Although presenting a mystery which cannot be solved, The Murder of the Seven Points is probably worth checking out.

Review Originally Published October 1st, 2001

After initially being very enamored with the Adventure Boosters format pioneered by AEG, I found myself rapidly souring on the idea after a series of markedly lackluster efforts (my reviews can be found elsewhere on RPGNet by searching the Review Database). The Murder of the Seven Points offers some hope that the format will still realize its potential, but I remain skeptical.

PLOT

A series of grisly, ritualistic murders are being committed in a nameless city – and the PCs are drafted to help investigate them. Why, exactly, the PCs are singled out to help investigate the murders (rather than just patrol the streets like the other volunteers) is not exactly clear – but it appears that Yaple is attempting to provide an explanation by having the Captain of the Guard say: “You’re new in town. You couldn’t have committed the murders. I need your help.”

Okay, maybe I’m just needlessly paranoid: But if a bunch of strange murders started happening in my town (which is normally small and quiet) the first place I’d look would be recent arrivals. Looking for suspects I mean, not people to help with the investigation.

But I digress: The PCs go through a number of short scenes (checking out the murder scenes, interviewing family members, etc.), supposedly attempting to gather clues by which they will solve this mystery. In the end, though, they don’t really uncover all that much when it comes to valuable information. The next important plot point comes when the Captain of the Guard realizes he accidentally mixed up the order in which the murders took place – which makes it apparent that that murders are being committed in the pattern of a seven-pointed star.

While Yaple has a number of possible ways in which to explain why the Captain of the Guard might have gotten the order of the murders screwed up (perhaps the bodies were found out of order for some reason?), he instead decides to simply leave that as a Fact of Life™. Having concluded that this is all part of some sort of ritual, the Captain of the Guard will lead the PCs to a very specific scholar. They will have an unproductive conversation with that scholar – at which point we basically fast-forward to that evening, at which point that self-same scholar summons forth a demon and a Battle Royale ensues.

The PCs win (presumably). Roll credits.

CONCLUSION

In my opinion, The Murder of the Seven Points is not worth playing as it is written. To put it simply: It’s supposed to be a mystery; but it never lets the PCs solve anything.

But there’s a lot of interesting meat here which is being wasted: Yaple draws a number of interesting scenes and characters, and manages to evoke some rather effective images despite his railroaded plot. Essentially I would say that you need to do two things to make this playable:

1. Give the Captain of the Guards a solid reason to recruit the PCs into the investigation. (Simple solution: He’s heard about something heroic they’ve done in the past. He’s more than eager to accept their experienced help in strange matters like this.)

2. Strip out the railroading: Most notably, don’t obfuscate the order of the murders. Let the players figure out the seven-pointed star pattern for themselves. (And, if they don’t, then you can have someone point it out to them as the Big Deadline starts to approach.)

It’ll take a little bit of elbow grease, but I think there’s enough interesting material here to justify it considering the low price of admission.

Style: 4
Substance: 3

Author: Erik Yaple
Publisher: Alderac Entertainment Group
Line: D20
Price: $2.49
Year of Release: 2001
Product Code: 8312
Pages: 16

It turns out I’ve always been remixing adventures.

I did, in fact, give up on the AEG Adventure Booster series after this. That may have been a mistake, but at the time I had a single dedicated table and it was settling into a long-term campaign that had been pretty well mapped out, so I was no longer looking around for new D&D adventures to plug in.

Next AEG Booster Review: Castle Zadrian / Sundered Faith

For an explanation of where these reviews came from and why you can no longer find them at RPGNet, click here.

Although marred in the execution, Night Below is still a classic is well worth your attention and effort.

Review Originally Published October 1st, 2001

There needs to be more products like Night Below. Period. End sentence.

Night Below, a supplement for the now defunct AD&D, was marketed as both “The Ultimate Dungeon Adventure” and “An Underdark Campaign”. It fails at the former (there are a plethora of dungeons which succeed at being bigger, more innovative, more believable, more exciting, and/or some combination of the above), but its success at the latter is what makes it notable and worthy of imitation.

To put it simply, Night Below did not content itself with merely being a module: It is, in fact, a complete campaign – designed for months of gameplay and complete with more than a dozen adventures tied into a cohesive plot.

This is a type of product that the industry needs to see more of. (For other examples, check out Dream Pod 9’s The Paxton Gambit for Heavy Gear and Gold Rush Games’ Shiki for Sengoku.) I don’t think I’m alone in saying that I would welcome the ability to pick up a complete campaign in one shot and start playing. If nothing else, it gives me time to prepare for the next campaign.

Let’s take a closer look at what Night Below has to offer:

PLOT

Warning: From this point forward, this review will contain spoilers for Night Below. Players who may end up playing in these modules are encouraged to stop reading now. Proceed at your own risk.

The Big Concept: Deep within the Underdark, the Aboleth Savants – powerful creatures with the power to dominate others – lurk within the Sunless Sea. There they have laid plots for the construction of a massive magical artifact, designed to expand their innate domination powers for hundreds of miles, allowing them to subdue surface creatures without any need for battle or risk. The PCs, of course, have to stop them from doing this – although, for a very long time, they won’t have the slightest clue of the true evil which lurks behind their foes.

The Night Below campaign is split into three parts:

The Evils of Haranshire: In Part I of Night Below, the PCs begin as 1st or 2nd level characters in Haranshire, a typical, rural fantasy setting (which can be easily slipped into any campaign setting – suggestions are given for placement in Greyhawk and the Forgotten Realms). In order to construct their artifact, the aboleths have need of spellcasters – and to get those spellcasters they have established bands of kidnappers on the surface. The campaign, in fact, opens with a kidnapping attempt involving one or more PC spellcasters. As the campaign unfolds, the PCs slowly uncover the full truth behind the kidnapping rings – while also going on some a few side-trips. In the big wrap up for the first part of the campaign, the PCs succeed in destroying what they believe to be the central lair for the kidnappers… only to discover the kidnappers’ connection to an unknown power in the underdark.

Perils in the Underdark: In Part II of Night Below, the PCs pursue their leads into the Underdark. They almost immediately make contact with friendly svirfneblin, who will provide them with cautious aid. This section of the campaign is largely concerned with the PCs slowly building up enough strength to assault the City of the Glass Pool – a settlement of kuo-tua deep within the Underdark which guards the gateway leading to the Sunless Sea and the root of the evil. Along the way, the PCs will make contact with a variety of bad guys (trolls, grells, quaggoth, hook horrors, puddings, oozes, and derro) and good guys (the svirfneblin and a group of good elves living in the Underdark). Part II comes to its smashing conclusion as the PCs succeed in overthrowing the City of the Glass Pool (or, at the very least, pushing through it into the depths beyond).

The Sunless Sea: In Part III of Night Below, the PCs have succeeded in penetrating all the way to the Sunless Sea – wherein dwell the sinister Aboleth Savants. But they will have to make their way the Aboleth’s city – and along the way will encounter a number of other enemies and allies. Again, a thin line needs to be tread in the forming and maintaining of alliances. In the campaign’s epic conclusion the PCs will (hopefully) defeat the Aboleth Savants and overthrow their seat of power for all time.

BOX CONTENTS

Night Below is one of those boxed sets which you can shake without hearing the echoes formed by empty space within. Three 64-page books, 16 pages of Player Handouts, 8 two-sided reference cards, 8 new Monstrous Compendium entries, and 6 full-color poster maps are packed into the box – making it a hearty value for the $30 price tag.

STRENGTHS

Night Below succeeds at crafting a comprehensive, epic campaign. Carl Sargent demonstrates how a well-constructed campaign looks less like a series of disjointed modules, and more like a cohesive story – with a distinct beginning, middle, and end all of its own. This, above all, is Night Below’s most impressive accomplishment, and is reason enough to pick up the boxed set in and of itself.

But you can also strip-mine Night Below with great ease: There’s a great wealth of material here (literally enough on which to base an entire campaign), and you can use large hunks of it without ever touching the overall structure of the campaign at all. For example, I plucked out the source material for two of the towns in Haranshire for use in completely different campaign. You could also pluck out such jewels as the Rockseer Elves subplot and use that as a stand-alone adventure in and of itself (or even as the basis for an entire campaign). And so forth.

WEAKNESSES

Unfortunately, Night Below also comes with its share of weaknesses:

1. The most pervasive problem in the campaign was the lack of clear organization and/or layout in the product. As I’ve mentioned before, there’s a lot of material here and – unfortunately – it’s organized in such a poor manner that it’s extremely easy to get lost in it all. In many ways, the campaign is presented almost as a stream of consciousness. As such, it desperately needed to be reorganized into distinct chunks: Here’s the section where the PCs fight the orcs. Here’s the section where we describe Haranshire. Here’s the section where the PCs investigate the troll lair. And so forth.

2. Although he’s constructed an extremely impressive story arc, I feel that Sargent doesn’t always take advantage of the opportunity to foreshadow future developments. Perhaps this is a minor complaint, but I feel that a little more interweaving of the overall structure would have resulted in a story with more depth.

3. Night Below suffers, unfortunately, from the standard 2nd edition problem of referencing/requiring every supplement under the sun. This type of thing drives me nuts: Did these people actually expect their fans to own all 10,000+ supplements they produced?

4. At several points in the course of the campaign, Sargent brings what I can only describe as “XP mentality” into the game world. Most notably, the svirfneblin are constantly advising the PCs to go take care of one threat or another in order to “strengthen them up” (i.e., gain the levels necessary) for the final challenge. I just can’t accept this with a straight face. For example, imagine the United States during World War II saying: “Well, we need to take on Japan. I think we need to go take out Argentina and Venezuela in order to ‘strengthen up’ for the final challenge.”

5. I’m not a big fan of the “1001 fantasy races” model of campaign world design – in which, every time you turn a corner, you’re bumping into a new race of intelligent humanoids. Night Below has this syndrome in spades – which is why, as much as I respect and appreciate the product, I will probably never run it in full myself. If you have a similar distaste for this particular style of D&D, be warned that Night Below will require significant amounts of alteration (and may, in the end analysis, simply not work for you).

CONCLUSION

Night Below is a bang well worth your buck. If you can track down a copy, it’s well worth your time – either to use in whole or in part.

Style: 3
Substance: 4

Author: Carl Sargent
Publisher: TSR
Line: AD&D
Price: $30.00
ISBN: 0-7869-0179-9
Year of Release: 1995
Product Code: 1125
Pages: 225

Now that the full campaign model of Night Below has become almost bog standard in the RPG industry, it’s interesting to look back at a time when that wasn’t true. With that being said, I think Night Below has still stolen a march: There are a lot of reasons why these big campaigns just work better as boxed sets. (Although we’re starting to see more and more of that from third-party D&D publishers.)

As I mentioned at the end of the review, Night Below is not a campaign that I ever ran for myself (although I did cut off chunks and use them elsewhere). There was a point where I was dabbling with the idea of remixing it to have a less linear form, but the group I was running for back then fell apart and I haven’t revisited it since.

For an explanation of where these reviews came from and why you can no longer find them at RPGNet, click here.

With Maiden Voyage, Penumbra continues to establish itself as the Best of the Best when it comes to D20 products.

Review Originally Published October 1st, 2001

Penumbra, in my opinion, has been setting standards for quality in the D20 marketplace since their release of Three Days to Kill back in August of 2000. The high quality of Three Days to Kill, In the Belly of the Beast, and The Tide of Years established the line as a premiere source for high quality adventures. As a result, I rushed out to purchase a copy of Maiden Voyage almost as soon as it hit the shelves of my local gameshop.

It doesn’t disappoint.

PLOT

Warning: This review will contain spoilers for Maiden Voyage. Players who may find themselves playing in this adventure should not read beyond this point.

In Maiden Voyage the PCs are hired on as guards for the Albers – a ship which is transporting a murderous sorcerer back to the city in which his crimes were committed (so that he can be tried, convicted, and executed).

But the sorcerer is not the most serious concern which will face the PCs on the voyage: A ghost ship manned by an undead crew sails the waters through which they will be passing. Placed under a terrible curse, the crew of the black-sailed vessel are forced to seek out other helpless victims, dragging them beneath the waves. Only when the curse has been passed on in this fashion will the former victims be free of their earthly damnation.

Over the course of four days at sea, the PCs must deal with murder, mutiny, and undead – each in turn, and often all at once.

STRENGTHS

Chad Brouillard, the author of Maiden Voyage, has built his adventure off of the structure created by Mike Mearls for In the Belly of the Beast. (See my review here.)

First, he provides a richly developed cast of NPCs – each with their own desires, goals, and personalities. Then he places them in a self-contained space (thus necessitating prolonged interaction). Finally, he introduces a number of significant threats and/or sources of tension – which are handled through a series of progressive, flexible “Events.”

Add your PCs and let simmer for six to eight hours of gameplay.

In my opinion, Brouillard is not quite as successful in the roleplaying aspects of Maiden Voyage as Mearls was with the roleplaying aspects of In the Belly of the Beast: The dramatic situations are not as crisply defined; the overall flow of events is not as smoothly handled; the lines of tension and competition in the cast of characters are not as clearly developed.

But if the jewel lacks some slight polish there, it makes up for it through superior action: A potential crew mutiny; a conniving, sorcerous murderer; a murder to solve; a foundering ship to explore; and undead to fight all combine to make this a highly memorable adventure.

WEAKNESSES

I have nothing to comment on, really, beyond a few minor nitpicks:

1. The text of the OGL boxed text is printed on a background which is slightly too dark. (I have been lead to understand that this was an unfortunate printer’s error. It is not a serious problem unless you’re playing the module in dim lighting. And, even then, you shouldn’t have too many problems.)

2. I would have liked to see a slightly more complex ship design – both for the Albers (the ship the PCs are on) and the Sea Maiden (the ghost ship). Having more rooms, nooks, and crannies on the Albers would have allowed for a greater sense of “people meeting in dark corners”, IMO. Similarly, having a more complicated exploration of the Sea Maiden would afforded opportunities for far horror and suspense in that section of the module.

3. The adventure is advertised for 1st to 3rd level characters. The nature of this adventure actually lends itself very easily to scaling for higher character levels, but this is only dealt with in a perfunctory manner within the module. I would have liked to see more specific guidelines laid out (a la Dungeon Magazine).

CONCLUSION

Maiden Voyage is excellent, and its extremely portable nature makes it an excellent filler adventure: If your PCs need to get from Point A to Point B via ship, then Maiden Voyage is perfect.

Style: 4
Substance: 5

Author: Chad Brouillard
Publisher: Atlas Games
Line: Penumbra
Price: $9.95
ISBN: 1-58978-003-5
Product Code: AG3206
Pages: 42

After the last 20+ reviews — which were all published in May 2001 as part of Justin Bacon Review Week at RPGNet — we have now skipped forward to October 2001. There might be a lesson in there about burn out and necessary refractory periods after pushing yourself to a climax, although I think what actually happened was I had a bunch of theater shows that were distracting me from RPG stuff for a while. As is often the case with my reviews, what motivated me was a book that truly got me EXCITED. I like sharing that excitement.

As far as I can tell, Chad Brouillard, the author of Maiden Voyage,  only wrote two adventures — both for Atlas Games — and then never published anything else. Which is really too bad, because Maiden Voyage is great. (I’ve somehow never read Chad’s other adventure. I should go and do that.)

In truth, Maiden Voyage is one of the most important adventures I’ve ever run. This is for entirely idiosyncratic reasons, but it was exactly the right module that I ran at exactly the right time to have a really outsized impact on how I prepped and ran adventures for many years. Truth be told, if you’ve read So You Want to Be a Game Master, then you’ve already been touched, albeit indirectly, by this lovely adventure.

And it really is the perfect adventure for dropping into literally any D&D sea voyage.

For an explanation of where these reviews came from and why you can no longer find them at RPGNet, click here.

Shards of the Stone is a veritable tome – weighing in at 400 for the bargain price of $25. Every page is full of information, its production values are high, its premise interesting, and its potential seemingly limitless.

Review Originally Published in Games Unplugged (December 2000)
Reprinted at RPGNet – May 22nd, 2001

Before time and space existed, there were the Progenitors. These Progenitors gave to their Progeny – the fabled avatars of the five and twenty elements – the Stone. The Progeny were to imprint their values into the Stone, creating a mirror of perfection. But something went wrong – whether by design or accident is unknown – and the Progeny began to squabble. The Stone shattered into countless Shards, ruining the perfection of the world which had existed. The true world was smashed into splinters.

Shards of the Stone is a veritable tome – weighing in at 400 for the bargain price of $25. Every page is full of information, its production values are high, its premise interesting, and its potential seemingly limitless. Despite all this, though, I find myself with nagging doubts as far as this game is concerned. Too many errors of execution seem to flaw what would otherwise be a beautiful gem.

First the good stuff: The first fifty pages of Shards details a rich cosmology and world structure, setting firm foundations for future world design. The intention is that various “Realms” (created by the titular Shards of the Stone) will be detailed in subsequent world books over the course of the future, and eventually all of these Realms will be brought together – creating a dynamic atmosphere for adventure in the mixture of various fantasy archetypes. The rulebook as a whole – which uses the previously established FUZION system – is exceptional: Proving itself useful to both beginners and experienced players through a wealth of guidelines and campaign tools.

Although at first glance, the book looks really great, as you begin to take a closer look problems begin to appear: The overall structure of the book is well structured, but the page-by-page organization of the material leaves much to be desired – important rules are located in sidebars, which are placed with no seeming relation to the surrounding text; important charts are referenced as being in one place, but actually appear in a different location entirely; and so forth.

The FUZION system itself – which grew out of a synthesis of Hero and R. Talsorian’s Interlock System – has never proven itself to be as robust as its forefathers. A great deal of sound and fury is spent to accomplish very little – as if, whenever the designers realized they could do something in one step, they always chose to do it in two.

Far more worrisome, however, is the absence of setting material. Although the general cosmology of the universe is explained in copious and fascinating detail, the FUZION engine chews up so much space that even in a 400 page book like this you’re still left with no practical information for actually running a game.

Which wouldn’t be quite so large a problem if the promised support material were available. Unfortunately – despite hyping the “future of gaming in the 21^st century” through their “advanced” use of their website to foster a community around the game – two months have passed since GenCon and the website still hasn’t been updated. Nor has a single supplement been released.

Shards of the Stone shows a lot of promise, and is probably worth the cover price if the concept interests you at all. Unfortunately, it simply breaks too many of its own promises to receive the ringing endorsement it should have earned.

Grade: B

Style: 5
Substance: 3

Writers: Sean Patrick Fannon, Matt Forbeck, Dan McGirt
Publisher: Obsidian Studios
Price: $25.00
Page Count: 384
ISBN: 0-9674429-1-5
Product Code: OBS1000

It turned out that Shards of the Stone would not, in fact, fulfill its promises. They had an all-star line-up of designers ready to go, but as far as I know, no Realm books were ever produced, leaving the handsome Core book as, basically, a handsome paperweight. I suspect that they were hoping the core rulebook would sell like gangbusters, giving them enough money to produce more books. (A rather common tragedy in the RPG industry.) It probably would have done rather well in the era of crowdfunding, where they might have funded a whole line of books from the get-go.

A version of the book is available on DriveThruRPG, but reputedly the FUZION system has been ripped out and crudely replaced with some other set of mechanics. InterStrike, the current publisher, has also failed to produce any of the necessary supplements.

For an explanation of where these reviews came from and why you can no longer find them at RPGNet, click here.

You need this book in order to play Lejendary Adventures. You have my sympathies.

Review Originally Published in Games Unplugged Webzine – July 14th, 2000
Republished at RPGNet – May 22nd, 2001

Gygax, who you can always count on to deliver by the bushel, has crammed a ton of material between the covers of this book – over two hundred densely-packed pages give you details on over 500 creatures. Unfortunately almost all of this material can be characterized by a blandness that is truly depressing to behold, compounded with poor execution, sloppy design, and a host of inconsistencies.

The creatures themselves combine both an astounding lack of originality with an incredibly shallow depth of coverage. For example, centaurs are expanded into a family of three different creatures – with the bucentaur and stacentaur replacing the equine portions of their anatomy with other animals. Unfortunately, the book neglects to tell us what animals the bucentaur and stacentaur are derived from, instead opting to throw at us a plethora of numbers.

Opening the book to any given page will leave you instantly confused: Dense text is made nearly unparseable thanks to the fact that nearly identical fonts were used for both headings and sub-headings. Pictures of the creatures are strewn haphazardly, sometimes appearing on entirely different pages from the descriptions of the creatures themselves (and some creatures, usually the ones most in need of them, seem to be lacking pictures entirely). The listing practices for information are inconsistent – sometimes with information appearing only in the chart at the beginning of a section; sometimes only in the creature’s description; and sometimes in both. Some entries refer to other entries which, as far as I can tell, simply don’t exist.

Adding to this confusion, Gygax has repeated his old trick of pulling mythological names out of a hat and then randomly creating new creatures with little or no connection to the original entities that bore those names. To this bag of tricks he has also added some new ones: For example, there is the Gryf, and then there is the Gryffon. Both are creatures created by mixing up the parts of lions and giant birds, but the former is used to describe the mixture that every other fantasy game in existence describes as a “griffon”.

Mixed in amongst this chaos of chaff are some genuinely worthy bits and interesting concepts: The section on Dragons and the section on Living Dead, in particular, are first-rate idea mines.

But don’t be fooled: This one just ain’t gonna fly. Pass it by.

As with Lejend Master’s Lore, Hekaforge Productions has expertly kept the price of this book a deeply concealed secret. The Illuminati itself is not privileged to know this information.

Grade: C

Writer: Gary Gygax
Publisher: Hekaforge Productions
Page Count: 202
ISBN: 1-930377-06-1

Bucentaurs have the hindquarters of an ox. They’re a “real” creature from medieval literature. Stacentaurs? Your guess is as good as mine. (I’m guessing the hindquarters of a deer; i.e., a stag-centaur.) 

The bit at the end about pricing was due to the complete lack of MSRP. The price wasn’t listed on the book. It also wasn’t listed on the publisher’s website. Neither I nor Games Unplugged could get an intended price from the publisher. I believe Games Unplugged eventually got a “cover” price ($24.95) when the book appeared in distribution catalogs.

Over the years I’ve sampled many of Gygax’s post-D&D games. Describing them as “unplayable drek” would, frankly, be doing them a kindness. Some of their faults can be laid at the feet of the increasingly byzantine measures Gygax would take in an effort not to be sued by TSR, who were apparently terrified that the cult of personality around Gygax could pose a meaningful threat to D&D’s popularity. But for the most part they were just fundamentally bad.

When I was younger, I would wonder, “How could he possibly be running this stuff?”

When I got older, I realized that the ultimate root of the problem was that he wasn’t.

For an explanation of where these reviews came from and why you can no longer find them at RPGNet, click here.