1993: Earthdawn

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

—oOo—

It is over a thousand years since the founding of the Empire of Thera with the establishment of the Eternal Library by the Elves to study and decipher the Books of Harrow. These volumes revealed that as the magic rose in the world, it enabled unimaginable horrors—previously only seen by wizards entering Astral Space—to break into the world and spread chaos, death, and destruction. Magic was yet to peak, and as the Theran Empire spread its influence and conquered new territories in search of more Books of Harrow, it traded—even warred—for orichalcum, the magically rich metal that would further the research of the Eternal Library, and it preached of the dangers to come. Ultimately, the staff at the Eternal Library determined that the only way for people to protect themselves was to magically seal whole communities in kaers and citadels, there to wait out the centuries until after magic had peaked and begun to decrease. Centuries passed before the Scourge of the Horrors ended and the inhabitants of the kaers knew it was safe to leave, but the land their ancestors had known is changed. Horrors still exist, in dark corners and the kaers whose defences they managed to breach, and there are still kaers that remain sealed, the fate of their inhabitants unknown. In Barsaive, a former province of the Theran Empire, the Dwarf kingdom of Throal arose as the Theran Empire retreated and has already driven back an initial attempt to reclaim the province by the empire. The many peoples of Barsaive, declared by the Kingdom of Throal free from being slaves of the Theran Empire as their ancestors had been, are thriving and there are many, known as ‘Adepts’ for their magical connection to the world, who aid the kingdom and explore its new lands.

This is the setting for Earthdawn, a new roleplaying game published by FASA in 1993. It was a big fantasy roleplaying game published at a time when no other fantasy roleplaying games were being published—except for Advanced Dungeons & Dragons, Second Edition. At the time it looked like an aberration, because after all, if you had Advanced Dungeons & Dragons, Second Edition, did you actually need another fantasy roleplaying game? After all, what did Earthdawn offer that Advanced Dungeons & Dragons, Second Edition did not? The answer to that is both plenty and not a lot. Plenty, because it offered a detailed setting from the start, that of Barsaive; it provided a reason to explore the underground locations of its setting, the kaers, in way that the dungeons of Advanced Dungeons & Dragons, Second Edition did not; it offered plenty for the Player Characters to do, such as exploring kaers, sealed and unsealed, exploring the new world, protecting others from the remaining Horrors, and so on; it offered lots of character archetypes that enabled the Player Characters to do exciting things; and it had a rules system that was coherent and consistent from start to finish. Not a lot because it was still high fantasy like that of Advanced Dungeons & Dragons, Second Edition and you are still playing Elves, Dwarves, and the like; and kaers are still dungeons even if they are called kaers.

A Player Character or Adept in Earthdawn is defined by his Race, Attributes, Discipline and Circle, Talents, skills, and spells. There are eight core Races, known as the ‘Name-giver’ races, detailed in the Earthdawn core book: Dwarf, Elf, Human, Ork, and Troll are similar to their depiction in other fantasy roleplaying games, but in Barsaive, Dwarves are the dominant Race and culture. The other three are Obsidiman, creatures of living rock, over seven feet tall and weighing hundreds of pounds; T’Skrang, reptilian humanoids, matriarchal, flamboyant and sometimes frivolous; and Windlings, eighteen-inch tall fairie-like creatures with dragonfly-like wings. Obsidiman are seen as slow, but dependable; Orks as nomads, whose tribes will raid the civilised lands; Trolls as feared sky raiders, aerial pirates who crew longship-like sky boats; and T’Skrang as river traders when they are not part of the river pirate federations. Each Race has its own innate abilities. For example, Obsidiman are stronger and tougher, T’Skrang have a tail attack, Trolls are stronger and tougher and have heat vision, and Windlings are not as tough, but possess Astral Sensitive Sight and Flight. Humans have the Versatility Talent, which enables them to learn Talents from Disciplines other than their own. The six Attributes are Dexterity, Strength, Toughness, Perception, Willpower, and Charisma, and they range in value between two and eighteen.

There are thirteen Disciplines in Earthdawn. A Discipline is a way of studying magic and connecting to the magic of the world, and is both a profession and a way of life. They are Archer, Beastmaster, Cavalryman, Elementalist, Illusionist, Nethermancer, Sky Raider, Swordmaster, Thief, Troubadour, Warrior, Weaponsmith, and Wizard. The Elementalist, the Illusionist, the Nethermancer, and the Wizard are the specific spellcasters, with the Nethermancer’s magic involving the other planes. Each Discipline has eight Circles, representing the overall skill and experience of the Adept. In effect, Discipline is the equivalent of Class and Circle the equivalent of level, making Earthdawn as much as a Class and Level roleplaying game as it is a Discipline and Circle roleplaying game.

One of the features of Earthdawn is that both Races and Disciplines are strongly presented in the roleplaying game’s artwork. A colour section depicts all eight Races and each of the eight Discipline listings is accompanied by a ready-to-play archetype of that Discipline. Thus, the Beastmaster is accompanied by an Ork Beastmaster, the Sky Raider by the Troll Sky Raider, the Swordmaster by a T’Skrang Swordmaster, and the Weaponsmith by the Dwarf Weaponsmith. This is typical of roleplaying games designed in the nineties, but very much helped to enforce the feel and look of the world of Earthdawn.

To create an Adept in Earthdawn, a player selects a Race, Discipline, generates Attributes—either randomly or by a point-buy method, determines Step Number and Action Dice for each Attribute, assigns Ranks to the Talents from his first Circle, and assigns Ranks to Knowledge Skills, an Artisan Skills, and Language Skills. Knowledge Skills are areas of study, whilst Artisan Skills represent the arts and craft skills that the people of Barsaive practice in order to prove their creativity and thus not corrupted by the Horrors. Lastly, after equipping his Adept, a player selects one or two personality traits—one of which can be hidden if two are selected, and decides upon some background details.

Name: Sheer

Race: Windling

Discipline: Archer Circle: First

ATTRIBUTE – STEP – ACTION DIE

Dexterity (17): 7/1D12

Strength (11): 5/1D8

Toughness (12): 5/1D8

Perception (15): 6/1D10

Willpower (15): 6/1D10

Charisma (16): 7/1D12

TALENTS

Avoid Blow (2): 9/1D8+1D6

Direction Arrow (1): 8/2D6

Karma Ritual (1): 8/2D6

Missile Weapons (2): 9/1D8+1D6

Mystic Aim (1): 8/2D6

True Shot (1): 8/2D6

MOVEMENT

Full: 48 (Land)/90 (Flight)

Combat: 24 (Land)/45 (Flight)

SKILLS

Artisan/Fletching (1): 8/2D6

Knowledge/Windling Lore (1): 8/2D6

Knowledge/Heroes & Legends (1): 8/2D6

LANGUAGES

Language/Windling (1): 8/2D6

Language/Dwarven (1): 8/2D6

Read/Write/Dwarven (1): 8/2D6

KARMA

Dice: D10 Points: 15

COMBAT

Physical Defence: 10 Spell Defence: 8 Social Defence: 9 Armour: 4 Mystic Armour: 2

DAMAGE

Death Rating: 34 Wound Threshold: 9

Mechanically, Earthdawn uses all of the standard polyhedral dice and to succeed at an action, must roll high to beat a Difficulty Number. Every Attribute, Skill, and Talent has a Step Number. The base Step Numbers for an Adept are derived directly from the Attributes and the ranks that an Adept has in his Skills and Talents will increase their Step Number. The Step Number determines the Action Die or Action Dice that the player will roll for his Adept when using a Skill or Talent. Each Step Number is equal to the average roll on the Action Die or Action Dice. For example, the Action Die for a Step Number of six is a ten-sided die, the average roll for which is six. As an Adept increases the ranks he has in his Skills and Talents, the Step Number and Action Die for each will also increase. In combat, the Difficulty Numbers are determined by the opponent’s Physical Defence, Spell Defence, and Social Defence values, but for other actions, the Game Master assigns a Difficulty Number according to the difficulty of the task. The result of the roll is then compared to the difficulty of the task on the Success Level Table. The result can be Poor, Average, Good, Excellent, or Extraordinary. Higher results are possible because rolling the maximum on any die allows the player to roll and add the result of another die of the same type.

For example, Sheer and his friends are exploring a kaer when they discover some ghouls. As his friends move to attack, Sheer draws an arrow and fires at a ghoul. The ghoul has a Physical Defence of seven and an Armour rating of four. Sheer’s player decides to use his Missile Weapons, for which he will roll an eight-sided die and a six-sided die and add the results together. He rolls a six on the eight-sided die and a six on six-sided die, which means he can roll another six-sided die and add that to the total. He rolls five and the grand total is seventeen. The Game Master compares this result versus the Difficulty Number of the Ghoul’s Physical Defence. This is not quite enough to get an Extraordinary result, but it is enough to get an Excellent result. This means that Sheer’s attack bypasses the ghoul’s armour (or hit it in a soft spot if no armour is worn) and it will suffer the full effect of the Damage Test.

In addition, all Adepts—and some creatures—have Karma, which can be spent in two ways. Some Talents require Karma to be activated, but it can also be spent to add another Action Die to a test. The size of the die is determined by Race. The amount of Karma an adept has is limited, but it can be replenished through the Karma Ritual Talent and through expenditure of Legend Points, the equivalent of Experience Points in Earthdawn.

Magic forms a major part of the setting and background to Earthdawn and four of the Disciplines—the Elementalist, the Illusionist, the Nethermancer, and the Wizard—can cast spells. All four have their own spell lists and start play with several spells, but for each, this requires the Spellcasting, Thread Weaving, and Spell Matrix Talents. Effectively, casting spells is a three-step process, of which Spellcasting is the third and last. The first is Thread Weaving, which enables the spellcaster to weave threads of magic into a spell’s pattern which is then stored in Spell Matrix. Some spells require more than one thread. The Spell Matrix enables the spellcaster to hold and cast a spell free of interference from astral space. Otherwise, the magic would pass through the caster’s body and in the process, do him harm. Other Adepts can also have Thread Weaving, but this is tied to what their Disciplines do rather than enabling them to formulate spells. A spellcaster can have multiple threads being woven at any one time and will have more than the one Spell Matrix, often enabling him to have more than the one spell ready to cast at any one time. Each Spell Matrix is treated as its own Talent and stores the spell until it is cast or the caster dies. It is possible to reattune the Spell Matrix to store a different spell, but this is challenging. Spells can also be cast from a grimoire, but if desperate, a spellcaster could cast raw magic, tapping directly from astral space. This though, makes him vulnerable to Warping, damage, and a Horror Mark Test, as astral space has been warped itself by the Horrors. If the Game Master succeeds at the Horror Mark Test, it means that things have gone badly for the spellcaster. In this case, his use of raw magic leaves a mark on the caster that acts a beacon for Horrors for a year and a day! A Horror Mark can also be gained through encounters with actual Horrors.

During play an Adept will earn Legend Points through play and this is directly spent by the player to increase the Ranks in his Adept’s Talents. In general, Ranks in Talents, because of their magical nature, are easier to increase than those in Skills. An Adept must train to advance to a new Rank and this requires some roleplaying too. One of the most unusual methods of training can be gained from a Ghost Master, one who has died, but whose spirit can be contacted. The requirements for this are demanding and the Adept will need to prepare for it.

For the Game Master, there is advice on the perils of adventuring, handling creatures and Horrors, exploring kaers, and travel, the latter the faster means by river and by air. This accompanied by good solid advice on running the roleplaying game in general, as well as creating adventures and NPCs, and how to award Legend Points. Only here though, is where the Success Level table given and the mechanics of Earthdawn fully explained—and this is some two-hundred-and forty-three pages, almost three-quarters of the way through the book!

One of the notable features of the core rulebook for Earthdawn is the inclusion of a pull-out insert of sixteen cards, each representing a single magical item. Each magical item in Earthdawn is unique—there are no generic items. Instead, a magical item has a pattern, like the spells, that an Adept can attach threads to and weave himself into. This cannot be done randomly, but requires research and tests of knowledge to discover aspects of a magical item. This starts with the Name of the item, then its creator’s Name, its abilities, the source of its materials and the Name of the creature who aided in its creation, and so on. Once this has been done, the Adept can weave threads into the item, the player expend Legend Points, and then make the item not only becomes part of the Adept’s legend, but the Adept also part of the item’s legend. In this way, magical items become important and attached to an Adept both mechanically and narratively in a way that other fantasy roleplaying books did not do.

The creatures in Earthdawn include a mix of creatures, monsters, and Horrors. Some like the ghouls and the zombie-like cadaver men are similar to those of other fantasy roleplaying games. Dragons are immensely powerful creatures, said to be millennia old, but tend to stay away from mortals. Three Dragon types, the Cathay Dragon, the Common Dragon, and the Great Dragon are detailed as are three dragons by name, but unlike in Shadowrun, Dragons do not themselves play a great role in the setting, at least not in the core book. Shadowrun is important here, since it would be later be revealed that Earthdawn was actually a prequel to the fantasy cyberpunk roleplaying game, which was set at another point in the cycle of magic. However, the ties between the two have been subsequently severed. Where Dragons are powerful, Horrors are powerful and nasty. They can animate the dead, corrupt Karma, shift damage it has suffered to other targets, leave Horror Marks, cast spells, inflect Terror, and more. They can be generic in nature like the Bloatforms which manipulate communities into acts of suicide and murder, and the Kreesca, misshapen humanoids that inflict horrible nightmares on the wounded, preventing them from healing. Or they can be of a singular nature, such as Chantrel’s Horror, named for the troubadour who dreamed it into existence. Some nine Horrors are described, all inventively horrible and difficult to defeat, representing strong challenges for any Adept. They are Earthdawn’s signature monster, but allow for lots of inventive variation.

Lastly, Earthdawn is rounded out with two sections which expand upon the background. The first explores the Passions that shape the spiritual beliefs and customs in Barsaive. Each embodies a trait such as love, art, revelry, and so on. Most Passions are positive forces, but there are mad Passions such as Raggok, who embodies vengeance, bitterness, and jealousy, and Vestrial, which embodies who embodies manipulation and deceit. Passions are worshipped, though not as organised faiths, whilst Questors pledge themselves to a particular Passion. There are no specific mechanical benefit to doing so, although Questers are respected across Barsaive whereas Adepts are too closely connected to magic to gain everyone’s trust or respect. Otherwise, the inclusion of the Passions is interesting to read, but there is not much in the way of application to play. The second is an expanded section of Barsaive, which provides an overview of the province.

Physically, Earthdawn is very well presented. The artwork, a mix of black and white and colour inserts is great, really bringing the setting to life. Yet the writing and certainly not the organisation is not as good as it should be. The spellcasting system, actually a pleasing mix of  flavour and mechanic, is not as well as explained as it could be since it requires much more work than simply casting a spell and rolling dice. The explanation of the mechanics is scattered across the book, with the actual explanation of the core mechanic and working out how successful a roll is, not appearing until almost three quarters of the way through the book. It really should have been given upfront so that the reader and the Game Master has a good grasp of them before reading the rest of the book. Nevertheless, Earthdawn is a good-looking book, even with the magic item cards removed (though most copies still retain them to this day). If it lacks anything, it is a scenario to play right from the off.

—oOo—

Stewart Wieck reviewed Earthdawn as a ‘Feature Review’ in White Wolf Magazine #37 (July/August 1993). His review began the same that other initial reviews did. Comparing it with the then as now biggest roleplaying game in the industry, he opened with “What can be said about Earthdawn? Well, it’s better than AD&D. Then again, you’d have to wonder about a company that went to the trouble of releasing a fantasy game that isn’t better than AD&D. Even an outstanding game is going to have little chance of overtaking this grandfather of games, so what hope does a crappy game have? None. What chance does Earthdawn have, even though it’s better? None. There’s just not enough that’s new in the game to make it really stand out in the minds of current fantasy gamers.” The review continued in this fashion until Wieck awarded the roleplaying game a score of three out of five, and concluding with, “Earthdawn is a solid game, but the “innovations” seem like unnecessary complications. The world is fun, but not fresh. This is not the fantasy game to leave your current campaign for unless you want to bank on the ever-fulfilled FASA promise— an extensive line of support material, much of which will be very good and will undoubtedly add a lot to the game.”

Alongside Wieck, Sam Chupp and Travis Williams added their own brief reviews. Chupp also awarded Earthdawn a score of three and compared it to Advanced Dungeons & Dragons, suggesting that, “If, however, you are looking for a new twist in fantasy roleplaying, you going to be patient and wait for another company to get brave enough (in a crowded market) to put out a brand-new, radical, out-of-this-world fantasy role-playing game.” Williams was more positive, awarding it four out of five, and praising it for its story, artwork, and sense of why the things were that they were, and, “Last, but not least, I gave Earthdawn one more point for their effort to make the game more colorful, and I mean this in an ethnic sense, I never really wanted to play a white person in AD&D, and [I] to play someone black I had to choose a dark elf. I respect FASA for making the effort to include black people in their fantasy games. Maybe more of us will play them as a result.”

Earthdawn would be reviewed in Shadis magazine, not once but twice. First in a ‘Feature Review’ by Jeff Zitomer in Shadis #10 (November/December 1993), which he began with the almost formulaic response of, “What, yet another fantasy RPG? Wrongo folks. Let’s face it, the market is flooded with bland fantasy role playing games. Has this become the hack genre of choice? Today’s gamers are a pretty savvy bunch. Sure, a big company like FASA certainly has the resources and talent to put together a snazzy-looking game, but can this newcomer compete?” Ultimately, Zitomer would be more positive than other reviewers, bring his review to a finish with “To sum it up, I think EARTHDAWN is going to be a classic. The background is unique and rich with adventuring possibilities. The rules, though voluminous, won’t take a lifetime to understand and won’t turn an adventure into a numbercrunching session. The game isn’t 100% perfect, however. There are some problems, such as the organization of the rules. In addition, I would’ve liked to have seen more background in the basic book instead of having to wait for supplements. As I mentioned before, these problems are more of an inconvenience than an impediment, and can be excused considering the sheer size of the game.” before closing with, “I give EARTHDAWN an “A-“. Check it out.”

The second review would appear in Shadis #24 (February 1996), again as a ‘Feature Review’, but this time by Jerome Rybak. As much an overview of the then range of supplements available as a review, Rybak’s review is by far the most positive: “Earthdawn has it all . Fantasy role-playing with dashes of horror (sec the Horrors supplement), exploration and adventure. It has enough of the traditional so I feel the swirls of nostalgia inside and enough innovation to keep me on my toes when I start to take things for granted. While the system is a bit too innovative for my taste, I highly recommend Earthdawn to anyone who runs a fantasy campaign. It really gives the fantasy genre a long-needed (albeit friendly) kick in the pants.”

Earthdawn was a ‘Pyramid Pick’ in Pyramid Vol. 1 Number 3 (September/October 1993). Reviewer, Chris W. McCubbin noted that, “The neat thing about Earthdawn’s setting is that it provides a completely logical framework for all the traditional fantasy roleplaying adventures. In D&D-style games, the realism-minded player is forever wondering, “if this kingdom is so ancient and civilized, why is this treasure-filled, haunted ruin sitting undisturbed ten miles outside the capital city?” He concluded the review by saying, “Although it never becomes bogged down in cliches and avoids outmoded concepts, Earthdawn is, at heart, a very traditional heroic fantasy RPG. In fact, it might be, in a very literal sense, the last word in heroic fantasy roleplaying – as the art of the RPG continues to expand beyond its sword-and-sorcery roots, Earthdawn might just turn out to be the last great FRPG. I predict it’s going to be a hit, and a fan favorite for years to come.”

Rick Swan reviewed Earthdawn in ‘Role-playing Reviews’ in Dragon #202 (February 1994), initially noting that a decade earlier, he would have questioned the “…[S]anity of any publisher attempting to go head-to-head with the AD&D® game.” He countered this with that wisdom that, “Almost any new fantasy RPG has a shot at elbowing its way into the market providing the publisher has a professional quality package, commits enough resources to promote it, and supports it with supplements. A good hook, preferably one that can be summarized in one line of ad copy, doesn’t hurt. (“Every character a spell-caster!” “Our dwarves are 10’ tall!”) It also pays to be different, but not too different. Successful RPGs tend to favor new twists on familiar concepts, not radical re-inventions; no one’s going to get rich with a game about magic-wielding kitchen appliances.” Yet his initial assessment was not favourable since it is clear that he felt that Earthdawn was not different enough, his opinion being that, “Despite workable rules and a clever setting, EARTHDAWN is more frosting than cake, with little of substance to distinguish it from the competition. Much of the game seems to parallel the AD&D system, including the archetypes (dwarves, dragons, and wizards), terminology (“circle” for “level”) (“legend points” for “experience Points”), even its polyhedral dice (d4, d6, d8, d10, d12, and d20). Maybe a better title would’ve been “DÉJÀ VU”.” These reservations would continue with his summation: “Wall-to-wall innovation isn’t necessary or even desirable for a new RPG. On the heels of FASA’s imaginative SHADOWRUN* game though, EARTHDAWN feels like a step back. The best stuff (the thread magic) doesn’t make the so-so stuff (the knotty mechanics) any more palatable.”, but similarly balanced with, “The more I played it however, the better it got. I liked the spells. I liked the background. I loved the t’skrang. Mists of Betrayal made me hungry for the next round of supplements. This game ain’t RUNEQUEST. It ain’t even TUNNELS & TROLLS. But in a greasy pizza, let’s-not-take-this-too seriously kind of way, EARTHDAWN holds its own. Will it be around in five years? I wouldn’t be surprised. Will I still be playing it? Now that would surprise me.”

In a 1996 reader poll conducted by Arcane magazine to determine the 50 most popular roleplaying games of all time, Earthdawn was ranked twenty-fourth. Editor Paul Pettengale commented that, “Very good indeed. Earthdawn combined traditional fantasy with Call of Cthulhu-style horror and a detailed background to create an evocative and interesting setting. Combined with a clear, well-designed rules system and an impressive range of supporting supplements and adventures, this is an excellent fantasy game. It’s also of special interest to fans of Shadowrun, because it describes the past of the same gameworld.”

Lastly, in 1999, Earthdawn was included in ‘Second Sight: The Millennium’s Most Influential Company and The Millennium’s Most Underrated Game’ in Pyramid (Online) (November 25th, 1999). He stated that, “Earthdawn had an original, inventive magic system (no mean trick given the hundreds of fantasy RPGs that came before), and a game world that gave you the classic ‘monsters and dungeons’ sort of RPG experience, but made sense doing it.”

—oOo—

It is clear that at the time of its publication that Earthdawn drew strong comparisons with Advanced Dungeons & Dragons, Second Edition and questions as to whether there was any need for another big fantasy roleplaying game, since after all, Earthdawn offered a lot of similar things to the world’s most popular roleplaying game. Yet it offered a whole lot more—a coherent rules system, an interesting magic system, and a fascinating world right from the opening pages of the book, with everything designed to support and service that world.

With its emphasis on its setting, its combination of genres, fantasy and horror, and its coherent Step Number and Action Dice mechanics, Earthdawn does feel like a roleplaying game from the nineties, but one from the second half of the nineties rather than the first half. Earthdawn offered Dungeons & Dragons-style play in 1993, but explained that why style of play existed and how it worked by sliding it into a setting where it did not look out of place and did make sense. And although designed in the early nineties, none of those choices or the mechanics have dated. Earthdawn is a roleplaying game that you pick up and play and not really know that it was published decades ago. With its big, bold treatment of high fantasy, magic, and horror, Earthdawn stands out as the preeminent fantasy roleplaying game of the decade.

1993: For Faerie, Queen, and Country

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

—oOo—

For Faerie, Queen, and Country was the first ‘Universe Book’ to be published for the Amazing Engine game system, the first attempt at a generic system from TSR, Inc. It is set in an alternate Victorian Era, roughly in the 1870s, with Queen Victoria on the throne, with some radical differences. The most obvious of these is the presence of magic and the fae. The Unseelie Court has long been a presence on British Isles, ever since its horde rampaged out south from the Highlands of Scotland to be defeated by Aurelius Ambrosius and they continue to be a threat today, often hand-in-hand with the Esteemed Order of Thaumaturgists, which has connections in both Scotland and Ireland. In particular, it claims that James of Calais is the rightful claimant to the throne that Queen Victoria currently occupies. This is despite the Prince of Scotland having an important role in Scotland’s governance title established in 1701 as a condition of accepting the Hanoverian Succession to the throne. Ireland remains part of the empire, but Tir Nan Og remains under the independent rule of the Tuatha de Dannan, only adding to friction between the authorities and those fomenting for the settlement of the Irish question. Even so, every Tuatha sidhe barrow requires a sperate embassy of its own lest a fairie noble be slighted.

Abroad, France remains a rival led by Napoleon III, the grandson of the Corsican Ogre, whilst Otto von Bismarck foments not just a Prussian resurgence, but a German one. America is the crown in the British Empire, returned to her embrace following the defeat of the rebels in the War of 1812 and the Limited Rule and Tax Reform Acts of 1821. Great Britain has colonies dotted here and there around the world, but to date, the magic of the Moguls of India have limited European inroads into the Indian subcontinent.

In For Faerie, Queen, and Country, the Player Characters can be Human or Tainted, Marked, Blooded by Fairy Blood, or even be Full Fairy. Fairy features include arched eyebrows, bulging eyes, hooves, pointed ears, and more. A Fairy can be a Brownie, Bwca, Grugach, Gwragedd Annwn, Killmoulis, Piskie, Tuatha de Dannan, Urisk, or Wag-at-the-Wa’. The greater the degree of Fairy Blood a character has, the greater his susceptibility to cold iron, resistance to fairy glamours, and may even be able to cast glamours himself. A Player Character must either be English, Welsh, Scottish, Irish, Anglo-Irish, or Foreign, although a Foreign character cannot have fairy blood. There is some social distinction between the Pagan Irish and the Church Irish, not dissimilar to that between Protestants and Catholics of our own history. The type of Fairy will also determine where he comes from in the United Kingdom, since fairies vary from region to region. His Social Class—Working Class, Bourgeoisie, or Gentry—determines the professions open to him.

To create a Player Character in For Faerie, Queen, and Country, a player takes the base character he created using the Amazing Engine System Guide and adds a flat twenty points to each attribute. He rolls for Fairy Blood and Fairy Type—if necessary, selects Nationality, and determines his Class from his Position attribute, and thus the Professions open to him. A Player Character typically has one or two Professions, each Profession offering a number of skill pools from the player can choose from. A Full Fairy will not have a Profession, but instead selects skills based on his Intuition rather than his Learning attribute.

Our example Player Character is a Blooded Fairy, a half-fairy whose father was an Urisk, half-man, half-goat. Douglas Gunn is a farmer’s son, who was always willing to defend his Fairy origins with his fists and until this got him arrested and given a choice of gaol time or taking the Queen’s shilling. He choose the latter and served for ten years in Queen Nicnevin’s Own Highlanders. He earned a battlefield commission for bravery which he retained upon retirement.

Douglas Gunn

Fairy Blood: Blooded

Fairy Type: Urisk

Nationality: Scottish

Profession: Farmer/Soldier (2nd Lieutenant, Queen Nicnevin’s Own Highlanders (Ret.))

Physique (Rank 1/Dice 8): Fitness 61 Reflexes 53

Intellect (Rank 4/Dice 4): Learning 30 Intuition 42

Spirit (Rank 2/Dice 5): Psyche 38 Willpower 52

Influence (Rank 3/Dice 5): Charm 56 Position 28

Stamina: 21

Body Points: 13

Skills: Brawling 53% (Athletics), Fairie Lore 30% (The Craft), Farming 42% (Rural), Rifle 53% (Marksmanship), Woodlore 42% (Rural)

Glamours: Conceal

Notes: +10 resisting glamours, +5% to all reaction rolls by the fairy folk, -5% on all reaction rolls involving non-fairy NPCs, suffer one point of extra damage from cold iron.

Languages: English, Scots Gaelic

Mechanically, of course, For Faerie, Queen, and Country uses the percentile of the Amazing Engine, as does the combat system. In the Victorian Era, brawls and knife fights are not uncommon, whilst firearms are primarily used to commit crime, and are wielded by criminals and some police. General ownership is not uncommon, but mostly in the home or on the owner’s land. Combat can be brutal in For Faerie, Queen, and Country, not just because a Player Character has lower Hit Points than in other Universe Books, but because alongside their loss, there is a chance of the injured suffering a complication, ranging from a scar, fever, or infection to deafness in one ear, mild paralysis, or a limb requiring amputation!

The most mechanical attention in For Faerie, Queen, and Country is given to its magic system. Magic in the setting is so important that there are even several regiments of Royal Thaumaturges in the British army and magic can be studied at university. ‘The Art’ of magic falls under the sciences and can include Alchemy, Divination, Goetic, and Wizardry, whilst Divination, Fairie Lore, Folk Medicine, Herbalism, Hyperaesthesia, and Spiritualism fall under ‘The Craft’. ‘The Art’ is studied at universities and in colleges, though Goetic magic, the evil practice of trafficking with spirits is not taught at any reputable institution There are also innate spell effects that Fairie can cast called Glamours, primitive magic taking the form of either illusions to fool the senses or enchantments to betray the heart.

Apart from the Glamours for the benefit of the Game Master, For Faerie, Queen, and Country does not include a list of off-the-shelf, ready-to-cast spells, but instead asks a would be spellcaster to literally formulate a spell using several factors. These are Agent, Action(s), Target, Effect, and Conditions, which all increase the difficulty of casting the spell, whilst Taboos, which place restrictions on a spell, reduce the difficulty. Typically, this preparation takes time and it is also possible to research spells, although that takes days. Ultimately, the Game Master has to give her approval of any spell and total difficulty value reduces the ability of the spellcaster to cast the spell. It costs Stamina to cast a spell and spells can be resisted. It is possible to formulate and cast a spell on the fly, but this reduces the chance of being successfully cast. The system is handily supported with some examples, but this is perhaps, despite the intended simplicity of the Amazing Engine, quite a demanding aspect of the setting and any player wanting to play a spellcaster will need to have a good grasp of these mechanics work as each spell requires actual preparation and set-up upon the part of the player, let alone his character.

The counterpart to magic in For Faerie, Queen, and Country are the clergy and the church. Across the United Kingdom there are parallel denominations to those our own, such as the Church of Albion, the Old Church, and the Reformed Church of Scotland. Members of the clergy do not cast spells or perform miracles, but their faith enables them to use the powers of ‘Sanctify’, ‘Fortify’, and ‘Cast out’. The Church and its grounds are anathema to the Fairie, and in most cases, the Fairie loath the church. Whilst the chapter covers the equivalent of the different Christian denominations, For Faerie, Queen, and Country unfortunately not only ignores other faiths which might be found in the United Kingdom, it also ignores paganism, the practice of which is found across the country, often entwined with the Fairie.

For Faerie, Queen, and Country includes a wealth of background on the Albion of its 1870s. There is a list of goods and services and their prices, money and savings are discussed, an array of awards and forms of recognition are given, but For Faerie, Queen, and Country comes into its own when with a pair of chapters written as in-game pieces. The first is ‘Peak-Martin’s Index of Faerie’, a series of three lectures given to the Royal Academy of Sciences in 1877. This categorises the Fairie as well as giving stats for the Game Master to use for NPCs and providing an overview of the Unseelie Court, the Seelie Court, Tir Nan Og, and more. There is also a guide to portraying Fairie for the Game Master. The second is ‘Crompton’s Illustrated Tourbook of Great Britain’, a relatively decent guide to the United Kingdom, which begs for expansion and which any native of the British Isles will find wanting. Anyone from Wales will be disappointed to find folded into the description of England. This is followed by ‘The Glorious British Life’, a guide to life in the United Kingdom, which covers money, rural and urban life, how much your servants should be paid, how things are done without modern conveniences, transport, how to conduct research, government and politics, crime and law enforcement, pleasures and pastimes, and more. In comparison to ‘Crompton’s Illustrated Tourbook of Great Britain’, this is solidly useful content. Enjoyably, For Faerie, Queen, and Country comes to a close with ‘How to Speak Proper’, but not just in the Queen’s English, but also for rural speech, Scots and Irish Gaelic, then briefly and poorly, a little Welsh, and lastly, a lexicon of criminal phrases.

There is a lot to like about For Faerie, Queen, and Country. Primarily this is the range of Fairies described, the magic system which will force players to think about their character’s spellcasting long before they cast anything, and the general background. In the fact, the latter feels not dissimilar to What Jane Austen Ate and Charles Dickens Knew: From Fox Hunting to Whist-the Facts of Daily Life in Nineteenth-Century. However, anyone from Wales will be severely disappointed by its lack of coverage in For Faerie, Queen, and Country compared to that of Scotland and Ireland, similarly, its treatment of paganism is non-existent in comparison to that of the Church. Mechanically, For Faerie, Queen, and Country is simple, but it is not always explained as clearly as it could have been, especially the means of creating characters. Further—and despite the wealth of background—that background is not always easy to use or extract to be used, and it does not help that For Faerie, Queen, and Country lacks a scenario or even scenario hooks. That said, an experienced and determined Game Master will be able to mine the background for ideas and hooks.

Where this leaves For Faerie, Queen, and Country is a setting that is playable, but not complete. In some ways, it works better as a sourcebook for other Victorian Era-set roleplaying games than it does as a stand alone roleplaying game. Had it been further developed, that might not have been the case.

Physically, For Faerie, Queen, and Country is decently presented, but lightly illustrated with publicly sourced artwork, so the book is text dense. It comes with a pull-out, full colour map of the United Kingdom.

As the first Universe Book for the Amazing Engine, what For Faerie, Queen, and Country does is showcase the possibilities of the system and what it can do. It also hints at the radicalism of the ideas that were to follow in subsequent Universe Books, as if the writers had been set free to design interesting settings with intriguing ideas that they might not have been able to bring to fruition had they been for Dungeons & Dragons. Ultimately, For Faerie, Queen, and Country for the Amazing Engine is definitely not without its charms, but it does not feel as complete as it should and it leaves the reader wanting more.

1993: Amazing Engine System Guide

1974 is an important year for the gaming hobby. It is the year that Dungeons & DragonsWizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

—oOo—

In 1993, amidst its constant search for sure fire hit in terms of a new setting or starter set for Dungeons & Dragons, TSR, Inc. published something radical. A universal roleplaying system. A universal roleplaying system that was not only mechanically compatible from one setting to the next, but allowed a player to take the core aspects of his character from one setting to another. Thematically and in terms of genre, the character would be different from one setting to the next as well as being an entirely different Player Character, but the core elements would remain the same. If a player preferred to play a dextrous fighter or a glib investigator, the basics of this would be incorporated into the Player Character no matter what the setting. Further, the experience and improvements gained from roleplaying in one setting would be carried over from that setting to the next, so that the new Player Character would benefit from the play of the old. This was no multiverse setting though. Beyond the core rules the settings were discrete and varied in genre and setting. The system was the Amazing Engine, and if its key idea of experience being transferred between different games can be seen as a failure, having not been replicated elsewhere, it does not mean that it was not an experiment worth developing and it does not detract from the eight campaign settings, or Universe Books, published for it between 1993 and 1994.

The Amazing Engine System Guide is the starting point for the Amazing Engine game system. It wastes little time in explain what it is and what its core concepts are, the heart of which are the splitting of the character in two. The traditional Player Character, with its attributes, skills, and abilities, is what a player roleplays in a particular universe. The Player Core is the framework upon which the Player Character is built in a particular universe and it is this Player Core, which is transported from one setting to the next, from one Universe Book to the next. The Player Core has four Ability Pools—Physique, Intellect, Spirit, and Influence. Each Ability Pool has two associated Attributes—Fitness and Reflexes for Physique, Learning and Intuition for Intellect, Psyche and Willpower for Spirit, and Charm and Position for Influence. Attributes range in value between three and fifty. Having two Attributes per Ability Pool means that a Player Character will always have an Attribute that works in a Universe Book setting. For example, in the Magitech Universe Book, Psyche will be of more use than in the Bughunters setting where Willpower will be important.

To create a Player Core, a player assigns a rank, from one to four, for each of the Ability Pools, with one being the best and four the worst. He picks four of the eight Attributes he favours and rolls four ten-sided dice for each, whilst three ten-sided dice are rolled for the other four. Depending upon the ranking of the Ability Pools, a number of bonus points are divided between the two Attributes in an Ability Pool, ranging from fifteen for the best ranking to zero for the worst. No Attribute can be higher than fifty. Lastly, the two Attributes are added together and divided by ten. This determines the number dice rolled during Player Character creation when switching from one Universe Book to another. A Player Core looks like the following. In this example, the player wants to roleplay, brawny, if charismatic characters.

Physique (Rank 1/Dice 8): Fitness 41 Reflexes 33

Intellect (Rank 4/Dice 4): Learning 10 Intuition 22

Spirit (Rank 2/Dice 5): Psyche 18 Willpower 32

Influence (Rank 3/Dice 5): Charm 36 Position 08

To create the Player Character, the player ignores the values rolled for the individual Attributes during the creation of the Player Core. Instead, he divides the number of dice for each Ability Pool between the two Attributes in the Ability Pool. To these dice he adds a total of seven dice between all eight Attributes with no more than a total of five dice being assigned to any one Attribute. These are rolled to give a new value to each Attribute, and then as with the creation of the Character Core, a number of bonus points are divided between the two Attributes in an Ability Pool, ranging from fifteen for the best ranking to zero for the worst. The result cannot be more than fifty, and the Dice ratings for the Character Core do not change. What this means, especially with the addition of the bonus dice, is that a player can adjust for the differences between one Universe Book and another. So that a setting where social status or rank matters would favour the Position Attribute and so a player might assign more dice to that. However, the replication of the process does not feel intuitive, even adding an odd layer of complexity to the process. Lastly, the Stamina—the amount of damage a Player Character can suffer before being rendered unconscious is determined, as is Body, which is the amount of damage he can suffered before being killed.

So, the brawny, but charming fighter type is being shifted from a Universe Book of Swords & Sorcery to one where magic is being studied at an academy. In this case, the player divides the dice from his Player Core between the Attribute pairings, but because the new Universe Book is going to favour the Learning and Psyche Attributes, he divides the bonus dice between them. The result gives the final values for the Attributes for the Player Character in that Universe Book.

Physique (Rank 1/Dice 8): Fitness (Dice 4) 41 Reflexes (Dice 4) 28

Intellect (Rank 4/Dice 4): Learning (Dice 5) 38 Intuition (Dice 2) 12

Spirit (Rank 2/Dice 5): Psyche (Dice 5) 33 Willpower (Dice 2) 15

Influence (Rank 3/Dice 5): Charm (Dice 3) 21 Position (Dice 2) 12

Body: 41 Stamina: 52

This though is the base Player Character in a Universe Book. The latter can also add a Species and the player has to choose a profession and some skills. The Amazing Engine System Guide uses skill groups which break skills done into specialities, from the Basic Skill to the Speciality to the Sub-Speciality. Depending upon what the Player Character is trying to do and the more specialised the task, if the Player Character does not have the Speciality or the Sub-Speciality, he receives a penalty to the task. Some Sub-Specialities can actually be enhancements if the Player Character has them, instead of being penalties if he does not. For example, a gin-running Bootlegger from the Prohibition Era of the nineteen twenties might have the skill of Driving and the Speciality of Automobile. When he is on a bootlegging run, he drives Mabel, a souped-up Ford Model A Coupe. Although a Sub-Speciality, it is treated as an Enhancement when he is driving it. The player selects a number of skills, Specialities, and Sub-Specialities from his character’s Profession first and then any reflecting his character’s hobbies and interests from any skill group. The number for both is determined by the Learning and Intuition Attributes, respectively.

Mechanically, the Amazing Engine is simple. A skill test is a percentile roll versus an Attribute. Penalties are derived from the difficulty of the task, the lack of Specialities and Sub-Specialities, and so on. From just the Amazing Engine System Guide, a Player Character will rarely have more than sixty-percent chance of succeeding at a task, taking into account a high attribute of fifty and an Enhancement from Sub-Speciality. Whilst this is the case, the Amazing Engine not meant to be played alone, but in conjunction with a Universe Book and options within that will increase skill values. The Amazing Engine allows from margin ratings to determine the degree of success of a skill test. This is based on the ones digit of the roll and if it is equal to or less than the Success Margin, it is a critical success, whilst a critical failure would be a failed roll combined with the ones digit being equal to or greater than the Failure Margin.

Combat uses the same mechanics. Once advantage has been checked for—essentially to see if surprise has been gained by either side—initiative is determined by a roll modified by the Reflexes Attribute. Notably, anything beyond the control of the Player Characters will have its own initiative roll, the example being a grenade thrown by the enemy. An attack is rolled against Reflexes, whether melee or ranged, and the attacker has to specify whether the attack is ‘General’, ‘Non-Vital’, or ‘Vital’. ‘Non-Vital’ attacks are more subdual attacks, and are not only harder to hit, but do not inflict as much damage. ‘Vital’ attacks are extremely hard to do and increase the amount of damage done. Weapons can have a Lethality Rating. When digits value of a successful attack roll is equal to or below a weapon’s Lethality Rating the damage is deducted from the target’s Body rating rather than the Stamina rating. Lastly, the Amazing Engine System Guide notes that it is possible for a Player Character to have magic or psionics or other special powers. However, these are not detailed in its pages, but kept specific to the various Universe Books. Arms, armour, and other equipment are given a similar treatment.

Experience is the key to the core concept behind the Amazing Engine. There is advice on having a good play experience too, but in the main the advice is on how to acquire it and then spend it. The means of acquiring it is as you would expect—successful adventures, skill use, and good roleplaying—but the Amazing Engine System Guide details four means of spending it. The first is immediate, spending it to Tax Abilities. This is directly spending it to temporally increase an Attribute on a point per point basis, in blocks of five. This cannot raise the Attribute to more than double its value, but it can lift the chance of success above the sixty percent. The second is to spend it to permanently raise the value of an Attribute. This is more expensive and varies from one Universe Book to another. The third option is improve the Character Core by purchasing extra Dice. This is even more expensive. Lastly, a player can simply transfer accumulated Experience Points to another character based on the Player Core. If a Player Character dies, any accumulated Experience Points are lost, but if the Player Core has any Experience Points, they are not lost.

Physically, the Amazing Engine System Guide is a short book, just thirty-two pages long. It is well written and there are plenty of examples of the rules, including an extended example of Player Core and Player Character creation. The artwork is decent, but of course, generic. The book is notably festooned with the ‘™’ symbol, it appearing every time the name of the rules or a Universe Book appears in the text.

Initially, the Amazing Engine was published as a two-part system. One part would be the Amazing Engine System Guide, the other a Universe Book such as For Faerie, Queen, and Country or Bughunters . It was possible to purchase the Amazing Engine System Guide separately, leading to the situation where there seemed to be more copies of the Amazing Engine System Guide than the Universe Books, but the primary means of obtaining one would be to purchase a combined pack containing the Amazing Engine System Guide as well a Universe Book. Eventually, the Amazing Engine System Guide would be published as part of the Universe Book itself, so that each Universe Book became more of a standalone roleplaying game in its own right.

Ultimately, the problem with the Amazing Engine System Guide is twofold. First, it is not a standalone product. Despite presenting a generic set of rules, those rules are not sufficient to stand on their own and they need a Universe Book to provide all of the details that a fully realised roleplaying game would. Second, it solves a problem that really is not there, the disappointment at losing all of the experience and benefits accumulated through play by switching to another setting and having to play a new character. This is not to say that it does not solve that problem poorly, rather that the need for it to be solved is doubtful. On its own, the Amazing Engine System Guide is simply not enough, but as the core rules and means of character creation for the various Universe Books, the Amazing Engine System Guide is vital—and actually worth it since the various Universe Books are all interesting, often more imaginative than the books which TSR, Inc. would have been publishing at the time. There is even the basis for a proper generic roleplaying game in the Amazing Engine System Guide if TSR, Inc. had wanted to develop it. That was not to be, but an inventive Game Master could draw such details from the full range of Universe Books and create one herself. Ultimately, the Amazing Engine System Guide is good for the mechanical means of access it provides to the eight Universe Books of the Amazing Engine.

Friday Filler: Jurassic Park: Danger! Adventure Strategy Game

Jurassic Park is thirty years old in 2023. It was a big hit in 1993, and although it has developed into a franchise, the original is the one that is best remembered. After all, with what was then grounding breaking CGI, the dinosaurs were brought to life like never before, and the combination of a rousing score from John Williams and a new sound system in cinemas meant the impact of seeing the film in the cinema, it is still recalled today. Sadly, Jurassic Park does not have any roleplaying games based on it, but it does have a board game or two. Published in 2018—on the twenty-fifth anniversary of the film—by Ravensburger, the Jurassic Park: Danger! Adventure Strategy Game is a light, semi co-operative game for two to five, aged ten and up. In the game, the human players must work together to achieve their goals and escape the island whilst avoid being eaten by the dinosaurs, whilst the dinosaur player must eat as many humans as he can! (well, not literally, three is enough.)

The human players control one character at a time, although the game gives them a choice of ten to choose from. Every character has his or her own deck of cards, character mat, and meeple. Although every character’s deck has Run, Sneak, and Climb cards, each character’s deck also has its special cards. For example, Doctor Alan Grant has ‘Give Me Your Hand’, which lets his move another character on an adjacent tile to move to his tile and Lex Murphy has ‘Piercing Scream’ which gives her a chance to sneak and distract without being attacked. Each character has their own Character Goal which must be achieved before the character can get to the Helicopter Pad and escape. A character who achieves his goal is awarded a Goal Token. For example, Doctor Alan Grant’s goal is to distract the Tyrannosaurus Rex, Doctor Ian Malcom’s is to successfully guess whether a die roll will be odd or even, and John Hammond’s is to not have any character be eliminated whilst he is in play. He actually starts play with his Goal Token and loses it if another character dies. Even if it is Dennis Nedry.

The dinosaur player controls three dinosaurs—a velociraptor, a tyrannosaurus rex, and a dilophosaurus. Although the dinosaur player has the one deck of cards, each card gives two or three actions—Run, Sneak, or Climb—that the dinosaur player must do when drawn. No matter the number of actions on the card, a different dinosaur does each action. In addition, the dinosaurs can do two things. First, each has its own special action. The velociraptor can run two spaces in a straight line, the tyrannosaurus rex can attack twice, and the dilophosaurus can attack a character on an adjacent tile with its venomous spit. A dinosaur special action like this cannot be done on two consecutive turns. Second, a dinosaur can attack. This occurs when they are on the same tile—except for the special action of the dilophosaurus—as a human and neither are sneaking. Attacks always succeed otherwise, and force a player to discard a card from his hand. This is removed from the game and cannot be retrieved. When a character loses all ten cards in his deck, he is eliminated. Lastly, it should be noted that the meeples for the dinosaurs are attractively illustrated, but the meeples for the characters are plain and unillustrated.

What is interesting is that when a character exits the game—either because he has been eaten by a dinosaur or has managed to successfully escape via the helicopter, his player can select another character and continue playing. Either way, this keeps a player involved from start to finish and removes the element of player elimination, if not character elimination.

The game is played on a map of Isla Nublar. This requires some construction prior to play, but the coastal perimeter frame keeps everything in place. The Start Tile—for the humans—goes in the middle, whilst the perimeter and centre tiles are placed randomly. The marked Locations are the Control Centre, Visitors’ Centre, and Maintenance Shed, plus the Helicopter Pad, whilst the dinosaurs also have their own starting tiles. Some tiles have mountains on them and these need to be climbed, as do the electric fences marked on some tiles, when they are turned off. Once activated, the three marked Locations are activated, they become safe spaces for the humans.

On a turn, each player, both human and dinosaur play a card face down on their respective mats. The dinosaur player plays his first as well as any optional actions. Then the human players do the same, plus any optional actions. The Climb and Sneak actions require a successful die roll to complete, as does activation of the three Locations. Cards can be burned or permanently discarded to gain a boost to the roll.

Play in Jurassic Park: Danger! Adventure Strategy Game proceeds one card at a time. The dinosaur player is at an advantage with the choice of special actions and is aiming to prevent access to the three Locations for as long as possible whilst constantly snapping at and attacking the humans. Blocking is possible because a character cannot use his Run or Climb Cards to enter a tile with a dinosaur. Conversely, a human player can use Sneak and Distract cards to get past a blocking dinosaur. A human player can also turn on the electric fences from the Maintenance Shed, which block both human and dinosaur movement. Both human and dinosaur players have limited choice of cards to play from one turn to the next, their hands being limited to just three. Because of positioning—either dinosaur or human—and because of terrain like the electric fences and the mountains that has to be climbed, the choice of card to be played can also be restricted. The humans will often find themselves running even as they get close to their intended destination.

Jurassic Park: Danger! Adventure Strategy Game is won in two ways. For the dinosaur player, all he has to do is eliminate three humans. For the human players, they have to reach all three locations and activate them, fulfil their individual goals, and only then escape from the island. If three humans escape from the island, then the humans win.

Physically, Jurassic Park: Danger! Adventure Strategy Game is well presented, with nice artwork used to illustrate the various characters from the film. The card stock for the mats and the cards feel a little thin and whilst the dinosaurs are eye-catching, the meeples for the humans are, in comparison, bland. The rulebook is well written, easy to read and understand—clearly marking the text for the human players and the dinosaur player is a very nice touch, and includes advice on how to win for both players.

Jurassic Park: Danger! Adventure Strategy Game is okay—and for a family game, especially one that embraces modern design, is also okay. It introduces co-operative play, the humans having to work together, the options are simple, and the film will be familiar to almost everyone. With ten cards to lose humans are more resilient than at first seems, but the dinosaurs are tenacious, have more options and more powerful options as to what they can do, and at best the humans can only corral them with the electric fences or sneak past them. And that, for the human players is not very interesting, because whilst Jurassic Park: Danger! Adventure Strategy Game does have plenty of theme, it feels as if the humans are avoiding the theme as much as they are the dinosaurs. The problem is that the game ignores some of the tensions in the film. For example, Dennis Nedry, the villain, is a playable character, and his special action is that he is always attacked first by the dinosaur if there are more than the one human on a tile. Which seems appropriate, because nobody likes Dennis Nedry, but he does not get to be the villain in the game. He does not betray John Hammond and you wish that he could. Robert Muldoon is not armed and cannot act against the dinosaurs in anyway. In fact, no human can do anything to to affect the dinosaurs bar turning on bar the electric fences, so the interaction between the humans and the dinosaurs is all too often one way—the dinosaurs affecting the humans. The result is a lack of tension between the humans and the dinosaurs because the dinosaurs have a human player and their actions are going to predictable. Perhaps if the game has automated to movement of the dinosaurs, it might have made their actions less predictable and so increased the tension?

Jurassic Park: Danger! Adventure Strategy Game is a serviceable, modern family game that can be enjoyed by casual or younger board gamers. For the more experienced board gamer, Jurassic Park: Danger! Adventure Strategy Game is slightly underwhelming, leaving him wishing that it had a bit more bite.