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

Monday, 5 February 2024

Miskatonic Monday #259: Flash Cthulhu – Café au Morte

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

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

—oOo—
Publisher: Chaosium, Inc.
Author: Michael Reid

Setting: 1920s Boston
Product: One-Location, One-Hour Scenario
What You Get: Eight page, 1.94 MB Full Colour PDF

Elevator Pitch: Even cultists need coffee
Plot Hook: Coffee, Cultists, and Chaos.
Plot Support: Staging advice, four pre-generated Investigators, six NPCs, one map, and one spell.
Production Values: Plain

Pros
# Short, sharp, encounter
# Easy to slot into a campaign or between scenarios
# Easy to adapt to other times and settings
# The investigators are cultists, the cultists are investigators?
# Set-up designed for confusion
# Potential convention mini-scenario
# Anthropobia
# Imposter Syndrome
# Foniasophobia

Cons
# Needs a slight edit
# Set-up designed for confusion
# The investigators are cultists, the cultists are investigators?

Conclusion
# Short, strange encounter with yourselves
# Easy to use no matter the time and setting

Sunday, 4 February 2024

Five Children & It

A camping trip on the edge of the Norfolk Broads and the edge of the Norfolk Loop leads to a strange encounter late at night. A pulse of energy in the sky over the Loop appears to open a rift and something flies through it and over the Kid viewing it, bathing him in a strange, purple light. Then it flies away. In the following days there is a surge of activity at the Norfolk Loop, one of the United Kingdom’s leading scientific and technological centres of study and development, its staff disrupted through a change of management and the new management scouring the area around the Loop, including the nearby seaside resort of Great Yarmouth. The Kid who saw the event and was bathed in the light is drawn to a site that a team from the Norfolk Loop is investigating. There he and his friends make an amazing discovery—an egg. A strange, translucent, purple egg-shaped object. Could this have been left behind by the thing that flew out of the rift? Why is the Kid drawn to it? If it is an egg, what is going to hatch out of it? This is the set-up for They Grow Up So Fast.

They Grow Up So Fast is the second campaign for Tales from the Loop – Roleplaying in the ’80s That Never Was, the roleplaying game of childhood in an alternate 1980s in which young teenagers explore rural small-town Sweden, but a rural small-town Sweden in which its streets, woods and fields, and skies and seas are populated by robots, gravitic tractors and freighters, strange sensor devices, and even creatures from the long past. To the inhabitants of this landscape, this is all perfectly normal—at least to the adults. To the children of this landscape, this technology is a thing of fascination, of wonderment, and of the strangeness that often only they can see. In Tales from the Loop, it is often this technology that is the cause of the adventures that the children—the Player Characters—will have away from their mundane, often difficult lives at home and at school. Published by Free League Publishing, the Ennie-award winning Tales from the Loop is not solely a Swedish-based setting. By default, it is set on Mälaröarna, the islands of Lake Mälaren, which lies to the west of Stockholm. This is the site of the Facility for Research in High Energy Physics—or ‘The Loop’—the world’s largest particle accelerator, constructed and run by the government agency, Riksenergi. There is another Loop however, an American counterpart to The Loop, this time located under Boulder City in the Mojave Desert in Nevada, near the Hoover Dam. Here the particle accelerator is operated by the Department of Advanced Research into Technology and there is an extensive exchange programme in terms of personnel and knowledge between the staff of both ‘Loops’. With the publication of Our Friends the Machines & Other Mysteries, a third Loop was introduced. This is ‘The Broads Loop’, located under the Norfolk Broads in the East of England and built and operated by MAFF, the Ministry of Agriculture, Fisheries, and Food. It is in and about ‘The Norfolk Broads Loop’ that They Grow Up So Fast is set.

They Grow Up So Fast is a short, four-part campaign set in 1988, with its four scenarios divided between the four seasons. It opens in the Spring with ‘Easter Egg Hunt’, in which one of the Kids will have a strange encounter on a campaign trip and together with his friends, come into possession of a strange alien that together they will feel drawn to hide and protect. A few weeks later in the Summer and ‘The Best of What Might Be’, the egg hatches and the Kids bond with the oddly cow-like creature that is revealed. As school begins in the Autumn and ‘The Year’s Last, Loveliest Smile’, the Kids will have to move the surprisingly cute lain and find it a better hiding place. The campaign comes to close with ‘You can’t Get Too Much…’ with a race to find the creature once again and get it home… All of this whilst facing school bullies, news interest about UFO sightings, staff upheaval at the nearby Loop and its consequences as a new government organisation—ReGIS or ‘Regional Geomagnetic Information Sciences’, part of the Ministry of Defence—takes over, protests at the Loop, and a highly qualified, but very new and very inexperienced science teacher who takes a deep interest in their activities. Each scenario is intended to run in roughly four hours or so, perhaps two sessions at most, that They Grow Up So Fast really is very short campaign.

To help the Game Master set the scene for the campaign, there is a solid primer on the United Kingdom and the Norfolk Broads of the late eighties. This covers activities that Kids might engage in, what they might listen to, and what they might watch. There is even a discussion of the politics of the period. Altogether, there is enough here for the Game Master to provide a picture of the eighties for her players, although no doubt there is plenty more to draw on elsewhere and so set further set the background. Nevertheless, there is genuine sense of nostalgia in the description given here and any Game Master or player of certain age, who grew up during this period in the United Kingdom, will recognise it. Further, as with other supplements for Tales from the Loop, there are notes and suggestions on how to run They Grow Up So Fast in either the Swedish or the American setting, including maps of the appropriate locations around their respective Loops. Each of the four scenarios is well organised and follow the pattern set in the core rules by being divided into five phases—‘Introducing the Kids’, ‘Introducing the Mystery’, ‘Solving the Mystery’, ‘Showdown’, ‘Aftermath’, and ‘Change’. Details of countdown events are given to push each Mystery along as well as suggested scenes and other advice.

Physically, They Grow Up So Fast is as well presented as you would expect for a Tales from the Loop title. Of course, it highlights Simon Stålenhag’s fantastic artwork, but the writing is also good and the layout is clean, tidy, and accessible. All four scenarios follow the same format, making them easy to access and relatively easy to run.

It is great to have a campaign for Tales from the Loop set in the United Kingdom and given the fact that its four scenarios take place over the course of the year, there is scope for the Game Master to run other scenarios in between those four. However, the scenarios do rely on the extensive use of the Charm and Sneak more than the others and the plot to They Grow Up So Fast is underwhelming. This is primarily due to two factors. One is the familiarity of its plot, which feels very much like the plot of one of the films suggested as its inspiration, E.T. The Extra Terrestrial. Other suggested mood setting films include Pete’s Dragon, Free Willy, and Gremlins. One effect though, of setting the campaign in the United Kingdom, is to give They Grow Up So Fast certain shabbiness as if the Children’s Film Foundation made E.T. The Extra Terrestrial on a very much reduced budget! The other factor is that as written the ending does not feel quite as climatic as it should, it can also end in an even more underwhelming failure, but that will probably be different in play and the Game Master will need to up the pace depending upon the flow of events.

They Grow Up So Fast is a solid enough campaign, but not on par with other releases for Tales from the Loop. Ultimately, this is due to the familiarity of the plot, but if the Game Master is looking for a Tales from the Loop campaign in the style of E.T. The Extra Terrestrial, then They Grow Up So Fast is exactly what she is looking for.

Saturday, 3 February 2024

The Other OSR: Miseries & Misfortunes II

The year is 1648. The War of the Counter-Reformation never seems to end as what was at first a civil between the Germanic states of the Holy Roman Empire over the rights and dominance of the Lutheran and Catholic churches that drew other nations of Europe and escalated into a contest for European dominance between Habsburg-ruled Spain and Austria, and the French House of Bourbon. Surrounded by Spanish Hapsburgs to the south, east, and north, France not only faces enemies from without, but also within, for the kingdom is divided by many loyalties. Louis XIV is only ten, but has already been king for five years. His mother, Queen Anne, a former Habsburg princess and the most hated woman in France, governs as regent with aid of her able prime minister, Cardinal Mazarin, the most hated man in France. Together they have kept France safe, but the continued need for more funds to maintain the war effort requires more taxes to be raised and more offices to be sold, arousing the anger of Parlement. Worse, the burden of the taxes will fall upon the bourgeois and the peasantry, those of the third estate or menu peuple, and the poor, or les maginaux, whilst the nobility of the second estate pay little and the clergy of the first estate pay none. All of which is collected in a manner which is inefficient and prone to corruption. Thus, there is a divide between all levels of society, between those who can afford to pay taxes and pay little and those who cannot afford to pay taxes and pay more. There are divisions of religion between the Catholics, Lutherans, Huguenots, and Jews. There are divisions of loyalty and politics between the Royalists who support Queen Anne and Cardinal Mazarin; the Frondeurs who oppose both them and the heavy tax burden; the Noblists who oppose Queen Anne and Cardinal Mazarin in order to maintain the independence of France’s great families; the Hapsburg faction which would ally with the biggest power in Europe as it would be best to be on the winning side and the right side of God; and the Cardinalists, who recognise Mazarin as the real power in France and believe his efforts have kept France safe to date. This is France in 1648 and the background to Miseries & Misfortunes.

Miseries & Misfortunes is a roleplaying game set in seventeenth century France designed and published following a successful Kickstarter campaign by Luke Crane, best known for the fantasy roleplaying game, Burning Wheel. Notably, it is based on the mechanics of Basic Dungeons & Dragons. Originally, Miseries & Misfortunes appeared as a fanzine in 2015, but its second edition has since been developed to add new systems for skills, combat, magic, and more. However, the underlying philosophy of Miseries & Misfortunes still leans back into the play style of Basic Dungeons & Dragons. For example, the differing mechanics of rolling low for skill checks, but high for combat rolls and saving throws. Plus, the Player Characters exist in an uncaring world where bad luck, misfortune, and even death will befall them and there will be no one left to commiserate or mourn except the other characters and their players. Further, Miseries & Misfortunes is not a cinematic swashbuckling game of musketeers versus the Cardinal’s guards. It is grimmer and grimier than that, and the Player Characters can come from all walks of life. That said, it is set in the similar period as Alexandre Dumas’ Three Musketeers and Twenty Years After, so will be familiar to many players. The other major inspiration for Miseries & Misfortunes is Les Misères et les Malheurs de la Guerre, a set of eighteen etchings by French artist Jacques Callot that grimly depict the nature of the conflict in the early years of the Thirty Years War.

Miseries & Misfortunes – Book 2: Les Fruits Malheureux is the second of the roleplaying game’s two core rulebooks. The first, Miseries & Misfortunes – Book 1: Roleplaying in 1648 provides the core rules for the roleplaying game, whilst the second, Miseries & Misfortunes – Book 2: Les Fruits Malheureux provides the means to actually create Player Characters. Further rulebooks and supplements add expanded rules, magic, science, and divinity, provide a detailed scenario and setting, and describe Paris in this period. A Player Character in Miseries & Misfortunes has six governing abilities—Strength, Intelligence, Wisdom, Dexterity, Constitution, and Charisma. These range in value between three and eighteen, but can go lower. Each provides a bonus to the roleplaying game’s eight skills, but for situations where pure Strength or Intelligence is required, a roll equal to, or less than the value will succeed. The eight core skills are Break, Improvise, Listen, Parley, Sang Froid, Search, Sneak, and Traverse. Of these Sang Froid, or ‘cold blood’, is the strong will and steeliness needed to commit acts of violence. Each skill is represented by a die type and rating, for example, ‘3/6’, meaning that the Player Character must roll three or less on a six-sided die to succeed. If a skill is raised to ‘5/6’ and then raised again, its die type increases to ‘7/8’, meaning that the Player Character must roll seven or less on an eight-sided die to succeed. The maximum a Player Character can have in a skill is ‘19/20’. The rating of a skill can be raised during character generation, following the Life Paths presented in Miseries & Misfortunes – Book 2: Les Fruits Malheureux, and temporarily during play with bonuses for situation and the Player Character’s actions. A skill rating reduced to zero is ‘Unmoored’ and rolled on ‘1/10’.

A Player Character has four saves—Artillery, Chance, Poison & Plague, and Terror. These are set at sixteen. They can be lowered as a result of events in a Player Character’s Life Path. Similarly, his values for Defence—based on Strength, and Dodge—based on Dexterity, are also modified by a Player Character’s Life Path. Hit Points and Will—lost either in a duel of wits, from losing a fight, from encountering the supernatural, or being attacked in the press—are also determined by a Player Character’s Life Path. A Player Character has three Mentalités, Nationality, Politics, and Religion, which are also treated like skills. In the core rules for Miseries & Misfortunes, Nationality will be French, but Politics can be Royalist, Froundeur, Noblist, Hapsburg, or Cardinalist, whilst Religion can be Catholic, Lutheran, Huguenot, or Jewish. All of which will set up rivalries and influence interaction as play progresses. Lastly, a Player Character will have Precedence, which will depend upon which of the three estates he belongs to and his station within that estate. This is the equivalent of his social status and will play a role in interactions with NPCs and in duels of wit.

To create a character, a player first works with the other players to create a Motif. This is a bond that the Player Characters share together as a group, can be invoked during play. Once decided, the player rolls for his character’s Quality of Birth and Wealth, which determines his income source and the number of obligations he has. This is followed by rolls for his income range and property type owned, which can also increase his number of obligations, the first of which is to the state and the second to the self. Dependents and their lifestyles increase the Player Character’s Obligation. The player rolls Mentalités for his character followed by his abilities. The latter are rolled on three six-sided dice, in order, and can provide modifiers to basic skills, saves, and more.

Following this, the Player Character is put through a series of Lifepaths. A Lifepath provides the base Hit Points for the Player Character, along with modifiers to Saves and basic skills, plus skills particular to the Lifepath for a total of six. Each Lifepath has a maximum of six Levels, with each Level requiring certain objectives to be fulfilled before the Player Character can advance. For example, to advance to Third Level, a Musketeer must both defend the honour of the Musketeers and defend his honour in a duel. Each Level grants all of the bonuses, but one less skill each time. Thus, a Third Level Sailor selects four skills to improve, but only three at Fifth Level. There are twelve Lifepaths. These are Américain(e), Clerk, Factotum, Filou, Gamin(e), Infantry Officer, Merchant-Venturer, Musketeer, Passeur, Petty Noble, Sailor, and Soldier. Of these, Américain(e) are those who have returned from the colonies, including escaped slaves; Filou are petty criminals; Gamin(e) are the orphans and urchins, the younger siblings of the Filou; and the Passeur ferries goods and persons across the River Seine in Paris. For a starting Player Character it is suggested that three Levels be taken in the one Lifepath. In addition, at each Level, a base skill also increases.

The choice of starting Lifepath also determines a Player Character’s starting age, whilst the Quality of Birth his life expectancy. The latter is rolled by the Game Master rather than the player and kept secret. The difference between current age and life expectancy becomes the Player Character’s Mortal Coil, which can be spent to gain bonuses to rolls and saves. Lastly, the player works what the character’s Measures—Hit Points, Will, Defence and Dodge, Morale, Reputation, and Precedence—all are determined.

In addition to completing tasks and objectives necessary to advance to the next Level of a Lifepath, a Player Character can attempt to complete tasks and objectives necessary to advance to the next Level of his three Mentalités
Nationality, Politics, and Religion. For example, to advance his Nationality Mentalité from First Level to Second Level, his Player Character must visit the capital for a royal celebration and see the king or queen as well as boast about the indomitable spirit and proud national character of his character, whilst to do the same for his Religious Mentalité, he simply has to attend to religious ceremonies in support of his faith.

Our sample Player Character is Phillippus. His family are paper makers and booksellers. His intelligence was spotted at an early age and he benefited from a Jesuit education despite his faith and was sponsored to attend university. He has recently graduated and is seeking a position as a clerk to better himself. His family includes two cousins by marriage who are pleased of the opportunity to work in the family business, whilst his younger brother has yet to decide his future.

Phillippus
Third Level Clerk
Age: 21 (Life Expectancy 60, Mortal Coil 39)

Quality of Birth: Artisan
Social Strata: Artisan
Income Source: Business Income Range: 5
Property: City Home (Asset Value: 3) Wealth Rating: 5/6
Debts: Owes a small debt

Obligations: 9
State 1/6 Personal 1/6

Dependents: 3
Younger cousin (In-law, Bread Alone, Obligation 1), Older Cousin (In-law, Bread Alone, Obligation 1), Younger Brother (Blood, Respectable, Obligation 2)

MENTALITÉS
Nationality: French 1/6 Politics: Royalist 1/6 Religion: Huguenot 1/6

ABILITIES
Strength 10 Intelligence 17 (+2) Wisdom 13 (+1) Dexterity 11 Constitution 13 (+1) Charisma 14 (+1)

SKILLS
Accounting 5/6, Break 1/6 Composition 5/6, Improvise 2/6 Listen 3/6 Parley 4/6 Sang Froid 2/6 Search 3/6 Sneak 2/6 Traverse 2/6

OTHER LIFEPATH SKILLS
Documentarian (+2 to hit with Accuse, confess, and Threaten actions in Duel of Wits with documentary support), Record Keeper (+2 to Search skill in libraries, archives, or government offices)

LANGUAGES
French 7/8, Greek 1/6, Latin 3/6, Spanish 2/6

SAVES
Artillery 16 Chance 13 Poison & Plague 12 Terror 15

MEASURES
Hit Points: 9 Will: 8
Defence: 10 Dodge: 11 Morale: 8
Reputation: 5 Precedence: 3rd État/3

The process is not difficult, but it is detailed and it is fiddly. There are a lot of numbers to note down and so on, so the process does take a bit of time. If there is anything missing from the selection of Lifepaths, it is those for the members of the clergy, the First Estate. These though are actually detailed in Miseries & Misfortunes – Book 3: The Sacred & The Profane. Another issue, perhaps, is the role of women in the setting. There is no discussion of this, whether to adhere to a historical attitudes and roles or run the roleplaying game allowing more wider roles for both men and women. Ultimately, this will be up to the Game Master and her players to decide. That said, from the Lifepaths given, there is also no adventuress-style role akin to that of Milady de Winter, as depicted in The Three Musketeers. Yet in the case of Milady de Winter, there is also no Nun Lifepath to start from, either in
Miseries & Misfortunes – Book 2: Les Fruits Malheureux or Miseries & Misfortunes – Book 3: The Sacred & The Profane. To start then, a player might start with Filou or Gamine and build a similar history using other Lifepaths such as Petty Noble.

Beyond the basics of creating a character, Miseries & Misfortunes – Book 2: Les Fruits Malheureux covers Virtues and Flaws, such as Patient or Compassionate, Cruel or Gluttonous. These tied to a Player Character’s six abilities, but are not selected during the creation process. Instead, they are chosen and earned through play, several sessions into the game. Rounding out Miseries & Misfortunes – Book 2: Les Fruits Malheureux is a section of equipment and for the Game Master a set of tables for creating NPCs. More broadly, there is a short guide to curses appropriate to the period and in ‘Mode of the Day’, a guide to the speech patterns of the period. Though short, this is a delight, making clear that the players and their characters should be polite, speak obliquely and colourfully, and use more words than a modern speaker would. For example, “Monsieur, I wish it were the case that you had cause to visit the Netherlands just the once and so could spend your time at home in this very fine house with its bounteous wine cellar and extensive, if unleafed, library, in the tender embrace of your beautiful wife, on French soil as every true patriot should, but I have it on very good authority, the Dutch authorities indeed, that you have been seen in Rotterdam more than once. Indeed, Dutch records show that you purchased numerous cargoes, but unfortunately, having searched the state records, my efforts have been in vain. I simply cannot find any record of the taxes owed to the crown on those cargoes. I am but a humble bureaucrat, perhaps you can enlightenment me as to where you sold those cargoes and what taxes you paid on them?”

Physically, Miseries & Misfortunes – Book 2: Les Fruits Malheureux is well presented and written, and includes a full example of character creation, which goes some way to ease the learning of the process. It is illustrated with a period artwork and etchings which helps impart its historical setting. If it is missing anything, it is an index, but at just over sixty pages, this is not too much of an issue.

Miseries & Misfortunes – Book 2: Les Fruits Malheureux presents the character creation process for Miseries & Misfortunes in as straightforward a fashion as is possible. It could have done with a simple listing of the complete step-by-step process with page numbers, but the book is quite short, so the process is not necessarily difficult, but rather takes a little getting used to, given the number of things that a player has to do to create a character. The resulting Player Character sits somewhere in terms of complexity and detail between Maelstrom and Warhammer Fantasy Roleplay, capable, but fragile as per the Old School Renaissance origins of Miseries & Misfortunes demands.

2003: Lashings of Ginger Beer

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

—oOo—

“The past is a foreign country: they do things differently there.”, (L.P. Hartley, The Go-Between, 1953). Never is there a more apt quote for Lashings of Ginger Beer: A spiffing role-playing game. In the twenty-first century, we are spoilt for choice when it comes to roleplaying games in which we play children or teenagers going off on adventures, free of the aegis of either parents or adults, of which Tales from the Loop and Kids on Bikes are most well-known. First published in 1995 by Beyond Belief Games, it is the 2003 edition that is the best-known version. As any Briton of a certain age, what Lashings of Ginger Beer is about—or is inspired by—is the adventures of the Famous Five, the characters from the series of books by children’s author, Enid Blyton. The five, Julian, Dick, Anne, George and Timmy the Dog, cycle into the countryside or sail across to an island where they explore the area, notice things out of the ordinary, discover secret tunnels, uncover criminal activities, and help bring the perpetrators to justice. Not just the Famous Five, but also the characters of Blyton’s Secret Seven and those of Arthur Ransome’s Swallows and Amazons. In the bucolic idyll found over the Easter and summer holidays such characters will engage in carefree camping trips, have adventures, not worry about school or home life, and enjoy massive farmhouse teas or hampers of food.

A kid in
Lashings of Ginger Beer has four attributes—Tough, Deft, Clever, and Charm. These range in value between one and three. Younger kids have better ratings in Deft and Charm, whilst older kids have higher Tough and Clever attributes. Each Kid has a Kid Type—Good (‘Normal’), Swot (‘Bookworm’), or Truant (‘Tomboy’). These model the members of the Famous Five to an extent. So that the rebellious George is most obviously a Truant (‘Tomboy’), whilst Dick and Julian are Good kids, and Anne either a Good kid or a Swot. All Kids have two things they are good at, Hide and Snoop, whilst each Kid Type provides a further list of things a Kid is good at. The Good Kid Type is good at ‘Act Innocently’, ‘Camping’, Hobbies’, Sports’, ‘Ride Bicycle’, and ‘Spot Nasty People’. The Swot is good at ‘Sciences’, ‘History’, Geography’, ‘Languages’, ‘Music’, and ‘Useless Facts’. The Truant is good at ‘Fighting’, ‘Wriggle (from Grasp)’, ‘Climb Trees & Walls’, ‘Catapult’, ‘Throwing Things’, and ‘Lie Convincingly’.

To create a Kid, a player decides upon his Kid’s age, which sets the four attributes, and then add a single point to one. He then chooses a Kid Type and divides eight points between the things that the Kid Type is good at. It is possible to select things that the Kid is good at from another Kid Type, but this is more expensive. He also begins with three useful things, two of which he has to purchase. It is assumed that he has a few shillings and pence saved from pocket money and in addition, may have brothers and sisters. Lastly, all of the players should decide what their gang is called, for example, ‘The Fearless Four’ or ‘The Mysterious Crew’. A gang can also have a scruffy dog, which can be taught a handful of commands.

Henry
Kid Type: Swot Age: 13
Tough 2 Deft 2 Clever 3 Charm 2
Things He Is Good At:

Sciences 2 History 1 Geography 1 Languages 1 Music 1 Useless Facts 2

Mechanically,
Lashings of Ginger Beer uses pools of six-sided dice equal to an attribute plus the thing that the Kid is good at. A roll of one six is a success, with additional success meaning that the Kid has achieved the task with greater alacrity. Contests are won by whomever rolls the most successes, though ties are possible. This includes combat, where a tie might result in a standoff. If a Kid suffers damage, he loses points of his Tough attribute. If a Kid has his Tough attribute reduced to zero, he is not killed, of course, but rather bruised, with a black eye or the scraped knee. Lastly, the result of any roll also determines who gains the narration rights to the outcome, the player if his Kid is successful, the Game Master if the Kid is unsuccessful.

Beyond this, there are some notes on Idyllic England, suggestions as what the Kids’ gang name—and book series—name might be, and a short list of appropriate language for the period, so that something that is good, would be “Wizard!” or a disappointed Kid might exclaim, “Darn it!” There are notes too on the play of the game, no more than a paragraph, to the effect that
Lashings of Ginger Beer is meant to be fun, that the rules are not in any way realistic, and that they are this way to fit the style of Idyllic England. Half of Lashings of Ginger Beer is dedicated to ‘Adventures & Mysteries’. There are six of these, which take in a circus, a mysterious manor, a haunted castle, and so on. These are really all quite fun and are obviously inspired by the fiction.

Mechanically,
Lashings of Ginger Beer is simple, even simplistic, and lacking in nuance. Part of the issue is with the Kid options available, which are limited and offer too many skills across the three Kid Types. It is difficult to design Kids outside of its Type, confining them to strict archetypes. Plus, it is difficult to design Kids like Anne of the Famous Five, which would closer model the source material.

Physically, and in keeping with the style and tone of the game,
Lashings of Ginger Beer is a simple affair. The layout is clean and tidy, the line art a mix of period pieces and modern additions. The latter is not as good as the former, but the latter is not accompanied by anachronistic titles.

If you are of a certain age, Lashings of Ginger Beer: A spiffing role-playing game has a problem. Much like Pendragon has the issue of Monty Python and the Holy Grail, Lashings of Ginger Beer: A spiffing role-playing game has The Comic Strip Presents... Five Go Mad in Dorset. Broadcast in 1982, this parodied the children adventurer format of the Famous Five and the social attitudes prevalent in Blyton’s stories. It is difficult to roleplay
Lashings of Ginger Beer without lapsing into that parody and quoting from it. Yet even as that it is a problem, it is one that Lashings of Ginger Beer acknowledges, though without actually mentioning it. For example, the very title, Lashings of Ginger Beer’, is taken from The Comic Strip Presents... Five Go Mad in Dorset rather than Enid Blyton’s books where it never appears. Then the artwork parodies the source material too, for example, with Julian and Dick in bathing suits, running into the water and shouting how good the acid that they have just taken is and suggesting that they should give some to Timmy the Dog. Some of the captions to the artwork, all of its period appropriate, are even more suggestive. So even as Lashings of Ginger Beer is presenting itself as a straightforward roleplaying game based on a very English genre, it is both parodying both itself and its source material, whilst also acknowledging the parody. Which establishes an odd dissonance between the tone of the writing and the tone of the artwork, between the tone of the game and source material and the anachronism of the parody.

Besides having a problem, Lashings of Ginger Beer: A spiffing role-playing game is a deeply problematic game, primarily because of its source material and influences that are reflective of the time when they were written and the social attitudes of the time when they were written. The Famous Five books present an England that is a White, Middle-Class idyll in which foreigners cannot be trusted, women have their place, and you can be snobs about both the poor and the rich. It is fair to say that
Lashings of Ginger Beer does not reflect any of this itself, but for a modern audience aware of the issues with the source material, it is always going to be lurking in the background as they play.

Another issue with
Lashings of Ginger Beer is that it shows its age in terms of design, especially in comparison to the number of roleplaying games that explore the children adventurer genre currently available. For example, Kids on Bikes from Hunters Entertainment and Renegade Studios and Tales from the Loop from Free League Publishing are both more sophisticated in terms of their mechanics, yet without much more in the way of complexity. They also offer more choice and more nuance in that choice in terms of what the players can choose as their characters and character archetypes. Similarly, roleplaying games like Tales from the Loop also offer more emotional sophistication in terms of the Player Characters and especially in terms of their family lives, which reflect the often difficult and fractured nature of the family during the eighties when it is set.

Consequently, were a designer to create a children adventurer-type roleplaying game today, it would be unlikely to be based upon or draw from the same source material and though it would aim for mechanical simplicity in its rules, it would offer a wider of options to play and it would address the emotional nuances in the genre. Design demands have changed radically since 2003.

Of course, to be fair, Lashings of Ginger Beer is not set in the eighties and it is set in an idyll when the idea of family difficulties was something to be kept behind closed doors as best could be, but the upshot is that none of the Player Characters in the roleplaying game possess anything akin to emotional depth or a life away from their adventures. Lashings of Ginger Beer is about roleplaying in that interlude, carefree and joyous, between the responsibilities of home, family, and school, as much as it is on exploration, snooping, and unmasking smugglers and international criminal masterminds on the Dorset coast.

Here then, ultimately lies the charm of Lashings of Ginger Beer: A spiffing role-playing game—and it is charming—the emulation and clear love of its source material, despite its underwhelming rules. It is never going to escape the issues with its source material and there have been better treatments of the children adventurer genre since, but Lashings of Ginger Beer: A spiffing role-playing game, one of the earliest entries in its genre, is simple and charming.

Friday, 2 February 2024

Friday Fantasy: Beware The Mindfuck!

Calamity has befallen London (and beyond). The year before last, a great comet was seen in the sky, surely a sign of an ill portend. Last year it proved to be so as the plague swept through the city, infected households being forced to isolate as the authorities nailed the doors to houses shut. Carts roll through the city collecting the dead, ready to transport them to great burial pits, so many are they. The King and his court have fled the city, leaving the poor to suffer and survive—if they can. Now a worse calamity has struck the city. A strange alien has discovered the city and seen the suffering of its inhabitants as an opportunity to spread its own its seed—literally—and so turn all of the surviving inhabitants into a cult wholly devoted to it. First London. Then the world. This is the set-up for Beware The Mindfuck!, a scenario for Lamentations of the Flame Princess Weird Fantasy Roleplaying published by Lamentations of the Flame Princess. It is a little different from other scenarios released by the publisher. Though set in the roleplaying game’s default era of the Early Modern period, it is much shorter than the typical scenario from the publisher at twelve pages long, it is more obviously a one-shot, and it is designed for Player Characters of Fourth Level. It also carries an ‘18+ Explicit Content’ label on the front cover—and it deserves to.

Be warned. The language and the tone of Beware The Mindfuck! is strong and of an adult nature and it deserves that warning label. Some of that language is repeated as part of the review where necessary.

More specifically, it is Saturday, 1st September 1666. The plague has raged across the city for a year. An alien being known only as the Mindfucker has occupied the church on Pudding Lane. It has begun ejaculating ‘Ectoparasitoid Jizz’ out of its penis-like tentacle and this ejaculate is not only identical to the fleas that are the vector for the bacterium, Yersinia pestis, but also one of its two effects is to infect the victims it bites with symptoms that are not dissimilar to Yersinia pestis. This effect is fatal. The other effect is not fatal, but does cause its victims to fall under the sway of the Mindfucker. Not only that, but they also become fanatically devoted to the alien, worshipping and serving him in any fashion they can. Having established itself and its cult in the church, even amongst the chaos of the plague-ridden city, its presence has been noticed… There are two suggestions as to how it comes to the attention of the Player Characters. One is for them to be employed by the Catholic Church to locate and investigate a new faith called the Saints of Psion, the other is for some of Player Characters to stumble across another Player Character that has already been grabbed by the Mindfucker’s fanatics and is being carried back to the church.

If Beware The Mindfuck! is anything, it is a collection of NPCs, monsters, and encounters that the Player Characters might meet in the course of the scenario. This course sees the Player Characters cross London from an unspecified starting point to Pudding Lane. There is some description of the city and of the plague itself, but in the main, Beware The Mindfuck! is dedicated to its inhabitants and encounters. The former include watchmen who use their authority to line their pockets, body snatchers who will knock out and grab the living to sell to doctors looking for a cure to the plague, and plague doctors whose remedy for the plague, borne in horribly large syringes, is actually deadlier than the plague itself! The encounters take in all of these and more, including rat swarms, bigger rat swarms, men handing out victuals, a turncoat from the cult, and an infected nun. Perhaps the weirdest of all is the conspiracy theorist who sounds mad, but actually is speaking the truth and is modelled on Alex Jones, and the reviewer who turns up and criticises the actual scenario that the players are playing and the Game Master is running. This appears to be hilarious, at least as far as the author is concerned.

It all ends with a few haphazard notes from the author as to the lack of map and what he added to the second playtest, but not in the published scenario. Which ultimately, does not amount to much more than a meatgrinder of one nasty encounter after another across London before the Player Characters get to the church on Pudding Lane and hopefully discover that they cannot kill the alien in a standup fight and so resort to other means to destroy both it and its cultists. Presumably with fire, because this is Pudding Lane and it is London and it is 1666. Which is about as much plot as there is.

Physically, Beware The Mindfuck! is short, clean, and tidy. It needs a slight edit, but the main thing it lacks is a map or two. The author is fully aware of this and makes a point of it. Not only that, but also lampooning reviewers in the encounter table complaining about the lack of maps. He makes the legitimate point that there are plenty of maps of seventeenth century London online that the Game Master can use. This is fair, although what is not fair, is the lack of maps of the alien’s lair to be found online. He also makes the point that when he runs a game, he does not use maps. This is also a legitimate point, but only in two places. First in his mind and second at his table. However, Beware The Mindfuck! is not written or published to be solely run at the author’s table and solely by the author, but by other Game Masters and in other places. Said Game Masters might want or appreciate the inclusion of a map, but in this case the author willfully and illegitimately ignores what they might want or need. Make of that what you will.

Beware The Mindfuck! is coarse, boorish, and vulgar. At its best—and that is not a term that can be applied in general to this scenario—Beware The Mindfuck! possesses an attention to detail parts in describing its vile depiction of plague-ridden London. At its worst—and that is a term that can be applied in general to this scenario—Beware The Mindfuck! is prurient and unpleasant. Fans of Lamentations of the Flame Princess Weird Fantasy Roleplaying will probably appreciate it for that. Anyone else will probably find little of use in its pages and are advised to avoid it.

—oOo—

DISCLAIMER: The author of this review is an editor who has edited titles for Lamentati
ons of the Flame Princess on a freelance basis. He was not involved in the production of this book and his connection to both publisher and thus the author has no bearing on the resulting review.

Friday Fiction: A Call To Cthulhu

From the delightful Where’s My Shoggoth? to H.P. Lovecraft’s The Call of Cthulhu for beginning readers, there have been numerous attempts to meld the Cosmic Horror of Lovecraft’s fiction with the children’s author of your choice or in the children’s book format. Some are simple as the Mythos ABC books, whilst others are clever parodies, such as TinTin meets Lovecraft and Ken Hite’s Where the Deep Ones Are published by Atlas Games. At the same time, whilst many can be read by or to children, they often inject a sense of humour into the highly baroque and densely descriptive style of Lovecraft’s writing and this acts as a counter to the cosmic horror and the unknown at the heart of his fiction. Of course, today, Cthulhu and his ilk are known far and wide across multiple media, if not necessarily, the actual details of the story where he appears. A Call To Cthulhu follows this well trod path and not only acknowledges the original story where great Cthulhu first appeared, but many others by H.P. Lovecraft.

A Call To Cthulhu is written and drawn by Norm Konyu and published by Titan Books as part of its Nova imprint for teenage readers. Described as “part comicbook, part artbook, part unsuitable-for-toddlers storybook”, it is a thoroughly modern imagining of Mythos, coming at it via an all too familiar aspect of contemporary life to look back at and reference
Lovecraft’s major stories and creations one by one. Cthulhu though, remains the central figure and for reasons that will become clear never strays from the narrative, a lurking, looming figure despite the distances between the narrator and the Great Old One. The conceit of A Call To Cthulhu is that of an unwanted telephone call, one received by Cthulhu himself on his mobile telephone from an unknown caller. Reception it seems, is excellent near the Pacific oceanic pole of inaccessibility, let alone on the ocean floor! It must be something eldritch. The caller—it could be Lovecraft himself or simply the narrator, being shown only in silhouette at the table in the library where he has been reading more than safe for his sanity of the Elder Gods—then begins to berate and castigate Cthulhu for his monstrous nature and inhuman attitudes, complaining how he cannot sleep, that he hears rats in the walls, and hates him, and would give him a wedgie were he a step closer!

The irreverent tone does not just apply to Great Cthulhu, but almost every creation of Lovecraft comes in for a tongue lashing. These, as is most of the book, are presented in richly coloured double spreads contrasting with the text on its stark white pages. The style of the prose is simple, being in the ‘ABCB’ rhyming style, making easy to read—especially aloud. For example:

“Born of the Nameless Mist
Yog-Sothoth is a jerk
Outside of the Galaxy
Where he tends to lurk”

and

Sharks can be scary
So can a two-headed calf
But penguins, dear Cthulhu
Really?
Are you having a laugh?”

Thus A Call To Cthulhu takes the reader to Dunwich of ‘The Dunwich Horror’ and the Antarctic of ‘At the Mountains of Madness’, but these are not the only stories and places referenced in the book. The narrator in turn takes us to the empty quarter of ‘The Nameless City’, the worst town on the coast of New England in ‘The Shadow Over Innsmouth’, sidesteps into the Dreamlands for an encounter with ‘The Cats of Ulthar’, and beyond in pursuit of Kadath in ‘The Dream-Quest of Unknown Kadath’, before a final confrontation with the eponymous Old One he is awoken and the pirate ship, the Alert, is rammed into his head! All told A Call To Cthulhu encompasses fifteen of H.P. Lovecraft’s stories. Of the author’s choices, all but two can be regarded as well known. The lesser known ones here are ‘The White Ship’ and ‘The terrible Old Man’, and whilst there is nothing wrong with their inclusion, they do take the place of more well known stories such as ‘Herbert West, Reanimator’ that on recognition alone would have merited inclusion. Another issue is that ‘At the Mountains of Madness’ has two double spreads devoted to it rather than the one of everything else, but arguably that is the largest of Lovecraft’s stories and so deserves the extra attention.

After having been told where to go by the narrator and Cthulhu has flown off in disgust,
A Call To Cthulhu comes to a close two sections of reference material. The first of these asks, ‘Who was H.P. Lovecraft?’ The answer is is given in a short, one page biography which does not stray away from being honest about his social attitudes and racism. It does not dwell on them unnecessarily, but it does make it clear that he had them. The second is a story and illustration key that explains each image and its associated story. This is a useful and pleasing inclusion for the reader wanting to know more and understand the references.

A Call To Cthulhu is a slim volume, but beautifully illustrated veering the comic depictions of Cthulhu as he reacts to the unexpected caller and the more ominous depictions of the peoples, places, and things of the Mythos. Throughout there is a immense sense of scale, of things constantly looming over the reader, whether it is the Colour erupting in the sky in ‘The Colour Out of Space’ or the three-engined Dornier skiplane as it dips between the previously hidden peaks of the mountains and the strange city with its cyclopean architecture in ‘At the Mountains of Madness’.

As much as the narrator yells and screams at Cthulhu, telling the Great Old One how much he hates both him and other aspects of the Mythos, the comedic effect of this is contrasted by an underlying sense that the narrator is also frightened of them both. There is just enough of an edge to A Call To Cthulhu to hint at the horror of the Mythos, to suggest that it is something to be sacred of rather than to laugh at, but without truly scaring the younger reader or the listener who is having this book read to them. This though makes the book more appealing to the older reader as well as the Lovecraft devotee who will appreciate and understand the underlying fear and know its sources.

A little sharper, even spikier than most Lovecraft adaptations for children and younger readers,
A Call To Cthulhu is a pleasure to read and a delight to look at. This is a Lovecraftian children’s book that can be read at bedtime and enjoyed by children and non-children alike.

Monday, 29 January 2024

Miskatonic Monday #258: The Search For The Forbidden Door

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

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

—oOo—
Publisher: Chaosium, Inc.
Author: Matthew Tansek

Setting: 1920s Hawaii
Product: One-Shot Scenario
What You Get: Forty-four page, 90.57 MB Full Colour PDF

Elevator Pitch: Horror on Hawaii (...and below)
Plot Hook: The fate of a missing archaeologist leads to confrontation with the locals, mad and bad.
Plot Support: Staging advice (including investigation flow!), five pre-generated Investigators, four handouts, six NPCs, one map, and two Mythos monsters.
Production Values: Good

Pros
# Nicely organised investigation
# Easy to adjust to other time periods
# Potential convention scenario
# Nicely detailed investigation once the Investigators get to it
# Entamaphobia
# Gephyrophobia
# Teraphobia

Cons
# Excessively high Cthulhu Mythos skills!
# Needs an edit
# No helpful maps
# Two of the pre-generated Investigators have the Cthulhu Mythos skill

Conclusion
# Steamy, sweaty tropical island horror investigation
# Nicely organised scenario