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










You can read the book in its entirety at Google Books. The higher resolution images found thanks to Spl Hand Colored Rare Book Collection.
Original Roleplaying Concepts
"A fine website, but even more than that...THANKS FOR THE GREAT PARODY OF THE DARK DUNGEONS TRASH! Best wishes."
Gary Gygax circa 1999
Back in 1994, I moved to Chicago to work on my Ph.D. and be closer to my then-girlfriend (spoiler, I married her in 1995). I was working at the College of Education at the time as their tech-monkey. I told them I knew how to write code. I did/do, but it was all Pascal, Fortran, and some C and VisualBasic. What they wanted was HTML though they really didn't know it at the time. I built their student databases and worked on their nascent website.
My very first website, made in 1995, was The Chicago Campus Crusade for Cthulhu. I had all my Call of Cthulhu materials online and it was a parody site. This was quickly followed by my Gateway2000 PC site (yes I was a huge fan of Gateway computers). I had built them both in Notepad, a tool I still use today to edit all my HTML.
The earliest captures were 1998, but by then I had been on for 2-3 years. I was using the "noarchive" tag and "Frame breaker" scripts a lot back then because there was a real concern for webpage theft and spaghetti publishers. I thought that would help. What they do was keep my site from being archived by bots.
This kept me from finding the very first versions of my sites, though I still have all the HTML code backed up. I did notice that when I went back for my second Ph.D. my student account was reactivated and there are some captures from around then as well.
In any case, the knowledge I gained from those sites was poured into my newest site, The Other Side.
I named it after an old newspaper column I wrote for my school newspaper in High School and then my first year of undergrad. Plus it sounded mystical and new agey.
I am not 100% sure of the exact day it went live. I know it was between March 10th and the 12th because that was my wife's birthday. Also, I was in a Cognition of Memory course at the time when I jotted down my first ideas for it in my notebook. So that was Spring term 96.
The site changed over the years. I added more and more material and soon it was the home of my first Netbook of Witches and Warlocks, published in 1999. I had moved from my campus site to RPGHost for the longest time. From there I was also on Xoom, NBCi, Tripod, and then PlanetADnD.
Around 2003 or so I kept getting hacked and my sie taken down. My host asked me to take it down for a bit because of all the DoS attacks he was getting. So for a while, all that remained were some mirrors of the site that I rarely updated.
The site was revived in 2007 on this blog.
I still use the same background, though in a much-lightened fashion. Some of the material written for that old site has also come back here.
Sadly many of my then contemporaries are gone. PlanetADnD is no more. BlueTroll has been gone a long time. All the old hosting services are long gone. I see that ADnDDownloads is still up after a fashion. Mimir, the Planescape site, is still going and looks the same as it did back in the 1990s, though I don't think it has been updated in 10 years and many links are broken.
While I miss some of the "wild west" days of finding the perfect, or the perfectly odd, netbook, things are better now. DriveThruRPG gives me legal means to complete my collection and DMGsguild covers my need for fan-created material. And that is just the tip of the iceberg as it were.
Do I have it in me to go another 25? Well...I'll be in my mid to late 70s then, so no idea. But I am going to keep having fun with this as long as I can.
Thanks for being with me this long!
I will admit it. I kinda take GaryCon for granted. It's a fun con and it usually happens around my kid's spring breaks and it is only about an hour-long drive. We can go there, play some games and sleep in our own beds afterward.
Well, leave it to this pandemic to let me know what got once it is gone!
This year I, along with the rest of Elf Lair Games, will be running some NIGHT SHIFT games for Ethereal Gary Con XIII.
This year I am running NIGHT SHIFT: Veterans of the Supernatural Wars along with Elf Lair Games founder Jason Vey and Derek Stoelting (one of our long-time collaborators from our Eden Studios days).
Registration for badges is ongoing, event registration has begun for some badge holders and will open up next week.
Here are the games we are running.
I wish I could play them all, to be honest. It has been YEARS since Derek, Jason and I have thrown dice together at a Con.
NIGHT SHIFT should appeal to fans of old-school games and modern supernatural/paranormal fiction fans. Essentially if you like the work we all have done of previous games (Buffy, AFMBE, Ghosts, AA, and more) then you should enjoy this.
I'll post when the games are ready for registration.
Demon 01, Satan & Soul series, 2017
Illustration from "Travels of Sandbad" by Mohammad Ali Sepanloo
Melli Bank Reproduced, Retell Collection, Film cell on canvas, 2015
Boasting Reproduced, Retell Collection, Film cell on canvas, 2015
Photo of Ali in his North Tehran studio
"Sadeghi is one of the most prolific and successful Iranian painters and artists from the second half of the 20th century to today. Born in 1937, Sadeghi is famous for his drawings, paintings and films are part of a well developed Iranian surrealist movement which was prominent from the 1970's until today.
Much of Sadeghi's inspiration comes from historical books including the Shahnameh where he uses cultural motifs and myths for the basis of his work. He initiated a special style in Persian painting, influenced by Coffee House painting, iconography, and traditional Iranian portrait painting, following the Qajar tradition - a mixture of a kind of surrealism, influenced by the art of stained glass." - quote source
Artworks found at 50 Watts, The Real Riviera, Dastan Gallery and the artist's official site.
See more at an instagram account devoted to the artist.
With The Master from Reza Sayah on Vimeo.
Annie Parnell / March 10, 2021
Originally released one month after the Apollo 11 moon landing, Jim Sullivan’s psych-folk hidden gem UFO (1969) is characterized by a drifting kind of hopefulness. Over the floating strings and upbeat horns of The Wrecking Crew, who famously backed The Beach Boys and Phil Spector, the album’s lyrics consider alien abduction and psychic links with loved ones with a curiosity tinged with despair. Sullivan weaves these unearthly themes together with transitory imagery of highways and train stations, a cosmic American landscape that calls to mind Gram Parsons, who he is frequently compared to. Throughout, he searches earnestly for connection, in “Whistle Stop” asking, “Do you know the feeling? Can you love someone you’ve only met a while ago?”
UFO paints love as an otherworldly link with another person who can “hear what I am thinking,” and the album’s title track extrapolates this idea further to consider the notion of divine love. Sullivan, who was raised Irish Catholic and is described by his son Chris as having grown up in an “age of exploration,” wonders in the song if the Second Coming of Christ might arrive by UFO, an idea that’s since been amplified by his better-known space-rock contemporary David Bowie. Jim, however, is no Ziggy Stardust—where Bowie’s odes to an alien messiah are jubilant, “UFO” is inquisitive and a little guarded, with a refrain that insists that he’s only “checking out the show.” For Sullivan, it’s not only hard to comprehend the seemingly telepathic sense of connection that true love offers—on both an interpersonal and a godly scale, it’s almost impossible to believe in it.
It’s a potent sentiment, and Sullivan’s idiosyncratic, wandering lyrics parallel the mystery that surrounds his life. Chris Sullivan explained to the New York Times in 2016 that Jim resented “the idea that he might have to be a square and go work for someone else,” but despite attracting the attention of Playboy Records and celebrity fans like Farah Fawcett and Harry Dean Stanton, his music career failed to pick up steam. This struggle between the talent he so clearly possessed and the recognition that stayed out of his reach is preternaturally visible on his debut album: in the song “Highways,” Sullivan is both dogged and lost, clearly stuck but stubbornly rebuking a world that refuses to let him live by his own rules.
Six years after UFO’s release, Sullivan decided to drive cross-country to try and catch a break in Nashville. Along the way, he checked into a hotel in Santa Rosa, New Mexico, bought a bottle of vodka at a local liquor store, and disappeared without a trace. His Volkswagen Beetle was found abandoned at a nearby ranch. In the passenger seat were his wallet, his guitar, and a box full of copies of both his sophomore release Jim Sullivan (1972) and UFO. The latter’s listing on the label Light in the Attic’s website describes a conversation in which he claimed that if he ever had to disappear, “he’d walk into the desert and never come back.” Others point to a stop by police near Santa Rosa, which, as Chris notes grimly in an interview with FLOOD Magazine, has “a way of making people disappear.” A short documentary made by Light in the Attic touches on another theory: that he was abducted by aliens. Regardless, as his son points out, Jim was “great at what he did,” and the music on UFO is as intimate as it is enigmatic, asking questions about existence, the universe, and our place in each.
Sullivan’s quip in “UFO” that “too much goodness is a sin today,” as well as his gaze towards the stars for salvation, might have resonated with Judee Sill—another unsung singer-songwriter whose debut album Judee Sill (1971) is stuffed with references to aliens and the paranormal. A former church organist, she mixes these occult images more explicitly than Sullivan with Christian spirituality, crafting an intimate assortment of lyrical confessions that she once described as “Country-Cult-Baroque.” On “Crayon Angels,” the album’s opener, she sings gently that she is “waiting for God and a train to the astral plane.” Throughout the album, Christ continues to appear to her in a variety of far-out forms, including an “archetypal man” who’s “fleeter even than Mercury” and whose “moon mirage is shining.”
In “Enchanted Sky Machines,” a gospel-influenced ballad near the album’s close, Judee is especially hopeful, blending salvation and spacecraft in a way that distinctly evokes “UFO.” On the live album Songs of Rapture and Redemption, she explains candidly that this song is “a religious song about flying saucers coming… to take all of the deserving people away.” Her Live in London BBC recordings reveal a deep-seated belief, explored through this alien metaphor, that “deserving people will be saved.” Unlike Jim Sullivan’s passive and cautious “checking out the show,” however, Judee’s hope for an alien, ’70s-style rapture is yearning, open, and at times deeply anxious. Early on, she admits—to God or to us?—that she “could easily love you if you’d just let me feel”; by the second chorus, she begs the titular “sky machines” to “please hurry.”
This urgency behind Sill’s search for space-age saviors seems intrinsically tied to the adversity she faced during her life on Earth. Sill began her career after spending time in jail for forgery and narcotics possession; a letter she sent along with her demos to Asylum Records detailed the ways her struggles with addiction had informed her music. She died at age 35 of an apparent drug overdose that was controversially ruled a suicide. A musing note about life after death that was found on the scene has been contended by those who knew her as a misinterpreted diary entry, or else the first draft of a song.
Just as there’s more to Jim Sullivan than his disappearance, though, Judee Sill’s music goes well beyond a reflection of her personal tragedies, and her transformative ideas about God, love, and the universe are intrinsic to her work. Openly bisexual, she had public relationships with both men and women, and once described to Rolling Stone a fluid vision of gender, sexuality, and religion drawn from Carl Jung’s masculine force of the “animus” and feminine force of the “anima.” Her music is preoccupied with radical philosophical senses of redemption and acceptance, each with its own unearthly tint. “Jesus Was a Cross Maker,” for instance, delves into the grueling process of forgiving a former lover, written while she read Nikos Kazantzakis’s 1955 novel The Last Temptation of Christ. “Lopin’ Along Through the Cosmos” portrays her searching for answers among the stars, all the while insisting serenely to her listeners that “however we are is okay.”
Outer space seems to suggest some of the same possibilities to both Sullivan and Sill: acceptance, transcendence, the possibility of leaving behind a flawed world where good and deserving people who chafe against societal norms are punished for it. Turning to the universe for solace when the world rejects you is an intrinsically reclamatory act—not only does it argue that the bindings of normative society are escapable, it also suggests that they’re not inherently natural or inborn. Jim Sullivan’s search for love and freedom within a repressive capitalistic framework is perhaps most zealous on “Highways,” when he insists that “my world is real, yours a dream,” while Judee Sill’s earnest belief in a better place is clearest on “Enchanted Sky Machines,” as she reassures the listener (or herself) that it “won’t be too far away.”
This idea of a futuristic alien society more accepting than our own is certainly not a foreign one. In fact, it’s now a hallmark of the way that science-fiction themes have been explored in modern music, from Janelle Monáe’s Afrofuturist android-centric concept albums to The Butchies’ audacious queer punk anthem “The Galaxy is Gay.” Sullivan and Sill’s metaphysical pickings, however, came long before the social justice crossroads currently faced by modern country music, a realm that’s historically been considered a bastion of American conservatism. Like fellow ’70s trailblazers Lavender Country, UFO and Judee Sill not only call this characterization into question, but turn it on its head, using interplanetary imagery to imagine an open-minded world of country and folk decades before Nashville’s Music Row began to catch up with them. The holy connections each artist makes lend an additional layer of sanctity to the search—Sullivan and Sill suggest that not only is it natural and acceptable to diverge from the prescribed earthly norm, but it’s also righteous, sacred, and true.
In the decades since its original release, Jim Sullivan’s UFO has gone on to inspire folksy indie darlings like Okkervil River and Laura Marling, who have carried his ruminations to a new millennium of listeners. On the 2016 collaboration album case/lang/veirs, artists Neko Case, k.d. lang, and Laura Veirs paid tribute to Sill with “Song for Judee.” Another tribute album, Down Where the Valleys Are Low: Another Otherworld for Judee Sill, is due to come out this month. The modern resonance of these artists’ messages, half a century after they slipped into relative obscurity, is both tragic and hopeful. We certainly haven’t reached the utopia of Jim Sullivan’s UFOs and Judee Sill’s sky machines, but perhaps their songs provide their own kind of deliverance—a soothing, abiding prayer that a better world may be out there after all.
Annie Parnell is a writer and student based in Washington, D.C. who hails from Derry, Maine.
I am considering doing the A to Z Blogging Challenge again this year. It's been a couple of years since I have done it. I was feeling I was alienating my regular readers with it in favor of people just coming through from the Challenge.
So this year I wanted to do something that any and all readers would enjoy. This year I am doing Monsters.
The idea here is to give me some external motivation to get my two monster books done.
For new readers, there will monsters which are always fun. Since many come from the tales of fantasy, myth, and folklore maybe there will be something they can use for their own writing or just enjoyment. For my regular readers, new monsters with stats. I am also looking for all sorts of feedback on not just the monsters, but the stat blocks as well.
The one I have been using on my Monstrous Mondays has been working well for me, but I am sure I can tweak it some more.
The monsters for April A to Z will likely favor the Basic Bestiary I, covering all sorts of witchcraft-related monsters with plenty of fae and undead, but I am not ruling out some demons for Basic Bestiary II.
Both books will come in softcover (Basic red) and hardcover (orange spine) versions. So they will work with whatever version of the game you are playing. The interiors are the same with stat blocks designed to work with both the "Basic" and "Advanced" versions of the game.
So far Basic Bestiary has over 330 monsters with 156 of them complete. The others are various points.
Basic Bestiary II has over 500 demons, devils, and related monsters.
I am also going with my own compatibility logos on these since they really have gone beyond one system or the other. They are still largely "Basic" in nature, but as you can see from my Monstrous Mondays stat blocks they have a little bit of everything in the OGC. I am going to use this month to experiment.
You can see others doing their theme reveal over at the A to Z Blog until March 20.
Fans of Red Sonja all know Frank's work from the mid to late 70s. In truth, he defined the character nearly as much as Robert E. Howard, Roy Thomas, and Barry Windsor-Smith.
He certainly left his mark on her enduring legacy.
He was also known for Ghita of Alizarr and "Lann" in Heavy Metal magazine. He was an early cosplayer, taking on the role of "the Wizard." He would then judge Red Sonja look-a-like contests. Wendy Pini’s Sonja would be with him at many of these conventions and shows and predated the modern cosplay scene by decades.
Red Sonja
I have done stats for Red Sonja in the past for all sorts of systems:
Feels like a good time to update her to Old-School Essentials, Advanced Fantasy.
Strength: 15
Intelligence: 16
Wisdom: 11
Dexterity: 17
Constitution: 11
Charisma: 18
Saves
D:3 W:5 P:4 B:5 S:5
CS: 99%
HG: 56%
MS: 50%
Weapons
Sword +2, Great Axe, dagger
Strength: 13
Intelligence: 18
Wisdom: 14
Dexterity: 16
Constitution: 11
Charisma: 15
Alignment: Neutral (neutral good)
Hit Points: 34Saves (+3, Robe of Protection)
D:5 W:6 P:5 B:8 S:5
Spells
First level: Detect Magic, Magic Missle, Read Magic, Shield
Second level: Detect Evil, Levitate, Locate Object, Wizard Lock
Third level: Fire Ball, Fly, Protection from Evil 10', Protection from Normal Missiles
Fourth level: Confusion, Dimension Door, Curse, Wizard Eye
Fifth level: Contact Higher Plane, Telekinesis, Teleport
Sixth level: Anti-Magic Shell, Disintegrate, Projected Image
Thorne is Red Sonja's wizard patron. He provides her with magical arms and armor. He is rather over-fond of attractive women.
I have been digging through some old documents this past week. Some old Ravenloft ones (the new Ravenloft book has me excited), some stuff on Irish myths (it is March after all), and even some of my old Color Computer files (I have...my reasons). One thing that came up a few times was an adventure I had written for Ravenloft back in 88 or 89 that featured a group of Swanmays and their betrayal and the hands of a drow assassin.
While the adventure itself would need some serious reworking to make it ready for primetime, I did do a lot of research on Swanmaidens, Swan women, and other similar creatures.
I figured an update was in order.
Frequency: Rare
Number Appearing: 1d4 (1d6)
Alignment: Lawful [Neutral Good]
Movement: 120' (40') [12"]
Fly (in swan form): 180' (60') [18"]
Swim: 150' (50') [15"]
Armor Class: 7 [12]
Hit Dice: 2d8* (9 hp)
Gwragedd Annwn, 3rd level: 3d8* (14 hp)
Gwragedd Annwn, 4th level: 4d8* (18 hp)
Gwragedd Annwn, 5th level: 5d8* (23 hp)
Gwragedd Annwn, 6th level: 6d8* (27 hp)
Gwragedd Annwn, 7th level: 7d8* (32 hp)
Gwragedd Annwn, 8th level: 8d8* (36 hp)
Gwragedd Annwn, 9th level: 9d8* (41 hp)
Gwragedd Annwn, 10th level: 10d8* (45 hp)
Gwragedd Annwn, 11th level: 11d8* (50 hp)
Gwragedd Annwn, 12th level: 12d8* (54 hp)
Gwragedd Annwn, 13th level: 13d8* (59 hp)
Gwragedd Annwn, 14th level: 14d8* (63 hp)
Attacks: claw, claw, bite
Damage: 1d6+4 x2, 1d8+4
Special: Shape change, magic required to hit, Swan Song
Size: Medium
Save: Fighter 2-14
Morale: 10 (12)
Treasure Hoard Class: VI (U)
XP: 25 (OSE) 29 (LL)
3rd level: 50 (OSE) 65 (LL)
4th level: 125 (OSE) 135 (LL)
5th level: 300 (OSE) 350 (LL)
6th level: 500 (OSE) 570 (LL)
7th level: 850 (OSE) 790 (LL)
8th level: 1,200 (OSE) 1,060 (LL)
9th level: 1,600 (OSE) 1,700 (LL)
10th level: 1,600 (OSE) 1,700 (LL)
11th level: 1,900 (OSE) 2,000 (LL)
12th level: 1,900 (OSE) 2,000 (LL)
13th level: 2,300 (OSE) 2,450 (LL)
14th level: 2,300 (OSE) 2,450 (LL)
The Gwragedd Annwn, also known as Swan Maidens, are humanoid maidens capable of turning into a swan. They only have this power while they remain unmarried. In this state, they are also considered to be creatures of the Fey.
All Gwragedd Annwn are rangers of a level equal to their HD. They will be equipped accordingly. Instead of cleric and magic-user spells these warriors may choose druid and witch spells respectively. They are fierce enemies of evil and chaos and fight it wherever they can.
They can attack with any weapon of their choosing. Most prefer to use finely crafted swords or longbows.
Employing a feather token they can transform into a large swan. It is believed that once they take a husband, they must give this token to him. Many are loathe to do that.
Many feel they can trace their lineage back to the great king Lir whose children were transformed into swans by their jealous step-mother.
Swan Song: If a Gwragedd Annwn is reduced to 0 hp she can begin a Swan Song. This song is similar in power to the Banshee keening, and will cause all around her, foe and friend, to experience profound sadness and will be unable to take any further action (no saving throw permitted). If she is heard by her sisters they will fly to her in swan shape to return her to their sanctuary. At this point she will either be healed or will die. It is believed that a swan song can only be used once in the life of a Gwragedd Annwn.
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, 13th Age Glorantha, and HeroQuest Glorantha (Questworlds). This can include original scenarios, background material, cults, mythology, details of NPCs and monsters, and so on, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Glorantha Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Glorantha-set campaigns.
—oOo—Who do you play?
No specific character types are required to encounter Renharth Blackveins. Humakti characters may benefit from their interactions with Renharth Blackveins.
What can I say about Roger Corman? Well, to be honest, I am a huge fan. Sure his movies are schlock and represent some worst D-level movies and it is obvious that most of his casting choices were based not on the actress's ability to act but rather their willingness to take off their clothes. But all that aside Corman is praised for his ability to keep a tight production schedule, find people that are willing to work with him again and again, and keep a film under budget and on time.
There are also many, many modern directors that have worked with him and praised his work. Directors such as Francis Ford Coppola, Ron Howard, Martin Scorsese, Jonathan Demme, John Sayles, and James Cameron. Ron Howard has been praised Corman's work on many occasions. He has over 400 producer credits and 56 director credits.
Corman is only the EP here, but there are plenty of similarities between this movie and Viking Woman from 1957.
Barbarian Queen (1985)
Barbarian Queen is a fairly typical fantasy fare. A barbarian queen, Amethea (played by the late Lana Clarkson who was killed by Phil Spector) is due to be married to Argan (Frank Zagarino) when her village is attacked by raiders. People are killed and others taken as slaves. Amethea and her friends Estrild (Katt Shea, who is likely the best actress in the bunch), Tiniara (Susana Traverso), and former victim Taramis (Dawn Dunlap) seek to free their people including Amethea's fiance. They meet up with Dariac (Andrea Scriven in her only role), a young girl who lives with the local rebels who enlists the barbarian's aid.
The first part is an excuse for some gory fights and a bunch of topless barbarian women running around or getting captured. I'll the movie credit, it does like to show the barbarian women as being strong and powerful.
Our big bad guy is Arrakur (Arman Chapman), he captures our heroines and threatens them with torture and death.
Argan manages to get his fellow gladiator-slaves to join him. The movie gets to the big fight and then just ends. Must have run out of money.
The movie is not terrible, it is just also not good. It could be the spiritual godmother to Xena: The Warrior Princess. Though that Boris Vallejo movie poster is actually the best part of the movie.
Katt Shea is fun to watch really. She looks like she is having the best time of her life acting in this.
Gaming Content
There is a torture chamber that would be good dungeon dressing. I like the idea of this being a "Queen needing to rescue the Prince" for once.
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Tim Knight of Hero Press and Pun Isaac of Halls of the Nephilim along with myself are getting together at the Facebook Group I'd Rather Be Killing Monsters to discuss these movies. Follow along with the hashtag #IdRatherBeWatchingMonsters that is if I can get my co-admins to agree this is the best hashtag for this!
A SPECIAL Zatannurday today.
Normally I talk about DC's resident backward talking magician in fishnets, but today let's spend some time with her Marvel universe counterpart and talk Wanda, Scarlet Witch, and WandaVision!
Ok, so I am going to TRY to avoid big spoilers for this week's big finale, but I am going to talk about some plot points of episodes 8 and 9. Not huge ones, I hope, well...one is.
Anyway, you have been warned! (OH and a minor Runaways spoiler too.)
So, it is not a huge secret that really I am not (or rather, was not) a huge fan of Wanda and Scarlet Witch. She was fun and all, but when it comes to magic in Marvel I am much more a fan of Dr. Strange.
WandaVision, and Elizabeth Olsen, have changed my mind.
The story is actually a simple one of grief pushing someone to the edge, and then right over the side into a weird alternate reality.
We see Wanda, as wonderfully described by Agatha Harkness/Agnes (played by the WONDERFUL Kathryn Hahn in what is the casting of a lifetime really) as "a baby witch with years of therapy ahead of her" instead join a radicalized group (HYDRA we later learn in the movies) and "Little orphan Wanda got up close and personal with an Infinity Stone that amplified what otherwise would have died on the vine." (Episode 8)
In just under 50 minutes we get the best version of Wanda's origin story ever that also explains her powers. She wields chaos magic and in Agatha's own words,
You have no idea how dangerous you are. You're supposed to be a myth, a being capable of spontaneous creation. Here you are, using it to make breakfast for dinner. Oh, yes, your children, Vision, this whole little life you've made. This is chaos magic, Wanda. That makes you... the Scarlet Witch.Now that is something. The Scarlet Witch is not her code name, but a title, a "The" as it were. That would make something akin to the Imbolc Mage that I use in my games; a superpowerful witch capable of spontaneous magic. I do love a good prophecy about a superpowerful witch.
Beyond that the series, especially episode 8 was full of great material from Vision's "But what is grief, if not love persevering?" to Wanda's breakdown in the home that Vision bought for them (and pure Emmy-bait for Olsen).
But what I think is best about this whole series is not that it is about superpowerful people. It's about things we can relate to.
We are not watching Wanda because she is the Scarlet Witch, we are watching because she was a little girl, who loved her family, her bother, and learning to speak English by watching bootleg DVDs of American sitcoms. She lost her family, her brother, and the love of her life and despite being powerful there isn't a thing she can actually do about it. In the end that is something that everyone can relate to.
Including Agatha "And I Killed Sparky too" Harkness is just the delicious icing on an already great cake.
And that is not even getting into anything else like fake Pietro (called that one early on too!) or even my FIRST Captain Marvel, Monica Rambeau as Photon. OH and another appearance of the Darkhold! The first was in Runaways Season 3.
Not sure if there will be a Season 2 or not, but it sets things up nicely for the next Doctor Strange movie.