Das Kloster, weltlich und geistlich; meist aus der ältern deutschen Volks-,Wunder-, Curiositäten-, und vorzugsweise komischen Literatur Wunder-, Curiositäten-, und vorzugsweise komischen Literatur

The monastery, secular and spiritual; mostly from the older German folk, miracle, curios, and preferably comic literature miracle, curios, and preferably comic literature.


Publisher Johannes ScheiblePseudonyms: Willibald Cornelius; Democritus1809 - August 15, 1866
Johann Scheible specialized in books on mysticism and magic which he published under the general series title of "Bibliothek der Zauber-, Geheimniss- und Offenbarungs-Bücher und der Wunder-Hausschatz-Literatur aller Nationen in allen ihren Raritäten und Kuriositäten" ("Library of magic, mystery and revelation books and the miracle house treasure literature of all nations in all their rarities and curiosities”).
also published Doktor Johannes Faust's Magia naturalis et innaturalis oder Dreifacher Höllenzwang, letztes Testament und Siegelkunst. Nach einer kostbar ausgestatteten Handschrift in der Herzoglichen Bibliothek zu Koburg herausgegeben in 5 Abtheilungen. Stuttgart 1849. 

Das Kloster ("The Cloister"; full title Das Kloster. Weltlich und geistlich. Meist aus der ältern deutschen Volks-, Wunder-, Curiositäten-, und vorzugsweise komischen Literatur "The Cloister. Profane and sacred. Mostly from older German Popular, Miraculous, Curious and especially Comical Literature") is a collection of magical and occult texts, chapbooks, folklore, popular superstition and fairy tales of the German Renaissance compiled by Stuttgart antiquarian Johann Scheible in 12 volumes, 1845-1849. Vols. 3, 5 and 11 are dedicated to the Faust legend. Vols. 7, 9 and 12 dealing with topics of folklore and ethnography were written by F. Nork (pseudonym of Friedrich Korn, 1803–1850).

Germany is a land of fascinating customs and traditions. Through the work of the many authors, its folk and fairy tales have become widely read around the world. German folklore has also inspired numerous literary, artistic, and musical works. This collection is an accessible introduction to German folklore. It provides numerous examples of German folkways and presents a wide ranging selection of texts. This collection provides insight into the pervasive influence of German folklore on literature and popular culture. Das Kloster ("The Cloister"; full title Das Kloster. Weltlich und geistlich. Meist aus der ältern deutschen Volks-, Wunder-, Curiositäten-, und vorzugsweise komischen Literatur, or in English—"The Cloister. Profane and sacred. Mostly from older German Popular, Miraculous, Curious and especially Comical Literature") is a collection of magical and occult texts, chapbooks, folklore, popular superstition and fairy tales of the German Renaissance compiled by Stuttgart antiquarian Johann Scheible between 1845 and 1849. In addition to the Das Kloster volumes, this collection provides additional 94-volumes of unique perspectives on Central European culture and tradition. Included are texts essential for the study of German folk traditions, the Reformation, wit and humor and 19th-century literature.

Collection of Stephen Romano, Brooklyn


Volume One(1845), 840 pp, ch. 1-4 Volksprediger, Moralisten und frommer Unsinn(Popular preachers, moralists and pious nonsense: Sebastian Brand's ship of fools with Geilers von Kaisersberg sermons about it and Thomas Murner's prankster, completely based on the old prints and their pictorial representations)full illustrationsfull volume






















Volume 2(1846), 1074 pp, ch. 5-8, Doctor Johann Faust(Doctor Johann Faust. 1: I. Faust and his predecessors (Theophilus, Gerbert, Virgil etc.); II. Georg Rudolf Widman's major work on Faust; III. Faust's compulsion to hell; IV. Verbatim copy of the first edition of the first book on Faust, from 1587. (Previously drawn in doubt, now found) full illustrationsfull volume







































Volume 3(1846), 1065 pp, ch. 9-12, Christoph Wagner, Don Juan Tenorio und verschiedene Schwarzkünstler und Beschwörer.  (or Christoph Wagner, Don Juan Tenorio and various black artists and conjurers (or pacts with the devil or the black artists of different nations and the summoners of hell and heaven for wealth, power, wisdom and lust)full illustrationsfull volume






























Volume Four(1846), 840 pp, Der Theuerdank by Thomas Murner (The Thanksgiving or Thomas Murner's writings and his life, along with his fooling and the mockery: whether the king of England is a liar or Luther.)full illustrationsfull volume












Volume Five(1847), 1160 pp, Die Sage vom Faust bis zum Erscheinen des ersten Volksbuches,mit Literatur und Vergleichung aller folgenden(The saga from Faust to the publication of the first folk book, with literature and comparison of all the following or Doctor Johann Faust. 3: The saga from Faust to the publication of the first folk book, with literature and comparison of all subsequent ones; Faust on the Volksbühne, in the puppet or puppet shows; Spell library of the magician: compulsion to hell. - Triple and quadruple compulsion to hell. - The great sea spirit. - Wonder book. - The black raven. - Ghost Commando.– Practice magica. - Treasure trove, etc.)full illustrationsfull volume

























































Volume Six(1847), 1106 pp, ch. 21-24 Die gute alte Zeit, after the manuscript collection of Wilhelm von Reinöhl(The good old days. 1: On the history mainly of city life, traditional costumes, housekeeping, children's games, dancing, jugglers, banquets, women's shelters, magical means, church festivals, pilgrimages etc. From Wilhelm von Reinöhl's handwritten and artistic collections)full illustrationsfull volume
















Volume Seven(1847), 1120 pp, F. Nork, Der Festkalender, enthaltend die Sinndeute der Monatszeichen, die Entstehungs- und Umbildungsgeschichte von Naturfesten in Kirchenfeste (The festival calendar, which contains the meaning of the monthly signs, the origins and transformation history of natural festivals in church festivals)(on the liturgical year and its evolution out of pagan festivals)orThe festival calendar: containing: the meaning of the month's signs, the origins and changes in the history of natural festivals in church festivals, description of the uses that occur in them and the interpretation of their symbols; Characteristics of martyrs and heroes of faith worshiped with words and swords on the 366 days of the leap year; Interpretation of many miracle stories, etc full illustrationsfull volume




















Volume 10(1848) 1184 pp, ch. 37-40, Johann Fischart's Flöhhatz, Weibertratz, Ehezuchtbüchlein, podagrammisch Trostbüchlein etc.(Johann Fischart's Flöhhatz, Weibertratz, Marriage book, podagrammatic consolation book etc.)or(10: Johann Fischarts Flöhhatz, Weibertratz, marriage breeding booklet, podagrammatic consolation booklet collects toes smaller writings; Thomas Murners From the Lutheran fool, church thief and heretic calendar, and seven satyrs against him: Karsthans, Murnarus, Leviathan, etc)full illustrationsfull volume






















Volume 13also known as"The Flying Leaves of the XVI. and XVII. Century, in so-called one-sheet prints with copper engravings and woodcuts, initially from the area of ​​political and religious caricature."or(The flying leaves of the XVI. and XVII. Century: in so-called one-sheet prints, with copper engravings and woodcuts; initially from the area of ​​political and religious caricature. From the treasures of the Ulm city library. Stuttgart)
full illustrationsfull volume
























about Stephen Romano

Doesn't quite roll off the tongue like "Which Witch is Which?" does it.

My new Warlock book is out for Old-School Essentials and it is natural to want to know what is in the book.  More to the point do you need this book if you already own my The Warlock for Swords & Wizardry OR The Craft of the Wise: The Pagan Witch Tradition for OSE.

Very valid questions.

Let's go over the Warlocks first.



The classes are the same XP, HP progression wise save for where B/X and S&W differ.

• There are few overlapping spells, but I wanted to go with new spells for the book.
• There are few overlapping Invocations, again plenty of new and a couple revised ones here.  For example, both books have an Arcane Blast, the bread-and-butter attack of all warlocks.
• There are no overlapping Patrons or Pacts. If you play OSE and use this Warlock book, but want a demon pact you can import it from the S&W book with no changes needed.  Same if you play S&W and want a Dragon pact.
• There are no overlapping lodges.  I wanted to include the Masters of the Invisible College warlocks from S&W for the OSE book, but space ran out.  Instead, I am going to the Masters here at a later date with the text that was going into the book on how you play them with OSE and these Pacts. The Masters also take Cosmic Warlocks.

I wanted both books to complement each other.  I am very keen on people not thinking "hey, I already bought this book two years ago!"

For the two Old-School Essentials books, the biggest potential overlap was the spells.


I mention in the Warlock book that witches can take warlock spells and the other way around.  That is depending on your Referee. There is the subtle notion that the witches of the Pagan Tradition are at odds with warlocks.  Granted this idea works best with the demonic pacts, but it is there for players to use.  This can limit access to spells the others might "steal".

In both books, I also add new spells for Clerics, Druids, Magic-users, and Illusionists.  How they get those spells is of course up to the Referees.

I have made all the spell names and levels available for you to see in this Google Sheet.
Spell names in Red are from the OSE Warlock.  Blue links take you the book the spells appear in.



You can also link to it here:  Old-School Essentials Spells.
This sheet has ALL the Old-School Essentials spells, not just mine.

I guess the question of "why is there any overlap at all?"  Well, some spells are so ubiquitous to witches that not including them would be strange. A good example is Bestow Curse, which interestingly enough is not in these two books.

So here is a break down of all 1,078 spells I have used and 229 monsters.  Again spell names in Red are brand new to the OSE Warlock book. This sheet helps you see the spell overlap.

Witch Books - Google Sheets



My goal is always to give you something new with each book while making it playable.
So any book can be your "first" witch book and it will work AND be 100% compatible with your "second" or "third" book.

I am currently drafting my next book which will be all monsters.  After that, the plan is to do what I am now calling my last witch book, the High Secret Order Tradition.

Wolfgang Grasse (1930 - 2008) "The Throne of Death" (The Merry Go Round) Detail, 1999


Wolfgang Grasse (1930 - 2008)








Wolfgang Grasse was born Dresden, Germany in 1930. At the age of 14 Wolfgang Grasse saw firsthand the hell and horror unleashed during the British and American bombing of the city of Dresden. This event traumatized him for the rest of his life.

Afterwards, he left Germany for Italy to study art under his grandfather, Friedrich Grasse. In 1948 Grasse was arrested by Soviet authorities for an anti-Soviet cartoon of Stalin hanging from the gallows. First sentenced to death, his sentence was reduced to 25 years at hard labor in a gulag in Poland, where he said there were 12,000 other male prisoners. He spent eight years in prison, and says that the only way he survived was by his art. Grasse would bribe the guards with drawings of erotic images or portraits of their family in exchange for food and protection. Once released, he resumed his artistic career in Berlin working as an illustrator, and continuing his own art practice of painting and drawing.In 1968, Wolfgang Grasse joined an exodus from Germany to Australia. After living in Sidney for a year, he relocated to Penguin Tasmania, where he was a freelance illustrator for The Bulletin. He had several exhibitions and swiftly settled into the Australian art scene, writing and illustrating children’s books and even making a feature-length film.

Grasse has stated that even while living in the bucolic beauty and tranquility of Tasmania, he still suffered from terrifying vivid nightmares, in particular about his time in the gulag, which led him to become a devout Christian. Grasse stated that he wasn't certain if he was actually living a life in Tasmania and having nightmares about prison, or if he was really still in the Gulag, and only dreaming there about having a tranquil life.

"I paint objective, figurative art with high technical perfection to create beautiful, valuable and qualitative works with interesting visions. My art is called Fantastic Realism (Vienese School) influenced also by French surreal and Japanese art (Hokusai, Kunisada, Hiroshige)."

Fantastical and metaphysical; such is the art of Wolfgang Grasse. Some called him a “wise old magician who through his paintings casts a spell on the viewer.” Some compare him with Bosch, Bruegel and Max Beckman.

Much of his art has a gruesome edge, often dwelling on death and sometimes even on apocalyptic events which reflect the ordeals of his experiences in Germany.

Then again, it can be limpid and dreamlike, lavish and mischievous. HIs themes are many, his ability undisputed. It is incredibly intricate and technically skilled.

His work has been categorized as surrealist and also as fantastic realism. The latter was how he liked to be described. Grasse died in 2008, four days after his muse and wife tragically drowned.

He is a stand-alone artist in our culture - and, perhaps, even in our times.



"The Throne of Death" (The Merry Go Round) 1999
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"Kingdom of Death", Acrylic on Panel, 2000
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Wolfgang Grasse (1930 - 2008) "The Temptation of Saint Anthony" 1983Collection of Damian Michaels, Australia
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"Ein gewissen Dr. Ming" (A Certain Dr. Ming), Ink on paper, 1962

"Ein gewissen Dr. Ming" (A Certain Dr. Ming), Ink on paper, 1962

"Ein gewissen Dr. Ming" (A Certain Dr. Ming), Ink on paper, 1962

"Ein gewissen Dr. Ming" (A Certain Dr. Ming), Ink on paper, 1962

"Ein gewissen Dr. Ming" (A Certain Dr. Ming), Ink on paper, 1962



"Firestone" Acrylic on panel, 2004
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"Gustrow" Acrylic on panel, 1977
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“Der Wahnsinn” (The Madness), ink on paper, 1958
“Der Selbstmorder Vorm Spiegel” (The Suicide in Front of the Mirror), Ink and acrylic on paper, 1959
"Der Flotenspieler" (The Flute Player), Ink on paper, 1960
"Der Baum" (The Tree), Ink on Paper, 1961
Untitled, Ink and acrylic on paper, 1960
"Selbstbildnis Mit Tod" (Self-Portrait with Death),  Ink on paper, 1957 
"Luna", Ink on paper, circa 1980

"Dresden", Acrylic on Panel, 1977
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"Death's Victory" Acrylic on panel, 1960
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"The Broom" Ink on paper, 1981
www.wolfganggrasse.com



about Stephen RomanoPost settings Labels Schedule Permalink Location Options

Looking to do something a little different this time for my Featured Artist post.

Pamela Colman Smith, aka "Pixie", might the most recognized artist you have never heard of.  Recognized in the sense that you know her work, even if you don't know it belongs to her and she certainly was not recognized in her time for it.

Born February 16, 1878, and died September 18, 1951, at the age of 73 Pixie spent her time among all sorts of artists, Bohemians, Suffragettes, and occultists including members of the Hermetic Order of the Golden Dawn which she would later join.

She produced art for William Butler Yeats and Bram Stoker.

It was while she was a member of the Order of the Golden Dawn she would meet Arthur Edward Waite.  He commissioned her to produce art for a Tarot deck.   Not just the Major Arcana, but all the Lesser Arcana cards as well.

This deck became known as the Rider-Waite Tarot deck after the publisher and the A.E. White.

Pixie's name was never associated with it, until very recently, and she was only paid a flat fee for her work.


In fact, these days many Tarot aficionados who like Pixie's art will opt for the Smith-Waite Tarot deck instead.

Much of her art reflects the esoteric lifestyle she lived. All of it feels like an Art Noveau fever dream from an Authrurian age, or Pagan age, mixed with what Middle Earth must have looked like in Tolkien's minds eye.






She would often do her art while listening to music, allowing her to create without other outside distractions.






And she did covers for Bram Stoker.



Links
The Divine Mystery of Pamela Colman Smith
Reviving a Forgotten Artist of the Occult

The Devil Our Lord, 2013


Barry William Hale is a Sydney based artist whose work over the past 20 years has included painting, drawing, installation, video, sound and performance. He is considered one of the key exponents of esoteric art, specifically creating work which responds to concepts of western spirituality, philosophy and ritual.

“My work is a synthesis of Art and Magick, and the residue of my esoteric endeavors. It is essential for me to forge a magical link to the metaphysical subject matter. There is great power in the things people are afraid of. The Devil is the name some new regime gives to the God[s] of those whom they oppress. These repressed forces become the locus of forbidden power imprisoned by the walls of taboo. For me, these Crowned Anarchies become the agencies of liberation. My work is Gnostic in the sense that it gives primacy to direct experience with the divine. In the spirit of the Rebellious Promethean spark of the Luciferian fire." - Barry William Hale

Artist Barry William Hale, New York City 2017.  Photograph by Stephen Romano
Baphomet Rex Mundi, 2015
Japanese Devil Boy, 2013Hell Attendant II, 2014

Hell Attendant I, 2014
Hell Attendant III, 2014

IO:EVOE: The Transvocatory Media of Barry William Hale, Robert Fitzgerald for ABRAXAS Journal, Fulgur"

Barry William Hale: folding darkness, intersecting shadows & opening the Book of Spirits

The intolerable formlessness must be named, a name that struggles to contain the idea of the Devil and Legion in one composite figure: At best these provide a borderline or isthmus of transformational exchange between the horde and the sorcerer. Legion 49 ,BWH, Fulgur 2009

I have spoken elsewhere of the specificities that wove themselves into the thread whose knots captured my inspiration, that lead to the production of the primary artistic series of Beelzebub and the 49 Servitor. From the cthonic pantheon of the Mexican Amerindian paper-cut tradition which was fused with Spanish Inquisitional demonology. To the Servitors of Beelzebub from the Book Abramelin and following the result of the clairvoyance of a ‘prominent’ Irish psychic, at a sitting of the Ghost Club. Which were included in Crowley’s book of homoerotic poetry ‘The Scented Garden...’ otherwise known as the ‘Bagh-i-muattar’.

Staring into the face of which another knoweth their Devil
Through the darkling speculum myriad manifestations,
terrible and strange, monsterous and fantastic,
the Devil may be known. BWH

To give some insights into my artistic practise which can be seen as a series of different ongoing magical explorations, that I continually return to time and time again. To develop through aesthetic elaboration and further magical research. Adding to an existing corpus of knowledge which continues to grow and inform itself. The Resultant artistic residue of this process is expressed through a number of creative disciplines with a variety of artistic outcomes.

Speaking specifically about the magical source of current works in question, which emerged form a magical operation to Beelzebub. Of my own method and construction based upon personal knowledge of a variety of traditions of spirit conjuration and evocatory arts with particular reference to those that have Beelzebub within there register of spirits2.

My own magical operation endured for the span of eleven months, and was in conjunction with the writing and completion of LEGION 493. By which time the devils where bound and an irrevocable link with that mighty Devil forged. The very process of the Art Magical serves as a veritable Liber Spirituum which captures the spirits and binds their essence within the body of the work which is its pages. For the devils live in the residue of the entire magical artistic process. Therefore we are to conceptualize the entire body of work as a magical talisman dedicated to Beelzebub and Legion.

Once the magical link has been forged, and the Devil and Legion bound to the Book of Spirits sealed within the pages. The essential requirements of the magical operation -like those found within the old grimoires- are dispensed with.

It is not my purpose to expound the revelations and the full extent of the knowledge and experiences had during the course of the magical working with Beelzebub. That Mighty Devil without Solomon’s Temple would not have been built, who was at the side of Jesus as he was upon the Cross. Beelzebub is both the mortar of God’s Temple and its corrosion, eternally in flux and transition as an essential embodiment of the forces of Chaos and multiplicity. .

























































Drawing from this rich source, artist-practitioner Barry William Hale has produced a series of eleven symbolic images based upon an alternative form – a sigillic wheel – once described by Crowley himself. Around this wheel are interlocked figures that ‘symbolise the ordeal of the Adept, upon the soul’s journey.’ As author Robert Fitzgerald cites in his introduction to the work;

“The eleven compositions of CODEX 231 center around twin wheels that house the branches of two trees – the Domes and Prisons of LIBER CCXXXI and their respective sigils. The interlocked figures comprise a chimeric embodiment of these trees, and fulfill the literal ordalium of the Sorcerer, Mystic, Adept and Magician as they struggle with the demons and angels within both Tree and Self. These entities are thus portrayed in Hale’s CODEX 231 are united, both in nature and composition, and held together by each other’s feet and hands, yet ultimately by the Wheels themselves. This unity represents primordial Opposition and Integration, Control and Constraint, of the forces within both the living Adepti and their symbolic representations.”
























H&H 231 #3, 2000-2001
H&H 231 #8 upright, 2000-2001H&H 231 #8 averse, 2000-2001
H&H 231 #5


about Stephen Romano

Josh Stebbins at "No Stars: A Twin Peaks Tribute Exhibition" curated by Stephen Romano October 2019.  

JOSH STEBBINS

Josh Stebbins is a native of Enid Oklahoma. Josh works predominantly with pen and ink (which he is certainly not limited to). He has been doing art, drawing and illustration since he was very young. With only basic art courses in school and college, he is able to foster his pursuit for progression while expanding his own creative horizons. He is very thankful these days to be recognized for all the work he has produced on his journey in life thus far.

Josh tries to convey in his style and subject matter a sense of duality, strengthened by his choice to work mainly in black and white. His subject matter presents undertones of beauty in darkness. These subjects can run the spectrum from religion to horror, often looking at the human experience, mostly from a darker side. Josh says of his work, “People generally realize it’s there [the darker side], but don’t want to face it…for me the garden of Eden has long since had a ‘Sorry, We’re Closed’ sign on its gate.”





Josh Stebbins in Queens New York October 2019. photo by Stephen Romano

SLASH on stage wearing Josh Stebbins' designed shirt from Black Market Art.



















































































about Stephen Romano

Well. April was kind of crazy.

I thought I take a moment to catch my breath and discuss some future projects here at the Other Side.

The Warlock
First up, I want to get the POD version of The Warlock out to you all. I am going to try for softcover and hardcover options. That way they can fit into whatever collection you like.
The printing is a little slow at DriveThru at the moment, so as soon as I get the proofs I'll get them up to you all.

Once I get that done I am going to release another Warlock book, this time for 5th Edition D&D.  No set date on that right now, but optimistically this Summer.

BECMI Month
Another big project I am starting now but won't start to roll out till June is my month-long overview of the ONLY D&D I never really played; BECMI.  I am going to spend roughly a week on each boxed set. Doing detailed reviews, overviews, and related topics. It should be fairly enlightening for me and I hope you all enjoy it.  I am looking forward to learning something new about this system.


If you know of anything BECMI related you think I should cover, let me know!

Monsters
Another project with no specific date in mind yet is the book-form of my Monstrous Mondays' posts.
The posts have been in a variety of formats and systems over the years, so I think I am going to opt to do this book to be compatible with "Advanced era" gaming, or some Basic/Advance hybrid.  So not really OSRIC compatible and not really Advanced Labyrinth Lord compatible, but something of an OGC combination of the two.  Much like how my Basic Witch is not designed for any single system, but an amalgam of Basic-era OGC.

So this would not be a simple "copy and paste" deal, I would want to rework all the monsters to fit the Advanced play better.  My goal is to have a book that would sit next to my Monster Manuals and Fiend Folio and play just like them.


Still workshoping names, but I think my own OCD requires that the name be an alliteration.

In truth, I am looking forward to trying out a "new" system for a change.

The High Secret Order: The Book of High Witchcraft
Ah. Now this one is a big one for me.  Why? Well. I am going to use this to get back to the witch class I was playing circa 1986, the dawn of my fully realized witch.  But more importantly, this will very likely be my last of the Old-School Witch books.
While I wanted this book to be the last of my Back to Basic books, this one might also need to be an Advanced Era book. Or some mix. I am not sure yet.

No date on this one either.  But this one will include the High Secret Order Witches, the Academic Warlock (with expanded Secret Masters of the Invisible College Lodge),  Hermetic Wizards and more.
I am also going to finally get my spell creation rules into one place, the same ones I have been using for years since the goals of the High Secret Order and the Invisible College is to create more magic.

This book, along with the monster book above, will represent my transition period from Basic-era to Advanced-era.   I think it is going to be a lot of fun.

The Books of the D_____
This is a brand new project. 100% Advanced-era with maybe parallel versions for 5th Edition.  Don't want to say to much about these just yet but they represent a new direction in my writing and I can't wait to get started on them.

So. I have enough to keep me busy for some time to come now.

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


—oOo—
What is it?
Treasures Of Glorantha: Volume One — Dragon Pass is the first in a series of guides to the role, types, and items of treasure in Glorantha.

It is a sixty-four page, full colour, 20.50 MB PDF.

Treasures Of Glorantha: Volume One — Dragon Pass is well presented, decently written, and includes a wide range of artwork. The front cover is fantastic.

Where is it set?
Dragon Pass and Prax in Glorantha.

Who do you play?
The section on ‘Medicine Bundles’ will be of interest to shaman characters, but Treasures Of Glorantha: Volume One — Dragon Pass will be of interest to most characters in the region.

What do you need?
RuneQuest: Roleplaying in Glorantha and RuneQuest – Glorantha Bestiary for its information on spirits and Dragonewts at the very least.

What do you get?
Forty years on since RuneQuest II received its own supplement dedicated to the subject of treasure in the form of Plunder, RuneQuest: Roleplaying in Glorantha receives its own supplement dedicated to treasure in the form of Treasures Of Glorantha: Volume One — Dragon Pass. Like Plunder, this supplement presents some notable treasures of Glorantha—in the case of this volume, treasures of Dragon Pass—some thirty of them in total. Unlike Plunder, what it does not do is present the means to generate treasure, whether that is in terms of coinage, jewels, and gems, or special items. This very much reflects the differing approaches to treasure between different editions of RuneQuest, and instead, Treasures Of Glorantha: Volume One — Dragon Pass offers up a discussion of the nature, place, and role of treasure amongst the Orlanthi, followed by two essays on particular types of ‘treasure’ to be found in the region.

The supplement opens with ‘Treasure Among the Orlanthi’, which explores the attitudes that the Orlanthi have towards treasure and its types. These are physical—classic coinage, jewels, and gems; social—increased Reputation, new privileges and responsibilities, and so on; and magical—spells and boons, and other gifts from priests, gods, and spirits. The essay also examines how and why they might be rewarded as well as the outcome of such rewards. It suggests how such treasures might come into the possession of the adventurers and how they might be awarded to the adventurers. The author suggests several options, one of which he suggests is the Orlanthi method, but then goes on to point out that the all good Orlanthi adventurers are expected to pay a tithe to their clan and temple. All of the essay falls within the realms of ‘Your Glorantha May Vary’, but it is a fantastic read, well thought out and reasoned.

The first specific type of treasure examined in Treasures Of Glorantha: Volume One — Dragon Pass is ‘True Dragon’s Blood’. As the title suggests, this is the blood of True Dragon, either molten direct from the body of a damaged True Dragon or found set in ruins where they have been, including those of the Empire of Wyrms Friends. More recently it could be found at the site of the Dragonrise. Despite being anathema to the gods and elements, it can be attuned to and so grant fragments of draconic powers, including being able to use Dragonewt Roads and use Firebreath. This is not without its dangers since it also unhinges the attuned from reality itself... The second type is ‘Medicine Bundles’, essentially collections of items, whether skin, bones, twigs, stones, roots, and so on, given sacred power. These are examined from the traditions of the various Praxian tribes and sacred societies, as well as Daka Fal, Erithia, and Waha. Numerous types of bundles are given, such as for contacting ancestors and spirit weapons which extra powers when user is in the Spirit Realm. This essay offers numerous items and options of interest for anyone roleplaying a shaman, as well as enhancing the spiritual aspects of a campaign. Of the two essays, this is probably the more useful.

Treasures Of Glorantha: Volume One — Dragon Pass is not only connected to Plunder in terms of shared subject matter, but also in the format followed used for listing each of the treasures. That is, the new supplement uses the same format as the old, listing its description, relationships with various groups and cults affiliated and unaffiliated, who has knowledge of it, its history, the procedure necessary to create or find the item, and what powers it has. The supplement also includes an appendix listing the new Rune and Spirit magic spells to be found in its pages.

The numerous items include Adder Stones, which made from the poisoned bodies of earth elementals grant greater protection against poison when held in the hand; Bones of Luck & Death, bone dice marked with the Luck and Death Runes found in the possession of those who survive the heroquest to become the next body of Belintar, the God-King of the Holy Country, which can be rolled to grant bonuses or penalties to the owner’s next actions; Debt-Coins of Etyries, simple lunar coins enchanted and exchanged to signify that the cult of Etyries will repay a debt that one of its worshippers is unable to; and Hippoi’s Feather, a shimmering feather taken from Hippograf’s wings and woven into a horse’s mane to make it’s spirit more aware. The selection of magical items does include a few weapons, such as Fallen Star, a spear in the shape of a four-pointed star which a Yelmalio worshiper can attune to and advance its capabilities to ultimately become a master of the spear, a Son of Light, and a fierce opponent of Chaos, but whether weapons or other items, they are all interesting and come with detail enough for the Game Master work them into her campaign and use them to tell fantastical stories with.

Is it worth your time?
Yes. Treasures Of Glorantha: Volume One — Dragon Pass is fantastic treatment of treasure in Dragon Pass, combining thoughtful and interesting essays on the subject with numerous relics to help the Game Master weave treasure into the fabric of her Glorantha campaign.
No. Treasures Of Glorantha: Volume One — Dragon Pass may simply not play an important role in your campaign.
Maybe. Treasures Of Glorantha: Volume One — Dragon Pass is only as useful as the role that treasure plays in your Glorantha campaign and you may want to wait for future volumes if your campaign is not specifically set in Dragon Pass.

LE POITEVIN, [Eugène Modeste Edmond]. Les Diables de Lithographies. Paris / London: Chez Aumont / Charles Tilt, n.d. [1832].

Stephen Romano collection, Brooklyn NY.

Impish devils dance, make merry, kidnap young maidens, engage in scatological activities, make mischief upon men and women. and generally have a hell of a time as rascals frolicking in diabolical fun. It is the most famous of all works, paint or print, by Le Poitevin, whose "Devilries" established a genre in the wake of the Romantic school's Mephistopheles and Faust, from scenes to fright to scenes that, as here, delight with lively charm. Le Poitevin's devilries with their light, devilish humor became extremely popular with other artists, such as Michael Delaporte and Bayalos. Le Poitevin (1806-1870) was a French painter and lithographer. As a painter, he specialized in marine art , as a lithographer he is best-known today for Devilries. He was a contributor to The Journal of Painters and Charles Philpon's La Caricature. He studied at the Ecole des Beaux-Arts in Paris, a pupil of Louis Hersent and Xavier Leprince. Very popular in his time, he exhibited at the Salon from 1831 until his death in 1870 .

"Tout autre est Eugène Le Poitevin, le peintre de marines, qui popularise un genre bien différent mais dont le retentissement ne fut pas moins grand. Procédant en droite ligne du Méphistophélès de Faust et des tendances au bizarre de l'école romantique, les diableries de cet artiste vinrent jeter une note pittoresque et amusante au milieu des estampes sans couleur du consciencieux lithographe. Pendant un temps ce ne furent plus que diables et diableries, diables souvent érotiques, diableries plus ou moins légères. Les Diables, Petits sujets de diables, Bizarreries diaboliques, Encore des Diableries; c'est sous ces titres que se répandaient partout les albums à couverture brune de Le Poitevin qu'imitèrent bientôt de Bayalos avec ses Diablotins et Michel Delaporte avec ses Récréations diabolico-fantasmagoriques. Diables blancs et diables noirs suivis de diables rouges et de diables verts. Le diable se glissait partout, commettant mille incongruités, relevait les robes des femmes, les déshabillait comme par enchantement, les mettait en cage, les tirait par les cheveux, ayant toujours à son service un nombre incalculable de petits diablotins courant à tort et à travers les feuilles. Il y eut une telle invasion des sujets de messire Satan que ce ne fut plus, comme dans la chanson, « Vive la lithographie, » mais « au diable, les polissonnes" (Grand-Carteret, Les Moeurs et la caricature en France, p. 174).

"Quite different is Eugène Le Poitevin, the painter of seascapes, who popularized a very different genre but whose repercussions were no less great. of this artist came to throw a picturesque and amusing note in the middle of the colorless prints of the conscientious lithographer. For a time they were only devils and devils, devils often erotic, devils more or less light. Diabolical oddities, Encore des Diableries: it was under these titles that the brown-covered albums of Le Poitevin spread everywhere that Bayalos soon imitated with his Devils and Michel Delaporte with his Devilish-phantasmagorical recreations. White devils and black devils followed red devils and green devils. The devil slipped everywhere, committing a thousand incongruities, raised the robes of s women, undressed them as if by magic, put them in cages, pulled them by the hair, always having at their service an incalculable number of little imps running erroneously and through the leaves. There was such an invasion of the subjects of Messire Satan that it was no longer, as in the song, "Vive la lithographie," but "au diable, les polissonnes" (Grand-Carteret, Les Moeurs et la caricature en France, p . 174).

Le Poitevin (1806-1870) was a French painter and lithographer. As a painter, he specialized in marine art , as a lithographer he is best-known today for Devilries. He was a contributor to The Journal of Painters and Charles Philpon's La Caricature. He studied at the Ecole des Beaux-Arts in Paris, a pupil of Louis Hersent and Xavier Leprince. Very popular in his time, he exhibited at the Salon from 1831 until his death in 1870.



























































































































































































































































































































































































































































































































































































































































about Stephen Romano

Although the Old School Renaissance has been primarily driven by Dungeons & Dragons and its iterations, it has been accompanied by an interest in the other games of the period, so there have been new editions of Top Secret and Gangbusters, the latter with a Gangbusters Introductory Set and supplements such as Welcome to Rock Junction and GBM-1 Joe's Diner. Mark Hunt, the new publisher of Gangbusters has followed this with a roleplaying game which combines Old School Renaissance mechanics with roleplaying in the Roaring Twenties and Dirty Thirties. The result is Gangbusters B/X Edition.

Gangbusters B/X Edition or Gangbusters 1920s Roleplaying Adventure Game B/X Edition combines the mechanics of the 1981 revision of Basic Dungeons & Dragons by Tom Moldvay—as seen most recently in Old School Essentials Classic Fantasy—with all of the setting elements of Gangbusters. So it is a Class and Level game with Hit Points and Armour Class set in the Jazz Age and the Desperate Decade of Prohibition, mob bosses, Tommy gun-toting thugs, flappers and floozies, speakeasies and swanky gin joints, small crimes and big crimes, ‘Scarface’ Al Capone, ‘Pretty Boy’ Floyd, ‘Baby Face’ Nelson, ‘Ma’ Barker, Bonnie & Clyde, Eliot Ness and the ‘Untouchables’, and J. Edgar Hoover. This is a roleplaying game of classic cops and robbers in player take the roles of cops, criminals, private detectives, and reporters in a town where crime and corruption is rife, almost everyone is looking to make it big or get lucky, crimes and cases are solved, and more.

A character in Gangbusters B/X Edition is defined by the traditional six abilities—Strength, Intelligence, Wisdom, Dexterity, Constitution, and Charisma. He also has a Class and Level as well as an Alignment and Description. The four Classes are Brutish, Connected, Educated, and Street Smart and each Class has six Levels, complete with ‘Titles’ for each Level! The Brutish Class is strong and can make multiple attacks against opponents of one Hit Die or less, are more intimidating, and effective when using improved weapons. The Connected Class knows people from particular fields such as City Hall, Society, Underworld, Sports, and so on, and can gain favours from them. The Educated Class are intelligent and knowledgeable in a particular area of expertise, such as Accounting, Forensic Analysis, Gun Smithing, Safe Cracking, and so on, and also has two Vocations. The Street Smart Class has great Dexterity and has abilities like Nimble Fingers, Move Silently, Hide, and Word on the Street. Of the four Classes, the Brutish is most like the Fighter of Dungeons & Dragons, whilst the Street Smart is like the Thief, but also encompasses the grifter and the con man. 

There are a couple of oddities in the Class designs. So the Educated Class receives two Vocations, but what exactly a Vocation is, is never explained in Gangbusters B/X Edition. The Street Smart has Thief-like abilities, but does not gain access to a skill like Safe Cracking.  Alignment in Gangbusters B/X Edition is suitably updated to reflect the period—so Law Abiding, Neutrality, or Dishonest. Character description options include Assimilated, Blue Blood, City Slicker, Hoodlum, and so on.

Our example character is Dudás ‘Slim’ Henrik, an immigrant from the former Austro-Hungarian Empire who came to America following the end of the Great War. He is looking to make his way in the new country and if the incentive was right might look the other way. He served in the Austro-Hungarian army during the war and is trained to use a rifle. It has been several years since he used one though. Currently he works as an accountant for a number of neighbourhood businesses.

Dudás ‘Slim’ Henrik
First level Educated (Smart)
Alignment: Neutral
Description: Immigrant
Armour Class: 5
Hit Points: 2
THAC0: 19

Strength 13 (+1, +1 Open Doors)
Intelligence 14 (Literate & Eloquent)
Wisdom 09 
Dexterity 12 
Constitution 09 
Charisma 08 (-1, Max. Retainers: 7, Morale: 10)

Languages: English, Hungarian
Area of Expertise: Accounting
Vocations: ???
Equipment: $100

Unfortunately, Gangbusters B/X Edition is rather muddled in terms of its mechanics. Now of course, Gangbusters B/X Edition is an Old School Renaissance design and there need not possess a unified mechanic, a one roll for everything, but includes several different ones for different types of actions. So for the Special Abilities of the Educated and Street Smart Classes, a player rolls a six-sided die and succeeds if he rolls three or more. If a one or two is rolled, the character fails or succeeds, but is spotted in doing so. For any action not covered elsewhere, Gangbusters B/X Edition calls for an Ability check, which presumably is to roll under the player character’s value for the appropriate Ability. Unfortunately the rules do not state this, but instead have the player roll under a number assigned by the Judge, modified by +4 or -4 depending on the difficulty.

Then there is combat. Combat in Gangbusters B/X Edition works much like Basic Dungeons & Dragons B/X of 1981, but allows for unarmed combat and the use of firearms and their capacity for burst and spray fire, firing both barrels, and rates of fire. As you would expect, the player or Judge has to roll a twenty-sided die and roll high to beat an Armour Class. That Armour Class though, is descending not ascending, from ‘9’ to ‘-3’ and thus each character has a THAC0 rating. One difference between Basic Dungeons & Dragons B/X and Gangbusters B/X Edition is the lack of armour. This is, of course, to be expected, given the historical time period, but Gangbusters B/X Edition suggests that the better or the fancier the clothing worn, the higher the Armour Class bonus, so Armour Class 7 for poor quality clothing, Armour Class 5 for typical clothing, and Armour Class 3 for luxury or thick clothing.

Lastly, there are the rules for Saving Throws. These work as you would expect in Dungeons & Dragons, but like Alignment have been updated to Moxie, Quickness, Toughness, Driving, and Observation. Moxie covers grit and willpower, Quickness covers reaction speed and agility, Toughness covers endurance and durability, Driving covers all non-combat vehicle actions, and Observation covers spotting and searching for things. Like all Saving throws, these are modified by a character’s Ability modifiers. Altogether, this feels like a clash of mechanics rather than something that is easy to learn and easy to play, but while the rules and mechanics are easy enough, they do feel as if they could be easier.

In terms of what the Judge—as the referee is sometimes known in Gangbusters B/X Edition—can run, Gangbusters B/X Edition suggests several campaign types. These are Criminal, Detective, Law Enforcement, Reporter, and Strange Mysteries. Of these, Detective refers to a campaign involving Private Detectives a la Sam Spade or Philip Marlowe, whilst Strange Mysteries pushes Gangbusters B/X Edition into the realms of horror, cosmic horror, and the Pulp superheroes of the nineteen thirties. Of all the campaign concepts in Gangbusters B/X Edition, Strange Mysteries is the least supported, although Gangbusters B/X Edition does offer the option of player characters being masked crime fighters in addition to their standard Classes. Each masked crime fighter receives a random Mysterious Power, such as Bolt of Power or Obscuring Mist, but will have more if any ability has a value of eighteen. Each Mysterious Power can only be once a day. The great advantage of Strange Mysteries campaign is that it is compatible with a lot of Basic Dungeons & Dragons B/X and similar content, so that monsters can easily be imported and various scenarios might work too if the Judge picks carefully.

The other campaign options are covered by their own chapters. So for a Criminal campaign, ‘PART 3: Piece of the Action’ covers criminal activities including bootlegging and racketeering, running a gang, as well as running a normal business, whilst ‘PART 5: Investigations’ covers enquiries made into crimes and mysteries which comes about as part of ‘PART 3: Piece of the Action’. Once the police and the judiciary gets involved, then ‘PART 6: The Long Arm of the Law’ comes into play and explains arrests, plea bargains, bail, trials, witnesses, and law enforcement resources. For the Judge, scattered amongst this there is a list of adversaries and advice on handling encounters, as well as an introduction to the U.S.A. of the period and to the publisher’s default setting of Rock Junction, a steeltown in the Midwest some sixty miles from the Lakefront City of Gangbusters, as well as advice on building adventures and running the game.

What Gangbusters B/X Edition does not include is advice on running long term campaigns. Now this is in part due to the fact that player characters can only achieve six Levels and so the roleplaying game is not designed for long term play. It is really also only designed for two broad campaign types, ones in which the player characters are the criminals and one in which they are not. This is because it is hard to bring the character types together and not have an adversarial relationship.

Physically, Gangbusters B/X Edition is nicely illustrated with lots of period black and white artwork. Now whilst Gangbusters B/X Edition has been proofread, it has not been edited and it very much shows. When it counts, the phrasing of the roleplaying game’s many core rules is often just odd enough to wonder what exactly the author intended, and terms get used interchangeably, such Judge, Referee, Game Master, and so on. Worse, the organisation of the book can be best described as shambolic or scattershot. Now each of the individual sections is self-contained and complete, but ordered in random fashion. So ‘PART 3: Piece of the Action’ which covers criminal activities comes before ‘PART 4: Acting as Judge’, followed by ‘PART 5: Investigations’, ‘PART 6: Long Arm of the Law’, and so on. Lastly, ‘PART 9: Combat’ comes right at the end of the book. There is just no logic to this pattern.

As a toolkit to run an Old School cops and robbers game, Gangbusters B/X Edition could have been easier to use and it could have been easier to read. In spite of this, there is no denying its scrappy charm and there is no denying that Gangbusters 1920s Roleplaying Adventure Game B/X Edition gives a Judge everything she needs to run an Old School Renaissance cops and robbers game—just not necessarily in the right order. 

New Direct to Video DC Movie is hitting the "shelves" next week.
Of course, it has my attention.


Justice League Dark: Apokolips War deals with the Justice League deciding they need to stop Darkseid once and for all.


Among others, we are getting John Constantine (voiced by Matt Ryan again), Raven (Taissa Farmiga of AHS fame), Rosario Dawson as Diana Prince / Wonder Woman, and Camilla Luddington as Zatanna Zatara (reprising her JLDark role) and more.

Yeah I guess Superman and Batman are in it too.

The big news though that this is supposedly the final film in the DCAU, or DC Animated Universe.
Did it fall prey to Crisis too?

I'll let you know next week.  I got my pre-order in.


IMDB, https://www.imdb.com/title/tt11079148/
Amazon, https://smile.amazon.com/Justice-League-Dark-Apokolips-War/dp/B085DY6GY6

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


—oOo—


What is it?
A Rough Guide to Glamour is a guide to the capital city of the Lunar Empire.

It is a one-hundred-and-ten page, full colour, 31.31 MB PDF.

A Rough Guide to Glamour is well presented, decently written, and includes a wide range of artwork and a reasonable map.

Where is it set?
Glamour, heart of the Lunar Empire.

Who do you play?
Nothing specific. Much of A Rough Guide to Glamour is written as a tourist guide to the city for pilgrims.

What do you need?
RuneQuest: Roleplaying in Glorantha, although RuneQuest – Glorantha Bestiary might be useful for its more Chaotic features. Cults of Glorantha will also be useful. 

What do you get?
If you are roleplaying—or have roleplayed—in the fantastical, mystical, mythical world of the Glorantha, then the likelihood is that the enemy of choice is the Lunar Empire. Said to be the greatest civilisation in the known world, glorious and glamorous, knowledgeable of both sorcery and religion, fair in its treatment of women, charitable in its largess and treatment of the poor, welcoming of all who accept its all-encompassing faith, carried by the proselytising cult of the Seven Mothers, the Lunar Empire seeks to expand and extend its reach far and wide. Yet the Lunar Empire is an empire of monsters and demons, an empire which embraces and accepts Chaos, which stamps its faith on the territories it conquers, punishes lawbreakers harshly, sends those who fail to pay their taxes to hell dragged by Tax Demons, and commands the Crimson Bat. This great Chaos demon is fed prisoners, slaves, and rebels daily and their souls are lost forever, it constantly wanders the provinces feeding on sacrifices, and is used as a weapon of war against the Lunar Empire’s enemies. 

The latter view is held by a great many of the peoples of Dragon Pass—of Sartar, Old Tarsh, Prax, the Holy Country, and more. Yet as far as the Lunar Empire is concerned, this is the view of rebels and barbarians, of upstarts who would slap the hand extended to them, and for the most part, a minor issue in the far-flung provinces. The Lunar Empire, personified by the Red Emperor, son of the Red Empress who ascended into the Middle Air four centuries ago to become the Red Moon, has other concerns. To carry out the will of his mother, to expand the empire, to maintain its very obvious greatness, and to ensure that Glamour—capital city of the Lunar Empire—keeps its lustre as the shining ruby-red jewel of the empire. It is Glamour, the city at the heart of the Lunar Empire, which is the subject of A Rough Guide to Glamour.

Originally published in 1997 by Reaching Moon Megacorp to support its ‘Life of Moonson’, a fifty-player Live-Action Role-Playing game, it has since been greatly expanded for this new edition to throw a scarlet-hued spotlight on a city that is in many parts Rome, many parts Las Vegas, but both by way of Soviet-era Moscow, George Orwell’s Nineteen Eighty-Four, Progressive Rock, Glam Rock, and Punk Rock. Glamour is glamour by name, glamour by meaning—any and all of them, and the authors are also trying to put a glamour on the reader in detailing the city, making it sound enticing and of course, glamorous, whilst also also hinting at the darkness behind that glamour, but unfortunately do not quite pull the trickery off. That said, A Rough Guide to Glamour is informative, interesting, and shot through in places with an incredibly tongue-in-cheek sense of humour which leaves the reader wondering if they just read what the authors had written.

A Rough Guide to Glamour includes a  gazetteer, guidebook, and map to the capital of the Lunar Empire; information and portraits of the city’s and thus the empire’s most important personages; an overview of the Lunar Empire, its history and geography; details of the cults of the Red Emperor and the goddess Glamour for use with RuneQuest: Roleplaying in Glorantha; description and map of the Sultanate of the Silver Shadow where Glamour is located; details of the secrets of Kalikos Icebreaker, the Lunar College of Magic and the Imperial Monopolies of the Etyries cult; write-ups of the intimate doings of the Red Emperor himself and his court; a handful or two of rumours—scurrilous or otherwise; fiction, poetry, and song lyrics; and silliness.


A Rough Guide to Glamour is a performance with an astounding cast— with Elvis Presley as Moonson Argenteus, the Red Emperor; Danny DeVito as Ivex Devouring Dog, Chief Tax Collector; Eva Green as Jar-eel the Razoress, Fourth Inspiration of Moonson; Margot Robbie as The Red Dancer of Power, Chief Missionary; Cate Blanchett as Asvedava the Black, Dean of the Field School of Magic—and more. Ostensibly written as a guide to the city for pilgrims, its primary focus is on what is the front half of the Lunar Empire’s circular capital—the City of Glamour, rather than the City of Dreams behind it with its route beyond to the Crater where the Red Goddess ascended. It thus introduces the city and guides the potential tourist round the city, its great buildings such as Red Square paved with polished stone brought down from the Moon and upon which thousands of pilgrims each year to prostrate themselves on the material body of the Red Goddess, and Hideous Zoo where all manner of exotic and weird—even Chaos—beasts are put on display. Where to stay and where to eat—such as Moon Rock Café for breakfast; customs such as always taking more than a few extra Lunars in the case of on-the-spot fines; and other facilities, like the lime-washed buildings marked with the Man Rune and staffed by Broo that are there for the Pilgrims’ convenience. A ‘Major Holidays & Festivals’ guide suggests when the best time is to visit the city and for anyone out of town, there is an introduction to ‘Let’s Speak New Pelorian!’, the local dialect designed to be less hierarchical, racially stereotypical, or gender biased, but definitely more Orwellian. Then there is the advice that Glamour is currently under Xaroni Law due to the depredations of a masked vigilante known only as ‘the Bat-Man’…

The nature of the City of Dreams beyond Glamour is best explored in various pieces of fiction which the depiction of the dissolution of Moonson Argenteus, the Red Emperor, parallels are strongly made between him and the last years of Elvis Presley. A Rough Guide to Glamour does go beyond the walls of the city itself, specifically to look at ‘The Sultanate of the Silver Shadow’, the region directly ruled by the Red Emperor and his family and to look at the empire in broader detail with ‘A Brief History of the Lunar Empire’, which will provide context for much of the rest of the supplement. Two cults and their roles in Glamour and the Lunar Empire are detailed in A Rough Guide to Glamour. These are ‘The Red Emperor: Governing Cult of the Lunar Empire’ and ‘Glamour Goddess of the Capital of the Lunar Empire’, both quite local cults, but given detailed write-ups for use with RuneQuest: Roleplaying in Glorantha. They are the only game mechanics content to be found in A Rough Guide to Glamour. There is of course much more to be found in the supplement, but special mention should be made to ‘Pelorian Rhapsody’ and the praise poem to Glamour inspired by Eurythmics lyrics!
On the downside, the focus on the glamour and glitz of Glamour in A Rough Guide to Glamour means that its ‘rough’ side is all but ignored. There are hints given, such as the chain gangs forced to work nightly repairing the paved streets for the following morning and the inevitable fate of those who do not pay their taxes. Similarly, it does not explore the life or place of the average citizen or peasant of Glamour, but to be fair, that is not the purpose of A Rough Guide to Glamour—in 1997 or 2020. Nevertheless, anyone awaiting a comprehensive guide to the city will have to wait a while yet.

Finally, of course, there is the fundamental problem with A Rough Guide to Glamour. Which is that whilst its contents are interesting, they are not necessarily directly useful. At the time of publication it would be extremely challenging for the Game Master to bring the material the supplement contains into play because essentially, its focus is simply several hundred miles and a fundamentally different culture away from where RuneQuest: Roleplaying in Glorantha is being played and being supported by Chaosium, Inc.—currently. Now doubtless that will change, but being until playing and campaigning within the Lunar Empire is explored by the roleplaying game doing so with the current rules and supporting material is difficult. That said, for long time Gloranthophiles, this presents less of a challenge as they are likely to own supplements released by previous publishers and so are likely to have the means and the context to be able to explore Glamour.

So whilst a Game Master new to RuneQuest: Roleplaying in Glorantha and Glorantha, is unlikely to have immediate use for A Rough Guide to Glamour, this does not mean that it will not be of interest to her. It at least provides further context to the current conflict between the Lunar Empire and Startar and beyond, and the empire’s attitudes towards the upstart provinces. Perhaps for that newcomer, the inclusion of a glossary would not have gone amiss at the back of A Rough Guide to Glamour.

A Rough Guide to Glamour lives up to its name, all glitz and showmanship, not to say the chutzpah of including showstopping comparisons between Elvis Presley and the Red Emperor in their last days and rewrites of lyrics to classic British rock songs. It is brilliant  in describing the mythical, mystical nature of Glamour, but there is always feeling that there should be something more to, or at least, beyond that brilliance—and that requires another book or supplement, leaving A Rough Guide to Glamour more the tourist or pilgrim’s guide rather than a full gaming supplement.

Is it worth your time?
Yes. A Rough Guide to Glamour is a guide to the capital city of the Lunar Empire and not only details the greatest city in all of Glorantha, but expands information about the world itself. (Please note: This could be Imperial propaganda courtesy of the Seven Mothers cult.)
No. A Rough Guide to Glamour is irrelevant to most RuneQuest: Roleplaying in Glorantha campaigns and difficult to bring into a campaign without further source material. (Please note: This has been marked as heretical propaganda spread by rebel scum in the southern provinces. A representative of the cult of Danfive Xaron will be with you shortly to assess your punishment.)
Maybe. A Rough Guide to Glamour is a solid introduction to the city of Glamour and provides some context to the actions of the Lunar Empire in the southern provinces. Plus more information about the world of Glorantha is always good. (Please note: Upon receipt of the proper donations, a Lhankor Mhy scribe will be available to read this document for you once it has been located in the temple archives. Unfortunately the requested document is not a comprehensive guide to the city and there are many omissions, or at least, much that is apocryphal. More information may be available at a later date.)

In the alternate timestream that doesn’t suck, plants and accessories would be at Texas Frightmare Weekend for three days of horror-inspired high weirdness. We have the Texas Frightmare HQ stream giving us a virtual Frightmare this weekend, so expect some … Continue reading →

Well.  I was not expecting to make this post today!

Two weeks ago I got my early access to Hero Forge 2.0 Color Mini creator.
I applauded the interface and was very thrilled to see all the options that were already up and running.
I praised them for their successful use of Kickstarter to get up and running and to reward those that have supported them over the years.

I ordered my minis and was told that they would be delivered around mid-June.  Sweet! Just in time for my birthday.  Guess what I got in the mail yesterday?


That's a month and a half early.   Now I am not saying everyone will get in this fast.  I have a feeling I got mine before it got super busy.  But still.

Let's look at these in detail.  As I expected they are a bit paler than they appear in the software and a little less detail, but still, they look fantastic really.  They are also a little bit heavier than previous prints.


Here is my iconic witch with different generations of the prints.  The first, white one, is from their original Kickstarter. Not a lot of detail and kind of "sandy" feeling.  The second in the newer and current plastic, painted by my wife.  The third one is the new color 3D print.   If you look really close you can see print lines, but you have to be looking for them.  The last all blue one is an STL download and printed on my printer here at home using PLA.


Of course, I HAD to do Willow and Tara.  These are the new color 3D mins and the slightly older premium plastic.  Same poses.  You can see that the bases on the color minis are larger.
You can feel the lines on the color ones and not on the premium plastic.
So if I ever get these painted it will be interesting to see the differences.

Comparing the prints:


To the images in the software:


You can see there is some loss of color and detail.  BTW this is an older pic of Willow, I changed the color of her top when I went to have the print made.

But none of that is a deal-breaker for me.  I am going to assume they will get better and better with more detail.


I included a figure of my Keribum version of Tara too.  I wanted to see the size differences translated to 25mm.

I am very pleased with the results. 
I think I might wait a bit before I get more.  Partially to let others get a chance to get their's and partially to see what sort of upgrades they are planning.

You can get yours at https://www.heroforge.com/

The last thing you should do is say no to a dragon, right? This is a situation in which the Player Characters find themselves in To Free the Storm, a short, one or two session scenario for Dungeons & Dragons, Fifth Edition. Written by Andrew Peregrine, author of The Seventh Doctor Sourcebook as well as contributor to and author of many other roleplaying books, it is an adventure for characters of Fifth to Seventh Level. It is setting neutral, but whatever the setting the Dungeon Master decides to use it with, that setting requires an area of dead and barren land with a volcano at its heart, and a village near the area. As written, the volcano at the heart of the barren land in To Free the Storm is Mawspire Mountain. Now only home to a few hardy mountain goats, local legends say that the region was blasted into lifelessness by a dragon, but since no one can recall having seen a dragon, no one believes the legends. Beyond the barren surrounds of the mountain, the region is fertile, which has drawn settlers who farm the land and loggers who work the forests. One village in the area is Carverton.

As To Free the Storm opens, the Player Characters are staying in Carverton, perhaps because they are en route to somewhere or between adventures, and enjoying a drink and decent food when suddenly, the village is attacked. Which is not that unusual when it comes to villages and adventures in just about any Dungeons & Dragons-style fantasy world as it goes. What is unusual is the fact that the attacker asks for them by name. What makes the situation worse is that the attacker asking for them is a dragon! Not only that, the dragon has a favour to ask of them, a favour which he suggests that the Player Characters fulfil lest he continue blasting the village to bits. Which is perfectly in keeping with the attacker—Zzaladar—which happens to be a Blue Dragon.

The favour is this. Zzaladar has long been tied to the area by an arcane manacle, placed on him by a mage many years ago. The manacle is tied to an orb kept deep in a ruined temple on Mawspire Mountain and as Zzaladar has grown in size and power, the effectiveness of the orb has weakened and he thinks that with a little of help, he can break free. Which is where the Player Characters get involved. Zzaladar  wants them to go to the temple and destroy the orb that keeps him prisoner. In  return, Zzaladar promises to not only not destroy Carverton, but also not harm a single sentient creature for a year. Which sounds like a not unreasonable deal—at least for the following year. After that, who knows?

The bulk of the adventure takes place in the ruined temple on Mawspire Mountain. Here the adventurers will have to contend with the volcanic temperatures, the ancient and undead knights of the Order of the Orb who have sworn to protect the orb—and some who have not, and how the god of the volcano, Darmaw, was worshipped before the temple was abandoned and his faith forgotten. The latter is where the dungeon—consisting of just fourteen locations—is at its most interesting. There are a number of elements here which look a little like traps, but may well help the Player Characters in their quest, whilst others will at first seem to be of use, but will ultimately hinder their efforts.

The dungeon offers a reasonable mix of puzzle like elements and plenty of combat along with some roleplaying. Certainly, the Dungeon Master has a couple of fun NPCs to roleplay, after all, what Dungeon Master does not relish the prospect of roleplaying a dungeon? Yet the design of the dungeon is really linear and not all interesting and were it not for the roleplaying elements and how the worship of Darmaw is brought into play, would have little to recommend it.

Available via the DM’s Guild, To Free the Storm is a fifteen page, 2.06 Mb file full colour PDF. It is generally well written, but does need another edit. The cover is nice, but is the only illustration. The map though, is dull and murky, and leaves the reader wishing that the author had drawn it himself or got someone else to do so. This does not mean that the map cannot be used, for it can. It is simply the case that the map is unattractive.

Rounding out To Free the Storm is a quartet of further adventure ideas which raise further questions and suggest as to the consequences of the Player Characters’ actions. Now one obvious oddity with the scenario is that it involves a Blue Dragon and has the Player Characters going to a temple on a volcano. This seems an odd choice, when possibly a Red Dragon with its fire association or even a White Dragon with its icy disassociation might have been more strongly thematic choices. That aside, there is no denying the strength of the set-up to the scenario with the monster coming to the Player Characters rather than the other way around. Similarly, the handling of worship of Darmaw is well done, but unfortunately this is done in an uninteresting, linear dungeon and on decidedly unattractive maps, which all together does not make for a pleasing combination.

There is a lot of potentially good story in To Free the Storm and as the introduction to a campaign of thwarting a threat which the Player Characters were forced to unleash, is actually a good set-up. It would be fantastic to see the consequences of their actions explored in sequels to this scenario as well as have Zzaladar return again and again so that the Dungeon Master can roleplay him as he develops into a memorable villain. Overall, To Free the Storm is a serviceable adventure which feels as if it deserved better, but is still good enough to ask what happens next.

Thoughts during ongoing COVID-19 self-quarantine: sooner or later, no matter what happens with a vaccine or other long term solution, we’re all going back to something we’ll collectively call “normal”. Whether we continue to shelter-in-place or start to go out, … Continue reading →

A champion of esoteric Art – Stephen Romano of the Stephen Romano Gallery will be curator in residence at MONSTER BRAINS, five days of exciting material everyday! May 3 - 8 2020!

Exhibit / April 30, 2020

Object Name: The Gods from Outer Space
Maker and Year: Magnet/Methuen, 1978-1982
Object Type: Comic Books
Image Source: Komiksy Online, exhibit author’s copies
Description:  (Richard McKenna)

In the summer of 1980, a 9-year-old child was made privy to startling revelations regarding the origins of the human race. Namely, that in the distant past, a scientific expedition had ventured from its homeworld of Delos to what was then known as the Blue Planet for the purpose of making genetic changes to the genomes of one species of that planet’s inhabitants in order to speed up the development of intelligent life—and that this spurring on of intelligence was a galaxy-wide tradition that had been going on for millennia, as advanced species tinkered with the biology of less-evolved species in an ongoing chain of giving each other a leg up the evolutionary ladder. The child also learned that the figure of Satan was actually a memory distorted by its passage down through the generations of a rogue Delosian named Satham who, along with his helper Azazel, had rebelled against the edicts of the mission, and that the cherubim with flaming sword set to make sure Adam and Eve didn’t try and sneak back into the garden of Eden was actually a Delosian spacecraft known as a “sonde” firing its thrusters.

The medium through which these awesome facts were divulged was not some august tome but four slim volumes of remaindered comic books retailing at the low, low price of 80 pence for the lot, the site of their communication no solemn temple but a cash&carry outside Doncaster, and that 9-year-old child was—surprise!—me.

Its Polish title also containing the accuracy-improving addendum of “According to von Däniken,” The Gods from Outer Space, as it was called in Britain, was an eight-part (though only the four I bought that day were available in the UK, the eighth volume published many years later) comic that took as its point of departure Erich von Däniken’s silly “theories”—read “pervy racist fiction”—about extraterrestrials having influenced humanity’s development in the distant past, the basis of which Carl Sagan identified as being “that our ancestors were dummies.” In 1977, with von Däniken mania still thriving, Alfred Górny of Polish publishing house Sport i Turystyka—Sport and Tourism—made an agreement with Econ Verlag,  the publishers of the German edition of Chariots of the Gods?, to create a series of comics based around von Däniken’s crackpot concepts. Polish journalist and Auschwitz survivor Arnold Mostowicz was brought in as writer, and when Grzegorz Rosiński, the artist originally intended to realize the comic, was snaffled by French comic Tintin, he suggested his fellow pupil at art school and Polish comics veteran Bogusław Polch as the man for the job. Górny, Mostowicz, and Polch spent the next four years detailing the adventures of the expedition to the Blue Planet.

The leader of the expedition and the protagonist of the series is the only Delosian woman we meet, but confusingly—despite the sexism implicit in having literally only one speaking female character (though she is later joined by a clone of herself)—Ais (as she is called in the British version) is pretty much the equal of all the male characters put together: quick-witted, bold, intelligent, beautiful, not above laser-blasting a few bad guys and dedicated to the values of the mission but ready to rebel when necessary against the eugenicist dictates of the “Great Brain,” the emotionlessly logical super-intellect that dictates Delosian decisions.

From the moment they set up their first base in the Andes where they (natch) build the Nazca Lines as a landing strip, Ais’s expedition is plagued by setbacks, from rebellious Delosians and Robocop-ed reptiles to insectoid aliens who plan to strip Earth of its natural resources. The plot spans centuries and goes on to include Atlantis, the Pyramids, the Tower of Babel, Hindu gods, Sodom and Gomorrah, the Flood, the crossing of the Red Sea, the Nephilim, crystal skulls, the Book of Ezekiel, and the chariot of Yahweh, as well as the aforementioned Ur-Beelzebub—the dastardly Satham, and his army of mutants and robots. The story is an enjoyably confusing nonsense minestrone, but the story is entirely secondary to what makes The Gods from Outer Space so compelling: page after page of Polch’s lyrically beautiful artwork. His sure, clean line and mastery of shade and form create a credible and coherent visual world with its own technologies and aesthetics that in its way is as intense and visionary as the images generated by Jack Kirby’s infatuation with ancient astronauts. Polch died at the beginning of 2020, but the work he leaves behind him—which also includes the wonderful Funky Koval—ensure him a place in comic book history.

While still fairly dodgy, what with logic-driven technocrats imposing their “mission” on a bunch of unsuspecting primates, The Gods from Outer Space‘s interventionist ethics are perhaps closer to those of 2001: A Space Odyssey than to von Däniken’s reactionary gobbledegook. Despite its links to his deeply ambiguous schtick, though, The Gods from Outer Space was also a handy primer for young minds re: the idea that humanity’s myths and legends might in reality be nothing more than the misunderstandings and misrememberings of events or inventions long past, and that even the god we sang hymns to in school assembly every morning, even the idea of “good” and “evil” themselves as discrete and mysterious forces instead of the results of circumstance, history, and environment, might all just be a load of bollocks we’d made up over the millennia because it was easier than actually trying to understand things. Is it possible that, in its way, The Gods from Outer Space hinted at some burgeoning awareness that the historical narratives foisted on us by the establishment were perhaps not totally trustworthy? That the missing element was aliens meddling with our DNA might be pushing it a bit, but maybe there was a kernel of healthy skepticism in this particular take on von Däniken’s delirium—though as we’ve witnessed in recent years, skepticism without actual knowledge can easily metastasize into something as unhealthy and dangerous as unquestioning belief.

It might seem a stretch to accept now that there was a time when many adults believed—with varying degrees of conviction—in the cosmic theories of a Swiss hotelier with criminal convictions for fraud, as well as the Bermuda Triangle and Bigfoot. But this paranormalia was absolutely a part of the texture of everyday life. Though given that forty years later we are living in a world increasingly defined by the bellicose beliefs of reactionary fantasists willing to believe in anything that will provide them with the solipsistic buzz of victimhood, it’s not really so hard to credit the hold these strange ideas exerted over the collective imagination. In comparison, maybe The Gods from Outer Space‘s contention that our ancestors got made clever by aliens doesn’t seem so bad.

Once again evil witches gather to celebrate Walpurgis Night and good witches celebrate Beltane.

And once again the Warlocks join the festivities.

The Warlock for Old-School Essentials



Mine is the Power!

Power. Humans have always sought it.
Clerics pray for it. Wizards study for it.

Warlocks take it.

Introducing the Warlock class for your Old-School RPGs.

- Four new warlock pacts: Chaos, Cosmic, Death, and Dragon.
- 78 Warlock spells including Cantrips
- 13 new spells for clerics, druids, illusionists, and magic-users each.
- 55 Warlock Invocations, the ultimate expression of their power!
- Magic items and warlock patrons.

Fully compatible with Old-School Essentials and other Basic-Era Games.
Fully compatible with other witch and warlock books from The Other Side.

Requires Old-School Essential Core Rules.

Cover Art by Conner Meek.  Some interior art by Jeff Dee.

POD version on the way.

This book is 100% compatible with The Craft of the Wise: The Pagan Witch Tradition also for Old-School Essentials. In fact it is written so warlocks can use witch spells (up to 5th level) and witches can use warlock spells.   The two groups of classes are also natural antagonists for each other.

This book is also 95%(*) compatible with The Warlock for Swords & Wizardry. 
Both warlock books feature pacts, invocations, spells, and lodges.  There is some minor overlap (invocations like Arcane Blast, some spells) but otherwise, each book adds to the other.  Expand the warlocks spell list and invocations.

(The Texas Triffid Ranch Occasional Newsletter and Feedlot Clearance Sale is a regular Email newsletter, with archives available on the main TTR site at least a month after first publication. To receive the latest newsletters, please subscribe.) Originally published on April 14, 2020. … Continue reading →