Original Roleplaying Concepts
TSR's minigamesLast week I discussed how I saw Warlocks & Warriors as something of a "larger" minigame and thematically fitting in with Holmes Basic. Today I want to fast forward to 1980-81 and talk a little bit about TSR's minigames. I do not own all of these games, nor am I planning to hunt them all down. My FLGS has a few of them but I have other things on my list to find and buy first. That being said having them all would be kind of fun.
There were eight total games and I own the first four, the same four that appeared in the 1981 Gateway to Adventure catalog. The links below take you to their Board Game Geek pages.
Vampyre, my first one. This is for 2-6 players. Players hunt the minions of Dracula in an attempt to find and destroy his coffins. There is a "wilderness" map and a map of Castle Dracula. Designed by Philip A. Shreffler. Art by Erol Otus.
Revolt on Antares. This game is for 2-4 players and is a "Sword and Planet" style adventure with three modes of play. Typical this boils down to the Terran Empire being the antagonists, protagonists, or neutral. Designed by Tom Moldvay and art by Bill Willingham and Erol Otus. Black Dougal makes an appearance here as well. Also listed for art are Jeff Dee (cover), David LaForce, and Jim Roslof
They've Invaded Pleasantville. For 2 players, a "Town" player and an "Alien" player. Aliens have invaded Pleasantville as part of their global takeover plan. The town player must either stop or kill the alien sub-commander "Zebu-Lon" (wait a minute...) or get more than half of the townsfolk back to normal. Designed by Michael Price with art by Erol Otus, Jeff Dee, David LaForce, Jim Roslof, and Bill Willingham.
SAGA. For 2-6 players. Players amass treasure, lands, and glory. The one that has the most glory at the end of 20 rounds wins. Designed by Steve Marsh with art by Erol Otus, Jeff Dee, David LaForce, Jim Roslof, and Bill Willingham. Willingham's cover is one of the best and this also features some great Erol Otus art.
Other minigames include Attack Force, Icebergs, Remember the Alamo and Viking Gods. I don't own these games, but their production values seem a touch higher than the first four.
Minigames, the Gateway to Adventure!All the games feature a 16-page booklet with black and white art and a fold-out map. Sometimes full color (Saga, Pleasantville, Antares) or two-color (Vampyre). Vampyre is also the only one with the maps printed on both sides. Each game also came with counters and two d6s.
They are all certainly playable and fun on their own. I had a lot of fun with Vampyre back in the day. But that is not why we are here today. No today I am going to dip a toe a little bit into my Traveller Envy and mix these with my current D&D games. Let me start out with my old favorite and one I have used as an adventure in the past.
Minigames as B/X Adventures
There is a lot to love about these little games. The Souvenir font really hits that nostalgia button hard for fans of the Moldvay/Cook Basic and Expert sets. Not to mention some of the best-looking Erol Otus art. This troll not only belongs in D&D, but he is BEGGING to be in D&D.
Erol Otus Troll from SAGAMaybe it is the font, maybe it is the art but when I got these games the first thing I wanted to do was play them as part of my D&D games. Of course, back then that meant Basic and Expert D&D. Some of it also came from the desire to get the most out of my purchase with my limited paper route money.
Vampyre
My first minigame. Now I am a HUGE Dracula and vampire fan so when I got the Cook/Marsh Expert Set and saw that there were vampires in it my first thoughts went to vampire hunts. My first character was a cleric for this very reason. The game Vampyre is set during the events of the novel Dracula with the same (or rather similar) characters. So set in the 1890s. Since Ravenloft Masque of the Red Death was still a decade and a half away, I converted this to a simple Expert D&D monster hunt. If I were to redo it I'd up the threat of Dracula. In Expert, I made him a Greater Vampire.
Vampire chic, circa 1981The dual map, a "wilderness" and a "dungeon" again BEG to be used in the Expert game. The parallels between this game and the Ravenloft adventure. No surprise since both draw from the exact same source materials. The trick the next time I use this is to make it less like Ravenloft.
SAGA
This is the next piece of "low hanging fruit." Like Dungeon! the connections to D&D are obvious here. SAGA has heroes fighting monsters, exploring, gaining treasure. Sounds D&D like to me! There is a nice little Risk-like map of the Viking world. This includes all of England, Denmark, and some of Sweden, Norway, and Ireland. The map also had "Thule" about in the place where Iceland would be expected (and to the map's odd scale). The map is also just great to look at.
Outside of the troll featured above the monsters include Dragons, Drow (not just dark elves), Ghosts, Giants, and Witches! I am happy to see that witches are the next more dangerous creature after dragons. The game has some fun spells and magical runes with simple effects and some named magical swords.
While there are no dungeons in this game it is full of ideas.
This got me thinking about how Vampyre and SAGA could work together. In SAGA you travel from mainland Europe to England for treasure and glory. In Dracula, the last act is the heroes traveling from England back to mainland Europe to hunt the monster. Maybe with something like Draugr & Draculas as the connective tissue the mini-campaign can be changed from one of just glory to one of monster hunting across the continent to stop the master vampire. Call it Vampyre Saga. Hmm. That sounds a little bit like a supernatural teen show on the CW. I'll play with it a bit.
The next two are a little hard to fit in.
They Invaded Pleasantville
The premise of this game is great and recalls 50s alien invasion movies. But as Carl Sagan pointed out in The Demon-Haunted World today's alien abductions were yesteryear's demon possessions. So swap out the aliens for demons and now this sleepy Midwestern town is a village in the Realms where demons are running rampant. Stop the Alien Sub-CommanderDemonic Lord.
Revolt on Antares
This game is a fun Sword & Planet game, but remove it from it's setting it is a fairly generic "Us vs. Them" game of rebellion and oppressors. Sure there are a lot of ways I could use this, but it gets it further and further away from its basic premise. Maybe it would make for a good Star Frontiers game.
In any case, there is a lot more fun to be had here.
I was debating on whether or not to remark to the latest (and maybe the last) of the ongoing drama with Joss Whedon, but I think at least a summary and retrospective might be in order. Besides one of the reasons of for the existence of this blog was due to the earlier incarnation of The Other Side getting hacked all the time by Whedon fanboys because they did not like my message then. So. Here we are nearly 20 years later.
First, let's start with the most recent news. On February 10th Charisma Carpenter took to Twitter to talk about how she had been treated by Whedon while filming her last season of Angel. While widely known to many people in the fan community at the time, this tweet was a revelation to many. Among the other issues were asking her if she would get an abortion to accommodate the Angel shooting schedule and storyline. What followed was a tsunami of posts from fellow actors and people associated with Buffy, Angel, and Firefly.
The question that some are asking is why is this all trending now versus 18 years ago? Or why are the actors all coming out now as opposed to then?
Well, keep in mind that a lot of the actors and people involved DID come out with these allegations. I remember talking online about it at the time, in particular, Charisma Carpenter's firing because she got pregnant (which is illegal by the way). What is different?
First, the actors above have the advantage of a more robust social media infrastructure. They can get their message out to more, quicker. Cases in point all the Tweets and Instagram posts above.
Second, there was the MeToo movement which shifted the lens of belief from the auteurs to the actresses. There are countless stories of Kubrick, Hitchcock, and of course Weinstein but that all changed in the last few years when such behavior would no longer be tolerated. This gave Ray Fisher a chance to speak out about how he was treated on the set of Justice League. Cases in point were the comments made by Kai Cole, Whedon's ex-wife on The Wrap. This was also one of the reasons that Stunt Coordinator Jeff Pruitt And Stuntwoman Sophia Crawford shared their story yet again and that James Marsters felt he could share his story as well.
I mentioned Jeff Pruitt and Sophia Crawford above with a "yet again" they shared this story before. Back in 2000. It was detailed by Jeff, quasi-anonymously, in his "The Parabal (sic) of a Knight." He is the Knight, Sophia is the Handmaiden and the Young Prince who becomes King is Whedon. It is also fairly negative to SMG, but that is not what I talking about today. While he had to hide this in a story, the Buffy fandom at the time dismissed all of Jeff's and Sophia's claims. It only took 20 years before the fandom took them at their word.
Related to that is my third point. The fandom that revered and protect Whedon is largely gone. Back in 2003 or so, Whedon was on the top of his world. Any complaint would have been drowned out by the screaming fans that worshipped him. Case in point. Anytime I would post something to my older version of The Other Side my host would get attacked. It got so bad that between 2005 to 2009 there was no "Other Side" on the web. I created this blog since I figured Blogspot/Google would be better protected. Of course by that time I had decided to move on.
People talk about "toxic fandom" and how it can be directed in a negative way at creators. One facet they don't mention is how un-checked praise and even worship of creators can also be damaging to others that are trying to warn us about those creatives. Woody Hall, Harvey Weinstein, Stanley Kubrick, Quentin Tarantino, and yes Whedon all built their cult of personality and auteur status. These same cults also shielded them from scrutiny.
The "Big Question" everyone is asking is "Why now?"
As I mentioned above the climate has changed. These actors are no longer in a place where Whedon can damage their career. They have moved on to other things. Charisma has roles, SMG is living the stay-at-home mom dream she has always wanted (and her husband Freddie Prinze Jr. is doing great), Amber has books out and has been behind the camera more than in front of it. So the control he once had on their lives is not there. The fan network has largely gone away as well.
Also, and this can not be stated too many times, other people do not have to conform to your timeline of healing. Michelle Trachtenberg said it took her years to even come to terms with it. Eliza Dushku only talked about the sexual abuse she suffered at age 12 three years ago. Michelle Trachtenberg mentions that it took her till she was a woman of 35 to deal with things that happened to her as a teenager of 15. I know others he has been involved with as well. The gaslighting he has done to them still bothers (enrages) them. You don't get to dictate how others heal.
The question also comes up of why didn't others speak up or stop it. Well, I think I covered that, the ones that did were blacklisted and deemed "difficult to work with." You also have actors like Anthony Head and Amy Acker that said they did not see this abuse but support the others all the same. Again, it can't be said too many times but abusers work by targeting those they know they can abuse and get away with it. Bullies always pick on those weaker than themselves. In terms of the power structure, everyone was weaker than the Grand Auteur.
Back in the early 90s I had a job at a head injury facility. I was a Qualified Mental Health Professional for the State of Illinois. I took the job because my own research was on cognitive development. The job was so depressing. I would call my girlfriend every night after my night shift (she was living 300 miles away at the time; its ok though we got married in the end) complaining about how awful it was. Not the staff, they were great, it's just the despair. She asked me many times why I don't just quit. I couldn't. Apart from needing this on CV for my Ph.D. program, I also needed to eat, pay rent, and have a job that a working grad student could do at night. I couldn't just leave. Neither could these actors, and I didn't have a contract holding me in a place like they did.
The Second Big Question is, for me, Why do I even care?
Over the years through my work on the Buffy, Angel, and Ghosts of Albion RPGs I have gotten to know a few of the people involved here. They are good people. In the years following, I have been able to get to know more. They are also good people. They deserved a lot better than what they were given.
I guess really it is no surprise when given the chance to do my own versions of the Buffy-verse the people that made it over were "played" by Charisma, Amber, Michelle, Eliza, and also Alyssa Milano and Rose McGowan.
Truthfully the only answer one needs to give to a question of "Why should you care?" is "Because what happened was wrong."
Andrew Nette / February 17, 2021
In a June 2017 article in Fortean Times, the British magazine concerned with strange and paranormal phenomena, writer and broadcaster Bob Fischer discussed how the sensation of not being exactly sure what you were watching on television, or not being able to recall the details with any precision, was a common experience in relation to consuming visual culture in the 1960s and 1970s, before the advent of streaming, DVD, and VHS. This sense of “lostness”—of incomplete and unverifiable experience—is also what makes these memories such powerful nostalgia prompts.
The television viewing experience that most encapsulates this sense of lostness for me is a little-known, American-backed, Australian-made horror anthology series, The Evil Touch, that debuted on Sydney screens in June 1973 and in Melbourne a month later. Largely forgotten now, American critic John Kenneth Muir referred to the show in his 2001 book, Terror Television: American Series 1970-1999, as the “horror anthology that slipped through the cracks of time.” The Evil Touch has never had an official DVD release, although poor quality versions of some episodes can be found online, or as bootleg editions originally copied from television on VHS. It is not even known who now owns the rights. But the program was significant in many ways.
From the late 1950s to the early 1960s, Australian television programming was dominated by cheap to purchase overseas productions, mainly from the United States. While the balance started to shift starting in the mid-1960s, when demands for more Australian-made content grew louder, American product still dominated, and few Australian shows were sold overseas. The only Australian-made television show sold to the United States during this time that I am aware of is The Evil Touch. Produced in Sydney specifically for the American market, it was shot in color on 16mm film at a time when local television was still black and white; the first color broadcasts in Australia did not occur until 1974, and color did not roll out nationally until 1975.
The Evil Touch was also unusual for being the only locally produced entry in the once highly popular canon of horror anthology television. The anthology horror format, in which each episode is a different story with a new set of characters, originated in the 1950s, increased in popularity in the 1960s with programs such as The Outer Limits (1963-1965) and Rod Serling’s The Twilight Zone (1959 to 1964), and peaked in the 1970s. Debuting in 1970, Serling’s Night Gallery, a series of one-off stories with macabre and supernatural plots, was the beginning of modern horror television. Numerous shows followed in America, and anthology horror also proved popular in Great Britain, most notably the 1976 series Beasts, written by Nigel Kneale (who had scripted earlier science fiction television series and films featuring the scientist Bernard Quatermass), consisting of six self-contained episodes, each with a recurring theme of bestial horror.
The central figure behind The Evil Touch was silver-haired expatriate American television director and producer Mende Brown. Brown formulated the idea for the series, produced all 26 episodes, and directed 15. According to his 2002 obituary in Variety, he was born in New York, started in radio after World War II, and his first directing credit was a 1953 episode of the popular radio show Inner Sanctum Mystery, produced by his brother Himan. Working in film and television throughout the ‘50s, his first feature directing job was The Clown and the Kids in 1967, noteworthy for being shot entirely on location behind the then Iron Curtain in Bulgaria, with the cooperation of the country’s state film body.
Variety’s obituary dates Brown’s move to Australia as 1971, but other sources suggest he arrived in 1970. Either way, he soon set up his own company, Amalgamated Pictures Australasia, operating out of an office in Sydney’s then vice quarter Kings Cross, which at the time also played host to a large number of American service personnel on R&R during the Vietnam War. From this base of operations, Brown oversaw a number of projects prior to The Evil Touch. He directed and produced Strange Holiday (1970), based on Jules Verne’s 1887 novel A Long Vacation, and Little Jungle Boy (1971), a made-for-television children’s film shot in Singapore. In 1973, Brown also wrote and produced And Millions Will Die. Made in Hong Kong, the story pitted popular American television actor Richard Basehart, best known for playing Admiral Harriman Nelson in the science-fiction adventure television series Voyage to the Bottom of the Sea (1964-1968), as a secret agent battling a Nazi germ warfare expert who threatens to unleash a lethal gas on the British territory.
The Australian Women’s Weekly described Brown as “An American TV producer and director who has decided that Australia is a good place to make films.” Emanuel L. Wolf, president and chair of Allied Artists Picture Corporation, which backed The Evil Touch to the tune of A$250,000, put it more bluntly when he visited Sydney to discuss possible film and television deals in August 1972. He told journalists there was a great advantage to making films in Australia because the costs were substantially lower, and the work restrictions were considerably less than those enforced by entertainment unions in America. At the cost of A$30,000-40,000 per episode, The Evil Touch was a glamorous, big budget affair by local standards, and a host of American television/film actors travelled down under to star in, and sometimes direct, episodes. “Never has Australia been so inundated with so many top name American movie stars,” declared the Australian magazine TV Week on August 4, 1973. In reality, most of these individuals were long past the peak of their careers; but in Australia, which was only just developing a domestic film industry of its own, they remained big names due to the continuing proliferation of American shows on local television. Many of them were also desperate for work, given the economic difficulties facing the American film and television industry in the early 1970s. “American actors are happy to come here, both for the money and the work,” Brown told a press conference to announce The Evil Touch in Sydney in October 1971. “They’re delighted to work anywhere they can get it.”
Brown milked the publicity generated by his overseas cast for all it was worth. Australian magazine and newspaper coverage from the time records a steady drum beat of fascination with visiting stars: Leslie Neilson; veteran actor Leif Erickson, familiar to Australian audiences as a cast member of the TV western High Chaparral (1967-71); Ray Walston, known as the Martian in My Favorite Martian (1963-66); and Vic Morrow, star of Combat (1962-1967). Others included Darren McGavin, US child model turned actress Carol Lynley, Susan Strasberg, Robert Lansing from Gunsmoke (1965-1969), and Julie Harris, whose career stretched back to the late 1940s and included a role in Robert Wise’s eerie 1963 ghost film The Haunting.
One lesser-known international actor to feature in The Evil Touch was Mel Welles. After appearing in television series and B movies in the US in the 1950s, Welles spent much of the 1960s in Europe, where his directing credits included the now infamous 1971 Italian horror Lady Frankenstein, a weird exploitation riff on Mary Shelley’s 1818 Gothic novel. The early 1970s saw him in Japan for a small role in a local science fiction action series, after which he found himself in Australia, where he appeared in one episode of The Evil Touch, “Wings of Death,” about an Australian family whose son disappears while they are travelling in an unspecified Latin American country. Welles plays a sleazy cop who heads up the local death cult that, unknown to the parents, has kidnapped the child. Having discharged his obligations to Brown, Welles spent his time organizing the only Australian showing of Lady Frankenstein, at Kings Cross’s Metro Cinema. To accompany this, he organized a live stage show titled “Orgy of Evil,” a self-styled history of nudity, violence, and torture. An advertisement in the Sydney Morning Herald in July 1973 billed the show as “A live stage presentation of evil, terror and horror beyond the mortal imagination.” It reportedly cost a fortune to mount, attracted the unwelcome attention of the city’s vice squad, and closed after only a week, at which point Welles fled the country.
In addition to American acting talent, American writers penned all but three The Evil Touch scripts. One of those writers was Sylvester Stallone, who was then trying to break into Hollywood. According to IMDb, he scored his first writing credit on an episode of the show under the pseudonym “Q Moonblood.” The US-centric nature of the show landed Brown into trouble with local entertainment unions, who threatened an international campaign against The Evil Touch. Brown was forced into negotiations, Variety reporting in early 1973 that his company reached an “entirely equitable agreement… Basically that is that one American star can be imported for each episode, with one Australian player to be co-starred and others featured.” As a result, the show played host to a plethora of local actors who went on to become major names in home-grown film and television.
The Evil Touch screened throughout America in late 1972 and, according to Variety, rated well. Australian viewers were far less taken with the show, however, and it lasted only a few episodes on Channel 9 before being dropped from the schedule. Heavy-handed censorship meant that horror was not a genre with particularly deep roots in local television or film, so audiences were possibly unaccustomed to it. Yet in Australia, as elsewhere, the 1970s were the era when Erich von Däniken’s Chariots of the Gods? was a staple of many bookshelves, when the occult became a suburban preoccupation, and when mysteries such as the Bermuda Triangle, UFOs, and the Loch Ness Monster were popular tabloid fodder. As such, The Evil Touch’s lack of success probably had more to do with its main competitor, the soap opera Number 96, which screened at the same time on rival Channel 0 (now 10). This featured the salacious goings on in an inner-Sydney block of flats, complete with ground-breaking television depictions of nudity and sex, including Australian television’s first gay kiss.
The Evil Touch continued to turn up regularly on late night television in Australia throughout the 1970s and 1980s, when I am fairly sure I saw my first episode, most likely left unsupervised with the television in someone’s den during one of the many boozy dinner parties my parents attended. The few grainy episodes I caught haunted me for years, even though I wasn’t exactly sure what I had seen. Indeed, until I started researching the show for a film festival presentation in 2016 and found some old episodes on YouTube, my memories of The Evil Touch were so blurred and uncertain, I wondered whether I’d just imagined it.
The one image I always remembered from The Evil Touch was its prologue. Each 25-minute episode followed the basic structure and tropes of 1970s anthology horror television. This included a mysterious host, in The Evil Touch’s case British actor Anthony Quayle. To the jazzy lounge music score of Australian composer Laurie Lewis, each episode opened with Quayle walking forward through swirling, multi-colored smoke (produced by holding a lit cigarette just below the camera) to briefly introduce the story. He would appear again at the episode’s end with some concluding remarks and an ominous farewell: “Until next week this is Anthony Quayle, reminding you there is a touch of evil in us all.” He would start to walk away, stop, and turn back and mischievously say, “Pleasant dreams.”
Host Anthony Quayle
Muir links the popularity of the anthology horror format in America in the early 1970s to several factors, which were echoed in Australia: the relaxation of censorship standards, which allowed shows to get away with more explicit horror and violence; advances in make-up and special effects; and the shift in the national mood due largely to the shocking prime-time news footage coming out of the Vietnam War. “Vietnam and Watergate were two turbulent and controversial public events which America had to digest,” he writes, “and horror television responded with a cathartic form of entertainment that acknowledged national fears yet reinforced positive values.” If there is a thematic strand running through 1960s/1970s anthology horror television, it is the sense of an otherworldly moral judge and jury operating to punish murderers, adulterers, and greedy businessmen for crimes they would otherwise get away with. The Evil Touch ran the gamut of genres, from science fiction to mystery murder tales, to horror, but nearly all the episodes utilize this punitive narrative form.
Less characteristic of the television anthology horror genre was The Evil Touch’s surreal, dream-like quality, and its deliberately non-linear storytelling style. With the exception of Quayle’s omniscient and enigmatic introductions and conclusions, the characters and events in each episode are given little context and there is usually no sense of narrative closure. The strange ambience of The Evil Touch is also the product of its generic setting, a deliberate strategy on Brown’s part to maximize its appeal to American audiences. While mostly shot in or around Sydney, landmarks and characteristics that could have been recognizable are de-identified. As TV Times put it in 1973: “The Evil Touch was made in Australia, but unless you recognize familiar faces among the bit players you might not suspect this, for by using cunning devices such as reversing film negatives, producer-director Mende Brown shows right hand drive cars belting through Sydney on the wrong side of the road.” To a local watcher, the overall effect is unnerving: Australia rendered largely anonymous for American viewers, almost a fulfilment of fears, dating back to the 1920s on the part of local left- and right-wing critics, that Australia would be subsumed by American popular culture. A particularly vocal critic was The Age’s television critic John Pinkney who, in a July 1973 column, lambasted the show’s American dominated look and feel, in particular the fact that Australian actors were required to speak with US accents. “Evil Touch conjures the Commonwealth of Oz into the status of a non-county,” he wrote.
In the aforementioned episode “Wings of Death,” outer Sydney stands in for a nameless Latin American republic. In “They,” an academic and his young son are vacationing in the Cornish countryside (most likely the cliff tops overlooking Sydney Harbour). The son gets lost on “the moors” and runs into a malevolent cult of ghostly children led by a creepy young woman, who he has already seen in his dreams. In what is undoubtedly a comment on the new forms of youth culture that were sweeping much of the world by the early 1970s, the group she leads has given up the “Old Ones”—anyone over the age of 15—and is also responsible for a string of deaths in a nearby town. “The Fans,” set in the American deep south, sees Vic Morrow as a cynical horror movie star who visits two elderly female fans as a publicity stunt. They drug him, dress him in his screen vampire persona, and imprison him in the basement of their large manor house in an attempt to drive the devil out of him. “The Trial” involves a rapacious property developer (Ray Walston) being pursued through an abandoned carnival ground (Sydney’s Luna Park) by a pack of circus freaks led by a discredited brain surgeon who lobotomizes him, in what feels like a macabre homage to Tod Browning’s 1932 horror classic Freaks.
The only episode obviously shot outside Sydney, “Kadaitcha Country,” is possibly the strongest. Leif Erikson plays a washed-up Christian preacher, who it is inferred has significant mental health issues. Given one last chance at redemption by his church, he is sent to a remote outback mission, where he clashes with an Aboriginal shaman (the “Kadaitcha Man”) who has the power to play with reality. While English spellings of the name vary (either “Kurdaitcha” or “Kurdaitcha”), it appears to refer to a type of shaman/sorcerer who lived among the Arrente people near Alice Springs in central Australia. There are also records of the term “Kadaitcha” being used to refer to Aboriginal law keepers. The episode was directed by Brown and written by Australian Ron Mclean, one of only two local writers to work on the show. The story fuses Indigenous myth (or at least a white director’s interpretation of it) with folk horror tropes in a way that would not be seen on cinema screens until Peter Weir’s The Last Wave in 1977. Not only does the episode rank as an early depiction of the clash between Indigenous spirituality and invading Christian faith, it also featured an Indigenous actor: Lindsey Roughsey, one of the traditional custodians of Mornington Island in the Gulf of Carpentaria, where the episode was filmed, played the Kadaitcha Man. This was something of a breakthrough, as it was not uncommon, well into the 1970s, to have white actors play Indigenous parts in black face.
Mende Brown would go on to produce one further film in Australia, a little-known hardboiled thriller, On the Run (1983), about an orphaned boy sent to live with his uncle (an aging Rod Taylor), who unbeknownst to the boy is a ruthless assassin. It was never released theatrically. Brown returned to the United States in 1991 and died in 2002. Episodes of The Evil Touch continued to rerun on television throughout the 1990s, from America to Japan and Malaysia, like ghostly messages relayed from a long-abandoned outpost of 1970s popular culture.
Andrew Nette is a writer of fiction and non-fiction. He can be found at www.pulpcurry.com.
Last week I talked a bit about Holmes Basic in regards to another game TSR put out in 1977, Warlocks & Warriors. This led to a few more discussions online and some more reflection on my part. It got me thinking about how much gamers of a certain age keep going back to Holmes.
I mean I get it, really. There is a simplicity with Holmes that has appeal. This is not the strange mix that is OD&D or the complex rules for everything as AD&D. It sits neatly in the middle and has a rule book that might be one of the clearest that 70s D&D has to offer. It paved the way for Moldvay and Mentzer Basics, but it stands pretty well on it's own.
Holmes Basic and the Monster Manual
Once upon a time in the years between the Bicentennial and the dawn of the 80s was a time when the only Star Wars was "Star Wars" and home computers were just getting started there was D&D variant that I personally think a lot of people played.
For me that year was 1979. The D&D was Holmes Basic and the Advanced D&D Monster Manual. I, like many others, didn't care that "D&D" and "AD&D" were supposed to be different games. In fact I don't think I even knew until I got my Expert Set much later. I mean yeah there were articles in Dragon about it, but I never saw those till much, much later. Even then I don't think I cared.
But none of that mattered really. Holmes Basic was likely set up as the gateway to AD&D and not really it's own line yet. As has been discussed by others, most notably Zenopus Archives ("The Monster Manual is a Holmes Supplement." go read it), that the Monster Manual draws on Holmes for quite a lot of detail. In particular it uses the "5" point alignment system of Holmes rather than the "9" point one of AD&D. For example there are no Neutral Good, Neutral Evil, Lawful Neutral, or Chaotic Neutral monsters in it. Those all don't appear until the adventures (GDQ series for example) and the Fiend Folio and Monster Manual II.
It also doesn't hurt that there are artistic similarities between these two books, not just their respective covers.
This was the central core of what was "D&D" for me.
Looking over at the publication dates of various publications from TSR prior to 1982 you see there is a world's worth of playing here. Again, h/t to Zenopus Archives for this. Even prior to 1980 is full of great material.
Holmes Basic, the Monster Manual, and Eldritch Witchery give me so much potential.
Warlocks & Warriors & Witches
Something dawned on me while reading some of the replies to my Warlocks & Warrior post. What if the eponymous Warlock and Warrior were none other than Zelligar the Unknown and Rogahn the Fearless from adventure B1 In Search of the Unknown respectively. It fits with the covers to be sure.
So if the Warlock is Zelligar and the Warrior is Rogahn, who is the Princess? Well, if you spend any time here at all then you know who she is. She is Marissia (yes I am sticking with the wrong spelling).
In my running of B1 Marissia is the daughter of Zelligar and one of the first witches in my games. While there is a Melissa described in the adventure, I was really set on the name Marissia.
From Melissa's room (key XXIV Mistress' Chamber)
From Roghan's room (key XXV Roghan's Chamber)
So how about this. "Warlocks & Warriors" is a game played in my D&D worlds that is an homage to the time when the King offered the famed adventures Zelligar and Rogahn the hand of his beautiful young daughter to whoever rescues her first. It doesn't matter who won because the daughter Marissia was having none of that. She decides to go with the much older Zelligar who adopts her as his own daughter and trains her to be a witch. She then also becomes the lover of Rogahn. Sometime later the former allies Zelligar and Rogahn turn on each other. That is the cover of the W&W game and why "Melissa/Marissia" is looking on in cool detachment. Their falling out with each other is what leads to their stronghold, the Caverns of Quasqueton, to lie in ruins. Again, turning to Zenopus Archives, there is a good place to put B1 on the W&W wilderness map.
This slight revision still fits with my original idea that Marissia/Melissa is Zelligar's daughter and Rogahn's lover. While in 1977 having a blonde on your cover was no great stretch, she does have a similarity to all the versions of Marissia I have done or thought of over the years.
It works since "Milissa Wilcox" premiered on Scooby-Doo with a Leviathan Cross in 1978. The ghost had green hair, but the person behind it was blonde. That episode and Scooby-Doo, The Phantom of the Country Music Hall would have certainly been on my mind in 1979. This is the strange alchemy that fueled my earliest D&D adventures and is still called a "Scooby-Doo Adventure" by my wife.
Yeah, a load of coincidence, and my former Advanced Regression Prof is likely shaking his head at me now. But it works for this.
The point is there is a lot packed into all of Holmes' Basic set and I know we didn't know what treasure we had back then.
Another fantastic work found at the British Museum. Today is President's Day. Since we just got rid of the President from Hell, let's talk about a President of Hell. One of the things that I always found interesting reading demonology texts was the term President of Hell. One, in particular, is the Pseudomonarchia Daemonum, The False Monarchy of Demons.
One of the first Presidents mentioned was Buer. Here is what is said about him.
Buer is a great president, and is seene in this signe [*]; he absolutelie teacheth philosophie morall and naturall, and also logicke, and the vertue of herbes: he giveth the best familiars, he can heale all diseases, speciallie of men, and reigneth over fiftie legions.Kind of cool really. In this case, a President is someone that runs a government. The Pseudomonarchia Daemonum lists 14 such Presidents. How they fit into the Gygaxian vision of the Nine Hells and the Archdukes remains to be figured out; likely two presidents per layer of hell.
Buer also appears as a President in the Ars Goetia of The Lesser Key of Solomon.
Buer then would be classified as a devil in the Gygaxian taxonomy.
Buer
President of HellFrequency: Unique
Number Appearing: 1 (1)
Alignment: Chaotic [Lawful Evil]
Movement: 120' (40') [12"]
Centuar: 180' (60') [18"]
Spirit: 240' (80') [24"]
Armor Class: 3 [16]
Hit Dice: 15d8***+45 (113 hp)
HD (Large): 15d10***+45 (128 hp)
Attacks: trample, bite, spells
Damage: 1d6+2 x5, 1d8+2
Special: Devil abilities, spell casting
Size: Large
Save: Monster 16
Morale: 12 (NA)
Treasure Hoard Class: XXI [B] x3
XP: 4,200 (OSE) 4,350 (LL)
Buer is a great President of Hell. He controls fifty legions of demons (a legion is 6,000 demons). He will appear to mortals as a great red centaur. His true form is that of a lion's head with five goat legs radiating from this central head. His whole body is aflame.
Buer can cast spells as if he was a 13th level magic-user. He can cast any spell dealing with fire (produce flame, fireball, etc) twice per day with additional memorization needed.
He is a great patron of witches and warlocks, in particular warlocks. The familiars he grants can heal their warlocks once per day for 1d6+ hp of damage and cure disease once per week.
Buer is summoned by demonologists and malefic witches for his knowledge on logic, moral philosophy, and the sciences, of which he is particularly knowledgeable on. He can grant a familiar to those that summon him. These will be imps but can appear as a natural animal. These familiars will work to bring their master to greater and great acts of evil. If the magic-user (or witch or warlock) dies while they have this familiar their souls will be sent to Hell where the familiar becomes the new Master and tortures the former magic-user for eternity
--
So a few things I have to consider. Buer is a President, one of 14. I need to figure out which ones go where. I am still thinking two per levels 2 to 8, with none for the 1st and 9th levels. I also want to come up with new names for the levels and the rulers, more or less.
Now I know that Buer was featured in Dragon Magazine's famous "The Nine Hells Revisited, Part 1 and 2" and there is some written about him there. While it is all good stuff, I want to reorganize these as I like.
I am certainly going to do a lot more with thses.
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.
What is it?1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.
—oOo—
In 1995, the hobby gaming industry was deep into the collectible card game craze. Magic: The Gathering has been published in 1993, had become incredibly popular, and made its publisher, Wizards of the Coast, a lot of money. In response, other publishers—large and small—understandably, followed suit, and as they competed in this market, so the hobby gaming industry turned away from the types of games which had supported it over the previous two decades. By 1995, the number of new roleplaying games published that year had diminished to less than half that in previous years. Yet in that year, Wizards of the Coast would publish a roleplaying game which was radically different in concept and format to almost anything which had come before it. A roleplaying game which was so radically different, it would flop. Despite the lack of success though, its simplicity, its focused concept, and its emphasis upon storytelling and drama would all flower in the ‘Indie Roleplaying-Movement’ of the noughties, the concepts of which would go on to be absorbed into the mainstream during the teens. That roleplaying game is Everway Visionary Roleplaying.Everway Visionary Roleplaying comes in a large box and looks like a traditional roleplaying game, but open up the box and it is clear that it is anything but. In addition to the one-hundred-and-six-two page ‘Playing Guide’, the sixty-four page ‘Gamemastering Guide’ and the fourteen page ‘Guide to the Fortune Deck’, the roleplaying game includes over a hundred, full-colour cards. These consist of the ninety card Vision card Deck, ten Source cards, and thirty-six Fortune card Deck. This is in addition to the two maps, twelve blank Spherewalker sheets, and eleven pre-generated ready-to-play Spherewalker sheets, but what was missing from the box for Everway Visionary Roleplaying is dice. This is because in terms of its mechanics Everway Visionary Roleplaying is diceless. Instead, it uses a combination of the Fortune card Deck and narrative efficacy to determine the outcome of a task or story. Of course, diceless roleplaying games had been seen before, notably Phage Press’ Amber Diceless Roleplaying from 1991, as had card-driven roleplaying games, such as R. Talsorian Games, Inc.’s Castle Falkenstein from 1994. Everway Visionary Roleplaying, though, does not use numbered cards as in the use of a standard playing Deck of cards by Castle Falkenstein, but rather the images upon its cards. Hence Everway Visionary Roleplaying was a visionary roleplaying game in more ways than one.
The setting for Everway Visionary Roleplaying is a multiverse of Spheres—or worlds, each world consisting of numerous different Realms—each connected by a series of Gates. Known Spheres include Ashland, a land of smoking volcanos, nasty cockatrices, and scheming goblins; Canopy, a singular, enormous tree, its inside populated by humans, its roots home to extensive cave systems filled with fantastic creatures; and Pearl of Waves, an undersea kingdom where travel is conducted via bubbles of air or the mouths of giant fish. Typical Realms include the Land of a Million Deities, a conservative Realm of hereditary kings and queens sanctioned by the priests and priestesses of many gods; The Middle Kingdom, a sophisticated Realm dedicated to knowledge and bureaucracy; and the Smith’s Realm, a realm of conquered territories, controlled by regional governors. It is a fantasy setting, one of low magic and high magic, in which demons, angels, godlings, spirits, fairies, dragons, unicorns, and other creatures can be found, but the most common species, in various shapes and forms, to be found throughout the Spheres is mankind, all able to understand the common language known as ‘The Tongue’, a gift from the gods. Perhaps the most famous location in all of the Spheres is that of Everway, a city at the heart of Sphere that has not the two gates typical to most Spheres, but a grand total of three-score-and-ten—if not more!
Every ‘Outsider’ who comes to Everway, experiences the city in a different way. To some it can be well-mannered and bright, to others a city of dark alleys and citizens ready to exploit every visitor or sell them any vice, or ordered and cosmopolitan. It is though, an ancient city, matriarchal, but with a king, and numerous families of note, each of which controls a particular aspect of the city. For example, the Keeper family maintains and guards the Gates, the Scratch family consists of scholars and bureaucrats, and the Wailer family specialises in ceremony of any kind. One type of rare individual drawn to the city of Everway is the ‘Spherewalker’, capable of using the Gates freely and taking the one-week journey to traverse between one Sphere and the next. They can be powerful mages, mighty warriors, enigmatic Shaman, and more, but in becoming Spherewalker, they may be seeking to fulfil a personal quest, to bring justice and an end to evil in any or all Spheres, to search for treasure and personal gain, to atone for crimes committed, or even to gather research and information for the Library of All Worlds in the city of Everway. Each Player Character in Everway Visionary Roleplaying is one of these Spherewalkers.
A Spherewalker is defined first by his Name, typically a common word, or one based on a common word, then a Motive, for example, Mystery, Wanderlust, or Adversity. He also has a Virtue, some way in which he is gifted—it could be a personal trait, a magical gift, or an aspect of fortune. His Fault represents a particular weakness or vulnerability, again a personal trait, magical curse, or aspect of fortune, whilst his Fate is the challenge he currently faces. He is likely to have one or more Powers, limited in scope, but still powerful and distinctive, for example, ‘Fast Healing’, ‘Magical Singing’, ‘Cat Familiar’, ‘Throw Fire’, ‘Invulnerable’, and so on. The ‘Playing Guide’ includes many examples, but a player is encouraged to create his own, a Power typically being a combination of Major, Frequent, and Versatile. This is in addition to the free power which each Player Character Spherewalker possesses. A Spherewalker has four Elements—Air, Earth, Fire, and Water. Air is intellect and communication; Fire, force, athleticism, and combat prowess; Earth, toughness and willpower; and Water, empathy, perception, and wisdom. These are rated between two and nine, each value exponentially greater than the one below it. For each Element, a Spherewalker has a speciality, a skill or ability in which he is better when using that Element. An Element can also suggest a career, such as warrior or acrobat for Fire or poet or physician for Air and Water.
A Spherewalker can also have magic, a mage typically specialising in one of the elements. Thus, Words of Power for Air, Soil and Stone for Earth, Flux for Fire, and Open Chalice for Water. As with Elements, Magic is exponentially more powerful the greater a rating a mage has in it, each rating granting particular advantages. So at a Fluxx rating of three, a Spherewalker can alter minor features, for example, aging milk, freshening the air, rusting metal, and so on, whilst a Soil and Stone rating of six would enable a Mage to save a Realm from a plague or heal a person. How often and for how long a Mage can perform such magics is measured by his Earth Element.
To create a Spherewalker, a player goes through six stages. These start with the player selecting or drawing five cards from the Vision card Deck. In addition to the full-colour illustration on the front, each Vision card has four or five questions on the back about the image on the front. For example, the card depicting two goatherds amidst a field of goats, one of goatherds seeming to steal away with a goat in his arms, has the questions, “How are the two goatherds related?”, “What is the sundial for?”, “How far away is the nearest village? Where is their home?”, and “Why is one goatherd crying?”. The player uses the Vision cards and the questions as inspiration. After deciding upon a Name, Motive, Virtue, Fault, and Fate, the player assigns twenty points between his Spherewalker’s Powers, Elements, and Magic, though all Spherewalkers will have Powers or Magic. The process is in part meant to be collaborative, each player specifically taking the time to introduce his Spherewalker and who he is, whilst the last stage involves the players asking questions about each other’s Spherewalkers, helping each other to understand who their Spherewalkers are. The end result though—and the author’s advice is that everyone should work towards this—should be playable, compatible with the rest of the party, and be prepared to grow and change.
Goat-sent grew up a simple goatherder, alongside her father, tending to the herds belonging to the village in the valley below until she turned thirteen and one goat began talking to her. Not just talking to her, but talking to her things that would happen—and then they did. When the villagers learned of it, they were at first curious, then fearful, and ordered the goat killed. This would happen at the sundial where many of the village’s religious ceremonies took place, but she could not let the goat be killed and ran away with it. Escaping for the first time through a Gate, she sought sanctuary and answers with a Sage, who taught her to focus upon a candle to enter into trances in which she would foretell the future. In time, the rich and powerful of his Realm came to hear their fortune, but not once was she able to tell of the Sage’s future. Yet ultimately, she found the sanctuary constraining and decided to leave, not to go back through the Gate she had used but via the harbour. The ship she embarked upon took her far away, further than the ship had sailed before, from one Realm to the next, where Capybara and her human companion, told her that she was a Spherewalker and that she should follow the sun through to Everway, where perhaps she might find answers. So far, the peoples of Everway have presented with answer upon answer as to the nature of her gift, but none can agree which is correct. So, she seeks answers beyond in the Realms.
Name: Goat-sent
Motive: Mystery
Virtue: Truth (Knowledge)
Fault: Effort Misspent (War)
Fate: Maturity (Winter)
Air: 5 (Singing)
Earth: 4 (Herding)
Fire: 4 (Living under the sun)
Water: 5 (Tracking)
Powers:
Goat companion, 3 (frequent, major, versatile)
Mystic Eye, 3 (frequent, major, versatile)
Goat Tongue, 0
Mechanically, Everway Visionary Roleplaying provides not one, but three means of resolution—the Law of Karma, the Law of Drama, and the Law of Fortune—and the Game Master is free to use whichever one she prefers or feels best fits the situation. With the Law of Karma, a Spherewalker’s Elements, Specialities, Powers, and Magic determine the outcome of an intended action. If the Game Master judges that the appropriate Element, Speciality, Power, or Magic is sufficient, then the Spherewalker will succeed. If not, he will fail. The Law of Karma also comes into play in the long term, potentially rewarding or penalising a Spherewalker depending upon whether an action can be seen as positive or negative. This is of course, up to the Game Master to judge.
The Law of Drama is even simpler. Essentially, the needs of the narrative and the story determines the outcome of an action. Is it appropriate or satisfying at the point in a story that a Spherewalker escape from the cell or does the villain need to turn up to deliver a monologue? Which outcome would make the story better—more interesting, more exciting, more intriguing? The Law of Fortune is slightly more complex, but again relies upon a high degree of improvisation and interpretation upon the part of the Game Master. To determine the outcome of an action, the Game Master draws from the Fortune Deck and interprets the Fortune card as it relates to the situation. Typically, this simply requires the Game Master to draw the one card per situation, whether that is for use of an Element, a Power, or Magic. Going from one law to the next, from the Law of Karma to the Law of Drama to the Law of Fortune involves increasing levels of improvisation upon the part of Game Master and acceptance and participation upon the part of the players and their Spherewalkers to buy into and engage with that improvisation.
Now all of these resolution mechanics also apply to combat as well, whether that is the Law of Karma determining that a Spherewalker is skilled or powerful enough to overcome a foe, the Law of Drama determining that it is appropriate in terms of the narrative for a Spherewalker to win or lose a conflict, or the Law of Fortune relying upon a Fortune card and its interpretation to determine if a Spherewalker wins the conflict or not. This makes combat simple and fast, effectively deemphasising combat as a means of overcoming problems in Everway Visionary Roleplaying. However, combat can be handled in more dramatic fashion, still using the Law of Fortune, but drawing not the once, but from round to round, exchange to exchange. This really works best when a fight or conflict is important, rather than with every single scuffle or brawl.
Mechanically—and thematically, the Fortune Deck lies at the heart of Everway Visionary Roleplaying. Out of the box, it is a deck of thirty-six, full colour, illustrated cards. Every card can be reversed and besides a title, has two simple pieces of text. For example, the text for the Inspiration card is ‘Creativity’, but ‘Lack of Imagination’ when reversed. It is this text which the Game Master is interpreting when applying the Law of Fortune. In the game though, the Fortune Deck is divination tool found in every Realm, but not necessarily as a deck of cards. It could be a great series of bells rung and interpreted in random order each day or the order in which a flock of birds returns to roost at dusk, but it is present in every Realm. The Fortune Deck influences every character—NPC or Spherewalker—and every Realm, so that they each have a Virtue, a Flaw, and a Fate, all drawn from the Fortune Deck. Similarly, each Realm can be created by drawing cards from the Vision Deck and interpreting them just as each player did during the creation of his Spherewalker. The Fortune Deck though, is flawed—by intention out of game, and because in-game, it adds an element of chaos. It was a deity of chaos who stole the thirty-sixth card, leaving a void, and this void, known as the Usurper, is filled with a profoundly negative influence, such as Despair, Sacrifice, or Vengeance, from one Realm to the next. The influence of the Usurper and this negative influence in each Realm will ultimately underlie any Quest that the Spherewalkers undertake there.
Everway Visionary Roleplaying is played as a series of Quests, and again, these can be created using the Vision cards as inspiration and the Fortune Deck to create the conflict in the Quest. Advice for the Game Master covers both the creation of Quests and Realms, and what makes both a good Quest and a good Realm. It also covers running the Quest, bringing the Spherewalkers together, and more. Half of the ‘Gamemastering Guide’ is given over to ‘Journey to Stonedeep’, a lengthy, detailed Quest designed to get a Game Master started with her Everway Visionary Roleplaying game. Several other Quests are outlined in the rest of the ‘Gamemastering Guide’ along with the advice. The much longer ‘Playing Guide’ introduces the setting of Everway in broad detail, enabling the Game Master to develop the particular details as necessary, should she want to involve her Spherewalkers in its daily life, politics, and other events, before guiding both player and Game Master through the stages of Spherewalker creation, and explaining and advising about the rules. The ‘Guide to the Fortune Deck’ explains the Fortune Deck in more detail, its use as a means of divination, and the cards in the Fortune Deck—their correspondences, their meanings, and reversed meanings. If the mechanics to Everway Visionary Roleplaying are simple and easy to learn, in comparison, learning to interpret the meanings of the cards in the Fortune Deck is not. So careful study of the ‘Guide to the Fortune Deck’ is warranted, though as a guide and means of interpretation, rather than being proscriptive. Some advice though could have been included though on how to interpret various situations using the Fortune Deck.
Physically, Everway Visionary Roleplaying is nicely produced and presented. The three books, each 8½ by 7-inches in size, are done in black and white and either pale blue or pale ochre, illustrated throughout with art taken from the Vision Deck, though in black and white rather than colour. The pre-generated Spherewalker sheets are attractively done in full colour, as are all of the cards in the various Decks. The cards in the Vision Deck are done on thick card, and have the feel of collectable trading cards, whilst the cards of the Fortune Deck are more like traditional playing cards—or those of Magic: the Gathering. (That said, it is surprising that the cards of the Vision Deck were not printed on similar card stock.) All of this nicely fits into the plastic insert tray in the box and which has room for further cards—more cards were published for the game.
Yet, for all the high quality of the production values—which for 1995 are excellent, what stands out about Everway Visionary Roleplaying is the quality of the writing. It is engaging throughout, it is helpful throughout, it gives numerous examples throughout, it gives advice throughout, it explains what the game is about and what the job of each player is and what he should do to make the game enjoyable for everyone around the table, and what the job of the Game Master is and what she should do to make the game enjoyable for everyone around the table. Alongside the advice and examples, there is discussion of what happened in the designer’s own campaign, which helps to bring the setting to life and to help the prospective Game Master understand the designer’s intentions. It is all fantastically, superbly useful.
All of this advice is necessary, because with as a trio of mechanics as light as presented in the Law of Karma, the Law of Drama, and the Law of Fortune, those mechanics are open to interpretation—though this is both a feature and the very point of the mechanics, and thus not a negative—and if not necessarily bias, then potential misinterpretation. Everway Visionary Roleplaying is designed to be a game suitable for those new to roleplaying and both its writing style and its advice is helpful in that regard. However, the step from a more tradition, dice and stats, simulationist roleplaying game to a narrative driven, diceless roleplaying game like Everway Visionary Roleplaying will be more of a challenge. Players and Game Master alike, more accustomed to such mainstream roleplaying games will find themselves perplexed by the lack of dice, by the very light, interpretative mechanics, by the emphasis upon the narrative rather than the mechanics, and the questions posed as part of Spherewalker creation will find themselves needing to make some adjustments in how they approach and play the roleplaying game. That though was in 1995. They did gaming differently then, but come forward a quarter of a century, and so many of the ideas and concepts behind Everway Visionary Roleplaying have been taken up by wide aspects of the hobby in the time since its publication, such that if they are not part of the mainstream hobby now, they are an accepted part of gaming.
—oOo—
Rick Swan began his review of Everway Visionary Roleplaying in Dragon Magazine No. 224 (December 1995) by being surprised at the choice of designer for Wizards of the Coast’s new and original roleplaying game and the roleplaying game itself. He described Jonathan Tweet as being talented, but “…not a mainstream kind of guy.” and that whilst he would have expected Wizards of the Coast to want a mainstream product, “In fact, Everway is so far out of the mainstream, it’s barely recognizable as an RPG.” After going into some depth about the roleplaying he states that, “Everway codifies the freeform style favored by me and (I suspect) thousands of other referees. It makes for a brisk game, and Everway, to its credit, plays at blinding speed. But to an unprecedented extent, the success of an Everway adventure depends on the improvisational skills of the referee, his ability to come up with interesting plot twists, characters, and scenic details on the spur of the moment. And players must respond in kind, relying on their imaginations instead of die-rolls to forge their characters’ destinies.” before concluding, “I suspect Tweet has underestimated the average gamer’s aptitude for improvisation. But I could be wrong.”
[As a side note, it curious that Swan concluded with, “I suspect Tweet has underestimated the average gamer’s aptitude for improvisation. But I could be wrong.” (My emphasis.) Given the tone of the review and that Swan thought that Tweet’s earlier Ars Magica would last a year or two, it is quite possible that that what he actually meant was ‘overestimated’. This would better fit the tone and conclusion that the review comes to.]
Ken & Jo Walton made Everway Visionary Roleplaying a Pyramid Pick in Pyramid Number 17 (January/February ’96). After a lengthy review, they concluded, “By now, you’re probably thinking either “That sounds interesting” or “That sounds awful.” This game is not one for simulationists, who want every detail of the physical world accurately portrayed. But for those roleplayers who want to roleplay in a free-form, improvisational way, Everway is a system which actually supports such play, rather than hemming the game round with rules that straitjacket the players’ character conceptions and hamper speed of play with tables and charts.”
Everway Visionary Roleplaying was reviewed by John Wick in Shadis Issue 25 (March 1996), by which time, the roleplaying game had been picked up by Pagan Publishing, the first of several subsequent publishers. He wrote, “Everyway is a game quite unlike anything else I’ve ever seen. The cost is a little high, it may be a bit too off the mainstream for many, and the characters presented arc definitely not Conan clones (white Anglo-Saxon males) which many may interpret as a tip of the hat to “political Correctness”, but all in all, it’s a great game that looks at every aspect of gaming from a different perspective. And that’s what “visionary” roleplaying is all about.” (Note that in 1995, Everway Visionary Roleplaying cost $34.95.)
—oOo—
Everway Visionary Roleplaying is the television series Sliders meets Roger Zelazny’s Amber, played out across a multiverse where patterns in terms of civilisations and the Fortune Deck resonate and repeat again and again. All focused through a lens of the mythic and the mystic, the latter verging on New Ageism, especially with the use of the Tarot card-like Fortune Deck. (This is in addition to the pattern of three which runs throughout the game—the three laws of resolution, the three aspects of divination, and so on.) It seems amazing that this roleplaying game, with its sparse mechanics, emphasis on the narrative, player-focused questions asked during Spherewalker creation, and lack of dice would be released in the nineties at the height of Magic: the Gathering’s popularity. When almost no other roleplaying games were being published and the roleplaying industry looked to be all but upon its death knell. Yet, all these aspects of its design would be explored further in the late nineties with designs like Robin D. Laws’ Hero Wars—which would become HeroQuest and Jenna K. Moran’s Nobilis, before the ‘Indie Roleplaying-Movement’ enthusiastically took them up and ran helter skelter with them. Designer Jonathan Tweet would himself be subsumed by the mainstream by the end of the nineties, becoming the lead designer on Dungeons & Dragons, Third Edition, again for Wizards of the Coast, and then as co-designer, bring some of that radicalism, non-mainstream design into the mainstream with 13th Age for Pelgrane Press.
In 1995, Everway Visionary Roleplaying was ground-breaking. With its advice and extensive examples, it showed how diceless roleplaying could be achieved and played and run with a strong emphasis upon the narrative. Both the means of Spherewalker creation—the use of the Vision Deck and the Fortune deck, along with the questions during the process, and the downplay of combat as a means of resolution, fostered engaging roleplaying and alternative means of solving conflicts and problems. It was incredibly well written, packed with advice, and supported with numerous examples, and yet… In 1995, it was too ground-breaking, it was too radical, and with its Tarot-like Fortune Deck, perhaps overly influenced by New Age religion. Ultimately though, it was not mainstream enough, not commercial enough. In 2021, though…?
Today, Everway Visionary Roleplaying still feels sleek, modern, and elegant. Game design has undergone radical changes since its original publication and now, Everway Visionary Roleplaying fits into the marketplace. It does not feel out of place. If the production values look dated, the design does not. Everway Visionary Roleplaying could be played today and nobody would think it weird or different. As radical as it was in 1995 and as influential as it has been over the last twenty-five years, Everway Visionary Roleplaying is a game from the past that fits today.
—oOo—
A new version of Everway Mythic Roleplaying is currently being funded as part of a Kickstarter campaign. It will be published by The Everway Company.
The tales of Robin Hood, of a band of outlaws standing up to the tyrant King John in the Forest of Nottingham are so strongly woven into the folklore, legends, and myths ‘Merrye Olde Englande’ that they are familiar across the English-speaking world. Over the decades, the tales have been reinforced again and again by film and television, from the 1938 The Adventures of Robin Hood with Errol Flynn and the 1950s television series The Adventures of Robin Hood with Richard Greene to more recent adaptations such as the BBC’s Robin Hood of the noughties and the 2018 film, Robin Hood. These adaptions and retellings, of course, vary in quality, tone, and humour, some even having been done as comedies. Similarly, Robin Hood has been the subject of numerous roleplaying games and supplements. Some have been quite comprehensive in their treatment of the outlaw and his band, for example, the supplements Steve Jackson Games’ GURPS Robin Hood and Iron Crown Enterprises’ Robin Hood: The Role Playing Campaign are both highly regarded in this respect, whilst other supplements take a broad approach or simply touch upon the subject of Robin Hood, such as Romance of the Perilous Land from Osprey Games.Sherwood: The Legend of Robin Hood takes a broad to the tales of Robin Hood and his merry men. Published by Battlefield Press, it is written for use with Savage Worlds, Third Edition, but versions of the supplement are also available for Pathfinder, First Edition, Swords & Wizardry, and Dungeons & Dragons, Fifth Edition, and since it is written for Savage Worlds, Third Edition, it is easily adapted to the more recent edition, Savage Worlds Adventure Edition.
Sherwood: The Legend of Robin Hood begins with a ‘Gazetteer of the 13th Century England’, which provides a historical and geographical overview of England—and to an extent, Ireland, Scotland, and Wales—for the period. It covers geography, economy, religion, everyday life, and more, including useful little details such as a list of the religious holidays during the period. Overall, it is a decent overview, giving some context for creating Player Characters and the setting. In terms of setting rules, Sherwood: The Legend of Robin Hood offers three different modes of play. These are Historical—realistic, superstition rather than magic, and relying upon Outlaw skill, luck, and confidence; Mythic England—a combination of mysticism, the supernatural, and the fantastic; and Swashbuckling—cinematic and sword-swinging! Each mode of play comes with a list of its Disallowed Hindrances and Edges, Setting Rules, and new Edges, along with a nod to its particular inspirations. Thus, for the Swashbuckling mode, it is The Adventures of Robin Hood, starring Errol Flynn; for Mythic England, it is the British Robin of Sherwood television series of the eighties; and for Historical, it is Robin Hood: Prince of Thieves from 1991. Of the three modes, Swashbuckling is actually intended to work with the first two, either Historical or Mythic England, so that the Game Master could run a Swashbuckling Historical campaign or a Swashbuckling Mythic England campaign. It should be noted that for role-players of a certain age, Mythic England, based upon Robin of Sherwood, is likely to be the default mode.
Player Characters in Sherwood: The Legend of Robin Hood are all Human. Along with a range of new Knowledge subskills, it gives a variety of new Edges and Hindrances. Thus for the latter there is Love, the type of love which going to bring a Player Character serious trouble, ‘Maladie Du Pays’, the medieval equivalent of Shell Shock, and Xenophobia, this last probably needing to carefully adjudicated by the Game Master lest it lead to inappropriate play at the table. Alongside various modified Edges, new Background Edges can make a Player Character have the Blood of the Fey, be a Knight of the Order—three are given, Knight Templar, Knight Hospitaller, and Knight Teutonic, or be Landed, for particularly rich characters; Combat Edges include Long Shot and One Shot Left, both useful for the Player Characters who want to be as good at archery as Robin Hood himself; and Social Edges include Quip!, Witty Banter, and Taunt, which all work with the Taunt skill to grant more than one attack per round.
If a campaign does involve magic, then Arcane Backgrounds include Alchemist, Conjurer, Druid, Priest, and Witch, the latter reflecting the period attitudes towards witchcraft rather than modern ones. These are nicely done and mechanically distinct, so the Alchemist concocts his spell effects into potions and the Druid casts rituals which take several rounds. The last Arcane Background is Engineer, which functions more like the Weird Science Arcane Background than magic, and enables a character to design and build various devices.
Mechanically, Sherwood: The Legend of Robin Hood adds three new options. First, Bennies, the equivalent of Luck or Hero Points in Savage Worlds, are called Swashbuckling Points. Like Bennies, Swashbuckling Points can be used to reroll a Trait Test or Soak damage, but in Sherwood: The Legend of Robin Hood, they can also be used to add a bonus to a Trait Test, increase the success of an Agility Trick to a Raise, and for one or two Swashbuckling Points, depending upon the degree of alteration, a player can alter the story or immediate surrounds to his character’s benefit. Second, Agility can be used to perform Tricks like Attack from Above, Blade Ballet, Running Up Walls, Swinging Attacks, and more, which the players are encouraged to use Swashbuckling Points to set up. Lastly, rules for archery contests, target shooting, including the splitting of an opponent’s arrow, and speed shooting cover the signature elements of the Robin Hood legend.
Besides equipment, Sherwood: The Legend of Robin Hood gives several archetypes, including Engineer, Knave, Man-at-arms, Noble, Priest, and Yeoman, all ready for play. In each case, their role in both the setting and gaming group is discussed, as well as ways in which they might vary. For the Game Master, there is ‘Trouble in Sherwood: Adventuring in Nottingham’, covering various types of campaign, Gritty Outlaws or Political Outlaws, for example. What it highlights upfront is that whatever the type of campaign, a Robin Hood-style campaign should ideally be episodic—which nicely ties back into Robin of Sherwood—and rather than be about combat or facing monsters, should be more like an espionage campaign, involving secrecy and subterfuge. Rounding out the supplement is a set of write-ups for the major figures of the Robin Hood legend, from Robin Hood himself and Little John to Guy of Gisborne. Lastly, ‘Mythic Sherwood’ guides the Game Master through bringing mythic elements and magic into the setting, the primary advice being to keep the effects of magic subtle, whether real or not. The aim being with the introduction of magic or any of the ‘Legends and Monsters’, from dragons and gargoyles to pookas and banshees, is to avoid the campaign from straying into territory already covered by traditional fantasy gaming.
As much content as there is in Sherwood: The Legend of Robin Hood, it is lacking a couple of areas. First, as much as the gazetteer gives context for a potential campaign, a timeline would have been useful to give more context for the history, and second, a better map would have been useful to give more context for the geography. Of course, both of these omissions can be addressed with some research upon the part of the Game Master, but the loss of a piece of art or two would certainly give room for either.
Physically, Sherwood: The Legend of Robin Hood is a decent little book. It is well written and illustrated with public domain artwork, but it does need an edit in places and the layout could definitely have been tidier. By contemporary standards, it does feel a little too grey and plain in terms of its look, but to be fair, it would not have been greatly improved by being full colour.
Sherwood: The Legend of Robin Hood packs a lot into its seventy-two pages, playable Player Characters, new Edges and Hindrances and skills, NPC write-ups, and both campaign ideas and modes. Together, Sherwood: The Legend of Robin Hood should just about cover anything that a Game Master and her players would want in a Robin Hood campaign in what is a serviceable little supplement.
Artist unknown, wood engraving attributed to the British style. Artwork found at The British Museum. 
Dungeon Crawl Classics Horror: The Corpse That Love Built – 2018 Halloween Module is a scenario for Dungeon Crawl Classics Role Playing Game. Designed for Player Characters of Second Level, as well as being a Halloween scenario for the popular retroclone, it is a sequel to the author’s earlier Dungeon Crawl Classics Horror #1: They Served Brandolyn Red—of a sort. In Dungeon Crawl Classics Horror #1: They Served Brandolyn Red, the Player Characters—all Zero Level and all members of the major families in the village of Portnelle were at the wedding of a young couple whose marriage might have healed a long running rift between two of the families. Of course, it was not to be, as wedding guests were decapitated and stolen away by strange creatures which erupted from beneath the ground. Eventually, after a weirdly crunchy encounter at the nearby abandoned vineyard and a delve underground, they revealed both the culprit behind the attacks at the wedding and darker family secrets. These darker family secrets play out in the events of Dungeon Crawl Classics Horror: The Corpse That Love Built – 2018 Halloween Module—sort of.Dungeon Crawl Classics Horror: The Corpse That Love Built – 2018 Halloween Module opens with the inhabitants of Portnelle and the Player Characters in the local church. Recently, the townsfolk have suffered a rash of abductions and mutilations, and as a fierce lightning storm rages outside, the senile Father Giralt cries out that he has been granted a vision identifying the person responsible for both. None other than Doctor Lotrin von Weißgras-Geisterblut, a local Elf who resides in a strange castle down by the coast and a recluse who has long been estranged from his family. Of course, as the local priest makes his declaration, there is a crash of lightning, the doors get knocked down, and the congregation is attacked by strangely earthy golems! Who could have ordered such an attack, could it have been Doctor Lotrin von Weißgras-Geisterblut?
Armed with the few rumours they know about the reclusive Elf—the adventure comes with an extensive rumour table—the Player Characters proceed to Castle von Weißgras-Geisterblut! Behind its high walls, they will find all manner of strangeness. First is that the tower keep has been transformed into the head and torso of a woman reaching up out of the earth and into the sky. Second, there is all manner of odd constructed creatures. They include things like ‘Crude Fleshy-Contraption Archers’, collections of gears and levers, powered by enchanted sinews; ‘Weredoggins’, a combination of were-hound and scorpion, whose traditional curse is more spiritual than medical in nature; and the ‘Halfling-Hand Luck-Sucking Lizard’, which is as weird and as nasty as it sounds. There is some enjoyably inventive monster creations here, so it is a pity that so few of them are illustrated in the module. However, the signs of Doctor Lotrin von Weißgras-Geisterblut’s research can be found throughout the tower and together with the constructs, they add to the sense that a mad scientist is at work, which pervades the scenario.
Ultimately, signs point to the top and bottom of the tower. At the top of the staircase which climbs all the way up the arm can be found a local woman, imprisoned and at the mercy of the lightning storm, whilst at the bottom is Doctor Lotrin von Weißgras-Geisterblut’s laboratory. Between the two runs a lengthy coil of mithril. Could the mad doctor be seeking to harness the lightning for a purpose of his own? To which, of course, the answer is ‘yes’, and it is one that the Player Characters will confront—as depicted in the scenario’s centrefold of the Bride Giant, an obvious homage to Bride of Frankenstein!
There are one or two issues with Dungeon Crawl Classics Horror: The Corpse That Love Built – 2018 Halloween Module. One is that the dungeon, essentially, the inside of the tower, is small, just nine locations. It does not feel like somewhere that Doctor Lotrin von Weißgras-Geisterblut lives and perhaps another level, one in the ‘head’ of the tower, could have been included to flesh it out a little. Another is that although Exact Spirit Animal, the spell that works in conjunction with the effect of the bite of the ‘Weredoggins’, is included in the scenario, another spell, Geisterblut’s Squirming Flesh, is not. And there is also the matter of the scenario’s centrefold of the Bride Giant. It is not titillating as such, but there is plenty of ‘flesh’ on show, and it may not be to everyone’s taste.
If the horror in Dungeon Crawl Classics Horror #1: They Served Brandolyn Red is gothic, its inspiration that of Edgar Allen Poe, then the horror of Dungeon Crawl Classics Horror: The Corpse That Love Built – 2018 Halloween Module is that of Universal Monsters—in particular, Frankenstein and Bride of Frankenstein, as well as Hammer Horror. The scenario is horrifying, challenging, nasty, and in the right hands, campy fun too. That though is Dungeon Crawl Classics Horror: The Corpse That Love Built – 2018 Halloween Module as a standalone scenario.
As a sequel to Dungeon Crawl Classics Horror #1: They Served Brandolyn Red, this scenario is disappointing. Not just the fact that Dungeon Crawl Classics Horror #1: They Served Brandolyn Red is a Character Funnel for Zero Level Player Characters and Dungeon Crawl Classics Horror: The Corpse That Love Built – 2018 Halloween Module is designed for Second Level, meaning that the Judge will need to run a scenario or two to get the Player Characters who survived Dungeon Crawl Classics Horror #1: They Served Brandolyn Red up to the required Level to player this scenario, but that there are so few links between the two. Dungeon Crawl Classics Horror #1: They Served Brandolyn Red ended by indicating that Dungeon Crawl Classics Horror: The Corpse That Love Built – 2018 Halloween Module is a sequel, but as written, the links between the two are underwritten. The villain of this scenario, Doctor Lotrin von Weißgras-Geisterblut, is a nod at least to Lotrin Whitegrass, husband of the betrayed Brandolyn from Dungeon Crawl Classics Horror #1: They Served Brandolyn Red—and besides the fact that the two scenarios are set in the same location, Portnelle (whether town or village), that is really all there is in terms of links. There is no family set-up as there is in Dungeon Crawl Classics Horror #1: They Served Brandolyn Red, there is no advice to link the two, which is both frustrating and disappointing. It just means that the Judge will have to create some of his own.
Ultimately, as a standalone horror scenario, Dungeon Crawl Classics Horror: The Corpse That Love Built – 2018 Halloween Module is entertaining, being a fan and campy challenge. As a sequel to Dungeon Crawl Classics Horror #1: They Served Brandolyn Red, it is very much a missed opportunity.
Dobrynya Nikitich's Battle with the Seven-Headed Zmey, 1913-1918
Prince Ivan's Battle with the Three-Headed Serpent, 1910–1912
Archangel Michael, 1914–1915
Poster for charity bazaar to support war victims
Baba Yaga, 1917
The Four Horsemen of the Apocalypse, 1887
Sirin and Alkonost, The Birds of Joy and Sorrow, 1896
Kashchei the Immortal, 1917–1919
Knight at the Crossroads, 1882
Last Judgement, 1904
Sleeping Princess, 1913-17.
I stated in my post about the Yaoguai that I am by no stretch of the imagination an expert on Chinese mythology. But even I know there is no way for the Deities & Demigods to cover all the mythological figures, gods, demigods, heroes, and monsters of Chinese myth. The editors of the D&DG agree.Instead what we have here are a few select gods and monsters for D&D fare. I am quite certain that anyone that knows more about this than I do will notice some glaring issue, but for the moment let's look at it for what it is rather than what we wish it to be. This is good because "what it is" is a fascinating, if sometimes problematic, read.
There are a few gods and creatures here that not only would make for great demons (in the Demon category of the Monster Manual) they are creatures that made many appearances in my games. Again this is taking them "as is", not "as they should be" but I will detail that in a bit.
An issue I should address is spelling. Translating between Chinese and English is often half linguistics and half art. Even when the spelling is agreed on it can change later, "D" and "T" are notorious. What does that mean to us? Well, it makes the research a bit harder on some creatures. To get into the myths and stories behind these creatures would take a lot longer than this post and outside of the scope of One Man's God, but as always I will try to pull in the research when I can.
One of the better sources for these myths is E. T. C. Werner's "The Myths and Legends of China" whose earliest publication date appears to be in 1940. The book is in the public domain and would have been available to the authors of the D&DG. While there are other books, I am going to go to this one for confirmation on what is here. Now Werner could have a bunch of issues all on his own. I am not qualified to judge those either.
Finally, I want to give credit to the artist of this section of myths, Darlene. I don't think she gets the credit she deserves half the time (outside of her FANTASTIC map of Greyhawk). Her art really captures the feel of these myths for me.
Chih-Chiang Fyu-Ya
This guy typifies the problem I speak of. A search for him online reveals only sources that were obviously taken from the D&DG. The only other mentions are people asking where he is from. Now I have no issue with making something up whole cloth for a game (I do it every day) but does that make him a part of Chinese myth? In any case, Chih-Chiang Fyu-Ya looks and acts more like a Monster Manual devil than he does a demon. My feeling is this guy was made up for the D&DG.
He does not appear in Werner's book.
Ma Yuan
So Chih-Chiang Fyu-Ya is the punisher of the gods, that is someone the gods send out to punish, much like Erinyes. Ma Yuan is the Killer of the Gods. He kills the gods. He is also a unique beast and fits our definition of a demon well. He is Chaotic Evil, 70's tall, and has 300 hp. He could mop the floor with Demogorgon! Well...maybe not mop. Ma Yuan also appeared in many of my games back in the day as a giant monster of destruction (and ignoring his "High" intelligence rating), his sword is one of just a few fabled weapons in my world that can kill a god. In Gods, Demigods, and Heroes for 0e he is called Ma Yuan Shuai. This is very interesting since Tian Du Yuan Shuai is a figure of Taoist myth (though he could have been a real person) and he is associated with Okinawan Gojū-ryū karate. This was interesting to me because I studied Isshin-ryū karate in college and grad school, they are similar in many of their katas. But going done that rabbit hole was a dead end despite how interesting I found it.
"Yuan Shuai" is also a rank in the Chinese military rank that is equivalent to Marshall in other militaries. Ma Yuan Shuai could mean something like "Horse Marshall."
Going with this name I head back to Werner's book, I find this:
Ma Yüan-shuai is a three-eyed monster condemned by Ju Lai to reincarnation for excessive cruelty in the extermination of evil spirits. In order to obey this command he entered the womb of Ma Chin-mu in the form of five globes of fire. Being a precocious youth, he could fight when only three days old, and killed the Dragon-king of the Eastern Sea. From his instructor he received a spiritual work dealing with wind, thunder, snakes, etc., and a triangular piece of stone which he could at will change into anything he liked. By order of Yü Ti he subdued the Spirits of the Wind and Fire, the Blue Dragon, the King of the Five Dragons, and the Spirit of the Five Hundred Fire Ducks, all without injury to himself. For these and many other enterprises he was rewarded by Yü Ti with various magic articles and with the title of Generalissimo of the West, and is regarded as so successful an interceder with Yü Ti that he is prayed to for all sorts of benefits.Doing research on this guy reveals that I was not the only one taken with this character (not a surprise really). Here Spes Magna Games updated his stats to 5e D&D.
Ma Yuan though is a great being. I would say that he is a great sleeping demon (though his "in lair 10%" seems to preclude this) that is only roused when needed. Werner's description seems to favor demon really.
Lu Yueh
Some success? Lu Yueh appears as a figure using a magic umbrella to spreading plague in a 1922 painting by an unknown artist.
He also appears in Werner's The Myths and Legends of China. Called Lü Yüeh here he seems to be more of a hermit than a demonic god. Also, he only has one head. He still causes plagues though.
Tou Mu
Yikes.
I am prone to be forgiving in cases like Chih-Chian Fyu-Ya; creatures made up to serve a purpose or a niche for a game. Or even Lu Yueh and Ma Yuan; myths extended and/or changed to fit into D&D a little better. But what they did to Tou Mu? No. This is just terrible research at this point. I have avoided being too critical of the D&DG because I know the authors did not have the same access to materials I have now and, not to be a dick about it, but I have been trained to do Ph.D. level research. I have had 30+ years of professional research to draw on. They did not. But this case really goes to the critics of the D&DG.
Background. Tou Mu was something of a celebrity back in Junior High among the people I played D&D with. First she looks way freaking cool, secondly, she had a Charisma of 5! She had a ton of great and unique magic items and some DMs even gave her the dancing sword of lightning (as if she didn't already have enough). She was an Endgame Boss.
In actual Taoist mythology, she is Dǒumǔ (斗母) the 'Mother of the Great Chariot' or the Big Dipper. she would not be a "Chaotic Evil Lesser Goddess" but most likely be a Lawful Good Greater Goddess, though a Lesser (but powerful) Goddess would also be acceptable. Though I am not sure what I find worse, the evil alignment, the 5 Charisma or the 3 in Wisdom.
Here is how she looks in the D&DG,
versus how she is depicted in the real world,
Seriously, how could they have messed this one up so bad? Turn a beloved goddess into a monster?
Again, let's see what Werner has to say about her:
Goddess of the North StarWell, in many ways I supposed that is what OMG is kinda based on; One Man's God is another man's demon. Still, it doesn't feel right to turn Dǒumǔ into Tou Mou. I also suppose this also is part of the criticism landed at TSR/WotC's feet back in July of 2020 about the Oriental Adventures book. which, by the way, despite what all the Chicken Littles were saying back then you CAN still buy it in it's unedited form.
I said at the outset I know far less about Chinese myths than I like and far less than I do about other mythologies. What I do know there are SO MANY great stories about gods, demigods, monsters, and human heroes that doing this one right would fantastic.
My first Bard for B/X, LarsI'll point out that is a continuation of my Class Struggles: The Bard from all the way back in 2015.
The Basic Bard, Review
Basic-era D&D never had a proper Bard. The version in the AD&D Player's Handbook was difficult to get into and harder still to get DM's will to allow it. Second Edition AD&D had a Bard that was part of the Rouge Class, but it felt bland for lack of a better word. I enjoyed playing Bards when I could and I considered doing my own Bard Class to go along with the witch. Thankfully others have stepped in and up to do all that work for me.
Before I get into my new entries, I want to recap the Basic-era or even Basic-like versions of the Bard from my previous post. More details can be read in that post.
Richard LeBlanc, over at Save vs. Dragon
http://savevsdragon.blogspot.com/2015/08/new-bx-character-class-bard-version-i.html
http://savevsdragon.blogspot.com/2015/08/new-bx-character-class-bard-version-ii.html
http://savevsdragon.blogspot.com/search/label/bard
and to be featured in the Character Class Codex.
http://savevsdragon.blogspot.com/2015/08/cx1-character-class-codex-update.html
Richard LeBlanc has given this class a lot of thought and energy. His Version I has more thief skills, his version II has more magic. I think in the end I prefer his version II Bard. I tend to like a magical flair in my Bards.
Barrel Rider Games
James over at BRG has given us a number of Bard-like classes.
Running Beagle Games, B/X Blackrazor
The Complete B/X Adventurer from Jonathan Becker has a "Loremaster" style Bard.
Astonishing Swordsmen & Sorcerers of Hyperborea
While not "Basic" the Bard from AS&SH 2nd Edition would fit well into a Basic-era game.
The New Bards On the Block
When the Advanced edition of Labyrinth Lord was released I was hoping for a Bard class, but not unduly surprised when it was not there. No problem I think, plenty of others (see above) to choose from. But in the last few years, a bunch of new, Basic-specific Bards have come out.
Old-School Essentials Advanced Fantasy
One of my favorites is the BX style Bard from Old-School Essentials Advanced Fantasy. Part of the Old-School Essentials line delves into the more "Advanced" features and in particular classes. This is a single class bard as expected and redesigned to fit more with BX D&D than Advanced. It uses Druid spells and is sometimes known as a "Divine" Bard for reasons I'll detail in a bit. It has language skills like I like and lore and charm abilities, but no thieves skills. Since this Bard uses Druid spells I like to refer to it in my games as an Ovate.
With the recent OSE Advanced Kickstarter there was an exclusive "Inaugural Issue" of Carcass Crawler a Zine for OSE. This zine included a new Bard. This Bard uses Magic-user spells and has some thieves skills but no charm powers or languages. Called an Arcane Bard in the zine I tend to call this one a Skald. Both work great in a game.
This is not my first time with this particular version of the Companion Rules for B/X, nor is it likely to be my last. Like Advanced-OSE above this set gives us a Bard, an Illusionist, a Druid, and Gnomes. The Bard in this expansion also has the Bard casting Illusionist spells which I rather like to be honest. Something that Gnomes (races as class) also get. The Bard has some nice features, but what I think I would do is redo the Arcane Bard/Skald from above and have it cast Illusionist spells as per this Bard.
Bard Class from James Mishler Games
Likely the most complete Bard class this is a separate PDF from James Mishler. This one is so new that the post he announced it in is still fresh! This Bard has all the skills I want and like. The spells list is a combination of both Divine and Arcane (Cleric and Magic-User) spells, likely as it should be really. But what REALLY makes this bard a great class are the renaming of the spells. Each spell is named like a song or a piece of music. Really gives this Bard a different feel. If I were to import say some more Illusionist and/or Druid spells to this one I'd have to come up with some new names for the spells.
All three (or four) are really great and I can see each one fitting into the game.
A final Bard would be the semi-official Bard from Vol.2 Issue 1 of The Strategic Review from February 1976. This Bard is for OD&D and there are 25 total levels for it. It can charm and has Bardic Lore. It also casts Magic-user spells. I use this as my basis of comparison for Bards going forward.
The proof they say is in the playing. So despite all the warnings, the Internet seems to want to share, I think a party of Basic Bards might be in order just to see how they all work out. While none are great combatants they all would bring various magical and thief skills to the mix. Oh! I can see it now. A D&D version of the Beatles OR better still, The Monkees! I'd use my Hex Girls, but I need four, unless I ignore the Arcane Bard.
Hmm.
It could work.
Pieter van der Heyden, After Pieter Bruegel the Elder - Pride, 1558
Pieter van der Heyden, After Pieter Bruegel the Elder - Gluttony, 1558
Pieter van der Heyden, After Pieter Bruegel the Elder - Envy, 1558
No names or dates are attributed to these four paintings, all variations of Bruegel's engraved series "The Seven Deadly Sins."
Additional engravings based on the works by Pieter Bruegel the Elder were previously shared here.
Richard McKenna / February 9, 2021
Hawkwind: Days of the UndergroundDisclosure: Joe Banks is a We Are the Mutants contributor.
I don’t really remember anybody actually mentioning Hawkwind in my youth. You just seemed to absorb an awareness of them from the landscape by osmosis, the same way you absorbed knowledge of the locations of short-cuts, haunted houses, and the more dangerous potholes. Cognizance of these archetypes stalking out from the mists—lead singer and guitarist Brock the stroppy-looking, vaguely Asterix-ey Celt chieftain, even his name sounding like something out of the pulps; Stacia, mad-eyed unafraid galactic goddess; Calvert the seer, consumed by the voltage of his visions; Nik Turner, crazed sax druid; Lemmy the pagan barbarian; and all the other assorted weirdos, bruisers and flakes, equal parts disconcertingly familiar and reassuringly alien—somehow assembled itself in your brain of its own accord from fragmentary exposure like a sub-language. Shards of an aesthetic, like the weird Art Nouveau-ish t-shirt worn by the girl at the youth club, the truncated roar of “Silver Machine” coming from the open door of a pub, a friend’s older brother’s odd-smelling bedroom, all pointing to the existence of this thing: Hawkwind.
For a period, I didn’t even realize that Hawkwind was a band, having intuited that it was a TV program along the lines of Catweazle, and by the time I was a teen in the mid-’80s, Hawkwind were so violently out of fashion in the milieus I frequented that it wasn’t even necessary to choose not to like them—not liking them was the default position. Perhaps, along with a widespread post-’77 mistrust of hippies (ironic, seeing as it was often hippies-turned-punks who were punk’s most dedicated propagators), it was this sense of them more as an aspect of the environment than a rock revelation that contributed to the relative neglect the band long enjoyed in their native island. And yet they remained eerily omnipresent and potential, like a seam of strange metal running through everything that you did like, and biding their time until the moment you noticed them and the electricity started to flow.
For those that have managed to avoid the knowledge, Hawkwind are a British band who played—and in fact continue to play—an unappetizing-sounding cocktail of hard rock, hippy sludge, psychedelic rock, prog, and a kind of Ur-punk. Over the top of the chippy rhythms, DIY electronics, and gloomy melodies sits the crazed lyrical world the band have gradually accreted around themselves over the years, where genuinely inspired SF poetics collide with off-their-face ramblings pulled from the last SF pulp someone read. All this somehow coalesces into what’s often seen as the UK’s equivalent of Krautrock. It’s often referred to as “space rock,” a concoction they’ve stuck with for decades. See? You’re already sneering. But that’s only going to make you feel even more of a tit several years down the line when you feel compelled to play “Orgone Accumulator” five times in a row every time you’ve had a drink. Because Hawkwind technology works, and when that electricity starts to flow, you will feel the irresistible cosmic boogie blasting through your body.
Hawkwind: Days of the Underground takes upon itself the task of lasering away the galactic cobwebs obscuring the sleek form of starship Hawkwind, waking its crew from suspended animation and firing up its thrusters. In it, author Joe Banks shows how transformative Hawkwind were from a musical, political, and maybe even sociological standpoint, their stubborn refusal to become part of the machine hardwired into the instruments of their mission. He contextualizes them in the various musical scenes they warped through and reminds us of their DIY vocation, highlighting how much more they perhaps have in common with an entity like CRASS than they do with their nominal peers. It’s in their shared aggro-hippie roots in free festivals and pagan whatnots, artwork-as-intrinsic-part-of-the-package philosophy, quasi-military collective presentation, relentless beat, guitar rhythms that feel like they’re hacking away at something, and even in the prole-patrician tensions implicit in the contrasting vocal stylings of Hawkwind’s Brock and Calvert and CRASS’s Eve Libertine and Steve Ignorant.
Like the idiot I am, I avoided Hawkwind like a time-plague for much of my youth, so the revelation when it came that they were not in fact some embarrassing 12-bar club band but a paradigm-blasting mindfuck was even more shocking, and this is the feeling that Days of the Underground captures: that moment of protracted excitement when you realize something is great. It’s also the perfect book for anyone like me who has a dread of books about bands and the deadening effect too much information can have (at least for me) on the daft power of rock ‘n’ roll. Practically every time I’ve read a book about a band it’s felt a bit like watching a beautiful stage set be dismantled by well-meaning yet stolid roadies whose main interest is in the kinds of screws holding the props together, or what’s going to be on the catering table.
Days of the Underground isn’t like that. It’s a book written by a fan in the best possible meaning of that phrase, in the sense that it communicates its author’s deep passion about and desire to share something transformative and, in its way, profound. The book is rammed with insightful commentary, informed analysis, and detailed information about every aspect of the band (and their endless internal crew disputes), but despite that it somehow never lets the momentum slack or allows fannery to drown out the driving Cosmic rhythm. I came away from it feeling excited and galvanized—not just wanting to re-listen to every Hawkwind LP (though I definitely did) but also wanting to actually do things: not read another rock book but pick up a guitar, draw a picture, write a story, go into suspended animation and let the automind pilot me outside of time. It’s a read that feels more like an actual exciting thing than it does a book about an exciting thing, if that makes any sense. As far as I’m concerned, there’s no greater compliment.
Richard McKenna grew up in the visionary utopia of 1970s South Yorkshire and now ekes out a living among the crumbling ruins of Rome, from whence he dreams of being rescued by the Terran Trade Authority.
