Miskatonic Monday #262: A Night at the Opera

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—

Name: A Night at the Opera

Publisher: Chaosium, Inc.
Author: Kevin Kreiner

Setting: Regency-era Bahamas

Product: Scenario for Regency Cthulhu: Dark Designs in Jane Austen’s England
What You Get: Forty-two page, 8.77 MB Full Colour PDF
Elevator Pitch: You are cordially invited to the Daemon Sultan’s Wedding

Plot Hook: A fashionable weekend for le Bon Ton leads to country house horror

Plot Support: Staging advice, eight pre-generated Investigators, ten NPCs, and four Mythos tomes.

Production Values: Decent

Pros

# Strongly plotted weekend of fashionable company and genteel entertainment

# Detailed scenario

# Detailed Investigators

# Aquaphobia

# Automatonophobia

# Scopophobia

Cons

# Needs a slight edit

# Investigators have overly high Cthulhu Mythos skill

Conclusion

# Excellent mix of scandal and scares

# Richly detailed Regency weekend away

Miskatonic Monday #261: Saint’s Peak

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—

Name: Saint’s Peak

Publisher: Chaosium, Inc.
Author: Quico Vicens-Picatto

Setting: 1920s Spain

Product: One-shot
What You Get: Twenty-five page, 14.93 MB Full Colour PDF
Elevator Pitch: Madness comes down the mountain, but begins at home
Plot Hook: A festival turns to fear

Plot Support: Six pre-generated Investigators, thirty-four NPCs, one handout, and four Mythos monsters.

Production Values: Colourful

Pros

# Fantastic cover

# Detailed NPCs

# Easily adjusted to other time periods

# Teraphobia

# Orophobia

# Cultphobia

Cons

# Needs a good edit

# Potential for inter-Investigator abuse and violence

# Unclear solution except their end

# No maps

# Unsympathetic pre-generated Investigators

# Unclear plot makes it difficult to prepare

Conclusion

# Unclear plot with no obvious solution

# Unsympathetic pre-generated Investigators

Solo Stakes

You wake. You are in a hospital bed. There is an IV in your arm and you are pretty sure you have been shot from the injury in your side. From the voices and the view from the window, you think you are in Hungary. You have no idea how you got here… Do you have amnesia? You can recall the sharp taste of blood, running through some woods, something swooping down at you and shrieking… Did you bite your tongue? Were you chased? And if so, by what, a bird? This is the set-up for ‘Never say Dead’, the first of three scenarios, which together form the basis of a mini-campaign for Night’s Black Agents: Solo Ops. Published by Pelgrane Press, this a campaign framework for Night’s Black Agents: the Vampire Spy Thriller RPG, the roleplaying game in which the Player Characters are ex-secret agents who have learned that their former employers are controlled by vampires and decide to take down the vampiric conspiracy before the vampires take them. Night’s Black Agents offers a range of tools which the Game Master, or Director, can design the vampire conspiracy and the vampire threat, from psychic alien leeches to the traditional children of Transylvania, and set the tone and style of the espionage, from the high octane of the James Bond franchise to the dry and mundane grittiness of Tinker, Tailor, Soldier, Spy. What Night’s Black Agents: Solo Ops does is combine Night’s Black Agents with the GUMSHOE One-2-One System first seen in Cthulhu Confidential. This enables the Director to run and the player to experience the intensity and intrigue of an action-horror film.

Night’s Black Agents: Solo Ops is more than just the set-up for a trilogy of scenarios. It provides the rules for the GUMSHOE One-2-One System—adjusted to fit the setting of Night’s Black Agents—and the means for the Director to create her own. Just like Night’s Black Agents and the GUMSHOE System, an Agent in Night’s Black Agents: Solo Ops and the GUMSHOE One-2-One System has two types of Abilities—Investigative Abilities and General Abilities. Investigative Abilities, such as Cryptography and Negotiation, are used to gain information. If the Investigator has the Investigative Ability, he receives the information or the clue. General Abilities, like Driving and Sense Trouble, are more traditional in that their use requires dice to be rolled and a test passed to determine success or failure. Night’s Black Agents: Solo Ops then deviates from this in order to account for the fact that there is only the one Investigator rather than many as in Night’s Black Agents. With multiple players, all of the Investigative Abilities would be accounted across the Investigators. Not so in Night’s Black Agents: Solo Ops. So, when an Agent lacks an Investigative Ability, he can instead turn to an NPC or source for help as a Contact. A Contact can be written into a scenario, but an Agent can convert an NPC into a Contact or a player can create one during play. In Night’s Black Agents, Investigative Abilities have pools of points which can be spent to gain extra clues about a situation, but in Night’s Black Agents, the Agent has Pushes, which the player can spend to gain the extra information or a benefit. This applies to any Investigative Ability and could be used to gain the Agent extra information using the Interrogation Investigative Ability, gain greater insight into a suspect using the Detect Bullshit Investigative Ability, and so on. An Agent begins a scenario with three Pushes and can earn more through play.

In Night’s Black Agents, General Abilities also have pools of points, which are then expended to modify dice rolls for tests. In Night’s Black Agents: Solo Ops, General Abilities have two six-sided dice, which are also rolled on Tests. Tests are rolled when there is the possibility of failure in a situation, such as getting past a doorman to break into a suspect’s office or fleeing from the inhuman monster found in said suspect’s office, and are divided into two types. In either case, the player rolls the dice one at a time and totals their values. This is important because some Tests can be overcome with the roll of the one die rather than two dice. The Challenge is the more complex and more interesting of the two.

A Challenge gives three results—‘Advance’, ‘Hold’, and ‘Setback’. The ‘Advance’ is the equivalent of ‘Yes, and…’ and indicates a successful attempt with an extra benefit. This benefit is called an Edge and can prove useful later in the investigation. In addition, if the Challenge was overcome with the roll of a single die, then the Investigator is rewarded with an additional Push. The ‘Setback’ is the equivalent of ‘No, and…’ and indicates a failed attempt with an added Problem that will hamper the investigation. The ‘Hold’ lies somewhere in between with the Investigator no better or worse off, and also without an Edge or a Problem. It is also possible for the Investigator to suffer an Extra Problem in order to gain an additional die to roll in the hope of gaining an ‘Advance’. A player can gain extra dice for a Challenge by accepting an Extra Problem or having his Agent perform a Stunt, which uses dice from another General Ability. This requires a little explanation of how it works and it depletes the use of that General Ability until the Agent effectively rests. Effectively, what a Challenge does is codify a set of narrative outcomes that can help or hinder an Agent, whilst still pushing the narrative of the scenario forward.

In comparison, a Quick Test requires a simple roll to gain an ‘Advance’ result. The structure of Night’s Black Agents: Solo Ops and its scenarios presents Challenges in clear test boxes, and both Edges and Problems as essentially cards that are given to the player to add to his Agent. Fights, chases, infiltrating a base, and so on, are all handled as Challenges. Night’s Black Agents: Solo Ops is action-orientated, so there is the possibility of an Agent getting killed. The consequences differ greatly between Night’s Black Agents and Night’s Black Agents: Solo Ops. In Night’s Black Agents, the death of an Agent can easily be replaced whereas in Night’s Black Agents: Solo Ops, the death means the end of the investigation and the scenario, so whilst fights are dangerous, they are not lethal—and that applies to the NPCs or vampires as much as the Agent. The Agent can suffer debilitating injury or loss, but can recover through the ‘Take Time to Recover’ action. Similarly, the antagonist, whether mundane or monstrous, is not killed, but suffers a loss that will benefit the Agent in some way, represented by an Edge. However, this only applies in the early scenes of a scenario, and as a scenario progresses, fights and confrontations become increasingly deadly.

An Agent also has Mastery Edges which are attached to specific General Abilities. These reflect both the Agent’s intensive training and experience, but also how capable the Agent is in terms of the cinematic genre of Night’s Black Agents: Solo Ops. They typically provide a one-time effect which ignores the rules in a particular situation or grant a bonus to the dice rolls on a Challenge. For example, ‘The Nick of Time’ is a Preparedness Edge that enables an Agent to have done something retroactively that helps him in his current situation, such as planting a bomb, bribing a custom official, reconnoitring an avenue of escape, and so forth, whereas ‘Intuition’ for the Sense Trouble General Ability grants an extra die on a Challenge. An Agent begins play with three Edges and discards them after use.

As in action films, there are consequences to an Agent’s activities. These are tracked by three cumulative factors. Heat is gained for public fights or explosions, people getting hurt, and committing criminal acts, and as it rises, it can trigger Problems that affect an Agent’s progress or actual Challenges. Injury represents physical impairment, whilst Shadow determines how aware the supernatural threat is of the Agent. It is gained by encountering supernatural entities, attracting their attention, thwarting their conspiracies, and recalling previous encounters with vampires. The latter is important for the Agent for the three scenarios in Night’s Black Agents: Solo Ops, since she begins play suffering from amnesia. Shadow will also Problems to an Agent’s progress, but can be lost by killing vampires or fleeing to another city, or suppressed by using garlic or crossing running water. Both Heat and Shadow can also trigger another effect, and that is Blowback. This can be a repercussion, retaliation, or unintended consequences of an Agent’s actions and is typically framed as a Blowback scene that the Director inserts into the narrative.

In Night’s Black Agents, an Agent has the Stability General Ability, which is used to measure an Agent’s ability to withstand the supernatural abilities of the vampires he will face, as well as those of the other monsters that he might encounter—demons, ghosts, and ghouls, as well as Renfields. In Night’s Black Agents: Solo Ops, the Agent instead has the Cool General Ability. This is used to overcome stressful situations and resist the compulsions that a vampire might place upon an Agent. Mechanically, it will use Challenges in most situations and poor results will trigger problems for the Agent. Many of the powers and effects that a vampire can have on an Agent are modelled through Problems.

For the player, Night’s Black Agents: Solo Ops presents a good explanation of how an Agent is presented, how the rules work, and on how to play. This includes details on tradecraft and notably, the ‘Bucharest Rules’. These are akin to the ‘Moscow Rules’ that guided Cold War operations in Eastern European and they are similar, but given a suitably vampiric twist for Night’s Black Agents: Solo Ops. They emphasise that although the situation is dangerous and that the Agent can die, he can win, that he needs to be proactive, he should follow the money and use HUMINT, build networks of contacts and allies, and always know where the exit is. This is supported by several factors. First, that the play is more about interpreting the clues found rather than the finding of them (and that if unsure of where to go next, looking for more clues is always a good choice), and second, that the Player Character, the Agent, is the hero of the story. This is contrasted by the fact that Night’s Black Agents: Solo Ops literally pulls the safety net out from under the player. No longer can he rely upon his fellow players and their Agents for advice or help. Barring contacts and allies within the game, the player and his Agent is on his own. That is a scary situation for the player—in addition to his Agent facing vampires—and the player is being asked to be proactive from the start of a scenario to the end. In other words, he is always in the spotlight.

For the Director, Night’s Black Agents: Solo Ops explains how the rules work and gives advice on how to run the game. This applies not just to the three scenarios in Night’s Black Agents: Solo Ops, but also in general as the advice includes a guide to creating and designing vampires, conspiracies, scenes, Challenges, Problems, and more for her own scenarios. This includes a full range of sample Challenges. Night’s Black Agents: Solo Ops still employs the ‘Conspyramid’, the pyramid structure used to map out the vampire conspiracy, with the vampire leaders of the conspiracy sitting atop both the structure and the organisation and the base containing the outer edges of the conspiracy. However, here it is much narrower, reflecting the tighter focus upon the single Agent and his investigation in Night’s Black Agents: Solo Ops. The advice throughout the section for the Director is fulsome.

Half of Night’s Black Agents: Solo Ops is dedicated to its three scenarios. The protagonist for these is Leyla Khan, an ex-MI6 officer who has been a thrall of the vampires of the vampires for several years at the start of the first scenario. Not only will she have to confront her former masters, but she will also have to deal with the consequences of her own half-remembered past and its own monstrous activities. The antagonists are vampires, Linea Dracula, descended from Vlad Tepes and surprisingly ‘vanilla’ in terms of their design and abilities. This, though, works for an action-horror like that of the three scenarios in Night’s Black Agents: Solo Ops because it does not complicate the story or the antagonists. Plus, there is plenty of scope for the Director to modify them if she so chooses. That said, the Director could easily ignore the vampire aspect of Night’s Black Agents: Solo Ops and create scenarios focusing on more traditional espionage stories and they could be as tense and as exciting, though not necessarily as horrifying.

The mini campaign opens in classic The Bourne Identity style in ‘Never Say Dead’. Leyla Khan is in hospital with no memory of how she got there and very quickly she receives a message that someone is coming for her. ‘Never Say Dead’ is about escape, discovering the first hints of the vampiric conspiracy that Leyla has been enthralled in for the past few years and a conspiracy within the vampiric conspiracy, and perhaps arm herself to take the conspiracies down. Having escaped Hungary in ‘Never Say Dead’, Leyla Khan begins to do what she is trained to do and that is follow the money. In ‘No Grave For Traitors’ this leads her to Spain where she gets caught up in a drug war and from there follows a courier to London and an auction for a number of odd antiquities, and ultimately to their strange origins in Transylvania. Although there is plenty of action, there is more of an emphasis on investigation in this second scenario. The third scenario, ‘The Deniable Woman’, Leyla is given a mission by her former employer, MI6, to look for a missing agent in Moscow who has his own preoccupations. The investigation leads in another direction away from the central conspiracy, though it is tangentially connected. All three scenarios are very good, being tense, fraught affairs with a mix of exciting action scenes and tight interactions. Some of the scenarios are truly memorable and consequently, definitely not worth spoiling. All three are part of the same conspiracy involving Leyla Khan, but together, they do not form a beginning, a middle, and an end. They are definitely a beginning, perhaps with a middle, but leaving the end for the Director to create.

All three scenarios in Night’s Black Agents: Solo Ops are well organised. They include a backstory and an overview of the objectives that Leyla will be aiming to attain—even though she may not be aware of them at the beginning of a scenario, entry vectors for Leyla, a flowchart of the scenes, its cast, and then the various scenes with their associated Challenges and Problems and Edges to be gained through play. Each scenario’s range of Problems and Edges is given after the end of the scenario. Each scenario ends with a discussion of its aftermath and possible Blowback scenes and consequences. ‘No Grave For Traitors’ and ‘The Deniable Woman’ also add starting problems which the player can choose from as a consequence of her ongoing story and confrontation with her past.

One aspect of Night’s Black Agents: Solo Ops—and also of Cthulhu Confidential—is that the GUMSHOE One-2-One System and having a single player and a single Game Master, is that it can be played online just as easily as it can face-to-face. Playing online means losing a certain degree of interaction between the players and the Game Master, both because of the technology and the loss of visual cues that act as a buffer, but Night’s Black Agents: Solo Ops and GUMSHOE One-2-One System ameliorates that because its focus is always on the one player and the one Game Master and their focus is on each other.

As good as it is very much all about Leyla Khan and it does leave her story hanging, unfinished. There are rules for a player to create his own Agent, but that really, is the focus of missions created by the Director rather than those in the book. It is possible for the three missions to be played using a player-created Agent, but this will require some adjustment upon the part of the Director. The three scenarios in Night’s Black Agents: Solo Ops are really the start of a campaign, rather than a complete one. Essentially, it is up to the Director to create the next parts of the campaign. She is given all of the tools and advice to do that, but at the same time, it is disappointing not to be able to pick up where ‘The Deniable Woman’ left off and quickly find out what happens next. There is another scenario for Leyla Khan, ‘The Best of Intentions’, but that is all so far. There can be no doubt that a sequel to Night’s Black Agents: Solo Ops, bringing her story to a close would be more than welcome.

Physically, Night’s Black Agents: Solo Ops is very well presented and written, and the artwork is decent. The book itself is a pleasure to read.

In comparison to the earlier Cthulhu Confidential, Night’s Black Agents: Solo Ops is a much tighter, more focused affair. This is due to it being focused on the one protagonist and the one antagonist, essentially, the single Agent and vampires. This also has the consequence of making Leyla Khan’s story more personal for the player and more involving. The result is that Night’s Black Agents: Solo Ops provides a great playing experience, tense and exciting, telling the player to, “Buckle up, you’re in the spotlight now and your fate truly is in your hands” all in readiness to make his Agent the star of their own action-horror film.

Figures of Fantasy

Mythological Figures & Maleficent Monsters is an anthology of monsters and figures from myth, fantasy, and history, all presented for use with Dungeons & Dragons, Fifth Edition. Published by EN Publishing, it collects the ninety or so entries in the Mythological Figures column written by Mike Myler, which ran from March 2018 to April 2022. Within its pages, the reader will find gods from a variety of pantheons, creatures from numerous folklore traditions, characters from Shakespeare, heroes and villains from history, and figures from fiction and popular culture. Together, they and the format of the book draw on two older sources in roleplaying. One is the Deities & Demigods supplement to Advanced Dungeons & Dragons, First Edition, which presented a panoply of pantheons, including the gods and heroes of each. So, it is no surprise that James M. Ward, co-author of Deities & Demigods, provides the foreword to Mythological Figures & Maleficent Monsters. The other is Dragon magazine, which during its early years would publish adaptations of heroes and villains from myth, legend, and popular culture. Just Deities & Demigods and the articles in the pages of Dragon magazine, the entries in Mythological Figures & Maleficent Monsters are a mix of the familiar and the unfamiliar, from a range of cultures around the world.

Mythological Figures & Maleficent Monsters divides its entries in to two types—at least mechanically. All of the heroes and villains are designed as if they were Player Characters in Dungeons & Dragons, Fifth Edition, including characters with multiple Levels in different Classes. For example, the Pirate Queen, Ching Shih, is a Fifth Level Bard, Seventh Level Rogue, and an Eighth Level Fighter, whilst Hercules is an Eighth Level Barbarian and an Eleventh level Fighter. Where possible, the builds for entries favour Feats that grants the characters greater abilities than a flat increase to an ability score would. For example, Robin Hood has the Superb Aim Feat rather than an increase to his Dexterity which would take it above eighteen. Many of the entries use the Warlord archetype, such as George Washington or the Pirate Queen, Ching Shih. This provides a range of Warlord Tactics and Tactical Manoeuvres with which to build the character. The detail of these and the Warlord archetype are given at the front of the book. The book also makes use of Classes from The Masterclass Codex: Sixteen New Character Classes For Your Fifth Edition Campaign. They include the Gunfighter for Billy the Kid, Fatebender for Harry Houdini, Tinkerer for Nikola Tesla, Savant for Sherlock Holmes, and Geomancer for Zhuang Zhou, but the Dungeon Master does not need access to The Masterclass Codex: Sixteen New Character Classes For Your Fifth Edition Campaign to use these characters in Mythological Figures & Maleficent Monsters.

The other type of entry in Mythological Figures & Maleficent Monsters are its monsters. They are designed as monsters and thus not designed to be playable, and all have their own fantastical abilities. For example, Baba Yaga has Agonising Cackle which racks that hear it with pain, Dracula has Misty Escape enabling him to transform and escape as a cloud of mist, and Dorian Gray has Regeneration, which grants him a massive bonus of thirty Hit Points at the start of his turn! In Dorian Gray’s case, the latter ability is granted by his Life-Catching Portrait that he famously keeps hidden in his attic. Many of the entries have artefacts and magical weapons and devices, and these too, are included in the write-ups, such as Excalibur for Arthur Pendragon, Baba Yaga’s Broom and Baba Yaga’s Chicken Hut for Baba Yaga, the Somnambulatory Brew and Transforming Wand for Circe, the Wings of Icarus for Daedalus, and so on. Some characters detailed in the book are known for being accompanied by their companions, so these too, are also included. Thus, Sancho Panza is included in the entry for Don Quixote and Doctor John Watson alongside Sherlock Holmes.

Most entries in Mythological Figures & Maleficent Monsters are given two pages, but some like Genghis Khan or Thor Odinson warrant four pages. Each includes a decent and description alongside the full stats and mechanical details. There are design notes included as necessary and a Background option.

So what of the individual entries in Mythological Figures & Maleficent Monsters? Well, the most modern historical figure is Harry Houdini, famous escapologist. The most modern monster—and most modern entry in the supplement—is the Mothman, the infamous furry flying cryptid found in West Virginia. Most the entries are of much older figures. Many are drawn from particular pantheons and mythologies. For example, Achilles, Antaeus, Cerberus, Circe, Daedalus, Hercules, Odysseus, and Perseus are all drawn from Greek Myth, whilst Fafnir and Fenrir, Loki, and Thor Odinson come from Greek Myth. Other come from specific stories, such as Don Quixote and Sancho Panza from Miguel de Cervantes’ novel of the same name or Caliban and Prospero from Shakespeare’s The Tempest. Others have their own stories which they are drawn from, but together form another story. For example, Allan Quatermain, Dorian Gray, Dracula, The Invisible Man, Jekyll & Hyde, and Nemo all come from works by different authors, but together they lend themselves to The League of Extraordinary Gentlemen. There is also a lot that will be unfamiliar to readers. They include the aforementioned Pirate Queen, Ching Shih; Droṇa, the Indian warrior and guru who wielded Asi, the sword of Lord Vishnu; Hayreddin Barbarossa, the greatest naval commander of the Ottoman Empire; seventeenth century opera singer and duellist, Julie D’Aubigny; the hero Māui from the Pacific Islands; and Musō Gonnosuke, rival to Miyamoto Musashi, also detailed in the book. Such entries cast light on the unfamiliar and the unknown, entreating the reader to want to find out more.

There are some extras included too, such as the Nautilus for Nemo, the table of Master Alchemist’s Treasures for Jekyll & Hyde and the table of Viking Treasure Hoard for Harald Hardrada, the last Viking! There are also some odd shifts in tone between entries. Thus, the book switches from describing the Easter Bunny to detailing Elizabeth Báthory and from Santa Claus to Sherlock Holmes. This is due to the entries being originally published as columns, so the shift in tone would not have so readily apparent.

So how to use the content of Mythological Figures & Maleficent Monsters? The monsters are there, of course, the Player Characters to fight and confront, and in turn, for them to plot against the Player Characters. The characters are a mix of archetypes and classic roles, which the players can aspire to for their own characters. The characters can also be threats on their own, for example, the book suggesting an encounter with a time-travelling Billy the Kid, but as archetypes, they can be used as replacement Player Characters or NPCs. All the Dungeon Master need do is change the name. For example, need a peasant thief? Then Aladdin is a good choice. Or a folk hero who is good with a bow? Robin Hood is good for that. Of course, the anthology does not collect all of the entries published in the Mythological Figures column, so there may yet be scope for a second volume.

Physically, Mythological Figures & Maleficent Monsters is solidly presented and organised. The artwork varies in quality, most of it decent, but not necessarily great. Some entries feel brief, but in most cases, they serve as an introduction to the figure or monster detailed. Rounding out the book is a good index of its entries including their origins, and of their treasures too.

So what is missing from the pages of Mythological Figures & Maleficent Monsters? What might have been useful is a bibliography, but research is not difficult, so not as much a problem as it could have been. In terms of entries, there are a lot from Greek myth, especially in comparison to Norse myth, so more of the latter would have been welcome. If there is one figure missing from book, it is that of Sherlock Holmes’ nemesis, Professor James Moriarty.

Mythological Figures & Maleficent Monsters is a solid sourcebook of the familiar and the unfamiliar, of heroes and villains, of monsters and magical beings. It picks up and continues a grand tradition of presenting figures out of history, myth, and popular culture in way that they can be brought to the table to be fought, interacted with, learned from, emulated, and more, whilst also leaving the reader wanting to find out more about them.

Quick-Start Saturday: Chivalry & Sorcery

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

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

—oOo—

What is it?
The Chivalry and Sorcery, 5th Edition Quick Start Rules are designed to introduce the rules and setting for the fifth edition of the medieval-set roleplaying originally published in 1977 by Fantasy Games Unlimited. Chivalry and Sorcery, 5th Edition is now published by Britannia Game Designs Ltd. and draws deeply upon Medieval history, but offers options in terms of elements of fantasy and magic and miracles that the Game Master can choose from to create her setting and game style.

It is designed to be played by between four and six players, but includes seven pre-generated Player Characters. Plus, of course, the Game Master.

It is a fifty page, full colour book.

The quick-start is lightly illustrated, but the artwork is excellent. The rules are a slightly stripped down version from the core rulebook, but do include examples of the rules which speed the learning of the game. The maps are nicely done.

How long will it take to play?
The Chivalry and Sorcery, 5th Edition Quick Start Rules and its adventure, ‘Where Heroes Fear to Tread’, can be played through in one or two sessions.

What else do you need to play?
The Chivalry and Sorcery, 5th Edition Quick Start Rules requires a pair of percentile dice and a single ten-sided die per player. The extra ten-sided die should be different in colour to the percentile dice.

Who do you play?
The seven Player Characters in the Chivalry and Sorcery, 5th Edition Quick Start Rules consist of Master William Malister, a Forester; the Knight, Sir Edmund Silverheart; Magus Barnabus Hook, Mage; Rosamund Godspell, a Priest; the Warriors, Ursilda Dortmund and Heartha Brunswick; and the Herald, Lord Otto Gavilon. All seven Player Characters are Third Level and have their own character sheet. In addition, Magus Barnabus Hook has his own grimoire and Rosamund Godspell her own prayerbook.

How is a Player Character defined?
A Player Character has nine stats—Strength, Constitution, Dexterity, Intellect, Wisdom, Discipline, Bardic Voice, Appearance, and Spirit. Agility, Ferocity, and Charisma are derived attributes. Each Player Character has a similar set of base skills, skills relevant to his Vocation, and Combat skills. Attributes can range between two and twenty-five, whilst skills are represented as percentage values. A Player Character has a number of Action Points which are primarily expended on actions taken and attacks made in combat, whilst Fatigue Points are lost in combat prior to Body Points. Fatigue Points are also used to power spells.

How do the mechanics work?
Mechanically, the Chivalry and Sorcery, 5th Edition Quick Start Rules, and thus Chivalry and Sorcery, Fifth Edition, uses the ‘Skillskape’ system. This uses percentile dice as well as an extra ten-sided die. This extra die is the Crit Die. Both the percentile dice and the Crit Die are rolled at the same time. The Total Success Chance (TSC%) of a skill or action is a combination of the Basic Chance of Success (BCS%), the Player Character’s Personal Skill Factor (PSF%) in the skill, and any modifiers. It is possible to have a Total Success Chance above Maximum Chance of Success (Max%) or a Total Success Chance below the Minimum Chance of Success (Min%). The higher it is above the Maximum Chance of Success, the greater the bonus to the Crit Die, whereas the lower it is below the Minimum Chance of Success, the greater the penalty to the Crit Die.

The roll on the percentile dice determines whether the skill or attribute roll is a success or a failure. The Crit Die determines the magnitude of the success or failure. A roll of ten on the Crit Die is always a Critical result, whether a success or failure. Skills in Chivalry and Sorcery, Fifth Edition have their own specific Critical Outcomes table, but the Chivalry and Sorcery, 5th Edition Quick Start Rules uses the one table, ‘Critical Outcomes - General’.

How does combat work?
Combat in the Chivalry and Sorcery, 5th Edition Quick Start Rules uses an Action Point economy to handle movement, attacks, defensive stances, spellcasting, and other actions. Damage suffered is deducted from a combatant’s Fatigue Points, but if a Critical success is rolled on the Crit Die, an extra die’s worth of damage is rolled and that is deducted from the defendant’s Body Points. Armour and shields reduce damage, but both can be rendered useless and shields even shattered if too much damage is suffered.

How does Magic work?
In the Chivalry and Sorcery, 5th Edition Quick Start Rules, spells are fully learnt and are cast automatically. Once cast, a spell must be aimed at the target recipient, opponent, or area that the caster wants the spell to affect. A Resistance Roll by the target, if allowed, can ameliorate or even negate the effects of a spell. A spell has a cost in Fatigue Points for it to be cast. If the targeting of a spell is unsuccessful, it is dispelled without having any effect. A Critical Failure doubles the Fatigue Point cost, a Critical Success halves it.

The pre-generated Player Character, Magus Barnabus Hook, is a Hex Mage and knows a number of cantrips, sorcery spells, and hexes. Sleep and Hold Person are both cantrips; Fear and Shadowbolt are sorcery spells; and Blurred Image and Lesser Illusion are hexes. Each spell is described in detail in a sperate grimoire for Magus Barnabus Hook.

How do Miracles work?
A miracle is performed via an Act of Faith, such as a , in a fashion similar to casting spells. Some prayers or rituals automatically work, but others require a die roll. This is made against the priest’s faith or that of the person being targeted. An Act of Faith costs the priest both Fatigue Points and Spirit. A successful Act of Faith costs no Spirit, but a Critical Failure means it does and the Priest’s Faith is shaken. A Critical Success means that the Priest actually gains Spirit!

The pre-generated Player Character, Rosamund Godspell, is a Priest. She has access to prayers such as Blessing, Prayer for Luck, and Sanctification. The prayer, Restore the Faithful, can be performed to grant a believer restored Fatigue Points, whilst Cure the Wounded, does the same for Body Points. A believer can be a recipient of either spell only once per day. Each prayer is described in detail in a sperate prayer book for Rosamund Godspell.

What do you play?
In the Chivalry and Sorcery, 5th Edition Quick Start Rules, the scenario is ‘Where Heroes Fear to Tread’. This is set in Marakush, the default world for Chivalry & Sorcery. It takes place in the Kingdom of Urtind where a few days ago, a group of pilgrims was attacked and captured by a Goblin and Tylwyth Du (Dark Elf) warband and taken back to their Lord, Grink of the Rock, in the Darken Forest. The Player Characters are hired by the religious fighting order, the Order of the Blue Rose, to deliver a ransom for the pilgrims to Grink of the Rock, a dragon! The Player Characters need to cross some rough farming country and through an area known as the ‘Killing Ground’ having been the site of numerous border conflicts to get to the forest. Here they will have to deal with the dragon lord and goblins. The scenario is action-packed and can be played through in a single session or expanded with the included random encounters to last a second session.

Is there anything missing?
The Chivalry and Sorcery, 5th Edition Quick Start Rules are complete and it even comes multiple examples of play to help the Game Master understand the rules.

Is it easy to prepare?
The core rules presented in the Chivalry and Sorcery, 5th Edition Quick Start Rules are not too difficult to prepare. The primary issue with the rules is the number of abbreviations that the Game Master and her players need to learn, which makes the rules look more complex than they are.

Is it worth it?
Yes. The Chivalry and Sorcery rules have a reputation for being complex. Not so in the Chivalry and Sorcery, 5th Edition Quick Start Rules, which presents a streamlined version of them and supports them with plenty of examples of play and a decent scenario that can be played in a single session.

Where can you get it?
The Chivalry and Sorcery, 5th Edition Quick Start Rules is available to download here.

Friday Fantasy: Wet Grandpa

Far up the River Whey there lives a monster. Well, not exactly a monster to be. It is not even as if he wants to be a monster. He is just old and lonely without his late wife and he has not long come back from being drowned. He has his grandchildren. After all, not for nothing were he and his wife known as Grandpa and Grandma Tolling. But they are young and he is old, and the young and the old do not understand each other. Especially when one of them has come back from the dead. So now Grandpa Tolling, not long since drowned, in the idle moments of his busy like—mostly as it was before—dreams of having companions like himself. Drowned. Connected to the waters of the river—somehow. And as the dead old man sleeps, the river rises and lowers, thrashes and surges, and the natural inhabitants of the river, the Naiads, are frightened. The river is their realm and they do not want to lose to some strange dead thing. The few remaining inhabitants of the nearest settlement, the town of Fatfish, have other worries. The river nearby was once full of fish just waiting to be hauled from the waters and fill the fishermen’s nets. Now the stocks of fish have long since gone and the fishing boats and their crews with them, leaving the once rich river port to fall into destitution, its inhabitants into despair and desperation. The few remaining inhabitants are divided between those who want to leave, those who want to stay, and those who simply no longer care. What might give them cause to leave are the dangers of the rising and falling waters of the fish-depleted river, were they to understand what those dangers mean. Were they to understand the now unnatural nature of the ‘Wet Grandpa’ on the Cursed Island, just across from the village, they might be more concerned…

Wet Grandpa is a scenario from Melsonian Arts Council, a publisher best known for Troika!, the science-fantasy role-playing game of exploring the multiverse. The scenario is ostensibly written for use with the Old School Renaissance, but in terms of stats it is relatively light. This means that Wet Grandpa can be run using all manner of Old School Renaissance retroclones, much in the manner of The Haunted Hamlet & other hexes, but with relatively little adjustment the scenario would work with Warhammer Fantasy Roleplay or even RuneQuest: Roleplaying in Glorantha or Old Gods of Appalachia. Wet Grandpa sets up a fantastic situation, one full of roleplaying potential, but the uneven presentation and tone works all too often to undermine what is an evocatively sodden and bedraggled situation built around the interaction and relationships between various NPCs. Fundamentally, the problem is twofold. First, the players’ introduction consists of a man selling a roughly printed treasure map to their Player Characters. The seller explains that the treasure site is near Fatfish, a community about two weeks’ travel up the River Whey. This is not only an underwhelming hook for the players, let alone their characters, it ignores the richness of the situation in and around Fatfish and the interactions between the NPCs, any part of which could have been used to hook the Player Characters. Instead, the given hook is bland, even boring.

Second, the Referee’s Introduction does not start with an introduction to the scenario, but with an explanation of the situation of Grandpa Tolling. At that point, the Game Master is wondering how the two are connected. In fact, there are three strands to the scenario—Grandpa Tolling, the town of Fatfish, and the Naiads—but it is not until the reader gets to the last strand that he can begin to work out what is going on. So, from the start, the Game Master is unclear as to what she is reading and how it all links together, which hampers both her understanding and her preparation time. To be fair, once the Game Master has read much further into the book, she will be able to grasp what is going on and make the connections ready for her and her players, but this does not negate what is a fundamental error upon the part of the author.

Fortunately, once Wet Grandpa gets into its individual sections, it begins to come alive—or not in the case of the undead Grandpa Tolling. The descriptions of his current life and that of the few remaining inhabitants of Fatfish are evocatively forlorn and forgotten. An elderly couple, the Caplins, sit in their cabin, waiting for their sons to return, but they never will; with the loss of fish stocks, former fishing boat owner, Karlin Wilamyer, has forbidden his family from leaving though they want to, whilst his brother who did get away, wants to rescue his niece and nephew; the families of Dana Strix and Haren Greene have all died or left, either that or the two lovers simply murdered them; and Jorf Quine is waiting for his aunt to die so he can leave, and he might hurry it along—just a little. The families, what there is of them, are mouldering into the ground. Here there are some taunt little tensions between the various NPCs which only need the presence of the Player Characters to be brought out into play. The Game Master will need to develop her description of Fatfish itself, mostly drawing upon the detailed timeline included, such as suggesting the number of houses, the insect swarm ridden gardens, and so on.

As much opposed to Grandpa Tolling as scared of what he might become, the four Naiads—one per season—are also similarly detailed. Each of the four Naiads has a distinct form and character, Winter being an emaciated cougar, Summer a giant glass-eyed crow, and so on. They are minor gods at this point, but depending upon the actions of the Player Characters may grow in stature and power to become gods. Although capricious, they can be interacted with as what they really want is Grandpa Tolling dealt with. As a reward, the Naiads will grant access to their shared treasury, or simply abandon it, leaving for the Player Characters to discover and plunder, if they ascend to godhead. The treasury is a short, little dungeon whose primary threat is a nasty trap.

Rounding out Wet Grandpa is a guide to what happens if nobody stops Grandpa Tolling, followed by stats and more descriptions of the inhabitants of Fatfish and an encounter table for the area around the village. This includes the River Whey and the Cursed Island upon which Grandpa Tolling and his family of orphans live. It could also be used for the long two-week journey up the River Whey to Fatfish.

Physically, Wet Grandpa is presented as a board book, with a non-glossy, plain matte cover and no spine so that the glue binding is visible. The feeling in the hand is rough and tactile like that of the much later Frontier Scum. The scenario is readable and well written—in places. Elsewhere, the content is poorly organised. The artwork is bright and colourful, if rough.

Wet Grandpa has all of the elements to present a tensely playable situation between a dying village, a rising, but unwanted unnatural power, and fearful natural powers. Yet time and again, its poor organisation and its poor presentation of information hamper its ease of use and preparation. Potentially, there is a good scenario to be played in Wet Grandpa, if the Game Master is prepared to put the effort in pulling it out and putting the various parts together in a more playable fashion.

Friday Filler: Fast & Furious: Highway Heist

Race down the highway in pursuit of a tank whose driver, dangerous mercenary, Own Shaw, has stolen a top-secret computer chip, ramming and forcing the SUVs protecting Shaw into and under the tank to stop it. Chase a semi-truck and manoeuvre close to it so that you can climb out of the driving seat of your vehicle onto it roof and leap onto the semi-truck, through open its back door, and throw its cargo to the other waiting drivers, all the while the semi-truck driver blasts away at you with his shotgun! Protect a hacker as you are chased by a helicopter which can track her laptop and launch missiles at her to stop her getting away. Leap from vehicle to vehicle, brawl atop different vehicles with the enemy, take control of an enemy vehicle and wreck it before leaping back to their own to climb back behind its wheel, and perform amazing stunts in order to beat the bad guys… These are the tasks faced by Dominic Toretto, Brian O’Conner, Letty Ortiz, Roman Pearce, Tej Parker, and Han Seoul-Oh at the wheel of either an American Muscle, Import Racer, Street Drifter, or Exotic Supercar vehicles. This is also the set-up for Fast & Furious: Highway Heist, a board game which brings the high-octane action of the Fast & Furious franchise of films to the table. It is a co-operative, dice and stunt game designed to be played by one to four players, aged twelve and up, published by Funko Games. It has also been designed by the Prospero Hall team, which has a track record of taking intellectual properties—some of them decades old such as E.T. The Extra-Terrestrial and Jaws: A Boardgame of Strategy and Suspense—and turning them into playable games. In taking advantage of decades’ worth of game design and mechanical improvement, these games typically far outshine those games published at the time when the intellectual properties they are based on were first released, both in terms of mechanics and play style. In other words, a Prospero Hall design is respectful of the source material and bases both play style and mechanics directly upon it.

Fast & Furious: Highway Heist is a superbly supported with lots of bits and pieces in its box, the most eye-catching of which, are of course, the vehicles. These consist, not just of those driven by the heroes—American Muscle, Import Racer, Street Drifter, and Exotic Supercar—but also a tank, a semi-truck, and a helicopter. All are nicely detailed and look great on the table. There are six Character Boards, one each for Dominic Toretto, Brian O’Conner, Letty Ortiz, Roman Pearce, Tej Parker, and Han Seoul-Oh, and four Vehicle Boards for the vehicles they will drive. The game has three scenarios—‘Tank Assault’, ‘Semi Heist’, and ‘Chopper Takedown’—each of which is supported by its own instruction sheet, Scenario Board, a set of Stunt cards for the players, and a set of Enemy Cards for the opposition’s Actions. Plus, there are Reference Cards, tokens for cargo and certain characters and Boosts to Actions, dice for both the players and the enemy, and pegs for the characters and the enemy which slot into holes atop each vehicle to indicate if a driver is on top of, rather than driving, a vehicle. Which all together means that it both looks a lot and busy as well as complicated. Fortunately, whilst it is a lot, it is actually not as complicated as it looks and it turns out to be quite fun.

The Character Boards and Vehicle Boards slot together and are double-sided. A Character Board depicts the character, his special Action, the standard Actions he can take, and ratings in Speed, Control, Athletics, and Defence. Speed and Control are used when the character is behind the wheel of his vehicle, Athletics is used when he is atop his own or another vehicle, and Defence is used to avoid damage from other vehicles. A Vehicle Board has its own special ability, plus ratings in Speed, Control, and Defence, and a series of slots to indicate how much damage the vehicle can suffer. The combined rating in Speed, Control, or Defence from both Character Board and Vehicle Board indicates how many dice a player rolls, and whilst this will not change for the Character Board, it will change if the character is driving another vehicle and the Vehicle Board is changed. The Character Board is turned over at the end of a player’s turn to indicate that the character is exhausted and can only roll Defence against incoming damage and that the player needs to roll the Enemy die. The Vehicle Board is turned over and used whenever a character is driving an Enemy SUV rather than his own vehicle.

Each of the scenario instruction sheets explains the set-up, additional rules, and winning conditions, as well as giving some strategy tips for the players. Each set of Stunt Cards for each scenario details a manoeuvre that the players can attempt. For example, ‘Chain Reaction’ in ‘Tank Heist’ enables a player to drive into two SUVs which are in a straight line. This causes one SUV to crash into the other, turning it into a Wreck which can be tossed into any direction, potentially hitting the tank and causing damage. It requires a Speed roll. ‘Grappling Hook’ lets a player snare another player’s vehicle, enemy SUV, or wreck and pull it towards his vehicle. It requires a Control roll. ‘Stop Hitting Yourself’ requires a player to be atop an enemy SUV which he forces to swerve into the tank, inflicting damage, and ending with him atop the tank. This requires an Athletics roll.

There is a set of Enemy Cards for each scenario. Each Enemy Card has two sets of effects, one when it is drawn and another when it is in the ‘Activate!’ spot on the Scenario Board. For example, ‘Meat Grinder’ for the ‘Tank Heist’ scenario adds two new Enemy SUVs behind the Tank when revealed, but when activated on the ‘Activate!’ spot on a Scenario Board, each Player Vehicle adjacent to both the Tank and an Enemy SUV is squeezed and suffers damage. The Stunt cards are large, whereas the Enemy Cards are standard size.

The Scenario Board for each scenario is double-sided. One guides the players through the set-up of the scenario, which when done, is turned over to provide the rules for the scenario. Each Scenario Board spots for the Enemy Cards, one of which is the ‘Activate!’ spot, and also a track for the amount of damage the Tank—or other vehicle—can suffer during play. The tracks are actually cut into the Scenario Boards, much like the damage track is cut into the Vehicle Boards. The Character Boards do not have a damage track as the players cannot be killed.

Play of Fast & Furious: Highway Heist—for all three scenarios—takes place on the Road Board. This shows a simple road, marked with a twelve by six grid. Player Vehicles and Enemy SUVs are constantly moving along and manoeuvring back and forth on the road represented by the Road Board, but they do not leave it. In other words, they constantly keep pace with each other. Only when a vehicle is wrecked and becomes undrivable does it get left behind as all of the other vehicles continue moving.

Core play in Fast & Furious: Highway Heist is simple. On his turn, a player can undertake two Actions. There are eight standard Actions. In the ‘Drive’ Action, the player moves his vehicle a number of spaces equal to the combination of his character’s Speed and his vehicle’s Speed. The ‘Leap’ Action lets a player’s character jump from atop his current vehicle onto another player’s vehicle or an Enemy SUV. The target vehicle must be within a number of spaces equal to the character’s Athletics skill. Pegs are used to indicate if a character or an enemy is atop a vehicle. A ‘Ram’ Action is used to destroy an Enemy SUV and turn it into a Wreck; ‘Force’ Action lets a player force another Player Vehicle or Enemy SUV two spaces in any direction; ‘Shake’ forces an Enemy Peg off the top of a Player Vehicle whilst at its wheel; ‘Brawl’ can happen when a player and an Enemy Peg are atop the same vehicle and if successful, the player knocks the Enemy Peg off the vehicle, and the ‘Hijack’ Action lets a player already atop an Enemy SUV take control of the vehicle. The last Action a player can take is Take Boost Token, and this must be done as the second of his two Actions on his turn.

Alternatively, a player can take a ‘Stunt Action’. These are represented by the Stunt Cards and there are always three in play at any one time. Each has specific conditions which have to be fulfilled and are much more effective than the standard Actions. The Stunt Cards are constantly changing, moving off the end of the Road Board, and the players have three rounds in which to perform before it is replaced. A Stunt can also only be performed once or twice, as indicated by the number of Boost Tokens on its Stunt Card. After successfully performing it, a player receives the Boost Token on the Stunt Card and when there are no more Boost Tokens on the Stunt Card, it is exhausted and cannot be performed. However, it remains on the Road Board until it moves off the end, reducing the number of possible Stunt Actions available until replaced. Stunt Cards come in three levels for each scenario and get progressively more spectacular and effective.

The ‘Ram’, ‘Force’, ‘Shake’, ‘Brawl’, ‘Hijack’, and most of the ‘Stunt’ Actions all require a roll of the Effort Dice to succeed, using the Skills from both the player’s character and his vehicle, as necessary. A player can use Boost Tokens to either improve his roll on the Effort Dice or to assist another player and increase the number of Effort dice he has to roll.

Once a player has taken his two Actions, he rolls the Enemy Die. The results on this die can activate all of the Enemy SUVs, which either move closer to or slam into the player vehicles; activate the Enemy Pegs which either damage or hijack the player vehicles; and move the Main Enemy—which is different depending on the scenario—and then move the Enemy Cards on the Scenario Board and resolve the one in the ‘Activate!’ spot.

Once a player has taken his turn, he flips his Character Card over to its Exhausted side. When every player’s Character Card is exhausted, the round is over. On the Road Board, all of the Wrecks move back, possibly off the Road Board, as the Player Vehicles and the Enemy Vehicles speed forward. If a vehicle, including a Player Vehicle, is behind a Wreck, it will crash and also become a Wreck! Both the Enemy Cards and the Stunt Cards are moved along their respective boards and new ones added. This ends the round.

Play continues like this until the game is either won or lost. Fast & Furious: Highway Heist is won by achieving the objective in a scenario or performing the Level 3 Stunt Action that will win the game. However, it is lost if the players do not achieve the winning conditions in a scenario or the Level 3 Stunt Action for the scenario moves off the Road Board, meaning there are no Stunt Actions for the players to attempt.

The three scenarios in Fast & Furious: Highway Heist all vary in terms of their objectives and complexity. ‘Tank Assault’ is the simplest and should be played first. The players have to destroy the tank before it can get away. This is done by manoeuvring Enemy SUVs and Wrecks into it and inflicting damage. In ‘Semi Heist’, the players must get atop the trailer of a semi-truck and open its cargo door—this actually opens on the model of the semi-truck!—to throw stolen cargo to waiting Player Vehicles below. The Player Vehicles need to be in the right position to receive the cargo and whilst this is happening the driver of the semi-truck is taking shotgun blasts at the character atop his trailer. ‘Semi Heist’ adds ‘Reactive Stunts’, which can be performed even when it is not a player’s turn. ‘Chopper Takedown’ is the most complex. The players are trying to get a hacker to safety, but there is a helicopter which can pick up her computer on radar. The stronger the radar signal, the more damage the helicopter’s missiles will do. The players win by destroying both the main villain’s vehicle and the helicopter. The latter is done by a player launching his vehicle into the air via a wreck and performing a mid-air ram attack! It is possible to transfer the hacker from one vehicle to another if the one she is in is damaged. Where in the earlier scenarios, the players have to track the damage suffered by the Tank and the shotgun shells fired, here they have to track the Radar signal strength, the damage done to the villain’s vehicle, and the damage done to the helicopter.

Physically, Fast & Furious: Highway Heist is very well presented and designed. The rules are well explained, the vehicles nicely detailed, and whilst the art does not use photographs from the films, it is still very good, capturing their high-speed action.

For a family or younger audience, Fast & Furious: Highway Heist is probably a bit too complex, both in terms of the number of options a player has and co-operative play. That though, can be alleviated with the help of a more experienced player and the online guides to play video. Also, being scenario-based means that once the three scenarios in Fast & Furious: Highway Heist have been played through two or three times and won, the longevity and replayability of the game is greatly diminished.

Fast & Furious: Highway Heist is another fine adaptation of an intellectual property by Prospero Hall. In fact, the designers have taken an intellectual property that would seem not to lend itself to adaptation as a board game and actually turned it into one that is exciting and fun. It has physicality to its play as the vehicles manoeuvre back and forth across the road, speed up and slow down, brake to avoid wrecks, and the drivers jump from atop one vehicle to another to brawl each with other and hijack vehicles, which you can all visualise as you play. Yet that is only the standard play. Add in the Stunt Cards and the action of the play goes up, getting more and more spectacular. In doing so, it captures the action of the Fast & Furious films and there can be no doubt that fans of the franchise will enjoy game. For more general board game players, the attraction is of another good adaptation by Prospero Hall of mechanics to fit the game’s theme. Ultimately, whilst it may not offer long term play, Fast & Furious: Highway Heist captures the speed and action of the films, bringing their physicality to the table in a solid design.