Early Modern Magic

I read some interesting stuff this week on magical belief in the early modern era. Specifically, magic used for protection from weapons, surely a common interest of soldiers of the era and D&D adventures alike.

A Historical Fencer's Primer on Late Medieval and Early Modern Magic

From the German Wikipedia, the concept of "Gefrorner" which meant to be invulnerable to harm.

And finally, a scholarly article: "Invincible blades and invulnerable bodies: weapons magic in early-modern Germany" from the European Review of History.

Kiss of Blood (part 1)

 We had our first session of They Came From Beyond the Grave! last night adapting the Call of Cthulhu adventure, Kiss of Blood.

The cast:

• Tony Kovac - San Francisco cop whose vacation in the Old Country is anything but relaxing. (Jason).
• Jess Barrow - Half of the occult folk-rock duo, Fata Morgana, gifted with second sight. (Andrea)
• Dean Starkey - The other half of Fata Morgana. A guy used to gettin by on his wits.

The three Americans arrived in Karloczig, Wystdovja Vale, (in Slovenia, on the Adriatic) for different reasons. Kovac was going to get a vacation and help local cops out on a case as a favor for a friend. Dean and Jess had been booked to play the local festival around Walpurgis Night. None of them imagined they'd wind up working together to find a missing girl. Well, the players did, the characters, not so much.

While Kovac discovered Inspektor Hochmair wasn't exactly overjoyed to have his help. Jess and Dean met Gustav Homan, the father of the missing girl, Matilda. They also heard that there were a lot of disappearances around the village of Karloczig, but the local Burgomeister doesn't take them seriously. There are legends about the castle Heidenstein up on the hill. It's cursed, it's said.

That night at the festival, Jess sees an eerie, mysterious woman, perhaps watching her, but the woman disappears before she can point her out to Dean.

After a night of attempting to out-drink Hochmair, Kovac is awakened early by a knock on his hotel room door. There's been a body found. Hochmair takes him to the office of the coroner (and doctor) von Kluge. The woman is young and brunette, but she isn't Matilda, but someone from out of town. She has been mutilated, as if by some animal, her throat ravaged and her body partially exsanguinated.

They Came From Beyond the Grave!

This weekend, in the spirit of Halloween, I plan to run a one shot (well, probably two shot before it's over with) of the Onyx Path game They Came From Beyond the Grave! It's part of their series of They Came From games, each made to sort of emulate some cinematic genre from 50s to monster movies, to Italian Sword and Sandals pictures, to (in this case) 60-70s horror films of the Hammer, Amicus, or AIP variety.

All these games use the Storypath system which is basically a descendant of the old White Wolf d10 dice pool system, but lighter and with some mildly narrative mechanics, like Rewrites which players can use to change the results of bad rolls or get a bit of narrative control. One of the things Rewrites can be spent on (though this is an optional rule) are Cinematic Powers which imbue the game world with the elements of the low budget films it's emulating. For instance, there's Dangerous Liaison wherein a player can pay for an awkwardly inserted scene (utterly free of danger!) to romance an NPC.

Players have other, less game-reality bending extras to employ like Tropes, Trademarks, and Quips that lend bonuses in specific situations. In fact, if I have any criticism, it's that the system is perhaps a little overstuffed with options for an otherwise "at the light end of rules medium" game.

Anyway, I plan to run to run Cthulhu Dreadfuls Presents #1 - Kiss of Blood, which is a very Hammer Horror flavored scenario. It seems easy enough to adapt.

A 10th Azurthversary

This week marks the 10th anniversary of our Land of Azurth campaign using 5e. While nothing's for certain, I suspect we will "finish" in this year as the big conflict with the Wizard of Azurth that simmered in the background for several years and finally boiled over the last two will come to a conclusion.

I wrote a post on the last anniversary which felt necessary not only because nine years is a nice run (though it is), but because we had faced adversity due to the pandemic and the loss of two members of our group--Eric due to burnout on tele-anything and Jim to cancer--and I felt like our perseverance needed to be commemorated. 

I don't want to just repeat what I said there, so I won't. Instead, I will say that 10 years of a an elfgame with a group of friends which now includes a new addition, Kathy, who plays the Mortzengersturm pregen, Zabra, gives me completely different insights and perspective on gaming than my nearly 15 years of blogging or the latest wisdom dropped on social media. 

Games are a social activity. While rpgs are fun to theorize, write, or argue about, the real alchemy comes in the playing of them. And, for me at least, the playing of them not mainly in pickup games with strangers, though I don't discount the fun in that, but with the same crew, repeatedly.

Thanks to Andrea, Bob, Gina, Kathy, and Tug, for still being here, and to Eric and Jim who came most of the way. Azurth wouldn't be the same without you. 

Weird Revisited: Middle-Earth in Blacklight

I've been thinking about this sort of material again, recently. The original version of this post appeared in 2021...

It's well known that hippies were into Tolkien's work. Some of its themes appealed to them, certainly, but like with Lee and Ditko's Dr. Strange comics, there was also the idea that the works might somehow be drug-influenced. The author, it was assumed, might be taking the same trip as them. This was, of course, a false belief, but it was one that existed.

I this appreciation of Tolkien filtered through 60s countercultural and mixed with the prevalent cultural representations of fairytale fantasy led to a subgenre or aesthetic movement within fantasy, most prevalent in the late 70s and early 80s, before D&D derived fantasy came to ascendancy. While this subgenre likely finds expression in literature and even music to a degree, I think it is most recognizable and definable in visual media. It's evident in works like Bakshi's film Wizards and the Marvel comic Weirdworld (both in 1977), and in the Wizard World sequences (starting in 1979) of Mike Grell's Warlord. Elfquest (1978) shows the influence to a degree. Bodē's Cheech Wizard (1966) and Wally Wood's Wizard King (introduced 1968 but significantly presented in 1978) are either the oldest examples or its direct progenitors.

Essentially, the subgenre eschews the serious world-building of LotR for a more drug-influenced riff on The Hobbit, often with greater use of anachronism, camp, and sexiness, and often with a degree of psychedelia. Beyond the Tolkien influence, these works tend to share a number of common features:  a "traditional" visualization of elves and dwarfs as "little people," arising in folklore and classic illustration, but coming more directly from Disney animation and the fairytale comics of Walt Kelly; the influence of Denslow's Oz illustrations or the design aesthetic of The Wizard of Oz (1939); absurdism and humor borrowed from underground comics and Warner Brothers cartoons; unreal landscapes and visually alien settings informed by Sword & Sorcery and science fiction comics rather than historical or mythic sources of Tolkien.

Given they were contemporaries, D&D shows some in influence from these sources, primarily in its early art and occasionally humorous tone. But as a game that arose from wargaming there was always a thread of verisimilitude or equipment fixation that runs counter to this freewheeling psychedelic adventure vibe. Also, the violent, heroic narratives tended to have less room for the silly or less competent characters of psychedelic fantasy works.

Weird Revisited: Castle Ravenloft

The original version of this post appeared in 2018...

I think it might be cool to make Ravenloft a little more Gormenghast: the castle is bigger and more dilapidated (visual reference: the castle in The Fearless Vampire Killers) and becomes more central to shrunken Barovia, which is maybe no more than a valley. The castle and environs would be a bit like Dark Shadow's Collinsport. There would be a lot of weird doings in just the house and area. Strahd would be perhaps a bit toned down in villainy, more like early, non-protagonized Barnabas Collins. Strahd should probably have some bickering, eccentric, and likely inbred human family inhabiting the castle as well.

The outside world would exist, but it would be vaguely defined. Barovia would be a hard to get to place, somewhat isolated from the rest of the world. The strange doors of Castle Ravenloft would open onto other Domains of Dread, though.

The play of the Gothic horror, I feel like it would work better with a funnel type situation, where characters of humble backgrounds either work at the castle and discover it's horrors or are visitors to Barovia.

Go Go, Iron God!

 

Our 5e Land of Azurth game continued last night with the party finally making it to the "brain" around of the giant construct. The Gnomish wizard Boq was waiting for them with a vicious Chain Lightning spell. Again, Dagmar's healing was the only thing keeping the party from defeat. Boq couldn't take it as well as he could dish it out, though, and in a handful of rounds the party had defeated him.

There was a kaleidoscopic sphere of energy, which enveloped Erekose. The party was prepared for the worst, but actually the energy was a manifestation of the giant. It recognized Erekose as wearing the control armor and integrated him into its system. 

It was a good thing, too, because some sort of malign, cloud entity was fasted approaching. Erekose tried to turn the construct to run, but they weren't very fast, and the cloud was shooting energy at them. First, they tried to fire missiles from the construct's hands, but they were too proficient with the weaponry and kept missing. Eager for a melee weapon, Erekose asked the mind of the construct if there was a sword. It turned out there was.

A couple of hits with an energy blade seemed to route the cloud thing. They proceeded on their way back to their base. After most of the party took a long rest, Shade and Dagmar tried to see if there was a way to reload the missiles they fired. Climbing down into the hand, they found they most of the missiles had been looted, but there was one extra.

Next, the group looted the bodies and got quite an array of items they presumed to be magical.

Weird Revisited: Mondegreen's Mixed-Up Magics

In the Land of Azurth, the wizard Mondegreen is infamous among magical practitioners, not because he was powerful (though he was) nor for his output of arcane scrolls (though it was prodigious) but because of his habit of misprinting magical sigils and formulae. He seems to have suffered some sort of malady in this regard, perhaps a curse.

A Mondegreen scroll will not contain the traditional version of the spell it appears to catalog at cursory examination. The subtle errors will either effect some aspect of the spell 50% of the time, giving:

1 Advantage to the spell save
2 An increased duration
3 Increased damage (if applicable)
4 Decreased damage (if applicable)
5 A decreased duration
6 Disadvantage to the spell save

The other 50% of the time, it will not work as it should, but rather produce a magical effect from a roll on the Wild Magic Table.

The original version of this post appeared in 2018.

Retrostar RPG Review

Retrostar by Barak Blackburn bills itself as "the rpg of 1970's-era sci-fi television." It's from Spectrum Games who publish other niche, genre emulation systems like Cartoon Action Hour.  I haven't had a chance to play it yet (though I plan to give it a try), but these are my thoughts on a read-through.

Its a fairly narrative game whose conception and playstyle probably owe a lot to PbtA games, though it has different mechanics. I find its player character mechanics to somewhat straddle a line between "meta" and diegetic. For instance, characters have three traits: Adventure, Though, and Drama. These could have functioned the same way and been called Physical, Mental, and Social, but I think using the terms they do puts you more in the mindset of thinking of a character's role in the imagined series, not necessarily their capabilities within the world of the show. On the other hand, characters are further defined by "descriptors" for above or below average attributes that are more in-world qualities.

Nonmechanically, characters are described with a Background supplied by the Showrunner (GM) and by Casting notes created by the player. The author of the game wrote up Buck Rogers from the Buck Rogers in the 25th Century this way:

Background: Time-displaced USAF and NASA Pilot from 1987, unofficial captain in the Earth Defense Directorate; cocky, charming, dashing, roguish, ladies’ man; perpetual flirt; attracted to Wilma, who is put off and charmed by his manly nature; frequently gets into trouble because of lack of understanding of 25th century.

Casting: Brown haired, rugged, charismatic smile, playful, wiseass, loyal to his friends.

Adventure: 1 (derring-do) 

Thought: -1 (impulsive)
Drama: 1 (magnetic personality)

SFX: 4
Feat of 1987 Machismo 1/ 2d
Laser Pistol 1/ 2d

The basic mechanics are pretty simple and again, in some ways, reminiscent of PbtA games, but not identical. Players roll at least two dice, and add the results together with results of failure, mixed failure/mixed success, or success. Descriptors, SFX, and situation modifiers alter what you roll. The absolute magnitude of the total modifier determines the number of dice rolled, whereas the valence determines whether ultimately sum the highest or lowest two dice. For example, total modifiers of -1 mean roll 3 dice and take the lowest two, whereas +1 means roll 3 and take the highest two.

To simulate the structure of 70s TV, a session or episode is broken into 5 Acts, with each Act only allowing characters 12 dice rolls. Rather than the typical "actions" (or the PbtA term "moves") Retrostar terms these Intentions. I suspect this is because they want to promote the players thinking in terms of scene resolution rather than task resolution, but it's different. An intention is about achieving a goal within a scene, so one roll might stand in for several rolls in games concerns with more granular representation of actions.

The Showrunner guidance talks a fair amount about helping players to frame intentions and how to adjudicate the results. It also talks about structuring adventures in 5 Acts.

The rest of book is focused on series creation. Retrostar defines series with 5 Dials (Thematic, Plot, Recurring, Cheese, and SFX) with describe roughly how topically socially conscious, serial, formulaic, trend-chasing, and well-budgeted the series is. In its introductory section, there's an overview of 70s sci-fi tv and the dials of a number of real TV series are given. The dial ratings are rolled against in prep to see if that element will play a part during a particular adventure. 

For its rules lite-ness, I think Retrostar will take a bit of getting used to. Its mechanics are sort of novel. Its subject matter is appealing, though, and I think it approaches it in a clever way.

Space: 1999 the Role-playing Game

I pre-ordered the Space: 1999 role-playing game coming from Modiphius not because I am a big fan of the show (the only complete episode I've seen as an adult I reviewed here) but I do like retro-sci-fi in general, and I am always at least curious about another instantiation of the 2d20 system, which I like a lot in Star Trek Adventures. With my pre-order I got the quickstart and with it a window into what the game is going to be like.

First off, they get the aesthetic right. There is a lot of beige and orange in this pdf. Unlike the Trek books, they use stills from the show in this one, though there is some original art.

Characters are defined by Skills and Attitudes. The Skills (Command, Flight, Medicine, Security, Technical) seem analogous to STA's Disciplines (Command, Conn, Medicine, Security, Science, Engineering), but they also serve an attribute function with the rules telling us Command has to do with "charm" and Flight with "athletics," for example. Attitudes (Bravery, Compassion, Dedication, Improvisation, Mystery, Perseverance) are essentially approaches as used in Fate and other games (the 2d20 Dishonored game calls them "Styles"), though they don't work as well conceptually for me because they seem to be a mix of character traits and traits and motivations, but they probably will work okay. One problem I forsee is that with approaches/styles doing things one way means you probably aren't doing it another way, e.g. if you are Quick you aren't Careful or Sneaky. It's less clear to me that the Attitudes have that sort of exclusivity.

Beyond Momentum and Threat, which are in most 2d20 games, Space: 1999 characters have Spirit which serves the functions of both Determination and Stress in STA.

There are some sample characters in the quickstart and a short adventure, but no real gear, aliens or monsters. Still, from what's shown it looks like a good 2d20 riff on the lower crunch side. I'm looking forward to seeing the full game.

Take Me to the Pilot!

I'm a bit behind in my session reports, so I've got two to cover from our 5e Land of Azurth campaign. The party has been making their way up the floors of the mechanical titan that the rebels against the Wizard hope to use against him, but at the moment it's in the hands of mercenaries who stole it to sell to the Wizard.

In the first session, the part reached the auxiliary control room in the solar plexus area of the construct. Erekose fell prey to a trap that dropped him into the trash furnace, then the party had to contend with a minotaur armed with a magic hammer.

In the second session, the party finished exploring the auxiliary control room level, then made a gnome technician call the elevator for them. The next level is a weird gallery with a dinosaur, an elf woman, a weirdly intense, muscular man, and a horrible mass of protoplasm held in some sort of stasis. A sneaky gnome tries to drop the stasis fields, but the party stops him. They do free the elf who reveals she was kidnapped for ransom.

There is a curving, steel staircase to the head and the next level. There is also a towering construct standing at the top of them. The party rushes into battle and manages to defeat it surprisingly handily. In the head, they find the actually control room and two spellcasters who are prepared for them. Glym, Bok's primary technical consultant, is a wizard, and there is also a sinister looking cleric.

These guys are no joke, but there's only two of them and there are 5 party members. In a few rounds they are down, though not before Erekose is banished to some nether realm. He comes back though when Glym goes down.

When In Inaust

Gray, misty Inaust on Whulggan Sound is a place few choose to visit except on the most important of errands. If by some strange fortune you should find yourself in that city, here are several ways to pass the time:

• Enjoy a meal of grilled slug skewers with fermented fish sauce. We recommend the establishment Respa's Hearth as a superior venue for the dish. If your finances allow for such luxuries, the salt-cured glount roe makes a sublime antipasto. The glount roe trade can be cutthroat, and sabotage of a competitor or attempting to gain an advantage by substitution of roe of less desirable fish can occur. The glount themselves are edible, though it is considered lower class fare.
• Marvel at the spectacle and clamor of the mating combats of the morhuk on several sandbanks and islets.  The bellicose and lustful creatures pose a risk to navigation at such times, but the local nobility view them as totemic and forbid their harm under serious penalty. The fishers and boat operators are less favorably disposed toward the creatures and sometimes hire groups of ruffians to hunt the beasts with clubs under cover of night. 

• Acquire a coat, cape, or hat of fur and be the talk of the town in more Southron climes as you cut a figure of exotic, rustic fashion. Be sure to consult your furrier (we recommend Omer Zwirn & Sons) regarding the current status of sumptuary ordinance. The upper classes reserve some pelts for their own use, and the most prized varieties change frequently.

For those who arrive in Inaust in a state of embarrassment regarding their finances, we offer the following means of acquiring funds which are somewhat unique to the region:

• Compete in a birling contest. There are gambling establishment in the coarser areas of town where the woodsman's diversion of trying to stay standing upon a free-floating log while pushing an opponent from theirs. Entrants are paid a sum for competing and may win larger purses for performance. Would-be competitors are urged make every effort to discern the parameters of the any contest they may participate in, as some entrepreneurial-minded hosts have enhanced their offerings by pitting traditional contestants against wild beasts.
• Find employment as a boatman. No extensive knowledge of sea or maritime lore is necessary to serve as a cranksman or treadman on one of the many paddle wheel boats that ply the Sound. Stamina is the only prerequisite, though you would do well to pay the modest dues for membership in the Propellers Union, lest you face a beating and dunking from those toiling with you.

80s Action Cartoons Were Very Gameable

I'm not just talking about the usual suspects like Thundarr the Barbarian or The Pirates of Darkwater; or ones that already have games like G.I. Joe, Transformers, or of course, Dungeons & Dragons. Even the deeper cuts are great too. Let's take a look at a sampling and the gaming inspiration they provide.

Sky Commanders (1987)

If you're a fan of hexcrawls or even pointcrawls, could I interest you in high elevation, feature-to-feature exploration? The premise is a new continent has arisen in the Pacific thanks to some weird energy source, and a multi-national group of mountaineering-specialist good-guys fight the baddies via flight, or by using "laser cables," a fancy rappelling line shot from combat backpacks. There are all sorts of environmental hazards to contend with too, and some monsters.

Spiral Zone (1987)

The high concept takeaway here might be G.I. Joe meets the Walking Dead. In the show, an evil scientist and his Road Warrior refugee have released a weird, bioactive mist (the Spiral Zone) that turns the people in it into mindless zombies. A crack team of agents and their tricked-out vehicles and protective suits do battle with the badguys. A twist is that both sides want to limit civilian casualties as the bad guys want to use them, and the good guys want to save them. 

Defenders of the Earth (1986)

While this team-up of several King Features Syndicate characters against Ming the Merciless might seem like a low-powered supers thing (and in some ways it is), the takeaway here, I think, is genre crossover. You've got a sword & planet guy, a pulp hero (or two), and a wizard who get together to take out a villain.

An Adventure Path like a Dungeon

B1-9 flowchart

Recently I was reading the rpg Flash Gordon and the Warriors of Mongo (1977). The usual take on this game is that it is less an rpg and more a boardgame. That's likely the way it will strike most people on first blush, but I think Christian Lindke makes a reasonable case that it is a roleplaying game of its era (and underwritten even for that) with a definite campaign path, almost like some story games of today.

I don't see any reason why a game couldn't have a definite campaign arc. I think that would work with a lot of licensed properties, and I think the "adventure path" style of modern published adventures is a way to do just that. Unfortunately, these sorts of adventures suffer conceptually, I think, from a couple of flaws. One is the desire to have the campaign arc come as a surprise to players or at least to appear to arise naturalistically from the earlier campaign events. This requires the GM to be deceptive. Two, if the players weren't getting railroaded to get them into the adventure, they certainly are once it starts because the path through the adventure tends to be fairly linear.

I think it can be done better. This is an idea akin to my previous one about running an adventure point-crawl--in fact, it's really just a slightly different approach to the same basic idea. 

Both involve a goal to achieve, a geography to cover in doing so, and certain events or scenes that might occur. These locations and their events/scenes form the "rooms" in a conceptual "dungeon," or more accurately the points in a conceptual pointcrawl. An adventure of this sort would have a conceptual/narrative map and a physical geography map, not unlike the actual Mongo mmap compared to the "Schematic Map" of Flash Gordon and the Warriors of Mongo:

How would this differ from a standard, old adventure path? Well, in at least a couple of ways. As much is possible, nothing is supposed to happen. Certain events would make completing the task of the campaign easier, but only rarely would there be no other way to get it done.

Like in a pointcrawl, players are permit to just follow the physical geography. Nothing forces them to stay on the path, but the locations on the path have special features analogous (or perhaps literally, sometimes times) to secret doors, teleportation disks or what have you that allow quicker, easier travel between "points." "Solving" a "point" might unlock other advantages like allies or items that make completing the goal of the campaign easier. Just like finding certain items or meeting certain NPCs in a dungeon.

This break from linearity would mean the points would have to have less of a causal relationship than the events of adventure paths typically do. It would work best, I think, for certain sorts of campaign arcs. A rebellion (like Star Wars or Flash Gordon) would be one, but something like Pirates of Dark Water with episodic exploration in search of plot coupons would work well, too. Anything more like a broadcast era episodic TV series with a throughline and less like a feature film.

Terminal State is Now!

The Terminal State by Chris Vermeren Kickstarter is going now. Terminal State is a cyberpunk rpg that Vermeren promises isn't stuck in the 80s, but updated to be "the future of now." It's a Year Zero Engine game (like Forbidden Lands and so many others) with some innovations.

I've been following the posts regarding the game on the VX2 discord and it looks really nice. 

There's a quickstart over on drivethru so you can check out the vibe then head over to KS to give it your support!

Weird Revisited: Setting History Should do Something

This post original appeared on 2020 and was one of my most popular posts that year. Recent discussion of what constitutes good "lore" over on X made me think it was time to revisit it.

If setting books for rpgs sometimes get a bad rap, history sections of setting books are probably even more widely reviled. There are reasons for this, but I don't think the solution is that history should be banned from rpg books entirely. I do think it's worth thinking about why we have history (particularly deep history) in rpg setting books, when it's useful and maybe when it isn't.

My thesis is that history in rpg books is most useful/good when it does something. Possible somethings are:

1. Helps to orient the reader (mostly the GM) to the themes/mood/flavor of the setting.
2. Directly establishes parameters that impact the player's adventures.
3. Provides "toys" or obstacles.

It is unhelpful when it does the following:

1. Describes events that have little to no impact on the present.
2. Describes events which are repetitive in nature or easy to confuse.
3. Provides few "toys," or ones that are not unique/distinctive.

Now, I am not talking specifically here about number of words or page counts, which I think a lot of people might feel is the main offender. Those are sort of dependent on the style/marketing position of the publication. Bona fide rpg company books tend to be written more densely and presumably read more straight for pleasure. DIY works are linear and more practical. My biases are toward the latter, but I am more concerned with content here. I do think in general that economy of words makes good things better, and verbosity exacerbates the bad things.

Let's get into an example from Jack Shear's Krevborna:

Gods were once reverenced throughout Krevborna, but in ages past they withdrew their influence from the world. Some say that the gods abandoned mankind to its dark fate due to unforgivable sins. Others believe that the gods retreated after they were betrayed by the rebellious angels who became demons and devils. Some even claim that the gods were killed and consumed by cosmic forces of darkness known as the Elder Evils.

Looking at my list of "good things" it hits most of them. It helps orient to mood and theme (lack of gods, dark fate, unforgivable sins), it sets parameters for the adventurers (cosmic forces of darkness, no gods), and provides obstacles (demons and devils, rebellious angels, elder evils).

That's pretty brief, though. What about a wordier example? Indulge me in an example from my own stuff:

So, the good stuff: orienting to theme, mood. etc. (deep history, memeplexes, super-science, transcendence as old hat, names suggesting a multicultural melange), setting parameters (a fallen age compared to the past, psychic powers, vast distances), and toys and obstacles (psybernetics and a host of other advance tech, Zurr masks, Faceless Ones!)

But wait, have I done one of the "bad things?" I've got two fallen previous civilizations? Isn't that repetitive and potentially confusing? I would say no.  The Archaic Oikueme is the distant past (it's in the name!). It's the "a wizard did it" answer for any weird stuff the GM wishes to throw in, and the source of McGuffins aplenty. The Radiant Polity is the recent past. Its collapse is still reverberating. It is the shining example (again, in the name) that would-be civilizers (and tyrants) namecheck.

The Collected Planes

One of these days, I'm going to completely finish (and maybe publish) this series on the Great Wheel, but until then, here's everything I've done.

The Planes of Pure Law
The Planes of Chaos
Hell
Carceri

Hades

Arborea

Elysium

Beastlands

Gehenna

Twin Paradises

The Layers of Heaven (part 1) (part 2) (part 3) (part 4)

Arcadia

Limbo

Ysgard

Eternian Icons for 13th Age

Watching He-man & the Masters of the Universe: Revelations this past week got me thinking about how the MOTU mythos has got some good candidates for 13th Age style icons. Here's a sampling:

Earl Norem

DARK WARLORD

The dread general of the vast, world-conquering armies of the Horde whose dominion spans universes. He is a figure of legend who employs terror to first breaking the collective spirit of a world before employing the powerful magic and technology to subjugate it.

Gerald Parel

SORCERESS

Guardian of the secrets of Castle Grayskull which was once in ancient times the Hall of Wisdom, a repository of incalculable knowledge, but also a conduit of cosmic power. The Sorceress' unrivalled magic protects these secrets from the wider world--and the wider world from the secrets. 

ELDER DRAGON

Second oldest living thing on the planet of Eternia, the Elder Dragon rules over the rest of his kind from forbidden Darksmoke. He takes a dim view of humanity, being well-aware of their failings, but may be moved to employ his magic and knowledge in their cause, if supplicants pass the tests he puts before them.

Alvin Lee

SERPENT KING

Once this world bowed to the many-headed Snake God and was ruled by his chosen people. The Serpent King was both Eternia's ruler and the Snake God's high priest. When mammalian humanity rebelled, he was imprisoned outside the world with his god. Still, his presence can be felt. His followers keep the faith in secret. The Serpent King works tireless to return and again ascend the throne.

FOREST LORD

Though believed by many city-dwellers to be nothing more than a legend, the Forest Lord is in fact the living avatar of the natural world, a green god that moves silently through the great forest. His followers are most aggressive against the forces of destruction who would despoil nature but have no love for the encroachment of civilization, whatever its form.

Far Away Land 2e Kickstarter

The Far Away Land has got a Kickstarter for a second edition just in time for it's 10th anniversary. For those of you who aren't familiar with it, is a gonzo fantasy setting with unique art and a vibe a lot like Adventure Time but a flair all its own. It's creator and artist, Dirk Stanley describes it with the elevator pitch: "Imagine Rifts, Dungeons & Dragons, and Adventure Time had a baby," which I think pretty much covers it. 

I always felt like Far Away Land shared a common spirit with my own Land of Azurth, and I've run some of Stanley's adventures to good effect in my home campaign. They are unfailingly imaginative.

The Kickstarter just started but has already funded. Whether you are already a fan or hearing about it for the first time, you might want to check it out. 

To Catch A Titan

Our Land of Azurth 5e game continued last night with the party having successfully completed their quest to collect all the pieces of the magical armor known as the Quicksilver Panoply from the mind of Gob. They returned to the regular world, only to hear from Princess Viola that the giant automaton they were acquiring the armor to safely control had been stolen by a traitorous gnome artificer, Zobus Bok and a group of mercenaries. 

Bok apparently plans to sell the giant automaton to the Wizard.  Princess Viola wants to party to chase down the automaton and regain control using the armor. She tells them there's a way to get inside the giant from either foot.

After a rest, the party pursues the automation using a device the princess gave them. When it stops to survey a ravine, the party attaches chains to its feet to try to trip it, but that doesn't work. They gain access through the right foot portal, though a gnome guard escapes to raise the alarm.

Traveling up the leg on an internal portal system, they make it to the first floor in the body, where they find a conference room--and an ambush by two tough bravos of the Nighthawk mercenary group. The party's superior numbers carry the day and after looting the bodies, they prepare to proceed upward.