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 Adapting Secrets of the Nethercity—a sprawling, "classic-style" underworld crawl—to Adventurer Conqueror King System II (ACKS II) is a match made in gaming heaven. Both share a love for high-lethality exploration and meticulous underworld ecology.Since Secrets of the Nethercity was designed for a similar OSR chassis, the conversion is less about rewriting the book and more about mapping theNeedleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

By Nicole Mattos, Icaro Agostino, Davide Tramma
Angry Golem Games
OSE
Levels 2-4

After being denied recognition as the supreme lord, Severo cursed the region, bringing a devastating drought to the Village of Rangdum. In desperation, a Council of Elders performed a forbidden ritual, sacrificing a young woman who became a Rusalka, bound to preserve the lake through a hidden artifact deep beneath its waters. After being denied recognition as the supreme lord, Severo cursed the region, bringing a devastating drought to the Village of Rangdum. In desperation, a Council of Elders performed a forbidden ritual, sacrificing a young woman who became a Rusalka, bound to preserve the lake through a hidden artifact deep beneath its waters.

This fifteen page document is the outline of an adventure, in which most of what’s presented doesn’t make much sense given two seconds of thought about it. It’s just the usual low effort crap that gets churned out. 

Ohs Nos! People are disappearing down by the lake! There’s singing coming from the lake. Nobody knows whats going on! People are moving out! The village is dying! Blah Blah Blah. No one mentions that the villagers sacrificed a young woman awhile back. To the lake. To keep the lake fruitful. 

There are some timeline issues here. It’s not really apparent how long ago the sacrifice took place. It’s implied, and stated in one place I think, that the Council of Elders are the only ones who remember. But, also, how long as chickcula been doing this? Since day one? Did it start suddenly? Did the lake go from Dying to Healthy But You Never Approach It Or She Kills You in like two hours? None of the backstory makes any sense, which is gonna make an investigation pretty difficult to conduct. Oh, also, the lake is, I think, called “Cursed Lake.” Anyone? Anyone? No? No ideas? Ok, gee, I don’t know then, why people are disappearing in to the lake called Cursed Lake, that you hear singing from, that the elders know they sacrificed a young virgin to for prosperity. 

Not that it hatters, there’s not really anything to investigate. The Council of Elders are not mentioned in any detail, even by name, and  have no personality other than NEVER talk about the sacrifice. No one in the village has a name or personality. There’s a short six entry rumor table of abstracted information but that’s it. There’s one dude, in a cabin, a level five magic user who shoots lightning bolts at you and then sleeps the entire party and captures them. He’s the only one with a name, or any information. He’s also extremely paranoid, so, you know, good luck with that. 

Besides the MU cabin there’s also an abandoned tower i the wilderness. It gets no map, just a text description like “On the first floor of the Tower there is a guard room, along with a small fireplace and a spiral staircase.” and so on. PUT IN A FUCKING MAP!!! Jesus Christ, the effort is minimal. Just stop phoning it in and do it. 

Not that I would suggest wandering too much. The table has things like 1d6 wraiths on it. Civilization this is not. If they don’t get you then the bears will. This is a rough table to put right outside a town that you NEED the party to push through to explore. Oh, fuck, did I mention that the hook table is a 1d4 table? Fucking people who don’t understand the point of a table in an adventure. I guess its just de rigueur these days to slap a table in for this, nit that it matters, it just irks me. 

It’s an EASL adventure, I’m pretty sure, and that’s ok. There’s an awkward turn of phrase here and there like “The sight of the Village is devastating.” There’s no real expansion on WHY the sight of the village is devastating, just it looks a little abandoned. I am going to say this is NOT an EASL issue, but rather a general adventure writing issue, not providing any descriptions that are concrete, specific, etc.

At some point, I think maybe in the Lake entry, there are notes on how to kill the monster. Like a stab its shadow with cold iron sort of thing. We are told we can learn this trick from the council of elders or the MU. But, would it not be better to put that information in the entry of the place we learn it from? 

The adventure is rife with these sorts of basic disorganization issues. With missing descriptions. With a lack of specificity that would tie things together and bring it alive. This is just a hand wave of text balh blah blah monster in the lake blah blah blah. It’s just an idea of an adventure, some napkin notes that don’t really introduce anything interesting to the “lake sacrifice” genre. I think I’m done with the Angry Golem for awhile, especially since their liner notes say that their adventure have been well received. These designers to write this. Pffft.

This is $5 at DriveThru. The review is eight pages and doesn’t really show you anything of note. 

https://www.drivethrurpg.com/en/product/563628/fortnightly-adventures-7-the-singing-lake-ose?1892600

Faceless Howl is an adventure from Kabuki Kaiser for the rules lite, dark Sword & Sorcery system Many Sought Adventure, but is easily useable with any D&Dish system with a bit of work and a lot of other systems as well given it isn't a rules heavy adventure.  I received a review copy of the pdf. I don't do a lot of reviews here, but previous publications from Kaiser have received praise from quarters I trust so I wanted to check it out.

The adventure involves "malign entities of pure oblivion" known as the Faceless who are devourers of information and have been drawn to an ancient repository. Not only is this bad for said repository, but it's also bad for the townsfolk of the neighboring of Bec de Corbin ("Raven's Beak") who have their identities and knowledge eaten by the Faceless, turning them (eventually) into Howlers. Complicating matters (if they were already complicated enough) are the Ragshadows, who are subterranean evil, fairy-tale-ish goblin sort of creatures who opportunistically operate alongside the Faceless to steal physical physical valuables.

That's the set up. The adventure is broken into two parts not counting getting the PCs involved: the village and figuring out what's going on, then a crawl through the repository. There's a clock to ensure the situation escalates. The presentation is fairly terse with prose that is informal, generally evocative and occasionally staccato delivery.

It's style and the overall graphic design place it in the tradition of things like Mörk Borg and the sort of NSR/OSR stuff you find on itch. Like those sorts of publications, it values brevity but supplies you with random tables and other necessary tools, and atmosphere, but expects the GM to bring it to life. Beyond aesthetic, this isn't standard, D&D fantasy either, so people looking for that find not find it's weird, horror sort of approach to their taste. 

For me, though, Faceless Howl, is the sort of adventure I tend to look for when I don't have any other particular thing in mind. It isn't particularly combat heavy, and its atmosphere and bit of mystery is the sort of thing that intrigues my players. Its brevity would make it easier to reskin to make it fit whatever setting I'm running at the moment.

If that sort of stuff sounds appealing to you, you should check it out. It's available on drivethu.

I’ve written about the first TTRPG books I ever got at a garage sale a couple of times here on the blog over the years. I think it’s worth recapping the event for those who have not read about it—specifically because it relates to the topic of today’s post, which is (not so cleverly) revealed in my take on the classic Bee Gees’ lyrics in the title: Thieves’ World.

The Garage Sale Loot

In the summer of 1987, about a year after I had begun playing TTRPGs with my neighbors, I went to my Uncle Chechin’s house on the other side of the island for a few days. When I came back, my friends had brand new (to us!) D&D books. I remember them having a few modules from the Slavelords (A-Series) and Giant (G-Series), and I was immediately curious. They told me that a neighbor was having a garage sale, so I rushed right over to his apartment.

When I got there, he dismally told me my friends had already gotten most of the “good stuff” and that all he had left were the more expensive items. I was unfazed and told him I had money my grandfather had given me!

Before I go on, some context: while we had been playing D&D for months, I had recently purchased the AD&D Players Handbook (PHB) and Dungeon Masters Guide (DMG) and was in the process of reading them to “level up” our gaming experience to the advanced rules.

The neighbor pulled out a large piece of luggage, unlocked it, and showed me what he had left. Imagine my surprise when I saw the Monster Manual and Deities & Demigods. As I’ve mentioned recently, both featured the original covers, and the Deities & Demigods included the Cthulhu Mythos (which was famously removed from later editions). Furthermore, the owner had photocopied the “Saturday Morning Monsters” article from Dragon Magazine #48 and glued it to the end sheets. This was an extra cool find, and I had no idea at the time!

He asked for $10 per book, which had been too much for my friends. If memory serves, I had paid $15 for the PHB and $18 for the DMG, so $10 seemed very reasonable. Knowing what I know now, I think that was the original cover price for those books when he got them, so he was selling them used for what he paid—but that didn’t stop me! I had a very generous grandfather, so I handed him twenty dollars and walked out with two new AD&D books.

The Second Trip

But as I left, I knew there were two other things left in that luggage. So, the next morning, I convinced my grandfather and came back with $15 for the other two items.

One was a book from the Superworld boxed set—just the character creation book. By itself, it wasn’t enough to play the game. I was a fan of the Wild Cards shared-universe anthology; I had read one or two books by then, and I had heard somewhere they were based on the author’s TTRPG Superworld campaign, so I was really interested. Alas, I was never able to play it since I never got the original Superworld box.

However, the other item I got was part of another shared-universe anthology: Chaosium’s 1981 Thieves’ World boxed set!

Discovering Sanctuary

I had never read the Thieves’ World anthology, so I had no context for what this was. The neighbor who sold it to me simply said it was the setting for a series of books, so that was all I had to go by.

However, Walter Velez’s cover was so evocative that I had to open the box and delve in. I’ll admit there was a lot I did not understand. I was 14 years old, and my reading comprehension was still developing, but I absolutely loved what I did understand.

I loved the cover of the Player’s Guide to Sanctuary. To me, it looked exactly like a GM looming over his creation!

The discussion of the city, the details, the glossary! If the AD&D books felt textbook-like, this felt like a living, breathing, lived-in world. As an adult, I understand there was a lot of implied world-building in the early D&D books, but to my teenage mind, this was the opposite extreme—it was explicit and detailed. Come to think of it, this was perhaps the first fully fleshed-out campaign setting I ever encountered. There was the “Known World” section in the D&D Blue Box Expert Rulebook, but this was something else entirely.

The Maps and the Multiverse

I loved the maps! I had actually forgotten this was also labeled as the “Known World” on the map at the end of the Player’s Guide to Sanctuary.

The maps in the Game Master’s Guide to Sanctuary were even better. I look back at the cut-aways on pages 33 and 34, the maps of buildings starting on page 37, and the details of city sections on pages 63 and 64, and I realize just how much these maps inspired my own map-making at the time and in the years to come. To say nothing of the incredible full-page Hellhound knight illustration on page 9!

The Personalities of Sanctuary book was like a mysterious compilation of other games. I knew what D&D and AD&D were, but I had no idea about other systems. I pored over the stats, trying to figure out what these other games must be like.

The art throughout the books was sparse but evocative, creating a unified feel and a deep sense of wonder for Sanctuary. Concepts like “The Maze” heavily influenced my concept of fantasy slums, and the “Vulgar Unicorn” inspired many of my tavern names in the same vein.

Looking Back

The maps were my favorite part, hands down. Early on, I would frequently use the map of Sanctuary in my games without necessarily using the setting itself.

I still have the books and the maps, and taking them out to peruse before writing this was a delightful trip down memory lane. There were so many incredible details I had forgotten.

Sadly, I got rid of the actual box years ago. To save space, I threw out many of the boxes for my classic boxed sets. I really wish I had kept them.

Two more things before I go.

If you’ve read the wonderful Designers & Dragons by Shannon Appelcline, you might already know this, but just in case you don’t: the inclusion of the Melnibonéan and Cthulhu Mythos in the original Deities & Demigods is actually what made it possible for Thieves’ World to include stats for D&D and AD&D!

Here is a quote from Appelcline detailing this exchange from this RPG.net column:

“Chaosium (1980). Jim Ward characterizes what TSR received from Chaosium as a “C&D”. Knowing most of the principals at Chaosium, I find it unlikely that anyone wrote anything that antagonistic or legalistic. In any case, at the time Chaosium held contracts giving them gaming rights to Michael Moorcock’s Eternal Champion novels and H.P. Lovecraft’s mythos stories. But TSR published deities for both of those fictional settings in Deities & Demigods (1980), and Chaosium complained. The end result was that Chaosium granted rights to the usage based on a thank-you in the credits (but the Blumes quickly decided to remove the mythos entirely because they didn’t want to mention another roleplaying publisher) and that Chaosium got rights to use D&D stats in Thieves’ World (1981), which would be one of the last major licensed uses of the D&D game under TSR.”

In the early 2000s, Green Ronin published new materials for Thieves’ World using the d20 rules. I own those books as well, but sadly, they no longer hold the license.

One final thought, at one point, I can’t remember if the first time or the second time, I visited my neighbor’s garage sale, I also got the Dungeoneer Compendium of issues 1 to 6. It was in bad shape, so I remember getting it for $1. It was $2.50 brand new. My neighbor fleeced me, really!

 In a Sword & Sorcery setting, a chimera isn't just the classic "lion-goat-snake" triad; it is often a blasphemous union of beasts or a sorcerous mishap. Here is a d100 table designed to generate unique, horrific hybrids for your Castles & Crusades campaign. This blog entry picks right up from Two D100 Sword & Sorcery sewer & dungeon encounter tables For Castles & Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

Hello again, reader! Welcome back to my continuing series highlighting the art of incredibly talented Puerto Rican creators.

This week I’m talking to Laura, aka Lala Mágica. I’ve known about Laura for a few years. I’ve been following her on social media, seeing her creations. Laura happens to be married to a friend and longtime member of Puerto Rico Role Player (who I hope to interview in the future about his TTRPG content). It is a pleasure to talk to her and learn more about her as an artist and a gamer.

Without further ado, here is the interview.

Introduce yourself! Who are you and what do you create?

My name is Laura, but with my knitting needle, I am Lala Mágica. With a creative spirit in crafting, I like to knit original characters that aren’t easily found. I started with dice bags and then expanded into other accessories, such as keychains and garments.

How would you describe your art or creative endeavor?

Karso the Halfling Barbarian from Juego La Mesa

I would describe my art as 3D printing, but with yarn. Usually, I do what is known as “freehand,” which is knitting without following a pattern. So, creating a plush of your original character is possible for me.

How did you discover TTRPGs?

I discovered tabletop role-playing games through friends in college. I played two sessions of Mage: The Ascension, but I was able to get into the hobby properly after getting married. My husband is a DM, so we share that.

Do you actively play TTRPG? What are you playing?

At the moment, I’m active in two campaigns: one of Paradigm Odyssey: “War is Raw” as a clown “living doll”, the system is being developed by Enyol currently, and one of Daggerheart: Age of Umbra as a fairy Seraph.

What do you want to play next?

What do I want to play next? Honestly, whatever my next session 0 throws at me. I’ll be honest, probably more Paradigm Odyssey.

What projects are available, and what are you working on next?

I’m in the process of a “restock,” since I gave away dragon and dinosaur coasters at the Juego La Mesa event last month. Besides that, I’m also recreating one of the small puppets that came out in the movie “Five Nights at Freddy’s.” On top of that, I’m illustrating the supplements that Enyol is sharing on DriveThruRPG, since drawing is another passion of mine.

Where can people find your creations?

You can find me actively on Instagram as Lala Mágica, and I have a FB page with the same name.

Any closing thoughts?

My hook is “My wand and my yarn is the magic”—whatever you can imagine, I can create.

Thank you, Laura, for your time and for sharing your creations. As a Cthulhu Mythos fan, I must admit I love the Cthulhu dice bag below. It looks terrifyingly adorable.

I started seeing John McKenzie's work on Facebook a while back and was immediately smitten by it. John has the perfect balance of silly cartoonery and grit. It's almost as if Basil Wolverton and Mike Mignola conspired to create a new life form and I truly love it.

My instinct is to say his work begs to be animated. It FEELS animated. But I don't want to suggest it would better if animated... It lives and breathes as is, but it would translate to animation quite easily.

Also sounds like he's making an RPG. Gotta have that for sure.

By Martin Cubas
Weird Adventures by Martin A. Cubas
Castles & Crusades
Levels 2-3

They can’t see you. They don’t need to. A colony of blind, grotesque predators has infested an abandoned temple deep inside a canyon. They hunt by sound. They move in packs. And they’re starving.

This thirty page adventure uses about fourteen pages to describe seven rooms. Obviously long-winded and padded out, you kill a few monsters. Also, it’s not dark.

Oh lop-sided page count, where have you been? I’ve missed you. Look, I get it, PDF pages are “free”; you’re not paying to print them. Why not put in a bunch of appendices, and lead in, and backstory, and everything else? It’s free! Academically, I agree. But, in practice, what I see time and time again is a poor adventure with a low “core” page count with a whole lot of extra information. While a bit hyperbolic, one must ask oneself, is the designer interested in writing an adventure or ar they interested in world building and the adventure is just a pretext for that? Again, I don’t care if you world build. I don’t care if the page count ration is one adventure page per one hundred pages of backstory. But if you’re selling me an adventure then it had better be a ROCK. FUCKING. SOLID. Adventure. And it almost never is. The designer is distracted by the fluff. They spend their effort there instead of in the core adventure text. What pops out the other end is just another crappy adventure surrounded by a bunch of backstory and appendices. Who would like to guess if this is in the one in a thousand adventure in which there is a lot of fluff and a solid adventure? We all know the fucking answer already. You have to AGONIZE over the adventure text. It should be the best possible, that you are capable of (… ) and more. 

Ok, so, we’ve got some eyeless creatures in a cave. There’s a long backstory here about bandits, a holy order, orcs, and so on but all that really matters is that there are eyeless creatures in a cave. They hunt by sound. This whole “shrieks in the dark” thing doesn’t really matter. They can use a sonic attack, but the party is never limited on light. So, you’re just stabbing some monsters in a cave. The central conceit, of these creatures who can hunt without sight, is never capitalized on. We get long monster ecologies (in fucking italics …) who nothing about them putting out lights, etc. So, you’re fighting 5HD orcs in a cave that have a sonic attack. 

Room descriptions average a couple of pages each. There’s no need for that. Nothing that interesting is going on. “The disc was collected by the Shrieklings along with other debris from the caverns and has no special significance to them.” Great. You want me to etll you about the pile of shit I collected this morning? It has no bearing on anything, so why not? Backstory, meaningless trivia. Overexplained things. “The Shrieklings’ thick, mucus-coated skin produces a scent that naturally repels the barracuda, allowing them to swim and hunt freely.” Explanations on ecology. Great. That’s not coming up during play, so it’s a great thing it’s in there clogging up the descriptions (as my aforementioned shit this morning may have the toilet?)  These are simple rooms with simple interactivity that are just padded out in what amounts to a wall of text. Bullet point up the main issues, but if the bullet is half a page then what’s the point? Sixty some words to describe “+4 to move silently when within 15’ of the waterfall.” 

The designer notes that this is inspired by the a Dungeon Design Framework. Monsters have patterns and routines, etc. There are a couple of charts to help with the monsters wandering patrol paths. I’m not saying they are wrong, but they are poorly done, not noting the creatures locations. Just dots and blips that you must then interpret and expand on. Hooks are all “you are hired to “ nonsense. And, in particular, the claim that “Inside, you’ll find tightly written areas built around meaningful encounters, and systems that keep the dungeon active between player actions.” would not be true. Tightly written. Meaningful encounters. I think not.

This is likely the last Cubas review, joining Mohr, Filbar, Elven Tower and the rest.

This is $2 at DriveThru. The preview is ten pages. Meaning nine pages of background/fluff/intro and one that starts to show the first room. (There’s another full page of room one info.) Take a look at that Gannt chart like thing. The blue and reds could be handled much better to show current location, not moves. 

https://www.drivethrurpg.com/en/product/563481/c-c-shrieks-in-the-dark-c-c-edition?1892600

 Exploring the depths beneath a decaying city requires a mix of environmental hazards, weird sorcery, and gritty martial threats. This table is designed with an OSR (Old School Renaissance) sensibility, favoring traditional mechanics and a "Dying Earth" or Sword & Sorcery atmosphere.This blog post picks right up from Detail d100 Sword & Sorcery Random back alley encounters For Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

I've been plugging away at the Army Ants Companion (a living document you can access at any time) for the Army Ants RPG, and I've made a few tweaks to the game. One tweak I've made is in regards to soaking damage; I had borrowed the 'save for half damage' mechanic that is embedded into the heart of my little D+D design hangups. I've swapped that out for rolling Reflex to soak damage from grenades and areas of effect. This opens me up for a variety of other attack types, linking each type to a trait. For example, sensory damage now gets soaked by Spirit, and poisons/toxins get soaked by Body. Mental attacks get soaked by Mind. I like the variety of play options that this opens up.
I also think I've settled on a 'look' for the Army Ants. I'd been giving them heavier grays in their uniforms, but this Phil design feels a little lighter and more attuned with how I want the look to carry. 

 In the Victorious RPG, where Victorian-era aesthetics meet superheroic action, a character like Reverb fits perfectly as a "dimensional dandy" or a cosmic traveler grounded in 19th-century theories of the luminiferous ether.Here is a profile for Reverb, designed for the Victorian supersetting.Hero Profile: ReverbSecret Identity: Alistair ThorneArchetype: Astral Traveler / Sound Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

Art by Guy Wurley
The ramshackle boomtown called Salvage by its inhabitants and the Scrapyard by outsiders is built amid the fallen combatants of an ancient battle. The colossi are named for their color. Red Knight lies on its back, reaching for a sword that is out of reach. Blue Knight fell forward. Its weapon is long gone, but one hand is raised. The plains have made half-hearted attempts to reclaim the giants, and the knives of time have marked them, but they remain, tempting those interested in making a quick fortune or simply curious about their enigma. The colossi are unusual treasure troves, or above ground mines, made as they are from rare materials and magitechnologies unreproducible in the current age. 
All the prospectors, adventurers, scholars, and thieves looking to claim their own piece of the colossi, and the merchants, dealers, entertainers, and bandits looking to get rich off them, crowd into haphazard buildings constructed along and amid the fallen giants. It's a dangerous place. There is no law in Salvage and plenty of desperate characters. Guns are more common that elsewhere given the relative abundance of both artificers and the raw magitech materials.
The danger isn't just from the inhabitants. There are caustic fluids, poison gases, and other environmental hazards to be sure, but also the colossi are not as dead as they appear. They haven't moved in ages, but not all of their internal parts have been stilled like their limbs. Component constructs, perhaps something like immune system elements, sometimes react violently to scavengers crawling through a colossus's insides. Some grow independent and feral and prowl outside the bodies as if their look for prey or raw materials to affect repairs.

 Setting a campaign in the Belle Époque (roughly 1871–1914) using the Victorious RPG system—and specifically integrating the Red RPG (The Red Book) mechanics—creates a unique blend of superheroic "Steampunk" and gritty, high-stakes tactical play.Here is how you can detail and merge these two influences for a campaign.1. The Setting: The Beautiful EraThe Belle Époque was a period of optimism,Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

Let me start by saying that I blame Michael (aka the Stargazer) for this! He recently started writing about the original Alternity game here and here, and it made me so nostalgic that I began digging through the files for my old campaign. That is where I found the topic for this post. Let me give you some context.

It was 1998. Alternity had been published earlier that year by TSR (which Wizards of the Coast had already purchased). I was obsessed with it. I wanted to run a campaign in a setting I had originally conceived around 1990 and had been tinkering with over the years: the Nirvani Alliance. Alternity felt like the perfect system for it, so I started adapting the rules for the campaign.

In September, I was busy planning my upcoming wedding, which was just three months away. Then, Hurricane Georges hit Puerto Rico! We lost power for days, so I spent nights by flashlight and candlelight, writing the campaign material discussed in this post.

What I wrote were the Alternity system rules for a mystic order of armored religious knights, inspired by various classic sci-fi influences. I eventually typed up the pages and showed them to my players. Naturally, none of them wanted to play one of the knights, so I shelved the rules and didn’t work on them any further.

Below are the rules, written 28 years ago, for an out-of-print game I still deeply love! I made no changes to the mechanics. I cleaned up the text, fixed some grammar, and made a few tweaks for clarity. This is not a professionally written or edited piece; it is a slice of house rules from my old Alternity campaign. I am sharing them purely for nostalgia’s sake, and I hope someone finds them useful.

This post includes an introduction and summary of concepts, rules, and ideas. At the end, you’ll find a link to the Alternity Indomitable Order Rules, an 11-page PDF with detailed information on this Order of warrior-knights. Don’t judge me too harshly, I wrote this almost 30 years ago!

The Age of the Nirvani

Of all the races inhabiting Alliance space, the Nirvani are the only ones not native to this galaxy. Even their name was a gift from the Keriani, who encountered them as they fled the forces of the TukNi-Amak puppet government. These refugees, who called themselves “humans,” claimed to hail from a distant galaxy decimated by a devastating plague.

The Keriani—whose name translates as “born from the womb of Ker”—named the newcomers Nirvani, or “born of no womb”. Though they arrived in the middle of a great interstellar war, the Nirvani were ready to start anew, and their arrival signaled a new order for the galaxy.

The Indomitable Order

The Knights of the Indomitable Order serve as the warrior sect of the Church of the Celestial Canticle. The Order traces its legacy to the foundation of the Alliance and the liberation campaign led by Lord Sparrowhawk. Selected by The Ever Present as a sword of vengeance, Sparrowhawk identified twenty-three soldiers of great faith—the Enlightened, or Saints of War—and bestowed upon them his wisdom and power.

These Enlightened formed the Bloodlines, passing their knowledge and unique abilities to subsequent generations. In modern times, the Order remains the Church’s premier fighting branch, though its influence has waned. Today’s knights survive by breeding strictly within the Bloodlines to retain their diluted, yet still formidable, birthright.

Life as an Indomitable

A member of the Order is born, not chosen. They serve as guardians, fighters, and symbols of the Church’s power. Those who abandon their destiny are branded Fallen, stripped of their heritage through an excruciating process involving power-inhibiting nanites. Those who openly rebel become Renegades, hunted down as enemies of the faith.

The Major Bloodlines

Each group within the Order has its own outlook and specialized abilities:

• The Sisterhood of Heimdal: Traditionalists and keepers of records who use “Bloodsense” to identify a newborn’s destiny. In Alternity terms, they possess the Enhanced Sense mutation.
• Bloodline Gilgamesh: The highly militaristic ground troopers. They receive a +1 to their STR score and a +3 to their Wound rating.
• Bloodline Zeus: Known as the “Scions of Thunder,” these warriors can manifest an Electrical Aura to damage enemies.
• The Conclave of Ra: Progressive tacticians who possess a variation of Energy Absorption, allowing them to turn light into energy.
• The Icarians: Independent and reclusive, these members have an improved DEX score and the Adaptation Gravity (light gravity) power.
• The Fellowship of the Jesesites: The only ordained Bloodline within the Church. They are healers who possess the Enhanced Healing power, though using it on others can cause them to suffer physical strain.

Relics of the Order

For players navigating the Alternity system, the Order’s equipment provides significant tactical advantages:

• Rune & Relic Armor: These suits are powered by the hero’s own bio-field. While wearing them, the specific powers of each Bloodline are augmented—for example, a Jesesite gains Hyper Healing, while an Icarian gains the ability to fly.
• Star Swords: Members of the Order receive a -1 step bonus to their Melee Weapons—Powered weapons skill base situation die when wielding these blades. They can even parry energy attacks.
• The Indomitable Ancestry Perk: A new 3-point Perk that allows a normal Nirvani hero to use Rune or Relic armor, though it costs them fatigue points to do so.

The life of the Indomitable is one of pride and strict adherence to the faith. Whether you are a dedicated soldier of the Church or a Renegade running from your heritage, you are “the chosen among the chosen”.

Want to dive into the mechanics? Check out this file: Alternity Indomitable Order Rules, for my complete notes on the Indomitable Order using the Alternity rules.

Are you ready to wield a Star Sword in your next session? Let me know which Bloodline fits your playstyle!

Writing and reviewing this document really stirred up my nostalgia for the game and for the campaign setting. I hope you find the Indomitable Order concept and its mechanics interesting. Let me know what you think of the application of the Alternity rules, the lore, or the campaign itself.

Would you be interested in reading more about the concepts or the Nirvani Alliance? I’m really looking forward to your comments!

Here we go, another post on the Substack. I think I can claim that I'm back at it. There are already two new essays lined up, and I'm aiming at one a week with one of those for those who have also subscribed. I can say one more thing: people are seeing the posts and it gets Likes, which is far and beyond of what blogger is offering. Good. Anyway, check out my new essay:

[link]

Excerpt:

Sometimes I just get hit by a topic. This is one of those times. You know how some issues will just not stop returning into the general discussion how a thing is done or not? The performative aspect of that aside (which has gotten worse, tbh, but it’s just a phase), it may be an indicator that something is either not understood properly or (and?) that an idea really needs looking into. Immersion is one of those.

What we agree upon is not what we think.

There is a new kind of meme going viral just now where someone takes music videos of famous bands and replaces the music and singing with just squeaky shoes and grunting. It’s unbearable (and funny, to a degree), but it manages to point something out that we tend to forget: many of the visual media we look at need something as abstract as music to even allow immersion. It’s not just what we see, it’s the combination of seeing and hearing that may create the kind of trance we need to lose ourselves in what we see.

Language can be, in that sense, like music and entrance a listener just the same (and that will be important later on). That is mostly due to the fact that we are reduced to seeing and listening with visual media. Many are not aware that those are skills we learn, actually.

It is hard to tell if allowing that kind of immersion for playing video games (which has an active part, of course) needs the training we naturally receive for growing up with visual media. But assuming that you need some proficiency in how moving pictures work before you could play something like Quake seems to be evident. Just give your grandma a controller and see how she’ll fare.

Anyway, the base line here are two factors: rhythm and the skill to interpret it towards an experience. That’s a good start, but not the whole picture, because we need to know the frame of what we explore, too. In other words, the experience needs to pose a question we need to be able to understand in order to work our way along the rhythm towards an answer.

Very broadly speaking, that question needs to be rooted in our understanding of reality. Specifically speaking, if the question leading into an experience is based on a compromise we can agree upon, then we are more willing to leave that base towards where the experience is leading to (which is why playing a character helps along the way so easily).

Read on ...

 

 When it comes to exploration-heavy campaigns, the best modules are those that provide a solid "sand-box" environment—giving the players a destination but leaving the "how" and "where" of the journey entirely up to them.Here are the quintessential classic modules for a campaign focused on discovery and hex-crawling.1. B2: The Keep on the BorderlandsThis is the gold standard for introductory Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

The 8th issue of the Stalwart Phile is now posted. It focuses on the Null Zone, presenting a few creatures who come from it. As you can see, I've done some housekeeping here on ye old blog. I've also done some updates to the Doc Stalwart Comic Database, and added a bit to the Resources tab for Stalwart '85. 

Danhausen and Joe Hendry distracted the brother enforcers with a curse and a song enabling them to get hit with a nasty shot by Mae Ling. A single promethean bullet ended the lives  of  The Crimsiki Brothers (Anton & Viktor) shot by the  assassin Mae Ling.  This session picks right up from The Ghost of Hong Kong by Steve Miller Pulp Hero and the Trail to SanNeedleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

By Dougal Cochrane
Self Published
Dolmenwood
Level 2

South of Fog Lake, where the Cave Path plunges into the Ballow-Clefts, the horizon narrows to a ravine of glistening wet stone, steeped in shadow. Pale yellow celandine flowers bloom ankle-high in the gloom, their petals never fully opening except at noon when the sun shines in. Narrow clefts riddle the rock, most shallow and choked with roots. From one fissure seeps the earthy scent of moss and the sickly odour of mildew. The cavern leads down into the Grotto of Grundlow Greenteeth.

This 22 page adventure uses about nine pages to describe twelve rooms in an underground troll den/garden. It’s wordy, cutsy, and has both too much going on and not enough at the same time. 

Can you be nicely formatted and STILL have wall of text issues? Why, yes, I think, now, that you can, after reading this. Is it wall of text, actually? I’m not so sure. It is certain A LOT of text. Because A LOT is going on. And the text, while not in traditional straight paragraph wall of text format, does repeat certain patterns that obfuscates. 

But first, our setup. There’s a two-headed troll in a cave, with a grumpy head and a romantic head. He eats moss. He’s got a mossling cook enslaved. Mossling hates grumpy head and is in love with romantic head. Mossling grows herbs and puts grumpy head to sleep. Thus the Bog Red Button. Don’t wake the grumpy troll head … that you generally don’t know exists. Then, there’s a dude with a body switching thing. He’s trying to dig up a gate in the troll cave. He’s made several people switch bodies and minds. And a gang of skeleton thieves (as in, they are skeletons who are thieves.) is trying to knock off a prospector for his emeralds … and the prospector and his donkey have both been mind-switched. And, there’s a slumbering demon who does NOT give eternal youth when awakened. All that shit, and more, is in twelve rooms. 

There’s A LOT going on in here. Rooms can range from a column to a page. And this is where things start to get rough. Rooms start with a little description in an offset box that is easy to locate. Let’s say, something like this: “Dark, earthen tunnel (wet stone floor) tangled with thick tree roots (beaded with dripping water). Several wooden buckets (half-filled) sit beneath the largest roots, placed to catch water. A skull is wedged in a crevice halfway along the tunnel.” So, king od a mashup from OSE style to paragraph style. I’m not sure it works. If this had been a paragraph, without parens, or terse OSE, I think it would have gone better. The sentences with lots of parens distracts. I mean, not a bad description by any means, I’m nitpicking here. Certainly better and more evocative than the vast majority of adventures.

And then we move on to the details of the contents of the rooms. And this is, I think, where things start to get rough in terms or formatting. There is a bolded heading and bullets with more details on what to see and do. Maybe a couple of words of description or explanation or mechanics or whatever. And they are nested, so, looking at one thing that has more subparts SHOULD be fine. 

I think the issue here is sheer quantity and the use of the bold/bullet/indent format on, essentially, everything. Let us assume I have a bookshelf with 24 books on it. Each book gets a bolded heading/bullet, a sentence or two, and then I move on to the next. A few get a few indents and a mechanic or two. Everything is relatively mundane. Book eleven kills you when you open it. Meh, bad example. You REALLY need to know book eleven is there and it is the only book that does something meaningful, most of the rest is trivia, or else meaningless more or less to the adventure. Should book eleven be in the exact same format as everything else? Should it be highlighted? I’m not sure of my example, here, but I know the principle involved: when everything is special nothing is. I’m looking at a page of, I don’t know, a couple of major headings with read-aloud, major bolded headings, several subheadings, bolding at the start of major sections and in the paragraph text. It’s too much. EVERYTHING is calling for attention. You know how garbage adventures tell you what ‘AC” means and what “read-aloud” looks like? This may be the first adventure in which I think I actually have failed to understand the formatting involved. Everything is calling for your attention. What should I pay attention to? I’m not willing to say this format doesn’t work for complicated rooms, but I am willing to say that it doesn’t work HERE, on THESE rooms. 

I don’t know what to say about interactivity. Don’t wakey wakey the grumpy troll head. Feed people sleeping herbs. Maybe do a deal with the skeleton dudes or the wizzo doing the body/mind swaps. I think it’s hard to dig through here and figure out what’s going on. I’m thinking of a room with a kind of west garbage pit in it. I’m thinking like the Trash Compactor scene from Star Wars. There’s a description. There’s a columns of bullets and bolding and sentences. And then there’s this note that a major NPC (mind swapped in to a donkey) is “braying piteously and thrashing to stay afloat in the muck.” Well fuck me man. That’s obviously the reason the room exists. Don’t you think maybe I should know about it sooner, and the party should as well? Why go through all this trouble of description and mechanics of staying afloat and then bury the lead? Most rooms are like this; something important is in there and it’s almost certainly NOT getting called to your attention in any meaningful way. 

There’s a lot going on here in a short amount of space over a short amount of time. And, yet, it’s not written to run as a kind of madcap adventure, as that would imply. There’s not enough room for everything going on and there’s both too much going on in the room descriptions while, at heart, not an extreme level of interactivity. It LOOKS like there is, due to all the herbal concoctions and hooks and ind swaps and so on. But I don’t think any of it really means much at all. I’m not going to commit fully to that opinion, this thing is a bear to dig through and that may be impacting my judgement. But, also, I’m pretty sure I’m right. Just fucking walk around and stab everybody and everything is solved and you’re much safer in the end. 

This is $5 at DriveThru. There is no preview. Boo! Hiis! We need a preview to make an informed purchasing decision.

https://www.drivethrurpg.com/en/product/563700/troubled-troll-grotto?1892600

My mission: to read DC Comics' output from January 1980 (cover date) to the end of Crisis. This week, I'm looking at the comics that were on stands in the week of May 9, 1985. 

Warlord Annual #4: This was the first Warlord Annual I bought off the stands, because it has a map of Skartaris in it, which will appear again in Who's Who. I reviewed this issue here.

Atari Force #20: Baron and Bareto/Villagran give the Martin Champion and by extension the rest of the Atari Force their day in court on New Earth. Thanks to Morphea and Targg the court gets a good look at the malevolence of the Destroyer through his psychic residue. Though they are exonerated, there are still powerful forces in New Earth society arrayed against them, so Champion and friends choose to use a device to jump to a new universe to see what else is out there. There's also another humorous Hukka story by Fleming/Giffen/Kesel.
Helfer tells us in the editorial that Atari Force isn't getting canceled because of sales (it's a middling seller) but because it was decided this was the right ending for the characters. I have to say, I'm a little skeptical. I buy it's middle of the pack on sales, but it is a licensed book. Surely a middling wholly DC owned book would be better for the company than having a publishing slot taken up by a licensed book? I do think, though, that the creative teams they've put on the book couldn't figure out anything more to do with the characters. Conway's later issues and Baron's entire run have mostly relied on them being on the ship but not encountering much interesting. No "strange new worlds and civilizations" here. The only mystery is why they didn't have anyone would better ideas, particularly when they were giving the book great artists?

Crisis on Infinite Earths #5: Wolfman and Perez/Ordway open with the Antimatter a bit confused. He thought he destroyed Earth-One and Two, but he hasn't gotten the victory he should have gotten. He lets Psycho-Pirate play the Flash while he investigates. Earth-One and Two have sort of merged and different eras in time are bleeding over. Harbinger and Alexander Luthor assemble a group of heroes to explain what is happening: the Monitor gave his life to power a transfer of the Earths to a netherverse to hide them from his Adversary, but now they now are trying to occupy the same space which will destroy them anyway. The only choice is to re-integrate them as a single universe as it was in the beginning.
We get a lot of cameos, and Travis Morgan, the Warlord, even gets some dialogue. 
The Adversary adapts to these developments, though. He takes control of Red Tornado (In a limited series on sale now! Or then, I mean.) and transforms the android for his own purposes. Flash briefly breaks free of the Psycho-Pirate, and we get a glimpse of the shadowy Adversary's face, and he names himself as the Monitor, though he doesn't look like the Monitor we have seen.

Fury of Firestorm #38: Conway and Kayanan/Akin/Garvey have Stein arriving at Vandermeer University in Pittsburgh to start a new position only to find the campus afraid and under siege due to mysterious and vicious killings of facility members. Stein is in danger of becoming the next victim as he is attacked by the Weasel in his apartment. The Weasel keeps ranting about once he kills Stein, he'll be out of danger. Ronnie is out for a date with Doreen where Cliff accuses him of cheating, thanks to his uncharacteristically good grade on a test, when he is summoned to form Firestorm.
Thanks to poor vision and bumbling, both Stein and Raymond are captured by the Weasel and put in a deathtrap with molten steel about to pour on them.

Jonni Thunder #4: Thomases and Giordano bring this detective story/superhero hybrid to a conclusion. First, Jonni has a confrontation with "Slim" Chance which she only wins by wielding the power of the Thunderbolt without the idol. Then after some uncertainty and romantic tension with Harrison Trump, the rival PI, they are ambushed by Red Nails and her crew. Luckily, Jonni has now figured out that the power is in her, not the statue, which gives her the element of surprising, keeping them alive along enough for Detective Sanchez to swoop in with the police. The series ends with a hope for more Jonni Thunder adventures. We'll see how that goes.

Justice League of America #241: The Tuska/Machlan combination on art doesn't do this issue any favors, but mostly it's tough to get back into the New League after the disruptions. A conversation with Vixen prompts Aquaman to head out without telling anyone to find his estranged wife, Mera. Vibe agrees to let Steel date his daughter then gets a new less garish (slightly) costume. Then the team under J'onzz's leadership heads off to Canada where Amazo is on a rampage. J'onzz splits the party, and he and Dale are almost immediately attacked by the android.

Tales of the Teen Titans #56: Wolfman and Patton/DeCarlo bring Raven and the Fearsome Five (minus 1!) into the story. Agents of Gizmo assault STAR Labs to steal Neutron who has been brought in in a containment capsule. Raven shows up and deals with them ruthlessly, but when she realizes what she's doing, she instead uses her power to heal the patients there. Meanwhile, Gar greets Jericho and his mom at the airport to bury the hatchet, and Cyborg undergoes surgery to replace his obviously mechanical limbs with more natural looking ones. The rest of the Titans deal with an attack by the Fearsome, uh, Four, and are defeated in two engagements. The Fearsome Folks make off with a another encapsulated super-being from Tri-State Prison.

Vigilante #20: Wolfman/Kupperberg and Smith/Maygar reveal that giving up the Vigilante identity may not prove so easy for Chase. The Vigilante is still in the streets, more violent than ever, including killing a cop. Meanwhile, Chase seems like he's having a nervous breakdown as he is tormented by nightmares where he is the Vigilante committing these acts. He wonders if he might somehow have lost his mind and actually be responsible. Nightwing fights with the murderous Vigilante in the streets, but winds up getting thrown off a bridge. Later, he crawls in through Chase's window to confront him.