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(5e) World’s End Masque & Ball

Ten Foot Pole - Sat, 12/01/2018 - 12:04

By Luke Pullen
Black Lamp Games
Level 1 pregens

Some say the world is ending. At the muddy end of a fruitless harvest, famine and plague stalk the land. The armies of darkness gather on the horizon. And tonight is the night of a lunar eclipse, the time when the astrologers predict a world-devouring evil will be born. For one group of decadent aristocrats, there is clearly only one possible course of action: lock themselves inside a castle, throw a masquerade, get loaded, and dabble in black magic. For a group of desperate adventurers, the masquerade is a chance to set things right. But on a night like this, they may get more than they bargained for…

This is a twenty page one-shot social adventure set during a masquerade ball. While it uses 5e, it could easily be adapted to just about any setting or ruleset. It needs just one more good PUSH to get it out of the mediocrity gate and in to the Good category.

This is more of an outline of an adventure … which works quite well for a kind of open-ended social setting. You get a one-page summary list of about twenty NPC’s, with a quirk, a goal, and an opening line of dialog to set the scene. You get a one page map of the castle with about twenty rooms and just over a page of description for those twenty rooms. You get a short timeline, of four hours, with what happens at each of those four hourly marks. And then you get some pregens, each of which has a goal to accomplish. This is all presented in a pretty compact way.

Thus the adventure is very open ended. It’s the DM responding to the party members as they attempt to achieve their characters goals, while using the NPC and castle map resources, as well as the events, to spice up the adventure and respond.

The NPC resources provided are pretty good. FOr example, a guy in a goat mask has the opening line “Why, aren’t you pretty?”, who’s named Kazimir, is a courtier, and wants to climb the social/power ladder. It’s a terse set of qualities that you can use together riff off of to provide the flavor you need.

Likewise the room descriptions. Room six is a “Boudoir” with a two bullet point description: “Women’s’ rooms. Baroness Koranye and Marchioness Ungern drink wine and chat quietly while looking out the window. They have much to say. Intruders are welcomed.” -and, as a kind of dialog- “I had the strangest dream. There was this egg—this great egg, cold and white like marble, at the bottom of the black lake. And then it was here. Really here! I touched it—it was cold. So cold. The egg can touch you back—did you know that?” It has something going on that the party can interact with. It deals with the “intruders” aspect, and it has a little bit of dialog to give the DM the flavor of the encounter/conversation … that’s also relevant to the various party member goals.

It does have me questioning, though, some of the decisions made. First, the party doesn’t know each other. I’ve seen this be disastrous in many a con game, from time wasting, and bored players waiting their turn to conflict. (Intra-party conflict is a big nono in Bryce games. It’s one of my most important table rules: you need to work together.)

The pregens are also a little lacking in the motivation department. “Find your lover and get them out alive.” is one of them. I feel like there was something missing about “tell the DM who your lover is and how they went missing”, either as explicit instructions for the DM/player or as an embedded backstory for that PC. Most of the party is like that. A couple more words would have solved that.

Weather it works or not, as an adventure, I don’t know. A lot depends on the DM. A lot ALWAYS depends on the DM, in every adventure. This is so true that I explicitly ignore it in my adventures, concentrating on “helping the DM run it.” I FEEL like there’s just a little bit more missing from it. A little more in the way of events, conversation, NPC’s based around the party motivations. As is it feels a little TOO open ended.

This is free on DriveThru. The preview is four pages and shows you nothing at all of the adventure. Then again, it’s free.–Ball

Categories: Tabletop Gaming Blogs

Damage At Dunwater! - Latest Session Report

Swords & Stitchery - Sat, 12/01/2018 - 07:51
The little fishing town of Saltmarsh is threatened! Why are lizard men gathering force nearby and why have they been buying large quantities of weapons? A party of bold adventurers must answer these questions or the people of Saltmarsh will never live in peace! So only by the grace of Moxie that I'm bring you my faithful readers this blog entry. For the last two days we've been on the Needles
Categories: Tabletop Gaming Blogs

Evolving the Dread Crypt: Bringing Skogenby to (un)life

Torchbearer RPG - Thu, 11/29/2018 - 14:00

Over the past several weeks I’ve alluded several times to my ‘evolution’ of The Dread Crypt of Skogenby. For the next several posts I plan to take a deeper dive into the details of that evolution to give you an example of how you might evolve your own adventures.

To set the stage, I need to first tell you about how I updated the adventure. I wanted my players to invest in Skogenby as a place, maybe even choose to come from the village, so I fleshed it out a little bit.

The crypt remains the focus of the adventure, and I didn’t change anything there. But I wanted to give myself the ability to play up how the crypt, Jora’s disappearance and the appearance of a terrifying spirit affect the village and begin applying stress to the relationships within it. To do that, I needed to decide who has power in the village and how the horror of the crypt might affect them.

Ultimately, the players will choose to engage with this material as much or as little as they want. Really, I created it to give me, as the GM, a better sense of the village and grist for creating interesting twists in town (and outside it as well, as you’ll see below).

Not only does this material help me roleplay my part in the current adventure, it will also set me up to evolve the adventure, which we’ll explore in a subsequent post.


The lonely village of Skogenby sits just a few miles east of Asktoft across the Hrada River. A ford connects the two villages, though it becomes impassable when the river runs high, especially in late spring to early summer. Skogenby butts up against the verge of a vast spruce forest in the foothills of the Silfjalls, and its stoic, hardworking people eke a meager living from the stony earth.

Stivardur Sigismund, Gydja Vigdis and Hakemunn Grim are the village elders.

Town Rules

Skills: Carpenter, Peasant, Weaver
Traits: Stoic, Rough Hands
Alignment: Unaffiliated
Haggling: Ob 3

Available Locations

Flophouse, Home (equivalent to Flophouse), Market (This market is held once a month. Roll 2d6 when entering town; market is available on a roll of 9-12), Shrine, Stables, Street, Tavern

Skogenby Laws
  • All inhabitants of Skogenby must work Lady Gry’s lands 2 days out of every 7 (Ob 2 Peasant test)
  • Brawling is a criminal act. Punishable by public humiliation.
Personalities of Skogenby Lady Gry

A Gott ridder (knight) in service to Greve Jermod the Lame, Lady Gry holds Skogenby as one of her fiefs but is largely an absentee landlord, preferring her manor, Asktoft. She’s content to let the village fend for itself, so long as nothing interferes with her rents. She can be affable with her peers, but is generally brusque with inferiors.
Belief: Wealth in cattle and horses is the measure of a lord and I’ll not be found wanting.

Stivardur Sigismund

Sigismund is a Gott carl (landed farmer). As Lady Gry’s stivardur, Sigismund handles the day-to-day management of the village. He organizes the planting and harvest, ensures that all the villagers work Lady Gry’s lands as required and collects rents. He takes no guff from his fellow villagers, but is positively obsequious when it comes to Lady Gry. He’s desperate to get this business with the crypt resolved as soon as possible, especially since his son Jurgen was among Jora’s companions when she entered the crypt. He will become quite nervous if Greve Jermod’s rangers show up, as part of the fields the villagers cleared were technically within the bounds of the Greve’s forest. Sigismund and his brother Baugi secretly moved the property markers one night several months ago.
Belief: The Lords grant wealth and prestige to those bold and cunning enough to take it.

Gydja Vigdis

A Græling, Vigdis is the eldest woman in the village and is the grandmother or great grandmother of many of the villagers. While Gry and her proxy Sigismund technically rule the village, it is to Vigdis that many of the villagers look for leadership, particularly the Græling cottars (impoverished peasants that work a carl’s farm). As the village gydja, Vigdis is a priestess responsible for performing the rites and rituals to the village’s patron spirit (ættir), ancestors and Immortal Lords. She is patient, observant and expects deference. Vigdis suspects and fears that the only way to appease the horror the villagers have disturbed is with blood sacrifice—likely the children responsible. If the adventurers can’t resolve the problem, she will feel she has no choice but recommend such a sacrifice.
Belief: The Immortal Lords will have their due, one way or the other.

Hakemunn Grim

Grim is a Gott carl and the wealthiest, most prominent farmer in Skogenby. When he talks, the other freemen listen, despite his mean, churlish sense of humor. Grim believes the village should forget about the girl, seal up the crypt and wash its hands of the matter. He makes no bones about sharing that view. As more and more people die in the night, other villagers increasingly agree with him.
Belief: I know what’s best and anyone who won’t listen deserves what they get.


Gydja Vigdis’ granddaughter and apprentice, Johanna is also Jora’s mother and the wife of Vagn, the village blacksmith (a Græling whom even the Gott’s in the village respect). Johanna is terrified for her daughter and desperately wants her home safely. She’s working up the nerve to poison Hakemunn Grim before he sways the rest of the village to his view.
Belief: My family is my strength.


Jora’s cousin, Marius, is 12-years-old and carried one of the arm rings back to Skogenby after she disappeared. He’s ashamed of himself for abandoning Jora—he was the first to run. He is also grief-stricken: His father, Per, was the first of the villagers slain in the night by the spirit of the crypt. He blames himself.
Belief: The Immortals see our deeds and know the evil that we do!

Outsiders Halvor, Captain of Greve Jermod’s Wardens

Halvor represents Greve Jermod’s interests in these parts, particularly the Post Road. Halvor and his wardens have come to investigate reports of bandits hiding in the forest near the Post Road and to determine whether Lady Gry and the villagers of Skogenby illegally cleared lands that are part of the Greve’s forest preserve. Halvor and the wardens have little sympathy for the peasants’ plight, but will seek to enforce the Greve’s rights to any treasure discovered if the crypt proves to have been in the Greve’s preserve. They will look favorably upon those who help them root out the bandits or reveal the village’s perfidy.

Beronin the Bandit Chief

An outcast dwarf from the Silfjalls, Beronin leads a group of bandits that eke out a living preying on travelers on the Post Road. They have a hideout in the forest near Skogenby. Many of them were once farmers in Skogenby or other nearby villages who turned to banditry after being outlawed for poaching, murder, failure to pay taxes after a poor harvest and the like. A handful are dwarven outcasts like Beronin himself. Beronin has heard rumors of treasures in the crypt and has taken some of his bandits to investigate. They’re just as happy to rob the dead as the living.

Categories: Tabletop Gaming Blogs

The OSR Campaign Apocalyse - The Battle Lines of Ragnarok

Swords & Stitchery - Thu, 11/29/2018 - 08:34
When I wrote about Algernon Henry Blackwood's blog entry yesterday I wrote about his reality of fiction merely being the beach head into our world. In the far future the opening chess moves for the battle of humanity's place in the multiverse & its very soul's very existence. Ragnarok is not merely one event but a multitude of mini events leading up to the final confrontations; The völva Needles
Categories: Tabletop Gaming Blogs

The Bogey of Brindle

Ten Foot Pole - Wed, 11/28/2018 - 12:14

By Lloyd Metcalf
Fail Squad Games
Level 2-3

The celebration of Firstfeast is upon the good folk of Westwego, and just as the smell of cakes and pies are warming up, you find yourselves among the bootlegging goblins of Brindle. Can you save Westwego? What about the celebration? What about the hooch!?

This 38 page adventure features a nineteen room dungeon full of kobolds and a small amount of outside the dungeon play. The dungeon environment is nicely varied and it feels like some effort was put in to creating encounters that would not just be “empty room with a monster in it to stab.” The read-aloud is clumsy and the room descriptions drag out for too long but the core elements are solid. It looks like the designer picked up some bad habits that need broken, but otherwise has good ideas.

It feels like the designer thought about each room for five minutes longer than usual, and that shows in the payoff. Everything in this is at least a bit above average (ie: crap) and most quite a bit. The hook included. The village religious feastday is approaching, but the tobacco and booze has not arrived from a nearby village. The pious church hates the sin of the booze & smoking, etc, but they LUV the taxes it generates, so they get the party to try and find the shipment/go to the nearby village. How’s that for a hook? It’s fun, embraces a little bit of medievalism (the feastday, the church) and also the hypocrisy. Further, it covers what happens if the hook is refused … the nearby village shows up and camps outside Westwego, hoping for additional protection from the bogeys that plague them. A hook refused, and offered again! Nice job on this. It drones on WAY too long for what you get/need, but it also illustrates how the adventure takes just an extra step … which turns it from generic to interesting.

The rooms of the dungeon, proper, also do this. The entrance cave has an ice cold stream (with some small rules for hypothermia) running out of it. It ends in a whirlpool, a passage on the other side. There’s a concealed passage under whirlpool (Yeah! Concealed! I love it when designers put something JUST around a corner. It rewards non-jaded play) that leads to the main cave lair. That passage on the other side has a natural pool in it … and piercers on the ceiling. It fits. It works. The pool/water is a distraction. The piercers fit naturally. The entire three room entrance areas FEELS right. Natural, mysterious. Things fall off from this high point as the kobold lair, proper, is reached, but it still maintains its above average effort.

I can pick this one apart on a hundred different points. The neighboring village is a goblin village. I’m not sure why this is. Making them goblins instead of humans doesn’t seem to add anything to the adventure and, as always, I think misuse of humanoids detracts from the overall impact humanoids can have on the party. They are also presented as comical. The same weird-ass New Jersey mob dialect that comic humanoids ALWAYS get, as well as comic antics. Again, I don’t get it. What’s wrong with stupid humans? This whole style is a turnoff to me, although I recognize its more of a personal preference thing.

There’s also some references to “throwing traps at the party” in the overland portion. I HATE this shit. It seems to break the player/DM contract and there’s an element of “guiding the story” inherent to it that I VEHEMENTLY disagree with. I’m ok with “1 in 6 chance per turn of a trap” but not “throw traps at the party until you feel like not doing it anymore.” Go figure. Or kobolds with perfect party knowledge who always attack under the cover of darkness in ambush while the party is resting. Yes, it makes sense … but the party should also be getting a detection bone thrown at them, at a minimum.

And there’s the emphasis on dimensions in the read-aloud, a pet peeve of mine. Telling us that a room is 20×20 and that a 15’ section of the floor is covered in pipeweed breaks immersion. COmmunicate the feel of the room and then RESPOND to the party when they ask how big a section is covered by pipeweed. “You walk it out, it’s about 15’ square.” There’s a back and forth between the DM and party that is a critical part of play, which when combined with the fact-based dimension read-aloud makes me down on dimensions and precision in read-aloud. The game should be about mystery and the unknown, not a flood of perfect knowledge.

The little vignettes go on a little too long, and most of the villagers could use a one or two line interesting tidbit to augment them, but, it’s not a bad adventure. It’s just not a good one either.

This is $6 at DriveThru. The preview is worthless, at three pages, showing you absolutely nothing but the table of contents.–1E-OSRIC

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6GS Devilis Elbow . Draw! Step by step how-to when outnumbered?!

Two Hour Wargames - Wed, 11/28/2018 - 00:44

"Yeah, but what if there's 3 or 4 opponents?"  That's why you carry two six-guns. Pass 3d6 and get four shots off!
Categories: Tabletop Gaming Blogs

Christmas Appendix N Campaign Commentary - Algernon Henry Blackwood & The OSR Campaign Apocalyse

Swords & Stitchery - Tue, 11/27/2018 - 19:33
Adventurers are made not born into the life that we often find PC's & with the Christmas holidays approaching Algernon Henry Blackwood has been on my mind. Blackwood's is a world where one steps out the door into nature & you risk stepping into an alien world not of this Earth. The world of a fundamentally different reality whose rules are not those we know or can easily understand.   For Needles
Categories: Tabletop Gaming Blogs

Support OSR News

Bat in the Attic - Tue, 11/27/2018 - 14:02

Collecting news and information about the OSR is often a thankless job. There is a ever-growing kaleidoscope of OSR publishers with new products being released every day either commercially or non-commercially on a variety of platforms and formats.

James A. Smith of Dreams of Mythic Fantasy has dedicated considerable time and effort into collecting various bits of information and news about what going on around the OSR. Now he would like your support to keep on doing this. He has established a Patreon page where you can contribute a few bucks every month to keep his OSR News continuing. I hope you will join me in supporting James.

Support OSR News and Dreams of Mythic Fantasy

Categories: Tabletop Gaming Blogs

The Plight of the Unfrozen Dungeon Master

DM David - Tue, 11/27/2018 - 12:15

If you play Dungeons & Dragons in game stores, you will meet an unfrozen dungeon master. Fifteen years ago, I was one.

The first surge in the popularity of D&D started in 1977, when I found the first Basic Set, and continued in the 80s. Nerdy kids everywhere found the game, played obsessively, and then mostly moved on. Eventually groups separated for college and jobs. Players abandoned their books in their parents’ attics or sold them for gas money.

But we missed the game, and 10, 20, or 30 years later, those of us who loved D&D come back. We are the unfrozen dungeon masters.

Over the years, D&D has changed. Not just the rules, but also play style and player expectations have changed. When unfrozen DMs play, we can either adapt to the new style—shaped by 45 years of innovation. Or we can find like-minded players in the old school—still as fun as ever.

An unfrozen DM came to my local store during the fourth-edition era. He played enough to learn the new edition and then served as a DM on a Lair Assault. After the game, he told me about the rules he fixed on the fly because they didn’t suit him or his style of game. Such changes defied the spirit of fourth edition, which aimed to limit DM meddling in favor of giving players a clear understanding of how their actions will play in the game world. Such DM fiat especially defied the spirit of a competitive challenge like Lair Assault.

Since then, I haven’t seen a DM so clearly unfrozen, but DMs still stagger from caves and icebergs into game stores. When they run a game, newer players probably see too much focus on pitting an unyielding game world against the party, and too little on shaping the game to suit the players and their characters.

This topic inspired a question that I asked on Twitter. The answers showed the gulf between the game when I started playing and the current style of play. I felt a little like a DM staggering from melting ice to see a new world of wonders. Will I ever learn enough of the new ways to fit in?

When D&D started, DMs were called referees and they played the part of an dispassionate judge of the game. As a referee, you used die rolls to place most of the monsters and treasure in your dungeon. When the players explored, you let die rolls and the players’ choices determine the outcome. A referee ran home adventures the same they ran a tournament where competing teams might compare notes and expect impartial treatment.

D&D’s roots in wargaming set this pattern. Referees devised a scenario in advance. Players chose sides and played. In the spirit of fairness, referees didn’t change the scenario on the fly.

Chivalry & Sorcery (1978), one of D&D’s early imitators, spells out this ideal. The rules advised the GM to set out a dungeon’s details in advance so he could “prove them on paper should an incredulous group of players challenge his honesty or fairness.”

That style didn’t last. In most D&D games, no competing team watches for favoritism, so if the DM changes unseen parts of the dungeon, the players never know.

Dungeon masters differ from referees in other ways.

Unlike wargames with multiple sides, dungeon masters control the foes who battle the players. Now, DMs sometimes struggle to suppress a will to beat the players. In the 1980s, when people still struggled to understand a game that never declared a winner, competitive urges more often proved irresistible.

RULE NUMBER ONE in Chivalry & Sorcery is that it is a game, not an arena for ‘ego-trippers’ to commit mayhem with impunity on the defenseless or near defenseless characters of others. Games have to be FUN, with just enough risk to get the adrenalin pumping. The moment that an adventure degenerates into a butchering session is the time to call a halt and ask the would-be ‘god’ running the show just what he thinks he is doing, anyway.

All of the early fantasy RPGs came as reactions to D&D. For example, Tunnels and Trolls (1975) aimed to make D&D accessible to non-grognards—to players who didn’t know combat results table from a cathode ray tube. C&S follows the pattern. It reads as a response the shortcomings of D&D and the play style it tended to encourage.

C&S reveals much about how folks played D&D in the early years.

Before I entered the DM deep freeze, my players would sometimes discuss their plans of action out of my earshot. In their talks, as they speculated on the potential threats ahead, they imagined worst-case scenarios. To avoid giving me ideas, they kept me from overhearing. After all, their worst-case scenario might be harsher than anything I planned. (Obviously, I never borrowed the players ideas. My worst cases were always worse.)

D&D has changed since then, so I asked current players on Twitter for their feelings:

How do you feel about GMs who eavesdrop on your conversations, and then incorporate your speculations in the game?

  • Love it. Let’s tell stories together.
  • Hate it. The DM shouldn’t steal my ideas to complicate my character’s life.

In the responses, the lovers overwhelmed the haters to a degree that surprised me.

Players see RPGs are structured, collaborative storytelling and they enjoy seeing their ideas shape the tale. “D&D is a collaborative storytelling activity,@TraylorAlan explains. “I imagine it as a writer’s room for a TV show, with a head writer who has a plan that is modified by the other writers. A good DM riffs off what players do, uses that to build. Players then feel invested because their choices matter.

I agree, but my sense of the answers is that folks don’t often imagine their DM overhearing a worst-case scenario, and then wielding it against characters. If players only wanted compelling stories, DMs should sometimes adopt players’ cruelest ideas and use them. Stories feature characters facing obstacles. Countless sources of writing advice tell writers to torture their beloved characters. But how many players want to participate in the torture of their alter egos?

For my money, the answer to my question depends on the part a DM plays in the game, moment by moment.

Are you the adversary, with a Team Evil button?

Better to keep your eyes on your own paper, even if the players’ worst-case scenario fills you with glee. Never adopt killer strategies or dream up countermeasures for tactics you overhear.

Are you the collaborative story teller, looking to help the players reveal their characters?

When players speculate at the table, they’re making connections based on what they know about the game world—connections that the DM may not see. Adopt the speculations that link the characters to the game world in unexpected ways. They reveal they characters and tie them to the shared fantasy. Making connections real makes the D&D world seem deeper and more meaningful. It adds a sense of order that we humans enjoy in the game world, especially at times when the real world shows too little order and too little sense.

Categories: Tabletop Gaming Blogs

Maze of Peril Ch 1, Scene 7: "The Grisly Business of Swallowing the Corpses"

Zenopus Archives - Mon, 11/26/2018 - 15:51
This post is part of the Tales of Peril Book Club, indexed here.

The party wins their first combat, and Zereth directs them in standard D&D post-melee activities — searching the corpses (no treasure is mentioned), retrieving arrows, guarding the passage, checking for injuries (none are noted). Murray dissuades them from hiding the corpses as a waste of time, which proves prescient.

The area where they fought the battle was described in the previous section:
"More dark side corridors, some less than five feet wide, opened to the north. A glow of light ahead resolved, as they approached, into a diffuse beam of sunlight coming down a shaft in the ceiling which illuminated a round pit in the floor. Two thick wooden doors in the south wall were visible by the sunlight, both tight shut. At the lighted shaft, Boinger noted, there was a broad cross corridor and a narrow, darker passage intersecting the tunnel they were in."These details closely match one of Holmes' original dungeon maps, a sheet adjacent to the one shown in my previous post. In fact, the details match this map so closely that I feel Holmes must have been consulting it while writing this part of the story. Below is the relevant portion with color annotations added by myself. The main corridor runs east-west, 25' wide at a scale of 5' per square. Narrow side corridors open to the north, two doors are in the south wall, and "The Pit" is at the intersection with a broad cross corridor. The orcs attacked while the party was examining the Pit, coming up behind them from the west ("Orc Battle").

Detail from a map by J. Eric Holmes, scan by Tristan HolmesBoinger suggests investigating the two doors, which are the first doors they've found in the dungeon. They handle these in typical OD&D fashion — Bardan and the two men-at-arms bash one open, finding nothing (room above labeled "Empty"), and Boinger listens at the other. He hears nothing, but on bashing this one open they are are surprised by an "orange mass". Zereth recognizes this an Ochre Jelly, which is a "giant amoeba" member of the "cleanup crew" of Vol 2 of OD&D, and Holmes has it attack accordingly in a nice bit of description — a "long pseudopod of glistening, translucent orange tissue thrust through the gap as the door was pulled shut". The closing door severs this pseduopod, which continues to attack, and a further slash with a sword similarly divides it into two smaller globs, in accord with OD&D ("hits by weaponry ... will merely make them into several smaller Ochre Jellies"). Bardan wisely suggests burning it with a torch, which is successful, and also in accord with the original description ("can be killed by fire or cold"). Thus they survive their second melee.

Next, Boinger's "keen ears" detect an approaching sound. While in OD&D, Vol 3, Elves, Dwarves and Hobbits all have an increased chance to hear noise (1-2 in 6 versus 1 in 6), here Boinger clearly has better hearing than the elf or dwarf in the party. In Greyhawk, Hobbit thieves get an extra +1 to Hear Noise, which advances the idea that Hobbits have the best hearing of the non-humans. The sound resolves into a grating noise like someone "dragging a sack of heavy rocks down the tunnel", disturbing enough that Murray suggests they head down a side corridor. They then double back "into another corridor, this one only ten feet wide and black as pitch", where they put out their torches and wait ("Hiding Place" marked above).

Here Zereth they find a "a narrow passageway" that Zereth believes will lead "back toward the intersection", so he and Boinger use this to investigate the noise further. On the map above, this is the five-foot passage paralleling the wider north-south passage. Back at the intersection, our two heroes spy a huge Purple Worm, now in the "grisly business of swallowing the corpses" of the orcs, armor and all. Per OD&D Vol 2, Purple Worms are sufficiently large enough to swallow opponents in combat. The party had earlier noted the worm's trail throughout the main corridor, and now they have found it. They quickly head back to the party.

The original illustration of a Purple Worm from OD&D Vol 2, page 5, possibly by Dave Arneson.
Next up, we finally reach the last scene of Chapter 1!
Categories: Tabletop Gaming Blogs

Dead God Excavation

Ten Foot Pole - Mon, 11/26/2018 - 12:16

Venger As’Nas Satanis
Kort’thalis Publishing
Crimson Dragon Slayer
Levels 1-3

A fifteen page non-adventure calling itself an adventure. One door, one room, a couple of NPC’s to interacts with. Didn’t Venger write a “How to write adventures” book? Yes, yes he did. Exhibits A & B in the buying things from DriveThru. Really, the jokes on me. His pitch for a review was more manipulative than his usual “PLEASE PLEASE PLEASE REVIEW MY ADVENTURE PLEASE.” I knew it was a front and did it anyway. I just didn’t realize how bad it was.

So, yeah, it’s an archeology thing. Nobles and laborers are gathered around a recently unearthed big iron door. Carnivals, circuses, archeology expeditions, museums, post offices, DMV’s, sewers … it’s like the imaginations of the designers are bankrupt. I’m waiting for the circus archeology (or archeology circus?) adventure.

Which is not to say that the core social aspects of the nobles, sages, laborers, priest and sorcerer NPCs is bad. Quite the contrary, a group of fuckwith NPC’s each with different motivations hanging around the party while they do something dangerous tugs at my DM heartstrings. It brings the roleplay and involves a kind of push your luck mechanism with how much shit the party is going to take and/or how they are going to use the resources that a few extra bodies provide … Or, it COULD do that, if it were written well. Venger tries. You get that he’s trying to set this up with a bunch of different NPC’s hanging around, offering advice, getting in to trouble, etc. That is, if you squirt pretty hard and you see that. It comes across on a couple of pages, about a paragraph or so per NPC ending with a one line motivation. I’m going to address Venger directly now: Hey, dipshit, I know you read these reviews. Stop making the same mistakes over and over again. Put in a fucking summary sheet for the NPC’s. Stick in the name and a couple of words for motivation, characteristic, etc. That way I don’t have to keep turning back to the NPC pages and digging through the stupid text to find something worthy for them to say/do. See, if it were all on one page then I could attach it to my DM screen and look at it on the fly and see everyone in one glance and get some real nice interaction shit going on. And while I’m at it, if the NPC’s are supposed to be a big part of the adventure then give them a couple of things to do. Have the laborers smuggle in a couple of liquor bottles, or play the lotto, or a full tea service for the nobles or some such. You don’t need to drag it out, four or five words per. But its your job to help prompt the DM to action, giving them tools to work with. “Bob is a jackass.” is a little too open ended. Sure, it works, but if he’s a face talker with odious body scent/personal habits .. AND useful, all the better.

Ok, so, there’s this door. You open the door and there’s a room beyond with a dead god in it and a couple of other things to fuck around with. That’s it, that’s the adventure. Oh, and every fifteen minutes you take 1d6 damage from acid drips from the ceiling. And every fifteen minutes you have a 50% chance of just dying from some d6 table. That’s fun, right? Actually, I don’t mind the acid drips; it’s minor and encourages the party to find a way around it. The whole “evil effects while in the tomb” table, though, needs to go. It discourages exploration and interaction. Not cool. I get it, dangerous environment. But NOT exploring an erupting volcano is not fun.

Venger also puts shit in the wrong order. E’s got such a hard on for describing the dead god, and its effects, that he puts the room description elements FAR down in the adventure. Hey, first n the description is what the party see/encounters first. Then you expand it later on. You put what the DM needs first as the first thing the DM sees. Otherwise I have to read a page of text before I run the room. I’m not reading a page of your text at the table.

And what’s with the names dude? Miss Forgotten Realms much? Voss’th Ekk, Chanz Kol, grok-nods, Zirnakanan. I guess Forgotten Realms isn’t the only place where random letter generators are used for names. Next time try some names WITHOUT apostrophes in them?

He’s got some decent alien/demon magic items and At one point, when characters open a book, a woman screams at the same time … because she thought she saw a spider. Nice. That’s the kind of local colour I like to see.

Didn’t I like a Venger product in the past? Islands of Purple, maybe? Dude, what happened? Is this a money play or something else?

Get it together man. This thing needed a fuck ton more editing to tighten it up and expand it a bit.

This is $2.50 at DriveThru. The beginning of the preview shows your the NPC’s. They are not bad, they just need the summary sheet and a couple of prompts for causing trouble. The end of the preview shows you the “random death and damage” shit from when you are in the tomb. The middle shows you the, essentially, preprogrammed events at the start of the start when the party arrives. Sage touches tomb, gets headache, sorcerer shows up and warns everyone off, etc.

Categories: Tabletop Gaming Blogs


Sorcerer's Skull - Mon, 11/26/2018 - 12:00

Prowess: 5
Coordination: 5
Strength: 4
Intellect: 4
Awareness: 5
Willpower: 5

Determination: 3
Stamina: 9

Specialties: Athletics, Investigation

Devil-Man's Sidekick
Wisecracking Teen Heroine
Daughter of Demoniac

Trident/Staff Device: Strike, Blast 4
Swinging Device: 3

Alter Ego: Elizabeth "Libby" Knight
Occupation: Student
Marital Status: Single
Known Relatives: Dane Ward (father, possibly deceased), Kurt Ward (paternal uncle)
Group Affiliation: Partner of Devil-Man
Base of Operations: Arkham
First Appearance: DEVIL-MAN #362
Height: 5'4"  Weight: 105 lbs.
Eyes: Blue  Hair: Reddish blonde

Orphaned Libby Knight discovered a serious of startling family secrets. Not only was her biological father the super-villain cult leader, Demoniac, but her uncle and guardian was the superhero Devil-Man! Libby joined her uncle in crime-fighting, replacing Jim Chase as Devil-Man's partner, the incredible Imp!

OSR Holiday Review & Commentary - The Eerie West - X! By Simon Washbourne

Swords & Stitchery - Mon, 11/26/2018 - 07:37
"Strange! Ghostly! Mysterious! Rousing tales of action and adventure in a wild west that never was. Who wants to read through reams of text just to get to the action? No-one right? These rules assume you know how to role play. They assume you know about “Golden Age” comic book pulp western fiction. (Thrilling cowboy adventures through a retro lens). They assume you know how OSR productsNeedles
Categories: Tabletop Gaming Blogs

Ch. 5, Page 26

Castle Greyhawk - Mon, 11/26/2018 - 03:38
"Wait," Endelar said to her driver. She glanced back at the figures in the smoky haze that filled the street. No man had ever allowed her to get this far without running after her. If he did not come after her...the indignity of it...

Dead Horses, Nerdly Discomfort, Swoleplaying, and Sadhu Sunder Singh

Jeffro's Space Gaming Blog - Mon, 11/26/2018 - 01:48

Over on Twitter, Yakov Merkin laments the state of cultural criticism:

You know, if all these YouTube personalities seen as much time promotion quality indie works instead of repeatedly hitting the dead horse that is SJW “creators,” we’d probably be able to make more positive cultural change. But negative videos gets more views I guess.

Grames Barnaby responds with a very generous shout-out to my work:

You need to think more like an anon. It’s not that it gets views, it’s that many of the folks in tg/vidya/or other johnny come lately “lifestyling market” bullshitters that are liberal facing are scared of what they really need to abandon to re-make the spaces to work again. Or to put it in a way that someone like @Aurini has pointed out the frame of most folks in various cultural wars, is mostly about trying to roll shit back to the 90’s because of how comfy it all feels, instead of standing on a set of principles. You want great art? You need to know how great art is made, and what it stands for, not what you liked about it because muh nostalgia.

Oddly enough, even something as innocuous as looking back to old books and games for inspiration is now something that requires a great deal of brainwashing in order to be executed “correctly” today. The once-vital online vintage rpg discussion that made my book possible is currently falling all over itself to virtue signal about how they can do that while still remaining unwaveringly committed to whatever the narrative will demand of us the day after tomorrow.

Here’s Brad J. Murray with the latest dementia in that vein:

There is a lot of resistance to addressing this because cultural problems are messy and even today not everyone is going to agree what was “worse” and what was “better”. Even “genocide is bad” seems to be up for debate in some circles. Nor even which mechanical elements in that game ore are reflective of what’s worse. But also because some of the nostalgia for that earlier time, the reason for mining that old material, might just be a desire for a whiter, maler, more heterosexual context. And the idea that that might be true is rightly uncomfortable as hell. And one thing we nerds know about discomfort: we do not want to talk about it.

But when we make a game that incorporates or emulates material from that past we risk racist, sexist, homophobic regressions. And we don’t have a good way to test for it, especially if we want to ignore it even as a possibility: if you want to ignore an error your first step is certainly to avoid testing for it. Or rather, we do have good ways to test but we do not deploy them. So let’s look up from the dungeon map and take a step and acknowledge that this is a risk. That material with a forty year old context may have side effects (and possibly direct effects) that reflect that context. And that in some if not many cases that would be a bad thing. That would be regressive.

Seek enlightenment through the strenthening of mind, body, and soul. But mostly body. #swoleplaying #brosr

That is precisely the attraction to the old books and old games. They are not just fun, they are largely free of the sort of cowardly, self-hating abasement that happens whenever people attempt to make a virtue out of cultural suicide. That stuff is craven. Disgusting. Ugly. It’s also intrinsically unmanly:

I am old and white and mail [sic]. I wish I could get glasses for my brain that correct for this.

It’s got to be tough living with that amount of self-hatred. I’d almost pity such a person if, you know, they didn’t actually hate people like me more.

It irritates me. Really, it does. And a good old fashioned fisking would be danged fun if NPC’s like that weren’t in charge of schools, universities, newspapers, and HR departments.

But Grames Barnaby is absolutely right. You’re wasting your time contending with these losers. Cheah Kit Sun has– on the fiction side– the right attitude:

The best stories I’ve read have the following characteristics: 1. Tight plot 2. Believable worldbuilding and setting 3. Well-developed characters 4. Authentic tradecraft, mindset, equipment 5. Polished language 6. Inherent sense of ethics 7. Illumination of higher truths

Point six and seven are where the battle is fought most hotly. In fact, the existence of real virtues is why the fake ones have to be pushed so vigorously– and why older works have to be either suppressed or expurgated. It’s like a religion to these people. Or an anti-religion perhaps.

Probably the most insightful statement on this impulse is by Sadhu Sunder Singh:

You will hardly find men who will not worship God or some other power. If atheistic thinkers or scientists, filled with the materialistic outlook, do not worship God, they often tend to worship great men or heroes or some ideal which they have exalted into a power. Buddha did not teach anything about God. The result was, his followers began to worship him. In China people began to worship ancestors, as they were not taught to worship God. In short, man cannot but worship, this desire has been created in him by his creator, so that led by this desire he may have communion with his creator.

See, when Christianity was removed from American culture… we didn’t end up with our old culture minus the old time religion. No, we got an army of breast-beating totalitarians, fire and brimstone zealots intent on tearing down even the remnants of anything that would remind them of who or what we were.

What can you do against that? Well you can start by not bowing the knee. But most importantly, you can be– unapologetically– the thing that they hate. And create as if they have no power over you.

If you’re having second thoughts about doing that, do yourself a favor and find a biography of Singh. It’s legitimately inspiring.

Categories: Tabletop Gaming Blogs

Six Gun Sound - Shootout in Santa Fe Bat Rep

Two Hour Wargames - Sun, 11/25/2018 - 22:08
With Six Gun Sound - Devil's Elbow coming out soon, been doing lots of play testing and fine tuning. The new Draw mechanics add a level of tension to the game that isn't  in any other THW games.  
1877 - Santa Fe New MexicoThe Sheriff has collected his Deputies to confront Charlie Ward and his Outlaw gang. First a little Story telling.

 Enough talk. Before you actually Draw, each Character must take the Will They Draw Test. There's six Professions and some may talk the talk, but won't walk the walk. Citizens, Townsfolk and the like tend to leave before the shooting starts. Easy to do, just roll 2d6 versus Rep and modify it by any applicable Profession or Attribute. In this case, the Lawman and Outlaw pass 2d6. Let's do this!

 Now here's where it gets intense. Each Character rolls 3d6 versus Rep. TOTAL the d6 scores from all the passing d6, in this case the Sheriff has 5 and the Outlaw 4 as he's Rep 4. If he was Rep 5 he would go first as his total would be 9 versus the Sheriff total of 5, even though the Sheriff passed more d6!

 After the 3d6 are rolled, set the highest passing d6 aside. This is important. Now roll for damage.
"6" = Obviously Dead.
Rep or higher but not a "6" = Out of the Fight
Lower than Rep = Reduce Character's Rep by highest passing d6 scored by the shooter and take the Carry On Test if new Rep is 1 or higher.

 The Sheriff won the draw and fires. By passing 3d6 on the Draw he scores two hits. Pass 1d6 and he scores 1 hit. Pass 0d6, he misses and the other guy fires - based on his Draw roll.
Charlie goes Out of the Fight, both sides now go to the Action Table, the Lawmen fire first.

 After all the shooting and returning fire, four guys are Dead or Out of the Fight and the last Outlaw runs away. How long did it take? About 5 minutes. The two wounded Outlaws would go to a Jail Break Encounter, the Lawmen would roll for their next one.

Categories: Tabletop Gaming Blogs

WTF? Cyber Monday?! Are you kidding me? Okay, extend the 25% off sale through Monday

Two Hour Wargames - Sun, 11/25/2018 - 19:09

Use the coupon code


and get 25% off your whole order. Through Cyber Monday.

Order here!
Categories: Tabletop Gaming Blogs

Professor Fright [ICONS]

Sorcerer's Skull - Sun, 11/25/2018 - 15:00
Prowess: 3
Coordination: 4
Strength: 3
Intellect: 5
Awareness: 5
Willpower: 5

Stamina: 8

Specialties: Science

"My genius will be recognized!"
Hammy TV Horror Host
Sadistic Streak

Fear Broadcast (Emotion Control Device, victims must be able to hear and/or see the broadcast): 7
Mind Control Device (Broadcast, hypnosis--can only make victims do actions that would arise from fear, must be seen and/or heard): 6

Alter Ego: Zachary Graves
Occupation: Former television personality and psychology professor
Marital Status: Divorced
Known Relatives: None
Group Affiliation: Masters of Menace
Base of Operations: Arkham
First Appearance: FRIGHTFUL TALES #1
Height: 6'0"  Weight: 174 lbs.
Eyes: Gray  Hair: Black

Zachary Graves was fascinated with fear from a young age. He pursued a career in psychology  was a specialty in research into fright. Though concern about the direction his studies were taking drove him from academia, he found work as a horror movie host on a local television station, creating the character "Professor Fright." There he perfected his broadcast device for causing frightening hallucinations in the viewer, but was he fired when an intern was injured tampering with the device. Graves attempted to sell this invention to a defense contractor, but reputation as a television personality led them to dismiss him as an eccentric. Angered at the world he perceived as failing to reward his genius, Graves used his device to get revenge on those who wronged him as Professor Fright!

[BLOG] A Year of Anniversaries

Beyond Fomalhaut - Sun, 11/25/2018 - 14:27

By coincidence or unknown heavenly purpose, 2018 has been a year of gaming anniversaries: multiple games which have had an impact on me are celebrating something. The oldest of them is M.A.G.U.S., Hungary’s most popular role-playing game, now 25. M.A.G.U.S. is both an AD&D imitator and its own thing, and its effects on the local gaming scene has been tremendous, even though the original publisher is long defunct, and no popular edition has been released in a long while. I have had a conflicted relationship with it, and my tastes are often in opposition to the surrounding play culture, but I recognise its basic appeal. But more on that in a later post. The second game is Thief: The Dark Project. Thief is not an RPG, but it has captured my imagination like no other computer game (except maybe Wizardry VII). Thief is going to be 20 at the end of November, and I will, again, write about it a bit later (right now, I am working overtime to have my anniversary fan mission playtested). The third game is closer to this blog: it is none else but Swords & Wizardry. Matt Finch’s take on OD&D is 10; there have been several edition, a boatload of modules, and it has an enduring popularity as one of the simpler, easily moddable old-school rulesets. But this article is about a different game: mine. Accordingly, most of this is inevitably personal, and none of it is an objective, outsider’s view.
Cover designs for Sword and Magic modulesSword and Magic (“Kard és Mágia”) shares its name with S&W, and by some unseemly miracle of timing, they share a release date: both were published on October 15, 2008. There is an abbreviated English-language version of the basic mechanics, but this is not really the full game, which is a complete RPG in three booklets with some 190 very densely typeset pages (and no illustrations whatsoever). The real game is in those details. Sword and Magic, which I would be ill advised to abbreviate, was published as an effort to introduce the idea of old-school gaming to the Hungarian gaming scene, in the form of a free ruleset, and a range of fan-made adventures and supplements. This is a plan I had had since at least 2003: at that time, I published a homemade d20 module (The Garden of al-Astorion), but never followed up on the initial effort. But the idea, inspired by Judges Guild, Necromancer Games, and their ilk, was always there: I envisioned people sharing and sometimes selling their own home-made content online and at conventions, and creating a creative community from which all could benefit.
The effort was in part borne of the enthusiasm to share an exciting discovery (the old-school playstyle, then newly rediscovered, and still in the process of taking shape in discussion and flame wars around the net). But it was also an effort to get away from the top-down content creation model dominating the Hungarian RPG scene, where amateur efforts had died off to yield to a supplement treadmill mainly consisting off – no offence – unplaytested, unplayable, and often actively play-hostile rubbish. I felt like an outsider in that world, but recognised there were a lot of other gamers who would appreciate something different. After all, I could sell my group on the idea – why not the others?
Sword and Magic was created around the same time as the first Castles&Crusades playtests. It arose from the same discussions, but ended up going in an entirely different direction. Ironically, so did OSRIC, the legal precedent for retroclones: our disagreements were wide, and often very acrimonious. Sword and Magic is mechanically closer to the idea of a “d20 light” system than a faithful retroclone like OSRIC, and makes much fewer compromises towards recreating a specific “AD&D feel” than C&C. It also has a simplified skill system, which neither of the other two games ended up adopting, and which dyed-in-the-wool old-schoolers tend to scoff at. However, it guts the 3.0 rules without mercy, and cuts out much of the game’s subsystems (Feats, most classes) and mechanical complexity (almost all special cases, the byzantine rules to stat monsters and NPCs), and creates a game that is medium-powered, dirt simple, and sword&sorcery-flavoured (much more than any of the big old-school systems, but not in a purist way – people have used it to play on Titan, the Fighting Fantasy world, and there is a very elegant Middle Earth-focused variant). It is also a game you can hand to a new player, and have them playing in your game in about 15-20 minutes (real-life statistics).
Sword and Magic was mostly system complete by 2006, along with its Monsters & Treasures booklet, but took two more years to publish due to the third. I spent two years writing and polishing Gamemasters’ Guidelines, a comprehensive, bottom-up guidebook on gamemastering, from running a game to designing adventures, campaigns, and fantastic worlds (as well as a treatment on different playstyles, pulp fantasy genres, a brief domain management system, and a set of random tables). Nobody had really done this before in Hungary (actually, very few have done it in the US either – most games traditionally gloss over teaching you GMing in a structured, bottom-to-top way), and it took a while to get right. I think you could probably hand the resulting guidelines to any starting GM, and it would be useful – my hope was that it’d spread beyond the specific system, and prove itself as a general play aid (this did not work in the short run, but apparently, it has had some success over the years).
Tesco Value layout
The game was released on 15 October, 2008, with a range of four modules, and the odd techno-Hellenic world of Fomalhaut as its example setting. I consciously chose a minimal design style for the product line, sometimes expressed as a “Tesco Value” (i.e. “store brand”) RPG. There were no illustrations beyond the simple and op-art-inspired cover logos (I live in Victor Vasarely’shometown, and quite like his geometric style); layout was two-column 9-point Arial; and it was, and to this day remains absolutely free in PDF. (There were no print edition at the time, although I broke the rule with my second RPG, the lavish Helvéczia boxed set, and the new 2018-2019 releases). It received no store distribution, and was entirely dependent on word-of-mouth – local game magazines had died out by the time. For all that, Sword and Magic found its place in the Hungarian gaming scene. Not without the usual acrimony and rejection – quite a lot of gamers had been deeply convinced by the makers of M.A.G.U.S. that “AD&D” was a primitive, worthless game, and it was only suitable (perhaps) for small children… despite having the oldest fanbase of any locally available RPGs. But in the end, you can’t win them all, and acrimony is publicity.
Most of the game’s fans came from the wider D&D community, an even mixture of veterans (who had fondly remembered the amateur roots of the local gaming scene) and newcomers (who had discovered it as a new thing). Its most successful years were between 2008 and 2013, when the surrounding forum community was the most active; since then, things have settled down a bit, but it is still surrounded by a fairly good community of active players. It did not take the hobby by storm, but it has established a foothold and legitimised a previously neglected playstyle.
It is also fairly well supported by the standards of a small non-English-speaking country. Someone looking at the back cover of the latest Echoes From Fomalhaut issue could note 33 supplements (the rest are either for Helvéczia, or in English), about a third of which are by guest authors. These are mostly short to medium-length; however, all are game-friendly and playtested, having withstood the test of actual play. (Having been burned by quite a lot of bad game materials, which ended up driving me away from the hobby in the 1990s, it has been my firm policy to publish playtested materials only, and insisting on giving playtester credit.)
Over the years, much of the community around the game have embraced new systems (5e has been a strong rival, although I am arrogant enough to claim my game does the same things better, and with less work), while keeping around some of the game’s ideas and house rules. It has inspired the creation of new rulesets – Kazamaták és Kompániák (Dungeons and Companies, a more OD&Dish game with robust follower rules, now gearing up for a second edition), and more recently, Kardok és Másodteremtés (Swords and the Second Creation, which is Middle-Earth-based). The community has also created its own series of mini-conventions, entirely focused on getting together and gaming for a day: Random Encounters had had 6 events (mostly focused on old-school systems and indie games), followed by The Society of Adventurers, which had its 8thevent yesterday (this one also has a robust 5e presence, but this particular instalment was in celebration of our 10th anniversary). As much as anything else, this is what makes me the most happy: inspiring people to go forward and develop their own ideas (the “Fight On!” principle). And of course, keeping it play-oriented, bottom-up, and close to the actual fans. This is our game; perhaps not the largest in town, but it is ours.
Cloister of the Frog God: 10th anniversary moduleWhat has the anniversary meant for English-speaking gamers?
Well, Echoes #04 is going to be slightly late, an early 2019 release. Beyond my day job, a lot of my time has been taken up by my Thief mission for the 20thanniversary contest (now in late playtesting stages, to be released in early December), and four adventure modules. One of these, Cloister of the Frog God, a 40-page wilderness-and-dungeon module, has already been published. This module has a complicated history. It comes from my old, never released Tegel Manor manuscript, which I largely cannibalised for this module, and later for my upcoming megadungeon, Castle Xyntillan. (Note, bits and pieces may turn up in Frog God Games’ recently kickstarted take on it – but that one is mostly going to be Bill Webb’s work, and I am interested in what that fiendish mind will come up with!) The Cloister dungeons were published in the Frog God edition of Rappan Athuk (it is one of the wilderness locales), and will also be part of the new, revised 5e volume. Accordingly, I am not going to publish it as a separate module. However, the wilderness section will become a standalone adventure, and the main feature for Echoes From Fomalhaut #04, with an excellent Matt Ray cover, and illustrations by Andrew Walter and Denis McCarthy. If you speak German, the whole module is going to be published in a special issue of the Abenteuerfanzine (Settembrini will be able to tell you when).
But there is more. As part of the anniversary, my friends in the community organised a Sword and Magic module writing contest, with me as the judge. The three submitted entries were all worthy of publication, with very different takes on the game and its concepts. They include Murderous Devices by Mátyás Nagy, a sinister murder mystery set in a French Caribbean town (not unlike the Freeport series, the module doubles as a city supplement); The Enchantment of Vashundara by Zsolt Varga, a surreal adventure taking place on the home plane of a god in trouble (with an original and well-realised perspective); and The Lost Valley of Kishar by Gábor Csomós, the best damn lost world adventure I have seen. These adventures will all see publication, in both print and PDF (and this time, with worthy illustrations), and the latter two will also receive an English translation, one in Echoes, and one as a standalone (Murderous Devices, while very cool, lies a bit outside the scope of EMDT’s thematic focus). I am confident people will love them when they see them.
Until then… Fight On!
Contest winners: Coming 2019 to your gaming table!

Categories: Tabletop Gaming Blogs


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