Another beautiful Sunday, another successful flash sale, and with it a plan for more. Since the general forecast for the month of May suggests that we’ll have relatively cool (for North Texas) weather through Memorial Day weekend, feel free to … Continue reading →

Cover for ‘The Mask of Cthulhu’ by August Derleth, Grafton Books, 1987

New Tales of the Cthulhu Mythos, 1988

H.P. Lovecraft Omnibus 3, The Haunter of the Dark

The Trail of Cthulhu, 1988

H.P. Lovecraft Omnibus 1, At the Mountains of Madness, Grafton Books, 1985

H.P. Lovecraft Omnibus 2, Dagon and other Macabre Tales

Tales of the Cthulhu Mythos, 1988

Devil's Dream

Marion Zimmer Bradley's Star of Danger, 1994

Cover art for Christopher Priest's novel, The Space Machine, Pan Books, 1981

Cover art for The Courts of Chaos (The Chronicles of Amber series), alternative paperback cover, 1986




"Artist Tim White, 68, died April 6, 2020 after a long period of poor health. White was a prolific SF cover artist from the ‘70s through the ‘90s.
 
Timothy Thomas Anthony white was born April 4, 1952 in Erith, Kent, England. He studied art at the Medway college of Design, and subsequently worked in advertising for two years. He began doing cover paintings for New English Library and Science Fiction Monthly, and illustrated works by authors including Piers Anthony, Robert A. Heinlein, Bruce Sterling, E.C. Tubb, and A.E. van Vogt. He was nominated for six British Science Fiction Association Awards for Best Artist from 1981-86, and won in 1983. He largely retired from painting around 2000 due to health problems. White’s work was collected in The Science Fiction and Fantasy World of Tim White (1981), Chiaroscuro (1988), and Mirror of Dreams (1994). Mouches  (1983) is a wordless graphic novel." - quote source

A complete bibliography of White's work can be found at the Internet Speculative Fiction Database.

Last week I spent some time going over my proposed monster book.  Presently I have about 240 monsters and sitting at 170 pages without art.  Respectable but I am certain to make some cuts.   I have gone through all my Witch books and the majority of Monstrous Mondays.

The biggest issue at the moment is that I have done Monstrous Mondays for so long there are at least five OSR systems I have used, not to mention original monsters I created for other systems.  I can use those monsters, but just like the OSR ones I need to convert everything to a single system.

For a while, I was working on the notion that I should do this as an "Advanced" era book.  Trouble is I really don't see a lot of Advanced era books for sale on DriveThru.  It is pretty much dominated by Labyrinth Lord and Swords & Wizardry.  I want to make the book I want, but if I want to pay for art it also needs to be a book people will buy.

Advanced Labyrinth Lord seems like the best compromise, but even then it is missing a couple things I want. Well. That is where Monstrous Mondays come back in!

I think I'll use this space to workshop a few monster stat blocks that work with what I want.
In particular, I want to have something similar to what I was doing in the early 80s; the free mixing of "Basic" and "Advanced" eras.

Something that plays like this.



I could start with a standard Labyrinth Lord stat block, add-in ability scores or ability score adjustments like Blueholme does.  Maybe include some of the OGC elements I like best from Adventures Dark and Deep Bestiary and OSRIC.

To be honest, I have not quite made up my mind just yet.
But let's try something out.

Here is a good test. I'll convert a Ghosts of Albion creature to this new format.  A good choice is one that was inspired by a 1st creature that was in turn inspired by the mythical fairy creature.
So here is my Monstrous Monday version of the Cù Sìth.

Cù Sìth
Cu Sith by NyssaShawFaerie Animal
Frequency: Very Rare
No. Enc.: 1 (1), Pack 1d4 (1d6+1)
Alignment: Lawful (Chaotic Good)
Movement: 150' (50') [15"], Run 210' (70') [21"]
Armor Class: 7 [12]
Hit Dice: 4d8+4 (22 hp)
Attacks: 1 (bite)
Damage: 1d6+5
Special: Blink, Detect Magic, Hide (5 in 6), takes 2x damage from cold iron
Size: Large
Save: Monster 4
Morale: 12
Treasure Hoard Class: Nil
XP: (working on this, see below)

The Celts were well known for their love of dogs. But the Cù Sìth (“coo shee”) or “Fairy Hound” has a special place in Celtic lore. Often described as a large hound that is either all green or all white with red ears. They have been alternately seen as bad omens, horrible stealers of children, or a fierce and loyal protector, the Cù Sìth features in many tales.

Tales feature the Cù Sìth as a spectral hound, one that forebodes doom like the Barghest, though those hounds are more often black in color and their malevolence is more universal than that of the Cù Sìth. Also, the Cù Sìth is more commonly associated with the Faerie and sometimes valiant, but tragic, warriors and the Barghest is more closely associated with witchcraft.

The Cù Sìth can be found most often near or around fairy mounds. A good sign that a mound is, in fact, a faerie mound is the proximity of a Cù Sìth to it.

Cù Sìth can also interbreed with other dogs which will typically produce one Cù Sìth per liter; sometimes more, sometimes less. Odd are the ways of the faerie folk.

Cù Sìth pups are rarely if ever tamed. If one wishes to remain with a non-faerie then it is of their own choosing.

--
OK.  Let's talk through this stat block.

Creature Type: Faerie Animal

I am going to include a creature type. This will be a short-hand for a few things.  Faerie in this case means can speak elven and sylvan, takes double damage from iron and *maybe* need silver or magic weapons to hit.

Frequency: Very Rare

I like frequency.  One of my favorite Advance era stats that we don't see in Basic era.

No. Enc.: 1 (1), Pack 1d4 (1d6+1)

Fairly self-explanatory.

Alignment: Lawful (Chaotic Good)

I want to include the Good-Evil axis along with the Law-Chaos one.  Both will be listed.

Movement: 150' (50') [15"], Run 210' (70') [21"]

Movement is listed for Basic era Turns and (Rounds) and [Advanced era].  Special moves will be spelled out.  So no //# /# to confuse anyone.

Armor Class: 7 [12]

Armor Class is listed with both Descending and [Ascending] types.

Hit Dice: 4d8+4 (22 hp)

For HD I am going to include the die type, any extra hp and hp (the average of the die type).

Attacks: 1 (bite)
Damage: 1d6+5

Attacks and Damage are split up.  Though I could easily put these on one line.

Special: Blink, Detect Magic, Hide (5 in 6), takes 2x damage from cold iron

Special attacks, moves, and defenses are here.  This is vaguely Basic era, but also from other games I have used.

Size: Large

I like including size here. Also, I am considering using size to change HD type as it does in newer games.

Size HD Type Space Examples Tiny d4 2½ by 2 ½ ft. Imp, sprite Small d6 5 by 5 ft. Giant rat, goblin Medium d8 5 by 5 ft. Orc, werewolf Large d10 10 by 10 ft. Hippogriff, ogre Huge d12 15 by 15 ft. Fire giant, treant Gargantuan d20 20 by 20 ft. or larger Kraken, purple worm
Save: Monster 4

Most often monsters save as monsters, but sometimes a class might be used for special cases.

Morale: 12

I really enjoy Basic era style morale.

Treasure Hoard Class: Nil
XP:

These two are trickier since they rely a lot more on the game they are emulating AND the specific rules.  For the book I might create my own Treasure Type but I am also considering just going with the LL Horde Class and repeating the table in an appendix.

XP will really vary from system to system.  I have a Google Sheet that calculates for different games based on HD, special abilities, and the like.

Here is the output for the Cù Sìth for various games.

Base+hp*/ SA1**/ SA2***/SA3TotalBasic75123070187Advanced75783070253LL802405555430BF24004040320OSRIC75783070253SW1200120120360SS4010420300194OSE755050175289mean253median253mode
Not at all the same is it.

I might forgo putting in XP and letting Game Masters calculate it themselves based on their game of choice.  Mind you there might even be some error in my sheet above.  I built it years ago and have added to it but I have not back-checked my math in a while.

How often do you all use the XP line?

So I have ways to go just yet.

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

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

For the most part, the current wave of fanzines is all fantasy orientated, a great many of them dedicated to and supporting the Old School Renaissance in one form or another. Essentially an Old School form of support for an Old School style of roleplaying game. So when a new fanzine appears dedicated to a different genre it can be a breath of fresh air and when that fanzine approaches its subject in more thoughtful and detailed fashion, then that breath of fresh air might be more than a little minty fresh. So it is with Back to the Spaceport: A Fanzine for Science Fiction Games. This is a Science Fiction fanzine dedicated to all types of Science Fiction gaming, so roleplaying and miniatures, for example. It is also a Science Fiction fanzine dedicated to Science Fiction in all of its many subgenres—urban (Cyberpunk and dystopian), post-apocalyptic, interstellar travel, Victorian and Edwardian, and so on. It is also a Science Fiction fanzine which is very British in its approach to Science and it also a Science Fiction fanzine that when necessary, is prepared to examine the issues posed when gaming with a particular Science Fiction genre.

Back to the Spaceport: A Fanzine for Science Fiction Games Phase 1, Datapacket 1 is entirely written and edited by David Haraldson and you can tell that it has a serious intent from the moment you open the front cover. He takes the time to credit all of the artists, the fonts used for each article, and the particular games. This is not necessarily interesting, but it points to an aspiration towards a professionalism and a seriousness. Then flip through the pages of the fanzine and there are copious footnotes, often links to outside sources of research and the like. In terms of presentation, the fanzine is clean and tidy, perhaps slightly cluttered in places, with artwork used judiciously. The use of different fonts for article titles is very eighties, as is the organisation of the contents into different departments. So ‘Yesterday’s Tomorrows’ for Edwardian and Victorian scientific romances, ‘Bright Lights, Mega City’ for urban Science Fiction, ‘Into the Ruins’ for post-apocalyptic Science Fiction, and so on, which is all very White Dwarf magazine.

The first department is ‘Yesterday’s Tomorrows’ and ‘The Green Hills of Venus’. This is the write-up of the first from the Challenger Distinguished Lectures given by Professor Octavian Black. It presents his findings on the successes and failures of the first few expeditions to Venus, starting with the 1889 Chadwick expedition. In classic style, it presents Venus as a hothouse jungle planet, complete with lizardmen and megafauna, but also hints at secrets deep within the planet. Complete with a story hook and lots of knowing Easter eggs if you know the genre, its gets the fanzine off to a good start.

‘Manchester, So Much To Answer For’ is the first entry for the ‘Bright Lights, Mega City’ department, presenting two Manchester-inspired gangs—the Rusholme Ruffians and Frank’s Gang a.k.a. the Sidebottoms. The former is a gang inspired by the eighties band, The Smiths, whilst the latter a gang inspired by the papier-mâché mask-helmet wearing media personality/artist, Frank Sidebottom. More attention is paid to the latter than the former and it shows with more ideas on their gang structure and how to use them. Certainly, Frank’s Gang makes for a fun prank/performance gang to add to a Cyberpunk roleplaying game as well as the Judge Dredd & The Worlds of 2000 AD Roleplaying Game and Vurt: The Tabletop Roleplaying Game. ‘Me And My Melancholy Motor’ for ‘Into the Ruins’ provides the TEdison Razorback, a vehicle with an A.I. and a personality for getting around a post-apocalyptic world akin to that of Gamma World or Mutant Crawl Classics. Complete with a personality table and mental health crisis table, it provides a fun NPC for Game Master to bring to her campaign and roleplay.

The highlight of Back to the Spaceport: A Fanzine for Science Fiction Games Phase 1, Datapacket 1 is ‘Mx. Land & Dr. Britling See It Through’. The longest article in the issue, it explores the nature and problems of the Steampunk genre and how it applies to gaming as well as how the Steampunk movement regards gaming. In the first case, rarely as a ’punk genre and typically as a neo-colonial, imperialist celebration, and in the case of the latter, badly. Of the roleplaying games available, it highlights Marcus L. Rowland’s Forgotten Futures as probably the best roleplaying game of Victorian and Edwardian scientific romances and it also presents a manifesto for exploring the genre in the pages of Back to the Spaceport. This is an absolutely splendid read, interesting and thoughtful, certainly all but worth the price of the fanzine alone.

The articles for the departments ‘STL Signals’ and ‘Standing Orders’ are more personal and prosaic in nature. ‘STL Signals’ looks at PBM—or ‘Play by Mail’—games and the author’s experience with a couple of PBM games, Riftlords and Phoenix: Beyond the Stellar Empire. It is diverting enough and again harks back to the heyday of the hobby in the eighties. ‘Standing Orders’ is devoted to Science Fiction miniatures wargaming and ‘21st Century Fighting in Built-Up Areas’ looks at urban conflict scenarios in miniatures games where the line of sight extends across the whole of the playing area. Written for use with Ground Zero Games’ Stargrunt II rules, the rules and suggestions here can adapt to any rules system the reader prefers, the article is useful for anyone running these types of games, but is otherwise just a little esoteric in comparison to the other articles in Back to the Spaceport.

Of more use perhaps is ‘Art Crime’. Written for the ‘Under Other Constellations’ department, it is a set-up and a cast of supporting NPCs suitable for any Science Fiction roleplaying game in which interstellar travel is possible. Here the idea is that the transportation of ordinary goods is too expensive to make it worthwhile, but the shipment of luxury items, including art, does not. It consists of four detailed NPCs—The Thief, The Investigator, The Amateur Sleuth, and The Collector—around which the Game Master can build a scenario or encounter. Written for use with FrostByte Books’ M-Space and Design Mechanicsm’s Mythras Imperative, it would easily work with any number of Science Fiction roleplaying games and adapting the plot and NPCs should be easy enough. Lastly, ‘Music for Spaceports’—a nice nod to Music for Airports—reviews three albums of music suitable for use as background sounds in Science Fiction games. Of the eight articles in Back to the Spaceport: A Fanzine for Science Fiction Games Phase 1, Datapacket 1, this feels like filler.

—oOo—
In addition to the fanzine itself, Back to the Spaceport: A Fanzine for Science Fiction Games Phase 1, Datapacket 1 comes with an Old School Renaissance Science Fiction pullout. ‘On Xanadu, A Stately Pleasure Sphere!’ is written for use with White Star: White Box Science Fiction Roleplaying and similar Science Fiction roleplaying games, as well as Mindjammer – The Roleplaying Game: Transhuman Adventure in the Second Age of Space, it presents a Space Opera-style scenario/hexcrawl on the planet Xanadu, the best source of the Star Flowers, a delicacy amongst the galaxy’s elite. The planetary governor, Magnus Dominus, spends his time in seclusion in his imperial palace whilst working the planet’s population piteously hard growing the precious star flowers. The set-up is open to multiple plots, including assassinating the governor, abducting him and putting him on trial, stealing something from his art collection, fomenting rebellion, and so on. This could easily be mixed in with the ‘Art Crime’ article from the issue. Overall, this is a nice extra to the actual issue and easy enough to add to a Game Master’s campaign.

—oOo—
It is a pleasure to have a fanzine which covers a genre in the variety of its subgenres and one which does so in as high a standard across all of them. It sets the bar high for future issues, one that we can only hope that the author can maintain for the second issue and also when other contributors write for it. Back to the Spaceport: A Fanzine for Science Fiction Games Phase 1, Datapacket 1 is an engaging piece from beginning to end, thoughtful and interesting, the article Steampunk a superb highlight.

Unknown artist, found in an estate in Maine.  Early 20th century, oil on canvas.  The painting seems to depict a dryad, a tree nymph or tree spirit in Greek mythology. ..
Fritz Gareis (1872-1925) “the Light” circa 1920 ink and watercolor.
Andreas Cellarius Harmonia macrocosmica : sev Atlas universalis et novus, totius universi creati cosmographiam generalem, et novam exhibens 1708
Bookplate THE INFERNAL GRAND PRINCE MARBUEL. excepted from "Doctor Johannes Faust's Magia Naturalis et Innaturalis"Marbuel is the seventh grand prince of hell. He stands under the planet, his regent is called Gabriel, a Throne angel of the Holy Jehova. He appears early on Mondays at 1, 4 and 9 o’clock, but at night at 10 and 12 o’clock in a human form with a grey cowl and holds a key in his hand.Excepted from "Magia Naturalis" 1848.full illustration here
Iconic Devil Andirons circa 1930’s, flame cut steel
M.A. Smith "Last Reveilie" circa 1950's made in a V.A. Hospital.








Unknown artist , Germany circa 1900 "Execution of a Witch" Oil on Canvas with handmade painted frame.
Unknown artist , Germany circa 1900 "Execution of a Witch" Oil on Canvas detail.

Unknown maker, Masonic Birdhouse, painted wood, circa 1940's

Unknown maker, Masonic Birdhouse, painted wood, circa 1940's

Unknown Maker, Midwestern USA, circa 1880 - 1900 Arc of the Covenant Angels, Handcarved and polychromed wood,

Unknown Maker, Midwestern USA, circa 1880 - 1900 Arc of the Covenant Angels, Handcarved and polychromed wood,

Unknown Maker, "Venus", date unknown, Plaster cast of Venus De Milo, red velvet, hand carved frame.  Found in an abandoned lodge in Michigan in the 1950's, possibly a Rebekahs  lodge.  This work was included in the show "NO STARS: A Twin Peaks Tribute Exhibition" in NYC in October 2019.

Hermon Finney.  Eve With Serpent.   Plaster with paint. circa 1950's.

Unknown artist, Illustration, possibly for pulp magazine, circa 1940's, Ink and Gouache on carboard.

Aeron Alfrey “Gorgon Scrambler” Ink on paper 2017

Erna Kd (Indonesia) "The Sorceress" ink on paper 2015Alex Kuno Untitled Pencil on paper 2016
John Everard “ADAM'S FIFTH RIB” 1935 Photogravure
Walter Bird "Devil Dancer" photogravure 1930

Jaya Suberg Untitled 2019 photgraph

Alexis Palmer Karl "The Serpent", production still from "The Persistence of Ritual" film, 2019  photograph

Dolorosa De La Cruz "Invocation of la Reina Roja 2" 2014 gouache pencil and gold ink

Soey Milk "Propinquity" Pencil and watercolor 2014

Aurore Lephilipponnat “William Mortensen Inspired” 2017 pencil on paper
Eldon Garnet “NO.” #3 1997 Chromogenic Color Print

Lacaze Théophile Diablerie Demons Writer Baudelaire 1839, pencil

Unknown maker, American, ceramic Devil, circa 1940's
Unknown photographer, Mourning Woman, circa 1875. 
1929 Press Photo Mourning 1920s Women Dressed in Black Madame Foch France
Large Painted photograph Victorian Woman in Mourning circa 1875
Keystone View Company, 1894

Press photo 1949, London

Ken Weaver "It Was Eternity That Reached Out First" 2019 Daguerreotype printed on aluminum
 Studio photograph 1923

 Unknown photographer, Vernacular snapshot, circa 1940's

Original Lobby card Virgin Witch (1972) Director: Ray Austin

Bookplate American medical journal, after De Monstris, 1865

Inge Vandormael "Offering" 2018  pencil on paper


Dan Barry “Krampus” 2015 antique frame, found paper, graphite, elmers glue

India Evans "Cosmic Connection" 2016 Mixed media collage
Eddie Adams Desciple of Bhagwan Shree Rajneesh 1979, Poona, India.

Unknown photographer, "Devotee of a Witchcraft Cult in Brazil", 1956, Silver print.

Unknown photographer "Native Tibetan Devil Dancers with Masks, Lamas" 1910, postcard.

Burt Shonberg (1933 - 1977) "Edith (I should have Loved you Better)" 1958 Casien on panel.
H. Freitag, Germany 1939, watercolor.

Unknown artist (Niko Lucassem) "Tanzteufel" (Dancing Devil), 1948 pastel on black paper
Unknown Maker, American, circa early 1900's "devil and Dancer", carved and polychromed wood.
Emily Andersen "Enter 3 Witches" 1944 Oil on canvas
Unknown maker, WW2 War Painting with Satan, gouache, circa late 1940's early 1950's.
H.C. Evans & Co. Devil Freak Show Banner Remnant. early 20th century
Pipe Rack with Lincoln Imp, carved and painted wood with ornamental metal attachments, c. late 1800's.
Pipe Rack with Lincoln Imp, carved and painted wood with ornamental metal attachments, c. late 1800's.
Luciana Lupe Vasconcelos “Anatomy of Madness” 2018

Tiffany Hsiang “Manatee” 2016 pencil on paper
Unknown artist, Group of 9 watercolors depicting shrunken heads, British, circa 1940's
 Unknown artist, watercolor depicting shrunken head, British, circa 1940's

 Unknown artist, watercolor depicting shrunken head, British, circa 1940's

Romeyn de Hooghe (1645 - 1708): bookplate from “Hieroglyphica — Symbols of Ancient People” 1735. MYTHOLOGY-ICONOLOGY-EVIL-HYROGLYPHIC
Plate 28 shows evil Gods. This plate shows A. Herimis; B. Joosje Tidebaic; C. dragon; D. Abaddon; E. Temptation in the Garden of Eden; F. treasure keeper; G. treasure guard; H. goblins; I. pagan dance; K. De Witte Vrouw (the White Lady); L. Larunda; M. Harpies; N. Wrath of the harpies; O. Nightmare; P. Earthquake; Q. Scylla; R. Charybdis; S. Syrtes.
Full series here

Bookplate, Illustration from "Oeuvres diverses de M. de Fontenelle." 1728

Bookplate, excerpt from Scheible, J. (ed.) "The Flying Leaves of the XVI. and XVII. Century, in so-called one-sheet prints with engravings and woodcuts, first from the field of political and religious Caricature"
Olga Fröbe-Kapteyn, “The Grail”, screen print, circa 1930.Full series here

Unknown Maker, Hand Painted Serpent Mirror, late 1800's, American.
Unknown Photographer "THH GHOST" circa 1880 - 1900 Glass plate negative with wax paper wrapping with pencil.

 Unknown Photographer "THH GHOST" circa 1880 - 1900 Glass plate negative.

 Unknown Photographer "THH GHOST" circa 1880 - 1900 Print from glass plate negative.

John Godwin "Anton Szandor LaVey" 1972

Nyahzul C Blanco "Starman" from the exhibtion "Saint Bowie" at Stephen Romano Gallery
Manuscript page depicting demons in Hell Rajasthan, India, early 20th century
Cynthia Marshall (1945 - 2018) "Venus" undated, Acrylic on canvas
W.M. Morris "Judgement Day", American 1924, Oil on canvas.







Masonic funerary ceremonial taxidermic bird, circa 1875 - 1880.  Found in midwestern lodge, in a handmade glass case.

Photograph of Masonic funerary ceremonial taxidermic bird, circa 1875 - 1880.  Found in midwestern lodge.
Colin Christian "Teeth" 2015
Colin Christian "Alive" 2015
Unknown photographer, Vernacular snapshot, circa 1950's
Unknown photographer, Vernacular snapshot, circa 1940's
Unknown photographer, Vernacular snapshot, circa 1940's
Unknown photographer, Vernacular snapshot, circa 1940's
Unknown photographer, Vernacular snapshot, circa 1940's
Unknown photographer, Vernacular snapshot, circa 1930's
Unknown photographer, Vernacular snapshot, circa 1940's
Japanese erotic snapshot 1940's
Unknown photographer, Vernacular snapshot, circa 1930's
 Unknown photographer, "ELECTROPLASM"©, Vernacular snapshot, circa 1930's

 Unknown photographer, "ELECTROPLASM"©, Vernacular snapshot, circa 1930's


 Unknown photographer, "ELECTRORB",© Vernacular snapshot, circa 1930's


 Unknown photographer, Vernacular snapshot, 1941

Unknown photographer, "Seance" vernacular snapshot, circa 1940's
 Unknown photographer, Vernacular snapshot, circa 1930's

Unknown photographer, Vernacular snapshot, date unknown

 Unknown photographer, Vernacular snapshot, circa 1940's

 Unknown photographer, Vernacular snapshot, circa pre1940's

 Unknown photographer, Vernacular snapshot, 1949.

Unknown photographer, Vernacular snapshot,  circa 1920's

 Unknown photographer, Vernacular snapshot, circa 1930's

 Unknown photographer, Vernacular snapshot, date unknown

 Unknown photographer, Vernacular snapshot, date unknown


Unknown Artist, American, Watercolor depicting "9th Circle Treachery" of Dante's Inferno

Unknown Artist, American, Watercolor depicting "Geryon Leading Dante To The 8th Ring Of Hell" of Dante's Inferno

Unknown Artist, American, Watercolor depicting "Virgil At The Entrance Of Hell" of Dante's Infernofull series here
Man with Skull and Open Book photo-postcard c. 1900
ODD Fellows Banner, c. 1880, Texas.
Bookplates illustrating the works of Jacob Bohme 1665
More images here

Jen Bandini “The Black Lodge” 2019 ink on paper


Japanese Vernacular photograph 1940's depiction vampiric woman
Unknown Maker, circa 1940's "The Black Stag" Carved and polychromed wood, antlers.
Unknown Maker, circa 1940's "The Black Stag" Carved and polychromed wood, antlers.
Unknown maker, "The Venus of Detroit", 1940's, African American Fertility figure found in Detroit Michigan.  carved and painted wood.  More views here.
Kim Bo Yung "Sentinel" 2015 ink and watercolor on paper.
Ceremonial Wand, Boston MASS c. 1800 Carved and inscribed Scrimshaw bearing the inscription "AMASARAC" the demon entity possessing magical and transformative powers over spices and herbs. Presumably this wand was used to handle such spices and herbs during ceremony, while conjuring AMASARAC to empower them.

Unknown Photographer, "Woman with Tiger Mask" circa 1930's
Unknown photographer, "Nude with Devil Mask" circa 1940's, photograph
Leonard Frontinak Tiger painting. Exhibited "Opus Hypnagogia" Morbid Anatomy Museum
Unknown Photographer Veiled Woman with Shrunken Demon Head. circa 1920's, Photograph 
William Hope, Group of 3 spirit photo, photo postcards, 1920's
Jack Edwards, Spirit photograph at Camp Silver Belle PA, circa 1940's.
Jack Edwards, Spirit photograph at Camp Silver Belle PA, circa 1940's.
Robert Boursnell Spirit photographer  circa 1900
Falconer Brothers Spirit Photographers circa 1930
Édouard Isidore Buguet, Spirit Photograph of Madame and the materialization of Allan Kardek May 28 1874. Kardek was the founder of the " Revue Spirite" Part of the message of the sign reads: "Amis, continues propager notre doctrine, adieu pour toujours" "Friends, continue to spread our doctrine, goodbye forever"
Apocalyptic Painting by unknown maker (signature illegible) circa 1940's, Midwestern American Unknown medium, probably enamel or house paint.
Pair of Apocalyptic Paintings by unknown maker (signature illegible) circa 1940's, Midwestern American Unknown medium, probably enamel or house paint
A. Fiorello (dates unknown) "The Right To Arm Is The Right To Kill" circa 1960 - 1970 painted plaster relief

A. Fiorello (dates unknown) "Behold the Profit-Patriots & Their Greed-Power Guardians " circa 1960 - 1970 painted plaster relief
A. Fiorello (dates unknown) "Duality Of Extremes" circa 1960 - 1970 painted plaster relief
Wolfgang Grasse "The Broom" ink on paper 1981

Ray Harryhausen (1920-2013) - Oil on board painting from the estate sale in 2015, possibly used for reference for Sinbad, Ray Harryhausen in pencil on reverse of frame, framed, 23 x 36 inches
Wolfgang Grasse "Dresden" 1977, Acrylic on panel
Wolfgang Grasse "The Throne of Death" 1999 Acrylic on panel
Wolfgang Grasse "The Kingdom of Death" 1999 Acrylic on panel
Wolfgang Grasse (1930 - 2008) "The Fallen Angel of Love or Sodom and Gomorrah" 1999
Wolfgang Grasse (1930 - 2009) "South East Garden". 2000, Acrylic on panel.  Depicts  Jiutian Xuannü, the Chinese goddess of war, sex, and longevity.




Charles A.A. Dellschau (1830 - 1923) "Aero Bomba" 1921 Further images here
Charles A.A. Dellschau (1830 - 1923) "Goose" 1898
Charles A.A. Dellschau "Aero Myo" 1918
Charles Dellschau "Sky Lubrication" 1920

William Mortensen "Mort De Guillaume" (Death of William). Depiction of William the Conquerer being lowered into his tomb.  1935, photograph

William Mortensen (January 27, 1897 – August 12, 1965) was an American photographic artist, who first gained acclaim for his Hollywood portraits in the 1920s in the Pictorialist style and later for viscerally manipulated photography, often touching on themes of the occult.
www.williamortensen.com
William Mortensen (1897 - 1965) "The Initiation of a Young Witch" Photograph 1928
William Mortensen (1897 - 1965) "The Old Hag with Mask" Photograph 1928
William Mortensen (1897 - 1965) "The Old Hag with Incubus" Photograph 1928
William Mortensen (1897 - 1965) "The Old Hag" Photograph 1928
William Mortensen (1897 - 1965) "Preparation For The Sabbath" Photograph 1928
William Mortensen (1897 - 1965) "The Sorceress" Photograph 1928

 William Mortensen (1897 - 1965) "The Sorceress" Photograph 1926

 William Mortensen (1897 - 1965) "Courtney Crawford with Masks" Photograph 1926

 William Mortensen (1897 - 1965) "Faye Wray with Masks" Photograph 1928

William Mortensen (1897 - 1965) "Balphagor and the Lost Souls"1928 Photograph
William Mortensen (1897 - 1965) "The Schrapnel" 1929 Photograph

William Mortensen "The Heretic" 1926 Photograph

William Mortensen (1897 - 1965) "Circe" 1932 Photograph

William Mortensen (1897 - 1965) "Self Portrait with Courtney Crawford" 1926 Photograph

William Mortensen (1897 - 1965) "The Elemental" (also titled "A Hindoo Woman") 1928 Photograph

William Mortensen (1897 - 1965) Untitled ("Saint Courtney") 1926 Photograph

William Mortensen (1897 - 1965) "The Old Hag" 1926 Photograph

William Mortensen (1897 - 1965) "Victory Ball" 1926 Photograph

William Mortensen (1897 - 1965) "Madame de Pompadour" 1926 Photograph

William Mortensen (1897 - 1965) "Hypatia" 1926 Photograph

William Mortensen (1897 - 1965) Untitled 1926 Photograph

William Mortensen (1897 - 1965) "Nicolo Paganini (The Devil's Violinist)" 1934 Photograph

 William Mortensen (1897 - 1965) "Jezebel" Photograph 1928

 William Mortensen (1897 - 1965) "Isis" Photograph 1928

 William Mortensen (1897 - 1965) "The Witch Lady Morgan y Dylwythen Deg" Photograph 1926

  William Mortensen (1897 - 1965) "The Witch Lady Morgan y Dylwythen Deg" Photograph 1926

  William Mortensen (1897 - 1965) "The Witch Lady Morgan y Dylwythen Deg" Photograph 1926

  William Mortensen (1897 - 1965) "The Tantric Priest" Photograph 1932

  William Mortensen (1897 - 1965) "Madame LaFarge" Photograph 1934

  William Mortensen (1897 - 1965) "The Heretic" or "A Spider Torture" Photograph 1926

William Mortensen (1897 - 1965) "Woman with Mask and Skull" Photograph 1926


Darcilio Lima (1944 - 1991) "The Prince" ink drawing, 1968Exhibited at Reina Sophia Museum, MadridExhibited at The Metropolitan Museum of Art, New York
Darcilio Lima, "The Magi" Lithograph, circa 1975Exhibited at Reina Sophia Museum, Madrid


Darcilio Lima, Untitled Lithograph, circa 1975Exhibited at Reina Sophia Museum, Madrid


Josh Stebbins Untitled pencil drawing 2019
Josh Stebbins on MONSTERBRAINS
Josh Stebbins "Tragedy / Devil"  pencil drawing 2018

Josh Stebbins "Mortensen's Incubus"  pencil drawing 2018
Kris Kuksi "Auto Cephalic Supplicating Machine" 2011 Mixed Media

Kris Kuksi "Venus Admiring Mar's Gun" 2008 Mixed media.
Kris Kuksi "Seraphim at Rest" 2015

Barry William Hale ‘Phantasma Phantasia: Milites Diaboli - [the soldiers of the Devil] Triptych” 2016 paint and marker on paper mounted on illustration board
Barry William Hale on MONSTERBRAINS
Barry William Hale "Dwellers on the Threshold" Automatic drawing Triptych, marker or paint on card, with photographic print of magical caligraphic ritual floor design. 2019
Martin Wittfooth "Entheogen" 2012 Oil on canvas
Ray Caesar "Sisters" 2005 digital media
Unknown maker, California, circa 1930's - 1940's.  Group of figures, mixed media, possibly poppets used in ceremony.  more details here

 Unknown maker, California, circa 1930's - 1940's.  Group of figures, mixed media, possibly poppets used in ceremony.

 Unknown maker, California, circa 1930's - 1940's.  Group of figures, mixed media, possibly poppets used in ceremony.

Unknown maker, California, circa 1930's - 1940's.  Group of figures, mixed media, possibly poppets used in ceremony.  
 Stewart Farrar "Alexandrian Witchcraft Initiation Ceremony of Janet Farrar (nee Owen), U.K. 1970"

Stewart Farrar "Alexandrian Witchcraft Initiation Ceremony of Janet Farrar (nee Owen), U.K. 1970"

Group of Shaman's prayer alter objects, Guatemala circa 1970's.  mixed material.Shaman's prayer alter object, Guatemala circa 1970's.  mixed material.

Hans Baldung Grien "The Witches Sabbath" date unknown
Theodule Ribot (1823 – 1891) "The Witches"  circa 1935
Roland Hendrickson "Season of the Witch" c. 1960. Signed photogravure
Solar Eclipse, Yerkes Observatory glass lantern slide, 1918  
LE POITEVIN, Les Diables de Lithographies, 1832Full series on MONSTERBRAINS
LE POITEVIN, Les Diables Erotique de Lithographies, 1834Full series here
Unknown photographer, Witch photo, late 1800's, American.
Excerpted from "Vol 2 - Das Kloster" , 1845 published by Johanas ScheibleFull series here


Jullian Baker "Knight Death and the Devil" oil on panel, 1960.
Grimoire page by an unknown hand, British, possibly 19th century, ink and unknown substance on cloth.
Grimoire page by an unknown hand, British, possibly 19th century, ink and unknown substance on cloth.

Grimoire page by an unknown hand, British, possibly 19th century, ink and unknown substance on parchment.

Grimoire page by an unknown hand, British, possibly 19th century, ink and unknown substance on parchment.

Grimoire page by an unknown hand, British, possibly 19th century, ink and unknown substance on cloth.

Grimoire page by an unknown hand, British, possibly 19th century, ink and unknown substance on parchment.

Cast bronze depiction of demon Pazuzu.  18th century.


Mario Mercier, production still from "La Papesse" ( A Woman Possessed)  1975
Unknown photographer, "Devil and Dancer" circa 1930's
Josh Stebbins "The Patron Saint of Lost Causes" Pencil on paper 2019clockwise Wolfgang Grasse, Rosaleen Norton, William Edmondson, Henry Darger,Charles Dellschau, Darcilio Lima.  Center Stephen Romano.  Based on the concept of a spirit photograph.


about Stephen Romano

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

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

Another fanzine, another different fanzine. Time & Tide is a fanzine dedicated, to SLA Industries, the 1993 Scottish roleplaying game set in a far future dystopia of corporate greed, commodification of ultraviolence, the mediatisation of murder, conspiracy, and urban horror, and serial killer sensationalism, recently expanded with the supplement, SLA Industries: Cannibal Sector 1. Published by Tanya Floaker following a successful Kickstarter campaign as part of the first Zine Quest, Time & Tide is subtitled ‘A fanzine examining why people love SLA Industries and the World of Progress’. It is of course not the only fanzine for SLA Industries. In the early noughties, tTH bIG pICTURE showcased another role for the fanzine, that is serving as a focal point for a roleplaying game’s fandom and support, often when that roleplaying game is between editions or out of print. As was the case with SLA Industries.

Time & Tide comes as thick sheaf of paper, a wodge of white text blocks on all dark photo backgrounds and scrappy art which screams late eighties, early nineties do-it-yourself layout. It is all filler, no game, but nevertheless all love, no hate. As the subtitle says, this is a fanzine about the love that the fans have for SLA Industries. At a hundred pages in length there are actually very few articles in the fanzine—just eight in all. There is also quite a bit of white—and more often than not—black space. The fanzine includes fiction, interviews, cake recipes, and more.

Time & Tide opens with ‘So Dark it’s U.V.’, a discussion of just why SLA Industries continues to be popular in spite of its sporadic publishing history. It also looks at the elements and themes of the game—of constantly changing technology, of suppression of knowledge, and of a truth that has its own dangers in knowing, overlaid by a Splatterpunk sensibility that reinforces the notion that life is cheap, that death can be comical, and that thrills meaning ratings (until the next thrill gets better ratings). It is a solid opening piece which lays the groundwork for the rest of the fanzine.

The highpoint of the fanzine is the ‘Interview with Nightfall Games’. The first of two interviews in the Time & Tide, this is with Jared Earle, co-author of SLA Industries and Mark Rapson of Word Forge Games, the new publisher of the roleplaying game. Conducted before the publication of SLA Industries: Cannibal Sector 1, this is a lengthy piece which looks at the history of the game and its future, in particular, its evolution as a war game setting in addition to being a roleplaying game. This is an informative and entertaining piece which really explains both Nightfall Games and Word Forge Games in the run up to the publication of SLA Industries: Cannibal Sector 1 and SLA Industries, Second Edition. The other interview is ‘Real Time’. This is with Ste Winwood about his involvement in running SLA Industries fan groups. Again, this is another personable interview highlighting the effectiveness of the fans in keeping a game alive with their support.

Between the two interviews is a much longer article, ‘The Mall of Progress’ by Ed Hill. This supports the new wargaming aspect of SLA Industries as the author takes the reader through the evolution of the terrain that he used to fight confrontations between the various factions in the World of Progress. So it goes from Cannibal Sector One over the Wall into Downtown and onto Garbage Alley and out again into the Ruined Mall and the Mall of Progress, and then back in again to a wretched housing block called Grim House. The step-by-step process looks at construction methods and the changing technology used and is accompanied by innumerable photographs. Unfortunately, these photographs hamper the article at every turn, being too dark and too murky to discern any detail. Whilst murk fits the World of Progress, it is not what you want in a wargames article where photos should bring to life what the designer has been doing. Worse, the layout of the article means extends the article over and over, and at a quarter of the fanzine’s page count combined with the poor resolution of the photographs, it just feels bloated and boring.

Tamsyn Kennedy’s ‘Underneath It All’ is the first of two pieces of fiction in Time & Tide. It tells of an Ebon’s almost worker drone existence before an encounter forces her awake and brings her to the notice of those that make her take the next step in ‘evolution’. This balances the humdrum with the eventual realisation that there is an alternative path in the ‘World of Progress’ to climbing the corporate ladder. The other piece of fiction is ‘Your Hole/Their Hole/My Hole’ by Roger Duthie which is very much the opposite of ‘Underneath It All’, telling of the wet, dank, stagnant, often horrifying nature of living on the dole in Downtown. It is quite a creepy piece, capturing life in the Mort City equivalent of a 1980s Glasgow council flat—elements of SLA Industries being a reaction to growing up and being unemployed in Thatcher’s Britain—from multiple points of view, intruders mundane and monstrous, as well as the dwelling’s occupants.

Quite literally filler, Coz Winwood’s ‘Cake Sector One’ gives recipes for SLA-themed baked goods. Three recipes are given—in oddly American measurements given the roleplaying game’s Scottish origins—and their inclusion would have been fine if they had there to offset something more substantial in terms of content in the fanzine. As it is, ‘Cake Sector One’ is all too light and fluffy in all too light and fluffy issue. Nice wordplay on the title though and there really ought to be a cooking show aimed at Shivers on duty in Cannibal Sector One within the game itself. Lastly, ‘The Bigger Picture’ is a more personal piece about SLA Industries played a role in his life and helped him when times were difficult. Hopefully the new edition of the roleplaying game and the chance to play again will make his better.

Physically, Time &  Tide is scrappy and scruffy as mentioned earlier. It certainly echoes the style of fanzines from their heyday in the eighties. Overall, it is difficult to come right out and recommend Time & Tide. It is just too light and fluffy in its content—even if that content is dark and oppressive in tone, but then what would expect, it is for SLA Industries after all—to be anything more.Time & Tide will of course appeal to devotees of SLA Industries, but it is nothing more than a diverting read as it does not include any support for the roleplaying game or the war game rules. Had it done so, then there might have been reason enough for the reader to look at it more than just the once. Time & Tide is very much not essential to playing SLA Industries and so nice enough to have if a fan, but you will not miss it from your gaming shelves if you don’t have it.

Mani and Mia weren’t awake when the asteroid struck Indiana. Not that many people were: the three-kilometer-wide mass, moving at speeds and a trajectory that pointed to an extrasolar origin, hit shortly after 3 in the morning local time, and … Continue reading →

The saga of the Harkun, one of the five earliest sentient species to evolve on Earth, has been told elsewhere. What is less well-known is that even after the rest of the species evacuated the planet after its famed and … Continue reading →

Onibaba (1964)
Director: Kaneto Shindô
Stars: Nobuko Otowa, Jitsuko Yoshimura, Kei Satô |
Two women kill samurai and sell their belongings for a living. While one of them is having an affair with their neighbor, the other woman meets a mysterious samurai wearing a bizarre mask.
















House of Usher (1960)Director: Roger CormanStars: Vincent Price, Mark Damon, Myrna Fahey Upon entering his fiancée's family mansion, a man discovers a savage family curse and fears that his future brother-in-law has entombed his bride-to-be prematurely.Vincent Price with painting by Burt Shonberg

Virgin Witch (1972)Director: Ray AustinStars: Ann Michelle, Vicki Michelle, Keith Buckley |Christine gets her big chance at modeling when she applies at Sybil Waite's agency. Together with Christine's sister Betty they go to a house in the country for the weekend for a photo shoot. Sybil has lured Christine to the castle for more than modeling: she is recruiting a virgin for induction into a witch's coven, led by the owner of the castle, Gerald. To their surprise, Christine is more than eager to join the coven, but begins her own secret battle for control.











Suspiria (1977)Director: Dario ArgentoStars: Jessica Harper, Stefania Casini, Flavio BucciAn American newcomer to a prestigious German ballet academy comes to realize that the school is a front for something sinister amid a series of grisly murders.




Phantom of the Paradise (1974)
Director: Brian De Palma
Stars: Paul Williams, William Finley, Jessica Harper
A disfigured composer sells his soul for the woman he loves so that she will perform his music. However, an evil record tycoon betrays him and steals his music to open his rock palace, The Paradise.





Häxan (1922)Director: Benjamin ChristensenStars: Benjamin Christensen, Elisabeth Christensen, Maren PedersenFictionalized documentary showing the evolution of witchcraft, from its pagan roots to its confusion with hysteria in modern Europe.

Simon, King of the Witches (1971)
Director: Bruce Kessler
Stars: Andrew Prine, Brenda Scott, George Paulsin
Simon, a young man with magic powers, invokes the help of the evil forces in order to take revenge on a man who cheated him with a bad cheque.
















La Papesse (original title)
A Woman Possessed (1975)
Director: Mario Mercier
Stars: Lisa Livane, Erika Maaz, Jean-François Delacour
Laurent, a seemingly normal young man, is looking to join a witches' sect that resides in a forest near his house. The only thing is Laurent's wife Aline also needs to join the sect in order to complete his initiation. Aline is understandably reluctant, so the sect heads design a series of events designed to break her down.





























La Goulve (original title)
Erotic Witchcraft (1972)
Directors: Mario Mercier, Bepi Fontana (co-director)
Stars: Hervé Hendrickx, César Torres, Anne Varèze
Axel, the magician, raises a boy into adulthood. When Axel dies, it's the young man - son of a murderer, and well tutored by a magician - to keep on the tradition of guarding the Daughter of the Golem.








The Demons (1973)
Director: Jesús Franco (as Clifford Brown)
Stars: Anne Libert, Carmen Yazalde, Doris Thomas
A group of nuns become possessed by demons and are then tortured in a dungeon of horrors during the inquisition.






Voodoo Devil Drums (1944)



She Demons (1958)Director: Richard E. CunhaStars: Irish McCalla, Tod Griffin, Victor Sen Yung Heroic, but dull, Fred Maklin and beautiful, but spoiled, Jerrie Turner wash up on an uncharted tropical island. They are soon captured by ex-Nazi Colonel Osler, who also has imprisoned a bevy of beauty contest winners whom he allows to be whipped by his slavering Nazi storm troopers. 



about Stephen Romano

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

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

Delayed Blast Gamemaster is a fanzine of a different stripe. Published by Philip Reed Games following successful Kickstarter campaigns, Delayed Blast Gamemaster is a fanzine dedicated to supporting roleplaying fantasy games, but a particular style of fantasy roleplaying games—Dungeons & Dragons. Yet the issues are entirely systemless, which means that their contents can be used in Dungeons & Dragons, any of the fantasy roleplaying retroclones you care to name, and most fantasy roleplaying games with a little effort. Published following a successful Kickstarter campaign as part of the inaugural Zine Quest, the first issue of Delayed Blast Gamemaster was published in  September, 2019.

What strikes you first about Delayed Blast Gamemaster #1 is its graphical design. It is all white art and text on matt black pages. Now before anyone complains that this might be ink heavy when comes to the printing out of the PDF, the fanzine is sold in both heavy and light ink formats. The effect though is striking, almost jauntily creepy and oppressive in its artwork’s depiction of skeletal archers, oozes, and overly ocular creatures. The text is both heavy and large, so is a lot easier to read than it otherwise might have been.

As to the concept behind Delayed Blast Gamemaster it is simply that of inspiration scattered subject by subject across nine tables. So ‘OneDTen Urban Locations’, ‘OneDSix Forgotten Spellbooks’, FiveDSix Unusual Treasures’, ‘OneDEight Dungeon Oddities’, ‘OneDSix Magic Shields’, ‘TwoDSix Potions’, ‘OneDSix Warped Monsters’, ‘OneDTwelve Adventure Hooks’, and ‘OneDFour Dungeon Doors’. So all that the Game Master has to do is pick a table or subject, roll the die, check the relevant entry, and use it as inspiration to create something of her or adapt the entry to the roleplaying game of her choice. The most obvious choice to adapt the entry to, is of course, Dungeons & Dragons, due to the similarities in language, but other roleplaying games would work too.

For example, roll a three on ‘OneDEight Dungeon Oddities’ and you get a Necromancer’s Chest, a combination trap-monster. It is simply a necromancer’s chest which he has trapped with several ghosts. Disarm the trap or use the key and of course, a Thief opens the chest without any problems; fail and two or more ghosts are unleashed to hunt the Thief and alert the chest’s owner! Roll a four on the ‘OneDSix Warped Monsters’ and the result is the Skeletal Mage, which simply suggests giving a standard skeleton monster a spell or two or more, all to add a simple twist on a classic monster. Roll a seven on ‘OneDTen Urban Locations’ and you have found yourself at Pies (and Lies) which describes a pie shop which sells cheap, moderately tasty, meat pies. The shop also does a nice sideline in rumours and secrets, which its owner and his family either sells off to the underworld or uses to blackmail the subject of those rumours and secrets.

Now there are a lot of entries and ideas in Delayed Blast Gamemaster #1, which is the point. Perhaps though, the design of the oddities and monsters dwell a little upon Oozes and monsters like the Mimic, with entries such as the Mimicspawn, Oozegoblin, and Weremimic, but the author at least is upfront about his fascination with such creatures. The main issue is that there no index, either of the entries or the tables. Otherwise, the fanzine is well written, easy to ready, and easy to use. Physically, there is a certain heft to it both in terms of production values—which are high for a fanzine—and its feel in the hand.


Delayed Blast Gamemaster #1 is simply lots of ideas a Game Master can bring to her game. She will need to do some work to bring them into her campaign, but the ideas will work with Dungeons & Dragons, Fifth Edition as much as they would with Old School Essentials Classic Fantasy , and whatever your choice of fantasy roleplaying game, further inspiration is never unwanted.

In advance of this Sunday’s Mother’s Day Flash Sale, reminders of when it was quiet.

"..and so pass through the matrix of memory and throughThe archetype that defined the first vision and set our ParametersTo an inner meaning without external references,
THE THIRD.DOOR
Witches?Poor DevilsEach of the paintings has a true circumstance…and the result of my ‘being there’
My general observation of my contribution was, as I wrote at the time‘When reason sleeps in the minds of the wiseWitches burn and demons rise’
THE ART OF RAY ROBINSON: THE THIRD DOORby Charlotte Rodgers, October 6 2016
‘NO ONE CAN MAKE A JAPANESE TEA CEREMONY BOWL..THEY GROW FROM THE HANDS OF THE MASTER AND THE NEEDS OF THE CLAY…THE MASTER ALLOW"
Ray Robinson
History is littered with visionaries who change our perception, Often, in these people’s lifetime their work, their art is only glimpsed out of the corner of an eye and whilst it changes you, the change isn’t necessarily acknowledged at source.
It usually takes another visionary to stop, pause and recognise the impact. Rarely is the originator of the change of awareness still alive at this moment of recognition.
I often wondered what it would be like to communicate with one of these iconoclasts. If I met Austin Osman Spare for instance, would I have the ability to recognise him, to pause, and open myself up to a different way of seeing?
I first encountered Ray Robinson’s work when I was interviewing Gallery Owner and Art Dealer Stephen Romano, and I found it to be some of the most powerful art I’ve come across.
Stephen suggested I contact Ray, and thus started one of the most magical mystery tours of an interview I’ve ever done.
Now I’ve interviewed many artists and spiritual teachers, but this particular conversation fell into neither camp and was in a league apart from both.
A good interviewer adapts themselves to the individual rhythm and dance of those they are conversing with and there can be a huge variation in movement.
In this particular instance I have been challenged, insulted, taken on mystical journeys, had the most incredible dreams, but never, NEVER had a question directly answered.
Truth to tell I loved the process, infuriating as it was at points.
The following relates portions of conversations with a great artist who will change you. Recognise it, allow it, and for gods sakes try and see Ray Robinson’s work in actuality.
Ray, I’m not a formally trained art critic so this discussion won’t be focused on academic interpretation of your work. Hopefully you wont be insulted by any ignorance on my part but instead regard it as way to communicate as freely as you want without having to adhere to any particular approach.I’ve read your ‘Grandmother Chronicles’ which perhaps gives an insight into your structuring of reality and art.Words are often so limited but this is an astounding piece of writing.The trauma of leaving your home in WW2 London, going to stay at your grandmother’s and undergoing an initiation of sorts into different perceptions of vision and interpretation is wonderful, as is the way you describe the re-presentation of perceptions of light, time and space.Now it would be easy for me to turn this into a conversation where I grill you about aspects of your work that I’m personally fascinated by, constantly interrupting you with my irritating over enthusiastic asides, but I won’t. I am an untrained artist who has written a few books and my personal creative interests, what I focus on and what I often write about, are spirituality and power that are contained within objects and art. The older I get the more I realise that the line between art and magic is so fine as to be non existent.
So who are you?
Very brave (I am not sure whether Ray is referring to himself or me for approaching him in that statement) Stephen Romano can cover the exterior for the last 40 years. (follow below link) I live in Nova Scotia but am originally from London, England. I am a very trained artist who has also written a few books. I have lived a life with the fact that there is no line at all.Nothing has ever inspired me. Mine has been a search for ‘why’ I do not know. I know that I do not know, but why the great gaps in a humans basic understanding? The senses to not sense but, still, humans survive.Inspiration surely is the source of the creative process and if creativity doesn’t exist, then what is an artist and who and what are you? What are the images you produce? Premeditated? Actual?No not premeditated.No not actual.No not channelledAllowed
Allowed by who or what?By the subject.At the beginning of the ‘Grandmother Chronicles’ you use a quote by Magnus Roundtree ‘how you see the world shows how it behaves, change how you see the world, and the world changes’And that leads into the memory of a child leaving the grey chaos of London to a world ordered by nature and a near crystalline perception that is the antithesis of before, but makes complete sense and is very real and actual.
In a memo to Stephen Romano you said that,’ sculpture as a pure visual art form cannot and does not exist, Form has measurable three dimensions but is not to human vision, three dimensional. Human vision can only see half of any form. A simple glass globe described visually is half convex and half concave! Multiple views of a single object do not give an experience of the whole.’ This is fascinating – and challenging for the artist.
This is developing into a conversation, which at the moment I cannot support. I know Stephen has a good reason for suggesting you talk to me. His project at the moment required that he asked me for some comments on my art…I suggested that this was not really a good idea given his understanding of my basic views. I sent him a quick and short sample of what my replies to his questions might be, in this case my basic view of my sculpture. His reply was to send you to me???
Ray and I worked through this and I began to realise that Ray was a visionary who communicates through his art. Interpretations of his work are incredibly important to him, and are something he wants translated properly and accurately. I also needed to try not to get too absorbed in Ray’s fascinating philosophies, and retain a degree of distance and professionalism. So we continued the dance…‘Humans have two ways to understand reality, each world taken to the logical conclusion of living. First a world of conception and secondly a world seen with perception. However only if you understand these words and without the ‘isms’ of art doctrine you do not need to question me, however even after that there are still much to be learned.’ Ray Robinson
Tell me about the series of paintings Sleep of Reason and Sleep of Reason II
Stephen was mounting many shows on the subjects of witches. To me the basic truth of this was totally unreasonable until I thought of the sleep of reason in the midst of these people and after that, total empathy. As with all art, total empathy between artists, materials and subject.These works are not some airy fairy illustration; they are real. Real in fact, real in space, real in time. All I did was write it all down. All that is except the hanging…I could not write down the smell and the visual truth was more than my brush could summon.
Witches?Poor DevilsEach of the paintings has a true circumstance…and the result of my ‘being there’My general observation of my contribution was, as I wrote at the time‘When reason sleeps in the minds of the wiseWitches burn and demons rise’
 "Vision After The Sermon, The Gift" 2015 Acrylic on Board 24 x 32 inches

"Samboism Fire in the Shadow of Dolbadarn Castle" 2015 - Acrylic on Board 26 x 32 inches

 "Birth of a Witch" 2016 Acrylic on Board 24 x 32 inches

 "Beltane, Now It Begins" 2015 Acrylic on Board 24 x 32 inches

"Janey Horne 1727" 2015 - Acrylic on Board 26 x 32 inches

"The Day the Witch Lya Burchett was Given Short Shift and Hanged. Her Body Burned in the Grounds of Dolbadarn Castle" 2015 - Acrylic on Board 26 x 32 inches
"Battleground" 2015 - Acrylic on Board 26 x 32 inches

"The Scrying Pool"  2016 Acrylic on board 24 wide x 32 inches high


 Ray Robinson - "The Sleep of Reason, Witch and her Dog Executed on the Same Day" (Dog was shown Mercy and was Strangled before Burned) 2015

Acrylic on Board 24 x 32 inches



As you may have seen from my words I have rendered a much sanitized version of the hanging; they were in fact all hung from a single tree branch, this being parallel to the road. They were swung out into space from a plodding horse and cart. I have tried to give back some dignity…but perhaps it is all the more terrifying for being just a road side event.

True horror. The old, the deformed..tortured and murdered. Your being within this process via the creation of the work must have been akin to bring in Hell…did the painting of the series affect you terribly?

They were not old. No different in any way to their accusers.

Did the work (Sleep of Reason) affect me? If you mean adversely, then no, they ascended the grim subject matter to become as I needed them to

Do you believe in reincarnation? Or fluid time?
No I do not believe in reincarnation. I do not believe in the existence of time.
I have walked a long road, with many road side attractions. There is a dark side but beauty is ever to be sought for

Why did you move your profession from mathematics to art?
One quick answer- probability management.
I worked in Mayfair London on Brooke Street…the head offices of a multi billion dollar corporation, Allied Iron Founders, I was one of two advisers to the board of directors. My predictions were sound and I rose..the usual bonuses’, car, house in the suburbs etc. Then two things coincided to blight my brilliant career. The director who had the most faith in my predictions was killed in a car crash and I was told my eye sight was failing and that if I continued to work as I did (this was the days before computers, just slide rule and paper) I just had a couple of years left of vision.
I resigned.
What to do? My wife suggested the furthest thing imaginable from practical. Why not do what I always dreamed of doing, go to art school!
I did and all else followed, place at Slade and the Rome prize (declined)
Why did you decline the Rome prize?
My new wife was pregnant with the twins.

Did changing your life path to become an artist, make you happy?

At the time, yes and no. After Slade I had the proverbial plum job, teaching at The Bath Academy. It lasted four years, and ended with a trial, as my teaching was considered to be a destructive influence. The college lost said trial and I moved to Canada. It was all rubbish of course. I said then, pretty much what I say now but really it was my insistence of working from the figure, which was being dropped, that was the cause of the conflict. My trial was followed by student riots nationwide, which perhaps proved the argument for the prosecution!

During my trial I had a letter from Queens University in Canada, offering me the job of heading the Department of Sculpture in their New Department of Art Education. After the trial I accepted the offer but has misread the letter and arrived a year too early to take up the position. To fill in the year I was asst. curator of the Gallery in Sania, a year at Queens but did not like Kingston, offered sculpture at H.B.Beale Secondary School and I loved it. Great kids, and what an amazing idea, a High School that offered a major in art!!! It was then that Jake Moore (Canadian Billionaire) offered me patronage. All I needed was a three day a week job, so on to Fanshawe. While at Fanshawe I had the offer to head up the Department of Art at Lambton. After my interview I met Bill Arnold, we talked…here we had all the makings of a Department of Art at Lambton. I said that I would stay for two years; I stayed for eighteen! We turned it into a great art department. Within a couple of years our Arts Fundamentals Students were offered a place in second year University and we attracted students from as far away as China. My teaching methods had been justified.

I retired and Bill took early retirement. The Department closed behind us.


‘..and so pass through the matrix of memory and through
The archetype that defined the first vision and set our
Parameters
To an inner meaning without external references,
THE THIRD.DOOR’

Ray Robinson

A tiny portion of an exchange that hurtled me through time, change, light, reality and the nature of art. At the centre of this is a man who lives in Nova Scotia, ‘a beautiful place’ with, I imagine a clarity of space that works well with Ray Robinson’s vision.

Ray Robinson "The Beginnings of Religion, Leaping the Betane Fire" 2015 Acrylic on Board 32 x 24 inches

"Two Witches Burned In Madson Heath, March 22nd" Acrylic on Board 26 x 32 inches
"Chose - Left or Right" 2015 - Acrylic on Board 26 x 32 inches

 "The Beginning of Religion, Ogham Script" 2015 - Acrylic on Board 26 x 32 inches


"When Witches Burn and Demons Rise" 2015 - Acrylic on Board 26 x 32 inches

I moved closerThe twigs were catchingThe wind across the moorBlowing red into orangeThen the screamThe womanThe windThey screamed higherOn and onI ran.."July 1692" 2015 Acrylic on Board 24 x 32 inches

Hanging
We arrived early
The old horse was still going
Forward under the scaffold
I heard her feet scrape as she
Reach the end of the cart
She rung into space to join the
Other four
Women strangling…animal sounds
Bit I remember the smell
Deaths discharge…their skirts,
Their feet, the road
Everywhere



about Stephen Romano

Babylon

MONSTER BRAINS - Stephen Romano Curator in Residence - Luciana Lupe Vasconcelos

Luciana Lupe Vasconcelos (b.1982) is a Brazilian artist whose work explores the realms of the mythic, the mystical and the occult through the use of traditional techniques, with a particular focus on the exploration of automatism in water based media. Her very distinctive style alludes to influences from symbolism and surrealism and marks a continuation of the tradition of women artists working with the subjects of magic and the occult. She has illustrated numerous book both in english and in Portuguese, including a Brazilian edition of Edgar Allan Poe’s The Raven. Her work has been exhibited internationally and was featured across online and printed media alike. She works and lives in Teresópolis, Brazil."
"What is the secret of the sphinx? Mystery of mysteries, art is a domain still not entirely conquered by the rational mind. Few are the artists who dare to explore the uncharted territories. The ones who do, however, return forever changed. Those are the torch bearers, able to see what others can’t.

It can be said that Lupe Vasconcelos is such an artist. Her work is marked by a disturbing beauty that can only be conceived under a crepuscular light. Mysterious women, horned priestess, demons, ancient goddesses, chimeras. All these beings come unto light by the work of her insight. Strange ceremonies take place under the thread of brush and ink lines. Images of primordial chaos are born among ruins of black and red.

Possessing the power of an ancient enigma, the art of Lupe Vasconcelos fatally captures the imagination of the onlooker. The singularity of the artist’s vision and the fierceness of her technique set her art apart from the rest. It’s a journey to the underworld, and one cannot help but come back completely transformed."

Luciana Lupe Vasconcelos
Interview with Luciana Lupe Vasconcelos and lexiconmag.
Why do you think there is a revival in interest in all thing occult and esoteric in the arts?
LLV: It seems to me that western civilization is going through a very disenchanted moment not only in culture but in general. This could help explain the resumption of the interest for anything that might offer a relief from this state of dismay that seems so ubiquitous these days. Occulture and the esoteric offer a different point of view from the one we been having since rationalism and scientificism took over. Of course the occult has been around for a long time, regardless of what mainstream culture makes of it, but now it seems to be one of those times when conditions are just right for a big comeback. And in addition to that there is, of course, the dissatisfaction of young artists with the insipidity of current art trends. Many artists are engaged in creating art that has soul, in opposition to the sterility of traditional contemporary and conceptual art and mass culture. This growing interest in the occult and esoteric is above all a reaction. I see it as a good thing.


Do your position yourself as a shamanic presence within the culture?  Are the art objects you make functional as healing devices?
LLV: Like most artists I'm an essentially self-centered person, so my motivation for creating art is first and foremost an externalizing effort. But I'm aware of the fact that once that it's given materiality, a piece of art becomes an entity let loose. So it can function as a healing device too, as I notice it does sometimes. This fact could position me as a shamanic presence within the culture, yes, but I'm definitely not actively pursuing such outcome. To me his healing effect seems to be more of a "side effect" of all art that is imbued with meaning and soul. 


To what extent does the artist bear any responsibility for adverse responses to the works?  Bad memories that are unearthed?  Ordeals or trauma? Suppressed memories?
LLV: Well, I particularly believe that art should never be subject of neither inner nor outer censorship. One can't possibly predict possible reactions each viewer might have, be they good or bad. But it's exactly this potential for causing a reaction that can turn art into an instrument for healing. Feeling uncomfortable about a piece of art can point to some internal issue the person might have and didn't know about, for example. Of course this goes way beyond "uncomfortable" to people who can be triggered because of trauma. But this aspect is absolutely out of the artist's control, each person should be informed of what they might be seeing in a show and choose to go or not.   


Do you have any concern about being persecuted because of your subject matter and materials, particularly in a socio political environment whereby evangelicals and puritans seem to have such enormous influence? 
LLV: Yes, I do. Unfortunately. Like in the US, there is a heated political and cultural debate going on in Brazil right now, and conservatism is making a huge comeback. Brazilians were never as tolerant and friendly as the world usually thinks. Being different here was always difficult. Brazilians are conservative by default. But for a brief time it seemed that this was finally starting to change, until economic and political crisis hit and put everything to waste. There's a hunt for scapegoats, and they have chosen the same targets they always do: artists, thinkers, human rights activists and such. Recently a queer art show was cancelled after aggressive right-wing protests, and the curator is now being prosecuted for "promoting pedophilia". Something similar happened after a nude performance in the Museum of Modern Art of São Paulo. The theorist Judith Butler was here last week to take part on a symposium, and protesters gathered in front of the building, setting a big puppet of her on fire to the screams of "burn the witch". She was also aggressively harassed at the airport. Those are just the most prominent recent incidents. It's a worrying situation. Even if my work is very under the radar here, I still feel far from safe because of the general climate of intolerance. It's starting to spread fast, and everything points to a turn for the worse.
Elixir

What drives you?  Is it inspiration?  A calling?  Something you were born with?
LLV: I would say it's a calling, a continuous one that has been within me since I can remember. I enjoy immensely the simple act of drawing, and as an introvert I always take refuge in doing it whenever I can. One can conjure things into existence by putting them into a surface as a two-dimensional image. It's a source of power, so to say. And it's something that's out of my control, this need to draw. 


Can you explain the path you have walked to become the artist you are?  Who were your inspirations and influences when you began your journey as an artists and what other artists have you discovered along the way?
LLV: It's a long path! I was very into illustrated books and comics as a kid, so I began to draw my own little illustrated stories at a very early age. As I grew I got acquainted with a variety of brazilian comic book artists who would inspire me to make my own zines. In my late teens I produced a lot of stuff, although most of it is now lost. But the style was very different, more to do with the comics of Peter Bagge, for example, than with what I do now. I also loved (still do!) the Love & Rockets series, it was a huge early influence on the way I draw. I love working on black and white, and this is something I think comes from comics. Also, it's important to consider is that I had little contact with "high art" during my formative years. It was mostly illustrated books and comics. So my basic visual education happened via graphic arts. So I decided to go to graphic design school and worked with that for a couple of years, which I didn't enjoy at all. After another couple of years dabbling with tattooing, I got a job as an illustrator a local newspaper. This was 2006. It was an important move for me, because it was when I really got to be paid to drawn. And it was when I learned to work under pressure and in less than ideal conditions. But my style was still completely different of what is now. After a year and half I got out of the newspaper and began illustrating children's books as a freelancer. During this time I became increasingly interested in developing my skills beyond my then limited cartoonish style. So I started reading books and frequenting workshops and courses to learn more about different techniques. And as the internet got "bigger", so did the availability of images. At this point my main influences were illustrators such as Ronald Searle, Aubrey Beardsley, Edward Gorey, Harry Clarke, Arthur Rackham and John Bauer. I was already giving my first steps into the "art world", having participated in a couple of group shows and making mural paintings. My interest in "dark" things, that had always been there, began to show in my work at this point. Then the big change happened: I moved out of my parent's house and to another town, in another state. It was the turning point. Teresópolis is a small mountain town famous for its beautiful rock formations, mild climate and insane mist. It was in this new magical setting that I began exploring my inner world through meditation and the use of psychedelic drugs. At the same time I was getting more and more acquainted with occulture. Having been a wiccan in my teens, the occult wasn't completely alien to me. One day during my explorations on the internet I stumbled upon the work of Cameron. I was deeply impressed by her amazing ink drawings and paintings, and I felt an immediate connexion. It was a very powerful encounter and it changed the way I make art. I got to know the work of lesser known artists who would become part of my personal pantheon, like Leonor Fini, Austin Osman Spare, Leonora Carrington, Remedios Varo and Rosaleen Norton. Recently I was also introduced to a virtually unknown brazilian artist, Darcílio Lima, and it was a revelation. I've been obsessed with him ever since. Another big source of inspiration to me is music. Some of my pieces were literally inspired by songs I like.






Beast of Deep Desire
The Awakening of the Will
Mystery
The Origin of Being
Untitled
Ainigma
Alchemical Wedding (detail)
Vanitas MMXIV
May This Evil Abide
FurFur
The artist’s studio
Sketchbook drawing
Poster for the book Zon
Sketchbook drawing
Green Man
The Ancestors
Flight to the Sabbath (sketchbook drawing)
Drawing in progress
Sketchbook drawingRed Star
Anima
Nemesis
Vanitas MMXV
Witch KingGrey Days
Embrace
Embrace
Vociferous
Diverse linoleum prints
Oraculum
Sketchbook drawing
Sketchbook drawing
Agnosco Veteris Vestigia Flammae
Babylon
The Soul of the Enchantress
Sketchbook drawing
Wip photo
Untitled
Capricorn Sun
Sphinx
Heka
Untitled
Vanitas MMXVI
Evil Eye
Spirit Dagger (in progress detail)
Spirit Dagger (detail)
Spirit Dagger (detail)
Sketchbook drawing
Sketchbook drawing
Sketchbook drawing
Sketchbook drawing
Sketchbook drawing
Sketchbook drawing
Sketchbook drawing
Sketchbook drawing
Sketchbook drawing
The artist’s studioDiverse works
XV
Ophidian Cup
Wildcat
Sketchbook drawing
The Love Witch (sketchbook drawing)
Sketchbook drawing
Sketchbook drawing
Nocturna (sketchbook drawing)
The artist
Sketchbook drawing
Sketchbook drawing
Sketchbook drawing
Sketchbook drawing
Sketchbook drawing
Sketchbook drawing
Orpheus
Untitled
Sketchbook drawing
- Alchemical Talisman (in progress)
Pomba Gira (sketchbook drawing)
Sketchbook drawing
Suscitate
Djinn

Abrahadabra

Dark Vision (for William Mortensen)
Sketchbook drawing
Untitled
The artist
The Minotaur
The Red River Spring
Sketchbook drawing
Sketchbook drawing
Universal Key
Transformation
The Wailing
Cat Creature
- Sketchbook drawing
The Werewolf
Night is a Black Cow
Ascension

Psyche
Untitled
Sketchbook drawing
Sketchbook drawing
Goure
Sketchbook drawing
Sketchbook drawing
Morning Star
Illustration for the book The Raven
The artist
Capricorn Sun
Lunar Kala
The Great Chimera
Katabasis
Katabasis (detail)
Untitled
Lucifer Lux Mundi
Lucifer Lux Mundi
Demons
The Huntress
Untitled
Katadesmos I


Katadesmos II
Iblis
Luna
Sketchbook drawing
Priestess and Idol
Sketchbook drawing
White Chimera
Ascension
Albedo
Khaire
White Ceremony (detail)
Aequilibrium
Fire Walk With Me
Sketchbook drawing
Destruction Falls on All that Remains
Work in progress
Collage
Untitled (detail)
Kiss
The Unfolding of Vision
Cruel Bird (detail)
Sketchbook drawing
Oil painting in progress
Oil painting in progress
Sketchbook drawing
The artist
Sketchbook drawing
Death and the Maiden (detail)
Sketchbook drawing
painting in progress
Green man (detail)
Sword
Voodoo in my Blood
Ave, Babylon!
Anatomy of Madness
Avis Rara
Pink Sphinx
Djinn
Eros Vessel
Keryx
Spiral
Untitled
Hex
Praeses
Untitled
Alchemical Talisman
The Cup of Suspicion
The Soul of the Enchantress
Undulatio
Sketchbook drawing
Untitled
Desert Spirit




about Stephen Romano

It's been a while since I did one of these, but I just discovered that the entire seasons of Carmilla have now been collected into single videos, so I thought it might be a good time to revisit some old friends.

Outfits based on this picture.
Characters created with ePic Character Generator
I think for these versions I am going to set it a little after the Carmilla movie and long after the end of Season 3. So I guess three years now.  Wow.

In a Mutants & Masterminds game, Laura is now a world-renown reporter in the Lois Lane mold, with a knack of uncovering supernatural goings-on.  Carm is still living on a fortune that has also collected 340+ years of compound interest. And of course, helping Laura, because she knows that in true Lois Lane fashion, Laura is going to get herself into trouble.

Given the number of adaptations of Carmilla over the years I might even riff on that with one of her less than savory relatives show up.  Maybe an older brother. Someone who is evil, threatens her fortune and whom Carmilla would hesitate to kill outright at first.  That is till he puts the moves on Laura.

For these builds, I am going to rely heavily on the Mutants & Masterminds Deluxe Hero's Handbook,
Power Profiles, and of course the Supernatural Handbook.

I figure that Laura is a bit higher in PL than your average reporter.  She has saved the world and she knows Krav Maga.   Carmilla is a very, very old vampire (340 years old!) and she has seen a lot in her years.  She was alive for a while thanks to a "gift" from Inanna and is a vampire again.

Laura Hollis
Creampuff

Strength 1, Stamina 2, Agility 2, Dexterity 1, Fighting 1, Intellect 3, Awareness 1, Presence 1

Advantages
Krav Maga (Accurate Attack, Agile Feint, All-out Attack,  Close Attack, Contacts, Defensive Attack, Improved Disarm, Inspire,  Power Attack, Precise Attack (Close, Concealment), Prone Fighting)
Attractive, Languages 2, Skill Mastery: Expertise: Journalism

Skills
Acrobatics 1 (+3), Athletics 5 (+6), Close Combat: Unarmed 6 (+7), Deception 1 (+2), Expertise: Journalism 5 (+8), Insight 5 (+6), Investigation 5 (+8), Perception 5 (+6), Persuasion 1 (+2), Stealth 1 (+3)

Offense
Initiative +2
Grab, +2 (DC Spec 11)
Throw, +1 (DC 16)
Unarmed, +7 (DC 16)

Complications
Obsession: Find the truth!
Relationship: Carmilla

Languages
English, French, German

Defense
Dodge 3, Parry 2, Fortitude 3, Toughness 2, Will 1

Power Points
Abilities 24 + Powers 0 + Advantages 15 + Skills 18 (35 ranks) + Defenses 3 = 60

Validation: Unarmed: Attack Bonus exceeds Power Level limit by 1

Height: 5'2"
Weight: 119 lbs
Hair Color: Brown/Blonde
Eye Color: Brown
Age: 25

Carmilla, aka Mircalla, Countess Karnstein
Useless Vampire

Abilities
Strength 5, Stamina -, Agility 2, Dexterity 3, Fighting 5, Intellect 2, Awareness 2, Presence 4

Advantages
All-out Attack, Animal Empathy, Attractive, Fascinate (Deception), Improved Critical 3: Vampire Bite: Weaken 9, Improved Hold, Improved Initiative 3, Languages 4, Power Attack

Skills
Acrobatics 2 (+4), Athletics 2 (+7), Close Combat: Unarmed 3 (+8), Deception 5 (+9), Expertise: Languages 6 (+8), Insight 6 (+8), Intimidation 4 (+8), Investigation 1 (+3), Perception 8 (+10), Persuasion 2 (+6), Ranged Combat: ???? 3 (+6), Stealth 10 (+12)

Powers
Alternate Form (Moonlight) (Activation: Move Action)
   Flight: Flight 1 (Speed: 4 miles/hour, 60 feet/round)
   Immunity: Immunity 0
   Insubstantial: Insubstantial 2 (light, Gaseous; Absent Strength)
Cat form: Variable Attack 2 (animal, DC 12, Advantages: All-out Attack; Action: move, Attack: Dodge)
Spider-Climb: Movement 1 (Wall-crawling 1: -1 speed rank)
Undead Invulnerability
   Immortality: Immortality 5 (Return after 1 day; Limited: Not when staked or beheaded [0 ranks only])
   Immunity: Immunity 30 (undead, Fortitude Effects)
   Regeneration: Regeneration 8 (undead, Every 1.25 rounds)
   Vampiric Protection: Protection 9 (+9 Toughness; Limited 2: Not against Holy or Magic)
Vampire Bite: Weaken 9 (undead, Affects: Weaken Stamina, Resisted by: Will, DC 19)
Vampiric Senses: Senses 3 (Acute (Type): smell, Detect: smell (blood) 1)

Offense
Initiative +14
Grab, +5 (DC Spec 15)
Throw, +3 (DC 20)
Unarmed, +8 (DC 20)
Vampire Bite: Weaken 9, +5 (DC Will 19)

Complications
Blood Dependence: Needs blood to live
Relationship: Laura
Weakness: Can't use vampire powers in sunlight.

Languages
Ancient Sumerian, English, French, Hungarian, Latin, Romanian

Defense
Dodge 2, Parry 5, Fortitude None, Toughness 0, Will 2

Power Points
Abilities 36 + Powers 74 + Advantages 15 + Skills 26 (52 ranks) + Defenses 0 = 151

Height: 5'3"
Weight: 121 lbs
Hair Color: Black
Eye Color: Brown (red when enraged or feeding)
Age: 340

Links

• Hero Lab is a Registered Trademarks of LWD Technology, Inc. Free download at https://www.wolflair.com
• Character images created with ePic Character Generator
  
• Carmilla Season One, Complete (2:26:10)
• Carmilla Season Two, Complete (3:01:37)
• Carmilla Season Three, Complete (3:36:06)

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

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

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

Where Crawl! No. 1 was something of a mixed bag, Crawl! #2 was a surprisingly focused, exploring the role of loot in the Dungeon Crawl Classics Role Playing Game and describing various pieces of treasure and items of equipment that the Player Characters might find and use. The good news is that Crawl! #3 is just as focused, but the subject of its focus is not loot or treasure. Instead, it is magic, for the issue’s subtitle is ‘The Magic Issue!’. Published in February, 2013, Crawl! #3 includes new spell systems, new spells, a new old creature, and more. It is a serviceable rather than a good issue and for one particular reason may not be of interest who are coming to issues of Crawl! fanzine for the first time.

There can be no denying that the magic system in Dungeon Crawl Classics Role Playing Game is fun and flavoursome, but it can be cumbersome. The issue is that because every spell has its own page and its own table, the play of the game is slowed whenever spells are cast, whether by the Player Characters or NPCs. So, ‘NPC Magic and Spellcasting’ offers a more streamlined means of handling spells. The Judge still rolls for the NPC spellcaster, but rather than doing this against the standard table, the Judge is given three results—either a Fumble, a Standard, or a Critical result. For example, on a Fumble, the classic spell Magic Missile inflicts damage on the caster, hurls between one and four missiles at a target on a Standard result, and on a Critical result, the caster can target multiple opponents. The piece includes a couple of offensive spells, several defensive spells, and several spells which fall into the category of ‘Other’. Rounded out with a pair of cultists as sample NPCs given these streamlined spells, this is a fantastic option to help the Judge run her game.

Sean Ellis’ ‘Consider the Kobold: A different take on the traditional kobold’ presents a traditional take upon the Kobold. Not the tradition of Dungeons & Dragons-style roleplaying games, but that of traditional folklore. Here the Kobold is a household fairy who carries out domestic chores as long as the family respects him, although an alternative has it working the mines. The write-up includes full stats as well as various pranks—or cantrips—which the Kobold may play upon those who do not pay it enough respect.

Brett Miller’s ‘Patron Spells of the Supernal Archmage’ presents the patron spells for ‘Van den Danderclanden: A Patron from the Imminent Future’, the Supernal Archmage of Empyreal Aptitude in a distant, but parallel future. Previously detailed in Crawl! No. 1, here his favourite chaotic effects of Spellburn are detailed as Van den Danderclanden’s Hateful Blemish, Snafufubar, and Elastic Reality. The first inflicts the corruption of heavy magic use upon a target, the second focuses and inflicts bad luck upon the target of the spell, and the third can change aspects of a target or an item. There is no denying that these are fun spells to play around with and inflict some chaos upon a campaign, but problematically if the reader has already got the Special Edition of Crawl! No. 1 which collects both patron and patron spells, which makes their inclusion in either redundant.

‘Magic Wand – A 4th-level Wizard Spell’ by Daniel J. Bishop introduces the spell, Raven Crawking’s Magic Wand. This provides a means for a wizard to store spell effects in a wand of the wizard’s choosing, typically one spell, but at higher castings of the spell, up to three spells as well as granting a bonus when casting the spells from the wand. What in effect it allows a wizard to do is cast the spell worked into the wand a second time each day, but always at the Level at which the spell was worked into the wand. This means that the wizard can cast Raven Crawking’s Magic Wand again and again as he gains Levels to improve the ability of the wand. Of course, a wizard cannot simply create wand after wand for all of his spells, but a few spells it expands his arcane arsenal.

‘The Talismans of Anti-Magic – Anti-Magic Items’ by Jon Wilson details items which can prevent magic being cast upon the wearer. Whether they take the form of rings or amulets, totems or fetishes, and whomever has hold of them, they are always linked to spellcasters. They take an action to charge, but when charged they inflict a penalty equal to that given for the anti-magic talisman upon the spellcaster targeting the holder, so reducing their ability to successfully cast a spell. Unfortunately, this is not without repercussions in that the spellcaster linked to the anti-magic talisman must suffer the same effect when next casting a spell before the talisman can be sued again. This is a powerful item, but one that pleasing comes with a price which to paid by someone in the party… Lastly, Colin Chapman’s ‘Let’s Get Familiar: Expanded Familiar Entries’ simply expands the ‘Familiar Confrontation Configuration’ tables to be found in the Dungeon Crawl Classics Roleplaying Game rulebook. It does this for the Lawful, Neutral, and Chaotic tables and enables the player to roll on a table of twenty options rather than fourteen.

Physically, Crawl! #3 is clean and tidy, uncluttered and easy to read, much like Crawl! No. 2. However, there is less art and its look is all the poorer for it. Unfortunately how good Crawl! #3 is depends on which edition of Crawl! No. 1 the reader has. If it is the Special Edition which combines ‘Van den Danderclanden: A Patron from the Imminent Future’ with ‘Patron Spells of the Supernal Archmage’, then not so much and not so useful. Which to be fair is more than likely if the reader is picking the issue up since their original publication. If it is not the Special Edition, then Crawl! #3 will be more useful as its inclusion of ‘Patron Spells of the Supernal Archmage’ readily supports ‘Van den Danderclanden: A Patron from the Imminent Future’. Overall, Crawl! #3 provides solid content, but the repeated content means it is just not as useful.

(Background: this essay was one of several columns commissioned for the magazine Gothic Beauty between 2009 and 2011. Since the magazine hasn’t published a new issue in years, it’s time to drag up a few of these old columns so … Continue reading →

Matthew Dutton is a multidisciplinary artist whose dark yet satirical works offer interesting commentary and insight about self, experimentation, and current events, .  Dutton received a BFA from the University of Tennessee at Chattanooga.  His work has been exhibited across the United States and internationally at art fairs and galleries such as The Blooom Art Fair in Cologne Germany, The Morbid Anatomy Museum in NY, the Wunderkrammer exhibit at The Bell House in Brooklyn, and published in the New York Times, Hi-Fructose magazine and many other notable exhibits and publications. 
Dutton keeps a studio in Chattanooga Tn.




















































MIDNIGHT PARACOSM
full gallery installation at Stephen Romano Gallery, Brooklyn
March - June 2016.

"My studio work aims to consolidate opposites.  Balancing the duality of attraction and repulsion, the work tends to lean heavily towards attempting to strike harmony between beautiful and horrible moments.

I have noticed a few recurring principles that have adhered to my art making practices. Try something new when the opportunity arises; find a place for things once forgotten; explore relationships where surfaces, ideas, and techniques intersect.

A lot of what I do in the studio is driven by experimentation. I am very interested in exploring the limitations of the materials and techniques I use.  Having an understanding of material basics allows me to persuade them into non-traditional outcomes. Within each project I try to incorporate a new material or new technique to test. New things that are successful become part of my visual lexicon to call upon as needed.  Stumbling upon a studio discovery is what tests aim for.

Harnessing the power of charged objects into my work is another desire I covet.  I try to keep my aesthetic antennas tuned to receive hints from whatever the universe sends across my path.  I often take notice of random object that catch my attention, old and discarded things that once had a life but are now forgotten call to me to become reborn into a new form.  An insatiable compulsion to collect and reassign has always permeated my practice and life.  Restoring desire to things considered to be waste is a staple in my practice.

Surface intersections are important to my work.  As my material usage varies so greatly, confronting the relationships they create when combining has to be considered.  Extruding hand colored silicone combined with borax grown crystals might nest against felted dryer lint patches and 1970s gaudy trophy parts.  This approach to my additive building process allows me to consider the whole world as a source for art supplies! Alongside material variety, I’m interested in subtle idea projection, current political climate, and satirical irony.  A kind of whimsical horror often comes across through my work which seems inescapable considering the world around us these days.  It’s hard not to trend toward a darker shade of subject matter as a reflection of the craziness we are bombarded with daily.

Juggling work and home life often leaves me with a limited amount of time for my studio sessions.  This forces me to work very spontaneously and viscerally at times.  I’ll simmer all day (sometimes dreaming of it at night) on how to address a particular solution for a work, once I am in the studio I get into an automatic state of creating to maximize efficient time wrangling.  Drawing from mountains of collected materials, my ‘fine art’ practice serves to fulfill my personal art making cravings but there’s more.  I take on a lot of commercial art projects that call upon a whole different approach to creating.  Way more planning, budgeting, communicating, and calculating take place. Studio works are championed to let most all of those things go to the way side. "   

Matthew Dutton.
































































MIDNIGHT PARACOSM, second version






















about Stephen Romano

(Background: this essay was one of several columns commissioned for the magazine Gothic Beauty between 2009 and 2011. Since the magazine hasn’t published a new issue in years, it’s time to drag up a few of these old columns so … Continue reading →

It took a bit, but last weekend’s flash sale worked out quite well. Between folks stopping by (including a pair of dear friends) and deliveries, sitting outside in what was quite honestly stunning weather was oh, such a chore. So … Continue reading →

"Mors sceptra ligonibus aequat. ""Death confounds the sceptre with the spade." 

The Dance Macabre consists of the dead or a personification of death summoning representatives from all walks of life to dance along to the grave, typically with a pope, emperor, king, child, and laborer. It was produced as memento mori, to remind people of the fragility of their lives and how vain were the glories of earthly life. Its origins are postulated from illustrated sermon texts; the earliest recorded visual scheme was a now-lost mural at Holy Innocents' Cemetery in Paris dating from 1424 to 1425. 
"The dances of death, through the various stages of human life: wherein the capriciousness of that tyrant is exhibited: in the forty-six copper-plates". David Deuchar 1788.Collection of Stephen Romano, Brooklyn.each plate is approximately 2 x 3 inches.
David Deuchar (1743-1808) had his dance of death published  in London 1788 .

Hollar's plates were much inspired by Arnold Birckmann's interpretation of Holbein's work, Deuchar has chosen the exact same variants that Hollar had chosen.

Deuchar's plates are signed HB i for "Holbein invenit" and DD f for "David Deuchar fecit" (i.e.: Holbein has invented the design, Deuchar has executed it). At the bottom of the frames it says "David Deuchar fecit".
The full story here.
















































































































about Stephen Romano