Adventures in Kaphornia 01 - Draconian Rhapsody

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Empire of the Blazing Sun Starter Set. Federatet States of America Starter Set Kingdom of Britannia Starter Set Prussian Empire Starter Set The Battle of Britain. Napoleon In The Desert. The battles for Dnepr Ziplock. Der Todeslord von Ixia. Der Schatten des Wolfs. Flucht aus dem Dunkel. Die Grotten von Kulde. Die Schlucht des Schicksals. Der Dschungel des Grauens. Rommel at Alam El Halfa. The Air War over the Suez Canal, World War One Across Europe.

Rumble at Castle Tentakill. Melee at Murdershroom Marsh. Panic at the Pleasure Palace. Book 1 - The Battle for Gobwin Knob. Book 2 Issue 1 - Meet the Jetstones. The resulting character begins play with fifteen skills of varying levels, five Aspects, and five Stunts that come of, and support, the tales told during the creation process. Our sample character is Sullio ap Hywel, a Briton who served Rome as an engineer has returned to home to find the former province in a perilous state. The son of Hywel ap Senorix, a nobleman of Siluria, Sullio was sent to Rome as a ward of Decius Vodinius Sapens, an ally of the tribe to whom a favour was owed.

The young man grew up in the greatest city in the world and embraced its culture as much as he could, eventually following his ward into the military. More recently he has returned home after twenty years, following the death of his father. It is his uncle, Andoc ap Senorix, who is now the head of the household, a man ill-disposed towards Rome and his nephew.

Sullio ap Hywel Aspects: To serve Siluria as my father did Skills: These are Divination, such as astrology, dream visions, and ectomancy — the character needs to define which; Druidic Magic, the worship of the old gods; Faith, the worship of the Christian god; Glamour, the magic of the Fae and those with Fae blood; Plant and Root, which covers both ordinary and magical herbalism; Rune Magic, the power that can imbue places or objects with potent magic; and Shapechanging, the ability to turn into various animal forms. Our second sample character is capable of using magic. Rosula has no idea of her parentage, but she grew up as a slave of the Saxons in the household of Eadgar, mistreated and often abused.

In time, he took her as his mistress and for his amusement began to teach her the rudiments of magic when he discovered both her curiosity and her intelligence. She learned to read the stars and foretell the future, and already deceitful and mistrusting, began to deceive her master as to his future and his wife as to their affair. She also watched Eadgar take on the form of an animal, a bear, and other creatures, and after obtaining a wolf pelt, managed to mimic her master in secret. How she came to escape is not a subject that Rosula volunteers to talk about, but she harbours a hatred of both men and Saxons in general.

Sullio ap Hywel is an exception to this hatred, his having saved her from bandits on the road. To drive the Saxons from Britannia Skills: Brythonic, Latin, Saxon Equipment: The rules already support this on a personal level, covering physical and mental conflicts that a character can become enmeshed in. With internecine fights between the kingdoms of Britannia common and with threats on three of her borders, such conflicts can be fought out on a much larger scale. Age of Arthur handles this with a well thought out set of rules for battles and mass combat that allows plenty of personal involvement upon the part of the player characters.

A detailed example supports these rules. The setting itself is supported with background material that covers kings and warriors, religion, everyday life, as well as some information on the other peoples of Britannia — the Gaels, the Picts, and the Angles, Saxons, and Jutes. Various sites of importance, either former Roman sites or pagan sites, like Stonehenge or the northerly Wall of Antonine, are also described.

These Aspects can of course, be Invoked or Compelled during a game. So not just animals and simple beggars and bandits, but also the Fae, giants, and more, in particular the major figures of the Age of Arthur. Age of Arthur presents an interesting take on the Fae, making them powerful, but flawed in that they are capable of repetition and imitation, but not originality.

Their magic is Glamour, the ability to cast illusions that deceive any sense. All Fae know some Glamour and the Fae-blooded have the capacity to learn it with the selection of the right Stunt. Gwenhwyfar wishes to meet King Caradoc and see Siluria before she agrees to marry him. The player characters are to escort the potential bride to Siluria. It is written with a group of pre-generated investigators in mind, so will require some adjustment by the Storyteller to run it for other players. Although a map of the travel routes would have been useful, the scenario does a good job of showcasing of the game that should last a session or two.

In addition, Age of Arthur comes with seven scenario outlines and a discussion of some of the themes that Age of Arthur scenarios typically involve.

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There is advice throughout Age of Arthur on how to run the game mechanically, how to handle Stunts and Aspects, and Fate Points in particular. Not only that, but the rules are supported by numerous examples that help make understanding the game much easier than it might have been. The given advice on running the game is clear, simple, and to the point. Rounding out the book is a quick reference for the game that sums up the rules and setting in just a few pages.

Physically, Age of Arthur is a nicely presented hardback. Notably, it is very lightly illustrated, the art consisting of chapter frontispieces, each done in evocative full colour. The lack of art is initially off-putting, but the writing style is light and layout quite open, so it is not as challenging as it could have been had it consisted of solid blocks of text. The book also includes a handy index. It should be remembered that when it was published back in , Chaosium, Inc. It invoked a particular genre as never before and moreover, it encouraged, even enforced the behaviour of the player characters to conform to the accepted standards and attitudes of their respective cultures.

It is a broader, less focused, more contemporary treatment of the genre; a less romantic and grittier treatment of the genre, being more grounded in the grim history of the period; and a more accessible set of rules, a set that encourages player participation in the telling of tales set during the Age of Arthur. Heroism in the Dark Ages is a worthy prince.

Mijnlieff is an award-winning game from Hopwood Games , designed Andy Hopwood, a boardgame designer who lives local to me. The game consists of four plain playing squares, each marked with four squares, and two sets of eight playing pieces, one white, the other red. The playing squares are usually laid out to create a four-by-four square grid, but other layouts are possible. Each set of playing pieces consists of four tiles — two Straights, two Diagonals, two Pullers, and two Pushers. When played, each tile tells an opponent where he must place his next tile.

A Straight tile forces the other player to play a tile orthogonally to the one played; a Diagonal forces him to play a tile diagonally to the one played; a Puller forces him to play a tile adjacent to the one played; and a Pusher forces him to play a tile away rather than adjacent to the tile played.

The playing tiles are clearly marked and easy to understand. Each turn a player places a single tile. If a player cannot place a tile because he is blocked, then he loses a turn. For each line of three tiles — orthogonally or diagonally — that a player can lay, he scores a point. The player with the most points wins the game. Mijnlieff is a simple game, but it does force a player to think about the consequences of his next move. Not only that, but he needs to think about what his opponent will play and how he can stop him.

It is still a quick game though, and several games can be played in quick succession. It is free to download, but to get the very fullest use of the game does require in-game purchases — these include being able to play against more than two opponents at a time and to be able to rearrange the board other than a square. Once downloaded, the tutorial quickly teaches you how to play and then you are off, defeating — or not, one Viking after another, each progressively a more challenging opponent.

In addition, you can play against your friends, random opponents, or with an opponent with the device between you. Visually, the game is well presented, there being a satisfying heft and click as the playing tiles are played and a slightly sharp ringing sound as lines are scored. Either version of Mijnlieff is worth adding to your games collection. Both serve as an excellent, if thoughtful filler game for two players — there being advantages to both versions.

It is a clever variation upon a very basic game, the one that we first played when we were children, that in Mijnlieff offers more play and more challenge.

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Osprey Publishing is best known for its military history books, each diligently researched and meticulously illustrated with period photographs and fully painted colour plates. Over the years, its books have proved useful to historians and gamers alike, primarily wargamers, but on occasion to roleplayers too. It is to the latter that a new series from the publisher is likely to appeal. Which just goes to show how we love mixing up the weird with our Nazis when it comes to our games and have done so ever since E.

What is so fascinating about this frothy mix of the utterly evil and the weird is it has some basis in truth — the Nazis had an interest in the occult and much of what they were grew out of occult interests following the foundation of Germany in Once the Nazis are in power, the founding of the Ahnenerbe is detailed as well as its occult equivalent to the Grand Tour. This takes in Finland, Brazil, Sweden, Bolivia, Iceland, Greece, Iraq, and Afghanistan, but most famously visits Tibet — indeed, a whole chapter is devoted to that expedition and its search for Agartha, the other secret kingdom.

Of course, with the fall of the Third Reich, the Fourth Reich could be founded, and the last chapter is devoted to its refuge, Point , in Antarctica, where it manages to withstand an American response… Rounding out The Nazi Occult is a short bibliography of books and films as well as an equally short ludography of suitable games.

It is followed by a short glossary. So the question is, how do you use The Nazi Occult?

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At its most base use, the book is a primer, an introduction to its subject matter, the bibliography providing further pointers as to suggested reading. Its most obvious use is as background to a game of the GM's devising, whether that is in the heyday of the Nazi's occult world tour of the s, during fraught years of World War Two, or in the desperate years following the end of the war.

In return, the characters will receive extra Experience Points come the end of the adventure for this and any other Narrator Action that gets thrown at the players. The adventure in Draconian Rhapsody is a five Act affair — or to be fair, a four Act affair and an epilogue. The adventurers arrive in Kaphornia and through circumstances beyond their control discover that Countess Esmeralda of Belzheim needs a dragon, alive and inside of a week.

Of course, who gets to go in search of such a beast? The subsequent adventure is humorous, if not silly in places, and very like a movie, is very much a pre-determined affair. That though, should not be held against Draconian Rhapsody, it is the point of the book after all. Were it not as pre-determined, even as heavily scripted compared to the traditional roleplaying scenario, then it would require more preparation time, and that is not the point of Draconian Rhapsody.

In addition that point — the minimal preparation time required to get it ready to play — Draconian Rhapsody can also do something else. It can serve as an easy introduction to roleplaying. After all, the rules are light enough, the adventure is straightforward and intentionally cinematic in tone, and everything is presented and explained to the characters during play.

If the adventure proves popular enough, then there is a sequel, Adventures in Kaphornia 02 - The Island of the Piranha Men , already available which uses the same characters. Rounding out Draconian Rhapsody is a nine-page, detailed example of play. It does a good job of showcasing the rules, although it is a pity that it never gets as far as the roleplaying scenes given in the adventure.

Physically, Draconian Rhapsody is reasonably well presented with decent illustrations that have a slightly cartoonish feel that matches the tone of the adventure.