The Horned Women of Celtic Myth

The horned women, or horned witches, are magical hags of Irish myth and legend.  They pester newly married young women or new mothers.  They are also known to plague any sort of homeowner.


Horned Women are a particularly nasty creature that is related to both faeries and hags.
They will appear as ugly old women with a horn protruding from their forehead. How many horns will tell you how powerful they are. A woman with one horn has 1 HD and so on.  It is unknown if this is related to age, all appear to ancient hags.

They will rush into a home, especially that of a new young mother or wife, and begin performing chores at a breakneck speed. While they perform the chores each one will demand a task of the overwhelmed bride. Saying that if she does not complete the tasks, they will fly off and eat her baby. The tasks are designed to be seemingly impossible; chop wood with an ax handle with no blade, or collect water in a bucket full of holes, or make a cake with no flour. The tasks can be completed by the bride, but she has to be clever about it.

Their voice is compelling, as per the suggestion spell, to get the wife to do these tasks.  A save vs spells will keep this from happening, but the threat of eating her baby is still real.

If she can do all the tasks the Horned Women want they will scream and fly away never to return. If she doesn’t they will take the baby.

Horned Women cast witch spells at the same level as their HD. They do not have access to ritual magic or occult powers.

Witches are often employed to fight these creatures.
Using a simple spell (typically dispel evil or remove curse) and adding "Witch! Witch! Fly away from here!"
The horned women will fly away and never return to that house.

Horned Women
(Labyrinth Lord)
No. Enc.: 1-8 (1-12)
Alignment: Chaotic (evil)
Movement: 80' (240')
Armor Class: 3 [16]
Hit Dice: 1** (5 hp) to 8** (36 hp)
Attacks: 1 (claw)
Damage: 1d6
Special: Witch spells, compelling voice
Save: Witch 1 to Witch 8
Morale: 10
Hoard Class: None
XP: HD 1: 13, HD 2: 29,  HD 3: 68, HD 4:  135, HD 5: 350, HD 6: 570,  HD 7: 790, HD 8: 1,060

Horned Women
(Blueholme Journeymanne Rules)
AC: 3 [16]
HD: 1d8 to 8d8
Move: 80
Attacks: : 1 (claw, 1d6), Witch spells, compelling voice
Alignment: Chaotic
Treasure: None
XP: HD 1: 45, HD 2: 70,  HD 3: 95, HD 4:  145, HD 5: 255, HD 6: 395,  HD 7: 650, HD 8: 950

Horned Women
(Old-School Essentials)
AC 3 [16], HD 1 (5 hp) 8 (36 hp), Att 1 claw (1d6), THAC0 19 [+1], MV 240’ (80’), SV as W 1-8, ML 10, AL Chaotic, XP HD 1: 45, HD 2: 70,  HD 3: 95, HD 4:  145, HD 5: 255, HD 6: 395,  HD 7: 650, HD 8: 950, NA 1-8 (1-12), TT None
▶ Witch spells: The horned woman can cast spells as a witch at the same level as her HD.
▶ Compelling Voice: The horned woman's voice acts as a suggestion spell.  She may use this once per day.

Between October 2003 and October 2013, Chaosium, Inc. published a series of books for Call of Cthulhu under the Miskatonic University Library Association brand. Whether a sourcebook, scenario, anthology, or campaign, each was a showcase for their authors—amateur rather than professional, but fans of Call of Cthulhu nonetheless—to put forward their ideas and share with others. The programme was notable for having launched the writing careers of several authors, but for every Cthulhu Invictus, The Pastores, Primal State, Ripples from Carcosa, and Halloween Horror, there was a Five Go Mad in Egypt, Return of the Ripper, Rise of the Dead, Rise of the Dead II: The Raid, and more...

The Miskatonic University Library Association brand is no more, alas, but what we have in its stead is the Miskatonic Repository, based on the same format as the DM’s Guild for Dungeons & Dragons. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

—oOo—
Name: We Are All Savages: A Colonial Scenario for Call of Cthulhu, 7th Edition

Publisher: Chaosium, Inc.
Author: William Adcock

Setting: The French and Indian War

Product: Scenario
What You Get: 29.01 MB thirty seven-page, full colour PDF
Elevator Pitch: Survival Horror in the Snow. 
Plot Hook: Snow, Scurvy, Starvation, and Worse at the far of the British Empire.
Plot Development: Missing supplies, blood on the snow, the worst winter, and a terrible confrontation.
Plot Support: Floorplans of Fort Niagra, six pre-generated characters, six illustrations, musket stats.

Pros
# One-two session one-shot
# Unique historical location
# Strong use of weather and location
# Strongly plotted
# Potential convention scenario
# Technology presents its own challenges
# Six solid pre-generated characters
# Potential Colonial Gothic one-shot

Cons# Tightly plotted
# Unfamiliar setting to non-Americans
# Not suitable for the new Keeper
# Works best with six players
# Limited options for the players
# Military scenario

Conclusion
# Strong use of weather and location
# Military scenario in an unfamiliar period and setting
# Potential one-session one-shot convention scenario

The Benton Hussars Project.

So, my union cavalry needs two regiments, I chose the first one to be the Benton Hussars, a formation raised in St. Louis, Mo. of european immigrants, mostly  liberal germans who fled after the 1848 resurgence of militant right wing monarchies... the unit borrowed uniform inspiration from the flashy light cavalry of Europe, but toned down a bit.  Still it is distinctive, and I think will look great as models.

 First I did research

 

Not too many references, but Almark books and haythorthwaites Uniforms of the Civil war feature plates, short hussar style shell jacket, shoes, a sort of shako..So, on to making a master model, this is kitbashed from toy soldier bits and sculpting with jb weld plumbers epoxy putty.

Ashen Stars is Pelgrane Press’ Science Fiction roleplaying game of investigation and action. Using the investigation-orientated Gumshoe System mechanics written by Robin D. Laws, it takes the idea that Space Opera stories, especially those screened on television, are essentially mysteries to be solved and adapts it to an interesting frontier setting. This is the Bleed, a rough, wild fringe of space that barely twenty years ago was the enticingly glamorous frontier of The Combine, a two-hundred-year-old interstellar, culture-spanning government dedicated to peace, understanding, and self-determination. The Combine was an idealistic utopia that enabled numerous races and peoples to live happily under its governance, but then the Mohilar attacked, and employing technologies unknown to The Combine, their vast war fleets stormed system after system until The Combine’s heart, Earth itself, was devastated. Then following an unexpected defeat at the hands of a last-ditch effort by what remained of Combine forces, they vanished. That was a decade ago and yet, due to an effect known as the Bogey Conundrum, memories of the Mohilar race have become hazy and inconsistent. Try as they might, no one call recall exactly what the Mohilar were, and certainly, no one has any idea where they are now…

In the wake of the Mohilar War, both the interstellar economy and government have collapsed and whilst The Combine exists, its reach has been pulled back from the Bleed. Thus, the worlds the Bleed, many scorched and blasted by war, have been left to their own devices, bound only by a common currency and cultural ties. Where Combine patrols once kept the peace, peacekeeping missions and criminal investigations are now put out to private tender and assigned to independent ship operators known as ‘Licensed Autonomous Zone Effectuators’ or ‘Lasers’. As Lasers, the player characters will crew and operate a ship on a tight budget, hoping to pick up assignments that if completed will enhance their reputation and so lead to better and more profitable assignments.

Since its publication in 2011, Ashen Stars has received only slight support, all of it the form of scenarios, such as Dead Rock Seven and The Justice Trade. Accretion Disk is support of a different kind, a supplement which takes its name from the structure formed by diffuse material in orbital motion around a massive central body, typically a star. In terms of a roleplaying supplement what we have in Accretion Disc is a collection of unrelated material—new character options, new playable species, new ability options, new weapons and equipment, new contracts, new aliens, and more. Accretion Disc is essentially, the Ashen Stars Companion.

The supplement wastes no time in getting down to business. The first fifth of Accretion Disk is devoted to Investigative Abilities—knowledges which get the Lasers clues, and General Abilities—skills and so on which allow the Lasers to act. Every entry for an Investigative Ability includes sample benefits from Spends of an Ability and sample clues and plot hooks, whilst for General Abilities include possible investigative clues and possible ‘Cherries’. So for the Data Retrieval Technical Ability, a Laser’s player might spend a point to protect the team’s own data or disseminate an enemy’s secrets to the general public, whilst sample clues and plot hooks include being able to access the captain’s logs of a crashed spaceship, determine clues from a ransom video in a kidnap case, and so on. 

‘Cherries’ were introduced in Night’s Black Agents [http://rlyehreviews.blogspot.com/2012/11/kiss-kiss-fang-fang.html] specifically to meet its thriller angle. Now, as with Night’s Black Agents, if a Laser in Ashen Stars has a General Ability with a rating of eight or more, he is regarded as being skilled enough to gain a special benefit. So for example, with an Athletics score of eight or more, a Laser have the ‘Hard to Hit’ and so become harder to target in combat, or he might take the Might Cherry for his high Athletics Ability, enabling his player to expend points from his Athletics Ability pool after the roll rather than before. Other Cherries give simple points in other Abilities or a free pool of points to spend on specific things. For example,  ‘Follow the Money’ for the Business Affairs General Ability, grants a free point in the Forensic Accounting Academic Investigative Ability, whilst the ‘Viro Wizardry’ Cherry for the Viro Manipulation General Ability to provide the Lazers with an extra pool of points to spend on the second use of a one-use Viroware. Overall, the section on Abilities—Investigative and General—is useful for both Game Master and player alike, adding further helpful description and utility. In general, the use of the Cherries also make the play of the game more cinematic in flavour and feel. Even further the write-up of the Flattery Interpersonal Investigative Ability is amusingly, exactly what it says it is.

‘Crewing Up’ expands upon the discussion of the Warpside and Groundside mission roles of the Lasers from the Ashen Stars core rulebook. It provides a list of the basic Investigative and General Abilities needed for each role, a discussion of the role, the role’s typical day-to-day routine, suggested equipment loadouts, specialised techniques and jargon, and classic media archetypes. So a Communications Officer or Hailer will be receiving communications, dealing with clients, tracking and analysing signals, hacking, and so on. He might be a polished corporate spokesman, an eccentric hacker/DJ, a military signals expert, harried technician, and more. Again, there is a lot of information here for both Game Master and player, giving the former ideas on how to bring them into play and the latter ideas on how to play each role. 

One of the aspects of Ashen Stars and of Gumshoe System roleplaying games in general is its direct implementation of Drives and Arcs to help involve Lasers in campaigns and plots. In the core rule book for Ashen Stars, they are discussed from the Game Master’s point of view since she is the one who will be implementing them. In Accretion Disk, they are examined from the player’s point of view. There are some general suggestions on how each player might bring them into play and do it judiciously, plus three sample Arc Drives for each. Ashen Stars then adds six new playable species to the Seven Peoples of the Combine, some of whom have held more prominent positions in the past. They include the warty, boney Cloddhuck, who once revered the Durugh as gods and served them as shock troops, but since the Mohilar War have used their combat intuition as mercenaries and criminals, and now, to solve crime! The Haydrossi evolved in the atmosphere of a gas giant and can not only float, but have excellent three dimensional spatial awareness and are driven to seek new places in search of a lost utopia. Unfortunately, they are not covered by the treaties which forbid the Kth-thk from eating certain sentient species. The Icti inhabit and animate the fresh corpses of the recently dead, the higher up the food chain the better, and can access the memories that the corpses had in life as well as preventing their newly inhabited ‘meat-shells’ from truly rotting for years. It is entirely for a Laser to die in game and his player chose to have come back as an Icti! The Ndoaites are even weirder, shell-residing lizards who consume radioactive ores and whose bowel movements are classed as type II biohazards. Consequently, as Lasers they serve Warpside happily, but send drones to represent them when Groundside. They can also generate and emit radiation, often in modulated, targeted bursts. The Racondids are bipedal reptiles overconfidently keen on the Combine and seeking out new challenges with a rapid metabolism which allows them to vomit flammable material! Lastly, the Verpid are a corporate-owned species, genetically engineered to change shape and have fled their masters in an act of self-emancipation.   

All six of the new races are interesting and different, but not necessarily useful or much-needed additions to Ashen Stars. They are again, another option for a campaign. More useful though are the sets of deck plans for the six most commonly used ships used by Laser teams. From the stalwart, reliable Runner to highly defensive, but uncomfortable Porcupine, all of the ins and outs of these vessels are discussed, as their foibles and quirks. If there is an issue here it that the deck plans are presented in greyscale rather than colour, so much of their definition and detail is lost. Accompanying this is a selection of new ‘Ship Bolt-Ons’, complete with Cost and Upkeep values, such as the Cannon-Nanny which prevents shipboard weapons from being used by over-zealous gunners so as to prevent Public Relations disasters or Particle Streamers which stream and excite particles hamper attempts by attackers to lock on and tow the ship. Shuttles receive a similar treatment with several alternatives to the standard shuttle carried by most Laser vessels, including Cargo Shuttles and Racing Shuttles. As does the section on personal technology, which includes a communications device, cybernetic enhancements, medical, forensic, and protective gear, and miscellaneous and investigative tech, viroware, and more. Players will enjoy the Dirty Harry Mod which makes a Disruptor weapon look a whole bigger and thus more intimidating; the Muckraker Suite, semi-intelligent systems and customised software for digging up dirt on a target; and the Wingman Ultra, which enables a Laser to mimic a colleague or friend’s Interpersonal skills, including of course, Flirting.

Rounding out Accretion Disk are over thirty ‘Hot Contracts’, giving the Game Master a wide array of tasks for the players’ team of Lasers to undertake, followed by an expansion to the ‘Entity Database’ with twelve new monsters and creatures. Lastly, the appendices provide rules for ‘Ashen Stars Warp’, a stripped down version of the rules with fewer skills and abilities. This is also intended for convention play where quicker mechanics might be of use.

Physically, Accretion Disk is cleanly laid out, decently edited, and nicely illustrated. It comes with a good index too. The only downside to the supplement is that it is presented in greyscale rather than colour, and some of the artwork—and certainly the deckplans—would have benefited from being in full colour.

Until now, Ashen Stars has not had a supplement to support both its play and its setting. Accretion Disk fulfills that need, with an array of useful and interesting bits and pieces, some of them connected—for example, the deckplans, the ship bolt-ons, and the shuttles—some not. Given the time between the publication of Ashen Stars and the publication of Accretion Disk, this is the supplement that will bring veteran players of the roleplaying back to play with its selection of new options, or support a group coming to the roleplaying game for the first time with advice and expanded explanations. 

Accretion Disk is more than welcome support for Ashen Stars, not necessary to play, but helpful, useful options and advice to expand and support a campaign. The perfect companion to Ashen Stars.

Images found thanks to Jean Louis Mazieres and Rex Harris.  A detailed description of the painting can be found at Wikipedia.

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?
Arrows of War is a short, two-session scenario set in Dragon Pass during Dark Season easily run as part of the Colymar campaign begun in RuneQuest: Roleplaying in Glorantha – QuickStart Rules and Adventure and then continued in and around Apple Lane as detailed in the RuneQuest Gamemaster Screen Pack, specifically before the events of the scenario, ‘The Dragon of the Thunder Hills’.

It is a five page, full colour, 2.0 MB PDF.

Arrows of War is well presented and decently written, but needs an edit in places. The internal artwork is okay, but the map is decent.

Where is it set?
Arrows of War by default takes place in Apple Lane in the lands of the Colymar tribe and then near Runegate in Dark Season 1625.

If run as part of the Colymar Campaign, it is best run before The Throat of Winter: Terror in the Depths, before the onset of the worst of Dark Season.

Who do you play?
The scenario does not have any strict requirements in terms of the characters needed, but warriors, entertainers, and priests will all be useful.

What do you need?
Arrows of War can be run using just RuneQuest: Roleplaying in Glorantha. If the Game Master is running the Colymar campaign in and around, then the RuneQuest Gamemaster Screen Pack is recommended.

Although optional, The Armies and Enemies of Dragon Pass will provide more information about the Gloranthan warfare depicted in the scenario, whilst The Eleven Lights will explain the significance of the scenario’s cosmic events.

What do you get?
In the wake of the Dragonrise, King Pharandros of Tarsh reacts to Kallyr Starbrow’s revolt by sending a large Tarshite army to reinforce Lunar rule in Alda-Chur. In response, she petitions the tribes for warriors and the summons are issued across the tribal lands, including to the player characters.

In contrast to the events the characters will have participated in as indicated by ‘Step 2: Family History’ of the Adventurers chapter of the RuneQuest: Roleplaying in Glorantha core rulebook during character generation, Arrows of War is not a scenario in which they take part in a great event or battle. Although a battle does take place—at Dangerford—the player characters, along with many of their fellow tribesmen, are stationed elsewhere and can only wait and watch in case the Tarshite army and its Lunar allies attack there.

Arrows of War is about the call to war, preparing for it, and its aftermath, rather than the fighting involved. As a scenario, it is not as obviously dramatic as getting involved in a showdown between Sartarite and Lunar forces would be, but there is plenty of scope for drama and roleplaying within the events it describes. In the main, these involve a lot of waiting and marching and waiting, with suggested small events along the way. It is also about military camp life and the anticipation of battle rather than battle itself. Throughout, the scenario suggestions are given as to what skills might be used and why, many of them less commonly used skills.

Although none are detailed in Arrows of War, the scenario represents an opportunity for the Game Master to bring in NPCs for the player characters to interact with, either of his own creation, or drawn from the backgrounds of the player characters created during ‘Step 2: Family History’ of character creation.

Is it worth your time?
Yes. Although Arrows of War places the player characters on the periphery of events in Sartar, it highlights the importance of those events as well as their consequences, as well as providing opportunities for both roleplaying and skill use. It is a another decent scenario to run as part of the Colymar-set campaign from the RuneQuest Gamemaster Screen Pack in and around Apple Lane, one that will benefit from the addition of some named NPCs.
No. If you are running a campaign set further away from Colymar, then Arrows of War may not be of use to you. Its events could be adapted to other battles though.
Maybe. Arrows of War can be run using groups from further away, adapted to other battles, or even with some effort, run for a group of Lunar or Lunar Tarshite characters.

Although Palace of the Vampire Queen can claim to be the first published D&D module (not counting Blackmoor, which is more of a scenario), Lost Caverns of Tsojconth is the first published D&D module written by someone from TSR, i.e. Gygax.

It wasn’t actually published by TSR though – it was published by MDG (Metro Detroit Gamers). It was written for MDG Wintercon V and Gygax gave MDG permission to publish it.

According to the Acaeum, there were only about 300 copies published. And, of course, it was later published as The Lost Caverns of Tsojcanth, module S4. (Note the spelling change). I’ll note the differences when I come to read that down the road.

Compared to Palace of the Vampire Queen, this feels more like the modules that came later.

The background information talks of places like the Duchy of Geoff. Now we know they’re part of the world of Greyhawk, but in 1976, the general public wouldn’t have known anything about these places, only learning about them with the publication of the World of Greyhawk a few years later.

The tournament at Wintercon was run in a specific way where players were knocked out of the competition at the end of session one, and the background has some flavour text to explain how it fits in to this. There are two levels to the dungeon. Groups of players at the tournament would play the through the first level, the lesser caverns, and the best player of the group would get to go on and join with the other best players. This is explained in game as there being many parallel worlds and one player gains an aura that allows them to progress to the greater caverns.

There are further tournament rules such as no wandering monsters, always using average damage numbers instead of rolling dice, and spells such as cure light wounds always healing 4HP.

The actual room descriptions only take up 3 pages! In a lot of cases they’re mostly lairs of monsters. However there are also various features the party has to deal with such as a boat and river currents. There are also pictures for 4 of the locations! (In some ways, this can be seen as a precursor to the S series of modules which had special illustration booklets).

One curious difference is areas are coded by number or letter. The numbers provide info about areas and objects, while the letters are places where a creature resides. At least, this is the case in the lesser caverns. Just to be inconsistent, the greater caverns uses letters for both. The greater caverns map has numbers as well but only as keys to indicate teleportation points.

The caverns on both levels are very irregular and would be a nightmare to map from description let alone straight copying. What’s more, in the greater caverns there are 5 times the party will be teleported – double the nightmare!

BTW in the pdf that can be found online you can’t find the number 2 location in the lesser caverns because the left hand side of the maps are clipped. Here is where it is:

Also, the description to location F talks about a cross-hatched area. Even with the original module in front of me, I can’t quite figure out where that is:

To go along with the letter monster descriptions, there are handy monster tables, two for each level. One has the details of each monster, their hit points, attacks and how much they need to hit each of the pregen characters.

The second table is a matrix showing each character and weapon and what they need to hit each monster. Pretty handy for use in a tournament.

Curiously there’s yet another half page of monster descriptions and behaviours.

Wait a second. I’ve seen some of this haphazard layout before… I’m looking at you Original D&D rulebooks… And why are there “Chinese” hill giants?

BTW here’s one of the pregen characters:

Also odd, the Big Bad at the end, the Vampiress, doesn’t appear anywhere on any of these tables.

Speaking of which, there’s a rather random assortment of monsters in the greater caverns. In one area there’s even a party of fighters and warlocks that just seem to be hanging out. What?

The last room gets a surprising amount of detailed description, wooden inlaid tables, soft divans, oriental rugs, and on and on and on.

There’s a lot of treasure in this module – piles of 1000’s of GP and gems. The final room has 100,000 GP worth of gems. And there are more magic items than you can poke a 10 foot pole at!

And that’s another thing about these early modules – there’s no sense of story with some sort of denouement. There’s a climax in that there’s the Ultimate Bad Guy (girl in this case) and a special treasure but it’s up to the DM to wrap things up in some sort of satisfying way. Though I guess this is the case with a lot of early modules.

Basically this is a fairly standard dungeon crawl with lots of monsters and treasure with some tricky mapping thrown in. Really not much in the way of puzzles or story.

Date Information

This was run at MDG Wintercon V. There’s an ad in Dragon #3 for Wintercon which gives the dates as December 3-5, 1976. It’s a little unclear whether the module was actually published that same month, but December is a good a place as any to put this in the timeline. The Acaeum says 1976. BTW there’s more info than you could ever want to know about this module at Grodog’s Greyhawk Online site.

One further note, it could be said that Tomb of Horrors and Expedition to the Barrier Peaks were actually written before Lost Tsojconth – they were used as adventures at earlier conventions, but Lost Tsojconth was the first to actually be published. More info on this can be found on this page of Tournament History at Greyhawk Online.

Picture Information

Yes, that’s my copy! This is the rarest D&D item I own. The pdf that can be found online has clipped edges, especially on the left of each page.

Because as bad as January can get, we’re still a ways off from purple mohawks and bondage pants…so far.

Among many other things, the ReptiCon Dallas show marks the beginning of a new decade for the Texas Triffid Ranch: we’re now a fifth of the way through the Twenty-First Century, so it’s time to act like it. For the … Continue reading →

I was considering retiring "Kickstart Your Weekend" since there are so many Kickstarters now and plenty of places to get information on them.  But these two are nearer and dearer to me so I thought it would be fine.

Plus it was Bowie's birthday a couple of days ago (Jan 8) and today is the anniversary of his death (Jan 10, 2016), so for Bowie's sake let's be Heroes.

The Hero's Journey 2e


https://www.kickstarter.com/projects/gallantknightgames/the-heros-journey-2e?ref=theotherside

The Hero's Journey 1st edition was a delightful game. It was the perfect antidote for grim-dark murder hobo games that seem to be so popular.  A nice cup of tea vs whatever they sell in the local run-down dive where characters are supposed to meet.

This new 2nd edition gets further away from it's S&W roots and that might be a good thing.
James Spahn has delivered when it comes to games, so I have expectations for this one.

What I loved about THJ1 was that the characters were the heroes, people doing good in the world.  I think we need more of that.

Really looking forward to this one and I hope to see it in my local game store sometime.


Full-Color Custom Miniatures with Hero Forge 2.0


https://www.kickstarter.com/projects/heroforge/full-color-custom-miniatures-with-hero-forge-20?ref=theotherside

This one does not go live till next week, but you can bet it is going to break all sorts of records.
I was a proud backer of Hero Forge and I have enjoyed watching it grow over the years to be the standard by which I judge 3D printed minis.  If they can do the color they are displaying above then this is the reason why Kickstarter exists.

I can't wait to see this.  Will the minis be costly? Maybe, but I have been pleased with the prices on Hero Forge so far so I am expecting this will be similar.

If the timing is right I'll come back with a follow-up to this post with a color 3D Hero Forge mini of my Hero's Journey character!

Trouble on the Steel Pier: A Dystopia Rising: Evolution Jumpstart is a quick-start for a Dystopia Rising: Evolution, a Post Apocalypse roleplaying game from Onyx Path Publishing. It provides everything necessary for a gaming group to give the roleplaying game a try and perhaps even use it as the starter scenario to a campaign set in the dark future of Dystopia Rising: Evolution, including a basic explanation of the rules, a six-scene scenario, and five pre-generated player characters. The setting of Dystopia Rising: Evolution is an America some generations after the outbreak of a zombie virus brought about an apocalypse. In the decades since, the survivors have not only learned to adapt and get by, but mutated into several distinct Lineages. In more recent times, the cities, long fallen and crumbled, have formed the bones upon which new and vibrant settlements have been built, trade and travel have been established once again, and societies have begun to be formed. The setting for the scenario, ‘Trouble on Steel Pier’, is the Big A.C., a place of glitz, glamour, and danger within the post-apocalyptic wasteland. Here are opportunities for trade, for work, for entertainment, but also criminality, murder, and more…

Unlike other Jumpstarts and roleplaying games from Onyx Path Publishing which use the Storyteller system, Trouble on the Steel Pier: A Dystopia Rising: Evolution Jumpstart employs the Storypath system. The latter can be best described as a distillation of the former and certainly anyone familiar with the Storyteller system will find that it has a lot in common with the Storypath system, except that the Storypath system is simpler and streamlined, designed for slightly cinematic, effect driven play. The core mechanic uses dice pools of ten-sided dice, typically formed from the combination of a skill and an attribute, for example Pilot and Dexterity to sail a boat, Survival and Stamina to cross a wilderness, and Persuasion and Manipulation to unobtrusively get someone to do what a character wants. These skill and attribute combinations are designed to be flexible, with a character’s preferred method being described as a character’s Favoured Approach. So a character whose Favoured Approach is Force, would use Close Combat and Might in a melee fight; if Finesse, Close Combat and Dexterity; and if Resilience, then Close Combat and Stamina. 

The aim when rolling, is to score Successes, a Success being a result of eight or more. Rolls of ten are added to the total and a player can roll them again. A player only needs to roll one Success for a character to complete task, but will want to roll more. Not only because Successes can be used to buy off Complications—ranging between one and five—but also because they can be used to buy Stunts which will impose Complications for others, create an Enhancement for another action, or one that it makes it difficult to act against a character. Some Stunts cost nothing, so ‘Inflict Damage’ costs nothing, though may cost more if the enemy is wearing soft armour, a ‘Critical Hit’ costs four Stunts, and so on. Instead of adding to the number of dice rolled, equipment used adds Enhancements or further Successes for a player to expend, but the player needs to roll at least one Success for equipment to be effective.

Under the Storypath system, and thus in Dystopia Rising, failure is never complete. Rather, if a player does not roll any Successes, then he receives a Consolation. This can be a ‘Twist of Fate’, which reveals an alternative approach or new information; a ‘Chance Meeting’ introduces a new helpful NPC; or an ‘’Unlooked-for Advantage’, an Enhancement which can be used in a future challenge. Alternatively, a character gains Momentum which can be expended to gain an Enhancement or to activate a Skill Trick or an Edge.

The rules in Trouble on the Steel Pier: A Dystopia Rising: Evolution Jumpstart cover narrative and dramatic scale, combat—players roll an appropriate Resilience Attribute to generate Successes to be expended on Defensive Stunts, and procedurals such as information gathering, intrigue, influence, and so on. These are all clearly explained and all easy to use in play. In general, the Storypath system, as presented in this Jumpstart is clearly presented and quick to pick up. They feel simpler and faster than the Storyteller system and have a cinematic quality to them, especially with the availability of Stunts and Consolations in the face of failure.

Characters in the Storypath system share much in common with the Storyteller system. They have nine Attributes—Intellect, Cunning, Resolving, Might, Dexterity, Stamina, Presence, Manipulation, and Composure; a range a skills, some with associated Skill Tricks and Specialities; and Edges, Paths, and Aspirations. A Skill Speciality, such as ‘I Can Eat That’ for the Survival skill, adds an Enhancement, whilst a Skill Trick, like ‘Wayfinder’ or ‘Charisma’, require a point of Momentum. Of all of the aspects in Trouble on the Steel Pier: A Dystopia Rising: Evolution Jumpstart, what each Skill Trick actually is the least explained, so a playing group will just have to improvise. Edges are the equivalent of advantages, and for certain characters can be Faith or Psi Edges, whilst a character has three Paths. His Strain Path represents his history and strain of humanity, as well as his Strain condition; his Role Path is his occupation or what he is good at; and his Society Path represents his connection to a group or society. For example, one of the pre-generated characters is has the Strain Path of Retrograde, which means he has rotting skin due to excess radiation and consequently, the Strain Condition of ‘It’s Zed!’, meaning his appearance makes it difficult for others to communicate with him; the Role Path of Gunslinger, good with firearms; and the Society Path of Settlement (Philly del Phia). Aspirations are a character’s goals, and in the scenario are either short or long term.

The five characters included in Trouble on the Steel Pier: A Dystopia Rising: Evolution Jumpstart are a firebrand leader and sniper, a bruiser and paragon of faith, a cannibal tunnel rat and knife fighter, a charismatic scoundrel, and a physically disabled tech wizard and driver. Each is presented in full colour over two pages with the character sheet on one and an illustration and background on the other. The character sheets are easy to read and the background easy to pick up.

The scenario, ‘Trouble on the Steel Pier’, is a Macguffin hunt. The characters in the Big A.C., a glitzy harbour settlement , when they are asked by a contact from a Pure Blood family in Philly del Phia to collect a parcel of medical supplies from an incoming boat, the Harbinger. Unfortunately, as the boat sails into view, it comes under attack by zombies. The characters will have to get out to the Harbinger and save both her and the crew and find the medical supplies. Of course, not all is as it seems, but discovering that will require co-operation and investigation upon the part of the player characters. Each of the five scenes is very clearly organised with explanations of how the characters got there, what they need to accomplish, the opposition they face, and the goal of the scene all laid out for the Storyguide—as the Game Master is known in Dystopia Rising: Evolution. Everything that the Storyguide needs is laid out within each scene, making them easy to run. The scenes are a mix of action, investigation, roleplaying, and subterfuge. The story is linear, but that is not really an issue in a Jumpstart which is intended to introduce both setting and mechanics of Dystopia Rising: Evolution. If there is an issue with ‘Trouble on the Steel Pier’, it is perhaps that the scenario is a bit short and does not end on an exciting note. Nevertheless, there is plenty for the players and their characters to do, the characters themselves being nicely done to encourage roleplaying and show off what they can do.

Physically, Trouble on the Steel Pier: A Dystopia Rising: Evolution Jumpstart is a slim softback, done in full colour with plenty of illustrations depicting the grungy, worn world of a post-apocalyptic future. It could have done with an edit in places and perhaps a better explanation of some of the elements of the characters.

The good thing is that as much as Trouble on the Steel Pier: A Dystopia Rising: Evolution Jumpstart is a standalone, there is nothing to stop the Storyguide running its scenario with the full rules and characters of the players’ own creation. Its setting has a grim and grimy atmosphere, but does not over do either, nor does it overdo its zombies, so this is more than just a zombie roleplaying game. Overall, Trouble on the Steel Pier: A Dystopia Rising: Evolution Jumpstart is a good introduction to the Dystopia Rising: Evolution setting, a Post Apocalypse future still beset by zombies, its stripped down, slimmer mechanics of the Storypath system support its cinematic feel with its Stunts which give the players and their characters more options in play.

When coming out to a new event, placement may be everything, but that depends upon what you want to accomplish. Being completely unfamiliar with the venue for ReptiCon Dallas, two adjoining tables at one end of the hall seemed like … Continue reading →

Back in 2011 Dungeons & Dragons 4e Essentials was out and Wizards of Coast was putting it's full efforts behind it.  To help expand on their 4e and Neverwinter properties WotC turned to relatively new author Erin M. Evans to turn in a tale about tieflings and warlocks, two of 4e's more popular additions.

The result of her efforts was the first novel in the "Brimstone Angels" series, also titled Brimstone Angels.  The six-book series spanned two editions of the D&D game (4th and 5th) and help define what tieflings, warlocks, Dragonborn and even devils, succubi,  and Asmodeus himself.  But it all started with a tiefling girl named Farideh with mismatched eyes and her twin sister Havilar.

Farideh is a tiefling and since publication, she has become something of a poster girl for tiefling warlocks. But that is getting way ahead of myself.  Farideh and Havilar were abandoned outside of the walls of their village, they are adopted by a Dragonborn warrior (who has a past) Mehen.  Mehen is a good father to the two girls, although no amount of warrior training prepares him for raising teenage girls, especially tieflings and teens at that.  In the Forgotten Realms tieflings are new and twin tieflings are considered to be a bad omen.  That soon enough comes true as Havilar finds an old book and attempts to summon an imp.  Farideh has to jump in, she is more familiar with magic, and the girls soon realize they have bitten off far more than they can deal with.  They summon the cambion, Lorcan, the half-human and half-devil of the Invidiah, the leader of the Enriyes.   To send him off Farideh agrees to a pact with him and becomes his warlock.

Summoning the devil has other consequences, including burning down their home and getting them kicked out of their village of refugees (Arush Vayem).  They then go on an adventure where Evans treats us to a *new* Forgotten Realms.  I say new because unlike other Realms books where you can play spot the Extra Special Guest Star, this is a trip of normal folk, or in this case, three unknowns that happen to be a Dragonborn and his two adopted tiefling daughters.  Evans plays the family dynamics expertly.  Mehen obviously loves and worries about his girls.  Havilar is closer to his sensibilities having picked up the glaive and become and fighter like her father,  but it is Farideh that has him the most worried.

In addition to that dynamic, there is the Farideh-Lorcan relationship which gives us the best "Will they or Won't they" dynamic since Maddie and David (Moonlighting) or Ross and Rachel (Friends).  I won't spoil it, but I will say I am very satisfied with it.   Evans knows how to write characters, she would be fantastic in a game.

All this time there is a great story and impending apocalypse that could change the face of the Realms and a prophecy about the Brimstone Angels that will change the politics of Hell itself.  So no small stakes here, so no small feat for the first book.

The background story is great and a ton of fun, but truthfully it is the characters that will make you want to read the next in the series.  Lorcan is devilishly fantastic, Havilar just wants to beat things, Mehen wants to keep his family safe and Farideh is caught between them all.

As "gamer fiction" the book does a great job of explaining some of the quirks of 4e. Such as why are succubi devils now? Why did erinyes change? What happened to Hag Countess of Hell? Why is Asmodeus a greater god now?  What is the deal with Rohini? Well, not all these questions are answered right away, but they are dealt with.

What I loved about this book, other than the characters, of course, was that you didn't need a ton of Realms knowledge to enjoy it.  But in truth none of that matters, there is enough of Farideh, Lorcan, and Havilar to enjoy.    It is also a good introduction to the Forgotten Realms if you are like me and ignored the Realms for the last few decades.

It's a great start to a great series.

Legacy

Brimstone Angels was the first of six books that spanned from 2011 to 2016, and like I said, two editions of Dungeons & Dragons (4e and 5e).  The books had a huge effect on the direction of the game at least in terms of how warlocks could be played.

One needs to look no further than the Player's Handbooks for both editions to see the effects.


There in the Dragonborn names are Mehen, Farideh, and Havilar. 
There are other cases where text from the books, in particular interactions between Farideh and Lorcan, are used to flavor text next to the warlock entries. 

As I go through the other books I will try to remain spoiler-free, but apologies if an odd one slips by.

Links
https://smile.amazon.com/Brimstone-Angels-Forgotten-Neverwinter-Paperback/dp/B014S2IWTQ
https://dnd.wizards.com/products/fiction/novels/brimstone-angels
https://forgottenrealms.fandom.com/wiki/Brimstone_Angels
http://slushlush.com/
https://www.facebook.com/brimstoneangels/

Exhibit / January 9, 2020

Object Name: The NASA Graphics Standards Manual
Maker and Year: Danne & Blackburn, 1975 (official publication date January 1, 1976)
Object Type: Graphics standards manual
Image Source: NASA
Description (Michael Grasso):

In the mid-1970s, the National Aeronautics and Space Administration was in a period of transition. The final manned Apollo mission to the Moon, Apollo 17, had returned to Earth in December 1972; no further Moon landings were planned. NASA had recently kicked off their Skylab experiments in short-term orbital space station living (and détente-inspired collaboration with the Soviets), as well as announcing a reusable fleet of Space Shuttles, and were simultaneously planning a series of unmanned probes to the other planets of the solar system in the latter half of the ’70s. In this era of NASA’s shift from moonshot-style Cold War political statement missions to a more sustainable and diverse set of mission profiles, the organization underwent a massive rebranding, one driven in part by an overarching federal initiative to bring federal agencies into the 1970s by standardizing their graphic and visual design.

The Federal Design Improvement Program (FDIP) was an outgrowth of the Nixon-era National Endowment for the Arts (NEA), impelled by a 1971 Nixon directive for federal agencies to “direct your attention to two questions: first, how, as a part of its various programs, your agency can most vigorously assist the arts and artists; second, and perhaps more important, how the arts and artists can be of help to your agency and to its programs.” The wildfire growth of American public television in the early 1970s, as well as programs like the Environmental Protection Agency’s DOCUMERICA, showed that these statements of federal backing for the arts and humanities were not merely empty gestures on the part of the Nixon Administration. The NEA’s chief at the time, Nancy Hanks, initiated the FDIP, which not only included a graphic design-oriented Federal Graphics Improvement program but also programs using art to beautify federal buildings as well as upgrading government buildings through a Federal Architecture Project. NASA was not the only federal agency to take up the FDIP’s offer of redesign. The U.S. Postal Service also set out its own program for modernizing the design of stamps, Post Office signage, and branding; the Department of Transportation’s “Symbol Signs,” developed in 1974 by the American Institute of Graphic Arts, became international standard; and the National Park Service hired famed New York City subway designer Massimo Vignelli to initiate a “Unigrid” set of standards for park and museum signage design that is still used to this day.

The 1976 NASA Graphics Standards Manual was the product of New York design firm Danne & Blackburn. Richard Danne was a longtime commercial designer for the film industry who designed the iconic poster for 1968’s Rosemary’s Baby; Bruce Blackburn’s background was in corporate branding and in 1971 he had won one of the first FDIP-related government contracts for the official logo for the American Bicentennial. Danne and Blackburn’s effort to modernize NASA’s visual design put them up against a conservative agency still very much attached to a militaristic design aesthetic (influenced in part by the sleek rocketships on the covers of midcentury science fiction novels) throughout the Mercury-Gemini-Apollo era. Danne and Blackburn’s futuristic “worm” NASA logo, their use of Helvetica throughout (a favorite of European designers like Vignelli), and their preference for sleek, spare standardization conveyed “a feeling of unity, technological precision, thrust and orientation toward the future,” in the words of NASA Administrator Richard Truly in the Manual foreword. Indulgences were allowed for the older, more bespoke design style of the Space Race-era agency. Mission patches, often designed in part by the participating astronauts themselves, were yet another legacy of astronauts’ backgrounds in U.S. Cold War military service, and were preserved by the Standards Manual: “They should occupy their own visual space, separated from official NASA identification. In this way, the two elements are noncompetitive and the mission patch can achieve the emphasis it deserves.” The old NASA “meatball” logo was also reserved for “award presentations or formal events and activities which are ceremonial or traditional in nature.” The modernizing impulse of Danne and Blackburn recognized that in NASA’s culture, the pull of military tradition was still very strong. The Manual provides some interesting insights into NASA missions of the late ’70s and beyond, with the Space Shuttle Discovery making a prominent appearance to show off what the new NASA visual design would look like on a real spacecraft, as well as schematics demonstrating the new NASA branding on earthbound vehicles and on crew uniforms. Ultimately the NASA Graphics Standards Manual does reflect a profound institutional change. The quasi-military Space Race glories of the 1960s are to be respected but enshrined, segregated, put behind glass. A new NASA—one arguably consisting of more scientists than cowboys—took the agency into the futuristic era in the 1980s.

In 2017, a Kickstarter initiated by the publishing house Standards Manual (founded by designers Jesse Reed and Hamish Smyth) funded a re-publication of the Danne and Blackburn NASA Standards Manual that included bonus material from Danne and supporting documents from the design proposal process. Reed and Smyth had previously brought out a modern coffee-table version of the New York City Transit Authority Graphics Standards Manual, and recently have published versions of the 1970s EPA Graphic Standards System as well as a retrospective catalogue of the work of midcentury design firm Chermayeff & Geismar (where Blackburn had worked in the 1960s), responsible for the iconic modern NBC Peacock, the PBS “P-Head” logo, and Pan-Am’s corporate logo, among many other familiar pieces of Cold War-era corporate identity.

cybernecrocat:

Long dragonish friend from my sketchbook.
(Boy, wouldn’t it be great to have one consistent style and technique I could work on mastering. Oh, if only.)

And so it begins: invitations for the Chinese New Year at the Texas Triffid Ranch open house on January 25 just went out: if you happen to be a member of the arts press, Dallas or elsewhere, who needs one, … Continue reading →

It started as a lark. For the last several years, notices for ReptiCon shows in Dallas would arrive in the mailbox, usually literally seconds after scheduling another event for that same weekend. At the end of December, another notice came … Continue reading →

Reviews / January 8, 2020

Space Settlements
By Fred Scharmen
Columbia Books on Architecture and the City (2019)

You’ve seen the images before: interiors of massive cylindrical and spherical space habitats, where posh-looking off-world colonists attend catered cocktail parties and sip coffee on their (seemingly) tilted verandas; where space-suited construction workers navigate through zero-g miles above an immaculate suburbia, complete with backyard swimming pools; where elongated ribbons of verdant frontier alternate with windows admitting both sunlight and views of the looming Earth and Moon. Given the apocalyptic witlessness of our current politics, it’s hard to imagine that these brazenly idealistic renderings are anything more than cover art for an old series of Heinlein paperbacks, but in fact they are conceptual designs commissioned by NASA in 1975 “to assess the human and economic implications as well as technical feasibility” of space colonies. They pop up every year on various sites and publications, discovered anew with expressions of bewildered glee and filed under what we now call retrofuturism. But in Space Settlements, Fred Scharmen ventures far beyond the surface appeal of these enduring artifacts, exploring how they “mediate anxieties about the American city, about technology, and about the changing role of human beings within space and architecture more generally.”

The story begins with Princeton professor Gerard O’Neill, who, in 1969, invited his best students to question whether planetary surfaces were “the right place for an expanding technological civilization.” Things did not seem to be going well on Earth, after all, and young people, even young Ivy Leaguers, increasingly viewed science as a tool of destruction and subterfuge owned and operated by the military and political establishment. (Theodore Roszak makes this skeptical attitude central to the same year’s The Making of a Counter Culture: Reflections on the Technocratic Society and Its Youthful Opposition, where he defines technocracy as a “paternalism of expertise… which has learned a thousand ways to manipulate our acquiescence with an imperceptible subtlety.”) O’Neill and his students worked on the engineering and physics of rotating orbital habitats, and O’Neill, at least, decided that space might be a better fit for us—some of us, anyway—and that he was on to “something very important.” The leading scientific magazines and journals did not immediately agree, repeatedly rejecting O’Neill’s paper on the subject; it wasn’t until four years later that he saw any progress—a grant from Merry Prankster and Whole Earth Catalog founder Stewart Brand. This resulted in two conferences at Princeton (May 1974 and May 1975), which led to the 1975 NASA Summer Study at Stanford University. Although hundreds of schematics and illustrations pepper 1977’s summary report, Space Settlements: A Design Study, it’s the 13 large paintings illustrated by American artists Don Davis and Rick Guidice that frame Scharmen’s narrative (and appear in detail throughout the book, along with hundreds of photos and a lengthy appendix of never-before-seen sketches from the personal libraries of Davis and Guidice).

The idea of orbiting space colonies, and the visualization thereof, did not emerge from a vacuum. Scharmen discusses in compelling depth the architectural and philosophical foundations of the “inside-out planets,” as Brand called them, including (this is not a complete list) an 1883 sketch by Russian space scientist Konstantin Tsiolkovsky that Scharmen remarks is “the earliest known visual depiction of humans living in free-fall,” John Bernal’s 1929 pamphlet The World, the Flesh, and the Devil, in which the Bernal sphere is postulated, Le Corbusier’s landmark The City of Tomorrow and Its Planning (1929) and his “ideal” Radiant City, Wernher von Braun’s “Man Will Conquer Space Soon!” articles for Collier’s in the early ’50s, Space Race-fueled futurist depictions of hollow asteroid colonies capable of supporting up to a million intrepid souls, and, of course, NASA’s short-lived Skylab. Scharmen contrasts these predecessors with fictional models like the Death Star and Space Station V from 2001: A Space Odyssey and contemporary megastructures like the International Space Station and Apple Park, always with an eye to exploring “the relationships between architecture and speculative disciplines.”

Although O’Neill and the study participants instructed Davis and Guidice on the visual designs meant to “sell” the space settlement concept, the artists (Scharmen interviewed both extensively) brought their own touches and notions to the final product, culled largely from the increasingly popular science fiction genre (one of Davis’s pre-Summer Study paintings had been inspired by Larry Niven’s 1970 novel Ringworld) and the counterculture’s ecological experiments with modular and communal living: Scharmen notes that in one of Davis’s paintings, which appeared on the cover of a 1977 Whole Earth Catalog book (edited by Brand) called Space Colonies, a Golden Gate Bridge stand-in runs parallel to the axis of a cylinder habitat designed to emulate the San Francisco Bay Area (where Davis was raised); in the lush foreground, parents and their children sunbathe, cavort in a stream, and play Frisbee, their solar-powered, dome-like cabin nearby. O’Neill himself claimed, somewhat disingenuously, that he hadn’t been influenced by sci-fi (the “stories,” he said, provided “no useful ideas contributory to a practical scheme for space colonization”), and probably came to resent the influence of Brand and his acolytes, though he seemed to understand that buy-in from both communities was necessary.

For O’Neill, and for many others inside and outside the Summer Study bubble, the space settlements were “part Eden, part Ark,” Scharmen says—“the frontier without hardship and the city without difference.” They thus represent a distinctly American brand of utopianism—Carl Sagan called O’Neill’s proposals “America in the skies,” one of “the few places to which the discontent cutting edge of mankind can emigrate”—that has cropped up and fizzled out in communities from New Haven to New Harmony to Drop City to Zuccotti Park. O’Neill wrote in 1974 that “we have now reached the point where we can, if we so choose, build new habitats far more comfortable, productive and attractive than is most of Earth,” and in his 1977 book The High Frontier: Human Colonies in Space, he made a bolder claim: these new frontier settlements also would solve a “nonmaterial problem… not to be reckoned in dollars: the opportunity for increased human options and diversity of development.”

O’Neill may have been bright-eyed and full of blue sky, but he was also canny. In July 1975, as the Summer Study got going at Stanford, he testified before the House Subcommittee on Space Science and Applications about the possibility, logistics, and strategic advantage of American colonies in space. Against the backdrop of the energy crisis, turmoil in the Middle East, deepening recession, fear of imminent overpopulation (O’Neill’s project was partly a “refutation” of and solution to the Club of Rome’s 1972 Limits to Growth, a report concluding that the world’s human inhabitants would consume the resources needed to sustain themselves within a few decades), his pitch was couched in a language of entrepreneurship and nationalism that Congress could understand: we would build a “beachhead in space” that would soon grant the US “energy independence” through production of profitable synthetic fuels, as well as room to breathe and grow. “Earthlike human communities” in space represent “a product for which there is a big market, and which satisfies a need.” For a small initial investment (the “Spartan” tier cost $33 billion, while the “Luxurious” tier needed $200 billion), there would be a “direct-dollar” return, and, in 25 years or so, “total payback.” Utopia, it seems, just like everything else, can be bought.

Although a good part of Scharmen’s book is necessarily devoted to the technical concepts of space science and urban design (it’s to his credit, not mine, that I was able to follow along on feedback systems, spin gravity, Cartesian skyscrapers, and so on), Space Settlements is at heart a book about “the necessary investigations into the political and social agendas embedded” in the Summer Study’s particular “acts of design”—embedded in all acts of design, really. “If the environment is designed,” Scharmen writes, “then the population is designed.” Nearly all depictions of future space habitats and future living from the Cold War era feature a certain type of human: white, young, thin, manicured, lively, happy; one young black woman appears in the Summer Study paintings (at the cocktail party), likely based on a model from Guidice’s stock art collection. Both Carl Sagan and Stewart Brand recognized that the very idea of a space “colony,” of a new “frontier” or “settlement,” carried with it “language… hard to extricate from a history of violence, expropriation, and displacement”—but ultimately “colony” is what stuck. Was O’Neill’s project ultimately “about the creation of an inclusive, or exclusive, space?” Scharmen asks. “Who is invited into the rooms where these future spaces will be designed? Who is the space for?” It’s a timely question, given that the richest man in the world plans to build and run his own O’Neill cylinder, given all of these millionaires and billionaires reserving private flights to the Moon, given all this talk of mining Mars while, here on the old Blue Marble, our cities rust and our wilderness and wildlife burn.

To me, the Summer Study imagery recalls not so much an idealized future, but a mythical past. After so many wistful viewings over the course of the years, it occurs to me that the best of the paintings have something in common with classical landscapes (O’Neill instructed Guidice to make the habitat in his first illustration look like the “French countryside”). In the work of Claude Lorrain and Nicholas Poussin and hundreds of others, tiny foreground figures cavort, bathe, trade, play, work, and rest, engulfed by the indifferent grandeur of divine nature and, at times, the looming Greek and Roman temples and towers—the advanced technology—of a bygone Golden Age. The scenes are fantasy: imaginary places and mythopoetic expressions designed to instill in the viewer a sense of harmony and order and humility. The difference in Davis and Guidice is that technology has conquered nature, finally, and there is nothing left to fear. What is grander or more implacable or closer to heaven than the endless void of star-flecked outer space? And what is more comforting and idyllic than the first-generation colonist in his white tennis shirt basking in the garden sunshine refracted from the translucent skin of his cylindrical womb? Here there is no decay, no disease, no disparity, no privation, no regrets, and no way for the huddled masses to get in. What is so heartbreaking about O’Neill’s “islands in space” is not that we don’t have them, but that we shouldn’t need them.

K.E. Roberts is Editor-in-Chief of We Are the Mutants. He lives in Los Angeles with his wife, two daughters, and the longest cat any of them have ever seen.

 

 

One Man's God: Indian Mythos

It's 2020 and welcome back to my series One Man's God (OMG).  I look at the various gods, monsters and everything in between and see how well they could (or would or would not) fit into the AD&D 1st Monster Manual as demons.

Before I jump back in a few introductory notes.
I use the word "demon" a lot.  By this I don't usually mean the Christian meaning of the term, but rather the much more generic meaning as a usually evil spiritual creature.  This is important here since I am going to jump feet first into the Indian myths and they have a lot of demons, and many are called demons too.

I am also limiting myself to AD&D 1st edition here.  While I do draw from other editions and games, it is AD&D 1st ed I am most interested in.   How do these creatures and monsters fit the AD&D (not Earth's) cosmology?



So in preparation for this, I grabbed my copy of the Ramayana to help me out.  Though the focus here is not on the myths and stories themselves but rather on how the Deities & Demigods presents them.

It would be difficult, if not impossible, to collect all the myths and stories of India collate them, sort them and then put them into a gamebook and have them make sense.  Indian myths, like and maybe more so than other mythologies in the D&DG, are far too dense and scattered over time to fit the needs of a book publisher with a handful of pages to spare.  So I am not going to fault the creative choices made by the authors and editors here.  The authors acknowledge this in their first sentence of text for these myths.   So the list of gods, goddesses and creatures here combine Hindu, Buddist, Shakta, Jainism, and other beliefs.  Much like India itself.

Indian mythology is ancient, with Hindu texts going back to at least 1500 BCE.  I remember reading the Rig Veda in college and the Ramayan a while back.  What struck me then and again now is how much color and vibrancy there is to these tales.  I could go on and on, but that is not focus here.

In the Indian Myths as presented in the D&DG there are many gods and goddesses that look monstrous but are not.  This will be a classic example of not judging someone by their looks.

Kali
Kali might be one of the more recognizable personas from the Indian mythos.  She gained notable status soon after the D&DG came out thanks to the Indiana Jones and Temple of Doom movie.  But Kali is much, much more complicated than that. Kali is needed and required in Hindu mythology she is the one who dances with Shiva to destroy and then rebuild, the world.  Here name means "Time" and thus is a complicated character. 
In the D&DG she is reduced to just a goddess that can instill fear in demons and devils. She should be more.

Rakshasa
The rakshasa from the MM (and every Monster Manual hereafter) is often described as a demon.  Throughout D&D's history they have been consistently Lawful Evil. They are featured in many of the ancient tales, and in the Ramayana in particular.  Originally I wanted to re-classify them as Chaotic Evil, but after rereading the Ramayana I think I'll stick with Lawful Evil, with some odd individuals as Lawful Neutral or even Lawful Good.  Even in some tales Shurpanakha, the demonic sister of Ravana, the rakshasa king of Lanka, becomes so good that her beauty comes back to her.

Vitra and Susna
Both of these creatures are described as "dragons", "serpents" or "snakes" and often as a demon of drought.  They are typically blocking rivers or damming up waters and Indra has to fight them.

In this case, he could be related to any number of world-threatening serpents such as Apep or even Azi-Dahaka.  I honestly could use the same stats for it as I did for Apep.  Or in his "human" form that of a Balor.



A bestiary of all the monsters and demons from India would fill their own book.  It would be a fun book too!

Though if I were to do such a thing I'd rather do it for Ghosts of Albion and set it in the early Victorian Age.

 Exhibit / January 7, 2020

Object Name: Space toy line
Maker and Year: Britains’ Toys, 1981-1987
Object Type: Toy catalogs
Image Source: Hobby DB, Golob the Humanoid
Description: (Richard McKenna)

Of all the weird remnants to have filtered down into British popular culture of the late 20th century, the toy soldier was one of the most pervasive. The British Army had long been an important element—read facilitator and enforcer—of the country’s imperialist culture, and the total war mindset programmed into us by the First and Second World Wars was still very much a part of the psychological and physical landscape until well into the 1980s. At the beginning of the decade, newsagents still sold multiple weekly and fortnightly war story comics for children, Sven Hassel books were as ubiquitous as ashtrays, TV was still full of war films, and it was not considered in any way peculiar for a 9-year-old school friend to turn up to a fancy-dress party in a surprisingly accurate Wehrmacht uniform (well, maybe a bit strange—my mum did ask what his German stepdad did). And a large range of toy soldiers depicting the various fighting forces of World War II was still standard stock in toy shops: what better way to accustom children to the idea that war wasn’t something terrible and only to be entered into when absolutely necessary? That it was natural—just another game?

Founded in 1893 and famous for the accuracy and detailing of its products, stuffy British toy company Britains (I know) was the most establishment of the country’s toy producers. It had revolutionized the national toy industry with the invention of the hollow casting process, which allowied its lead figures to break the German stranglehold of the lucrative toy soldier market, and it continued to produce lead figures until costs and safety concerns forced a shift to plastic (produced in Hong Kong) on heavy metal bases in the late 1960s.

Britains’ soldiers were prestige toys to be collected, placed on a shelf, and admired for their craftsmanship—not set on fire with lighter fuel or buried in the back garden. Neither I nor any of the other children I knew in the consumerist ’70s had any, because, for the price of two Britains figures (which you would probably have had to go to a special “posh” toy shop to get), you could get a whole squadron of unpainted, injection-molded Airfix British Tommies, or an entire army in a plastic bag from one of the less accuracy-minded toy companies. To those of us less concerned with unsightly flanges of molding flash than with the thought of having an entire platoon at our command, Britains’ toys barely registered. But then, we were not their quarry. It’s clear from a glance at the company’s catalogs over the years that its target audience must have been the children of the nation’s wealthy farmers: at least, it’s hard to imagine why the hell else eight of the twenty pages of the 1980 catalog were dedicated to farm animals and, even more confusingly, farm equipment. Britains’ farm line had been introduced after the First World War when the nation was, understandably, looking for a something that didn’t remind them of the vast numbers of corpses that littered the continent. As undeniably beautiful as the models are, though, it’s hard to imagine any child of 1980 who had not been raised in Britain’s (the country, not the toy maker) most frightening cult—middle-class farmers—asking Santa for a 1:32 scale Vicon vari-spreader. Appropriately, one of Britains’ (the toy maker) rare forays into the populist cesspit of licensing (another was the 1924 Nestlé World Cow) was a model of Worzel Gummidge, the nation’s favorite TV scarecrow, as played by ex-Doctor Who Jon Pertwee. Throughout the postwar period, then, Britains’ business model had been based on two of the pursuits that have shaped and enslaved the human race over the millennia: farming and war—capitalism and imperialism, if you like.

By the end of the 1970s, American products had forced their way into the British market, and a dated domestic industry found it was struggling to retain kids’ affections and obtain their cash. Now add to that a movie called Star Wars. Global behemoth Lego had released its Space range in 1977 and the other big UK toy companies had already come out with their own ripostes to the changing landscape: Matchbox with the Adventure 2000 series and Corgi with its doom-laden X-Ploratrons. In 1981, Britains evidently decided that it could no longer afford to ignore the laser blasts shaking the heavens and embarked on its belated, ill-omened attempt to seize the thrashing tail of the zeitgest. What emerged was an unexpectedly joyous eruption of plastic that felt as though the warehouse-coat-clad bods usually charged with creating photo-accurate 1:32 scale diecast baling machines had done a load of mushrooms while reading a pile of sci-fi comics and listening to Hawkwind.

The relativism and lack of perspective implicit in calling a range of plastic space people transcendently beautiful, as I did above, doesn’t escape me, but in this case I feel as though it’s to some extent merited. Originally given a name whose uninspiring nature was fully in keeping with Britains’ reputation for dull worthiness—“Space”—the range’s strange cosmology posited an unexplained army of space soldiers clad in beautifully-designed bright yellow spacesuits, their feet anchored, like all Britains figures, to unwieldy metal lozenges for stability. Arrayed against them, for no clear reason, were their nemeses, the “Aliens.” The unexplained antagonism between the two sides was made even stranger by the fact that they shared exactly the same bodies, though the aliens’ suits were black and, in place of helmets, their heads took the skull-motif of the Cylon helmet to its extreme conclusion and colored it blood red.

The figures were alluringly idiosyncratic even by the standards of other space toys, and, incredibly, given their origins, some of the figures were even women—women who seemed almost to be in a position of equality with the men. In the world of 1980s British toys, women who wore unisex uniforms, carried weapons, and competently piloted vehicles were very much the exception. And stranger yet, there were female aliens too. Was it a genuine nod to sexual equality? Who knows. “Space”, of course, still existed in the realm of childish Manicheism: the (white) humans were the goodies, the be-tendrilled weirdos were the baddies. And as the range grew, more baddies were added, first among which were the Mutants (ahem). Surely one of the strangest of all the toys produced in the UK over this particularly fecund period, the Mutants in particular seemed almost a slap in the face to the tight-lipped Protestant worthiness of Britains’ other toys, a demented explosion of tentacles and forms that even now looks inexplicable, as though decades of repressed imagination were erupting through them. Obviously, the “Space” range also included its own line of distinctive spacecraft and accessories, all beautifully designed (initially) examples of Britains’ precision craftsmanship.

Unfortunately, British kids—drunk on years of heady backstories and manipulative advertising campaigns—were not impressed. Britain’s Space fitted into no greater marketing narrative: it was just there, in all its glorious weirdness. It’s hard to imagine how children could not have been immediately entranced by the grotesque forms, but Britains’ toys remained prohibitively expensive and available in a relatively limited number of outlets. Presumably in response to the lack of interest, the range underwent increasingly bizarre mutations over the following years, becoming Stargard and Star System and god knows what else, and adding cheaper- and cheaper-looking accessories before eventually disappearing from Britains’ annual catalogue altogether in 1988. I never managed to get my hands on any: my one attempt, which involved sending away six empty packets of Outer Spacers snacks, was doomed to failure, the 19½p in change I’d enclosed to pay for postage presumably snaffled by some venal postal worker before it ever reached its destination.

With its incongruous egalitarianism and its grotesque mutations, did Britains’ Stargard mean anything, in the wider sense? I doubt it. It was a daft toy that represented a tiny bubble of creativity and absurdity that ran completely counter to the company’s reputation as a purveyor of sturdy, well-crafted, establishment-supporting dullness. Yet there it now sits, its peculiar beauty somehow burnished even more by its complete and absolute triviality. And in some strange way, Britains’ Space, or Stargard, or Star Force, or whatever the hell it ended up being called, evokes the UK’s own recent history: the dream of an explosively egalitarian future sabotaged by a grotesque reflux of farmers and generals hacking, plowing, and shooting their way back into the past.