First Impressions - Wulfwald RPG (Anglo-Saxon themed standalone OSR game)

Welcome to Wulfwald

Wulfwald comes in a sturdy white box which contains five booklets, all staple bound, and a map printed on a tea towel. The map is by the late, great Russ Nicholson. In total there are 276 pages, all black and white. Each book (and the box) has great black & white art, and uses a red colour to highlight titles on the cover. 

Wulfwald isn’t really standalone; like the Black Hack, it assumes a knowledge of earlier (pre-3e) D&D, most likely something on the lines of B/X or Old-School Essentials. I could run it out of the box, but I've been doing this style of D&D for nearly 40 years, off and on. 

What’s it about?

The world is full of dangerous monsters, magic and men. We are reminded that the worst Monster to mankind is itself. 

"To a Thegn, the Wolfpack is little more than a tool, and what a Wolfpack can do is threaten, beat, rob, murder, and terrorise his enemies." 

The heart of the game requires the characters to carry out deniable, dangerous and despised actions for the good of their master. You play a Wolfshead in an Anglo-Saxon style Kingdom; you begin as an outcast working for a local ruler to deal with problems that need a deniable solution, perhaps because they're illegal or because they cause embarrassment. Of course, it could be because they are thought to be unworthy of the attention of one of the ruler's immediate retainers. 

TL;DR: Wulfwald is extremely impressive; evocative and different, it takes a light OSR framework and makes something unique. The subsystems like magic would be simple to lift to another game. The map and artwork is lovely, and it reminds me how much we will miss Russ Nicholson. Highly recommended.

Volume 1 “Wolfsheads”

Volume 1 begins by giving an outline of the setting, which is based upon Dark Ages and pre-Christian Germanic cultures between CE 400 and CE 700. It's aversion of the world where what Was superstition in our world is real. The dominant culture is that of the Eorðwerod, a Saxon-like culture split into rival, squabbling kingdoms. Towards the edges of the land, the Réðealingas remain, a Celtic style culture driven out to the margins. In the mountains dwell the Dweorgas, short people who take joy from crafting but are fiercely defensive. Trade with them is controlled by the Cyning of the Westland Seaxe, bringing him power and wealth because the Dweorgas are more interested in the crafting of what they create than its value to men. The forests are the domain of the primative but dangerous ÆIfcynn. Dragons and other creatures such as the undead exist, and are feared. Serfdom is real.

By default, the game sets three levels of competence for characters. These do have experience associated with them, but this is only gained from the gifts that your lord gives you for the duties you've done on his behalf. Alternatively, it’s suggested that the GM could use a form of milestone experience, levelling the characters up when appropriate. However, an appendix does outline an eight-level progression for each class if you are using Old-School Essentials or other similar clones. In that case, experience is handled as if a fighter or a wizard. 

Attributes are the usual, rolled on 3D6 in order. Each class has a prime attribute which can gain a bonus in the range -2 to +2. No other attributes gain bonuses.

Criticals are rolled on a 20 and fumbles on a 1, but these affect each class differently.

Hit points are rolled based on Hit Dice. Reduction to zero means defeat, but what form that takes is left to the GM. For example, a cliff fall may be fatal, but in combat you could be unconscious and left for dead or captured. Or eaten, if it was a wild animal that attacked you. 

Magic power is measured by Gealdor, linked to level and prime attribute. It impacts saves vs magic and powers. 

There are three character archetypes in Wulfwald:Warrior, Skirmisher and Wizard. Each kindred has its own class that fulfils this niche. 

The kindred are a mix of human and non-human. Ælfs are bonded to tree spirits, but any player character Ælfs are not, as they are Fey, doomed to a mortal death as their tree spirit has died. Their grief and sorrow drives them from their kin into self-exile. Dweorgas characters are Edwita, the disgraced. Exiled from home, they face death by shameful means if they return. Réðealingas characters have fled home because of a blood-feud; they can return, but need to accumulate enough power to be safe to do so. Eorðwerod characters are outcast without the protection of the law and can be slain without fear of reprisal or blood-feud. 

The game advises the GM to make the Wolfpack unique; their Lord shouldn't have another, similar group. There are no clerics or thief classes. All the character options are very different to traditional D&D characters, especially the magic-using classes. They make the setting feel very unique. 

The character classes are: 

WARRIORS

1) Ælf Woodguard: a former protector of the great forest. Fast but can be rash. 

2) Dwarf Shield Brother: a former legendary defender of the mountain passes. Cunning but lost without their shield in combat. 

3) Eorðwerod Shieldmaiden: a young woman who has rejected the life her family set out for her. A versatile, balanced fighter. 

4) Réðealingas Battlestrong: a frontline fighter whose mighty blows sometimes leave them exposed. 

SKIRMISHERS

1) Ælf shooter:  a hunter with a deadly bow shot, but with less reliable, natural equipment.

2) Dwarf Death-dealer:  wielding the pellet-firing Dragon bow and deploying Dragon Eggs, the Death-dealer specialises with a deadly head shot but runs the risk of a weapon jamming.

3) Eorðwerod Spear-Terror; trained as a deadly spearsman, you can pin an opponent but your shoulder is vulnerable to dislocation from all the effort you've put into your fierce throw. 

4) Réðealingas Bowman -using drugged arrows you can cause carnage in the enemy's ranks, but run the risk of your bowstring snapping at an inopportune moment. 

WIZARDS

1) Ælf spell singer: using glamours and shapeshifting, you can draw upon the powers of the forest.

2) Dwarf Fateweaver: skilled in rune crafting, you can weave the fate of the world around you. 

3) Eorðwerod Shining One: feared by your people, your powers of necromancy and ability to call upon spirits is often coveted by rulers even if they'd denounce you in front of their subjects. 

4) Réðealingas Witch - a wise woman skilled in the craft, saying, brewing potions, unleashing curses and healing as needed, taught by a foul-spawn familiar. 

The booklet rounds out its 60-pages with a list of useful gear, and some appendices. As well as the OSE conversion mentioned earlier, there's a list of Anglo-Saxon names, a pronunciation guide, and some ideas on why a character may have become a wolfshead. 

Volume 2 “Magic”

The second booklet is also 60-pages long and details the four magical paths mentioned in the character class descriptions above, provides a selection of magical items, before rounding out with a description of the gods and religions of Wulfwald and some useful tables. This section really makes the setting standout from the more traditional Vancian magic we expect from D&D, so I’ll spend a bit of time on the detail of the various approaches following.

Runic fate-weaving, favoured by the Dweorgas, is a form of contemplation of the nature of reality. The caster uses their understanding of the rune to change reality. There are 24 runes in total, divided into three Aetts (Eights). Wyrdwebbas (Wizards who manipulate runes) learn the Aetts in three blocks (which mechanically links to the base three levels in the game). Although they know all the runes, mastery comes slowly. Once a rune is used, it cannot be used again until they've used all the other runes they've mastered. 

Runes can be cast, used as a warding or binding or inscribed into something to give a permanent effect. However, inscribing a rune makes it permanently unavailable to the caster, so it is a decision not to be taken lightly. A casting roll is made, adjusted by the level of difficulty of the magic, levels range from effects that could just be coincidence or natural phenomena, through to powerful, reality warping effects that could cause devastation. A lower level Wyrdwebba has a slightly reduced chance and selection of runes to draw upon, but they can still achieve the same effects as the highest level. Any casting that spends less than an hour in contemplation results in penalties on the casting roll. 

Wardings and bindings differ from inscriptions in that they are a single use effect, not permanent. For example, you could bind the death rune to a weapon to kill the next person it struck. Runes can also be reversed to cause the opposite effect to their sphere. For example, the cattle Rune, Feoh, is associated with wealth but could be used in reverse to affect a victim's wealth negatively. 

ÆIfaynn spell singing requires the time and space for singing and chanting to work. It has three distinct forms; shape shifting, glamours to manipulate people, and the songs of the forest. Shapeshifting is straightforward and more forms become available as the caster progresses. Animals will know a shape shifted Spell singer and are often scared by them. Glamours require a save from the victim else they are manipulated. When they wear off, the victim must make another save if they want to remember what was done to them. Once glamours wear off, victims are immune for a number of days. Songs of the Forest work by drawing on the power of the woods and trees around to aid them. This can be in formation, protection or assistance. Each spell singer will have a limited selection of songs that they can sing, usually limited to a single time each day. 

Eorðwerod magic draws upon the necromancy of the Scinnlæca, or Shining Ones. Users are reviled and feared as they break taboos; there is every chance that an unsubtle magician could be lynched, even if they are an open ally of their liege lord. Powers are in three distinct groups, all calling upon phantoms which the user traps in their own body to let them draw upon its power. Calling the Dead like this fatigues the caster and taints them with evil. This will lead to permanent corruption if the Scinnlæca continues to draw on these powers. If they ever gain more fatigue than their current hit points, then they will collapse and permanently lose a hit point. 

The first power is the Call of Fear. This brings a terrifying phantom which appears to the Scinnlæca's enemy and can terrify them into fleeing. It affects everyone present, including allies, who can only be protected with amulets made from the finger bones of innocents. The Call of the Underworld is the most potent magic a Scinnlæca can draw upon. It draws the Phantom into the caster and they act with the statistics and abilities of the phantom. These are varied; starting fires, dragging victims into the ground, flying and draining life force are all possibilities. The inherent evil of this path is shown by the items that the Scinnlæca uses to activate the path; a knife which has pierced the heart of an adulterer and a rowan wand. The final power is the Call of Kinship. Using the skull of a murderer which is placed to observe a victim, a malign phantom is summoned allowing the Scinnlæca to appear in the form of the victim's deceased relative. This gives options to terrify and manipulate the target. The most powerful Scinnlæcas can create undead Orcneas from the bodies of warriors. These will serve until slain again or dismissed. Each costs three Charisma, which is lost to the caster until the Orcneas returns to their death. 

Witches are common amongst the Réðealingas, practising the Craft. Normally, the path is guided, but by becoming an outcast, the Wicce must learn from a familiar which can be a malign influence. Learning the craft costs the Wicce attribute points or hit points each time something new is learned. Familiars take the form of a small animal which will reappear if slain. Those that kill them tend to die soon after in grisly accidents. 

The Craft has nine elements; 

1) The Nine-Herb charm which can cure all ills.

2) Curses; by air, stone, water or fire. There are three types of curse and each exacts a price to be learned. The simplest curses are meant to be frustrating; for example, you must always speak your mind, which could cause embarrassment or offence. Destructive curses erode status, power and wealth. Malign curses will cause their victims to suffer slow and wasting deaths.

3) The Green candle; a healing ritual.

4) Scrying; either by divination or by sending a spirit double into the otherworld to see what is going on, at any distance.

5) Amulet crafting to give protection against Wicce craft and other types of magic.

6) Potions; the Wicce can brew a variety of potions.

7) Poisons; Wicca can brew up to three different poisons.

8) Venoms; like poisons but used on weapons.

9) The Poppet and the Thorn; this is the way for the Wicca to torment an enemy at a distance. To do this, they use a wax effigy with a keepsake or personal item of the Victim, and a thorn to inflict suffering. The highest level of this allows a victim to be murdered remotely.

The next chapter then moves on to give a selection of magical items from the different cultures to use in a campaign. These are all presented in story form, the kind of tale that may be told in a mead hall at night. All the items are very unique in their powers compared to the more vanilla items you get in normal D&D. There are no ‘+1 magic swords’ here. For example, the blade Wudwuewyrhta has a history of vengeance, and is known as the ‘widow-maker’. Forged by Wayland Smith at the behest of a princess whose betrothed was murdered, a cut from the blade kills any married man within a day. The blade itself is heavily degraded and will no longer take a good edge; it’s an inferior weapon unless you are fighting someone who is married. There are multiple different examples from the different cultures, and they all feel like they have a history and mean something. 

The final short chapter provides short details about the gods and religions practiced in Wulfwald. However, the game has no cleric class and the gods do not exist or manifest in the way that they do in more classical D&D. However, belief in the gods is strong, and there are active priesthoods who will exert their power through manipulation. The beliefs of the Eorðwerod are covered in most detail, as the game focuses upon a campaign set in their lands. There’s only a brief mention of what the Réðealingas, Dweorgas and Ælfcynn believe, but enough for a GM to draw upon to use in a scenario. 

Volume 2 concludes with useful check sheets for each of the magical paths, and a useful index.

Volume 3 “Campaigns”

The third book, Campaigns, is slightly longer at 64-pages and dives deeply into the setting. Russ Nicholson’s map is reproduced in the book here, but the lovely large cloth version is probably the one you want to have open on the table in front of you when you read it. Aspects of it remind me of the maps in The Hobbit, but that’s probably influenced by that book being one of the first fantasy novels that I ever read. 

Each of the kingdoms in the setting is given a two-page spread which details the ruler, their banner and the politics and troubles of the place. Enemies and allies are also called out. Each spread concludes with a useful table; for example, the Eastlund Safe has a table of encounters, whereas the Westland Jutes have a shorter selection of encounters, but a second table to establish what the Jutish Eadwita are seeking on the Quest that they are on. All the people and monster encounters have a volume and page reference for easy use at the table. The final part of this chapter gives a set of encounter tables for the Borderlands of the map; the Dweogas Mountains, the Ælfcynn’s Great Forest, the Réðealing Highlands and the Suthron Marshes. There’s also mention of the Empire of Frisca, a distant power that can influence the politics of Wulfwald. 

The second chapter discusses society in Wulfwald, describing how the people live and organise. The social order is explained, with the Cyning at the top and Wulfeshéafod (Wolfsheads) at the bottom, with a lower social status than slaves as they’re outcasts. The way the land is divided is described; Thegns rule tithings, and in turn are ruled over by an Ealdorman who rules a Hundred. Scírs, or Shires, are groups of Hundreds ruled by Gesiths, who are an Ealdorman who serves in the royal war band. Typical forces available for based on the distribution of land are described. The section then goes on to discuss NPC attitudes, the impact of social hierarchy, and the fact that the characters are hated culturally, and this will flavour all their interactions. The GM is advised to manage this with a level of subtlety rather than laying it on thick, else there is a likely to be a trail of bodies and a shortened campaign. The motivations of the different levels of the social hierarchy are discussed, along with the impact of coming from different cultures. Wizards who openly show their powers are much more likely to be openly unwelcome and to be murdered if the locals have the opportunity to do so, even if they are known to the under the protection of their Lord. Scinnlæca are the most hated, feared and reviled in all of Wulfwald.  

Oh, and no-one trusts a Réðealing. They’re all cattle thieves, raiders and pillagers. Just like the men of Wulfwald.

The third chapter focusses on building your campaign, or ‘Writing your Wulfwald’. Wulfwald is described as the reverse of a points of light campaign like B2 The Keep on the Borderlands; the land is mostly tamed and settled, but some untamed wild places still exist where monsters dwell, and often the worst monsters are men. The author discusses how you can tailor a campaign; they explain that their preference is to make magic present but as mysterious as possible. Monsters should be rare, as they usually keep to the wild places. If they do stray into the lands of men, death and chaos will likely ensue. Often, the player characters will be the only ones around who have access to magical powers; a benefit and something that causes them to be even more feared. 

It’s recommended to start small, and select a kingdom which has the right flavour for the campaign story you want to explore; the setting will handle political intrigue, conflict, freedom fighters or a more supernatural feel near to the wild places. The author does recommend that each player creates a backup character so they have a choice on which is most appropriate for a mission, and also because there will likely be casualties.

The next step is to define the key NPCs the characters will encounter this is why starting small is an advantage. An example is given on how to do this. The book then describes how the campaign structure will likely shift as as the characters rise in power level; it also touches on how their social acceptance will likely change. There is a discussion about the challenges that may arise if the players decide that they need to kill their existing Lord or try and set one of themselves up as a king. An example campaign set up in Sufland Seaxe is given.

There’s guidance on how to avoid the campaign ending up with the characters being the ‘baddies’, especially as the setting embraces shades of grey rather than the crisper black and white of D&D’s alignment system. There’s also guidance on how to avoid the mission-based nature of the campaign feeling like railroading the characters; it’s advised to give multiple missions, or problems, for the characters to resolve.

This volume closes out with five appendices; the first presents optional rules. These include a reaction system, a simple skill system, and combat orders. Appendix B is The Rose War of Wigwyll, an introductory scenario for 2-4 1st level Wolfsheads. The characters are dispatched by their Thegn to find out why a hillfort is no longer paying fealty to the Ealdorman and to deal with the problem. The mission has a simple structure and should give an interesting session of play with supernatural overtones. The third appendix provides a simple warband level skirmish system to allow for larger conflicts. This includes ways to handle different formations, sieges and improvised tactics. The system is unlikely to be needed early on, but as the characters and their Thegn rise in power then there may well be a need for it. The next appendix gives some tables to develop traits, behaviours and names for the various Fyrdmen that the Wolfsheads may encounter.  Appendix E, the final appendix, is a short Who’s Who of Wulfland, listing the various rulers and key players in the setting and a page reference for more detail.

Volume 4 “Monsters”

This is a shorter 42-page volume that describes the monsters of the Wulfwald setting, starting with Dracan (dragons), Eotenas (giants) and then ‘Beasts and Everyone Else’. Finally, the book rounds out with a master list of creatures (both monsters from this book and people from Volume 5) along with the relevant page reference and stat block.

The Dracan (Wyrms) are also the progeny of Eorðraca, the Earth Dragon, the first living being in the world. Each of her children is unique, and she is worshipped by the Dweorgas. There are seven known living Dracan, and each is described in detail. This section provides key information on the Dweorgas, which I won’t repeat here as it could be a campaign spoiler. 

The Eotenas are dying out. There are six giants left in Wulfwald, and when they are slain, their kin will have passed from the world. Each giant is described in detail, including where they live and some of their backstory. They are fearsome opponents, but don’t need to be enemies.

The section on ‘Beasts and everything else’ provides a selection of monsters, magical creatures (such as the Cauldron-born and the Marsh Fiend). All the creatures feel unique and strange, even if they are variant ideas on creatures from more traditional D&D. They match the feel of the setting very well. 

Volume 5 “People”

The final volume of Wulfwald is 48-pages long and explores the threats that come from the various peoples who live in Wulfwald. This is a counterpart to the previous volume. Unsurprisingly, this is broken out into sections on the Ælfcynn, the Dweorgas, the Réðealingas and the Eorðwerod, before concluding with a short list of all the people in the book as a reference.

In the main, the book provides background, details and stat blocks for people at different levels of the social hierarchy (for example, an Eorðwored Ceorl or a Réðealingas Geoguðgara ) but there are specific entries for Fafnir Dweorge Cyning (the King of the Dwarves)and Cynic, son of Cedric, Cyning of the Westlund Seaxe (the most powerful and dangerous NPC in the setting). 

Overall this is a really useful resource that gives tailorable options for most of the people that the characters will interact with regularly.

What's in the Wulfwald box?

Conclusion

Wulfwald is extremely impressive; evocative and different, it takes a light OSR framework and makes something unique. Even if you don’t want to play in the setting, the subsystems like magic would be simple to lift to another game. I usually prefer hardback rules books, but multiple books in a box format works really well and I can imagine it being effective in play. The map and artwork is lovely, and it reminds me how much we will miss Russ Nicholson. 

Highly recommended.

21 September 2024

PS Thank goodness macOS stole iOS's simple way to access accented characters or this would have taken a lot longer to write!