Monkey Magic!

If you are English and of a certain age, you will remember a television series by the name of Monkey. Although based on the Chinese novel Journey to the West, the television series was in fact Japanese and would be dubbed into English as Monkey. It was broadcast by the BBC in the early evening on BBC2 beginning in 1979 and would become a cult favourite, telling as it did of the adventures of the upstart Monkey King, who after having been released from Heaven-imposed imprisonment by Tripitaka, a Buddhist monk, must accompany by the monk on a pilgrimage to India. They are joined by Sandy and Pigsy, ex-angels who were expelled from Heaven for failing to prevent the irrepressible Monkey’s misdemeanours and turned into ‘monsters’. The series ran for two seasons and was noted for its over the top wuxia action; its ‘Oriental’ accents; and its boundless optimism.

Irrepressible! is the RPG based on Monkey.  Published by Postmortem Studios via Chronicle City, it is a diceless RPG of mythic moral adventure in a China of fable and legend. The players take not the roles of Tripitaka or Monkey, Sandy or Pigsy—though the stats for all four are included in the rulebook—but Pilgrims like them. Heroes, monsters, monks, and other who have been cast out of Heaven for transgressing its many laws, or even the undead or demons, they are all pilgrims trying to get back into Heaven. In order to do that, they must redeem themselves and society at large, which Buddha says has lost its way and fallen prey to earthquakes and floods, famine and fire, banditry and warfare, corruption and immorality. By exposing the corruption and immorality and saving the peoples of the Earth, the Pilgrims can bring enlightenment to society and achieve redemption.

Each Pilgrim is defined by a Weakness, a fatal flaw that he cannot overcome; a Curse, whatever punishment Heaven has opposed upon him; four Traits, powerful skills, abilities, or powers such as Monkey’s ‘Cloud Flying’; and six Virtues. Each Virtue has a yin/yang value, essentially a Virtue/Demon pairing. The six are ‘Charity/Selfishness’, ‘Uprightness/Wickedness’, ‘Forbearance/Impatience’, ‘Dispassion/Passion’, ‘Dauntless/Cowardice’, and ‘Contemplation/Impetuosity’. Each pairing has a mid-point, representing perfect balance, and can go five points either way. Virtues represent a Pilgrim moving towards Enlightenment and grant him Karma, whilst Demons are easier to call upon and more effective when undertaking actions. 

A player chooses his character’s Weakness and Curse, Traits, and assigns fifteen points to his Virtues and Demons. Of each pairing, a player can only assign these points to one side of a pairing, thus to ‘Uprightness’ or ‘Wickedness’, but not both. Lastly, he adds up all of the points assigned to Virtues. This is his Enlightenment. When it reaches twenty-five, the Pilgrim can ascend to Heaven—and so becomes an NPC.

Our sample Pilgim is Shi Yusheng, was once the darling of the court, mannered, pretty, charming, and talented. Yet such a situation could not last and she found her position at the court slipping as it became enamoured of one young ingénue after another. She knew that she had to find a way to reclaim her beauty, her search involving ever stranger methods, finally settling upon alchemy as a means to gain her looks and keep it. It took years, but eventually she managed it, but upon attaining both, she was punished for her transgression against the Mandate of Heaven. She has been cursed to be eternally ugly except for a single hour per day when she as beautiful as she once did—during the rest of the time, she usually wears a veil.

Name: Shi Yusheng
Weakness: I can never look less than my best
Curse: Immortally ugly
Trait: Alchemist
Trait: My clothes are my weapons
Trait: A lady of the court
Trait: I am old and wise

Virtues & Demons

Charity OOOOO/O/XXXOO Selfishness

Uprightness OOOOO/O/XXOOO Wickedness

Forbearance OOOXX/O/OOOOO Impatience

Dispassion OOOOO/O/XXXOO Passion

Dauntless OOXXX/O/OOOOO Cowardice

Contemplation OOOXX/O/OOOOO Impetuosity

Enlightenment

7

Doing anything in Irrepressible! involves drawing from the Six Demon Bag. It contains not just the potential universe, but its luck and karma—the latter represented by beads. It contains five white beads for each Pilgrim, plus white beads equal to the value of each Pilgrim’s Virtues. So for example, Shi Yusheng would contribute just seven white beads to the Six Demon Bag as well as the standard five white beads. In addition, the Six Demon Bag contains a single black bead—this represents the negative karma.

The base difficulty of an action determines the number of beads to be drawn to succeed at it, the difficulty modified by the appropriate Virtue or Demon and by the Pilgrim’s Weakness or Curse if appropriate. If all of the beads drawn are white, then the Pilgrim succeeds, if one is black, then he suffers a setback, or even a disaster. If a Pilgrim wants to succeed spectacularly, then he can draw yet more beads. All of the beads drawn are kept in front of the players and only go back into the Six Demon Bag when the black bead is drawn. Essentially the Pilgrims are pushing their luck whenever they draw from the Six Demon Bag and the more actions they attempt, the more likelihood that one of their number will suffer a setback or disaster. This adds a degree of dramatic tension to the play of Irrepressible! It is possible to add beads back into the Six Demon Bag during play and to increase the number of beads by doing something heroic and gaining the notice of Heaven in doing so, or by a Pilgrim improving one of his Virtues.

Scenarios are described in terms of ‘Scrolls’, mini-campaigns in terms of ‘Books of Scrolls’, and whole campaigns of ‘Books’ in terms of ‘Sagas’, the latter representing a whole pilgrimage. Each Scroll is bookended by a proverb at its beginning and a lesson discussing what happens if the proverb is fulfilled or what happens if it is not at Scroll’s end, just as was heard at the beginning and end of each episode of Monkey. Solving the intervening adventure involves making one or more moral choices, which ultimately should fulfil—or not—the proverb that inspired the adventure. Irrepressible! includes a lengthy list of Chinese proverbs. It also includes a sample scroll, ‘The Blood Village Scroll’, a short, ready-to-play scenario that serves as a solid example of a Scroll. 

Unfortunately, as much fun as Irrepressible! might well be, the rulebook is anything but that. It opens poorly. Once the engaging introduction is out of the way, the rulebook jumps straight into a fifteen-page description of Heaven and its various inhabitants, from the Jade Emperor down to all of the lesser gods. None of this information is irrelevant to the game or its setting, but it takes twenty pages—one third of Irrepressible!—before an explanation is given as to what the players and their characters do in the game. It takes another fifteen pages—now over a half of Irrepressible!—before the author gets round to explaining what the GM and his players need in order to play Irrepressible!; vitally important because the game is diceless. Thus there is no mention of the Six Demon Bag, let alone the fact that Irrepressible! requires beads to play. Despite containing fifteen pages devoted to Heaven, Irrepressible! contains nothing describing where the adventures take place—Earth. Except that is, in the included Scroll. A bibliography would have been nice too.

Ultimately Irrepressible! is let down by self-editing and underdevelopment. It deserves to be better organised and better presented—perhaps in a second edition? Nevertheless, although just like Monkey, Pigsy, and Sandy, Irrepressible! has its problems, it rises above them to present a simple narrative driven game of redemption, moral choices, and Monkey magic!

Courtly Missives

Turn the clock back thirty years and the ‘Microgame’ was a small board game packaged complete in a small box. Typically they were a type of wargame printed on paper stock and heavily themed. The first was Ogre*, published in 1977 by Metagaming Concepts, but over the course of the next decade, it would be joined by titles from notable publishers such as Steve Jackson Games, Task Force Games, and TSR, Inc. In modern gaming parlance, a Microgame is a little game, a game that can be played in fifteen minutes or less. The other change to the Microgame concept is that they are no longer wargames, but are instead mini-euro style games that emphasise competition rather than combat.

*The irony is of course that the most recent version of Ogre, published by Steve Jackson Games weighs close to 30 lbs. Some microgame…

Love Letter is typical of this new style of Microgame, although untypically, it is not a European game. Originally published in Japan, Love Letter has since been published in several English language editions by Alderac Entertainment Group, better known for the games Smash Up! and the Legend of the Five Rings RPG and the Collectible Card Game (CCG) it is based upon. The first is Love Letter – Tempest Edition, which is set in the City-State of Tempest and comes in a cute velvet bag; the second is Love Letter – Kanai Factory Limited Edition, which uses the art from the original Japanese version of the game; and Love Letter – Legend of the Five Rings Edition, which is set in Rokugan, the same setting as that of the RPG and the Collectible Card Game. It is this version of the game that is being reviewed today, suitably on St. Valentine’s Day.

The Imperial princess, Iweko Miaka, the youngest of Empress Iweko’s children is eligible for marriage. Her betrothal is set to be a great contest between the seven samurai clans of the Emerald Empire—for in winning her hand in marriage a samurai will bring great standing and glory to his clan. Of course, such an important marriage will be entirely political, but surely the only daughter of the Empress has her mother’s ear and so will have some say as to the man who will marry her? Thus what better way to influence the decision than by winning the heart of the princess herself? Unfortunately, Iweko Miaka is a shy young creature, one who hardly speaks at court and interacts rarely with the visiting courtiers. Thus she cannot be approached directly and another means of contacting her must be found—that of the courtly letter. Her suitors are thus trying to get a letter to the princess via one of her inner circle, from her guards and her courtiers to her hatamoto and her sensei, all the whilst fending off the suits of rival samurai.

Designed for between two and four players aged ten and up, Love Letter – Legend of the Five Rings Edition is card game that consists of just sixteen game cards, four reference cards, and thirteen Tokens of Affection as well as a tiny, thirty-two page rules booklet. The game altogether comes in an attractive velvet bag, this time green rather than the red of Love Letter – Tempest Edition. (Unlike the Love Letter – Kanai Factory Limited Edition, the Love Letter – Legend of the Five Rings Edition does not include any promotional cards). The game is played over a series of rounds in which the players attempt to press their suit. Their aim is have the card with the highest value at the end of each round—if they do, then that player is awarded a Token of Affection. Garner enough Tokens of Affection, the number depending on the number of players, then their suit has been successful and Princess Miaka’s hand has been won.

Each of the cards has a value of between one and eight, ranging from one for Seppun Tasuke, the Guard to the eight of the Princess herself, Iweko Miaka. Each card also has an ability that is triggered once it is discarded. Seppun Tasuke, the Guard, can select a player and ask him if he has that card, forcing him out of the round if he does. The Courtier, Shosuro Yamazaki, can examine another player’s cards, as can the Diplomat, Kaiu Akemi, but when the Diplomat does so, the two cards are compared and the suitor with the lower value hand must retire from the round. When discarded, the Shugenja, Isawa Tenkawa, prevents a suitor from being targeted for a whole turn while Matsu Misato, the Hatamoto, forces another player to discard his hand and draw a new hand. The Manipulator, Doji Takato, forces another player to trade hands with the suitor, while Togashi Gozato, the Sensei must be discarded if a player has either the Manipulator or the Hatamoto in his hand. Lastly, if the Princess is discarded, she has received the suitor’s letter and thrown onto the fire. That suitor—or player—is out of the round.

At the start of the game, the sixteen card deck is shuffled and one card discarded face down. This acts as a random element so that the players do not know ‘exactly’ what is in the deck. Then each player receives one card—this is his hand. On his turn, he draws another card and must discard one of the two cards he has. Each discarded card has an effect as described above, but is discarded face up so that every player can see what cards have been played. There only being fifteen cards in the deck, the players have some idea as what cards have been discarded and what still remains in play—essentially, Love Letter – Legend of the Five Rings Edition encourages the counting of cards—as do the other versions of the game! Play continues until the last card is drawn and its player discards one of his cards. Then each player reveals the single card he has in his hand and the player who has the card with the highest value has successfully pressed his suit and earns a Token of Affection from Princess Miaka.

Love Letter – Legend of the Five Rings Edition is a game of deduction and risk, one in which what a player can do on his turn is limited to just one of two actions. These will often force a player to do something to his disadvantage because it is the better of his two options. For example, Louise holds Princess Miaka in her hand. It has a value of eight and if she can hold it until the end of the round, then Louise will have managed to get her letter directly into the hands of the Princess and thus won a Token of Affection. On her turn she draws the Manipulator, Doji Takato. Her choice is to discard the Princess, but this would force her out of the round, or Doji Takato, which means that she has to trade hands with another player. She opts for the latter, trading hands with Dave, gaining Seppun Tasuke, the Guard. While the Guard only has a value of eight at the end of the round, it can be used to name another card and if successful, force a player out of the round. Louise has gained valuable information—she knows what card Dave has. Dave also knows this, but likewise cannot discard the Princess. Fortunately, on his turn Dave draws the Shugenja, Isawa Tenkawa, and goes to pray with him, preventing his being targeted until his next turn. Thus Louise cannot use her Guard to name the Princess—yet!

So is Love Letter – Legend of the Five Rings Edition a fitting Legends of the Five Rings game? Thematically, it is perfect fit. Not least in the fact that the bag it comes in has the symbols for Rukogan’s five elements—air, earth, fire, water, and void—embroidered on the back, and that the art used to illustrate the game is drawn from the publisher’s extensive back catalogue used to illustrate both the CCG and the RPG. The art also specifically illustrates characters within the setting of the Emerald Empire. Further, within the Emerald Empire, the sending of letters is a courtly art. In addition, the functions of the cards have been mapped onto particular figures. For example, the most common card type in Love Letter is the Guard, but here the same function is performed by Seppun Tasuke, a member of the imperial family tasked with protecting the Empress. Similarly, the ability of the Clown in Love Letter to examine another player’s hand is adopted by the Courtier Shosuro Yamazaki from the Scorpion Clan and the ability of the General in Love Letter to trade hands with another player has been given to Doji Takato of the Crane Clan who is described as a Manipulator.

The setting of the imperial court of the Emerald Empire is supported by the rulebook. It runs to thirty-two pages, much of which is devoted to detailing the characters on the cards, which if the players want, adds depth and feel to the game. Fans of Legend of the Five Rings, whether of the CCG or the RPG will appreciate this aspect of the game. Certainly there is enough background here that knowledgeable players could bring a degree of roleplaying to the game as they play.

With a playing time of some thirty minutes, Love Letter – Legend of the Five Rings Edition is perhaps a bit too long to really qualify as a Microgame. Although it is possible to play with two suitors, it is not as enjoyable a game to play—simply it plays better with three or four players. (It is disappointing that the game does not accommodate more players, but that should not be held against Love Letter). With three or four players then, it is a solidly designed filler game, one that combines the need for careful deduction and a little guess work with a fitting theme. Managing to be both charming and quick, Love Letter – Legend of the Five Rings Edition is a lovely game that fits nicely into any games collection.

Finding Romeo

Where art thou Romeo? is not even a ‘Microgame’, it is something smaller. Indeed, the game’s full title, Where art thou Romeo? A Nano game set in the World of the Council of Verona, gives substance to its tiny size. Released as a near ‘Pay What You Want’ project on Kickstarter, Where art thou Romeo? is a card game inspired by Shakespeare’s Romeo & Juliet and published by Crash Games that can be played in as little as five minutes. It consists of five cards, plus the rules, and is quick to learn as it is to play. It is a ‘role’ game in which players takes turn being Juliet who is looking for her beloved, Romeo. Depending upon their roles, the players will score points if Romeo is found or if he is not found.

The five cards are all role cards. The first is Juliet. The other four each have two roles on them, so for example, Romeo and Count Paris are one card, whilst Mercutio and Benvolio are on another. At the beginning of each round, one player will be Juliet whilst the other players are each given one card. Each of these other players will choose one of the two roles on their card. So for example, a player receives the Nurse/Tybalt card and must choose to be either Tybalt or the Nurse for that round. Whatever role these players choose, they must keep it a secret until Juliet asks everyone to reveal their roles.

As the players are choosing their roles, a lobbying period of roughly thirty seconds ensues. During this period, Juliet essentially asks the question, “Where art thou Romeo?” and the players have to convince her of the fact whether or not they are Romeo. By the end of the period the players must have selected their role and then Juliet gets to choose which player she thinks is Romeo.

The aim of the game is to score as many points over the course of its several rounds. The numbers gained each round depends who Juliet chooses. She scores the most points if she chooses Romeo, as does Romeo, the Nurse, and Friar Laurence. Mercutio also scores the most points if Romeo is chosen, but will reduce the points gained by both Romeo and Juliet. Benvolio, Tybalt, and Prince Escalus all score a point if Romeo is not chosen or Juliet cannot decide.

The players are free to tell Julia whatever they like during the lobbying period, bar revealing their identity. It is clearly in the interests of several of the roles for Julia to identify Romeo—certainly Romeo, the Nurse, and Friar Laurence have no reason to lie when it comes to stating whether or not they are Romeo. Likewise, Mercutio certainly wants Romeo found, though for different reasons and thus will not lie about his not being Romeo. Benvolio, Tybalt, and Prince Escalus, as well as Count Paris, all have an interest in Romeo not being found and so are likely to lie. This may change as one person gets ahead in terms of points, but in a ‘Nano game’, it should be no surprise that the tactics are ‘Nano’ too.

Physically, the game’s five cards are sturdy and presented in black and white on a sage background. Currently and disappointingly, Crash Games has no plans to develop further titles as ‘Pay What You Want’ projects on Kickstarter—for reasons that are explained here. That said, Tasty Minstrel Games has picked up this baton with titles such as This Town Aint Big Enough for the 2-4 of Us! PWYW, Burgoo - A PAY-WHAT-YOU-WANT game of community stews, Templar Intrigue - A Werewolf type game by @tastyminstre, and Coin Age - A PAY-WHAT-YOU-WANT area control microgame.

There are numerous hidden role games available at the moment, from The Resistance and Coup to Battlestar Galactica – The Board Game and Love Letter. In comparison to those titles, Where art thou Romeo? is likely to get a little lost, but then its slight scope and playing time combined with the fact that it reached only a limited audience, this is hardly surprising. Yet this should not be held against the game. After all, Where art thou Romeo? is a five minute, $5 game that is understandably light and undemanding.

Wilderland Tales

With two parts of Peter Jackson’s The Hobbit trilogy down – one being available on DVD and the other having recently been released in the cinema, it seems like the perfect time to return to the roleplaying that serves as the trilogy’s sequel. Published in 2011 to much acclaim before the release of The Hobbit: An Unexpected Journey, Cubicle Seven Entertainment’s The One Ring: Adventures over the Edge of the Wild is set entirely after the events of the film trilogy, but before The Lord of the Rings trilogy. Not only is the time frame of the RPG, from the year 2946 of the Third Age, exactly five years after the Battle of the Five Armies limited, but so is its scope. It is essentially limited to an area bound by Rivendell and the Misty Mountains to the West, the Lonely Mountain to the North, the Iron Hills to the East, and the haunt of the Necromancer, Dol Guldur to the South. The region between these points, an area known as the ‘Wilderland’ that is dominated by the deep and dark woods of Mirkwood.

It is over this wide area, one that is yet to escape the gloom of centuries past that emanated from Dol Guldur, but into which the light of hope and freedom have begun to seep, that the heroes of The One Ring will tramp, time and time again. Their adventures will involve much travel, by foot and by boat, being often beset by the weather which prevents safe travel, let alone adventure for months on end. This is modelled in the RPG, which employs Adventuring and Fellowship phases, there being one of each per year, with typically only time for a single adventure each year. This is the model for Tales from Wilderland, the first supplement for The One Ring. It presents seven ready-to-play aventures that can each be played as single affairs or as a campaign that spans several years.

Set after the year 2946 of the Third Age, Tales from Wilderland opens with ‘Don’t Leave the Path’ and the fellowship of adventurers coming to the aid of young boy whose father is in trouble. Coming to his aid sees them hired by him as caravan guards and their travelling from near the remains of Lake Town across Mirkwood to the Elven King’s halls and beyond. This is a simple, fairly straight forward adventure, one that introduces the heroes to one of the core aspects of the setting of The One Ring – travel and its dangers. A second aspect is introduced in ‘Of Leaves & Stewed Hobbit’, that of hope and the chance to restore a sense of civilisation after years of darkness and despair. Finding refuge at The Easterly Inn, an establishment newly opened by Hobbits inspired by Bilbo Baggins’ adventures, the fellowship is asked by the proprietor to find his brother who is long overdue with a caravan of essentials brought over the Misty Mountains from the Shire. The fellowship’s search takes it up the High Pass where the adventurers find evidence that the lost Hobbit has been waylaid. In order to get him back the adventurers will need to delve deep and come up with a solution to a culinary challenge! This adventure is markedly more inventive than the first and the challenge itself has a certain Tolkienesque sense of fun to it.

Unfortunately, the third adventure is slightly disappointing. It is not that it is poorly written or feels ill-suited to the setting of The One Ring, but it lacks a certain originality. The plot of ‘Kinstrife & Dark Tidings’ has the adventurers make a gruesome discovery on the banks of the river Anduin and then have to take some unwelcome news to Beorn himself! He charges the player characters to track down a fugitive, in the process of which they should uncover his crimes and bring him to justice. The next adventure, ‘Those Who Tarry No Longer’ pleasingly touches upon the grand sweep of Middle Earth’s history when the adventurers are asked to escort an Elven lady of an ancient and noble lineage. Although the journey is not far, it proves to be a harrowing challenge, one that needs to be faced rather than denied… ‘A Darkness in the Marshes’ is best played as a sequel to ‘Those Who Tarry No Longer’. Summoned to Rhosgobel where they invited to tea by Radagast the Brown – his portrayal here understandably much more constrained than that of Sylvester McCoy’s in The Hobbit trilogy – who asks them to follow up on the threat that beset them in ‘Those Who Tarry No Longer’. Doing so takes them up to the isolated Mountain Hall of the Woodmen where they learn of an evil to the south. Investigating this gives the adventurers the chance to encounter the threat that has been harrying them for the past two or three years.

The final two adventures in Tales from Wilderland both take place after ‘A Darkness in the Marshes’ and like the adventures before it, give an opportunity for the fellowship to meet one or two of the great figures of the Third Age. In the first of these, ‘The Crossings of Celduin’, the adventurers join the thronging crowds to celebrate the anniversary of the Battle of the Five Armies in the city of Dale. They have the chance to participate in the tournaments and enjoy the feast, but when a calamity strikes the celebration, the adventurers are the only ones who can fly south quick enough to meet the vanguard of dark host. Unlike the previous five adventures which take the Fellowship west of Mirkwood, this adventure takes them east. The challenge in ‘The Crossings of Celduin’ is daunting enough, that in ‘The Watch on the Heath’ is truly fearsome. All but inspired by the events of The Hobbit itself, it sends the adventurers north of the Lonely Mountain to deal with a danger that will truly test their mettle...

Tales from Wilderland both is very nicely presented, in keeping with the style and look of The One Ring: Adventures over the Edge of the Wild. Its dour shades make for a pleasing change over the more vibrant shades to be found in other RPG titles. The book is well-written, decently illustrated, and its cartography has an engagingly rough quality. The seven scenarios share the same format that makes them easy to read and run. That said, breaking the index down by scenario reads a little odd. Where Tales from Wilderland slightly disappoints is in the lack of advice for the Loremaster with regard to the degree of experience required by the player characters from one adventure to the next. Further, the set-up does feel similar from one scenario to the next, although what this proves again and again is the fellowship needs to make a good impression upon the Free Folk of the North.

What Tales from Wilderland does impress upon Loremaster and players alike is that The One Ring is not an RPG where the adventurers possess dubious moral characters. The RPG and the scenarios in this collection do not really support anything other than heroic play or effort. Similarly, like the RPG, the scenarios in Tales from Wilderland are truly not about the acquisition of either gold or gems; nor is there the opportunity to gain ‘magical items’. These adventures are about building hope and pushing back the darkness that was scattered at the Battle of the Five Armies. Tales from Wilderland is a solid set of adventures for The One Ring; its campaign the perfect start to a game of The One Ring; and if successful, a great way for a fellowship to bring hope to the Wilderland.

Against the Slave Lords

It is curious to note that in 2013, a year when there was all but no official support for Dungeons & Dragons, the best support came in the form of nostalgia. Not the ‘new’ nostalgia as seen in the form of the Old School Renaissance, but actual honest to goodness proper nostalgia. Wizards of the Coast made available much of the official Dungeons & Dragons and Advanced Dungeons & Dragons back catalogue via dndclassics.com as well as publishing two collections of classic Advanced Dungeons & Dragons scenarios. The first was Dungeons of Dread, which compiled S1: Tomb of Horrors, S2: White Plume Mountain, S3: Expedition to the Barrier Peaks, and S4: The Lost Caverns of Tsojcanth. The second was Against the Slave Lords which collated the ‘Aerie’ or ‘A’ Series – A1: Slavepits of the Undercity, A2: Secret of the Slavers Stockade, A3: Assault on the Aerie of the Slave Lords, and A4: In the Dungeons of the Slave Lords. Both were presented as handsome hardback books, but what marks out Against the Slave Lords are the extras that are included in the book. 

The four scenarios began life as the 'AD&D Open Tournament at Gen Con XIII' in 1980. They would each be released in 1980 and 1981, before being collated as Scourge of the Slave Lords in 1986 as the middle part of the super campaign between T1–4 The Temple of Elemental Evil and GDQ1–7 Queen of the Spiders. Set in the World of Greyhawk, the series introduced the Slavers as threat in the setting and to do so, it expanded upon four scenarios that were originally designed to be played in a time frame of just four hours each. Included in each of the four scenarios were those tournament guidelines and a set of six pre-generated adventurers. This shows in the maps in particular, which either come in two versions, one with just those locations used in the tournament, the other with all of the locations; or with the tournament sections marked within the larger map given for the full scenario. 

Designed for play by a party of adventurers of fourth to seventh level, the ‘A’  Series begins with A1: Slavepits of the Undercity. For the past four years, the towns and villages along the coast of the Sea of Gearnet have been beset by the raids of slavers. In response the local lords hire a band of adventurers to investigate and put an end to this menace. An escaped slave has identified a ruined temple in the city of Highport in the Pomarj as one of the stops on the slave trade trail and as the scenario opens, the heroes find themselves standing outside a secret entrance to this temple – which they learned about from an escaped slave – ready to penetrate its dilapidated halls and uncover the first secrets of the Slave Lords. The scenario consists of the ruined temple above ground and the re-purposed sewers beneath it. The ruins above ground are split into two sections, one half of the temple unused (though parts are still patrolled by Orcs), the other half a reworked temple. Below the sewers have been extended into a nest of ant-men and seemingly endless pits of stinking, fermenting refuse.

There is a fundamental flaw with A1: Slavepits of the Undercity, at least as far as the non-tournament version is concerned. The tournament version is a straightforward affair, not to say linear and the accompanying maps reflect this. The non-tournament version is not quite as straightforward and expands greatly upon the rooms and ruins of the temple. In the process, what both the text and the maps lack are connections between various areas of the temple. For example, one of the new areas, currently home to a pair of basilisks, has been blocked off by a brick wall and the text does not describe how it can be accessed. Similarly, as drawn, the non-tournament map of the temple does not show a means by which a party can go from the abandoned area on the one side to the actual temple on the other without exiting the temple complex and walking round the outside to another entrance. Which effectively defeats the initial use of stealth to gain access. This is one element of A1: Slavepits of the Undercity that the DM will need to address before running the scenario.

Overall, A1: Slavepits of the Undercity is a serviceable dungeon/adventure. Given its origins as a tournament scenario, it cannot avoid being linear in structure and play. Nevertheless, it does in places present some challenging tactical situations, most notably the ‘Main Slave Chamber’ where the adventurers must fight over the tops of the slave cages with great care or be tipped into the cages below. 

The opening of the second scenario in the series, A2: Secret of the Slavers Stockade, has a familiar feel to it. The adventurers find themselves outside a slavers’ base, ready to sneak inside using a route provided by an escaped slave. Despite the repetitive nature of this beginning, A2: Secret of the Slavers Stockade has a much more rounded feel to it as well more depth and detail. Following a map found below the temple in Highport, the adventurers have located a second slavers outpost, a hillfort deep in the Drachensgrab Hills. The stockade is only a stopping point upon the route used by the slave caravans, so if the adventurers are to learn more, they investigate what lies behind its walls and below its gatehouses and barracks.

In comparison to the first scenario in the series, A2: Secret of the Slavers Stockade is not only a more coherent adventure, it feels much as if the setting is alive. The stockade is heavily guarded and should its guards be alerted to the adventuring party’s intrusion, they will react accordingly. Much of the scenario is written to that end… What the adventure also includes are more tactical breakdowns of certain locations that give more detail and help support the actions of the various NPCs described in the room entries.

Where A2: Secret of the Slavers Stockade disappoints by modern standards, is in its lack of narrative beyond the guards’ possible reaction to the intruding adventurers – at least initially. A closer reading of the scenario reveals that there are events going on at the stockade beyond the arrival of the adventurers, in particular the poor relations between the head of the stockade and her deputy. This may well influence how the DM runs the adventure, but being buried deep in the adventure the information is not as useful. Were the scenario not appearing in reprint, then arguably another edit would have moved this information to the front of the module so as to alert the DM. 

Another issue with A2: Secret of the Slavers Stockade is that it does not address solutions to situations that do not involve combat. Much of this is due to ‘A’ Series’ origins as tournament adventures, but there are situations where non-combat solutions should have been given. Most notable of these is an encounter with a ‘Haunt’, the restless spirit of someone who died before it could complete a now unfinished task. What the adventure never really addresses is how this task can be finished except through combat. Still, A2: Secret of the Slavers Stockade is a solid affair with more to it than A1: Slavepits of the Undercity.

If the tournament origins of the ‘A’ Series have been evident in the first two parts, they are explicit in A3: Assault on the Aerie of the Slave Lords. Following various slaving parties has led the adventurers deep into the Drachensgrab Mountains where the parties seem to disappear into one mountain… After many days’ search they have located a possible tunnel entrance to the ‘Aerie of the Slave Lords’. These tunnels, or rather this tunnel, basically links a series of linear rooms that feel as if they have been written to deplete the player characters of their resources. This feeling is only exacerbated when the designer does exactly the same for this adventure’s third part.

The adventure’s second part is actually quite interesting and involves far more than combat. Once the adventurers have made their way through the first series of rooms, they find themselves in the ‘Aerie of the Slave Lords’, an island located in a lake that fills the caldera of an extinct volcano. Nearby is where the Slave Lords conduct the slave trade – Suderham, the City of the Nine, above which stands below their fortress, Drachen Keep. The latter is the party’s intended destination, but a direct assault would be foolish, so they must search for an alternate means of entry. In this they have the aid of several other agents of their employers who suddenly appear from nowhere to give the adventurers clues as where they should go… This requires some investigation upon the part of the adventurers and interaction with the inhabitants of the city, which is itself fully detailed.

In the tournament version of A3: Assault on the Aerie of the Slave Lords, this section is all but skipped over. In the full version of the scenario, it is but a necessity, providing a welcome change of pace between the grinding trudge of the beginning and ending dungeons that make up the scenario. In terms of organisation, it would have helped if the information about the agents had been given at the start of the section covering the city. Similarly, it would have been helpful if the information explaining the nature of first dungeon had been given before the start of that dungeon and not at the start of the section detailing Suderham. Then of course, there is that ending...

Now at last we come to the ‘A’ Series’ pièce de résistance, A4: In the Dungeons of the Slave Lords. It opens in a most spectacular fashion, with the adventurers lying in the dark without all of their equipment. They have been cast into the caves below the island and must gather the means to aid their escape as well as find their way out. At the end of the tournament version of A3: Assault on the Aerie of the Slave Lords, the adventurers are captured, although in the non-tournament version, their defeating the slave lords is allowed for. Still, if they are cast into the caves below the island, the players will need to be ingenious with what they do have to hand if their characters are to escape. There are plenty of opportunities to gather the means to arm themselves, not all of them involving combat, such as negotiating by very odd means with a tribe of intelligent fungi, the Myconoids.

A4: In the Dungeons of the Slave Lords also comes with a timing mechanism, or at least an implied one, both the ‘dungeon’ and the island being beset by earthquakes which prove to be evidence of an volcanic eruption once the adventurers are free of the caves. This adds a further air of desperation to the adventure as the inhabitants of Suderham attempt to flee the island. The adventurers must find their way through these frantic islanders if they are finally to confront the surviving slave lords on the harbour front.

The issue at the core of the scenario is that the adventure begins with the player characters having their equipment confiscated. Putting aside the fact that the players  never like their ‘toys’ being taken away – let alone disliking getting captured in the first place, one of the challenges to this adventure is that Advanced Dungeons & Dragons, First Edition is not a game really designed to be played without such equipment and magic items. Later iterations of the RPG possess more flexibility with regard to such a situation, though they might make the situation in this adventure less of a challenge. That said, advice is given on handling both the dark environment of the caves and the discoveries necessary for the characters to equip themselves, but this advice does begin with a surprisingly harsh admonition. A4: In the Dungeons of the Slave Lords is the most mature of the original quartet of scenarios in Against the Slave Lords, pushing at the boundaries of what Advanced Dungeons & Dragons was capable of.

What A4: In the Dungeons of the Slave Lords really provides is a rousing and memorable conclusion to the ‘A’ Series and thus Against the Slave Lords. It is the most focused and most effectively executed of the quartet and the least hampered by the tournament format of the four. 

Of course, whilst Against the Slave Lords primarily consists of the reprint of the ‘A’ Series modules, the compilation actually consists of more than this. To begin with, it includes a new foreward for each of the four modules, written by the original authors. These add an interesting retrospective on each, but the main addition to Against the Slave Lords is A0: Danger at Darkshelf Quarry. Designed for characters of first to third level, this is the first official scenario to be written for Advanced Dungeons & Dragons since 1999, it is intended to lay the groundwork for the ‘A’ Series. It takes place in Nyrond, further along the coast of the Sea of Gearnat in quarry above the village of Darkshelf. Although the quarry continues to be productive, of late, strange noises have been heard from within its depths, a third shift works the quarry in secret, half-eaten bodies have found in the nearby river, and slavers have operating in the area. These goings on are enough for the head of the village to hire adventurers to investigate.

Now there are not the adventurers as suggested for the tournament play-through of the ‘A’ Series, indeed A0: Danger at Darkshelf Quarry is not designed for tournament play nor does it come with pre-generated adventurers. Shorn of the tournament format, the scenario is a more rounded affair and given much more detail. It also lacks the built-in starting point that the other scenarios all have, so the adventurers have a freer hand in how they approach the quarry and its mystery and workforce. This a solid adventure and a decent introduction to the ‘A’ Series campaign.

If there is a weakness to the inclusion of A0: Danger at Darkshelf Quarry, it is that it only lays the groundwork for the events of the ‘A’ Series rather than linking to it. Being written for levels one through three, it leaves something of a gap of two or three levels before the player characters are suitable to tackle the next four parts. Unfortunately this gap is not addressed in Against the Slave Lords.

Physically, Against the Slave Lords is well presented. The reprint of the original ‘A’ Series is clean and tidy, although in retrospective, it is a shame that none of the art in A1: Slavepits of the Undercity, A2: Secret of the Slavers Stockade, and A3: Assault on the Aerie of the Slave Lords really serves these three scenarios. In comparison, the art in A4: In the Dungeons of the Slave Lords is far more useful and overall, the layout and style of the series’ final part is cleaner and feels more competent. In retrospect it would have been nice if the four modules themselves had been accompanied by the type of illustration found in the ‘S’ Series that the DM could show to his players. To some extent, the fan illustrations at the end of Against the Slave Lords could be put to that purpose. 

One physical element missing from Against the Slave Lords are the original covers of the ‘A’ Series. They are present on the cover slip, as is the mockup of what the cover of A0: Danger at Darkshelf Quarry would have looked like had it been published in 1980. The inclusion of the latter is a nice touch, but being a separate item, the cover slip can easily be lost. It would have been better had this been presented as the back of the book rather than as a slip. The cover slip is also the only use of colour throughout Against the Slave Lords.

Of the ‘A’ Series itself, I never played through the whole of the campaign, only through A1: Slavepits of the Undercity. I did purchase A4: In the Dungeons of the Slave Lords, but at the time was not impressed by it. I would later locate a copy of Scourge of the Slave Lords. Thirty years on and my opinion of the ‘A’ Series has changed. Certainly the fourth part of the series is much better than I recall, whereas the third part is particularly disappointing. In coming back to the ‘A’ Series thirty years on, Against the Slave Lords proved to be far from an engaging read. Perhaps that is because such modules are not designed to be read for pleasure, but studied; perhaps my reading and gaming tastes have changed too much, the question remains, would I play or run Against the Slave Lords after such a long gap? The simple answer is, if I were to do so, it would not be with Advanced Dungeons & Dragons, First Edition or indeed, any version of Advanced Dungeons & Dragons. It might be with D&D Next, which the cover slip says that Against the Slave Lords is compatible with, then again, it might be fun to play this with a set of rules with a sense of energy, such as Pelgrane Press’ 13th Age.

The ‘A’ Series has long been out of print, so having it available once again is a welcome sight, especially when it comes as a sturdy hardback as Against the Slave Lords does. As uneven as the four scenarios are in the series – A2: Secret of the Slavers Stockade and A4: In the Dungeons of the Slave Lords are certainly better than A1: Slavepits of the Undercity and A3: Assault on the Aerie of the Slave Lords – the series should be of interest to the ‘Old School Renaissance’ and anyone coming back to Dungeons & Dragons with the release of D&D Next in 2014. The addition of A0: Danger at Darkshelf Quarry is equally as welcome, although a bridging scenario between it and the rest of the series would have been a reasonable addition. Still, the flexibility and choice of Dungeons & Dragons-style RPGs available means that Against the Slave Lords can be run and played using a variety of different RPGs, making it accessible and playable even thirty years on.

The Second Doctor

The latest supplement for Cubicle Seven Entertainment’s Ennie-award winning Doctor Who: Adventures in Time and Space roleplaying game is The Second Doctor Sourcebook (though this review appears almost at the same time as The Third Doctor Sourcebook comes to print and The Fourth Doctor Sourcebook is announced). It continues the publisher’s celebration of Doctor Who’s fiftieth anniversary begun by the The First Doctor Sourcebook by delving back into the show’s past to explore perhaps that most pivotal of incarnations of the Doctor. For without the role being recast with Patrick Troughton the series would never have been kept going by the concept of Regeneration. In addition, the second Doctor’s tenure also introduced us to the Sonic Screwdriver plus the Time Lords and the Doctor’s home of Gallifrey as well as pointing towards the creation of UNIT, the agency that will figure so strongly in the adventures of the Third Doctor. Thus The Second Doctor Sourcebook prefigures much to come that is covered in both The Time Traveller’s Companion and Defending the Earth: The UNIT Sourcebook, the previous two sourcebooks from Cubicle Seven Entertainment.

The Second Doctor Sourcebook takes us from the Second Doctor’s first encounter with the Daleks in his first adventure in The Power of the Daleks to his confrontation with the renegade Time Lord known as the War Chief and his subsequent trial by the Time Lords in The War Games. Apart from a visit to the Scottish past in The Highlanders, the Second Doctor’s adventures primarily take place in the near future, the Doctor coming to the aid of mankind as it tries to survive ecological upheaval and numerous invasion attempts. He and his companions face foes again and again, not just the Daleks and the Cybermen, but also the Ice Warriors and the Yeti. The Second Doctor Sourcebook presents an opportunity for the Doctor – or indeed, the player character Time Lord and his Companions not to be mere wanderers in the Fourth Dimension, but to face evil and actively intervene to save others. To visit the Himalayas and get lost in the tunnels of the London Underground while menaced by the Yeti; to discover what the Daleks are doing in 1866 and what they want the Doctor to isolate; and to foil the machinations of Salamander, the Mexican scientist who is the spitting image of the Doctor!

The book is essentially broken into two parts. The first introduces us to Troughton’s portrayal and explores his character, his Companions, the difficulties of his travels during this period, and the common themes and ideas. Most notably these include singular adventures rather than campaigns, adventures set at isolated bases ripe for attack or invasion, the evolution of a world government dealing with the issues of arms control, overpopulation, and ecological catastrophe, and of course, evil that must be fought. In comparison with the First Doctor, the Second Doctor is more aware of the threats that he might face out in the universe and is thus more capable of dealing with the dangers of his tenure. Although the TARDIS remains as cantankerous and as difficult to pilot as ever, the Second Doctor has least access to his 500 Year Diary, his Sonic Screwdriver Mark 1, and of course, his Recorder!

Two notable issues are addressed in dealing with Second Doctor adventures. The first is how run them without muddling up the timeline. The solution given is to run them after the Doctor is found guilty at his trial and before his sentence is carried out by having him work for the Celestial Intervention Agency. This set-up would allow for a good mix of Companions too, whether official or player created. Indeed, such Companions of either type could come from any time period. The second issue is that of the timeline of the Second Doctor’s adventures, many of which take place in the place in the very near future. Of course, this is a future of the 1960s, so already looks odd by the twenty-first century. The solution is to either adjust the stories and feel to our timeline or be authentic as possible.

As well as the stats and write-up for the Second Doctor himself, The Second Doctor Sourcebook includes stats and write-ups for all of his companions. The most notable changes in the Doctor are his pacifism (reflected in his Code of Conduct), though not all of his Companions share this attitude and are handy in a fight – Ben and Jamie in particular. To support the new Companion and the guidelines for creating Time Lord and Companion player characters suitable for the period, The Second Doctor Sourcebook includes a slough of new Traits such as 'Epicurean Tastes' and 'Menacing'. Many of these are taken from The Time Traveller’s Companion and Defending the Earth: The UNIT Sourcebook. These are joined by descriptions and write-ups of the Second Doctor’s major foes – the Cybermen, the Daleks, the Great Intelligence, and the Ice Warriors. One oddity covered in these write-ups is why the Doctor meets the Model 2, Model 3, and Model 4 in the order that he does...

The second and longest part of The Second Doctor Sourcebook is further divided into chapters that travel chronologically in order through each of the Second Doctor’s adventures. For each of these there is a synopsis followed by a guide to running the adventure and a listing of any appropriate characters, aliens, and gadgets. The guide to running each adventure is not a straightforward adaptation, but rather a discussion of themes and ideas inherent to the adventure. So for example, with The Tomb of the Cybermen the author draws parallels with pulp serials and how the Cybermen are looking for suitable successors (almost like an ancient Mummy come back to life!), while with The Abominable Snowmen, the author highlights its Lovecraftian feel. Rounding the entry for each story is a selection of Further Adventures hooks that could be run as possible sequels.

Physically, The Second Doctor Sourcebook is a slim hard back book, suitably illustrated throughout with black and white photographs – though it will be the last to be done in black and white. As fitting the switch to colour of the series, The Third Doctor Sourcebook will also be in colour. The volume feels solidly researched and well written, but if there is a downside to the book, it is that not going to appeal or be of use to everyone, and that is going to be an issue with each of the subsequent volumes in the series. After all, almost everyone has their favourite Doctor and also their least favourite Doctor, and that may be reflected in the Doctor Sourcebooks that they purchase. With The Second Doctor Sourcebook, the adventures presented here are more dynamic, more knowing, and more exciting than those of The First Doctor Sourcebook, and as such foreshadow the style of adventures to come right up to, and including new Who.

As much as many of the Second Doctor’s adventures are unavailable to watch and will thus be unfamiliar to all but the dedicated of fans, there is a familiarity to the style and feel of the adventures detailed in The Second Doctor Sourcebook. That of visiting a place, being mistaken for someone else or intruders before investigating and getting involved in some kind of threat or mystery. What this means is that the contents of The Second Doctor Sourcebook are more accessible and potentially easier to use than those of The First Doctor Sourcebook. That though seems in keeping with the character of the Second Doctor compared to the First Doctor and just serves to show how both are well served by their respective First and Second Doctor Sourcebooks.

Nitrates & Nasties

From Dread Albion to the Balkans, the 'Backlot Gothic' stretches across a timeless region of Europe reached only by train, but which can only be crossed on foot or by horse and carriage. It is home to a backwards people, many superstitious, others ignorant, who live under the shadow of the vampire, the werewolf, and the man of visionary, but misguided science. Cousin to the Backlot Gothic is the Backlot Jungle, which stretches from the Amazon to Asia via Africa, and although its creatures change from lion to tiger to jaguar as the continent dictates, the frogs will always sound like those found in Southern California.

For Hollywood is the inspiration for the Backlot Jungle and the Backlot Gothic both, the two being the setting for Shadows Over Filmland, an anthology for Trail of Cthulhu. Penned by Ken Hite and Robin D Laws, the anthology draws from the horror movies of the Desperate Decade. The authors have taken films such as Dracula, Frankenstein, King Kong, The Mummy, The Wolf Man, White Zombie, and others, and used them to give the Cthulhu Mythos of stories like ‘Herbert West – Reanimator’ and ‘The Case of Charles Dexter Ward’, a Silver Nitrate wash. Or indeed, infuse the classic creations of the Universal Monsters films with the sanity debilitating effect that is the Cthulhu Mythos. The result is an otherworldly, gothic conceit that the Keeper will use to draw his investigators into the twelve eerie, sometimes grotesque reels presented on the screen in Shadows Over Filmland.

The supplement is essentially three sections. The first is Hite’s essay exploring the parallels between Lovecraft’s fiction and the horror films of Universal Studios and RKO. Despite Lovecraft’s own dismissal of these films, Hite finds more than enough to support the core conceit behind Shadows Over Filmland, looking in turn at the vampire, the werewolf, the mummy and so on. Thus, both The Mummy and the stories ‘He’, ‘The Terrible Old Man’, ‘The Picture in the House’, ‘The High House in the Mist’,’ ‘Dreams in the Witch-House’, and ‘The Thing on the Doorstep’ all make use of the concept of the immortal monster-magus as much as The Mummy and ‘Cool Air’ and ‘The Horror at Red Hook’ all possess a certain fascination with the Oriental and the exotic. Having established the parallels, Hite goes on to explain the differences between the Cthulhu Mythos and the Silver Nitrate Mythos, primarily the emphasis upon sexuality, its obsession with psychology, fascination with corpses and their mutilation, the sublimation of the Desperate Decade’s economic fears into supernatural ones, the mocking of God’s good order, and so on…

The second section explores the more mundane elements that make up the Backlot Gothic. Whether the blackest of forests or catacombs and castles most sinister, hermits or gypsies, butlers or laboratory assistants, these elements emulate the stock characters and locations where the movies of Shadows Over Filmland are shot. Complete with numerous examples and advice on handling both the motifs and the accents to found in the Backlot Gothic, their inclusion highlights both an issue with Shadows Over Filmland and its intent. The issue is that the regular use of this stock footage can easily become a cliché, but the intent is that is Shadows Over Filmland not meant to be used as a campaign. That is, the Backlot Gothic is somewhere to visit on an irregular basis, a fact further supported by the absence of any advice on running the dozen scenarios herein as a campaign. Rounding out this section is a number of story hooks that the Keeper can develop into full scenarios in addition to those in the book’s third section.

Shadows Over Filmland’s third section is its longest and is devoted to the investigators’ individual trips to the Backlot Gothic in the form of a dozen scenarios. Of these twelve, Ken Hite pens five – ‘Death Across the Nile’, ‘Dreams of Dracula’, ‘Lord of the Jungle’, ‘The Black Chateau’, and ‘White Bokor’; Robin D Laws pens six – ‘Dr Grave Dust’, ‘The Green Ape’, ‘The Night I Died’, ‘The Preserve’, ‘The Non-Euclidean Man’, and ‘Under a Werewolf Moon’; and together, they co-author ‘The Final Reel’. The degree to which the Mythos is employed in these dozen varies from one scenario to the next, so that one scenario might be a more Universal Studio feature than a Lovecraftian submission to Weird Tales. That said, those of the scenarios that are more Lovecraftian would work well in a standard Trail of Cthulhu campaign with little or no modification.

The dozen opens in classic fashion not in the Backlot Gothic per se, but Backlot Egypt with ‘Death Across the Nile’ and a tale of possession down the ages. This scenario will be familiar to most gamers, right down to taking place at an archaeological dig, but this does not mean that it is not well done and that it is anything other than engaging. There is a twist or two to the tale, but it is otherwise a straight forward affair. ‘White Bokor’ is written as a sequel to White Zombie, the 1932 film starring Bela Lugosi and is intentionally straight forward, if not linear in nature. In it the investigators find themselves on the Backlot Island, either washed ashore or following up on earlier clues, where the only place to go is a castle on the Mountain of the Dead! The problem is that it is influenced by the films of George Romero and whilst the investigators are faced by a zombie herd, they are the ones being herded and it feels all too heavy handed. Given that its title is ‘Dr Grave Dust’, it is no surprise that the third scenario is inspired by Lovecraft’s ‘Herbert West – Reanimator’. An epidemic of grave robberies has struck the Backlot Gothic, and the investigators are asked to uncover those responsible. The culprit is quickly highlighted in what is otherwise a surprisingly combat orientated scenario. Again this is another straight forward scenario, but what is interesting is how the culprit’s motive has been taken a step further beyond an interest in reanimating the dead.

The conceit of the Backlot Gothic in ‘Dreams of Dracula’ is that no one has heard of Dracula and Bram Stoker never penned the eponymous novel, which of course flies in the face of player knowledge. Set in Backlot Albion, perhaps London, perhaps Whitby, the investigators are asked by a friend to help him with a queer situation – both his wife and her friend have been struck down by fever and anaemia, brought by nightmares! This is a languorous, atmospheric affair, one that apes the England-set sequences from Bram Stoker’s novel, almost as an act of misdirection. The author’s use of the Cthulhu Mythos, hidden as it is behind the apparent vampire Mythos, nicely and effectively underpins the scenario’s misdirection. As ‘The Green Ape’ opens, the investigators find themselves ready to go ashore and brave the Backlot Jungle on the remote island of Nambu in the South Pacific. This is a trip back into the prehistoric past, much like the movie that inspired it – King Kong, and much like any trek into the unknown, the scenario become something of a test of endurance, although this is balanced by a Pulp sensibility. The next adventure is again set in the Backlot Jungle and is again something of a test of endurance, but more intentionally so. ‘The Lord of the Jungle’, which draws from James Whale’s 1940 film, Green Hell, and Lovecraft’s ‘Facts Concerning The Late Arthur Jermyn And His Family’ also continues the previous scenario’s Pulp sensibility, but this slips away as the investigators penetrate further and further into Africa’s dark heart to locate a lost city and uncover its secrets. 

Val Lewton’s films for RKO from the 1940s – leaping a decade ahead than is the norm for Trail of Cthulhu – are the inspiration for ‘The Night I Died’. Once again a friend calls upon the investigators for their help. His fiancée has fallen into melancholia and appears to sleep walk, even going so far as claim that she is a ghost! Set in an Urban Backlot, ‘The Night I Died’ is another atmospheric piece, but one that comes with notes on how to make it more of a Mythos influenced experience than it is. Inspired by Lovecraft’s ‘From Beyond’ as much by The Invisible Man, ‘The Non-Euclidean Man’ brings the investigators to a scientific symposium hosted by the Pneumametric Society and face to death from beyond – though initially not their own. 

‘The Black Chateau’ has the most modern feel of the dozen scenarios in the anthology, at least artistically. It evokes a feeling of stark, nightmarish horror in entrapping the investigators within an imaginatively contemporary version of the haunted house to very pleasing effect. Much like the earlier ‘Dreams of Dracula’, a familiar monster appears in ‘Under a Werewolf Moon’. Its use is not as imaginative as that of Dracula in ‘Dreams of Dracula’, but this is nevertheless far from unplayable. The penultimate conceit in the anthology takes a concept from the Universal Horror films and sets it on the investigators. ‘The Preserve’ unites three of the antagonists from previous entries in Shadows Over Filmland and lets them take revenge on the investigators in what is a Pulp affair suitably located towards both the end of the book and the end of a Backlot Gothic campaign.

The conceit culminates in Backlot Hollywood – or is it the ‘real’ Hollywood? – with the appropriately named ‘The Final Reel’. The investigators are called in by the Hays Office to look into Capitol Pictures’ production of a new horror film entitled Call of Cthulhu! Can they find cause to have this threat to American morals shut down, let alone uncover who exactly is sponsoring the film? Fittingly, this plays louche and loose with the Shadows Over Filmland canon to draw on several of the previous scenarios in the anthology, though such elements are not central to the plot. It is almost as if the investigators have stepped out of the collection’s previous films and into the studio… The scenario comes with several detailed NPCs around which the Keeper involves the investigation, though this is primarily a player-led affair. Should the investigators want to do more than just shut the film down and uncover the cult or cultists behind its production, then the Keeper will have to improvise the details himself. Otherwise, this is an entertaining climax to Shadows Over Filmland.

Physically, Shadows Over Filmland is a beautiful book. The layout is clean and tidy, and Jérôme Huguenin provides some excellent art. It is missing an index, but that is probably less of a problem since the book is unlikely to serve as a reference work. Slightly more problematic is the lack of maps since their inclusion might have aided the Keeper in certain scenarios.

The best of the dozen Shadows Over Filmland work effectively when their combination of the horror of the Cthulhu Mythos and the horror of the Universal Monsters counterbalance each other. Samples of the twelve that achieve this include ‘Dreams of Dracula’, ‘The Black Chateau’, and to an extent, ‘Under a Werewolf Moon’. The least effective scenarios are those that wander away from the Backlot Gothic or the Backlot Albion, primarily because the investigative process plays less of a role and because there is less player agency involved in them. Those in between these two poles are solidly written scenarios, though ‘White Bokor’ is perhaps too linear and too heavily scripted. The tone for most of the twelve is also well handled, for the most part maintaining a steady median between the Pulp and the Purist, sometimes advice being given for the Keeper should he want to adjust to one tone or another. 

As with any anthology, the contents of Shadows Over Filmland can easily be used as a series of one-shots. All are relatively short, offering at most two sessions’ worth of play. There is no particular order to the twelve scenarios, but certainly ‘The Preserve’ and ‘The Final Reel’ should be played after the previous ten. Many of the twelve would also work as additions to an on-going Trail of Cthulhu campaign, though the ‘The Preserve’ and ‘The Final Reel’ might stretch the credulity and tone of certain Keepers’ campaigns. The intended use of the anthology though is as a supplement to an existing campaign, the Backlot Gothic not being somewhere that the investigators should visit regularly. Indeed, there is such a dream-like quality to the scenarios that these twelve would work as a series of visits to a version of the Dreamlands influenced by the cinema of the Desperate Decade. However Shadows Over Filmland is used, it presents a diverting dozen that take the investigators deep into the Arcadian idyll of the Backlot Gothic suffused with the sinister and the malevolent behind which lurks the Cthulhu Mythos.