The Weird and the Unusual

The difficulty with dealing with the fantastic is too-often repeated tropes/ideas become cliches, and kind of unfantastic. The D&D (read: prevailing) view of elves, dwarves, dragons, etc. has thoroughly mundanified and Gygaxian-realismed these things into yawns for a lot of people. Now, it's resonable to ask just how fantastic an element needs to be in a game about killing stuff and taking its treasure, but feeling burned out on the standard tropes has led to a lot of folks reaching for the Weird. It's funny that almost 100 year-old tropes can seem fresh and untrod territory, but fantasy is nothing if not a conservative genre, I guess.

The trouble is, those elements might get a little stale for some people, too, with repetition. So there's the New Weird or gonzo, of course, but I'd also like to suggest that maybe things don't have to be wholly "new." They just have to be a bit surprising, and those surprises can each be employed a small number of times so they stay fresh.

I think looking back to mythology and folklore helps a lot, because there are a lot of forgotten elements in those that make no sense from the modern perspective, and so have tended to be dropped from retellings. Medieval bestiaries are good, too.

Here's an interesting thing I came across a couple of years ago: "mundane" animals as treasure guardians:

Washington Irving notes the folk-belief that the spiritual guardians of buried treasure could take on the form of animals, such as toads. “Wild vines entangled the trees, and flaunted in their faces; brambles and briers caught their clothes as they passes; the garter snake glided across their path; the spotted toad hopped and waddled before them; and the restless cat-bird mewed at them from every thicket. Had Wolfert Webber [a man in search of treasure, but who was unschooled in folk-magic] been deeply read in romantic legend, he might have fancied himself entering upon forbidden enchanted ground; or that these were some of the guardians set to keep watch upon buried treasure.” Diedrich Knickerbocker (pseud.), “The Adventures of the Black Fisherman,” Tales of a Traveller (1825), 2: 356.

So replace a dragon or some other "fantastic" creature with just an animal, acting kind of strange and maybe able to talk. Adventure Time! sort of (I'm sure unknowingly) uses this trope with a frog that serves as a portal to lumpy space:

Monsters that want to chat, instead of kill the party immediately, are also a mythological staple that is not as often done in rpgs (though I try to do a bit of this in Mortzengersturm). This one can hard because PCs are a stabby lot, but it can help put them in the old school mindset of the goal being to get treasure, not necessarily kill things. A loquacious monster is a challenge, not an encounter.

Finally I would suggest the behavioral reskin (this is sort of a broader application of the talking monster principle). We're all familiar with putting new flesh on a set of stats, but a more subtler reskin will sometimes surprise players more. If goblins aren't following their Gygaxian role, but instead all consumed with building/repairing some ancient machine, maybe that hooks the PCs interest? Maybe it's only me, but I think backwards talking derro that can only be understood if you look in a mirror as they speak, move a known monster away from an evil dwarf back to the Shaverian paranoid weirdness.

Those are just some examples, which may or may not work for you, but I'm sure you can think of your own. Instead of trying hard to make things fresh and new, just make them a little odd.

Guardians of the Galaxy, Vol. 2

I was not as fond as most people of the first Guardians of the Galaxy film. I saw Vol. 2 last night, and while I still wish I had gotten a Farscape movie instead, I think this one is a better film that the first.

In brief, the new movie pits the Guardians against the Goldenskinned authoritarian snobs of the Sovereign (who they ripped off) and Ego the Living Planet (a universe-imperiling threat). It has plenty of action and perhaps even more physical comedy that the first (too many hyperjumps causes cartoonish facial deformation). It manages to give all the characters some story beats and something interesting to do--something that other large cast Marvel films haven't managed as well. In contrast to the first film, the characters are allowed to grow a bit, in contrast to being reduced from their two dimensional comic versions to one dimensional cliched archetypes. Freed from the need to blatantly tie in to a larger Marvel "epic", Vol. 2 gets to more full psychedelic space fantasy, like Farscape if it were a Heavy Metal comic or Star Wars with a dayglo aesthetic and more dick jokes.

There are still some things I didn't like: I have come to the conclusion I just don't care for the Marvel Studios "fantastic" aesthetic. I thought Asgard looked like a Nike commercial version of the Star Wars prequels, and the first Guardians of the Galaxy managed to make Chris Foss inspired designs seem uninteresting. I'm still not sold; it all looks very expensive video for a pop song I don't like, but there are hints this time of a particular philosophy of design that makes the seedy Contraxia and the ostentatious Sovereign throne room work for me better than anything in the first film.

Also, it still seems like dimension hoping more than space travel. Forget Serenity's "into the black;" except for the fact that people dying in the vacuum is a plot point, you could be forgiven for not realizing they were ever in space. Everything is as awash in color, and planets are passed in travel not as planets but as little tableaux or comedy scenes, like the cosmic equivalent of the hapless fruit vendor getting his stand smashed in a car chase. I think colorful, busy design can be but to great purpose (I love Speed Racer) and in sci-fi (like The Fifth Element or the upcoming Valerian), but something about the way Marvel does it rubs me the wrong way.

Oh, and the music cues are omnipresent. Upping the ante from its predecessor (but in line with Suicide Squad) its much like a series of short music videos for classic pop songs. While not as bad as Suicide Squad in this regard, it also has a few that are so on the nose that the movie is sort of narrating itself to you in song (cf. "My Sweet Lord").

Bottom line: If you liked the first one, you will almost certainly like this one. If you were so-so on the first one, you still might like this one.

Weird Revisted: Fantasy Pharmakon

In February of 2010, I had fantasy drugs on the mind. I'm happy to say that in the 7 plus years since this post originally appeared, a lot of fantastic intoxicants have appeared on blogs and OSR products.

"Not that we needed all that for the trip, but once you get into locked a serious drug collection, the tendency is to push it as far as you can."

- Raoul Duke, Fear and Loathing in Las Vegas

A couple of years ago, I was following a messageboard thread discussing drugs--intoxicants--in the context of fantasy gaming. It was prompted by White Wolf's Exalted and the modern drugs like heroin and cocaine, apearing therein. One of the writer's involved with defended their choice to use those very modern drugs with those very modern names by saying that "made up" names for things were essentially lame/uncool, and that if a substance was familiar to player's under a certain name, that name ought to be used.

I disagreed in two ways. One, I think using too many words with modern connotations and origins can break the "mood" of fantasy. Such things are "amundisms," as Lin Carter would have it in his seminal exploration on world-building, Imaginary Worlds (1973). Secondly, and most importantly, why should a world like Exalted's Creation, where fantastic creatures like the Beasts of Resplendent Liquids exist--which eat raw materials and excrete drugs--be saddled with the same old, boring drugs found in the real world? Surely, that's a failure of imagination.

Thankfully, many writers of fantastic fiction have not been so limited. Here are several examples of fantastic intoxicants which should serve to inspire interesting new substances for role-playing game characters to use (or misuse):

Black Lotus
In most of Howard's Conan stories, black lotus is a poison (though in "Hour of the Dragon" it's noted that its pollen causes "death-like sleep and monstrous dreams"), but the ancestors of the thoroughly stoned citizens of Xuthal have cultivated it until "instead of death, its juice induces dreams, gorgeous and fantastic." The effects appear to be similar to more mundane narcotics in terms of the heavy sleep and euphoria it induces with the added effect of generating vivid, pleasurable dreams. Find it in: "Xuthal of the Dusk" in The Coming of Conan the Cimmerian.

Dreamshit
A mysterious, and powerful, new psychedelic drug on the streets of New Crobuzon in China Mieville's Perdido Street Station. Dreamshit takes the form of brown, sticky pellets about the size of an olive that smell like burnt sugar. Eventually, it's discovered that dreamshit is the "milk" of the deadly, mind-devouring, slake-moths. Find it in: Perdido Street Station by China Mieville.

Fledge
In Tim Lebbon's Noreela, fledge is a commonly used (and abused) substance. Mined from deep underground the yellowish substance is put to many beneficial uses by the race of fledge miners for whom it provides sustenance, healing, and the ability to project their minds outside of their bodies. The fledge miners experience no ill-effects from their use, but do have withdrawal if they go without it. Taken to the surface, though, fledge degrades in quality--its mental-projection effects greatly diminish--and becomes highly addictive. Not that fledge mining is totally without dangers. There are rare, but powerful demons (the Nax) sometimes found near fledge veins. Lebbon also gives us another drug--rhellim--which enhances sexual stimulation, and comes from the livers of furbats. Find them in: Dusk, and Dawn by Tim Lebbon.

The Plutonian Drug
The Plutonian Drug appears in the Clark Ashton Smith story of the same name. Also called "plutonium"--though certainly not to be confused with the radioactive element of the same name--it's found on Pluto by the Cornell Brothers' 1990 expedition (I remember watching the intrepid explorers' return on live TV in 1994, don't you?). Its native form is crystalline, but it turns to a powder when exposed to earthly atmosphere. Ingestion of the drug causes the user to be able to perceive their own timeline for a relatively recent period as if it were a spatial dimension, allowing them to see a short distance into the future. Several other extraterrestrial drugs are mentioned in the same story. Find them in: "The Plutonian Drug."

Shanga
Appearing in a couple of stories by Leigh Brackett, shanga certainly brings out the beast in its users.  It isn't actually a drug, but a radiation produced by projector devices, the construction of which is a lost art. Users experience temporary atavism, allowing one to (as the quote goes) make oneself into a beast to get rid of the pain of being a man. The ancient projectors used a prism of an alien crystal rather than quartz, like the projectors found in the seeder parts of Martian trade-cities at the time of the stories. The crystals, the so-called Jewels of Shanga, produce a more potent effect leading to physical de-evolution, with longer exposure causing transformation to ever more remote evolutionary ancestral forms. Find it in: "Queen of the Martian Catacombs" (The Secret of Sinharat), and "The Beast-Jewel of Mars."

There you go. Five substances for hours of simulated enjoyment. Turn on, tune in, play on.

Wednesday Comics: Storm: The Labyrinth of Death

My exploration of the long-running euro-comic Storm, continues with his adventures in the world of Pandarve. Earlier installments can be found here.

Storm: The Labyrinth of Death (1983) 
(Dutch: Het Doolhof van de Dood) (part 3)
Art by Don Lawrence; script by Martin Lodewijk

Marduk's devices begin siphoning off the energy spacetime energy for which Storm is a conduit and storing it in batteries. Then, the energy begins flowing back into Storm, powering him up. He begins using that power to destroy the Theocrat's lab.

Storm's energy is rapidly dissipated, but luckily the rebels arrive just in time. Storm and his friends are reunited. Their are too many guards, though, so they have to flee with the rebels.

Marduk isn't worried. He's confident there is no escaping the corridor they ran into.

Soon, the rebels come up on the "Golden Gates of the Labyrinth of Death." No one has ever entered it and lived:

To Marduk's horror, that doesn't stop our heroes from entering. He orders his hapless guards in after them.

Storm and friends and "Brush-head" (Storm's name for the rebel leader) make their way through the labyrinth. Their way is lit by Storm, still glowing with residual energy. They see the Theocrat's guards behind them, and run off down a random corridor. After passing through narrow tunnels, the way widens again and they encounter a horror:

TO BE CONTINUED

Mortzengersturm in Print--While Supplies Last

The print copies of Mortzengersturm, The Mad Manticore of the Prismatic Peak have arrived, and a limited number of copies have been set aside for online orders.

Go here for details. The link will be in the sidebar as long as their are copies up for grabs.

Fertile Gaming Ground Seeded with 80s Toys

The eighties is a time famous (or infamous) for toy properties with synergistic multi-media marketing. It seems like every one of them came complete with cartoon series and comic book in addition to the usual merchandise. None of these got role-playing game tie-ins. That’s a pity, because several of them had some potential...well, at least some potential elements suitable for stealing.

Everyone  thinks of the big guys like Masters of the Universe, G.I. Joe (which my friends and I did make an rpg for back in the day, based on TSR’s action table games), and Transformers. Those are all good, but let's dig a little deeper...

Inhumanoids tells the story of an armored-suit-wearing group of scientists fighting a trio of newly re-awakened part kaiju, part Lovecraftian, subterranean monsters--the Inhumanoids. The scientists are aided by the surviving members of ancient, prehuman races, who had imprisoned the monsters in the first place. Armored heroes battling subterranean monsters? The rpg applications ought to be obvious.

The Saga of Crystar, Crystal Warrior played with the timeless brother against brother theme, as a personalization of the very rpg-like battle of Order against Chaos. The heroic brother, siding with Order, and his retinue get turned into living crystal. The other brother sides with chaos, and he and his cronies get turned into rock/magma. Both of them got a wizardly advisor, too. Crystar probably doesn’t warrant its on game, but crystal-men and magma men would be pretty cool editions to an already existing one.

In a similar “novel character conception” vein, is Sectaurs. It’s another fantasy, though this is one is perhaps a post-apocalyptic science fantasy taking place on a distant planet. The current natives have insectoid characteristics--the good guys are humans with antenna and compound eyes, while the nasties are more insectoid humanoids. Both sides use giant insects are mounts, and use carapace-derived armor and weapons. There are also the “Keepers of the Way,” a secret society trying to resurrect the lost knowledge of the ancients and pull the world out of medievalism. Sectaurs might make a good campaign, but insectoid humans could easily just be a reskinning of elves.

There are so many other possibilities. Particularly, if wander a bit and outside of the cartoon-promoted big guys.  Remco’s Pirates of the Galaxseas had little going for it beyond the name, but that name is really cool. Golden Girl and the Guardians of the Gemstones was like She-Ra but with a more classic barbarian aesthetic, which is something, I guess:

For the intersection of utter imaginative craziness and utterly poor toy design, we need look no farther than The Other World, where all the action figures were bendies, but the creatures were all of the “this has to be a D&D monster already” variety. Exhibit A being our friend Froggacuda, here:

Mortzengersturm in Print

The printer's beat the deadlines, and so I have the a few copies of Mortzengersturm, the Mad Manticore of the Prismatic Peak (available now in pdf) in my hands. The reminder of the print run should be here before North Texas RPG Con.

Why not the usual print on demand? I very much wanted a comic book format for the book (to go with the comic book-y overall design and the print-on-demand services we have been using don't have the best options for that format.

Now that I see the print copies, I'm glad I did as they look great. (These blurry pictures may not do it full justice).

Anyway, the print copies were mostly intended for convention sales; I'm not (and Hydra's not) ready at to jump into order tracking and fulfillment with both feet, but I've ordered more than I'm likely sale at conventions in the near future, so I want to make the rest of the print run available for order. My thinking new is of the 100, 50 will be set aside for cons and what not, and 50 will be up for grab, so supplies will be limited. Obviously, if there is huge demand there will be another print run, but it would have to be big because it's no my intention to turn my house into a shipping center.

Stay tuned. I'll announce it here, of course, when I'm going to start taking orders.

Strange Stars Video Review

For those few of you who read this blog and still haven't bought Strange Stars (and we know who you are), check out this video review by Questing Beast:

Wednesday (MIni-)Comics: He-Man and the Power Sword

Let's take a break from Storm this week to look back at the mini-comic origins of the 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 technically, these first four were picture books, not comics).

They 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 comic book artist who's worked for DC and Marvel, on books like 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. (I should point out all of the mini-comics are now available in a somewhat larger tome.)

So without further ado, here's my commentary on the first mini-comic, 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. One might wonder what kind of scientists those were, but this yarn provides hints but no answers.

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 in those early days) 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. This origin, of course, is ignored in later mini-comics and comics.

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. That's how it started.

Adventure Environments

Here are some animation backgrounds and concept art from the He-man and She-Ra  cartoons suitable for game inspiration:

An almost Seussian forest:

A cave with loot:

This statues sword has a starway up it. Interesting twist on the PHB Demon idol:

Rocky castle:

New Azurthite Races

I've had Volo's Guide to Monsters for months now, but I haven't really considered the new races in it and whether they have a place in my Land of Azurth campaign. My consideration of the core book races was here, though some of those (like the Dragonborn) I've reconsidered since. It's always theoretical until they actually show up in the campaign.

Aasimar: Humans empowered by guardian angels reminds he a lot of the Golden Age comics concepts like the Marvel family, but also Johnny Thunder, and Kid Eternity--all very appealing. Of course, their opposite number the Tieflings have been reskinned as Demonlanders.

Firbolg: These guys could be used as is. I might go less fairy tale creature and more hairy hominid with them and reserve them for the Country of Virid.

Goliath: These guys will live in the Dragonspine Mountains and in the desert Land of Sang.

Lizard Folk: There are certainly Lizard Folk, but I haven't worked out their deal exactly and how they differ from the Dragonborn.

Tabaxi: One of the things insisted upon by characters within the setting is that there are no Cat Folk--except that one of the PCs has met two! This is one of the mysteries that may play out in the campaign.

Mortzengersturm Reviews

A couple of reviews for Mortzengersturm, The Mad Manticore of the Prismatic Peak have come out, and they have not escaped the notice of the manticore wizard himself:

Jack Shear over at Tales of the Grotesque and Dungeonesque
Gus L at Dungeon of Signs

Wednesday Comics: Storm: Labyrinth of Death

My exploration of the long-running euro-comic Storm, continues with his adventures in the world of Pandarve. Earlier installments can be found here.

Storm: The Labyrinth of Death (1983) 
(Dutch: Het Doolhof van de Dood) (part 3)
Art by Don Lawrence; script by Martin Lodewijk

The striped-haired spy has no time for Ember's questions. She leaves quickly so she won't be found out--and runs smack into a suspicious guard. Ember rushes out to help her. In the scuffle, the guard is killed. The spy isn't happy for the help as now they've got a body to dispose of. But it means they have to act now.

They raid the jails, overpowering the guards, and find Nomad. Storm has been taken away to the Theocrat's laboratory. The rebels are mistrustful of Nomad. When he threatens violence if they try to stop him from coming along, they reiterate they're willing to die for the cause. Ember points out that they should probably be more willing to live for it, as well.

Meanwhile, the Theocrat is explaining the cosmology of Pandarve. It seems the system has a white hole at its center instead of a sun. The matter emitted by it is what creates the atmosphere throughout the system. Marduk also reveals that the planet Pandarve itself is alive. He boasts of being her spokesmen to the people of the world--but he wants to be more than a servant.

Storm is the key. He is imbued with energy due to his travel through time. If properly harnessed, the Theocrat believes he can use it to control the universe. He's got his biological computers working on this:

He demands Storm stand in the center of a crystal antennae to catch the radiation coming off and analyzing it:

TO BE CONTINUED

Meet Mortzengersturm in pdf!

The wait is over! Mortzengersturm, The Mad Manticore of the Prismatic Peak for 5e is out today on pdf. The adventure's got eight pregenerated characters (the one's I used in the convention game), about a dozen new(ish) monsters, and a center spread boardgame map!  The digital version contains some exclusive extras: Gus L's map of Yanth Country and a brief gazetteer, and a short excerpt from The Cloud Castle of Azurth.

Go get it!

Rabbits & Eggs

In the Land of Azurth, there is a magical treasure peculiar to the Hara or Rabbit Folk and celebrated in their legends. A number (though no one knows the exact number) of eggs in variegated pastels are forever being lost and rediscovered; they are objects of quests for great heroes and the caralyst for small folk to elevated their station. They are associated with both just rulers and holy madmen.

The eggs are said to have been crafted on the Moon by the rabbit goddess the Bright Lady as gifts to favored mortals or saints on the occasion of the birth of spring. The shell of each egg is held to not be mere eggshell but ceramic made from moonstuff. The eggs have moved down through history, sought, horded, and fought over for their beauty and their magic power--each egg has a unique arcane property. One might have the power to heal, while another the ability to command others to do the bearers bidding. Still another might allow one to see the future.

The Rabbit Folk sometimes make their own mundane eggs for vernal celebrations in honor of the goddess, while unscruplous relic-dealers occasional try to pass off fakes as the real artifacts. The abundance of imitations has only increased the difficulty of finding the real thing.

It is said that Lapin XXII, King of the Warrens of the Hara, has several of the eggs in his possession, stored in a ceremonial basket.

Let Me Tell You About Their Characters

Art by Steve LeCouilliard

With a new illustration of the gang, time to shine the spotlight on the PCs in my Land of Azurth campaign:

As has been recounted, the crew met on a keelboat on the way to seek an audience with Viola the Clockwork Princess of Yanth, each for his or her own reason.

KULLY KEENSTEP (Jim) Human Bard
A traveling minstrel, Kully encountered a calico Cougar Man (who ever heard of such?) in the vicinity of Mount Brawl who suggested the Princess might be able to tell him something about the hereabouts of his long-missing father. She was not, but he has since discovered the possible identity of the mysterious Cougar Man he met.

SHADE PYRALIS (Gina) Elf Ranger
Shade hails from the Aldwode and mistrusts civilization. She has since learned from her long-absent mother, Oona, that she is actually half High Elf and a child of House Perilous and the infamous, mad Sylaire family.

KAIRON (Eric) Demonlander Sorcerer
Feared and ostracized in the village where he grew up due to his Demonlander heritage. He became an adventurer to improve both his economic and social station.

WAYLON (Tug) Frox (Frogling) Thief
Named "Wi'Sdosdo" (Wailing-Moon) in his native tongue, Waylon grew up on the streets of the Shanty City of Lardafa. He was a musician in a jug band, but also a protege of the thief and con-man King Kuel.

DAGMAR (Andrea) Dwarf Cleric
Against the wishes of her family, Dagmar pursued a life in monastic service to Iolanthe, Lady of Knowledge. In her middle years, she gave up the life of scholarly hermit and sought adventure. She is currently petrified and standing in a library in House Perilous!

EREKOSE (Bob) Human Fighter
His origins obscure, Erekose is a veteran soldier and a pretty mercenary fellow. Gold is the allure in adventuring for him.

Mortzengersturm...EXPOSED!

Once again, I'll be running a session of Mortzengersturm, The Mad Manticore of the Prismatic Peak at North Texas RPG Con in Jone, which (assuming everything goes well with the printer) will also be the debut of the print edition of the adventure at the Hydra Co-op booth!

Here are ten things about the Mortzengersturm adventure even a dedicated reader of this blog might not know:

1. The adventure grew out of an adaptation of Jason Sholtis's Zogorion, Lord of the Hippogriffs for my Land of Azurth game, originally played on June 15 and July 19, 2015.
2. The name Mortzengersturm was arrived at by smashing together the titles of Poe's "Metzengerstein" and Hugh Cave's "Murgunstrumm." Neither story have I read (though I did see a film adaptation of the Poe story).
3. This John R. Neill drawing was the initial inspiration for the look of Mortzengersturm, and possibly the source of the idea that he would be a manticore:

4. The goblins' song in the published version of the adventure should be sang to the tune of "God Save the Tsar!" the former national anthem of the Russian Empire.
5. Slime-spawned goblins was an idea I had back in 2012. I finally got to use in print, in a modified form.
6. Thedabara is, of course, named for the silent film vamp Theda Bara (1885-1955).
7. The Oubliette of Mistakes wasn't in the adventure as originally run and basically got included because I had thought up The Moonster and needed a place to put him. The name was likely inspired by the Island of Misfit Toys from Rankin-Bass' Rudolph The Red-Nosed Reindeer (1964).
8. There are a few references to Chicago's Columbia World Exposition of 1893 in the adventure which no party has yet investigated.
9. A brand of cigarettes from the City and Weird Adventures makes a cameo.
10. The parrot-bear (and the whole idea of Mortzengersturm's mixed up animals) came from an illustration by Jeff Call--who later wound up illustrating the adventure.

Wednesday Comics: Storm: The Labyrinth of Death

My exploration of the long-running euro-comic Storm, continues with his adventures in the world of Pandarve. Earlier installments can be found here.

Storm: The Labyrinth of Death (1983) 
(Dutch: Het Doolhof van de Dood) (part 2)
Art by Don Lawrence; script by Martin Lodewijk

Taking the Devil's Ride, Storm and Nomad are forced to abandon their gliders or be dashed against an imposing mountain range. Their landing on the rocky plateau beneath isn't an easy one, then they have to climb down out of the wind before they freeze to death.

Their landing doesn't go unnoticed. The Anomaly's arrival on Pandarve is detected by Marduk's machines.

Reaching the desert road below, our heroes encounter a man on the back of a giant snail creature:

He's heading to Mardukan, the capital, for the Theocrat's wedding so they are able to  get a ride.

There is only one bridge into Mardukan, and the city is surrounded by high walls. The man explains that the Theocrat is afraid of the rebels. Nomad and Storm enter the city in the crowd, under the eyes of Marduk's guards and their telepathic watch-dogs. Nomad is nervous that in the narrow alleys it would be easy to trapped. His words prove prophetic. The outer gates are closed, and when Storm walks through a checkpoint, Marduk's sensors detect him.

Storm and Nomad are brought before Marduk. Storm doesn't know anything about the Anomaly; He just wants to see Ember. Marduk doesn't have her anymore, but he tells Storm if he cooperates he'll get to see her. Storm and Nomad get sent off to the laboratory.

Meanwhile, Ember is in the streets with the rebels. They are disguised as entertainers. The rebels want to get their hands on the Anomaly to deny him to the Theocrat. They wind up washing dishes, but their Ember overhears a report from a rebel spy that the Anomaly--Storm!--is being held in the castle.

CONTINUED

A Gate, Silver Keys, and Tempting Fate

Michael Kaluta

Our Land of Azurth game continued last night with the fourth session of my adaptation of X2: Castle Amber. The dog-headed Claudas had told them they needed to go to the dungeon to find the gate where they could use the silver keys, but they didn't know where the dungeon was. Shade the Ranger was convinced she should at least try to make nice with her crazy family, the Sylaire, by going to see her grandmother. Claudas (who shared the same grandmother) said that the Dame Carmilla was in the card room across the hall playing at being fortune teller.

Carmilla didn't look like a grandmother, but she did recognize her wayward daughter in her grand-daughter. She offered to let Shade and her companion draw cards. Shade did (reluctantly) and received a chalice which allowed her to tell when someone was lying. The frogling thief Waylon pulled the Page of Coins and had all his coinage disappear! Kully had nothing occur on his draw. Carmilla disappeared and while they waited the night in a long rest, the others drew. Astra of the Shooting Star Folk pulled a death card--all the more horrifying because the player's first character (Dagmar) had already been petrified. Luckily, the death was just a hit point reduction, and she was able to be saved.

Next, they found a room full of dog-headed men playing cards.They tried to be somewhat helpful and point the way to the Black Room, but they got into an argument over the best way to go and the party was left confused. A mention of a secret door got them searching and they found the Red Room.

In the Red Room, and an armored man, Solus, who claimed to be a dwarf fallen from the sun. he told them the Black Room was right next door. They found it, but it took a bit of searching to find the trapdoor.

A Magic Square painted onto the floor of the room they came into caused them a lot of consternation, ultimately to know useful end, as two succumbed to the lunacy curse (though they didn't know it yet). Two received increases in their wisdom.

After that, it was a pitch battle in the vat room where artificial men were made, and oneiric black dust in the alchemical lab. Kully had a dream of falling and woke up dead (or at least 0 HP). Kairon had all his dreams come true of having the Wizard raise his station, only to have it fade away with the dust.

Avoiding more fights became their goal, as the party continued a room to room search for the gate. They ran away from a coin-encrusted slime worm and shut the door on a kennel of whimpering hell hounds.

At last, they found the room with the gate. As they turned the keys, the amber lion statue came to life...