Outsiders & Others

The Queen is Dead! Session 1 of War of the Witch Queens

The Other Side -

After Session 0 the other day we settled on three characters each to run through the funnel of The Witch of Wydfield; or rather the Witch of Woodfield as we kept calling it.

Witch of Woodfield

The adventure went as expected. I had everyone choose one of the "Basic Four" classes; Cleric, Fighter, Magic-user, or Thief.  As they played we worked out what specific class each one would end up being.  One magic-user will become a sorcerer, the other a blood witch.  A cleric that worships the Moon might go into druid or might go into fighter, but tell everyone he is still a cleric. It's my youngest. That is what he does.

Witch of Woodfield

I had plenty of copies of Moldvay Basic so everyone had one.  I used my Old-School Essentials book and my GM1a Game Master's Screen from New Big Dragon Games Unlimited.

Since one of my goals is to use as many different kinds of OSR products I can, I think I am off to a good start. Everyone had so much fun they want to play again tomorrow.

I am likely to go with the Ruins of Ramat, this time for Labyrinth Lord. There are also versions for Original EditonCastles & Crusades, and an expanded Castles & Crusades version.  I have not decided which one to use.  Part of the fun is converting.

The characters (and the players) learn the first hint of the overall arc of the campaign; cryptic messages from a possessed girl and the moon (no, really) "the Queen is dead!"

No new hints in the next adventure, but we will see.

Monstrous Mondays: Amphicyon, the Bear-Dog (Memory and the Mandela Effect)

The Other Side -

I am sure by now many of my readers are familiar with the "Mandela Effect" or a large collective false memory effect OR example of how we, or some of us, switched over to a parallel universe.  It is named this because there are some people that "remember" that Nelson Mandela had died in a South African prison and did not later become the first President of post-Apartheid South Africa. 

There plenty of people that claim that the comic Sinbad was a genie in a movie called "Shazam" (and not the similar "Kazaam" from Shaq) or The Berenstein Bears was a book series and not The Berenstain Bears.

While it might be fun to explore the whole parallel universe or our world as a simulation narrative to all of this, that doesn't interest me as much as the truth; the collective false memories people have.  I did my Master's Thesis on Long-term memory activation, my first Doctoral Dissertation was on information processing cognition and memory.  I find memory to be a fascinating topic.  I don't want to claim to be an expert in this, but I am well informed and have done plenty of original, published scientific research on it.

So when I fall "victim" to the Mandela Effect myself, I pay attention.

At this point, you might be asking what does all of this have to do with Monstrous Monday? Well simply put, I have a creature in my memory that none of the rest of you have.

Let's go back a bit to 2002.  My oldest son was a baby, my youngest had not yet been born.  We would go to the library and pick up DVDs to watch.  One of my son's favorite was Ice Age. I have talked here before about how his love of prehistoric beasts, especially sea creatures, had been an influence on him getting into D&D.  Well this was before D&D and before his love of dragons.  I think I watched Ice Age a hundred times with him back then.  The disc we got also had a special "behind the scenes/making of" section that I would watch as well.  This section talked about all the characters that were in the movie; Manny, Sid, Diego, Scrat, and one other.  This other character was an Amphicyon or a bear-dog. They showed how the character was designed and even rough cuts of the character and a draft of the poster featuring this other character.  I remember telling my wife about it one day after we had returned the DVD to the library.

Fast forward a couple of years and we get the DVD, but no behind the scenes feature on it.  Hmm.  No problem I think, I'll just grab it from the library again.  Well, this stretches into a long period of time and I never grabbed it until a few years back.  I liked the creature and used it in a couple of games. I rewatched the DVD behind the scenes and...nothing.  No Amphicyon, no bear-dog, nothing at all.  I searched online. Nothing.  I asked my wife. She didn't remember it.  I have a very distinct memory of this short and this character.

But it never happened.

I know that over the years I have constructed and reconstructed the memory.  Memory is not a hard drive where things are stored unaltered.  We encode our memories with our surroundings; like how a smell or a song will trigger a memory, or in the case of my research in the 90s, how a word can affect which memories are retrieved.  For me, I know how my memories were altered.  At this time (2001 to 2005) I was suffering a fairly major bout of deep depression.  I have studied the effects of depression on memory.  I know what can happen.  Yet here I am, 2020, searching on the Internet for a character I *know* did not exist, but somehow I am still not 100% convinced I am wrong. (I am wrong, I know this logically)

BUT that doesn't mean I can't have a little fun with this.

Amphicyon

Amphicyon-ingens reconstructionaka Bear-Dog
Large Beast (Prehistoric)
Frequency: Rare
Number Appearing: 1 (1d4)
Alignment:
Neutral [True Neutral]
Movement: 120' (40') [12"]
  Swim: 90' (30') [9"]
Armor Class: 5 [14]
Hit Dice: 8d8+8 (44 hp); 
  Alternate (Large) 8d10+8 (52 hp)
Attacks: claw/claw, bite
Damage: 1d6+1 x2, 1d10+1
Special: Swimming, Omnivore
Size: Large
Save: Monster 8
Morale: 8
Treasure Hoard Class:
None
XP: 650 (B/X, OSE), 640 (LL)

The Amphicyon, or bear-dog, is a large prehistoric mammal that is the forerunner of all modern canines and bears. It was active some 16.9 million years ago and died out 2.6 million years ago.  

The creature appears as a large bear, 8 to 9 ft. in length and weighing 1,300 to 1,400 pounds.  Its muzzle is more wolf-like than bear-like as are it's teeth and jaw.  

Unlike wolves and modern canines, the amphicyon is more of a solitary creature. Groups greater than one and up to four are family units consisting of a mother and her cubs. Also like bears, the amphicyon is a carnivore but can survive on an omnivorous diet.  Amphicyons are good if slow, swimmers and will make a diet of fish when they can.

Generally, the amphicyon will avoid contact with humanoids, but it can attack with a claw, claw, bite routine. 

Lycanthrope, Were-Amphicyonidae
Medium Humanoid (Shapeshifter, Prehistoric)
Frequency: Rare
Number Appearing: 1 (1d4)
Alignment:
Neutral [True Neutral]
Movement: 120' (40') [12"]
Armor Class: 4 [15]
Hit Dice: 9d8*+18 (59 hp)
Attacks: claw/claw, bite, or by weapon
Damage: 1d4+2 x2, 1d8+2
Special: Shapechange, harmed by silver
Size: Medium
Save: Monster 9
Morale: 10
Treasure Hoard Class:
C (XX)
XP: 1,600 (B/X, OSE), 1,700 (LL)

Amphicyonidae Lycanthropes are similar to werebears and werewolves, likely the forerunner to both types of creatures. Like all lycanthropes, the were-amphicyonidae can shift between an animal form (an amphicyon), a human, and a hybrid creature. These lycanthropes though are found exclusively among prehistoric humans like cavemen and Neanderthals, and almost exclusively in colder climates.

Were-Amphicyonidae are affected by the phases of the full moon as are werebears and werewolves.  Like werebears they retain some human intelligence, though a primitive intelligence focused on survival.

The first were-amphicyonidae, and indeed, among the first lycanthropes ever, were shamans that had mastered the abilities of shape-shifting long before there were druids, clerics, or even witches. They passed their gift on to others and now all that remains of the great shamans of old are these creatures.

In combat, the were-amphicyonidae fight with a claw, claw bite routine. They cannot "hug" as a werebear can.   They can only be harmed by silver or magical weapons.  Their bite can transmit the lycanthropy curse but only Neanderthals will become were-amphicyonidae. Normal humans will become werebears (lawful and neutral) or werewolves (chaotic) depending on their alignment. 

Ticket to Ride?

Reviews from R'lyeh -

When it comes to horror, you can have two things which are haunted—houses and lighthouses, obviously, but in the modern age, there is the third. This is the railway train, and when it comes to haunted trains—or trains best by horror in Call of Cthulhu, it seems like there is only one train which matters, and that is the Venice Simplon-Orient-Express, as in Horror on the Orient Express. Yet there is another train which deserves to be haunted—in fact, it deserves to be haunted or best by horror infinitely more than the Venice Simplon-Orient-Express. This is the London Necropolis Railway, which between 1854 and 1941, ran from Waterloo in the heart of London to the Brookwood Cemetery in Brookwood, Surrey, ferrying the capital’s dead for burial. Given the London Necropolis Railway’s obvious connection to the dead and to cemeteries, it seems surprising that in the thirty-five years since the publication of Cthulhu by Gaslight, there has been no scenario for the roleplaying game set aboard the London Necropolis Railway.

Nightmare on the Necropolis Express is a scenario for Call of Cthulhu, Seventh Edition published by Stygian Fox Publishing. It is set during the last years of the nineteenth century, so is suitable for use in the Cthulhu by Gaslight setting, or the publisher’s own Hudson & Brand, Inquiry Agents of the Obscure campaign setting. It is short, playable in a single session—two at most, and could be played with a single Investigator and the Keeper, though it would probably work better with a few more. The scenario does not require any of the Investigators to possess a particular Occupation to complete, though perhaps a Priest might be of use.

Nightmare on the Necropolis Express begins with the Investigators being hired by a number of workers on the London Necropolis Railway to investigate a number of unholy apparitions and unsettling occurrences aboard night runnings of the train. The London Necropolis Railway does not normally run at night, but is currently ferrying bodies exhumed from the West Norwood Cemetery in Lambeth in south London to the more capacious Brookwood Cemetery. That is when the incidents began and the train crew, led by the lugubrious Tommy Thompson are worried about them continuing and spooking everyone.

The investigation process in Nightmare on the Necropolis Express is simple, a mere matter of finding out more about the London Necropolis Railway and potentially visiting the West Norwood Cemetery. Armed with a few clues then, the Investigators are expected to join Tommy Thompson and friends aboard the late running of the London Necropolis Railway. Very little happens until the return when quite literally an Abomination appears at the rear of the train—in one of the hearse carriages—and begins to rampage back up the train, moving towards the locomotive in what is a timed event. Can the Investigators stop it and can they discover what is really going on?

Nightmare on the Necropolis Express is a short scenario, ultimately built around an ‘unstoppable’ monster and involving quite slight investigation. The four handouts, detailing various newspaper reports about the London Necropolis Railway and the London Burial Crisis are interesting, but ultimately have little impact upon the events of the scenario. In fact, there is really only the one clue which is pertinent, but it does not really matter if the Investigators discover it or not, because the clue does not really help them or provide a means to deal with the final confrontation. Either way, the events of the scenario will play out and the Investigators will still face the problem on the train.

However, Nightmare on the Necropolis Express does present the Keeper with some fun NPCs to portray—including samples of dialogue which will help her portray them immensely. The floor plans of the London Necropolis Railway are decent and the unique nature of the setting very much stands out.

Physically, Nightmare on the Necropolis Express is a neat, nice little digest-size hardback done in full colour. The illustrations are decent and the inclusion of photographs of Brookwood Cemetery a nice touch. The handouts are disappointingly plain.

Ultimately, the shortness of the scenario and the relative lack of meaningful investigation makes it debatable as to whether or not Nightmare on the Necropolis Express was quite worth publishing as a standalone product. Further, the fact that the scenario and its primary solution comes down to a single skill check—although one that all of the Investigators can make—means that in terms of the story, Nightmare on the Necropolis Express does feel as if the Investigators are along for the ride.

Blood, Blades, & Booze

Reviews from R'lyeh -

Out beyond the reach of the Emperor is a world of martial arts practitioners, bandits, criminals, and gangs, prostitutes and brothels, secret sects and societies, inns and teahouses, tales of heroism and notoriety, and more. It is a place of corruption and lawlessness and unbridled consumption of alcohol despite the best efforts of the Emperor and his officials, but it is also a place of wandering ‘knights errant’, martial artists, court officials, pursuivant detectives, and the ‘greatest’ swordsmen of the age who right wrongs, feud with rivals and lovers, dedicate themselves to their arts and their crafts, engage in fierce, determined battles with their enemies, compete in tournaments for great prizes and reputation, enter into duels for reputation and face, and more… This is the Jianghu, not so much a place as a culture, and also the setting for Ruthless Blood, Ruthless Blades – Wuxia Roleplaying, published by Osprey Games—the imprint of Osprey Publishing best known for its highly illustrated military history books. It is the fourth roleplaying game from the publisher after Paleomythic, Romance of the Perilous Land, and Those Dark Places.

Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is not designed as a sourcebook on historical China, but rather presents a romanticised, even ahistorical version ancient China, one drawn from the Wuxia novels of Gu Long and the darker films of the Shaw Brothers Studio of the 1970s and 1980s to create a grimmer, more brutal, and more dangerous take upon the Wuxia genre. It comes complete with rules for both martial arts and character creation, a discussion of the genre, a lengthy reading and watching list, notes aplenty on Chinese culture for the Game Master and player who is new to it, and an extensive sample Jianghu, a sandbox with tens of NPCs, organisations, locations, and potential plots, as well as a scenario. The focus is entirely upon Wuxia and martial artists. There is no magic—except for astrology and similar forms of divination and an option allowing the Magical Arts skill to launch attacks, which requires Game Master approval, and there are no supernatural creatures—so there is scope for the Game Master to create her own or for the authors to write a supplement. Instead, players take roles such as Brave Archer, Daoist priest, Master Swordsman, Palm Master, Unarmed Boxer, and others, who all study and practice some form of martial arts.

A character in Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is defined by his Signature Abilities, Counters, Special Resources, skills, eccentricities, and an occupation. A Signature Ability represents martial arts styles or talents, for example, ‘Butterfly Sword Expert I’, which means that the martial artist fights with grace and skill to easily deflect blows and slide in strikes to improve his Evade ability, or ‘Breath of Fire’, with which the martial artist can channel the fire element to scorch all of enemies around him. A Counter is a means of defence against a particular type of attack, such as ‘Bending Reed Defence’, with which a martial artist can lean out of the way when his head is targeted, and then snap back to deliver a sharp blow, or ‘Water Torrent’ with which the martial artist splashes water onto the floor and uses it to slide behind an opponent to attack with a bonus on the next round. Special Resources can be wealth and property or social resources. So an illicit business, landed gentry, or a manor, or a loyal friend, devoted ex-lovers (who feud and bicker when they meet—brilliant for roleplaying potential and comedy there), or an official post and title—though sometimes this prevents the martial artist from leaving the post, so he can send a loyal servant instead, in which case, the servant transmits the Experience Points earned to his master in his reports! Skills fall into five categories. These are Defences, Martial Arts Skills, Specialist Skills—such as Medicine and Alchemy or a particular talent like painting or poetry, Unorthodox skills such as Disguise and Drinking, and Mental Skills such as Command and Reasoning. Eccentricities are quirks and flaws, from Absent-Minded and Beautiful to Persistent Smile and Scars. They can also include Deep Eccentricities, which represent recurring problems for the Martial Artist, such as Bad Breath, In Love, or Social Climber. 

A martial artist also has a Max Wounds value—typically three for a starting martial artist, representing the amount of damage a martial artist can take before rolls on the quite nasty ‘Death and maiming’ Table, a Resist Value—the ability to absorb wounds before taking damage, and Fire Deviation and Killing Aura. Fire Deviation represents an internal imbalance in the martial artist’s Qi energy and is gained by failed meditation rolls or can even be selected to gain an extra Signature Move. However, suffering from Fire Deviation also means gaining a Fire Deviation Eccentricity, such as suffering from delusions of grandeur or your hair or eye colour changing. Killing Aura is measure of how powerful or capable a martial artist is and is equal to his Level. It can easily be detected by other martial artists. In addition, for each NPC or Player Character a martial artist kills, he increases his Killing Aura Darkness, which hangs over the martial artist like a cloud and again, is an indication of how powerful he is and to an extent, his reputation.

To create a martial artist a player chooses a Signature Ability, a Counter, a Special Resource, assigns points skills—this is done by skill type and is standard for all martial artists, an eccentricity, and an occupation, before defining a backstory and filling out secondary details. If the martial artist qualifies for it, he can also select an occupation. This primarily determines his income. The process primarily involves making a fair number of choices and is simple enough, and notably, the deadliness of the setting and rules is foreshadowed in the suggestion that a player create a backup martial artist! However, the process is hindered by the wealth of choices and everything that a player needs being spread out over eight chapters—almost half of the book—and not necessarily in the order that the checklist gives.

Wang Yimu, the Widow of the Needle is the daughter of a wealthy merchant who was forced to marry beneath her status when her father’s business collapsed. Her husband was a tailor and his mother taught and scolded her over her lack of skill as an embroiderer and seamstress. She did not love her husband, but when he was killed by bandits, she first escaped their ambush and then set out to kill them one by one, tracking them down and enticing them in her company before sewing them up and leaving them behind her… When she returned, she told her mother-in-law that she was in charge now and would be taking over the business. Free of the scolding, she flourished and her skill grew and grew until she is one of most talented women in the Jianghu with a needle.

Wang Yimu, the Widow of the Needle
Signature Ability: Needle and Thread Expert
Counter: Steel-Shattering Finger
Eccentricity: Beautiful
Special Resource: Prosperous Business
Occupation: Artisan

Max Wounds: 3
Resist: 1
Fire Deviation: 0
Killing Aura: 1
Killing Aura Darkness: 0
Drinking Limit: 1

Skills
Defences: Evade 2 (7), Hardiness 1 (6), Wits 2 (7)
Martial Arts: External 0, Internal 3, Lightness 1
Specialist Skills: Medicine and Alchemy 1, Meditation, Survival, Talent (Seamstress) 3, Trade 2
Unorthodox Skills: Disguise, Drinking 2, Gambling 2, Magical Arts 2, Theft
Mental Skills: Command, Detect, Empathy 2, Persuade 2, Reasoning 2
Physical Skills: Athletics 2, Endurance, Muscle, Ride 1, Speed 3
Knowledge Skills: Institutions 2, Jianghu 2, Peoples and Places 2, Religion, Scholarly Arts

Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is a Level and skills roleplaying game. A martial artist will start play with one Signature Ability and one Counter, but will gain more, plus increases to his skill as he goes up in Level. The rate at which he rises is determined by the length of the campaign—the shorter the campaign, the faster the improvement rate, up to maximum of Level Nine, whatever the campaign length.

Mechanically, Ruthless Blood, Ruthless Blades – Wuxia Roleplaying uses pools of ten-sided dice. Typically, this will be one, two, or three ten-sided dice, depending upon the level of the skill. Rolls are made again a target number—typically six—and the single highest die is counted. If it equals or succeeds the target number, the martial artist has been successful. A Roll of ten counts as total success and gives a more specular result. In opposed rolls, the single highest die rolled is compared to the opponent’s roll, the highest roll succeeding. Penalties and bonuses subtract or add dice respectively, as do many Signatures Moves, although there is a soft skill cap of a maximum of seven being rolled for any one action.

For example, Wang Yimu, the Widow of the Needle has tracked down one of the bandits who killed her husband and attempts to seduce him. Her player declares that she will not actually seduce him, but lull him into a false sense of security and to do that, Wang Yimu will use her Persuade  skill, which gives her two dice. The Game Master gives her a bonus die because the bandit is drunk. This gives her player three dice to roll and he rolls two, six, and seven. The latter is the highest result and is definitely higher than the bandit’s Wits of six. Wang Yimu, the Widow of the Needle has him where she wants him.

Combat revolves around six skills. The three Martial Arts—External, Internal, and Lightness, and the three Defences—Evade, Hardiness, and Wits. Evade is the ability to avoid being hit, Hardiness to withstand damage, and Wits a martial artist’s mental strength. They are not rolled, but provide the target numbers when a martial artist is attacked. External Martial Arts combines physical force and explosive damage, employing a martial artist’s bodily might with either weapons or unarmed; Internal Martial Arts is fighting with internal energy or inner force, to be able to emit energy blasts, fight with energy-based weapons-play or unarmed combat; and Lightness Martial Arts is about a martial artist’s control of his body weight and speed to be able to do all of the signature man oeuvres that the Wuxia genre is famous for—running up walls, hopping over rooftops, and balancing on treetops.

Combat involves three phases. In the ‘Talking and Analysis Phase’, opponents attempt to bluff or out talk their way out of the fight, psych them out to impose a penalty, assess them to gain bonus, or learn about a Signature Ability or Counter. In the ‘Roll Turn Order Phase’, the players roll their martial artist’s Speed to determine who goes first, and in the ‘Move and Perform Skill Action Phase’, the martial artists attack each other using a combination of Martial Arts skills, Signature Abilities, and possibly weapons. If appropriate, a Counter can be used in response to an attack. Notably though, the mechanics are deadly, so the Game Master will want to be careful as to what level of opposition she wants to pitch against the martial artists.

Continuing the example, Wang Yimu, the Widow of the Needle has tracked down one of the bandits who killed her husband and has him in her sights—she is ready to strike. . In the ‘Talking and Analysis Phase’, she definitely wants to analyse the bandit for the bonus. Her player two dice for her Empathy, getting a nine and five, the nine again being higher than the Bandit’s Wits of six. This grants her a bonus dice to the attack roll and bonus to the damage done if any wounds are inflicted on a Total Success or roll of ten. In the ‘Roll Turn Order Phase’, the player rolls three dice for Wang Yimu’s Speed, getting a one, three, and seven, the latter higher than the Bandit’s four and five. Wang Yimu, the Widow of the Needle will now use her Signature Ability of Needle and Thread Expert, making an Internal Martial Arts roll against the bandit’s Evade of six. Wang Yimu’s player has four dice to roll, three for the skill and one as a result of  the successful assessment. His roll of three, seven, eight, and eight indicates that the needles hit and Bandit is snapped out of his lascivious designs upon her by the sharp points imbedding themselves in his skin. Wang Yimu’s player rolls for damage, inflicting a single wound. The bandit responds by pulling out a knife and throwing it at her. The Game Master rolls two dice for the bandit’s External Martial Arts of two, attempting to beat Wang Yimu’s Evade of seven. He rolls ten and ten, which if successful is going to hurt her. Her player declares that Wang Yimu will Counter with Steel-Shattering Finger, which requires her player to roll a success and with a five, six, and seven, she gets her fingers in the way and stops the blade dead. At the end of the round, Wang Yimu has the bandit impaled on the needles and thread and the bandit needs to find another weapon.

In the second round, the bandit attempts to Psych Wang Yimu out, telling what he has planned for if he catches her. This is a Command roll, but with a score of one, the Game Master rolls the one die and on a five, does not best her Wits. Wang Yimu responds by telling the bandit what she did his comrades and with a roll of four and eight on her Persuade, it works—the bandit will be a penalty of one die to attack. However, the bandit first has to get a weapon, so the Game Master states that this will become a bonus die on the damage roll as he moves away from the pull of Wang Yimu’s needle and thread. This is automatic since the needles are embedded and the bandit is moving. Wang Yimu’s player rolls a seven and a ten. The latter inflicts two wounds, reducing the Bandit’s wounds to zero and necessitating a roll on the ‘Death and Maiming Table I: External Injuries’. A roll of ten indicates that the Game Master needs to roll on the ‘Death and Maiming II: Internal Injuries’ and the result of four is an intestinal injury which levies an Endurance penalty. The needles are free though and the bandit is armed, but is badly torn up by the said needles…

Beyond the rules, Ruthless Blood, Ruthless Blades – Wuxia Roleplaying provides the Game Master with swathes of information, ranging from overland travel, poisons and antidotes, rare and prized objects and weapons, rules for handling alcohol—it is possible play a drunken master with some effort, and more, even before she gets to the second half of the book, which is solely for the Game Master. This covers how to referee the Jianghu and run the roleplaying game, it includes an introduction to the Wuxia genre and a good bibliography, and a discussion of various scenarios and campaign types. There are also rules for handling fated destinies, calamities, secret histories and the like for martial artists in campaigns with bigger, bolder fates.

Aspects of Chinese culture in the Jianghu are also covered, including Face—earned, lost, given, or taken, various religions, philosophies, and beliefs, the drinking culture—inhabitants of the Jianghu, especially martial artists, are renowned for capacity to drink alcohol, the imperial bureaucracy, and more. As well as suggesting ways for Game Master to create her own Jianghu, Ruthless Blood, Ruthless Blades – Wuxia Roleplaying comes with its own. From the Top Ten Fighters and Top ten Weapons to the twenty locations and organisations and ninety-five NPCs—all nicely detailed and given stats and relationships with each other, this is a rich, Soap Opera Wuzia-style sandbox of a setting with a huge wealth of information for the Game Master to delve into and draw out ideas for scenarios and encounters from. This Jianghu could keep a campaign playing for a few months, there is so much information there. To help get a playing group started, ‘The Obsidian Bat’, a short scenario is also included, which has plenty of action and doublecrosses to keep the martial artists happy. Details of another scenario, free to download from the Osprey Games website, is also included.

Physically, Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is a sturdy, glossy little hardback, done in the simple style seen in other titles from Osprey Games. It is well written and both illustrations and maps are excellent. However, Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is simply not as well organised as it could be. Essentially chapters feel like they are out of order and they present the reader with such a deluge of information that it is at first difficult to take in and then it is difficult to work with. The index is decent, but finding things is not easy in the book and for example, creating a character takes a lot of flipping back and forth through its first half. 

Ruthless Blood, Ruthless Blades – Wuxia Roleplaying really is a simple, straightforward Wuxia roleplaying game, one that is easy to learn and easy to play. However, its organisation hampers both that and learning the game, there being nothing wrong with the organisation of individual chapters and their content, but rather the order in which the chapters are arranged. It also does not introduce the genre and what to watch or read for the player at all, let alone before leaping into the rules and the generation of martial artists. And for that, it presents the player with such a wealth of options, it is difficult to know where to start, such that it might have been useful if some ready-to-play archetypes had been included. There are pointers to that end, but they are just that.

Ultimately just hindered by its odd organisation, Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is a gritty martial arts fantasy roleplaying game which plays fast and light, if not more than a little deadly, all backed up with plenty of well written background and advice for the Game Master and a fantastic Jianghu, or sandbox, of its very own. With a little bit effort to get past its organisational issues and Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is a great introduction to roleplaying in the Wuxia genre.

Boxing Day: The World of Mayhem Campaign

The Other Side -

A couple of weeks ago I posted about getting my 7th adventure from Mark Taormino's Dark Wizard GamesDread Swamp of the Banshee.  It is a great bit of fun and I can't wait to run it.  

I also know exactly what I want to do with them.


The World of Mayhem Campaign and I am going to run it using B/X rules, likely OSE Advanced Rules

OSE Advanced gives me the B/X rules I adore along with some of the rules from the Advanced era I want AND some additional options that were not available to me in either.   


Organizing the adventures from the lowest level to the highest you get a great spread from levels 1 to 14, perfect B/X and OSE levels.


I have talked about this in the past with the first five adventures, but the newer three only support this plan even more.

Arranged like this:

It makes solid coverage of levels 1 to 14.  If anything an adventure for levels 2 to 5  might be good.

With the addition of their Monsters of Mayhem #1, it makes for a full campaign.

I know the feel of these adventures is very much in the spirit of 1st Edition AD&D as well as the OSRIC rule set.  But for me, my "gonzo" gaming years were with B/X.  The rules of B/X were much looser than Advanced and these adventures really need a lighter hand on the rules.

I am thinking of also adding some material from Pacesetter's B/X RPG rules, in particular some of the classes.  Plus the B/X RPG rules play well with OSE, so that is reason enough to use them.  Plus I enjoy combining Palace of the Vampire Queen: Castle Blood from Pacesetter with Hanging Coffins of the Vampire Queen for a full saga of the Vampire Queen.


I have now run Vampire Queen for Basic, 1st Edition, and 5th Edition versions of D&D.  I think Basic was my favorite experience. 

1980: Dallas: The Television Role-Playing Game

Reviews from R'lyeh -

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—

Dallas: The Television Role-Playing Game was published in 1980—and published by SPI or Simulations Publications, Inc., a publisher better known for its many, many wargames. Indeed, it was designed by James F. Dunnigan, the founder of SPI himself and a noted designer of wargames such as Jutland and PanzerBlitz, both for Avalon Hill. Dallas: The Television Role-Playing Game is significant because not only was it the first licensed roleplaying game, it was the first licensed roleplaying based on an intellectual property that was not based on a genre such as fantasy, science fiction, or horror. It was also a flop, and infamously, would contribute to SPI’s financial woes and ultimate takeover in 1982 by TSR, Inc. Fellow designer at SPI, Redmond A. Simonsen, later explained in Why Did SPI Die?, “As to DALLAS: we didn’t print 250,000 of them. More like 80,000 (in two runs). That was about 79,999 more than anyone wanted. DALLAS didn’t kill SPI, but it didn’t save it either (as some had vainly hoped). Essentially, anyone who is wired on DALLAS (the TV show) is not also wired on games.” However, there are some interesting elements to Dallas: The Television Role-Playing Game that would prefigure later roleplaying game designs.

Of course, Dallas: The Television Role-Playing Game is based on the Soap Opera, Dallas, which ran from 1978 until 1991, and at the time of the roleplaying game’s publication was hugely popular around the world. It revolved around the affluent and feuding Texas family, the Ewings, who own the independent oil company Ewing Oil and the cattle-ranching land of Southfork. Its most notorious character is the Ewings’ oldest son, oil tycoon J.R. Ewing, who was renowned for schemes and dirty business practices in his effort to control the family business. In Dallas: The Television Role-Playing Game, players take the roles of members of the cast from the television series, including J.R. Ewing, his wife Sue Ellen (Sheppard) Ewing, his younger brother Bobby Ewing and his wife, Pamela (Barnes) Ewing, J.R. and Bobby’s parents, Jock Ewing and Ellie (Southworth) Ewing, Jock Ewing and Ellie Ewing’s granddaughter, Lucy Ewing, Ray Krebbs, the foreman of the Southfork Ranch, and Pamela (Barnes) Ewing’s brother, Cliff Barnes. In each Episode, nine members—nine!—of the cast have their own objectives and over the course of five acts, they will negotiate with each other to achieve them, before persuading, coercing, or seducing their rivals to get what they want, or even investigating them to bring the law down upon them. At the end the five acts, the character who achieves his or her given aims, will have won the Episode, or alternatively the character with the most Victory Points wins, the latter coming into play if more than one character has achieved his or her given aims.

Dallas: The Television Role-Playing Game comes a slim box containing three booklets, fifty-six cards, and two six-sided dice. The three books consist of the Rules of Play—just sixteen pages in length, barely five of which cover the rules, the rest being devoted to the three ready-to-play Original Episode scripts, ‘The Great Claim’, ‘Sweet Oil’, and ‘Down along the Coast’; the Scriptwriter’s Guide, also sixteen pages in length, with notes on running and teaching the game for the Director, writing scripts or Episodes, plus background on the cards and Texas, and a sample of play; and the Major Characters booklet. This consists of twenty perforated sheets, one a cheat sheet for the Director, and then a character sheet for each member of the cast. Each character sheet includes full stats for all of the cast, some background, and an explanation of how Dallas: The Television Role-Playing Game is played. Each character includes some minor modifiers for affecting or resisting certain other members of the cast. The fifty-six cards consist of minor characters, organisations, and objects—the latter typically Plot Devices in the hands of members of the cast, such as Alexis Blancher, an employee of Ewing Oil, the Texas Railroad Commission, and a Saddlebag of Krugerrands. Many of these will come into play during an Episode and are essentially what the characters will be feuding for control over. The minor characters have the same stats as the members of the cast. 

Each character has four Abilities, and Power and Luck attributes. The four Abilities are Persuasion, Coercion, Seduction, and Investigation, and are divided into pairs, one to Affect another character, the other to Resist another character’s attempt to Affect them with that Ability. Power is a general measure of a character’s strength, whilst Luck is their good fortune—or lack of it—and is generally used as a last resort. The Abilities range in value between eleven and twenty-four, depending upon the cast member, and tend to be less for NPCs and organisations. Power ranges from one to nine for the cast members, or from Lucy Ewing to J.R. Ewing. Luck ranges between one and eight.

To play Dallas: The Television Role-Playing Game, the Director—as the Game Master is known—selects or writes an Episode and the players select their characters. They also receive the Plot Devices they start with at the beginning of the Episode. An Episode consists of five Acts and each Act consists of three phases—the Director Phase, the Negotiation Phase, and the Conflict Phase. In the Director Phase, the Director provides the players with new information and plot devices, and then in the Negotiation Phase, the players trade cards, information, and promises to support each other in preparation for the Conflict Phase. The Conflict Phase is the meat of the mechanics.

The core mechanic involves the Affecting (attacking?) character using the active value for an Ability, modified by the Affecting character’s Power and any relevant factors for their relationship against the Resisting character’s defending value for the Attribute, plus modifiers. The Resisting value is subtracted from the Affecting value and if the result is twelve or more, the Affecting character succeeds. If the result, or spread, is between two and eleven, the player of the Affecting character rolls the two six-sided dice and if the result is less than the spread, the Affecting character succeeds. If the Affecting character has succeeded, then the Resisting character can make a Luck check and if his player rolls under the Resisting character’s Luck, he successfully resists the Affecting character’s attempt at Persuasion, Coercion, Seduction, or Investigation.

A successful attempt at Persuasion or Seduction will provide the Affecting character with information from the Resisting character, force the Resisting character to relinquish control of an NPC or Plot Device, control of an NPC if they are uncontrolled. Seduction attempts can only be made against members of the opposite gender who are not related to the Affecting character. Instead of providing the Affecting character with control of an NPC if they are uncontrolled, a successful attempt at Coercion can force another character to make his Affect attempt immediately. If against an NPC and unsuccessful, there is the possibility of Revenge, in which every other member of the cast can make a Persuasion attempt to control the NPC, with the players rolling to see who makes the attempt first. Lastly, a successful Investigation attempt forces the Affected character to reveal information, including the identity of NPCs and Plot Devices which are face down on the table. If a character has committed an Illegal act, another character who controls a legal authority, such as the FBI or Texas Rangers, can use Investigation to identify the suspect officially, and subsequently, use Persuasion combined with control of a legal authority to obtain an arrest, an indictment, and lastly, a conviction. Each of these steps scores a player an increasing number of Victory Points. A convicted character loses all of his Power, but is still in the game, as his conviction is, of course, being appealed.

Physically, Dallas: The Television Role-Playing Game is cleanly and tidily presented. It is clearly written, but written in the style of a set of rules for a wargame with numbered and sub-numbered sections—just as SPI would do for its other roleplaying games, DragonQuest and Universe. Internally, none of the roleplaying game’s three booklets are illustrated. All of the illustrations appear on the cover of the box—in colour, and then in black and white on the front cover of the Rules of Play. So none of the character sheets are illustrated. Overall, the black and white production values—some spot colour is used on the cards—are underwhelming and lack the glossy sheen that a product or game based on a television series like Dallas really calls for.

The rules to Dallas: The Television Role-Playing Game are decently explained and they do come with an example of play. The three pre-written episodes are also decent and the advice on creating scripts and other characters is workable. The advice on creating scripts is backed up by a list of Plot Devices and biographies of the various NPCs, all of which can be used by the Director to write her own scripts. There is also a lengthy, and quite detailed history of Texas. However, there is no background or information to the television series of Dallas itself, beyond that of the little information given on each of the character sheets. Essentially, to play a game of Dallas: The Television Role-Playing Game, the designers expect the participants to rely upon their own knowledge of the series and its characters.

As a design, Dallas: The Television Role-Playing Game is not a traditional roleplaying game and nor does it feel like one. There are no rules for creating new members of the cast, no rules for gaining experience, or improving a character as you would find in almost any other roleplaying game. And despite the fact that infamously, a big storyline revolved around the identity of who it was who shot J.R. Ewing, there are no rules for physical conflict or combat—the roleplaying game is all about verbal conflict. Then although it has a Game Master or a Director and everyone sits round the table just as in a traditional roleplaying game, the fact that a game can involve nine players and the Director, makes it feel more like a party or social game. Of course, party or social games were not a category of games as they are today, so the nearest equivalent at the time of Dallas: The Television Role-Playing Game publication would be the ‘How to Host a Murder’ type games which were popular then.

As clearly and as simply as the rules are explained, anyone coming to them without a background in wargames or roleplaying—essentially the fan of Dallas picking up Dallas: The Television Role-Playing Game on a whim or because it is clearly connected to the soap opera, is likely to feel intimidated by the procedural nature of its play and the stolid nature of the mechanics. Nor is this helped by the grey, even boring production values that might have made the roleplaying that much more enticing , something that another publisher of the time, Yaquinto Publications got right with its own TV’s Dallas: A Game of the Ewing Family board game, part of its Album series.

As much as it states that it is a roleplaying game—and a ‘family’ roleplaying game at that, Dallas: The Television Role-Playing Game lacks an explanation of what roleplaying is and an explanation of how the Director narrates the beginning of each act. Nor is there a sense of the NPCs, the minor cast members, being characters in themselves, merely pawns for the main cast to control. There is also a sense of misogyny to the roleplaying game, one that admittedly it inherits from the television show, in that the male members of the cast are more powerful than the female ones. The character sheets though advise that the male characters should not necessarily throw their weight around and that they generally have more challenging victory conditions than the female characters who instead should be working together.

—oOo—

Dallas: The Television Role-Playing Game was not well received at the time. The single notable review appeared in The Space Gamer Number 42 (August, 1981). Reviewer David Ladyman asked, “Is DALLAS a useful bridge between gaming and your “real world” friends? That might depend on how many DALLAS freaks you know that you would want to introduce to gaming. Hard core RPGers will probably want to add the game to their collection; characters' attributes and the conflict resolution system are novel enough, even if you have no interest in the television series. I wouldn’t suggest it, though, if you buy your games for long-term playability – DALLAS just doesn't have lasting entertainment value.”

—oOo—

However, as underwhelming as Dallas: The Television Role-Playing Game is in terms of presentation, theme, and rules, it is in its own way innovative. As the first licensed roleplaying game, it showed the possibility of obtaining licences based on mainstream intellectual properties and the potential of drawing the fans of those properties into gaming. Within a matter of years, for example, FASA would produce The Doctor Who Role Playing Game and Star Trek: The Role Playing Game, both well received. Most licensed roleplaying games continue to be based on fantasy, horror, or science fiction properties rather than mainstream ones—Leverage: The Roleplaying Game being a rare and more recent example, as well as a good example of how to design a roleplaying game around a television show. Which of course, Dallas: The Television Role-Playing Game was not, but it also prefigured adversarial roleplaying, that is a roleplaying game in which the Player Characters are against each other as often as not, and that there can be a clear winner in playing the game. This would really come to the fore in Phage Press’ 1991 Amber Diceless Roleplaying Game and would subsequently be seen in any number of indie roleplaying games.

Another aspect to Dallas: The Television Role-Playing Game is that in hindsight, as perhaps as underwhelming as the design is, there is huge potential for roleplaying in the game. It is not the mechanics which entice, but the opportunity to dig into the members of Dallas’ cast, a great many of them signature characters that are familiar even decades on and roleplay them around the table. Although, whether you would roleplay all nine at the same time is is another matter. Of course, Dallas: The Television Role-Playing Game does not support this, and it is only with hindsight and the experience of roleplaying that the potential can be seen. Anyone coming to Dallas: The Television Role-Playing Game without that experience or that hindsight, will ultimately be daunted by what they find in the box. 

Forty years since the publication of Dallas: The Television Role-Playing Game and the hobby is better served by roleplaying games which would emulate its genre. Dog Eared Designs’ Primetime Adventures: a game of television melodrama is an obvious choice, but Fiasco could also do it, as could Pasión de las Pasiones, the telenovela tabletop roleplaying game Powered by the Apocalypse published by Magpie Games. Further, all three of those roleplaying games would have the advice and guidance that Dallas: The Television Role-Playing Game lacks.

Dallas: The Television Role-Playing Game is significant as the first licensed roleplaying game, but not necessarily as a design. It can be seen as a venture or experiment, that in 1980, would have made commercial sense for SPI to pursue and publish because the crossover potential between fans of Dallas the television series and the roleplaying hobby could have been significant. Certainly, within a family it could have served as a means for a roleplayer to show his parents or other family members who were fans of Dallas, but likely mystified by his hobby, what roleplaying was like and how it could be fun.  Of course, it was not to be. Few in the roleplaying hobby would have been interested in a roleplaying game based on Dallas and anyone outside of the hobby would be daunted by the design of Dallas: The Television Role-Playing Game, which is more of a card game than a roleplaying game.

Dallas: The Television Role-Playing Game is an interesting, even important, curio from the dawn of the commercialisation of the roleplaying hobby. Its design though, is a hangover from the dusk of another hobby—wargaming, and that meant that Dallas: The Television Role-Playing Game was not the family-friendly—even if its cast of characters were anything but—introduction to roleplaying games it was intended to be. 

Christmas Miracle! I Started "War of the Witch Queens"

The Other Side -

It's Christmas, spent some quality time with the family yesterday and today.  We built a new kitchen cart for my oldest to keep all his cooking gear in, made a turkey, got a new laptop (using it now) oh and we started the War of the Witch Queens today!


Started with The Witch of Wydfield.  Didn't get very far though, we just started with session 0.  

We are going to use the Classic D&D B/X rules.  I didn't pick a particular flavor yet but likely go with Old School Essentials.  Right now since this is a DCC adventure for 0 level characters I had everyone roll up three characters.  All very simple. I used the classic Basic rules and had everyone choose Cleric, Fighter, Magic-User, or Thief at 0 level.  Once everyone hits 1st level, at 500 xp, I am going to allow them to specialize into OSE Advanced Classes or even something from BX RPG or anything really.  My goal is to say "yes" first and then direct them to something that works.

I had everyone roll 2d6+3 for stats. Yes that makes them all rather low on their abilities, but they are also just starting.  I am going to either allow them all a 1d6 per ability when they get to level 1 or give them 5d6 number of points to distribute amongst all their abilities.  This will in turn make their abilities a touch higher than average.  I am ok with that. I am still playing around with ideas.  I might even adopt some D&D 5 rules and let them add +1 to a stat every four levels or so.

Since they are super low level and below-average at this point I am saying they are all refugees from another village destroyed abut terrible weather.   This is of course the first "attack" of the witches with the Witch Queen now dead.  No queen so the more evil elements of the witchcraft world are running free.

This is going to be one of those only every so often games.  I am not 100% convinced everyone likes the old rules or are they just humoring me. 

I hope to pick up the next session soon.

2010: Leverage: The Roleplaying Game

Reviews from R'lyeh -

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—


Published by Margaret Weis Productions in 2010, Leverage: The Roleplaying Game is a licensed roleplaying game based upon the television series which ran from 2008 to 2012. In the series, a Crew of con artists—a mastermind, a grifter, a hacker, a thief, and a retrieval specialist—take on a series of heists in order to fight injustices inflicted upon ordinary citizens by corporations and the government. Each of the episodes follows a set story structure. A Client comes to the team with a problem that only its members can find a solution to. This involves researching the villain or Mark and finding a weakness which the Crew can use to undermine him, and then formulating a plan which will make use of both the weakness and the skills of individual team members. As the plan goes into action, the Mark and his henchmen will seem to gain the upper hand, but ultimately, the Crew will outwit them all. Flashbacks will reveal further clues and improvisations that helped them overcome certain complications, and so ultimately, bring justice for the Client. This is the exact format that Leverage: The Roleplaying Game follows to provide not only an excellent adaptation of its source material, but also arguably, the purest treatment of the heist genre in any roleplaying game. From the outset, Leverage: The Roleplaying Game is a simple sell. It is modern day, it is set in the real world, and the Player Characters, though highly skilled, are all easy to grasp and understand. They are all ‘crooks with a heart of gold’ or Robin Hood-types, rather than out and out criminals. The tone of the series and thus the roleplaying game is also family friendly—although there is action and there are fights, there is never gunplay, at least not on the part of the Crew. (The lack of gun play will also have an impact on game play, making carrying out a heist that much more challenging and thus more satisfying when pulled off because brute force or threat is not an option.) Plus, even if the players have never seen Leverage the television series, then they might have seen its BBC forebear, Hustle, or films such as Ocean’s 11 and the other entries in the series. Lastly, despite the fact that Leverage: The Roleplaying Game follows the formula of the television series, the formula and thus its set-up means that as a roleplaying game—especially a licensed roleplaying game—Leverage: The Roleplaying Game has not actually dated in the ten years since it was published. Leverage: The Roleplaying Game is one of five roleplaying games from Margaret Weis Productions to use Cortex Plus, the others being the Smallville Roleplaying Game, the Marvel Heroic Roleplaying, the Dragon Brigade Roleplaying Game, and the Firefly Role-Playing Game. It is both a roleplaying game and a roleplaying game, a roleplaying game in that each player is roleplaying a character and each character is playing a Role. There are five Roles—a Mastermind, a Grifter, a Hacker, a Thief, and a Hitter—and Leverage: The Roleplaying Game works best when there are five players, each of whom takes one of the five Roles and so forms a Crew. The Mastermind specialises in plans and coordinating the Crew’s activities on the Job; the Grifter gains and use people’s trust through disguises and roles; the Hacker gains, supplies, and denies information, typically using technology; the Thief steals or plants things by stealth and foiling security systems; and the Hitter supplies force and a tactical edge. There is some crossover between Roles for the Crewmembers, so the roleplaying game can be played with fewer players, but its optimal number is nonetheless five. A Crewmember also has six Attributes—Agility, Alertness, Intelligence, Strength, Vitality, and Willpower; two Specialities, each one associated with a Role, such as Driving for Hitter and Piloting for Hacker; three Distinctions or personality quirks or traits, which can work to a Crewmember’s disadvantage as much as they do advantage; and Talents, essentially tricks which related to particular roles and when activated grant a Crewmember an advantage. Roles and Attributes are rated by die type, the larger the die type, the better the ability of the Role or Attribute, both being defined by ten-, eight-, six-, and four-sided dice. A Speciality is valued as a six-sided die, whilst a Distinction can be rated as an eight-sided or a four-sided die depending whether it is in the Crewmember’s favour or not.
To create a Crewmember, a player selects a Primary Role and a Secondary Role, assigning a ten-sided die to the former, an eight-sided die to the second, and decides on two Specialities, attaching each to a particular Role. A six-sided die is assigned to a third Role, and four-sided dice to the remaining two. The size of dice types assigned to the attributes will vary depending upon if the Crewmember is focused or versatile. Lastly, the player selects three Distinctions and two Talents. Winston MoranWinston Moran used to work in financial security, preventing banks and other institutions from being robbed. He was injured in a car crash which also left his wife in coma and due to the injury was forced to take early retirement. Unfortunately, his employers defaulted and left him without pension, forcing him to turn to ‘crime’ to pay for his wife’s medical bills. RolesGrifter d8, Hacker d6, Hitter d4, Mastermind d10, Thief d4 AttributesAgility d8, Alertness d8, Intelligence d10, Strength d6, Vitality d8, Willpower d8 SpecialitiesBank Fraud, Games DistinctionsVoice of Authority, Walks with a Cane, Industry Veteran TalentsSlip of the Tongue (Grifter)Sea of Calm (Mastermind) This though, is the quick and easy version—but not the fun version. The suggested version—the fun version—is ‘The Recruitment Job’. Each player partially defines his Crewmember and together the Crew play through a simple Job designed to showcase what each Crewmember can do and define and bring into play the other undefined aspects of each Crewmember. Essentially, this is the playing group’s pilot episode or ‘Zero Session’ for their Leverage series. There are one or two quirks about Crewmember generation. The first is that a Crewmember’s Secondary Role will define how he approaches his primary Role. For example, the Grifter whose Secondary Role is Hitter, is a ‘Swashbuckler’, aggressive and challenging  with a Mark, but uses lots of misdirection and quips in a fistfight, whilst the Hitter whose Secondary Role is Grifter is a ‘Duellist’, a quick, deceptive combatant who uses feints and distractions to bait his opponents. The second quirk is that there is no Charisma attribute and this is by design. Rather, the Attributes of Intelligence, Strength, Vitality, and Willpower all assume aspects of a Crewmember’s charisma and how he uses it on the Job. Essentially, every Crewmember is charismatic, but exactly how will vary from Crewmember to Crewmember—just like the cast of a television series. Mechanically, Leverage: The Roleplaying Game uses the Cortex Plus system—in 2020 revisited with new core rulebook, Cortex Prime. The basics revolve around two opposed dice rolls, one by the player, one by the Fixer—as the Game Master is known in Leverage: The Roleplaying Game. Each dice roll consists of two dice. For the Crewmember, the dice roll will consist of a die from one Attribute and a die from one Role, both of which will vary from situation. For example, when his Crewmember is chasing a potential Mark, the Fixer might call upon the player to roll his Crewmember’s Alertness plus Hitter, or if a Crewmember is being chased by security guards and he wants to hide, perhaps on the ceiling, the Fixer would ask his player to roll Agility plus Thief. The Fixer will in turn be rolling dice which might be for the environment, such as ‘Ten Stories Up d6 plus Vibration Sensors d8’ or an NPC, which for most NPCs, such as the Client, a simple Mark, Extras, and so on, will have no more than a handful of traits, such Wannabe Hacker d4 or The Best Golfer d6. Other NPCs, including Marks, Foils, and Agents—the latter typically out to capture or beat the Crew or a particular Crewmember, can be as complex as actual Player Character Crewmembers. Although just two dice form the core of the basic roll, other dice can be added to it. The use of Specialities, Distinctions, Assets, and Complications can all add dice to the roll. In most cases, these require the expenditure of Plot Points. Plot Points—of which a Crewmember starts with one—can also be used to activate Talents and create new Assets, which last for the scene (or the whole Job for two Plot Points). Ultimately, only the two highest dice are counted and added together. This sets the stakes for the Fixer to roll her dice and attempt to roll higher. If she does, she ‘Raises the Stakes’, and it is up to the player to reroll the dice, and if add in more dice, to gain a score higher than that rolled by the Fixer. Alternatively, whomever rolled lower can back down and decide not to roll to beat the other. In which case, the Crewmember or Mark has given in and taken down, the winner of deciding the outcome. If however, one side rolls five higher than the stakes are currently set at, then they have achieved an Extraordinary Success and an automatic takedown of their opposition. Where Cortex Plus gets interesting is in the generation of Plot Points. Whenever a one result is rolled on a die by a player, it is not counted towards the two dice he keeps as his Crewmember’s total, but it does generate or improve a Complication, which adds another die to the Fixer’s dice roll. When that happens, the player receives a Plot Point. When the Fixer rolls a one on any of her dice, it generates an Opportunity and the player can bring in one of his Crewmember’s Talents, if appropriate. The fact that rolls of one generate Plot Points and Plot Points can be used to create Assets, add dice to a roll, and so on, means that players will want to be rolling ones almost as much as they high results, and the best way to roll ones, is to roll lower value dice, such as six-sided- and four-sided dice. Both of course, have higher chances of rolling ones. A Crewmember starts play with a Role set at a four-sided die, but the other way to bring in a four-sided die is to add a Distinction to the roll. If the Distinction works in the Crewmember’s favour, then it is rolled as an eight-sided die, but if it is to his disadvantage, it only adds the desired, but also the reviled four-sided die. Either way, rolls of one represent the type of setbacks that might be seen in an episode of Leverage, but at same time generate the Plot Points that will ensure already expert Crewmembers complete the Job and take down the Mark. For example, the Crew managed to plant a bugging device in the Mark’s office. However, the Mark’s security ensured it was not able to broadcast what it downloaded from his computer, so the Crew needs to get it back. Winston Moran has already been into the Mark’s office, ostensibly to talk about a bank fraud, but that was to give the bug time to work. Now he needs to get it back. He tells the security guard that he dropped his wallet in the office, so the guard lets him go and get it. The guard is diligent and comes to check on Winston. To see if Winston grabs the bug before the guard becomes suspicious, the Fixer asks his player to roll Winston’s Alertness plus Thief. Unfortunately, this is a d8 for Alertness and a d4 for Thief—the latter is so low because Winston is not as young as he was. Winston’s player rolls an eight and a one! This sets the stakes at eight because the one is set apart and further, it generates a Complication. The Security Guard has Security Guard d6 and Really Doesn’t Want Any Trouble d6, but since Winston rolled a one and generated a Complication, it adds another die to the Fixer’s roll, in this case, Suspicions Aroused d6. She rolls a four, a five, and a two! This Raises the Stakes to eleven. Winston’s player states that he is going to roll d8 for Alertness and a d4 for Thief again, but spend a Plot Point to bring in a Distinction, in this case, Walks with a Cane. As this is being used to Winston’s benefit, it adds a d8 rather than a d4. His player rolls a three, a four, and a six to give a final result of thirteen. This beats the Fixer’s stakes and she backs down as Winston allays the security guard’s suspicions with, “Found it! Sorry for being so slow—old man with a cane, you know.”Beyond the simple mechanics, Leverage: The Roleplaying Game introduces numerous elements which model the television series. For example, all of the Crewmembers are Experts and as in classic episodic television, they do not really improve, or at least they, it is at a very slow rate. Instead of the classic Experience Points, a Crewmember records each of the Jobs he completes. During a future Job, a player can have his Crewmember make a ‘Callback’ to the previous events of another Job to gain a bonus eight-sided die. This provides the Crewmember with a ready pool of bonus dice, but alternatively, a player can improve an Attribute or Role die, or purchase further Specialities or Talents by permanently marking off the Job titles. Where the television series is really modelled is in the use of Flashbacks. In an episode of the television series, the focus of the Job is all on the Mark and how he is affected by the Crew’s efforts to scam him. They come in two forms. Establishment Flashbacks add an element to a Crewmember’s backstory to bring an Asset into play, whilst Wrap-Up Flashbacks establish Assets which can aid in turning the tables on the mark and go towards the finale and Mastermind’s final roll against him. They are both a narrative device to further showcase the various Crewmembers’ Roles and other traits and a means to overcome a Job’s final hurdles. For the Fixer, there is a deep discussion of the heist genre as seen in Leverage, taking her through the process of constructing a Job—from the Client and his Problem to the Mark, a discussion of a traditional three-act structure versus the five-act structure of a Leverage episode, twists to use and twists to avoid—the latter primarily to prevent the players and their Crewmembers getting to bogged down in planning, taking inspiration from news stories, and even a ‘Situation Generator’ for creating a random Job. The Fixer can also make use of the example Clients, Foils, Agents, Locations, and more, though Locations are relatively easy to come up with given that the Leverage: The Roleplaying Game is set in the modern day and the Fixer can draw inspiration from around her. The world around the Crew is explored in broad detail, whilst the criminal and the Crew’s place in it is given more detail. With advice on subjects such as ‘Thinking Like a Criminal’, ‘Violence’, and the nature of ‘Cons’, including long, short, and classic cons. This last part is a solid introduction to grifting and running con games, and much like the rest of the chapters intended for the Fixer can just as easily be read and perused by the players. Rounding out the Leverage: The Roleplaying Game is an episode guide for the first two seasons of the television series. This either works as inspiration for the Fixer or it feels a lot much like filler content, but either way, it would have been nice to have some ready-to play-Jobs alongside it.
One issue with Leverage: The Roleplaying Game is the same as the Leverage television series. It is fundamentally episodic in nature, such that there is relatively minimal character or on-going development from one episode to the next. This is partially reflected in the slow growth and improvement of the Crewmembers through the Jobs recorded and spent as Experience Points. What this means is that the Leverage: The Roleplaying Game is not necessarily a game to play on an ongoing or even a long term basis, but since every episode of the television series and every Job is more or less self-contained, it works well for one-shots, for short seasons, and even pickup games with minimal preparation time if the Fixer uses the tables provided in the book to create a situation.
In terms of play, Leverage: The Roleplaying Game is a game which encourages player input, whether that is in the expenditure of Plot Points to add Assets to a Job or be inventive in how each player brings his Attribute and Role combinations into play. The Fixer will probably suggest combinations most of the time, but there is scope for a player to suggest his own too. This though, is also open to abuse, but a good Fixer should be able to nix that in the bud and encourage her players to play in the spirit of the Leverage television series. Physically, Leverage: The Roleplaying Game is a really clean, bright looking book decently illustrated with stills from the television series. It is both engagingly and well written, and although it lacks an index, the table of content does a reasonable job of making up for it. Neither the mechanics nor the genre of Leverage: The Roleplaying Game have dated and both are as comfortable to run in the here and now of this year or any other year, as much as they were in 2010. The focus of the design on emulating its source genre however does date it to its publication era, that of the storytelling game/indie roleplaying game movement which dominated the late 2010s, but of course, designed to a far more commercial end. As much as it is designed to emulate the Leverage television series, its treatment of its genre means that it can do other heist or con game set-ups just as easily as it can Leverage the television series. Nominated for the 2011 Origins Award for Best Roleplaying GameLeverage: The Roleplaying Game is an elegant, well-designed treatment of not just the Leverage television series it is based upon, but also of the heist and the con game genres in general.

Spirit of the Age: The Science Fiction Aesthetic of Hawkwind

We Are the Mutants -

Joe Banks / December 23, 2020

Hawkwind live in 1973. Photo from the Japanese single for “Urban Guerilla”

Hawkwind are an indelible part of the UK’s underground culture. It’s been over 50 years since they formed in the seedy cradle of London’s Ladbroke Grove, but they still enjoy a fanatical cult following both in Britain and around the world. They may never have scaled the commercial heights of Pink Floyd or Led Zeppelin, but the influence they’ve exerted on modern music is profound. You can break down the components of their sound—barbarian psychedelia, propulsive rhythms, raw electronics—but what’s far harder to quantify is Hawkwind’s distinctive persona, their essential otherness within the story of rock.

In many ways, they’re a sub-genre to themselves, the house band of the British counterculture during the 1970s and beyond. There’s a parallel often made with the Grateful Dead in the US, and certainly from that period they share a similar sense of communal self-sufficiency (plus a propensity for extended jamming, though of a very different stripe to the blues ragas of Jerry Garcia’s crew). But whereas the Dead evoked a mystic vision of Americana, Hawkwind channelled the apocalyptic spirit of the age, fuelled by a combination of Cold War paranoia and pulp science fiction.

Along with the fearsome, if sometimes surprisingly complex, noise they made, it’s the SF-derived image and mythology that built up around Hawkwind that makes them truly unique in the annals of popular music, and that’s what I’m going to talk about in this article. My book Days Of The Underground – Radical Escapism In The Age Of Paranoia is an analysis of the band’s music and cultural impact during their “classic years” of the 1970s, and it looks at some depth into their sci-fi connections—but Hawkwind were still a potent force and SF nexus point in the early ‘80s, which was when I first seriously began to get into them.

Actually, I’d already had a head start; my older brother had a copy of their 1975 album Warrior On The Edge Of Time, which I would hear blasting out of his bedroom—its crashing riffs, rampaging Mellotron, and thunderous drumming loudly announcing a band that seemed to exist outside of the ‘70s rock continuum of Deep Purple, Pink Floyd, and Queen. But there were two features in particular that both fascinated and slightly unnerved my pre-teen self. Warrior’s sleeve depicted a silhouetted knight on horseback dwarfed by a garishly colored vision of the edge of time, with a mirror image of the same scene (minus the knight) on the back cover. The sleeve folded out and down to reveal a plunging panorama of the abyss below—but flip it over, and an impressive Shield of Chaos is revealed, giving a clue to the presence of a special guest within…

However, if the unusual sleeve created a frisson, the album’s spoken word interludes positively freaked me out. The bleak, pulsating chill of “Standing At The Edge” evokes a purgatorial nether zone of lost souls condemned to live forever, a voice full of petulant affront declaiming, “We’re tired of making love.” It’s like the final nail in the coffin of the hippie dream, calling time on the long ‘60s as the cold grip of the ‘70s takes hold. Elsewhere, the gentleman delivering “The Wizard Blew His Horn” and “Warriors” sounds alternately in the grip of mild hysteria and robotic possession.

Taking a closer look at the credits a few years later, I discovered that the voice behind those last two pieces belonged to none other than Michael Moorcock, whose Eternal Champion books the album is very roughly based around. Moorcock had first drifted into Hawkwind’s orbit in 1971, being also based in Ladbroke Grove. From here, he edited and published New Worlds magazine, the key journal of the so-called science fiction New Wave, as epitomized by the writings of J.G. Ballard. Moorcock could often be found of a weekend manning a second-hand book stall in the local market (as part of the constant effort to keep New Worlds afloat) or helping to organize open-air gigs under the Westway, the concrete overpass that looms above the area. Hawkwind too would play for free in the same location, and when Moorcock asked if he could do some readings with them, the band jumped at the opportunity to get a bona fide sci-fi author on board.

Moorcock’s first impressions of the band are telling, describing them as “barbarians with electronics” and “like the mad crew of a long-distance spaceship who had forgotten their mission.” And when I interviewed him for the book, he admitted that Hawkwind felt like a band he’d conjured into existence, so perfectly did they fit into his entropic universe. The first piece he wrote and performed with them has become Hawkwind’s most iconic spoken word track: “Sonic Attack.” While its title is often used as short-hand for the brain-blasting shock and awe of Hawkwind in full flight, the track itself is all creeping dread and terror, a blackly comic parody of WW2 propaganda broadcasts distorted by the chilly logic of the Cold War, and very much a piece of New Wave SF.

Of course, discovering Moorcock’s connection with Hawkwind further piqued my interest in the band. As a young teen, I had moved seamlessly from reading Target’s Doctor Who novelizations to greedily consuming Moorcock’s Eternal Champion books. At the same time, it was becoming apparent that the one thing I was really interested in was music, and coming from a market town in the East Midlands, this almost inevitably meant heavy metal. If you combine those elements together, then it almost inevitably leads you to Hawkwind, particularly their early ‘80s incarnation. Yet even if you weren’t a big music fan, but were the type of young person who dug SF, Hawkwind would still find you one way or another, so embedded were they in British sci-fi and fantasy culture.

Working my way through Moorcock’s dizzying output—how had this man managed to produce so many books?—meant regular visits to the local library, which also had an eclectically stocked record section, and it was here that I had my next close encounter with Hawkwind. Flicking through the racks, I was literally stopped in my tracks by the front cover of their 1973 live album Space Ritual. Etched in retina-sizzling technicolor, and featuring a stylized cosmic messiah flanked by gape-mouthed star cats, it was as though I’d stumbled across some bizarre alien artifact. Like a portal to another world, it was illustrated and designed by Colin Fulcher, aka Barney Bubbles, the man responsible for creating Hawkwind’s striking visual identity, from record sleeves, posters, and adverts. He even painted their equipment. As both a skilled professional designer and mystically-inclined freak, Bubbles was instrumental in creating an image for the band as sci-fi warriors and sages waging a sonic assault on the staid conventions of the straight world.

Hearing Space Ritual for the first time is an unforgettable experience. Lemmy—perhaps the band’s most famous ex-member—memorably described Hawkwind as being “a black fucking nightmare – a post-apocalypse horror soundtrack,” and this was surely the album he had in mind when he made that comment. It begins with what sounds like some deep space transmission, a massive interstellar hulk slowly heaving into view, before the ship’s grimy engines fire and you’re pushed back into your seat by the inertial intensity of opening track “Born To Go.” It’s dark, dense, and blurry, a nuclear-powered battering ram smashing through the cosmos, threatening to tear a hole in the fabric of space-time.

I can’t say it was love at first hearing, because it felt so outside my normal listening experience then, which was the relatively polite hard rock pyrotechnics of bands such as Rainbow and Judas Priest. But as I was eventually to realize, Space Ritual simply doesn’t sound like anything else, certainly not any other band. Yet staring at that sleeve as the record’s strange combination of cyclical riffs, chanted vocals, and electronic bleeps, howls, and whooshes poured out of the speakers, the thing it did sound like was science fiction—futuristic and dystopian, but with a vague sense of wonder still peeking through the cosmic gloom. And that was before “The Awakening,” the first spoken word piece on the album, and my first encounter with Robert Calvert, space-age poet extraordinaire.

More so than even Moorcock and Bubbles, Calvert was the man responsible for transforming Hawkwind into a science fiction band, first building a mythos around them as star-faring freedom fighters and prophets, then using SF as a vehicle for satire and social comment in the latter half of the 1970s, when he became their full-time singer and frontman. One of the first things he did for the band was to create (alongside Bubbles) The Hawkwind Log, a booklet that came with 1971’s In Search Of Space album. It tells the discontinuous, Burroughs-esque story of Hawkwind’s mission to liberate the human race from its essential emptiness, but sees them compressed “into a disc of shining black, spinning in eternity.” This depiction of Hawkwind as space travelling saviors puts the band themselves at the heart of an SF-inspired narrative, rather than merely writing songs about flying saucers and aliens.

It was Calvert who had come up with the concept behind the Space Ritual tour—the dreams of a crew of starbound explorers held in suspended animation—but even if the idea of staging a “space opera” was ultimately abandoned, traces of its storyline are still discernible, particularly in “The Awakening.” Calvert had first appeared on stage with Hawkwind reading his poems between songs, with “The Awakening” being part of a longer piece entitled “First Landing On Medusa.” Against plaintive warbles from the electronic chorus line, Calvert contemplates the cryogenically frozen members of his crew, his voice a chilly combination of precision and dispassion, his words full of ear-catching rhymes and imagery: “The nagging choirs of memory / The tubes and wires worming from their flesh to machinery / I would have to cut.” In the concluding part of the poem, the crew set foot on Medusa, and are quickly turned to stone.

There are a number of other readings from Calvert on the album that firmly locate the band in the New Wave SF universe of Ladbroke Grove. There’s the aforementioned “Sonic Attack,” bleakly Darwinian instructions for surviving a future war—Do not panic! Think only of yourself!” —delivered by Calvert with malicious intent. “The Black Corridor,” another Moorcock piece that uses the opening lines of his novel of the same name, is typical of Hawkwind’s take on space as “a remorseless, senseless, impersonal fact.” And there are two other Calvert-penned pieces: “10 Seconds Of Forever” is a countdown through the last moments of someone’s life, while “Welcome To The Future” is a concentrated hit of eco-terror—“Welcome to the oceans in a labelled can / Welcome to the dehydrated lands.” Both are indebted to the apocalyptic landscapes of Ballard’s inner space.

But it wasn’t just Calvert writing from a science fictional perspective, with Space Ritual also highlighting other members’ take on the genre. Band leader Dave Brock had been writing in a paranoid, pessimistic vein from the first album onwards, with “Time We Left This World Today” neatly encapsulating Hawkwind’s philosophy of radical escapism, decrying an oppressive society controlled by “brain police” and calling for immediate off-world evacuation. Similarly, saxophonist and singer Nik Turner expresses a desire not to “turn android” and recommends flight in “Brainstorm,” while “Master Of The Universe” finds the alien demi-god of the title sorely disappointed by the affairs of man: “If you call this living, I must be blind.”

By the time that Hawkwind played the shows that would be recorded for Space Ritual in late 1972, they were by far the biggest band in the UK’s underground scene, performing to thousands of fans every night—in fact, with the unexpected success earlier in the year of their single “Silver Machine,” which got to number three in the charts and would go on to sell a million copies worldwide, Hawkwind were in danger of becoming a mainstream rock act. But if their science fiction associations enamored them to their fanatical following, who were more than happy to buy into their mythos, it both bemused and intimidated the music press, who continually wrote them off as, at best, a “people’s band,” at worst, a joke.

While rock culture itself still liked to adopt an “outsider” stance, even as it transformed into a multi-million dollar industry, science fiction remained a proper outsider culture in the ‘70s (pre-Star Wars), and was for the most part looked down on by the critical establishment. Yet for a lot of young people, rock and SF shared similar characteristics and attractions—as well as both being escapist mediums, they were also forward moving and excited by the idea of the future, a disruptive threat to straight society’s status quo. While both could be garish and naïve, they were also capable of smuggling new ideas and perspectives into consumers’ heads. And books such as Tolkien’s Lord Of The Rings (first published in paperback in 1965), Heinlein’s Stranger In A Strange Land (1961), and Herbert’s Dune (1965) had been foundational texts of the original psychedelic counterculture, depicting battles between old and new worlds, and anticipating the coming of revolutionary messiahs.

From the late ‘60s onwards, during Britain’s progressive rock era, there were plenty of bands who included songs with science fictional themes in their repertoire: Pink Floyd’s “Let There Be More Light,” Van Der Graaf Generator’s “Pioneers Over C,” Black Sabbath’s “Into The Void,” Genesis’s “Watcher of The Skies,” etc. And some of the cover art of the time suggested an engagement with the fantastical, Roger Dean’s sleeves for Yes in particular, plus the covers to ELP’s Tarkus and Brain Salad Surgery (the latter illustrated by Alien designer H.R. Giger). David Bowie was also adept at sneaking SF-related themes into his work—“Space Oddity,” “Starman,” “1984,” etc.—and took the lead role in Nic Roeg’s cerebral SF flick The Man Who Fell To Earth (Hawkwind appeared in Robert Fuest’s adaptation of Moorcock’s The Final Programme, but literally for the blink of an eye). And both avant-jazz pioneer Sun Ra and French art proggers Magma drew inspiration from the idea of leaving Earth and setting up home on a new world. 

But it was only Hawkwind who specifically defined themselves via numerous SF tropes, who sounded like the roaring of a mighty spacecraft, whose visual imagery was full of galactic heraldry and pulp magazine homages, and who actually had a series of post-apocalyptic SF novels written about them, where they effectively save the world. It’s what makes them the ultimate science fiction band, adding a cosmic spin to the turbulent “no future” culture of 1970s Britain.

Once I’d fully digested Space Ritual, and recognized it for the towering work of outsider genius that it clearly was, I needed more Hawkwind in my life. And as luck would have it, the next item I bought was a “twofer” cassette of the band’s late ‘70s albums, Quark, Strangeness And Charm (1977) and PXR5 (1979). Having achieved some kind of space rock singularity on Space Ritual, Hawkwind’s music became (relatively) more nuanced through the middle part of the decade and veered into fantasy territory (see Warrior)—but when Robert Calvert re-joined them as full-time singer and conceptualist, the band’s profile as sci-fi provocateurs par excellence was boosted once more.

Quark and PXR5 are full of songs animated by Calvert’s quicksilver imagination, one which had moved on from early Hawkwind’s millenarian space chants to embrace SF as the New Wave had intended, as a way of interrogating the modern world and unravelling the technocratic, sometimes psychopathic, forces that increasingly ruled it. “Spirit Of The Age” is the band’s defining song from this era, a vision of the future where bored astronauts light years from home make love to android replicas of their long dead girlfriends, only to complain, “When she comes, she moans another’s name.” It’s also a paean to the plight of the clone, where individuality is unattainable: “Oh for the wings of any bird / Other than a battery hen.”

On saying that, “Uncle Sam’s On Mars” pushes it close, Calvert’s angry take-down of (as he saw it) America’s colonialist approach to space exploration, including pops at its fast food culture and consumerist worldview. He also presciently makes reference to global warming—“Layers of smoke in the atmosphere / Have made the earth too hot to bear”—and suggests that the money and technology involved in putting a man on Mars would be better used repairing our own planet. This was also the period of Hawkwind when the titles of classic sci-fi novels would be co-opted by Calvert as a springboard for his lyrics—in the case of “Damnation Alley” and “Jack Of Shadows” (both Roger Zelazny books), this resulted in reasonably faithful interpretations of the stories, whereas for “High Rise,” just the title of Ballard’s novel was taken. A personal favorite of mine is “Robot,” which references Asimov’s Three Laws, but riffs on the idea of the white collar suburban worker as a slave machine to capitalism.

The Atomhenge tour, 1976

Calvert left Hawkwind in 1979, and, in truth, the band would never subsequently pull off the rock + science fiction equation as inventively and authentically as when he was on board. But in the wider scheme of things, it didn’t particularly hinder the band’s progress, so strong was their brand with the people that mattered—their fans. In fact, the clutch of albums they released after Calvert’s departure all charted higher than Quark or PXR5—while both are now rightly regarded as highlights of the band’s back catalog, it’s possible that at the time they were just too literary in places, Calvert’s clever wordsmithing obstructing the flow of Hawkwind’s sonic attack. 

And that takes us now to me sitting in my bedroom with that twofer in my hand, wondering what to listen to next. So I checked out what they were currently doing, and that meant 1982’s double-headed offering of Church Of Hawkwind and Choose Your Masques. The former is more electronically-inclined, while the latter is almost cosmic industrial, but they still contained those sci-fi rock essentials of engine room rhythms, distress call synth, robot vocals, future-themed lyrics, and all recorded the day after tomorrow. And Choose Your Masques in particular had a very cool sleeve. These albums might have lacked the finesse and sophistication of the Calvert era, but Hawkwind still sounded like no other band.

And that’s surely why they’ve continued to this day. They’ve certainly stretched the space rock template along the course of their journey, absorbing techno and ambient influences, especially during the ‘90s, but they’ve consistently traded in science fictional imagery and themes without ever having to resort to trad rock subject matter or the need to be more commercial, contemporary, or “edgy.” They’ve had their wilderness years, but the last decade has seen a significant revival of their fortunes, with perhaps the stand-out release from this period being The Machine Stops (2016), a concept album based on E.M. Forster’s story of civilization living inside a vast mechanical hive—its citizens are electronically connected, but they live alone in their cells.

Michael Moorcock once said that science fiction and rock ‘n’ roll were the two great despised art forms of the 20th century. It’s no wonder then that Hawkwind, in which the combination of the two reached its apotheosis, have come in for so much grief throughout their existence. But as my teenage self would have told the haters, you’re entitled to your opinion, but you’re missing out on something really quite special.

Hawkwind: Days Of The Underground – Radical Escapism In The Age Of Paranoia by Joe Banks is published by Strange Attractor.

Joe Banks is a London-based music writer whose work has appeared in various publications, including The Guardian, MOJO, Prog, Shindig!, Electronic Sound, and The Quietus. Hawkwind: Days Of The Underground is his first book. For endless Hawkwind trivia, follow him on Twitter: https://twitter.com/JoeBanksWriter.

Patreon Button

Chapter One; A smell of Ozone.

Jeu de guerre de Ornria — Postings from the Ornrian Wars -


 

      The cold damp drilled into Sergeant Roquet Alexsndr's bones.  He shivered, he was always shivering these days, and tried to draw himself further into his overcoat, a useless enterprise lying prone in pre-dawn dew.  He hardly noticed the pain from his ankles, the ache of his feet, or the grumble of a stomach unfed for two days, no, these discomforts hid behind the refrigerated mists of late fall in Mantissippii.  

     He lifted his head, peering left and right to check that Wylum and Ahris were properly camouflaged and alert.   They were.  Then carefully, using his rifle, he slowly parted the bloody maroon leaves of the brush before his face to look down on to the road.  In the gloom of that misty morning it was more like a creek of blue gray mud than a place to associate with walking or driving, and the close thick bush of fireweed, brambleberry, goat roses, and reedy birch dripping with dew gave the place a sinister aspect, not improved by the reek of wet sweat-stewed wool and old canvas from his gear.  Nothing moved on that grim trail so far as he could see, which was good.

     The Sergeant was the sharp end of the spear for the Second Polyester Freestate's effort to help it's semi-autonomous Mantissippi province push back the incursion of  Ethnic Slobbians from beyond the border. Sadly, it was a very small and reedy spear. A century of world peace since the Silver Wars, and a cheery, quiet prosperity had left the Freestate with only a single infantry regiment, Roquet’s unit, the Anneglug Chasseurs. And to support it; the Brubberband Artillery, though much of that regiment wasn’t in this theater, being occupied with coastal defense on both shores of the nation. In fact, the Artillery only had one battery here; and the Chasseurs only had one battalion on the ground, it’s other was still training and equipping in the snug barracks of Ft. Grubbit, outside Anneglug. So there were barely 50 men to hold off all the Slobbians and protect the rich farms of the Mantissippian planters. A very thin pink and brown wall between the Mammoth herding barbarians and the city of Poxneedle a few hours in the rear.  But it was a Polyestrine wall, and that counted for something.

     The Sergeant startled, he heard the leathery scuff of boots kicking the sloppy leaf litter somewhere behind him. He rolled over a little, wincing at the chill, and snorted in relief, it was Garlomin, back from a detail, he was struggling with a steaming can that smelled heavenly of chocolotl. Stomachs rumbled in anticipation to the left and right, easily audible over the dripping leaves. A whispered “well done!” and “Scholar and Gentleman” broke out of the tired squad. They rattled and jangled and brought down a cascade of drippy leaves trying to free their tin cups for a sweet hot drink. Garlomin knelt low, portioning out the thin hot stuff into metal cups, cursing quietly and sucking on burned fingers. Soon the squad was silent again, bellies to the ground and senses keen for movement along the road.  

     It came around noon, the smell was first, strongly fecal with notes of fire smoke and wet dog. Then the breaking and crunching of vegetation, along with hushed barks from a mahout. The gray watery sun did not improve the look of the road track below, but the muddy stuff was no impediment to the creature that slowly hove into view around the bend. It was frighteningly enormous, with a grayish yellow woolly coat decorated with sticks and leaves, mud and massive tufts of shed undercoat. On it’s back, a wooden platform walled with sandbags and from which four dimly seen figures projected the business end of long rifles. The figures were very short, colorful, with red fez hats, Slobbian hats. 

      The Mammoth’s tusks swept the road before it, the tough trunk picking at spots and  occasionally lifting some morsel or other to it’s mouth. Words came unbidden to the sergeant's mind; Awe, Majesty, Fear. It took him an effort to pull his vision back and concentrate on signaling his section with silent gestures. They would let the front of the column go by, open fire on the last animal, and with some luck, the sergeants flare would be seen by the Artillery, which would then drop a freight train of destruction on the road, while his team pulled back out of the kill zone. Simple as plans go.

     The first animal passed them, dropping a great pile of dung in the road on it’s passing. “That’s Consideration right there, you Slobbian bastard.” thought Roquet. Then the next animal appeared, this one, smaller, fewer tree branches entangled in it’s heavy coat, and from it’s howdah platform of split logs and sandbags rose a small brass bedpost in office of a flagpole with a banner; a bedsheet of blue stripes with a cross fitchee painted rudely in some reddish blackish stuff that Roquet sure hoped was paint, or food...but knew probably wasn’t.


      Finally, the last animal appeared. It was by far the largest. An Enormous monster, shaggy and matted, it’s trunk bare in places, burned on it’s legs, scarred all over, one ear seemed as if it had been torn off long ago. It’s howdah was not wood, or rather was, but was fitted with plates of iron, probably pulled from a steam engine, and nestled in it’s sandbags was the deadly muzzle of a machine gun. Three Slobbians rode this land kraken, whose shuffling steps came to a quick stop right in front of the fire team.

      It paused, unsure, as if it could sense the ambush about to close in on it. It swayed a bit, passing it’s weight from one foot to the other, it’s mahout leaned over to the good ear a moment, patted it lovingly, then turned around to speak to the men in the low walled bunker behind him. Roquet knew things were starting to go wrong, so he did the only thing he could, he fired his flare.

      To the right and left the popping of rifles were simultaneous with the clacking clatter of the Machine gun from the four legged bunker before them. Then the monster turned with amazing speed, it’s armored trunk reached Ahris first, and broke him instantly. Roquet put a bullet into the mahout, who screamed out and fell into the muddy road, probably still alive, but the sergeant had no time to be sure, he was already signaling a withdrawal, and trying to back out of range of the titanic, angry wall of hair before him. The Machine gun’s barking was dropping limbs and leaves everywhere,

     In the chaos of bullets, spraying mud, falling bark, whipping limbs, the trunks of birch were splintering before massive pillar legs, and Wylum died; split by bullets and splintered tree-trunk. Garlomin fared no better, his last act was to fling the empty Chocolotl tin at the beast, the three grenades inside it going off under it’s belly just as the first big whumping shell of the great guns behind them made a muddy volcano on the road below. 

      Then something strange happened to Roquet, a sensation of distance, of dizzy darkness clamping down on him, a bewildering sensation of being locked inside his own body as a great curtain of unconsciousness came down over the stage of his mind.






p { margin-bottom: 0.1in; line-height: 120% }

 

     

     


Pages

Subscribe to Orc.One aggregator - Outsiders & Others