Zine Quest: Week Two

Well, I guess I'm back again to bring a summary of the past week of activity on Kickstarter's ZINEQUEST event. If you're just catching up, that's fine too - the first half of the month went by very quickly and there's certainly been quite a bit of important upheaval elsewhere to focus on. To bring you up to speed: Zine Quest is a Kickstarter initiative to encourage RPG designers to create or collaborate on zines, small-format softcover books with a somewhat informal approach that has always been extremely fertile soil for the scene to produce amazing things. Each week, I am spotlighting those zines which I believe are of interest specifically to the dungeon-crawling old-school audience that I largely interact with. As always, I have marked my contributions for disclosure purposes.

Let's take a look at what's new:


  • Beneath the Canals - What, you didn't think I'd start here? I'm the current stretch goal being unlocked! Of course I am going to put this one at the top! I wrote an entire article about it! But really, this project is really about pushing information density to its (fun) limits and making as much gameable info available to DMs as possible within very strict constraints. So many community folks over on Twitter ended up interested that it's become a whole Kickstarter. Zedeck Siew (and maybe a few other surprises, too!) is also on the way as a stretch goal contributor, so this is not to be missed. It's super cool and I am absolutely certain people who like underground catacombs rife with magic horrors will appreciate it. System-agnostic but very much designed with old-school games as the default assumption. Go back it for as little as a dollar - even I put $7 towards my own damn thing. 

  • Master of the Rogue Spire - Lemme hit you with this pitch: three booklets like the old Gygax white box, a complete RPG and setting built in, sweet black and white artwork that blends 1970s fantasy art and 1980s JRPG style, designed to play a lot like high-stakes old-school gaming, in an incredibly slick package - and a suite of digital VTT assets and tokens. This has to be one of the most put-together (but also, most expensive!) products of the month. Frankly, it barely counts as a zine and I think they know they're pushing the line here because it's absolutely a much bigger deal than that. But they're funded already, so you can get in on this and unlock the few remaining stretch goals and have yourself what looks to be a pretty cool game! I have not yet backed this.

  • The Isle of the Amazons - A setting zine for OSR games designed by BAMFsies Award winner Eric Bloat, as well as author Michele Lee. Most of the art is by Dan Smith, but some of the art is by James V. West, who I adore, and cartography is by Dyson Logos, who I adore. The project is based around - you guessed it - a dangerous island full of Amazons. The package includes seven new Amazon-based player classes for OSR games, a full description of the Amazon capital city and culture, and so on. The project is exclusive to Kickstarter and will supposedly never be released again. I have not backed this yet.

  • Terror of the Stratosfiend - A sort of DOOM-like module for Dungeon Crawl Classics, this is a supplement designed to pit players armed with horrible living shotguns, satellite bombardment spellcasting, and laser chainsaws against portals spewing gigantic demonic aliens all over the surface of the world. It looks to have lovely art by 2-headed giant (that is a person, a pseudonym) and it appears to be coming with the full approval of Goodman Games(?) with production already well underway. Glynn Seal, of the Midderlands, is doing the mapping for this project. I have backed this project at the $12 level.


  • The Lesser Key to the Celestial Legion - Donn Stroud, who you probably know as the genius behind the Dead Planet module for Mothership or possibly as the guy on the Drink Spin Run podcast, is also the mind behind this awesome DCC zine for clerics, religious orders, deities, and arcane spiritual secrets. I backed this at the $19 mark pretty much the same minute it went live. (edit: I looked, and I am shamefully backer #91 here. I'm sorry, Donn.)

  • GMDK's Demon Collective - Four horror adventures (suitable for OSR D&D if you like) written, illustrated, and edited by transgender and nonbinary creators including two of my favorite people in DIY RPG stuff right now, Fiona Maeve Geist and Mabel Harper. Mabel is a pretty big chunk of why I even decided to talk about RPG stuff on the internet; her Blog Full Of Demons is one of my favorite things on the internet and she says it's gonna come out of hibernation soon. I am backer #4 on this, at the $12 level, so I literally backed this the minute it went live.

  • Mothership: A Pound of Flesh - This campaign is for the new Mothership module by Sean McCoy, Chance Phillips, and Donn Stroud (alphabetically listed, sorry Donn). Mothership is one of the best things to come out of RPGs in the last few years. I have reviews coming, but in the meantime, don't worry about it and just buy this so you can see what visual design should be like. I am backer #8 on this at the $21 level so you know exactly how I feel about it.

  • TOME - This campaign is actually for two zines, and you can pick one, the other, or both. I sided with TOME because it seemed more immediately useful to me even though the other zine looks stunningly pretty. TOME has got a little bit of everything for fantasy D&D, including NPCs, magic items, worldbuilding roll tables, dungeon and overworld maps, etc. Can't beat that; with some imagination it could be a campaign all by itself. I am backer #28, at the $15 level, on this one.

  • Silver Swords RPG Fanzine - This one is a little out of the scope of the OSR, but it might be curious for some. Though it is covering 5E and Hero Kids - and, thanks to stretch goals, at least some OSR-compatible monsters - it is attempting to do so in the style of Alarums and Excursions and other old-school amateur zines that shaped the early landscape of RPGs. Possibly good for your nostalgia. I haven't backed this one yet.

  • The Grind - "A Wicked Dope Torchbearer RPG Zine" is a pretty great self-description from Mordite Press. The pledge levels are pretty steep - no cheap PDF option - but the quality and style look great. I haven't backed this as I don't play Torchbearer and I need that $10 minimum backing pledge for all the stuff I do play.

  • What Happened At Wyvern Rock - This is wild. A zine about incorporating classic spacemen from distant stars (the Greys, for example) into your fantasy worlds. The author is hewing towards d20-ish system agnostic with tips and instructions for reskinning or other incorporation into whatever you play. Pretty cute. I have not backed this one yet.

  • Patchwork World RPG Zine Set - Step into an alternate campaign for D&D based on Baroque-Romantic aesthetics. It's a collection of several zines which combine into being a complete campaign setting, where the world has ended and broken apart (again, through the lens of a Baroque-Romantic folkloric fantasy story) and now is an amalgam of chunks combined together by a princess. It has an interesting outer-space-but-not vibe. I haven't backed this one yet.

  • A Rasp of Sand - This bills itself as a "roguelike tabletop RPG experience" and is based on Ben Milton's OSR-adjacent Knave ruleset. As Knave is more-or-less compatible with OSR stuff without much tinkering, you can plug this into your preferred B/X clone or whatever it is you play without effort. It's got a sizeable bestiary of 50+ monsters, several pregenerated rooms, numerous items, and rules for becoming a horrific sea mutant. Pretty neat! I backed this at the $5 PDF level.

  • The Compleat Beastman - This author likes beastmen. A lot. This author is super stoked on centaurs, minotaurs, you name it. The first issue - purely about centaurs and their immediate cousins like the donkeytaur - is ready to go, according to the campaign text, and is looking for art funding. But why stop there? The author also gives us several stretch goals for additional issues. There is a long, very imaginative list of other beastmen that the zine may incorporate as it gets funded, which I encourage you to browse if only for the sheer inspiration of it. Constrictormen! Meroctopodes! Tapirtaurs! I have not backed this one yet.

  • Harrowings from the Rime - This is attempting to be OSR-compatible (though they say they're also including their own rules-lite system The Epic of Dreams) and focuses on arctic fantasy horror. It aims to include a bestiary of the arctic wastes, fiction, a boss monster/villain character, a treasure table of some kind, a hexmap survival scenario for OSR games, an ice labyrinth adventure borrowed from an unreleased space fantasy setting for OSR games, and a mummy's keep adventure based on random tables for OSR games. They mention the OSR a lot in this campaign, alongside the words storytelling and drama and also their own rules-lite system, so it's hard to figure out what's-what, exactly. I have not backed this yet.

That's about it for this week, everyone. I'll be back again next weekend for the third installment, but hopefully this week's very interesting new additions manage to get your attention until then - some big names involved in a few of this week's new offerings!

PS: Back Beneath the Canals so I can do my secret project for it, okay?

Interview: Luka Rejec Talks What Ho, Frog Demons, Witchburner, Ultraviolet Grasslands, and More!

Well, well, well. Look who decided to drag himself back to this hive of scum and villainy: it's Luka Rejec! Luka is a very busy man and by the time this goes to publication he'll probably be far away from home on vacation, but that's not gonna stop me from slandering him with this interview anyway.

Let's all have a gander at what the amazingly multi-talented and very hard-working creative dude has to say today!

Welcome back to the blog! Last time you were here, we talked about your origins as a creator in the independent RPG industry - specifically Chris Kutalik recruiting you to do the art for Misty Isles of the Eld. If you don't mind expanding a little bit on that, I'd love to know how the Marlinko cartography gig came to be?

You mean the isometric black-and-red map of the city, right? Well, I don't know that there's that much to expand on. I'd been drawing maps since I was a kid, and since human anatomy seemed impossible to master, I thought I'd stick to maps and such for a long time. The Marlinko map actually came after the Misty Isles illustrations. I think somebody didn't deliver on the maps, and I suggested to Chris, "oh, I could do that." So I did it. There's really no big story there, I'm afraid.

The cartography you did for Fever-Dreaming Marlinko is filled with a certain liveliness in its limited color palette that evokes a sense of the old medieval manuscripts. Was this an intentional choice? What informed the design for the Marlinko map, with the coats of arms and such?

Yes. This was utterly intentional. For a long time I struggled with using colors in my work, they'd get muddled and confused. I'd add too many and it'd all be a mess, while I wanted things stark and sharp. So, I found freedom in cruelly restricting my palette. Same reason I really do a lot of flat colors in my more recent pieces.

As for the design - it's just an isometric grid with a lot of sketches of a mish-mash of central European-ey houses based on those I've seen from Burgundy to Bohemia. The coats of arms are riffs on the text - usually when I read, I see ideas in my head - so I use those.

You did all of Misty Isles of the Eld's interior artwork. You've called this something of a breakout job for you. What did you take away from that project, especially with it being your first big RPG illustration gig?

Yep, totally breakout. Creative work is surprisingly taxing. I've got to be there for it - focused, interested, motivated - for a long period: hours, days, weeks. I didn't know if I could do it. I'd always felt I was a bit lazy, wouldn't finish projects. That was baggage from my childhood, but it took achievements to start unloading it.

Misty Isles made me realize I could pull off a big project. That I have the stamina for it. And then, obviously having a finished product made it easier to pull myself together and do the next one. And the next. Having a thing I've made in my hands makes me feel like I've made a thing. Tautology, but true.

You were born in what was once Yugoslavia, and is now called Slovenia. This is the heart of central Europe, bordering on Italy and "the West", but tied deeply into the Slavic culture, language, and history of the east. How does this upbringing and personal experience inform your work for the Hill Cantons books?

Well ... obviously every place in Europe borders on other places and the cultures bleed over in really messy ways. Ok, first a massive sidetrack.

Italy isn't really "the West," in fact there isn't really "a West," and there isn't a single "Slavic culture" either. When I lived in the Netherlands folks there often casually relegated both Italy and Slovenia to the category of "profligate Southern Catholic countries you go to on holidays," and here's the weird thing: they were kind-of right. I became very good friends with a fellow from Modena there and we realized that we had basically everything in common: architecture, food, drink, family dynamics, mother arhcetypes, seasonal calendars, holidays, saints.

Every country is a jumble of local, regional, national, and supernational cultures that mix in fun ways. Slovenia, specifically is ... kinda unusual. It's at the intersection of Slavic, Romance, and Germanic language and culture super-spheres, with a heavy dose of conservative trans-Alpine culture in the mix, and a thick remnant layer of traditional Roman-Mediterranean culture. Look at a Mediterranean villa or farm near Koper/Capodistria, it's basically the same architecture and agriculture as ancient Rome.

Then overlay that with another thousand years that it was part of the Germanic Holy Roman Empire, of which the last 400 years as a core province of the 'Grand' Duchy of Austria (they gave themselves the title 'Grand' to make themselves, well, 'Grand'), and their route to the Mediterranean sea. From 1918 to 1991 it was a province of Yugoslavia. Since 2004 it's been a province of the EU. So that's just a fact, it's a provincial country. Got some important trade routes and mountain passes, but provincial.

Now back to your question. How does that inform the Cantons work? Well ... in no way and in every way. When I read the Cantons it chimed with me because all the places, all the towns and the hamlets, are basically the kinds of places found all over the 'world' I grew up in. Curious local town customs, peasants who want to be left alone, climate I could understand, variations of myths and stories I'd grown up with. It just felt really liberating to be able to tell stories that felt close to me in English, a language that, paradoxically, is closest to me. It was fun to talk about boyars and hussars and smugglers and ofwaterfolk and bears, instead of fantasy-hundred-years-wars or fantasy-arthuriana or fantasy-wars-of-the-roses.

And then, obviously, the Eld spoke to the kind of music I like. Major Tom and all that, can you hear me, Major Tom?

Most recently your work was again all over a Hill Cantons book, the long-awaited fourth in the series: What Ho, Frog Demons. It is very stylistically different from Eld. What contributed to that?

Yeah. What Ho wasn't supposed to be this long. It's a bit of an odd book, it wraps up bits and pieces of Chris's Hill Cantons and provides the surroundings for the other books. I got a bit caught up and pushed Chris to add more and more - maybe too much? But ... I really loved it because it provided this glimpse into a fantasy world that resonated.

I took a few road trips across Moravia and Slovakia and Malopolska and Silesia, and that part of the world is captured in loving fantasy by Chris. It moved me. And then, yeah, I wanted more of it. So it grew a bit longer, pulling in more pieces of background than Chris maybe planned initially.

Since What Ho, Frog Demons, you have launched your own production company, WTF Studios. Will you be able to continue to work with Hydra on any potential future Hill Cantons books?

Oh, yeah. I certainly think so. We've talked about it with everyone at Hydra, and I'm open to more collaborations.

I'd especially love to do more illustrations. I will be trying to avoid layout, though, I already have to do too much of it for my own stuff! :O

WTF Studios was launched in style by working with Exalted Funeral to publish a limited-run softcover version of the exceptional Witchburner module. It sold out its entire print run in just over three days, while you expected it to languish or move much slower. What do you believe caused this? What about Witchburner, and your work in general, struck such a chord with so many people?

Well ... I mean, it was completely flabbergasting. We sold out in pre-sales, with no advertising or marketing budget, in 3.5 days. We did a run of 250 copies, and I was really expecting them to stick around in Exalted's storage for at least a few months. I thought we'd be schlepping them to cons and such. It seems I built up a bigger audience of people who like my work, my writing and my art, over the years, than I had anticipated.

I think you'd be the better person to answer what struck a chord! I got this feedback from a subscriber over at patreon:

"I started to read it over my mornign coffee and couldn't put it down. I've never been so immersed by an RPG module before."

So, yeah - I think it was my writing. Witchburner wasn't originally a very art-heavy module and I really emphasized the characters with little stories for all of them, all of it hinting at a vaster, pregnant world.

But let's be honest, kind reviews (including your own) certainly helped immensely.

Last year was a big one for you in many ways. On your own, you completed the UVG, you completed Witchburner and the first segment of Longwinter, and you began work on Red Sky, Dead City. That's in addition to your work with others - Frostbitten and Mutilated with Zak Smith for LotFP and What Ho with Chris Kutalik for Hydra Cooperative (plus others still in various stages of production). Was this your busiest year ever?

Whoah, whoah. Hardly on my own. Without the encouragement of subscribers on patreon, or the patient listening of the Hydras, and some timely feedback by Skerples, I'd have hardly completed the UVG.

Also, there was the day job as a creative director at our media startup, and the summer school gig teaching creative writing at an international school.

Yeah. It was definitely the busiest year ever.

Last time you were here, I asked what you think about the future of your Patreon - to paraphrase, you said that an ideal goal would be for it to become a career pillar all by itself, and you were beginning to believe that might just be possible. We're into a new year now and a lot has changed. Your Patreon recently crossed the 300 patron threshold and you've successfully created a number of great books that have found a market. With that in mind, how do you see it now? Where do you see the Patreon going in the future from where you now stand, and how do you feel it has done in terms of the stated goal of freeing you up to work on projects that you might otherwise lack the time, funds, or encouragement to pursue?

It's great. The patrons ... you patrons are wonderful people and it's both humbling and exciting. I'm happy that I made it very affordable to support me, because it makes it easier to experiment when most subscribers are spending less than the price of an Astralcash latte on my work. It's absolutely liberating because it is certainly providing the encouragement and the stability to go forward with additional projects.

The other thing I'm really happy about is that I switched to a per-product (well, per-chapter) model, because it means I can treat the Stratometaship patreon like a subscription to my art and writing, rather than a client-patron relationship. It feels different to sell my work, rather than to give it up for free and put out a busking hat. It also encourages me to get more professional, which has meant some late layout nights ... but so it goes!

So, where from here? Well, I'd like to grow it further - if it continues to grow at more-or-less the same rate I should be able to work on my projects full-time by the end of this year. I'm also working on tying it into actual products for sale on online platforms, dtrpg, itch.io, and so on. So there'll also be something for those who prefer to buy, not subscribe.

That also ties directly into the rules-light rpg Skeleton (SEACAT) that I'm writing to tie the different books together. I've got an early version out, but it's undergoing a lot of changes as Fiona and Jarrett edit the UVG, so it's fit to publish. I'm trying to make something crunchy yet fluffy, with a flavorful filling ... and I'm going to probably fail on that ... but it's going to be free anyway, so, yeah, I'll get to own the fails all the way until version 3.5. That version, the failures will be somebody else's fault.

A big one: Red Sky, Dead City is your current project on your Patreon. It's an exploratory module set in a damaged world much like the UVG (possibly exactly like the UVG) where red-handed victors have successfully crushed a people and have set about plundering their riches and eradicating the remaining traces of their culture through propaganda and destruction. It toes the line between satire and straight-faced tomb robbing, and in many ways reflects the grim reality of wars of conquest or civil wars in our own world. You come from a part of the world that has seen its share of violence and strife; you were born in one country and returned some years later to find it had become an entirely different country on paper. How does your own experience, and the experience of your people, influence this creation? Do you think of it as therapeutic at all? What parts of Luka Rejec are tucked away in the pages of this project?

Therapeutic? I don't know. It's definitely cathartic to write about it. Dark jokes when faced by so many po-faced proponents of "just wars."

I mean, my experiences influence all of it. My master's thesis, years ago, was on Bosnia during the Yugoslav civil war in the 90s. It's all tied together, imperialism, civil wars, great wars. Wars are always started for stupid reasons and never pay off. The costs are offloaded onto ordinary people, soldiers and civilians, while kings and politicians and bankers and oligarchs tend to come out ahead — until they push too far and the guillotines come out. Wars are so thoroughly stupid. The outcomes are always so bizarrely unexpected and extreme. The fact that any media organization can actually cheerlead for wars is revolting.

Every single time I see some pompous talking head mention the necessity of war, I just remember the lies about weapons of mass destruction in Iraq.

I look at the millions of dead, at the destruction of ancient treasures, and I remember the night the first bombs fell as the USA invaded Iraq over the WMDs. I was in a bar in the Dolomites on my ski vacation and this Swedish fellow was so excited. He whooped as the CNN showed the flashing missiles and celebrated how evil Saddam Hussein would get what he deserved. How the Iraqis would be liberated and get democracy. I told him it would be another bloody Vietnam.

So here we are, sixteen bloody years later, and guess what: I was right. Wish I hadn't been, to be honest.

So, yeah, of course. I write about what interests me, and in writing, I discover what interests me. I like tautologies, for example.

Of tangential relation: let's revisit Ultraviolet Grasslands and discuss that project. It's actually timely phrasing there, because you're in the process of revisiting Ultraviolet Grasslands yourself for a Kickstarter. Can you tell the folks at home a little bit about what the UVG Kickstarter is all about? Print details, stretch goals, timeline, and anything else you want to share?

It's about editing the text and printing it as a hardcover, full-color, A4 book (that's about 8' by 12'). After all, a large part of it is a tribute to French comics of the seventies, the magazine Heavy Metal (M├ętal hurlant), and the epic heavy sounds of doom and stoner music.

But, putting up the cash to do all the editing and the layout and the printing at that scale, is hard. Thus, the first thing about the kicstarter is covering the massive up-front cost of a traditional print run.

The second thing about a kickstarter is that it's also a good gauge of interest and also, to be honest, a marketing tool. So, it keeps us from ending up with crates of unsellable books and it gets my work in front of more potential readers and players.

We're not doing any extensive stretch content goals, what we are doing is bringing a fancy printed map as a stretch goal, custom UVG dice, and probably a DM screen—but don't hold me strictly to that! The actual goodies might change. Still, we're sticking to light things that won't radically change shipping weights.

We also don't want to get bogged down with writing additional content. The UVG is what it is. That said, we've already started the editing process (the amazing duo of Fiona Geist and Jarrett Crader are doing the editing; they worked on Mothership and Silent Titans, for example), and we're finding bits that are unclear, or opportunities for extra content, tables, bits to fit in the glossary, worksheets to add.

For a timeline, well ... I can't announce yet, because we have to sign all the deals, get all the final things specified, but I can say this - editing is proceeding fast.

With the UVG Kickstarter and RSDC under your belt soon, you'll have completed at least nine projects (including those I know of still in various stages of behind-the-scenes work for other publishers) in the past year or so! That's tremendous output, and the quality doesn't seem to dip. Is this a comfortable rate of work for you? Do you feel like it is sustainable?

Oh, it's not just one year. Misty Isles started back in 2014! It's been a long journey.

For the quality, I'd say that I'm surprisingly on track with my five-year plan (hah!) to regularly practice drawing and get as good as I want to be with it. I'm just starting year 3 of that plan.

As for the rate. It's a bit challenging right now. The transition between working multiple projects and mostly working on my own work is, frankly, hard. There's a very different mental dynamic when I work on a commissioned project vs. my own projects. Switching between the two ... yeah, not easy. Fortunately, I'm able to put in a lot more time when I work on my own projects without getting utterly exhausted.

In the long run? I wouldn't say it's sustainable. But, for the next few years, to build up enough products that I can call my studio a sustainable enterprise, that's just what it's going to take.

Don't worry, I've got some holidays planned to avoid burnout!

I like to leave off with a chance for creators to plug whatever their heart desires. What would you like to bring to the attention of my teeming dozen (singular) readers?

After writing this many pages you want me to plug things ... oof. Ok.

I like reading, so here are a few books that are interesting: The Black Swan is a surprisingly interesting book by Nassim Nicholas Taleb. Worth reading, even though it's popular with startup types. The Darkening Age by Christine Nixey is terrifying and sad and incredible. It's about how christianity tore up the classical world. Aggretsuko is a cartoon based on the Sanrio character Aggretsuko (duh), available on Netflix. It is absolutely exceptional, really incisive look into office life. And death metal karaoke. Sea cucumbers are delicious. If you haven't yet tried sea cucumbers in a Chinese restaurant, you should, because these little squishies are delishies. There's an artist you should check out, because I think she'll go far: Evlyn Moreau. And, finally, to plug some unusual sci fi: Liu Cixin's Three Body Problem. It's Chinese sci-fi and blew me away because the perspective was so different from what you usually find in English-speaking sci-fi.

Enough plugs? :)

This was one of the most interesting Q&A responses, I think. Maybe because this blog has played host to Luka before, and so I felt comfortable with some questions that were not directly about the work so much as about the why behind the work. Regardless, I hope everyone out there reading this got as much out of it as I did!

This was, of course, written a few weeks ago when I had written my Hill Cantons review drafts and decided to badger most of Hydra Cooperative and their associates to get interview companion pieces to the reviews. That means that Luka, the clever little penguin that he is, didn't want to reveal enough details and dates to plug his Kickstarter, which was then just a glimmer in his eye. However, now that I am writing this closing piece at work on the day this will go to publication, I can link to the Kickstarter for Ultraviolet Grasslands, which has been going for a few days and has already smashed two stretch goals! So there, Luka!

As always, Luka is always welcome back here and I will almost certainly darken his inbox with a list of even more probing questions at some future date. I can't suggest enough that you support his Patreon work (he develops his games there, like UVG and Witchburner, chapter by chapter with complete transparency - and you get the finished book's PDF at the end; we're straight robbing this guy). As a matter of disclosure that I never shy away from announcing (hell, I wrote an article about it), I am indeed a Patron over there - but I like to think Luka humors my interview requests out of a sense of pity rather than because I buy him a coffee each month to fuel his creative juices out of a purely self-serving interest towards getting more of his books.

Additionally, please back that UVG Kickstarter as a personal favor to me because he made a joke suggestion of starring in a UVG-themed yoga instructional video at $100k because he thinks that number is impossible but I intend to aggressively hold him to it!

Review: What Ho, Frog Demons! by Hydra Cooperative

Writer: Chris Kutalik with contributions from Luka Rejec
Art: Luka Rejec, additional cartography by Karl Stjernberg
Design: Layout by Luka Rejec, with cover design by Trey Causey
Editor: Luka Rejec, Robert Parker, Humza Kazmi
Publisher: Hydra Cooperative
Length: Approx. 112pp
First Edition, First Printing 2018

Previous Reviews in This Series

At last we come to the fourth of the major Hill Cantons releases, What Ho, Frog Demons!, bringing us up to speed with all the modules set in Chris Kutalik's Zem setting. Like the third before it, this one is a partnership with Luka Rejec. Despite incredible contention from Fever-Dreaming Marlinko (for depth and world-building using gameable lore) and Misty Isles of the Eld (for sheer utility), this book may be the best in the series, and I'd like to share why I think that. On with the show!

As usual, the pretty pictures come first. This book is illustrated cover-to-cover by Luka Rejec, with cartography by Karl Stjernberg. It's no secret that I am a big fan of Luka's work. This book is one of his best. The variety of styles on the table from him within just the pages of this book is amazing. While browsing it on my large monitors, my wife walked by and asked who the artists (plural) were - when I said it was all Luka, she replied with amazement that he can go from simple, stylized art to extraordinarily detailed pieces so easily throughout a single document. It's hard to get bored here. It's also got enough unifying characteristics between pieces to keep the tone consistent and accessible. Tucked away in the pages of this book are tons of tiny jokes and references in the art alone, with Mr. Rejec throwing down nods to everything from Wizard of Oz to the Muppets to the popular Russian Preved Medved meme. This book has far more art in it than any of the previous books; the series has increased its art noticeably from book to book and What Ho, Frog Demons! is no exception. Nearly every concept, no matter how bizarre or alien or tongue-in-cheek, is illustrated here, and lavishly. Some of Luka's most gorgeous full-page art is found here, including some lovely landscapes that are full of adventure. Most of the pages have art, and those that do not have art have very clear reasons why not (it's a full-page table, for example). Moreover, pages with art often have two pieces of art. It's really kind of preposterous and blatantly apparent that it was a labor of love by Luka Rejec. In addition to the volume, there is the matter of the quality of the art - Luka claims to be in the midst of a five-year-long plan to better his drawing, and if you compare What Ho, Frog Demons! to earlier works, you can see that he really is giving it his all, and it shows.

Karl Stjernberg's cartography is some of my favorite in the entire industry. It has such a sense of joy and life to it that it's very hard to see it and not smile. It's not the bog-serious style of meticulous reproduction and attempts at photorealism seen in some works; while that is incredibly impressive in its own right, and certainly has its place, Karl's work is very approachable and fun to look at (and graphically clear!) in ways that many maps just aren't. For me, at least.

The layout of Hill Cantons books has been its weakest point throughout the series. That sounds harsh, but we're talking about a totally acceptable layout that simply never reaches the excellence of the writing or art of the books, and so it's quite literally the weakest element. Look at any dominant sports team: they're all good enough to make the pros, but they might not be a Pippen or a Jordan, y'know? While never actively bad in such a way as to render the book useless or frustrating, the layout in the Hill Cantons books has simply not been as cutting edge as that found in, for example, the Lamentations of the Flame Princess books. This book is definitely the strongest in the series, and improves upon its predecessors in every way. More use of spreads, more fun and attractive placement of art, better sizing and layout of tables for use in-game, and so on down the line. It's still single-column, it's still sometimes running off of a page or a spread, so it isn't perfect, but it is simple and easy to follow nonetheless. At a certain point of function the rest is nitpicking, personal taste, and general artsy demands from being spoiled otherwise, and What Ho, Frog Demons! has definitely passed the barrier of quality and ease-of-use to where I am just being picky. One step backward, though: no easy map index at the back for reference and reproduction - this is not to everyone's taste according to an informal poll I posted on Twitter some months ago, but I like to see it.

The content of the book is again, largely Chris Kutalik's lovely writing. It has a healthy dose of additional content and development from Luka Rejec, which is a boon to the work as Luka is both extremely imaginative and also personally entrenched in many of the fables and conceits that this setting, Zem, is based on. There is something of an inflation in this book compared to prior books in terms of page count and (I estimate, because I'm not gonna go count) word count. I suspect this is because both authors had so much to say on this book and so much to add that editing it down any further was probably close to impossible without losing too much of what they wrote. There is as loss of the brevity found in Slumbering Ursine Dunes and Fever-Dreaming Marlinko, meaning there is much more reading in this book, but I think it is broken up into more digestible chunks than Fever-Dreaming Marlinko most of the time. Overall I am glad the writing is in there, because I think this may be the most well-rounded of the Hill Cantons books and it really hums with that Central European weirdness that makes Zem great, but there is definitely more to chew through on this book. I've also said before that Chris has a great way with words and a friendly, direct, and interesting voice. That is no different this time around, and he has managed to absolutely litter the book with jokes. There's tons of humor in What Ho, Frog Demons!, perhaps more than any previous Hill Cantons book, and it is extremely enjoyable because of that. It's clear both Chris and Luka had a great time with a lot of this book. It's not going for ridiculous or a disruption the suspension of disbelief, but it has more than enough smiles throughout that the DM and the table will get a laugh here and there.

This book is full of gameplay content. It is at least as dense as Misty Isles of the Eld, but I suspect it is even more full of content. It's ridiculous how much immediately accessible gaming is in this book. It can't go a page without it. This book comes with a complete, fully-detailed hexcrawl of the Marlinko Canton - not a pointcrawl as is common to the series, but an exhaustive hexcrawl - and two fairly large dungeons. Wrapped around those dungeons are two complete adventures with numerous launching hooks to get them started depending on how you choose to use them (slotted into your own campaign, for example, or with various styles of play group).

There's a lot of weird and interesting sites on the hex map, plus a complete town generator and tables of adventures/misadventures, which makes for an extensive amount of overland fun before even touching the listed dungeon adventures. As much as I'd like to give an exhaustive account of the sheer volume of events and locations (to say nothing of the element of randomness changing the game from time to time), there's just so much going on that you could spend ages in this hexcrawl just experiencing things... if not for the ticking clock.

Replacing the Chaos Index in this book is the Infection Index, which determines the spread and danger of the Beet God's vile mind control plague. It works a little differently - only ticking upward, unable to be reduced by player choices except for a complete elimination of the source of the threat. It is intrinsic to the adventure, and so, unlike the Chaos Index in the first two Hill Cantons books, this is not realistically optional. It is very simple to track and requires essentially no attention or bandwidth from the referee.

It is my belief that this book is the strongest of the entire series. As I mentioned in passing, Marlinko and Misty Isles also make strong claims to that title: Marlinko for its depth of world-building through gameable lore and exposition both; Misty Isles for the imagination and density of useful material, and for its presentation as almost modular in its approach to setting. I don't think anyone preferring either of those is wrong. But, at the end of the day, I think What Ho, Frog Demons! is giving us the most or the best of so many aspects that make the series great: a frankly gluttonous amount of lovely art, more interesting and high-quality stuff to do than you can shake a bear soldier's glaive at, humor and sincerity in equal and perfect measure, weird Slavic myth, tons of world-building through actual gameplay components like tables and mechanics, and useful tools to expand the Hill Cantons game or to improve and modify your own setting. It also shores up some of the series weaker points, like layout.
It is no surprise that this one gets five Big Beet Possums of Smerc out of five (RIP Debelinko). It's just terrific. Misty Isles was my introduction to the series and Slumbering Ursine Dunes made me recognize the greatness of Chris Kutalik's writing; Marlinko made me genuinely appreciate and love the setting as a whole. But What Ho, Frog Demons! is a cut above in my opinion, and it has joined the list of the most beloved of my other all-time favorite indie RPG books. Some small missteps in layout and perhaps in length(?) cannot nearly detract from this being held up high. Just terrific work from Chris and Luka, who together make the Hill Cantons come to life.

As always: share your thoughts with me. You can post below in the comments or you can tweet at me on Twitter where I talk too much as @dungeonspossums. Let me know what your personal ranking of the Hill Cantons modules is!