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

Monday, 19 February 2024

Miskatonic Monday #264: Re-Animator 2508

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

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

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

Setting: Deep space in the 26th Century
Product: One-shot
What You Get: Nineteen page, 8.27 MB Full Colour PDF

Elevator Pitch: Herbert West–Reanimator in spaaaace...!
Plot Hook: “We Gotta Get Out of This Place” – The Animals
Plot Support: Six pre-generated Investigators, thirteen NPCs, one map, and one Mythos monster.
Production Values: Colourful

Pros
# Fantastic cover
# Detailed NPCs
# Highly detailed Investigators
# Highly detailed background
# Highly detailed timeline
# All female cast
# Interesting new Occupations
Kinemortophobia
Teraphobia
Cultphobia

Cons
# Needs a good edit
# Highly detailed background
# Highly detailed and tight timeline
# Investigators need to work hard to uncover the plot

Conclusion
# Unclear plot with no obvious solution
# Ultimately, a countdown-driven survivor versus zombies scenario in space, but the set-up is interesting

Miskatonic Monday #263: Operation Midnight Sun

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

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

—oOo—
Publisher: Chaosium, Inc.
Author: Chicho OCARIZ ‘Arkashka’

Setting: World War II Iceland
Product: Scenario
What You Get: Twenty-seven page, 13.25 MB Full Colour PDF

Elevator Pitch: Nazis versus dinosaurs versus ‘hoard of the Nibelungs’ meets Journey to the Centre of the Earth under Iceland… in World War II
Plot Hook: Iceland is neutral right now, but will it be after Operation Weserübung?
Plot Support: Staging advice, four pre-generated Investigators, eight NPCs, three maps, and one dinosaur type.
Production Values: Decent

Pros
# Straightforward scenario
# Easy to run one-shot or convention scenario
Nyctophobia
Speluncaphobia
Ornithoscelidaphobia

Cons
# Needs a good edit
# No location map
# More military operation than Mythos investigation
# No Mythos content

Conclusion
# Short, action and stealth-focused World War II scenario
Ultimately more military operation than Mythos investigation

Sunday, 18 February 2024

A Gloranthan Gear Guide

Equipment books in roleplaying serve numerous functions. At their most basic, they are a book of goods and gear that a player can have his character purchase to help that character survive the next scenario, whether it is a sword, shield, and some armour that the character will wear from one adventure to the next, or thick furs or padded clothing that will help him weather the freezing temperatures over the high mountains and into the snow and ice beyond. Then they are the virtual equivalent of a Sears & Roebuck catalogue at the table, that the players can pick and choose from as their characters go shopping within the game and there is even semi-tradition of the Player Characters actually going shopping within the game and buying all of the things—whether the genre is fantasy Wild West, Science Fiction, or Cyberpunk—that their players never could. Literally roleplaying a fantasy of going shopping for fantasy things! Of course, just as the items within an equipment guide can be used to equip a Player Character, they can also be used to equip an NPC. If such an equipment guide includes a good mix of arms and armour, then all the Game Master has to do is pick out some different weapons and some different armour, and she has the beginnings of an interesting NPC, at least in terms of what wields and what he looks like. In addition, if the Player Characters have amassed some loot—jewels, gems, object d’art, and that sort of thing—then they will want to sell it and an equipment guide will often discuss the means to do so. In addition to arms and armour, an equipment guide will often detail a range of services and experts that the Player Characters can purchase or hire, as well as bigger things that they might want to invest in, such as land and buildings. This though, is not all that an equipment guide can be used for. A good equipment guide can do all that and more. A really good equipment guide can do all this and be used to help bring a world to life and it can be used as a spur for stories.

RuneQuest: Weapons & Equipment is a supplement for Chaosium, Inc.’s RuneQuest: Roleplaying in Glorantha. As an expansion for the core rules, RuneQuest: Weapons & Equipment does everything that a good equipment guide does. It details and describes a wide range of items, goods, services, training, magical items, and beasts, plus new arms and armour, new rules for land ownership and use, and much more. And it is fair to say that the least interesting aspect of the supplement is actually the arms and armour. This is not to say that the included weapons and armour, which together draw from a range of cultures and races from across Glorantha, are not useful, because they very much are, but they are not actually interesting in comparison with the rest of the book.

RuneQuest: Weapons & Equipment begins in broad detail with the market and what goods might be available depending upon the size and location of the market, explains Gloranthan currency, and looks at the economy, prices, handling and creating masterwork items, and more. The interesting aspect here is the effect that the size of the local economy can have on what a Player Character can buy and sell and what effect selling loot can have on the local economy. In smaller, more local economies, favours and bartering are more likely as means of exchange—even when it comes to settling debts—rather than money, and if the Player Characters sell too much loot, it can not only depress the economy, it can also attract the attention of the local authorities and temples, who will want them to contribute to the community!

One of aspects of Glorantha is the prominence and importance of different metals and their use. Most obviously bronze, since Glorantha is most often described as a bronze-age world, but other metals, ranging from aluminium and copper to silver and tin are also examined. This includes its properties when enchanted, such as weapons and armour made from enchanted copper being particularly hardy and enchanted quicksilver having the property of not being able to sink in water, Gloranthan cults and the enchanted metal spells they grant, and how enchanted metal is crafted. Here is where RuneQuest: Weapons & Equipment begins rise above being just a simple shopping catalogue, because this is a useful section for metal workers—redsmiths for bronze, goldsmiths for gold, and so on. This is because it is possible to play such craftsmen in RuneQuest: Weapons & Equipment and this directly supports them, as does the rules for creating masterwork items, which might be to increase an item’s Hit Points, armour points, or increase the amount of damage it can do. These are not fully detailed rules for creating masterwork or enchanted items, but they are more than sufficient. Plus, they enable a master craftsman Player Character, who needs a skill of at least 90%, to use his skill to greater effect, whilst at the same time working towards creating objects with enchanted metal. They are also accompanied by ‘The Metals of Acos’, a First Age document which provides some engaging in-game thoughts upon the various metals. Similar sections cover pottery and weaving, though not in as much depth, and there is an accompanying list of prices of crockery for the former and a list of clothing types and their prices under the common goods section.

‘Common Goods’ lists thumbnail descriptions and prices of a wide variety of everyday items. Clothing, jewellery, cosmetics, tools, musical instruments, toys and games, food and drink (including honey, wax, and royal jelly from bees), herbs and plants, exotic materials, and trinkets. There is some pleasing little details here, such as slimming girdles, made from either zebra or whale bones, being worn by Lunar nobility as means to appear thinner, but usually causing the wearer to pass out due to their tightness, or that popular board games are God’s Eyes and Fingers, Ouranekki, and Swords and Shields. Sadly, there are no rules any of the board games only relatively sparse descriptions, but whilst the mundane nature of many of these items and certainly their prices may not mean much to the average adventurer, they might to an NPC. Also, these items can be used to add verisimilitude to huts and houses and other dwellings as they are the everyday items which might be found at home. And just like the ingots of metals used by the various smiths, they will be found for sale at markets, in shops, and from the backs of the pack animals of travelling Issaries merchants. Further details, such as the fact that the popularity of rubies in the Lunar Empire means that Etyries merchants are willing to pay more for them and that reed baskets and bags, inexpensive when bought in Prax or New Pavis, are seen as foreign and fashionable items elsewhere, are more interesting than how much they cost. By comparison, though necessary, the section on adventuring gear feels almost mundane!

The chapter on beasts covers meat beasts, pack animals, riding beasts, and war beasts. Exotic beasts are listed for the different Elder Races, and stats for two new riding bests are given, expanding upon those in the RuneQuest: Glorantha Bestiary. These are the Moose and the Reindeer. Alongside the list of riding gear, including various saddles, harnesses, saddlebags, and stirrups, there are details of various mobile dwellings and a table of mount speeds. Also given here are details of awakened animals. The most obvious of which is the alynx or shadowcat, and in roleplaying terms, thus associated with the worshippers of Odayla and Yinkin. However, any Player Character can have an awakened animal, not just a worshipper of Odayla or Yinkin, but a shadowcat is not always the most appropriate. RuneQuest: Weapons & Equipment looks at several options, including birds, lizards, and snakes as well as other mammals. It notes that parrots are popular in Nochet and Glamour, crows and ravens with worshippers of Ty Kora Tek, Durulz children have frogs and toads, and geckos are commonly found in both Lunar and Sartarite Tarsh. Possession of an awakened creature at least adds colour to a character, but the roleplaying possibilities it opens up are endless.

Some skills and knowledges lie outside that of the Player Characters and this is where hirelings and services are useful. There are rules here for the availability of either, the expected skill ratings and rates pay, plus specific sections on mercenaries, personal services, heralds and poets, sages and scribes, and magic services. Notable here are terms of employment and contracts for mercenaries, plus a typical oath sworn by mercenaries and a guide to how loot is divided among them, including the Orlanthi and Yelm methods, plus an adventurer’s pact. These work for both NPCs and Player Characters, whether they are entering employment or hiring. There are details too of how slavery works in Glorantha, primarily as punishment for crimes and debts, or being captured as prisoners of war, and which species do own slaves. This does not include the Orlanthi who abhor the practice. That said, the authors do address the subject of slavery from a modern point of view and how it relates to the game, ultimately advising that the Game Master discuss the issue with her players beforehand. Besides this, there is a list of magical services, including the decidedly ungodly practice of sorcerous divination and casting magic for enchanted items—the latter to accompany the earlier rules on enchanted items, and also prices for renting rooms in the short term at inns and residences in the long term. The section on funerary rites covers various practices and their prices, including ceremonies and funeral pyres humble and grand, but again adding depth and detail to the world, though greater specifics will lie with the various cults.

The chapters on arms and armour expands upon those listed in RuneQuest: Roleplaying in Glorantha, adding a variety of new weapons like the Orlanthi Broad-axe, Moon Blade polearm, trident, war boomerangs, chakrams, and more. All are described and listed in the expanded weapons tables, as is the rhino hide armour in the armour tables and the armours for beasts and non-humans including Elves, Ducks, Trolls, and Trollkin. All of the arms and armour are illustrated, the armour in full colour, with some nicely depictions of various types of helms to differentiate between the types. One surprising omission is that of Dragonewt weapons, especially since the weapons of other species are included. (They can though, be found in the RuneQuest: Glorantha Bestiary.) The major addition are the rules for entangling and net weapons, which bring throwing hooks, lassos, nets, and whips into play.

The rules for travel focus on group travel, including caravan, river, and ocean travel. Typical travel times are listed, and there are even rules for length of journey depending on circumstances and skill, as well as details of vehicles and vessels, such as chariots and reed boats. It would have been handy here for them to be illustrated and even be given deck plans where necessary, but there are none. As a campaign progresses, there is scope for the Player Characters to own their own dwellings and land, possession of which can lead to further adventures. The example here being is land grants being handed out by Prince Argrath in the Big Rubble, enforcing that being a big challenge. Land is treated as a potential reward and then responsibility, something that the Player Characters might earn and then have to protect and nurture. There is list of improvements which can be made, profits or losses to be made during sacred time, and possible random land-related events. The aim is not to provide a detailed set of rules for resource management, but more as a means to support the narrative and roleplaying. There is scope though, for a supplement, whether in whole or part, dedicated to this subject.

The penultimate chapter in RuneQuest: Weapons & Equipment revisits training from RuneQuest: Roleplaying in Glorantha, adding rules for learning new Runes, which typically has to be done via a cult associated with the cult a Player Character is an initiate of. However, since a maximum of only 5% can be gained at the end of training, it takes at least two seasons to increase a Rune to the minimum of 10% necessary for it to be used in play. Lastly, the section on exotic items expands on the rules for magic crystals given in the RuneQuest Gamemaster Screen Pack with a list of strange enchanted items and extraordinary gems. The former include an Empty Purse, which transfers only local currency to a nearby strong box and Walktapus Gloves, made from the skin of the feared Chaos creature, but valued by redsmiths for their ability to withstand extreme heat, whilst the later includes a Lhankor Mhy’s Mark, used to copy and transfer text via rubbings and a Vengeance Black, which if an oath is sworn it, provides a temporary bonus to skills dedicated to fulfilling the oath.

Physically, RuneQuest: Weapons & Equipment is very well presented. It is clean, tidy, and easy to read. The cover is excellent, depicting the pre-generated signature characters from the pages of RuneQuest: Roleplaying in Glorantha and RuneQuest: Roleplaying in Glorantha – Quickstart and Adventure at rest, camping between adventures.

There is a degree of repetition in the pages of RuneQuest: Weapons & Equipment and other books for RuneQuest: Roleplaying in Glorantha, but in most cases, the repetition means that the new information is brought together with the old so that it is all together. Then there is the fact that a quarter of book, that devoted to arms and armour, is actually utilitarian rather than interesting. The majority of the book, fortunately, is both interesting and useful, presenting content that will be of great use to Issaries merchants with the market and price guides; Chalana Arroy initiates for the herbs and plants details; and craftsmen of all types for details particular to their crafts. Player Character of all types will find the supplement of use, whether they want to make a purchase or sell some loot, or undertake some training or hire some experts. However, RuneQuest: Weapons & Equipmentcomes into its own for the Game Master, because of the richness of the tiny details that even the most mundane of items brings to Glorantha and the verisimilitude that creates, helping to bring the world to life for her players. In this way, RuneQuest: Weapons & Equipment does exactly what a good equipment guide should.

Saturday, 17 February 2024

1984: Rhand: Morningstar Missions

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—

Five hundred years ago, Rhand was a rich, verdant colony with vast forests that supported agriculture and attracted tourism. Technologically advanced, easy travel was facilitated by four satellites which operated a world-spanning teleport network. Then the Spectrals came. The faceless, jet black invaders from deep space launched attacks that shattered the climate, smashed the teleport network, and unleashed bioagents which drove many of humanity on the planet into barbarism. Five centuries later, Rhand’s climate is dominated by advancing ice and devastating storms and tornadoes. The only habitable part of the planet is the equator, populated by a thousand kingdoms and city states, competing for resources as the war against the Spectrals and other monsters continues as their societies face further collapse. The only hope lies in Orca, the last remnant of the government from before the Spectral attack, dedicated to recovering and protecting what knowledge it can, conducting operations against the Spectrals, and preventing the total collapse of society into barbarism and anarchy. Orca fields a range of military and auxiliary units, the elite of which are named after mythical beasts like the Dragons and the Targa. Where Targa units specialise in hand-to-hand combat and heavy assault missions, Dragon units specialise in commando missions and strategic planning. In addition to its dedicated forces, Orca has one other advantage—it can get anyone anywhere on Rhand. It has access to Morningstar, the surviving satellite that had been part of the teleportation network. The magic of the Morningstar is accessed via an Encoder. Activate this and anyone also wearing a Thrall, a chain worn on the wrist, will be teleported to the desired destination. However, being the only surviving satellite remaining in the network means that Morningstar does not cover all of the planet all of the time. Depending upon Morningstar’s orbital position and the intended destination, an Orca team can be out of contact with the Morningstar network for as short as a few hours and as long as two weeks!

This is the set-up for Rhand: Morningstar Missions. Published in 1984, it was the first roleplaying game to be designed and released by Leading Edge Games, which would later be known for the Phoenix Command combat system and the Aliens Adventure Game as well as a number of other licensed roleplaying games. Indeed, the mechanics for Rhand: Morningstar Missions were a precursor for Phoenix Command, just as its setting would be revisited in Living Steel. Set not long after the attack by the Spectrals, this was a prequel to Rhand: Morningstar Missions, and it would not be until the release of Rhand 2349, a supplement for Living Steel, that the world itself would get more detailed attention. At its heart, Rhand: Morningstar Missions is a post-apocalyptic setting with magic and medieval-style combat on a post-technological world. It is a roleplaying game of special forces-style military missions in which the Player Characters—as members of Orca—have access to a device which can get them anywhere, a la Fringeworthy from Tri Tac Games, Wraith Recon from Mongoose Publishing, and of course, Star Gate: SG1.

A Player Character in Rhand: Morningstar Missions is defined by his characteristics, skills, equipment, and various derived factors. The primary characteristics are Strength, Intelligence, Will, Health, and Agility, typically ranging in value between three and eighteen, although they can go higher. The secondary characteristics are Charisma, Motivation, Size, and Telepathic Sensitivity. The primary characteristics are purchased from a randomly determined pool of points and the secondary characteristics are all rolled randomly individually. This requires referencing a number of tables at the back of the book. Base skill levels are determined randomly. Skills are rated between one and twenty, with eight being a Professional level and fifteen World Class. They are categorised into Class 1 General Skills that all characters possess, and then Class 2 General Skills and Class 3 General Skills, plus Specialist Skills. The Magic, Medicine, and Science skills fall into the latter category, as does Special Fighting Forms, themed around the four elements, which greatly enhance a Player Character’s Combat and Martial Arts skills. A Player Character only begins play with levels in Class 1 General Skills, but can dedicate training time between missions to improve already known skills and learn new ones. This is limited by his rank in the Orca organisation and only by increasing his rank can he gain the opportunity to learn or improve Specialist Skills. This also takes him out of play as it requires dedicated learning time. Training grants a player Training Rolls. Each one is made against his character’s Learning Roll and if successful, grants him a Learning Point which can be assigned to a specific skill. When the number of Learning Points in a skill exceeds the threshold, its Skill Level increases. So, to become a Professional in a skill, Skill Level 7, a Player Character needs to accumulate eighty-eight Learning Points, and to be considered World Class or Skill Level 15, he needs six-hundred-and-seventy-four-Learning-Points!

A beginning Player Character only has the Skill Levels in the Class 1 General Skills at start of play. Effectively, he is a recruit, waiting to go on his first mission.

Name: Robert

CHARACTERISTICS
Strength 13
Intelligence 13
Will 10
Health 12
Agility 13

Charisma 15
Motivation 17
Size 11
Telepathic Sensitivity 14

Combat Value: 15
Combat Speed: 1+
Knockout Value: 15
Learning Roll: 84
Magic Learning Roll: 14

Skill Factor: 16
Base Action Time: .8
Damage Bonus: 1.0

SKILLS
Balance and Footwork – LP 0 Level 3
Bard – LP 0 Level 4
Combat – LP 0 Level 3
Diplomacy – LP 0 Level 2
Fall Recovery – LP 0 Level 3
First Aid – LP 0 Level 2
Horsemanship – LP 0 Level 2
Martial Arts – LP 0 Level 2

EQUIPMENT (Encumbrance: 37.7):
Studded leather, round shield, light spear, dagger, broadsword, mess kit, personal hygiene kit

WEAPONS
Dagger – Weapon Speed: 2.8 Weapon Class: +2 Impact: (3) +2 (Slashing), (3) (Stabbing); Attack Level: 5 (Slashing/Stabbing) Weapon Actions: 2.24
Spear – Weapon Speed: 2.1 Weapon Class: -2 (Stabbing) Impact: (5) (Stabbing); Attack Level: 1 (Stabbing) Weapon Actions: 1.68
Broadsword – Weapon Speed: 2.2 Weapon Class: 0 (Slashing), -1 (Stabbing) Impact: (6) +2 (Slashing), (3) (Stabbing); Attack Level: 3 (Slashing), 2 (Stabbing) Weapon Actions: 1.76
Round Shield – Shield Speed: 1.1; Shield Actions: 0.88

Mechanically, Rhand: Morningstar Missions is intended to be played out on a two-foot wide hex grid and uses a percentile resolution mechanic and what it calls the ‘Action/Reaction Table’. To undertake an action, the Game Master refers to the skill being used and determines the Base Odds for the skill being used. This is multiplied by the Player Character’s Skill Level to get the percentage chance of success. It is that simple, but as written it does not look that simple and from the exceedingly concise options listed under each skill it does not look that simple. So, it takes a lengthy example of play for the Game Master to even understand the basics, and even after that, she may be still floundering.
For example, Robert wants to perform a song to bolster the mood of his fellow Men-at arms in his unit. The Base Odds are determined as follows: 5 for composition of average melodies and written material and ability as a scribe and 10 for the ability to evoke emotion in the audience. This gives a total of 15, which is multiplied by Robert’s Skill Level of 4 in Bard to give a total chance of 60%.
If the ‘Action/Reaction Table’ of Rhand: Morningstar Missions attempts to be simple, its combat rules attempt to be complex. It details some thirty weapons from a range of cultures, divided into four damage types—Cutting, Stabbing, Flange, and Blunt—and further categorised as either One Handed, Two Handed, or Blunt Impact. Combat is intended to be played out on a grid of two-foot-wide hexes with Combat Speed indicating the number of hexes or changes of direction a combatant can move in a single phase. The number of Weapon Actions spent on an attack can alter the amount of damage inflicted, so that a Short Stroke inflicts half damage, but only takes a single Weapon Action, whereas two Weapon Action s are a Normal Stroke for normal damage, and three Weapon Actions a Long Stroke for double damage. A single Weapon Action is enough to parry and the use of shields have their own number of Actions. The issue with this is if a Player Character has a number of Weapon Actions less than two, he cannot do more than the one Action per combat round and he cannot do more than a Short Stroke. However, a single Weapon Action can be carried over from one round to the next, giving a Player Character more options in the next round rather than the current one.

The Odds of Hitting, of successfully attacking an opponent are based on the defender’s Parry Type and Combat Skill, and the attacker’s Attack Level. The Parry Type is either Partial Parry, meaning that the defender makes fewer parries than the number of attacks by the attacker, or Total Parry, meaning that the defender makes a number of parries equal to, or greater than the number of attacks by the attacker. The Game Master then refers to the appropriate ‘Odds of Hitting’ table for the Parry Type and the number of parries versus attacks to determine the chance of a successful attack by cross-referencing the attacker’s Attack Level versus the defender’s Combat Skill. If the attack is successful, the table for the damage type of the weapon and the blow, either Cutting, Stabbing, Flange, or Blunt, to determine hit Location and Physical Damage inflicted. This generates the Impact Damage of the attack, which is cross-referenced with the Armour Class value of any armour worn to find the actual Physical Damage suffered. Inflict enough damage and blows can disable a limb or knock out an opponent.
For example, Robert, our sample Player Character, is facing a brigand, who is armed with a spear and a shield versus Robert’s broadsword and shield. Robert has charged the brigand and saved a Weapon Action so that he has two Weapon Actions to use on a Normal Stroke. The brigand has done the same, but will use both to parry Robert’s slashing attack. This is a Full Parry, equal to one attack versus two parries. Comparing Robert’s Attack Level for his broadsword of 3 versus the brigand’s Combat Skill of 2 gives Robert’s player a 33% chance of successfully hitting. Fortunately for Robert, his player rolls 18 and Robert’s slashing blow gets past the brigand’s parry attempts. Robert rolls 8 for the Impact Damage—the maximum damage possible and this is cross-referenced with the Armour Class value for the brigand’s leather armour on the Cutting Damage table. It is a blow to the brigand’s abdomen and since the brigand’s leather armour is classed as light, he suffers 5 points of Physical Damage. There is a chance that the blow will knock the brigand out, but since it is less than the brigand’s Knockout Value, it is only 10%. The Game Master rolls 03% and Robert is lucky! The brigand collapses with a grunt. The fight continues, but Robert probably has the group’s first prisoner.
The combat rules also cover dodging, archery, mounted combat, and the special fighting forms available as Specialist Skills. Including the healing rules, the rules for combat run to some twenty or so pages versus the three dedicated to explaining the ‘Action/Reaction Table’—and the latter includes all of the Base Odds factors per skill. The upshot is that the combat mechanics for Rhand: Morningstar Missions are far better explained with a ready clarity that the skill resolution mechanic is not afforded.

Magic in Rhand: Morningstar Missions has seven Subjects—Earth, Fire, Air, and Water, as well as Mental Magic, Body Magic, and Astral Projection. Earth, Fire, Air, and Water are Elemental magics, but are not as specialised as Mental Magic, Body Magic, and Astral Projection and have a greater number of spells each. Each Subject is a Specialist Skill in its own right. The total number of Learning Points a Player Characters has in seven Subjects determines his Magical Skill Level, which determines range for a spell. The target of a spell receives the Resist Roll to withstand the magical effects of a spell. This is determined by comparing the Magical Skill Level of the target with the Magical Skill Level of the caster. Should a target have no Magical Skill Level, then he has a much lower chance of resisting a spell. The amount of points a Player Character has to spend on spells within a Subject is equal to the number of Leaning Points he has in the associated skill, but expressed as Magical Force. Each spell has a cost in Magic Force to cast. Casting magic takes concentration and should a mage be distracted, there is a chance of his failing to cast the spell and suffer Psychic Damage. Rhand: Morningstar Missions includes a wide range of spells, but there are some oddities, such as Create Fire and Thicken Water being under the Earth spells, Raging Waters under the Fire spells, and so on.

At a Skill Level of 6 and beyond a Mage can gain attributes such as Magic Sense and Weatherwise, mainly protective, but permanent abilities. Mage can also make enchanted items, and there are also optional rules for resisted spells bouncing back, joining specialised magical groups, and spells being enacted in ascending order of Magical Force invested in them. Overall, the magic rules are decent enough and there are plenty of spells to choose from. Their use is not quite as well explained as combat is, but still better than that given for the ‘Action/Reaction Table’. The main issue with magic in Rhand: Morningstar Missions is its inaccessibility at the start of play, along with the Class 2 General Skills and the Class 3 General Skills, meaning that beginning Player Characters are mechanically very similar.

Rhand: Morningstar Missions also includes rules for physical phenomena such as terrain and travel, complete with generation tables, sight and sound detection, spreading and flowing fluids, fires, explosions, breaking down doors and walls, explosions, earthquakes, and mob actions and riots. Optional rules allow for glancing blows, aiming blows, cutting through shields and parries, collisions and tackles, and more. Much of these serve to make combat in Rhand: Morningstar Missions more dynamic, but it comes at the cost of further complexity.

Mission types in Rhand: Morningstar Missions include Guard, Escort, Assault, Rescue, Holding Action, Defence, and Special Action Squads. The latter are actually held within the magic of Morningstar, ready to be teleported to a location at a moment’s notice. In general, the type of mission will be determined by the Risk Level that the players and their characters want to face. The Risk Level will determine the random encounter odds and the combined value of the Player Characters Combat Values the level of any potential opposition. Three sample missions are provided, ranging from Risk Level 1 to Risk Level 10. These are decent outlines for what are straightforward military missions—actually too straightforward military missions since there is no real plot to any one of the three—and require development upon the part of the Game Master. Descriptions of various creatures are given, including several types of Spectral, as well as their subject races that they brought with them when they attacked. The book comes to a close with a topographical map of the planet Rhand, which actually is not that detailed or useful, followed by the roleplaying game’s various tables.

Physically, Rhand: Morningstar Missions is a surprisingly short book—barely a hundred pages long. But being printed on sturdy thick paper with heavy card inserts combined with being spiral bound gives it a surprising heft. Bar the map, the book is completely devoid of illustrations, which gives it a bland look. This is actually offset by the large margins, typically used—as was the case with future titles from Leading Edge Games—for in-game quotes, some of them quite humorous. The writing is not too bad, mainly suffering from a lack of clearer explanation when it counts, but there are plenty of explanations that do go some way to offset this. As well as being able to lie flat on the table and fold over, what 
the format of Rhand: Morningstar Missions does remind you of, though, is a technical manual for a computer or a major piece of machinery? Could it be that designer Barry Nakazono, an actual rocket scientist, decided upon the format he knew best for the books that Leading Edge Games published?

In many ways, Rhand: Morningstar Missions is a complex roleplaying game, but not as complex as the roleplaying games that Leading Edge Games would later publish, most notably Phoenix Command, Living Steel, and the Aliens Adventure Game. Combat is complex, but at least it benefits from a clearer explanation than that given the ‘Action/Reaction Table’ and its associated resolution mechanic. The real problems with Rhand: Morningstar Missions start with the uninteresting and similar starting Player Characters which are given no capacity for differentiation until a long way into the play of the game and they have progressed up a Rank or two within Orca. Then there is the setting. Rhand and Orca are severely underdeveloped such that neither is given enough description for them to come alive and for a group to want to play within the setting. The set-up to Rhand: Morningstar Missions is a fun concept, of being able to hop back and forth across the planet because of the ‘magic’ of the past, performing missions to hold back alien invaders and recover or prevent knowledge from being lost. Yet there is not enough of the past in the setting to know what it is that the Orca is attempting to save or protect and knowing that would have given the Game Master hooks and motives to pull the players and their characters into the setting. So, if the Game Master and her players can get past the complexity, what they will find Rhand: Morningstar Missions offers in terms of what they play and what they roleplay to be underwhelming, if not outright disappointing. Rhand: Morningstar Missions presents a potentially interesting setting and campaign set-up, but ultimately undoes itself by failing to develop either beyond their core concepts.

Quick-Start Saturday: Swyvers

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 Swyvers Quickstart is introduces the rules light roleplaying of guttersnipes, rogues, grifters, charlatans, shysters, and chisellers on the make in filth and detritus of The Smoke, where it is always wet, foggy, smoky, and dirty, whether that is above ground or in the extensive Midden that runs deep under the sprawling metropolis. The Player Characters—or Swyvers—are desperate and dirty, but have to deal with corrupt officials, looming war, rogue sorcerers, monsters below and nobs above.

It is an Old School Renaissance-style roleplaying game.

It is an eighty-seven page, black and white book.

The quick-start is lightly illustrated, but the artwork is superb, capturing the grubbiness of the setting.

The Swyvers Quickstart requires an edit.

Technically, the Swyvers Quickstart is not a quick-start. It is an extensive exert from the core rulebook for Swyvers and there are missing an important number of elements usually found in quick-starts.

How long will it take to play?
The Swyvers Quickstart can provide multiple sessions of play, although it does not include an actual adventure.

What else do you need to play?
The Swyvers Quickstart requires five six-sided dice and a standard set of polyhedral dice.

A standard deck of playing cards is also necessary.

Who do you play?
There are no ready-to-play Swyvers given in the Swyvers Quickstart.

How is a Player Character defined?
A Swyver has three stats—Constitution, Dexterity, and Strength—and a chance of being literate (though the player needs to explain why in under five seconds!) and starts with a few coins, a trinket, and a personality trait.

How do the mechanics work?
Mechanically, the Swyvers Quickstart and thus Swyvers, uses two types of rolls—Competing Rolls and Saves. The rolls are made on pools of six-sided dice which can be adjusted in size to reflect the difficulty of the task. The aim is roll a total equal to, or less than, the appropriate attribute or a target number set by the Game Master.

In addition, a Swyver can have skills, for example, lockpicking, drinking contests, clipping and counterfeiting coins, or evaluating goods—stolen or otherwise, but mostly stolen. Each level adds increases the value of the attribute when using that skill.

There are also rules for chases, the random consequences of carousing, researching marks for cons, creating stooges and putterers (putterers are apprentices that a Swyver can train) and the possible revenge if they are abandoned, and fences
and offloading stolen goods.

The rules for advancement highlight how Experience Points are gained from the sale of loot
‘conveniently’ found and for expenditure on carousing, research, and training a putterer. Of course, like other activities, these have associated damagers of their own.

How does combat work?
Combat in the Swyvers Quickstart involves a roll of two ten-sided dice to beat the Defence Value of the target. A roll of two tens by a player means that his Swyver has automatically killed the defendant, but is a standard attack by an NPC. A roll of two ones is a fumble and requires a roll on the ‘Critical Miss’ table.

Defence Value is determined by the weapon a combatant is wielding. So the Defence Value if a combatant is ‘Shooting’ or ‘Unarmed’ is six, but twelve if wielding a ‘Medium Weapon + Shield’. Armour soaks damage, the amount determined randomly, whilst weapon damage is dependent upon quality. Ropey weapons roll damage twice and take the lowest value; decent weapons roll once; and mint weapons roll damage twice and take the higher result.

There are notes on how to ‘Fyte Lyke a Swyver’. Essentially, a quick and dirty guide to fighting and not getting killed. Fighting fair will get a Swyver killed.

In other words, combat in Swyvers is brutal and meant to be that way.

How does Magic work?
Magic in Swyvers is uncommon, though rumours of witchcraft are not. Casting magic involves playing Blackjack to obtain a score of between seventeen and twenty-one. Results of sixteen and below indicate a failure, whilst results of twenty-two and above are critical failures—and there is a nasty table for that. With more understanding of magic, a caster can match the right card suit with the right Hippocratic Humour to gain extra spell effects if the spell is successfully cast, enhance it with spell components, and even gain an inkling of demonic forces behind what magic can be cast in The Smoke. The included grimoire is full of grim and ghastly spells.

What do you play?
There is no adventure in the Swyvers Quickstart. As an excerpt from the Swyvers rulebook, what it includes instead is a combined guide to The Smoke and set of procedural tables to enable the Game Master and her players procedurally generate the city. This starts with the city in broad details before focusing upon a district. The tables enable to the Game Master to determine the power and nature of the ruler of The Smoke, power and nature of the church, commonly supposed facts about the war going on, and districts and their features and qualities, including rumours and opportunities—the latter for every ‘good
Swyver to take advantage of, random encounters, and some absolutely great street names!

Since Swyvers are anything but honest, so there is a list of crimes and their punishments. Plus a guide to making bribes and dealing with the watch and detectives. A watchman may make a Swyver’s lfe a misery, but a determined detective can be positively bothersome! Tables are provided to enable the Game Master create both and add quirks to bring them to life.

Below The Smoke is The Midden. First, the Shallow Midden and then the Deep Midden. Entrances to the former can be found all over The Smoke, the latter can only be accessed via the Shallow Midden. The dead are are entombed in the Shallow Midden, whilst the Deep Midden is where secrets are hidden and the call of the sea can be heard...

Although the
Swyvers Quickstart does not include an adventure, there is nothing to stop a Game Master from using the content of the tables in the excerpt to create adventures.

Is there anything missing?
The
Swyvers Quickstart is not complete, since it is truly not a quick-start, but a rulebook excerpt designed to give a taster of the full book. Aside from the lack of an adventure, the excerpt is missing a list of ready to use names and unlike other Old School Renaissance-style roleplaying games, there

Is it easy to prepare?
The core rules presented in the
Swyvers Quickstart are far from difficult to prepare. The Game Master will need to create content herself, but this process is supported by the festering feast of details and descriptions included in the book. Thus the Game Master will need to come up with a plot, some NPCs, and more, which will take longer than preparing a typical quick-start.

Is it worth it?
Yes.
The Swyvers Quickstart is a scrumptious feast of vile vagabounds, dastardly deceivers, and pernicious pilferers whose grotty shabiness and unscrupulous shadiness as told in a series of Dickensian penny dreadfuls. And as appalling and as awful as those penny dreadfuls are, there is a fascination with this wicked world that means that the Swyvers Quickstart is begging to be played and demanding that you roleplay the snot out of these tricksy little bastards.

Where can you get it?
The Swyvers Quickstart is available to purchase and download here.

Friday, 16 February 2024

Friday Fantasy: The Toxic Wood

The Toxic Wood is a descent into a poisoned world, a forest whose verdancy has been darkened by a noxious, even baleful, baneful influence has twisted and transformed a whole landscape. At its heart lies the village of Mugwort, trapped, but protected from the noxiousness surrounding them, and desperate for rescue. Fortunately, a secretive council of wizards has heard the arcane distress call sent out by the wizard residing in the village and hires a group of adventurers to mount a rescue mission. The poisonous nature of the wood includes the air and so the employing wizards have fashioned a magical orb which ensure that there is a bubble of safe for them as they journey to Mugwort. It will require power, whether of lifeforce or magic, but it will keep the adventurers safe. Exposure to the toxic air will corrode metal and mutate those who breathe it in, but it is not the only danger that the adventurers will face. There are plants so twisted that they curse magical items or cause them to explode, that spy on the adventurers are they proceed through the forest, shoot parasitical needles that want feeding more than the victim, and worse… Druids corrupted into accepting the toxic nature of the wood as the new norm, half-ghosts lost between this world and the next, trapped by the mutating growths which keep their bodies from decomposing, corrupted fairies that swarm in search of flesh, and other terrible things. There are terrible things that want spread the toxicity, terrible things that take advantage of it, and terrible things that want to rid it from the wood—and not all of them are telling the truth…

The Toxic Wood: A Corrosive Hexcrawl Adventure written by the Lazy Litch and was published following a successful Kickstarter campaign as part of Zine Month 2022. As with the publisher’s other titles—The Haunted Hamlet & other hexes, Woodfall, and WillowThe Toxic Wood is written or use with Old School Essentials, Necrotic Gnome’s very accessible update of the Moldvey/Cook and Marsh version of Basic Dungeons & Dragons, which means that not only is it mechanically accessible, it is also easily adapted to the retroclone of the Game Master’s choice. However, it is not clearly stated what Level the adventure is designed for, but from the relative Hit Dice of the various monsters in The Toxic Wood, it feels roughly suitable for Player Characters of Third, Fourth, and Fifth Level. Beyond the introduction, there is a some advice as to the adventure's play style, which is standard to all of the scenarios published by the Lazy Litch. This limits Experience Point gain to finding treasure, making discoveries, and achieving objectives rather than kill monsters; monsters are intentionally unbalanced; game is deadly and Player Character death a possibility; and an emphasis is placed upon resource management. In addition, The Toxic Wood includes a number of optional backgrounds and objectives that be assigned to the Player Characters or rolled for, which set up conflicting agendas between them. The conflict between them exacerbated by the fact that the Player Characters are forced to travel together within the safety of the magical orb and the clean air it generates, forcing them more obviously to both work together and negotiate where they will go and what they will do. As well as the information provided by their background, each Player Character will also begin the scenario with a rumour about the area detailed in The Toxic Wood.

The toxicity of the scenario’s title is infused into every aspect of it, from the strange nature of the plants and inhabitants of the woods and the mutations that the Player Characters can suffer if exposed to it for too long to the vileness of the various factions to be found in the woods and the weirdness of their various aims.
Although there are several monsters given, it is these plants which play a major role in the scenario and are the most obvious evidence of the transformation that the wood has undergone. There are Energy Consuming Flowers that absorb spells, which can be carried as a form of protection, but which ill implode if too many are absorbed; Fungi Outposts that act as the ears and eyes of one for the factions in the wood; and Rune Fruit, marked with dark arcane runes, which can be eaten, but have side effects that are deleterious upon the consumer’s mental health.

Although there are hints as to the true nature of the plots swirling and around the Toxic Wood in the various backgrounds and rumours, the Player Characters will only discover more details by visiting the various locations dotted throughout the woods. This starts with Mugwort, a village trapped in its own bubble, its inhabitants desperate and divided, on the edge of the collapse if the Player Characters do not intervene. The others include a dragon atop a plateau building his own cult as a defence against ongoing events in the wood; rival twin sisters, long since transformed into insectoid creatures spinning and feuding for control of a mycelial network that runs throughout the wood; and an abandoned tower from whose roof grows a pair of trees and whose lowest level is filled with a green gelatinous thing filled with eyeballs that refuse to look at anyone who enters the tower—though the orb supplying the Player Characters their life-preserving air will actually speak before they do and warn them not to enter! The Toxic Wood is full of little details and fantastic writing like this which brings its combination of weirdness and dark whimsy to life.

The lack of indication as to what Level it is designed for, is not the only issue with The Toxic Wood. The other is the hexcrawl map used in the scenario. It is an attractive piece that uses a lot of icon-like pieces of art to fill its hexes, The majority of the symbols or icons used are all very similar, which has two important consequences. The first is that the icons used for specific locations do not stand out, and the second is that it is difficult to track the progress of the Player Characters across the map.

Then there is the fact that hexcrawl are of The Toxic Wood is too large for ease of play. It has an area of fifteen by twenty hexes, but there
is no scale to the map. The only hint the Game Master is given is that in a single day, the Player Characters can either explore a single hex or they can travel across a total of three. (That said, there are a lot of hexes where nothing much will happen except the occasional random encounter.) It will take a minimum of three days’ travel to get to Mugwort from the edge of the map and then the other locations on the map are a similar distance away from the village. So play is going consist of a lot of dice rolls for encounters in the poisoned forest and the Player Characters scavenging for fuel to power the air-generating orb they need to maintain in order to survive. This is only going to worse if the Player Characters get lost. Resource management is a part of the play of The Toxic Wood, but the size of its play area means that the scenario over emphasises it. Ultimately, v could have been smaller without any loss of play and a smaller size would have made it easier to slot into a Game Master’s own campaign.

Physically, The Toxic Wood is a fairly busy book, but everything is neatly organised and for the most part, easy to use when the Game Master needs it. The artwork is excellent and so is the writing. Although it does have an introduction, it does not explain what is fully going on until a fair way into the scenario.

The Toxic Wood is a fantastically noxious and nasty scenario, a combination of Stephen King’s Under the Dome meets Jeff Vandermeer
’s Annihilation crossed with The Fantasic Voyage and Tron. Which reads like a thoroughly odd mixture, but there is a strand of Science Fiction which underpins the scenario, with the orb that the Player Characters must take with them to breathe being almost like a submersible and the Emergency Bubbles they are given which enable them to operate away from the orb, being like aqualungs, and the twin sisters’ mycelial network a cross between an information network and a surveillance network.

Ultimately, The Toxic Wood may be slightly too odd and slightly too large for some campaigns, with the Game Master needing to work a lot of its details into her own setting to effectively work. If the Game Master can do that, then The Toxic Wood is a poisonously fantastic scenario.

Magazine Madness 29: Parallel Worlds Issue #05

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickstarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

—oOo—

The fifth issue—and it is the fifth issue and not the erroneously numbered sixth issue—of Parallel Worlds was published in the autumn of 2020. As with previous issues, it contains no gaming content as such, but rather discusses and aspects of not just the hobby, but different hobbies—board games, roleplaying games, computer games, films, and more. Previous issues placed an emphasis on everything else—books and films in particular—rather than gaming, and although that emphasis remains, Parallel Worlds Issue #5 strives for a more balanced mix of content. This, combined with more interesting and informative articles, results in a far more readable issue which covers horror and Science Fiction, roleplaying communities, films and books and computer games. It also feels better organised, continuing the colour-coding of the various sections, so that the issue’s interviews are together and its tabletop content is together, but just arranging the order of articles in different sections so that they flow thematically from one into the other and so give a touch continuity in places. If the fact remains that Parallel Worlds does not support the tabletop gaming hobby very well, this is at least countered by the interesting articles in Parallel Worlds Issue #5.

Parallel Worlds Issue #5 opens with ‘Priya Sharma – The Nicest Person in Horror’, an interview by Allen Stroud with the multi-award-winning author of British Fantasy Awards and Shirley Jackson Award, renowned for her short stories. Priya Sharma, does indeed, come across as a nice person, answering the interviewer’s mix of standard and more interesting questions with enthusiasm. Although short, the interview is informative and intriguing enough for the reader to find out more. However, Allen Stroud’s second interview with Elsewhen Press manages to be both long and feel longer. It explores the independent publisher’s process of selecting and developing a book and bringing it to print, along with some advice for aspiring authors. Where the interview with Priya Sharma was intriguing enough for the reader to want to find out more, this is not the case with this second interview. Not only is it less personal, but it also does not focus enough on the books published by Elsewhen Press beyond showing their covers.

The third interview inaugurates ‘Know Your Community’, a new feature in Parallel Worlds, highlighting communities dedicated to tabletop gaming. The first interview is with Dean Henry and Anthony Wright, two administrators of ‘The Dungeons & Dragons Community Group’ on Facebook. Although brief, it allows the pair to explain how they run and moderate the community they have created across various platforms as well as their policy of avoiding toxic issues which can arise in such communities. Overall, a decent start to what will hopefully be an interesting series of features focusing upon different gaming communities.

‘Aliens – Are They Out There?’ by Tom Grundy is the first to explore the theme that runs through the issue. In this ‘Thinkpiece’, he explores the question of the likelihood of there being extraterrestrial life out there in the universe. He works through the problems raised by the question, looking at the equation formulated by astronomer Frank Drake to estimate how many rocky planets there are in the Milky Way galaxy and the ‘Fermi Paradox’ which asks, if there is intelligent life out there, then where is it? The article cannot, of course, answer the question, but instead it raises numerous questions and highlights how much we do not actually know. The result is a thoughtful piece that gets the issue’s theme off to a good start.

The theme is continued by Allen Stroud’s ‘The Big Dumb Object’. The term is surprisingly modern, barely a few decades old, and describes an alien object of immense size. Stroud points to Larry Niven’s Ringworld and Arthur C. Clarke’s Rendezvous with Rama as classic Science Fiction stories with Big Dumb Objects at their heart, but pushes the concept into other genres too, for example, pointing out that in the fantasy genre, the Big Dumb Object tends to be stationary. In roleplaying, the Big Dumb Object is best used as a mystery—just as it is in fiction—and be something to explore and be revealed to the Player Characters. It is another thoughtful article that is let down by some strange decisions. First, the article is part of the magazine’s ‘Generic Adventure Module’ series, but whilst generic, it is not a module. It is an examination of the idea and it might be used in roleplaying, not a module that can be picked up and run. The series title is misleading. Then, whilst it talks about how the Big Dumb Object can be roleplaying, it only looks to film, television, and books as inspiration. In other words, it ignores the format the article is intended for. Surely, there must be roleplaying adventures or settings which have Big Dumb Objects which could have been mentioned here, but there are none. There is, of course, A Doomsday Like Any Other, the 1986 scenario published by FASA for use with its Star Trek: The Role Playing Game,which is a terrific adventure involving a ‘Doomsday Machine’ like the planet killer encountered by the USS Enterprise in the episode, ‘The Doomsday Machine’. Lastly, the author mentions that there is actually a ‘BDO adventure module’ available to download from the publisher’s website and adapt to the Game Master’s system and setting of choice. Why not include it in the issue? There are certainly articles which could have been replaced and the issue could have been all the better for it.

‘The Big Dumb Object’ is the first of the three entries in the issue’s ‘Tabletop Games’ section. Christopher Jarvis follows it with a review of ‘The Quacks of Quedlinburg’, the Kennerspiel des Jahres award winner of 2018 and Allen Stroud’s entry for ‘Mini of the Month’. The latter is surprisingly good and not the typical waste of space that previous entries for ‘Minion the Month’ have been. Here the author expresses his love for the Genestealer Cult armies and his frustration at discovering that Games Workshop no longer supported them. That would change, subsequently, but in the meantime, the author builds his own, so there is a pleasing sense of story to this particular entry in the magazine’s regular feature. The Genestealers also being heavily inspired by the Xenomorphs of Alien means that the short article continues the issue’s theme.

‘Finding Jin Yong’ is the first of two entries in the issue’s Books section. Here Jane Clewett asks why the bestselling Chinese author of ‘Chinese Lord of the Rings’ is so little-known outside of China. Ultimately, the issue may well be that Jin Yong was too prolific an author and the length of his Condor trilogy too much of a commitment for publishers. That said, the first few books have been published in English and if the reader is ready to make the commitment to a long-running wuxia fantasy epic, they can easily be found. The article forms a good introduction to the genre and the first of the books, so again this article nicely hooks in the reader into wanting to know more. The other entry in the Books section is ‘The Infinite Hex Crawl’ by Anthony Perconti, which looks at Jorge Luis Borges’ ‘The Library of Babel’. This is a good introduction to a fascinating story which describes an infinite library whose shelves are filled with every iteration and every variation possible of every book ever written. The nearest roleplaying parallel is Dying Stylishly Games’ The Stygian Library, but this article suggests that there is more than enough in the short story which could be adapted and developed to a roleplaying situation. Or at least, simply provide a fascinating read.

The ‘TV & Film’ articles in the issue continue the discussion pieces of ‘Let’s Talk About... The Dark Crystal: Age of Resistance ‘from Parallel Worlds Issue #03 and ‘Let’s Talk About... Ad Astra’ from Parallel Worlds Issue #04. The series consists of two-handers between Tom Grundy and Jane Clewett in which they talk about reactions to and thoughts on a particular film. For Parallel Worlds Issue #05, the film is Joker, directed by Todd Phillips and starring Joaquin Phoenix. The film divided audiences and so it is between the authors here. The other ‘TV & Film’ entry continues the issue’s theme. In ‘Alien: How Ridley Scott Reinvented Science Fiction’, Sam Long looks at the seminal Science Fiction horror film and its effect upon the genre, and how it has been replicated and imitated since. The article neatly places the film in the context of the period of its release and its genre, and the comparisons it draws with those other imitative films, such as John Carpenter’s The Thing and Pitch Black are more interesting than its look at the wider film franchise as it develops. Overall, this is a good introduction to and overview of what is now regarded as a classic Science Fiction film and a classic horror film.

The alien—and Alien—theme of Parallel Worlds Issue #05 comes to a close with Richard Watson’s ‘Alien Isolation’, which looks at how the 2014 computer game managed to capture the feeling of being stalked by and facing a Xenomorph, with few means to stop it and most obvious thing to do being to run and hide, scared and alone. It really sells the virtues of the computer game as a horrifying experience, one of being alone and being prey. However, its inclusion highlights a missed opportunity. If Alien can be explored via the medium of computer game, why not others? Certainly, at the time of the release of Parallel Worlds Issue#05, there had been games based on it, including a board game from Leading Edge Games in the nineties and then more recently, Alien: The Roleplaying Game had been published in 2019. Then there are obvious imitators such as the MOTHERSHIP Sci-Fi Horror Roleplaying Game,published in 2018, which would have been worth examining as a part of the issue’s theme. This is disappointing in its lack of scope. ‘Alien Isolation’ is the first of two entries in the ‘Video Games ‘section. The other is ‘Space Engineers’ by Louis Calvert. This is a Science Fiction computer game of engineering, construction, exploration and survival in space and on planets. Its focus is on building spaceships, space stations, planetary outposts, and so on, and then travelling to explore planets and gather resources to survive and build. The article brings to life the fun of playing the game and the joy of the community built up around its play, as well as charting its ongoing development. The issue is brought to a close with ‘The Purpose’, a decent piece of ‘Original Fiction’ also by Louis Calvert.

Physically, Parallel Worlds Issue #5 is cleanly and tidily presented, and on the whole, it is a bright and breezy affair. In places though, some of the articles feel stretched as their layouts could have been much tighter, an issue that hampered the first three issues.

With the fifth issue, Parallel Worlds continues to improve the magazine in terms of content and writing. The issue contains some excellent articles that are genuinely interesting and informative, that make the reader want to discover more. Above all, there is more in the issue that is actually enjoyable to read. Hopefully, Parallel Worlds Issue #5 is a sign of better things to come.