ayett for Physical, blue Ayett for Mental, and green Ayett for Spiritual. There are a total of twenty-four Runes, eight per Ayett, plus an extra one, Void, which represents the spaces between the branches of Yggdrasil, and also a Viking’s soul. A Dweller’s life force is represented by Essence, which is also the number of Runes he knows. Destiny is the Dweller’s ability to affect the world around him, represented by the number of Runes his player can draw when resolving an action. The actual drawing process is known as the Wyrd, meaning ‘to reveal your destiny’. In addition, a Dweller knows a number of active powers, passive powers, and skills equal to his Essence for each. Thus, if he has an Essence of six, he knows six active powers, six passive powers, and six skills. These are mapped or bound onto the Runes.

To create a Dweller, a player spends points on Essence and Destiny based on the Level that the Norn—as the Game Master is known in Fate of the Norns: Ragnarök—with Destiny costing more than Essence. It is also possible spend the points of Level on upgrades such as ‘Troll-Blood (Aspect)’ or ‘Legend/Infamy’, but these require the character to have Dwellers in the heavens, that is, previous characters having died and gone on valiantly to fight in the afterlife. So, they are not available necessarily until a player has lost one or more characters in heroic circumstances. When they are available, they grant access to certain powers and skills. The player then performs a Wyrd, drawing Runes from his bag equal to the decided upon Essence. A player can also draw for his character’s personality, motivation and ambitions, social standing—which includes net worth and literacy, social connections, and name. These are all optional, but do add flavour to a campaign.

Then the player choses an archetype. Five of these are given in Fate of the Norns: Ragnarök and each comes with three specialisations. The three archetypes are the Galdr, who wields rune magic; Maidens of Ratatosk are mischief-makers who seek adventure; Seithkona are witches who inflict spiritual damage; Skalds have been blessed with the Mead of Poetry; and Ulfhednar are warriors who fight like wolfpacks. Each of these has three specialisations. For example, the Maidens of Ratatosk have the Death Dancer, who inspires her allies and frustrates her foes with a flawless mix of death and grace; the Scorn Dominatrix, a dark flower in a bed of weeds capable of distracting her opponents; and the Aggravatrix whose insults and taunts drive her opponents into a rage! In general, the female Archetypes are more interesting than the male or the shared Archetypes, and another issue is that five is not enough! Fortunately, supplements such as Fate of the Norns: Ragnarök- Denizens of the North and Fate of the Norns: Ragnarök- Lords of the Ash.

Each Archetype has not one, but three seven-by-seven boards. There is a board each for each Archetype’s Active Powers, Passive Powers, and Skills. There are some base options that Dweller of the Archetype and Specialisation should always have, tied to his Void, and after that, whenever a Dweller gains a Level and higher Essence, he can select other connected options from the board, as well as adding more Runes to his bag to be drawn for the Wyrd. The very outer edges of each board only became available, like the Upgrades when one or more of a player’s Dwellers have died.

Name: Biflindi
Level: 20
Essence: 12
Destiny: 4
Physical: 4
Mental: 3
Spiritual: 5

Archetype: Skald
Specialisation: Poet
Active Powers: Night of the Long Knives (Spell Song) (Void), Melody of Discord, Muspeli Nightmares, Meadows of a Vanagard, Analytical Power Stance, Evasive Manoeuvre, Lunging Attack, Versatile Combat Manoeuvre, Backstab, Power Attack, Apples of Idun, Arcane Shield, Devour Thought
Passive Powers: Suave Singers (Void), Warrior of Song, Carried by Song, Stealthy Striker, Tactician, Fleet-Footed, Insight, Mob Mentality, Leaping Striker, Nimble, Agility, Tactical Advantage, Combat Awareness
Skills: Survival Urban (Void), Sense Motive, Read and Write, Drinking/Wenching, Verbal Manipulation, Omens/Portents, Lore: Personas, Etiquette, Lore: Locales, Perform, Riding, Perception, Lore: Arcana, Feather Fingers

Personality: Cynic
Motivation and Ambitions: Secrecy
Social Standing: Undertaker
Social Connections: Town Guard

Mechanically, under the Runic Game System of Fate of the Norns: Ragnarök, when a Dweller wants to undertake an action or perform a skill, his player performs a Wyrd equal to his Destiny. The aim is to draw enough Runes of the right Ayett to successfully perform the action or skill. A player can also morph two Runes of another Ayett into the right one. Each successfully drawn Rune reduces the difficulty of a task, ranging from one for Trivial to five for Unlikely. If it is reduced to zero, the Dweller has been successful, but if the difficulty has been reduced to one or two, it is possible to achieve a marginal or imperfect success. The difficulty is also reduced by the skill level possessed by the Dweller. That sounds simple enough, but a player’s Runes are tracked back and forth across a play mat, whether they are in-play or in-hand, the latter being held to activate Active Powers and thus shift them to the appropriate spaces on the Play Mat. Combat and spellcasting use the same mechanics, plus, in order to use Active Powers, a player will be chaining Runes in order to activate and maintain them, and this requires more knowledge of the Runes and the mapping out of the Rune Chain on a hex map. All of which, when combined with the Play Mat, the boards for the Active Powers, Passive Powers, and Skills, and so on, makes for a very busy table and a lot for each player to keep track of. Fate of the Norns: Ragnarök works very hard to teach the rules and show each of these aspects of the game work, but it is a lot to take in and grasp.

For the Norn, there is a great bestiary of Denizens and Thanes. These include some very familiar to the genre and the culture, including the Crusader, familiars such as cats and ravens, polar bear, trolls, and winter rusalki. They are joined by the less familiar, like the Haugbui, cursed undead bound to remain in the land of the living or less familiar versions of the familiar, like Kobolds who wield illusions, telekinesis, and shape changing. Others, like the Mugger and the Zealot, represent Denizens forced to desperation by the changed circumstances of Midgard. Besides a handful of magical items, there is a treasure generator, and also ‘The Saga’, intended as an introductory scenario. It is based on the 13th-century story, ‘Egil’s Saga’. It gives some guidance to Dweller creation and is designed to be played by Ninth Level Dwellers. It is set on the islands of Atloy and Saudoy, to which the owner, Bard, invites King Erik Bloodaxe to a ceremony that will honour Erik’s father, the former king, and also the Vaettir, the spirit native to the island. The Dwellers are forced by a storm to stay on the island as the ceremony takes place and get to feast and participate. Unfortunately, the festivities take a bad turn when the host is killed and the King orders the murderer found. This is an excellent scenario, nicely detailed and nuanced, with scope for the Dwellers to side with the king or even with the culprit if he is found. There is the chance for the Dwellers to prove themselves worthy heroes in the eyes of the king as well and they will probably come away well rewarded. Lastly, Fate of the Norns: Ragnarök includes all of the various Play Mats and play aids that the Norn and the players will need to play the roleplaying game.

Physically, Fate of the Norns: Ragnarök is a fantastic looking roleplaying game. The artwork is superb, echoing a style that British readers will recognise as similar to the classic children’s animated series, Noggin the Nog, but full of mythic power and energy. The writing could be clearer, but the book does try.

Fate of the Norns: Ragnarök is a fantastically thematic roleplaying, bringing to life the heroics of the great Norse sagas at the Twilight of the Gods. That theme shows in the use of the Runes throughout as the mechanic and in the very physicality of the Wyrd, the drawing of the Runes and placing then to power abilities and so be mighty heroes of the age. Yet both are an impediment to play. Fate of the Norns: Ragnarök is not a roleplaying game that can be simply picked up and played. It has to be learned and it has to be taught. That takes commitment. It also has to be supported physically. That too, takes commitment. Fate of the Norns: Ragnarök is the Norse-est of Norse roleplaying games, a game that will deliver a Viking roleplaying experience like no other, but the commitment required means it is no mere casual game.

Monday, 12 September 2022

Miskatonic Monday #128: Branches of Bone

Between October 2003 and October 2013, Chaosium, Inc. published a series of books for Call of Cthulhu under the Miskatonic University Library Association brand. Whether a sourcebook, scenario, anthology, or campaign, each was a showcase for their authors—amateur rather than professional, but fans of Call of Cthulhu nonetheless—to put forward their ideas and share with others. The programme was notable for having launched the writing careers of several authors, but for every Cthulhu InvictusThe PastoresPrimal StateRipples from Carcosa, and Halloween Horror, there was Five Go Mad in EgyptReturn of the RipperRise of the DeadRise of the Dead II: The Raid, and more...

The Miskatonic University Library Association brand is no more, alas, but what we have in its stead is the Miskatonic Repository, based on the same format as the DM’s Guild for Dungeons & Dragons. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

—oOo—

Publisher: Chaosium, Inc.
Author: Michael Reid

Setting: Dark Ages England
Product: One-shot
What You Get: Forty page, 8.18 MB Full Colour PDF

Elevator Pitch: Locked Room Horror Hell in a House of Worship
Plot Hook: Survival horror in the Dark Ages as a Viking raid unleashes an abhorrent arboresque aberration
Plot Support: Staging advice, eight handouts, one Keeper handout, six pre-generated Investigators, a spell, some NPCs, and five Mythos monsters. 
Production Values: Decent.

Pros
# Single-session, countdown horror
# Locked room (monastery) situation forces co-operation
# Pictorial handouts
# Entertainingly wooden twist upon the zombie
# Clue rich
# Includes Viking mini-supplement
# Dendrophobia
# Goat-chicken thing

Cons
# NPCs need more detail
# No Viking names
# Investigation-Monk communication requires careful handling
# Tight timeline

Conclusion
# Tightly plotted and timed, locked room (monastery) mystery which forces the Player Characters to co-operate with those they are raiding if they are to survive.
# Survival horror in the Dark Ages in which the Player Characters need to overcome the language barrier for the scenario to really work.

Friday, 18 March 2022

Apocalyptic Axe Action!!!

It is the year 10,191. Urth, the last refuge of humanity is marked with smoke-filled skies, a fractured surface smashed by centuries of warfare and bombardment, whilst firestorms of pyroclastic heat scour the land in. The planet is orbited by the stone cathedral ships of the Infinitum—the empire known as the ‘War Pigs’—amidst a thick field of debris and broken ships and corpses known as the Death Cloud, which rain down death and destruction, and launch assaults by their Borg battalions. Worse, the constant attacks and bombardments have awoken the forces of Hell and driven literal Hellholes from which legions of demons crawl to seek out the last of mankind. Caught between mighty enemies above and below, humanity hides in the cracks, avoiding conflict apart from the rebel bands known as the Screaming Skulls—and they have pulled off not one coup, but two. The first was through a slave engineer forced to work the War Pig vessels, who managed to persuade some of the Infinitum’s mightiest warriors to join the cause of saving humanity! These are the Immortals, clones of the Viking warriors of old, equipped with mighty blades and wearing massive suits of armour, standing ten feet tall, and imbued with the sense of honour they had in the past. For millennia they have been kept in cryostasis, destined to fight and die, and then return to the Infinitum’s Grave Ships to live and fight again. The second was to permanently disable the Grave Ships. The Immortals can now die, and there are only a few of them left. Only the Immortals are capable of taking the fight to both the War Pigs and Hell itself. Will they save humanity before they all die?

This is the setting for Viking Death Squad, a roleplaying game of Heavy Metal fighting, death, and honour in the very far future, inspired by the song, War Pigs, by Black Sabbath. Published by RuneHammer Games, this is a roleplaying game in which the Player Characters go on desperate missions against dark and dangerous foes, knowing that every hit they take could be their last. No mere human can withstand the damage dealt by weapons in the hundredth century—one blow is enough to kill a man, and no Immortal has been known to survive more than three. So they enter every fray in great layers of armour, and when that is smashed, they scavenge Urth’s seemingly endless battlefield for more! Healers are for the weak and those still in the refuges where mankind skulks—on the battlefield, the Healer scrounges up replacement pieces of armour! In addition, the Screaming Skulls can use spell stones, limited use magic, and even Blood Runes, which they can carve into themselves. This is also a roleplaying game with a built-in end—there are only ten Immortals alive in the hundredth century, and when the last one dies, so does hope for all mankind.

A Player Character in Viking Death Squad has six stats—SPEED, WITS, GUTS, AIM, POWER, and RESOLVE—rated between one and six. He also has a Type, either Human or Immortal, which provides some bonuses to stats, plus some skills, and a Role, which also provides bonus skills and the number and types of gear he begins play with. An Immortal typically only begins play with two skills, whereas a Human typically has three or four. The roles also differ for Immortals and Humans. For the latter, there is Hijacker, Grave Robber, Exorcist, Assassin, Junker, Excavator, and more, whilst for the former, there is the Viking Warrior, Shield Maiden, Visigoth, Mariner, Berserker, Trickster, and so on. There are hints in these, as there is elsewhere in Viking Death Squad, to classic gods of the Norse pantheon, but these flavour the setting rather provide in-game benefits. In terms of background, a Player Character has an Oath which he must fulfil, a Debt owed to an organisation or person, and a Code, something that he will never do, no matter how bad the situation becomes.

Character creation consists of choosing a Type, assigning points to stats, choosing a Role, the Background options, and some gear. Alternatively, a player can roll for some of these, but this is definitely an option. The process, though, begins with a player thinking about his character role in terms of what he will do in play. These are very much informed by MMORPGs, so ‘Defender/Tank’, ‘Slayer/Damage’, ‘Supporter/Healer’, ‘Scout/Control’, and ‘Nuke/Utility’.  These are very base concepts though, and not really followed through in the rules. So there is no guidance on how to create characters based around the concepts. Nevertheless, character creation is straightforward with an interesting range of types.

Ragnar the Rager
Type: Immortal
Role: Berserker

Background
Oath: Destroy the War Pigs entirely
Debt: A human broke you free of your cryo chamber and you owe him
Code: You refuse to use guns

SPEED 3 WITS 2 GUTS 3 AIM 1 POWER 4 RESOLVE 1

Special Skill: Sunder
Skills: Chains 3 Fearless 1 Whirlwind 2

Gear: Iron Chains, Hag Stones, Thermite Blow Torch, Insect Shield (+1d Surprise), Gorgo Shell (+1d Power, undetected amongst insects), Retread Pauldrons (+1d Surprise), Slip Vest (Immune to blades)

Mechanically, Viking Death Squad uses a dice pool mechanic of six-sided dice. If a player wants his character to undertake an action, he rolls the appropriate stat and attempts to beat a target number. This target number is determined by a similar die roll made by the Game Master, which varies from two to six dice depending upon the difficulty. Alternatively, skills are rolled for their special effects. For example, the Combat Repair skill enables a character to repair a piece of gear for each four, five, or six rolled, whilst for the Chains skill, for each four, five, or six rolled, the character can inflict one hit, grapple a foe, or catch an anchor point to pull or climb.

To augment a roll, a player has two choices. One is to Push his character’s gear. This can add a die to the roll, hit more than one foe with an attack, throw a melee weapon, reduce the target number, narrate an extra effect, or destroy armour completely without rolling a critical result. The other is to expend Resolve to add more dice to the roll. Both have their downsides. Resolve is a limited resource, but is restored after a safe rest, whilst Pushing gear damages the item. Push that piece of gear three times and it is destroyed.

There are a couple of results on a roll other than a simple success. A Critical success is achieved on a roll of twelve higher than the target number. This means that the roll achieves the maximum narrative effect, the character completely destroys a piece of armour worn by the enemy, can take another turn immediately, gain a tick on a Blood Rune, or two on a skill. A Critical success is also achieved if the player rolls six on three dice, but the character also refills his Resolve. Players are also invited to recite Iron Maiden’s Number of the Beast, and the Game Master to bring Lucifer’s influence into play…

Combat is intended to be fast and furious. Speed is rolled to determine who goes first in combat and how hard they are to hit, so is a vitally important stat. Then rolls are made to hit and their effects determined and narrated. Range is either Arm’s Length, Ranged, or Out of Reach, and hits are inflicted to destroy armour. After that, hits are deadly. Although there is no healing in Viking Death Squad, armour can be replaced, repaired, or even scavenged—even on the spot and in the middle of battle.
For example, Ragnar the Rager and his band are on their way to a settlement when they  come across an attack force of twenty-two Borg led by two Hulk Borgs intent on assaulting the settlement. They decide to ambush them. The Game Master rolls four six-sided dice for Hulk Borgs’ Speed, for a total of thirteen. Rager’s player rolls three six-sided dice for his Speed and gets fifteen. First there is the matter of the ambush. Rager’s player assembles his dice pool—three for his Chains skill, three for attacking from ambush, plus two for his Insect Shield and Retread Pauldrons. This gives his player eight dice and he rolls one, two, three, six, six, six, and six, for a total of thirty. So a Critical, but not the Number of the Beast. This means Rager gets another turn and two ticks on his Chains skill. For the six, six, six, and six on the roll, he inflicts one hit each. However, he also has the Whirlwind skill, which is rolled after a successful melee attack and inflicts another hit for each six rolled. Rager’s player rolls the two dice for that and gets a four and six, inflicting another hit. This gives him a total of five hits. Normally, that would be against one target, but Rager’s iron chains attack two targets, so both Hulk Borgs are hit. Hulk Borgs have five Armour and Rager’s player narrates how Rager leaps down into the ravine and with a divine roar, the chain whips back and forth ripping armour from the cyborg monstrosities.

Rager’s turn would end there, but the Critical hit got him a second turn. He does not have surprise though, which means no bonus dice from that, and so is only rolling the three dice for his Chains skill. This time, his player decides to use a point of his  Resolve and adds an extra die to give him four dice. He rolls three, three, five, and five. This is two hits and again, will affect both targets. Rager’s player fails to roll any sixes on his Whirlwind skill, but two hits on the two Hulk Borgs because of his Iron Chains, is enough to shatter them as neither has any armour left. Rager looks up at his fellow members of the Screaming Skulls and roars! It is up to them to take down as many of the ordinary Borg before they swarm him. Above him, they open up with their guns…
Both magic and advancement in Viking Death Squad are simple. Spell Stones can be used by all and each stone has a straightforward effect which can be used three times before it crumbles, like Shield Stone, which absorbs one attack against the caster, or Loki’s Pebble to create illusions for a few turns. The Runes skill also allows a character to carve a one-use Spell Stone effect on a nearby surface. For advancement, successful skill use gets a tick—or two if the roll was a Critical—and five ticks get a skill increase of one die. A Player Character’s Resolve pool is both refreshed and increased by one die after each session, and Critical hits also add a tick towards the three needed to gain a Blood Rune. Blood Runes are engraved on a Player Character’s skin for a permanent, but powerful effect. For example, an increase of the POWER stat, the ability to select an enemy on the battlefield and ignore its armour, or gain three Deaths like an Immortal (if Human) or erase any previous Deaths (if Immortal). A Player Character can have four Blood Runes.

For the Game Master, Viking Death Squad provides quite a lot to play with. The background is sketched out in broad, but flavoursome detail. This includes the twenty or so important locations across the ruined Urth, the great fungal forest across Eurasia; the nature of Hell and its ongoing civil war between Lucifer and Azael the Butcher; and the fact that technology is solid state and weird and alien rather than relying upon electricity or fossil fuels. What new technology there is, or at least new equipment, is made from solid, single materials, for example, an iron helm or a stone maul. ‘Relic Tech’ can be scavenged though, and the Player Characters can expect to find guns which shoot flaming skulls, swords sheathed in ice, and more. Further, in terms of its background, Viking Death Squad does not hide its secrets. All are there for the Game Master to read and then use in her game.

Viking Death Squad also comes with five ready-to-play pre-generated Player Characters—the Moldy Bunch; ‘The Dogs of Leadgrave’, a short adventure in which the Player Characters investigate why the town of Leadgrave is constantly being attacked by cyBorg dogs; and over twenty foes, including various types of Borgs, giant insects, Iron Dragons, the animated dead, sentient and toxic Tar, and gigantic unkillable Tardigrade Beasts. All have a Tactics roll, a table which the Game Master can roll on to determine how the foe acts from round to round. There is good advice too on running Viking Death Squad and the book is rounded out with ‘Blood and Justice’, a complete nine-part mini-campaign.

Physically, Viking Death Squad is well presented, with some fantastically oppressive comic-style artwork which captures the heavy metal style of the game. However, as written it feels slightly fragmented and not as well organised as it should be, plus it is underwritten in places. In particular magic and the general mechanics could have been done with a clearer explanation, plus the underlying concept behind character creation be developed rather than ignored.

With limited lives available to the Player Characters, Viking Death Squad is not meant for long term play, but rather one-shots or mini-campaigns. Indeed, a Game Master could run ‘Blood and Justice’ and be done with the game, though there would still be aspects of Urth in the year 10,191 still to explore—and there is plenty of scope in Viking Death Squad’s setting for the Game Master to develop. These could even form mini-campaigns of their own and companion, perhaps detailing further campaigns and perhaps firming up some of the rules would not be unwelcome.

Viking Death Squad is meant to be played fast and furious, a roleplaying game of bombast and blast, action and adversity, heroism in a far future of hard horror and heavy metal. Unsubtle and unrestrained, Viking Death Squad demands that you rock your roleplaying and swing your mighty axe to smash the future!

Saturday, 26 September 2020

[Free RPG Day 2020] LEVEL 1 - volume 1 2020

Now in its thirteenth year, Free RPG Day in 2020, after a little delay due to the global COVID-19 pandemic, took place on Saturday, 25th July. As per usual, it came with an array of new and interesting little releases, which traditionally would have been 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. Again, global events meant that Gen Con itself was not only delayed, but run as a virtual event, and likewise, global events meant that Reviews from R’lyeh could not gain access to the titles released on the day as no friendly local gaming shop was participating nearby. Fortunately, has been able to gain copies of many of the titles released on the day, and so can review them as is the usual practice. To that end, Reviews from R’lyeh wants to thank both Keith Mageau and David Salisbury of Fan Boy 3 [https://www.fanboy3.co.uk/] in sourcing and providing copies of the Free RPG Day 2020 titles.

LEVEL 1 - volume 1 2020 is a little different. Published by 9th Level Games, Level 1 is an annual RPG anthology series of ‘Independent Roleplaying Games’ specifically released for Free RPG Day. LEVEL 1 - volume 1 2020 is a collection of fifteen featuring role-playing games, standalone adventures, two-hundred-word Roleplaying Games, One Page Dungeons, and more! Where the other offerings for Free RPG Day 2020—or any other Free RPG Day—provide one-shot, one use quick-starts or adventures, 
LEVEL 1 - volume 1 2020 is something that can be dipped into multiple times, in some cases its contents can played once, twice, or more—even in the space of a single evening! The subject matters for these entries ranges from the adult to the weird and back again, but what they have in common is that they are non-commercial in nature and they often tell stories in non-commercial fashion compared to the other offerings for Free RPG Day 2020. The other differences are that Level 1 includes notes on audience—from Kid Friendly to Mature Adults, and tone—from Action and Cozy to Serious and Strange. Many of the games ask questions of the players and possess an internalised nature—more ‘How do I feel?’ than ‘I stride forth and do *this*’, and for some players, this may be uncomfortable or simply too different from traditional roleplaying games. So the anthology includes ‘Be Safe, Have fun’, a set of tools and terms for ensuring that everyone can play within their comfort zone. It is a good essay and useful not just for the fifteen or so games in LEVEL 1 - volume 1 2020.

The difference in LEVEL 1 - volume 1 2020 is that it carries advertising. This advertising is from its sponsors, but it gives Level 1 an old-style magazine feel.

Level 1 opens with the odd. Kira Magrann’s ‘Moose Trip: a game about moose who eat psychedelic mushrooms’. It turns out that as part of their idyllic life in the human-occupied wilds of Montana, Moose actually eat psychedelic mushrooms to get high. Which is what they do in this game and then they engage in relaxed conversation about how they feel and their emotions. It includes twenty different ‘Mushroom Feelings’ and offers a short but relaxed, reflective game.

Density Media’s ‘A Clan of Two: A two-person storytelling game’ is inspired by Shogun Assassin or Lone Wolf and Cub. Whether as an assassin and his son on the run from the Shogun or a bounty hunter protecting his bounty rather than taking him in—see Midnight Run, one player takes the role of the protagonist, a warrior without peer who will adhere to a code. This might the code of Bushido, code of chivalry, and so on, but he will have broken part of the code and gone on the run. The other player takes the role of both Game Master and seer, that is, the baby of the baby cart assassin or the bounty hunter’s quarry, as well of the world around them. He will both roleplay this character and the world. ‘A Clan of two’ uses a table of descriptors and prompts derived from the I Ching to push the story along and to see how the world reacts to the protagonist’s actions. This gives a nice balance between player agency and setting, the player able to roleplay free of rolling dice, whilst the Game Master can focus on the setting and interpreting the results, but together telling a story.

Designed for one player and no Game Master, ‘Dice Friends’ by Tim Hutchings is a one-page game in which stories are built around dice to represent characters and their lives and adventures. Mechanically very simple, there is no genre or setting to this game and beyond some dice dying and some dice leaving, there is little in the way of prompts in the game. Its brevity means that the players need to have strong buy-in to the game and will need to work hard create the world in which the dice/characters live and leave or live and die. The lack of a hook and the need to build the whole world means that despite it being easy to pick up and play, ‘Dice Friends’ may well be too daunting for some.

‘After Ragnarök’ by Cameron Parkinson and Tyler Omichinski, is a post-life, post-apocalyptic roleplaying game of Viking adventure and legends! The player take the role of the Einherjar, the great heroes destined to feast and drink in Vahalla until Ragnarök. That day has come and gone, and with the Gods dead, the Einherjar remain, but with Valhalla decaying, they decide to set out and adventure for the great drinking halls which are still said to exist. This is a roleplaying game in which the Player Characters start out as great heroes with Legends that they create, but as they face Jotun, the great hounds of Hel, and worse, they will fall in battle. However, when they die, there is a chance that their ‘Legends’ will ‘Fade’ and so lose their legendary capabilities. This is much more of traditional roleplaying game, a heroic game of fighting against the dying of the light—that is, the dying of the Player Characters’ light.

Oat & Noodle’s ‘Sojurn’ is a second one-page game for one player and no Game Master. This idea is that the players are leaving on a journey and take three objects with them, such as a mask, an imp, and a key, and when they return from the journey, something has changed. This is another one-player game in which the player is prompted to tell a story, but with actual prompts and an implicit genre, is much less daunting than the earlier ‘Dice Friends’. ‘Breaking Spirals: A single-player RPG inspired by Cognitive Behavioral Therapy and Acceptance & Commitment Therapy’ by Cameron and Colin Kyle is also for one player and no Game Master, but is more complex in that it presents a reflective, self-help game as a tool for active meditation and perspective. To be honest, it is more exercise than game, for although steps can be taken and there can be a sense of achievement in going through the process, there is no sense of winning in traditional way or of a story told. Not that there necessarily has to be either, but the lack either makes it an exercise rather than something to be played.  

‘Bird Trek: A game about raptors in space’ by Maarten Gilberts & Steffie de Vaan is a co-operative game of sentient raptor birds in space who as a flock to steal things, but must make its annual migration from Caldera to Frigia via several moons. Many of these moons are strange and growing stranger every year, making the migration more difficult and increasing the likelihood of the flock’s hunger and exhaustion grow. This is a storytelling game about survival and loss as well as exploration and just as well could have been set between Africa and Europe as it could outer space.

In Graham Gentz’s ‘In the Tank: Roleplaying the life of an Algae Colony in a Tank’, the players take on the role of aspects of algae living in a tank. Individually they control aspects such as width, cell, green, and so on, but together they control it collectively. Their aim is achieve sentience and to avoid death, but from Moment to Moment, they must respond to complications, problems and stimulations from inside the tank and outside the tank—the latter often at the hand of ‘The Dave’. Exactly what ‘The Dave’ is, is up for speculation—tank owner, laboratory technician?—but the Dave Master creates the Complication and the Algae responds to it. Successfully overcome a Complication and the Algae moves closer to sentience, the player with the successful means of overcoming the Complication becoming the new ‘Dave Master’. As a game, ‘In the Tank’ is likely to escalate into sentience and success, or spiral into death and disaster, the point being that either result is acceptable, and it is the story told along the way that matters.

‘Love is Stored in the Elbow’ by Corinne Taylor is a single-character, multi-player in they explore the relationship between emotions, memory, and physical touch. It includes solid guidelines as which parts of the body and what emotions the players do not want to include in their game, and after randomly assigning the agreed upon emotions to the accepted parts of the body, take it in turns to narrate a memory involving an emotion and its connected body part. This can build on, but not negate previous memories, but once done, the players will have created a lifetime’s worth of memory. Potentially silly, potentially adult in nature, this is a nicely done story told through a life.

Midsummer Meinberg’s ‘Graveyard Shift’ is a three-player game about the alienation of working late at night for minimum wage. It explores poverty, family obligation, dead-end jobs, loneliness and alienation, and also drug use as self-medication—so it involves obviously adult themes. The players take the role of the worker, his family, and three customers on a single night and face the drudgery and complication that this brings. There is some excellent roleplaying potential in this situation as the Worker is ground down by his situation and the humiliation he suffers in dealing with difficult customers and the demands of his family all the whilst want to quit.

The fourth one-page game is ‘At Least We Have Tonight’ by Matthew Orr and it again suffers from needing a strong buy-in by the players. Up to eight of them roleplaying slaves aboard a Roman trireme, who at the end of the day recount its events—the moments which broke the toil, such as the song we sang or an injury suffered, what their life was before ship and what ambitions they harbour for life after—if any. It is all quite dispiriting and will either fall flat because of the lack of engagement or descend into melancholy if the players do develop something from the prompts given.

‘Bad Decisions’ by Scott Slater, Michael Faulk, and Jeff Mitchell is a horror game about those moments when a character does something foolish—go into the basement alone, pick up hitchhikers, read the wrong book, et cetera. It is played in two phases. In the first phase, the players take it in turns to narrate the story, pushing the characters into situations where bad decisions can be made, and then rolling to see if they narrate the terrible outcome. In phase one, the results are mild injuries only, but in phase, the story escalates and the players bluff against each other to see which of them survives. The outcomes of the bad decisions in this phase are always fatal as the monster is revealed and chases the characters through the woods. Death is also sudden, nasty, and foolish. Slightly fiddley in its use of the dice, ‘Bad Decisions’ has a wealth of genre conventions to draw from.

Ty Oden’s ‘Hellevator’ is design for a large group whose characters are stuck in a cursed elevator with a devil. The devil seeks to kill or convert everyone in the elevator, whilst the humans must identify and eliminate the devil in order to avoid being corrupted or killed—and so escape. Fortunately, the devil can only use his infernal powers in the darkness. Essentially, this is a LARP, a variant of Murder in the Dark or Mafia or The Resistance played in a six-foot by six-foot space, the Devil player eliminating players in the darkness with a firm touch on the shoulder, the survivors denouncing the devil—or human, if wrong—in the light. The game is obvious into its inspiration, but more interesting in its optional devils which add variants. Another issue of course is that the players have to be happy with playing in the confined space, if only simulated.

‘Mesopotamians:  A little game about undead warrior kings making it big as a rock and roll band’ by Nick Wedig is a bonkers set-up, but undead ancient kings on a tour is not an unenticing one. As their tour progresses, it must deal with concerns like money and fame, but at every town face other issues such as why the townsfolk dislike them, what criminal plot do they accidentally get involved in, or what they are squabbling about in UTTRATU, the Econoline Van that is their tour vehicle? The aim here is to increase value of the Concerns and so win, and this is done by rolling dice at Crisis Points, aiming to find a dice with results of eight or more. As much as this is a great concept, the rules are not very explained and it could have done with an example of how to handle a Crisis point.

The last game in LEVEL 1 - volume 1 2020 is ‘Savage Sisters: Heroic Women Against a Barbaric World’ by Adriel Lee Wilson with Chris O’Neill. Inspired by Xena Warrior Princess, the Player Characters in ‘Savage Sisters’ forma Sodal, a group of powerful, female warriors. Together the player define the rules of the Sodal and each define their Savage Sister. During play, the players take turns as the GM—the Grandmother—to relate tale as they sit around the fire on eve of a great event, such as a battle or a birth or a wedding. When faced with a difficult challenge, a Savage Sister’s player rolls her die to match one of the numbers listed for the test—which can be a books, boots, blades, or bones test. If the Savage Sister succeeds, then she maintains control of the narrative, otherwise the Grandmother takes control. Ultimately, the Soldal is doing two things. One is facing tests to try to improve its destiny—represented by a pool of tokens. If there are three or more tokens in the pool, all test rolls are made at advantage, otherwise the Sodal is suffering despair and Savage Sisters roll at disadvantage. The other is to tell tales whose subject matters and details are determined before the game starts by answering a few questions and then randomly assigned to the players. It could have been better organised and the set-up clearer, but ‘Savage Sisters: Heroic Women Against a Barbaric World’ is probably the most open ended of the games in LEVEL 1 - volume 1 2020 and is worth revisiting again.

LEVEL 1 - volume 1 2020 is a slim, digest-sized book. Although it needs an edit in places, the book is well presented, and reasonably illustrated. In general, it is an easy read, and everything is easy to grasp.

LEVEL 1 - volume 1 2020 is the richest and deepest of the releases for Free RPG Day 2020. There is something for everyone here, from postapocalyptic warriors to midnight shift workers, and any one of the games in the anthology will provide a good session’s worth of play. Not all of the games are of the same quality though with perhaps the best and the most interesting being ‘A Clan of Two: A two-person storytelling game’, ‘After Ragnarök’, and ‘Graveyard Shift’ with ‘Mesopotamians:  A little game about undead warrior kings making it big as a rock and roll band’ being something that needs a bit more development. Despite the variable quality of its content, of all the releases for Free RPG Day 2020, LEVEL 1 - volume 1 2020 is the title that playing groups will come back to again and again to try something new each time.