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 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?
Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha is a short campaign for RuneQuest: Roleplaying in Glorantha. It is based on a campaign presented on the author’s blog.

Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha is a commentary upon Six Seasons in Sartar, an epic poem by Usuphus of Jonstown, which tells of the tragic fall of the Haraborn, the Clan of the Black Stag, the 13th Colymar clan.

It is a one-hundred-and-forty-four page, full colour, 79.61 MB PDF.

Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha is well presented, decently written, though it needs an edit in places, and includes a decent range of artwork. The front cover is good.

Where is it set?
Dragon Pass in Glorantha, specifically in ‘Black Stage Vale’, a narrow, vee-shaped valley high in the mountains between Mounts Quivin and Kagradus in the lands of the Colymar tribe, specifically between Sea Season 1619 ST and Sea Season 1620 ST. 

Who do you play?
Members of the Haraborn, the Clan of the Black Stag, the 13th Colymar clan, not yet initiated, typically Orlanth and Ernalda worshippers.

What do you need?
RuneQuest: Roleplaying in Glorantha and RuneQuest – Glorantha Bestiary.

What do you get?
Six Seasons in Sartar is not just one thing. Well, actually it is just one thing—a campaign, but it also is more than the sum of its parts, for each and every one of those parts stands out on its own. Not necessarily because they are gameable, but together they contribute to the campaign as a very satisfactory whole.

First—and most obviously, Six Seasons in Sartar is a campaign. Much like the vale in which the Haraborn make their home and the events of the campaign play, its focus is very narrow, taking the Player Characters through the travails and tribulations of the last year of the Haraborn, the Clan of the Black Stag, the 13th Colymar clan. It begins with their initiation and takes them season by season through 1619 ST and into 1620 ST. These individual adventures will involve the Player Characters in a mystery concerning the sudden appearance of a ghost, the activities of the rebels holding out against the Lunar Empire’s occupation of Sartar, and the abduction of a guest. Ultimately, the campaign will reveal secrets about the history of the vale which bring it to the attention of Kallyr Starbrow and following a confrontation with an agent of the Lunar Empire, lead to a sundering of the clan at the hands of the empire’s indigent servants. 

In between the six parts which make up the campaign, the Game Master can weave various secondary plots and events—here called ‘episodes’—such as a birth or funeral, a romance or a cattle raid, and so on. Many of these episodes are optional, and whilst including them does lengthen the play of the campaign, they also add depth to its play and serve to involve the players and their characters in the community that is the Haraborn clan. Although their use is given as optional, the campaign will be all the better not just because of the extra added depth, but also because their use gives scope for the Game Master to focus on each of the characters in play, to give them time in the spotlight. 

Second, Six Seasons in Sartar is a description of a complete clan, the Haraborn. This includes the complete history and mythology of the clan, as well as its wyter, the chieftain and his Ring—the clan council, plus the geography of the vale that is the clan’s home. It explains who they are and what their outlook is—that of deeply conservative mountain folk who value tradition, have limited contact with the outside world, and are devoted to the Storm Tribe. It explains their Runic ties, predominately Air/Storm and Earth, though some may be ‘Troll-touched’ and tied to the Darkness Rune. Members of the Haraborn clan are also members of the White Hart ‘spirit cult’, and expected to be useful to the clan—that is, to not go off seeking adventure. This cult is entirely local and provides interesting cervine spells such as Stag’s Crown which enables the user to sprout a twelve-point rack of antlers or Deerbrother which creates a Mind Link with the nearest deer and allow the caster to see and hear what the deer sees and hears, as well as cast spells through the deer.

This description and background support both the campaign and explains the constraints placed on character generation. This is as per the normal process, but the characters have to be of the Haraborn clan, have either the Air, Earth, or Darkness Rune, and instead of having an Occupation, have what is really their parents' Occupation. Occupations such as Bandit, Chariot Driver, Fisher, Philosopher, or Thief are all unlikely, but this still offers plenty of choice. As to cult, no starting characters for the campaign yet belongs to a cult, for their choice of, and their joining a cult will come about through play. All characters are Lay members of Ernalda if female, Orlanth if male. Lastly, each character’s family history will end with their parents in 1618 and none of them will receive the standard skill bonuses. The end result is a youth between fifteen and sixteen years of age, ready to be initiated.

Third, Six Seasons in Sartar is an initiation into the mysteries of Glorantha. This can be seen in various elements of the campaign. Most obviously in two ways. The first of these is the essay on the nature of heroquests, supported by the rules for them later in the book. This includes the three types of heroquest—‘This World Heroquest’, the ritual re-enactment of Myth; the ‘Hero Planes Heroquest’, in which the heroquesters temporarily become gods to gain a boon or blessing, in particular for their community; and the ‘Otherworld Heroquest’, in which the heroquesters travel deeper into the God Plane to create a new of their own! It also suggests rewards for each and the means to begin them. The other form of initiation is the actual complete presentation of two initiation rites, one for Orlanth lay worshippers and one for Ernalda lay worshippers. They each form the two starting parts of the campaign, one for male characters, one for female characters. Mechanically, the process serves as part of the characters’ personal history, but they also work to point each character towards the cult they will ultimately become initiates of. For example, a Lay member of the Ernalda cult might lean towards Babestor Gor as a cult if she favours the Death Rune over the Fertility Rune during her initiation. Playing out the initiation also gets the player and his character involved from the start, forcing him to make choices in play rather than at the start and so make those choices significant.

Later events in the scenario might also be said to further initiate the Game Master into the greater mysteries of Glorantha, notably an encounter with Kallyr Starbrow. Pleasingly, despite her role in the forthcoming hero wars and past events, she never overshadows the efforts of the player characters and interestingly, she never quite comes across as wholly heroic. As to the initiations, these are absolutely fantastic tools for the Game Master to enforce Glorantha’s mysteries from the start, and it would be absolutely fantastic to see further initiations similar to this but for other cults on the Jonstown Compendium.

Fourth, Six Seasons in Sartar is a toolkit. Take the various bits of the campaign and what you have is a set of tools and elements which the Game Master can obviously use as part of running Six Seasons in Sartar, but can also take them and use them in her own campaign. So this is not just the advice and discussion as to the nature of heroquests and how to run them, as well as the initiation scenarios, but also the rules for creating and running streamlined NPCs, the streamlined rules for handling battles, cattle raids, and heroquests, events such as funerals and births, romance, and more. All of these can be separated from Six Seasons in Sartar and the Game Master bring them into her own game.

Fifth, Six Seasons in Sartar is a conceit. Throughout the campaign, commentary is provided by a number of notable Gloranthan scholars and experts in Third Age literature, not necessarily upon the campaign itself, but upon Usuphus of Jonstown’s epic, Six Seasons in Sartar. These often offer contradictory opinions and so mirror that of Gloranthaphiles about various topics on Glorantha. They include excerpts from works such as ‘Usuphus: A Feminist Perspective’ by Adhira Chatterjee and Noah Webber’s lecture, ‘The Symbolism of the Star Heart and Predark in Six Seasons in Sartar.’, and what they do is enables the author himself to step out of the campaign itself and add further commentary, not just from his own point of view, but from opposing views. Beyond that, the conceit pushes Six Seasons in Sartar as a campaign from being a mere campaign into being an epic, because essentially, it is what a heroic poem does.

Of course, Six Seasons in Sartar comes to an end. The climax manages to be both sad and satisfying, but it leaves the Game Master wanting more, the players and the characters wondering what comes next. Possibilities are discussed and suggested, most obviously about reuniting the scattered Haraborn, the aim being for the Game Master to write the next episodes of the campaign (and thus the poem, or perhaps a new one). Nevertheless, it would be interesting to see an official sequel, both in terms of the campaign and the clan, plus of course, to the epic poem, Six Seasons in Sartar. This could easily fit in the period between the end of the Six Seasons in Sartar campaign 1620 ST and the jumping off point for RuneQuest: Roleplaying in Glorantha in 1625 ST.

Is it worth your time?
Yes. Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha is a superb treatment of community, myth, and tragedy in Glorantha, grounding the players and their characters in the community, pulling them into the myth, and having them play out the tragedy. Whilst the tools and the discussion are undeniably useful, as a campaign starter it has no equal—it should be one of the first titles a prospective Game Master of RuneQuest: Roleplaying in Glorantha should purchase from the Jonstown Compendium.
No. Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha presents an alternative campaign set-up, one which takes place prior to the default starting date for RuneQuest: Roleplaying in Glorantha, and you may already have begun your campaign. Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha also places limits upon character choice and your players may want to play characters who do not fit within its remit.
Maybe. Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha includes content which is useful beyond the limits of its campaign—the initiation rites, the notes on heroquests, rules for streamlined NPCs, quick resolution rules for battles, and more. All useful in an ongoing campaign. 

Dungeon Masters Kit – Number 2

Check out those dwarves! Check out that treasure! Check out that weird archway?

Like Palace of the Vampire Queen, this wasn’t created by TSR but is included here because it was distributed by them.

The weirdest thing about this? It uses hex maps, where every hex is 3 feet. Also weird is how the maps are broken up into sections which can be arranged in any order you like, which I guess is in keeping with this being a “Dungeon Master’s Kit”. The sections don’t seem to be in any order – the two suggested sequences for inexperienced or medium strength parties aren’t even B, C, D, etc but things like C, H, B, etc.

In fact there’s all sorts of “what the?” moments reading this.

Oh and there are numerous spelling mistakes.

And gems. There are so many gems that their locations are marked on the maps. Sooo many. Many with special powers.

Let’s examine some of the stand-out curiosities.

Section B

• There are measly half-orcs in a tavern and in a storeroom nearby, 10,000GP!
• The bar nearby has a barmaid that’s a level 14 magic user! She has a 100,000GP ruby. Yeehah!

Section C

• Room 1 – featuring 10 Kabols (??? Sometimes spelt Kobal elsewhere) each with a +2 sword!
• A room with a chess-playing ogre.

Section D

• Wow, one room has 6 gems worth 600,000GP each! And this area doesn’t even have any monsters to overcome.

Section F

• Huh, they use 2 creatures from the Elric section of Gods, Demi-gods and Heroes

Parts of the rest of the module actually make some coherent sense.

It’s almost like this is the next step up from the Dungeon Geomorphs but not quite a complete module as we would later understand it.

And it’s a definite step up from the sparsity of Palace of the Vampire Queen.

Of interest, this is set in the same setting as Palace of the Vampire Queen. That module mentions the king that defeated the 10 orc tribes, the same 10 tribes that overthrew the Dwarven Glory community on the island of Baylor.

A reprint is available at DriveThruRPG.

Date Information

The Acaeum says this was published in early 1977. Tome of Treasures reckons June.

I can’t find any ads or mentions in any magazines, so it’s hard to pin down. (In White Dwarf from 1977-1978, there are a number of ads that list Palace of the Vampire Queen, but none that mention Dwarven Glory or Misty Isles.) It was probably early 1977 as the Acaeum states but in lieu of any more data, I’m happy to go with June.

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 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?
Vinga’s Ford is a short scenario for RuneQuest: Roleplaying in Glorantha.

It is a nineteen page, full colour, 12.27 MB PDF.

Vinga’s Ford is well presented and decently written, and is illustrated with simple artwork.

Where is it set?
Dragon Pass, specifically between Oakton and Apple Lane in Sartar. Alternatively, it can be set on any river which feeds into the Upland Marsh.

Who do you play?
Vinga’s Ford works well if the Player Characters include a Vinga worshipper amongst their number, but an Orlanthi works just as well. A Humakti and a shaman may also prove useful.

With some alterations, an experienced Game Master could adjust Vinga’s Ford to be played by Troll Player Characters.

What do you need?
RuneQuest: Roleplaying in Glorantha and RuneQuest – Glorantha Bestiary for its information on Trolls and Ducks at the very least. If run at its default location, then the Game Master will also need the information on Apple Lane found in the RuneQuest Gamemaster Screen Pack.

Alternatively, Vinga’s Ford could easily be adapted to be run using 13th Age and 13th Age Glorantha. This will require some effort upon the part of the 13th Age Glorantha Game Master.

What do you get?
The Player Characters are the road travelling between Oakton and Apple Lane in the northern territories of the Colymar Tribe when they have to cross the Swan River at Vinga’s Ford. However, their crossing is impeded by zombies, a strange occurrence this far from the Upland Marsh. When an unexpected ally comes to their aid, they are alerted to a greater danger—a vampire, one of Delecti the Necromancer’s feared ‘Dancers in Darkness’. The question is, what is that vile creature’s interest in Vinga’s Ford?

After some investigation—at either Apple Lane or Oakton—the Player Characters will learn of an annual occurrence at the ford. This is the ghostly appearance of a battle between a Vingan and some Trolls. Of course, this is happening that very evening, so the Player Characters have the opportunity to investigate further, foil the plans of the ‘Dancer in Darkness’, and join the battle themselves!

Vinga’s Ford is an ‘on-the-road’ adventure, which whilst built around a pair of connected battles, further involves the Player Characters in the mystical elements of Glorantha and how that can physically alter the world around them. It can also be used to introduce them to some of the elements of horror—essentially the doings of Delecti the Necromancer and the doings of his servants—though at some remove, found in Glorantha and also to Ducks.

As an ‘on-the-road’ adventure, it can easily added to a campaign to liven up a journey. If run at its default location, then it could be run as part as a journey to or from Runegate, Jonstown, and even Dangerford. This would make it suitable adventure to be run before or after adventures such as The Duel at Dangerford, Arrows of War, and ‘Darkness at Runegate’. It could also be used to help expand upon the scenarios to be found in the RuneQuest: Roleplaying in Glorantha – Starter Set.

One issue with Vinga’s Ford is the attitude of the villagers—in either Apple Lane or Oakton—towards Ducks. Amongst some members of either community it is suggested that it is not positive, and whilst Ducks are not held in the highest of regards in many parts of Sartar and beyond, this is not the case in Apple Lane as portrayed in the RuneQuest Gamemaster Screen Pack. Here the village has a prominent Duck resident, so the attitudes do not sit well with the descriptions given of the village. That said, not every inhabitant of Apple Lane is detailed and there is scope for them to hold such prejudices. 

Is it worth your time?
Yes. Vinga’s Ford is a solid side quest scenario, easily added to any journey to involve the Player Characters in ancient battles and the doings of both Ducks and Delecti the Necromancer. 
No. Vinga’s Ford will be of little use to you if you have issues with Ducks or are not running a campaign set in Sartar.
Maybe. The ongoing battle at the heart of Vinga’s Ford could be adapted to be between combatants other than a Vingan and some Trolls with some effort and changes to the mythology as necessary.

It’s announced that (the artist) Tom Wham is now on the staff of TSR.

An article that wouldn’t make any sense in our current world – What to do if you lose your dice and you have players coming over to play. No-one has any dice? How could that ever be possible?!

Probably the most interesting article in the Dragon mag for a while, an article by Gygax himself about the origins of D&D, talking about the C&C Society, his Domesday Book magazine, Chainmail, Arneson’s Blackmoor and his 18 pages of rules and then Gygax’s development of that into 300 manuscript pages. He also mentions that D&D was released before he was satisfied with it, due to the demands of the playtesters. And lastly he mentions he’s working on a complete revision!

For something different, there’s an article about Mystery Hill and Stonehenge.

Featured Creature – The Prowler, with a picture by Erol Otus.

There’s a small review of The Judges Guild by the editor where he positively gushes with enthusiasm.

Date Information

Just to confirm the dating of Dragon magazines, this is the June issue and there are many ads for things in July and even for some things in late June. And the Convention Schedule even includes one happening on June 4 & 5. So it’s apparent this means it was published at least by the start of June if not late May.

You would think we had enough "Gritty Modern Supernatural Horror" RPGs out there.  But nope!  There is always room for more.

This one looks like could be fun too.

Bloodlines & Black Magic



https://www.kickstarter.com/projects/stormbunny/the-bloodlines-and-black-magic-roleplaying-game?ref=theotherside

There is a free guide, not really a Quick Start, up on DriveThruRPG for you to check out.

It reminds me a little of Elizabeth Chaipraditkul's WITCH: Fated Souls and a little bit of KULT: Divinity Lost. 

Only 48 hours left!

It’s a list of monsters. And a list of treasure.

No seriously. That’s about it.

Ok, so I guess if we consider when this came out, there were no published adventure modules, so you had to come up with your own dungeons, and I guess this made it a bit easier.

Apparently most of the content was randomly rolled up by Gary’s son Ernie Gygax when he was about 16, as recounted here and here.

The need for these would later be replaced by the tables of random monster encounters in the back of the 1st edition Dungeons Masters Guide.

Date Information

Enworld has a date of February 1977. The copyright information, as Zenopus states, says February 15. I am going to ignore these! The copyright was retroactively registered in 1982 and I think it was done in error.

Looking at periodicals from the time we have the following:

Judges Guild Journal – issue L, April/May 1977 does not list this item. It only lists Dungeon Geomorphs Set 1

Judges Guild Journal – issue M, June/July 1977 states “Just released… the first ‘Monster & Treasure Assortment – Set One: Levels 1 thru 3′”. Also in this issue, Dungeon Geormorphs Set 3 has just been released and Dragon #7 (June) is available in the Booty List. This give an indication of when this was published.

For comparison, White Dwarf is a bit behind the times, being in the UK. Issue 2, August/September lists Dungeon Geomorphs 3 for the first time along with Dragon #7. It’s only in issue 3, October/November that it has M&T1 available.

From White Dwarf it was plainly after Geomorphs 3. From Judges Guild it was around the same time. So chronologically, I’m placing this after Geomorphs 3.

So, it could have been June when this was published, but I’m going to lump it in to May along with Geomorphs 3.

Yet more of the same.

Of note, Set One was By Gary Gygax. Set Two was by Gary and Ernie. This one is back to just Gary.

As with the other sets, you can read the example encounter descriptions at Greyhawk Online.

Date Information

The copyright date is September 21st 1977 but that’s also the date for Set Two and quite plainly wrong, given other evidence.

Judges Guild Journal, issue M, June/July states “Just released … Monster & Treasure Assortment Set One ….. The third set in the Dungeon Geomorphs series … has also just been released.” Also in the Booty List, Dragon #7 June is available.

Unfortunately, although Dragon #6 April has an ad for Sets 1 and 2, there is no mention of Set 3 (or M&TA) in any subsequent issues.

White Dwarf issue 1, June/July has lists sets 1 and 2 (and Dragon #6) for sale. Issue 2, August/September lists Set 3 (and Dragon #7). Issue 3, October/November lists M&TA Set 1.

From all this, I conclude that Dungeon Geomorphs Set 3 came out before Monster & Treasure Assortment Set 1. And they both came out around May or June. For neatness, I’m going to go with May!

Brutal Imperilment in the Bag of Infinite Holding is a short and clever, if slightly silly scenario for the fantasy roleplaying game of your choice. Published by Mottokrosh Machinations, it is nominally written for use with Hypertellurians: Fantastic Thrills Through the Ultracosm, but in terms of mechanics, it is all but systemless. Certainly, it would work with Dungeons & Dragons, Fifth Edition and any number of Old School Renaissance retroclones or roleplaying games which involve high magic. The set-up is very simple. The Queen has lost her prized possessions—the crown jewels and her beloved poodle, Duchess—and she charges the Player Characters with their retrieval. She may even accompany them! That sounds simple enough, but nothing about this situation is so, for the Queen happened to lose both of them into her magical Bag of Infinite Holding!

Players and Dungeon Masters of a certain again will remember a certain adventure from Imagine Issue Number 15 (June, 1984)—‘Round the Bend’, in which the player characters, all Half-Orcs in the employ of a wizard, are shrunk down into miniaturised size and sent down the drain in order to retrieve various items on his behalf. Brutal Imperilment in the Bag of Infinite Holding is not dissimilar in that in climbing into the bag of holding, the player characters are shrunk down. What they discover is that the reason it is a Bag of Infinite Holding is because one Bag of Holding has been put inside another Bag of Holding or lost in another Bag of Holding, and then again—and then again. Thus once shrunk, the player characters find themselves inside a Bag of Holding big enough to be room connected to a series of Bags of Holding, each also the size of room. What you have then with Brutal Imperilment in the Bag of Infinite Holding is a dungeon, but not just any dungeon. Rather a dungeon made up of bags containing a completely random assortment of things, persons, monsters, traps, treasures, and more. As long as it could end up in a bag, or rather a Bag of Infinite Holding, it can end up being in this ‘dungeon’.

Barring the first three bags—or rooms—none of the actual locations in Brutal Imperilment in the Bag of Infinite Holding is described, although they are mapped. Even as mapped, they are simply a series of connected boxes, each box representing a bag or room across three levels—the Early Bags, The Weird Middle Belt, and The Far Depths. It also suggests how the Game Master can set up and map the adventure herself to create a different layout. Primarily though, what the Game Master will be doing is populating the dungeon herself and to do this, the scenario provides tables of random room or bag descriptions, for the Early Bags, The Weird Middle Belt, and The Far Depths. These are backed up with a Random Finds table in the first appendix.

What this set-up means is that Brutal Imperilment in the Bag of Infinite Holding could be run with a minimum of preparation—indeed barely any preparation at all. Especially if she has a handy book of ready-to-run monsters just in case the player characters run into them. As to particular system, only is Hypertellurians: Fantastic Thrills Through the Ultracosm is referenced, but no stats are given, for either the NPCs and monsters or the pre-generated player characters given in the second appendix. They include a fop, a Dwarven weremole spymaster, a merfolk skeleton necromancer, an avaricious purple octopus wearing a diving helmet, the queen’s highly sceptical maid, a Dark Elf cleric, and the Queen herself. None have any stats or skills, but all have strengths and weaknesses, a drive, a secret, and some gear, such that the Game Master could easily create them using the system of her choice. Or alternatively, the players could simply roleplay them as written and roll dice as necessary.

Of course, a Bag of Infinite Holding is a very Dungeons & Dragons thing, but the set-up need not involve that signature magical item at all. The third appendix suggests various alternatives, such as Fae Door Portals and Wells, even gives one or two ideas as to how the adventure could be used in different ways. The book also includes notes on roleplaying the various inhabitants of the labyrinth of bags as well as possible epilogues, including one suggestion that the complex of Bag of Holding upon Bag of Holding is actually not unlike a certain Christopher Nolan film. 

Physically, Brutal Imperilment in the Bag of Infinite Holding is a slim book. Whether cartoony or realistic, the illustrations are excellent, and the writing decent, if perhaps succinct. Overall, the adventure should provide a session or two’s worth of slightly silly, tongue-in-cheek fantasy roleplay, with very low preparation time. If you wanted to adventure to find out what is at the bottom of the bag, then Brutal Imperilment in the Bag of Infinite Holding lets you fall in and go beyond its limits.

Michael Grasso / May 28, 2020

Detail from cover of issue No. 1 of “Mysteria,” a German “trade magazine for UFO research and ancient astronautics.”

Part of the “unprecedented” reality that humanity has been experiencing the past couple of months has been the way this pandemic has scrambled one’s normal cognitive pathways. Putting aside how badly my remotely-diagnosed COVID infection last month sent me into a deep spiral of brain fog, even since recovering from that misery I haven’t been able to concentrate on much. For a while, reading anything more complicated than a comic book was completely beyond me. And even as I’ve been slotting longer books back into my everyday routines, it’s been nearly impossible for me to write. Even when I find a topic that speaks to me, every single piece I’ve tried to start has withered on the vine. “Why bother?” I find myself asking myself. “Who cares?” Mental illness will steal a lot from you if you are unlucky enough to have it play a prominent role in your life: your time, your pride in your labor, your self-respect, even your friends and significant others. But what it seems to steal from me most often—even under “normal,” non-pandemic circumstances—is joy, the joy of discovering something amazing and getting to share that discovery with others. With existential anxiety stalking the human race along with this deadly virus, those simple pleasures of life have been so hard to find.

So when I was reminded last week of a link to an amazing archive of UFO organizations’ publications and zines hosted by the Archives For The Unexplained of Norrköping, Sweden, I was gifted with a brief afternoon of respite, a momentary return of long lost joy. When I’d first glimpsed the archive back in October of last year, I had a brief breeze through it. I was overwhelmed by the variety and relatively secure in the possibility that it would be there if I ever wanted to revisit it. This month, the archive was there for me when I needed it. I discovered over the course of that afternoon that this collection’s cockeyed series of hand-drawn flying saucer encounters and alien visitors, its poorly mocked-up layouts and headlines, its entirely sui generis outsider art vibe—all of it was medicine for the despair and crushing lack of a hope that was ailing me.

I think part of the profound impact of this archive is the way I found it, from an off-handed mention in a tweet that had made its way to me through academic folklore studies circles. But it’s often those accidental discoveries that have sent me down the most satisfying paths while I’ve been writing for Mutants. It’s how I discovered video of the uncanny Nebraska PBS performance by Entourage: after reading a Pitchfork review of a reissue of their albums. It’s how I discovered so many great Mutants exhibit subjects on the Internet Archive, and how I discovered yet another inspirational ufological archive, at textfiles.com. So yes, when I rediscovered this archive I dove in head-first, marveling at the dozens of countries these UFO zines came from, the impressive time period they represented (all the way from the 1950s to the 21st century), and the care that had been taken in assembling and scanning them. Since the original link had gone to a featureless web directory page, I never even bothered back in October to investigate fully who had collected and assembled this amazing archive. This time however, that was the first thing I wanted to find out.

As mentioned, this trove of treasure was preserved for posterity by the Archives of the Unexplained in Norrköping, Sweden. Formerly known as the Archives For UFO Research, the organization was founded in 1973 specifically to collect and preserve an archive and library of UFO sightings and ephemera for researchers. It is also connected to one of those very UFO research organizations whose magazines and periodicals I had fallen in love with last October. The AFU’s founders had broken away from a ufological group called UFO-Sweden over differences in “ideology” to found the AFU. By 1986, that rift was reconciled and UFO-Sweden and AFU agreed to a reciprocal agreement of support that would see AFU preserve UFO-Sweden’s archives full of materials from over a hundred local UFO-Sweden groups. But AFU preserves far more than materials from its native Sweden. UFO documentation from dozens of countries finds representation in both its material and online archives.

And that sort of local, bespoke interest in UFOs is precisely what makes AFU’s archive of magazines so special. I of course restricted myself to UFO zines produced during our usual Cold War period in preparing this piece, but you can find plenty of later material from the dawn of the home computer “desktop publishing” era of the ’90s and beyond. Needless to say, while they have their own charming aesthetic, I was won over by the hand-layout and manifold typewriter typefaces of the zines from the 1950s to 1980s. Some of the covers of these periodicals, especially the ones produced in the 1950s, display a strikingly professional sense of artistic composition on par with their bigger competitors of the early UFO era, such as Fate magazine. Of course, the AFU magazine archive is far too vast for me to give a review of every single periodical in there. But despite the startling diversity, both culturally and philosophically, on display, it’s the commonalities between all these organizations that pleased me the most. While the magazines themselves vary—from very simple typewritten and mimeographed/photocopied bulletins to quite professionally-produced full-color magazines—the common thread linking these publications is their passion and obsession for a subject that, one senses after reading a few of the articles and editorials within, has largely left them on the outside of the mainstream.

Because despite some of these publications representing the official organs of “national” UFO organizations like UFO-Sweden, the vast majority represent UFO aficionados on the state/provincial/county/city level. You may well wonder if there was enough content to keep a magazine like “Merseyside UFO Bulletin” or “UFO-Quebec” or the “Sri Lanka UFO Register” going for longer than a couple of issues, but even some of these smaller local publications went on for a decade or more! And in the archives of each, you get these magnificent glimpses of local culture, UFO or otherwise. I had a blast reviewing the archives of the two-page MUFON Massachusetts newsletter from the early 1980s, of course, a time and place where I myself was getting deeply into ufology as a little kid. Seeing the quotidian details of the Mass. MUFON group—their fundraising efforts, convention organizational efforts, meeting minutes, appearances on local Boston television (these were especially exciting for me, of course), and indeed the gradual maturity of their merrily amateurish newsletter layout skills—sent me back in time and made me feel like I was part of the team. On the flip side, you have more eerie dispatches from the past, such as the silent testament of the brief run of UFO Chile abruptly ending in May of 1969—poignant because we know what transpired a few short years thereafter.

These are mostly small clubs of like-minded individuals, all doing their best to keep track of local UFO happenings and dutifully preserving those records for posterity. And on the masthead of a majority of these zines, in all the languages of the world, there is a consistent clarion call: please make contact. Not a message to our alien visitors, mind you, but to the publishers and clubs of enthusiasts all over the world. Please reach out, please make a connection. Several of the publications in non-English-speaking nations produced separate English-language editions of their bulletins expressly for this purpose. And I think this aspect of the AFU archive is why it spoke to me so deeply and meaningfully in a time of quarantine and lockdown. Here is a global subculture, in the days before wide adoption of the internet, which ends up assembling and organizing itself in a modular, fractal, rhizomatic manner. Here, despite all odds and with very little in the way of resources either professional or financial, small groups banded together over a shared occult interest, one that likely exposed many of their members to mockery and derision. They not only found each other on the local level but produced collectively a massive, tangible archive that serves as a testament to a Cold War-era social phenomenon. It is an archive with real, profound historical value.

These magazines reached across the oceans and continents in a time when the only means of communication UFO enthusiasts had at their disposal were the national postal service and maybe some stolen Xerox machine time at the office. A sense of community, however dispersed and fragmentary, was what these ufologists really sought—the visitors in flying discs are almost incidental. One wonders if the lesson of the UFO craze is not its possible origins as an intel operation meant to distract citizens of the West from experimental machines of war, but instead perhaps its subsequent co-optation by ufologists into an exploration of the potential of global togetherness and understanding. It’s an historical example of a kind of virtual community spontaneously forming, triumphing over distance and very long odds, that really hits home at a time when we’re all lucky enough to have a global communications network at our disposal, and yet are still somehow feeling only tenuously connected to each other. In these wonderfully weird artifacts of the past, we gain a new perspective on community for our increasingly troubled present.

Michael Grasso is a Senior Editor at We Are the Mutants. He is a Bostonian, a museum professional, and a podcaster. Follow him on Twitter at @MutantsMichael.

Last week was the Season Finale of Motherland: Fort Salem on the FreeForm channel.   The season was great, start to finish. It had great characters that showed a lot of growth and at least three different "What the Hell!" moments in the last few minutes of the last episode.

If you have not been watching then you are missing out.  Motherland gives us an alternate history where witches rose up during Salem and forged a pact with the then Colonies to protect the new country from their enemies.  There are fewer states in the US and a large portion, The Cession, was given back to the Native Americans in return for their help and magic.  The series follows three new witch recruits, Abby, Tally, and Raelle, as they go through Basic Training and survive as a unit.
There is a terrorist organization of rogue witches known as the Spree who resent the servitude that sends all witches to the Army.

    Honor me, make a place for me and my kind and we will win your wars.
- General Sarah Alder to Massachusetts Bay Militia, Say the Words    
The show features a full cast of strong, interesting women characters.  The leader of the Army is General Alder, a 300+-year-old witch, their drill sergeant is a woman. Even the President is an African-American woman.  Men are either tertiary characters at best (the Witch-Father) or eye-candy (Abby's two boy toys).  Tally doesn't even see a man until one gives up his seat for her so she can fly from California to Massachusetts.  Not that men are put into a bad light.  The Witch Father is respected and well-liked. Raelle's dad is proud of his daughter and worries about her.  It's just their stories are not as important here.  That's a nice change of pace really.

The witches are also not a Ms. Pac-Man trope. They are warriors, witches but also women and they are allowed to be all three. It really is quite enjoyable and very different from what I have seen in the past.  It has been a fantastic first season.

I can't believe I have to wait a whole year to catch up on the Bellweather Unit and their battle against the Spree and "The Camarilla", the "Ancient Enemy" of all witches.   This certainly sounds like a lot of fun.   But can I wait that long?


So what am I going to do?  Easy.  Convert them to D&D characters!
The witches of Motherland are perfect as adventurers really.  They are great as a group with Abigail as their leader, Raelle as the healer and Tally as the seer.   I don't know much about who or what the Camarilla is, but given what we saw in the last episode I am looking forward to it.

Witches vs. the Camarilla?  Yeah. Sign me up!
Basic D&D and D&D 5
D&D 5 is the latest and greatest version of the game but the Basic version from the early 80s is my game of choice these days.  So I figure I can do both.
Basic D&D (1981)In this version I would use one of my own Witch classes.  But instead of Traditions, I would opt for family lines.
I am putting them all at 3rd Level since they "Finished Basic." I know. Dumb D&D joke. 
D&D 5th EditionIn this version, there is no proper witch class.  There is a warlock of course, but that doesn't feel like the right call here.  With their focus on combat, voice-based magic, leadership, and some healing the obvious choice is the Bard class.  There is even a perfect sounding group for them, The College of War.
Abigail Bellweather
Abigail "Abby" Bellweather, of the East Coast Bellweathers, is the leader of the Bellweather Unit.  She starts out in the show as an arrogant, if even spoiled, girl of privilege. By the end of the series she is the leader she was born to be.  Even her rivalries with Raelle and fellow East Coast witch Libba Swythe become something different as she accepts the responsibility of what being a soldier-witch means.
Base AbilitiesStrength: 12Dexterity: 11Constitution:  13Intelligence: 14Wisdom: 11Charisma: 17

Hair: Drk. Brown
Eyes: Brown
Basic D&DWitch Level 3, Lawful
HP: 10  AC: 7Tradition: Bellweather family (Leaders) (For this I will use my Amazon Witch Tradition)Abilities: Windstirke*, Fighting ProwessSpells: Fury of the Ancestors, Windshear* (Ritual), Suggestion
D&D 5th EditionBard Level 3, Lawful Good
HP:  21   AC:  11Abilities: Bard Abilities, SpellcastingSpells: Eldritch Blast, Thunderclap, Truestrike, Cure Wounds, Featherfall, Heroism, Thunderwave, Phantasmal Force, Suggestion
Weapons: Dagger, Scourge.

Click here for her D&D Beyond Sheet. 
Tally CravenTally comes from the depleted Craven line. All her aunts had gone to fight in the Army and they all died.  She is the last of her line. She lived in the Matrifocal Allotment near Sacramento, California. She had not even seen a male until she answered her call of duty, an action her mother strongly wished her not to do.  Her power is to "see." She can detect disguised and hidden objects or people and might be one of the most powerful seers to come up in the ranks in a long time.
Tally is a sweet girl who loves with all her heart because that is what she knows.  She is fiercely loyal to her Unit.
Base AbilitiesStrength: 11Dexterity: 13Constitution: 14Intelligence: 13Wisdom: 12Charisma: 16

Hair: Red
Eyes: Brown
Basic D&DWitch Level 3, Lawful
HP: 9  AC: 7Tradition: Craven family (Seers) (For this I will use my Classical Witch Tradition)Abilities: Windstirke*, Detect EvilSpells: Foretell, Detect Invisible, Witch Sense
D&D 5th EditionBard Level 3, Neutral Good
HP:  24   AC:  11Abilities: Bard Abilities, SpellcastingSpells: Thunderclap, Truestrike, Detect Magic, Heroism, Identity, Thunderwave, Detect Thoughts, See Invisible
Weapons: Dagger, Scourge.

Click here for her D&D Beyond Sheet. 
Raelle CollarRaelle lived in the part of American known as the Chippewa Cession where the Indigenous Tribal Federations are.  She is a healer of great power, like her mother was.  Her mother was reported dead by the Army and Raelle blames the Army and Gen. Bellweather in particular.  She doesn't want to be there and her plan was get enlisted to the infantry and get killed as soon as possible.  Her attitude earned her the nickname "shitbird" from Abby.
Raelle attitude changed when she met and fell in love with fellow cadet Scylla Ramshorn.

Base AbilitiesStrength: 12Dexterity: 13Constitution: 15Intelligence: 12Wisdom: 13Charisma: 15

Hair: Blonde
Eyes: Blue
Basic D&DWitch Level 3, Lawful
HP: 11  AC: 7Tradition: Collar family (Healers) (For this I will use my Pagan Witch Tradition and Basic Witch Tradition)Abilities: Windstirke*, Healing Touch (1d4)Spells: Cure Light Wounds, Sleep, Heal Affliction
D&D 5th EditionBard Level 3, Chaotic Good
HP: 24  AC: 12Abilities: Bard Abilities, SpellcastingSpells: Thunderclap, Truestrike, Cure Wounds, Feather Fall, Healing Word, Sleep, Lesser Restoration, Warding Wind
Weapons: Dagger, Scourge.

Click here for her D&D Beyond Sheet. 
Scylla RamshornScylla is a "Necro" or a Necromancer.  Because their power makes others uneasy they are quartered in a different part of the base. We learn that Scylla's parents were killed when she was young.   She meets and falls in love with Raelle.  Later we find out she is part of the terrorist organization known as The Spree, responsible for hundreds of deaths across the country.  Her job was to recruit Raelle, but she actually fell in love with her.

Base AbilitiesStrength: 11Dexterity: 13Constitution: 16Intelligence: 14Wisdom: 13Charisma: 18

Hair: Black
Eyes: Blue
Basic D&DWitch Level 4, Chaotic
HP: 13  AC: 7Tradition: Ramshorn family (Necromancer) (For this I will use my Mara Witch Tradition)Abilities: GlamourSpells: Bewitch I, Lay to Rest, Dark Whispers, Hypnotize
D&D 5th EditionBard Level 4, Chaotic NeutralHP: 35  AC: 12Abilities: Bard Abilities, Spellcasting, Magic Initiate (Necromancer)Spells: Chill Touch, Message, Minor Illusion, Toll the Dead, Truestrike, Bane, Charm Person, Disguise Self, Dissonant Whispers, Sleep, Enthrall, Lesser Restoration, Suggestion
Click here for her D&D Beyond Sheet.

Notes

For Basic D&D I linked to the Witchcraft Tradition that best fits each witch.  If I were to do something more like this I might revive my old "War Witch Tradition."  This is the ancient Celtic tradition of witches like The Morrigan and Scáthach.



For 5th Edition Bards felt like the closest match.  I originally had Scylla as a Magic Initiate (Warlock) to cover her other magical abilities and to represent her membership in the Spree.  But I changed it to Magic Initiate (Necromancer) to cover some of her Necro powers.  She is still too low-level to really take advantage of the necromancy spells.

I considered making them all Sword-Pact Warlocks and taking a Magic Initiate Feat at first level to cover their various Traditions/Backgrounds.  So Necromancer for Scylla, Cleric/Healer for Raelle, Bard for Abby and Wizard for Tally.  That might still work well to be honest.

*Windstrike is the basic attack ability of a Warrior Witch.  With her voice the witch can cause 1d6+1 hp of damage.

*Windshear is a ritual spell performed by multiple witches.  It is a shield from attack and it destroys whatever comes in contact with it.



The Scourge is a flail like weapon used by all witches.  It is long with a whip-like handle and a knob on the end that glows with the witch's magic.  It is considered a +1 weapon and does 1d6+1 points of damage.  In D&D 5th Ed it is considered an exotic weapon.

The real test will be doing stats for Sgt. Anacostia Quartermaine and Gen. Sarah Alder.



Other Editions of D&D

Building these characters was so much fun I could not help but think how other editions of D&D might work.

1st Edition AD&D
Bards are out because they are very different here.  I would use Magic-users and let them dual-class into another class to help.  Or even use Druids.

2nd Edition AD&D 
Ah now here is a chance to really try something fun.  Like 5th Edition, I would make them Bards, but I would also have them take the Blade kit from the Complete Bard Handbook.  Again like 1st Ed, I might let them dual-class into another class OR just allow them to take the proper spells.

3rd Edition D&D
So many choices here.  I would try out a Hexblade or Bladesinger for these.  I mean really, a witch-army has the Forgotten Realms written all over it!  Blasesigners and Witches of Rashemen are just about War Witches now.

4th Edition D&D
So many classes!  Ok make them Pact of the Blade Warlocks, let them take a multiclass feat at first level to add the other class features they need.  OR start them out as Witches from Heroes of the Feywild and then multiclass feats.

I might try each option on one character to see how it would work.  The choice is obvious.


She may be General Sarah Alder, but I know a Witch Queen when I see one.

I like to think I have some solid talents. I am at an age where I know what I can do well and what I still need to learn how to do better.  And what I am terrible at.

I am a terrible artist.  I don't even try anymore.  That's fine really. I know plenty of great artists and the things I am good at have allowed me a lifestyle where I can buy the art I want.  But I still love to create.   And that is where character generation software comes in.
I was a HUGE fan of the Brazilian Factory of Heroes (Fábrica de Herois), the City of Heroes character builder, the Skyrim one, and the character builder with the added benefit of 3D-Printed minis, Hero Forge.

A few weeks ago I was in the market for a new character builder, potentially one for a project I have coming up.  Well in one of those rare instances of serendipity while I was doing my Google searches I was approached by András Bondor of Overhead Games.
András offered to send me a copy of the ePic Character Generator to try out. I figured it would be fun.  Well it is. I'll get into the details in a bit.

The character builder is free. You can download it and start right away.  There are even ways to gain free "packs" of design elements.  Their model, and I think it is a good one, is to charge for various design packs.  You see something you want, say the "Sorcerer" pack or the "Drow Spellcaster" pack then you can purchase them and add them to your suite.  You get four packs for free to start, "Female", "Male", "Large Male" (think demons and centaurs), and "Season #1" which combines a lot of smaller releases.
Prices range from $5 to $150.  So there is a pack for every budget.  There is a special perk I am going to talk about later, but it helps offset those costs for me.



For this review, I built a bunch of characters over the last month or so, but for today I'll walk through the building of my new favorite character, Maryah, a Ranger for Old-School Essentials.

Your opening screen has the four basic packs I mentioned above.  If you are going with just the free version for now then the Female pack has the most options.  Click on your pack and hit "Start".
Now at this point you might want to click on the tutorial first.  But I'll leave that to you.


Clicking start gives you the Female demo pack.  In my screens, you see the other packs I have installed.  Hey, you know me, if I can't make a witch first thing then I lose interest pretty fast. ;)


You can choose a pack and start with that. OR you can choose Load Fantasy, Load Modern, or Load All.   Typically I like to load all.   The advantage is you can mix and match all your elements in one design.  The disadvantage is you have lots of screens you might have to click through.


Once you do that you are given a workspace and your new character.  You can try clicking on "Random" to see what you get or click through the various options.
"Skin" also includes species options. So if you want a drow, an elf, a catgirl, or even a zombie this where you start.



There are options for scars, tattoos, and even dirt.  These options are a little limited.  For example, you can't design your own tattoo nor move the presets around.



Some options also exist as "Presets."  So in the "Hair Preset" it is a style and a color.  But what if you want a style, but a different color.  Or a different color anything for that matter?  There is a color palate wheel at the middle bottom of your screen that will allow you to change the color of your current selection.   You move your cursor to the desired color and get a standard RGB notation for it as well as a palette of recently used colors.  The ability to type on the RGB numbers is a great plus.  I might not be able to move my mouse where I want it exactly, but I can type in the numbers.


The ability to do this helps when matching clothes later on.  After the body mods you can then choose how your character appears.  Different packs give you different options.  since I am working on a ranger here, I am going to choose light armor/clothing and favor greens.


You can choose all sorts of items like weapons, back items. and even magic effects.
You can also add tails, horns wings and other elements depending on your packs.



Lastly there are backgrounds and other effects. In this section there are a lot of backgrounds, or you can choose to make the background clear.  You can add companions as well.  I rather like the choices of the animal companions, but the people companions look a touch "off" to me.  No fault of the software or the design team, I think it is a bit of an "uncanny valley" situation.



You can also move any element to the foreground or background.
In this section there are also auras, magical effects, and other items.

Let's move Threnody to the front.
The BEST part of this section is the ability to take your character and make Tokens or Cards. I have not tried to save these and import them into software like Roll20, but I can't see that it would be difficult.




If you have the paid version you can also remove (or turn back on) the Logo.



NOW here is my least favorite part of this software.
Saving and Loading is not at all intuitive.
You click "Settings" then are given the option to "Save" or "Load".

Thankfully if you attempt to exit or go back without saving you will be warned about losing your characters. You can also export your files as a PNG (with optional transparent background) or as Photoshop PSD (if you purchase that option).  Every element in the software is saved as a layer in the PSD file.  Very convenient really.

Not sure why her hair lost it color, but that is not a big deal.Other Packs give you the option of making character portraits or monsters.

Honestly even with just a couple of packs, including the free ones, you can have a nearly endless supply of choices.  Of course, the packs are very, very tempting and I have been very pleased with the ones I have grabbed.  Overhead Games is always making more.

I did try the software out on my Chromebook as well, installed via GooglePlay and it worked well enough.  Not enough to make me want to switch over from my Windows 10 machine, but it is an option.

Chrome vs. Windows 10The big thing that caught my eye was their full Commercial License.  Yup, if I want to create some art here and add to one of my books I can do that!  It won't (nor is it intended to) replace an artist, but it will give me some spot art or filler art for characters.  Especially the portrait options.


Overhead Games has strong customer service and support.  In the short while I have been using it I received a customer questionnaire asking about features and prices.  They also have customer forums where others share tips, tricks, and creations.   All my interactions with the company have been great and they are eager to answer any questions.

Another perk are the updates.  The software is updated often.  In fact sometimes I went in to my software and was told: "because you purchased XXXX we are including YYYY now for free." Or something to that effect.

If you are already competent with any 3D art software like Daz3D then you won't need this.
BUT if you are like me and can't even draw a stick figure OR you just want something designed to do RPG-style art then this is a good buy.  It is at least worth the download.

I have played around with it for a while now and I have been able to create most characters I wanted.  I did try to create a passable "Batman" but it did not turn out the way I wanted, but that is much harder to do really, and I am sure Overhead Games wants to avoid people being able to create such a recognizable character.

I was able to get a couple great looking versions of Larina.


It was worth getting the Sorcerer pack for the broom and witches hat.  I know what my priorities are.

Plus some classic D&D characters I'll talk about more next week.  Aleena and Morgan Ironwolf!



I even made a card, exported and edited in Photoshop. Pretty much set up for an RPG as is.



So yes the ePic Character Generator is a ton of fun.  I also see a use for it in the future for some books, but I'll have to judge that according to the book since I most often prefer older looking art.

The pricing model is also great. 

My only complaint is the saving and loading features, but otherwise it is a fantastic bit of software. I can't to make some more characters and see what else this can do.

Get it here: https://overheadgames.com/epic-character-generator/

Mike Apichella / May 26, 2020

Detail from the cover of The ‘Nam #24, November, 1988

The Reagan-worshiping, Polo-drenched patriotism of the 1980s couldn’t hide the scars left by the Vietnam War. An entire generation grew up with nightly news reports sporting brutal images of guerilla warfare and violent political demonstrations. The confusion left by Vietnam caused moral perceptions of American wars and soldiers to become complicated and uncertain. Cultural ephemera in the ‘80s reflected this ambiguity across all media. More than a decade to meditate on Vietnam through books (Born on the Fourth of July, The Best and the Brightest), film (Coming Home, Apocalypse Now), and both mainstream and underground journalism led to the conclusion that there were no longer concise justifications for large scale armed conflicts. Even garden variety action fare like the Rambo films and the A-Team TV series had protagonists embodying the “crazy Vietnam vet” stereotype.

Objective definitions of right and wrong attached to previous “popular wars”—especially World War II, which gave rise to the first war comics and mass-produced war toys—no longer applied. Trusted storytelling tropes faded away as war’s questionable nature became a muse for artists seeking to portray the reality of battle minus vainglorious machismo and nationalism.

‘80s comic books were no different than any other medium. Marvel Comics’ The ‘Nam, DC’s G.I. Combat and Weird War Tales, and Charlton’s Battlefield Action eschewed “feel good” war stories in order to focus on the far-reaching consequences of physical violence, the shifty political motives of the Cold War, and the universal philosophies that define military service. With the exception of The ‘Nam, most mainstream ’80s war comics were created by artists who were WWII veterans and aging members of the “Greatest Generation.” Even though they never made overt anti-war propaganda, Sam Glanzman, Robert Kanigher, Joe Simon, Jack Kirby, Joe Kubert, and many others went out of their way to present war as a negative element of society. There’s nothing cold and heartless about their work, but there is always a sense that something is being held back. While The ‘Nam was biting anti-war criticism, the rest of these books gave voice to the confused masses who had yet to take a side in the struggle for peace.

The quintessential ‘80s war comic is the 255th issue of DC’s anthology title G.I. Combat. The series began publication in the ’50s as a conventional war book with a clear pro-war stance. During its final years it developed a much more nuanced perspective. The Joe Kubert cover art for #255 shows a grisly flaming skeleton dressed in a soldier’s uniform standing in the turret of a tank as two helpless infantry men look on, consumed by horror and fear. Before you even open to the first page it’s clear that American military might will not be this issue’s dominant theme. The burned up corpse comes from the book’s final story, “Dead Letter Office,” by Robert Kanigher and Sam Glanzman. By the time of the issue’s winter 1983 publication, Kanigher and Glanzman had become sequential art’s premier war story team, with careers that spanned more than 40 years in mainstream comics.

“Dead Letter Office” is a seven page tale about Army Captain J.J. Jamison, a World War II officer assigned the thankless, heartbreaking job of composing letters to combat fatalities’ next of kin. It depicts the CO’s angst as he futilely attempts to keep emotional distance from the job while the death toll symbolically piles up in his office (nicknamed the dead letter office). Day after day stacks of casualty reports spill on to Jamison‘s desk,  overflowing with all the warm sentiment of a corporate paper trail.

When a young soldier and his comrades are killed during a fierce tank battle, Captain Jamison suffers a moral crisis while attempting to write a letter that gives the soldiers’ story a heroic spin. It feels like Kanigher and Glanzman are describing themselves when they reveal the captain’s plight as a messenger who must document gory death in patriotic language that’s socially acceptable—or bear the burden that comes with an uncensored account of war’s power to twist bodies and minds beyond recognition.

Many of the latter G.I. Combat stories are poetic and heartbreaking, but none more so than “Debt Of Honor,” another Kanigher/Glanzman piece and the opening tale in G.I. Combat #255. Spoilers abound in any attempt to sum it up, but it’s safe to say that the hardest hitting element is the story’s ability to convey tragedy without visuals, a breathtaking feat for a medium driven by illustration. In “Debt Of Honor,” the reader’s own preconceived notions of violence, evil, love, reverie, and loss serve the same purpose as a pen, a pencil, or a typewriter. The story’s tragic elements are as old as war itself, and they remain as relevant now as they have always been.

A few months after G.I. Combat #255 hit the newsstands, Charlton Comics published the 83rd and 84th issues of their war anthology Battlefield Action. The two comics were entirely comprised of true stories written and drawn by veterans of World War II and the Korean conflict. These originally appeared in the pages of an innovative but obscure 1950s comic book called Foxhole, whose primary creators were none other than comics legends Jack Kirby and Joe Simon. In the ‘80s, Charlton was the biggest little indie publisher in the business, barely staying afloat financially and mainly reprinting material from their halcyon days. Even within a glut of reprint books, these Foxhole stories were exceptional. First and foremost, prior to the publication of Battlefield Action issues #83 and #84, the company had never made a focused effort to reprint material from one specific war series. Charlton’s creative core at the time included editors George Wildman (a veteran of both WWII and the Korean War) and Bill Pearson, a multimedia artist who got his start as a fanzine contributor for the Wally Wood publication witzend.

Battlefield Action #84, December, 1983

It’s anyone’s guess as to why Wildman and Pearson felt these books deserved a retrospective, but there’s no doubt that Foxhole didn’t get a fair shake in its original run. Early issues of the title appeared in 1954 and were published by Mainline, one of the many comic book companies whose sales were crushed by the censorship and witch-hunt tactics of child psychologist Frederic Wertham and his infamous anti-comic book rant Seduction Of The Innocent (1954). When Mainline went under, Charlton swooped in to scavenge the copyrights of their unpublished comics, which in the case of Foxhole applied to the last three issues of the series. Like The ‘Nam, Foxhole presented a distinctly unglamorous vision of war. Because it centered around WWII and the early days of the Cold War, the title had no acidic streak of anti-war sentiment, but nonetheless its stories expressed pain and tragedy in a way that was much more palpable than anything in either The ‘Nam or G.I. Combat. These true anecdotes were illuminated by informality and confessional intimacy. Despite rarely breaking seven or eight pages, they overflowed with character development and nuance.

Foxhole avoided any over-the-top reverence for the American military. It depicted war with stark realism and little else. Consequently, it only lasted for seven issues. Thought provoking stories like Jack Kirby’s “Listen To The Boidie” and Art Gates’ “Kamikaze Joe” struck a chord with fans in the post-Vietnam era, but they were freakish upon arrival in the mid-’50s, a period when G-rated pablum dominated comics as a result of Seduction Of The Innocent.

At the opposite end of the spectrum was Weird War Tales. Like G.I. Combat, this was a long running DC publication. The eccentric comic’s name says it all. The book featured supernatural fantasies set in war time (narrated by The Grim Reaper dressed in army fatigues) and serialized genre mashups starring G.I. Robot and The Creature Commandos. “The Day After Doomsday” was another serialized feature in WWT. Its post-apocalyptic narrative took place during the first days of The Great Disaster (a catastrophe made famous by Kirby in his dystopian DC title Kamandi: The Last Boy On Earth). Throughout its run, “The Day After Doomsday” possessed an emotional complexity identical to that of many ‘80s war comics, even though its first installments were published in the early ‘70s.

Issue #124 (June 1983) was the final issue of Weird War Tales, and it included a lengthy work called “Old Enemies Never Die,” Robert Kanigher’s abstract take on the origins of war and violence. This mythic saga follows the endless rivalry of two warriors who experience cyclic death and reincarnation beginning in the days of Attila The Hun and ending in the distant future. Its filled with dreamy images created by the young art team of Topper Helmers and Gary Martin; their approach owed less to the hard-boiled impressionism of Kubert and Glanzman than it did to the sword and sorcery works of Wendy Pini, Tom Mandrake, and Ernie Colon. “Old Enemies Never Die” was also unique for its cryptic references to some of combat’s root causes: machismo, competition, greed, and the monetary system. Violence spirals out of control through time and space at the turn of each page. An Edenic paradise makes a cameo in the story’s final moments, but there’s no concrete ending. Kanigher viewed war’s destruction as an omnipotent force. “Old Enemies Never Die” may not have been the first effort to seamlessly connect war, mysticism, and social anthropology, but it is one of the most politically subversive comic stories to focus on that strange trinity.

The ‘Nam #3, February, 1987

In 1986, Marvel debuted The ‘Nam, an extraordinary piece of historical fiction, one of the most critically acclaimed comics of the ‘80s, and one of the first mainstream series to portray the Vietnam conflict in a negative light. Before The ‘Nam began publication, its principal artist, Michael Golden, had been working on a variety of superhero and fantasy titles, most famously on the sometimes Swiftian Micronauts series, which he co-created in the late ‘70s. The ‘Nam‘s writer was newcomer Doug Murray, an American army veteran who had been a non-commissioned officer in Vietnam. After the war he worked writing articles in fanzines and the short-lived film publication The Monster Times. In 1984, a friend who was an editor at Marvel convinced Murray to collaborate with Golden on a series of Vietnam-themed short stories for the anthology comic Savage Tales. Titled “5th To The 1st,” this series would eventually transform into The ‘Nam.

Murray’s editor friend at Marvel was Larry Hama, a comic pro and fellow Vietnam vet who got his big break in the ‘70s when he was hired by Neal Adams’ Continuity Associates. Hama became a fan favorite as the writer/co-creator of the G.I. Joe series, which was inspired by a popular line of Hasbro action figures. Though G.I. Joe did have strong military themes, the book followed the adventures of an espionage organization that battled terrorists, robots, and super villains, but rarely fought in any real or imaginary wars. This conventional escapism had little in common with the gritty dramas that Murray and Golden were crafting.

The ‘Nam pulled no punches in its hopeless depiction of the Vietnam War as seen through the eyes of The U.S. Army’s 23rd Infantry. Only a handful of characters come even close to being sympathetic. They’re a rough bunch—conniving and power-hungry top brass, disgruntled noncom’s, and square pegs constantly at odds with Army bureaucracy. They aggressively avoid understanding the purpose of America’s bloodiest Cold War police action, sometimes to save their own sanity, other times because they simply don’t care. In each case it’s a strategic apathy born of American exceptionalism, something that infects every plot point. The PANV and Viet Cong, too, are presented as restless generators of violence. In The ‘Nam, war is never honorable; it’s just an irritating chore that ends human beings.

Golden’s artwork owes a lot to Will Eisner, as he often draws in a caricature style that’s more grotesque than funny, a quality that reinforces the overwhelming atmosphere of dehumanization fostered by Murray’s minimal use of dialogue and narration. It may have been cutting edge in the ‘80s, but by today’s standards the series’ harsh tone could be misinterpreted as insensitive and politically incorrect. As an exploration of pragmatism’s role in the war, The ‘Nam never defends any clear definition of right or wrong. Murray and Golden didn’t set out to make a political statement with the title, instead claiming that a desire for heightened realism was their goal. Regardless, the book’s blurred morality only makes war feel ugly and evil.

Mike Apichella has been working in the arts since 1991. He is a writer, multimedia artist, musician, and a founder of Human Host and the archival project Towson-Glen Arm Freakouts. Under his real name and various pseudonyms, his work has been published by Splice Today, Profligate, Human Conduct Press, and several DIY zines. Mike currently lives in the northeast US where he aspires to someday become the “crazy cat man” of his neighborhood.

Here is a nasty little beastie from WAY back in my past.  I used these guys in AD&D 2nd Ed and then again for Ghosts of Albion where they were a big part of my Obsession adventure.

Blood Goblin (Hæmogoblin)

Undead faerie
Frequency: Very Rare
No. Enc.: 1-4 (1-6)
Alignment: Chaotic (Chaotic Evil)
Movement: 120' (40') [12"]
Armor Class: 6 [13]
Hit Dice: 4d8+4** (22 hp)
Attacks: 2 claws/1 bite (blood drain)
Damage: 1d4+1, 1d4+1, 1d6 + blood drain
Special: Acidic blood, 1d4 on touch, only harmed by silver, track by scent
Size: Small
Save: Monster 5
Morale: 7
Treasure Hoard Class:
XP: 225

Blood Goblins are nasty little beasties. Nominally part of the faerie, their essences have been corrupted by a vampiric or demonic power. The ritual to turn a faerie into a blood goblin is unknown to most mortals, but what is known is it is dark and evil and requires the vampire or demon to bind the potential blood goblin to feed it some of its own foul blood.

Once complete the faerie undergoes a horrible transformation. Their form becomes a twisted parody of what it once was. Wings (if they had them) wither and fall off. Teeth grow long and sharp. Their skin takes on the unhealthy look of a bruise or rotting flesh and thick acidic blood weeps from their pores. Arms grow long and their now taloned hands drag the ground. Their eyes turn completely milky white with no pupils visible.

They can speak, but it is difficult to understand them.

Blood goblins are bound to their master and will do his bidding. The trouble is most are far too dimwitted to be anything other than a nasty little killer. They enjoy hiding in alleys or darkened paths and ambush their targets. They have a keen sense of smell so often they need something that smells like the intended victim in order to attack them.  But they can and will attack anything warm-blooded.

Like all undead blood goblins are affected by holy water, taking 2-8 hp of damage per vial. blood goblins also take damage from sunlight. Blood goblins take 10 hit points of damage for every round they are exposed to bright, full sunlight. A “Continual Light” spell will also cause 1d4 hp of damage. Also they are unaffected by any mind spells (“Charm”, “Hold”, “ESP”) or “Sleep”.
Blood goblins have infravision to 90’.

Blood Goblins turn as Ghasts.

Here are my original AD&D 2nd Ed stats for them.


Hæmogoblin
CLIMATE/TERRAIN: Any
FREQUENCY: Very Rare
ORGANIZATION: Solitary
ACTIVITY CYCLE: Night
DIET : Living beings
INTELLIGENCE: Low (5)
TREASURE: Nil
ALIGNMENT: Chaotic Evil
NO. APPEARING: 1 (1-4)
ARMOR CLASS: 6
MOVEMENT: 12”
HIT DICE: 4+4
THAC0: 16
NO. OF ATTACKS: 3 (claw/claw/bite)
DAMAGE/ATTACK: 1-8/1-8/1-10
SPECIAL ATTACKS: Blood Drain
SPECIAL DEFENSES: Can only be hit by silver or magic.
MAGIC RESISTANCE: Nil
SIZE: S (3’ to 4’)
MORALE: Steady (11 - 12)
XP VALUE: 800
PSIONICS: Nil

The highest level of undead a human may obtain is arguably the Vampire. It’s ability to blend in with human or demi-human society is as much as an asset to it as it’s great strength and magic. However, many sub-human races are not suitable for vampiric conversion. Some sages claim it could be their force of will or life is relatively low. Others claim it is the gods that control the sprits (and not souls) of these humanoids that do not allow them to become vampires. It could be that vampires find these sub-humans distasteful. However some sub-humans have become undead. Undead gnolls (q.v. Shoovusa) and trolls (q.v. Spectral and Spirit Trolls) have been recorded. The Hæmogoblin is also such a creature.
Hæmogoblin’s, are created by vampires in need of a specialized servant. Creating a hæmogoblin is similar to creating any other type of vampire; blood is exchanged between the vampire and the victim. However to create the hæmogoblin the vampire needs to do something slightly different. The vampire uses any humanoid creature, (orcs, kobolds, goblins, hobgoblins, norkers, etc…) usually goblins are chosen, due to their size and manageability.
It should be noted that creatures as large as an ogre might be used, but none have ever been reported, also goblyns (from Feast of Goblyns) can not be used, they have already been converted using powerful magics.
The vampire master takes the humanoid victim and first drains it of most of its blood. The vampire then will regurgitate the purloined blood back into the humanoids mouth. The victim will swallow the blood and it’s transformation to undeath has begun. Usually by the next nightfall the victim will reawaken to full hæmogoblin status. The vampire lord can create a number of these creatures that is equal to its own hit dice, e.g. a 12 hit die vampire can create 3 (3*4 hit die=12) of these creatures. From this point the hæmogoblin will act as a servant somewhere between a homunculus/familiar and a vampiric slave.

Combat: Hæmogoblins attack with a claw/claw/bite routine. On any natural “20” rolled to hit with the bite attack the hæmogoblin will begin to drain the victim's blood at the rate of 1 CON point per round. The hæmogoblin can only be removed with a successful “Bend bars/Lift Gates” roll. The victim may not attack during the rounds an attempt to remove the hæmogoblin takes place. If the hæmogoblins are S size or smaller then up to two may be draining one victim at the same time. If the victim reaches 0 CON points then they die. Unless a “Bless” or “Remove Curse” spell is cast on the corpse it will rise the next night as a Ghast.

Hæmogoblins turn as Ghasts. Hæmogoblins cannot pass on their curse of undeath like the vampire to create other hæmogoblins, however, there is a 50% chance that any sub-human killed by a hæmogoblin will become a ghoul, with 5% of those becoming ghasts. These victims are free-willed, but they are at a disadvantage when encountering the vampire that created the hæmogoblin. They make their saves at –5 and are 25% more likely to fall under that vampire’s control.
Like all undead hæmogoblins are affected by holy water, taking 2-8 hp of damage per vial. Hæmogoblins also take damage from sunlight. Hæmogoblins take 10 hit points of damage for every round they are exposed to bright, full sunlight. A “Continual Light” spell will also cause 1d4 hp of damage. Also they are unaffected by any mind spells (“Charm”, “Hold”, “ESP”), or “Sleep”.
Hæmogoblins have infravision to 90’.

Habitat/Society: Hæmogoblin’s are created undead, none will occur “naturally”. They can be most often found in or near the lairs of vampires. Crypts are very commonplace for hæmogoblins. They have been known to associate with ghouls for increased protection and hunting. Hæmogoblin’s prefer to eat living humans and humanoids. Often however they are forced to eat the scraps left to them by their vampire masters. If hard-pressed hæmogoblins will eat corpses.
Most hæmogoblins encountered will be in the service of a vampire lord/lady. They are often used as spies for the vampire. In one recorded incident a vampire set up one his own Hæmogoblins as a scapegoat to cover his own tracks. While any angry mob was dealing with the hæmogoblin, the vampire left the area.
Unlike a true familiar, the vampire suffers no ill effects if his hæmogoblin is destroyed.

Ecology: Hæmogoblins are undead and produce nothing. While the corpses of hæmogoblins may be useful to necromancers or sages, they have nothing else of value.

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. As popular in the Old School Renaissance as the genre is, not all fanzines are devoted to Dungeons & Dragons-style roleplaying games.

The world of Glorantha has had any number of fanzines dedicated to it over its forty year or so history, most notably, Wyrm’s Footnotes and Tales of the Reaching Moon. Published by D101 Games, Hearts in Glorantha is a more recent fanzine, having been published on an irregular basis since 2008. A total of seven issues have been published to date, with the first five collated as Hearts in Glorantha Vol 1 Collected. The inaugural issue, Hearts in Glorantha Issue 1 Summer 2008 was subtitled ‘Mythology & Glorantha’ and its focus is very much on the mythology and bringing it to your game. As well as the ‘Mythology & Glorantha’, it comes with two region guides, duck tales, an interview, and more.

The issue opens with John Ossoway’s ‘God Fall’. This details a location in north-eastern Prax, at least a week’s waterless journey from anywhere, a location where a century ago, a new star blazed across the sky and fell to earth. Hailed as a fallen god, its worshippers are known to receive prophetic visions and healing from him whilst they wait until the time he awakens, reveals his identity, and rewards them for their devotion. Both location and cult are described, and there are also notes for shifting God Fall to the Second Age. What is missing here is a scenario seed or two, something to give the description some application to help the Game Master include it in her game.

Publisher and editor of Hearts in Glorantha, Newt Newport, contributes several pieces to this first issue of the fanzine. The first is ‘Prologue Method For Character Generation’, which breaks the character creation process in HeroQuest into three steps—Childhood, Rites of Passage, and Early Experience, and has player and Game Master together explore what happened at each stage. This rewards both with enhanced character creation and background and experience of how the character works in play. He also details a frontier country in the Eastern Wilds of Ralios in two articles—‘Karia’ and ‘Karia Mythology and History’. The first is a gazetteer for Karia, a rough land and only separated from Dorastor Land of Doom by the Kartolin Pass, barely populated by settlers from the Kingdom of Delela, exiles from the Dukedom of Naskorion, and Trolls from the Queendom of Halikiv. The second provides context and background, not just from one point of view, but multiple points. This includes the Orlanthis, the Trolls, and more, before bringing the region up to date at the dawn of the Hero Wars.

‘Homeland: Kralori’ by Mark Galeotti explores Kralorela, the Kingdom of Splendor in Eastern Genertela. It details this very traditional, caste-bound culture, their common faiths, and the Kralori pantheon. This is supported with particular Keywords for use with HeroQuest and nicely captures the conservative nature of the society. Elsewhere Stuart Mousir-Harrison describes Aweke, a low-growing ground herb found across Pralorela and elsewhere for ‘Flora of Glorantha’. It details how although difficult to cultivate, it has stimulating and endurance-enhancing properties.

The ‘Mythology & Glorantha’ focus gets underway with David Dunham’s ‘The Tale Theft’. This is a ‘do-it-yourself’ means of creating heroquests, using words and ideas on cards as elements which players can tribute towards both creation and play of a heroquest. By implication, it is written for use with HeroQuest and supported by a full example or two. This emphasises the storytelling aspects of HeroQuest and would actually work with the next article, ‘Location Mythlets’. Here Jane Williams looks at how to take the two-line myths from the Dragon Pass Gazetteer and by answering a few questions—what the Game Masters wants, how to build the myth, how it might differ from the myth’s norm, and how it might all go together. Again, it comes several examples. How a heroquest might differ from the norm is entertainingly illustrated in the first of third pieces of fiction in the issue. This is in James Williams’ second contribution to the issue, ‘Lookout Hill’, telling how a heroquest to ensure that the Thunder Brothers burned off the darkness at the foot of the Quivini Mountains became something more. The second piece of fiction, Jeff Richards’ ‘The Seduction of Tarahelera’ tells of what is perhaps a more straightforward heroquest, but is no less entertaining. The third is ‘Using a Charm’, an instructive piece on the nature of dealing with spirits by Greg Stafford.

Perhaps the most fun piece in Hearts in Glorantha Issue 1 is ‘Rymes & Ribbolds Royall – The Kings and Queens of the Durulz’. Written by Stewart Stansfield with Keith Nellist, this presents idea that a chronicle of the kings and queens of the wereducks of Dragon Pass was written as a series of comedic poems, most notably by the skald known as Waddlewit. This is supported by three sample excerpts and histories for a particular monarch, as well as the full stats in HeroQuest for the artefacts associated with them. So for example, Holgreema the Rotbane, Queen Starbolt, wanton despot who wooed the river god, performed the Cutting of the Zombie Chain, and cast her left eye into the swamp to watch its borders is accompanied by a write-up of the Chariot of the Gods, Spirits, and Essences of the Creek-Stream River, a water-chariot made from a giant Dragonsnail shell. Typical spirits associated with the chariot are also described. All together a highly entertaining piece of lore.

The interview in Hearts in Glorantha Issue 1 is with Jeff Richard. ‘Newt Talks to Jeff Richard’ is a fairly lengthy piece covering a number of subjects, including the then development of HeroQuest 2, as well as Pavis: Gateway to Glorantha, Cults of Sartar, and more. It highlights in the main the intended ease of play of HeroQuest 2 in comparison to the first edition of HeroQuest. As interesting as the interview is in capturing the then state of roleplaying Glorantha—after all, 2008 was a very different time with different publishers—it is not particularly interesting in itself.

The single scenario in Hearts in Glorantha Issue 1 is Newt Newport’s ‘Fixing the Wrong’. Set in Dragon Pass, it casts the player characters as either Lunars or Heortlings. Since published in Gloranthan Adventures 1: New Beginnings, it takes place in the former lands of the Hazel Owl clan, which was all but obliterated by the Lunar Empire following an uprising. The Lunar Empire was not without compassion and established a mission house to attend to the refugees who survived, including the then beautiful daughter of Hazel Owl chieftain, Jalhena the Gentle. Driven mad by the experience, in the years since, Jalhena the Gentle has become Jalhena the Hag and a Lunar convert, so when she approaches the neighbouring Birch Shaper clan in order to claim the hand of the chief’s son in marriage, mediators are required. Which is where the Player Characters become involved. The scenario comes with a full cast list, location descriptions, and scenes, including a heroquest. Of course, timewise, this is now a slightly difficult scenario to run, but it could certainly be run as a flashback.

Physically, Hearts in Glorantha Issue 1 Summer 2008 is decently presented. It needs a slight edit in places, but is in the main, very readable. It is lightly illustrated, but the artwork is good—or even excellent in the case of the ducks! Hearts in Glorantha Issue 1 Summer 2008 is twelve years old and it shows very much in the choice of gaming systems referenced—though this is generally down with a little touch—and of course, the time frame. Nevertheless, this does not mean that the contents are invalid or useless, the discussion on the nature and construction of heroquests is thoughtful, the fiction entertaining, and the background interesting if not immediately useful. Overall, Hearts in Glorantha Issue 1 Summer 2008 is a solidly thoughtful first issue.

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. As popular in the Old School Renaissance as the genre is, not all fanzines are devoted to fantasy.

Gamma Zine carries the subtitle, ‘A Fanzine supporting early post-apocalyptic, science-fantasy RPGs – specifically First Edition Gamma World by TSR.’ This then, is a fanzine dedicated to the very first post-apocalyptic roleplaying game, Gamma World, First Edition, published by TSR, Inc. in 1978. Gamma Zine #1 was published in April, 2019, following a successful Kickstarter campaign as part of Zine Quest 1. Published by ThrowiGames!, it came as a black and white booklet, packed with content, including adventures, equipment, monsters, and more. Published as part of Zine Quest 2, Gamma Zine #2 was published in February, 2020 and promised more of the same—adventures, equipment, monsters, fiction, and so on.

Where Gamma Zine #1 began with a short interview with James M. Ward, the designer of both Gamma World and its predecessor, Metamorphosis Alpha, Gamma Zine #2 starts with ‘An Interview with Luke Gygax’. This is not just because his father is E. Gary Gygax, but also because he is listed as the co-author of GW1 Legion of Gold, the very first scenario for Gamma World. What is interesting about the development of the module is that Luke Gygax was just nine or ten years old at the time the adventure was written. Thus we we read about his influence over the design of the module as well as the time he spent as a child with his father. Which adds a more personal touch to our views of the man who co-created Dungeons & Dragons and began the hobby.

‘New Horrors from the Wasteland’ provides two new monsters. One is the Chog, a canine creature which seems to adsorb radiation and expell it in its bite. The bad news for the Player Characters is that the stronger the intensity of the radiation it has adsorbed, the worse its bite! The other creature is the Dizard, a lizard-type known for its tenaciousness when attacking—it likes to get a grip and keep hold, forcing a Player Character to try and break that grip! Leather taken from the Dizard is also known to be sturdy and all but fire proof.

Gamma Zine #2 also continues adding something not found in Gamma World—a Class. Classes are not a feature of Gamma World, but ‘Class Option — The Wasteland Blacksmith’ shows how they could be added to added. Following on from Artificer from Gamma Zine #1, in Gamma Zine #2, this is the Wasteland Blacksmith who makes and repairs things from the wasteland junk, earning Experience Points for doing so, but does not gain as many Experience Points from mere combat. The rules are fairly basic, but it adds flavour and enables a player to add a skill and round out his character a bit more. ‘Artifacts of the Ancients’ in Gamma Zine #1 concentrated on weapons, but ‘Artifacts of the Ancients’ in Gamma Zine #2 focuses on tools and survival aids. So the Stimpack Drone is designed to be used to deliver doses of a healing agent by remote, but others have adapted it to deliver poisons and radiation and more! The Hop-Pack provides the wearer with short jumps, the collapsible axe is a handy tool, and the Survivor Armband is perfect for anyone wanting their Gamma World adventures to be a bit more like the computer game, Fallout!

Gamma Zine #2 comes with three adventures. The first is ‘Adventure #1 — The Millionaire’s Vault’ describes the vault where a millionaire from before the apocalypse hoarded his most valuable possessions. Unless the Player Characters are looking for the reputed  ‘Cure All’ said to be hidden in its depths, there is little reason for them to visit what is actually a converted missile silo. It is more of an adventure location and as an adventure location, would work well with ‘Adventure #2 — Paradise Island’. The island of the title is home to farmers and fishermen and is known to trade in foodstuffs, but when the Player Characters arrive they discover that the island has been attacked by pirates and their mercenary island. In comparison to ‘Adventure #1 — The Millionaire’s Vault’, and even though it is quite simple, there is a whole lot more plot in ‘Adventure #2 — Paradise Island’. The vault from ‘Adventure #1 — The Millionaire’s Vault’ could easily be moved onto Paradise Island, and ‘Adventure #2 — Paradise Island’ enlarged and expanded, perhaps to form a hexcrawl of its very own also using the three adventures in Gamma Zine #1. 

‘Adventure #3 — Rescue!’ likewise includes a bit more of a plot. It describes a pre-apocalypse, advanced detention facility and the idea in the scenario is that the Player Characters need to rescue someone held in one of its cells. It is quite detailed and should present a challenge to any Player Characters attempting to break or con their way into the facility. The map is a little cramped and difficult to read, and it does feel as it could have been better orientated on the page.

The issue also includes two pieces of fiction. The first is  ‘The Hunted, Chapter Two’ which picks up from the cliffhanger that ended in ‘The Hunted, Chapter One’. In the first part, Whyla and her faithful cybernetic hound, Arnold, were ambushed by bandits and this gives the payoff. Again it is nicely written and with the resolution of the first cliffhanger sets up another. Unfortunately, the other piece of fiction, though again decently written, is not just as engaging. ‘Opportunity of Lifetime, Prologue’ really sets everything up for the next part, detailing how a student is selected for an important scientific mission. Set before the apocalypse, not a great happens and at three pages in length, it is too long a read. Hopefully the next chapter provide a better payoff.

Lastly, Gamma Zine #2 gives the Game Master another ‘Artifact Use (Solution) Flowcharts’. The focus of this set is guns and ammunition. So there are flowcharts for identifying revolvers and semi-automatics, along with standard and advanced ammunition types. It splits ammunition types because they are easy to get mixed up. Of course, some groups will find them fiddly and annoying, but they are part of the mechanics to Gamma World, so having more of them is fun.

Physically, Gamma Zine #2 is neat and tidy. It is decently written and nicely illustrated with good art throughout. Each of the scenarios is accompanied by excellent maps.

If you enjoyed Gamma Zine #1, then the likelihood is that you will enjoy Gamma Zine #2. It provides excellent support for the first edition of Gamma World, as well as for post-apocalyptic roleplaying games with a drier, slightly less fantastic tone, such as Free League Publishing’s Mutant: Year Zero – Roleplaying at the End of Days. It is not perfect though, there being a bit too much fiction and the adventures being more encounter locations than actual scenarios. This does not mean that they are not useful and the Referee can easily pick and choose how she uses the content. Certainly the adventures could be used to populate a hexcrawl of the Referee’s own devising. Overall, Gamma Zine #2 is continued solid support for Gamma World.

On the tail of Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another Dungeon Master and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry.

The Wormskin fanzine, published by Necrotic Gnome is written for use with Labyrinth Lord and issue by issue, details an area known as Dolmenwood, a mythical wood, an ancient place of tall trees and thick soil, rich in fungi and festooned with moss and brambles and rife with dark whimsy. Wormskin No. 1 was published in December, 2015, and was followed by Wormskin No. 2 in March, 2016. Both issues introduced the setting with a set of articles rich in flavour and atmosphere, but lacking a certain focus in that the region itself, Dolmenwood, was not detailed. Fortunately, in March, 2017, Necrotic Gnome Productions released Welcome to Dolmenwood, a free introduction to the setting. Further, Wormskin No. 3 and Wormskin No. 4, published in July, 2016 and Winter 2016 respectively, improved hugely upon the first and second issues, together providing a better introduction to Dolmenwood, giving some excellent answers to some very good questions about the setting before delving into what is the biggest secret of Dolmenwood. Published in the winter of 2017, Wormskin No. 5 looked at how the region might be explored, whilst also presenting the region around ‘Hag’s Addle’. Wormskin No. 6 focused on the area around Prigwort, as well as detailing ‘The Fairy Lords of Dolmenwood’ and the ‘Unseasons’ that beset the region.

Wormskin No. 7 was published in the autumn of 2017. The issue opens with two almost mundane, but actually very useful articles. The first, ‘Common Names in Dolmenwood’ lists thirty names each for men and women, Elves, Moss Dwarfs, Woodgrues, and Grimalkin—all given as Classes in earlier editions of the fanzine, plus liturgical names for Clerics, and then Honourifics for Clerics, Fighters, Thieves, and Magic-Users. The second, ‘Henchmen of Dolmenwood’ gives rules for locating and creating henchmen and then equipping them according to Class and Race. These obviously work together, but whether in combination or apart, they fill another part of Dolmenwood’s jigsaw puzzle. Especially the ‘Common Names in Dolmenwood’ which allows the Referee to easily name common NPCs.
The bulk of the issue though is dedicated to detailing another twenty-one hexes of Dolmenwood. These include seven hexes in the north around the hamlet of Drigbolton, seven hexes in central Dolmenwood to the east of the town of Prigwort, and in the south, seven hexes around the road from Lankshorn to Dreg. So ‘Drigbolton and Surrounds’ opens with the description of ‘The Hall of the Formorian’, a domed hall atop a marble slab which is home to a blue-skinned immortal giant bound by duty to await the arrival of an unknown man named Jack, a cottage of full of ghosts ready to trade secrets, whilst near the ghost town of Midgewarrow lies the manor home Lady Mariejay Haeroth, local noble and reclusive witch. The town of Drigbolton is mentioned, but not detailed, a full description being given in the scenario, The Weird that Befell Drigbolton.
Near Prigwort is the Ravine of the Stag Lord, a lonely natural amphitheatre where the Stag Lord manifests from the Otherworld to receive homage, though sadly without his head which has been stolen! What boons might he and his stag allies bestow should someone return the lost head to him? South of the ravine on the road is the Refuge of St. Keye, a stopping point on the old pilgrimage to the abandoned Abbey of St. Clewd. Here travellers can find a night’s rest and food if they are willing to listen to a sermon or two. Before that stands the Wenchgate—from the local name for Dryads, an arch of living trees and branches carved with faces that said to welcome travellers to Dolmenwood. Northeast of Lankshorn, not far from the Ditchway is a curiously formed hillock, which will radiate strongly should any magic that detects undead be cast upon it. This is because it is actually the skull of giant of a prodigious size no longer seen in these ages. With a skull that big, what could be inside it? Travellers looking for entertainment might want to visit the Port of Dreg and Shantywood Isle, the former a seedy haunt of thieves, smugglers, charlatans, and more, the latter a cliff-sided island upon which sits Chateau Shantywood. This is a ‘manor of ill repute’, but one which is an independent state of its own! The owner, Madame Shantywood is as much a repository of rumours and pillowtalk as she is ambitious to increase her influence.
The last part of Wormskin Issue Number 7 is devoted to ‘Monsters of Dolmenwood’. This presents some nine creatures native to the Eldritch region. The format for the monster entries has been shortened into a more concise fashion by excising the lair and encounter details which were included in previous entries in the series. This is disappointing because these added detail and examples which made the monster entries easier for use by the Referee. Nevertheless, these are good monsters, many of which have appeared in this and previous issues of the fanzine, either as known denizens of Dolmenwood or as playable character types and Races. They include the Drunewife, the womenfolk of the Drune known for their enchanting songs, and their herbalism and pottery, who are often accompanied by Kilnlings, the clay figurines that serve them. The Giant Psionic Snails are gargantuan denizens of the Otherworld who feed on the energy of Dolmenwood’s Ley Lines, who are often sort out for their knowledge of the Otherworld. One is thought to reside near Lankshorn, where its thoughts manifest as a tea tent that serves the mostly refreshing of brews.
Physically, Wormskin Issue Number 7 is as well presented as previous issues. The layout is clean and unfussy, the tables of ‘Common Names in Dolmenwood’ and ‘Henchmen of Dolmenwood’ make subtle use of colour and are so easy to read. As per usual, the issue uses a mix of publicly available artwork and commissioned pieces, the latter capturing the quirky nature of Dolmenwood. The issue’s use of colour is judicious and so stands out where it appears.
Wormskin Issue Number 7 is a solid issue, detailing yet more of Dolmenwood’s weird locations and inhabitants. Of course the issue suffers from the ‘Part Work’ format of Wormskin so putting it all together is all a bit daunting. It gives Dolmenwood a patchwork feel, the issue lending itself more to parts which a Referee can pull out and add to her game rather than Dolmenwood. 

On Twitter #FollowFriday is a long-established Friday tradition.   You post your tweet with the #FollowFriday hashtag to get more followers.

Well today I want to do to bring your attention to some lesser-known or lesser trafficked social media sites.

This is the next evolution of The Best Blog You Are Not Following. This moves a bit beyond blogs into all social media.
I'll post my links and if you have any you want to share post them below.  Just keep them on topic.

Ove on Facebook there is a lot great D&D and RPG groups.  If I posted one a week I would still be posting in a year or more.  Today I want to share a couple.

I'd Rather Be Killing Monsters
https://www.facebook.com/groups/776216536226728
This group covers the same sort of material you will see here.  Started by Tim Knight of Hero Press fame it is RPG and geeky media focused.

Victorian Gamers Association
https://www.facebook.com/groups/VictorianGamersAssociation
This group is one I run and it is dedicated to all sorts of Victorian-era RPGs.  Here we talk about the games and the Victorian-era, 1837 to 1901.

Over on Instagram there is a lot of great artists.

Wayne Reynolds Art
https://www.instagram.com/waynereynoldsart/
Wayne Reynolds has been making art for D&D and Pathfinder for years.

Djinn in the Shade
https://www.instagram.com/djinnintheshade/
Djinn is an old friend of the Other Side and she has some great D&D art and the lewd adventures of her D&D character Solaine.
If you prefer something more SFW, try her other site: https://www.instagram.com/djinninthebox/

MeWe is the newest Social Media kid on the block, and it shows, so let's give some of those groups some love.

Basic Fantasy and Table Top RPG
https://mewe.com/group/5bbcd4672ee15f2bb807556c
This is a group I am active in and it needs some more active participants.  So please come by and join!  Let me know you saw it here!

And here are my sites.

Personal Sites

• My Facebook Page
• Instagram
• Twitter
• MeWe
• Pinterest 
• DriveThruRPG and DMsGuild books

The Other Side Sites

• The Other Side blog  (hint, you are here now!)
• The Other Side Publishing at DriveThruRPG
• The Other Side Facebook Page
• Instagram
• MeWe Group
• The Other Side Tumblr

Post your links below.

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Another choice is Dungeon Crawl Classics Role Playing Game.

Published by Straycouches Press, Crawl! is one such fanzine dedicated to the Dungeon Crawl Classics Role Playing Game. Since Crawl! No. 1 was published in March, 2012 has not only provided ongoing support for the roleplaying game, but also been kept in print by Goodman Games. Now because of online printing sources like Lulu.com, it is no longer as difficult to keep fanzines from going out of print, so it is not that much of a surprise that issues of Crawl! remain in print. It is though, pleasing to see a publisher like Goodman Games support fan efforts like this fanzine by keeping them in print and selling them directly.

Where Crawl! No. 1 was something of a mixed bag, Crawl! #2 was a surprisingly focused, exploring the role of loot in the Dungeon Crawl Classics Role Playing Game and describing various pieces of treasure and items of equipment that the Player Characters might find and use. Similarly Crawl! #3 was just as focused, but the subject of its focus was magic rather than treasure. Unfortunately, the fact that a later printing of Crawl! No. 1 reprinted content from Crawl! #3 somewhat undermined the content and usefulness of Crawl! #3. Now Crawl! Issue Number Four is just as focused as the second and third issues, but the good news is that its contents remains its own. It also differs in content from earlier in presenting the one thing—and that is a scenario.

Published in September, 2013, the whole of Crawl! Issue Number Four is devoted to Yves Larochelle’s ‘The Tainted Forest Thorum’, a scenario for Dungeon Crawl Classics Role Playing Game for characters of Fifth Level. From the start, you can tell that Crawl! Issue Number Four is an Old School Renaissance scenario, since it comes with a loose cover on the inside of which the scenario’s area map is printed. The village of Thorum has recently suffered a rash of strange occurrences—the holy symbols of the Goddess of Justice have been stolen, damaged, and destroyed; bodies have been stolen from the village graveyard and been found disfigured in the nearby river; the brother of the local head cleric has been kidnapped; and a group of bandits is known to operate near the village. The question is, are these facts and events all connected? The Player Characters are asked to investigate and determine exactly what is going on.

Essentially ‘The Tainted Forest Thorum’ does the traditional ‘Village in Peril’ set-up, but for mid-Level characters rather than low-Level characters. It presents numerous avenues of  investigation for the Player Characters to look into and follow up. The Player Characters should be able to grab a lead or two and perhaps gain an ally or two whilst in Thorum. The village itself is lightly detailed, so the Judge might want to develop it some more herself. Certainly, the Judge may want to provide floor plans of the local Church of the Goddess of Justice, but for the most part, she can make it up as the Player Characters conduct their investigation. Ideally, they should find the leads pointing towards the perpetrator of all of this, though there is the possibility that they circumvent much of the investigation and cut to the chase—the dungeon!

Consisting of just fifteen locations, ‘Macrobius’ Dungeon’ is fairly linear and for the most part, fairly uninteresting. The maze in its midst is really superfluous and some of the locations really deserved  more description. There is a nasty deathtrap though—well, what would be the point of a deathtrap if it is not nasty?—which the Judge will have fun with, as she will with the scenario’s antagonist, Macrobius, a wizard whose ambition and greed has led him to turn to evil. As is traditional.

‘The Tainted Forest Thorum’ is slightly oddly organised in that the scenario’s major NPCs are kept separate from the locations and potential scenes where they are encountered. What this means is that the Judge will need to flip back and forth from locations to NPCs, and although that may not slow the running of the adventure down too, it is slight awkward. In addition, the scenario includes its own ‘Appendix H’ and ‘Appendix N’. The first details a river dragon which the Player Characters may encounter and is likely to be more of a hindrance for them if they engage with it, whilst the latter details a couple of magical items both of which play an important role in the scenario.

Physically, ‘The Tainted Forest Thorum’ and thus Crawl! Issue Number Four, is neat and tidy. It is light on artwork, but the few pieces are rather nice, and the writing is generally clear and easy to read. The two maps feel a bit heavy in their style and the dungeon map feels rather cramped, especially given how little information it has to convey. The format with separate is a very knowing, lovely touch.

‘The Tainted Forest Thorum’ is reasonable enough adventure, with some good investigative links and some accompanying NPCs who should be fun to portray. However, the scenario feels underwritten and underwhelming in places—the dungeon in particular—and the Judge may want to develop just a little bit further. Even without that development, ‘The Tainted Forest Thorum’ should provide a session or two’s worth of play, but with that development, the scenario may be a little more flavoursome and a little more engaging. Overall, ‘The Tainted Forest Thorum’ is an okay dungeon, which means that Crawl! Issue Number Four is an okay issue of the fanzine.

I want to get back to my One Man's God series, but before I do I want to take look at the various Goddess of Magic.

Hecate by Iren HorrorsOne thing myths seem to have in common, at least the handful I have covered to date, is a Goddess of Magic.  These goddesses, while different in many respects and aspects, share something in common.  They have learned the secrets of magic and these secrets seem to be something only goddess are meant to know.

Here are a few an how I see them through the lens of a Goddess of the Witches.

Ereshkigal
The world's first goth-girl.  I talked a lot about her during my wrap-up of the Babylonian, Sumerian, and Akkadian myths.  She is the goddess of the underworld and the magic associated with that. Ereshkigal is often considered to be the dark half of her sister Innana/Ishtar.

Isis
Isis is the earliest Goddess of Magic of Egypt.
With Osiris and Horus (the divine child) they make up a Holy Trinity. She is the Goddess of marriage, motherhood, fertility, magic, healing, reincarnation, and divination, to name but a few. Isis is the patroness of priestesses. One myth has Isis poisoning the Sun God Ra, offering to save him only if he would reveal his secret name. At last, at the brink of destruction, Ra gives Isis his heart, with the secret name it held, and his two eyes (the Sun and the Moon).  Isis quells the poison and ends up with Ra’s supreme power. In time the great Eye was passed along to her son Horus.  Proclus mentions a statue of her which bore the inscription “I am that which is, has been and shall be. My veil no one has lifted”. Hence, to lift the veil of Isis is to pierce the heart of a great mystery.

Hecate
Hecate got her own OMG post a while back.
Hecate is, in Greek mythology, the Goddess of darkness, magic, and witchcraft.  She is the daughter of the Titans Perses and Asteria. Unlike Artemis, who represented the moonlight and splendor of the night, Hecate represented its darkness and its terrors. On moonless nights she was believed to roam the earth with a pack of ghostly, howling dogs. She was the Goddess of sorcery and witchcraft and was especially worshiped by magicians and witches, who sacrificed black lambs and black dogs to her. As Goddess of the crossroads, Hecate and her pack of dogs were believed to haunt these remote spots, which seemed evil and ghostly places to travelers. In art Hecate is often represented with either three bodies or three heads and with serpents entwined about her neck.
Of all the deities who have covens, Hecate’s covens are the most widespread and well known. Hecate was once a fairly benign goddess in early Greek times. She later became the dread Greco-Roman Goddess of ghosts, a close confidante of Persephone, and a patron of witches. The brutally wronged Hecuba of Troy was reincarnated as one of Hecate’s black dogs, which accompanied her on her night walks. When Hades kidnapped Persephone in the later Greek myth, farseeing Hecate was the only one who witnessed it. Hecate was worshiped at three-way crossroads at night even by ordinary Greek families and could ward off ghosts if properly propitiated. But Romans also believed She had more sinister worshipers; the witches and sorceresses who could coerce even the gods to do their will.

Freyja
Freyja is associated with magic, but mostly with seiðr. What is seiðr? Well, it is a bit of an odd translation but it usually refers to a pre-Christian pagan form of magic.  Today we would shorthand it and call it "witchcraft" but that is not exactly right.
I hope to cover her more when I finally get to Norse myths.

Ceridwen
Celtic Goddess of wisdom, intelligence, magic, divination, and enchantment. She is the Goddess of the cauldron. Popular among the Celtic Classical and Craft of the Wise Traditions.
Cerridwen’s cauldron has the power to return the dead to life.

Áine
Another  Celtic Goddess is the Irish goddess Áine.  She is also the Goddess of Summer.
I want to get back to Celtic myths soon.

Coyolxāuhqui
I forgot to mention Coyolxāuhqui last week when I did Central American myths.  She is the sister of Huitzilopochtli (the God of War in the D&DG).  She is most often depicted as the Goddess of the Moon when she was beheaded by her brother and he tossed her head into the sky.

Huitaca
Also known as Xubchasgagua she is the Goddess of arts, dance and music, witchcraft, sexual liberation, and the Moon. That is quite the portfolio.  Like many Goddesses, she is associated with the owl as her animal.  She is described as a "rebel Goddess." She is really the archetypical witch.
She is associated with the religion of the Muisca which is now Columbia in South America.

From D&D

Wee Jas
Wee Jas also got her own post a while back.  Wee Jas is what Hecate would be if she were a Suel god. Or more to the point the D&D version of Hecate, the Goddess of Magic, Witches, Ghosts, Necromancy and the Crossroads.   It is said that Wee Jas guards the doorways to the dead and the same is true for Hecate.  In fact, I have used them rather interchangeably for years.

I think for my own version of Wee Jas, I would start with the Dragon 88 version, add a little bit of what we saw in D&D 3.x, and then change her "Death" portfolio to "Spirits" ("Wee Jas" = "Ouija").  She can summon undead, and her priests may do so as well, but no raise dead spells.  I rather liked the Raven Queen from D&D 4 and 5, so pass off Wee Jas' control of Death (save for spirits) to the Raven Queen.  Since the Raven Queen is described as a young or new Goddess, it could even be that she is the daughter of Wee Jas.  Ioun was one of Wee Jas' first students.

Mystra
Mystra is the Forgotten Realms Goddess of Magic.  I have not talked much about her here because my knowledge of the Realms is limited.  But I have always wanted to explore the Mystra-Mystara connection.  Is there one? Likely not, but there should be at least in my games!

I am sure there are more, lots more even, but this is good for now.

If you have not heard the news it is official, Gen Con 2020 has been canceled.



You can read more here:
https://www.gencon.com/press/gen-con-2020-cancellation

With many cons canceling including Comic-Con this was too much of a public health risk.  We had planned to not go this year back in late March, but I was hoping that things might turn around.

My hope would have been justified if we didn't have a complete moron in charge of our country, but I should have known better.

This is the right call really.

If you look at the high-risk population and the average Gen Con attendee, there is a lot of overlap. 

Now, of course, we don't know what will be going on in late July, early August, but I do know that plenty of schools are considering not opening up for Fall term and they stand to lose more than Gen Con by several orders of magnitude.

So I am sad yes. I have not told my kids yet. 
I have canceled my hotel I had downtown (at the J.W. Marriott where we stay every year).

I was looking forward to finishing the great Order of the Platinum Dragon campaign we play at every Gen Con.  The characters are just one adventure away from retirement.