Outsiders & Others

Zatannurday: HeroForge Zatanna

The Other Side -

Zatannurday

I am really enjoying HeroForge.

Maybe, too much really. I have nearly a hundred characters I have made and I have bought a few as well that I love.

So really it was only a matter of time before I made my own HeroForge Zatanna.

Zatannan HeroForge
Zatannan HeroForge
I could not quite get her fishnets and her tux did not have tails, but otherwise, I think she is great.You can get yours here, https://www.heroforge.com/load_config%3D16149885/

I also used the lighting effects on her.  It works out well in the screenshots, but I still trying to find the proper "magic" for the printed minis.  For example here is another mistress of magic, The Simbul holding silver flame.

The Simbul

And here is how it looks printed.

The Simbul

Not bad, but I can certainly tweak it a bit more.

Z would be a welcome addition to my growing group of magical people.

magic minis

And while I was working on this we are NOW getting reports that an HBO Max series or movie for Zatanna is on the way!

HBO Max

Looks like we could be getting Batgirl, Batwoman, and more Shazam!  This could be great!

The Madness of Marlinko

Reviews from R'lyeh -

Fever-Dreaming Marlinko – A City Adventure Supplement for Labyrinth Lord details a borderlands city where life takes a strange fever-dream cast, where confidence tricks and scams are an accepted way of life, where its each of four contradas—or quarters—worships one of the four gods (and pointedly ignores the fifth) entombed in the squat, black bulk of the Tomb of the Town Gods, and where adventurers can find respite, relaxation, rumours, and more from the wilderness beyond… It stands amidst the Greater Marlinko Canton in the world of Zěm—as detailed in What Ho, Frog Demons! – Further Adventures in Greater Marlinko Canton, not too far from the Slumbering Ursine Dunes, and from there, Misty Isles of the Eld. It is published by Hydra Collective LLC and is an Old School Renaissance setting supplement designed to be run using Goblinoid Games’ Labyrinth Lord. Of course, it can easily be adapted to the Retroclone of the Game Master’s choice.

As a city located in the Hill Cantons, a region described as, “A Slavic-myth inspired, acid fantasy world of Moorcockian extradimensional incursions and Vancian swindlers and petty bureaucrats.”, Marlinko matches much of that description. Both of its four contradas and their inhabitants have Slavic names and many of its monsters are drawn from Slavic legend. For example, one of the city’s leading socialites is Lady Szara, organiser of the annual Bathe in the Blood of your Servants charity ball, is secretly an ancient and evil strigoi—a Romanian version of the vampire—who it is suggested, should speak in the style of the actress, Zsa Zsa Gabor, only more sinister. She may even employ the Player Characters to locate certain magical gewgaws and knick-knacks, that is, if she simply does not decide to consume them... The Eld—essentially ‘space elves’ from another dimension with a distinctly Melnibonéan-like, decadent sensibility—slink secretly into the city, and the bureaucracy extends to unions, such as The Guild of Condottiere, Linkboys, Roustabouts, and Stevedores, a union for adventuring party hirelings, which really objects to scab hirelings! Numerous swindlers and scam artists are mentioned throughout the description of the city, and there is even a section on ‘Running Long and Short Cons’.

Intended to be regularly visited by Player Characters of Second and Third Levels, what Fever-Dreaming Marlinko – A City Adventure Supplement for Labyrinth Lord is not, is a traditional city supplement. There is no building-by-building description, no great history of the city, or great overview. Instead, it focuses on the pertinent details about four contradas and the things that can be found there and more importantly, can be interacted with by the Player Characters. Včelar is home to Marlinko’s wealthy, dominated by their great painted-plastered town-manses and famed for Jarek’s Manse and Tiger Pit where the perpetually name dropping and bragging owner has built a domed all-weather tiger pit in which he stages tiger wrestling! Obchodník is the city’s business district, where at Fraža’s Brokerhouse, the Player Characters might make purchases from the radically—for Marlinko, that is—honest and unfortunately terribly racist, Fraža the Curios Dealer, or pay for at fortune at The Serene Guild of Seers, Augurs, Runecasters, and Wainwrights—the clarity (at least) of any such fortune depending on the cost. Svině is home to Marlinko’s slums, but also many guilds, such as The Illustrious Workers of Wood or The Guild of Condotierre, Linkboys, Roustabouts and Stevedores’ Dome of Supernal Dealings, but also home to the Catacombs of St. Jack’s Church of the Blood Jesus, whose disturbingly bloody misinterpretations of Christianity has the potential to unleash murderous mayhem upon the city. Soudce is home to the city’s suburbs, their skyline dominated by the Onion Tower of the Checkered Mage, the home of the city’s resident arch-mage, František, a surprisingly level-headed wizard, who might pay well for certain items.

Each of the four contradas is accompanied by a table of random encounters, a mixture of the mundane, the silly, and the weird. For example, a group of flirts who if a Player Character parties with might wake up the next morning at his own shotgun wedding; Kytel the Duellist, a thoroughly bored swordmaster who will fight anyone to first blood; Old Slinky Panc, an escaped tiger, probably drugged and quite harmless, who Jarek the Nagsman would probably want returned—and returned unharmed; and a Hairless Hustler who will offer to sell the Player Characters two bars of surprisingly warm to the touch silver metal—and there is a reason that the Hairless Hustler lacks hair… These are all engaging encounters which make getting about the city memorable and interesting, some of them having the capacity to turn into interesting adventures depending upon the actions of the Player Characters.

Marlinko’s notables are described in some detail, but perhaps the best part of their descriptions are the suggestions on how to speak like them. The Game Master should have enormous fun portraying any one of them. In comparison, only two adventure sites are detailed in Fever-Dreaming Marlinko—‘Lady Szara’s Town-Manse’ and ‘Catacombs of the Church of the Blood Jesus’. Ultimately, they are both places to raid and ransack, home to respective evils present in the city, but not raid and ransack without reason. A Player Character might be kidnapped and find himself locked up in the catacombs first or the Player Characters all together might be hired to find a missing person, whilst Lady Szara could hire the Player Characters rather than give them cause to attack her and so have them visit her home. Of the two, ‘Lady Szara’s Town-Manse’ is the more interesting and the more thoughtful in its design, being an actual home rather than just another monster lair. It is also better mapped.

Beyond describing might be found in each contrada, Fever-Dreaming Marlinko details crime—sanctioned and unsanctioned crime—and punishment in the city, advice on running cons in the city, and buying and selling in the city—everything from War Ocelots and Radegast’s Dark ale to the Poignard of the Overworld and a campy, faux-barbarian meadhall. Emphasising Marlinko as a place to visit and unwind in its taverns and other entertainment establishments, Fever-Dreaming Marlinko includes a guide to carousing in the city and potential outcomes whichever contrada the Player Characters are visiting. There are even three locations for the Labyrinth Lord to expand as potential adventure sites, though of course, it would be nice to have had more ready-to-play adventure sites in the book.

However, as odd and as weird as the city of Marlinko is, it can get weirder. As with the other titles set in the Hill Cantons, Fever-Dreaming Marlinko has a Chaos Index, which tracks the ebb and flow of the weirdness in the city, much of it being driven by the actions of the Player Characters, including making trips back and forth to the Slumbering Ursine Dunes. This is indicative of the design of Fever-Dreaming Marlinko, that it is ideally meant to be played in tandem with Slumbering Ursine Dunes. As the weirdness factor grows, the cultists of the Church of the Blood Jesus might commit more, and bloodier murders, mass hallucinations might break out, hundreds participate in a group wedding, and more. The weirdness factor also affects the ‘News of the Day’, the rumours and truths which spread throughout the city.

Rounding out Fever-Dreaming Marlinko is a set of five appendices. The first is a bestiary which adds three monsters—the Robo-Dwarf, the Wobbly Giant, and the Cantonal Strigoi, whilst the second, a ‘Tiger Wrestling Mini-Game’, provides the rules for handling events at Jarek’s Manse and Tiger Pit, the only tiger-wrestling arena in town. It is definitely a dangerous pastime, but good luck to any Player Character who throws his hat into the ring! Two new Classes are detailed in the third appendix. The Mountebank is a Thief-subclass which has the Sleight-of-Hand skill for moving and switching out objects as part of a scam, can use Illusionist spells—though they can only be learned by swindling them out of actual Illusionists, and even temporarily raise their Charisma to eighteen! The other Class is the Robo-Dwarf, which is more of a strange mechanical variant upon the actual Dwarf Class. The last two appendices provide the Labyrinth Lord with a useful list of ‘Common NPC names and Nicknames’ and a pronunciation guide.

Physically, Fever-Dreaming Marlinko is generally well laid out, the writing is clear, and the artwork is excellent. It needs an edit in places, the real problem with the physical book is that it is not well organised, lacking an introduction which would help the Labyrinth Lord understand how the city functions as a game setting and the order in which the book’s contents come not always in the right place. Once the Labyrinth Lord has read through the book, it is relatively easy to grasp how the city works as a setting.

Apart from the less than useful organisation, there are really only one or two other issues with Fever-Dreaming Marlinko—both of which could cause offence. The first is that St. Jack’s Church of the Blood Jesus is a potentially offensive misinterpretation of Christianity, whilst the second is that one or two of the NPCs are described as fervent racists and that the Labyrinth Lord is expected to portray this in character. Now this does take place in a fantasy world, but that does not mean that neither a player nor the Labyrinth Lord cannot or should be necessarily comfortable about this. This is one aspect of the setting which will require a discussion between all of the players before play begins to see whether they are prepared to accept it or not as part of the setting. The likelihood is not and the Labyrinth Lord should be prepared to replace it with potentially less offensive character quirks or attitudes for the NPCs concerned.

Fever-Dreaming Marlinko is designed as campaign base, one which the Player Characters will return to again and again after exploring first the Slumbering Ursine Dunes, then the Misty Isles of the Eld, and from there, the wider world of Zěm as detailed in What Ho, Frog Demons! – Further Adventures in Greater Marlinko Canton. Although the Labyrinth Lord could use it in another setting, it does work best with those other books. And each time the Player Characters visit Marlinko, the Labyrinth Lord is given the means to make that visit memorable—with locations they might want to go to, random encounters which can become something more, rumours, and eventually weird things going on around them. There is no part of Marlinko as described which cannot be interacted with or does not add to the sense of oddness which pervades the city and which will probably be worse with every visit. Overall, Fever-Dreaming Marlinko – A City Adventure Supplement for Labyrinth Lord is a brilliantly written, incredibly gameable setting supplement which provides the Labyrinth Lord with an excellent toolkit to bring a fantastical city setting to life.

George Beattie - John o' Arnha'; to which is added The Murderit Mynstrell, & other Poems, 1826

Monster Brains -

John O'Arnha' A stalwart monster, huge in size, Did streight frae out the river rise, His legs were horn, wi joints o' steel, This body like a crocodile..."A stalwart monster, huge in size, Did streight frae out the river rise, His legs were horn, wi joints o' steel, This body like a crocodile..."  John O'Arnha'The Kelpy tried we John to grapple, But Arn caught him by the thrapple, And gar'd his carcase sweep the stanners, Whilk made a noise like corn fanners..."Grim furies spread their forkit fangs, An drove at John wi furious bangs..."  John O'Arnha'Grim furies spread their forkit fangs, An drove at John wi furious bangs..."The Kelpy tried we John to grapple, But Arn caught him by the thrapple, And gar'd his carcase sweep the stanners, Whilk made a noise like corn fanners..."  John O'Arnha'Her coatties pat the knees were kiltit, In eldrich notes she croone'd an' liltit..."Her coatties pat the knees were kiltit, In eldrich notes she croone'd an' liltit..."  John O'Arnha'Sae fently did she wing her flight, In a twinklin' she was out o' sight..."Sae fently did she wing her flight, In a twinklin' she was out o' sight... "
 You can read the book in its entirety at Google Books.  The higher resolution images found thanks to Spl Hand Colored Rare Book Collection.

25 years of The Other Side!

The Other Side -

"A fine website, but even more than that...THANKS FOR THE GREAT PARODY OF THE DARK DUNGEONS TRASH! Best wishes."

Gary Gygax circa 1999

Back in 1994, I moved to Chicago to work on my Ph.D. and be closer to my then-girlfriend (spoiler, I married her in 1995).   I was working at the College of Education at the time as their tech-monkey.  I told them I knew how to write code. I did/do, but it was all Pascal, Fortran, and some C and VisualBasic.  What they wanted was HTML though they really didn't know it at the time.   I built their student databases and worked on their nascent website.  

My very first website, made in 1995, was The Chicago Campus Crusade for Cthulhu.  I had all my Call of Cthulhu materials online and it was a parody site.  This was quickly followed by my Gateway2000 PC site (yes I was a huge fan of Gateway computers). I had built them both in Notepad, a tool I still use today to edit all my HTML.

The earliest captures were 1998, but by then I had been on for 2-3 years. I was using the "noarchive" tag and "Frame breaker" scripts a lot back then because there was a real concern for webpage theft and spaghetti publishers. I thought that would help. What they do was keep my site from being archived by bots.

This kept me from finding the very first versions of my sites, though I still have all the HTML code backed up.  I did notice that when I went back for my second Ph.D. my student account was reactivated and there are some captures from around then as well.

In any case, the knowledge I gained from those sites was poured into my newest site, The Other Side.

The Other Side, circa late 1990sSo dark. Very Internet. Much frames.

I named it after an old newspaper column I wrote for my school newspaper in High School and then my first year of undergrad.  Plus it sounded mystical and new agey.

I am not 100% sure of the exact day it went live. I know it was between March 10th and the 12th because that was my wife's birthday.  Also, I was in a Cognition of Memory course at the time when I jotted down my first ideas for it in my notebook.  So that was Spring term 96.

The site changed over the years. I added more and more material and soon it was the home of my first Netbook of Witches and Warlocks, published in 1999. I had moved from my campus site to RPGHost for the longest time. From there I was also on Xoom, NBCi, Tripod, and then PlanetADnD.

edgy edge guyWhoa, easy there Darklord.

Around 2003 or so I kept getting hacked and my sie taken down.  My host asked me to take it down for a bit because of all the DoS attacks he was getting.  So for a while, all that remained were some mirrors of the site that I rarely updated.

The site was revived in 2007 on this blog. 

I still use the same background, though in a much-lightened fashion. Some of the material written for that old site has also come back here. 

Sadly many of my then contemporaries are gone. PlanetADnD is no more. BlueTroll has been gone a long time. All the old hosting services are long gone. I see that ADnDDownloads is still up after a fashion. Mimir, the Planescape site, is still going and looks the same as it did back in the 1990s, though I don't think it has been updated in 10 years and many links are broken.

While I miss some of the "wild west" days of finding the perfect, or the perfectly odd, netbook, things are better now.  DriveThruRPG gives me legal means to complete my collection and DMGsguild covers my need for fan-created material. And that is just the tip of the iceberg as it were. 

Do I have it in me to go another 25? Well...I'll be in my mid to late 70s then, so no idea.  But I am going to keep having fun with this as long as I can.

Thanks for being with me this long!

Robot Rampage

Reviews from R'lyeh -

Robots Among Us is a supplement for Metamorphosis Alpha: Fantastic Role-Playing Game of Science Fiction Adventures on a Lost Starship. The first Science Fiction roleplaying game and the first post-apocalypse roleplaying game, Metamorphosis Alpha is set aboard the Starship Warden, a generation spaceship which has suffered an unknown catastrophic event which killed the crew and most of the million or so colonists and left the ship irradiated and many of the survivors and the flora and fauna aboard mutated. Some three centuries later, as Humans, Mutated Humans, Mutated Animals, and Mutated Plants, the Player Characters, knowing nothing of their captive universe, would leave their village to explore strange realm around them, wielding fantastic mutant powers and discovering how to wield fantastic devices of the gods and the ancients that is technology, ultimately learn of their enclosed world. Originally published in 1976, it would go on to influence a whole genre of roleplaying games, starting with Gamma World, right down to Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic from Goodman Games. And it would be Goodman Games which brought the roleplaying game back with the stunning Metamorphosis Alpha Collector’s Edition in 2016, and support the forty-year old roleplaying game with a number of supplements, many which would be collected in the ‘Metamorphosis Alpha Treasure Chest’.

The Starship Warden was stocked not just with thousands of robots, ready to help humanity settle the new world that the colony ship was destined for, but also large factories intended to manufacture yet more useful robots and automated terraforming machines ready to begin transforming the new world into a new paradise for humanity. However, these many robots were just as affected by the radiation cloud that caused the change as were the ship’s crew and colonists, and plant and animal stock, their A.I. brains warped and twisted and their programming altered beyond what their original designers intended. Metamorphosis Alpha focuses on the biological inhabitants of the Starship Warden, the Humans, Mutated Humans, Mutated Animals, and Mutated Plants. Robots Among Us switches the focus to the mechanical inhabitants of the Starship Warden to present a set of seventeen encounters with robots aboard the colony ship.

Written by Jim Ward, the designer of Metamorphosis Alpha, with many of them entertainingly illustrated by Jim Holloway, the entries in Robots Among Us range in length from half a page to two pages long. Each includes a subtitle which suggests what the encounter is about, such as ‘ Arc Bots – More Than Just Security’ and ‘300 Years And Counting – Butler Robot Ready To Serve’, an explanation of what is going on, some colour text—in bold—ready for the Game Master to read out to her players, and the stats for the one or more robots involved in the encounter. The writeup for each robot includes its normal reactions, so that the Game Master can easily gauge its actions. The Game Master will need to refer to the Metamorphosis Alpha rules for descriptions of the various Miscellaneous, Defensive, Weapon, and other systems installed into each of the robots, and in some cases will need to prepare an encounter to fit into her campaign, but others can be dropped straight in with almost no or little preparation. Their theme is always though, that of ‘robots gone awry’.

Robots Among Us includes encounters with warbots, security bots, horticultural bots, cargo bots, servant droids, bomb disposal bots, cleaning bots, med bots, and more. In ‘Bunker Bots’ the Player Characters are attacked out of the blue by a damaged bot, and tracking it back to its source reveals more; in ‘War Unit’, the Player Characters are visiting a village when they see a battle involving military bots nearby—do they join in, wait to salvage the battle, locate the source of the robots, or all three?; whilst in another village, everyone comes under attack by a host of war machines, but is saved by an intelligent tank that sat dormant for centuries almost like a statue outside the village! Given the short length of the encounters in Robots Among Us, it should be no surprise that many of them are combat orientated. Some of the more interesting encounters involve more roleplaying—upon the part of both Game Master and her players—than combat and whose events will play out over the course of several sessions beyond the pages of Robots Among Us. For example, in ‘300 Years And Counting’, the Player Characters encounter a robot butler who is still awaiting the return of its former masters and will treat them differently depending upon whether they are Humans, Mutated Humans, Mutated Animals, or Mutated Plants, a theme which runs throughout Robots Among Us and Metamorphosis Alpha and its subsequent descendants. Similarly, in ‘Mother Knows Best’, the Game Master gets to ramp up the camp when the Player Characters encounters a ‘Orabelle 3,000 Matron Unit’, and it starts to clean up after them and actually clean them and admonish them when they take actions which it perceives is dangerous!

Physically, Robots Among Us is well presented , neat and tidy, and an engaging read. In places, it could have been better organised to make it clear quite what is happening in each encounter. If there is an issue with Robots Among Us, it is perhaps that too many of the encounters do involve combat rather than other forms of conflict or engagement. However, that does make them easier to use by the Game Master, but it does also mean that the Game Master will want to use the encounters to be found in Robots Among Us judiciously, to mix them up with encounters. Of course, Robots Among Us provides plenty of support for the Metamorphosis Alpha Game Master, but this is supplement for a post apocalypse roleplaying game, so there is also a lot here which could be brought into the post apocalypse roleplaying game of the Game Master’s choice, whether that is Gamma World or Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic or any of the others. The content in the individual entries would require some adjustment, but the parred-back stats in Metamorphosis Alpha would make that relatively easy.

Robots Among Us is a useful supplement, a supplement which the Game Master can pull off the shelf and peruse and prepare an encounter with relative ease—some encounters require more preparation times than others. Robots Among Us provides solid support for Metamorphosis Alpha, and with a little bit of effort, for other post apocalypse roleplaying games too.

Elf Lair Games / NIGHT SHIFT at GaryCon XIII

The Other Side -

I will admit it.  I kinda take GaryCon for granted.  It's a fun con and it usually happens around my kid's spring breaks and it is only about an hour-long drive.  We can go there, play some games and sleep in our own beds afterward.

 Well, leave it to this pandemic to let me know what got once it is gone!

This year I, along with the rest of Elf Lair Games, will be running some NIGHT SHIFT games for Ethereal Gary Con XIII

Gary Con

This year I am running NIGHT SHIFT: Veterans of the Supernatural Wars along with Elf Lair Games founder Jason Vey and Derek Stoelting (one of our long-time collaborators from our Eden Studios days).

Registration for badges is ongoing, event registration has begun for some badge holders and will open up next week.

Here are the games we are running.

SPECTOR DETECTORS!
Spector Detectors! is my game.  Here are some details.You are the SPECTOR DETECTORS! The hottest ghost hunting channel on FaceTube! Or at least you will be, one day. Right now you are busy checking out every reported haunted house in the tri-county area. Your team knows that the ghosts are fake, with a little bit of technological know-how and some good-sounding esoterica. You hope your next assignment, the historic Willow Crest Manor, will be your ticket to internet fame, glory, and plenty of advertising impressions.

Let’s Get Detecting!

This introductory NIGHT SHIFT game is run by RPG co-designer Tim Brannan.

Event Number 1026
Saturday at 2:00 PM (Central Time)
Hosts Timothy S. Brannan (1749)
Room 04 - Fate of the Norns Room
Duration 3 hoursHere are all the other games running as well.
Blood of the new moon
Blood in crescent city
dancing in the ruins

I wish I could play them all, to be honest.  It has been YEARS since Derek, Jason and I have thrown dice together at a Con.  

Elf Lair Games

NIGHT SHIFT should appeal to fans of old-school games and modern supernatural/paranormal fiction fans.   Essentially if you like the work we all have done of previous games (Buffy, AFMBE, Ghosts, AA, and more) then you should enjoy this.

I'll post when the games are ready for registration.

Richard Doyle - Witches and Dragons, late 19th Century

Monster Brains -

Moonlit Landscape, with a Witch and Young DragonsMoonlit Landscape, with a Witch and Young Dragons, 1876  After Richard Doyle - Witch Guiding Dragons, late 19th CAfter Richard Doyle - Witch Guiding Dragons, late 19th Century 
 Previous posts on Richard Doyle inlude a collection of his Jack the Giant killer illustrations, An assortment of dozens more of his paintings and drawings and the first post from 2007 including a smaller image of the witch with dragons painting. 
 Also shared last year was a post on Richard's artistic brother and father to Sir Arthur Conan Doyle, Charles Altamont Doyle.

Ali Akbar Sadeghi

Monster Brains -

Demon 01, Satan & Soul series, 2017Demon 01, Satan & Soul series, 2017 

Ali Akbar Sadeghi - As Demon Noah, detail 1 Ali Akbar Sadeghi - As Demon Noah, detail 2 Ali Akbar Sadeghi - As Demon Noah, detail 3 Ali Akbar Sadeghi - As Demon Noah, detail 4 Ali Akbar Sadeghi - As Demon NoahAs Demon Noah 

Ali Akbar Sadeghi - As Demon DaughterAs Demon Daughter 

Ali Akbar Sadeghi - DemonsDemons 

Ali Akbar Sadeghi, Satan & soul 07Satan & soul 07 

Ali Akbar Sadeghi - As Satan & Soul 06Satan & Soul 06 

Ali Akbar Sadeghi - 2nd  Illustration from "Travels of Sandbad" by Mohammad Ali Sepanloo Ali Akbar Sadeghi - Illustration from "Travels of Sandbad" by Mohammad Ali SepanlooIllustration from "Travels of Sandbad" by Mohammad Ali Sepanloo 

Ali Akbar Sadeghi - Melli Bank Reproduced, Retell Collection, 2015Melli Bank Reproduced, Retell Collection, Film cell on canvas, 2015 

Ali Akbar Sadeghi - Boasting Reproduced, Retell Collection, Film cell on canvas, 2015Boasting Reproduced, Retell Collection, Film cell on canvas, 2015 

Photo of Ali in his North Tehran studioPhoto of Ali in his North Tehran studio 

"Sadeghi is one of the most prolific and successful Iranian painters and artists from the second half of the 20th century to today. Born in 1937, Sadeghi is famous for his drawings, paintings and films are part of a well developed Iranian surrealist movement which was prominent from the 1970's until today. 

 Much of Sadeghi's inspiration comes from historical books including the Shahnameh where he uses cultural motifs and myths for the basis of his work. He initiated a special style in Persian painting, influenced by Coffee House painting, iconography, and traditional Iranian portrait painting, following the Qajar tradition - a mixture of a kind of surrealism, influenced by the art of stained glass." - quote source 

Artworks found at 50 Watts, The Real Riviera, Dastan Gallery and the artist's official site. 

 See more at an instagram account devoted to the artist. 

 

With The Master from Reza Sayah on Vimeo.

“A Train to the Astral Plane”: The Cosmic Folk of Jim Sullivan and Judee Sill

We Are the Mutants -

Annie Parnell / March 10, 2021

Originally released one month after the Apollo 11 moon landing, Jim Sullivan’s psych-folk hidden gem UFO (1969) is characterized by a drifting kind of hopefulness. Over the floating strings and upbeat horns of The Wrecking Crew, who famously backed The Beach Boys and Phil Spector, the album’s lyrics consider alien abduction and psychic links with loved ones with a curiosity tinged with despair. Sullivan weaves these unearthly themes together with transitory imagery of highways and train stations, a cosmic American landscape that calls to mind Gram Parsons, who he is frequently compared to. Throughout, he searches earnestly for connection, in “Whistle Stop” asking, “Do you know the feeling? Can you love someone you’ve only met a while ago?”

UFO paints love as an otherworldly link with another person who can “hear what I am thinking,” and the album’s title track extrapolates this idea further to consider the notion of divine love. Sullivan, who was raised Irish Catholic and is described by his son Chris as having grown up in an “age of exploration,” wonders in the song if the Second Coming of Christ might arrive by UFO, an idea that’s since been amplified by his better-known space-rock contemporary David Bowie. Jim, however, is no Ziggy Stardust—where Bowie’s odes to an alien messiah are jubilant, “UFO” is inquisitive and a little guarded, with a refrain that insists that he’s only “checking out the show.” For Sullivan, it’s not only hard to comprehend the seemingly telepathic sense of connection that true love offers—on both an interpersonal and a godly scale, it’s almost impossible to believe in it.

It’s a potent sentiment, and Sullivan’s idiosyncratic, wandering lyrics parallel the mystery that surrounds his life. Chris Sullivan explained to the New York Times in 2016 that Jim resented “the idea that he might have to be a square and go work for someone else,” but despite attracting the attention of Playboy Records and celebrity fans like Farah Fawcett and Harry Dean Stanton, his music career failed to pick up steam. This struggle between the talent he so clearly possessed and the recognition that stayed out of his reach is preternaturally visible on his debut album: in the song “Highways,” Sullivan is both dogged and lost, clearly stuck but stubbornly rebuking a world that refuses to let him live by his own rules. 

Six years after UFO’s release, Sullivan decided to drive cross-country to try and catch a break in Nashville. Along the way, he checked into a hotel in Santa Rosa, New Mexico, bought a bottle of vodka at a local liquor store, and disappeared without a trace. His Volkswagen Beetle was found abandoned at a nearby ranch. In the passenger seat were his wallet, his guitar, and a box full of copies of both his sophomore release Jim Sullivan (1972) and UFO. The latter’s listing on the label Light in the Attic’s website describes a conversation in which he claimed that if he ever had to disappear, “he’d walk into the desert and never come back.” Others point to a stop by police near Santa Rosa, which, as Chris notes grimly in an interview with FLOOD Magazine, has “a way of making people disappear.” A short documentary made by Light in the Attic touches on another theory: that he was abducted by aliens. Regardless, as his son points out, Jim was “great at what he did,” and the music on UFO is as intimate as it is enigmatic, asking questions about existence, the universe, and our place in each.

Sullivan’s quip in “UFO” that “too much goodness is a sin today,” as well as his gaze towards the stars for salvation, might have resonated with Judee Sill—another unsung singer-songwriter whose debut album Judee Sill (1971) is stuffed with references to aliens and the paranormal. A former church organist, she mixes these occult images more explicitly than Sullivan with Christian spirituality, crafting an intimate assortment of lyrical confessions that she once described as “Country-Cult-Baroque.” On “Crayon Angels,” the album’s opener, she sings gently that she is “waiting for God and a train to the astral plane.” Throughout the album, Christ continues to appear to her in a variety of far-out forms, including an “archetypal man” who’s “fleeter even than Mercury” and whose “moon mirage is shining.” 

In “Enchanted Sky Machines,” a gospel-influenced ballad near the album’s close, Judee is especially hopeful, blending salvation and spacecraft in a way that distinctly evokes “UFO.” On the live album Songs of Rapture and Redemption, she explains candidly that this song is “a religious song about flying saucers coming… to take all of the deserving people away.” Her Live in London BBC recordings reveal a deep-seated belief, explored through this alien metaphor, that “deserving people will be saved.” Unlike Jim Sullivan’s passive and cautious “checking out the show,” however, Judee’s hope for an alien, ’70s-style rapture is yearning, open, and at times deeply anxious. Early on, she admits—to God or to us?—that she “could easily love you if you’d just let me feel”; by the second chorus, she begs the titular “sky machines” to “please hurry.”

This urgency behind Sill’s search for space-age saviors seems intrinsically tied to the adversity she faced during her life on Earth. Sill began her career after spending time in jail for forgery and narcotics possession; a letter she sent along with her demos to Asylum Records detailed the ways her struggles with addiction had informed her music. She died at age 35 of an apparent drug overdose that was controversially ruled a suicide. A musing note about life after death that was found on the scene has been contended by those who knew her as a misinterpreted diary entry, or else the first draft of a song. 

Just as there’s more to Jim Sullivan than his disappearance, though, Judee Sill’s music goes well beyond a reflection of her personal tragedies, and her transformative ideas about God, love, and the universe are intrinsic to her work. Openly bisexual, she had public relationships with both men and women, and once described to Rolling Stone a fluid vision of gender, sexuality, and religion drawn from Carl Jung’s masculine force of the “animus” and feminine force of the “anima.” Her music is preoccupied with radical philosophical senses of redemption and acceptance, each with its own unearthly tint. “Jesus Was a Cross Maker,” for instance, delves into the grueling process of forgiving a former lover, written while she read Nikos Kazantzakis’s 1955 novel The Last Temptation of Christ. “Lopin’ Along Through the Cosmos” portrays her searching for answers among the stars, all the while insisting serenely to her listeners that “however we are is okay.” 

Outer space seems to suggest some of the same possibilities to both Sullivan and Sill: acceptance, transcendence, the possibility of leaving behind a flawed world where good and deserving people who chafe against societal norms are punished for it. Turning to the universe for solace when the world rejects you is an intrinsically reclamatory act—not only does it argue that the bindings of normative society are escapable, it also suggests that they’re not inherently natural or inborn. Jim Sullivan’s search for love and freedom within a repressive capitalistic framework is perhaps most zealous on “Highways,” when he insists that “my world is real, yours a dream,” while Judee Sill’s earnest belief in a better place is clearest on “Enchanted Sky Machines,” as she reassures the listener (or herself) that it “won’t be too far away.” 

This idea of a futuristic alien society more accepting than our own is certainly not a foreign one. In fact, it’s now a hallmark of the way that science-fiction themes have been explored in modern music, from Janelle Monáe’s Afrofuturist android-centric concept albums to The Butchies’ audacious queer punk anthem “The Galaxy is Gay.” Sullivan and Sill’s metaphysical pickings, however, came long before the social justice crossroads currently faced by modern country music, a realm that’s historically been considered a bastion of American conservatism. Like fellow ’70s trailblazers Lavender Country, UFO and Judee Sill not only call this characterization into question, but turn it on its head, using interplanetary imagery to imagine an open-minded world of country and folk decades before Nashville’s Music Row began to catch up with them. The holy connections each artist makes lend an additional layer of sanctity to the search—Sullivan and Sill suggest that not only is it natural and acceptable to diverge from the prescribed earthly norm, but it’s also righteous, sacred, and true.

In the decades since its original release, Jim Sullivan’s UFO has gone on to inspire folksy indie darlings like Okkervil River and Laura Marling, who have carried his ruminations to a new millennium of listeners. On the 2016 collaboration album case/lang/veirs, artists Neko Case, k.d. lang, and Laura Veirs paid tribute to Sill with “Song for Judee.” Another tribute album, Down Where the Valleys Are Low: Another Otherworld for Judee Sill, is due to come out this month. The modern resonance of these artists’ messages, half a century after they slipped into relative obscurity, is both tragic and hopeful. We certainly haven’t reached the utopia of Jim Sullivan’s UFOs and Judee Sill’s sky machines, but perhaps their songs provide their own kind of deliverance—a soothing, abiding prayer that a better world may be out there after all.

Annie Parnell is a writer and student based in Washington, D.C. who hails from Derry, Maine.

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A to Z Blogging Challenge Theme Reveal

The Other Side -

I am considering doing the A to Z Blogging Challenge again this year.  It's been a couple of years since I have done it.  I was feeling I was alienating my regular readers with it in favor of people just coming through from the Challenge.

A to Z reveal

So this year I wanted to do something that any and all readers would enjoy.   This year I am doing Monsters.

The idea here is to give me some external motivation to get my two monster books done.

For new readers, there will monsters which are always fun. Since many come from the tales of fantasy,  myth, and folklore maybe there will be something they can use for their own writing or just enjoyment. For my regular readers, new monsters with stats.  I am also looking for all sorts of feedback on not just the monsters, but the stat blocks as well.

The one I have been using on my Monstrous Mondays has been working well for me, but I am sure I can tweak it some more.

The monsters for April A to Z will likely favor the Basic Bestiary I, covering all sorts of witchcraft-related monsters with plenty of fae and undead, but I am not ruling out some demons for Basic Bestiary II.

Both books will come in softcover (Basic red) and hardcover (orange spine) versions.  So they will work with whatever version of the game you are playing.  The interiors are the same with stat blocks designed to work with both the "Basic" and "Advanced" versions of the game.

Basic Bestiary cover, version 1 Basic Bestiary cover, version 2

So far Basic Bestiary has over 330 monsters with 156 of them complete.  The others are various points. 

Basic Bestiary II, Basic coverBasic Bestiary II, Advanced cover

Basic Bestiary II has over 500 demons, devils, and related monsters.

I am also going with my own compatibility logos on these since they really have gone beyond one system or the other.  They are still largely "Basic" in nature, but as you can see from my Monstrous Mondays stat blocks they have a little bit of everything in the OGC.  I am going to use this month to experiment.

You can see others doing their theme reveal over at the A to Z Blog until March 20.


Péter Pócs - Hungarian Theatrical Posters

Monster Brains -

Péter Pócs - András Sütő- Adventures in Gandy-Wandy Land theatrical poster. 1987András Sütő- Adventures in Gandy-Wandy Land theatrical poster. 1987  Péter Pócs - 1985Kecskemét Animation Film Festival, 1985  Péter Pócs - A Squished Nighmare, 1987A Squished Nighmare, 1987  Péter Pócs - Stuttgart, 1987Stuttgart, 1987  Pócs Péter - Pócs plakátokDracula
  Péter Pócs - Dostojevsky The Hollow Dweller, 1987Dostojevsky The Hollow Dweller, 1987  Péter Pócs -  Day of the Cobra poster,   1981Day of the Cobra poster, 1981  Péter Pócs - Zsolt Kézdi-Kovács- HUE AND CRY film poster, 1988Zsolt Kézdi-Kovács- HUE AND CRY film poster, 1988  Péter Pócs - 2nd Film Festival of Animated Cartoons of Kecskemét, 19882nd Film Festival of Animated Cartoons of Kecskemét, 1988  Péter Pócs - FIGHTS   FACES poster, 2002FIGHTS FACES poster, 2002  Péter Pócs - József Katona- Ban Bánk (Theatrical Poster, 1987)József Katona- Ban Bánk, 1987  Péter Pócs's Posters 1988Péter Pócs's Posters, 1988  Péter Pócs - HUNGARY IN HOLLAND (art exhibition poster, 1987)HUNGARY IN HOLLAND (art exhibition poster, 1987)  Péter Pócs -  Harold Pinter- The Birthday Partry,    1980Harold Pinter- The Birthday Partry, 1980  Péter Pócs - Shakespeare- Pericles   poster, 1980Shakespeare- Pericles, 1980  Péter Pócs - Sándor Weöres- Peter the Trickster (theatrical poster, 1987)Sándor Weöres- Peter the Trickster, 1987
 
Many artworks found at the Poster Museum.
A Hungarian wikipedia article on the artist can be found here.

Red Sonja: Old-School Essentials (Remembering Frank Thorne)

The Other Side -

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

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

He certainly left his mark on her enduring legacy.

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

Red Sonja

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

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

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

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

Alignment: Neutral (chaotic good)

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

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

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

Weapons
Sword +2, Great Axe, dagger


ThorneThorne "The Wizard"
14th Level Wizard

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

Alignment: Neutral (neutral good)

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

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

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

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

Monstrous Mondays: Gwragedd Annwn (Swan Maidens)

The Other Side -

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

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

I figured an update was in order.

Gwragedd Annwn (Swan Maidens)
Medium Humanoid (Fey)

Frequency: Rare
Number Appearing: 1d4 (1d6)
Alignment: Lawful [Neutral Good]
Movement: 120' (40') [12"]
   Fly (in swan form): 180' (60') [18"]
   Swim: 150' (50') [15"]

Armor Class: 7 [12]
Hit Dice: 2d8* (9 hp)
   Gwragedd Annwn, 3rd level: 3d8* (14 hp) 
   Gwragedd Annwn, 4th level: 4d8* (18 hp) 
   Gwragedd Annwn, 5th level: 5d8* (23 hp) 
   Gwragedd Annwn, 6th level: 6d8* (27 hp) 
   Gwragedd Annwn, 7th level: 7d8* (32 hp) 
   Gwragedd Annwn, 8th level: 8d8* (36 hp) 
   Gwragedd Annwn, 9th level: 9d8* (41 hp) 
   Gwragedd Annwn, 10th level: 10d8* (45 hp) 
   Gwragedd Annwn, 11th level: 11d8* (50 hp) 
   Gwragedd Annwn, 12th level: 12d8* (54 hp) 
   Gwragedd Annwn, 13th level: 13d8* (59 hp) 
   Gwragedd Annwn, 14th level: 14d8* (63 hp)
 
Attacks: claw, claw, bite
Damage: 1d6+4 x2, 1d8+4
Special: Shape change, magic required to hit, Swan Song
Size: Medium
Save: Fighter 2-14
Morale: 10 (12)
Treasure Hoard Class: VI (U)
XP: 25 (OSE) 29 (LL) 
    3rd level: 50 (OSE) 65 (LL) 
    4th level: 125 (OSE) 135 (LL) 
    5th level: 300 (OSE) 350 (LL) 
    6th level: 500 (OSE) 570 (LL) 
    7th level: 850 (OSE) 790 (LL) 
    8th level: 1,200 (OSE) 1,060 (LL) 
    9th level: 1,600 (OSE) 1,700 (LL) 
   10th level: 1,600 (OSE) 1,700 (LL) 
   11th level: 1,900 (OSE) 2,000 (LL) 
   12th level: 1,900 (OSE) 2,000 (LL) 
   13th level: 2,300 (OSE) 2,450 (LL) 
   14th level: 2,300 (OSE) 2,450 (LL) 

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

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

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

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

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

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

Jonstown Jottings #37: Renharth Blackveins

Reviews from R'lyeh -

 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 Glorantha13th Age Glorantha, and HeroQuest Glorantha (Questworlds). This can include original scenarios, background material, cults, mythology, details of NPCs and monsters, and so on, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Glorantha Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Glorantha-set campaigns.

—oOo—

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

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

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

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

What do you get?
The second volume of ‘Monster of the Month’ presents not monsters in the sense of creatures and spirits and gods that was the feature of the first volume. Instead, it focuses upon Rune Masters, those who have achieved affinity with their Runes and gained great magics, mastered skills, and accrued allies—corporeal and spiritual. They are powerful, influential, and potentially important in the Hero Wars to come that herald the end of the age and beginning of another. They can be allies, they can be enemies, and whether ally or enemy, some of them can still be monsters.
The second entry is Renharth Blackveins, which details a Death Lord, a Rune Lord of Humakt who embodies his master through ‘Humakt Indomitable’, a subcult of Humakt. Deeply honourable, he is feared duellist who always fights fairly to match any opponent, including the use of support of some fearsome bound spirits, chief of which is Liberator, an woken enchanted iron sword that is a fragment of the Unbreakable Sword known as Humakt. Challaren, Renhearth’s swordboy, normally carries Liberator and Renhearth only calls for it when faced with a worthy opponent. Despite currently leading Boldhome’s ‘Household of Death’, Renhearth prefers single engagements to mass battles, and as Death Lord of Humakt Indomitable has overcome ‘death as malice’ and his former hatred of the Lunar Empire which drove both himself and his brother to resist the Lunar occupation of his homeland. Captured and forced to serve himself as a swordboy to a Lunar captain, Renharth would come to see the honour in his former enemies.
In addition to detailing and providing full write-ups of Renharth and his entourage—including several very powerful allied spirits, Renharth Blackvein includes a write-up of the subcult, ‘Humakt Indomitable’ which represents the enduring, impossible to subdue or defeat nature of Humakt. It can be joined by the usual means and requires the initiate to swear another geas, specifically an undertaking that requires dedication to a lifelong task or prohibition. Especially if the new geas has the potential for tragic consequences.
Several suggestions are given as to how to use Renharth, noting that he is a deadly enemy, capable of killing most Player Characters. Perhaps the most interesting way to use him in the long term is as a swordmaster as he accepts students from many religions or as an actual mentor to a Player Character. Above all though, it makes clear that in conquering both his malice and that of death, Renhearth is a pleasant rather than a miserable character. The supplement comes with two scenario seeds, both of which need a little development upon the part of the Game Master.
Is it worth your time?YesRenharth Blackveins presents a straightforward, even pleasant aspect of Humakt, who can be an interesting supporting NPC or mentor, and if the Player Characters are powerful enough, a truly indomitable foe.NoRenharth Blackveins present a straightforward, even pleasant aspect of Humakt, who may differ too much from the traditional view of Humakt and who might be too strong a rival for the Player Characters or too powerful an NPC if they are prone to antagonising others.MaybeRenharth Blackveins presents a straightforward, even pleasant aspect of Humakt, who may differ too much from the traditional view of Humakt and who might be too strong a rival for the Player Characters or too powerful an NPC if they are prone to antagonising others.

Folkloric Fearsome Foursome

Reviews from R'lyeh -

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

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

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

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

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

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

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

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

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

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

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