One of the inaugural products of the D20 license, Death in Freeport is possessed of some wonderful strengths… and some disappointing weaknesses.

Review Originally Published February 12th, 2001

When the 3rd edition of D&D was released in August 2000 at Gen Con, everyone in attendance knew that the rules of the game had changed: Not just because the line for the Player’s Handbook stretched around the Castle and out of sight (that was expected). Not just because it was the steadiest, loudest buzz of the con (that was expected). Not just because the words “D&D” dominated every program and announcement (that, too, was expected).

No, people knew the rules had changed because Atlas Games had released Three Days to Kill (reviewed here) and Green Ronin Publishing had released Death in Freeport — the first two modules produced under the D20 System Trademark License.

As an inaugural product of sorts, Death in Freeport has its share of rough edges. But it’s not distinguished only because of Chris Pramas’ good sense of timing. It also contains some laudatory gaming material which you might want to take a couple of minutes to check out.

PLOT

Warning: This review will contain spoilers for Death in Freeport. Players who may end up playing in this module are encouraged to stop reading now. Proceed at your own risk.

Death in Freeport takes place in the City of Freeport, an old pirate den which has since become a bustling island metropolis. The first six pages of this module are, in fact, dedicated to describing Freeport’s history and background – sketching in the broad outlines of an interesting gaming venue which can be thrown down along the coastline of any traditional D&D fantasy world.

The story itself involves a priest named Lucius. Six years ago, Lucius’ body was taken over by a mysterious power. Four years later, Lucius awoke to find his body returned to him – in his absence though, the power had done all sorts of strange things of which Lucius could remember nothing. Despite this, Lucius was still able to resume his former life, up to a certain point.

Then the dreams came.

Lucius would wake every night screaming in strange tongues after seeing visions of bizarre rituals. As a result, he began investigating what “he” had been up to during those years of possession. Two nights ago Lucius disappeared.

Which is where the PCs come in: Brother Egil, a friend of Lucius, wants to know what happened to him – and the other members of the order, uncomfortable with Lucius’ strange behavior of four years ago and his new inquiries into that time period, don’t really seem to care. Egil asks the PCs to investigate.

THE INVESTIGATION

This is the core of the module: The PCs will investigate Lucius’ house. If they make some successful Search checks here they will turn up a “to do” list which will lead them to the Bloody Vengeance, an orcish pirate ship. If they manage to work their way through to the captain of the Bloody Vengeance they will learn… absolutely nothing of consequence.

But eventually they may think to check out the church where Lucius and Egil work. If they do so, they’ll meet with a guy named Milos who will stymie their attempts to learn anything else. Shortly thereafter, they’ll be attacked by some mercenaries and, if things play out the right way, they’ll get the address to a tavern. If they stake out the tavern they might spot Enzo, who will lead them back to a bricked up building. (They might also find the temple if they decide to follow Milos for some reason.) The conclusion of the adventure takes place here.

Frankly, this is the biggest problem Death at Freeport has: The structure of the adventure is tenuous at best. If the PCs miss a die roll, the adventure is derailed. If the PCs don’t make a questionable leap of logic, the adventure is derailed. If an encounter goes just slightly wrong, the adventure is derailed.

A successful investigatory adventure requires multiple paths of inquiry to be present: You can’t expect every player group in existence to perform like Sherlock Holmes. Death in Freeport makes the assumption that the players are capable of reading the author’s mind – and that’s a bad position to but the DM in.

AN ANCIENT EVIL

What lurks in the bricked up building? Nothing less than a temple dedicated to an ancient god whose last appearance upon the Material Plane nearly destroyed the world. (You ever notice how evil cultists never worship the gods who make your socks disappear from the drier? It’s always World Destroying Evil™ they go after. Why is that?)

Years ago, before the humanoid races settled upon the world, a vast continent spread over the area where the Serpent’s Teeth islands exist today. (That’s where the City of Freeport is located.) This continent was known as Valossa, and was home to a race of serpent people whose magical sciences and natural sorceries were vastly advanced compared to those of today.

However, the serpent people was brought low by the Brotherhood of the Yellow Sign, who summoned forth their nameless dark god. This Great Old One tore Valossa asunder, and forever destroyed the civilization of the serpent people.

Unknown to the younger races which have grown strong upon the world’s surface, the remnants of the serpent people remain: Barbaric degenerates still live beneath the surface of the earth, while an immortal upper class of sorcerors still cling to the old ways in forgotten corners of the world.

Worse yet, however, the serpent people walk among us: They have the power to assume human form, and they are out in force in Freeport.

The bricked up building the PCs will, hopefully, reach is none other than a temple of the Brotherhood of the Yellow Sign – still worshipping the ancient god who was once responsible for the downfall of Valossa. At this point you have a fairly standard, if abbreviated, dungeon crawl through the Temple of the Unspeakable One, at the end of which the PCs rescue Lucius.

This, in short, is the greatest strength of Death in Freeport: A rich gaming environment, with a backdrop of ancient mysteries, strange magicks, forgotten races, and arcane gods. Fans of H.P. Lovecraft and Robert E. Howard should get a special kick out of all this, and anyone who enjoys Kenneth Hite’s Suppressed Transmissions should feel right at home.

OTHER NOTES

A handful of miscellaneous notes to wrap this review up: Death in Freeport also contains four pre-generated characters, presumably for use by play groups who don’t want to generate characters. In my opinion, these are a waste of space and the two pages they took up could have been dedicated with far better purpose to just about anything else.

The new stats for the Serpent People, on the other hand, are very much appreciated (and surprisingly accurate, given the fact that Death in Freeport was developed before the release of the Player’s Handbook or Monster Manual).

On the other hand, Death in Freeport demonstrates its pioneering spirit in the fact that it takes up a page and a half with the licensing agreements – something which later D20 releases quickly learned to work around (by shrinking the type size considerably).

It should be noted, in closing, that Death in Freeport is the first in a trilogy of modules (to be followed by Terror in Freeport and Madness in Freeport, in that order). Several minor details of “local color” in Death in Freeport acquire a sinister significance in the later adventures – a nice way of balancing the necessities of a trilogy’s continuity with the autonomy of a stand-alone product.

Style: 3
Substance: 4

Grade: B+

Author: Chris Pramas
Company: Green Ronin Publishing
Line: D20
Price: $7.99
ISBN: 0-9701048-0-4
Production Code: GRR1002
Pages: 32

FURTHER REVIEWS
Terror in Freeport
Madness in Freeport

“A successful investigatory adventure requires multiple paths of inquiry to be present: You can’t expect every player group in existence to perform like Sherlock Holmes.”

What you’re seeing here is very nearly the origin point of the Three Clue Rule. The specific formulation of Three Clues and the refinement of the technique was still in the future, but it was while remixing and running Death in Freeport that I very specifically identified the problem

I used Death in Freeport to launch my second D&D 3rd Edition campaign. It’s a campaign that still lives fondly in my memory, and that may or may not color my opinion of the adventure (which remains quite high). I liked it enough to run it again as a one-shot, also to great effect. When I attempted to use it to launch a second campaign, however, the results were not so satisfactory. (You can read about that in Bumbling in Freeport.)

The adventure itself has been reissued several times, including a 20th Anniversary Edition compatible with 5th Edition and the most recent version, which is compatible with Shadow of the Demon Lord. (I haven’t checked out these specific versions, but have no reason to doubt their faithful rendition of the original. Although I will note that, for whatever reason, 5th Edition versions of the sequels were never produced.)

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

A classic walks among us once more: It is time to visit the legendary City State of the Invincible Overlord, a hoary relic left from the younger days of roleplaying.

Review Originally Published February 12th, 2001

Once upon a time, there was a company known as the Judges Guild. In their day they released more than one hundred “generic fantasy” (nudge, nudge; wink, wink) supplements. The quality of these supplements – easily some of the best material produced to that date – earned the Guild a reputation of excellence. But then the Guild went away and – although nostalgia granted it a place in the collective memory of gamedom – its products faded into the mists of time.

Undoubtedly the Guild’s most famous product, and the one which still holds renown twenty years later, was City State of the Invincible Overlord. This incredible volume described its titular subject with exacting detail: Every street and nearly every building is given a description, a cast of characters, and set of events – minimalist in each instance, perhaps, but monstrous in totality. Add to this the dungeon complexes of the Overlord’s castle, the Orcs of the Purple Claw, and the nearby Thunderhold (a dwarven citadel) and you have a product which was capable of acting as the epic cornerstone of many a campaign.

A few years after the Judges Guild disappeared, the City State supposedly returned in a boxed set released by Mayfair. This product was a travesty – robbing the City State of its former breadth of detail, while simultaneously failing to grant it any significant depth. It was obviously one of those horrid examples of someone trying to “save” a product which they don’t understand, and which never needed “saving” in the first place.

Imagine my surprise, therefore, a few months ago when I discovered that the Judges Guild had returned. No, not a “new Judges Guild.” Not someone who’s bought the name, nor someone who’s trying to copy the concept, but the founder himself and a crew dedicated to “bringing back Judges Guild the way it was – but better”. (As the Judges Guild website says.)

And their first product? What else besides a re-release of the revised version of their classic City State, complete with two B&W poster maps and everything which made the original a classic.

For $10.

Yup, you read that right: One of the classic products of gaming is back, and they’re only asking ten bucks for it. Ten measly bucks.

If you haven’t already left to go buy your copy yet, then it’s obvious you’re going to need a hard sell – which sounds like a cue for the conclusion of this review:

CONCLUSION

City State of the Invincible Overlord is a hoary relic left from the younger days of roleplaying… but there’s a reason it’s regarded as a classic: There’s more fodder here for the imaginative DM than the more polished products of today could hope to squeeze into twice as many pages.

Of course, let’s not pretend that the polished products of today don’t come with a lot more depth, development, and useful bits, too. They do. So, there’s a lot of fix-up you’re going to need to do – and a lot of development which is left to your own personal whim and taste: But at $10, City State is still a veritable steal.

City State is a firm foundation. And what you choose to build on it is all part of the fun.

Style: 3
Substance: 4

Grade: B+

Title: City State of the Invincible Overlord (Revised)
Authors: Bob Bledsaw and Bill Own
Company: Judges Guild
Line: Judges Guild
Price: $10.00
ISBN: n/a
Production Code: JG1999-0062
Pages: 86

I’d been hearing about the City State of the Invincible Overlord almost from the moment I joined the hobby, but I’d never even seen a copy. When I saw a copy of the Mayfair boxed set in the used section of my local game store, I instantly snatched up a copy… only to be bitterly disappointed to discover that it wasn’t the “real deal,” so to speak.

So, in 2001, this wasn’t quite the Holy Grail of Gaming for me. But it was certainly a Grail. So, yeah, when I heard that Judges Guild was back and selling the original City State of the Invincible Overlord for $10, I literally could not order a copy fast enough. It remains one of my most cherished gaming books.

If you’d like to see some tangible details about the book, its history, and its contents, check out Thinking About Urbancrawls: City States of the Judges Guild.

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

Review Originally Published February 7th, 2001

The Spear of the Lohgin is a dark horror module for D&D developed under the D20 Trademark License by Paradigm Concepts, a newcomer to the gaming industry who plans to release further D20 adventures and a completely separate game called Pulp in the near future. The Spear of the Lohgin is the first in a trilogy which Paradigm is calling the Canceri Chronicles (which is, itself, the first installment of a trilogy, to be followed by the Milandir and Coryani Chronicles). That being said, The Spear of the Lohgin stands just fine by itself. (No, really, it does – I’m not just saying that.)

Although plagued with editorial problems and a host of execution errors, the core of The Spear of the Lohgin is an extremely evocative, fairly well-done piece of horror. It’s a bit of a fixer-upper, but worth the effort.

PLOT

Warning: From this point forward, this review will contain spoilers for The Spear of the Lohgin. Players who may end up playing in this module are encouraged to stop reading now. Proceed at your own risk.

Several hundred years ago, the Lohgin family was a noble house favored by the god Illiir, who gifted them with his own Spear, a weapon engraved with the Word of Illiir itself. The House of Lohgin fell when Jude Lohgin, enraged by his father’s favor falling upon his younger brother Vir, formed a pact with demonic forces, killed his sister-in-law, and began to open a Gate to the realms of the Triumvirate of Dark Gods. Vir, receiving word of his brother’s treachery, returned home and impaled Jude upon the Spear of the Lohgin.

Unfortunately, Vir interrupted his brother just as he opened his Gate – and something came through it uncontrolled, attempting to possess Jude. Seeing his brother torn to shreds by the demon’s rage, Vir felt his faith falter… and the Spear broke in two. Vir fled, leaving the demon trapped – pinned halfway through the Gate by the point of the holy spear. Vir would establish a new town to the south, but the demon would remain… slowly corrupting the land around him.

Centuries pass, and the PCs come on the scene. Someone has stolen the haft of the Spear of the Lohgin (which has become a holy relic), and has taken it back to the Lohgin Stronghold where the evil was done long ago. If they restore the Spear – allowing it to be removed from the demon – then the Gate will open and the land will fall beneath the forces of Dark Gods.

LOW POINTS

The most egregious flaws in The Spear of the Loghin are to be found in the boxed text: For example, I find that boxed text which summarizes an entire conversation (instead of actually letting your PCs have the conversation) is a bad idea. I think that boxed text which makes decisions for the PCs is a bad idea. I even have a sneaking suspicion that you shouldn’t have a big block of boxed text, followed by details about stuff which happens in the middle of the block.

And then there’s the text which has been boxed, which shouldn’t be boxed. And the the text which should have been boxed, but wasn’t.

If I was the suspicious sort, then I would say that this adventure was written without boxed text in mind, and then somebody came in after the fact to add the boxed text and botched the job.

As a final, general note: As I see more and more D20 products, I’m quickly reaching the conclusion that I’m going to get very, very sick of Campaign Cartographer maps. Particularly Campaign Cartographer maps rendered in a meaningless gray scale with strange and incomprehensible symbols which are left utterly unkeyed. If you can afford a really excellent Brom cover and some average to disturbingly good interior art (as Paradigm Concepts apparently can), then find someone who can actually draw a legible map.

HIGH POINTS

I always dread reviewing products whose faults are concrete and whose strengths are ephemeral. It’s so easy to trot out a litany of flaws in such cases, pat oneself on the back, and trot off into the sunset content with the thought you’ve scored some cheap points and come across as incredibly clever.

But to do that wouldn’t be fair to products like the The Spear of the Lohgin. Yes, there are problems with the presentation. Yes, there are some questionable visual elements. Yes, there are some structural deficiencies.

But the The Spear of the Lohgin excels at putting down on the page a visceral, extremely disturbing variety of horror adventure which I haven’t seen in a published D&D product previously. It’s the type of horror which can get away with the graphic depiction of grisly detail, while – at the same time – maintaining an eerie mystery about it all. It’s a “best of both worlds” approach which I find to be extremely effective.

So, yes, there are some accessibility problems here. But I would say that it’s worth the fight to crack this nutshell – because the nut inside is of top quality.

Writer: Jarad Fennell
Publisher: Paradigm Concepts
Price: $9.99
Page Count: 32
ISBN: 1-931374-00-7
Product Code: PCI 1001

I had a weird Mandela Effect with this one. For 20+ years I’ve been convinced this module was called The Spear of Lohgin. It was even written as such in this review. When I went to grab the cover image, though, I discovered that it was, in fact, called The Spear of THE Lohgin. I have no idea how the alternate version of reality became lodged in my brain.

It’s interesting that my past-self wrote about the difficulty of expressing the ephemeral qualities of an adventure like this. Although I could not recount to you any of the specifics of the plot of The Spear of the Lohgin after all these years (and never had a chance to run it), it’s always stuck in my mind as having a very strong VIBE. Re-reading my review has encouraged me to revisit this particular module.

In fact, I’d recommend that you grab a copy, too, but that seems to be curiously difficult. Although the second module in the Canceri Chronicles, Blood Reign of Nishanpur, is still available, for some reason this one is not. Paradigm Concepts’ Arcanis setting went on to be featured in its own RPG in 2011 and featured an incredibly successful living campaign which ran for over a decade and had dozens and dozens of adventures released for it. They won ENnie Awards and Origin Awards. But their website and the Living Arcanis website went quiescent in 2020 and I was about to write that they seem to have quietly slipped away…

… except I just discovered that they’re still active on Facebook, apparently ran events at Origins and Gen Con last year, and also released a new Legends of Arcanis adventure, Things Left Behind, in August 2024. I don’t understand why the News section of their website hasn’t been updated since 2017, but good for them!

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

Review Originally Published January 8th, 2001

Tomb of the Overseers and Against the Barrow King are the third and fourth D20 modules in AEG’s Adventure Boosters series. (The first two – Castle Zadrian and Sundered Faith – were reviewed previously.) To recap briefly: The Adventure Boosters are 16 half-pages long, with a map in the middle of the pamphlet, a new monster, and a new magic item. Eight of these Boosters have been released so far, and, at $2.49 each, they’re a great way to pick up a cheap, single session adventure for your gaming group.

Warning: From this point forward, this review will contain spoilers for Tomb of the Overseers and Against the Barrow King. Players who may end up playing in these modules are encouraged to stop reading now. Proceed at your own risk.

TOMB OF THE OVERSEERS

Tomb of the Overseers is an excellent, tightly constructed dungeon crawl. Surprisingly, despite its short length, it also has a definite – and effective – epic quality to it, which earns Ken Villars and John Zinser, the designers, high kudos from me.

The background for Tomb of the Overseers is evocative: Nearly a century ago a paladin by the name of Lord Eriador led his people to freedom from a great evil. With the land freshly united he was called to continue his fight upon the higher planes, but he left an Overseer to watch over the land in his absence and promised that, if his land was ever in need of him again, he would return upon being summoned from Mount Anduin.

Now, with the Third Overseer upon the throne, the land is in trouble: An evil mage has sent forth his humanoid hordes to oppress the people. The mage has also filled Mount Anduin with foul creatures in order to prevent the people from calling upon their legendary champion. Although three parties have gone and never returned, it is hoped that the PCs will succeed where they failed.

The dungeon itself is, as I’ve noted, of excellent design. Although I would’ve liked to see a greater impact left behind by the three adventuring parties who came this way before, the complex nevertheless has a layered complexity that gives Tomb of the Overseers a nice dynamic during play. Basically there are three things at work here: First, the creatures left by the evil mage. Second, the natural guardians of this place (who will test the PCs to see if they are worthy of summoning forth Eriadon). And, finally, the puzzle of how to access the magical chamber from which Eriadon may be summoned.

The only flaw in this package is the back cover text and adventure hook (which casts the PCs as the long-time residents of Eriador’s country). I consider this to be unnecessarily intrusive upon the DM’s campaign, and a liability in terms of making the adventure truly flexible. Fortunately, this is neatly sidestepped by simply ignoring it.

At $2.49 this one is a definite steal.

(Tomb of the Overseers is designed for 5-6 characters of levels 3-5.)

AGAINST THE BARROW KING

Against the Barrow King is not as strong as Tomb of the Overseers, but is nonetheless well worth the meager price you’re being asked to pay.

The premise: A village believes itself to be under attack by the disturbed spirit of the Barrow King, whose burial grounds (steeped in legend and superstition) are located only a few miles out of town. It is hoped that the PCs will be able to track down the Barrow King and rid the village of his plague.

The twist: If the spirit of the Barrow King truly rests still within his burial ground, then it slumbers still. The village is actually being victimized by a cult of Vroodith, god of Slaughter, which has moved into the abandoned burial grounds.

That’s not much of a twist – but it adds spice to what is otherwise a straight-out dungeon crawl: The PCs go into the burial ground, root out the cult, and solve the village’s problems.

(Against the Barrow King is designed for 4-6 characters of levels 3-5.)

CLOSING NOTE

As a closing note, let me say that it’s nice to see a D20 producer who’s willing to jump immediately to mid-level adventures. With Atlas Games, Green Ronin, Necromancer, Wizards of the Coast, and several others already turning out high quality introductory modules, I don’t think it’s necessary to keep pumping more material into a market sector which has been safely sated for at least the next year.

Style: 3
Substance: 4

Title: Adventure Boosters: Tomb of the Overseers and Against the Barrow King
Writers: Ken Villars & John Zinser (Tomb of the Overseers) and Against the Barrow King (Steve Hough)
Publisher: AEG
Price: $2.49/each
Page Count: 16
ISBN: n/a
Product Code: 8303, 8304

As I mentioned last time, I had intended to review all of the AEG Adventure Boosters, but stopped after being hired by Fantasy Flight Games to write for their competing line of Instant Adventures.

I might not have finished the project in any case, as after the first batch, AEG published I believe two more batches, for a total of 40+ adventures. That’s a lot of adventures! These were later updated to the 3.5 rules and collected in the Adventure I and Adventure II compilation volumes.

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

Go to Part 1

THE THIRD SECTOR

I really love the concept of Ian Yusem’s The Third Sector: Take a dozen different third-party Mothership adventures and weave them together into a sandbox spanning five solar systems. Hypothetically you should be able to do some light remixing, add a little connective tissue, and have a great little campaign-in-a-box showcasing the best of the best.

Unfortunately, The Third Sector really shouldn’t have been packaged as trifold module.

The limited space of the trifold format lends itself to material which is either too brief or broad. But the work required to coherently bind disparate published adventures together is, in fact, entirely in the details.

The two central pillars of The Third Sector are the sector map and the scenario hooks added to each adventure.

The sector map is attractive in a retro, 8-bit-graphics style, but curiously lacking a lot of pertinent details (e.g., the names of planets).

The scenario hooks are designed to link the adventures to each other (so, for example, you’ll find hooks in the Green Tomb that will lead you to Moonbase Blues, Alcor Station, and Echoes in the Graveyard). A minor problem here is that the section is incomplete, with some of the scenarios not receiving scenario hooks for reasons which are entirely unclear to me.

A more significant problem is that most of the scenario hooks are either unengaged (they mention a place exists, but gives no reason for the PCs to go there), non-actionable (they indicate that a place exists, but don’t tell the PCs how to find it), or both. This is likely, once again, due to the limited space, since vague references are easier to squeeze into a single sentence than meaningful, actionable information.

Probably the most interesting thing in The Third Sector is the random encounter which reads, “[Corporation] acquired [other corporation]. (Choose 2 from random adventures each time rumor rolled.”) This is an intriguing procedural method for unifying the disparate hypercorps found scattered throughout the source adventures over time.

In practice, though, that unification — and not just of  hypercorps — is exactly the sort of considered, careful, creative work that would have made The Third Sector a truly useful resource.

GRADE: F

WRATH OF GOD

Wrath of God is another example of a supplement that’s just trying to cram WAY too much into the trifold format. In this case, that includes:

• A complete skirmish system for space fighter combat.
• A hex-based Battlefield map keyed with various Locations of Interest.
• A prequel to a longer adventure called The Drain.

In this case, the result is basically incoherent. I’ve been backwards and forwards through Wrath of God and I honestly don’t have the slightest inkling of what this adventure is supposed to be.

For example, in the skirmish system includes a Skirmish Map keyed with symbols, but what these symbols mean (if they mean anything) doesn’t seem to be indicated. The Battlefield Map similarly has a bunch of symbols, although most of these seem to be related to the content keyed to these hexes… except not all such hexes are keyed. (Although some of the unkeyed hexes are referenced in other keyed hexes, which is an insanely confusing layout that I can only imagine is due to the space limitations unnecessarily imposed by the trifold format here.)

I also only have the vaguest sense of what the Battlefield Map represents. Maybe it’s a war currently being fought? Or many wars currently being fought? Or the wreckage of older wars?

There are Bogeys who will attack the PCs. But… why? And who are they, exactly? Where did they come from? Where are they going? Your guess is as good as mine.

“Okay,” I think. “This is a prequel to The Drain. So maybe I need that full adventure to understand this one.”

Unfortunately, no, that doesn’t help. Because (a) it turns out that Wrath of God doesn’t seem to actually sync up with The Drain and (b) nothing is actually explained. The PCs are seeking the 3^rd Testament, which is apparently a radio broadcast being sent from a colony called Within Wheels. What is the 3^rd Testament? No idea. Why is the colony transmitting it? No idea. How are they transmitting it? Possibly from something called the Grail. How’d the Grail get there? Stop asking questions, please.

GRADE: F

WHAT STIRS BELOW

Something has gone wrong at a geological survey station and the PCs are dispatched to (a) figure out what happened and (b) rescue as many VIPs as possible.

What Stirs Below includes a helpful What The Hell Is Going On? section:

There is an ancient power station deep below the surface. A skeleton crew of ancient aliens uses giant worms to generate energy and sustain the crew’s near-immortality. With enough power generated, this moon will depart on a 10k-year interstellar journey toward Earth… or whatever is a good fit at your table.

It’s a cool concept, which is unfortunately held back from its potential by a number of problems.

First, and probably most intractable, is that the size of the adventure doesn’t match the scope of the adventure. There’s this implication of a huge, hollowed-out moon filled with aliens preparing for some sort of multi-millennia odyssey… but a nine-room location-crawl can’t really deliver on that promise.

This kind of size/scope mismatch is not uncommon in RPG adventures, and I find that they consistently create a mixture of disappointment and confusion in players, while pushing me into a weird, dissociated fugue state between what the adventure actually is and what it’s asking me to convey.

Second, there are a number of execution issues which will leave you confused and disoriented:

• The map of the adventure has a literal ? where a room should be, and I simply can’t figure out why.
• The survey station has been destabilized by the tunnels below the station collapsing, which has created a sinkhole the PCs can use to access the alien chambers. This sinkhole is located… somewhere? The adventure never seems to specify.
• The adventure key is filled with typos. For example, Area A5 has an exit that leads to… Area A5? (I think the rooms were renumbered on the map at some point and the key wasn’t correctly updated, but I’m not 100% sure.)
• There’s an android who, Alien-style, will attempt to impede the PCs’ investigation and even “self-destruct if necessary.” But… why? No explanation is given.

Related to these issues, the PCs are instructed to determine what happened at the station, but I honestly can’t even figure that out for myself: It’s not clear what (if anything) triggered the geological collapse. It’s not clear what any of the NPCs did in the aftermath of the collapse or what the timeline of events was. It’s not even clear why the hypercorp lost contact with the NPCs and needed to send the PCs.

The end result is an adventure that’s… mostly OK. But I would probably end up completely re-keying the entire thing before I would feel comfortable running it.

GRADE: C-

THE HORROR OF TAU SIGMA 7

A routine system survey has detected the signature for the rare mineral NM-109 on Tau Sigma 7. The PCs are sent in as a survey team to confirm the presence of the mineral.

What they discover, while exploring a nearby cavern, is an alien bioplastic cyst-complex which is an untriggered hatchery for a long-extinct alien species. (It sure would be a pity if the PCs accidentally triggered the birthing process, wouldn’t it?)

In The Horror on Tau Sigma 7, D.G. Chapman delivers a creeptacular location-crawl. The excellently xandered, truly three-dimensional environment and accompanying key would be strong enough to recommend this adventure entirely on their own merits, but he also spikes the punch with several scenario-spanning elements:

• The entire complex is a living organism, and responds to the PCs’ presence and actions through an Immune Response Level that escalates and transforms the adventure.
• The complex is suffused with a strange, red liquid referred to as Lifeblood. Essential to the alien biology, it creates numerous strange effects (particularly to exposed PCs).
• Strange cave paintings can be found throughout the complex, which change and evolve as the Immune Response Level increases.

The result is fabulous. I highly recommend inviting your players to Tau Sigma 7.

GRADE: B+

CHILDREN OF EDEN

Graham T. Richardson fills Children of Eden to the gills with an astoundingly rich assortment of alien and exotic worldbuilding: The 200+ meter-tall teralith; an alien skeleton worshiped by the Children of Eden as a god. The Salvage Seal, where a gravitational anomaly yanks vessels out of hyperspace and crash lands them on a fungi-ridden planet. The corrupted Theogeny Engine, an alien terraforming ship buried near the teralith which has recently reactivated, leading to the religious belief that the teralith itself is miraculously transforming a wasteland into paradise. A ruined scientific research center trying to probe the truth of this strange terraforming.

And all of this is supported by a rich cast of characters and a disquieting mystery occluded by a hypercorp’s desire to exploit and religious zealots’ desire to believe.

It’s truly amazing just how much richly detailed and soul-searingly evocative material can be found on these two pages. It’s simply inspiring. Richardson creates a vivid world that compels you to share it with your players.

My only real complaint is that there’s so much stuff in Children of Eden that the connective tissue between all of these elements is often obscured. It can be a little unclear exactly where stuff is in relation to each other, for example, which can make it difficult to figure out how you should be presenting this rich world to the players. There are just places where I’d probably be a little happier if the implied setting was a little more explicit and, therefore, easier to access during play.

To at least some extent, though, this is just grousing over having too much of a good thing. I’ll happily draw up a map, work up a timeline of events, and jot down a revelation list to help keep things clear at the table if it means that I can visit the Children of Eden.

GRADE: B

Note: LionHearth Games provided me with a review copy of Children of Eden.