One of the biggest surprises about the dealer’s room at Armadillocon 2021 is how much things have changed since my last visit in 2000. For the longest time, the main dealer emphasis at litcons (conventions where the main emphasis was … Continue reading →

I am not going into this one with very high hopes.  It deals with demons, witches, and Ron Perlman.  

5ive Girls (2006)

The movie begins with Ron Perlman as Father Drake.  He is the teacher of a Catholic girl's school, St. Marks.  One of his students, Elizabeth, is drawing a scene from the Bible where Jesus casts out the Legions of demons (is Legion the number or the name? Sunday school was a long ass time ago).  Anyway, while Drake is talking to some students, Elizabeth starts to hear voices.  Soon the door slams shut and she begins hearing the voices of demons.  Drake finally gets into the room, but Elizabeth is gone, leaving only blood.

Five years later, the school reopens with just only five students and recovering drunk Father Drake.  The newest girl, Alex, is a witch with TK and can hear voices coming from nowhere. She also sees Elizabeth walking around the halls.  The other girls also experience strange happenings.  Leah passes through a filing cabinet.  Cecilia is blind but has second sight. Connie is a Wiccan.  Not sure what Mara does other than being a pain in the ass.  No, actually her power is healing by touch. 

Former student and current head Mistress, Miss Anna Pearce played by Amy Lalonde, also can see Elizabeth.  She tells her she is trying to help her.

We get typical Catholic School Girl shenanigans. Spanking with a ruler, girls sneaking off to smoke, breaking into the third floor.  While there they find a pentagram in a magic circle. At the same time, Miss Pearce is casting a diabolic spell to try and free Elizabeth with the other five girls as the sacrifices. 

Elizabeth, or a demon, is summoned and lands in Connie, but Mara is able to heal her.   Alex discovers a book belonging to Elizabeth. 

The next day a possessed Connie tries to kill Leah and then vomits a bunch of demons into her.  The girls realize right away that Leah is possessed. Leah confronts Father Drake and he tries to exorcise her, but she stabs him with the crucifixes instead.  We learn that Miss Pierce is Elizabeth's sister. 

Legion jumps from girl to girl, killing them along the way. 

The ending is kind of neat with the demon made of blood. But otherwise fairly derivative and predictable. 

About the cover. In this movie when you get possessed your eyes don't go all black, but all white.

--

Ok, I think I need to create a category of movie, Daughters of the Craft.  These are movies made after 1996 with teen witches, usually four, sometimes five. One should be good and one should be evil, or at least misunderstood. The filmmakers obviously loved the Craft and thought that was the movie they wanted to make.  I'll go back and see which ones fit it. 

October 2021
Viewed: 36
First Time Views: 23

Cover art by Arthur Johnson, June 1932 

Interior art by Werner Sahmann, 1922 

Interior art by Oskar Garvens, August 1937

Interior art by Werner Sahmann, 1921 

Cover art by Arthur Johnson, September 1931 

Interior art by Arthur Johnson 

Interior art by Arthur Johnson, 1914 

Interior art by Werner Hahmann, 1938 

Interior art by A.L?, 1907 

Cover art by Arthur Johnson, February 1940 

Interior art, 1921 

Interior art by Werner Hahmann, 1940

Interior art by Werner Hahmann, 1931 

Cover art, January 1913 

Interior art by Werner Sahmann, 1921 

Interior art by Werner Hahmann, 1921 

Cover art by Oskar Garvens, January 1931 

Interior art by Werner Sahmann, 1922 

Interior art by Werner Hahmann, August, 1914 

Interior art by Werner Hahmann, 1938 

Interior art by Werner Hahmann, 1936 

Interior art by Moller, 1903 

Cover art by Arthur Johnson, 1923 

Interior art by Werner Hahmann, 1931 

Interior art by Gustav Brandt, 1902 

Interior art by Werner Hahmann, 1934 

Interior art, December 1916 

Interior art, 1922 

Cover art by Arthur Johnson, 1919

Interior art, April 1916 

Cover art by Arthur Johnson, 1932

Cover by Arthur Johnson, based on Arnold Bocklin, November, 1913

 

Kladderadatsch (onomatopoeic for "Crash") was a satirical German-language magazine first published in Berlin on 7 May 1848. It appeared weekly or as the Kladderadatsch put it: "daily, except for weekdays." It was founded by Albert Hofmann and David Kalisch, the latter the son of a Jewish merchant and the author of several works of comedy. Publication ceased in 1944." - quote source

- Images source

For those unfamiliar with driving in Texas, the phrase “What a trip” has multiple levels of meaning, even if that meaning only involves transportation. Many moons back, on a trip in Massachusetts to visit Black Jungle Terrarium Supply, I overshot … Continue reading →

It’s been an interesting year for out-of-Dallas plant shows, what with last June’s Oddities & Curiosities Expo and the upcoming Blood Over Texas Horror For the Holidays in November, both in Austin. Considering the size and spread of both of … Continue reading →

While "The Wild Beyond The Witchlight" has a lot going for it the reason, well one of the reasons, I really wanted it was because we were getting some official D&D 5th Edition stats to some classic NPCs, in particular, Skylla and Kelek two "iconic" characters that I am using in my War of the Witch Queens campaign. So I want to look at these old friends and maybe a couple of new ones too.  I'll leave poor old Thaco alone with his pipe and bitterness today.  Plus it is October and Horror month, so I really just want to talk about my favorites, the bad guys.

Who Are These Characters?

Long before the use of the term Iconic Characters to refer to reoccurring D&D characters in publication, there were names like Warduke, Strongheart, Ringlerun, and Kelek.  They appeared in the AD&D toy line from LJN and in other media including coloring books, stickers, adventures, and sometimes even the Dungeons & Dragons cartoon.   It is also one of the reasons why I have to laugh when people today will see a stuffed Owlbear and complain that "WotC is selling out and ruining D&D."  They must have forgotten the Official Advanced Dungeons & Dragons™ Yoyo or Sunglasses.

Of all of these characters, there were a few standouts who got extra attention.  Ringlerun, the Good Wizard would be the cover boy for the Jeff Easley recover of the AD&D Player's Handook, although many at the time did not see the connection.  Kelek and Warduke would go on to get a guest spot on the D&D cartoon.  Warduke in particular would go on to be a minor celebrity in D&D iconic circles, getting 1st Ed (well...Basic really), 3rd Ed, and now 5th Ed Ed stats.

We would get all their official D&D Basic and Expert set stats, not AD&D, in the product AC1 The Shady Dragon Inn.  This was sort of a Rogues Gallery for BECMI D&D. You can read my review of it here. 

What I would like to do here today is compare these characters from the Wild Beyond the Witchlight to their Shady Dragon Inn and Quest for the Heartstone counterparts. 

The League of Malevolence

Heroes are great, but give me a "good" villain any day of the week.  Here are five iconic D&D villains. I will compare them to their D&D Basic versions to see what has changed and what has stayed the same.

Kelek

First up is the leader of the League of Malevolence, our Legion of Doom for D&D.  All these characters are Chaotic Evil which tracks well to their original alignments of Chaotic.  

In Basic D&D Kelek was an "Evil Sorcerer" of course at this time a "Sorcerer" was the level title for a 7th level Magic-user.  In 5e his class has become a Sorcerer.  This actually make a lot of sense and I approve of this change.  His stats are pretty much the same from edition to edition with the exception of his Charisma which goes from 7 to 17.  Charisma is the "prime" stat for sorcerers. Here he is described as a sociopath. That tracks with how I have seen him in the past. 

Part of this adventure is searching for a lost Unicorn horn. Well that was more or less the plot of the only D&D Cartoon to feature Kelek.  If nothing else I am saying he is still after unicorn horns. 

Skylla

Ah. My beloved Skylla.  I was the most excited and the most worried to see what the Wizard's dev team was going to do to you.  I have to say I am not disappointed. In Quest of the Heartstone, she is listed as a 6th level Warlock. Again, this time "Warlock" meaning 6th level magic-user. I do note that the TSR team avoided calling her a "Witch" at the time. Likely due to the Satanic Panic (but Warlock is fine?).  Like her former boss Kelek, the level title is translated to Class here and she is a 6th level Warlock. It fits well if you ask me. 

Skylla's stats are mostly the same with some tweaks to improve what she needs to be a Warlock.  Though the best changes are in her background.  For starters, her patron is not a demon (like I did) but rather with Baba Yaga (like...I did).  Additionally they tackle the Skylla/Charmay art issue head-on as sometimes Skylla goes by the name Charmay.  It's different than what I do with her, but it works out fine in my mind.

For the record, they got Skylla as close to a "witch: as D&D 5e's rules will currently allow.  I think they did a great job with her.  Kelek too.

Warduke

I do have to ask. Why does everyone like this guy so much? I never quite got it, but hey someone out there is looking at my nearly 30 posts about Skylla and scratching their head. 

That all being said, Warduke here is fairly impressive. I think the fans will be happy.  His stats are all the same in both versions.  His Dread Helm in Basic gave him Infravision to 60'.  The D&D 5e version only makes his eyes glow red.  Well, as I have said many times, I have a pencil.

Zarak

The half-orc Assassin was just an odd dude in Basic D&D that didn't have half-orcs as monsters, let alone as a character race, nor did it have assassins.  Yet there he is on page 18 of my Quest for the Heartstone. In D&D 5 he also has some strangeness. He is a full orc here BUT he is a short one to fit the AD&D/D&D Basic orcs.  Though he is still a Chaotic Evil Assassin.  His Dexterity gets a buff in 5e, but he loses his "boomerang" dagger!

Zargash

The evil cleric is back.  He is 7th level, so that makes him an evil Bishop. Zargash is still Chaotic Evil and he worships Orcus. Stats are tweaked a bit, but otherwise he is largely the same.

Missing Evil Characters™ include, Grimsword (Evil Knight aka Anti-Paladin), Zorgan (Evil Barbarian) and Drex (Evil Warrior) all from Quest for the Heartstone. Fox Fingers (Thief) and Raven (Evil Cleric) from Shaddy Dragon Inn.  In might be fun to make Raven. She is evil (but maybe not totally), and in love with Warduke. She was once friend with Mericon. Who is up in the next batch.

Valor's Call

Our group of good hereos had the real chance of being boring on one hand and overly sanctimonious on the other.  Thankfully were spared the worse.  They are not as interesting as our bad guys, but they are still fun and there are still some tweaks that make them worth reading and using.

Elkhorn

Our Lawful Good dwarf might have been one of the more popular figures right behind Warduke.  His stats are the same in both versions.  I do like how they took an essentially blank canvas and made a dwarf that is not a Flint Fireforge clone or a Dime store Thorin and gave him some goals.  He is a staunch enemy of evil.  If Strongheart is the founder of Valor's call, then Elkhorn is its heart.

Mercion

Ok. She is no Aleena, but Mercion is the cleric of the group. Her stats are tweaked a bit to give her better Strength and a higher level, but the Mercion in 5e is much more interesting.  In what I feel is a real homage to her Basic D&D roots, she does not worship a god but rather an ideal. She believes that truth gives life to artistry and beauty.  It's kind of a cool concept. If I were to use her as an NPC I would make sure she never lies about anything, ever. In fact, the brutal truth is better for her than a sweet lie. 

Molliver

Molliver the good thief was not in the Shady Dragon Inn product but can be found in the Quest for the Heartstone. In Quest no gender is given for Molliver, so in the 5e book their pronouns are "they."  I like it. I like it because a.) it works for the character and b.) it will certainly piss off the ones that need pissing off.

Molliver is also the only Chaotic Good member of the party. A "Lawful" thief does not make much sense really. Stats are largely the same with a buff for Dex. They even have their boots of levitation, handy for a thief.  

Ringlerun

Our Lawful Good Wizard from Basic remains a Lawful Good Wizard in 5e.  Never as interesting as Kelek, Elminster, or Mordenkainen he was on the cover of the Player's Handbook and a popular figure. 

His arm must be tired

He is still largely a generic wizard. He has kind of a James Randi in his later years look about him.  In my games he is dead; died of old age, but that doesn't really make sense for a wizard I guess.  I have some ideas forming that I might explore later.  Or not. After all he was never very interesting.

Strongheart

If I have one purely AD&D gripe it is that I rarely see anyone playing a paladin a good way.  "Sanctimonious Asshole" is not a Paladin. Neither is "Grim, tortured because there is so much evil in the world" isn't either.   I was worried that Strongheart was going to fall into one of those two camps. Or even worse, weak Sturm Brightblade clone.

Thankfully, that is not what we got. Instead, 5e Strongheart is the kind of paladin who is all about "we should get together to defeat evil because there is so much good in the world to enjoy!" He makes a good leader.  Again his stats are slightly tweaked to give him a better Strength (13 to 15) which, by the way, his D&D Basic stats were not good enough to make him an AD&D Paladin!

He was the character I was prepared to dislike the most (I have played paladins in EVERY version of D&D) and his actually was pretty cool.

It is mentioned that there are more characters in Valor's Call, off doing Good elsewhere.  They do have a solid feel of "The Superfriends" here. Not s big surprise I guess. Potential other members from Quest of the Heartstone include Peralay (Elf Fighter/Mage), Figgen (Halfling Fighter or Fighter/Theif), Deeth (Fighter), Hawkler (a totally NOT the Beastmaster Ranger), Bowmarc (Good "Crusader") and Valkeer, a half-giant warrior.  Of these Valkeer might the most fun to update to 5e.  Of these Peralay also appears in The Shady Dragon Inn.  

Other NPCs

There are plenty of other really interesting NPCs in this book.  Many I plan to lift and convert back to D&D Basic for use in my War of the Witch Queens campaign.

Burly the Hobgoblin

Before D&D, a hobgoblin was more a trickster as exemplified by Puck or Robin Goodfellow. In Witchlight we have Burly a Neutral Good Hobgoblin.  Ok, I'll go with that. My favorite bit is he is a hobgoblin who wears a pumpkin on his head.  Now, where have I seen that before?

Bugbear. Hobgoblin.  The differences are largely academic.

Likewise, Chucklehead is a goblin with a  head shaped like a taffy apple.

Iggwilv the Witch Queen

Yes! Getting Skylla was one thing, getting a new Iggwilv?  That's just crazy good.

This is Iggwilv after she has left the Abyss and has been hiding out in the Feywild for centuries. Here she is also known as Tasha, Natasha, and Zybilna.  There is an interaction here with Kelek that plays so well into my plans it is hard not to use it all.  There is an interesting Maiden-Mother-Crone aspect of Iggwilv here in the form of Tasha-Zybilna-Iggwilv.

Now I am perfectly happy with the formerly Chaotic Evil Iggwilv becoming more Chaotic Neutral as time goes on.  What I am not 100% sure about is her desire to abandon all her research on the Abyss and Demons in favor of learning about the Feywild instead.  But...I can live with it.

The Hour Glass Coven

I like them. Very interesting bunch of witches and hags.

The Minis

This is such an interesting group of NPCs it makes sense that there is also an equally interesting group of minis to go with them.  Sadly the supply chain breakdown has pushed many of these minis till 2022.  But I am really looking forward to them.

Kelek
Skylla
Zyblina

Looking forward to them.

There are a few documentaries on Niki on youtube, "Niki de Saint Phalle Instrospections and Reflections" the other "Niki De Saint Phalle - The story of a free woman" both great ways to discover her larger body of work, including literal buildings in the shape of her art.

For fans of Tales from the Loop – Roleplaying in the '80s That Never Was and Things from the Flood, the roleplaying games based on the paintings of Simon Stålenhag, as well as other titles from Free League Publishing, there is the Free League Workshop. Much like the DM’s Guild for Dungeons & Dragons, this is a platform for creators to publish and distribute their own original content, which means that they also have a space to showcase their creativity and their inventiveness, to do something different, but ultimately provide something which the Game Master can bring to the table and engage her players with. Such is the case with Puppy Love.

Puppy Love is written by one half of the hosts of the podcast, What Would Smart Party Do?—the other half designed King of Dungeons and presents an engaging and entertaining mystery with lots of Mats and puppies, plus a dilemma or two. It could easily be played in a single session, perhaps two at most, and would make a good option for a convention scenario just as it would for the Game Master’s own campaign.

The scenario begins at the start of the new school year, with the Player Characters all eager to return and catch up with friends at least, if not necessarily return to their lessons. However, on their way to school they spot two things. First, posters for a missing puppy belonging to a boy at school, Mats, and then further along and second, the missing puppy, Petra. Problem solved then. All the Player Characters have to do is take Petra back to Mats when they see him at school. Except, when they get there, Mats is nowhere to be found, and oddly, another pupil, the popular, but catty Doris, also has a puppy—a puppy which almost looks like Petra! What is going on? Is there more than one Petra or just more than one puppy? Where did Doris’ puppy come from? Where is Mats and is his puppy still missing?

The scenario takes an even odder turn—no surprise there, given that it is for Tales from the Loop—when the Player Characters attempt to find Mats. For when they get to his house, they find not Mats, but Mats and Mats. Two of them! Really what is going on?

Of course it has to do with the Facility for Research in High Energy Physics—or ‘The Loop’—the world’s largest particle accelerator, constructed and run by the government agency, Riksenergi, and since shut down. The question is how and then how do the Player Characters get in? Actually the latter is relatively easy, but the former will take a little more investigation. The actual difficulty comes in interacting and dealing with Mats—multiples of them, because all of them are slightly different and slightly wrong. The Game Master is accorded a pair of tables to randomly determine the appearance and personality of each Mats, though the scenario does come with a warning because the personality traits are potentially a little extreme for what is still a little boy.

Physically, Puppy Love is decently presented with the usual plot diagram for Tales from the Loop scenarios, nicely done artwork for each the scenario’s NPCs, and clear maps of the location for the scenario’s denouement. It is also well written and easy to read.

Although Puppy Love is set in Sweden on Mälaröarna, the islands of Lake Mälaren, which lies to the west of Stockholm, which is the site of the Facility for Research in High Energy Physics—or ‘The Loop’, it actually has an English sensibility to it. There is a mystery, and this being a scenario for Tales from the Loop, a countdown which escalates the situation, there is no real threat, and so it has the feel of Children’s Film Foundation television series or film. Certainly as weird as having multiple Mats and Petras is, having multiple Petras gives it a certain cosiness or cuteness.
Puppy Love presents a thoroughly charming, even cute mystery for Tales from the Loop. It is easy to add to a campaign and just as easy to use as a demonstration or convention scenario.

Magic plays a vital role in the world of Glorantha and thus RuneQuest: Roleplaying in Glorantha. Characters—both Player Characters and NPCs—commonly have access to magic, typically Rune magic and Spirit magic. The manifestation of the former represents the connection between the mortal world and the realm of the gods, between Age of Time and God Time, and bringing of the power the gods into the mundane realm, whilst the manifestation of the latter is the result of communicating with the spirits found in world’s natural energies. Rune magic is the more powerful of the two and characters have only limited access to it, whereas Spirit magic can be more freely cast to limited effect. What that means in terms of gameplay is that every player needs to know what his character’s spells do and every Game Master what her NPCs’ spells do. This is where The Red Book of Magic comes to the fore.

The Red Book of Magic, however, is much more than just a big list of spells. Published by Chaosium, Inc., it is in fact two big lists of spells—one for Rune magic and Spirit magic—and then some more. Between the two lists it details some five hundred and more spells, almost four-hundred-and-fifty Rune spells and almost seventy Spirit magic, of which over one-hundred-and-fifty Rune magic spells and over thirty Spirit magic spells that are new to RuneQuest: Roleplaying in Glorantha. Further, there is an explanation of spell terminology, explanations of how both types of magic are cast and work—and appear, sound, and feel to work when cast, discussion of rituals, and more. The coverage though is wholly upon Rune and Spirit magic rather than either Sorcery. Doubtless, it will receive its own supplement, as may Shamanism—which of course uses Spirit magic, but its greater effects are more than just simple Spirit magic, and of course, a book devoted to Rune magic and Spirit magic, like The Red Book of Magic, has greater utility in RuneQuest: Roleplaying in Glorantha.

Within Glorantha itself, The Red Book of Magic is an important magical text, consisting of fragments of the Red Revised Book, itself based on the much earlier Red Book, penned by Zzabur the Sorcerer Supreme. The Red Revised Book was the first work to separate Rune magic from Spirit magic, and to codify numerous different spells with near-identical effects, for example, Bladesharp or Heal, into a common spell with a simple and widely accepted descriptive name. It is supplemented by the Carmanian mystic Hepherones’ Statement of Magic, which serves to add colour before going into detail, but in effect, what this means that The Red Book of Magic is a resource in game and out, and thus any character–and thus his player or her Game Master—could consult its pages (barring technicalities such as literacy of course). Most of all though, with descriptions of hundreds of spells, The Red Book of Magic is a simple and accessible resource to have at the table, its size making it a lot easier to reference than the RuneQuest: Roleplaying in Glorantha rulebook.

In the pages of the RuneQuest: Roleplaying in Glorantha rulebook there is an emphasis upon the Rune spells known by the cults associated by the Lightbringers, which is understandable given their prominence in Sartar and its surrounds, the default setting for RuneQuest: Roleplaying in Glorantha. The Red Revised Book expands greatly upon that list of spells, with lots of new Rune spells associated with the Beast, Chaos, Fire, and Plant Runes. So for example, Butterflight is a Beast spell grants the caster the wings of the butterfly and the ability to fly, and Summon Insect Swarm enables the caster to summon swarms of insects of various sizes, depending upon the Rune points stacked into the spell; Bat Wings is a Moon and Chaos spell which grants bat’s wings to members of the cult of the Crimson Bat and Devour Book a Chaos spell which enables the caster to rip the knowledge from books, scrolls, and even carvings; Arrow of Light is a Fire spell which inflicts one six-sided die’s worth of damage direct to the target’s Hit Points ignoring armour if his POW is overcome and Destroy Clouds clears the immediate sky of clouds; and Chameleon is a Plant spell which increases the caster’s Hide skill and lets him use it when moving and Plant Spy turns any plant it is cast on into a remote spy, transmitting sound and touch to caster from its leaves. Similarly, there are numerous spells for the Darkness, Illusion, and Water Runes.

Spirit magic is given a similar treatment, again exploring how it is cast and works—and then appears, sounds, and feels to work when cast, and so on, before detailing its descriptions. Fun new spells given here include Hotfoot, which causes a burning sensation in the target’s strong enough that they cannot stand upon it, Sneeze which inflicts a nearly incapacitating sneezing fit on the target, and Solace, which relieves the mental distress in a target. In comparison with the Rune magic spells, the Spirit magic spells, certainly the new ones, feel less useful, because every Rune spell description includes its associated Runes, and therefore it is actually easier to link them to their casters and their cults, whether that is Plant Rune spells for Aldryami, the Chaos Rune for various vile Chaos worshippers as well as Lunar worshippers, and the Darkness Rune for Trolls.

The other reason why The Red Book of Magic is a useful resource is that in addition to presenting new spells adds a handful of new rules and other elements. This includes rules for creating new Rune spells, which when combined with the wide range of Rune spells in the supplement, could be used by the Game Master to create her own cults for her game; the addition of monsters like the War Tree (which requires the Plant Rune spells Animate War Tree and Create War Tree to create and control) and Manlings (Chaotic humanoids which bud from the caster of the spell, Spawn Manling); a guide to Rune metals and their properties; how illusions work with the various Illusion Rune spells such as Illusory Sight and Illusory Substance; and the collection and use of healing plants. In addition, many of the spells previously presented in other supplements and scenarios for RuneQuest: Roleplaying in Glorantha have been revisited and revised—not such that they function differently, but rather to provide clarity. For example, the Heal Wound Rune spell is accorded supplementary information that not only clarifies its function, but explains how it works from cult to cult.

The Red Book of Magic is not without its issues. One is that there is no list of Rune magic spells, when there is a list of Spirit magic spells. In part, this is understandable. The list of Spirit magic spells is less than a page long whereas such a list of Rune magic spells runs to forty pages (the Rune Spell Reference Tables are available for free download as well as accompanying the PDF for the supplement), and that would increase the book’s page count by a third. Similarly, there is no list of spells by cult for either Rune magic or Spirit. Again, its inclusion would have greatly increased the page count. Yet its inclusion would have been undoubtedly useful, helping Game Master and player link the various spells to the cults and thus to Glorantha as a setting. Plus it would also have made it easier to cross reference with the forthcoming Gods of Glorantha supplement. Ultimately this is not to say that The Red Book of Magic is a bad or useless supplement because it lacks either of those lists, far from it. Rather, that their inclusion would have not only enhanced the utility of what is already a very useful supplement, but gone beyond that into making it indispensable.

Physically, The Red Book of Magic is on par with the standards set by previous releases for RuneQuest: Roleplaying in Glorantha. It is clearly written and easy to read, which after all, was the point, and it is decently illustrated.
At its most basic, The Red Book of Magic is a serviceable supplement to have at the gaming table during play, a book to refer to when the RuneQuest: Roleplaying in Glorantha core rulebook is in use, and away from the gaming table, for reference by the Game Master. It is very much a useful rather than a must-have supplement, that is, at its time of publication. The usefulness of The Red Book of Magic is going to grow and grow as more supplements are released for RuneQuest: Roleplaying in Glorantha. Not just the forthcoming Gods of Glorantha, but future supplements devoted to the Aldryami, to Trolls, and to the Lunar Empire, for example, with The Red Book of Magic serving as the corollary or magic companion to the new supplement. (And that does not include the many titles available on the Jonstown Compendium.) Right now, The Red Book of Magic is undoubtedly useful, but for the future of your Glorantha game, it is an investment.

Austin, Texas – For as long as I can remember, October has been a month of transition. It’s not just because the relentless Texas summer heat finally breaks, allowing everything to scurry around in daylight hours without our brains boiling … Continue reading →

The Darkness Over Eaglescar – A Modern Day Call of Cthulhu Scenario is the tenth scenario from publisher Stygian Fox. Although the title suggests that it is a modern-day scenario for use with Call of Cthulhu, Seventh Edition, it is actually set in 1999. It is also set in England’s north-east, in the fictional coastal town of Eaglescar. What this means is that it has a certain English seaside town ambiance that certainly British Keepers and players will enjoy. Despite the specifics of the setting, The Darkness Over Eaglescar can easily be adapted to the setting and period of the Keeper’s choice, whether that is the Purple Decade of Cthulhu by Gaslight or the Jazz Age of Call of Cthulhu, or indeed, updated to a more contemporary period. With some adjustment the scenario could be adapted to run using Delta Green: The Role-Playing Game.
Designed for roughly four investigators and to provide two sessions or so’s worth of play, The Darkness Over Eaglescar begins with the Investigators being contacted by an old friend, Georgina Angler. She believes that her teenage daughter, Cassandra, is in trouble, having become involved with some shady characters, and she suspects, drugs, as well, and wants the Investigators’ help in finding her. Georgina will point to one of the business owners on the esplanade as someone who might know more, and he indicates two further leads, one a local drug dealer, the other a sea front fortune teller. Both will point towards the Voice of the Machine, a local New Age cult run by Eleanor X. Researching her reveals that her parents were members of a seventies hippie cult, The Children of the Vortex. This cult was notorious for its drug dealing, the exploitation of its members, and ultimately, the stabbing and murder of its founder. Background on the cult can be discovered by research at the local library and Eleanor X herself, will contact the Investigators to reassure them that Cassandra is fine. However, the cult leader will not let them see the missing girl.

Ultimately, the Investigators will need to investigate the cult’s properties and possible links between The Children of the Vortex and the Voice of the Machine. The latter will probably involve the Investigators having to commit a couple of acts of breaking and entering, which presents its own challenges in a small town, suburban environment. In doing so, they will likely be involved in one or more violent confrontations, and perhaps rescue Cassandra.

In terms of its horror, The Darkness Over Eaglescar is a scenario with a very human face. The Investigators will not be confronting any of the traditional elements of the Mythos, and to be fair, not really confronting the Mythos directly, more its effects upon the members of the cult. This will come primarily in a pair of intentionally surprisingly violent encounters, but depending upon what the Investigators discover, they may be able to get hold of another means to thwart the cult—a more magical means.

The Darkness Over Eaglescar is a relatively short adventure and although the players and their Investigators do not know it, they are up against a time limit. The players will need to use their Investigators’ time with some care, but unless they really waste it, they should be able to conduct their inquiries with alacrity. In fact, there are few plot strands to follow in the scenario, so the given timeline could be effectively collapsed into a couple of days or so and the scenario run in a single session as a convention scenario. However, that would be quite tight in its plotting. The alternative would be to reduce the number of Investigators—the scenario could be played with just two and still work.

The scenario is decently supported with a handful of handouts, some of which are really very good. Likewise, some of the artwork is also very good. Similarly, The Darkness Over Eaglescar is a very good-looking scenario, but unfortunately, looks can be deceiving. The cartography looks good, but feels a little odd in the design of its two houses. Plus, why is there no map of the Eaglescar itself? Then there are several element crashes between the scenario’s images and handouts and the text. This is not enough to make the text totally unreadable, but it is unnecessarily challenging. In addition, and although it is not as bad in previous releases from the publisher, The Darkness Over Eaglescar is further indication that Stygian Fox Publishing is still very much in need of a professional editor.

Let down by disappointing production values, The Darkness Over Eaglescar includes a decent mix of investigation and interaction, as well as some surprisingly violent scenes—ones that if played in the scenario’s British setting, the Investigators will probably be unprepared and ill-equipped to deal with. A more than serviceable scenario, The Darkness Over Eaglescar neatly captures the faded ambiance of the British seaside town, but is flexible enough to be set elsewhere and else when.

With October comes a nearly full plate of Triffid Ranch events, starting with a weekend of troublemaking at Armadillocon 43 in Austin (already in progress), and then it’s back to the gallery for one more Porch Sale on October 23. … Continue reading →

Mutant Crawl Classics #11: The Omnivary of Eden is the eleventh release for Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, the spiritual successor to Gamma World published by Goodman Games. Designed for Second Level player characters, what this means is that Mutant Crawl Classics #11: The Omnivary of Eden is not a Character Funnel, one of the signature features of both the Mutant Crawl Classics Roleplaying Game and the Dungeon Crawl Classics Role Playing Game it is mechanically based upon—in which initially, a player is expected to roll up three or four Level Zero characters and have them play through a generally nasty, deadly adventure, which surviving will prove a challenge. Those that do survive receive enough Experience Points to advance to First Level and gain all of the advantages of their Class. In terms of the setting, known as Terra A.D., or ‘Terra After Disaster’, this is a ‘Rite of Passage’ and in Mutants, Manimals, and Plantients, the stress of it will trigger ‘Metagenesis’, their DNA expressing itself and their mutations blossoming forth. By the time the Player Characters in Mutant Crawl Classics #11: The Omnivary of Eden have  reached Second Level, they will have had numerous adventures, should have understanding as to how their mutant powers and how at least some of the various weapons, devices, and artefacts of the Ancients they have found work and can use on their future adventures.
The set-up for Mutant Crawl Classics #11: The Omnivary of Eden casts the Player Characters as members of the tribe known as ‘The Ones Who Dig’. For centuries, the tribe has been digging deep into the ground and has finally broken into an underground complex built by the Ancient Ones. This is the long-buried entrance to the Garden of the Gods, which is said to be the repository of the Seeds of Creation, the seeds and biological records of all life of Terra A.D. from before the Great Disaster. It was foretold by the prophet, Boxx the Curious, that one day, a tribe would dig deep enough to locate the Earth Canoe which would take the faithful to the Garden of the Gods—and now that day has come. Unfortunately, the Player Characters are not among those deemed worthy to take the first journey in the Earth Canoe. They will be present though, when things go very wrong. Not everyone wants anything of the world before the Great Disaster restored to Terra A.D., and they would not only deny it to others, but destroy it too!.
Mutant Crawl Classics #11: The Omnivary of Eden begins with a bang and quickly throws the Player Characters into the action and then the quest. This takes them into a seed vault—a little like the Svalbard Global Seed Vault, but of course, updated for the twenty-ninth century and then turned upside down by the events of the Great Disaster. After the confrontation and the escape aboard the Earth Canoe, the majority of the scenario takes place in the seed bank, which is described in no little detail across its two levels. This detail combines weirdness of both the twenty-ninth century and Terra A.D., such as lickable walls and rabbits all with the same face of an old man, but everything is well explained. The latter is necessary because there is a lot of information to impart to the players as their characters explore the complex. This comes not just in the form of the purple text of the room descriptions, but also the secrets to be discovered by the Player Characters. Of which, there are a lot and most of which come in the form of audio-visual recordings, and as well as revealing what has been happening in the Garden of the Gods for the past three millennia do also hint about life before the Great Disaster.
Although there is some combat involved, the emphasis in Mutant Crawl Classics #11: The Omnivary of Eden is on exploration and examination of the strange place in which the Player Characters find themselves. Instead of artefacts and devices, the Player Characters will be mostly discovering secrets, and there really is very little ‘treasure’ to be found in the adventure. However, the adventure could have done with a little more combat, or at least, more threat. Mutant Crawl Classics #11: The Omnivary of Eden opens with an attack upon the ‘The Ones Who Dig’ tribe by the Gene Police, a faction of human fanatics, an attack which is problematic in terms of storytelling—not once, but three times. The first problem is that attackers successfully carry out at the beginning of the scenario and then do not appear again. Essentially, they serve as means to sabotage the expedition and get the Player Characters getting to go instead, which seems a wasted opportunity. Having set up a ‘Chekov’s Gun’ of the Gene Police attack, it seems a wasted opportunity to leave the possibility of their following the Player Characters to Garden of the Gods and attempting to destroy it, giving the adventure a greater sense of urgency in the process.
The second really stems from Mutant Crawl Classics #11: The Omnivary of Eden being written for Second Level Player Characters. It leaves both the Judge and her players to wonder what their characters were doing before the events of the scenario begin. In terms of Mutant Crawl Classics Roleplaying Game, what they were doing on their Zero Level Character Funnel, and subsequently, when they were First Level. With such questions, it leaves the scenario to be run as a one-shot, or worked with difficulty into the Judge’s own campaign, and just like Mutant Crawl Classics Roleplaying Game, there is no real advice on setting up or working the scenario into a campaign. There are no answers to the questions, “What if the Player Characters do not come from ‘The Ones Who Dig’ tribe?” and “What if there is no ‘The Ones Who Dig’ tribe?”. The third problem stems from the first two—just who are the Gene Police? The adventure describes them as having inveigled their way into the ‘The Ones Who Dig’ tribe, but does not say who they are or give them personalities. They are just treated as throwaway enemies and that seems like a wasted opportunity.
What happens after the scenario is much less of an issue, since the author includes notes for continuing Mutant Crawl Classics #11: The Omnivary of Eden. These are useful, since the discoveries to be found in the Garden of the Gods have potentially major ramifications for both the future of Terra A.D. and the Judge’s campaign. It would be nice to see these explored in a sequel to this scenario, if not multiple sequels.
Despite the issues with its set-up and follow through of that set-up, Mutant Crawl Classics #11: The Omnivary of Eden is an enjoyably detailed and entertaining adventure. It wears its inspirations openly on its sleeve—or at least in the colour gem in the palm of its right hand—and these are fun for the Judge and players alike to spot. This shows most obviously in the change in environment which the scenario undergoes as part of its story line, which is radically different to that for most scenarios for Mutant Crawl Classics #11: The Omnivary of Eden.
Physically, Mutant Crawl Classics #11: The Omnivary of Eden is nicely presented. It needs an edit in places, but is generally well written and the artwork is decent. The map is rather plain though.
Mutant Crawl Classics #11: The Omnivary of Eden is a thoroughly likeable scenario, designed to be played in two sessions or so, and full of detail and flavour. Whilst it should be fun to play as is, to get the most out of it, the Judge will need to develop more of the set-up and the consequences of the outcome of the scenario.

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If any good came out of events on last Saturday, it was that respiratory arrest stopped by mid-afternoon, and we were healthy and active enough to consider going out for a special event at the Dinosaur Company in Allen, just … Continue reading →

St George Rescuing a Maiden from a Dragon (Study for a Bookplate) 

Rivalin, 1921 

Illustration for Dante Alighieri's 'The Divine Comedy'1921 

Illustration for Dante Alighieri's 'The Divine Comedy'1921 

Illustration for Dante Alighieri's 'The Divine Comedy'1921 

Guardian Moat 

Tribute to Salome, 1921 

I stumbled onto this book years ago at a used book store. This collection of Bayros's erotic drawings "The amorous drawings of the Marquis von Bayros" is now available on archive.org, check it out here.

Along with everything else coming down this weekend (and let me tell you, full-bore asthma fits at my age aren’t fun, and that’s on top of emergency greenhouse repairs), one of the issues resolved was discovering why a large mailing … Continue reading →

Original artist website here..

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

—oOo—

What is it?
GLORANTHA: A Trek in the Marsh is a scenario for use with RuneQuest: Roleplaying in Glorantha.

It is a four page, full colour, 963.55 KB PDF.
The layout is clean and clean. It is art free, but the cartography is reasonable.
Where is it set?
GLORANTHA: The search for the Throne of Colymar is set in Sartar in the Upland Marsh. 

Who do you play?
Player Characters of all types could play this scenario, but is best suited to members of a nearby Colymar tribe or Ducks. Humakti will, of course, relish the opportunity to curb the influence of Delecti the Necromancer.

What do you need?
GLORANTHA: A Trek in the Marsh requires RuneQuest: Roleplaying in Glorantha and the Glorantha Bestiary. The later is a necessity as no stats or creature or monster write-ups are included.
What do you get?GLORANTHA: A Trek in the Marsh is set on the northern edge of the Upland Marsh and presents an opportunity for a nearby tribe to reduce the great swamp’s boundaries and reclaim land lost centuries ago to the magics of Delecti the Necromancer. One of the magical rods which enforces his malign influence has been located and the local tribal chief thinks it can be removed or destroyed and so sends some trusted adventurers to deal with it.
Consisting of really only two pages, the adventure is linear, the Player Characters proceeding rom the edge of the map straight to the location of the magical rod, perhaps having an encounter or two on the way to the marsh—depending upon if they veer slightly left or slightly right. These encounters, as are the majority of the encounters in the scenario, all combat based. No NPCs are encountered or detailed in the course of the adventure. No encounter, even the encounter with the altered Dancer in the Darkness which protects the rod is accorded more than three sentences.
GLORANTHA: A Trek in the Marsh is not badly written, but very much like the earlier GLORANTHA: The search for the Throne of Colymar, it is underwritten and underdeveloped. As presented it is not a whole scenario, but rather the middle of a scenario. Despite the fact that the Player Characters are on a quest to destroy or remove a magical artefact, the artefact itself is not detailed or illustrated, and there is no information as to how the local tribal chief learned of the location of the artefact, how the artefact is removed, and what happens once the artefact is removed. In addition, the protector of is described as a combination of a Darknesselemental and a Dancer in Darkness, but stats or abilities are given, leaving the Game master to develop these herself without guidance. Omitting the stats for monsters and creatures which can be found in the Glorantha Bestiary is not wholly unreasonable, as the Game Master can easily provide these, but not providing the stats or write-up of a new combination of monster is simply nonsensical.
Similarly, the lack of set-up and consequences for the scenario, leaves the Game Master with more work than should have been necessary. The author need not have tied either to a specific tribe, but with sufficient background, the Game Master could easily have tied in both set-up and consequences to the tribe of her choice. Instead, the author leaves all of the development work to the Game Master rather than some of it.
Is it worth your time?Yes—GLORANTHA: A Trek in the Marsh contains the germ of an interesting scenario if the Game Master is willing to completely develop its set-up and consequences which its author failed to do.No—GLORANTHA: A Trek in the Marsh is a third of a scenario, no more than a series of combat encounters, in need of development in the beginning, middle, and end. Cheap, but avoidable.Maybe—GLORANTHA: A Trek in the Marsh contains the germ of an interesting scenario if the Game Master is a running a campaign in and around the Upland Marsh, and is willing to completely develop its set-up and consequences which its author failed to do.