A Decade of Weird Adventures

I realized this past weekend that I had missed Weird Adventures' tenth anniversary on December 15, 2021. We are also not too far away from the twelfth anniversary of my introduction of the City on my blog on April 18, 2010.

Blogging about that setting was where my blog really took off, to the extend that it did. While Strange Stars eventually proved to be the more popular setting, at least in terms of sales, I've always felt like Weird Adventures was the more unique setting. While Bloodshadows had been around since 1994 with a combination of high fantasy and noir,  I think Weird Adventures works I bit differently, drawing form not just surface level noir or pulp conceits, but a whole host of early to mid-20th Century pop cultural material. Weird Adventures could sort of do Cast A Deadly Spell, but it's just as much Thimble Theater and Wellman's Silver John stories and American folk- and fakelore--plus whatever period pop cultural ephemera I came across at the moment.

In the past few years, I've been recycling some older posts on my blog, but I've mostly been avoiding Weird Adventures posts because the book exists and an index linked from the blog main page. I think I will start revisiting some of my favorite posts from that series, though, particularly ones with material that didn't make it into the book.

Our Heroic Age

This post first appeared in 2015...

 

Though we played a lot of fantasy games (mostly AD&D) in my middle and high school years--probably more than anything else--our longest campaigns (defined as the same characters in the same setting/situation) were in superhero games. While we'd played with Villains & Vigilantes and with the first editions of TSR's Marvel Super Heroes and Mayfair's DC Heroes, our "Heroic Age" really got started in '86 after the release of the Marvel Super Heroes Advanced Set.

Our first and longest running team was called the New Champions (taking the name from the L.A. based team of the Bronze Age and the idea of a new iteration from The New Defenders, which had just ended the year before). Our characters were street-level/near street-level characters, some of which were reformed villains. We picked the characters from the pages of the Official Handbook of the Marvel Universe, for the most part, rather than going with well-known characters. I used Paladin, my brother, Puma, and our friend Al, Hobgoblin (the former Jack o' Lantern version). That was the core group of players and characters, but other players and other Bronze and early Modern C-listers joined the New Champions ranks at some point: White Tiger, Madcap, Shroud, and Unicorn, among others I've likely forgotten. The team had a West Coast era (borrowing from West Coast Avengers, which I had a subscription to), as well, and probably at least one "all-new, all different" period--but it was also part of the same continuity.

The second edition of DC Heroes, was probably our last gasp of superhero gaming. The Marvel games had mostly been over the summer and with a crew somewhat different than my usual gaming group, since none of us were able to drive yet and it was tough to get together when we weren't in school. By '89 though, that wasn't the case, so the DC group was largely the same as my Dungeons & Dragons and GURPS crowd. This time, we made up our own characters and our own super-hero universe. Lower key, more "realistic" superheroes were the order of the day. About half of the group (which was never named as a team, really) didn't wear costumes, and the villains were are somewhat quirky, and many of them didn't wear costumes either. I suspect the primary inspiration was the Wild Cards universe, but Thriller, the New Universe, and Doom Patrol might have been in there, too.

We played some 4th edition Champions after that and maybe some GURPS Supers, but neither of them had the ease of use of MSHRPG or DCH so they didn't last long. These two campaigns created some truly memorable characters--or at least memorable sessions.

Very Old Gods

Clerics need somebody to hear their orisons and NPCs (at least) need someone to swear by, so their must be deities for my upcoming GURPS Dungeon Fantasy game. Again employing some creative parsimony, I'm going to utilize some faiths and deities I've employed in my pre-Internet AD&D days, but also wrote about here years ago. In fact, four of these gods were created by my cousin who introduced me to gaming. I still have his original write-ups from the mid-80s. Here's one:

Here's my revision of them a few years back. My idea is that the original polytheistic faith was reconfigured/revised in the wake of at least two reformers/prophets. Current worshippers practicing polytheistic, henotheism, monitism, or even perhaps atheism, with same underlying traditions.

(The game reasoning here was to get to a place approximating the monotheism-inspired D&D cleric, without losing the fantasy polytheism flavor.)

The oldest reformation is Rannism or Rannite Ascensionism. When the ancient emperor and retired adventurer Rann achieved apotheosis he realized the so-called gods were merely older beings in a higher state: Immortals, like himself. The principle doctrine of the faith is that man may achieve apotheosis by following the ancient paths rediscovered by Rann. Ascension is achieved by deeds which may be beyond the power of many, but piety will at least guarantee the faithful who don't ascend a place in the afterlife ruled by their patron Immortal. Rannitism is very much a "bootstraps" belief where the "capable" rightly benefit from their good fortune, and the "incapable's" lesser fortune is just.

Over a century after Rann departed this Plane, a cleric named Issus had a new, further revelation: Issianity. Issus claimed the Immortals (Rann included) had shown him in a vision that apotheosis was the right of all souled beings. The fact that only a scant few achieved it proved the current paths were a flawed approach. These had been set in place by the demiurge, Gigas, and his helpers. The struggles of adventurers seeking these paths was part of some cosmic game for the amusement of Gigas and his fellow. Issus believed in a transcendent god or force above the demiurge and beyond the game, and that this source would rescue the faithful from the Great Wheel of the Cosmos. Good Issians are expected to live a life wherein they seek to perform their given role in the "game" (Issus' teaching and those of latter saints talk a lot of things like "cosmic alignment") while at the same time recognizing its inherent artificiality.

It Came From the Trapper Keeper

A blue one, in a plastic cargo crate along with the contents of the Gamma World 3rd Edition box set, Advanced Marvel Super-Heroes character cards, Descent Into the Depths, and The Isle of Dread. I was looking for the G.I. Joe game my friends and I wrote, but instead I would the partial Transformers rpg.

The credits says the writers were myself and my friend, Al. My brother gets a "design consultant" credit. Most of my gaming group are credited as "playtesters", but that must have been aspirational as it was never played, as far as I can recall.

It was partially inspired by Marvel Super-Heroes--it used an action table, though it also seems to have had some sort of "action points" (called "Firepower") possibly borrowed from FASA Star Trek, I haven't compared the charts to know for sure. The abilities were inspired by the Tech Specs on the back of toy packages.

Games from the Crypt

Having returned from Texas with a 20+ year-old game (Wizards) I hear isn't very good (and I am unlikely to play in any case) and two 30+ year-old supplements for a game (Powers & Perils) I have never played, am unlikely to, and I don't known where I might have stored the core rules for, I am forced to ponder what is it about old games, anyway?

I am something of a collector, true and as Batman's Batcave and Superman's Fortress of Solitude have long demonstrated, it's cool to have a good collection on display. Still, books, comic books, movies--all of those I generally get the intended use out of as well as the collecting aspect. The games not as much.

There's a bit of nostalgia, sure. I remember seeing these things on shelves sometimes or I saw them advertised in Dragon and the like. I think it's also a bit of my love or history and archaeology. These products are a window into the past. They even smell old, whether through the smell of old paper only or musty rooms where cigarettes were smoked (and probably the less pungent Mountain Dew and snack foods consumed). They're a tangible connection to a hobby that, while relatively young, is older than I am.

How about you guys? Do you like old games even if you don't play them?

Our Heroic Age

Though we played a lot of fantasy games (mostly AD&D) in my middle and high school years--probably more than anything else--our longest campaigns (defined as the same characters in the same setting/situation) were in superhero games. While we'd played with Villains & Vigilantes and with the first editions of TSR's Marvel Super Heroes and Mayfair's DC Heroes, our "Heroic Age" really got started in '86 after the release of the Marvel Super Heroes Advanced Set.

Our first and longest running team was called the New Champions (taking the name from the L.A. based team of the Bronze Age and the idea of a new iteration from The New Defenders, which had just ended the year before). Our characters were street-level/near street-level characters, some of which were reformed villains. We picked the characters from the pages of the Official Handbook of the Marvel Universe, for the most part, rather than going with well-known characters. I used Paladin, my brother, Puma, and our friend Al, Hobgoblin (the former Jack o' Lantern version). That was the core group of players and characters, but other players and other Bronze and early Modern C-listers joined the New Champions ranks at some point: White Tiger, Madcap, Shroud, and Unicorn, among others I've likely forgotten. The team had a West Coast era (borrowing from West Coast Avengers, which I had a subscription to), as well, and probably at least one "all-new, all different" period--but it was also part of the same continuity.

The second edition of DC Heroes, was probably our last gasp of superhero gaming. The Marvel games had mostly been over the summer and with a crew somewhat different than my usual gaming group, since none of us were able to drive yet and it was tough to get together when we weren't in school. By '89 though, that wasn't the case, so the DC group was largely the same as my Dungeons & Dragons and GURPS crowd. This time, we made up our own characters and our own super-hero universe. Lower key, more "realistic" superheroes were the order of the day. About half of the group (which was never named as a team, really) didn't wear costumes, and the villains were are somewhat quirky, and many of them didn't wear costumes either. I suspect the primary inspiration was the Wild Cards universe, but Thriller, the New Universe, and Doom Patrol might have been in there, too.

We played some 4th edition Champions after that and maybe some GURPS Supers, but neither of them had the ease of use of MSHRPG or DCH so they didn't last long. These two campaigns created some truly memorable characters--or at least memorable sessions.

Our Gang

I don't talk a lot about the social aspect of the game here, tending to focus more on ideas or inspirations, but my gaming group has been down a couple of players the past couple of sessions and not just due to difficult schedules (which happens to us sometimes). One of my players--one of my friends, Jim--was diagnosed with colon cancer and has been undergoing chemo. We hope we've worked out a way for him to join us this time via the internet, at least. We'll see.

My present group is pretty new in its current configuration. Andrea is the newest and brings some fresh enthusiasm. Though new to rpgs in general, she has jumped in with both feet. She plays in our group and in a weekly game with another group. Her character is a sort of fussy dwarf cleric, often appalled by the moral failings of the world.

Eric and Bob have gamed with me off and on since we were residents. Bob always plays fighters with a flexible morality and a strong appreciation for gold. In real life, Bob works like crazy and still trains for things like mud-runs and zombie obstacle courses. Eric sometimes tries to play evil or amoral characters, but his inherent goodness always stymies him. He can't even be evil in pretend. He has a fondness for magic-user types.

Tug I know from the comic book store in town where he used to work, but he has since moved on to better things. Tug sort of reminds me of Jake the Dog on Adventure Time! when he's all joie de vivre. He plays a frogling thief named Waylon who strums a banjo.

Gina is a GM in her own right (I've played before in her Boot Hill game) and the author of a Western Romance novel, first serialized on her blog. She's also Jim's wife. When she played a hoodoo woman in our last game,she brought a bag of props with her--including a chickens foot and a crystal ball. This time she's a badass elf ranger--no props, unfortunately.

And Jim, well, it's likely Weird Adventures wouldn't have happened without him, since he did the layout. He writes a comics blog. Despite having a wife who is a gamer, he hadn't really played a lot until I dragged him into it. He's often plays it very cautious and and calculated. He'd do well with a killer DM, but in my games, his over caution just winds up bringing a bit of amusement. As a former local rock star in his youth, it's fitting he plays the bard.

I have to confess, I'm never been a big fan of games, in general. I don't really play video/computer games. Board games are something I like only rarely. I like rpgs, though. In part, it's due to the creativity involved, but without the people I sit at the table with, it would only be writing--and that wouldn't be the same at all.

We Made Our Own

My first foray into "role-playing game design" was a G.I. Joe game. I still have it, but I don't know where it is at the moment, but I remember the basics. It was the mid-eighties, my group had been playing TSR's Marvel Superheroes, and dabbling in universal table-based games. They all made it look so easy.

I think it used attributes similar to FASERIP, though instead of descriptively named levels, it used numbers 1 to 10. The filecards on the back of the G.I. Joe packages (and helpfully collated in one place in the G.I. Joe: Order of Battle limited series put out by Marvel) made it easy to adapt the lists of training and qualified expert rating with various weapons into skills.

We played it on more than one occasion. Enough that I was inspired to make a second game using the same (highly derivative system) based around the Transformers. That was even easier because the Transformers packaging even had abilities and ratings:

I don't think we ever played Transformers. We also never got around to playing the Wrasslin' Roleplaying Game made by a buddy of mine, born from his love of the UWF, and (as I recall) based on roughly the same engine.

The Bestiary and Bill

Tim’s post about monster manuals over at Gothridge Manor got me to thinking about an interesting monster book from back in the day: The Bestiary (1986) from Bard Games. It was part of the “Atlantean Trilogy” which included The Lexicon (a setting book) and The Arcanum (a rule book). The Bestiary was co-written by Stephan Michael Sechi (creator of Talislanta) and, most interestingly, featured art by then popular comics artist Bill Sienkiewicz:


The stats were for the Arcanum system but that was close enough to AD&D at a glance that conversion wasn’t too difficult.

The Bestiary separated the stats and fluff--and it gave quite a bit of fluff, which was written “in world.” While this isn’t fashionable in some circles these days, it did allow most of the book to perhaps function as a reference for players.  Kind of a unique approach.

VHS Swords & Sorcery

These days, kids getting into fantasy rpgs have a number of film and TV influences to draw from should our increasingly post-literate world make Appendix N unpalatable. There have even been D&D movies! If we want to stick with quality examples we’ve had the Lord of the Rings films and the D&D-without-the-name Record of Lodoss War, not to mention things like Harry Potter that (while not Medieval) have plenty of magic.

Such was not the case back the eighties. We had to savor what sword and spell films we had, however dubious their merits. Sure, we had several great films from Harryhausen, various Arthurian adaptations, and Bakshi’s Lord of the Rings and Fire and Ice. The quality tended drop off pretty precipitously after the top tier, though, but even those films were invested with extra magic due to their spotty availability on home video.

Some of those fantasy not quite classics that inspired my friends and I back in the day are still rare. I only got one chance to watch Archer: Fugitive from the Empire when it aired in 1981. I’ve been forced to rely only on my dim childhood memories of this sub-Hawk the Slayer “gem” about a young hero with a magic bow who teams up with thief and the daughter of a goddess to seek revenge on an evil wizard. It used to be on youtube (though now its been removed), but I suspect it still lurks out their on the internet in all its made for TV glory.

The Warrior and the Sorceress has David Carradine and plentiful bare breasts going for it--though admittedly only one of those things was uncommon in the post-Conan barbarian invasion. This film makes the provocative proposal that Yojimbo and Fist Full of Dollars would be improved with a four-breasted stripper assassin. I’ll let you judge for yourself whether it makes its case.

Staying in the realm of Boris Vallejo posters and bare breasts (which seems to Argentina, based on where these movies were made) we come to Barbarian Queen. I don’t think it actually provided much gaming inspiration for us, really--and its lack of magic and ancient Rome setting make it technically not a fantasy--but it had other charms that made these deficits easy to overlook in that early gaming era.

It looks like later this month we'll all get the change to revisit these Argentine/American epics in the company of the first two Deathstalker films when Roger Corman's Cult Classics brings them to DVD.

15 Games with Annotations

I rarely participate in these blogosphere trends (mainly because I tend to come to them too late), but here are the fifteen most meaningful games to me, not necessarily in order.  I've provided a little explanation for some of them, as well:

1. D&D (mostly AD&D 1e, but also Moldavy/Cook, Mentzer, and 2e)
2. Marvel Super-Heroes (probably the game I've played the most after D&D)
3. GURPS (the game I've played the 3rd most, probably, considered all the different settings)
4. Mayfair's DC Heroes
5. Villains & Vigilantes (my first non-D&D game, and a frequently played one)
6. FASA Star Trek
7. Shadowrun (1st ed.)
8. Talislanta (not much played, but always a favorite setting to read)
9. Star Frontiers
10. Empire of the Petal Throne (never played, but a setting I've always enjoyed and own virtually ever published supplement for)
11. Gamma World (the third non-D&D game I played)
12. HERO System (mostly, Champions)
13. Call of Cthulhu (only played a few times, but it stoked my burdgeoning interest in pulp fiction)
14. Doom (time was, I enjoyed a good 1st person shooter)
15. Pool of Radiance (the only crpg I ever played for any amount of time--which wasn't much)

200...and a Few You Might Have Missed

Welcome to my 200th post, 241 days since the inception of my blog.

Instead of looking back at my most popular posts, I'd like to re-offer some of my favorites that didn't find an audience the first time.  Since the readership is bigger now, maybe somebody we'll find some value in these "gently used" posts:

On January 15, Reel Adventure Seeds distilled four films in four different genres and one Warner Bros. cartoon down to their essense and recast them as fantasy gaming adventures.

Fantasy Pharmakon on February 12 maybe didn't grab people with its name, but it offered up some recreational pharmaceuticals from fantasy literature, suitable for game consumption.

Last but not least, March 16's Scum and Villainy presented a gallery of eclectic, urban rogues from the city of Terminus, in my world of Arn campiagn.

Thanks to all of you who've supported my efforts!  I hope you'll continue to enjoy 'em in the future.

Crisis in Multiple Games

Back in 1985, the comic book crossover wasn’t the perfunctory non-event it is today, but instead something exciting and new. We had had Marvel’s Secret Wars (1984) and Contest of Champions (1983), but then there was DC's twelve-issue “maxi-series” Crisis on Infinite Earths. Even though I was primarily a Marvel fan at the time, Crisis was out “epic-ing” everything that had come before.

In this environment, my cousin and I hit upon the idea of doing a multi-game crossover campaign. At the time, our repertoire included AD&D, Gamma World, and Villains and Vigilantes. We planned to include them all, with one of the two of us on DM/GM duties.

Unlike comic book crossovers, I don’t think it was our plan to have characters meet up--we weren’t interested in that conversion task. Instead, there would be some threat affecting the “multiverse” we took for granted that all our game world’s inhabited. I think the basic idea was borrowed from the plot of Crisis--there would be some sort of device (like the Monitor’s pylons in the early issues) that the characters had to defend to keep their world safe. Or maybe, there was some item they had to find first. Maybe we talked about different ideas at different times, I don’t fully recall.

In any case, we never did it. Maybe just because we never got around to it, or maybe we decided it would be more fun to plan than to play.  I think I did run an AD&D game once were the character's glimpsed their other character's in different game-worlds in the mirrors of an evil sorcerer's sanctum, so I didn't entirely give up on the multiverse idea.

Anybody else every attempted a cross-game crossover, or at least thought about it?

Comic-Con Day 2 and part of Day 3

Day two at San Diego Comic Con starts late because my co-conspirator, Brandon, doesn’t arrive in San Diego until 2:30 AM having been cutting the trailer for a talking animal film until late in LA.


We attend a “State of Animation Panel” which portends ill because it is boring. Particularly after the anticipation of standing in line half and hour, and getting yelled at by con staff. The exhibit hall is even more dense than Thursday, and going anywhere is swimming upstream. Con disillusionment rears it’s head.

Then, Guillermo del Toro makes it right with his profanity-peppered intro to teaser footage from the remake of the 70s horror classic remake he’s producing and scripting Don’t Be Afraid of the Dark. It looks really cool, and he’s really cool.

Things go good for a bit, and I pick up a cool ERB retrospective illustrated and signed by Mark Wheatley and a pulp art book. Then there’s the Star Wars pavillion where you can take a picture than makes it look like you’re an action figure in blister pack on a Boba Fett card. Rumors of invites to Disney’s TRON sequel party or DC’s party entice us, but Brandon’s friend’s text messages are all over the place, and vague.

We instead end the evening with anime and drinks at the hotel bar.

Day three dawns with a panel on the increasing profile of comics in popular culture. This is interesting, but its our second choice as we would have preferred to attend Warner Brothers film teaser mega-presentation, but for the multiple tents full of eager attendees who arrived way before us . After that we make the rounds in the exhibit hall again and I score an advanced reader’s copy of Tony DiTerlizzi’s new illustrated book The Search for Wondla which looks great.

Then, we’re Brandon’s friend finally comes through and we’re whisked to Wired’s party, where True-Blood is served, and several cast members from Chuck and True Blood are in attendance. DVD sets of season two of True Blood come as door prizes. Did I mention this was all courtesy of Patron, who has a make-your-own Margarita booth? Well, it was.

Gotta go.  I have to find a way to pack the things I've bought and the ephemera I've acquired in my bag for the plane.

Combat at Comic-Con

A friend of mine recorded this footage as we watched the tourney on top of the San Diego Convention Center:

 

Fear and Loathing at Comic-Con

One day down in San Diego, and alright--there wasn't any loathing, and only a little fear, but the title sounded good...

It was a long day, boarding a plan on the east coast a 7:30AM with comics blogger/journalist Chris “Invincible Super-blog” Sims, who has it turns out is afraid of flying (“the takeoffs and landings,” he says) and not afraid of having a Mai Tai before 11pm.

Five hours later, we’re in San Diego, and I have to find the mysterious woman whose name I have only seen in a text message. and try to get my ticket. When I finally talk to her she says I can find her under the purple SyFy balloon and: “I’m tall.”

She isn’t kidding. The pretty, bright-smiling, giantess leads me into the convention center—losing me briefly as the gendarmes detain me at the door, but quickly retrieving me—and I get the passes and associated swag for myself and my as-yet-to-arrive friend from LA.

But what about the con? Well, parked outside is the black beauty, but the outfits of the three Green Hornettes in front of it seem impractical for crime-fighting. People take plenty of pictures, though. Everywhere, people are barking things at you like carnies, conspiratorially handing you dubious ephemera like they’re trying to invite you to a rave, or to a church revival. And everywhere, there’s the press of humanity like a general admission concert.

Of course, you’re not even in the exhibit hall yet.

Inside, well, imagine a carnival if every carnival ride was as commercially-motivated as an 80s toy tie-in cartoon, then combine that with a big trade show of some sort, what ever kind you’re familiar with, as long as it has glitz and plastic-pretty sales folk with big smiles. Then liberally apply cosplayers—teen anime characters being moody in packs, older girls favoring the most revealing superheroine outfits. Guys in multi-color body-stockings.

Then, of course, there’s content. A panel on “genre-bending” where all the authors say they do it because its cool, except contrarian China Mieville who worries it may not be—and Scott Westerfield gets to give a PowerPoint demonstration on his new novel, which argues persuasively that tanks would be better with legs.

Before that, there was a panel on urban fantasy where the last question posed was “which class of supernatural being do you find the sexiest?” The answer involved musing on vampires and the possible downside of no circulation.

And with that, we draw the curtain on day one.

Kill the Gods and Take Their Stuff

In comic book parlance, I presented the "Modern Age" version of four deities yesterday--though of course, they've been subsumed under the two primary faiths. Today, I'm going to provide AD&D Deities & Demigods stats for the original (the "Golden Age", if you will) versions of a couple of them as created by my cousin, Tim (my first DM) back in eighties.

 I toyed with the idea of scanning these pages, but they weren't really legible that way, so transcription had to be the way. Unfortunate, that--because you guys miss out on my cousin's "outsider art" illustrations that accompanied the stats.

So, here's more "setting archeology."  The stats are presented unchanged from the twenty plus year-old documents, so I'm afraid I can't explain the rationale for some of them...

ETERNUS (Æternus)
greater god
AC: -12
Move: Infinite
HP: 400
#Atk.: 2
Dmg/Atk: 6-60, or by weapon type
Spec. Atk: see below
Spec. Def.: see below
Size: L (9')
Magic Resistance: 90%
Alignment: Lawful neutral
Worshippers' Align.:Neutral or good
Symbol: golden helmet
Plane: Twin Paradises
Cleric/Druid: 20th lvl. cleric
Fighter: 20th lvl. ranger
MU/Illusionist: 20th lvl. MU
Thief/Assassin: nil
Monk/Bard: nil
Psionic Ability: I
S: 25 (+7,+14) I:25 W:25 D:20 C:20 Ch:25

Eternus can not be harmed by any form of attack using physical means, except barehanded. Eternus can shape-change at will. He can shoot rays of blue light from each hand that can polymorph other, condemn forever to the astral plane, cause 5-100 damage, or completely heal all wounds, at his choice.

CAIRN (Kaarn)
greater god
AC: -6
Move: 15"
HP: 375
#Atk.: 3
Dmg/Atk: 6-60, or by weapon type
Spec. Atk: see below
Spec. Def.: see below
Size: L (15')
Magic Resistance: 70%
Alignment: Neutral evil (chaotic)
Worshippers' Align.: all evil and murderers
Symbol: black battle axe and sickle
Plane: Pandemonium
Cleric/Druid: 15th lvl. in each
Fighter: 25th lvl. ranger
MU/Illusionist: 10th lvl. in each
Thief/Assassin: nil
Monk/Bard: 15th lvl. bard
Psionic Ability: I
S: 25 (+7,+14) I:25 W:20 D:25 C:25 Ch:25

The mere sight of this god (at Cairn's wish) can cause immediate and irrevocable death (no saving throw) to any non-divine being. He can cause plagues, drought, or floods at a whim. He can shoot from his palm a ray of disintegration as a 30th level magic-user. Moreover, any steel weapon striking the god does double damage to its wielder.

My First AD&D Character

The nostalgia continues.  Here's the character sheet of my very first character in any version of D&D I (1e AD&D, in this case) from almost thirty years ago:

I realize that this just slightly more age worn that say, the Dead Sea Scrolls, so I'll reiterate some of the key points.  The material document itself is a sheet of typing paper on which the layout of the official AD&D character record form has been re-created in blue ballpoint pen.  The character is Grimlin, a 13th level elven fighter whose hit points have seen a high amount of revision, but now number "1900."  I don't recall how that came to be, but I'm sure there's a story there.  Probably several.  All epic.

This character was inspired by the elven hero of one of the D&D: Endless Quest books.  He had a sword which would light up when he said "Sword of the Magus light this place!" or something similar.  He was definitely a "short" elf, not a tall Tolkiennian one.  I named him "Grimlin" because I had recently discovered the folklore creature of that name, and thought the name sounded cool--this was before the 1984 film.

Now let's take a look at the loot on the back:

I should explain that we played for sometime without a copy of the Dungeon Masters Guide.  The first one I'd ever seen was when I got it for Christmas the year I got my very own copy of the Players Handbook (the new one with the Easley cover).  I say that to illustrate that we had, therefore, never heard of a "Monty Haul campaign."  With that in mind, I'll let you review the list of magic items on your own.

Now despite the vast power of Grimlin and his companions, there was no "ascending to godhood" like I heard mentioned by other players I would meet at Boy Scout camp, or other summer programs, back in the day.  No, Grimlin and his gang were still schlepping it through dungeons--though dungeons which extended to the Outer Planes, admittedly (note that Grimlin had the Rod of Asmodeus in his possession).  Said schlepping required lackeys, and Grimlin has ten alignment-congruent henchmen--Hawk (named for the Slayer?), Taran (named for the pig-keeper?), Goan, Roland, Nordon, Pannon, Gord (before Gygax!), Nar, Jor, and Thor.

I actually have my second character, too--a bard named Robin Goodfellow--but that sheet is in worse condition than this one, and much less epic, as it comes from a less "anything goes" time in our gaming--which is to say still probably pretty damn "anything goes."

But we had a helluva lot of fun, and that's what matters.

From Here to Eternia

A recent post and discussion over at Spell Card! got me thinking about my love for Masters of the Universe. I don't mean the 80s cartoon with a Captain Marvel in purple tights and a Prince Valiant haircut, a cowardly lion tiger, and a moral for kiddies every episode. I mean the first, more pulpish, post-apocalyptic, sword & sorcery version--before even the 1982 DC comics limited-series. I mean the version appearing in the the four original mini-comics (though these first few were picture books, not comics).

These four were written by Donald Glut, who knew how to adapt Sword & Sorcery material for younger audiences with his comics work, including Dagar the Invincible and Tragg and the Sky Gods for Gold Key. Glut talks about the origins of some of the concepts in an online interview. The evocative art for the four stories was by Alfredo Alcala, a Filipino comic book artist who's worked for DC and Marvel, on books including Conan, and Kull the Conqueror. What the two gave us was darker, moodier, and more streaked with pulpy highlights, than the decidedly brighter, more superhero-esque cartoon to follow.

To illustrate what I mean, let's take a look at the first in the "saga." Here's my commentary on 1981's He-Man and The Power Sword:

We open with a bona fide Hero's Journey "Call to Adventure." He-Man, greatest warrior of his primitve jungle tribe, leaves his people to go defend the legendary Castle Grayskull ("a place of wonders") from the forces of evil. Instead of having a secret identity, He-Man is part of a proud (sometimes) barbaric lineage of Sword & Sorcery characters. He's got a nobler goal than Conan or Brak, but like those forebears he's fascinated by a wondrous elsewhere.

He-Man becomes the first of his people to "trudge the craggy cliffs and quake-torn valleys" outside of the jungle. It's not long before his courage and "jungle-bred stength" is needed. He sights a jade-skinned woman in a cobra headress fighting a purple monster that looks like it might be from a lost in space episode. He-Man rushes into the fray and despite the woman's mystical blasts ("She is a sorceress!" he thought), he pretty much does the monster slaying himself.

Had this not been a kid's book, the shapely Sorceress might have rewarded the warrior other ways, but since it is, He-Man instead gets "Supernatural Aid" (again with the Hero's Journey!). The Sorceress gives him the treasures she's guarded all these years, things made "centuries before the Great War by Eternia's scientists."

Here's one of those cool details. We've got a Great (so great its capitalized) War, and scientists making medieval appearing weapons. "What kind of scientists are those?" one might well wonder. I know 8 year-old me did.

He-Man takes the loot which includes a "strange vehicle" (understatement) that's "combination battering ram, catapult, and space-warp device." Those pre-Great War scientists did some out-of-the-box thinking.

Meanwhile, Skeletor, and his minion Beastman, and ogling the "warrior-goddess" Tee-La (it was hyphenated here) who's watering her "unicorn charger." The two villains attack, as Skeletor plans to make Tee-La his bride. We're told she "fights like a demon, her body possessing the spirits of many ancestral champions," but Skeletor's energy blade wins the day.

They carry her with them to Castle Grayskull--"a fortress so ancient no one knew its origin." Over the objections of the Spirit of the castle, Skeletor forces open the Jaw-Bridge. Skeletor's after the other half of the Power Sword so that "the magic fires, created by ancient scientists and sorcerers will blaze again." Cool.

It turns out Skeletor is from another dimension. The Great War ripped a whole in the walls between dimensions and threw him into Eternia. He plans to open another rift and bring through an army of conquest.

Elsewhere, He-Man is visited by Man-At-Arms. What happens next is weird: "'And what brings the famous Man At Arms to my humble house?' He-Man asked sarcastically." Why all the sarcasm, He-Man? Anyway, Man At Arms ("whose people are the masters of all weapons") fills He-Man in on Skeletor's shenanigans. The two set out to stop him, with impulsive He-Man space-warping ahead.

Somehow, in the bowels of Grayskull (sold separately), Skeletor knows He-Man is coming and sends Beastman up to shoot the turrett laser at at him. Beastman proves surprising effective at this, and has He-Man down when the Man-At-Arms cavalry arrives to turn the tide. The He-Man makes the Jaw-Bridge open wide and the heroes head inside to find Tee-La.

Skeletor's had enough time to get the the Power Sword reunited. As the blade crackles with "green fire" he boasts: "I am invincible. There is nothing I cannot do. Nothing!" The best use this power for is apparently making weapons come to life and fight He-Man.

At that moment, the Sorceress reappears glowing with the same green energy as the power sword (Ah hah!). She chastises Skeletor for abusing power and splits the sword again. He-Man, Man-At-Arms, and the just freed Tee-La throw a beating on the two villains, but let 'em cry "mercy!" and run off (it's a kid's book, remember?). The Sorceress again hides the Power Sword and changes the lock on the castle.

"Do you think that's the last of those two or the Power Sword?" Man-At-Arms asks.

Do I really have to tell you He-Man's answer?

There you go, Great Wars, green Sorcereress, extradimensional portals, barbarian heroes, super-science, and sorcery. How cool is that?

Swords & Stop-Motion

The tv promos for the upcoming Clash of the Titans remake has got me thinking about the fantasy films of animator Ray Harryhausen and the impact they had on both my love of fantasy and fantasy gaming. The only one of these films I saw in the theater at its original release was Clash of the Titans from 1981, but the others playing as a network TV movies of the week, or on a Saturday afternoon in the early days of cable, were treasured treats. Before the today's digital effects, the stuttering vibrancy of Harryhausen's creations gave the fantastic a weight and reality that cel animation and men in unconvincing suits couldn't hope to match.

Ray Harryhausen got his start on George Pal's Puppetoon shorts. Pal was later to be the animator responsible for effects in 1953's War of the Worlds and 7 Faces of Dr. Lao. Then Harryhausen worked as an assistant to Willis O'Brien, the animator for the original King Kong, on 1949's Mighty Joe Young. In 1953, Harry Harryhausen was the primary animator on his first feature, The Beast from 50,000 Fathoms.

It was in 1958 that Harryhausen made his first fantasy adventure film, and his first foray into the previously unchronicled adventures of Sinbad of 1001 Arabian Nights fame. The 7th Voyage of Sinbad has never held the attraction for me that the seventies Sinbad films do, but it does have a dragon, a two-headed roc, and the iconic goat-legged cyclops.

7th Voyage featured a fight with skeletons, a set-piece Harryhausen would reuse in 1963's Jason and the Argonauts. This one's got an appearance by the Second Doctor, Patrick Troughton, as Phineas, but of course the big stars are the creatures--which include the hydra, the bronze giant Talos, and the harpies. The iconic moment in this film is skeletons sprouting from sown dragon's teeth to fight Jason while Jack Gwillim, as Aeëtes, gleefully overacts.

1973 and 1977 brought us The Golden Voyage of Sinbad and Sinbad and the Eye of the Tiger, respectively. The Golden Voyage had Danger: Diabolik's John Law in the lead, with the Fourth Doctor, Tom Baker, as an evil wizard, Koura. Depending on how old you were when you saw this, the stop-motion may have taken something of a backseat to the obvious charms of Caroline Munro as the slave-girl, Margiana. Still, it had a griffin, a centaur, and an animated statue of Kali. Eye of the Tiger (no relation to the Survivor song...probably) had Patrick (son of John) Wayne donning the blousy shirt as Sinbad, and doubled the feminine pulchritude with Jane Seymour as Princess Farah, and Taryn Power as Dione. Sinbad and crew go to Hyperborea with an alchemist (Patrick Troughton again) to find a cure for Farah's brother who's been changed into a baboon, by the witch Zenobia who's got a mechanical minotaur called the Minaton. We also get a giant walrus, insectoid ghouls, and a sabretooth tiger.

Harryhausen's heyday came to an end with 1981's Clash of the Titans. Like Jason, this was another foray into Greek mythology, with a few extra-mythic flourishes. Hey, records from that period are spotty at best. Maybe there was a clockwork owl, and a mishapen Calibos? I could do without the neon nimbus around the head of Zeus, though. The coolest thing in Clash has to be the kraken, followed closely by the phrase that heralds his appearances: "Release the kraken!"

By the eighties, stop-motion was beginning to seem quiant, and digital effects were on the horizon. Now we live in an era where whole worlds can be can be created with computer animation, not just individual creatures. I'm by no means a Luddite. I really enjoy digital animation and the vistas it's opened, but I do feel its ease and ubiquity has removed some of the specialness of Harryhausen's and other's stop-motion creations.

When I see a dragon these days, its going to be digital, the only question is its quality. But in the previous era, a dragon could be a bored looking iguana with a fin stuck on its back, or a product of craft and imagination--that was made all the more fantastic because it was unexpected.