“The Shab-al-Hiri Roach” by Jason Morningstar and Bully Pulpit Games is a storytelling game about academic life, the pursuit of tenure and the lengths people will go to for success, even if that means swallowing an ancient Sumerian bug and burning down the campus. Billed as a Lovecraftian dark comedy of manners, players take on the roles of assistant- or full-proffesors at the ficticious Pemberton University in the fall of 1919.

Players choose an Expertise for their character, an area of learning such as History or Geology, and two Enthusiams, areas in which they excel and delight, such as Creativity, Manipulation or Debauchery.

Review by Michael Erb

In the early 1900s, horror writer H.P. Lovecraft created a series of books and short stories set in a dark world beset by cultist, monsters and unfathomable “things” from space and other dimensions. These works collectively became known as the “Cthulhu Mythos,” named for one of the Great Old Ones that slumbered in the lost city of Rályeh, awaiting the end of the world.

Chaosium’s “Call of Cthulhu” horror roleplaying game captures the feel of Lovecraft’s writings and puts players in the roles of investigators bent on uncovering, and surviving, the dark lore of the Cthulhu Mythos.

Review by Michael Erb

Daughter of Nexus is an adventure offering for White Wolf’s fantasy RPG, Exalted. This adventure is published in PDF form and is another prong in White Wolf’s fairly aggressive and welcome acceptance of the PDF medium as a way to do business. This is particularly desirable for Adventures, I think, as the production costs and the sale price can be kept low though, at nearly seven dollars – for which you can get PDFs two and a half times as big and with more content – I still don’t think they’re getting the price point right for their electronic offerings, after all, adventures are pretty much disposable products, with little in the way of replay value and few elements that can be effectively reused.

Review by James ‘Grim’ Desborough

“Godlike” is a role-playing game about super heroes during World War II. But “Godlike” isn’t your normal super-powered game. The heroes, called Talents, are normal people with extraordinary powers, but who ultimately are still very human.

The Talents in “Godlike” don’t dress in spandex and capes while soaring into war. That’s like wearing a giant target on your back. Instead Talents tend to work in small groups, just like a regular military unit, and conceal their extraordinary abilities when possible. The Talents have great power, but ultimately are tools in the war, and a player character’s ability to affect the course of the war is limited and dependant more upon the success of missions rather than just on personal actions.

Review by Michael Erb

The Blight Elves are a race of elves native to Simarra in the Blood Throne setting. These are basically dark elves dialed up to eleven with the themes becoming those of torture, despair and cruelty, equally dialed up to eleven. This is presented for True20 rules and it will be interesting to see how d20 variants like True20 and Mutants and Masterminds fair in the face of 4th Edition D&D.

Review by James ‘Grim’ Desborough

I am a sucker for the undead. In the history of my D&D experience I have always gravitated toward playing necromancers. There was something awe-inspiring about those who used their magic to alter the rules of death. One thing all of my necromancers have in common is that none of them were evil. The idea of the black-cloaked cackling lunatic, raising shambling hordes was so cliche as to be completely uninteresting to me. A good or neutral wizard who used the walking dead to battle the true evils of the world: that was a concept I could get behind.

This book had me at Lawful Good Lich.

Review by Vincent Venturella

This second edition of Blood! updates an original game from 1990, although quite why the author wishes to do this rather than create a completely new game which just rips off (adapts) some of the original concepts is not clear. As author Desborough points out, this makes the game a little unusual in the current environment in that games now tend to be rules-light and high-concept, while Blood! is a comparatively rules-heavy game. There are, for example, something like 400 weapons which can be used, including a fishing rod and a knitting needle. There are also extensive critical hit tables describing what might happen to the human body when it is variously bitten, stabbed, crashed into by a moving vehicle, shot, electrocuted and so forth. These are generally quite graphic in nature and this underlines the principal approach to the game, which is that of the gorefest.

Review by John Walsh

In normal Dread play, this is where henchmen and cultists would begin to interfere: the mook-battering is designed to wear down the PC’s Fury so that the final conflict is tough (and usually deadly, to one or more PCs). But being a one-shot con game, Raphael paced the scenario faster and got us on the trail of the first, possessor demon fairly quickly. A few chats with a scatter-brained crackhead, a store clerk, and other contacts, and we realize we’re on the tail of the mayor, possessed by a demon that loves to destroy the lives of its victim before finally destroying the possessed itself and moving on to new hunting grounds.

Review by David Artman

It is not a bad idea to yoke together two distinct genres in order to create a media product which occupies a distinctive niche. Of course, the approach does not guarantee that the result will be coherent in terms of meaning or internal logic but, given enough attempts, it should be possible to find a combination that more or less works. Justin Bow, for Green Fairy Games, has joined together the concepts of, as the name suggests, ‘Fae’ and ‘noir.’

Together, then, these two concepts could work. Fae creatures enter an otherwise predominantly human society in which bad things tend to happen to everyone. It is possible to argue that the Sergei Lukyanenko novels, for example, fit this pattern, although RPG players are perhaps more likely to reference the film Sin City and the comics that gave rise to it.

Review by John Walsh

The setting for this ‘script’ is negotiation over the surrender of a fortress manned and protected by a contingent of Templars. Also present are merchants from a secret society with a very deadly secret, servants, priests and monks and the forces of the Muslim leader who is demanding surrender.

On the surface this is a parley to determine the exact nature of this surrender and how it is to be conducted but under the surface each faction has their own secret agenda and these intermingle between the various forces at work. It’s a nice, tangled knot of interwoven motivations and goals that should be ideal for a one-off convention-type scenario.

Review by James ‘Grim’ Desborough

It is curious that Vampire adventures seem to be particularly susceptible to this kind of role-playing when the rules-givers at White Wolf are forever bringing out new rules constraining vampire characters to behave in certain ways and to react to each other based on templates relating to membership of different social organizations and family structures. This seems to be rather un-American to me – no wonder there are so many foreigners in the World of Darkness. Europeans, for example, with their dastardly class-based societies and ability to speak languages. Rafael Pope, a central figure in this adventure, for example, is described as ‘a tall European man, probably Italian.’ Not Scandinavian, then or Slavic or Gaelic. In any case, obviously someone to be watched and subject to the vampiric versions of phone-tapping and having to take his shoes off before being allowed on an aeroplane.

Review by John Walsh

The Inquisitor’s Handbook is a hodge-podge of bits and pieces scattering all around the game system and the background. It’s a goody-bag of weapons, skills interpretations, new background options and new ‘fluff’ which may or many not suit a particular player group. To me it didn’t feel like it had quite the same character as a player’s guide for other systems – ones which generally limit themselves to player advice and increasing player options – but it felt like an expansion of the corebook material overall, for both players and Games Masters. I felt, reading through it, as though some of the content here should have been in the corebook and vice versa, particularly the background information and the Calixis sector particulars. It would have made more sense, to me, to have increased the player and character creation options in the main book and then had the Calixis specifics in a sourcebook, or collected in this volume with the specific data appropriate to it. The ‘imposition’ of the Calixis sector as the group’s playground is just another aspect of the ‘hemming in’ that has been a criticism of Dark Heresy.

Review by James ‘Grim’ Desborough

This is a tightly presented 165 page PDF in two column format in a fair imitation of much of Wizard’s own presentation, it cover PC and NPC character clases, prestige classes, mechanical devices and effects, the interaction of magic and technology, automations, skills, feats and everything else. Basically this is one entire plug-in to bring technology and its users into the game, along with brief discussions on the affect technological change might have on a society and the means by which it might be introduced. To my mind there wasn’t enough material on this side of things, doubtless to make room for all the mechanical crunch.

Review by James ‘Grim’ Desborough

Chicago Workings is a World of Darkness adventure released under the Storytelling Adventure System from White Wolf Publishing. Written by Will Hindmarch (with a little help from Ken Hite and Bill Bridges) this adventure puts the player characters in the middle of an ongoing conflict between rival architects. At first that doesn’t sound like such a big deal, but what if these two designers had access to mystical writings? These writings allowed them to build geometric grids of power within the city, forever altering the flow of magic and power.

The obvious comparison with White Wolf’s vampire has to be made when reading VDG, while there are some independent and different concepts the overall one – breeds of vampire fighting it out for control – remains the same and the authors are clearly fans of the earlier version of Vampire and the style and methodology of White Wolf, at least as White Wolf used to be at any rate. This is fine by me, I like the old stuff though I have my pet hates of certain White Wolf ways of going about things too, and I much prefer the old World of Darkness to the new World of Darkness, VDG presents a game that is very much like what a post-Gehenna old World of Darkness campaign setting might have looked like and this is a good thing as far as I’m concerned. Some would consider this a rip-off of White Wolf, I prefer to see it as an homage to White Wolf at the height of their creative capabilities and see the relationship as being more akin to a Nightlife/Vampire relationship than something more negative.

Review by James “Grim” Desborough

The Revised Tome of Horrors is a massive play on nostalgia. A book hoping that you miss the strange, often inexplicable and forgettable monsters from 1st edition. The problem becomes, that if you do not know what the hell these monsters are and you have no attachment to a pech or a tentamort, you will think this is simply a massive collection of strange and unremarkable creatures.

The book is single minded in its approach; proudly presenting you with over 300 monsters from the “good old days” of D&D. It clocks in at a massive 451 pages and is only available in PDF format. The reason for this decision is explained at the opening of the book. Ultimately it boils down to the cost involved with a reprint of a book this size.

Review by Vincent Venturella

The Suzerain rulebook is a slim fifty pages of very pretty plate artwork and a lot of apparent coffee spillage. Rather than being tied to a particular setting or world this Suzerain seems to be trying to pass itself off as a generic system with specific world books, though there are hints of the New Age mysticism and multiversal aspects in the fiction snippets and illustration explanations throughout the book. The immediate first impression is one of over-engineering for such a small book(let). For your money you get a brief introduction, basic rules, advanced rules, character creation and ‘Feats’ which covers the ground of skills, innate abilities (merits), innate failings (flaws) and special powers such as magic, cybernetics or SCIENCE!

Review by James ‘Grim’ Desborough

Scion is about the only recent output from White Wolf that I’ve really cared for other than Exalted. While the game overall seems to have been completed with Hero, Demigod and God it’s nice to see that it’s getting some ongoing support and even more nice to see that White Wolf seems to be one of the first companies to really start taking PDF publishing seriously. There’s still some imperfections, I believe the idea is to sell sections of the Scion companion bit by bit as complete PDF releases, but to omit some final sections which will only be present in the print version, but it’s a big step in the right direction and one that I hope will be followed up on by other companies. Incidentally, I was about to write a Celtic pantheon fan-offering up for Scion when this came along, so they just managed it in the nick of time!

Review by James ‘Grim’ Desborough

The game of Dungeons & Dragons is, at its core, a game of epic fantasy. The characters we choose and role-play more closely resemble the mythological heroes of ancient times or modern fantasy literature. The nature of an epic fantasy adventure is that the hero(es) will face a great threat which will endanger the lives of innocents/family/the world. There will be a great struggle, but the outcome is never in question. Epic fantasy stories end with our protagonist overcoming the long odds and great trials to become a truly legendary hero. But this begs an interesting question.

What if the hero can not succeed?

Review by Vincent Venturella

The subtitle is The Book of Undead and that accurately captures the thrust of this entire work. For me, this work was long coming as I still have my copy of the 2nd Edition Necromancer’s Handbook on my gaming shelf (okay, shelves). That book allowed us to live out our darker desires in D&D; a game whose objective morality often prevents those who want a little taste of the dark side from enjoying themselves. That handbook, like Libris Mortis promises us the chance to peer deeper into the unlife of undead from every angle. Let’s face it, who doesn’t sit at work some days, when your boss is breathing down your neck, and Sheila from accounting is emailing you thirteen times an hour for the TPS reports, and dream of summoning a horde of the undead to wipe them all out.

It can’t be just me.

Review by Vincent Venturella