Four for War

Since 2003, the Miskatonic University Library Association series of monographs has been Chaosium’s way of making other works available to players of both Call of Cthulhu and Basic RolePlay. Bar the printing, each monograph’s author is responsible for the writing, the editing, and the layout, so far the quality of entries in the series have varied widely and has led to some dreadful releases. Fortunately, Shadows of War: Four Scenarios Set In and Around the Second World War is far from dreadful in terms of both editing and layout, or indeed storytelling and writing.

World War Two would seem to be ripe ground upon which to roleplay games of Lovecraftian investigative horror so it is surprising that no publisher has released either scenarios or a campaign during that period. Yet despite there being three supplements forthcoming that support for Call of Cthulhu campaigns during World War Two – Achtung! Cthulhu from Modiphius Press, World War Cthulhu: The Darkest Hour from Cubicle Seven Entertainment, and Pagan Publishing's Our Darkest Hour, it is oft forgot that the premier RPG of Lovecraftian investigative horror actually has already visited the world's biggest conflict – five times. Not though in the form of something that could be purchased via your local friendly gaming store, but in Monograph format. One is in the obvious ‘Where Byakhees Dare’ from Toying with Humans, the other is in the form of Shadows of War, a quartet of scenarios that comprise the longest Monograph to date.

The anthology opens with a crisis before quickly coming, quite literally down to earth. ‘Goodnight Vienna’ begins aboard a B24 Liberator, its crew being forced to bail out over North Africa after getting lost and running out of fuel on the return leg of a mission to bomb Italy. Initially the crew’s focus will be on their survival in the harsh desert environment and on their drive to get to somewhere safe. Along the way though, evidence begins to mount that they are following in another group’s footsteps and that at least one member of that group suspected that something was amiss. Are the downed airmen destined for the same fate?

Once past the heavily scripted opening, care needs to be taken that the characters do not wander off and die in the desert – that would make for a dull game. Designed to be played by as many as eight participants, a smaller group is catered for with a smaller bomber and a set of British characters. If the characters can be kept on track, then ‘Goodnight Vienna’ is a pleasing slow burn survival horror one-shot.

‘No Pasaran!’ turns the clock to 1938 and the later stages of the Spanish Civil War. The characters are radicals and idealists serving with the International Brigades against the Fascists. They are stationed in Barcelona, members of the Friederich Engels Brigade, ill-equipped, but welcomed and saluted by the local populace, the characters get to experience life in the barracks, in a city under war time, and on check point duty. The city is rife with rumours about the war, about the political situation, and about the recent murder of a much respected bookseller. Eventually, the characters get what they want – a posting to active duty!

Sadly the posting is not to the front, but to a backwater region known as the Sierra Verde. The journey up country begins a descent into hell that intensifies and mirrors the horrors of war that have been visited upon the region in the past, leading to a confrontation with both the natives and those who have gone native! That this has a cinematic feel to it is no surprise given its primary sources of inspiration – Joseph Conrad’s Heart of Darkness and Francis Ford Coppola’s Apocalypse Now. ‘No Pasaran!’ suffers from the lack of a map or two and some will decry that it is all too obvious in its inspiration, but is otherwise an effective homage adapted to a usually ignored period of history.

‘Thracian Gold’, the third scenario, turns the clock forward towards the end of the war. It is 1944 and news has come to Allied intelligence of an incredible archaeological find in Bulgaria, a country which though nominally allied with the Axis powers, is likely to tip into anarchy as partisans, monarchists, and the invading Soviet army vie for power. Were any one of these factions to gain possession of these artefacts, the possibility that they might never be seen again represents a terrible cultural and scientific loss to both the world and Bulgaria. Fortunately, the Area Head of Intelligence for Allied Command is an archaeologist and expert on the region so wants to lead a mission to snatch the artefacts before anyone else can. 

The resulting scenario has some parallels with the Balkan section of Horror on the Orient Express in that it concerns eyes, multi-angular viewing, and caves, but here the characters find themselves chasing a Great Old One’s thralls out of Bulgaria in order to prevent its summoning – and that in the midst of a war zone. Initially, the scenario feels vague, but this is in part intentional and it takes a shock or two to pull events and the investigators together.

The last scenario in the book is set after the war and has the most traditional Call of Cthulhu feel of all of the scenarios in the book. ‘Isle of Lost Souls’ is set in 1952 and casts the investigators as a relief team sent by the University of Bristol to determine both the fate of, and continue the work of, an archaeological expedition it sent to a Greek island. Although much of the investigators’ efforts will be spent in continuing the dig, the scenario also presents them with a greater freedom than in the preceding three scenarios. The scenario is also the most complex of the four, requiring careful staging upon the part of the Keeper as he places one strange incident after another, often repeating and building on those that occur before. The latter serve to build a strange almost ghostly atmosphere towards the scenario’s potentially bloody climax.

Although events in World War Two have a bearing on ‘Isle of Lost Souls’, its post-war setting mean that it feels a little out of place as part of the Shadows of War. Its inclusion is in keeping with the other three scenarios in the anthology in that they all have a Mediterranean setting, but the truth is that ‘Isle of Lost Souls’ could have been included in any ‘general’ anthology and not felt out of place. 

Physically, all four scenarios are well presented, well written, and come with reasonable hand-outs and pre-generated investigators. That is, for a Monograph. Some of the artwork has not been reproduced as clearly as it could have been and the maps are muddy in places. Like nearly every Monograph, Shadows of War does need an edit in places.

One criticism of this anthology is that the first three – ‘Goodnight Vienna’, ‘No Pasaran!’, and ‘Thracian Gold’ all suffer from being too linear, but in their defence, the situations they describe do limit the actions of the characters. Another would be the lack of investigation involved in the first three – hence the use of ‘character’ over ‘investigator’ in this review, but again the situations do not allow for much in the way of investigation in the classic Call of Cthulhu sense. Of the four, ‘Goodnight Vienna’ provides a short, sharp effective shock, but ‘Isle of Lost Souls’ is probably the best of the four, which being the most traditional scenario in terms of play and setting is at odds with the war settings of the previous three. Otherwise, Shadows of War is a solid anthology of one-shots for Call of Cthulhu.

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Think Fluxx

As many copies as have been sold in the fifteen years – almost a million according to publisher Looney Labs – Fluxx the Card Game is divisive a design. The problem for many players is that the game is purely random, is too chaotic, and can last anywhere from two minutes to sixty minutes… That there is no way in which any one can win other through random chance. To an extent, this is true, but Fluxx the Card Game is a game about change and adapting to that change, from one turn to the next. Personally, I quite like playing Fluxx, although I prefer the versions without the Creeper mechanic unless thematically appropriate as in Martian Fluxx or Zombie Fluxx, because otherwise, the Keepers slow the game down. Now Looney Labs has turned Fluxx into a board game, and the question is, will Fluxx the Board Game be as good or as bad some think that the card is?

Designed for between two and four players, aged eight and up, Fluxx the Board Game uses much of the same mechanics as the card game, but as its title suggests, it uses a board and playing pieces. What the board represents are objectives to be reached – such as Cookies, Money, the Rocket, Dreams, and so on – and matched to the Goals given on the Goal cards. These objectives can be reached by moving a player’s pieces around. A player simply has to have his pieces on these objectives to gain a Goal, and where in Fluxx the Card Game a player only needs to have his Keeper cards match one Goal card in order to win, in Fluxx the Board Game, a player has to match and win multiple Goal cards in order to win. This being a ‘Fluxx’ game though means that everything is subject to change. Just as in Fluxx the Card Game, the number of a cards a player must draw, play, and discard fluctuates during Fluxx the Board Game, but being a board game, the number of times a player can move his pieces, the actual colour of the playing pieces he can move, the number of Goals he needs to acquire in order to win, the board layout, and the rotation of the tiles are all also subject to change.

The board consists of nine square tiles. One of these is the Start Tile, the other eight represent the playing area. Each of the eight tiles is divided into four spaces, three of which are objective spaces for Goals and one of which is either where there can be more than playing piece or portal that links to a portal on another tile. Together these nine tiles are arranged into a square with the Start Tile at the centre. Two additional tiles serve as the Control Boards. One for the Goal cards, five of which are randomly placed face up in a stack; the other a peg board used to indicate how many cards a player draws, plays, pieces he moves, and his hand limit as well as if he rotate and move tiles, and move off the edge of the board and onto the other edge. A set of pegs are slotted into the spaces.

The cards are also divided between the familiar – to anyone who has played Fluxx the Card Game, and those new that take account of the new playing area. Action cards will be familiar and do various things such as ‘Taxation!’ which forces rival players to each give you a single card or ‘Discard and Draw’ which lets a player effectively change his hand. New Action cards interact with the board and playing pieces. For example, ‘Back to Square One’ forces the playing pieces of every other player back to the Starting Square and ‘Rotate Colours’ forces players to change the colour of the playing pieces they control. New Rule cards like ‘Hand Limit’ will be familiar although instead of the limit being set by the card, the player now shifts the appropriate peg on the board, whilst ‘Rotate On’ and similar cards turn the board movement on or off. Goal cards remain unchanged from Fluxx the Card Game except for setting the objectives that the players need to move to claim each Goal card. The new Leaper cards send playing pieces to a particular Objective, like ‘Music’ or ‘The Eye’, or to any ‘Octagon’ or ‘Portal’ space. Lastly, the Color cards determine which playing pieces a player currently controls.

At the start of the game each player gets to adjust the control pegs up once and receives a hand of three cards and a color to determine his initial playing pieces. Five Goal cards are placed on the Goal Control Board all face, the uppermost one setting the initial objectives.

On his turn each player draws a number of cards, then plays cards and moves pieces, and then discards cards, all according to the positioning of the pegs on the Control Board. A player is free to play cards and move pieces in any order that he wishes, and this is where the game begins to get interesting. To start with, if a player moves a playing piece into a space already occupied, it bumps the playing piece already there into an adjacent space – except for Octagon spaces which can hold more than one playing piece. That is the least of it because a player can also examine the cards in the Goal stack, though not change their order, so thus he knows what Goals and what Objective spaces he needs to reach throughout the game. Plus a player may also have Goal cards in his hand and these can be played onto the top of the Goal stack to claim. What having this knowledge of the Goals and their Objectives throughout the game means is that a player can actually plan both his card use and his moves. If he is clever, it is possible for a player to use his cards and move his pieces to gain more than a single Goal in just one turn.

What these together add is a strategic element to Fluxx the Board Game that is not present in Fluxx the Card Game. They also serve to counter the random element so often criticised in Fluxx the Card Game. Not completely though, as the cards drawn and the actions of rival players still effectively have a randomising effect. The great thing is, is that it does all this without adding anything in the way of complexity.

If there is anything disappointing about Fluxx the Board Game it is the Control Boards and the pegs. The latter do not always sit easily in their holes and it is sometimes difficult to keep track of which peg is meant to sit in which hole. That said the other components are decent enough and the playing pieces are pleasingly differentiated by both colour and shape. The rules are clearly written, but another  pleasing touch is the inclusion of a box that explains the differences between Fluxx the Board Game and Fluxx the Card Game.

In developing Fluxx into Fluxx the Board Game, the designer has created a game that is more thoughtful than Fluxx the Card Game. Still a light game though, so suitable for a family audience, but still just enough of a challenge so as not to bore a gaming audience. 

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RuneQuest VI

The place of RuneQuest in the history of roleplaying cannot be underestimated. Originally published by Chaosium, Inc. in 1978, it was the first fantasy RPG to be more of a simulation than a game in its depiction of characters, to focus on skills as a primary means of handling actions and character advancement, rather than the wargames orientated “Class and Level” method of Dungeons & Dragons. It was one of the first fantasy RPGs to written for its own specific, accessible setting, that of Glorantha – the first RPG to come with its own setting was TSR’s Tékumel: Empire of the Petal Throne, which though glorious was hardly ever accessible. In years to come, the mechanics underlying RuneQuest would give birth to Basic RolePlaying and from there to at least ten other RPGs, of which Chaosium, Inc.’s Call of Cthulhu is the most notable. Over the years, RuneQuest has had almost as many publishers as it has had editions. The Design Mechanism is the game’s fourth publisher, and its version, is the game’s sixth edition.

It is important to note what RuneQuest Sixth Edition is and what it is not. As a roleplaying game it is a development of the RuneQuest rules, using the same percentile mechanics as did the game in 1978, but what it is not is a game with a setting and certainly not Glorantha, the setting that has been bound up with RuneQuest for much of its history. Indeed, RuneQuest Sixth Edition does not actually come with a setting, but rather hints at one in the various examples that illustrate the game’s rules. This the city-state of Meeros, a late Bronze Age culture beset by barbarian warlords. It would not be unfair to suggest that this late Bronze Age culture is a hangover from previous editions of the game and from the setting of Glorantha itself, which was built around various Bronze Age cultures. Nevertheless, a competent GM should be able to build something of Meeros from the hints given in these examples, but with the rules and mechanics presented in RuneQuest Sixth Edition he should also be able to set his game anywhere from the late Bronze Age up through to the Dark Ages. That said, The Design Mechanism has provided a GM’s Pack that gives both a scenario set in and more details of Meeros.

Written by the same team behind RuneQuest II for Mongoose Publishing, RuneQuest Sixth Edition comes as a slab-like black and white softback book. At its core it is a book of mechanics and rules built around a percentile skills system, a fairly deadly combat system, a focus on character culture and affiliations, and of course, a set of integrated magic systems. In retaining all of these fundamental aspects what The Design Mechanism has done with RuneQuest Sixth Edition is make relatively minor adjustments to the rules and mechanics. These will be highlighted as and when they come up in the review.

By default, all characters in RuneQuest Sixth Edition are human – guidelines in the Creatures chapter provide means to create centaur, dwarf, elf, and Halfling characters. The process of character generation begins by rolling dice to determine base attributes – Strength, Constitution, Size, Dexterity, Intelligence, Power, and Charisma. From these are derived several factors. These include the expected Damage and Experience Modifiers, Healing Rate, Height and Weight, Hit Points, Strike Rank, and so on, but to these are added Action Points, spent to act in combat, and Luck Points, used to give a character an edge, whether a dice roll, the mitigation of damage or unfavourable circumstances, or a vital advantage in combat. Each character also receives the same set of standard skills, the base value for each one determined adding two attributes or doubling a single attribute.

With the base character in hand, a player takes his character through three steps. The first is to select the character’s Culture – Barbarian, Civilised, Nomadic, or Primitive; the second step his Career, the third his Development. At each step a character receives a set number of points to assign to skills, either to a character’s standard skills or his professional skills, the latter type of skill, such as Commerce, Gambling, and Mysticism, gained after years of practice and learning. Some professional skills come from a character’s Culture; the others come from his choice of career. A character’s choice of culture also sets the careers available to him. For example, Crafter, Fisher, and Hunter are available to all four cultures; Herder to all but Civilised; Merchant and Scholar to all but Primitive; and Courtesan and Sorcerer to Civilised only. Although the base values for both types of skills are determined by a character’s attributes, the granting of the same number of skill points throughout the process serves to balance character generation.

In addition, a character has several Passions – loyalties, beliefs, and feelings towards someone or something, that are again measured as percentiles and which work in a similar fashion to the Personal Traits of the King Arthur Pendragon RPG. They also do something more though in that they can serve as a resisting value or to give a bonus to an action if said action is dramatically appropriate to the Passion. For example, a character who is subject to a seduction attempt could use the love of his wife to resist the attempt, whilst later he might use the same Passion to grant a bonus to a bow shot to strike a villain who has his wife in grasp and is threatening to kill her. Passions though, are an optional extra, but they do add a depth to a character. A character also rolls for his Background events – he has more of them the older that he is, his social class, his family, and any allies, contacts, and rivals. 

Our sample character is Hesione, a courtesan in the city-state of Meeros. Originally a slave, she owes her position and freedom to the company that she entertains. Of late, she has also served as an envoy for the lords of Meeros, delivering messages to other city states whilst appearing to be the companion of a merchant leading a caravan to the destination city-state. She is always well dressed and knows how to use her appearance and words to impress and entice. She hides a knife amidst her jewellery and knows how to use the pins in her hair and her clothes to defend herself.

Hesione
Age 21

STR 10 CON 15 SIZ 08 DEX 14 INT 14 POW 11 CHA 18

Action Points: 3 Damage Modifier: -1D2 Experience Modifier: +1 Healing Rate: 3
Build: Heavy Height: 152 cm Weight: 67 kg
Hit Points
Head 5 Chest 7 Abdomen 6 L. Arm 4 R. Arm 4 L. Leg 5 R. Leg 5
Luck Points: 2
Magic Points: 11
Movement Rate: 6
Strike Rank: 14

Standard Skills:
Athletics 24%, Boating 25%, Brawn 18%, Combat Style (Desperate Houri) 44%, Conceal 30%, Customs 72%, Dance 57%, Deceit 52%, Drive 25%, Endurance 30%, Evade 28%, First Aid 28%, Influence 76%, Insight 65%, Locale 33%, Native Tongue 72%, Perception 55%, Ride 25%, Sing 54%, Stealth 28%, Swim 25%, Unarmed 24%, Willpower 32%

Professional Skills:
Art 42%, Courtesy 62%, Gambling 57%, Language 37%, Musicianship 62%, Seduction 57% 

Passions
Loyalty to Town/City (Meeros) 55%
Love (Sister) 55%
Hate (gang) 55%

Background – Civilised
Social Class: Gentile
Family: Parents dead, three siblings, grandmother, one aunt, one uncle, one cousin 
Reputation: Family has a good reputation – one contact/ally
Connections: Family is well-connected; one ally, one contact, two enemies
Background Event: You have a Rune-shaped birth mark.
Money: 1725 silver

Looking at the sample character, there appears to be a major omission – the lack of weapon skills. One fundamental change in RuneQuest Sixth Edition is that it discards individual weapon skills, but instead groups them under ‘Combat Styles’. Each Combat Style is a single skill, but each covers the use of three or four weapons, their grouping determined by training or cultural origins. So for example, the Combat Style (Meeros Militia) might cover the use of shield, spear, and short sword, whilst a barbarian horseman’s Combat Style (Steppe Wolf Pack) would cover scimitar, shield, and short bow. In the case of Hesione’s Combat Style (Desperate Houri), the GM allows her to include dagger, knife, club, and improvised weapon.

As much as this negates the number of skill points that a player has to assign to individual weapon skills, it raises a number of questions. First, does it really make sense for a character who successfully uses his shield to have a weapon in the same Combat Style also improve at the same time with an Experience Roll? To an extent it does if they are used in concert together, for example, the sword and the shield. Yet what if the other weapon in the Combat Style was a bow – how would that be improved by a character successfully using his shield? In terms of previous versions of RuneQuest this does not make sense because skills under that system were improved through use – use a skill, gain an ‘Experience Check’, and there was a chance that a character would improve the skill. In RuneQuest Sixth Edition, characters receive ‘Experience Rolls’ rather ‘Experience Checks’.

Essentially, ‘Experience Rolls’ are reflective in nature, a player taking stock and appraising his actions from the previous adventures. Handed out by the GM a few at a time, they can be used to improve existing skills, increase characteristics and Passions, and to learn new skills and new magical abilities and spells. In terms of improving a seemingly disparate set of weapon skills such as the scimitar, the shield, and the short bow of the Combat Style (Steppe Wolf Pack), it begins to make sense that all three are improved as a character is unlikely to practice in one over the others. In addition, a character could actually go and purchase training for any one of his skills. A nice touch is that characters can also learn a little from making fumbles under circumstances.

Another question is , what happens if a character learns two Combat Styles both of which have weapons in common? The advice to the GM is to avoid this occurring, and if it does, to go with the obvious higher skill. As a concept, Combat Styles feels a bit dry, but the later rules expand upon the basic concept to add traits such as ‘Intimidating Scream’ and ‘Shield War’. These add flavour and feel, and give more variety.

RuneQuest Sixth Edition is a percentile skill system. At its most basic, a character just needs to roll under the skill, but various difficulties are listed. These range from Very Easy (double skill value) and Easy (add half the skill value) to Hard (reduce skill by one third), Formidable (half skill value), and Herculean (half skill value), which all feels a little complex. An alternative and simplified set of modifiers is also given, but even so, a GM’s screen would make their use easier. Overall though, the number of skills available have been streamlined, giving the game a less cluttered feel.

That said, one element that has been removed from RuneQuest Sixth Edition is the use of attributes in play. No longer are there raw Strength or Constitution tests, opposed or unopposed, which also means that the Resistance Table is also no longer present. In their stead are skills such as Brawn and Endurance for example, with players needing to make those skill rolls rather than rolls on the Resistance Table with the degrees of success determining how well a character does. To anyone familiar with the RuneQuest mechanics, this may seem an odd choice, since the Resistance Table has been part of the rules for numerous editions and also the system’s later games. It is an elegant solution to using the Resistance Table though, which can be a little fiddly to use in play, but at the same time, it does reduce the use a character’s attributes bar the determining a lot of other factors.

The changes to the combat rules for RuneQuest Sixth Edition continue with the adoption of a freer flowing feel. This begins with a more traditional initiative system, now a simple roll of a ten-sided die plus the character’s Strike Rank. What a character can do and how many times in a round is determined by how many Action Points he has. This includes having to take defensive actions, such as parrying, so players are probably going to learn to spend their Action Points wisely. The combat rules are detailed in that they allow for the effect of weapon sizes and reach, and they also allow for a certain degree of tactical, if not cinematic, action. Essentially, rolls are differential in that the degrees of success between an attacker’s roll versus the defender’s grant certain ‘Special Effects’ that replace the old Impale and Critical effects. The combatant with the greater differential, that is, has rolled more degrees of success actually chooses what ‘Special Effects’ he wants. This includes defensive rolls such as Parry, so if a defender rolls better than his attacker, he can generate Special Effects to his benefit. Over all, this allows for more interesting combat than in previous versions of RuneQuest.

For example, Hesione is travelling with a merchant caravan that has been attacked by Orc bandits. Alaric, the Shaman in training, is out with a scouting party that comes across this scene and with the rest of his fellow riders charges down the marauding Orcs, marking one Orc as his intended target. Both make Initiative rolls. Alaric rolls a 10 and adds it to his Strike Rank of 10 (normally 15, but adjusted for the scale armour he wears) to get 20; the Orc rolls a 3 and adds it to his Strike Rank of 8 (also adjusted for his armour, in this case, furs) to get 11. Obviously, Alaric is going first and uses the first of his 3 Action Points to ‘Change Range’ and charge the Orc down. The Orc is not surprised – the sound of horses’ hooves is not something he can ignore – and first uses a free action to ‘Ward Location’ and lift his target shield so that it covers his head and upper body where he thinks that Alaric will try and strike with his scimitar. He then uses a Delay to hold his Parry until Alaric attacks. This costs him the first of his 2 Action Points. With his second Action Point, Alaric attacks, using his Combat Style (Barbarian Horse Warrior) 48%, whilst the Orc will defend himself using his Combat Style (Orc Raider) 62%. Alaric rolls 03%, whereas the Orc rolls 56%. Both are successful in their actions, but because Alaric has rolled a Critical versus the Orc’s ordinary Success, he gets to select a Special Effect in addition to any damage done.

Both Alaric’s scimitar and the Orc’s short sword are medium-sized weapons, which means that the Orc can block all of the damage that Alaric would otherwise inflict. Nevertheless, there is the matter of the Special Effect to take into account yet, for which Alaric selects ‘Disarm Opponent’. Although the Orc blocks Alaric’s blow, he cannot stop the scimitar from sliding down to catch his fingers and force him to drop his short sword. Alaric still has an Action Point to spend and decides to attack again, this time rolling 16%, whilst the Orc uses his last Action Point to try and block the blow with his shield, rolling 80% and failing! This grants Alaric another Special Effect, which his player decides will be ‘Choose Location’, meaning that Alaric can strike somewhere not covered by the Orc’s shield, in this case the Orc’s right or weapon arm. He rolls 1D8 damage minus his Damage Modifier of -1D2, for a total of 6 points of damage. The Orc’s fur armour stops 1 point of this, but 5 points get through, reducing the Orc’s Hit Points in this location to -1 and inflicting a Serious Wound – the Orc is in trouble!

One issue that the example does illustrate is the importance of the Action Point economy. Whilst it works well, it illustrates the difference between having three Action Points per round and two. Arguably this is a balance issue and it may not be to everyone’s tastes as every player character either begins the game with two or three. This issue is discussed in the GM’s chapter, but ultimately it is one mechanic that the GM will have to address.

One quarter of RuneQuest Sixth Edition is devoted to magic, or rather, to the basic concepts of magic followed by five types of progressively more complex magical disciplines – Folk Magic, Animism, Mysticism, Sorcery, and Theism. Folk or ‘Common’ Magic is the simplest, and is the magic of simple cantrips to aid in daily tasks and of hedge wizards and witches. It includes classic spells such as Bladesharp and Deflect, Light and Glue, representing widely available if low-powered spells. Animism covers how to contact, negotiate, combat, exorcise, and bind spirits, using the skills of Trance and Bind. The former skill allows the user to enter and move around the spirit world, while latter allows the user to persuade or force a spirit to act for him to grant various spell-like effects. Mysticism employs Meditation and Mysticism to learn and employ Talents such as Astral Projection, Life Sense, Attribute Enhancement, and so on in very personal form of magic that feels akin to traditions of the Far East. Sorcery is the direct casting and manipulation of magical effects and thus to an extent reality using Invocation and Shaping, and is perhaps the most studious of the five discipline. Lastly, Theism employs the skills of Devotion and Exhort to call upon a god or gods for magical aid.

Although magic in RuneQuest Sixth Edition is fundamentally derived from the Runes, there is a clear effort with the five disciplines to present very different approaches to magic. Conceptually, they are perhaps the most complex aspects of the new rules, but these rules work hard to keep them as simple as possible whilst still retaining a great deal of flavour in their details. The toolkit aspect of RuneQuest Sixth Edition means that by choosing the types of magic available in his game, a GM can actually define much of the flavour or feel of the setting he is creating.

Our sample magic using character is Alaric, shaman in training to his tribe. He is unsure of his calling, but he is his grandmother’s choice to become the tribe’s shaman after his father dies. Indeed, his grandmother’s spirit is bound into a fetish that he wears around his neck. His next task is to find a wolf spirit, wolves being held in high regard by his tribe and learn to become one with his spirit.

Alaric
Age 17

STR 09 CON 08 SIZ 10 DEX 14 INT 15 POW 16 CHA 14

Action Points: 3 Damage Modifier: -1D2 Experience Modifier: +1 Healing Rate: 2
Build: Lithe Height: 161 cm Weight: 47 kg
Hit Points
Head 4 Chest 6 Abdomen 5 L. Arm 3 R. Arm 3 L. Leg 4 R. Leg 4
Luck Points: 3
Magic Points: 16
Movement Rate: 6
Strike Rank: 15

Standard Skills:
Athletics 23%, Boating 17%, Brawn 19%, Combat Style (Barbarian Horse Warrior) 48%, Conceal 30%, Customs 70%, Dance 38%, Deceit 29%, Drive 30%, Endurance 16%, Evade 28%, First Aid 59%, Influence 53%, Insight 60%, Locale 55%, Native Tongue 69%, Perception 41%, Ride 60%, Sing 30%, Stealth 29%, Swim 17%, Unarmed 38%, Willpower 47%

Professional Skills:
Binding 60%, Healing 61%, Lore (History) 42%, Oratory 24%, Survival 34%, Track 33%, Trance 54%

Passions
Loyalty to Clan Chieftain 56%
Love (Friend) 60%
Hate (Clan) 56%

Background
Social Class: Freeman
Family: Parents dead, six siblings, one grandparent, four aunts and uncles, three cousins
Reputation: Family has a good reputation – one contact/ally
Connections: Family is well-connected; one contact, one rival
Background Event: I am under a divine curse… I will moan, groan, and whinge at every opportunity, or remain completely stoic at every misfortune that befalls me. 
Money: 800 silver

If character generation made much of a character’s Culture and Community, essentially his background, then the rules for organisations – ‘Cults and Brotherhoods’ – develops it for use in play. Cults have always been part of RuneQuest, but in previous editions of the game they were tied to its original setting of Glorantha. Here they are expanded to cover organisations of all kinds, ones that characters can join and progress through the ranks of, gain training and gifts from, and work for. Primarily they consist of cults attached to one of the magic disciplines, but they could be military units, criminal gangs, and so on. Numerous examples are given, these nicely providing in-game physical support for the GM and players alike and further strengthening the role of magic in any setting that the GM creates.

More specifically for the GM are the last two chapters. The first of these is a bestiary which includes a range traditional fantasy RPG creatures, such as Dragons, Ghouls, Ogres, and more. Many also have come straight out of Greek Mythology – Cyclops, Gorgons, Harpies, and so on, which further supports the implied setting of Meeros and the Bronze Age setting as well. Other creatures are oddities, such as the Acephali, headless and neckless humanoids that have their in their chest; Bonacons, bull-like creatures with horses’ heads that excrete a nasty poison; and Slargr, intelligent, bipedal lizards that are highly territorial and eat anything. The creatures are supported by excellent guidelines on using in the game and how to turn them into player characters.

The last chapter is dedicated to ‘Games Mastery’. This covers everything from general Game Master advice to actual advice particular to RuneQuest Sixth Edition. In places it answers the queries raised through reading the rules, but for the most part it addresses elements of the rules from the Game Master’s perspective. Although there is useful material here, it does feel underwritten and what it really lacks are guidelines on setting creation, or at least a sketched out sample setting. That way, a GM could see how the rules in RuneQuest Sixth Edition could be applied. This would not be an issue if RuneQuest Sixth Edition was just a set of rules – there is an implied setting in the book and it is a pity that there is not more of it, although the GM’s Pack available to download from the publisher’s website for free goes some way to address the lack of a setting.

Physically, RuneQuest Sixth Edition is decently produced. The cover is particularly good, showing a Greek hoplite warrior facing some giant creature – actually a Slargr – and is reminiscent of the cover to the original RuneQuest cover from 1978. The internal illustrations, all black and white, are not all as good as the cover. The layout is clean and tidy though, and the book for the most part is well written. In places the book could have been better organised, for although there is an index, having to flip back and forth during play may be an impediment to play. Also, some of the examples given do feel more like narratives rather than full rules explanations which are disappointing.

With a game as old as RuneQuest, it is no surprise that there is a sense of nostalgia in coming to RuneQuest Sixth Edition. Yet whilst RuneQuest Sixth Edition retains much that made the original so very different from RPGs of its era, The Design Mechanism has streamlined the rules and worked hard to make the game easier to run. It has adopted more modern sensibilities by including more modern rules to strengthen each character’s drive with the rules for Passions and by giving a means to cement each character’s place in the world with the rules for ‘Cults and Brotherhoods’. The combination is a tried and trusted RPG that has been updated without the need for radical change, a combination that long time RuneQuest devotees will recognise and enjoy playing, and a combination that anyone new to RuneQuest will not be overwhelmed by the game’s past. Either way, what shines through in RuneQuest Sixth Edition is a feeling that the RPG is whole once more and in the hands of a publisher that loves the game.

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Call of Cthulhu Classics II

The inaugural entry in the Cthulhu Classics series of reviews began with perhaps the most important scenario ever published for Call of Cthulhu. The follow up to the review of Trail of the Loathsome Slime was to be Grenadier Models Inc.’s The Horrible Secret of Monhegan Island, but unable to locate my copy, I have instead located my copy of Nightmare in Norway. Just as the review of this scenario is the follow up to the review of Trail of the Loathsome Slime, the scenario is itself a follow up to Trail of the Loathsome Slime. Written by the same author, Marcus L. Rowland and published in 1985, it was also the second scenario from Games Workshop for Call of Cthulhu and the penultimate entry in a series of scenarios that would end with the brilliant Queen Victoria & The Holy Grail, also written by Rowland, but for the superhero RPG, Golden Heroes.

Written for between two and five moderately experienced player characters, Nightmare in Norway takes place in February, 1925. It has an English beginning. The investigators are contacted by Sir Eustace Cleary with regard to a delicate matter. The previous year, his cousin, the decorated war hero, Captain Edward Cleary, died whilst on a skiing holiday at Olsen’s Lodge in Norway – he broke his leg and was attacked by wolves before his body was found. Sir Eustace has since learned that his cousin was accompanied by a married woman and is now being blackmailed by someone at the skiing lodge where Edward was staying or from the nearby village, Vikenberg. Naturally, Sir Eustace does not want his cousin’s reputation to be besmirched, but worse, he is standing for Parliament and does not want the possible scandal to ruin his chances. Thus engaged, the investigators are sent on a week’s skiing holiday at Olsen’s Lodge during which time they also have to determine the identity of the blackmailer…

As a scenario, Nightmare in Norway primarily consists of a description of Olsen’s Lodge, its staff, and its guests, as well as the true cause of Edward Cleary’s death and the threat that will attack the lodge several days into the investigators’ stay. What the investigators do between then and the attack is up to the players. There is the skiing of course, but some of the other NPCs have their own agenda and the investigators will need to look into their actions if they are to determine the identity of the blackmailer. With several days of this for the investigators to spend in and around the lodge, the Keeper will need to flesh out the various NPCs as they are lightly sketched out.

The strike upon the lodge, when it comes, would seem to be the ‘climax’ to the scenario. It occurs in spite of the investigators’ actions. In fact, their actions are irrelevant to this plotting as there is no way in which it can be prevented, and the only advice for the Keeper is when and to an extent, how to stage it. Further, what is interesting about the Mythos threat in Nightmare in Norway – the Norwegian equivalent to ‘Bigfoot’ – is that almost no one is aware of it before this climax and consequently there is almost no way in which the investigators can determine its existence before the event occurs.

The problem is that this climax is not the actual climax to Nightmare in Norway. As written, it is suggested that the one of the threat’s number escape the aftermath of the attack on the lodge and return to its lair. The investigators are expected to track it back to its lair and there confront it. The question is, what happens if the players decide not to do that? What happens if the investigators barely survive the attack, but drive off their attackers? What if they go for help instead? None of these issues are addressed and essentially, having the investigators track their attackers back to their lair results in a ‘dungeon bash’ armed with hunting rifles and pistols instead of swords and spells. Also not addressed fully is what happens in the aftermath of the scenario – one element is covered in some detail, but little beyond that, and there is certainly no suggestion as to any Sanity rewards.

As a book, Nightmare in Norway is a slim thirty-six pages long. What makes it stand out is the sixteen-page insert that consists of the scenario’s few hand outs, 25mm scale floor plans the lodge, and a set of cut-out silhouettes with which to stage the threat’s strike upon the lodge. The illustrations are decent enough and the cartography is reasonable enough, although a map of the lodge other than the floor plans for the Keeper’s reference would have been useful. 

The overall effect is underwhelming. The blackmail plot and some of the things going in and around the lodge are interesting in and of themselves; but as Roger Burton-West stated when asked for his opinion on Yog-sothoth.com, “The adventure hinges on coincidence, which always leaves me dissatisfied. The blackmail is unrelated to the [attackers]; it's just a way of getting the player characters to where the adventure will happen.” and “While there is an investigative phase, it's mostly there to set up the inevitable tactical battle as the [threat] attack[s] the lodge, and the follow-up in the caves.” 

Ultimately, Nightmare in Norway is a magazine adventure given greater presentation, and not a great magazine adventure at that. Fortunately, Marcus L. Rowland would do better – ‘Draw the Blinds on Yesterday’ (White Dwarf #63) and ‘Curse of the Bone’ (White Dwarf #86) are both better scenarios. Nightmare in Norway as a whole focuses too much on the hunt and the shoot over the investigative process, the latter an aspect of the scenario that is underwritten and ill supported in terms of advice for the Keeper and NPCs that need further fleshing out. With some effort a Keeper could make more of Nightmare in Norway than the old fashioned Curate’s Egg that it is, but given Games Workshop’s possessiveness over its even unused intellectual properties, it is unfortunate that no one will have the chance to revisit it and address its problems professionally.

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The First Step onto The Game of Thrones

Once you have a copy of A Song of Ice and Fire Roleplaying, the RPG published by Green Ronin Publishing based on the highly popular fantasy novels by George R.R. Martin, the question is, where does a GM go next? Or in other words, what does he purchase next for nascent campaign? Where most roleplaying games focus on a small group of player characters doing relatively small things, A Song of Ice and Fire Roleplaying expands that to have the player characters be in charge of a minor noble house. So they need a larger stage, and if not ‘larger’ foes, rivals, and allies, then ones that are of an equal status and challenge. 

For the GM, there are two choices. One is A Song of Ice and Fire Campaign Guide, regarded as the counterpart to the A Song of Ice and Fire Roleplaying core book, which not only describes Westeros in some detail, but also details the major holdings and major players of the Seven Kingdoms. On the downside, this supplement is not spoiler free, containing as it does details from the first three books in the series – A Game of Thrones, A Clash of Kings, and A Storm of Swords. Also roleplaying on such a ‘grand’ stage can be daunting for both the GM and his players. Perhaps then, a smaller stage is preferred, one that the players and their noble house can make their own? The other choice then is A Song of Ice and Fire Chronicle Starter.

The A Song of Ice and Fire Chronicle Starter is a means by which the player characters can begin the story of their noble house. It presents six houses all located within the rich lands of the Riverlands, each of which whose fortunes is ready to be led by the players, ready to ally with the players’ house, or ready to feud with, if not outright fight, the players’ house. The latter might be one of the six described in the Chronicle Starter, or it could be one of the players’ creation, either replacing one of the houses in the book or slotted in alongside the six given here. However the supplement is used, each house comes ready with an allegiance to one of the great houses, a description of its history and holdings, descriptions of its personages of note, and a means to make each house’s chronicle that much darker by muddying the palette. In addition to an overview of the Riverlands, the Chronicle Starter also gives other interesting locations, places to put a players’ house, and more. Lastly, the supplement is rounded out with ‘The Iron Plot’, a starting scenario that revolves around the six houses described in the Chronicle Starter and which the GM will have to tailor to his players’ choice of noble house.

The supplement opens with House Barnell, a young house founded by a hedge knight and allied to the Starks. Known primarily for its martial prowess, the future of the house rests on its two sons. Garret Snow, the elder, has some of his father’s martial skill, but while favoured by his father, is a bastard with a reputation as a cad. In comparison, Lord Barnell’s step-son, Daveth has none of martial skill, but much of his mother’s courtesy and his own learning. Add to this is the fact that Lady Barnell has yet to give her husband an heir and has a reputation for being cursed – as does the castle itself, several of the previous houses having died out while in possession of it. House Bartheld is an ally of the Baratheons with a colourful reputation for holding lavish parties and having one of the finest wine cellars in Westeros. Unfortunately in the eyes of many of the Bartheld family, the new lord is too sober an influence on the household and thus some scheme to restore the family’s reputation for fun. In the meantime, the young lord is preoccupied by the House’s inability to deal with a bandit threat on its borders.

House Dulver is an ancient Lannister ally whose small holdings go deep underground. In Lord Dulver’s cellars are to be goods and items of all kind, ready to be sold or bartered for other goods or favours. The ambitious, so-called ‘Vulture of Dulver’ greedily eyes the richer commercial possibilities of neighbouring lands, works carefully towards their acquisition. Ill advice though might turn that care to something more impetuous… Newly allied with the Freys, House Kytley is struggling to recover from years of misrule despite a lack of proper family seat and the heir held by another house as a ward.

Situated guarding the western border of the Vale of Arryn, House Marsten is circled by every lord and knight wanting to make an advantageous marriage. The house has neither lord nor a male heir, their having died of the plague. Instead his wife rules and works ensure her husband’s name continues through her daughter. Meanwhile, her husband’s brother, a personal friend to Rhaegar Targaryen, has not been seen since Robert's Rebellion. This house has an interesting link to the events of the novels. Lastly, House Tullison is loyal to the Tullys and would seem secure in its mountain fastness were it not for the gullibility of its young lord who would prefer to be off adventuring and the mountain clans that raid down into the valley.

The Riverlands begins to put the six preceding houses in perspective as well as adding further elements to the region. These include the free community of Market Town, a kind of neutral meeting ground for the nobles of the surrounding houses. They have their designs on the community, but its wily mayor’s schemes have kept it independent so far. Three locations are included where the players can insert their house as a starting position – a bandit beset stretch of dense forest; once plague ridden farm land that needs resettling and redeveloping; and a local port and trade centre where the new lord must choose between coming to an accommodation with the powerful smuggling rings or routing them. Rounding the overview are details of a few other ‘odd’ locations and some regional customs.

Physically, the A Song of Ice and Fire Chronicle Starter is very nicely produced, although it is a pity that it is not in full colour as the art is excellent. It does an admirable job of breaking down and explaining the numbers that make up each house’s stats, bringing them to life. If there is an issue with the A Song of Ice and Fire Chronicle Starter, it is that it could have done with a stronger overview and possibly a better summary of each house for an easy grasp of each. Otherwise, it does take a while for the reader to grasp a feel for each house and how it fits into the Riverlands. Lastly, the ‘muddying the palette’ sections are underwritten and could have done with more development.  

A Song of Ice and Fire Chronicle Starter succeeds at what it sets out to do – provide a well written setting for a beginning campaign. It has links enough to satisfy the A Song of Ice and Fire devotee without such links becoming overbearing. There is plenty of variety in the given six houses and plenty of elements that the GM can develop and bring into his campaign to make it his and his players’ own. Lastly, the A Song of Ice and Fire Chronicle Starter is a pleasurable read as well as a satisfying roleplaying supplement.

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Once Upon a Card Game

Once Upon a Time: The Storytelling Card Game is twenty years old. Originally published in 1993, AtlasGames released a third edition in 2012 after several years of the game being out of print. This has allowed the game’s designers to tinker a little with the mechanics and Atlas Games to redesign the cards, all the whilst retaining the game’s simple play and theme. As its title suggests, Once Upon a Time is a game about fairy tales, in particular, it is a game about telling fairy tales, one that has both co-operative and competitive elements. Designed to be played by two to six players, Once Upon a Time encourages creativity and collaborative imagination in adults and children alike.

The game consists of three types of cards – Story Cards, Interrupt Story Cards, and Ending Cards. The Story Cards form the basis of each player’s story and each illustrates an element to be found in fairy tales and is further divided into five categories. These five categories are Character – for example, ‘thief’ and ‘child’; Thing – for example, ‘food’ and ‘door’; Place – for example, ‘village’ and ‘garden’; Aspect – for example, ‘disguised’ and ‘frightened’; and Event – for example, ‘fighting’ and ‘falling in love’. The five categories are also colour-coded. Interrupt Story Cards share the same categories and colour coding as the standard Story Cards. Each can be used as a normal Story Card, but each can also be used to interrupt another player’s story when that player plays a story card of the same category and colour coding. Together the Story Cards and Interrupt Story Cards make up the Story Deck. Each Ending Card gives an end to a story, for example, ‘he lived the rest of his life as a beggar … which was perfectly just.’ or ‘the flames rose higher and the wicked place was destroyed.’

At the start of the game each player receives a handful of cards from the Story Deck – the number varying according to the number of players – and a single Ending Card. On his turn each player tells a story, his aim being to mention the elements on his cards and bring them into play. Once a player has brought all of his Story Cards into play, he can play his Ending Card, using its text to complete his story. The first player to do so wins the game.

In the meantime, a storyteller’s fellow players will be listening to the story. If the storyteller mentions an element that another player has a Story Card that matches that element, then he can play it to interrupt the current storyteller and take over. Similarly, a Story Interrupt Card can be played to interject the current storyteller and take over if the category of the Story Card played by the storyteller matches that of the interrupting player’s Story Interrupt Card. A storyteller can also be interrupted when gets stuck, rambles, tells a silly story, fails to properly incorporate the elements on his cards, and so on. A storyteller can also pass the story onto another player, but whenever he passes his story or losses control by other means, he must draw a new card from the Story Deck. 

For example, in a four-player game, each player receives seven cards. Dave receives the Story Cards, ‘beautiful’, ‘window’, ‘book’, ‘key’, and ‘door’, and the Story Interrupt Cards, ‘kitchen’ and ‘treasure’. He also receives the Ending Card, ‘So he told her was a prince and they lived happily ever after.’ Stef receives ‘king’, ‘tree’, ‘making mischief’, ‘sword’, ‘parent’, and ‘journey’, and the Story Interrupt Card, ‘returned’. His Ending Card is ‘and the kingdom at the end of the tyrant’s reign’. Dave begins his story about a girl who is kept locked up by her mother. Dave did not play a Story Card to bring this element into play, but Stef has a Story Card, ‘parent’, which although not an exact match, is a close enough fit to successfully interrupt. Thus Dave not only has to relinquish control of the story, but has to draw another card from the Story Deck. 

Stef’s story is about a tyrant king and towards its end, he tells how the king rushed to get his ‘sword’ in order to defend himself when attacked, but as he plays the ‘sword’ Story Card, Dave interjects with a cry of “Interrupt!” and plays his ‘treasure’ Story Interrupt Card. Thus he regains the control of the story and tells how it was not a sword that the king first ran to when attacked, but his ‘treasure’!

Whenever one player takes over from another as storyteller, he must continue telling the same story. He is free to incorporate new elements from his Story Cards, but he cannot ignore those have already been included as part of the on-going story. This is the game’s collaborative aspect.

Physically, Once Upon a Time is very nicely produced. Everything has been done in full colour, with all of the Story and Story Interrupt Cards each given its own piece of art. The cards are clear to read, as are the rules, which manage to fit everything into four pages, including examples of play and a short discussion of how the game can be included in the classroom. A leaflet available for download from the publisher’s website expands on the information given here. One issue is with the packaging, or rather the lack of internal packaging which means that the cards are left to rattle around in a large box.

It is difficult not to see Once Upon A Time as the spiritual ancestor to co-designer James Wallis’ The Extraordinary Adventures of Baron Munchausen. In that game, the competitive element has been increased and the theme has been matured and broadened, if not made wholly magnificent. To an extent, Once Upon A Time is also the spiritual ancestor to Gloom, also published by Atlas Games, but while that opts for a darker, if not a maudlin tone, it also opts for greater complexity. Once Upon A Time is a much lighter game, both in terms of tone and mechanics, thus making it suited to all ages, though in an adult group, there is nothing to prevent their incorporating some of the darker elements of the original fairy tales, though they are not supported by the game’s Story Deck. One option there would be to use the Create-Your-Own Storytelling Cards expansion to add such elements. Other expansions available include Enchanting Tales – Tales of Enchantment and Magical Adventure and Seafaring Tales – Tales of Pirates and Seafaring Adventure which take the core game in differently themed directions, whilst the Once Upon a Time Writer's Handbook explores how to turn a tale created using the game’s cards into a piece of fiction.

What is surprising is that despite its age and despite the simplicity of its design, Once Upon a Time has never been re-themed. Perhaps with the release of the third edition, this might be a possibility? In the meantime, Once Upon a Time: The Storytelling Card Game is a thoroughly engaging game that combines the charm of fairy tales with simple, elegant rules and lovely production values that spark the imagination. 

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An Esteren Starter

Just as with everything else, the English language dominates the hobby industry. For the most part this means that most RPGs are translated from English into a nation’s own language, but the passage of RPGs from the English language to another is not wholly one way. Some RPGs do get translated into English, for example, Siroz’s In Nomine Satanis/Magna Veritas was translated by Steve Jackson Games as In Nomine in 1997; Cubicle Seven Entertainment publishes Kuro, Qin, and Yggdrasill, all French RPGs from Le Septième cercle; Ulisses Spiele GmbH’s Adventures in Kaphornia 01 – Draconian Rhapsody: A Fantasy Movie For Your Game Table is a German RPG published by Chronicle City; and Maid the Roleplaying Game is a rare Japanese RPG to be translated into English. What these all have in common is that English language publishers have translated and had them published. Not so Les Ombres d'Esteren or Shadows of Esteren, a new French RPG whose publisher, Agate RPG, is bringing the RPG to the English speaking world following a successful Kickstarter programme.

Shadows of Esteren is a low, dark fantasy RPG set in a world on the edge of great change, but still looking to older traditions and still fearing that something unspoken lurks in the dark beyond man’s understanding… The setting is the Tri-Kazel peninsula, an isolated and hilly, heavily-forested spit of land cut off from the rest of the Continent. It is divided into three countries, all descended from the same tribes, but now following own their paths. Tol-Kaer adheres to the old tribal ways and the Demorthèn spiritual cults; missionaries from the Great Theocracy to the north have converted Gwidre to the Temple of the One God and adopted feudalism; whilst Reizh, fascinated by the machines and ‘toys’ of the Confederation, has taken up the science of Magience, developing and creating devices powered by ‘Flux’, an energy derived from matter itself. Although these ideologies predominate in each of the three countries, they are not exclusive to any of the three countries despite their being inherently antagonistic towards one another.

What is common to all three countries is a fear of the Feondas, an enemy that the Demorthèn consider to be the expression of death and destruction unleashed by chaotic nature spirits; the Temple see as demons; and the Magientists regard as a natural predators to be neutralised. The exact nature of Feondas remains undetermined, but all fear their predations and what their corrupting influence might turn human nature to… It is this, combined with the facts that the rules for Shadows of Esteren do not quantify or necessarily stats for the Feondas, that the rules include a solid Sanity mechanic, and that the rules possess a certain brutalism have led some to describe the RPG as at least being Lovecraftian, if not actually Cthulhu Dark Ages done right.

Shadows of Esteren 0-Prologue is the first title released for the game. It is not the full RPG, but rather an introduction to both the rules and the setting. It comes complete with a description of the setting, a discussion of its themes, an overview of the game system, six pre-generated characters, and ‘Omens’, a trilogy of three complete scenarios that serve as a prologue to the game’s overarching campaign. What strikes the reader first about Shadows of Esteren 0-Prologue is how good the book looks. Eighty pages of full colour, painted artwork that both inspires and awes the reader.

Mechanically, Shadows of Esteren is simple and straightforward, at least in 0-Prologue. The core traits of a character’s personality are defined mentally by five Ways – the Way of Combativeness, the Way of Creativity, the Way of Empathy, the Way of Reason, and the Way of Conviction. Each Way possesses Qualities and Flaws – positive and negative aspects, so for example, possible Qualities and Flaws for the Way of Combativeness include assertive, optimistic, brash, and stubborn if high a high value, but calm, level-headed, pessimistic, and sad if a low value. Each Way is valued between one and five. Similarly, Domains, the system’s broad skills, such as Craft, Close Combat, Erudition, Magience, Prayer, and Science, are also valued between one and five. Beyond a value of five, a character must specialise in one or more Disciplines, each of which is valued between six and fifteen. Thus a character might have a Domain of Close Combat 5 and a Discipline of Bastard Sword 9, meaning that his rating with a knife would be 5 and 9 with a Bastard Sword.

To undertake an action, a character totals the value of an appropriate Way, Domain, and Discipline and adds them to the roll of a ten-sided die to beat a set Difficulty Threshold – the standard being eleven. It should be noted that all six of the pre-generated characters have their values pre-totalled for ease of play. The same mechanic works with both in combat – which is short and brutal, and the Sanity system. Rolls for the latter are made with only the Game Leader – or Game Master – only knowing the Difficulty Threshold. The full rules for Sanity are not presented in Shadows of Esteren 0-Prologue, but rather presented on a case-by-case basis in the three scenarios.

To play through the three scenarios in Shadows of Esteren 0-Prologue, a total of six pre-generated characters are provided. They include a female Varigal, a courier and messenger for hire; a female warrior in training; a male spy turned archer; a male Demorthèn trainee; and a male Adept of the Temple. By playing through ‘Omens’ using these six, the intent is that the players can transition onto ‘Dearg’, the Shadows of Esteren campaign, though the Game Leader could instead have them use the characters given in Shadows of Esteren 1-Universe or have the players create their own. The six in Shadows of Esteren 0-Prologue have ties of varying strength to the region and to each other, though this need not be established before play begins of the three scenarios as if played in order as presented, they begin in media res.

‘Omens’ consists of ‘Loch Varn’, ‘Poison’, and ‘Red Fall’. Throughout, the authors use icons to highlight certain elements of particular moments and scenes – Gore, Psychology, Supernatural, and Suspense, as well as tips for the Game Leader and suggested musical cues. Many of the latter come from Of Men and Obscurities, a CD of music specifically written for use with Shadows of Esteren, but cues are given for other soundtracks also.

‘Omens’ takes place in Loch Varn’s Vale. It opens with a bang in ‘Loch Varn’, the characters under attack and unsure of where they are. The situation is intentionally unsettling for both players and characters, and the aim of the adventure is for them to uncover where they are and how they came to be there. Equally, this is not an easy scenario for the Game Leader to run and quite possibly a frustrating one because the players are not necessarily in full control of their characters. Further, as the initial scenario of the trilogy, it is probably too difficult an affair for the inexperienced Game Master. One suggestion made is that the scenarios of the trilogy be run in a different order, but this feels at odds with the intent of Shadows of Esteren 0-Prologue and certainly defuses the impact of playing ‘Loch Varn’ first.

The second and third scenarios in Shadows of Esteren 0-Prologue are shorter and more traditional affairs. ‘Poison’ sees the characters investigate an outbreak of illness that sees many of its victims sent into a murderous rage before they die. The characters are caught up in this as they investigate and there is even the possibility of their coming down with the illness and suffering its effects. ‘Poison’ is the most straight forward adventure of the trilogy, such that it works as an easier introduction to Shadows of Esteren for both the Game Leader and his players. Initially, the third and final scenario, ‘Red Fall’, feels very similar to ‘Loch Varn’, but rather than every character beginning the adventure in an unexpected situation, it is just the one. Despite the reuse of amnesia to set up a scenario, ‘Red Fall’ is a murder mystery that adds a greater complexity over ‘Poison’.

Physically, Shadows of Esteren 0-Prologue is beautifully presented. At its worst, the book reads a little oddly in places, but that is an issue with the translation. Nevertheless, it is an engaging read.

One complaint about Shadows of Esteren 0-Prologue is the lack of explanation as to its secrets and an explanation of what the Feondas actually are. Certainly there is no explanation in Shadows of Esteren 0-Prologue or indeed in the next book, Shadows of Esteren 1-Universe. Rather the explanation is saved for a later book. Some readers or Game Leaders will be disappointed by this, but for Shadows of Esteren 0-Prologue, this is not an issue. The mysteries presented here have as much explanation as is needed.

There is much pleasure to be had in Shadows of Esteren 0-Prologue. It comes from the obvious love put into its presentation, from the effort put into presenting a world in a relatively small page count, and from the triptych of scenarios that work hard to immerse the player characters in the setting. Lastly it comes in the presentation of the mysteries in Shadows of Esteren 0-Prologue, not just in the individual scenarios, but in the feel that there is more to this RPG. Atmospheric and engaging, Shadows of Esteren 0-Prologue is a well done introduction to the mysteries and setting of Shadows of Esteren.

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