[REVIEW] The Palace of Unquiet Repose

The Palace of Unquiet Repose

The Palace of Unquiet Repose (2020)

by Prince of Nothing

Published by The Merciless Merchants

Levels 3-5 (HAH!)

Know, oh Prince, that good sword & sorcery adventures in old-school gaming are still hard to come by; and for all the talk of the mouldering tomes of Appendix N, few have struck the right balance between the imagery and spirit of S&S, and the playability of old-school D&D. Most old-school adventures do not reach deep into the pulp tradition, or fail to grasp what is in there; and most S&S adventures remain semi-interactive railroads, failing on the game level. Indeed, one of the most credible efforts in the last few years has been The Red Prophet Rises, by Malrex and Prince of Nothing; and furthermore, Tar Pits of the Bone Toilers by Malrex was pretty good too. So here is another adventure written by the Prince – and by the gods, he gets it right once again!

The Palace of Unquiet Repose, an expedition into a dead city serving as the tomb and prison of a haughty demi-god, is a monster of a module, a blood-and-guts nightmare in under 60 pages (a further ten or so are dedicated to The Screaming Caverns, an extra dungeon scenario). Those pages are not wasted. The substance – the information to help you run the module – is present, while padding is excluded. Everything serves a purpose, and the text is highly polished. No, it is not an exercise in layout-as-avantgarde-art. The maps are simple, plain-looking, highly readable affairs. The text is ultra-orthodox two-column century gothic, occasionally broken up by mini-maps showing the present area, and pieces of inky-looking art that do not really add much. Bullet points and bolding are used in appropriate places for structure and emphasis. Important details in the text are cross-referenced with the appendices and other parts of the module. It looks as adventurous as Swiss technical documentation, and it all works as unobtrusively and efficiently as Swiss technical documentation – in the background.

The writing is the heart of the monstrosity. It has power, menace, and gloomy pomp; expressive terseness. Opening it up at random points: “The double door is set in the naked rock, man-high, of tarnished, ancient bronze. Faded imagery can barely be made out on the surface.” Or: “These Sial-Atun have been led to the Palace by Captain Sarakhar with promises of infinite riches and godlike might. Instead they find only ennui and ancient horror while they wait for their comrades to return.” Or: “A great marble hall contains rows of carved sepulchers of worked obsidian, edges sharp like razors, gleaming from the light source. Alcoves on both sides of the room stretch off into darkness. Faint glimmers can be discerned within.” It earns its barbarian chops, although the appendices wander into purple prose. Where it matters most, though, the lean-and-mean writing succeeds on the technical level, as a mood-setter, and as a scenario rife with potential for conflict, exploration, and off-the-wall ideas. There are great names. Diorag the Breaker. Uyu-Yadmogh. The Children of the Tree. Gate of the Host Incarnadine. Chamber of Tribute by Conquest.

Leading to a land of dead empires, the Palace beckons. A hazardous wilderness trek is followed by two entrance levels, leading into a vast subterranean necropolis surrounded by a lake of liquid mercury, and then the titular Palace, a 26-area dungeon serving as the resting place of Uyu-Yadmogh, accursed sorcerer king, and his vast treasury. You are not alone: three factions, two coming from outside and one established inside, contend for the ultimate prize (whatever that may be). Death and horror will follow.

Mr. Thing, He Who Must Be
Fun at Parties

The genre is high-magic sword & sorcery turned up to 11. It is not for everyone. It is macabre, loud, album cover art S&S, set to metal riffs. (Or so I think, since this is a musical genre that goes right over my head, and feels pretty much like random environmental noise to my ears.) It is a lot more baroque and grandiose than even most S&S fare, a bit in the manner of Diablo and a bit in the manner of the Final Fantasy series, and I have to confess that it feels rather over the top. Grimdark easily becomes its own parody, and The Palace of Unquiet Repose is on the borderline, because it has no “normal” to fall back on, no section that is just a modest “/11”, and no counterpoints to its sensory assault. Here is a grand grimdark dungeon-palace “dotted with all manner of hideous gargoyles”, and haunted by tattooed, cannibalistic, insane, deformed, gem-studded things. That eat souls. The writhing souls of the eternally damned. Here are the grimmest motherfuckers of a rival NPC party, one “a beautiful golden, hairless child, one of its eyes (…) an orb of absolute blackness”, another one “a monstrous silhouette etched in absolute blackness”, and he is called “An Unbearable Thing, Drawn From The End of Time, Given Hatred and Substance (Wolf of Final Night)”. The leader of the other guys wears “the gilded skulls of lords and generals (500 gp total)” on his plate mail. The leader of the third faction has “a single wild green eye staring out of a skull-like face”. Sometimes, you can’t catch a break. After a while, “Fred the Fighter” starts to look like an appealing concept.

This is not a Palace of honour. Indeed, the wasteland hellhole is more containment zone for a grand sort of evil than convenient treasure-hole, and those who disturb it mostly go here to die. Yes, the cover indicates a 3–5^th-level range, but it is the sort of 3–5^th-level adventure which will kill off entire parties of characters, starting before the dungeon entrance. Everything here is dead, dangerous, insane, or cursed (sometimes all four). It does not quite become what the loud kids call a “negadungeon” (a punishing killer dungeon where you are much better off backing out and not adventuring), but it is a dungeon where you have to bet with dear stuff to start rolling, and the odds are stacked in favour of the house. It is also a fundamentally static setting even with the rival factions, and in this respect, it is less successful than the lively Red Prophet Rises. “Do you touch the horrible soul-devouring trap for its fabled treasures?” This is the central premise, and it shall determine whether you and your group will like the module. If you like poking bear traps (and the sleeping bears trapped therein), this module has a lot of exciting things to poke, and princely prices to extract. Break off chunks of a massive golden idol. Pry blasphemous death masks off of a mindless golem-thing. Rouse a reanimated demi-god chained with adamantium chains to “a monstrous throne of jagged glass” and find out what happens. You know you want to.

While a bit one-note in its themes, the Palace is very open-ended. This is a place to develop bold plans and win big or lose big. There are useful suggestions in the text to run the scenario and resolve some of the encounters, but there are so many ways you could exploit the Palace and its moving parts (not to mention the rival NPCs) to “break the bank” that it would be folly to list them all. You can sic the proverbial irresistible force against the proverbial immovable object. You can build yourself an invincible army, or a Rube Goldberg contraption to entrap soul-eating 15 HD monstrosities. You can become just a bit too powerful. The resourceful will thrive, and the weak shall be weeded out. Kill or be killed.

In summary, The Palace of Unquiet Repose is a grand module of a very specific sort – one maniacal and meticulously perfected note played very loudly by people who know exactly what they are doing. It is exemplary as a “GM-friendly” module, and it has splendid imagination. All of it, or most of it is brand new – aside from scorpions, the monsters, magic, and NPCs are original creations. And it goes up to 11. Yes, it is very good, if you like this kind of fringe thing.

No playtesters are credited in this publication.

Rating: ***** / *****

Mouths. Why did it have to be mouths?

[BEYONDE] Nox Archaist, the Hottest Apple ][ Game of 2020/2021

Nox Archaist

A little known but useful Internet fact: Ultima fans and their money are quickly separated. Yes, Gentle Reader, YOU too can make good money selling more Ultima to people who were once into Ultima (most likely back in the 1980s), and now want more Ultima (most likely in the style of the 1980s). That is: in its day, the Ultima CRPG series had elicited so many positive feelings, and built such a fanatically loyal audience that even today, thirty-something years after the heyday of the series, and more than twenty after the days the Ultima Dragons (an overactive fan group who seemed to run half the late 90s Internet), pitching an Ultima project to the Kickstarter audience is sure to start a stampede. The fans will pay, and they have deep pockets – so make sure to open up those “name a Pirate/Barkeep/Lord after yourself” reward tiers, and design a stretch goal where Lord British and Iolo will personally deliver your boxed copy, and sing Stones right in your living room.

Indeed, Yours Truly (although a Johnny-come-lately, and not an Ultima Dragon) has spent generously on various Ultima-inspired Kickstarters. There was Unknown Realm for the PC and Commodore-64, which, three years after its proposed date of delivery, increasingly looks like either a very unsuccessful game development project, or a very successful scam. There is Skald: Against the Black Priory, which has released multiple increasingly impressive demos, and seems to be late but firmly on track. There was Underworld Ascendant, a game… no, come to think of it, that one did not exist, and I did not foolishly waste $100 on a boxed copy that never even shipped in any form people were promised. Yes: too many failures can harden a man’s heart, and make him wary of funding Yet Another Ultima-Knockoff Kickstarter. Thus, I missed out on Nox Archaist, which promised all the usual things these projects tend to promise (a new Ultima homage game! an endorsement by Lord British! pixels! a game box! a thick manual on real PAPER! a CLOTH MAP! some useless renfaire gizmo related to the game story!), and then I forgot all about it. But Nox Archaist came out just as promised, game box and hand-sealed letter and all – and you can still buy a post-Kickstarter version, along with the T-shirt and the spiral-bound notepad. (Or you can buy an inexpensive digital version if you make your saving throw vs. Temptation. Go on, I will wait.)

The following review is the result of around 8-10 hours of play, encompassing the “first act” of a highly open-ended and obviously much larger game – certainly not the whole picture, but a reasonably wide one.

For a hundred dollars, you also get a dongle

If you are asking yourself, “Did he really write ‘Apple ][?’” or “Isn’t that something very old?”, the answer is “yes”. This game was developed for an early 1980s computer system, and although it was done with a lot of hindsight, and pushes the system’s capabilities beyond the limits possible in 1983-1985, it is not just a game with a vaguely chic retro aesthetic – it is a real approximation of a major, no-expenses-spared Apple ][ title. On your PC, it will run on an emulator (no special computer wizardry required), but if you are so inclined, you can make a disk image on a handful of Apple ][ floppy disks, and play it like it was really meant to be played.

Shipwrecked in CGAland

To say Nox Archaist has “crude” graphics, or that its speaker-based beeps and boops (lovingly emulated on your sound card, running in a high-end Windows 10 environment) is to miss the point. Nox Archaist has varied and fairly sophisticated graphics for 1984, with sprites to simulate your character swinging his (or her, or xir – yes, there is an “other” gender, and weirdly enough, that’s not woke posturing, but a loving homage to Ultima III: Exodus) sword, or sitting in a chair, or swimming in shallow water, or sinking into quicksand. This is the best simple tile-based graphics can offer with its weird colour artefacts and reliance on basic symbols to carry its meaning. Modern games depict; old games symbolise; and this lost art is new again in Nox Archaist. From simple props come surprisingly meaningful and distinct places – the crude hovels of a wayside village, the throne room of a castle, or the depths of the Mythical Underworld. In fact, the game even features bits of modulated speech, something which would only come to Ultima with Ultima VII: The Black Gate (1992). This is, if anything, a game way before its time.

On the trail of the orcs

Behind the archaic façade runs a remarkably complex game. It has a rather intricate user interface with very Ultima-like quirks – you still e(X)it your horse to dismount, (I)gnite a torch to illuminate your surroundings, and execute a series of Tabs and number keys to bring up inventory and character sheets – but it is not really hard to learn, and quickly becomes second nature while allowing a fairly good level of environmental interaction. The charm of the early Ultimas often comes from layering a dozen small “tricks” on a simple basic system of movement, fighting, and conversing with NPCs, and using them to build a rich world and a complicated game. Nox Archaist has this stuff in spades – lockpicking, jumping over obstacles with horses, engaging in ship-to-ship combat with cannons or boarding action, day/night cycles for NPCs, line-of-sight vision (and the cover of nighttime/underground darkness) for your party, excavating rubble with a pickaxe, falling into quicksand, and all these individually tiny little things – make for a rich and fascinating game environment.

***

NAME! JOB! BYE! NAME! JOB! BYE!

At its core, Nox Archaist is a game of investigation. Sent by Queen Issa to investigate a mysterious cult that has taken foothold over a cluster of islands, captured by your enemies and imprisoned in a ship’s brig, but saved in a shipwreck, you will have to uncover a way to an unseen and powerful enemy while building a powerful and well-equipped adventuring party on the side. Your first clues will lead to a small town, then an increasingly open world crisscrossed by clues and leads. This is Ultima in its best sense: talking to NPCs, you hit on capitalised KEYWORDS, which lead to other places and people you will find in a different corner of the world.

There is a “quality-of-life” feature in the form of a simple quest journal, but to untangle the leads in Nox Archaist, you will have to take notes in a real notebook, and spend time poring over your player map (this is missing a whole lot of locations you will gradually discover, or get pointed to). Perhaps you will have to journey to Castle Suurtheld and consult Nox Yvviar on CULT activities. Or you will have to visit one of the Queen’s agents in Knaerwood and ask him for HELP. Perhaps you will also seek out one of the local trainers to improve your skills. Or the answer may lie in a book in some library (these are small, brief vignettes high on local flavour).

8 AM. Lord Hraakvar is still asleep

The essence is the sense of an interconnected milieu, one whose locations you will revisit again and again, getting deeper into a labyrinth of sub-quests, references, and mysterious finds. Like Ultima, the world opens up gradually. First sticking to the overland and the proximity of settlements, you eventually start exploring the wilderness and smaller dungeons; then find that these dungeons open into enormous multi-level affairs that feel like OD&D’s “Mythical Underworld” megadungeons (and they might all be connected on the bottom in a deep interconnected realm: at least this was the case in the greatest of Ultimas, Warriors of Destiny). You will acquire new ways of navigating the world: horses which let you easily ford rivers which were once hazardous; skiffs to sail shallow waters; and ships to brave the stormy seas and visit distant islands (these larger ships can store up to two skiffs to make landing convenient). The setting expands as you play – and there might even be a flying carpet at the end.

Buxom

The Isles of Wynmar is a high fantasy setting. In our ultra-modern age of ceaseless deconstruction, this vaguely positive Merrie Olde Englande hodge-podge of benevolent monarchs, wise-cracking peasants and chivalric nobles looks almost avant-garde. The isles have their troubles with corruption, mountain orcs emerging from their strongholds to raid human villages, and the scheming cult that’s spreading tentacles across the land, but it is a place where good and evil are distinct and well demarcated. It loses some shades of grey, but it gains playfulness and colour, something refreshing in a more cynical era where mediaeval worlds are usually presented through a ubiquitous mud-filter. Wynmar scales back some of Britannia’s “thee and thou” pretension, but it has its jocular bards, stout bowmen and saucy tavern wenches in the best traditions of the genre. Public order is maintained vigorously: I once attacked a cloud of buzzing insects near a rural outhouse, and was soon attacked and decimated by the local militia. Now that’s law and order!

***

Nox Archaist’s character building is nominally free-form – you can advance your characters in any direction from hand-to-hand combat to archery, assassination and magic – but the difficulty curve encourages strong specialisation. You are better off with three niche heroes than three generalists, as they will be able to wield better equipment (there are strong stat limits) and dish out better punishment, while a jack-of-all-trades group of PCs will find themselves in a serious difficulty trap.

The Goblin Shaman: Attempt 32

After the first few battles with hooligans and rabble-rousers, the level of challenge goes up. Your first dungeon foray will bring you against a group of wolves, and here, the need to toughen up will be made obvious after the first few utter defeats. The true test of your offensive and defensive abilities will be the mini-boss of the first serious dungeon, the Goblin Shaman. If you can beat him and his band, you have built your adventuring party correctly – if you can’t, you may want to earn some more experience, or reconsider your options. And it will get harder: just venture a bit beyond the shaman’s cave to find out.

With these considerations in mind, the stat/equipment accumulation game is simple but satisfying. You do not have Ultima’s fascinating reagent-based magic system, but there is an abundance of stuff to obtain, equip, and go to town with. Armour goes from cloth, leather and brigandine to chain, scale, and plate, and right up to frost, storm, drake and dragon (for the mightiest heroes). For the start, having the requisite Strength to equip a pair of chain gauntlets feels like a reward well earned.

***

A round for the local lads

As I have outlined above, Nox Archaist is a worthy successor to the Ultima tradition. Here, you will find a large and deep game comparable to Quest of the Avatar or Warriors of Destiny (although with the graphics of the older Exodus) with all the quirks of something out of the early 1980s. This is an important qualifier: the game is from a tradition that predates a lot of the games that established the way modern CRPGs are made, and while it makes numerous improvements to make the formula easy on gamers today, it comes with CGA-tier aesthetics, bizarro discoloured fonts, and antediluvian ideas about game design. That is to say, I can’t recommend it highly enough to fellow old-school gamers. If this is the particular experience you are looking for, Nox Archaist will deliver in spades; if you are too young to have experienced the old Ultimas in their time (this also describes Yours Truly), this is a good occasion to try.

Some well-deserved rest

[REVIEW] Hideous Daylight

Not so hideous cover art

[REVIEW]

 by Brad Kerr

Published by Swordlords Publishing

Low-level

This 34-page module presents a small, self-contained adventure location, along with a situation which encourages non-linear investigation, and can lead to a range of different outcomes. Set  in a surreal place combining idyllic beauty, otherworldly strangeness, and lurking horror, it is almost as if it is meant to be getting a good score on this blog. Which it will.

In Hideous Daylight, the characters will investigate Hollyhock Gardens, a large, walled preserve used as the royal hunting grounds, and consisting of a variety of environments including forests, a lake, a hedge maze, hills, and other sites of interest. The garden has recently been beset by a magical catastrophe causing a very localised perpetual noon. The sun never sets within the walls, and slowly but surely, the place is going to hell as animals are driven mad, things fall apart, and weird creatures from another dimension start to emerge. Knights and adventurers who have tried to set things right have not come out.

Hideous Daylight plays as a small hex-crawl (19 hexes are described, most with one point of interest) with two mini-dungeons (a hedge maze and a subterranean locale). The action is largely non-linear exploration, where the characters can piece together what happened and what they should do from the environment, dead and hiding NPCs, and other clues. The locations combine the familiar with the uncanny, and the beauty of an orderly garden with a strong element of survival horror. There is a very good range of encounters here, from the straightforward to those which invite creative solutions (without specifying what they “need” to be, a common mistake of puzzle-oriented encounters), as well as meetings with the garden’s bizarre denizens. For an old-school module, it is very low on loot, although this could be remedied fairly easily.

Exploring the garden is complicated by a well-realised random encounter chart which contains multiple powerful opponents a low-level party has little chance of defeating, but may successfully evade until they figure out what to do with them. Another group of beings, found at both keyed locations and on the chart, are extra-dimensional entities with weird behaviour and inscrutable purposes. These freakish “anomalies” lend another layer of strangeness to the magical landscape. There are interesting choices and consequences: not only are there multiple ways to conclude the adventure, there are victory paths which will bring much more trouble than they solve (and it is entirely possible that overlooking or misinterpreting clues will lead to this point).

Hideous Daylight employs a simple format that is quite handy and well-structured without going into weird hipster layout. Information is easy to find and nicely cross-referenced, and the style is clear and helpful. This is the kind of functionality that is easy to take for granted, and later miss in other modules which do not measure up.

In conclusion, Hideous Daylight is an imaginative, well-written scenario that encourages and rewards open-ended exploration and creative thinking; presents a surreal place with uncanny encounters, and it is user-friendly too. It is a yardstick of a good adventure. If you are this good, you are good.

This module credits its playtesters, and has a special thanks section too!

Rating: **** / *****

Not so hideous interior art

 

[MODULE] Baklin: Jewel of the Seas (NOW AVAILABLE!)

UVG dice not included

I am pleased to announce the publication of Baklin: Jewel of the Seas, a supplement describing the eponymous merchant city, including its rulers, criminal underworld, establishments, and three-level Undercity.

Illustrated by Denis McCarthy (who also did the cover art), Stefan Poag, Graphite Prime, and Jerry Boucher, Baklin is more than twice the size of the average module – 72 pages’ worth of adventure-ready material, a players’ map of the city (with a players’ map of Erillion on the back side), and a GM’s map including the labelled city map, and three dungeon maps describing the Undercity’s storerooms, forgotten shrines, and weirdo inhabitants. This is two identical-length modules in one: a city guide with 39 major locations and a dungeon setting with 112 keyed areas, connected and bound together via multiple secret entrances, plot threads, and NPC agendas.

Baklin is meant as both a campaign hub a party can depart from and return to (with numerous hooks for wilderness adventures), and as a complex adventure location of its own. It can be used along with the materials published for the Isle of Erillion mini-setting (Echoes #02–05), or it can double as almost any neutral-aligned port town in your own setting. In any case, Baklin is meant to be played: it is focused on city intrigue, exploration, and dungeon crawling. Go shopping for great deals in port or at the stores of the reclusive Masters’ Guild; be careful not to fall afoul of the Sea Laws or anger the Knights of Yolanthus Kar; discover what lurks in the Tower of Gulls; and brave the Shrine of Roxana and the Thrones of Judgement!

Baklin: Jewel of the Seas

"Oh Baklin, Jewel of the Seas, great gateway of Erillion! Minstrels sing of its wealth and marine power; and of the refinement and taste of its magnates and nobility. Minstrels of all kinds, of course, are prone to grandiloquence; and perhaps Baklin is neither as mighty nor as fair as the ballads claim. And yet, there is reason the minstrels sing so, for Baklin has wealthy patrons, its fleet is not inconsiderable – and are its streets not the loveliest within so many weeks of travel? Indeed, those who brave the high seas often believe so… and they will gladly pay for a song to remember their visit. This booklet presents a complete city supplements describing the streets, personalities, and conflicts of a bustling port town, from the heights of power to the deepest undercellars. In Baklin, all streets lead to adventure – and a single life would not be enough to complete all of them.”

The print version of the modules is now available from my Bigcartel store, while the PDF edition will be published through DriveThruRPG with three months’ delay. As always, customers who buy the print edition will receive the PDF version free of charge.

[REVIEW] Hunters in Death

Hunters in Death

Hunters in Death (2020)

by Tim Shorts

Published by GM Games

Beginner and low-level

Hello, and welcome to part five of **ZINEMASSACRE*2020**! This year, Kickstarter ran Zinequest 2, their second zine writing promotion campaign. Despite my utter distaste for the idea of a major fundraising platform intruding on a publishing genre for people with more ideas than money, I have to admit Zinequest was successful in motivating a whole lot of gamers to launch their personal projects. While many of them were completely alien to my interests (“A quiet space-faring rpg zine about being alone & not quite being alone.” and “A fluffy D&D Adventure featuring sock puppets, danger and imagination!” are probably for other people), I pitched in for fifteen which looked interesting. Here are the results.

***

One the scale from “meat and potatoes” to “paint-huffing pretentious”, Hunters in Death is way, way closer to the first endpoint. Here are your monster-haunted woodlands, here are your roadside inns and foresters, your goblins and barrow mounds. It is the basic texture of D&D played by the book, and offers more comfort than surprises. It is done decently, both as a coherent whole, and in its individual parts.

The zine provides a small wilderness environment where you can seek adventures. The tiny hamlet of Hounds Head is just one corner of the vast Komor Forest (the author’s home campaign), but its position on the crossroads always attracts peculiar travellers. Hounds Head is small, the proverbial flicker in a points-of-light setting. It has everything an adventurer needs: inn, general store, a smithy staffed by Kovac (a guy whose very name means “Blacksmith”), a chapel, a magic-user’s eccentric residence, and a village leader. More importantly, any direction you head out will make you hit ADVENTURE before you are halfway through the day. There are suitably good adventure hooks to provide a direction if you don’t know which way to begin. Or was that nooses? Yes, someone has been placing nooses around the woods, and hanged bodies have been cropping up with growing frequency. Something is amiss around Hounds Head…

The core adventuring material of this zine consists of three main sections. First, we have a random encounter chart to use during forest expeditions. This starts things on a strong note – more than an afterthought listing a few generic forest critters, this chart includes both commonly encountered monsters and animals, and less frequent locale-specific entries. These meetings can easily develop into mini-adventures of their own, or provide personality and an element of continuity to the campaign. Some of the encounters have sub-varieties, so no two “giant centipedes” encounter will be identical; and monster entries come with a listing of “harvest”, noting the parts a hunter may find valuable to sell. Second is a random table system to seed the 14 barrow sites scattered in the nearby area, generating their environment, inhabitants, and treasures (the grave goods of an ancient people, including their special magic items). This, again, has sufficient variety and surprise to make exploring them an entertaining venture. perhaps you will find a royal treasury, just make sure not to stumble on a Crow temple. The third section describes three mini-adventure locations: a semi-ruined hunter’s cabin that hides a horrifying surprise (this one is a winner, and scared my players witless), a crypt dedicated to a coveted magic item (this is a bit meh), and the mystery of the “hunters” alluded to in the zine’s title.

Hunters in Death is not a zine that will make you go “I could never have thought of this”, but it can fit most D&D campaigns seamlessly. It uses simple concepts and elements, but uses them with skill and fun variety. It has a consistent theme that makes it hang together, with a few genuinely creepy moments. You could take the mini-sandbox and place it in a larger one boxes-within-boxes style, or take it apart and use it as a grab-bag of stuff. I am currently running Hoard of Delusion, a low-level AD&D wilderness/dungeon module as our second wave Covid-campaign, and I found this zine very useful in rounding out the wilderness areas with extra material. It is chicken stock for the tired GM – just add water, some extra ingredients, and heat up to serve.

No playtesters are credited in this publication.

Rating: *** / *****

[REVIEW] A Visitor’s Guide to the Rainy City

A Visitor's Guide
to the Rainy City

A Visitor’s Guide to the Rainy City (2020)

by Rich Forest, with Andrew D. Devenney, Alisha Forest and Bill Spytma

Published by Superhero Necromancer Press

System-independent

Hello, and welcome to part four of **ZINEMASSACRE*2020**! This year, Kickstarter ran Zinequest 2, their second zine writing promotion campaign. Despite my utter distaste for the idea of a major fundraising platform intruding on a publishing genre for people with more ideas than money, I have to admit Zinequest was successful in motivating a whole lot of gamers to launch their personal projects. While many of them were completely alien to my interests (“An absurdly punkrock role-playing game zine.” and “A Forged in the Dark TTRPG zine, where you play as a gang of animals stealing food and garbage from humans in a small town.” are probably for other people), I pitched in for fifteen which looked interesting. Here are the results.

***

How much can you ask from a zine? The publication type tends towards the short and ephemeral, the “I had an idea” thought experiment, or the burst of creativity. Buying zines is like buying bric-à-brac from an antiques store – eye-catching, strange, not too expensive, not too disappointing if it does not deliver on the pitch. However, some of them do, and more – here is one of them. A Visitor’s Guide to the Rainy City is a complete, gameable city in the shape of a 60-page zine. That’s a handful! Perhaps it does not properly belong to the zine genre, and is best thought of as a very compact supplement; something that would normally be 120 pages, but here, you just get the good stuff in half as much. Expressive terseness? I’ve got your expressive terseness right here! At any rate, A Visitor’s Guide is packed – and none of it is a waste.

Hey, the City looks almost
bearable from down here

The titular Rainy City may be the last large city in existence. It always rains – always always, with varying intensity. Much of the rest of the world has been flooded, and other than the occasional shipful of castaways swelling the local population, seems to be entirely under water. Nobody seems to be able to do anything about the situation – the gods are silent, and the great wizard college of the city has been destroyed in some kind of catastrophe. Fires barely light, and in the rainy season, it has to be replaced with expensive alchemical salts. The rotting buildings, under constant rainfall, are home to increasingly strange beings: puddings prowl the cracks and drains, gargoyles haunt the rooftops in a constant power struggle with intelligent gulls, and the creatures of the sea have come out to play. There are new intelligent races ashore – the achterfuss, intelligent octopus people; mermaids and “deepsies” (regular people slowly turning into fishlike beings); and there are others which have adapted to this new life – aristocratic ghouls, bog-dwelling halflings, and so on. Everything has been upended and become uncertain – the city has no unified government, maybe a third of it is gone, and its future is uncertain. Yet life goes on, and this partially submerged, partially ruined metropolis remains full of teeming crowds, business deals, power struggles, crime, and festivities. It is a rather cheerful apocalypse, as related by the upbeat text of the guide’s fictional narrator – here is a great place to have fun, and some exciting adventures. Is it London? Yes, a little bit. Is it Terry Pratchett? You can bet. It is a lot of things, but in the end, it is its own place, and there is none other like it in gaming.

Insufferable hipsters
duking it out in Vagabond Bay

The Visitor’s Guide gives you this city as a travel guide of sorts, first introducing you to general ideas and customs you may need to know, then proceeding with a more detailed breakdown of the Rainy City’s places and people. This is an excellent approach to worldbuilding, since it concentrates entirely on the substantial, without wasting time on things of little concern to the adventurer. Everything is to the point, and no text is wasteful – it all focuses on what makes the city interesting, dangerous, and worth delving into, just like a fine travel guide takes you to the good stuff. Information is either presented to provide adventure pitches – job opportunities, organisations you may want to join (or fight), and exciting locations are given a prominent treatment – or as concentrated flavour with asides on food and drinks, eccentric customs, the importance of hats, and other local colour.

Ms. Stacks, brigand leader

The Rainy City is divided into ten major districts, each receiving a mini-gazetteer spanning around four pages. Each have their own character, from the milling traffic of Old Town and the industrial monotony of Leeve Town through the eccentric aristocracy of Embassy Row or the mage towers of Tower Cliffs, to almost rural hinterlands like the eerie plateau of the Headlands and the marshy, bandit-populated Sump. In fact, they do not just have their own character, they have their own weather – sure, it is always raining everywhere, but the rains of Leeve Town are “Steady. Oppressive. Gray.”, while for posh Embassy Row, they are “Very fine (…) here [the rains] have a cleansing quality.” Beyond this small gimmick, these sections have a notated map, information on law enforcement and criminal enterprise, places you may visit, mysteries and conflicts you may get entangled in, and so on. From doing “roof duty” wrestling trolls, pudding and chimney goblins in Old Town, to smuggling in Vagabond Bay or joining a salvage crew on the Headlands, this guidebook is structured around adventure. There are interesting NPCs like Jenny “Ma” Weaver, a witch who can weave strands of fate, or Orbeg the Multipotent, a wizard “whose tower has a level for every lesser potence he has cast behind him on his path to betterment.” (“Some thirsty-six Orbegs, each less multipotent than the one above, abide in his tower, each assured in its assurity that it will one day be the ultipotent.”)

Cleverly repurposed
witchburning art

As presentation goes, the zine is understated, but just about perfect. There are no fancy layout tricks beyond making sure stuff that belongs together is on facing pages, the maps are placed where they are useful, and the illustrations break up the two-column layout exactly where they are needed. It is not obtrusive, just good at what it does: making the text flow well, and the booklet easy to navigate. I would be remiss not to mention both the excellent map – every quarter of the city having its own characteristic topography, street layout and features of interest – and Bill Spytma’s illustration work that defines the Rainy City just as well as the text does. Illustrations feature redrawn/altered 15^th to 16^th century woodcuts to great effect, and these are authentic, not to mention very funny if you know them from previous reading materials. In these reviews, I rarely consider production values as an aspect for evaluation: here, I will make an exception, because the art becomes an integral part of the zine.

There are no stats in the zine, nor any game-specific information, really. I am not fully convinced it was written for old-school games at all, but do not let that dissuade you. The setting is strong enough to work in an old-school urban sandbox game, in a 5^th edition campaign, it would probably work with some of the indies, and it would make for a hell of a backdrop for the heist-oriented Blades in the Dark (much better than the official setting, which I honestly found disappointing). Hell, you could use it to inspire Thief fan missions, which is of course the highest honour there is. You would need to do some work to make it fit any system, but you would not need to do much to make it work well – the content and structure of the zine would do much of the heavy lifting.

This is sort of an intermediate product. It is a superb trove of ideas if you are a Gamemaster looking to run games in the Rainy City, but it is also a booklet you could hand to your players as a setting guide, and let them pitch you ideas. The information is exactly at the level of detail and specificity where it gives a strong idea of places, people, and conflicts, but does not rob anyone of the mystery of actually exploring and interacting with the milieu. And what a milieu it is! Original and with a strong flavour, yet eminently play-friendly and approachable; large-scale, yet having a good eye for human-level interests. It is enthusiastic and funny – admittedly, you can get a whiff of hipster from the usually wry humour, but let that be its greatest crime. This is just well-done, and modestly priced at that.

No playtesters are credited in this publication, but the Kickstarter pitch reassures us it has been in used in games for fifteen years, and I believe every word of it.

Rating: ***** / *****

Yum yum yum