Against the Slave Lords

It is curious to note that in 2013, a year when there was all but no official support for Dungeons & Dragons, the best support came in the form of nostalgia. Not the ‘new’ nostalgia as seen in the form of the Old School Renaissance, but actual honest to goodness proper nostalgia. Wizards of the Coast made available much of the official Dungeons & Dragons and Advanced Dungeons & Dragons back catalogue via dndclassics.com as well as publishing two collections of classic Advanced Dungeons & Dragons scenarios. The first was Dungeons of Dread, which compiled S1: Tomb of Horrors, S2: White Plume Mountain, S3: Expedition to the Barrier Peaks, and S4: The Lost Caverns of Tsojcanth. The second was Against the Slave Lords which collated the ‘Aerie’ or ‘A’ Series – A1: Slavepits of the Undercity, A2: Secret of the Slavers Stockade, A3: Assault on the Aerie of the Slave Lords, and A4: In the Dungeons of the Slave Lords. Both were presented as handsome hardback books, but what marks out Against the Slave Lords are the extras that are included in the book. 

The four scenarios began life as the 'AD&D Open Tournament at Gen Con XIII' in 1980. They would each be released in 1980 and 1981, before being collated as Scourge of the Slave Lords in 1986 as the middle part of the super campaign between T1–4 The Temple of Elemental Evil and GDQ1–7 Queen of the Spiders. Set in the World of Greyhawk, the series introduced the Slavers as threat in the setting and to do so, it expanded upon four scenarios that were originally designed to be played in a time frame of just four hours each. Included in each of the four scenarios were those tournament guidelines and a set of six pre-generated adventurers. This shows in the maps in particular, which either come in two versions, one with just those locations used in the tournament, the other with all of the locations; or with the tournament sections marked within the larger map given for the full scenario. 

Designed for play by a party of adventurers of fourth to seventh level, the ‘A’  Series begins with A1: Slavepits of the Undercity. For the past four years, the towns and villages along the coast of the Sea of Gearnet have been beset by the raids of slavers. In response the local lords hire a band of adventurers to investigate and put an end to this menace. An escaped slave has identified a ruined temple in the city of Highport in the Pomarj as one of the stops on the slave trade trail and as the scenario opens, the heroes find themselves standing outside a secret entrance to this temple – which they learned about from an escaped slave – ready to penetrate its dilapidated halls and uncover the first secrets of the Slave Lords. The scenario consists of the ruined temple above ground and the re-purposed sewers beneath it. The ruins above ground are split into two sections, one half of the temple unused (though parts are still patrolled by Orcs), the other half a reworked temple. Below the sewers have been extended into a nest of ant-men and seemingly endless pits of stinking, fermenting refuse.

There is a fundamental flaw with A1: Slavepits of the Undercity, at least as far as the non-tournament version is concerned. The tournament version is a straightforward affair, not to say linear and the accompanying maps reflect this. The non-tournament version is not quite as straightforward and expands greatly upon the rooms and ruins of the temple. In the process, what both the text and the maps lack are connections between various areas of the temple. For example, one of the new areas, currently home to a pair of basilisks, has been blocked off by a brick wall and the text does not describe how it can be accessed. Similarly, as drawn, the non-tournament map of the temple does not show a means by which a party can go from the abandoned area on the one side to the actual temple on the other without exiting the temple complex and walking round the outside to another entrance. Which effectively defeats the initial use of stealth to gain access. This is one element of A1: Slavepits of the Undercity that the DM will need to address before running the scenario.

Overall, A1: Slavepits of the Undercity is a serviceable dungeon/adventure. Given its origins as a tournament scenario, it cannot avoid being linear in structure and play. Nevertheless, it does in places present some challenging tactical situations, most notably the ‘Main Slave Chamber’ where the adventurers must fight over the tops of the slave cages with great care or be tipped into the cages below. 

The opening of the second scenario in the series, A2: Secret of the Slavers Stockade, has a familiar feel to it. The adventurers find themselves outside a slavers’ base, ready to sneak inside using a route provided by an escaped slave. Despite the repetitive nature of this beginning, A2: Secret of the Slavers Stockade has a much more rounded feel to it as well more depth and detail. Following a map found below the temple in Highport, the adventurers have located a second slavers outpost, a hillfort deep in the Drachensgrab Hills. The stockade is only a stopping point upon the route used by the slave caravans, so if the adventurers are to learn more, they investigate what lies behind its walls and below its gatehouses and barracks.

In comparison to the first scenario in the series, A2: Secret of the Slavers Stockade is not only a more coherent adventure, it feels much as if the setting is alive. The stockade is heavily guarded and should its guards be alerted to the adventuring party’s intrusion, they will react accordingly. Much of the scenario is written to that end… What the adventure also includes are more tactical breakdowns of certain locations that give more detail and help support the actions of the various NPCs described in the room entries.

Where A2: Secret of the Slavers Stockade disappoints by modern standards, is in its lack of narrative beyond the guards’ possible reaction to the intruding adventurers – at least initially. A closer reading of the scenario reveals that there are events going on at the stockade beyond the arrival of the adventurers, in particular the poor relations between the head of the stockade and her deputy. This may well influence how the DM runs the adventure, but being buried deep in the adventure the information is not as useful. Were the scenario not appearing in reprint, then arguably another edit would have moved this information to the front of the module so as to alert the DM. 

Another issue with A2: Secret of the Slavers Stockade is that it does not address solutions to situations that do not involve combat. Much of this is due to ‘A’ Series’ origins as tournament adventures, but there are situations where non-combat solutions should have been given. Most notable of these is an encounter with a ‘Haunt’, the restless spirit of someone who died before it could complete a now unfinished task. What the adventure never really addresses is how this task can be finished except through combat. Still, A2: Secret of the Slavers Stockade is a solid affair with more to it than A1: Slavepits of the Undercity.

If the tournament origins of the ‘A’ Series have been evident in the first two parts, they are explicit in A3: Assault on the Aerie of the Slave Lords. Following various slaving parties has led the adventurers deep into the Drachensgrab Mountains where the parties seem to disappear into one mountain… After many days’ search they have located a possible tunnel entrance to the ‘Aerie of the Slave Lords’. These tunnels, or rather this tunnel, basically links a series of linear rooms that feel as if they have been written to deplete the player characters of their resources. This feeling is only exacerbated when the designer does exactly the same for this adventure’s third part.

The adventure’s second part is actually quite interesting and involves far more than combat. Once the adventurers have made their way through the first series of rooms, they find themselves in the ‘Aerie of the Slave Lords’, an island located in a lake that fills the caldera of an extinct volcano. Nearby is where the Slave Lords conduct the slave trade – Suderham, the City of the Nine, above which stands below their fortress, Drachen Keep. The latter is the party’s intended destination, but a direct assault would be foolish, so they must search for an alternate means of entry. In this they have the aid of several other agents of their employers who suddenly appear from nowhere to give the adventurers clues as where they should go… This requires some investigation upon the part of the adventurers and interaction with the inhabitants of the city, which is itself fully detailed.

In the tournament version of A3: Assault on the Aerie of the Slave Lords, this section is all but skipped over. In the full version of the scenario, it is but a necessity, providing a welcome change of pace between the grinding trudge of the beginning and ending dungeons that make up the scenario. In terms of organisation, it would have helped if the information about the agents had been given at the start of the section covering the city. Similarly, it would have been helpful if the information explaining the nature of first dungeon had been given before the start of that dungeon and not at the start of the section detailing Suderham. Then of course, there is that ending...

Now at last we come to the ‘A’ Series’ pièce de résistance, A4: In the Dungeons of the Slave Lords. It opens in a most spectacular fashion, with the adventurers lying in the dark without all of their equipment. They have been cast into the caves below the island and must gather the means to aid their escape as well as find their way out. At the end of the tournament version of A3: Assault on the Aerie of the Slave Lords, the adventurers are captured, although in the non-tournament version, their defeating the slave lords is allowed for. Still, if they are cast into the caves below the island, the players will need to be ingenious with what they do have to hand if their characters are to escape. There are plenty of opportunities to gather the means to arm themselves, not all of them involving combat, such as negotiating by very odd means with a tribe of intelligent fungi, the Myconoids.

A4: In the Dungeons of the Slave Lords also comes with a timing mechanism, or at least an implied one, both the ‘dungeon’ and the island being beset by earthquakes which prove to be evidence of an volcanic eruption once the adventurers are free of the caves. This adds a further air of desperation to the adventure as the inhabitants of Suderham attempt to flee the island. The adventurers must find their way through these frantic islanders if they are finally to confront the surviving slave lords on the harbour front.

The issue at the core of the scenario is that the adventure begins with the player characters having their equipment confiscated. Putting aside the fact that the players  never like their ‘toys’ being taken away – let alone disliking getting captured in the first place, one of the challenges to this adventure is that Advanced Dungeons & Dragons, First Edition is not a game really designed to be played without such equipment and magic items. Later iterations of the RPG possess more flexibility with regard to such a situation, though they might make the situation in this adventure less of a challenge. That said, advice is given on handling both the dark environment of the caves and the discoveries necessary for the characters to equip themselves, but this advice does begin with a surprisingly harsh admonition. A4: In the Dungeons of the Slave Lords is the most mature of the original quartet of scenarios in Against the Slave Lords, pushing at the boundaries of what Advanced Dungeons & Dragons was capable of.

What A4: In the Dungeons of the Slave Lords really provides is a rousing and memorable conclusion to the ‘A’ Series and thus Against the Slave Lords. It is the most focused and most effectively executed of the quartet and the least hampered by the tournament format of the four. 

Of course, whilst Against the Slave Lords primarily consists of the reprint of the ‘A’ Series modules, the compilation actually consists of more than this. To begin with, it includes a new foreward for each of the four modules, written by the original authors. These add an interesting retrospective on each, but the main addition to Against the Slave Lords is A0: Danger at Darkshelf Quarry. Designed for characters of first to third level, this is the first official scenario to be written for Advanced Dungeons & Dragons since 1999, it is intended to lay the groundwork for the ‘A’ Series. It takes place in Nyrond, further along the coast of the Sea of Gearnat in quarry above the village of Darkshelf. Although the quarry continues to be productive, of late, strange noises have been heard from within its depths, a third shift works the quarry in secret, half-eaten bodies have found in the nearby river, and slavers have operating in the area. These goings on are enough for the head of the village to hire adventurers to investigate.

Now there are not the adventurers as suggested for the tournament play-through of the ‘A’ Series, indeed A0: Danger at Darkshelf Quarry is not designed for tournament play nor does it come with pre-generated adventurers. Shorn of the tournament format, the scenario is a more rounded affair and given much more detail. It also lacks the built-in starting point that the other scenarios all have, so the adventurers have a freer hand in how they approach the quarry and its mystery and workforce. This a solid adventure and a decent introduction to the ‘A’ Series campaign.

If there is a weakness to the inclusion of A0: Danger at Darkshelf Quarry, it is that it only lays the groundwork for the events of the ‘A’ Series rather than linking to it. Being written for levels one through three, it leaves something of a gap of two or three levels before the player characters are suitable to tackle the next four parts. Unfortunately this gap is not addressed in Against the Slave Lords.

Physically, Against the Slave Lords is well presented. The reprint of the original ‘A’ Series is clean and tidy, although in retrospective, it is a shame that none of the art in A1: Slavepits of the Undercity, A2: Secret of the Slavers Stockade, and A3: Assault on the Aerie of the Slave Lords really serves these three scenarios. In comparison, the art in A4: In the Dungeons of the Slave Lords is far more useful and overall, the layout and style of the series’ final part is cleaner and feels more competent. In retrospect it would have been nice if the four modules themselves had been accompanied by the type of illustration found in the ‘S’ Series that the DM could show to his players. To some extent, the fan illustrations at the end of Against the Slave Lords could be put to that purpose. 

One physical element missing from Against the Slave Lords are the original covers of the ‘A’ Series. They are present on the cover slip, as is the mockup of what the cover of A0: Danger at Darkshelf Quarry would have looked like had it been published in 1980. The inclusion of the latter is a nice touch, but being a separate item, the cover slip can easily be lost. It would have been better had this been presented as the back of the book rather than as a slip. The cover slip is also the only use of colour throughout Against the Slave Lords.

Of the ‘A’ Series itself, I never played through the whole of the campaign, only through A1: Slavepits of the Undercity. I did purchase A4: In the Dungeons of the Slave Lords, but at the time was not impressed by it. I would later locate a copy of Scourge of the Slave Lords. Thirty years on and my opinion of the ‘A’ Series has changed. Certainly the fourth part of the series is much better than I recall, whereas the third part is particularly disappointing. In coming back to the ‘A’ Series thirty years on, Against the Slave Lords proved to be far from an engaging read. Perhaps that is because such modules are not designed to be read for pleasure, but studied; perhaps my reading and gaming tastes have changed too much, the question remains, would I play or run Against the Slave Lords after such a long gap? The simple answer is, if I were to do so, it would not be with Advanced Dungeons & Dragons, First Edition or indeed, any version of Advanced Dungeons & Dragons. It might be with D&D Next, which the cover slip says that Against the Slave Lords is compatible with, then again, it might be fun to play this with a set of rules with a sense of energy, such as Pelgrane Press’ 13th Age.

The ‘A’ Series has long been out of print, so having it available once again is a welcome sight, especially when it comes as a sturdy hardback as Against the Slave Lords does. As uneven as the four scenarios are in the series – A2: Secret of the Slavers Stockade and A4: In the Dungeons of the Slave Lords are certainly better than A1: Slavepits of the Undercity and A3: Assault on the Aerie of the Slave Lords – the series should be of interest to the ‘Old School Renaissance’ and anyone coming back to Dungeons & Dragons with the release of D&D Next in 2014. The addition of A0: Danger at Darkshelf Quarry is equally as welcome, although a bridging scenario between it and the rest of the series would have been a reasonable addition. Still, the flexibility and choice of Dungeons & Dragons-style RPGs available means that Against the Slave Lords can be run and played using a variety of different RPGs, making it accessible and playable even thirty years on.

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The Second Doctor

The latest supplement for Cubicle Seven Entertainment’s Ennie-award winning Doctor Who: Adventures in Time and Space roleplaying game is The Second Doctor Sourcebook (though this review appears almost at the same time as The Third Doctor Sourcebook comes to print and The Fourth Doctor Sourcebook is announced). It continues the publisher’s celebration of Doctor Who’s fiftieth anniversary begun by the The First Doctor Sourcebook by delving back into the show’s past to explore perhaps that most pivotal of incarnations of the Doctor. For without the role being recast with Patrick Troughton the series would never have been kept going by the concept of Regeneration. In addition, the second Doctor’s tenure also introduced us to the Sonic Screwdriver plus the Time Lords and the Doctor’s home of Gallifrey as well as pointing towards the creation of UNIT, the agency that will figure so strongly in the adventures of the Third Doctor. Thus The Second Doctor Sourcebook prefigures much to come that is covered in both The Time Traveller’s Companion and Defending the Earth: The UNIT Sourcebook, the previous two sourcebooks from Cubicle Seven Entertainment.

The Second Doctor Sourcebook takes us from the Second Doctor’s first encounter with the Daleks in his first adventure in The Power of the Daleks to his confrontation with the renegade Time Lord known as the War Chief and his subsequent trial by the Time Lords in The War Games. Apart from a visit to the Scottish past in The Highlanders, the Second Doctor’s adventures primarily take place in the near future, the Doctor coming to the aid of mankind as it tries to survive ecological upheaval and numerous invasion attempts. He and his companions face foes again and again, not just the Daleks and the Cybermen, but also the Ice Warriors and the Yeti. The Second Doctor Sourcebook presents an opportunity for the Doctor – or indeed, the player character Time Lord and his Companions not to be mere wanderers in the Fourth Dimension, but to face evil and actively intervene to save others. To visit the Himalayas and get lost in the tunnels of the London Underground while menaced by the Yeti; to discover what the Daleks are doing in 1866 and what they want the Doctor to isolate; and to foil the machinations of Salamander, the Mexican scientist who is the spitting image of the Doctor!

The book is essentially broken into two parts. The first introduces us to Troughton’s portrayal and explores his character, his Companions, the difficulties of his travels during this period, and the common themes and ideas. Most notably these include singular adventures rather than campaigns, adventures set at isolated bases ripe for attack or invasion, the evolution of a world government dealing with the issues of arms control, overpopulation, and ecological catastrophe, and of course, evil that must be fought. In comparison with the First Doctor, the Second Doctor is more aware of the threats that he might face out in the universe and is thus more capable of dealing with the dangers of his tenure. Although the TARDIS remains as cantankerous and as difficult to pilot as ever, the Second Doctor has least access to his 500 Year Diary, his Sonic Screwdriver Mark 1, and of course, his Recorder!

Two notable issues are addressed in dealing with Second Doctor adventures. The first is how run them without muddling up the timeline. The solution given is to run them after the Doctor is found guilty at his trial and before his sentence is carried out by having him work for the Celestial Intervention Agency. This set-up would allow for a good mix of Companions too, whether official or player created. Indeed, such Companions of either type could come from any time period. The second issue is that of the timeline of the Second Doctor’s adventures, many of which take place in the place in the very near future. Of course, this is a future of the 1960s, so already looks odd by the twenty-first century. The solution is to either adjust the stories and feel to our timeline or be authentic as possible.

As well as the stats and write-up for the Second Doctor himself, The Second Doctor Sourcebook includes stats and write-ups for all of his companions. The most notable changes in the Doctor are his pacifism (reflected in his Code of Conduct), though not all of his Companions share this attitude and are handy in a fight – Ben and Jamie in particular. To support the new Companion and the guidelines for creating Time Lord and Companion player characters suitable for the period, The Second Doctor Sourcebook includes a slough of new Traits such as 'Epicurean Tastes' and 'Menacing'. Many of these are taken from The Time Traveller’s Companion and Defending the Earth: The UNIT Sourcebook. These are joined by descriptions and write-ups of the Second Doctor’s major foes – the Cybermen, the Daleks, the Great Intelligence, and the Ice Warriors. One oddity covered in these write-ups is why the Doctor meets the Model 2, Model 3, and Model 4 in the order that he does...

The second and longest part of The Second Doctor Sourcebook is further divided into chapters that travel chronologically in order through each of the Second Doctor’s adventures. For each of these there is a synopsis followed by a guide to running the adventure and a listing of any appropriate characters, aliens, and gadgets. The guide to running each adventure is not a straightforward adaptation, but rather a discussion of themes and ideas inherent to the adventure. So for example, with The Tomb of the Cybermen the author draws parallels with pulp serials and how the Cybermen are looking for suitable successors (almost like an ancient Mummy come back to life!), while with The Abominable Snowmen, the author highlights its Lovecraftian feel. Rounding the entry for each story is a selection of Further Adventures hooks that could be run as possible sequels.

Physically, The Second Doctor Sourcebook is a slim hard back book, suitably illustrated throughout with black and white photographs – though it will be the last to be done in black and white. As fitting the switch to colour of the series, The Third Doctor Sourcebook will also be in colour. The volume feels solidly researched and well written, but if there is a downside to the book, it is that not going to appeal or be of use to everyone, and that is going to be an issue with each of the subsequent volumes in the series. After all, almost everyone has their favourite Doctor and also their least favourite Doctor, and that may be reflected in the Doctor Sourcebooks that they purchase. With The Second Doctor Sourcebook, the adventures presented here are more dynamic, more knowing, and more exciting than those of The First Doctor Sourcebook, and as such foreshadow the style of adventures to come right up to, and including new Who.

As much as many of the Second Doctor’s adventures are unavailable to watch and will thus be unfamiliar to all but the dedicated of fans, there is a familiarity to the style and feel of the adventures detailed in The Second Doctor Sourcebook. That of visiting a place, being mistaken for someone else or intruders before investigating and getting involved in some kind of threat or mystery. What this means is that the contents of The Second Doctor Sourcebook are more accessible and potentially easier to use than those of The First Doctor Sourcebook. That though seems in keeping with the character of the Second Doctor compared to the First Doctor and just serves to show how both are well served by their respective First and Second Doctor Sourcebooks.

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Nitrates & Nasties

From Dread Albion to the Balkans, the 'Backlot Gothic' stretches across a timeless region of Europe reached only by train, but which can only be crossed on foot or by horse and carriage. It is home to a backwards people, many superstitious, others ignorant, who live under the shadow of the vampire, the werewolf, and the man of visionary, but misguided science. Cousin to the Backlot Gothic is the Backlot Jungle, which stretches from the Amazon to Asia via Africa, and although its creatures change from lion to tiger to jaguar as the continent dictates, the frogs will always sound like those found in Southern California.

For Hollywood is the inspiration for the Backlot Jungle and the Backlot Gothic both, the two being the setting for Shadows Over Filmland, an anthology for Trail of Cthulhu. Penned by Ken Hite and Robin D Laws, the anthology draws from the horror movies of the Desperate Decade. The authors have taken films such as Dracula, Frankenstein, King Kong, The Mummy, The Wolf Man, White Zombie, and others, and used them to give the Cthulhu Mythos of stories like ‘Herbert West – Reanimator’ and ‘The Case of Charles Dexter Ward’, a Silver Nitrate wash. Or indeed, infuse the classic creations of the Universal Monsters films with the sanity debilitating effect that is the Cthulhu Mythos. The result is an otherworldly, gothic conceit that the Keeper will use to draw his investigators into the twelve eerie, sometimes grotesque reels presented on the screen in Shadows Over Filmland.

The supplement is essentially three sections. The first is Hite’s essay exploring the parallels between Lovecraft’s fiction and the horror films of Universal Studios and RKO. Despite Lovecraft’s own dismissal of these films, Hite finds more than enough to support the core conceit behind Shadows Over Filmland, looking in turn at the vampire, the werewolf, the mummy and so on. Thus, both The Mummy and the stories ‘He’, ‘The Terrible Old Man’, ‘The Picture in the House’, ‘The High House in the Mist’,’ ‘Dreams in the Witch-House’, and ‘The Thing on the Doorstep’ all make use of the concept of the immortal monster-magus as much as The Mummy and ‘Cool Air’ and ‘The Horror at Red Hook’ all possess a certain fascination with the Oriental and the exotic. Having established the parallels, Hite goes on to explain the differences between the Cthulhu Mythos and the Silver Nitrate Mythos, primarily the emphasis upon sexuality, its obsession with psychology, fascination with corpses and their mutilation, the sublimation of the Desperate Decade’s economic fears into supernatural ones, the mocking of God’s good order, and so on…

The second section explores the more mundane elements that make up the Backlot Gothic. Whether the blackest of forests or catacombs and castles most sinister, hermits or gypsies, butlers or laboratory assistants, these elements emulate the stock characters and locations where the movies of Shadows Over Filmland are shot. Complete with numerous examples and advice on handling both the motifs and the accents to found in the Backlot Gothic, their inclusion highlights both an issue with Shadows Over Filmland and its intent. The issue is that the regular use of this stock footage can easily become a cliché, but the intent is that is Shadows Over Filmland not meant to be used as a campaign. That is, the Backlot Gothic is somewhere to visit on an irregular basis, a fact further supported by the absence of any advice on running the dozen scenarios herein as a campaign. Rounding out this section is a number of story hooks that the Keeper can develop into full scenarios in addition to those in the book’s third section.

Shadows Over Filmland’s third section is its longest and is devoted to the investigators’ individual trips to the Backlot Gothic in the form of a dozen scenarios. Of these twelve, Ken Hite pens five – ‘Death Across the Nile’, ‘Dreams of Dracula’, ‘Lord of the Jungle’, ‘The Black Chateau’, and ‘White Bokor’; Robin D Laws pens six – ‘Dr Grave Dust’, ‘The Green Ape’, ‘The Night I Died’, ‘The Preserve’, ‘The Non-Euclidean Man’, and ‘Under a Werewolf Moon’; and together, they co-author ‘The Final Reel’. The degree to which the Mythos is employed in these dozen varies from one scenario to the next, so that one scenario might be a more Universal Studio feature than a Lovecraftian submission to Weird Tales. That said, those of the scenarios that are more Lovecraftian would work well in a standard Trail of Cthulhu campaign with little or no modification.

The dozen opens in classic fashion not in the Backlot Gothic per se, but Backlot Egypt with ‘Death Across the Nile’ and a tale of possession down the ages. This scenario will be familiar to most gamers, right down to taking place at an archaeological dig, but this does not mean that it is not well done and that it is anything other than engaging. There is a twist or two to the tale, but it is otherwise a straight forward affair. ‘White Bokor’ is written as a sequel to White Zombie, the 1932 film starring Bela Lugosi and is intentionally straight forward, if not linear in nature. In it the investigators find themselves on the Backlot Island, either washed ashore or following up on earlier clues, where the only place to go is a castle on the Mountain of the Dead! The problem is that it is influenced by the films of George Romero and whilst the investigators are faced by a zombie herd, they are the ones being herded and it feels all too heavy handed. Given that its title is ‘Dr Grave Dust’, it is no surprise that the third scenario is inspired by Lovecraft’s ‘Herbert West – Reanimator’. An epidemic of grave robberies has struck the Backlot Gothic, and the investigators are asked to uncover those responsible. The culprit is quickly highlighted in what is otherwise a surprisingly combat orientated scenario. Again this is another straight forward scenario, but what is interesting is how the culprit’s motive has been taken a step further beyond an interest in reanimating the dead.

The conceit of the Backlot Gothic in ‘Dreams of Dracula’ is that no one has heard of Dracula and Bram Stoker never penned the eponymous novel, which of course flies in the face of player knowledge. Set in Backlot Albion, perhaps London, perhaps Whitby, the investigators are asked by a friend to help him with a queer situation – both his wife and her friend have been struck down by fever and anaemia, brought by nightmares! This is a languorous, atmospheric affair, one that apes the England-set sequences from Bram Stoker’s novel, almost as an act of misdirection. The author’s use of the Cthulhu Mythos, hidden as it is behind the apparent vampire Mythos, nicely and effectively underpins the scenario’s misdirection. As ‘The Green Ape’ opens, the investigators find themselves ready to go ashore and brave the Backlot Jungle on the remote island of Nambu in the South Pacific. This is a trip back into the prehistoric past, much like the movie that inspired it – King Kong, and much like any trek into the unknown, the scenario become something of a test of endurance, although this is balanced by a Pulp sensibility. The next adventure is again set in the Backlot Jungle and is again something of a test of endurance, but more intentionally so. ‘The Lord of the Jungle’, which draws from James Whale’s 1940 film, Green Hell, and Lovecraft’s ‘Facts Concerning The Late Arthur Jermyn And His Family’ also continues the previous scenario’s Pulp sensibility, but this slips away as the investigators penetrate further and further into Africa’s dark heart to locate a lost city and uncover its secrets. 

Val Lewton’s films for RKO from the 1940s – leaping a decade ahead than is the norm for Trail of Cthulhu – are the inspiration for ‘The Night I Died’. Once again a friend calls upon the investigators for their help. His fiancée has fallen into melancholia and appears to sleep walk, even going so far as claim that she is a ghost! Set in an Urban Backlot, ‘The Night I Died’ is another atmospheric piece, but one that comes with notes on how to make it more of a Mythos influenced experience than it is. Inspired by Lovecraft’s ‘From Beyond’ as much by The Invisible Man, ‘The Non-Euclidean Man’ brings the investigators to a scientific symposium hosted by the Pneumametric Society and face to death from beyond – though initially not their own. 

‘The Black Chateau’ has the most modern feel of the dozen scenarios in the anthology, at least artistically. It evokes a feeling of stark, nightmarish horror in entrapping the investigators within an imaginatively contemporary version of the haunted house to very pleasing effect. Much like the earlier ‘Dreams of Dracula’, a familiar monster appears in ‘Under a Werewolf Moon’. Its use is not as imaginative as that of Dracula in ‘Dreams of Dracula’, but this is nevertheless far from unplayable. The penultimate conceit in the anthology takes a concept from the Universal Horror films and sets it on the investigators. ‘The Preserve’ unites three of the antagonists from previous entries in Shadows Over Filmland and lets them take revenge on the investigators in what is a Pulp affair suitably located towards both the end of the book and the end of a Backlot Gothic campaign.

The conceit culminates in Backlot Hollywood – or is it the ‘real’ Hollywood? – with the appropriately named ‘The Final Reel’. The investigators are called in by the Hays Office to look into Capitol Pictures’ production of a new horror film entitled Call of Cthulhu! Can they find cause to have this threat to American morals shut down, let alone uncover who exactly is sponsoring the film? Fittingly, this plays louche and loose with the Shadows Over Filmland canon to draw on several of the previous scenarios in the anthology, though such elements are not central to the plot. It is almost as if the investigators have stepped out of the collection’s previous films and into the studio… The scenario comes with several detailed NPCs around which the Keeper involves the investigation, though this is primarily a player-led affair. Should the investigators want to do more than just shut the film down and uncover the cult or cultists behind its production, then the Keeper will have to improvise the details himself. Otherwise, this is an entertaining climax to Shadows Over Filmland.

Physically, Shadows Over Filmland is a beautiful book. The layout is clean and tidy, and Jérôme Huguenin provides some excellent art. It is missing an index, but that is probably less of a problem since the book is unlikely to serve as a reference work. Slightly more problematic is the lack of maps since their inclusion might have aided the Keeper in certain scenarios.

The best of the dozen Shadows Over Filmland work effectively when their combination of the horror of the Cthulhu Mythos and the horror of the Universal Monsters counterbalance each other. Samples of the twelve that achieve this include ‘Dreams of Dracula’, ‘The Black Chateau’, and to an extent, ‘Under a Werewolf Moon’. The least effective scenarios are those that wander away from the Backlot Gothic or the Backlot Albion, primarily because the investigative process plays less of a role and because there is less player agency involved in them. Those in between these two poles are solidly written scenarios, though ‘White Bokor’ is perhaps too linear and too heavily scripted. The tone for most of the twelve is also well handled, for the most part maintaining a steady median between the Pulp and the Purist, sometimes advice being given for the Keeper should he want to adjust to one tone or another. 

As with any anthology, the contents of Shadows Over Filmland can easily be used as a series of one-shots. All are relatively short, offering at most two sessions’ worth of play. There is no particular order to the twelve scenarios, but certainly ‘The Preserve’ and ‘The Final Reel’ should be played after the previous ten. Many of the twelve would also work as additions to an on-going Trail of Cthulhu campaign, though the ‘The Preserve’ and ‘The Final Reel’ might stretch the credulity and tone of certain Keepers’ campaigns. The intended use of the anthology though is as a supplement to an existing campaign, the Backlot Gothic not being somewhere that the investigators should visit regularly. Indeed, there is such a dream-like quality to the scenarios that these twelve would work as a series of visits to a version of the Dreamlands influenced by the cinema of the Desperate Decade. However Shadows Over Filmland is used, it presents a diverting dozen that take the investigators deep into the Arcadian idyll of the Backlot Gothic suffused with the sinister and the malevolent behind which lurks the Cthulhu Mythos.

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Your Zombie Primer

Zombies: A Hunter's Guide is an entry in Osprey Publishing's Osprey Adventures line of sourcebooks. To date the line includes Ken Hite's treatment of the Nazis' esoteric interests in The Nazi Occult, the truth behind the Templars in Graeme Davis' Knights Templar: A Secret History, and an examination of what the 'Greys' really want in We Will Destroy Your Planet: An Alien’s Guide to Conquering the Earth by David A McIntee. What each title in the line does is blend the fact and the fiction of their respective subject matters, but without providing either game mechanics or game stats - these the Game Master has to provide himself. Essentially, what each entry in the line is, is a systemless sourcebook, a background to which the Game Master adds the rules of his choice. Although an entry in the Osprey Adventures line, Zombies: A Hunter's Guide pre-dates the line, beginning life as a parody of the traditional history books that the publisher is better known for. Originally published in 2010, in 2013 it was reprinted as a deluxe edition and that is the version that is being reviewed here.

Take any number of treatments of the zombie, from The Walking Dead and The New Deadwardians to All Flesh Must Be Eaten and Zombicide, and the common theme between them is that the dead have arisen and civilisation as we know it is doomed... Not so in Zombies: A Hunter's Guide. It posits a world in which zombie uprisings are a known threat, in which Zombie Wars have been fought by military units, in which the zombie hunter is a recognised profession, and in which the zombi phenomenon is common enough to be the subject of academic study. Once myth and conjecture, the number of zombie outbreaks have increased year by year since the end of World War 2, despite the attempts of numerous governments to cover them up. Zombies: A Hunter's Guide is also an actual book that could be purchased in this alternate Earth, so barring the suggested 'Further Reading, Watching, and Gaming', the contents of this book can be accessed by both the GM and his players - and even referred to during play!

Over the course of several chapters, Zombies: A Hunter's Guide presents everything that the prospective zombie hunter will need to know in order to combat the corpse challenge. Over the course of several chapters, the fictional author of Zombies: A Hunter's Guide examines the origins of the zombies, the types of zombies that might be encountered, their strengths and weaknesses, and not only how to recognise them, but also eliminate them. These include necromantic zombies, voodoo zombies, Nazi zombies, revenants, atomic zombies, viral zombies, zombie masters, and viral hounds and zombified animals. Other chapters cover the matter of zombie hunters themselves, as well as zombie hunter weapons and equipment, and zombie hunter tactics.

In describing these various members of the corpse cortège and the means to combat them, the author draws deeply on the pop culture of zombies and the history of that pop culture. The combined effect of this is to make the contents of Zombies: A Hunter's Guide very familiar, for example, the island of Haiti is given as the home of the Voodoo zombie, Wade Davis exposed the secrets of the Voodoo zombie in his The Serpent & The Rainbow, and Francois "Papa Doc" Duvalier used Voodoo and zombies to keep himself in power as president of Haiti. So far, so good, but what Zombies: A Hunter's Guide does is add elements of a secret history. For example, the USA sent the US Marines in not to keep the peace in 1915 after the assassination of the president, but to engage in a war against the threat represented by zombies. Of course, Haitian refugees and immigrants have since brought Voodoo and Voodoo zombies to America...

It does this over and over with each type of zombie. For example, both the Miskatonic University and the Bodleian Library are known centres for 'Necromantic and Animate Necrology Studies', and the best-known revenant, a particular type of zombie that is driven to perform a particular task, is William Bonnet, better known as 'Billy the Kid'. Which is why his grave is caged off! For the Game Master and his players there are organisations to join, such as 'Bureau 9' (founded by Allan Pinkerton during the American Civil War), the Vatican's Corpus Mortuambulanticum, and the mercenary unit,Command: The Blue Unit. Also included are discussions of the contemporary weapons and tactics needed to fight zombies in general.

Physically, Zombies: A Hunter's Guide is a slim hardback. It is well written and as you would expect with an Osprey Publishing book, it is well presented with a good mix of full colour and black and white artwork. If there is an issue with the book it is the options given in 'Further Reading, Watching, and Gaming' for gaming are all war games and board games. There is nothing wrong in the choices given and none of them are surprising given that war gamers purchase Osprey Publishing titles, but no role playing games are suggested, which is a major omission. Certainly, All Flesh Must Be Eaten deserved a place on the list of suggestions.

At its gaming core, the concept behind Zombies: A Hunter's Guide is a world in which zombies are a known threat and outbreaks are dealt with by sanctioned organisations as well as the foolish amateur. This is an incredibly easy set-up to do for the RPG of your choice -- Savage Worlds from Pinnacle Entertainment Group and Evil Hat Productions' recent FATE Core would work very well with the setting material presented in Zombies: A Hunter's Guide. Lightly drawn -- after all, who needs depth when dealing with the cadaver cavalcade? -- Zombies: A Hunter's Guide gives a juicy setting that is easy to add the rules to.

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An Apology

I am sorry that there have been no posts of late. Unfortunately my laptop is currently unable to boot, which means I have limited access to the Internet. It also means that I cannot access the reviews I have ready to run and I have to start over. Persevere with me and I will post reviews as soon as I can.

ln the meantime, I want to thank you for bearing with me through a busy year which has meant that I have not been able to post as often as I would like. Thank you for taking the time to read my reviews and for those that have, for commenting too.

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Ogrecave.com Christmas Dozen 2013

Since 2001, Ogrecave.com has run a series of list in December, suggesting not necessarily the best board and roleplaying games of the preceding year, but the titles that you might like to receive and give. Continuing the break with tradition – in that the following is just the one list and in that for reasons beyond our control, this list is not appearing at OgreCave.com – Reviews from R’lyeh would once again like present its own list. Further, as is also traditional, Reviews from R’lyeh has not devolved into the need to cast about “Baleful Blandishments” to all concerned or otherwise based upon the arbitrary organisation of days. So as Reviews from R’lyeh presents the dozenth’s Ogrecave.com Christmas List Dozen, we can only hope that the twelve below includes one of your favourites, or even better still, includes a game that you do not have and someone is happy to hide in gaudy paper and place under that dead tree for you.

Tales of the Sleepless City 
(Miskatonic River Press), $29.95/£21.99
It is sad news indeed that Tales of the Sleepless City, an anthology of scenarios set in New York during the Jazz Age, is Miskatonic River Press’ swansong for Call of Cthulhu. This beautifully presented book contains six scenarios that bring the Big Apple to life like no supplement for Call of Cthulhu before! Let your investigators discover how far reactionaries will go to preserve the fabric of New York, expose them to bloody horrors in the museum, or have them experience Harlem in mourning. Send them into Hell’s Kitchen to live in a slum tenement owned by the worst slum landlord possible, have them expose a dark future for one young child in Chinatown, or let them truly enjoy a night at the opera… Tales of the Sleepless City is the best Call of Cthulhu title of 2013 – it is such a pity that we shall not see its like again from Miskatonic River Press.

Hanabi (Cocktail Games), $11.99/£8.99
Remember how 7 Wonders made the Ogrecave.com Christmas list back in 2011 after not winning the ‘Spiel des Jahres’ (German ‘Game of the Year’), but winning its new bigger brother award, the ‘Kennerspiel des Jahres’ (roughly ‘Connoisseur-Enthusiast Game of the Year’)? Well this year we include an actual ‘Spiel des Jahres’ winner, one from the designer of 7 Wonders – Antoine Bauz. His award winning design is Hanabi, a clever game in which the players race to bring about the most impressive fireworks display. This requires that the players work together in order to launch the fireworks in the right order, which means everyone playing their cards in the right order. The twist in this co-operative card game is that everyone can see each other’s cards, but they cannot see their own! This is a clever little card game about communicating the right information with your other players in order to win the game.

13th Age (Pelgrane Press), $44.95/£39.99
What do you get when a designer of Dungeons & Dragons, Fourth Edition and a designer of Dungeons & Dragons, Third Edition decide to create a fantasy RPG together? The result is Rob Heinsoo and Jonathon Tweet’s 13th Age, a furiously fun take upon playing Dungeons & Dragons. It still uses the d20 System, but streamlines the mechanics and play style for faster game, combining well-designed character Classes with story-telling aspects that both tie the heroes into the broadly drawn setting and make them stand out as potentially epic champions. With Dungeons & Dragons Fifth Edition not out until GenCon 2014, 13th Age is the freshest take upon Dungeons & Dragons-style roleplaying in years.

Ogre Designer’s Edition
(Steve Jackson Games), $100/£85
If in 2013 the gaming hobby, the elephant in the room that is Dungeons & Dragons was on holiday, then pound for pound, its spot was occupied by a 26 lbs. tank. Big enough and heavy enough to scare your game’s collection, the Ogre Designer’s Edition brings back Steve Jackson’s first game design in a very complete combination of the original classic Ogre and G.E.V. two-player game, plus more. Five maps, hundreds of counters, and over seventy 3D Ogres and buildings, all in a big box! What’s an ‘Ogre’ you ask? A big tank, a big damned tank under the command of an A.I. and bristling with big guns, big rockets, and big nukes, all rumbling towards you… Can you stop it before it stops the units under your command…?

Pathfinder Adventure Card Game: Rise of the Runelords - Base Set 
(Paizo Publishing), $59.99/£49.99
Remember the original Adventure Path campaign for Rise of the Runelords and how we liked it last year enough to include Rise of the Runelords Adventure Path Anniversary Edition on the 2012 Ogrecave.com Christmas List? This year, you get to play it all over again with the Pathfinder Adventure Card Game: Rise of the Runelords, a game that distils the essence of both the Pathfinder Roleplaying Game and Rise of the Runelords into an elegant and quick playing deck-building card game that plays equally well for four players as it does for the single player. The game pitches a party of adventurers in a series of scenarios against various villains and their henchmen who are hidden – find the henchmen and the heroes have a chance of finding and defeating the villain. The adventurers need to have the right skills, right spells, and right equipment all at the right time – and if they succeed they get better. All represented on the cards, which makes for both slick game play and extended game play over the course of the Rise of the Runelords campaign.

Firefly: The Game
(Gale Force Nine), $50/£44.99 
If there is one RPG that we are looking forward to in 2014, it is Margaret Weis Productions’ Firefly Role-Playing Game – of which you can find a taster here – but that is coming in 2014. In the meantime, you can fly the ‘friendly’ ‘Verse in search of a profit aboard your own Firefly Class transport in this well-appointed boardgame from Gale Force Nine. Some jobs will be legal, some jobs will be illegal, and some may bring the attention of the Alliance or worse, Reavers! All you need is the right ship, the right crew, and the right job – maybe it’s a job for Badger, maybe for Niska, but it just needs to go shiny. The game does not always go smooth, but if you are a fan of the television series, then is exactly what you want. Find a crew. Find a job. Keep flying…

Fate Core System (Evil Hat Productions), $25/£16.99
In most RPGs you sit down, create a character and start playing a world of the GM’s creation (or purchase). In Fate Core System, the new edition of the Fate System first seen in Spirit of the Century, you sit down and work with your fellow players and the GM to decide upon a world and the elements in it. This presents enormous flexibility in creating the game that everyone wants to play, whether that is protecting small town Texas from the scum of the universe in 1961, strapping on a jetpack to free the Solar System from the yoke of the Mongol Horde, or wielding the arcane arts against the greatest of Napoleon Bonaparte’s sorcerers! It means that right from the start, the players have narrative control of who their characters are and what their place in the world is, the GM taking his cue from these characters and the narrative that they demand. This is a game about dramatic characters and their adventures and the means to build and run them. (Two supplements – Fate Worlds: Worlds on Fire and Fate Worlds: Worlds in Shadow each come with six ready-to-play settings should the GM and his players not have the time to create worlds of their own, or just want to cut to the chase).

Love Letter (Alderac Entertainment Group), $11.99/£7.99
Princess Annette is unhappy and has locked herself away in the castle; as a suitor can you make her happy once again? To do that you need to get a love letter to her, but between you and the Princess stands the palace bureaucracy – from the lowly guards and priests up through the barons, handmaidens, the King, and the Prince to the Countess and the Princess herself. Each and every one of these august – and not august personages – has a special ability that will advance or block your path to the Princess, but no suitor knows whose favours his rivals currently possess. This is a quick-playing game of bluff and deduction that plays perfectly between other games.

Adventures in Kaphornia 01 – Draconian Rhapsody: A Fantasy Movie For Your Game Table (Chronicle City), $19.99/£13.99
Sadly, roleplaying takes time and there are times when it would be great to have something that you can pick and play with a minimum of preparation. Originally published in German by Ulisses Spiele GmbH, Draconian Rhapsody is just one solution. It is not an RPG as such, but rather a scenario that comes with everything necessary to play – except dice of course! It includes ready-to-play characters, simple rules, and of course an adventure that everyone can jump straight into. Arriving in Kaphornia, through circumstances beyond their control the adventurers discover that Countess Esmeralda of Belzheim needs a dragon, alive and inside of a week. Can they capture the dragon for her in this definitely cinematic, if slightly humorous adventure? Draconian Rhapsody is at its heart a fantasy action movie that you can play through in an evening.

Numenera (Monte Cook Games), $59.99/£39.99
Were the people of the Ninth Age ignorant of the past, then perhaps Clarke’s Law, that “Any sufficiently advanced technology is indistinguishable from magic” might be true. In the very far future of the Ninth Age, humanity is surrounded by the fragments and remains of the previous ages – swirls of nanotechnology, impossibly manicured buildings and landscapes, creatures and peoples bio-engineered to some unknown ends, data streams from still-orbiting satellites, and devices and objects weird and wondrous. Such devices, known as the ‘numenera’, can often be used by the peoples of the Ninth Age, or if not, adapted to a new purpose – perhaps by the Amber Priests. With Numenera, the author’s first RPG of his own design, Monte Cook lets us explore a world of fantastical science to build a bright new future.

Eternal Lies (Pelgrane Press), $49.95/£32.95 
In the 1920s, doughty and stalwart men and women banded together to investigate and thwart the menace presented by threats beyond mankind’s understanding and sanity. We have played out such attempts in Masks of Nyarlathotep, Shadows of Yog-Sothoth, and The Day of the Beast, each in their own way classic campaigns for Call of Cthulhu, but there is one question that has never been asked. What if they failed? This is the set-up for Eternal Lies, the first full campaign for Trail of Cthulhu, Pelgrane Press’ RPG of clue-orientated Lovecraftian investigative horror. In this globe-spanning campaign, the investigators must follow in the footsteps of their predecessors, uncovering clues old and new, not just to reveal the nature of the menace, but to determine where their predecessors went wrong. This is superb interpretation of a classic format that promises month after month of sanity searing play around the world.

Star Wars: Edge of the Empire Roleplaying Game (Fantasy Flight Games), $59.95/£39.99
The gaming hobby feels all the better for having an RPG based in the Star Wars universe on its shelves and in Star Wars: Edge of the Empire, Fantasy Flight Games gives us the first of a trilogy of new Star Wars RPGs. In the one you play Bounty Hunters, Colonists, Explorers, Hired Guns, Smugglers, and Technicians attempting to get by on the Outer Rim, far from the centre of the galaxy, but not so far that the Empire is no longer a threat. The new mechanics use a set of dice particular to the game whose results drive the adventure onwards with results that might ensure a hero’s successes whilst upping the threat or giving him an advantage, all in support of the game’s cinematic style of play. Already supported with several supplements, the Star Wars: Edge of the Empire – Beginner Game is also available to help you get started.

Against the Slave Lords
(Wizards of the Coast), $49.95/£34.99 
With no new official Dungeons & Dragons titles of note this year, perhaps the best were the nostalgia titles repackaged and re-released by Wizards of the Coast. Against the Slave Lords collates four scenarios – A1: Slave Pits of the Undercity, A2: Secret of the Slavers Stockade, A3: Assault on the Aerie of the Slave Lords, and A4: In the Dungeons of the Slave Lords for Advanced Dungeons & Dragons First Edition. Previously released as the collection, Scourge of the Slave Lords (A1–4) which was voted the twentieth greatest Dungeons & Dragons scenario of all time, Against the Slave Lords is a campaign for characters of fourth through seventh levels set in the World of Greyhawk that pitches them against an insidious gang of slavers. Presented as a pleasing hardback that not contains the original four scenarios, but also adds a fifth scenario designed to introduce player characters to the campaign, which means that Against the Slave Lords can not only be played by us old nostalgic players, but new ones too.

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The Fate of Arthur

In roleplaying, many genres come to be dominated by the one title. For example, zombie roleplaying games are dominated by Eden Studios’ All Flesh Must be Eaten and West End Games’ Star Wars: The Roleplaying Game is regarded as the perfect Space Opera RPG. So when it comes to the Arthurian RPG, there is only the one title that deserving of the crown – King Arthur Pendragon, originally from Chaosium, Inc., but since published by others. In truth, there have been few pretenders to the throne over the years. For example, I, Mordred: The Fall and Rise of Camelot from Avalanche Press and Legends of Excalibur: Arthurian Adventures from RPGObjects both offered d20 System options for Arthurian roleplaying, the latter sourcebook ultimately more interesting and better than the former. Steve Jackson Games’ GURPS Camelot offered an overview of the genre, whilst Once and Future King, published by TSR for the Amazing Engine rules, transplanted the legend into the far future. With the latest version of King Arthur Pendragon from Nocturnal Media currently available only as a PDF or via Print On Demand, there is another young pretender to the throne – Age of Arthur: Heroism in the Dark Ages.

Published by Wordplay Games, Age of Arthur: Heroism in the Dark Ages approaches the legend of King Arthur from a historical standpoint. It is set firmly in a post-Romano-Britain Britannia, some two generations after the withdrawal of the Roman Empire towards the end of the fifth century A.D. What was once a united province that had the support of Rome and in turn stood against Rome’s enemies, is now rent by religious and political differences; assailed by barbarians to the north, the west, and the east; and touched once again by magic, much to the dismay of the Christian church. In the province’s stead have arisen old tribal kingdoms, some of which adhere to the customs of Rome, others to the old ways. Picts threaten from the north; pagan Gaels, exiled from staunchly Christian Hibernia, raid in the west; and Saxons from old Germania cross the sea to glory in the raid and the plunder and take the kingdoms that they want. The peoples of Britannia are forced to choose between the faith of Rome and following the old gods, as in Rome’s absence, the Druids and bards return bringing their magic with them, whilst barely beyond his imagination, the fae would play their alien games with man… Britain stands ready to slip away into the Dark Ages, but perhaps there are yet men and women who would unite the tribes and kingdoms, and together stave off the dark and withstand the threats that assail the land. Perhaps such a man might be Artorios Aurelianus as advised by the fae-blooded druid, Myrddin, but conceivably it might be someone else. The player characters, perhaps?

As an RPG, Age of Arthur uses the Fate system, the Fudge variant first seen in Evil Hat Productions’ award-winning Spirit of the Century. Not the latest iteration of the rules, the recently released Fate Core, but Fate 3.0 as seen in Diaspora and Chronica Feudalis: A Game of Imagined Adventure in Medieval Europe, as well as 2012’s Agents of SWING. At its heart lie the Fate Points that push and pull the play of the game onwards. Just as in many other RPGs they can be spent to gain a bonus to a roll or to re-roll the dice, but here they have a greater versatility. Like many ‘Indie’ style games, a player can spend them to create and bring small elements into the game, what is known as ‘dramatic editing,’ but under the Fate system, Fate Points can do a whole lot more. They can be spent to Invoke a character Aspect and bring it into play, to Compel another character or location related Aspect to bring it into play, and to Compel the story and add to the narration. The Fate system also ditches traditional attributes, instead defining characters by Skills, Aspects, and Stunts. It plays fast and easy. The player rolls four Fudge dice or ‘4dF’ – six-sided dice marked with pluses on two sides and minuses on two sides with other two sides being left blank and applies the result, along with any bonuses derived from Skills, Aspects, or Stunts to try and beat a target number, or to roll higher than an opponent in a contested roll. In a contested roll, the amount by which one side beats the other determines the amount of damage or Stress inflicted, whether Physical or Composure, the latter representing mental and social stress. A player can roll a Manoeuvre to place a temporary Aspect on a scene that can be Invoked once for free and then again at the cost of a Fate Point.

For example, Sullio ap Hywel, a Briton who served Rome as an engineer has returned to home to find the former province in a perilous state. Visiting an ally of his uncle in Durnovaria, in the south of the province, Sullio has learned that Saxon raiders have landed in the wide bay to the east and are travelling by river to attack the wealthy market town. Unimpressed by Durnovaria’s defences, Sullio petitions the local chief to give him the men to shore up the defences. Sullio has the skill Profession [Engineer] +5 and the Aspect, ‘Engineering is an exact science’ as well as Charm +3 and the Stunt, ‘Specialism: Persuasion (+1)’. 

First, Sullio needs to convince the local chief that the town’s defences are inadequate to the task ahead. The Storyteller rules that the chief is preoccupied by the need to defend Durnovaria, and is too busy to take notice of what a Roman busybody wants and sets the Difficulty at 4 for his Charm +3 skill roll. To this roll, Sullio’s player will add in his ‘Specialism: Persuasion (+1)’. He rolls 4dF and gets +, –, and two blanks. This gives him a result of zero to add to his Charm +3, not enough normally to equal the Difficulty, but because he invoked his Specialism, he increases his roll to +4 and matches the Difficulty. The chief listens to Sullio and allows him to assemble a work force to prepare the defences properly, but because Sullio only managed to meet the value of the task’s Difficulty, there is a complication. The Storyteller decides that he is not assigned enough men and increases the Difficulty of the engineering task.

As he directs the bolstering of the defences, the Storyteller Compels Sullio’s Aspect of ‘Engineering is an exact science’ to affect the length of time it take to complete the task. Sullio accepts the Compel and its accompanying Fate Point, but decides that he wants to set up a Manoeuvre that he and his fellow defenders can Invoke during the coming battle. He rolls 4dF and adds his skill of Profession [Engineer] +5 to the roll to beat the Difficulty, which is again 4. He rolls, +, +, and two blanks, which gives him a total of +7. Sullio succeeds and creates the temporary Aspect of ‘These walls will hold’ which he applies to the defences. In addition, Sullio rolled three more than the Difficulty which is a Critical result and will thus give him a +1 on a subsequent roll. Sullio has successfully bolstered the defences, but this has taken too much time and as the last of the work party scrambles back over the walls, the vanguard of the Saxon raiders are at the walls and Sullio is caught outside them!

A character is defined by his Skills, Stunts, and Aspects. Skills are areas in which a character is trained in, his knowledge and expertise; his Stunts are related to his Skills and grant a character small bonuses or permissions within the game; while Aspects define the character in some way, such as ‘Girl in every port’ or ‘Pious’, and work as the more interactive elements within the game. A player can spend a Fate Point to Invoke one of his character’s Aspects or an Aspect particular to a location, and so get a bonus to a roll, but the Storyteller could Compel either Aspect to add a problem to a character’s situation and so drive the story along. If a player accepts the Compel and the resulting problem, he is awarded a Fate Point. When choosing Aspects for a character, they should never be boring and it should always be possible to view an Aspect in both a positive and a negative light. Otherwise, a character cannot participate in the game’s Fate Point economy – bring negative Aspects into the game and letting it act as a story hook, gets a character more Fate Points to spend in his favour.

At its most basic, character creation is simply a matter of choosing Skills, Stunts, and Aspects. A player could just select all of them, but the intent of Age of Arthur is that the players each tell tales about their characters, creating connections between their characters in the process as they occur suitably, and selecting equally as suitable Aspects for each of their tales. The four tales cover a character’s beginnings, what he did at a major event, how he became the hero that he is, and a significant event, while an optional fifth tale details an Oath made by the character and how he came to make it. The resulting character begins play with fifteen skills of varying levels, five Aspects, and five Stunts that come of, and support, the tales told during the creation process. In addition, suggested Stunts can be found throughout Age of Arthur, such as ‘Dark Adapted Eye’ for a priest of Arawn, King of the Dead, though primarily in the sample characters and numerous NPCs.

Our sample character is Sullio ap Hywel, a Briton who served Rome as an engineer has returned to home to find the former province in a perilous state. The son of Hywel ap Senorix, a nobleman of Siluria, Sullio was sent to Rome as a ward of Decius Vodinius Sapens, an ally of the tribe to whom a favour was owed. The young man grew up in the greatest city in the world and embraced its culture as much as he could, eventually following his ward into the military. He became a legionary in Rome’s great armies and trained as an engineer. More recently he has returned home after twenty years, following the death of his father. It is his uncle, Andoc ap Senorix, who is now the head of the household, a man ill-disposed towards Rome and his nephew. Andoc’s son, Ban ap Andoc is of a similar mind, though his sister, Belicia is more sympathetic.

Name: Sullio ap Hywel
Aspects: Son of Britannia, Man of Rome
                   Engineering is an exact science
                   Loyal to his friends and family
                   Distrusting of Saxons

Oaths: To serve Siluria as my father did

Skills: Level 5 Profession – Engineering
              Level 4 Leadership, Melee Combat
              Level 3 Agility, Charm, Strategy & Tactics
              Level 2 Gaming, Investigation, Languages, Willpower 
              Level 1 Awareness, Contacts, Ride, Strength, Wealth

Stunts: Specialism: Persuasion (+1)
                Tough [Extra Capacity]
                Rally [New Skill Use]
                Danger Sense [Ignore Difficulty or Restriction]
                Extra Refresh (+1 Refresh Rate)

Health: 5 Composure: 4 Refresh Rate: 6
Languages: Brythonic, Latin, Latin Literacy, Ogham
Equipment: Spatha (Damage 3), Riding horse, Surveying Equipment, Small collection of history books, Dagger (Damage 1, can throw), Expensive clothes (suitable for court)

The Age of Arthur is also an age in which magic returned and Age of Arthur lets a player character be capable of using magic that in the setting comes in several forms. These are Divination, such as astrology, dream visions, and ectomancy – the character needs to define which; Druidic Magic, the worship of the old gods; Faith, the worship of the Christian god; Glamour, the magic of the Fae and those with Fae blood; Plant and Root, which covers both ordinary and magical herbalism; Rune Magic, the power that can imbue places or objects with potent magic; and Shapechanging, the ability to turn into various animal forms. Both Rune Magic and Shapechanging were brought to Britannia by the Saxons. All require the ‘Magical Calling’ Stunt, which then lets a character take the appropriate skill. In addition, Bards may know some Druidic Magic, but to a much lesser extent than a fully trained Druid, plus they have their own suggested Stunts, Bardic Knowledge, Bardic Protection, Biting Satire, Jack of All Trades, and Song of Battle.

Our second sample character is capable of using magic. Rosula has no idea of her parentage, but she grew up as a slave of the Saxons in the household of Eadgar, mistreated and often abused. In time, he took her as his mistress and for his amusement began to teach her the rudiments of magic when he discovered both her curiosity and her intelligence. She learned to read the stars and foretell the future, and already deceitful and mistrusting, began to deceive her master as to his future and his wife as to their affair. She also watched Eadgar take on the form of an animal, a bear, and other creatures, and after obtaining a wolf pelt, managed to mimic her master in secret. How she came to escape is not a subject that Rosula volunteers to talk about, but she harbours a hatred of both men and Saxons in general. Sullio ap Hywel is an exception to this hatred, his having saved her from bandits on the road.

Name: Rosula
Aspects: Former Saxon Slave
                  Wiser than any man
                  The truth always lies in the future
                  My looks belie my brains

Oaths: To drive the Saxons from Britannia

Skills: Level 5 Deception
              Level 4 Empathy, Divination [Astrology]
              Level 3 Agility, Charm, Healing
              Level 2 Brawling, Lore: Folklore, Performance: Storytelling, Willpower 
              Level 1 Awareness, Languages, Melee Combat, Shapechanging: Wolf, Wealth

Stunts: Diviner [Magical Calling]
                Strong-Willed [Extra Capacity]
                Skin Changer [Magical Calling] 
                Dirty Fighter [Brawling]
                Extra Refresh (+1 Refresh Rate)

Health: 3 Composure: 5 Refresh Rate: 6
Languages: Brythonic, Latin, Saxon
Equipment: Dagger (Damage 1, can throw), Ordinary clothes, Expensive clothes (suitable for court)

The Age of Arthur is of course one of conflict. The rules already support this on a personal level, covering physical and mental conflicts that a character can become enmeshed in. With internecine fights between the kingdoms of Britannia common and with threats on three of her borders, such conflicts can be fought out on a much larger scale. Age of Arthur handles this with a well thought out set of rules for battles and mass combat that allows plenty of personal involvement upon the part of the player characters. A detailed example supports these rules.

The setting itself is supported with background material that covers kings and warriors, religion, everyday life, as well as some information on the other peoples of Britannia – the Gaels, the Picts, and the Angles, Saxons, and Jutes. A timeline projects the future up to the year 556 AD while a gazetteer covers the kingdoms that have arisen in the wake of Rome’s departure and the state of the various towns and cities across the former province. Various sites of importance, either former Roman sites or pagan sites, like Stonehenge or the northerly Wall of Antonine, are also described. Each of the kingdoms, towns, and sites are accompanied by location related Aspects, such as ‘Heavy walls and fortifications’ for Cameludunum or Colchester, or ‘The gods are close’ for Stonehenge. These Aspects can of course, be Invoked or Compelled during a game.

The ‘Allies and Adversaries’ chapter includes both the ordinary and the outré. So not just animals and simple beggars and bandits, but also the Fae, giants, and more, in particular the major figures of the Age of Arthur. These include Artorios Aurelianus, Gwenhwyfar, Lancelot, Morgan Le Fay, and Myrddin. Age of Arthur presents an interesting take on the Fae, making them powerful, but flawed in that they are capable of repetition and imitation, but not originality. Their magic is Glamour, the ability to cast illusions that deceive any sense. All Fae know some Glamour and the Fae-blooded have the capacity to learn it with the selection of the right Stunt.

Rounding out Age of Arthur is a full length scenario, ‘Escorting the Princess'. King Agricola of Urbe Legionis wishes to give the hand of his daughter, Gwenhwyfar, to King Caradoc Strongarm of Siluria in return for an alliance against the Kingdom of Powys. Gwenhwyfar wishes to meet King Caradoc and see Siluria before she agrees to marry him. The player characters are to escort the potential bride to Siluria. It is written with a group of pre-generated investigators in mind, so will require some adjustment by the Storyteller to run it for other players. Although a map of the travel routes would have been useful, the scenario does a good job of showcasing of the game that should last a session or two. In addition, Age of Arthur comes with seven scenario outlines and a discussion of some of the themes that Age of Arthur scenarios typically involve. 

There is advice throughout Age of Arthur on how to run the game mechanically, how to handle Stunts and Aspects, and Fate Points in particular. Not only that, but the rules are supported by numerous examples that help make understanding the game much easier than it might have been. The given advice on running the game is clear, simple, and to the point. Rounding out the book is a quick reference for the game that sums up the rules and setting in just a few pages.

Physically, Age of Arthur is a nicely presented hardback. Notably, it is very lightly illustrated, the art consisting of chapter frontispieces, each done in evocative full colour. The lack of art is initially off-putting, but the writing style is light and layout quite open, so it is not as challenging as it could have been had it consisted of solid blocks of text. The book also includes a handy index.

It should be remembered that when it was published back in 1985, Chaosium, Inc.’s King Arthur Pendragon was a markedly radical RPG. It invoked a particular genre as never before and moreover, it encouraged, even enforced the behaviour of the player characters to conform to the accepted standards and attitudes of their respective cultures. It remains the premiere treatment of the genre in terms of RPGs, but Age of Arthur is a worthy addition to the limited selection of Arthurian RPGs. It is a broader, less focused, more contemporary treatment of the genre; a less romantic and grittier treatment of the genre, being more grounded in the grim history of the period; and a more accessible set of rules, a set that encourages player participation in the telling of tales set during the Age of Arthur. Without a doubt, King Arthur Pendragon remains on the throne of the Arthurian RPG, but the darker, grimmer, more player involving Age of Arthur: Heroism in the Dark Ages is a worthy prince.

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