Slasher Serial

There is someone stalking us. Someone faceless or wearing a mask that hides his features, makes him anonymous, who wants us dead. He will catch us. He will slice us. He will stab us. He will play elaborate pranks on us. Pranks that do not make us laugh, but make us die. Then he will fade into the background, allowing a moment of respite to recover, only to come stalking out of the darkness, relentless, unstoppable. Picking us off, one by one. Perhaps always targeting the same person. Again, and again. All for reasons only he understands. Perhaps he has a weakness, something that will stop his unflagging hunt for you all. What will it take for you to survive? What will it take to stop him? What will you tell your family, your friends, your children about this determined horror? This ‘Slasher’ insistent upon bringing your life to end? Nothing? Or reveal the truth? Or let the trauma of your experience fall upon their heads until the Slasher from your youth comes looking for them and they realise that it was all real…

The slasher film is a subgenre of horror films that involves one or more killer stalking and killing people with knives and other sharp implements. The Texas Chain Saw Massacre, Halloween, Friday the 13th, A Nightmare on Elm Street, Child’s Play, Scream, and I Know What You Did Last Summer are considered to be classics of the subgenre and most of them have spawned sequels and even franchises of their own, as well as books, games, and more. It is the idea of the Slasher film as a franchise complete with a returning Slasher such as Michael Myers, Jason Voorhees, Freddy Krueger, and Chucky that is explored in SHIVER Slasher: Generation Murder.

SHIVER Slasher: Generation Murder is a stalking, slashing, stabbing sourcebook and campaign for Shiver – Role-playing Tales in the Strange & the Unknown, the horror roleplaying game published by Parable Games. It not only analyses the Slasher subgenre, but also provides six different scenarios all from the subgenre and different eras of the subgenre. These can be run as a single campaign with generational play, the players creating and roleplaying characters who are related to or descendants of the characters who were victims of a Slasher in the previous scenario. The playthrough of each film or scenario follows the structure of the Slasher film, with its advance and retreat format and its building of terror, all to a final confrontation with the Slasher. In turn, they take the Player Characters from the nineteen thirties to the twenty-tens, via the nineteen fifties, eighties, nineties, and noughties, forcing them to confront a different type of Slasher each time. Any one of the six scenarios in SHIVER Slasher: Generation Murder could be run as a single one-shot, but ideally not, because in-between, the survivors will pass on an inheritance to subsequent Player Characters. In effect, the entirety of the campaign in SHIVER Slasher: Generation Murder can be seen as one big Slasher film, with the inheritance interludes between each scenario as the only respite.

Although the campaign in SHIVER Slasher: Generation Murder has its own Slasher(s), the supplement handily categorises the various types as monsters that the Game Master can use them in scenarios of her own creation. So, for the Jason Vorhees or Michael Myers type there is the Unstoppable Force, the Supernatural Terror for Freddy Kreuger or the Candyman, and even the Apex for the Xenomorph or the Predator, which obviously points to a different interpretation of certain Science Fiction film series. There are full stats for all of these and discussion too, of possible attacks and signature weapons, and of course, resistances and weaknesses, the discovery of the latter typically enabling the Player Characters to defeat their Slasher. Lastly, there are some thought upon what the Slasher is going to look like, what makes his appearance iconic. The advice here is fairly broad, but in that, it certainly fits the horror subgenre.

The inter-generational nature of the campaign in SHIVER Slasher: Generation Murder is handled via ‘The Inheritance System’. This starts with the players deciding upon why their characters or one of the characters in their group has inherited the ire of the Slasher stalking them. This can be due to a curse, a transgression, or a prophecy, but whatever the cause the legacy means that they will inherit two things—a Boon and a Cost. A Boon can be an artefact or wisdom, a Cost a certain trauma or a fear. An artefact might be a Lucky Rabbit’s Foot or a Diary; the Wisdom might be First Aid Skills or knowledge that ‘The Truth is Out There’; the Trauma could be Fear Paralysis or Panic Attacks; and the Fear could be of Fire or Masks. The campaign makes use of these and more.

The campaign in SHIVER Slasher: Generation Murder presents six very different scenarios. Each is very nicely formatted, including a set-up, suggested characters for use as both Player Characters and extra NPCs, a Classification Board, details of what the Director knows, enemies, weapons, and items, the epilogue, and the Doom Events. The Doom Events are the four events per scenario that can be triggered over the course of the script, whilst the Classification Board categorises the scenario. Actually the ‘SHIVER Board of Classification’, for each scenario it lists the length of play time, number of players required, Subgenre, Film Age Rating, Content Warning, Recommended Ability Level, and Watchlist. The latter includes the archetypal films that the script references and that the Game Master should watch for inspiration. The six are all quite linear in terms of story and lengthy too, so will probably take two sessions to play through.

The campaign opens with a prequel, ‘The Quiet Isle’. It is set in the 1920s and inspired by King Kong and Cannibal Holocaust. The Player Characters are the cast and crew of the groundbreaking film, The Lost Temple. Groundbreaking because it is going to be shot on film with the new technology. However, despite the director having sent out an advanced scouting party to get things set up on what is a lost world, by the time the Player Characters get there, it seems to have doubled down on being abandoned. Even getting to the base and the film sets is fraught with danger, and that is before things begin to go badly wrong. And that is all whilst the director is trying to get scenes shot. The scenario switches into a big chase sequence as the Player Characters try to get out of the ancient temple below the island. The scenario would be easier to run if there was a map of the sequence and it feels more Indiana Jones than King Kong in places, but it sets everything up for what is to come. This includes the villain of the whole campaign and a secret organisation with an interest in what he will doing in the next one hundred years! Its filmic nature also means that there is scope for a crossover with the publisher’s other anthology-campaign, SHIVER Blockbuster: Legends of the Silver Scream.

It leaps forward to the fifties with ‘Static Zone’. The setting is small town America and the inspiration is Stephen King’s It and Channel Zero. Thus, the Player Characters are children and the subject matter is the technological marvel of the age—television. They get to explore the town of Wayville and get a hint of what the lives are like for some of the adults in small town America. In this case, living in a box that is suburban and conservative. As children they do get see behind the façade, if only a little, and may gather a few clues that might be useful in the second part of the scenario. This takes place behind the television screen, first in an unreal reflection of the Player Characters’ own home life, then wider suburbia, and lastly, in a series of very dark versions of children’s television programmes. They will encounter dangerous mannequins, cartoon bullies, a killer pig, and Chippy, an axe-wielding maniac, who could be a man in a beaver costume or a big, animated beaver! Thematically, ‘Static Zone’ takes the conservatism of the fifties and gives it very scary twist.

The given inspiration for the next part is Alien and Stage Fright, but at times it touches a little on The Running Man as well as video nasties. Moving into the eighties, ‘Curse of the Owlman’ shares some of the unreality of ‘Static Zone’, but this time of film-making rather than television. The Player Characters are only a little older, teenagers in their school’s Audio/Visual Club who sneak into a film studio shut down following a series of on-set deaths, for a once-in-a-lifetime opportunity to see a never before released film. Unfortunately, there is a very reason as to why the film was never released, which the Player Characters discover as the Slasher on-screen climbs out into the screening room and begins chasing them through the studio, including across sound stages which are set up just like they have seen on the screen! There is more of a mystery to this scenario and some puzzles to be solved before the final confrontation and the Owlman is sucked back onto the silver screen!

As the title of the fourth scenario suggests, ‘Be Kind, Rewind’ is all about VHS video cassettes. Set in the nineties and inspired by Saw and Squid Game, the Player Characters are now adults, looking for a ‘get-rich-quick scheme and desperate to sign up for a business conference promising wealth and success, held at a rundown Las Vegas-style hotel undergoing renovation. The villain of the piece, Mister Flick, only appears on screen for most of the scenario as the Player Characters ascend the hotel being made to play one deadly game after another. The scenario does involve scenes of torture that the Player Characters will need to find a way to stop, typically by winning the various games.

A cross between Terminator and Bubba Ho-tep, though there also hints of the novel, The Thursday Murder Club, ‘Fear, Scream-Lined’ takes place in the noughties at Shaded Pines, a retirement village. The Player Characters are retirees, members of the ‘Midnight Mystery Society’ to stave off the boredom of life in the highly regulated community, when the leader of their group goes missing. Investigating—or rather, being overly nosy—ends with them all following in her footsteps and receiving personalised care in the Shaded Pines’ medical facilities. Investigating further reveals that the retirement home is a front for a secret project to create the next evolution in fear, a biomechanical homunculus capable of transforming into the other Slashers. Which in this case means those Chippy, Mister Flick, and the Owlman! Of course, the creation turns on the creator in the final scene before the Player Characters have to battle it in the laboratory. This is weirdly creepy and made all the more challenging by the players having to roleplay retirees.

The campaign comes to a head in the last and final scenario, ‘Re-Slasher-Ed’. Combining Cabin in the Woods, Monster Squad, and Freddy vs Jason, it brings back the Slasher for 2010s at ‘Slash-fest 201X’, a convention dedicated to the horror subgenre and the works of a late director renowned for his horror films. It unsurprising that this final scenario is self-referential, with room for Player Characters from previous instalments to star as attendees much as Slashers from those previous episodes do, and there are plenty of callbacks to those instalments along with room for more. These include a playdate with Chippy and facing Mister Flick in a virtual realm, all the Player Characters have a final showdown with the villain behind it all. It brings the campaign to a decent close, but is less useful as a standalone affair given that it references so much of the rest of the book.

Physically, SHIVER Slasher: Generation Murder is another good-looking book from Parable Games. Although there are moments of respite, the artwork looms out of the darkness at you, cartoonishly horrifying in its depiction of the monsters and maniacs that will threaten one set of Player Characters after another. Unfortunately, it does need an edit in places and the writing feels a little rushed.

Unfortunately, SHIVER Slasher: Generation Murder does not work quite as well as the publisher’s other shared anthology campaign, SHIVER Blockbuster: Legends of the Silver Scream. Whereas in SHIVER Blockbuster: Legends of the Silver Scream, the players are roleplaying the same characters from one film or scenario to the next, although performing a different role each time, in SHIVER Slasher: Generation Murder, the players are not roleplaying the same characters in each of its scenarios. They are roleplaying different characters, some or all of whom are related to characters who appeared in a previous scenario. They are also playing in different eras, decades apart, with each scenario showcasing a different type of Slasher each time. Whilst there is the connection of the villain between scenarios, the overall connection between the scenarios is not as strong or as immediate because of the campaign framework. Obviously, the supplement has to showcase the different types of Slasher and different types of Slasher particular to each era, but this weakens the connections between the scenarios and the campaign, because unlike the film franchises which inspire the supplement, there is no horrifying realisation that Michael Myers or Freddy Kreuger has come back from the grave to hunt us down again.

Conceptually, SHIVER Slasher: Generation Murder is a great idea, but the supplement really shows how difficult that idea is to bring to fruition and make it engaging for the players. This is not to say that the idea is unplayable or indeed, that SHIVER Slasher: Generation Murder is unplayable. Rather that ultimately, SHIVER Slasher: Generation Murder is easier to run as an anthology of disconnected Slasher scenarios than as a connected campaign.

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Parable Games will be at UK Games Expo which takes place on Friday, May 30th to Sunday June 1st, 2025.

Miskatonic Monday #349: Omega Kappa DIE!!!

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

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Name: Omega Kappa DIE!!! – A Highly Inebriated, Modern(ish) Horror-Comedy Scenario For Call of Cthulhu

Publisher: Chaosium, Inc.
Author Colin Richards

Setting: USA, 1930 and 1999

Product: One-shot
What You Get: Seven page, 877.91 KB PDF

Elevator Pitch: Animal House meets Call of Cthulhu

Plot Hook: “’Cause they say

2000, zero-zero, party over, oops, out of time

So tonight, I’m gonna party like it’s 1999”

– 1999, Prince

Plot Support: Staging advice, ten pre-generated Investigators, eight handouts, one set of floorplans, six NPCs, a robot, three Mythos monsters, and a goat.

Production Values: Excellent.

Pros

# Thematically brilliant design

# Good handouts

# Inventively macabre description of the ritual

# En media res action

# Every player gets a Drunkometer

# Dipsophobia

# Social anxiety disorder

# Phasmophobia

Cons

# Astrology or Astronomy?

# A lot of mature elements and the caveats are deserved

# Some scenes are going make you go, “Ick!”, let alone the players

# “Nyarlathogoat”

Conclusion

# Don’t say Omega Kappa Pi, say Omega Kappa DIE!

# An orgy of witting nastiness that highlights the horror of the Mythos

# Reviews from R’lyeh Recommends & Discommends

When the Wind Walks

Something strange happened in Willis, Alabama at 1:43 am on December 22nd, 1998. The temperature dropped from a typical seasonal average of 3 degrees Celsius to -30 degrees Celsius for a total of four hours. Every person, every creature, is dead. Frozen to death. Is this evidence of an extraterrestrial incursion? Is it freak weather, perhaps a recurrence of a local phenomenon known as ‘Jack Frost’? Or it something else. Above all, what can be learned from it? The authorities want to know. Authorities deep with the U.S. government want to know and they will kill to keep it a secret including even their own staff. Scientists, drawn from an ultra-classified UFO research project, are assigned to investigate the freak incident. They are part of the infamous MAJESTIC programme, specifically PROJECT PLUTO from the top-secret labs at Area 51, supported by the pararescuemen and pilots trained to recover alien technology from OPERATION BLUE FLY, with security provided by NRO DELTA, the lethal ‘men in black’ who keep America’s secrets from America itself. On the ground they will come to realise that what they are examining lies beyond the scope of PROJECT PLUTO and as the weather oscillates, sending temperatures unnaturally plummeting and nerves soaring, events around them exacerbate the growing sense of fear and paranoia. Can the scientists of PROJECT PLUTO discover the cause of the frigidly deadly ‘Jack Frost’ incidents and prevent it from escalating before their own security turns on them? Christmas this year is certainly going to be one to remember—if they survive!

Jack Frost is a scenario published by Arc Dream Publishing for Delta Green: The Role-Playing Game. This is the modern roleplaying game of conspiratorial and Lovecraftian investigative horror with its conspiratorial agencies within the United States government investigating, confronting, and covering up the Unnatural. In traditional scenarios for Delta Green: The Role-Playing Game set in this period, the Player Characters are members of Delta Green, the organisation, at times official, but in 1998 unofficial and regarded as an antigovernmental conspiracy, dedicated to investigating the Unnatural, limiting its effects, and preventing the wider public from becoming aware of it. Not so in Jack Frost. In Jack Frost, the Player Characters are scientists working for MAJESTIC and PROJECT PLUTO and United States Air Force personnel from OPERATION BLUE FLY. This puts them on the other side, though their enemy is not the itinerant members of Delta Green, but a combination of themselves, their own security, and what they encounter on the cold nights in the Yellowhammer state.

Jack Frost is a one-shot scenario designed to be played in two to three sessions with six pre-generated Player Characters, four of whom are scientists and two of whom are United States Air Force personnel. It is played out over the course of three days and three nights in the lead up to Christmas Day. Potentially, if there are any survivors, their experiences as part of Operation WEATHERWATCHER may drive them to switch sides and begin working for Delta Green rather than MAJESTIC. However, Jack Frost is a challenging scenario—in fact, a very challenging scenario—and the likelihood of the Player Characters surviving beyond the events in Alabama, let alone in the long term, is low. Anyone surviving long enough to work for Delta Green following an operation a la Control Group is going to be a very remarkable individual and it is going to take a lot of skill and luck upon the part of his player.

Jack Frost begins with the Player Characters being transported to Willis, Alabama, where the scenario proper opens with a briefing. By the standards of Delta Green: The Role-Playing Game, it is an incredibly extensive and detailed briefing, the wealth of knowledge presented to the players and their characters a radical contrast to that normally given Delta Green agents. What it highlights, even as it threatens to overwhelm the players, is the means and resources that MAJESTIC has to hand with its extensive governmental funding, whereas Delta Green is operating with virtually no budget! However, with that budget comes not just responsibility, but also oversight. In the case of Operation WEATHERWATCHER, quite literally, as there will be a two-man team assigned to the Player Characters from NRO DELTA to provide security, obviously to protect them and and the operation, but also to watch over their actions every day. As the scenario progresses and events get weirder and weirder, this need to watch the actions of the Player Characters transforms into paranoia. The situation is not entirely hopeless for the Player Characters though, as a combination of their persuasiveness and their knowledge, they may be able to convince them that their actions are the right ones...

Over the course of the three nights, the situation gets worse and worse. There are some truly horrible moments in the scenario as you would expect, some of which make you glad that it is a one-shot. The threat faced by the Player Characters is Itla-shua, the ‘wind walker’ of the far north, whose presence is felt nightly until the temperatures are cold enough to facilitate an appearance. Meanwhile, his children rise and if not stopped, will go on a rampage that might not end, but occur again and again in deep winters for decades to come. Stopping his coming and then banishing him is very, very difficult. The situation has to play out in a certain way and things have to go right for the Player Characters. There is definitely no guarantee that this will happen and there is the strong possibility of failure and death for all concerned.

Structurally, Jack Frost feels tightly constrained with its time limits and difficult choices made all the harder by the fact that the Player Characters will often need to get permission to follow them through. The information dump at the start of the scenario is daunting and the two Player Characters who are not scientists, but United States Air Force personnel, may initially find themselves with relatively little to do. As the action picks up on subsequent nights, this changes when they may become vital to the survival of everyone. There is scope for the players to each roleplay a secondary character, again from amongst the United States Air Force personnel, as they are better suited to the action scenes in the scenario.

What marks Jack Frost out as a very different scenario for the Delta Green: The Role-Playing Game is not just the fact that the Player Characters are members of MAJESTIC, but that it is a science horror scenario. It is science that drives the Player Characters to investigate the Unnatural and only late into the their investigative efforts do they realise that what they face is beyond science or even beyond the remit of MAJESTIC with its obsession with obtaining the advanced technology of the Greys. Nevertheless, they have to rely on the scientific process, which lies outside the traditional means of investigating Lovecraftian horror and Lovecraftian investigative horror roleplaying games. As a consequence, both the Handler and her players need to make some adjustment in conducting the investigation and reading the majority of the handouts that take the form of instrument and sensor readouts. This is not to say that there are no traditional handouts, such as newspapers or letters, but they need to be searched for whilst under the watchful eyes of NRO Delta agents.

Physically, Jack Frost is very well done. The artwork is excellent, for the most part, and the handouts are all equally as good.

MAJESTIC has always been portrayed as the villain in the Delta Green: The Role-Playing Game and Jack Frost is no different. Except that the players get to see this from the inside, by roleplaying members of the programme who believe in its aims and know that it is doing the right thing. Their experiences in Willis, Alabama will change that outlook—if they survive. Jack Frost takes Delta Green: The Role-Playing Game through the looking glass to discover just how mercilessly cold it is with a shocking, frigidly difficult investigation.

I Sing The Mind Electric

The extinction is coming and America is dying. It began in 1974 in the wake of President Ford pardoning Nixon after Watergate and an assassination attempt on Ford. A civil rights spokesman was blamed and in the demonstrations that followed, the Capitol in Washington D.C. was stormed and the US Army was sent into to quell the protestors, resulting in hundreds of deaths when they opened fire with live ammunition. Across the USA, people took up arms in response and incidents of guerrilla warfare broke out across the country. Within a year, the conflict escalated and first California and then Texas seceded, and the country was in civil war. The Second Civil War lasted until 1984, prosecuted by the sophisticated drone technology adopted by the military following the development of scientific field of Neuronics. There were no winners and the former USA remains divided still thirteen years later. In the west, the nation of Pacifica has arisen out of the old state of California, its wealth built on Hollywood and further development and widespread adoption of neurotechnology. The biggest company in Pacifica and arguably the power behind its president, Sentre, made Neuronics available to the public through Neurocasters. Wearers of these high-tech devices are not only capable of controlling drones, but also of accessing neuroscapes, hyperreal landscapes. With the release of Mode 6 by Sentre last year, something changed—and changed for the worse. Some suggested a God awoke within the Machine, some say Pacifica’s enemies were attacking via the system, but whatever it was, users became addicted to their Neurocasters. They preferred it to real life. Some, deeply immersed in the virtual worlds that give them every experience they want, wear their Neurocasters until they die. Others roam the roads and the landscapes, stilling wearing their Neurocasters and controlling hulking great drones. Nobody was immune. As more and more people have become addicted to their Neurocasters, the more services and tasks have begun to break down. This lassitude is spreading and with it an impending apocalypse… Elsewhere there are rumours of technocults hiding out far from the cities and shambling mechanical creatures assembled by the Neuronic network rather than man. Yet there are a few who are immune to the effects of the Neurocasters and there a few who want to move, to become Travellers ready to make the long and dangerous journey to elsewhere, to get away, to find something, to find someone.

This is current situation in The Electric State Roleplaying Game, a pre-apocalyptic Science Fiction dystopia set in 1997, based on the book by Simon Stålenhag, whose artwork has also inspired the roleplaying games, Tales from the Loop – Roleplaying in the '80s That Never Was and Tales from the Flood. All three are published by Free League Publishing and all three use the Year Zero mechanics first seen in Mutant: Year Zero – Roleplaying at the End of Days. This is the 1997 of Nirvana and Sony Walkmans, Bart Simpson Tee-shirts and Nintendo Game Boys, hoop earrings and slackers, and so on. Recognisable were it not for the rise in advanced technology that has given the world drones, robots, and Neurocasters. It is a world in which the Player Characters want to get somewhere else. They each have their different reasons, but travelling together is safer than travelling alone. Society is not what it was with everyone immersed in the worlds of their Neurocasters. The landscape is not what it was, swathes left untended or poisoned from the Second Civil War. The Journey that these Travellers undertake is the focus of The Electric State Roleplaying Game, its route marked by a Starting Point and a Destination, and in between, Stops. Stops can be a place where the Travellers get food, petrol for the car, find a payphone, and then move on, but they can be a place of danger and mystery…

A Traveller in The Electric State Roleplaying Game has four Attributes—Strength, Agility, Wits, and Empathy, which are rated between two and six. Health and Hope are derived from this, with Hope being a personal resource that can be reduced to push rolls or traumatic events. He also has an Archetype, a role representing what he is. The options here include Artist, Criminal, Devotee, Doctor, Investigator, Outsider, Runaway Kid, Scientist, and Veteran. Perhaps the one signature Archetype is the Drone Pilot, who will not bodily appear in play necessarily, but instead be represented by the Drone that he constantly controls via his Neurocaster. Each Archetype provides options—either chosen or rolled for—in terms of starting Talent, Dream, Flaw, Neurocaster, and Personal Item. The Talent will either grant him extra dice under certain circumstances, such as ‘Drone operator’ or ‘Sleuth’, or provide a more specific benefit, such as ‘Medic’ being able to stabilize someone who is Incapacitated or ‘Neuroresistant’ which means the Traveller is better able to resist the Bliss of neurocasting. Beyond this, the details of Traveller are more personal than mechanical. These start off with a Dream and a Flaw. A Traveller’s Dream is their motivation, their push to go far and make the Journey rather than give into the easy lure of Neurocasting. His Flaw is something that will hold him back and something that he needs to overcome. Roleplaying the Dream and the Flaw will give a chance for the Traveller to improve. The Neurocaster is the model that he owns (though he may not own one) and he also has a Personal Item and a favourite song.

To create a Traveller, a player selects an Archetype and then rolls for the Attributes on a single six-sided die each, with the minimum roll being two Then he rolls for the Talent, Dream, Flaw, Neurocaster, Personal Item, and Favourite Song. This is not the complete Traveller creation process, but that is done collectively during the set-up for the Journey.

Name: Jake
Age: 17
Archetype: Outsider
Strength 3 Agility 5 Wits 6 Empathy 6
Health 4 Hope 6 Bliss 0
Talent: Stealthy
Dream: Get a normal life, like everyone else
Flaw: You don’t trust anyone.
Neurocaster: None
Personal Item: Dog
Favourite ’90s Song: Wannabe (Spice Girls)
Tensions: A dispute about hierarchy (Karen Brooks) [1], Religious or political differences. There’s reason Americans say never discuss religion or politics (Jesus Castillo) [1]

The Journey is the central part of the play to The Electric State Roleplaying Game. Setting this up is a collective process. This includes creating a personal Goal for each Traveller which lies at the end the Journey, whilst the Threat which is working to stop the Traveller from fulfilling his Goal. The Threat is created by the Game Master, whilst key to the Goal is the Kicker, the event that pushes the Traveller to decide to make the Journey in that moment. Together, the Travellers have a vehicle and a shared item, such as a bottle of hard liquor or walkie-talkies. Each Traveller also has a difficult relationship with one of the companions in their vehicle, which could be ‘Hidden contempt pent up for ages.’ or ‘Distrust. Something another Traveler does offends you deeply. It’s all you can do not to scream at them every time they do it.’. This is measured by Tension, which ranges between zero and three. If a Traveller acts against another Traveller who he has Tension with, the Tension value is used as bonus dice. It is possible to reduce Tension simply by talking things through or even arguing about relationships can reduce it and this will restore Hope, but equally, Tension can go up depending on circumstances and roleplaying.

Mechanically, The Electric State Roleplaying Game uses the Year Zero engine, so the rules are light and fairly quick, with dice rolls primarily intended for dramatic or difficult situations such as combat, hiding from members of a Technocult intent on inducting you, making repairs in a hurry, and so on. To have a Player Character undertake an action, a player rolls a number of Base dice equal to the appropriate Attribute (notably, The Electric State Roleplaying Game does not use skills or skill dice), modified by an applicable Talent and the difficulty. To this can be added Gear dice for weapons and other gear if used. Rolls of six on either count as Successes. One result is enough to succeed, whilst extra successes can be used to do it in a showy fashion, quickly, quietly, and so on. However, if the player does not roll any Successes, which is a failure, or needs more Successes, he can opt to Push. In this case, he rolls any dice that are not showing a one or a six, and any Successes rolled count towards the task.

However, any rolls of one after the Pushed roll, have negative effects. For the Base dice, they reduce the Traveller’s Hope for each one rolled, whilst ones on the Gear dice reduce the bonus provided by the Gear used. When Hope is reduced to zero, a Traveller suffers a Breakdown and is in danger of suffering further mental trauma.

Combat in The Electric State Roleplaying Game uses the same mechanics. Initiative is determined narratively, and when a Traveller gets to act, he has an action and move or two moves. An action be an attack, reloading, taking cover, rallying a demoralised comrade, and so on. If in close combat, the defender can choose to take the hit or fight back, in which case it becomes an opposed roll, whilst if being shot act, the defender can dodge, and that too is an opposed roll. Cover provides protection if Successes are rolled on its dice. If a Traveller’s Health is reduced to zero, he is Incapacitated and if he suffers damage equal to twice his Health in one hit, he is dead. If his Traveller is Incapacitated, the player makes three Death Rolls with four dice. If he rolls a total of three Successes in the course of the three rolls, he survives, if not, the Traveller is dead. It is also possible for another Traveller to rally one who is Incapacitated and the Medic Talent means he can be stabilised without the need for Death Rolls. An Incapacitated Traveller also suffers an injury, which can be anything from a broken finger to internal bleeding.

The most important mechanic in The Electric State Roleplaying Game is Hope. It is a measure of a Traveller’s motivation and it can be lost in a variety of ways, such rolling ones on a Pushed roll or suffering a Traumatic Event like seeing a friend get badly hurt or being confronted by your worst fear. When it is reduced to zero, the Traveller suffers a Breakdown and potentially from mental trauma ranging from ‘Confused’ to ‘Personality Split’. The challenge after losing Hope is that there no automatic means of recovering it. Instead, the players and their Travellers have to work at it. It is possible for a Traveller to be rallied following a Breakdown and this will restore Hope, but otherwise the two means to increase Hope are to reduce Tension with another Traveller or spend time with an item of Gear that will increase Hope, like a dog or a Walkman, or a religious book. Certainly, in the case of Tension, this requires dedicated roleplaying between two players, and The Electric State Roleplaying Game makes clear that time should be set aside for this. Further, these scenes should not always be about reducing Tension, but about increasing it. This is because in the long term, if there is no Tension between one Traveller and another, there is no reason to reduce it and thus no means to increase Hope. It also reduces scope for interpersonal roleplay. This then is the ‘Hope Loop’ at the heart of The Electric State Roleplaying Game.

The ‘Hope Loop’ in The Electric State Roleplaying Game is complicated by Bliss. One of the most interesting aspects of roleplaying game is how Hope and Bliss interact. Bliss is a measure of a Traveller’s addiction to using his Neurocaster. A Traveller is going to be spending most of his time on the road or at Stops along the Journey, so in the physical, rather than the virtual worlds. However, this does not mean he will never have to enter a Neuroscape, which can be global or local, as he may need to find information, use or hack a system linked to the Neuroscape—such as drones and alarms, or interact or fight with the other avatars in the Neuroscape. It is possible to act in the physical world whilst Neurocasting, but it is slow and the option are limited. It is also possible for Travellers to help another who is Neurocasting.

However, any time a player fails a roll whilst his Traveller is Neurocasting, whether any ones were rolled or not, his Bliss increases by one. This is before the player chooses to Push the roll, which whilst the Traveller is Neurocasting, has its own extra danger. This is because any rolls of one after a player has Pushed a roll reduce his Traveller’s Hope by one each, and Bliss has dire effects if it equals or exceeds the value of a Traveller’s Hope. If this happens, the Traveller is trapped in the Neuroscape, is lost in the ‘Electric State’, and cannot willingly disconnect himself from it. A Traveller lost in the ‘Electric State’ can be forcibly disconnected, but this has disturbing consequences. It automatically reduces his Hope to zero, which again causes a Breakdown.

Bliss is lost at a point per day spent without doing any Neurocasting. However, this has its own dangers too, since there is a chance that the point lost that day will become permanent. Effectively reducing a Traveller’s Hope in the long term and modelling the effect that Neuroscaping has had on society with the introduction of Mode 6.

The focus of play in The Electric State Roleplaying Game is the Journey. As described earlier, setting this up involves deciding on a Starting Point, Destination, and the route. It also involves choosing the number of Stops, each one an adventure in itself that the Travellers’ Dreams and Flaws will drive them to explore. The number of Stops determines the overall play length, from one Stop for a one-shot to a long Journey of eight or more stops. The Game Master creates these Stops using the advice and prompts given in the roleplaying game, including a Setting, the Blocker (which what makes the Travellers pause their journey), and Threats, as well as adding a Countdown that is triggered by the arrival of the Travellers and will push events forward during the playthrough of the Stop. There is good advice for both creating and running Stops, including playing Neuroscapes, and it is supported by a range of threats each of which has their own example Countdown. Mechanically, this makes them easy to insert into a Stop. The Threats include people, such as cultists or local business leaders as well as the expected technological ones, like drone growths and robots, and environmental ones, such as extreme weather or disease. There are only two entries listed for the technological and environmental, which feels too few in either case. There are rules for travel and chases to reflect the nature of play as a Journey.

The Game Master is also provided with a complete mini-campaign, ‘Into the Dust’, which takes up a fifth of the book. This is a three-part Journey, though it could easily be expanded and some of the stops could be used as one-shots, which takes the Travellers from San Francisco Memorial City into the Blackwelt Exclusion Zone (former state of Nevada), but a long route which takes them south via the Sierra Nevadas and the Mojave desert in a run-down 1993 Buick Roadmaster Estate. Between them, the Stops involve a cult, a murder mystery, and a strange festival, and between the Stops, there are encounters that the Game Master can use to make the Journey even more interesting and exciting. There is also a pre-generated Traveller with their own Goals and Threats for each of the Archetypes in the roleplaying game, giving the players plenty of choice. Overall, this is the basis for a decent campaign that could expanded to eight or more Stops. Lastly, in The Electric State Roleplaying Game,  there are rules for solo play.

Physically, The Electric State Roleplaying Game is very well presented. It is clean and tidy and easy to read. Of course, what makes it stand out is the artwork of Simon Stålenhag which depicts an American landscape in decline as Neurocasters wander like zombies and kitschy robots loom and lurk almost everywhere. The Game Master should absolutely be using this artwork to show off the state of Pacifica.

The Electric State Roleplaying Game is not a traditional roleplaying game in that its world is designed for long term play. The story of the Travellers is going to be told in a single Journey rather than in multiple Journeys because the surviving Travellers are going to need new Goals if they are to set out again. Further, there is not a huge scope for development mechanically as arguably, if a Traveller is only doing the one Journey, however long it is, there does not need to be. The emphasis on Pacifica as a setting and journeying across it also limits the scope of the roleplaying game. These are not criticisms, because instead, what The Electric State Roleplaying Game is, is a narrative, storytelling roleplaying game designed for one-shots and short campaigns that tell specific stories about Journeys across a strange new landscape within which there is scope for interaction, discovery, and horror. In this way, The Electric State Roleplaying Game adds a new twist to the classic American road trip.

RuneQuest Classics: Sun County

Although Avalon Hill published RuneQuest III in 1984 and would work with Chaosium, Inc. for another four, the publisher, best known for its wargames rather than its roleplaying games, would not release any new material for the setting of Glorantha for seven years. The combination of a new company head and a new line editor would change this. Under the aegis of roleplaying game designer Ken Rolston, Avalon Hill published Sun County: RuneQuest Adventures in the Land of the Sun in 1992. It was well received by the fans of the setting and in the next three years, Sun County would be followed by River of Cradles, Shadows on the Borderlands, Strangers in Prax, Dorastor: Land of Doom, and Lords of Terror. All together, these six supplements for RuneQuest III set in Glorantha explored new areas of Dragon Pass and became known as the ‘RuneQuest Renaissance’, rekindling interest in Glorantha that continues to this day. Notably, some of the titles that formed the ‘RuneQuest Renaissance’ have inspired community-created content on the Jonstown Compendium. For example, Sun County is the setting for the ‘Tales of the Sun County Militia’ series and Dorastor: Land of Doom is the setting for Secrets of Dorastor.

—oOo—

Originally published in 1992, Sun County: RuneQuest Adventures in the Land of the Sun is once again available in print. It is a remastered edition, rather than an updated edition. What this means is that it is still written for use with RuneQuest III, rather than RuneQuest: Roleplaying in Glorantha, the most recent edition of the roleplaying game. It also means that it has been tidied up and is now available in colour rather than just being in black and white. Plus, it includes a foreword by Shannon Appelcline, author of the Dungeons & Designers series of books about the history of the roleplaying hobby, which explores the origins and consequences of the ‘RuneQuest Renaissance’. This is nicely detailed, but it does not extend that foreword to 2024 and the publication of this new edition of Sun County. This is a missed opportunity. One issue with Sun County is that it is not fully compatible with RuneQuest: Roleplaying in Glorantha, so some adjustments are necessary and the various NPC and monster stats will need adapting. Fortunately, there is a conversion guide in the appendix of RuneQuest: Roleplaying in Glorantha, which also includes the details necessary to play a member of the Cult of Yelmalio, which dominates religious and cultural life and outlook in Sun County. Further information is available in the forthcoming Cults of RuneQuest: The Gods of Fire and Sky.

Sun County: RuneQuest Adventures in the Land of the Sun can be divided into two halves. The first half describes the small, isolated province on the Zola Fel River in the River of Cradles valley, between Prax and Vulture Country, and just south of the city of Pavis. Since 877 S.T., the province has been settled by light-worshipping farmer-soldiers, known for their devout worship of Yelmalio, their extreme conservatism and prudishness, their sometimes-extreme distrust of outsiders, and their skill with the pike and the spear, with many of the county’s young men serving in militias and troops work as mercenary phalanxes far beyond the borders of Sun County. Since 1610 S.T., with the capture of Pavis, the biggest city in the region, by the Lunar Empire, Solanthos Ironpike, Honoured Count of Sun County, has owed begrudging fealty to Sor-eel the Short, Lunar Count of Prax and Governor of Pavis, effectively ensuring a relatively easy peace between the city and the county. Sun County: RuneQuest Adventures in the Land of the Sun is not a gazetteer of the province, but it does give a geographical overview, as well as describing how it is governed, how its deals with and trades with outsiders, and its problem with hazia, the addictive euphoric herb, whose cultivation is profitable, but technically, banned.

Full stats are provided for Solanthos Ironpike, as well as his leading captains, Invictus, Light Captain of Sun County, commander of the Templars and the county’s military and Vega Goldbreath, Guardian of Sun County, an exception to the rule in being a Light lady of Yelmalio. Another exception is Belvani, Lieutenant of the Light Captain Light Son and Light Servant of Yelmalio, whose duties actually require him to deal with outsiders and who is accompanied by The Gamon, a crested dragonewt who never speaks, but who Belvani treats as his dogbody! Although the leading members of the priesthood of the Cult of Yelmalio are described, they are not given stats. The cult itself is fully detailed, including its mythos, history, place in the world, and more. How to become an initiate and then a Light Son or Light Priest, as well as a Light Servant who acts as their special servant. Along with the subcults of Monrogh, the cult’s spirit of reprisal, Kuschile the horse archer, and Togtuvei, the cartographer and geographer, plus a list of Yelmalio’s Gifts and Geases, this is an excellent write-up of the Cult of Yelmalio.

One pleasing addition to the write-up of the cult is the map of the Sun County Temple, renowned of course, like all temples to Yelmalio, for its gold dome that catches the light, which is taken from the Pavis: Threshold to Danger boxed set. Besides detailing the temple and its powerful defences—both magical and mundane, the temple description also details terms by which it offers sanctuary, now strictly enforced lest Solanthos Ironpike, irk Sor-eel the Short in Pavis. Which effectively means that if the Player Characters annoy the Lunars in Pavis, they may not have as much luck hiding out in Sun County as they might hope! There is also terrific write-up of an annual ceremony and heroquest, ‘The River Ritual of the Sun People’, which the current count performs to reforge Sun County’s alliance with a daughter of Zola Fel, god of the River of Cradles. (It is a pity that none of the adventures in Sun County deal with this, but that does mean that the Game Master has scope to develop something herself.) Lastly, the Sun County militia is detailed as is ‘Shield Push’, a Sun Domer game that can be best be described as Rugby or Australian Rules Football scrum or ruck played with shields!

Another notable inclusion in Sun County is that of ‘Jaxarte’s Journal’. This is the account of Jaxarte Whyded, a minor relative of Sor-eel the Short given the make-work role of ‘Commissioner of the Imperial Census for Prax’ recounts of his visit to Sun County. It gives a very enjoyable counter to the description of Sun County and a more immediate outsider’s point of view. It also comes with footnotes from a Lhankor Mhy sage which add further commentary, and all together, his account echoes that of the travelogue of Biturian Varosh, the merchant prince of the Issaries cult in Cults of Prax.

In addition to a set of encounter tables with some potentially entertaining entries for Sun County, the other half of Sun County: RuneQuest Adventures in the Land of the Sun is dedicated to four scenarios. Two of these, ‘Melisande’s Hand’ and ‘Rabbit Hat Farm’, are designed for relatively inexperienced Player Characters, whilst the other two, ‘Solinthor’s Tower’ and ‘Old Sun Dome’ require more experienced Player Characters. Most of the scenarios are flexible in who they are run, whether that is with Sun Domer Player Characters or outsiders. The eight provided Player Characters include a good mix of both, though they do come with notes for use with ‘Rabbit Hat Farm’.

The first scenario, ‘Melisande’s Hand’ is a classic festival adventure whose events and intrigues the Player Characters can embroil themselves. It details a harvest festival dedicated to Ernalda—and gives the winner the right to wed a local Ernalda initiate for a year as well as a fair bit of renown—which takes place each year in Garhound, a town on the other side of the river from Sun County. It is a busy affair with lots going on between the various contestants and plenty of opportunities for the Player Characters to shine, whether in the individual events or in between. There are prizes too for each of the individual events, there is the opportunity for everyone to win something. Whilst the scenario is designed for beginning Player Characters, its busyness does mean it is better run by a more experienced Game Master.

‘Rabbit Hat Farm’ is the RuneQuest equivalent of a ‘village-in-peril-that-nobody has heard from lately’-style scenario. Its location, Rabbit Hat Farm has been abandoned following an attack by Praxian nomads and then Broo, and so far, the militia already sent to investigate have not been heard from. The farm is fully detailed, as is what the Player Characters will find below—the remnants of a nasty Chaos nest! This is the scenario that the pre-generated Player Characters are written to play and there are really good hooks to get them involved in the investigation and exploration of the farm. Thankfully, the caves have been partially abandoned as otherwise it would be a very tough adventure. As it is, this is a challenging adventure against some tough opponents for inexperienced players and their characters, as it is effectively, a mini ‘Snake Pipe Hollow’! Nevertheless, clearing the remains out of the caves will be a major achievement.

The Sun County Ruins are site of the Old Sun Dome Temple—abandoned after an earthquake—and the location for the third scenario, ‘The Old Sun Dome’. Lots of hooks are given as to why the Player Characters might want to explore it, including looking for certain artefacts and even mapping it out for architecture-obsessed Jaxarte Whyded, and it makes use of the map of the current Sun Dome Temple (because why would a religiously orthodox society build anything different?) to create what is effectively a haunted house. There are guards outside to prevent anyone from going in, but the real threat lies inside in form of undead who have occupied the otherwise empty complex. There are some interesting secrets to be discovered, no matter whether you are a Sun Domer or an outsiders. The latter especially, as they are unlikely ever to get that far into a functioning Sun Dome Temple!

Lastly, in ‘Solinthor’s Tower’ is more of an encounter than a full scenario. A Lhankor Mhy sage is writing a thesis which collects all five hundred hymns and poems written by Solinthor, a priest of Yelmalio who ‘died’ in 1375 S.T. except that she cannot find the last seven. She thinks they might have been interred with him in his ‘retirement tower’ (which is where all priests of Yelmalio spend their last days) and so wants help in locating the right tower and getting inside. This is challenging since the penalties for looting—and this applies to ‘The Old Sun Dome’ scenario too—are death by ritual combat if they are caught! This sets up a bit of a dilemma because Solinthor is possession of treasures that the count will be pleased to have in his possession, but then where did the Player Characters find them? Getting hold of them though means getting past some tough magical defences which will challenge most Player Characters, especially given the tight space of Solinthor’s Tower. One thing it does share with ‘The Old Sun Dome’ is potential access to Yelm’s realm on the Hero plane, neither of which is actually designed to lead to any Heroquesting, given that at the time of publication for Sun County there were no rules for such activity! (Oh, how times change.) The outcome though of that access is actually better and better handled than it is in ‘The Old Sun Dome’. ‘Solinthor’s Tower’ is by no means a bad scenario, but it feels all too short.

One issue with Sun County is what you play. The core characters are the Sun Domers of Sun County and they are to man, xenophobic, misogynistic, repressive, and strict. This represents a roleplaying challenge because although not necessarily nasty, they are not nice people and they have a dislike of anyone who is different to them. In particular, female Player Characters will struggle in a society that would ideally restrict women to certain roles. Sun County does acknowledge this by suggesting that the Player Characters be outsiders for many of its scenarios, though of course, that has its own challenges. Alternatively, they could be misfits, as per Tales of the Sun County Militia: Sandheart Volume 1. This does not mean that players cannot roleplay Sun Domers, but both the Game Master and her players need to be aware of their cultural attitudes and present them with care.

Physically, the Sun County: RuneQuest Adventures in the Land of the Sun is decently presented. Behind the excellent front cover, the layout has been tidied up whilst still retaining the look and style of a RuneQuest III book, the internal artwork is good, and colour has been judiciously applied to make various elements stand out. This includes a new map of Sun County that now includes the settlement of Sandheart and the various documents done as scrolls, such as ‘The Light List: The Honoured Counts of Sun County’ and ‘Jaxarte’s Journal’.

In terms of a setting, Sun County: RuneQuest Adventures in the Land of the Sun does could have done with a gazetteer and more on the ordinary lives of the Sun Domers, as both would have been useful, especially if running the book’s four scenarios for Sun Domers. That said, the scenarios are easier to run for outsiders than they are for Sun Domers, as the Sun County parochial attitudes do set up tensions that a Game Master and her players might not want to deal with. However, Sun County: RuneQuest Adventures in the Land of the Sun is still a great book with a balanced mix of background and overall decent scenarios, ultimately providing what was a great introduction to the Yemalio-worshipping Sun County in 1992 and still is a good introduction over thirty years later.

The Other OSR: Teenage Oddyssey

The nineties was a decade of Grunge, Britney Spears, and Hip-Hop, of growing up without the Soviet Union and Communism being the traditional bogeyman, of television sensations like Twin Peaks, Buffy: The Vampire Slayer, and Friends, and the rise of easy communication and information with the widespread adoption of mobile phones and the Internet. This is the decade in which Teenage Oddyssey is also set, a decade which was in its own way just as odd and crazy as the previous decade when many ‘Player Characters as Teens’ roleplaying games are set—though of course, without the existential dread and paranoia given that the end of the world was imminent. Published by Cannon Otter Studio, as its title suggests, Teenage Oddyssey uses Into the Odd, the Old School Renaissance-style rules light microclone published by Free League Publishing as the basis for its mechanics. The result is a fast-playing, fast set-up, sometimes brutal roleplaying game.

A Teenager in Teenage Oddyssey will be aged between twelve and fourteen and have three stats—Body, Mind, and Charm—and Luck, Hit Points, a Background, and some starting Gear as well as some cash. The stats range in value between eight and eighteen, but can go up and down. Body will go down because of injury and Mind because of fear, but all can be improved through experience. Luck ranges in value between one and five and Hit Points between one and six, but can go higher. Background might be Arcade Champion, Farmer’s Kid, Drama Club Kid, or even TTRPG Nerd and grants one or two items of Background Gear. Teenage Oddyssey uses an inventory system, so there are limitations on how many items a Teenager can carry, depending on whether they are Big Items or Small Items, carried in the hand or the backpack. High stats means that a Teenager begins play with one piece of Background Gear, whilst low stats mean he starts with two. Creating a Teenager is simply a matter of rolling for all of these and then cross-referencing Luck and Hit Points to determine Background, all of which can be done in a matter of minutes.

Michaela Puckett
Age: 13
Background: Photog
Body 13 Mind 15 Charm 11
Luck: 3
Hit Points: 3
Cash: $8
Gear: Camera, bicycle, backpack, notebook, pencil, House keys

Mechanically, Teenage Oddyssey is simple and straightforward. To have his Teenager undertake an action, a player makes a standard Test, rolling a twenty-sided die, the aim being to roll equal to, or less than, an appropriate stat. Standard rules for Advantage and Disadvantage apply. A Luck Test is rolled against a Teenager’s Luck, but Luck can also be spent to reroll a standard Test or to increase the damage rolled on a damage die to its maximum. The Game Master can reward Luck for good roleplaying or even out of pity! Depending on the situation, a Teenager’s Background can grant an Advantage or even an automatic success on an action.

Combat, in line with Into the Odd, is brutal in Teenage Oddyssey. Initiative is handled in narrative fashion, with combatants acting in order according to what fits the story and then when one participant has acted, he gets to choose who acts next, including the Game Master. Attacks always hit and inflict damage and the only time an Attack Test is rolled is when a Called Shot is desired. Weapons inflict damage according to their size, that is, whether they are Big Items or Small Items. A Small Item that will fit in pocket inflicts less damage than a Big Item carried in the backpack. The damage die can explode, so that it is possible to inflict a lot of damage with a lucky series of rolls. Damage is deducted from a target’s Hit Points and then his Body Stat. Armour—which can be Big or Small (Small Armour is not as easy to spot, whereas Big Armour is obvious to spot)—reduces damage, as does a shield. Once a Teenager starts suffering damage to his Body stat, his player has to roll to avoid Injury. The number of dice rolled for this depends on the Teenager’s current Luck. If it is very low, the maximum number of dice are rolled and there is a slight possibility that the Teenager will be killed straight off. A Teenager will die if his Body is reduced to zero.

In addition, weapons can have Tags, such as ‘Flammable’, ‘Nauseating’, or ‘Shrinking’. Although a combatant targeted by such a weapon cannot avoid the raw damage, he can make a standard Test to avoid the effects of the weapon’s Tags. Some Tags have ongoing effects and some allow further standard Tests to avoid their effects.

Fear is treated as an attack that inflicts damage to the Teenager’s Mind stat. A Mind Test is allowed to resist its effects, but if failed, a roll is made on the Fear Table. This works like Injuries, the player rolling more dice if his Teenager’s Luck is low. If the Teenager’s Mind stat is reduced to zero, a roll is made on the Madness Table, which can result in a permanent loss of Mind. Having a Snack will restore points of Body and Mind, whilst Going to Bed will restore both completely. When a Teenager goes up a Level, he gains more Hit Points and can either increase his stats or choose a Perk. Perk is typically based on the adventure just played, but can include being given a car, getting a job, building a treehouse, getting a companion pet, finding a Freeze Gun in the secret lab of the deranged scientist, or finding an Arcane Spell.

For the Game Master there is some advice, including not being afraid to make it up or keep it weird, and try not to kill the characters (but let it happen if they bring it on themselves). That said, Teenage Oddyssey is brutal in terms of its combat system and a big feature of its rules are combat-related. Enemies and NPCs are provided as templates to which the Game Master can add Tags to individualise them and so create interesting monsters and NPCs.

Almost half of Teenage Oddyssey is devoted to the single scenario, ‘Bad Times at Pazuzu Pizza’. Designed to be played by four to six First Level Teenagers in roughly a session or two, it begins after school with the Teenagers going to their favourite hangout, Pazuzu Pizza, a small hole-in-the-wall pizza shop. Here they can shoot the breeze, watch cartoons, eat greasy pizza, and play arcade video games. Something happens though, and when they wake up, the Teenagers find their hometown and its residents transformed into a hellscape and threatened by madness and monsters and demons. In order to save the town and its inhabitants, at the insistence of the ghost of one of the Teenagers’ crushes, they must destroy the demon responsible, hiding out at a farm on the outskirts of town. Except none of this is actually true. It turns out that the proprietor happens to be a Soviet sleeper agent and has spiked the Teenagers’ pizza with powerful experimental hallucinogens, and when they wake up, the Teenagers are not in a town filled with wrecked cars and broken buildings under roiling purple clouds and spiking red lightning, but suffering from a shared hallucination. In the course of the quest, the Teenagers will fight a Snake Priest at the church and take the Holy Sword, essentially play Frogger with huge insect-like monstrosities skittering along the highway, fight their Science Teacher wearing an exo-suit of hamsters, and so on. Finally, they will face the Demon in the Field.

So ‘Bad Times at Pazuzu Pizza’ is weird and gonzo and over the top. It is also entertaining, but its pay-off is incredibly shocking and downbeat. Essentially, because the Teenagers are on powerful experimental hallucinogens, nothing that they see is true. So, whilst they may think that they are attacking monsters and demons that have infested the town, what they are actually doing is attacking the townsfolk and going on a rampage. A drug-induced rampage true, but a swathe of actual bloody murder all the same. And whilst they are doing that, the scenario never lets them know that this might be the case, that what they are seeing is not real and what they are doing is having tragic consequences.

As an introductory scenario for a roleplaying game, ‘Bad Times at Pazuzu Pizza’ is a very bad choice. It is a one-shot scenario since the players are unlikely to want to roleplay their Teenagers again as they are now mass-murderers. It is shockingly violent—both in play and in hindsight after the reveal—which runs counter to the advice for the Game Master that she should avoid trying to kill the Teenagers. Most of the encounters in the scenario are about combat. It showcases the roleplaying game poorly. ‘Bad Times at Pazuzu Pizza’ could instead have been offered as a one-shot separate from the core rules and that would have been fine. The scenario also does not have warnings and it really does need them.

None of this is helped by the lack of advice for Game Master on what the nineties were like. There is no background, no bibliography, and no suggestions as to what a scenario for Teenagers set in the nineties would be like. The question is, what makes scenarios with Teenagers in the nineties different from scenarios with Teenagers in the eighties? Teenage Oddyssey does not tell you…

Physically, Teenage Oddyssey is well presented and the artwork has a suitably scrappy look to it.

In terms of rules and play, Teenage Oddyssey is a solid adaptation of Into the Odd. The Game Master can take these rules and run a fun game, based on her own knowledge of the nineties and that of her players. However, the lack of advice and historical background is disappointing and the included scenario is horrifyingly shocking for a roleplaying game that is pitched as one of wild and crazy adventures rather than one of unwitting murderous rampage.

1994: Walker in the Wastes

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary, and the new edition of that, Dungeons & Dragons, 2024, in the year of the game’s fiftieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

—oOo—

Walker in the Wastes is a campaign published by Pagan Publishing in 1994. It was the first of the three campaigns from the publisher, all of which would be designed and written by John H. Crowe III. Designed for use with Call of Cthulhu, Fifth Edition, it is a grand campaign in true Call of Cthulhu style, that will take the Investigators from arctic Canada to Alaska and beyond to the remotest part of northern Japan, New Jersey, and New York state, and from there to the North Pole, with a corollary that culminates in Iraq. It is an ambitious, bruising campaign that is well organised and supported, but which is best run by an experienced Keeper and best played with players who have some experience of Call of Cthulhu under their belts. There is a Pulp sensibility to the campaign in that it involves flight and airships, but Walker in the Wastes is not a Pulp-style campaign. Further, it differs in terms of set-up, rationale, and radically, in terms of the Great Old One the Investigators will face and the plans of the cultists devoted to him, that they must thwart. This is Ithaqua, the ‘Death-Walker’ or ‘Wind-Walker’, a Great Old One who has appeared in many a scenario for Call of Cthulhu, especially rural or wilderness scenarios, but only once, here in the pages of Walker in the Wastes has he been of the subject of a campaign. Running from Saturday, 10th November 1928 to Sunday, 21st December, 1930 (and beyond), Walker in the Wastes details the attempts by the Cult of Ithaqua to fly from various points around the world and congregate at the North Pole where the cult will free its master from the Temple of the Winds in which the Elder Gods bound the Great Old One in times beyond imagining.

“In 1848 the Franklin Expedition vanished in the ice searching for the Northwest Passage. Eighty years later, you and your associates travel to Northern Canada to research the disaster - and find yourselves launched in a globe-spanning race to defeat the terrible god of the icy wastes. Hundreds of hours of research have gone into creating the most realistic 1920s campaign ever. Japanese gangsters, Iraqi archaeological digs, secret airships, and a legend older than humanity serve to challenge even the most experienced of CoC players. Walker in the Wastes is a huge campaign of discovery and horror, and is suggested for experienced Keepers.”

—Back cover blurb, Walker in the Wastes, Pagan Publishing, 1994

Walker in the Wastes has a strict set-up that means that as campaign it cannot easily be run with Investigator types typically found in Call of Cthulhu. Here they are anthropologists, archaeologists, artists and photographers, botanists, geologists, physicians, and zoologists, as well as guides, employed by the University of Toronto and the Canadian government to live and work on a base in the Arctic in the Northwest Territories. This is on the Adelaide Peninsula, near King William Island. This is near the location of some of the remains of members of the Franklin Expedition, the British Royal Navy’s infamous expedition to discover the Northwest Passage which disappeared in 1848. Now unlike the back cover blurb of the campaign suggests, the expedition is not stationed on the Adelaide Peninsula to specifically investigate the remains of the Franklin Expedition. This does not mean that the expedition and its fate will not play a role in the campaign, but rather it is not and should not be the focus of the campaign.

The campaign itself opens with a prologue, ‘The Dead of Winter’. Set in November 1928, the Investigators have already been on Adelaide Peninsula for over a year and the only excitement to date has been the rescue attempt of the crew of the Italia, a second polar airship commanded by the Italian explorer, Umberto Nobile. This changes when two of their fellow expedition members return to the base with the frozen corpses of two Inuit men, both badly mauled. What got their interest is that it is clear that neither man was attacked by a wolf or polar bear. Could they have been attacked by an unknown Arctic predator? Talking with the local Inuit reveals that they believe that the creature responsible for the deaths is a supernatural creature known as a ‘Yiige’, which has awakened to hunt again after many years dormant. Pushing for further information reveals that two particular clans might know more, the Red Caribou clan and the Blue Seal clan, but that the Blue Seal clan attacked the Red Caribou clan recently and all but wiped it out! Taking an active interest in either clan will push the story forward and lead to further discoveries. Most obviously that there is a monster lose on the ice—the dread Gnoph-Keh—and that despite what the rational, scientific minds of the Investigators would believe, that magic is real. The latter discovery is important as it will open up the minds of the Investigators later in the campaign as to the scope of what they face and potentially, prepare them to arm themselves with that magic to use against the cult and its plans.

‘The Dead of Winter’ will end in a chilly confrontation in the snow and ice of King William Island with the vile Blue Seal clan and the awful Gnoph-Keh. The nature of the environment and the advantages that the Blue Seal clan and the Gnoph-Keh have as compared to those of the Investigators make the scenario quite a physical challenge. Defeating both does not mark the end of the expedition, nor necessarily the very end of the scenario. There are some loose ends to wrap up, but otherwise, ‘The Dead of Winter’ could actually be run as a scenario all by itself, without the need to run the full campaign. However, where would the fun be in that? What it does do, is lay the groundwork for what is come and open the eyes of both the players and their Investigators as to the dangers to come.

The campaign proper begins with ‘Into the Realm of the Wind-walker’ after the Investigators have returned to Toronto. Having completed their reports and debriefings for their employer, the Investigators are approached by Doctor Alfred Barrowman, an archaeologist, who has heard reports of a creature similar to the one encountered by the Investigators and worshiped by local cultists, but in Alaska. He wants to hire them and join him on an expedition to investigate. Amidst tales of missing hunters and surveyors and government disinterest, the Investigators will likely make an amazing scientific discovery and come across the first hints that what they encountered in Canada was not an isolated situation. The big questions are, why there is a secret air base deep in the Alaskan forest and what are its highly armed occupants planning to do their aircraft? By the end of this investigation, the Investigators should have learned that the cult has many branches, that December 1930 is an important date to the cult, and that all of the major branches are preparing to fly to the North Pole for this date. The Investigators will also have gained Doctor Barrowman as sponsor, thus funding their efforts to save the world.

At this point, Walker in the Wastes opens up and the Investigators can tackle any of the newly discovered locations—the Kurile Islands in Japan and Camden, New Jersey, back in the USA—in any order. Unlike in Alaska, where government indifference and lack of awareness combined with the isolated location of the cult’s base make it relatively easy to deal with, the sites in Japan and the USA are much harder to deal with. The Kurile Islands are isolated, but the Investigators face a language barrier, a government with a distrust of foreigners that has also been bought off, and a nearby Japanese naval base. Conversely, the base in Camden, New Jersey is in a public location, a shipyard on the Delaware River across from Philadelphia. Further, the airship being constructed there and the expedition to the North Pole are both public knowledge and sponsored by the United States Navy, the Massachusetts Institute of Technology, and Howard Hughes! Of course, the involvement of the cult is not. Although the situations and the challenges are different for each base, the Investigators are essentially attempting the same thing each time. Finding out about the base, scouting the base, infiltrating the base, and ultimately, finding a way to sabotage the activities of the cult and the aeroplanes and airships its members are building. One of the discoveries that the Investigator will probably make in the Camden, New Jersey base is that the cult has a fifth, secret base, this time in Camden, New York state! Its secret nature makes it easier to tackle than the bases for Camden, New Jersey and the Kurile Islands.

Ultimately, the Investigators will join in the flight by the cultists to the North Pole for the Winter Solstice of 1930 where the Temple of the Winds will manifest and they will attempt to break the Great Seal inside which has kept Ithaqua from doing no more than visiting the world’s northern climes for aeons. This has the scope to be a grand, bruising finale, on a scale with the Rising of the Island of R’lyeh in The Shadows of Yog-Sothoth—with the Investigators facing multiple, often well-armed cultists—both in terms of materiel and magic. There is the possibility of aerial combat too if the Investigators have armed their means of transport. If the Investigators travel via King William Island, there is the possibility that as they travel north, they make a startling discovery—the Erebus and the Terror—the two lost vessels from the Franklin Expedition. Should they land and investigate, this leads to a memorable encounter aboard the Erebus (as depicted on the front cover) and although optional, this is a pleasing callback to the Investigators’ original expedition as detailed in the prologue.

Although it may seem that the campaign ends with the thwarting of the cult’s plans and ideally, the prevention of the cult’s attempt to break the Great Seal in the Temple of the Winds and free Ithaqua, it is only a preclimax to Walker in the Wastes. Having stopped an attempt once, the focus of the campaign switches to finding a more permanent solution. One of the aspects of Walker in the Wastes is that air gods are found in multiple pantheons in cultures around the world, some of which appear in the campaign and seen as avatars of Ithaqua. One of these is Enill, the Sumerian and Babylonian ‘storm god’ and ‘chief demon’ who was in possession of the Tablets of Destiny. If they are real and if they can be found, perhaps their reputed great powers can be used to prevent the cult from returning to the Temple of the Winds and making further attempts to break the Great Seal? Unfortunately, the cult is also aware of the existence of the Tablets of Destiny and not only wants to obtain them to prevent from falling into the Investigators’ possession, but also to use them to its own ends.

Where Walker in the Wastes was a race to prevent the Cult of Ithaqua from getting to the North Pole and the Temple of the Winds, now it becomes a race to find, study, and utilise the Tablets of Destiny. If the race to the North Pole was dangerous because the environments and the dedication of the cultists, it now becomes deadly as the cultists possess a hatred of the Investigators and more readily and openly move against them. Previously, the cult was more careful, not wanting to bring attention to itself and its plans, which were, of course, its true focus. The points to the nature of the Cult of Ithaqua and its members. Most are devoted members and fervently want to see Ithaqua freed, but they are not evil per se and do not wish mankind great ill. Of course, by any standards, they are all insane, and of course, there are members, such as the infamous Reinhold Blair (named after the late artist, Blair Reynolds), who are actually evil and he in particular, will take great delight in enacting his revenge upon the Investigators and their associates (if he still lives by then).

Thematically and mechanically, this switch in the campaign is challenging, since its focus changes from northern climes and the Arctic and the often-physical difficulties posed, to warmer environs and a more traditional style of Call of Cthulhu that Investigators may not be suited to if they have survived thus far. One skill required here is the ability to read Sumerian Cuneiform and unless there is replacement Investigator at any point after the Investigators were at the North Pole, they will have to rely on a translator. (One is provided, but he is old, doddery, and incredibly cantankerous. Great for the Keeper to roleplay, but only adding to the Investigators’ woes.) In true classic Call of Cthulhu style, the Investigators have the opportunity to conduct research at the British Museum in London and learn what they can about Ancient Mesopotamia. Obtaining the Tablets of Destiny will potentially involve a trip to a cult-sponsored dig in Iraq and if the Investigators failed at the North Pole, a terrible encounter with Ithaqua, and to the current resting place of the Tablets of Destiny in southern Turkey. Here, there is likely to be tussle between the Investigators and the cultists for possession of the artefacts, spoiled potentially by the obvious interest of the Turkish government, but more likely by the presence of an ancient Serpentman sorcerer entombed at the same location and who is likely to be awoken by the digging at the site.

‘Day of Reckoning’, the actual climax to Walker in the Wastes takes place in British Columbia, back in Canada. Here the likelihood is that the cultists have possession of the Tablets of Destiny given their muscle and the Investigators will have chased back across the Atlantic and North America. There the Investigators have a chance to foil the Cult of Ithaqua once again—and if not permanently—then long enough for almost nobody alive in 1930 to worry about… (That said, if the climate suddenly gets a lot colder from December 2031 onwards…) It does involve making a terrible moral choice though, one that in some ways makes the Investigators as bad as the cultists, but for the greater good…?

Walker in the Wastes includes three separate scenarios, interludes intended as red herrings. ‘Chirihoi’ takes place in Japan and is set on the island of the same name, and is intended to distract the Investigators whilst they investigate the cult’s base in the Kurile Islands and ‘The Osbrook House’ is a supposed haunted house mystery set in Camden, New Jersey. Neither has any connection to the campaign’s main plot and certainly in the case of ‘The Osbrook House’ feel out of place as part of the campaign. The third interlude, ‘The Monolith’, is connected to the campaign—if only slightly—and is an actual red herring. It does involve a cult dedicated to Ithaqua and is a classic rural cult Call of Cthulhu scenario set in Scotland.

Walker in the Wastes is incredibly well supported. The campaign is given a good overview and the aims and motivations of the Cult of Ithaqua is clearly explained and accompanied by good advice. The resources include details of the Wind-Walker, his associated magics—many of which the Investigators have an opportunity to learn, an examination of Ithaqua in multiple different cultures and his role as a god of the air, associated legends, a guide to the Inuit and Inuit mysticism (which is treated with respect), the Arctic environment and survival in the region, and airships and aerial combat. There are then new spells such as Banish Gnoph-Keh and Chill of the Wendigo, and new skills like Boating, Botany, Cartography, Forensics, and Land Navigation and Sea/Air Navigation. Plus, there is background to the Franklin Expedition, which of course, is what would have been as much as was known about its fate in 1994.

Every chapter and scenario includes an introduction and an outline at the start and a list of Sanity rewards and penalties along with the NPC stats at the end. In between, each chapter or scenario is well presented and organised and accompanied with advice as needed. Rounding out Walker in the Wastes is a Miscellany of ‘Player Aids’ which collates all of the campaign’s handouts, though not all of the maps. Indeed, the campaign is lacking versions of many of the maps suitable for the Keeper to give to her players. There is also a lengthy bibliography which showcases how deep the research the author conducted in creating the campaign. Lastly, an engaging afterword by the author explains how the campaign came to be and how it was developed and written.

Physically Walker in the Wastes looks amazing. The campaign is well written and presented, the maps clear and easy to use, and there is a good index at the end. However, the artwork is incredible, black and white, but reversed shadows, giving the campaign a twilight look of foreboding and distrust.

—oOo—

Walker in the Wastes was not extensively reviewed at the time of its release. It was a ‘Pyramid Pick’ by Scott Haring in Pyramid Number 12 (March/April 1995). He said, “You don’t know when a Pagan product  is going to come out, but when it does, you’re usually in for a treat.” before continuing, “Walker in the Wastes is certainly no exception. A massive 200+ page book, Walker is the first major campaign for CoC that Pagan has ever published. Author John Crowe claims that four years of writing and research went into Walker, and it shows. Walker in the Wastes immediately zooms to the top of the list as one of the finest Call of Cthulhu campaigns ever produced.”

Earl P. Thatony (surely a pseudonym) reviewed it in ‘Reviews’ in Shadis Issue #26 (April 1996). He warned that, “Player need to keep sharp, think about what’s going on, and ask the right questions or they’ll get nowhere. There are some vexing (and possibly deadly) red herrings waiting for them, and even the best groups might, and even the beat groups might get tripped up. The GM needs to be top of things as well. There are several warnings in the introductory pages about the complexity of the scenario and the need for the GM to not just read, but study the campaign. These warnings need to be taken to heart, but rest assured the effort will pay off.” However, he concluded on a positive note, saying, “Walker in the Wastes is an amazing product. It’s organised, tremendously well-researched, engrossing, and fun to read. Anyone interested in running a mega campaign is advised to take a closer look at it, as it’s a fantastic example of how to do a project right. For the GM and players who are willing to spend the time it provide months of entertainment.”

—oOo—

Walker in the Wastes is great campaign, with a grandeur that showcases both what a highly thematic campaign can be like and the potential of Ithaqua as global threat as never before. At times, with its themes of the Arctic and aeronautics, it can feel Pulpy, but it never lets up on the brutality of the story and the awful aims of the cultists, who with a few notable exceptions, are portrayed as human beings rather than monsters. Above all, Walker in the Wastes is a demanding campaign, for both the Keeper and her players, requiring a great of deal of preparation upon the part of the former and some adjustment in play style from the latter. There are some great moments in the campaign, such as the battle in the snow against the Blue Seal clan, the flight to the North Pole, the return of Ithaqua to Mesopotamia should the Investigators have failed at the Temple of the Winds, and that last, final, agonising choice… Throughout, Keeper and player alike will be challenged by Walker in the Wastes from start to finish, and if their Investigators succeed, they will have done something truly heroic and had an incredible experience doing so.

—oOo—

Sadly, Walker in the Wastes is a lost campaign. It has been out of print for over two decades and is currently unlikely to be reprinted or made available in electronic format.