András Sütő- Adventures in Gandy-Wandy Land theatrical poster. 1987  Kecskemét Animation Film Festival, 1985  A Squished Nighmare, 1987  Stuttgart, 1987  Dracula
  Dostojevsky The Hollow Dweller, 1987  Day of the Cobra poster, 1981  Zsolt Kézdi-Kovács- HUE AND CRY film poster, 1988  2nd Film Festival of Animated Cartoons of Kecskemét, 1988  FIGHTS FACES poster, 2002  József Katona- Ban Bánk, 1987  Péter Pócs's Posters, 1988  HUNGARY IN HOLLAND (art exhibition poster, 1987)  Harold Pinter- The Birthday Partry, 1980  Shakespeare- Pericles, 1980  Sándor Weöres- Peter the Trickster, 1987
 
Many artworks found at the Poster Museum.
A Hungarian wikipedia article on the artist can be found here.

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

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

He certainly left his mark on her enduring legacy.

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

Red Sonja

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

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

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

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

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

Alignment: Neutral (chaotic good)

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

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

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

Weapons
Sword +2, Great Axe, dagger

Thorne "The Wizard"
14th Level Wizard

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

Alignment: Neutral (neutral good)

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

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

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

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

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

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

I figured an update was in order.

Gwragedd Annwn (Swan Maidens)
Medium Humanoid (Fey)

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

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

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

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

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

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

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

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

—oOo—

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As it turns out, the 2021 season begins the way the 2020 season ended: with a LOT of activity. We’re still seeing reschedulings, rearrangements, and a lot of “do we risk waiting another week in the hopes that the show … Continue reading →

Roger Corman.  

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

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

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

Barbarian Queen (1985)

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

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

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

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

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

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

Gaming Content

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

--

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

A SPECIAL Zatannurday today.

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

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

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

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

WandaVision, and Elizabeth Olsen, have changed my mind.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And here’s where the season starts to get interesting. We’re not quite ready for outdoor events yet (and the temperate plants, such as Venus flytraps and North American pitcher plants, were definitely thrown into dormancy by last month’s deep freeze), … Continue reading →

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

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

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

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

By now, most of the world knows about Texas Governor Greg Abbott’s announcement about ending the current COVID-19 lockdown and relaxing mandates on both mask use and social distancing in indoor spaces. In response, many businesses through the state have … Continue reading →

Basilisk, 1964 

Self-portrait, 1960 

Fantastic Beast, 1965 

Lion from Saturn, 1954 

Title Unknown 

Living Fire, 1963 

Jungle with a Dragon, 1967 

Landscape with a Dragon, 1973 

The Spirit of the Forest, 1963 

Troncs D' Arbres, 1964
 

The Middle Jungle, 1958 

Great Jungle, 1959 

Jungle, 1959 

In Paradise, 1969 

Fantasy Forest with Owl, 1966 

Raj, 1950 

Fantastic Creatures, 1959 

Meadow, 1960

Fantastic Composition, 1965 

Teofil Ociepka with his family, 1973, photo by Janusz Rosikoń 

 

"Teofil Ociepka (April 22, 1891 in Janów Śląski – January 15, 1978 in Bydgoszcz) was a Polish self-taught primitivist painter, occultist, and theosophist. Along with Nikifor, he was one of the best known Polish primitivists. 

His occupation was a miner, working at the Giesche's coal mine in Katowice as a machinist in the power plant. During World War I he served as a soldier in the German Army, where he was introduced to occultism. When he returned to Janów, he brought back with him the first works on occultism, including Athanasius Kircher's treatise on the Seventy Two Names of God. On the recommendation of his Swiss mentor, Philip Hohmann of Wittenberg, with whom he maintained steady correspondence, Ociepka became a member of the Rosicrucian Lodge and attained the status of Master of Secret Sciences. On Hohmann's direction, he organized a strong occultist community in Janów. He maintained contact with the Julian Ochorowicz Parapsychological Society of Lvov. He believed that he had a spiritual link with his master who telepathically inspired his art. Hohmann persuaded Ociepka to start painting circa 1927. He gave up his attempts in 1930 after receiving criticism from Tadeusz Dobrowolski, a Polish professor of art history and museum curator. He probably returned to painting either before or during World War II. 

 After the war, he gained a supporter in the author Isabel Czajka-Stachowicz, who in 1948 organized for him an exhibition in Warsaw, promoting him as "Polish Douanier Rousseau." She was aided by her friends, Julian Tuwim and Jan Kott. The Warsaw exhibition launched Ociepka's great world-class artistic career. 

 He saw his painting as God's mission, and so tried to portray absolutist themes, including the struggle between Good and Evil. His paintings depicting the imaginary fauna and flora of Saturn relate to the Rosicrucian ideology. During the early 1950s, in an attempt at political correctness, they were interpreted as Paleozoic Era landscapes. Later, his works depicted themes from fairy tales, legends, and lives of miners. They are characterized by wealth of imagination and bright, rich colors. The themes of his works, especially those from before 1956, were criticized as not adhering to the canon of socialist realism. 

In 1946 Ociepka partnered with Otto Klimczok to found an art group. In 1947 the group was reorganized as an Art Circle associated with the Cultural Center "KWK Wieczorek", which during the 1950s provided a base for a talented group of amateur artists. The group was known as "Janowska Group" after its birthplace, or more formally, as the Circle of Non-professional Painters. Ociepka was a member until 1959, when he permanently moved to join his wife in Bydgoszcz. Under her influence he broke contact with the Janowska Group and distanced himself from occultism. He died on January 15, 1978 from a brain aneurysm." - quote source 

 "One of the most interesting esoteric-related moments in Teofil Ociepka’s life was his awakening as a painter. Ociepka believed that it was Hohmann who made him an artist with a spiritual purpose. He claimed: “[Hohmann] wrote to me: ‘Teofil, a spirit will come to you and will teach you how to paint.’ I have never seen any spirit, but something Teofil Ociepka - Malarz. Fot. Eustachy Kossakowski/FORUM.undefined was born in my soul, which could be called love for the essence of beauty, that is for God. That was in 1927 and, from that time on, I began to paint and have been painting ever since with unfaltering joy and pleasure.” (Wisłocki 2010:43). " - quote source 

 The following is a plot description of the 2002 film "Angeleus" directed by Lech Majewski that centers around the artist and his familiar circle of painters.. "In the Polish town of Janow, during the 1930s, an occult commune was formed around Teofil Ociepka, an electrician at the local coal mine and a painter, who became a Master of Esoteric Science. Ociepka and his disciples, simple uneducated miners, searched for the Philosophers Stone and pursued spiritual perfection, which would permit them to penetrate the Principle and the Sense of the World and of God, to reach the mystery of Existence. Their activities combined elements of occultism, alchemy and theosophy with archaic and magical Silesian beliefs. During the bleak desert of the Stalinist era, the "Circle of Janow" marked a colorful metaphysical oasis, and its existence was consequently falsified by the authorities of the People's Republic of Poland." - quote source 

While difficult to find, a version of the film in its original language, regrettably without subtitles, was shared on youtube.

An article on the group of coal miner artists associated with Ociepka "Janowska Group" or "the Circle of Non-professional Painters" can be found at Culture.PL "Beneath the Surface: The Occult Inspirations of Poland’s Legendary Naive Artist Coal Miners"

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

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

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

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

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

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

With prices marked off a much as 40%.

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

For Basic-era Games

Daughters of Darkness: The Mara Witch for Basic Era Games

Reviews:

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

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

Reviews:

• These Old Games
• Reviews from R'lyeh

The Basic Witch: The Pumpkin Spice Witch Tradition

Reviews:

• Reviews from R'lyeh
• Halls of the Nephilim

The Craft of the Wise: The Pagan Witch Tradition

Reviews:

• Reviews from R'lyeh

The Warlock

Reviews:

• Reviews from R'lyeh
• 
  

For Swords & Wizardry

The Witch for Swords & Wizardry Continual Light

The Witch for Swords & Wizardry White Box

The Green Witch for Swords & Wizardry

The Winter Witch for Swords & Wizardry

The Warlock for Swords & Wizardry

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Fiction from Brenda Gate Speilman.

We get to the Ares section now.  

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

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

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

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

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

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

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

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

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

Still plenty more to go!

Lots of anniversaries this last Sunday. February 28 marked four years since the Texas Triffid Ranch finished pulling out the last contents out of the old Valley View Center location. It also marked two weeks since the beginning of what’s … Continue reading →

The Claw snd a WItch, 1916-30  The Ghoul, Illustration from "The Kasîdah of Hâjî Abdû El-Yezdî" Translated and annotated by ... F. B [i.e. Frank Baker, pseudonym of Sir R. F. Burton, 1925  Ballet Efritois - Illustration from "The Story of Aladdin and the Wonderful Lamp," 1928  The Slaves of the Lamp and the Ring - Illustration from "The Story of Aladdin and the Wonderful Lamp," 1928  Abahnahzur - Illustration from "The Story of Aladdin and the Wonderful Lamp," 1928  The Emir Aladdin, in Armour - Illustration from "The Story of Aladdin and the Wonderful Lamp," 1928

It's the first of the new month and time to introduce a new character!  Although this one is not really a new character. 

Back in January, I posted stats for Sarana, my version of Stevie from the adventure Tanglewood Keep in DL15 Mists of Krynn. I had a lot of fun with it to be honest. I am planning to use Tanglewood Keep with Sarana/Stevie in my War of the Witch Queens campaign.  I think it would be a lot of fun and it would fit great theme-wise and provide the multiverse hoping I really want to do with the campaign. 

The adventure is not a difficult one, nor particularly original, but it is fun.  

Though...there is one little issue.  The crux of the adventure is to regain a crystal to make a magical travel mirror work again.  The characters have to get the crystal and return to Sarana/Stevie's home so they can return to their own world.   The questions arise. Why can't Sarana/Stevie get it herself? Failing that why can't her Kender friend Twill Topknot get it for her?

The answer is timing.

The PCs have entered Krynn at two important points in time.  First, the PCs have entered Krynn during the events of the Dragons of Autumn Twilight novel and the DL1 Dragons of Despair module.  This means that, among other things, there are no gods.  No gods also mean no healing magic.

The second point deals with the accident of Twill Topknot and this brings me to my character for this month. 

In Tanglewood Keep, Twill is a 3rd level kender thief.   He is essentially a Tasselhof stand-in.  But I wanted to try something new.  In particular, I really wanted to try out Sara Thompson's combat wheelchair for my Old-School games.  This past summer when this was causing a stir I joked "I was going to make one and put a Kender in it!"  Well.  The idea was actually too good to pass up.

Putting Twill in a wheelchair makes a lot of sense since I need him to NOT to be able to help the characters; the Keep is not easily accessible.  

I am currently rereading the Dragonlance saga and the comment has been made that there are no old Kender.  They usually die before that due to accidents.  This is Twill's tale. He was adventuring when he slipped and fell off a cliff.  He was discovered by Sarana who used her witchcraft to heal him the best she could. While she could heal his wounds and kept him from dying, she could not heal everything.  With no healing magic from the gods, she did an admirable job. 

Thankfully for Twill, Tinker the gnome was able to craft him a "mobility chair" which Twill thinks is the best thing ever.  He has a pocket for his maps, cool little baubles, and a place for his hoopak staff.

Since my War of the Witch Queens is a B/X flavored game, I thought that my current favorite Basic-era game Old School Essentials would be great for these stats today.

Twill Topknot
Male Kender Bard, 3rd level, Neutral Good

Strength: 10
Intelligence: 13
Wisdom: 9 
Dexterity: 18 (agility) / 9 (movement)
Constitution: 13
Charisma: 15

HP: 12
AC: 4

Saves
D: 13  W: 14  P: 13  B: 16  S: 15 

Initiative: +3
Movement: 20

To Hit AC 0: 20

Weapons: Dagger 1d4 

Hoopak staff 1d4

I decided that Twill is better suited in my game as a Bard (I was not doing Bards in a vacuum last month).  One of the things I found endearing about Tasslehoff Burrfoot was his rich store of stories he knew and wanted to tell. I enjoyed it more on my recent re-read (and was profoundly irritated with Flint every time he told Tass to be quiet).   So a Kender storyteller bard sounds great to me.  I'll make an Arcane Bard since there is no divine magic in Krynn at this point.  Plus the Arcane Bard for OSE still has some thief skills to use.  

In my mind, Twill lives (platonically, for now) with Sarana.  She thinks it is to protect him (he doesn't need it) and he thinks it is to protect her, being from another world (she doesn't need protecting either).  So Twill stays with her in her little house in a haunted forest. He tells her stories that she delights in and she makes him tea. He shows her all his wonderful maps of Krynn and talks about dragons (still only a story now) and she tells him about wonderful worlds she has seen.

No wonder she has no real desire to leave Krynn.  But don't assume anything untoward! This is Krynn and there is a certain morality in place (that I seemed to have completely missed at 14 when I read it the first time).

Sarana and Twill

Twill's Mobility Chair

Being a good-natured sort, Twill is quite proud of his remarkable "mobility chair."  He will gladly show off the pockets it has for his maps, dagger, and that really interesting thing the PC's just dropped and he was keeping safe.   There is even a place on the back for his hoopak.  He credits Tinker (a tinker gnome, naturally) for building it and Sarana for enchanting it to cover any ground or terrain. 

In fact, he will often state that life with his new chair is even better now, though he will admit he misses wiggling his toes. 

Thanks to Sarana's magic the chair can travel over any terrain that Twill himself could do save for anything involving swimming or climbing, with that he can levitate.  The wheels have permanent Floating Disk spells on them to provide levitation.  Since the chair is new he is still learning how to navigate stairs. 

Using the Combat Wheelchair 2.1 for 5e Twill's is a modified basic wheelchair. 

You can get (and modify) your own Twill Topknot mini from HeroForge.

ETA: Since I posted this I noticed that Hero Forge has added three wheelchair options.  

Here is a new version of Twill with his cat.

At the heart of Delta Green: The Roleplaying Game is the conspiracy with the US government which knows about the ‘Unnatural’ and the existential threat it represents to humanity, let alone the USA, and secretly appropriates funds and agents from a wide variety of Federal agencies to investigate ‘Unnatural’ incidents and prevent them from becoming both a greater threat and their triggering revelations as to their nature to the wider public. As detailed in the Delta Green Agent’s Handbook and Delta Green: Need to Know, most Player Characters in Delta Green: The Roleplaying Game will be Agents from the Law Enforcement, Intelligence, and Military communities. These include the Centers for Disease Control and Prevention, the Central Intelligence Agency, the Environmental Protection Agency, the Federal Bureau of Investigation, U.S. Marine Corps, and more. Each examination of the various agencies and organisation details its budget, whether its operatives can carry weapons and have powers of arrest, how it is organised, what its remit is, areas of friction with other agencies, and in addition to advice on roleplaying a member of said agency, offers suggestions as particular Professions and their associated skills. In terms of roleplaying, each agency or organisation is not just a set of skills for the Player Character, but part of his background, what he does on a daily basis, his areas of knowledge and specialities, and so on, all of which go towards suggesting how he might first encounter the ‘Unnatural’ or be recruited by Delta Green itself. However, they are not the only agencies or organisations belonging to the Federal government, and whether inside the government or outside, the conspiracy that is Delta Green has a long reach into the many agencies and organisations connected to the Federal government. Which is where The Complex comes in.

Delta Green: The Complex is a supplement for Delta Green: The Role-Playing Game published by Arc Dream Publishing. It presents over twenty dossiers covering numerous Federal agencies—many of them not new to the setting of Delta Green, but new to Delta Green: The Role-Playing Game. In turn, it presents each organisation in the standard fashion. Thus each entry covers the organisation’s budget, whether its operatives can carry weapons and possess powers of arrest, how it is organised, what its remit is, areas of friction with other agencies, and in addition to advice on roleplaying a member of said agency, offers suggestions as particular Professions and their associated skills. In terms of federal agencies, it breaks them into six categories—Law Enforcement, Defence, Intelligence, Interior, Public Safety, and Research. Thus, the ATF, Customs and Border Protection, and the U.S. Secret Service fall under the Law Enforcement category, and the Intelligence category includes the National Counterterrorism Center, the Office of Naval Intelligence, the NSA, the Defense Intelligence Agency, the National Geospatial Intelligence Agency, and the National Reconnaissance Office. The Research category includes NASA, DARPA, and National Nuclear Security Administration. Each of the Defence, the Interior, Public Safety, and Treasury categories has the one entry each, the U.S. Coast Guard, the National Park Service, Federal Emergency Management Agency, and the IRS respectively. Of these, The Complex notes that many Delta Green agents are drawn from the Natural Park Service, since the great natural parks that it oversees are likely to be where agents of the ‘Unnatural’ perform their dread ceremonies, strange creatures are to be encountered far from civilisation, and so on.

In addition, The Complex adds an eighth category. This is the Private Sector. It includes the Constellis Group, Lockheed Martin, Consolidated Analysis Center Incorporated, Booz Allen Hamilton, and the RAND Corporation. This is where the supplement gets interesting, enabling a broader range of ‘Friendlies’ as Delta Green terms its civilian ‘agents’ rather than those from the federal or military sectors. However, rather than being an academic or a private investigator a la traditional Lovecraftian investigative roleplaying, the entries in these categories allow Agents with military, intelligence, law enforcement, and technical backgrounds who can be connected to the federal government, but not employed by, or part of, the federal government. The Constellis Group, for example, formerly known as Blackwater and thus connected to number of scandals, provides security personnel and training; Lockheed Martin, is a military engineering contractor, which pushes at the boundaries of science and technology, so a Player Character could even be a test pilot for the company’s infamous ‘skunk works’; and both Consolidated Analysis Center Incorporated and Booz Allen Hamilton provide specialised contractors in intelligence, analytics, cybersecurity, and more for various federal agencies, potentially providing its employees with a wider experience of having worked for numerous agencies rather than the single one. Lastly, the RAND Corporation is a non-profit thinktank whose studies and research influences government policies.

All suggest potential new ways to approach investigating the ‘Unnatural’. For example, a Constellis Group security team could be contracted to guard or investigate something in the field when a government organisation wants to keep its hands clean, a Lockheed Martin teams of engineers could be brought into examine a strange piece of technology, and so on. However, as interesting and as useful as the information is on these non-governmental organisations is, especially in how to play an Agent from these organisations, the Handler is left somewhat on her own when bringing said organisations into play. Perhaps some advice on having them in a campaign could have been included in The Complex.

Details of the various agencies and organisations do make not make up all of the content in The Complex. Sidebars cover how Background Checks are run, the ATF traces firearms and handles trace requests from other agencies, the U.S. Coast Guard’s use of the terms ‘cutter’ and boat’, what a SCIF or ‘Sensitive Compartmentalised Facility’ is and how it works when accessing classified material, which countries are part of ‘Five Eyes’ Coordination (FVEY), what ‘Type 1 Hotshots’ are—teams of twenty wildland firefighters drawn from various agencies and services, and ‘Firing and Prosecution in the Private Sector’. This is all useful extra information which may come into play should the various organisations figure in a Handler’s campaign.

Physically, The Complex is as cleanly laid out and as decently illustrated as you would expect for the supplement for Delta Green: The Role-Playing Game. It does not have an index, but the supplement is short enough that it covers both the various agencies and the extra information found in the sidebars.

Arguably there are a sufficient number of agencies and organisations and their associated professions to be found in Delta Green Agent’s Handbook such that The Complex is not a supplement that the Handler needs to buy. However, the expanded information upon the various federal agencies is useful, enabling the Handler to create NPCs as well as player Agents from these agencies, and perhaps have the Agents clash or have to deal with these agencies as part of their investigations into the ‘Unnatural’. The inclusion of corporations and thinktanks from the Private Sector is undeniably interesting and it offers different approaches to investigating the ‘Unnatural’ that the simply using the federal agencies might not. Overall, The Complex is a useful and interesting supplement which provides new options for player Agents and potentially new avenues to investigating the ‘Unnatural’.