Most Lovecraftian investigative horror is about preventing the apocalypse, about preventing the disaster which would end the world as we know it and instigate the fall of mankind, which would arise because the Stars have come Right, and some powerful entity—god?—of the Mythos or the Unnatural has appeared or been summoned to unleash a hell hitherto unimagined. Whole scenarios and even campaigns have been dedicated to preventing such an occurrence, but what if it did? It is a question that devotees of the genre have constantly asked themselves, and over the years it has been visited a handful of times. First in print with End Time, Doctor Michael C. LaBossiere’s Miskatonic University Library Association monograph which took humanity off of Earth and out into the universe following the end of the world, whilst the more recent Cthulhu Apocalypse from Pelgrane Press and Fate of Cthulhu from Evil Hat Productions answered the question in very different ways. The former by presenting the ‘Apocalypse Machine’, a tool/flowchart that provides the means to build an apocalyptic disaster and track its effects on both mankind and the planet, the latter presenting the apocalypse as something which could be stopped by going back in time. The latest entry into this subgenre is the Apocthulhu Roleplaying Game.

The Apocthulhu Roleplaying Game is published by Cthulhu Reborn, best known as the publisher of the well-received Convicts & Cthulhu: Call of Cthulhu Roleplaying in the Penal Colonies of 18th Century Australia. It explores futures and futures past—the Post-Apocalyptic worlds it posits all stem from the modern world, from the Victorian era onwards—in which the calendar has turned and Great Cthulhu has risen from his slumber under the Pacific and the coasts washed over with the oceans and strangely batrachian creatures; in which the Black Pharaoh was restored in Egypt and all became enthralled to his dark worship; in which the Black Goat of the Woods with a Thousand Young strides out of the deep jungle and the gifts the world with a rewilding of such fecundity that it boils over with rabidly radical births that spawn change after change; in which strange fungoid insects appear with promises of great gifts and new technology, only to enslave mankind in rapacious drive to strip the planet of its resources, including humanity itself; and in which Serpentine Humanoids are awoken from their aeons’ old slumber to reclaim their ancient empire and reclaim the planet from the primitive ape descendants which have stolen it in their absence.

Such disastrous turn of events may have only happened recently, they may have happened hundreds of years of the past, but as with many imagined Post-Apocalyptic worlds, the survivors are forced to pick over the bones of former civilisations and societies and compete with other survivors for scare resources in order to merely get by, let alone attempt to build a better future. Yet in a future where the forces of the Unnatural run wild, the survivors must contend with the knowledge of what exactly happened being all but lost, the lawless of the new world, with cultists and devotees of the Unnatural reveling in the worship of their true masters and their victory over mankind, and with confronting both devotees and masters, the resulting shocks to their psyche likely to claw at the bonds forged with family and community, if not drive them insane.

It should be noted that the Apocthulhu Roleplaying Game is both a roleplaying game of its very own and not a roleplaying game of its very own. It is not a roleplaying game of Lovecraftian investigative horror a la Call of Cthulhu, Seventh Edition or Delta Green: The Role-Playing Game, but somewhere in between and hewing towards the latter rather than former. It is a percentile driven roleplaying game, but not a Basic Roleplay variant. Rather it has been written under an ‘Open Game Licence’ much like Delta Green: The Role-Playing Game. It is not a Mythos roleplaying game in the sense that it does not simply replicate entity after entity, race after race of the Mythos or the Unnatural. In fact, it limits what entities it can mention to those which are out of copyright and points the Game Moderator in the direction of both Call of Cthulhu, Seventh Edition and Delta Green: The Role-Playing Game, as well as Trail of Cthulhu, as ready sources of such things, as well as spells and Mythos tomes (and that is in addition to the possibility of borrowing the ‘Apocalypse Machine’ from Trail of Cthulhu). Being written under an ‘Open Game Licence’ also means that there is a wide number of shifts in terminology to be found in the Apocthulhu Roleplaying Game, such as Rituals for spells and Tomes of Terror for Mythos tomes. These shifts are no more than a simple step to the left though, and the adjustment for a Keeper and her players from any other roleplaying game of Lovecraftian investigative horror will be relative slight. As much as the Apocthulhu Roleplaying Game encourages reference to those other earlier works, it does stand alone, and it does something further, it presents a future—or futures—of those games if the Investigators fail…

A Survivor in the Apocthulhu Roleplaying Game has six statistics—Strength, Constitution, Dexterity, Intelligence, Power, and Charisma, all ranging between three and eighteen. Willpower represents a Survivor’s mental fortitude and drive, and is equal to his Power. Willpower Points are lost when a Survivor attempts to suppress his mental illness, is exhausted, attempts to resist persuasion, suffers emotional burnout, or fuel unnatural phenomena—such as casting rituals. Besides a range of skills and a Sanity score, both rated as percentage values, a Survivor has Resources and Bonds. Resources, rated between one and twenty, represent supplies and personal possessions, their value determined by a Survivor’s Archetype (or Occupation), but can be increased at the cost of skill points. Bonds come in two types. Individual Bonds represent a Survivor’s relationships with friends, family, and so on, and are each equal to a Survivor’s Charisma, whilst his Community Bond represents the strength of the connection with a group and is equal to half his Resources rating. Both Bonds and Resources can be tested during play like statistics and both can change over time through play.

To create a Survivor in the Apocthulhu Roleplaying Game, a player rolls for his statistics (or chooses from an array), selects an Archetype, calculates his Resources and selects his Bonds. Archetypes are divided between those of the Recent Apocalypse, such as Former Military or Former Student, and those who Post-Apocalypse-Born, such as Muscle and Technology Salvager. Each recommends a particular statistic, grants some set skills and some further options, all at a set value, plus staring Resources and number of Bonds. A player can also customise his Survivor’s skills with extra Skill Point Picks. A player has ten of these, each of which adds twenty percentile points or they can be sacrificed to increase a Survivor’s level of Resources. A Survivor can also have more depending on the harshness of the post-apocalypse, but these can only be assigned to Post-Apocalypse skills, such as Scavenge or Survival.

Deved, Son of Bunker 242
Law Giver
Age 19

STR 14/70 (Wiry)
CON 12/60
DEX 13/65 (Agile)
INT 14/70 (Perceptive)
POW 15/75 (Determined)
CHA 17/85 (Magnetic)

Hit Points 13
Damage Bonus +1
Willpower Points 60
Sanity Points 60
Breaking Point 45

Mental Disorder: Dendrophilia

Bonds
My father, Commander of Bunker 242 17
Old Man John, Keeper of the Statutes 17
Nency, friend and companion 17
Community (Bunker 242) 14

Resources 10

Skills: Dodge 50%, Firearms 40%, Insight 70%, Law (Regulations According to Bunker 242) 60%, Melee Weapons 50%, Persuade 80%, Post-Apocalypse Lore (Fecund Forest) 40%, Research 30%, Scavenge 50%, Search 60%, Survival (Fecund Forest) 30%, Technology use 40%, Unarmed Combat 60%, Unnatural 20%

Mechanically, the Apocthulhu Roleplaying Game is a percentile game. The results of any test—statistic or skill related—can be a critical success, success, failure, or fumble. A critical success is a result of one or doubles up to the value of the statistic or skill being tested; a success is a roll equal to or under the statistic or skill; a failure is result over the statistic or skill; and a fumble is a result of double zero or doubles above the value of the statistic or skill. The deadliness of the Apocthulhu Roleplaying Game is reflected in the Luck mechanic, which is a straight 50% roll and many weapons, such as grenades or submachine guns possessing a Lethality percentile rating. If an attack is successful and the Lethality roll is also successful, the target is killed straight, and even if failed, the dice results of the Lethality roll are added together and inflicted as damage, so the larger the failure, the more damage inflicted!

The Sanity mechanics in the Apocthulhu Roleplaying Game are similar to those of the Delta Green: The Role-Playing Game. Sanity can be lost through exposure to three sources—Violence, Helplessness, and the Unnatural, and in the case of Violence and Helplessness, a Survivor can become inured to such sources, though this comes at cost to their personality and their Bonds. If a Sanity test is failed, a Survivor suffers from Temporary Insanity, and will either Flee, Struggle against the source of the insanity, or Submit and collapse. When a Survivor’s Sanity is reduced to below his Breaking Point—equal to four fifths of his starting Sanity score—the effects of the Sanity loss are not temporary, the Survivor gaining a Mental Disorder. The Mental Disorder can be triggered by further exposure to whatever caused it in the first place. Lost Sanity can be recovered by interacting with a Bond, defeating Unnatural creatures, destroying accounts of the Unnatural (which sets up a tension between the need to study such accounts in order to destroy them and the need to destroy the tomes to remove them from the world), fulfilling personal goals, and looking after others. The last two are conducted during periods of Downtime which follow any investigation into the Unnatural and narratively serve as a counterpoint to the horror which has gone on before.

In addition to rules for confronting the Unnatural, researching Tomes of Terror, and handling Supernatural Effects just as you would expect for a roleplaying game of Lovecraftian investigative horror, the Apocthulhu Roleplaying Game also includes rules for living and surviving in the apocalypse. These include rules for scavenging and jury-rigging found technology, resource scarcity, vehicles, and heavy weapons, all mainstays of the Post Apocalypse genre. It also integrates the effects of the Post Apocalypse futures in sanity. Each Post Apocalypse is graded on its degree of Harshness—either Normal(ish), Harsh, Very Harsh, or Nightmarish. The greater the degree of Harshness, the lower a Survivor’s beginning Sanity and the greater the likelihood of his beginning play with a Mental Disorder. This is offset by more skill adjustments and increased statistics during Survivor creation. For the Game Moderator, the Apocthulhu Roleplaying Game poses a number of questions such as, “What event triggered the Apocalypse?”, “What changed?”, “Is there any hope?”, and so on, which answering should ideally spur the creation of an Apocalypse of her own. In addition to this, the Apocthulhu Roleplaying Game provides eight example Apocalypses, each very different. For example, in ‘Apocalypse 1: The Stars Turn, Turn, Turn’, the stars have come right and multiple entities of the Mythos stalk the Earth, whilst in ‘Apocalypse 2: Nyarlathotep Unmasked’, the failure to prevent a summoning off the coast of China in the 1920s—in a knowing nod to Masks of Nyarlathotep indicative of the Apocthulhu Roleplaying Game’s potential role as a sequel—pushed the world into a nuclear strike and nuclear winter. Each of the eight Apocalypses provides answers to the eight questions plus some threats and tomes of terror, but is really only a snapshot of the Apocalypse in question, ready for further development upon the part of Game Moderator.

The Apocthulhu Roleplaying Game also comes with a campaign setting plus two quite lengthy, and very different scenarios, which together showcase the possibilities of the Lovecraftian-Post-Apocalypse genre. The campaign setting is an adaptation by Kevin Ross of William Hope Hodgson’s 1913 novel, The Night Land. Set millions of years into the future, this has the last of humanity surviving under a dwindling sun in the Great Redoubt, an eight-mile high pyramid, watched over by the leviathan Watchers, waiting to be able to crack open the Great Redoubt and consume the souls of the last of mankind. Although due to be developed into a full campaign setting of its own from Cthulhu Reborn, it comes with everything that a Game Moderator would need to get started. It covers technology and life in the Great Redoubt, psychic powers, and the geography and threats and allies of the Night Land, plus several scenario hooks. What is interesting about the setting is that although The Night Land has also been acknowledged as an influence upon H.P. Lovecraft, it has never been translated into a gameable setting before, primarily because, as Ross explains, the novel is impenetrable. The result of his efforts though, is a fascinating campaign setting, in some ways more of a Science Fiction setting akin to that of Marcus L Rowland’s Forgotten Futures, but combined with a terrifying and weird mythos of its very own.

The first of the two scenario’s in the Apocthulhu Roleplaying Game is ‘Kick the Can’ by Jeffrey Moeller, which is set in one of the earlier example Apocalypses given in the book, ‘Apocalypse 4: The Firelands of Melqart’. It takes place a year after civilisation has been reduced to ashes by a rain of fire following a prophecy by the weird cult-like, Church of Melqart. The Survivors, each of whom was initiated into the Church of Melqart, have spent the last year in a bunker and emerge into the ash-laden world because their supplies are running low and because they received a summons from the Church of Melqart to come to Washington, D.C. to participate in a great ceremony. As the Survivors make their way towards the capitol, they will discover some of the secrets of the apocalyptic event and the Church of Melqart, all of which point to a greater catastrophe to come. The scenario is linear, but has the scope for the Game Moderator to add her own scenes and the potential to become something of a slog as the Survivors cycle their way across America to Washington, D.C. Another problem is that it involves graphic, violent acts towards women and children, and whilst the Apocthulhu Roleplaying Game is a horror game, this may be outside of the players’ comfort zones. So, at the very least, the Game Moderator will want to establish that the players are fine with this in the context of the scenario or at least alter some of the more graphic elements. Otherwise, ‘Kick the Can’ is a solid one-shot with quite a lot of information and detail to it.

Similarly, Jo Kreil’s ‘A Yellow and Unpleasant Land’ will require some discussion with regard to the degrees of debauchery it involves and to what degree the Game Moderator wants to describe them. The scenario is set in Victorian England in the 1890s following multiple performances of a play called The King in Yellow, including for the late Queen Victoria, which saw the Yellow King come to Earth and corrupt the morals of every upstanding Englishman. This is an apocalypse of decadence and debauchery rather than death and destruction, one which the Survivors can hope to overturn if they follow the instructions of Myrddin and ensure the return of England’s one true king to bring an end to the rule of the Yellow King. ‘A Yellow and Unpleasant Land’ then, is a combination of The King in Yellow and Arthurian legend, a combination which could have clashed and it may take a little convincing upon the part of the players to accept the combination, since the Arthurian elements are not subtle, but as it turns out, works well together. ‘A Yellow and Unpleasant Land’ provides two possible endings—‘hopeful’ and ‘nihilistic’. The former is the more positive and grants the Survivors the capacity to defeat the Yellow King, whereas the latter does not, it being revealed to them that their efforts were naught but an entertainment for the Yellow King’s benefit. ‘A Yellow and Unpleasant Land’ is the least traditional Apocalypse in the Apocthulhu Roleplaying Game and is all the more interesting for it, highlighting not just the continued flexibility of the corruptive mythos of the Yellow King, but also the Post-Apocalyptic format too.

Physically, the Apocthulhu Roleplaying Game is presented in quite a bold fashion in terms of colours used and the layout. The full colour artwork is excellent throughout, but the maps do vary in quality. It also needs an edit in places. In general, the book is well written, but the title of the running example throughout the book, ‘The Making of ‘Mad’ Maxine’, is trite.

As a Post-Apocalyptic roleplaying game, the Apocthulhu Roleplaying Game is perhaps one of the harshest and deadliest available, though it avoids the more gonzo elements to be found amongst many of the similar treatments of the genre. As roleplaying game of Lovecraftian investigative horror, the Apocthulhu Roleplaying Game draws from many elements that are familiar, including mechanics, making it easy to adjust to—at least in terms of the streamlined rules and terminology, if not the setting. As a roleplaying game of Lovecraftian investigative horror, it adds a weirdness to the Post-Apocalypse’s brutal survival horror. As a roleplaying game of Post-Apocalyptic Lovecraftian investigative horror the Apocthulhu Roleplaying Game is far from innovative or ground-breaking, since it draws heavily on elements which have gone before it. However, it does push at the boundaries of the genre and it does provide the means for the Game Moderator to create and explore Apocalypses of her own, whether created from the ground up, or as a result of failure upon the part of her players’ Investigators. Perhaps in having the opportunity to explore the consequences of their failure, the Investigators—as Survivors—will have the opportunity to undo what they could not stop in the first place?

Ok. Confession time, and this might get me kicked out of "I'd Rather Be Killing Monsters."

I have never seen "Hawk the Slayer." 

Not even once. That is until today.

Hawk the Slayer

Well, it has Jack Palance chewing up scenes like he always does. A funky post-disco soundtrack that is so 1980 it makes me want to find a pair of roller skates.   But it also features the recently late William Morgan Sheppard as Ranulf. Patricia "Magenta" Quinn as a sorceress.  And Christopher Benjamin (Jago from Doctor Who). So certainly an interesting cast.  

The "Adventuring Party" is made up of Hawk  (a fighter or ranger), Ranulf an old fighter, Gort (a giant), Crow (an elf), Baldin (a dwarf), even a sorceress. I have to admit they are kind of fun.

With some of the music and scenes, there is a solid spaghetti western feel to this. 

Jack Palance must have had the time of his life with this.  Overacting. Running around like a Ren Faire Darth Vader.  The dynamic between Hawk, Voltan, and Eliane is not entirely unlike that of  Sergei, Strahd, and Tatyana. 

The movie is fun, if predictable. But not exactly a classic really.  Sorry, Tim. 

Though I can see why everyone wanted a sequel, but I think it works best as D&D inspiration.  The characters would make fun NPCs for anyone familiar with the movie.

Gaming Content

Elfin Mind Stone and Mind Sword - this sword has the ability to detect the thoughts and actions of anyone the wielder is fighting against. This translates to a +4 to hit and a +3 to AC and even allows the wielder to fight in conditions that would otherwise blind them.  It can cast light once per day.  The wielder of the mind sword can summon the sword to hand at will.

--

Tim Knight of Hero Press and Pun Isaac of Halls of the Nephilim along with myself are getting together at the Facebook Group I'd Rather Be Killing Monsters to discuss these movies.  Follow along with the hashtag #IdRatherBeWatchingMonsters that is if I can get my co-admins to agree this is the best hashtag for this!

I am really enjoying HeroForge.

Maybe, too much really. I have nearly a hundred characters I have made and I have bought a few as well that I love.

So really it was only a matter of time before I made my own HeroForge Zatanna.

I could not quite get her fishnets and her tux did not have tails, but otherwise, I think she is great.You can get yours here, https://www.heroforge.com/load_config%3D16149885/

I also used the lighting effects on her.  It works out well in the screenshots, but I still trying to find the proper "magic" for the printed minis.  For example here is another mistress of magic, The Simbul holding silver flame.

And here is how it looks printed.

Not bad, but I can certainly tweak it a bit more.

Z would be a welcome addition to my growing group of magical people.

And while I was working on this we are NOW getting reports that an HBO Max series or movie for Zatanna is on the way!

Looks like we could be getting Batgirl, Batwoman, and more Shazam!  This could be great!

Fever-Dreaming Marlinko – A City Adventure Supplement for Labyrinth Lord details a borderlands city where life takes a strange fever-dream cast, where confidence tricks and scams are an accepted way of life, where its each of four contradas—or quarters—worships one of the four gods (and pointedly ignores the fifth) entombed in the squat, black bulk of the Tomb of the Town Gods, and where adventurers can find respite, relaxation, rumours, and more from the wilderness beyond… It stands amidst the Greater Marlinko Canton in the world of Zěm—as detailed in What Ho, Frog Demons! – Further Adventures in Greater Marlinko Canton, not too far from the Slumbering Ursine Dunes, and from there, Misty Isles of the Eld. It is published by Hydra Collective LLC and is an Old School Renaissance setting supplement designed to be run using Goblinoid Games’ Labyrinth Lord. Of course, it can easily be adapted to the Retroclone of the Game Master’s choice.

As a city located in the Hill Cantons, a region described as, “A Slavic-myth inspired, acid fantasy world of Moorcockian extradimensional incursions and Vancian swindlers and petty bureaucrats.”, Marlinko matches much of that description. Both of its four contradas and their inhabitants have Slavic names and many of its monsters are drawn from Slavic legend. For example, one of the city’s leading socialites is Lady Szara, organiser of the annual Bathe in the Blood of your Servants charity ball, is secretly an ancient and evil strigoi—a Romanian version of the vampire—who it is suggested, should speak in the style of the actress, Zsa Zsa Gabor, only more sinister. She may even employ the Player Characters to locate certain magical gewgaws and knick-knacks, that is, if she simply does not decide to consume them... The Eld—essentially ‘space elves’ from another dimension with a distinctly Melnibonéan-like, decadent sensibility—slink secretly into the city, and the bureaucracy extends to unions, such as The Guild of Condottiere, Linkboys, Roustabouts, and Stevedores, a union for adventuring party hirelings, which really objects to scab hirelings! Numerous swindlers and scam artists are mentioned throughout the description of the city, and there is even a section on ‘Running Long and Short Cons’.

Intended to be regularly visited by Player Characters of Second and Third Levels, what Fever-Dreaming Marlinko – A City Adventure Supplement for Labyrinth Lord is not, is a traditional city supplement. There is no building-by-building description, no great history of the city, or great overview. Instead, it focuses on the pertinent details about four contradas and the things that can be found there and more importantly, can be interacted with by the Player Characters. Včelar is home to Marlinko’s wealthy, dominated by their great painted-plastered town-manses and famed for Jarek’s Manse and Tiger Pit where the perpetually name dropping and bragging owner has built a domed all-weather tiger pit in which he stages tiger wrestling! Obchodník is the city’s business district, where at Fraža’s Brokerhouse, the Player Characters might make purchases from the radically—for Marlinko, that is—honest and unfortunately terribly racist, Fraža the Curios Dealer, or pay for at fortune at The Serene Guild of Seers, Augurs, Runecasters, and Wainwrights—the clarity (at least) of any such fortune depending on the cost. Svině is home to Marlinko’s slums, but also many guilds, such as The Illustrious Workers of Wood or The Guild of Condotierre, Linkboys, Roustabouts and Stevedores’ Dome of Supernal Dealings, but also home to the Catacombs of St. Jack’s Church of the Blood Jesus, whose disturbingly bloody misinterpretations of Christianity has the potential to unleash murderous mayhem upon the city. Soudce is home to the city’s suburbs, their skyline dominated by the Onion Tower of the Checkered Mage, the home of the city’s resident arch-mage, František, a surprisingly level-headed wizard, who might pay well for certain items.

Each of the four contradas is accompanied by a table of random encounters, a mixture of the mundane, the silly, and the weird. For example, a group of flirts who if a Player Character parties with might wake up the next morning at his own shotgun wedding; Kytel the Duellist, a thoroughly bored swordmaster who will fight anyone to first blood; Old Slinky Panc, an escaped tiger, probably drugged and quite harmless, who Jarek the Nagsman would probably want returned—and returned unharmed; and a Hairless Hustler who will offer to sell the Player Characters two bars of surprisingly warm to the touch silver metal—and there is a reason that the Hairless Hustler lacks hair… These are all engaging encounters which make getting about the city memorable and interesting, some of them having the capacity to turn into interesting adventures depending upon the actions of the Player Characters.

Marlinko’s notables are described in some detail, but perhaps the best part of their descriptions are the suggestions on how to speak like them. The Game Master should have enormous fun portraying any one of them. In comparison, only two adventure sites are detailed in Fever-Dreaming Marlinko—‘Lady Szara’s Town-Manse’ and ‘Catacombs of the Church of the Blood Jesus’. Ultimately, they are both places to raid and ransack, home to respective evils present in the city, but not raid and ransack without reason. A Player Character might be kidnapped and find himself locked up in the catacombs first or the Player Characters all together might be hired to find a missing person, whilst Lady Szara could hire the Player Characters rather than give them cause to attack her and so have them visit her home. Of the two, ‘Lady Szara’s Town-Manse’ is the more interesting and the more thoughtful in its design, being an actual home rather than just another monster lair. It is also better mapped.

Beyond describing might be found in each contrada, Fever-Dreaming Marlinko details crime—sanctioned and unsanctioned crime—and punishment in the city, advice on running cons in the city, and buying and selling in the city—everything from War Ocelots and Radegast’s Dark ale to the Poignard of the Overworld and a campy, faux-barbarian meadhall. Emphasising Marlinko as a place to visit and unwind in its taverns and other entertainment establishments, Fever-Dreaming Marlinko includes a guide to carousing in the city and potential outcomes whichever contrada the Player Characters are visiting. There are even three locations for the Labyrinth Lord to expand as potential adventure sites, though of course, it would be nice to have had more ready-to-play adventure sites in the book.

However, as odd and as weird as the city of Marlinko is, it can get weirder. As with the other titles set in the Hill Cantons, Fever-Dreaming Marlinko has a Chaos Index, which tracks the ebb and flow of the weirdness in the city, much of it being driven by the actions of the Player Characters, including making trips back and forth to the Slumbering Ursine Dunes. This is indicative of the design of Fever-Dreaming Marlinko, that it is ideally meant to be played in tandem with Slumbering Ursine Dunes. As the weirdness factor grows, the cultists of the Church of the Blood Jesus might commit more, and bloodier murders, mass hallucinations might break out, hundreds participate in a group wedding, and more. The weirdness factor also affects the ‘News of the Day’, the rumours and truths which spread throughout the city.

Rounding out Fever-Dreaming Marlinko is a set of five appendices. The first is a bestiary which adds three monsters—the Robo-Dwarf, the Wobbly Giant, and the Cantonal Strigoi, whilst the second, a ‘Tiger Wrestling Mini-Game’, provides the rules for handling events at Jarek’s Manse and Tiger Pit, the only tiger-wrestling arena in town. It is definitely a dangerous pastime, but good luck to any Player Character who throws his hat into the ring! Two new Classes are detailed in the third appendix. The Mountebank is a Thief-subclass which has the Sleight-of-Hand skill for moving and switching out objects as part of a scam, can use Illusionist spells—though they can only be learned by swindling them out of actual Illusionists, and even temporarily raise their Charisma to eighteen! The other Class is the Robo-Dwarf, which is more of a strange mechanical variant upon the actual Dwarf Class. The last two appendices provide the Labyrinth Lord with a useful list of ‘Common NPC names and Nicknames’ and a pronunciation guide.

Physically, Fever-Dreaming Marlinko is generally well laid out, the writing is clear, and the artwork is excellent. It needs an edit in places, the real problem with the physical book is that it is not well organised, lacking an introduction which would help the Labyrinth Lord understand how the city functions as a game setting and the order in which the book’s contents come not always in the right place. Once the Labyrinth Lord has read through the book, it is relatively easy to grasp how the city works as a setting.

Apart from the less than useful organisation, there are really only one or two other issues with Fever-Dreaming Marlinko—both of which could cause offence. The first is that St. Jack’s Church of the Blood Jesus is a potentially offensive misinterpretation of Christianity, whilst the second is that one or two of the NPCs are described as fervent racists and that the Labyrinth Lord is expected to portray this in character. Now this does take place in a fantasy world, but that does not mean that neither a player nor the Labyrinth Lord cannot or should be necessarily comfortable about this. This is one aspect of the setting which will require a discussion between all of the players before play begins to see whether they are prepared to accept it or not as part of the setting. The likelihood is not and the Labyrinth Lord should be prepared to replace it with potentially less offensive character quirks or attitudes for the NPCs concerned.

Fever-Dreaming Marlinko is designed as campaign base, one which the Player Characters will return to again and again after exploring first the Slumbering Ursine Dunes, then the Misty Isles of the Eld, and from there, the wider world of Zěm as detailed in What Ho, Frog Demons! – Further Adventures in Greater Marlinko Canton. Although the Labyrinth Lord could use it in another setting, it does work best with those other books. And each time the Player Characters visit Marlinko, the Labyrinth Lord is given the means to make that visit memorable—with locations they might want to go to, random encounters which can become something more, rumours, and eventually weird things going on around them. There is no part of Marlinko as described which cannot be interacted with or does not add to the sense of oddness which pervades the city and which will probably be worse with every visit. Overall, Fever-Dreaming Marlinko – A City Adventure Supplement for Labyrinth Lord is a brilliantly written, incredibly gameable setting supplement which provides the Labyrinth Lord with an excellent toolkit to bring a fantastical city setting to life.

"A fine website, but even more than that...THANKS FOR THE GREAT PARODY OF THE DARK DUNGEONS TRASH! Best wishes."

Gary Gygax circa 1999

Back in 1994, I moved to Chicago to work on my Ph.D. and be closer to my then-girlfriend (spoiler, I married her in 1995).   I was working at the College of Education at the time as their tech-monkey.  I told them I knew how to write code. I did/do, but it was all Pascal, Fortran, and some C and VisualBasic.  What they wanted was HTML though they really didn't know it at the time.   I built their student databases and worked on their nascent website.  

My very first website, made in 1995, was The Chicago Campus Crusade for Cthulhu.  I had all my Call of Cthulhu materials online and it was a parody site.  This was quickly followed by my Gateway2000 PC site (yes I was a huge fan of Gateway computers). I had built them both in Notepad, a tool I still use today to edit all my HTML.

The earliest captures were 1998, but by then I had been on for 2-3 years. I was using the "noarchive" tag and "Frame breaker" scripts a lot back then because there was a real concern for webpage theft and spaghetti publishers. I thought that would help. What they do was keep my site from being archived by bots.

This kept me from finding the very first versions of my sites, though I still have all the HTML code backed up.  I did notice that when I went back for my second Ph.D. my student account was reactivated and there are some captures from around then as well.

In any case, the knowledge I gained from those sites was poured into my newest site, The Other Side.

So dark. Very Internet. Much frames.

I named it after an old newspaper column I wrote for my school newspaper in High School and then my first year of undergrad.  Plus it sounded mystical and new agey.

I am not 100% sure of the exact day it went live. I know it was between March 10th and the 12th because that was my wife's birthday.  Also, I was in a Cognition of Memory course at the time when I jotted down my first ideas for it in my notebook.  So that was Spring term 96.

The site changed over the years. I added more and more material and soon it was the home of my first Netbook of Witches and Warlocks, published in 1999. I had moved from my campus site to RPGHost for the longest time. From there I was also on Xoom, NBCi, Tripod, and then PlanetADnD.

Whoa, easy there Darklord.

Around 2003 or so I kept getting hacked and my sie taken down.  My host asked me to take it down for a bit because of all the DoS attacks he was getting.  So for a while, all that remained were some mirrors of the site that I rarely updated.

The site was revived in 2007 on this blog. 

I still use the same background, though in a much-lightened fashion. Some of the material written for that old site has also come back here. 

Sadly many of my then contemporaries are gone. PlanetADnD is no more. BlueTroll has been gone a long time. All the old hosting services are long gone. I see that ADnDDownloads is still up after a fashion. Mimir, the Planescape site, is still going and looks the same as it did back in the 1990s, though I don't think it has been updated in 10 years and many links are broken.

While I miss some of the "wild west" days of finding the perfect, or the perfectly odd, netbook, things are better now.  DriveThruRPG gives me legal means to complete my collection and DMGsguild covers my need for fan-created material. And that is just the tip of the iceberg as it were. 

Do I have it in me to go another 25? Well...I'll be in my mid to late 70s then, so no idea.  But I am going to keep having fun with this as long as I can.

Thanks for being with me this long!

Robots Among Us is a supplement for Metamorphosis Alpha: Fantastic Role-Playing Game of Science Fiction Adventures on a Lost Starship. The first Science Fiction roleplaying game and the first post-apocalypse roleplaying game, Metamorphosis Alpha is set aboard the Starship Warden, a generation spaceship which has suffered an unknown catastrophic event which killed the crew and most of the million or so colonists and left the ship irradiated and many of the survivors and the flora and fauna aboard mutated. Some three centuries later, as Humans, Mutated Humans, Mutated Animals, and Mutated Plants, the Player Characters, knowing nothing of their captive universe, would leave their village to explore strange realm around them, wielding fantastic mutant powers and discovering how to wield fantastic devices of the gods and the ancients that is technology, ultimately learn of their enclosed world. Originally published in 1976, it would go on to influence a whole genre of roleplaying games, starting with Gamma World, right down to Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic from Goodman Games. And it would be Goodman Games which brought the roleplaying game back with the stunning Metamorphosis Alpha Collector’s Edition in 2016, and support the forty-year old roleplaying game with a number of supplements, many which would be collected in the ‘Metamorphosis Alpha Treasure Chest’.

The Starship Warden was stocked not just with thousands of robots, ready to help humanity settle the new world that the colony ship was destined for, but also large factories intended to manufacture yet more useful robots and automated terraforming machines ready to begin transforming the new world into a new paradise for humanity. However, these many robots were just as affected by the radiation cloud that caused the change as were the ship’s crew and colonists, and plant and animal stock, their A.I. brains warped and twisted and their programming altered beyond what their original designers intended. Metamorphosis Alpha focuses on the biological inhabitants of the Starship Warden, the Humans, Mutated Humans, Mutated Animals, and Mutated Plants. Robots Among Us switches the focus to the mechanical inhabitants of the Starship Warden to present a set of seventeen encounters with robots aboard the colony ship.

Written by Jim Ward, the designer of Metamorphosis Alpha, with many of them entertainingly illustrated by Jim Holloway, the entries in Robots Among Us range in length from half a page to two pages long. Each includes a subtitle which suggests what the encounter is about, such as ‘ Arc Bots – More Than Just Security’ and ‘300 Years And Counting – Butler Robot Ready To Serve’, an explanation of what is going on, some colour text—in bold—ready for the Game Master to read out to her players, and the stats for the one or more robots involved in the encounter. The writeup for each robot includes its normal reactions, so that the Game Master can easily gauge its actions. The Game Master will need to refer to the Metamorphosis Alpha rules for descriptions of the various Miscellaneous, Defensive, Weapon, and other systems installed into each of the robots, and in some cases will need to prepare an encounter to fit into her campaign, but others can be dropped straight in with almost no or little preparation. Their theme is always though, that of ‘robots gone awry’.

Robots Among Us includes encounters with warbots, security bots, horticultural bots, cargo bots, servant droids, bomb disposal bots, cleaning bots, med bots, and more. In ‘Bunker Bots’ the Player Characters are attacked out of the blue by a damaged bot, and tracking it back to its source reveals more; in ‘War Unit’, the Player Characters are visiting a village when they see a battle involving military bots nearby—do they join in, wait to salvage the battle, locate the source of the robots, or all three?; whilst in another village, everyone comes under attack by a host of war machines, but is saved by an intelligent tank that sat dormant for centuries almost like a statue outside the village! Given the short length of the encounters in Robots Among Us, it should be no surprise that many of them are combat orientated. Some of the more interesting encounters involve more roleplaying—upon the part of both Game Master and her players—than combat and whose events will play out over the course of several sessions beyond the pages of Robots Among Us. For example, in ‘300 Years And Counting’, the Player Characters encounter a robot butler who is still awaiting the return of its former masters and will treat them differently depending upon whether they are Humans, Mutated Humans, Mutated Animals, or Mutated Plants, a theme which runs throughout Robots Among Us and Metamorphosis Alpha and its subsequent descendants. Similarly, in ‘Mother Knows Best’, the Game Master gets to ramp up the camp when the Player Characters encounters a ‘Orabelle 3,000 Matron Unit’, and it starts to clean up after them and actually clean them and admonish them when they take actions which it perceives is dangerous!

Physically, Robots Among Us is well presented , neat and tidy, and an engaging read. In places, it could have been better organised to make it clear quite what is happening in each encounter. If there is an issue with Robots Among Us, it is perhaps that too many of the encounters do involve combat rather than other forms of conflict or engagement. However, that does make them easier to use by the Game Master, but it does also mean that the Game Master will want to use the encounters to be found in Robots Among Us judiciously, to mix them up with encounters. Of course, Robots Among Us provides plenty of support for the Metamorphosis Alpha Game Master, but this is supplement for a post apocalypse roleplaying game, so there is also a lot here which could be brought into the post apocalypse roleplaying game of the Game Master’s choice, whether that is Gamma World or Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic or any of the others. The content in the individual entries would require some adjustment, but the parred-back stats in Metamorphosis Alpha would make that relatively easy.

Robots Among Us is a useful supplement, a supplement which the Game Master can pull off the shelf and peruse and prepare an encounter with relative ease—some encounters require more preparation times than others. Robots Among Us provides solid support for Metamorphosis Alpha, and with a little bit of effort, for other post apocalypse roleplaying games too.

I will admit it.  I kinda take GaryCon for granted.  It's a fun con and it usually happens around my kid's spring breaks and it is only about an hour-long drive.  We can go there, play some games and sleep in our own beds afterward.

 Well, leave it to this pandemic to let me know what got once it is gone!

This year I, along with the rest of Elf Lair Games, will be running some NIGHT SHIFT games for Ethereal Gary Con XIII. 

This year I am running NIGHT SHIFT: Veterans of the Supernatural Wars along with Elf Lair Games founder Jason Vey and Derek Stoelting (one of our long-time collaborators from our Eden Studios days).

Registration for badges is ongoing, event registration has begun for some badge holders and will open up next week.

Here are the games we are running.

Spector Detectors! is my game.  Here are some details.You are the SPECTOR DETECTORS! The hottest ghost hunting channel on FaceTube! Or at least you will be, one day. Right now you are busy checking out every reported haunted house in the tri-county area. Your team knows that the ghosts are fake, with a little bit of technological know-how and some good-sounding esoterica. You hope your next assignment, the historic Willow Crest Manor, will be your ticket to internet fame, glory, and plenty of advertising impressions.

Let’s Get Detecting!

This introductory NIGHT SHIFT game is run by RPG co-designer Tim Brannan.

Event Number 1026
Saturday at 2:00 PM (Central Time)
Hosts Timothy S. Brannan (1749)
Room 04 - Fate of the Norns Room
Duration 3 hoursHere are all the other games running as well.

I wish I could play them all, to be honest.  It has been YEARS since Derek, Jason and I have thrown dice together at a Con.  

NIGHT SHIFT should appeal to fans of old-school games and modern supernatural/paranormal fiction fans.   Essentially if you like the work we all have done of previous games (Buffy, AFMBE, Ghosts, AA, and more) then you should enjoy this.

I'll post when the games are ready for registration.

Annie Parnell / March 10, 2021

Originally released one month after the Apollo 11 moon landing, Jim Sullivan’s psych-folk hidden gem UFO (1969) is characterized by a drifting kind of hopefulness. Over the floating strings and upbeat horns of The Wrecking Crew, who famously backed The Beach Boys and Phil Spector, the album’s lyrics consider alien abduction and psychic links with loved ones with a curiosity tinged with despair. Sullivan weaves these unearthly themes together with transitory imagery of highways and train stations, a cosmic American landscape that calls to mind Gram Parsons, who he is frequently compared to. Throughout, he searches earnestly for connection, in “Whistle Stop” asking, “Do you know the feeling? Can you love someone you’ve only met a while ago?”

UFO paints love as an otherworldly link with another person who can “hear what I am thinking,” and the album’s title track extrapolates this idea further to consider the notion of divine love. Sullivan, who was raised Irish Catholic and is described by his son Chris as having grown up in an “age of exploration,” wonders in the song if the Second Coming of Christ might arrive by UFO, an idea that’s since been amplified by his better-known space-rock contemporary David Bowie. Jim, however, is no Ziggy Stardust—where Bowie’s odes to an alien messiah are jubilant, “UFO” is inquisitive and a little guarded, with a refrain that insists that he’s only “checking out the show.” For Sullivan, it’s not only hard to comprehend the seemingly telepathic sense of connection that true love offers—on both an interpersonal and a godly scale, it’s almost impossible to believe in it.

It’s a potent sentiment, and Sullivan’s idiosyncratic, wandering lyrics parallel the mystery that surrounds his life. Chris Sullivan explained to the New York Times in 2016 that Jim resented “the idea that he might have to be a square and go work for someone else,” but despite attracting the attention of Playboy Records and celebrity fans like Farah Fawcett and Harry Dean Stanton, his music career failed to pick up steam. This struggle between the talent he so clearly possessed and the recognition that stayed out of his reach is preternaturally visible on his debut album: in the song “Highways,” Sullivan is both dogged and lost, clearly stuck but stubbornly rebuking a world that refuses to let him live by his own rules. 

Six years after UFO’s release, Sullivan decided to drive cross-country to try and catch a break in Nashville. Along the way, he checked into a hotel in Santa Rosa, New Mexico, bought a bottle of vodka at a local liquor store, and disappeared without a trace. His Volkswagen Beetle was found abandoned at a nearby ranch. In the passenger seat were his wallet, his guitar, and a box full of copies of both his sophomore release Jim Sullivan (1972) and UFO. The latter’s listing on the label Light in the Attic’s website describes a conversation in which he claimed that if he ever had to disappear, “he’d walk into the desert and never come back.” Others point to a stop by police near Santa Rosa, which, as Chris notes grimly in an interview with FLOOD Magazine, has “a way of making people disappear.” A short documentary made by Light in the Attic touches on another theory: that he was abducted by aliens. Regardless, as his son points out, Jim was “great at what he did,” and the music on UFO is as intimate as it is enigmatic, asking questions about existence, the universe, and our place in each.

Sullivan’s quip in “UFO” that “too much goodness is a sin today,” as well as his gaze towards the stars for salvation, might have resonated with Judee Sill—another unsung singer-songwriter whose debut album Judee Sill (1971) is stuffed with references to aliens and the paranormal. A former church organist, she mixes these occult images more explicitly than Sullivan with Christian spirituality, crafting an intimate assortment of lyrical confessions that she once described as “Country-Cult-Baroque.” On “Crayon Angels,” the album’s opener, she sings gently that she is “waiting for God and a train to the astral plane.” Throughout the album, Christ continues to appear to her in a variety of far-out forms, including an “archetypal man” who’s “fleeter even than Mercury” and whose “moon mirage is shining.” 

In “Enchanted Sky Machines,” a gospel-influenced ballad near the album’s close, Judee is especially hopeful, blending salvation and spacecraft in a way that distinctly evokes “UFO.” On the live album Songs of Rapture and Redemption, she explains candidly that this song is “a religious song about flying saucers coming… to take all of the deserving people away.” Her Live in London BBC recordings reveal a deep-seated belief, explored through this alien metaphor, that “deserving people will be saved.” Unlike Jim Sullivan’s passive and cautious “checking out the show,” however, Judee’s hope for an alien, ’70s-style rapture is yearning, open, and at times deeply anxious. Early on, she admits—to God or to us?—that she “could easily love you if you’d just let me feel”; by the second chorus, she begs the titular “sky machines” to “please hurry.”

This urgency behind Sill’s search for space-age saviors seems intrinsically tied to the adversity she faced during her life on Earth. Sill began her career after spending time in jail for forgery and narcotics possession; a letter she sent along with her demos to Asylum Records detailed the ways her struggles with addiction had informed her music. She died at age 35 of an apparent drug overdose that was controversially ruled a suicide. A musing note about life after death that was found on the scene has been contended by those who knew her as a misinterpreted diary entry, or else the first draft of a song. 

Just as there’s more to Jim Sullivan than his disappearance, though, Judee Sill’s music goes well beyond a reflection of her personal tragedies, and her transformative ideas about God, love, and the universe are intrinsic to her work. Openly bisexual, she had public relationships with both men and women, and once described to Rolling Stone a fluid vision of gender, sexuality, and religion drawn from Carl Jung’s masculine force of the “animus” and feminine force of the “anima.” Her music is preoccupied with radical philosophical senses of redemption and acceptance, each with its own unearthly tint. “Jesus Was a Cross Maker,” for instance, delves into the grueling process of forgiving a former lover, written while she read Nikos Kazantzakis’s 1955 novel The Last Temptation of Christ. “Lopin’ Along Through the Cosmos” portrays her searching for answers among the stars, all the while insisting serenely to her listeners that “however we are is okay.” 

Outer space seems to suggest some of the same possibilities to both Sullivan and Sill: acceptance, transcendence, the possibility of leaving behind a flawed world where good and deserving people who chafe against societal norms are punished for it. Turning to the universe for solace when the world rejects you is an intrinsically reclamatory act—not only does it argue that the bindings of normative society are escapable, it also suggests that they’re not inherently natural or inborn. Jim Sullivan’s search for love and freedom within a repressive capitalistic framework is perhaps most zealous on “Highways,” when he insists that “my world is real, yours a dream,” while Judee Sill’s earnest belief in a better place is clearest on “Enchanted Sky Machines,” as she reassures the listener (or herself) that it “won’t be too far away.” 

This idea of a futuristic alien society more accepting than our own is certainly not a foreign one. In fact, it’s now a hallmark of the way that science-fiction themes have been explored in modern music, from Janelle Monáe’s Afrofuturist android-centric concept albums to The Butchies’ audacious queer punk anthem “The Galaxy is Gay.” Sullivan and Sill’s metaphysical pickings, however, came long before the social justice crossroads currently faced by modern country music, a realm that’s historically been considered a bastion of American conservatism. Like fellow ’70s trailblazers Lavender Country, UFO and Judee Sill not only call this characterization into question, but turn it on its head, using interplanetary imagery to imagine an open-minded world of country and folk decades before Nashville’s Music Row began to catch up with them. The holy connections each artist makes lend an additional layer of sanctity to the search—Sullivan and Sill suggest that not only is it natural and acceptable to diverge from the prescribed earthly norm, but it’s also righteous, sacred, and true.

In the decades since its original release, Jim Sullivan’s UFO has gone on to inspire folksy indie darlings like Okkervil River and Laura Marling, who have carried his ruminations to a new millennium of listeners. On the 2016 collaboration album case/lang/veirs, artists Neko Case, k.d. lang, and Laura Veirs paid tribute to Sill with “Song for Judee.” Another tribute album, Down Where the Valleys Are Low: Another Otherworld for Judee Sill, is due to come out this month. The modern resonance of these artists’ messages, half a century after they slipped into relative obscurity, is both tragic and hopeful. We certainly haven’t reached the utopia of Jim Sullivan’s UFOs and Judee Sill’s sky machines, but perhaps their songs provide their own kind of deliverance—a soothing, abiding prayer that a better world may be out there after all.

Annie Parnell is a writer and student based in Washington, D.C. who hails from Derry, Maine.

 

I am considering doing the A to Z Blogging Challenge again this year.  It's been a couple of years since I have done it.  I was feeling I was alienating my regular readers with it in favor of people just coming through from the Challenge.

So this year I wanted to do something that any and all readers would enjoy.   This year I am doing Monsters.

The idea here is to give me some external motivation to get my two monster books done.

For new readers, there will monsters which are always fun. Since many come from the tales of fantasy,  myth, and folklore maybe there will be something they can use for their own writing or just enjoyment. For my regular readers, new monsters with stats.  I am also looking for all sorts of feedback on not just the monsters, but the stat blocks as well.

The one I have been using on my Monstrous Mondays has been working well for me, but I am sure I can tweak it some more.

The monsters for April A to Z will likely favor the Basic Bestiary I, covering all sorts of witchcraft-related monsters with plenty of fae and undead, but I am not ruling out some demons for Basic Bestiary II.

Both books will come in softcover (Basic red) and hardcover (orange spine) versions.  So they will work with whatever version of the game you are playing.  The interiors are the same with stat blocks designed to work with both the "Basic" and "Advanced" versions of the game.

So far Basic Bestiary has over 330 monsters with 156 of them complete.  The others are various points. 

Basic Bestiary II has over 500 demons, devils, and related monsters.

I am also going with my own compatibility logos on these since they really have gone beyond one system or the other.  They are still largely "Basic" in nature, but as you can see from my Monstrous Mondays stat blocks they have a little bit of everything in the OGC.  I am going to use this month to experiment.

You can see others doing their theme reveal over at the A to Z Blog until March 20.

On Sunday, March 7th, Frank Thorne, the legendary Red Sonja artist, and writer, passed a few hours after his wife Marilyn.  He was 90.

Fans of Red Sonja all know Frank's work from the mid to late 70s. In truth, he defined the character nearly as much as Robert E. Howard, Roy Thomas, and Barry Windsor-Smith.

He certainly left his mark on her enduring legacy.

He was also known for Ghita of Alizarr and "Lann" in Heavy Metal magazine. He was an early cosplayer, taking on the role of "the Wizard."  He would then judge Red Sonja look-a-like contests.  Wendy Pini’s Sonja would be with him at many of these conventions and shows and predated the modern cosplay scene by decades.

Red Sonja

I have done stats for Red Sonja in the past for all sorts of systems:

• Army of Darkness
• Spellcraft & Swordplay
• Mutants and Masterminds 3rd Edition
• Barbarians of Lemuria
• Astonishing Swordsmen & Sorcerers of Hyperborea
• Ghosts of Albion

Feels like a good time to update her to Old-School Essentials, Advanced Fantasy.

Red Sonja 
13th Level Barbarian
(Old-School Essentials)

Strength: 15
Intelligence: 16
Wisdom: 11
Dexterity: 17
Constitution: 11
Charisma: 18

Alignment: Neutral (chaotic good)

Hit Points: 72
AC: 0 (special scale mail 4), +4 bonus
THAC0: 10 [+9]

Saves
D:3 W:5 P:4 B:5 S:5

CS: 99%
HG: 56%
MS: 50%

Weapons
Sword +2, Great Axe, dagger

Thorne "The Wizard"
14th Level Wizard

Strength: 13
Intelligence: 18
Wisdom: 14
Dexterity: 16
Constitution: 11
Charisma: 15

Alignment: Neutral (neutral good)

Hit Points: 34
AC: 6 (Robe of Protection)
THAC0: 10 [+9]

Saves (+3, Robe of Protection)
D:5 W:6 P:5 B:8 S:5

Spells
First level: Detect Magic, Magic Missle, Read Magic, Shield
Second level: Detect Evil, Levitate, Locate Object, Wizard Lock
Third level: Fire Ball, Fly, Protection from Evil 10', Protection from Normal Missiles
Fourth level: Confusion, Dimension Door, Curse, Wizard Eye
Fifth level: Contact Higher Plane, Telekinesis, Teleport
Sixth level: Anti-Magic Shell, Disintegrate, Projected Image

Thorne is Red Sonja's wizard patron. He provides her with magical arms and armor. He is rather over-fond of attractive women. 

I have been digging through some old documents this past week. Some old Ravenloft ones (the new Ravenloft book has me excited), some stuff on Irish myths (it is March after all), and even some of my old Color Computer files (I have...my reasons).  One thing that came up a few times was an adventure I had written for Ravenloft back in 88 or 89 that featured a group of Swanmays and their betrayal and the hands of a drow assassin. 

While the adventure itself would need some serious reworking to make it ready for primetime, I did do a lot of research on Swanmaidens, Swan women, and other similar creatures.

I figured an update was in order.

Gwragedd Annwn (Swan Maidens)
Medium Humanoid (Fey)

Frequency: Rare
Number Appearing: 1d4 (1d6)
Alignment: Lawful [Neutral Good]
Movement: 120' (40') [12"]
   Fly (in swan form): 180' (60') [18"]
   Swim: 150' (50') [15"]
Armor Class: 7 [12]
Hit Dice: 2d8* (9 hp)
   Gwragedd Annwn, 3rd level: 3d8* (14 hp) 
   Gwragedd Annwn, 4th level: 4d8* (18 hp) 
   Gwragedd Annwn, 5th level: 5d8* (23 hp) 
   Gwragedd Annwn, 6th level: 6d8* (27 hp) 
   Gwragedd Annwn, 7th level: 7d8* (32 hp) 
   Gwragedd Annwn, 8th level: 8d8* (36 hp) 
   Gwragedd Annwn, 9th level: 9d8* (41 hp) 
   Gwragedd Annwn, 10th level: 10d8* (45 hp) 
   Gwragedd Annwn, 11th level: 11d8* (50 hp) 
   Gwragedd Annwn, 12th level: 12d8* (54 hp) 
   Gwragedd Annwn, 13th level: 13d8* (59 hp) 
   Gwragedd Annwn, 14th level: 14d8* (63 hp) 
Attacks: claw, claw, bite
Damage: 1d6+4 x2, 1d8+4
Special: Shape change, magic required to hit, Swan Song
Size: Medium
Save: Fighter 2-14
Morale: 10 (12)
Treasure Hoard Class: VI (U)
XP: 25 (OSE) 29 (LL) 
    3rd level: 50 (OSE) 65 (LL) 
    4th level: 125 (OSE) 135 (LL) 
    5th level: 300 (OSE) 350 (LL) 
    6th level: 500 (OSE) 570 (LL) 
    7th level: 850 (OSE) 790 (LL) 
    8th level: 1,200 (OSE) 1,060 (LL) 
    9th level: 1,600 (OSE) 1,700 (LL) 
   10th level: 1,600 (OSE) 1,700 (LL) 
   11th level: 1,900 (OSE) 2,000 (LL) 
   12th level: 1,900 (OSE) 2,000 (LL) 
   13th level: 2,300 (OSE) 2,450 (LL) 
   14th level: 2,300 (OSE) 2,450 (LL) 

The Gwragedd Annwn, also known as Swan Maidens, are humanoid maidens capable of turning into a swan. They only have this power while they remain unmarried. In this state, they are also considered to be creatures of the Fey.

All Gwragedd Annwn are rangers of a level equal to their HD. They will be equipped accordingly. Instead of cleric and magic-user spells these warriors may choose druid and witch spells respectively. They are fierce enemies of evil and chaos and fight it wherever they can.

They can attack with any weapon of their choosing. Most prefer to use finely crafted swords or longbows.

Employing a feather token they can transform into a large swan. It is believed that once they take a husband, they must give this token to him. Many are loathe to do that.

Many feel they can trace their lineage back to the great king Lir whose children were transformed into swans by their jealous step-mother.

Swan Song: If a Gwragedd Annwn is reduced to 0 hp she can begin a Swan Song.  This song is similar in power to the Banshee keening, and will cause all around her, foe and friend, to experience profound sadness and will be unable to take any further action (no saving throw permitted).  If she is heard by her sisters they will fly to her in swan shape to return her to their sanctuary.  At this point she will either be healed or will die.  It is believed that a swan song can only be used once in the life of a Gwragedd Annwn.

 Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition, the Jonstown Compendium is a curated platform for user-made content, but for material set in Greg Stafford’s mythic universe of Glorantha. It enables creators to sell their own original content for RuneQuest: Roleplaying in Glorantha, 13th Age Glorantha, and HeroQuest Glorantha (Questworlds). This can include original scenarios, background material, cults, mythology, details of NPCs and monsters, and so on, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Glorantha Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Glorantha-set campaigns.

—oOo—

What is it?
Renharth Blackveins presents an NPC, his entourage, and associated cult for use with RuneQuest: Roleplaying in Glorantha.
It is a twenty page, full colour, 1.46 MB PDF.
The layout is clean and tidy, and its illustrations good.

Where is it set?
Renharth Blackveins is nominally set in Sartar, but the NPC and his entourage can be encountered almost anywhere the Game Master decides.

Who do you play?
No specific character types are required to encounter Renharth Blackveins. Humakti characters may benefit from their interactions with Renharth Blackveins.

What do you need?
Renharth Blackveins requires RuneQuest: Roleplaying in Glorantha as well as The Red Book of Magic.

What do you get?
The second volume of ‘Monster of the Month’ presents not monsters in the sense of creatures and spirits and gods that was the feature of the first volume. Instead, it focuses upon Rune Masters, those who have achieved affinity with their Runes and gained great magics, mastered skills, and accrued allies—corporeal and spiritual. They are powerful, influential, and potentially important in the Hero Wars to come that herald the end of the age and beginning of another. They can be allies, they can be enemies, and whether ally or enemy, some of them can still be monsters.
The second entry is Renharth Blackveins, which details a Death Lord, a Rune Lord of Humakt who embodies his master through ‘Humakt Indomitable’, a subcult of Humakt. Deeply honourable, he is feared duellist who always fights fairly to match any opponent, including the use of support of some fearsome bound spirits, chief of which is Liberator, an woken enchanted iron sword that is a fragment of the Unbreakable Sword known as Humakt. Challaren, Renhearth’s swordboy, normally carries Liberator and Renhearth only calls for it when faced with a worthy opponent. Despite currently leading Boldhome’s ‘Household of Death’, Renhearth prefers single engagements to mass battles, and as Death Lord of Humakt Indomitable has overcome ‘death as malice’ and his former hatred of the Lunar Empire which drove both himself and his brother to resist the Lunar occupation of his homeland. Captured and forced to serve himself as a swordboy to a Lunar captain, Renharth would come to see the honour in his former enemies.
In addition to detailing and providing full write-ups of Renharth and his entourage—including several very powerful allied spirits, Renharth Blackvein includes a write-up of the subcult, ‘Humakt Indomitable’ which represents the enduring, impossible to subdue or defeat nature of Humakt. It can be joined by the usual means and requires the initiate to swear another geas, specifically an undertaking that requires dedication to a lifelong task or prohibition. Especially if the new geas has the potential for tragic consequences.
Several suggestions are given as to how to use Renharth, noting that he is a deadly enemy, capable of killing most Player Characters. Perhaps the most interesting way to use him in the long term is as a swordmaster as he accepts students from many religions or as an actual mentor to a Player Character. Above all though, it makes clear that in conquering both his malice and that of death, Renhearth is a pleasant rather than a miserable character. The supplement comes with two scenario seeds, both of which need a little development upon the part of the Game Master.
Is it worth your time?Yes—Renharth Blackveins presents a straightforward, even pleasant aspect of Humakt, who can be an interesting supporting NPC or mentor, and if the Player Characters are powerful enough, a truly indomitable foe.No—Renharth Blackveins present a straightforward, even pleasant aspect of Humakt, who may differ too much from the traditional view of Humakt and who might be too strong a rival for the Player Characters or too powerful an NPC if they are prone to antagonising others.Maybe—Renharth Blackveins presents a straightforward, even pleasant aspect of Humakt, who may differ too much from the traditional view of Humakt and who might be too strong a rival for the Player Characters or too powerful an NPC if they are prone to antagonising others.

A Wicked Secret and Other Mysteries is an anthology of scenarios for Vaesen – Nordic Horror Roleplaying, the Sweden-set roleplaying of folkloric horror set during the nineteenth century. It presents four mysteries which will take the members of the Society, the organisation which investigates the situations which arise from the clash between modern society and the traditions that have grown up from living alongside the supernatural creatures called Vaesen, to the boundaries of Sweden—and just beyond. In turn they take the Player Characters to the west coast of Sweden where sudden wealth has been found on Wrecker Isle, into the northern forests where logging expansions have been hampered by tales of a strange beast, to the resort town of Mölle on the south where sin and murder can be found together, and to an island off the coast of Estonia where a mother has been driven to try and drown her new born baby.

All four adventures follow the same structure. The ‘Background’ and ‘Conflict’ explains the situation for each scenario, whilst the ‘Invitation’ tells the Game Master how to get the Player Characters involved. In A Wicked Secret and Other Mysteries, the primary form of ‘Invitation’ is the letter, which will typically summon the Player Characters to the town or village where the mystery is taking place, the getting there detailed in the ‘Journey’, typically a mix of railway and coach journeys. It should be noted that every mystery has moment or two when the Player Characters can prepare and goes into some detail about the journey. There is an opportunity for roleplaying here, perhaps resulting in longer travel scenes than the core rulebook necessarily recommends. The ‘Countdown and Catastrophe’ presents the Game Master with one or two sets of events which take place as the Player Characters’ investigation proceeds, sometimes triggered by the Player Characters, sometimes triggered by the NPCs, whilst ‘Locations’ cover NPCs, Challenges, and Clues, all leading to a ‘Confrontation’ and its eventual ‘Aftermath’. For the most part, the mysteries are well organised, a mix of the sandbox and events which the Game Master will need to carefully orchestrate around the actions of her Player Characters. Only the most pertinent of the locations in each town or village is described and the Game Master is advised to create others as needed, though she will very likely need a ready list of Swedish names to hand for whenever the Player Characters run into an NPC or two.

One issue with the anthology is its lack of geography and history. Sweden at the time when A Wicked Secret and Other Mysteries and Vaesen – Nordic Horror Roleplaying is unlikely to be a familiar place to many Game Masters or their players. So, some context might have been useful, such as why the island of Oesel, located off the coast of Estonia, is part of Sweden rather than Estonia at this time or the seaside resort of Mölle’s scandalous reputation for mixed bathing on its beaches at this time. However, a little research upon the part of the Game Master will offset this. Another is that there is advice as to how to use these in a campaign. They would themselves all together not work as a campaign as beyond the letters to the Society summoning the Player Characters to each mystery and each mystery involving Vaesen there is nothing which connects the quartet. They are better used as one-shots or slotted into an existing campaign.

Another issue is the similarities between the four scenarios. Each of the four takes place at the four corners of Sweden—North, East, South, and West—and that does mean that getting to any one of them involves lengthy travel. All have priests who play ultimately negative roles in the mysteries, and it would have been interesting to see some variation to that. Likewise, it would have been interesting to see what an urban mystery for Vaesen – Nordic Horror Roleplaying looks like to contrast this similarity.

The anthology opens with ‘The Silver of the Sea’. A priest requests the Society’s help after his mentor has been found dead, supposedly of a self-inflicted gunshot wound, after visiting Wrecker Isle, the bleak, rocky archipelago off the west coast of Sweden. Here the Player Characters will discover something fishy is going on—and not just the smell from the fishing industry which has made many men rich. Combining insular natives with a piscine theme lends ‘The Silver of the Sea’ a hint of Lovecraft’s dread Innsmouth, but there are no Deep Ones here. This is Vaesen – Nordic Horror Roleplaying, not Call of Cthulhu. The Game Master has some fun NPCs to portray and ultimately, whatever way the Player Characters resolve the situation on Wrecker Island, someone will suffer—and not necessarily the villains of the piece. This will occur more than once in the scenarios in A Wicked Secret and Other Mysteries.

If ‘The Silver of the Sea’ feels open and bleak, exposed to the Baltic Sea, ‘A Wicked Secret’ feels constrained and isolated in comparison. The Player Characters are hired by an industrialist who wants to log the rich forests around the village of Färnsta, but his opening efforts to negotiate with the villagers have come to nothing after one employee fled the village babbling about a beast with red eyes and the other went missing. The village will initially feel welcoming, but all too quickly the Player Characters will find themselves being hunted as their inquiries trigger a response from the same threat faced by their patron’s employees. There is potential here for a red herring, but otherwise this is an entertaining scenario.

‘The Night Sow’ takes place in the seaside resort of Mölle in southern Sweden where amongst sun, recreation, and mixed bathing, there have been a series of murders and disappearances. This time, the members of the Society are asked to investigate by the women who encouraged the Player Characters to re-establish the Society, as one of her former colleagues is staying in the town. The relationship between the two women is mentioned, but not explored in depth, the likelihood being that it will be expanded upon in a future supplement. Once in Mölle, against a background of social tension over the scandalous activities on the beaches—an aspect which the adventure could have made more of, the Player Characters will encounter strange hotel guests, a reclusive lighthouse keeper, and a beast which hunts the Mölle peninsula.

The last scenario, ‘The Son of the Falling Star’, takes a more personal turn when one of the Player Characters receives a letter from his cousin and noted sociologist, Hugo von Kaiserling, requesting his help. Hugo’s wife recently gave birth to their first child, but she has turned against the boy, believing him to be evil so much that she attempted to drown him—forcing her husband to commit her to the local sanitorium. The local priest’s solution is an exorcism, but Hugo refuses to believe in any of this supernatural nonsense, so wants the Player Characters’ help. They of course, know better, and once on the island of Oesel, will need to steer a course between the husband’s scientific rationalism and the wife’s (and that of the priest) fears of the ungodly. Of the four scenarios in A Wicked Secret and Other Mysteries, ‘The Son of the Falling Star’ takes a slightly different tone in not presenting the Vaesen as monsters and presenting opportunities for the Player Characters to interact with them rather than confront them. This is a refreshing change that brings the quartet in the anthology to a more interesting and nuanced climax.

As with the core book, A Wicked Secret and Other Mysteries is a beautiful book. It is nicely laid out, the artwork is excellent, the handouts are good, and the maps are good too. It should be noted that as a physical artefact . the book actually feels good in the hand. Two nice touches are the inclusion of some sketches at the end of the book and there being two versions of each handout—a plain text one for the Game Master for easy reference and one for the players and their characters done in period style. This really is a good reason to see the handouts printed twice and other publishers should take note.

The investigations in A Wicked Secret and Other Mysteries are not necessarily wholly original, their mysteries and threats being easily replaced by something from the Mythos or something from common folklore. However, what makes the mysteries stand out is the Vaesen, the morality which underpins each mystery, and the consequences of upsetting the balance between the Vaesen and men. These are folkloric mysteries which result from the breakdown in the relationship between men and Vaesen which comes with the clash between tradition and modernity, and there is invariably a price to be paid for this breakdown, often in resolving each mystery and after… A Wicked Secret and Other Mysteries is an excellent and engaging quartet of mysteries, pleasingly different in the challenges and mysteries they present, and absolutely what the Vaesen – Nordic Horror Roleplaying Game Master should have on her shelf.

Roger Corman.  

What can I say about Roger Corman?  Well, to be honest, I am a huge fan. Sure his movies are schlock and represent some worst D-level movies and it is obvious that most of his casting choices were based not on the actress's ability to act but rather their willingness to take off their clothes.  But all that aside Corman is praised for his ability to keep a tight production schedule, find people that are willing to work with him again and again, and keep a film under budget and on time.

There are also many, many modern directors that have worked with him and praised his work. Directors such as Francis Ford Coppola, Ron Howard, Martin Scorsese, Jonathan Demme, John Sayles, and James Cameron. Ron Howard has been praised Corman's work on many occasions.  He has over 400 producer credits and 56 director credits. 

Corman is only the EP here, but there are plenty of similarities between this movie and Viking Woman from 1957.  

Barbarian Queen (1985)

Barbarian Queen is a fairly typical fantasy fare.  A barbarian queen, Amethea (played by the late Lana Clarkson who was killed by Phil Spector) is due to be married to Argan (Frank Zagarino) when her village is attacked by raiders. People are killed and others taken as slaves.  Amethea and her friends Estrild (Katt Shea, who is likely the best actress in the bunch), Tiniara (Susana Traverso), and former victim Taramis (Dawn Dunlap) seek to free their people including Amethea's fiance.  They meet up with Dariac (Andrea Scriven in her only role), a young girl who lives with the local rebels who enlists the barbarian's aid. 

The first part is an excuse for some gory fights and a bunch of topless barbarian women running around or getting captured.  I'll the movie credit, it does like to show the barbarian women as being strong and powerful.  

Our big bad guy is Arrakur (Arman Chapman), he captures our heroines and threatens them with torture and death. 

Argan manages to get his fellow gladiator-slaves to join him.  The movie gets to the big fight and then just ends. Must have run out of money.

The movie is not terrible, it is just also not good. It could be the spiritual godmother to Xena: The Warrior Princess.  Though that Boris Vallejo movie poster is actually the best part of the movie.

Katt Shea is fun to watch really. She looks like she is having the best time of her life acting in this. 

Gaming Content

There is a torture chamber that would be good dungeon dressing. I like the idea of this being a "Queen needing to rescue the Prince" for once.

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Tim Knight of Hero Press and Pun Isaac of Halls of the Nephilim along with myself are getting together at the Facebook Group I'd Rather Be Killing Monsters to discuss these movies.  Follow along with the hashtag #IdRatherBeWatchingMonsters that is if I can get my co-admins to agree this is the best hashtag for this!

A SPECIAL Zatannurday today.

Normally I talk about DC's resident backward talking magician in fishnets, but today let's spend some time with her Marvel universe counterpart and talk Wanda, Scarlet Witch, and WandaVision!

Ok, so I am going to TRY to avoid big spoilers for this week's big finale, but I am going to talk about some plot points of episodes 8 and 9.  Not huge ones, I hope, well...one is. 

Anyway, you have been warned!  (OH and a minor Runaways spoiler too.)

So, it is not a huge secret that really I am not (or rather, was not) a huge fan of Wanda and Scarlet Witch.  She was fun and all, but when it comes to magic in Marvel I am much more a fan of Dr. Strange.  

WandaVision, and Elizabeth Olsen, have changed my mind.

The story is actually a simple one of grief pushing someone to the edge, and then right over the side into a weird alternate reality.  

We see Wanda, as wonderfully described by Agatha Harkness/Agnes (played by the WONDERFUL Kathryn Hahn in what is the casting of a lifetime really) as "a baby witch with years of therapy ahead of her" instead join a radicalized group (HYDRA we later learn in the movies) and "Little orphan Wanda got up close and personal with an Infinity Stone that amplified what otherwise would have died on the vine."  (Episode 8)

In just under 50 minutes we get the best version of Wanda's origin story ever that also explains her powers.  She wields chaos magic and in Agatha's own words,

You have no idea how dangerous you are. You're supposed to be a myth, a being capable of spontaneous creation. Here you are, using it to make breakfast for dinner. Oh, yes, your children, Vision, this whole little life you've made. This is chaos magic, Wanda. That makes you... the Scarlet Witch.

Now that is something.  The Scarlet Witch is not her code name, but a title, a "The" as it were.  That would make something akin to the Imbolc Mage that I use in my games; a superpowerful witch capable of spontaneous magic.  I do love a good prophecy about a superpowerful witch.

Beyond that the series, especially episode 8 was full of great material from Vision's "But what is grief, if not love persevering?" to Wanda's breakdown in the home that Vision bought for them (and pure Emmy-bait for Olsen).

But what I think is best about this whole series is not that it is about superpowerful people. It's about things we can relate to.

We are not watching Wanda because she is the Scarlet Witch, we are watching because she was a little girl, who loved her family, her bother, and learning to speak English by watching bootleg DVDs of American sitcoms. She lost her family, her brother, and the love of her life and despite being powerful there isn't a thing she can actually do about it.  In the end that is something that everyone can relate to.

Including Agatha "And I Killed Sparky too" Harkness is just the delicious icing on an already great cake.

And that is not even getting into anything else like fake Pietro (called that one early on too!) or even my FIRST Captain Marvel, Monica Rambeau as Photon.  OH and another appearance of the Darkhold! The first was in Runaways Season 3.

Not sure if there will be a Season 2 or not, but it sets things up nicely for the next Doctor Strange movie.

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

—oOo—
The Journal of the Travellers’ Aid Society has a long and storied history. The long running magazine dedicated to GDW’s classic roleplaying game of Imperial Science Fiction originally ran to twenty-four issues, before being folded into Challenge magazine. The twenty-fifth and twenty-sixth issues were published by Imperium Games in 1996 and 1997, before appearing as an online magazine licensed by Steve Jackson Games. More recently, The Journal of the Travellers’ Aid Society was resurrected as a set of six volumes by Mongoose Publishing for the second edition of its version of Traveller and funded via a Kickstarter campaign.

The Journal of the Travellers’ Aid Society Vol. 1 is a one-hundred-and-twenty-eight page digest-sized book, done in full colour and organised into nine different departments which provide all together provide a range of content and support set across the charted space and history of the Traveller universe. The volume opens with the first entry in the issue’s department with the most entries—‘Charted Space’, which covers a wide variety of different subjects. This is ‘SuSAG’, a history of Schunamann und Sohn, AG, one the Third Imperium’s largest megacorporations and one that specialises in biology, chemistry, genetic engineering, and pharmaceuticals, both production and research—the latter resulting in a wide range of closely guarded patents and discoveries. The article provides a history and an explanation of how the company works, both within the borders of the Third Imperium and without, notably the secret production of psionic drugs. It also covers its policies, goals, corporate and government relations, and the major spheres of operation. It is a good overview let down by first by a diagram of the corporation’s organisation that is astounding in its utter pointlessness and second a certain lack of advice as to how to use the content.

The entries in the ‘Charted Space’ department continue with ‘Emperors of the Third Imperium’, a list of the forty-two individuals recognised as Emperor of the Third Imperium. This is the straightforward iteration of material which has been printed over and over—to the point that it can be found verbatim online—and only of interest if the reader is wholly new to the Third Imperium setting. The ‘Vargr Corsairs’ article is more interesting and useful though, examine how the lifecycle of the atypical Vargr corsair band, from ships coalescing around charismatic leaders and growing and collapsing or growing and growing. It is supported by a history of the Kforuzeng corsair band as an example, which should inform the Game Master should she want to use one as an NPC faction and the players should they want to run one! ‘A Concise History of the Vilani’ covers the thousands of years of history from the first time the Vilani explored space through the Grand Empire of Stars, the Ziru Sirka of the First Imperium and the ossification of the empire to its eventual conquering at the hands of the Terran Confederation. It provides a decent introduction to the broad history of charted space and the lead up to the Third Imperium. ‘Within the Two Thousand Worlds’ is more interesting, primarily because it engages the reader in a first perspective, that of the Noble K’agzi, a K’kree diplomat posted to Capital, the seat of the Emperor of the Third Imperium, as he answers questions posed by an interviewer. It does an excellent job of showing how alien the K’kree really are. Last in the Charted Space department and entry in the magazine is ‘Gazulin Starport’, a description of Gazulin Highport and Downport on Gazulin, the capital of the Gazulin subsector in the Trojan Reaches. Accompanied by a reasonable map, the article will certainly be of use if a campaign visits the world, but can also be a source of inspiration for the Game Master too in developing descriptions and details of her own starports.

The ‘High Guard’ department has three entries. The first of these is really only a paragraph, but offers ‘Burst Lasers’ as an option between pulse and beam lasers. The other two are longer and provide two alternative ships small enough for a group of Player Characters to operate. The ‘Soho class Light Freighter’ is a variation upon the Empress Marava Far Trader, refitted to carry cargo rather than passengers in frontier regions and be able to protect itself using a triple pulse laser turret and a laser barbette! They have also been adopted as Q-ships and been employed by pirates as corsairs. The other ship is the ‘Delphinus-class Starliner’ or pleasure yacht. This is a mini-starliner, just one hundred tonnes, completely streamlined and capable of operating submerged in planetary oceans, intended to carry a limited number of High Passage passengers in greater comfort than is standard for a High Passage. However, it has a light hull, energy-inefficient thrusters, late-Jump Drive, and other detracting factors, but it would be suitable for a campaign which focusses on interaction with NPC passengers or as an alternative to the noble’s standard yacht.

The bulk of the departments in The Journal of the Travellers’ Aid Society Vol. 1 have two entries each. These begin with the ‘Adventure’ department. The first adventure in the issue is ‘The Ship in the Lake’. This is set on the world of Hazel in the Trin’s Veil subsector of the Spinward Marches where mineral survey data has been lost following a rebellion. The Player Characters are hired to locate and retrieve the data, believed to be at the bottom of a lake in the wreck of a ship lost during the early days of the rebellion. They will need to locate and dive on the wreck, but do it without alerting either the planetary authorities or the rebels. This is a nicely done adventure which will need some preparation upon the part of the Game Master especially in terms of developing NPCs, vehicles, and the politics of Hazel—in particular, why there is a rebellion going on. The second adventure is ‘Embassy in Arms’, which is set on the world of Aramanx in the Aramis Subsector. Vargr mercenaries, ideally connected to the Kforuzeng corsair faction or band, are hired to conduct an extraction mission from an embassy using air carriers. Again, the scenario will need some development upon the part of the Game Master. Of the two, ‘Embassy in Arms’ is the shorter and will probably only provide a session or two’s worth of play, whilst ‘The Ship in the Lake’ will provide two or three. What is interesting about both scenarios is their preoccupation with low-military conflicts. ‘Embassy in Arms’ in particular is a nod to the Iranian Embassy occupation in the late nineteen seventies and an attempt to conduct a rescue in-game when the one in the real world failed.

One issue is that both scenarios involve Sternmetal Horizons, LIC, a megacorporation specialising in mining operations and manufacturing. No information about the corporation is given in the pages of The Journal of the Travellers’ Aid Society Vol. 1, yet there is a whole article dedicated to SuSAG, which has no support for it. There is an obvious disconnect here and it makes no sense. Why not curate the content so that articles and adventures are connected and support each other? So that the reader and the Game Master are not forced to ask, “How do I use SuSAG?” and “What is Sternmetal Horizons, LIC?”. Now to be fair, the Vargr Corsairs article does support the ‘Embassy in Arms’ scenario to some degree, but the connections between the various articles in The Journal of the Travellers’ Aid Society Vol. 1 could have been given stronger consideration.

Equipment is covered by two departments—‘Central Supply’ and ‘Vehicle Handbook’, both of which have two entries in the magazine. The two for ‘Central Supply’ are the ‘Remotely Piloted Reconnaissance Drone’ or RPRU, a half-metre sized Tech Level 11 sphere, and the ‘Assault Rocket Launcher’, essentially a magazine-fed mini-rocket launcher, suitable for use in low or zero gravity environments. The first of the entries in ‘Vehicle Handbook’ department details the wheeled ATV or All-Terrain Vehicle in all of its variety. All at Tech Level 12, they include the standard ATV, the Large ATV, the Grav-Assisted ATV, and the Aquatic ATV. The second details the Light Patrol Vehicle and the Light APC—essentially the armoured car/scout and armoured personnel carrier. These are both Tech Level 9 vehicles and the type that can be found across numerous worlds. The contents of all four articles lean towards the utilitarian more than the interesting, especially the vehicles, though the likelihood is that the entry on the ATV will add a little colour to a game since that is what many Player Characters will find themselves crewing in adventures.

The ‘Alien’ department has write-ups of two different species. The first is the Dynchia, a Minor Human Race known for their warriors, but for not being warlike, their highly refined Tech Level 12 technology, and possessing an honour-driven, competitive culture which transcends territory. The second is all but the complete opposite in temperate. The Girug’kagh are a humanoid, Minor Non-Human Race which possess full subject status in the Two Thousand Worlds, and who are mainly seen beyond the borders of the Two Thousand Worlds as the translators and intermediaries among for K’kree. As the first species to attain full subject status, they see themselves as inferior to the K’kree, but superior to every other species in charted space! Full stats are provided for both and each is detailed enough to create Player Characters or NPCs.

The two entries in the ‘Travelling Department’ are connected thematically, both dealing with crime in an age of space travel. The first, ‘Smuggler’s Luck’ looks at the means and economics of transporting goods illegally due to their origin or their destination. Along with advice as to good regions to conduct smuggling operations, also covered is the best type of ships to employ, tools of the trade—like concealed compartments and fake drive components with secret compartments, and an example region where smuggling can be practiced. This is the Collace Arm in the District 268 and Five Sisters subsectors, but would need to be further developed to bring into a campaign. The second is ‘Piracy on the Spinward Main’ which examines the means, motives, and methods of conducting piracy in general before identifying several worlds which could double as pirate havens in the Spinward Marches. Both ‘Smuggler’s Luck’ and ‘Piracy’ on the Spinward Main could add to, or form the basis of a campaign dedicated to, or involving, smuggling or piracy.

Departments with fewer entries include ‘Bestiary’ and ‘Encounters’, both of which have the one article each. The ‘Bestiary’ article details six creatures found across Charted Space. These include the Bushrunner, an omnivorous grazer known for its blue meat and musk glands which are prized by the perfume industry; the hermaphroditic Tree Kraken which drops onto its prey, wrapping its arms around it and grinding at its with its teeth; and the Speedspitter, a shrew-like mammal which can spit seeds from its nose and is often kept as pets. ‘Encounters’ details ‘Simone Garbaldi’, an academic and linguist who claims to have discovered the lost works of an ancient Vilani poet. However, opinion is split as to the veracity of the text—are they real or forgeries? It is up to the Game Master to decide and several ways are suggested as to how this NPC might be used. Both of these articles are nicely done and their content would be fairly easy to add to a game.

Physically, The Journal of the Travellers’ Aid Society Vol. 1 is neatly, tidily laid out. The artwork varies in quality, but most of it is reasonable, and the ships’ deck plans are decent. It needs a slight edit here or there.

Now the six new volumes of The Journal of the Travellers’ Aid Society were never going to contain all new material. It was always planned that they would contain a mix of the old and the new, but the old outweighs the new—thirteen to eight—and in the treatment of the old, let alone the new, there is a sense of appropriation and a certain lack of professionalism to The Journal of the Travellers’ Aid Society Vol. 1. The issue is that although the magazine does list its various authors, it does not attribute individual articles to their respective authors and it does not acknowledge where its various articles have previously or originally appeared. For example, the scenario, ‘The Ship in the Lake’ is by Loren K. Wiseman and originally appeared in Journal of the Travellers’ Aid Society 02, published in 1979, whilst the ‘Soho class Light Freighter’ originally appeared in 1997 in the Traveller Chronicle 13, the Sword of the Knight Publications’ periodical. In neither case, is the author or the source acknowledged. (Traveller fandom though, has provided the information where Mongoose Publishing has pointedly not.) In not properly acknowledging either, what the publisher is doing is presenting the information within its pages as its own, presenting it as new when it is not, and taking a degree of ownership that it does not possess. It is disingenuous and it is disrespectful and it is unprofessional.

If the reader is new to Traveller and The Journal of the Travellers’ Aid Society Vol. 1, then none of the issues with the magazine really matter, since its content will be all new. If the reader is not new to Traveller, then the likelihood is that he will have seen many of the articles the magazine contains before, and yes, some do update content to the current version of the rules, but not all. In fact, the new stats are relatively light in the issue. For the veteran fan of the roleplaying game and its setting, The Journal of the Travellers’ Aid Society Vol. 1 is more a collector’s piece than a brand-new Traveller publication. This is not to say that the content is not good or uninteresting. Much of it is good and much of it is interesting, but that is down to the source, not the publisher.

It is commonly agreed that Dungeons & Dragons, published in 1974 by TSR, Inc. was the first roleplaying game, but was it? If not, what then was Dungeons & Dragons and where did roleplaying come from? How did roleplaying evolve and develop into the widely accepted practice that we accept today and that we see proliferated into other media? When did what we know of today as a roleplaying game, actually become a ‘roleplaying game’? These are the questions which Jon Peterson, the author of Playing at the World: A History of Simulating Wars, People and Fantastic Adventures, from Chess to Role-Playing Games, the highly regarded early history of Dungeons & Dragons and Dungeons & Dragons Art & Arcana: A Visual History, explores in his new work, The Elusive Shift: How Role-Playing Games Forged Their Identity, published by The MIT Press. In this new tome, Peterson delves back into that fabled ‘Golden Age’ at the dawn of the roleplaying hobby and beyond to examine the precursors which would influence E. Gary Gygax and Dave Arneson in their creation of Dungeons & Dragons, the debates between the players of Dungeons & Dragons and between the players and Gygax himself about how Dungeons & Dragons should be played and refereed, and ultimately the shift that occurred in the widespread understanding and acceptance of what a roleplaying game was.
Peterson’s starting point is that Dungeons & Dragons was not marketed as a roleplaying game, nor identified as one. It was a wargame—a wargame in which each player controlled one character or wargaming figure and there was Referee who would moderate the actions of each character and their outcome. Although it had an example of play, it did not explain how to play the game and certainly not how to roleplay, an issue which would beset the hobby for years to come. Instead, players had to learn by example, perhaps drawing upon their experience in the two cultures and communities which Dungeons & Dragons drew from and Gygax would market to. One was wargaming, with its history of refereed battles and then more recent focus on simulations using one figure per player, whilst the other was Science Fiction, with its rich source material and its tradition of telling refereed stories. Both would inform how Dungeons & Dragons would be played, but none of the new wargame’s adherents could agree as to exactly how. This would lead to a discourse which proliferated throughout the hobby over what was the right way as players and Referees grappled with such questions as to the role of the Referee, was he impartial or did he game against the players and their characters? What was the right way to create characters—adhere to the strict roll of the dice or adjust as necessary? How far should character competency factor into play versus player competency? Who should roll the dice—the Referee or the players? How much should the player know about the game’s mechanics? How should Alignment work and affect a character? And what is the point of play—to acquire Experience Points and become superhuman, to explore and tell a story, or a combination of the two?

These questions would be first answered and debated around the table, through actual play of the new game that was Dungeons & Dragons—and then later through other roleplaying games such as Tunnels & Trolls, Bunnies & Burrows, Traveller, and Empire of the Petal Throne, but first and foremost, always Dungeons & Dragons. As the first ‘roleplaying’ game, it provided both the first terminology and a common language for the hobby. In the years to come the resulting debates would subsequently be played out in magazines, such as White Dwarf and Different Worlds, and in more recent times, the Internet. The difference between then and now is that the discussion itself was new and the ideas behind it were being formulated, rather than necessarily reiterated. To explore these debates, Petersen notably draws heavily upon the fora readily available in the nineteen seventies to discuss roleplaying, what its was, and how it should be done—fanzines and amateur press association titles. Thus, in the pages of The Elusive Shift one can read about Lee Gold’s approach to in-character roleplaying, how Steve Perrin had his players roll up their characters, and how Greg Costikyan had implemented a ‘sex affiliation’ system instead of the traditional Alignment system of Dungeons & Dragons. The focus though is constantly on the first five or six years of the hobby following the publication of Dungeons & Dragons and the debate between the leading adherents of the differing philosophies in the ongoing debate over whether the first roleplaying game was a simulationist wargame in which the aim was to accumulate power, magic, gold, and more to become superhuman or a means to tell stories of fantastic adventure.

Ultimately, as thoroughly researched as The Elusive Shift actually is, it cannot quite identify when the shift of its title occurred. That is, when the roleplaying hobby identified itself as such rather than as a variation upon wargaming or Science Fiction fandom’s storytelling. Instead, it sets out the landscape for and highlights a number of shifts. One is the maturing of the discourse, undoubtedly fierce at times, but a discourse which would culminate in Glenn Blacow’s ‘Aspects of Adventure Gaming’ which appeared in Different Worlds #10 which suggested a model with four basic categories into which roleplayers could be put—‘Roleplaying’, ‘Story Telling’, ‘Powergaming’, and ‘Wargaming’. (An examination of the model can be found here.) This model would go on to form the basis for other models and inform the discussion henceforth. Another shift is the move from open sets of mechanics and games to closed sets of mechanics and games, at the forefront of which was the commercial move by E. Gary Gygax from the openness of Dungeons & Dragons where the Dungeon Master had the freedom to run the game as he wanted and to import or devise whatever rules or mechanics he liked (and was a widely accepted practice, but would also add to a debate as to whether Dungeons & Dragons was a design toolkit or a game) to Advanced Dungeons & Dragons which was closed because it was not designed to accommodate ‘unofficial’ content from elsewhere. Lastly, there is the shift in generations, when the growing popularity of Dungeons & Dragons brought in a wave of younger, immature players, who had not had the benefit of the five years of discourse that had helped form and inform the hobby. Most of whom of course, would be locked into the closed world of Advanced Dungeons & Dragons and its orthodoxy, but who of some would go on to have the same conversations explored by The Elusive Shift and greatly influence the hobby today.

The Elusive Shift is a dense and not always an easy read. As an academic work it is not necessarily a casual read, but it is a fascinating one, capturing a history that few of us remember or have access to. It also throws a spotlight on the leading contributors to those first debates—Glenn Blacow, Sandy Eisen, Kevin Slimak, Mark Swanson, and others. (If there is perhaps something lacking in its pages, it would have been pleasing to least include some details on each of these figures in the pages of The Elusive Shift.) Ultimately, there is the sense that the debate as to what a roleplaying game is and what roleplaying is, is never going to be settled, but reiterated and explored again and again, but in the pages of The Elusive Shift: How Role-Playing Games Forged Their Identity that debate is examined when it was wholly new and captures it for posterity. Perhaps it might be worth examining this first debate before engaging in the next?

E. Gary Gygax died thirteen years ago on March 4th, 2008. His contributions to roleplaying cannot be underestimated. He codified what became the first commonly accepted roleplaying game—Dungeons & Dragons. He created a hobby. He launched an industry. His creation would influence other industries and hobbies too. However, his role and his influence is not widely known outside of the hobby and the industry. In the years since, two works have examined his life specifically. One is Empire of the Imagination: Gary Gygax and the Birth of Dungeons & Dragons, very much a traditional biography of the man, whereas Rise of the Dungeon Master: Gary Gygax and the Creation of D&D is not. Instead, Rise of the Dungeon Master: Gary Gygax and the Creation of D&D is a graphic novel.

Published in 2017 by Nation Books, Rise of the Dungeon Master: Gary Gygax and the Creation of D&D is written by David Kushner and illustrated by Koren Shadmi. It is based upon Dungeon Master: The Life and Legacy of Gary Gygax, an interview with Gygax which the author conducted in 2008 in the run up to the then upcoming revised edition of Dungeons & Dragons—what would be Dungeons & Dragons, Fourth Edition. It tells the story of Gygax from when he was a little boy, enjoying adventures and stories, to his enjoying playing games and ultimately developing and publishing games as an adult, before exploring some of the influence that he and Dungeons & Dragons would have on wider culture. This would include controversy that would grow from the disappearance of James Dallas Egbert III in 1979, on computer games such as the Ultima series and World of Warcraft, and its more recent wider acceptance with the release of Dungeons & Dragons, Fifth Edition, its appearance on the television series, Stranger Things, and the popularity of Game of Thrones.

Rise of the Dungeon Master is not, however, a traditional graphic novel, just as it is not a traditional biography in the choice of format. Where Empire of the Imagination is written in the third person, Rise of the Dungeon Master is written in the second person, beginning each chapter and many of its subsequent panels with the words, “You are…” It is immediately immersive, literally casting the reader as Gygax himself and involving the reader in the decisions that Gygax makes himself. (Although the second person of “You are…” echoes the format of the ‘Choose Your Adventure’ books such as The Warlock of Firetop Mountain, the graphic novel is not the reader’s adventure. This is E. Gary Gygax’s adventure after all, and the reader is passive throughout.) It switches from this format at times to allow Gygax to explain things almost as if he is being interviewed—to go back to the author’s original 2008 interview—and it also switches viewpoints too, to that of two other men which prominently in the history of Dungeons & Dragons. One is Dave Arneson, Gygax’s co-creator of Dungeons & Dragons, the other is the detective, William Dear, who would conduct the search for the missing teenager, James Dallas Egbert III, and write about it in the book, The Dungeon Master. Of the two, Arneson is portrayed in a better light, but his relegation to a more minor role than he necessarily deserves in the development of Dungeons & Dragons arises from Rise of the Dungeon Master: Gary Gygax and the Creation of D&D being Gygax’s tale rather than that of Arneson and from the graphic not being an actual history per se, like Jon Petersen’s Playing at the World: A History of Simulating Wars, People and Fantastic Adventures, from Chess to Role-Playing Games or Shannon Appelcine’s Designers & Dragons: the ‘70s. In comparison, Lorraine Williams, who succeeded Gygax in controlling the company between 1986 and its eventual sale to Wizards of the Coast in 1997, is cast in a very dark light.

Ultimately, the format and the relative lack of space in the one-hundred-and-thirty-six pages of Rise of the Dungeon Master: Gary Gygax and the Creation of D&D means that the graphic novel cannot do the man and his story justice. It seems to leap from big event to the next, and whilst Dave Arneson receives and deserves a chapter of his own, there are many figures in Gygax’s life who barely get a mention or not all—Don Kaye, his wives, Kevin and Brian Blume, all of whom played a role in his life. The format also means that as much as the author wants the reader to engage with Gygax, there is never time to engage with him as a person, flaws and all—the nearest we get to that is Gygax’s often dismissive attitude towards Arneson, and so Rise of the Dungeon Master: Gary Gygax and the Creation of D&D is not a true biography of the man. It is arguably, more a hagiography. Although not perfect, Empire of the Imagination: Gary Gygax and the Birth of Dungeons & Dragons, is a better choice if the reader wants that, as are the two aforementioned history books.

If the reader is looking for an introduction as to E. Gary Gygax was and what he accomplished, then Rise of the Dungeon Master: Gary Gygax and the Creation of D&D is a very acceptable starting point. It is delightfully and engagingly illustrated, the writing light, perhaps suffering from the functionality of the “You are…” second person format as much as it pulls the reader in. Overall, Rise of the Dungeon Master: Gary Gygax and the Creation of D&D will set the reader up to ask more questions about E. Gary Gygax and the origins and history of Dungeons & Dragons, whilst also serving as a well-drawn homage to the man, his creation, and the effect he would have on millions and millions of gamers.

It's DriveThruRPG's GM's Day Sales Starting today (well yesterday really).

With prices marked off a much as 40%.

There are plenty of books on sale from The Other Side.

For Basic-era Games

Daughters of Darkness: The Mara Witch for Basic Era Games

Reviews:

• These Old Games
• Reviews from R'lyeh
• Halls of the Nephilim

The Children of the Gods: The Classical Witch for Basic Era Games

Reviews:

• These Old Games
• Reviews from R'lyeh

The Basic Witch: The Pumpkin Spice Witch Tradition

Reviews:

• Reviews from R'lyeh
• Halls of the Nephilim

The Craft of the Wise: The Pagan Witch Tradition

Reviews:

• Reviews from R'lyeh

The Warlock

Reviews:

• Reviews from R'lyeh
• 
  

For Swords & Wizardry

The Witch for Swords & Wizardry Continual Light

The Witch for Swords & Wizardry White Box

The Green Witch for Swords & Wizardry

The Winter Witch for Swords & Wizardry

The Warlock for Swords & Wizardry

There are plenty of other great games and resources on sale as well.

It has been far too long since I did This Old Dragon.  I'll grab the next one of the pile and see what we have.  Looks like we are headed back to September 1985 for This Old Dragon #101.

This one is another with no cover.  That is interesting because I will admit it is among one of my least favorite covers.  I am not sure why really, it is Dave Martin and did the (in)famous Dragon #114 cover, but I never cared for this one.

One of the good things about taking so long to this is these now seem to smell less moldy and mildewy. That's a plus.

Kim Mohan's Editorial repeats a sentiment I have shared here; Aren't We All In This Together? Essentially they refused to run an ad that disparaged another companies product. I have often felt the same.  Other gamers, games, game designers are not my competition, they are my colleagues. Like Mohan maybe I am naïve. 

Some ads for Call of Cthulhu and ElfQuest.  The ElfQuest, one covers Sea Elves.  I have been re-reading Dragonlance, Dragons of Spring Dawning that introduced the Sea Elves. Been wanting to do more with them myself.  Maybe I should check on eBay for this.

The first article, Update from the Chief, comes to us from Gary Gygax himself.  This might be the last article written by Gary as a member of TSR.  He will be out in October of 1985.  The article covers many topics.  Unearthed Arcana sold over 90k copies in its first month and his Gord book did well.  Gary announces two upcoming publications, Oriental Adventures and T1-4 Temple of Elemental Evil for AD&D and more "family-type" games including All My Children. Gary also briefly discusses the critics of D&D and RPGs in general. 

In a fortuitous (turn for me) Roger E. Moore's article on Kender in All About the Kender is up. I just posted stats for what I think is the very first Kender character I have ever made. Lots of people hate Kender. I will admit I never liked them much, but hate was too strong.  My dislike comes more from my enjoyment of halflings.  Moore's article, rereading it all these years later AND while also rereading the first Dragonlance Chronicle my opinion has softened.  Now I think I find Kender in the light they were always intended. What I disliked about them then is what endears them to me now.  I have to admit that some of what I did with gnomes in the 3e days were likely based on 1st ed Kenders.  I am perfectly happy to keep them on Krynn in my own games, but here they get to be as Kendery as they can.   Since I am going to be running DL15 Mists of Krynn, this is a great article to reread.

Plan it by The Numbers is up from Frank Mentzer.  This is a system he had planned on using in the D&D Master Set. It is similar in many respects to the Monstermark system from White Dwarf or the Challenge Rating systems from D&D 3-5.  The system was not used because it was "too heavily mathematic" but it seems rather simple to be honest.  Almost too simple. In any case I think I will give it a try for my Basic-era War of the Witch Queens game. 

Paul Suttie is next with For King and Country. I have say, I find nothing more tedious and dull than discussions about alignment. For something that is only one aspect of the game I find the multitudes of discussions on it largely pointless.  For example, this article covers five pages.  Why?  Do we really need that?  In then he just wants to dump the whole thing.  

The article is at least broken up by a cool black ad for the D&D Master Set.  Makes it look like a limited edition sort of deal. There is also an ad for Unearthed Aracana.

The Role of Books covers the then-new offerings from SF/Fantasy.   I will admit I don't know most of these, but 1985 was around my turning point of leaving science fiction and fantasy reading and moving more into dark fantasy and horror.  Of the titles, I do recognize the novelization of "Ladyhawke" by Joan D. Vinge.  I enjoyed her "Snow Queen" and "Cat" series quite a bit as well as her novelization of "Return to Oz." 

Peter Johnson is next with Charging isn't Cheap on how to recharge magic items.  The nice feature of this article are the examples of how various wondrous magic items are/were created.  This is a nice change from the very formula-driven approach seen in 3e.  Other than the level restrictions on who can create or enchant these items, this could easily be added to any version of the D&D game. The levels might need to be altered is all. 

Jeff Grub, of Marvel Super Heroes fame, sets out to review a game that could be considered a conflict of interest; but he is very clear about where he is coming from on it. So instead of a conflict or a competitor, he comes off as "Expert."  This is good because the game he is reviewing is the DC Heroes RPG.  It's a good review and Jeff obviously loves the game as it is and loves it as a competition to his own MSH game. 

We get to the centerpiece, literally and figuratively, of this issue.  The Creature Catalog III.  I loved new monsters in Dragon Magazine, and the Creature Catalogs were among my favorite features.  This one has 24 new monsters for your AD&D game and includes submissions from the likes of Ed Greenwood, Roger E. Moore, and Stephen Inniss. With art from Marsha Kauth, Dave LaForce, and Roger Raupp.   There are a few very interesting monsters here too.  The avari are cool-looking bat-like humanoids. The bogeyman is another take on the bogey, bogle, boggart of myth and legend.  The creeping pit is a magical mishap gone wrong. Another hamadryad and lhiannan shee.  The mantimera is a crossbreed of a manticore and chimera (not sure I want to know how that happens). And the yale from mythological lore.   

Consequently, Owen Kermit Edwards is now doing posts on the monsters of Dragon magazine.  His first one is up today on his blog Haughty Fantasy Adventures. 

TSR Comming Attractions lets us know that T1-4 Temple of Elemental Evil is on the way, as well as Book 3 of the Dragonlance Chronicles, Dragons of Spring Dawning.  I have been rereading that and am just about done.

Fiction from Brenda Gate Speilman.

We get to the Ares section now.  

One day I need to back through all of the Ares and see what I can use for my BlackStar and Star Trek: Mercy games. 

Roger E. Moore (our MVP of this issue) has his article on Starships and Star Soldiers on the use of minis in science fiction games.  Timely for me since I just started getting into some 3D printing of some of the FASA Star Trek ships. 

Sorry, Wrong Dimension from Mike Manolakes covers dimensional or parallel universal travel in superhero games.  As a big fan of both the comic and TV event "Crisis on Infinite Earths" and someone that uses different universes in my fantasy games as well.  The 6-dimension coordinate system he has here is EXACTLY something we would have used back then.  This uses a 2d6 for determining dimensions. I like that.  But the d12 is my go-to sci-fi die, so I used that instead. 

More from Jeff Grub on The Marvel-Phile. This time back to Asgard with Beta Ray Bill and Sif.  

Out of the Sun covers man machines for Gamma World from James Ward and Roger Raupp.  And Michael Brown gives us The Stellar Diocese of cleric for Traveller.   That is something I should adopt for BlackStar, but only cultists.

Convention Calendar covers the hottest conventions for Fall 1985 and Winter 1986. Some small ads, notably for a couple play by mail games and art for your D&D characters. Something that I still enjoy getting. 

Wormy gets two pages. I think I need to reread that one from the beginning. I know how it ends, but hitting these in piece-meal, out of order fashion, I forgot what the hell was happening. 

Dragonsmirth gives us TWO different picnic scenes. SnarfQuest gets three pages, mostly about the Gaggleleech. 

I remember this one when it first came out. There is a lot of great material here and the Creature Catalog will certainly see some new use in the future.

Still plenty more to go!