Every Week It's Wibbley-Wobbley Timey-Wimey Pookie-Reviewery...

Saturday, 8 May 2021

1987: Block Mania

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

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Sometimes the choice of game to review is not yours to make. So, it is with this review. The death of Richard Halliwell, the co-designer of Warhammer Fantasy Battles, as well as Space Hulk and Dark Future was announced on Monday, May 3rd, 2021. Although not a player of wargames, I am a fan of what he designed and created. This is a review of one of his many designs, all of which were popular and well received.

—oOo—

In the twenty-second century, the majority of the citizens of Mega-City One live in vast tower blocks, each a cramped claustrophobic world unto its own. Each block has its own shops, schools, hospitals, parks, and more, its citizens resigned to a life of rampant unemployment and welfare benefits and rarely needing to leave the confines of the block. Everything they, if not want, can be found within the confines of their block, so as boring and as frustrating as their lives are, to each citizen, their block is their home and their identity, and if their lives are boring and frustrating, it is not the fault of the government—there is no government, then they need someone else to blame. That someone else is their neighbouring blocks. Perhaps the citizens, or blockers, of these neighbouring blocks are too rich or too poor, too noisy or too quiet and untrustworthy, too arrogant or too cowardly, unfriendly or hostile, or… Or the reason does not matter, because it is enough to turn a simple insult of one blocker made by a blocker of a rival block, a juvie rumble between rival blocks, or even a pre-emptive strike by a rival block is enough to aggravate the rivalries between blocks into an all-out confrontation between their citizens and their city-def squads. And an all-out confrontation between the citizens and the city-def squads of rival blocks can turn into a war! A war that can escalate into one block invading the other and planting bombs and setting fires sufficient to bring the whole block down! Of course, that is until the Judges, the combined policemen, judges, juries, and executioners of Mega-City One respond to the conflict and intervene to bring it to a permanent end!

This is the set-up for Block Mania, a two-player board game for players aged fourteen and up set in the Judge Dredd universe. In Block Mania, each player takes control of a single block—Sammy Fox or Buddy Holly Block—and the enraged citizens or Blockers who reside there. Armed with flamers, missile defence lazers, missile launchers, spit guns, and stump guns, City-Def units, Crocks (senior citizens), Juvies, and Spugs (really mean Juvies) will attack their rival block or defend their own. Futsies (suffering from Future Shock) will go crazy and attack anyone, Fatties rolling on belliwheels will charge and squash their rivals, Mobs will go on the rampage, Juvies and Spugs can scrawl really demeaning and demoralising graffiti, the alien hungry, hungry Kleggs will fight for anyone and chomp anyone they can, and demolition charges can be laid, firebombs places, and fires set, both of which will severely weaken a Block—and may even bring it down!

Block Mania is played out over two boards placed side-by-side and which each depicts a vertical side view of each Block. Laid side-by-side, they are connected by Mega-Ways for vehicle traffic, Pedways for foot traffic, and a Sky-Rail for quick transit. Both Blocks have balconies from which attacks can be launched and targeted, and upon which units aboard Power Boards or wearing Bat Suits can launch themselves or land. Inside movement can be eased up down the Block via the Elevators, down via Grav Chutes, and across the open spaces of Civic spaces. Once inside, Banks can be looted, really demoralising graffiti can be left in Civic spaces, Shopping Malls can be looted, and Power Houses can be switched off, which turns off the elevators, pedways, and lights! Besides the two boards, Block Mania includes some one-hundred-and-eighty counters, depicting the various units and pieces of Armoury (guns) and Hardware (equipment). Each unit has three stats—Command Value, Strength Value, and Movement Allowance. The Command Value is its cost to be activated, the Strength Value is its defensive score, and the Movement Allowance how many movement points it has when activated. Armoury counters have a damage bonus and a range value. Most of the counters are an inch-square, though the conditional marker counters, such as Fire and Collapse are a little smaller.

As well as moving his counters around the two maps, a player also has Mania cards, which give him certain bonuses and advantages during play as well as adding flavour. There are fifty-four of these and they are double-sided. One side is the Justice side, and depicts the forces and equipment that the Justice Department will deploy against the two warring Blocks—and thus both players—in the End Game phase, such as ‘Stumm Gas’, ‘Kleggs Go Home’, and ‘Riot Foam’. On the other side, the Mania cards depict events and bonuses which will benefit a player when used. For example, ‘Reinforcements’ lets a player deploy two units without paying the Command Point cost, ‘Kleggs’ allows a player to hire the mercenary aliens or take control of the Kleggs already in play (so control of them can switch back and forth), and ‘Kaboom!’ which has a player’s City-Def secretly plant a thermo-Bomb in the rival Block and allows him to place three Fire markers anywhere in the enemy Block. Throughout the game, each player holds three Mania cards and always draws another one at the end of his turn, so each player should play one every turn. Lastly, there are two books in Block Mania, both in landscape format. One is the Rulebook, the other is The Blockers’ Manual, a reference to the various counters and Mania cards.

Set-up involves placing the two boards side-by-side, each player receiving three Mania cards with another sixteen set aside for the Endgame phase, and receiving four random Blocker counters and their Hardware or Armoury counters if necessary, and again drawn randomly. They are placed wherever a player like sin his Block. The rest of a player’s counters—Blockers, Armoury, and Hardware—are placed in cups or stacks face down, so that they can also be drawn randomly. The game is played in turns each comprised of four phases—Command, Defensive Fire, Combat, and End Phase. In the Command Phase, the active player rolls the game’s two six-sided dice to generate Command Points, and then spends them to deploy new Blockers, activate Blockers in play and use their Movement Allowance to move, and spend on extra movement. No Command Points need to be spent in the other phases, but the limited number of Command Points per turn, except when a player rolls very well or plays the right Mania card, will force a player to focus on a few—even just one or two—units per turn, and thus make a few choices per turn. Overall, this should keep play relatively brisk.

In the Defensive Fire phase, the non-active player can shoot at adjacent enemy Blockers and in the Combat phase, the active player can attack—shoot or close assault—with his Blockers, make Loot, Arson, or Firefighting attacks against a target square. Rolls of six or more on the dice succeed for most actions, although in combat, the target’s Strength is deducted from the roll, whilst the damage bonus for the Armoury counter is added. During the End phase, rolls are made for chances of Collapse, Fire damage, and Catastrophic damage. Both Collapse and Fire damage causes Structural Damage markets to be added to a Block, though Fire damage can be prevented from spreading by firefighting. More Structural Damage markers in a square increases the likelihood of a collapse and the addition of a Collapse marker, and if a player rolls five dice and the total is lower than the number of Collapse markers, down comes the Block!

Play continues until the Mania cards run out and the Endgame begins. This means that a game should never last more than thirty-six turns before the Endgame is triggered. When it is, the discard pile is then shuffled, along with the sixteen cards set aside at the start of the game. A player must play one card on his turn and must use the Justice side of the card, not the Mania side. A Justice card will typically remove a Blocker from play, so the Endgame turns into a race to do as much damage to the rival Block before a player runs out of Blockers. The game ends when the last Blocker is removed from play or if both Blocks have collapsed. At this point, each player receives Defeat Points for damage done to his Block, locations Looted, graffiti left in his Block, Blockers defeated, and a whole lot of Defeat Points if his Block was brought down. The player with the least amount of Defeat Points is the winner and is given official permission by the rules to taunt his actually defeated opponent.

Block Mania is raucous, silly fun, and chaotic from start to finish. Which it should be, because none of the Blockers are necessarily trained soldiers and they are not acting in a co-ordinated fashion, often just grabbing what Armoury or Hardware that they can and rushing to attack the rival Block or defend against the invading Blockers. Which is modelled with the random drawing of Blockers, Armoury, and Hardware counters, and the randomly determined number of Command Points a player receives each turn. Plus, once any fires are set alight and bombs placed, there is always the increasing chance of the whole thing, including a player’s Block collapsing. And arguably, there can be no greater joy than seeing your rival’s Block collapse. It does not matter that you are going to spend decades in an Isocube when your inevitable arrest by a Judge comes to pass. Ultimately, the forces of the Law and Justice—and no to say life (or the game)—are against you, but after all, your rival’s defeat is greater than yours!

Block Mania is also complex fun in places too. The idea that you would get so angry and so crazy as to actually attack our neighbours is satirically funny in a dark way, especially with some of the Blocker units each player gets to deploy. Of course, much of this is drawn upon the satire of the Judge Dredd comic strip and universe, but in Block Mania, a player can have a Futsie scrawl in Civic space, Crocks fly between the Blocks on Power Boards and Loot a Bank, and Fatsies with Belliwheels trundling across the Pedway to slam into the City-Def on the other side. Which is all great fun, but thirty years on some players might have an issue with the idea of actively working to bring down a tower block. That said, this probably less of an issue than it would have been in the past. The complexity comes in some of the fiddley little details, such as working out how movement works, as it is often dependent upon where a Blocker is and what means of movement a player wants it to use—by foot or Elevator or Grav Chute or Pedway, and tracking elements of the game, such as fires and collapses. In comparison, combat is fairly simple.

Physically, Block Mania is well presented. The boards and counters are done on thick cardboard and illustrated in full colour with artwork drawn from the Judge Dredd universe, as are the Mania cards. The two books, the Rulebook and The Blockers’ Manual are done in the shades of blue and white and are neat and tidy. The Rulebook includes both Designer’s Notes and Players’ Notes, the latter some advice for play. The Rulebook does need a careful study, because there are lots of little rules that apply in different situations, and that does mean that Block Mania is anything other than a casual game.

Block Mania was originally published by Games Workshop in 1987. It was not the first time that Games Workshop would visit the Judge Dredd universe, having previously done so in 1982 with the Judge Dredd board game. However, despite Games Workshop being better known for publishing the much-loved Judge Dredd The Roleplaying Game, Block Mania always remained a fondly remembered game. The subject matter was also popular enough to be the subject of another game, Judge Dredd: Block War, published by Game and A Curry in 2018. Then in 2020, Rebellion Games, the games arm of the publisher of 2000 AD republished Block Mania and its sequel, Mega Mania, as a pair of handsome limited-edition replicas. This is the version of the board game being reviewed.

It would be inaccurate to describe Block Mania as being wholly British Ameritrash. Yes, the game comes with an H-Wagon or two’s worth of theme and applies that throughout, and yes, the game includes a fair degree of randomness, whether that is the random drawing of Blocker, Armoury, and Hardware counters, or the random determination of Command Points from turn to turn. Yet, Block Mania is also a classic counter and dice wargame, no surprise given that it is designed by Richard Halliwell, the co-designer of Warhammer Fantasy Battle, and in the use of Command Points, the game has the feel of a miniatures wargame where the limited activation of units from turn to turn is a feature. Plus, there are some complexities in the mechanics which means that it is not as much of a throwaway game.

Rowdy and clamorously chaotic, Block Mania is a darkly funny, satirical game. It is far from a perfect game, but it is a fun game to play and it is a brilliant adaptation of its source material.

Friday, 7 May 2021

The Myconid Mile

The Long Hard Mile: A Solo Adventure is a scenario for Metamorphosis Alpha: Fantastic Role-Playing Game of Science Fiction Adventures on a Lost Starship. The first Science Fiction roleplaying game and the first post-apocalypse roleplaying game, Metamorphosis Alpha is set aboard the Starship Warden, a generation spaceship which has suffered an unknown catastrophic event which killed the crew and most of the million or so colonists and left the ship irradiated and many of the survivors and the flora and fauna aboard mutated. Some three centuries later, as Humans, Mutated Humans, Mutated Animals, and Mutated Plants, the Player Characters, knowing nothing of their captive universe, would leave their village to explore strange realm around them, wielding fantastic mutant powers and discovering how to wield fantastic devices of the gods and the ancients that is technology, ultimately learn of their enclosed world. Originally published in 1976, it would go on to influence a whole genre of roleplaying games, starting with Gamma World, right down to Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic from Goodman Games. And it would be Goodman Games which brought the roleplaying game back with the stunning Metamorphosis Alpha Collector’s Edition in 2016, and support the forty-year old roleplaying game with a number of supplements, many which would be collected in the ‘Metamorphosis Alpha Treasure Chest’.

The Long Hard Mile: A Solo Adventure is something different for Metamorphosis Alpha. It is an update—is that a ‘backdate’?—of a scenario which originally appeared as Metamorphosis Alpha: The Long Hard Mile for use with Metamorphosis Alpha, Fourth Edition, for use with the classic version of Metamorphosis Alpha. It draws from a storyline where the Starship Warden runs into an invisible asteroid filled with mushroom and crystal life forms smashing a hole in the ship’s hull and letting in a rash strange new lifeforms which seem to want to take over the ship. Feeling that it was in need of transition piece which tied the collision to the events aboard the Starship Warden, the author wrote The Long Hard Mile which both explored the consequences and presented the first solo adventure for Metamorphosis Alpha.

Several weeks ago, the ship hit something hard and the world about the village seems to have shaken again and again, followed by strange changes. New plants roaming and killing, a nearby valley, once wooded, now filled with giant mushrooms taller than the trees they replaced, and deadly plants everywhere. The hero of the story is equipped with the best that the village has to offer and sets out to investigate. The first thing he sees upon reaching the head of the valley is three high tech weapons mounted on tripods, with signs of burn marks on the ground and trees ahead of them. Why are the weapons there and what were they being fired at, are just some of the initial questions to be answered in the opening entries in The Long Hard Mile. As the Player Character explores the valley, he will plunge into Fungi Forests, find himself stabbed and spiked by strange flora, make friends with a piece of mobile artillery, get battered and spoken to by fungi, and ultimately discover some of the valley’s hidden secrets.

The Long Hard Mile: A Solo Adventure is relatively short and runs to just twenty entries. It is fun, and mechanically, it does involve a high degree of combat, but there are two or three scenes involving some roleplaying too—especially if the scenario is run as a standard adventure with a Game Master and several players. The combat scenes will require reference to the Metamorphosis Alpha rules, but in other scenes where a player needs to roll dice, the mechanics are explained in the entry. The scenario includes two pre-generated Player Characters, Scar-Lock and Lock-Scar. The former is a Pure Strain Human, the latter a Mutant Humanoid. Their character-type will not have any effect upon their explorations of the valley, although Lock-Scar does have some advantage in have various mutations which will help him in a fight. If the Player Character manages to survive and escape the valley, he should be able to bring back several weapons along with a few secrets and the means to end the threat which has emerged since the crash and taken over the woods.

Once a player has run through The Long hard Mile in solo fashion, there is nothing to stop her from running the scenario as an adventure for a standard group. This is relatively easy given the limited number of entries in the adventure, but to make it little easier, the Game Master should draw up a map of the various encounters so that it will be easier to plot the Player Characters’ movement from one location to another. As a solo adventure, The Long hard Mile is playable in an hour, but as a standard adventure, a group should be able to complete it in a session or so. And like so many supplements and scenarios for Metamorphosis Alpha, The Long hard Mile works with almost any post-apocalyptic roleplaying game, from Gamma World to Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic.

The capacity for The Long Hard Mile: A Solo Adventure to be played as both a solo adventure and a standard adventure, even if a short one in both cases, gives it a versatility that few scenarios possess. It also means that the Game Master gets to play Metamorphosis Alpha for a change, and whether her character—Scar-Lock or Lock-Scar—manages to survive her explorations, he can become an NPC spurring the Player Characters into action and rooting out the mysteries of The Long Hard Mile: A Solo Adventure.

Views of the Warden

The Book of Handouts – 16 Scenes to Show Players is a supplement for Metamorphosis Alpha: Fantastic Role-Playing Game of Science Fiction Adventures on a Lost Starship. The first Science Fiction roleplaying game and the first post-apocalypse roleplaying game, Metamorphosis Alpha is set aboard the Starship Warden, a generation spaceship which has suffered an unknown catastrophic event which killed the crew and most of the million or so colonists and left the ship irradiated and many of the survivors and the flora and fauna aboard mutated. Some three centuries later, as Humans, Mutated Humans, Mutated Animals, and Mutated Plants, the Player Characters, knowing nothing of their captive universe, would leave their village to explore strange realm around them, wielding fantastic mutant powers and discovering how to wield fantastic devices of the gods and the ancients that is technology, ultimately learn of their enclosed world. Originally published in 1976, it would go on to influence a whole genre of roleplaying games, starting with Gamma World, right down to Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic from Goodman Games. And it would be Goodman Games which brought the roleplaying game back with the stunning Metamorphosis Alpha Collector’s Edition in 2016, and support the forty-year old roleplaying game with a number of supplements, many which would be collected in the ‘Metamorphosis Alpha Treasure Chest’.

Next to come out of the ‘Metamorphosis Alpha Treasure Chest’ is Book of Handouts – 16 Scenes to Show Players. There is no denying the power of a good handout, whether is the matchbook from the Stumbling Tiger Bar found in Jackson Elias’ hotel room at the start of Masks of Nyarlathotep or the Origami-style elemental stones from The Doomstones campaign for Warhammer Fantasy Roleplaying or the rotating puzzle from The Chained Coffin for Dungeon Crawl Classics or the opening screen crawl scripts for West End Games’ Star Wars: The Roleplaying Game. They engage the players and draw them into the world of the roleplaying game, building atmosphere and a sense of immersion. Yet for most fantasy roleplaying games, handouts take the form of maps, but there is a special case for Dungeons & Dragons. Going all the way back to S1 Tomb of Horrors, certainly Advanced Dungeons & Dragons has had a history of including a separate booklet of images keyed to locations in a scenario, so that when the adventurers reach a particular location, the Dungeon Master can flip to the relevant image in the Illustration Booklet and show it to her players. These illustrations brought each location alive and made the Dungeon Master’s task all the easier, and it is from these Illustration Booklets, for S1 Tomb of Horrors or more recently, Dwimmermount, that the Book of Handouts – 16 Scenes to Show Players draws from for its inspiration.

The Book of Handouts – 16 Scenes to Show Players is simply a book of illustrations of scenes aboard the Starship Warden. Unlike the Illustration Booklets for S1 Tomb of Horrors or Dwimmermount, there is no text associated with the images in its pages. Or indeed, an actual scenario associated with it. What you have instead is literally a booklet of images. Appearing in landscape and portrait formats, one image per page, they include a Tiger Mutant Animal in armour and firing a rocket straight at the viewer—and thus the Player Characters; a woman dressed in the clothes of the Ancients, asleep in her cyropod; and a bunch of scruffy Pure Strain Humans, bearded and armed with flint spears, looking nervously into a strange hole in the wall. Some are humorous, like the four Wolfoids, clearly enjoying themselves travelling in some ancient vehicle, the passengers with their feet, whilst others are horrifying, such as the Pure Strain Human being strapped down by medbots whilst staring at the metal leg they are about to replace his own with! Then some are intriguing, like the entrance to a bunker or a facility marked as ‘Level 5’, the ground before it strewn with dirt out of which protrudes one of the many infamous coloured arm bands to be found aboard the Starship Warden and which will grant access to certain keyed areas.

However, because there is no text in the Book of Handouts – 16 Scenes to Show Players and so each picture is not displaying a specific scene or encounter, these images are not actually intended to be shown to the players—at least not at first. Their initial role is to severe as inspiration for the Game Master, for the Game Master to write scenarios and scenes in which the images can be shown to the players and illustrate what their characters can see. For example, perhaps one of the Player Characters’ friends has gone to serve the Ancients, but when they discover him, they see him about to undergo leg upgrade surgery at the hands of the medbots or during the rites to the holy carp in the lake upon whose shores the Player Characters’ village stands, the giant fish is suddenly attacked by something tentacular. Is this tentacled attacker a mutated beast, a robot gone rogue, or what else could it be?

The all but text free Book of Handouts – 16 Scenes to Show Players does another thing and that is showcase the artwork of the late Jim Holloway, drawings here each to a brief given by author, James Ward. And they are good pieces of art, interesting, a little quirky, and hopefully for the Game Master, inspirational, and her players, illustrative. And like so many supplements for Metamorphosis Alpha, the Book of Handouts – 16 Scenes to Show Players works with almost any post-apocalyptic roleplaying game, from Gamma World to Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic. Ultimately though, the Book of Handouts – 16 Scenes to Show Players is not a book that a Metamorphosis Alpha or other post-apocalypse Game Master absolutely needs, but short of ideas, it might provide much-needed inspiration for the next adventure.

Monday, 3 May 2021

[Fanzine Focus XXIV] Upper Heleng

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry.

Upper Heleng: The Forest Beloved by Time is a little different. Penned by Zedeck Siew—author of Lorn Song of the Bachelor—and drawn by Munkao, it is the third title published by the A Thousand Thousand Islands imprint, a Southeast Asian-themed fantasy visual world-building project, one which aims to draw from regional folklore and history to create a fantasy world truly rooted in the region’s myths, rather than a set of rules simply reskinned with a fantasy culture. The result of the project to date is eight fanzines, plus appendices, each slightly different, and each focusing on discrete settings which might be in the same world, but are just easily be separate places in separate worlds. What sets the series apart is the aesthetic sparseness of its combination of art and text. The latter describes the place, its peoples and personalities, its places, and its strangeness with a very simple economy of words. Which is paired with the utterly delightful artwork which captures the strangeness and exoticism of the particular setting and brings it alive. Barring a table of three (or more) for determining random aspects that the Player Characters might encounter each entry in the series is systemless, meaning that each can be using any manner of roleplaying games and systems, whether that is fantasy or Science Fiction, the Old School Renaissance or not.

The first, MR-KR-GR The Death-Rolled Kingdom, described the Death-Rolled Kingdom, built on the remains of great drowned city, now ruled by crocodiles in lazy, benign fashion, they police the river, and their decrees outlaw the exploration of the ruins of MR-KR-GR, and they sometimes hire adventurers. The second, Kraching, explored the life of a quiet, sleepy village alongside a great forest, dominated by cats of all sizes and known for its beautiful carvings of the wood taken from the forest. The third in the series, Upper Heleng: The Forest Beloved by Time, takes the reader, if not into this forest, but into a forest.

Stepping into the forest is like stepping into the past. Time seems to pass differently there, and so it is in Upper Heleng, though no native would call it that. Beyond the two great trees which mark its most obvious entry—one dead, the other never not in flower, time passes faster for objects not of the forest. They rot, they rust, teeth fall out. It is almost as if the forest is rejecting such modernisms. Squirrels appear to chatter and gossip—if you listen. A wheezing mouse deer asks for help—it has a woman’s face. Take care lest the Leeches stalk you and steal something from more important than a mere possession—a hand, a child not yet born, a skill, your favourite song… The forest is married to Time and has given birth to many gods who make their home in her arboreal embrace. Each has their own time, some of which are embraced by the natives, some of which are not. The Leech is her eldest, who governs memory, loss, and entropy, and who defends his mother when necessary and whose manifestations stalk and steal from intruders. The Bee is her third daughter, a gibbon-shaped hive of bees whose presence indicates that harvest is here. The Moth is the youngest and the oldest, and governs death for all who die in the forest, able to see out of the spots on the moth he has for a face—and out of all spots of all moths. Anyone who died in the forest may be asked questions through the Moth for he remembers them all, but for a price.

The way into the forest—and Upper Heleng: The Forest Beloved by Time—is through a guide. The girl, Wingseed, is keen to take the Player Characters in—though Dangles, her father now living in a dog’s (and thus a god’s) shape worries greatly for her, and will advise them to eat the food grown inside to lessen the effects of time whilst under the canopy. The Player Characters may encounter Sadushan San Di, who quests for the Leech who defeated Sadushan San Di’s liege-lady, Queen Qaidun, and stole her face, but who knows which of the many Leech Spawn now bears that visage? Or Sri Jahisha, itinerant swordfish who wishes to see the un-oceaned world and is borne upon the back of fisherman who he blesses with his magic. The forest nomads with their strange ways, but kindly manner, treating outsiders like children who know no better… Such as Tittertit, the elderly camp chief who does not give a damn and whose armful of monkeys know spells and Scoffysyrup, a woman addicted to the beakroot which is transforming her into a bird. She wants to be free to fly and wants more, but her campmates refuse to gather it. Perhaps the Player Characters have come to aid Sadushan San Di or to purchase trade goods, like the Ghost Antler, infused with the beast’s final instincts at death, the phantom vines which are found hanging in the air and can be woven into nets capable of entrapping the incorporeal, or Quick Honey, the mercury liquid which grants a day’s invulnerability and unerring action in return for the ultimate price, but which all of the gods across the Thousand Thousand Isles want at their table.

For the Game Master there are tables to determine random encounters in the forest and encounters with the forest people. There is also an insert which provides another pair of tables. Both are ‘die-drop’ tables, one a name generator for the people of the forest which with a roll of six dice also generates a personality too. The other is a lay of the land of the forest, a collection of places, the fall of the dice determining the elements of the location where the Player Characters are, or are going, the Game Master building the descriptions from where the dice land. This is not necessarily a map generator, since the land can change, rivers squirm to elsewhere, paths wither and disappear. Essentially, the forest grows and changes, but remains the same.

Physically, Upper Heleng: The Forest Beloved by Time is a slim booklet which possesses the lovely simplicity of the Thousand Thousand Isles, both in terms of the words and the art. Together they evoke visions of a very different world, inspired by forest taboos and Bateq egalitarianism, and of a very different fantasy to which a Western audience is used, but the light text makes it all very accessible as the art entrances the reader. However, Upper Heleng: The Forest Beloved by Time is not easy to use, the forest crawl being far away and not necessarily easy to reach, but worse, it is difficult to engage the Player Characters with it until they reach its eaves. The Game Master will need to work hard to create motivations and drives for them to travel to Upper Heleng, and that is its biggest weakness. It has the hooks—both ethnographic and cosmological—but it is a matter of getting the Player Characters there.

Upper Heleng: The Forest Beloved by Time has not quite the charm of the previous MR-KR-GR The Death-Rolled Kingdom or Kraching, but this does not mean that it is not without appeal. Once again, Upper Heleng: The Forest Beloved by Time is beguilingly simple and exquisitely enticing in its presentation of a bucolically strange, but seemingly tranquil land far away from whatever constitutes the main hub of the world and its action.

—oOo—

The great news is that is Upper Heleng: The Forest Beloved by Time, MR-KR-GR The Death-Rolled Kingdom, Kraching, and the others in the Thousand Thousand Isles setting are now available outside of Malaysia. Details can be found here.

Sunday, 2 May 2021

[Fanzine Focus XXIV] Mörk Borg Cult: Feretory

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

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

Mörk Borg Cult: Feretory—‘Feretory’ meaning ‘a portable shrine containing the relics of a saint.’ is a fanzine of a different stripe, both in terms of content and style. It is and it is not a fanzine, but it is for Mörk Borg, the pitch-black pre-apocalyptic fantasy roleplaying game which brings a Nordic death metal sensibility to the Old School Renaissance. The format is that of a fanzine, A5-sized, on matte paper rather than the gloss of the Mörk Borg rulebook, but sharing the same riotous assault of electrically vibrant yellow and pink highlights on swathes of black, abrupt font changes, and metallic embellishments. Essentially, production values higher than that typically found in most fanzines, but influential nevertheless, as seen in the recent Knock! #1 An Adventure Gaming Bric-à-Brac. This is because although the origins of the content in Mörk Borg Cult: Feretory are amateur in origin, they have been curated from submissions to the Mörk Borg Cult, the community content programme for Mörk Borg by the designers of the roleplaying game and collated into a fanzine format. And unlike most fanzines is available through distribution. It is essentially, a cross between a fanzine with gorgeous production values and a supplement with fanzine sensibilities.

At sixty-four pages and fourteen or so entries, Mörk Borg Cult: Feretory is also longer than most fanzines. Most of its articles are fairly short though and written and presented in a sparse, often bullet-point style which makes their content easy to digest. It can be boiled down to a variegated array of tables, scenarios, and character Classes, and Mörk Borg Cult: Feretory does not waste any time in getting down to its trademark doom and gloom with the first of its tables. Slipped inside the front cover, ‘The Monster Approaches’ is a quick and dirty random monster generator which with a roll of a handful of dice, the Game Master can create something vile and unnerving to throw at her Player Characters—who are of course, just as likely to be almost, if not equally as vile and unnerving. It is quickly followed by Svante Landgraf’s ‘Roads to Damnation: Travel Across a Dying World’ which provides rules and randomness for travelling across the large island which is all that remains of the Dying Lands. It covers distances as well as events on and off the road, but like all tables has only a limited number of entries, so may be exhausted fairly soon. For a roleplaying game like Mörk Borg, which is designed for short campaigns, this is not so much of an issue.

Longer is ‘Eat Prey Kill’ by Karl Druid, which can work as a companion to ‘Roads to Damnation: Travel Across a Dying World’, providing as it does rules for hunting in the Dying Lands. In effect, it is a set of mini-tables, one for each region of the Dying Lands (indicated by the often-indecipherable use of Gothic script), with each entry on the these mini-tables being a complete monster description and its stats. So in the Bergen Chrypt, a hunter might find a Tunnel Sneak (or it might find him), Nephalix Monkeys who leap from peak to peak on boney wings, tossing their victims down the cliffs below, laughing as they do, or a Ragpie, what appears to be bundle of old cloth near a pile of bones, but which embraces and chokes its victims like a dark cloak. So it is a bestiary of new creatures also, but what makes it grim is not just the table for hunting mishaps, but also what a hunter might find in the belly of the beast he is hunting…

‘d100 Items and Trinkets’ by Pelle Svensson provides exactly that, whilst Anders Arpi, Ben H, Dom Cohen, Ripley C, Johan Nohr, karl Druid, Leander E, Paul Wilde, and Flora v/d B all contribute to ‘The Tenebrous Reliquary’ which is a much lengthier and more table which contains ‘d66 Items of Doom’, including the ‘Plasmatic Idol’ which blood is spilled over it, the blood becomes a poison or the owner gains a temporary boon; a ‘Tyrant’s Tongue’, which when placed in the mouth of a skull, screams the tongue’s final words—over and over; and the ‘Claw of the Sloth’, a dagger whose small cuts can eventually freeze a victim on the spot. All of these items have a grim, dark edge to them befitting the tone of the roleplaying game. They could easily be adapted to other roleplaying games or settings with similar atmospheres. ‘The Tablets of Obscurity’ is a list of ten magical relics of a forgotten mind-cult, essentially stone tablets used like scrolls, whilst ‘The Black Salt Wind’ blows through tombs, palaces, and places deep beneath the earth, such as in the Valley of the Unfortunate Undead and the Wästland plains, its effects random each time, such as burning eyes which weep black tears encrusting the eyes or Old Salt Madness singing to you, telling to either mock or befriend everyone you meet!

Carl Niblaeus’ ‘The Death Ziggurat’ is the first of three scenarios in Mörk Borg Cult: Feretory. The Player Characters are hired by Cretun monks to climb down into a cold and dank sinkhole in the forests of Sarkash to find an ancient ziggurat and prevent a demon laying waste to the world. This is a mini-hexcrawl, set in a freezing landscape, with just a handful of locations, including the ziggurat itself, and even fewer NPCs. Combined with a set of tables to populate the sinkhole with ruins and encounters, ‘The Death Ziggurat’ is playable in a session or two and is easily added to a campaign or run as a one-shot. It also nicely tags the core concept behind Mörk Borg and that is that the world is doomed… ‘The Goblin Grinder’ by Ripley Caldwell moves the action to the city of Galgenbeck which has become infested with Goblins, with the number of its citizens affected by the Goblin Cure growing day by day. Fortunately, a local alchemist has a cure—at a cost of forty silver a vial! The scenario comes with several reasons for the Player Characters to get involved, at least initially, but not necessarily how to take the next step and get them to locations where the scenario is likely to be resolved. Once the Player Characters get to the primary location in the scenario, it is nicely detailed, grim and grimy with a certain grinding crunch to its climax. The scenario needs a little effort upon the part of the Game Master to work, but once done, this again, is playable in a session or two.

‘The Grey Galth Inn’ is not a scenario as such, but rather another set of tables for generating elements and storyhooks when at this, or another inn. So, there are tables for both ‘Would you prefer the Select Menu?’ and ‘Ah, I see, you lack funds’ (watery femur soup or thick ooze soup—ooze is pure—sound lovely), along with tables for ‘Why is the Innkeeper Twitching?’ and ‘Patron traits’. Also included is rules for the dice-based gambling mini-game called Three Dead Skulls. Of course, these tables can be used to generate content and hook the Player Characters into whatever is going on in and around the inn. 

Mörk Borg Cult: Feretory includes four new Classes. These begin with Karl Druid’s ‘Cursed Skinwalker’, a shape-shifter able to assume the form of a singular creature, such as a Murder-Plagued Rat or a Doomsaying Monkey, within a bone-cracking painful minute. The ‘Pale One’ by Tim Rudluff is an alien of weird origins and manner, able to cast a random blessing once per day, but beset by incoherent madness and self-destructive rages, whilst Greg Saunders’ ‘Dead God’s Prophet’ listens to the voices in his head telling him what to do, and is blessed by his dead god, perhaps with poison-seeping stigmata or eyes of holy fire. Lastly, the ‘Forlorn Philosopher’ who studies have failed him and rails at the lies left. The ‘Forlorn Philosopher’ can freely use and understand ‘The Tablets of Obscurity’. Some of these Classes are easier to play than others, the Cursed Skinwalker’  and ‘Pale One’ in particular feeling underwritten in comparison to the ‘Dead God’s Prophet’ and ‘Forlorn Philosopher’, both of which add to the feel and atmosphere of the Dying Lands.

Included in Mörk Borg Cult: Feretory is ‘Dark Fort’, the solo game which formed the basis for Mörk Borg. It is a short, and in keeping with Mörk Borg, nasty solo game. Complete with five character sheets, a player rolls on its tables to generate encounter after encounter, the aim being for the victim/character to survive each room, collect silver, gain a Level, and so on. Once a player has ticked each of the six advancements from gaining a new Level, the character retires, lives comfortably, and just like Mörk Borg, the world ends. It is quick and dirty, even slight, but a nice nod to the origins of the roleplaying game.

Mörk Borg Cult: Feretory can add so much to your fantasy game—especially if it is dark and grim. Its content would work in Warhammer Fantasy Roleplay, Zweihänder: Grim & Perilous, Shadow of the Demon Lord, and others—with a little bit of adaptation. As a supplement for Mörk Borg it expands aspects of adventuring in the Dying Lands whilst keeping them as grim and grimy, as grisly and grotty, and as ghastly and grubby as both Game Master and players would want. Mörk Borg Cult: Feretoryy is a joyously foul and febrile first supplement, offering up a jumble that the Game Master will want to sort through and add to her game.

Saturday, 1 May 2021

[Fanzine Focus XXIV] Echoes From Fomalhaut #05: The Enchantment of Vashundara

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

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

Echoes From Fomalhaut is a fanzine of a different stripe. Published and edited by Gabor Lux, it is a Hungarian fanzine which focuses on ‘Advanced’ fantasy roleplaying games, such as Advanced Dungeons & Dragons and Advanced Labyrinth. The inaugural issue, Echoes From Fomalhaut #01: Beware the Beekeeper!, published in March, 2018, presented a solid mix of dungeons, adventures, and various articles designed to present ‘good vanilla’, that is, standard fantasy, but with a heart. Published in August, 2018, the second issue, Echoes From Fomalhaut #02: Gont, Nest of Spies continued this trend with content mostly drawn from the publisher’s own campaign, but as decent as its content was, really needed more of a hook to pull reader and potential Dungeon Master into the issue and the players and their characters into the content. Echoes From Fomalhaut #03: Blood, Death, and Tourism was published in September, 2018 and in reducing the number of articles it gave the fanzine more of a focus and allowed more of the feel of the publisher’s ‘City of Vultures’ campaign to shine through, whilst Echoes From Fomalhaut #04: Revenge of the Frogs drew from multiple to somewhat lesser effect.

Echoes From Fomalhaut #05: The Enchantment of Vashundara contains just four entries, and is all the better for it. Published in April, 2019, the issue opens with the titular, ‘The Enchantment of Vashundara’, by Zsolt Varga. This is an otherworldly scenario designed for Player Characters of Third and Fourth Levels. It begins with a giant peacock landing in front of the Player Characters and lowering her wings as if to suggest that they might climb onto her back. If they do, they are flown up into the clouds and over an ocean to a land far, far away where the bird alights at the entrance to a villa. It is an interesting start because the peacock never speaks, although the Player Characters may find animals in the villa who will, many of them quite eccentric. They will also discover that the villa is clearly built for a giant, and that giant—complete with six arms and six heads—is chained up and deeply asleep in the stables. What exactly is going on in this villa? The scenario is a mix of investigation and combat and plays upon the idea of the adventurers as midgets in a land of giants, much like Castle Gargantua, making what would be small things for a giant of a size that the adventurers can use. They are free to poke about as is their wont in the gardens—hanging or otherwise, fabulously clean bathing facilities, and lake (which is actually upstairs) of the villa. There is no one way to approach this scenario or investigating its situation, so the suggested set-up is exactly that, and whilst there is an ideal outcome given, the scenario is open enough that events could play in plenty of other directions… The second-place winner in a scenario writing competition the editor was judging, it is easy to see why ‘The Enchantment of Vashundara’ came second (and to wonder what happened to the first), because it is simple and flexible, but with plenty of scope for the players and their characters to interpret the how they will. Its set-up also makes it easy to drop into a campaign with relatively little preparation.

The bulk of Echoes From Fomalhaut #05: The Enchantment of Vashundara is dedicated to the town of Tirwas, but in two parts. The first part is ‘The Divided Town of Tirwas’ which describes the harbour town with its unfinished walls, its inhabitants, various locations, and the various tensions which make it fraught place to visit, let alone live. Located towards the eastern end of the Isle of Erillion—detailed in previous issues—this was once a sleepy village at best, known for its communal customs and penchant for smuggling, but little else. Now it has grown into a town in which smuggling is a way of life; strangers have a habit of going missing or become the victims of attacks or other crimes unless they have paid (or been extorted) for membership into one of the town’s many factions; and factions headed by the town’s Landlords. As with the town writeups in previous issues of Echoes From Fomalhaut, ‘The Divided Town of Tirwas’ goes into some detail about the town and its inhabitants. This includes all eight Landlors and their aims and rivalries, customs such as what might happen to the Player Characters if they are not willing to wear one of the Landlords’ emblems, and numerous NPCs and locations accompanied by rumours and potential hooks. 

The second part is ‘Plunder of the Stone Sacks’, a scenario for Player Characters of Third to Fifth Level. This details a series of caves which in the past were worked and expanded into a series of communal shelters below Tirwas, each family in the town having and furnishing their own cave, but which have since been partially abandoned with some areas closed off, some used as storerooms, others as a means to smuggle goods into the town, and lastly, one area as a gaol and holding area for a certain nasty trade… The Stone Sacks is a cross between a classic dungeon and a working area, the Player Characters needing to use stealth to get around sections of it to avoid being noticed in the areas under guard. Beyond mere curiosity, several hooks are suggested to push the Player Characters to investigative activities in the town and in the Stone Stacks, including disappearances in the town, stopping the smuggling activities, or even looking for an ancient, long-forgotten shrine. Together, ‘The Divided Town of Tirwas’ and ‘Plunder of the Stone Sacks’ form a solid pairing, which could easily be added to a Game Master’s campaign, but really it provides her and her players and their characters with motivations not just with reasons to visit and investigate the town of Tirwas, but also the Isle of Erillion. This is excellent support for the setting and hopefully future issues will see support in a similar fashion.

Rounding out Echoes From Fomalhaut #05: The Enchantment of Vashundara is ‘All is Well in Sleepy Haven’ This describes another coastal settlement on the Isle of Erillion. Where ‘The Divided Town of Tirwas’ and ‘Plunder of the Stone Sacks’ take up half of the fanzine, ‘All is Well in Sleepy Haven’ is a mere tenth of the issue’s length. It is described as unexciting, even dull, and the problem is that it is. There are some missing persons and suggestions that treasure hunters are operating in the area, but it is debatable as whether this would be enough for the Player Characters to be motivated enough to visit the village. To be fair, the descriptions are well done, just as they are elsewhere in the issue, but the write-up of Sleepy Haven is exactly that.

Previous issues of the fanzine came with a map which depicts the outline of a city or town, intended as a handouts for the players. Echoes From Fomalhaut #05: The Enchantment of Vashundara goes one step further with two maps on a double-sided sheet, one of Tirwas and one of Sleepy Hollow. These are done on sturdy paper and as before, nicely done. Physically, the issue is decently presented, the choice of public artwork and new illustrations, all feel fitting. It needs an edit in places, but is otherwise, well written.

Echoes From Fomalhaut #04: Revenge of the Frogs had four articles and felt the better for it, and Echoes From Fomalhaut #05: The Enchantment of Vashundara has four articles and feels all the better for it. In fact, it is better for having the two articles describing a town and the dungeon below it together with reasons to explore both, as well as an intriguing and likeable scenario in the form of the titular ‘The Enchantment of Vashundara’. Echoes From Fomalhaut #05: The Enchantment of Vashundara is a solidly entertaining issue.

—oOo—

An unboxing of Echoes From Fomalhaut #05: The Enchantment of Vashundara can be found here.

[Fanzine Focus XXIV] Casket of Fays #1

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry.

Fanzines are fundamentally a means and a platform to support a publisher’s and authors’ favourite roleplaying game. This can be in the good times and the bad, when the roleplaying game a fanzine supports is in print, and when it is not. And when it is not, a fanzine can become the focal point for a roleplaying game’s fans, a way for which they can maintain their interest in the game. This can be whether the fanzine is in print or electronic format. This is the case with Dragon Warriors and Casket of Fays. Dragon Warriors, the fantasy role playing game system published by Corgi Books in the mid-eighties originally as a series of paperbacks, then in the noughties by Magnum Opus via Mongoose Publishing, and more recently by Serpent King Games, as a series of standard-size books. Casket of Fays is a fanzine published by Red Ruin Publishing [https://www.redruin.org/], a fan-community-driven community, and available for free as a PDF.

Published in July, 2020, Casket of Fays #1 – a Dragon Warriors RPG fanzine is a short fanzine, running to just twenty pages. In that limited space it packs in a new monster or two, a preview, new weapons, a new profession or more. Short of an adventure, or two, this is a generally pleasing little medley of content which a Game Master can use in her campaign. The issue opens with Wayne Imlach’s ‘Mere-Trolls’, first of two monster types in the issue. The Mere-Troll is a riverine hunter, humanoid, but reptilian and bestial, which prefers to lair in the muddy waters of the banks of rivers or lakes. They are not however necessarily a danger to most, whereas their wives, or ‘Mere-Hags’, are. Anyone forced to drink the blood of a Mere-Troll or Mere-Hag becomes subservient to them, but being more intelligent and cunning, only the Mere-Hag takes advantage of this. Which means that if adventurers are forced to confront such a creature, she will be guarded by many other beasts!

‘Welcome to the Thousand Islands’ by Damian May is an ‘Extract from the Journal of Damprong Kak of Batuban, Captain of the junk Åšakra.’ and a preview for then—and still—forthcoming supplement, Thousand Islands, from Ambula in Fabulam. It is readable, but bereft of context, it simply just is, and without that context, it just feels as if it is taking up space. More useable though are Damian May’s ‘Weapons of the Thousand Islands’, which describes a trio of blades used in the region, such as the Mandau, a heavy chopping sword often with a hilt carved from human bone and used in head-hunting ceremonies and the Karambit, a knife whose blade is shaped like the claw of a tiger and whose hilt has a finger ring which can be used to punch an opponent and prevents the user from being disarmed—though this is jarring when such attempts are made.

Even more useful though, are the entries in Lee Barklam’s ‘A Spell and a Nasty Magical Item’. The spell is Moonthread, a Sorcerer spell which creates a strand of the moon’s light into a thread as light as silk, but strong as heavy rope. It cannot be cut, remains as long as there is moonlight (or the light of the Moonglow spell), and vanishes if exposed to sunlight or touched by a magic weapon. A nice simple spell, which although utilitarian in nature, has some nice flavour and a couple of wrinkles or two. The nasty magical item is nasty, the Scarred Pearl, a short, plain silver rod topped by a heavily scarred pearl, which scarred again with a sharp implement and that scar inflicted permanently on the face of the user’s target, which reduces their looks. It lives up to its description and would be a perfect addition to any villain jealous about the looks of others.

‘Chaubrette: The Barony of Séverac’ by Greg Dzi provides an overview of the Barony of Séverac which lies between the cities of Méore and Quadrille on the Mergeld Sea. It is dominated by Baron Enguerrand backed by the Merchant Guilds of Varnais, known as the Sleepless Port, whose fleets of ships trade far and wide. It also describes the city, along with ‘le Chancre’ or ‘Canker’, the maze of slums and hovels that make up the shanty town outside its walls, in detail enough that a Game Master could draw a simple map, perhaps the only thing that is missing from the article. Wayne Imlach also gives a write-up of ‘Bödvar Bjorn’, a great hero of the Mercanian sagas, a famed sea wolf, berserker and archer of unmatched ability. There are not full stats for him, but again enough for the Game Master to create him should she want to include him as an NPC.

‘The Light Elementalist’ by James Healey and Joshua Roach details a new Profession. The Light Elementalist follows one of the two non-traditional Elemental Paths, the other being Time. They originally drew their power from seven Sun Orbs, but one has been stolen and used by the Priests of the True Faith and two have been bonded to Darkness. The Profession feels underwritten, but is supported with a set of ten increasing powerful spells, such as Flare, which creates a bright light in the sky which blinds everyone within a mile; Sunbeam which inflicts a ray of pure light at a target; and Purge, which removes all diseases and poisons from the subject of the spell. There is a good mix of spells, some intended to heal, others not, which brings spells normally associated with healers and clerics to the sorcerer type of Profession.

Last in the first issue of Casket of Fays is ‘The Tatzelwurm’ by Brock. This is a serpent with the head and forelegs of a cat, which is a minor danger encountered in the northern mountains of the Coradian mainland. It has a poisonous bite and can even exhale the poison. It is a colourful enough creature, but does not come with suggestions as to how to use it since it only appears to prey on lone villagers, shepherd, and the like.

Physically, Casket of Fays #1 is plain and simple. The few illustrations are decent, but like any amateur publication, it could always benefit from a few more. More useful perhaps would have been an extra map in one or two places. The editing is decent, but overall, the issue feels somewhat underdeveloped. This is the first issue though and to an extent, that is to be expected. And of course, Casket of Fays #1 is free to download, so it is very much a labour of love as opposed to be being a commercial venture. For the Game Master running a fantasy campaign—whatever the setting or rules system—Casket of Fays #1 is worth perusing for ideas given that it is free. For the Game Master of a Dragon Warriors campaign, Casket of Fays #1 is definitely worth perusing for ideas, though she may have to develop the content further herself in order to bring some of it to the table..