East of Caldwellia, West of Elmoreon

In recent discussions of vanilla fantasy, my friend Paul (owner of the long-hiatused blog, Dungeonskull Mountain) and I have bandied about the idea of an "80s fantasy" world. While we perhaps don't share exactly the same vision for that, both of us agree that famous D&D artists of mid-1e to 2e eras--particularly Clyde Caldwell, Larry Elmore, and Keith Parkinson--play a big part in that.

The visuals are clear and distinct, but is there a setting in the work of these artists distinct from just generic D&D?

I'm not entirely sure, but I think we can say make guesses as to what elements it may have and what elements it does not.

Glamorous Not Grotty
Glamorous might be a little strong, but hey, alliteration! Anyway, we are certainly not in the Dung Ages, or any version of gritty pseudo-Medieval verisimilitude.

Complicated Costumes and Culture
Compared to work of Frazetta, Kelly, or Vallejo, the clothing of the characters has a lot going on: fur trim, feathers, scales, etc. This tends to be true even when female characters are scantily clad. It's all more renfair that Conan. This suggests (to me) more of a high fantasy world than a sword & sorcery one, and an interest in visually defining cultures that doesn't get into the heavy worldbuilding of a Glorantha or Tekumel, but is definitely of the "needs a glossary at the end of the book" level.

Dragons & Drama
There are an awful lot of dragons. I mean,  they're showing up all the time. And often characters are confronting them in a way that suggest they are big, powerful heroes, not the type to die pointless in holes in the ground. The another name for high fantasy is epic fantasy, and that's what these images often convey.

A Touch of Humor
Despite the epicness and high drama, things are seldom if ever grim. In fact, from adventures posing with the tiny dragon they slew, to a muscular female fighter manhandling an ogre, a bit of humor is pretty common.

Red-Eyed Goblin

A goblin made with Hero Forge, colors accurate to the AD&D Monster Manual, except the hair where I had to guess.

And here's a Hobgoblin:

Weird Revisited: Different Dwarves for 5e

Relevant to my earlier post on vanilla fantasy...

The Tolkien-inspired, Nordic-derived dwarves of standard D&D aren't the only dwarven subraces out there. There is another dwarvish tradition: a more folklore and fairytale one. The dwarves of the Country of Yanth in the Land of Azurth are that sort of dwarf.

Compared to the average D&D dwarf, they tend to be more social and affable. They are fond of good food and drink and are renowned brewers. While they may be miners or metalworkers, they are not as oriented toward these tasks as others of their race, and are just as likely to loggers, woodworkers, or farmers.They have no more love or precious metals or jewels than humans.

Unless otherwise noted, the folkloric dwarf subrace has the traits of the standard dwarf.

Art by Jerad S. Marantz

Ability Score Increase. Wisdom increased by 1.
Lucky. Like a Halfling's.
Size. Folkloric dwarves vary more in height than other dwarven races. Most are medium, but a few are under 4 foot and so small.
Dwarven Combat Training. They eschew the battleaxes and hammers employed by other dwarves, but are handy with the axe and short sword.
Tool Proficiency. Their choices for proficiency are smith's tools, brewer's supplies, cobbler's tools, woodcarver's tools, or cook's utensils.

Wednesday Comics: Bronze Age Book Club - Marvel Spotlight #33

Last week saw a new episode of the Bronze Age Book Club podcast released Friday.


Listen to "Episode 15: MARVEL SPOTLIGHT #33" on Spreaker.

My Flavor of Vanilla

Since my post on my occasional craving for vanilla fantasy, I've been thinking about what sort of vanilla setting I would do, if I was to do one. At least, what sort I'm leaning toward right now.

I would start with a setup substantially similar to Tolkien's Middle-Earth at the start of the Lord of the Rings. A great war, devastated the shining human kingdoms of the West. Amid the ruins are scattered petty kingdoms and free cities, "points of light" in the D&D parlance, dominated by the Small Folk--dwarfs mostly, but more of the folklore or fairytale variety than a Tolkienian one.

There are still humans there, of course, but the human dominated lands are mostly to the South. Elves exist too, but they are diminished (quite literally) from their Golden Age. They were once fairy lords, but now the elves of the West are short in stature and decidedly less magical. The Dwarf Folk view the elves with some suspicion, since some of their race sided with the forces of darkness.

The approach would be a bit more The Hobbit than Lord of the Rings; leaning more whimsical than epic. The 1937 original version of The Hobbit would be the most central of Tolkien's work. Other influences include Weirdworld, Wally Wood's Wizard King series, selected stories from Lord Dunsany, Scott Driver's Dwarf-Land, and bits of The Princess of the Goblin and a smidge of my own Land of Azurth, particularly some early ideas that got abandoned.

Enter the Lumberlands!

Erik Jensen of the Wampus Country blog and related publications is Kickstarting a new zine in that setting called Lumberlands: 

"...spend some time in the misty Lumberlands, a vast expanse of enchanted forest where brawny lumberjacks ply their trade, seek adventure and fortune, and defend the frontier from horrible sasquatches."

I loved playing in Erik's Wampus Country game in the days of G+ and I'm pleased it's been resurrected in this zine. Check it out!

Weird(world) Revisited: Middle Earth the Mighty Marvel Way

My recent post on "vanilla" fantasy made me think of Weirdworld and this post from 2010...

"For those who thrilled to J.R.R. Tolkien's "Lord of the Rings"--An All New Adventure into Epic Fantasy!"

So cried the cover blurb on Marvel Premiere #38, the second appearance--first in color--of Marvel's decidedly un-Sword & Sorcery fantasy series. As such, it stands as an interesting artifact in comics history, fitting neither with the pulp inspired fantasies of earlier comics, or the D&D-influenced ones that were to follow.

The titular "Weirdworld" is a fantasy land inhabited by dwarves, elves, and goblins, and perpetually under threat from wicked sorcerers and other magical menaces. Its protagonists are two elves--Tyndall and Velanna--who are outcasts with mysterious (even to themselves) pasts. Their obligatory companion and comedy relief is Mud-Butt, an irascible dwarf.

Tyndall starts out solo and in black and white in Marvel Super Action #1, where he good-naturedly undertakes a quest on behalf of bigoted dwarvish villagers in "An Ugly Mirror on Weirdworld" (1976). Velanna joins him by that story's end, and they run afoul of a rejuvenation-seeking sorcerer in Marvel Premiere #38 (1977). Their next appearance, publication wise, would see them travelling with Mud-Butt to the City of Seven Dark Delights and crossing paths with the sorcerous Dark Riders, who were seeking to resurrect their fallen god, Darklens. The defeat of Darklens and the discovery of other elves, were related in the three part epic, "Warriors of the Shadow Realm" in Marvel Super Special #11-13 (1979). Epic Illustrated #9, and #11-13, in 1981 and '82, featured the "Dragonmaster of Klarn" storyline, that revealed more about the mysterious elves and their relationship with dragons. Finally, in 1986, Marvel Fanfare vol. 1 #24-26 saw a lost tale of Weirdworld--the first meeting of Mudd-Butt and the two elves, and vanquishing of yet another evil sorcerer. Work on this story had actually began back in the seventies, but it had been left unfinished.

Weirdworld was the creation of Doug Moench, and artistically designed, at least initially, by Mike Ploog. "Warriors of the Shadow Realm" had art by John Buscema, and featured a redesigned Mud-Butt--though no one knew it, since Ploog's original design didn't see print until nearly a decade later. Pat Roderick provided the pencils for the last two Marvel Fanfare issues.

I would have thought Weirdworld bore the influences of Bakshi's animated fantasy features Wizards and The Lord of the Rings--but it actually predates both of them. Any artistic resemblance may be due to Ploog's reported involvement in those two projects, or it may be coincidental. Tolkien would seem to be a likely source, but Moench maintained in that he had never read The Lord of the Rings in his essay on Weirdworld's origins in Marvel Super Special #11. He did admit to having read The Hobbit in high school, but denied remembering much about it.

Despite the superficial "Tolkienian" elements, I think we see in Weirdworld an artifact of a time when The Lord of the Rings-style portrayals of elves and dwarves (by way of D&D) were not taken as standard. The dwarves of Weirdworld bear more resemblance to the Munchikins of Oz than the ones from the Mines of Moria. Buscema's artwork in particular gives most of Weirdworld a kind of fairy-tale-ish look (inspired by Arthur Rackham, among others) that reminds me a little of later works by Brian Froud. The elves are likewise not wise and puissant beings superior to men in every way. Instead, their short and maybe more like non-Tolkien, pop-culture elves--like the sort that sell cookies or work for Santa. They're probably part of the pre-Tolkien lineage that influenced early D&D art (as James Maliszewski outlined here) and certainly seem to be kin of hapless Indel in the 80s D&D comic book ads.

Weirdworld offers a portrayal of stock rpg elements refreshingly free from the influence of the rising cultural familiarity with The Lord of the Rings, and the ouroboros-like D&D-ization of fantasy. Nothing in it is new, but their might be something there worth revisiting.

Talislanta: The Sarista of Silvanus

French Talislanta art

The Silvanus woodland of Talislanta is primarily home to the Sarista. They are clearly inspired at least to a degree by stereotypes of the Romani people, in fact, they are often called gypsies in the various texts, so it's not subtle.

Tamerlin's account tells us they are "a nomadic race of indistinct origin," and they are of "slender proportions" and have "skin the color of rich topaz, dark eyes and jet black hair." (Again with the topaz skin! I suspect their origins to be Phaedran, then whatever the mystery.) They tend to dress in a gaudy, ostentatious, or seductive way (their clothing sounds theatrical, to me), and they are known as "folk healers, fortune tellers and performers--or as mountebanks, charlatans, and tricksters."

These things are stable across all editions of Talislanta, with only minor differences in the text. Sarista have the distinction of having had a supplement devoted to them in the third edition, and are also otherwise fleshed out in the deuterocanonical Cyclopedia Volume IV. That work reveals the Sarista to be the descendants of criminals, witches, and various nonconformists that fled Phaedra when the Orthodixists took over. It also suggests that Saristan fools are called Rodinns after the ancient wizard.

"Let them scoff as they see fit! I will never compromise what I consider my art, especially for the sake of gain!" 
"For the sake of gain I’d compromise the art of my grandmother,” muttered Zamp under his breath. 
 - Jack Vance, Showboat World

I think I would de-emphasize the "gypsy" aspect of the Sarista, and certainly dispense with distasteful stereotypes like child-stealing, to portray them as perhaps less an ethnicity and more a vocation or society. The texts mention that the Silvanus Wood isn't conquered by the Aamanians because its the kind of playground/preserve of the nobility of Zandu. Sarista are part theater troupe, part carny. They make their living traveling the forest circuit performing for their mostly Zandu visitors, and fleecing the rubes as they can. Sure, some may be outright thieves, but not near so many as the texts suggest--that's just prejudicial slander.

Weird Revisited: Hard Science Fantasy

This post first appeared in 2013, though I revisited the idea with some other details in the years since...

Art by Bruce Pennington

Genre titles are really imprecise things, so let me explain what I mean: A setting that looks like fantasy, but is in fact sort of post-technological science fiction. What would make it "hard" as opposed to the usual science fantasy is that it wouldn't resort to what are essentially fantasy concepts like extradimensional entities or psionic powers to do it. The fantastic would come from at least moderately more possible sources like near Clarketech ("any sufficiently advanced technology is indistinguishable from magic") nanotechnology, cybernetics, and bio-engineering.

I haven't really seen this out there in gaming. Yes, Numenera presents a world utterly drenched in nanotech that can be tapped like magic by the masses, ignorant of it's nature. But Numenera still has psychic powers and extradimensional monsters. What I'm envisioning is more like Karl Schroeder's Ventus (where the "spirits" animating the natural world are AI controlled nanotech) or the Arabian Nights-flavored Sirr of Hannu Rajaniemi's The Fractal Prince where spirits in ancient tombs are digital mind emulations and the jinn are made of "wildcode" malicious nanotech.

Beyond nanotech, monsters would be genetically engineered creations of the past or descendants thereof. Or perhaps genuine aliens. Gods would be post-human biologic or AI entities--or often some combination of both. Or figments of human imagination. Or leftover bombs.

Why a more "rigorous" science fiction masquerading as fantasy world than the usual Dying Earths or whatnot? No real reason other than it seems to me starting with far future science fiction and figuring out how it would be rationalized by a more primitive mindset might yield a fresher take on the standard fantasy tropes.

My Secret and Possibly Quixotic Yearning for Vanilla

Since I've entered the blogosphere (over 10 years ago now), I've imagined all sorts of variants of D&D-type fantasy from Weird Adventures to the cyberpunk planes City of Gyre, I've often even eschewed weird in the classic "Weird" sense. My takes were hardly even the most out there among the DIY crowd in which I have often found myself.

But there are times when I think back with nostalgia to a sort of game I never really played. Or games, I should say, it's not always the same. Sometimes it's nostalgia for fantasy before D&D was a thing, something like a mix of Byfield's The Book of the Weird, Alexander's Chronicles of Prydain, and the film versions of The Last Unicorn and The Hobbit. Other times, I think it should be a bit grottier, like the World of Titan, and the illustrations in the Fighting Fantasy books, and more adventure-y like select illustrations from the Moldavy-Cook editions and the earliest AD&D books. The rarest, least frequent itch is for something like the illustrations of the "High D&D" era defined by the likes of Elmore and Caldwell.

All very vanilla, I know. Our elves aren't different, they're just elves. Feudal Kingdoms, bearded wizards in towers. All the tropes!

I don't really know what the yearnings about. Some of these things were the inspirations of my pre-D&D days, so maybe its sort of the world that had moved on before I was old enough to take part in it. Others, well, they were maybe what was in the gamebooks I was playing with, but I was ignoring it in favor of the stuff I was reading--comics books, Edgar Rice Burroughs novels, Conan yarns.

Of course, its all relative. I'm sure some people think my Land of Azurth game is pretty vanilla,  but to me is too knowing to be that. Maybe that's why I never pull the trigger on a game inspired by one of these things. Still, it's something I think about.

Wednesday Comics: Suicide Squad Classic

There isn't a comic named Suicide Squad Classic, but I not the original Suicide Squad or to the recent incarnation that got a movie, but to the run that spun out of Legends in 1987. Written and created by John Ostrander and illustrated by several artists over its run, Suicide Squad (vol. 1) would go to 1992 and 66 issues. Ron Edwards has written some good essays about the series on his Comics Madness blog.

Anyway, all this is preamble to my wanting to clue you in to what I discovered this past week: Suicide Squad is now all available in trade paperback. The series of trades is as follows:

Trial by Fire (2011)
The Nightshade Odyssey (2015)
Rogues (2016)
The Janus Directive (2016)
Apokolips Now (2016)
The Phoenix Gambit (2017)
The Dragon's Hoard (2017)
The Final Mission (2019)

Weird Revisited: The Otus Pantheon

This Pantheon first appeared back in 2016.

Blame Chris Kutalik. He did a post back in the day about imagining a pantheon based on Erol Otus's strange evocative illustrations in Deities & Demigods. This is what I came up with:

Click to check it out in its enlarged "glory." The domains provided are for 5th edition.

Bronze Age Book Club: Young Love

A new episode of the Bronze Age Book Club podcast has dropped, just in time for Valentine's Day.

Listen to "Episode 14: YOUNG LOVE #112" on Spreaker.

Wednesday Comics: Wild, Wild West

The 60s spy-fi Western Wild, Wild West has had a couple of comic book adaptations. Gold Key Comics published 7 issues from 1966-69 (the span of tv series). The most recent series was in 1990 from Millennium Comics.

I've never read the Millennium series, but several issues of the Gold Key run are available on the Internet Archive. Check them out.

Shadows on the Hill

Our 5e Land of Azurth game continued last night with the party leaving Rivertown on their way to the Sapphire City and from there Virid Country. In the forests north of Rivertown, they encountered a an injured, cervine centaur-like creature named Tualla. Seeing the Sylvan Elf Shade among them, she asks for the party's help. It seems that something strange occurred in their ritual circle, and eruption of shadow, and the arrival of two umbral drakes.

The party agrees to at least investigate to see if they can help her people. After defeating a shadow-touched living tree, they around at the mound with its circle of standing stones. A fear grips a few of them, and all of them feel the touch of the unnatural, but they proceed.

Within the standing stones, they find a portal of roiling shadow, encircled by skulls--and the two wicked monsters. The mated pair of drakes taunt them, them knock over half the party unconscious with a breath weapon of cold shadow, then toy with them further, allowing the surviving members of the party to escape with their friends.

They rest with Tualla's people and strategize. The Sorcerer Bell recalls that Umbral Drakes are creatures of the Shadow Moon and are susceptible to celestial radiance. The party recalls that the shadow creature that might before was exquisitely susceptible to the energy weapons they carry. They begin to formulate a plan.

Fortified by the bards make (improving their constitutions), Waylon and Shade stealth into the cirlce of stones in an attempt to destroy the skulls around the shadow portal. The other party members spread out around the base of the mound, at the edge of the clearing to make distance attacks--or escape, if necessary.

Waylon and Shade walk right in the midst of the conversing drakes without being spotted, but Waylon's attempt to destroy a skull (a failure) brings their attention. The female attacks them viciously, but the group returns the favor with energy rifles and she only lasts two rounds. She does unleash her breath weapon on the two PCs in the circle, but their boost Constitution pulls them through.

As she dies, she warns her "toothless worm" of a mate that if he doesn't slay these "vermin" her ghost will haunt him forever.

Enraged, the male attacks. Dagmar uses daylight to disperse the shadows so he can no longer hide or travel between them. Kairon slows him to limit his attacks. The others focus their fire. Bell delivers the coup de grace with a chromatic orb.

Weird Revisited: Wild Wild West

Robert Conrad died yesterday at the age of 84. This post from 2015 is a tribute to what I think was his best role...

Wild Wild West was conceived as "James Bond on horseback." That was a just-about perfect genre combo for the 1965, and a damn good one for today. The actual show was even cooler, particularly when it went color; it was the Old West filtered through 60s spy-fi style with Jules Verne science fiction thrown in. It's practically begging for an rpg.

The show's James Bond of the 1870s was James West, Secret Service agent, who rode around in a private train with his partner, gadgeteer and master of disguise Artemus Gordon. Bruce Lansbury, producer of the show, described it thusly (as quoted in Susan Kesler's book):

"Jim's world was one of two-faced villainy, male and female, countless 'Mickey Finns,' and needle-tipped baroque pinkie rings that put him to sleep even as he embraced their dispensers. There were inevitable trap doors, hotel walls that ground their victims to dust or revolved into lush Aubrey Beardsley settings next door, lethal chairs that tossed occupants skyward or alternatively dumped them into dank sewers that subterraneously crisscrossed countless cow towns of the period. And then there was that old Dutch sea captain, leaning in the corner of the swill-hole of a bar, who inexplicably winked at Jim as he entered … Artemus, of course, in one of his thousand disguises."

Some highlights: a super-speed formula made from diamonds; an elaborate house full of traps made by a deranged puppeteer; a ground of assassins masquerading as a circus troupe; and of course, the genius dwarf, Miguelito Loveless.

(No doubt some of you remember the 1999 film of the same name. It's fine, in the way the 1998 Godzilla is fine.)

Anyway, in gaming Wild Wild West, a lot of folks would suggest Steampunk games first--but the Steampunk aesthetic is pretty much missing from the show, despite the superficial similarities in thumbnail description. Any Western rpg (or generic one) would work, I suppose--so long as it would support the Victorian super-science. The Western element is mostly cosmetic, though, Stripped of its trappings, it more resembles The Man from UNCLE at its core than say Wagon Train. I think a Western adaptation of the old James Bond game would be interesting with the spy-fi genre stuff it has built in. GUMSHOE might also be a good way to do it.

Gretel & Hansel

Oz Perkins' Gretel & Hansel is based on the fairy tale, but is a different story in many ways. This blogpost will contain some mild spoilers for the film.

Like most fairy tales, Gretel & Hansel takes place in a vague time period that is not the present or recent past. Also like many fairy tales, the place is vague, though it definitely has a old world feel about it. The film has none of the lush atmosphere often present in fairy tales, however. This isn't Sleepy Hollow or even Company of Wolves. Instead, it has the post-apocalyptic spareness of The Road (though it reminds me more of McCarthy's as yet unfilmed The Outer Dark). It's woods are gray rather than verdant. It's habitations are rundown and depopulated. The only place that looks really lived in is the house of the witch, and well, she's a cannibal.

Gretel and her little brother stumble through this wasteland, accidentally take psychedelic mushrooms, and are eventually bedeviled by a witch or witches--a child, a mother, a crone. Where this version differs from the traditional tale (well, besides all the stuff described above) is that this is Gretel's tale, or the tale of how the Gretel & Hansel duo split. The Witch sees something of herself in Gretel and is looking for an ally. There is no gingerbread house. No trail of breadcrumbs to lead our heroine back home.

Like Perkins' previous horror films it is a bit of a slow burn, so it may seem sluggish if you are looking for more jump-scares. Fans of The VVitch should find a lot to like.

Weird Revisited: Spacehunters

A variety of real life stuff has led to little time to prep the next installment of my Talislanta series. Instead, enjoy this post whose original version was presented in February of 2017.

Luis Royo

Watching The Expanse brought to mind a game I ran in GURPS perhaps decade ago. A "hard" science fiction thing using a lot of stuff from Transhuman Space put giving it more of a Cowboy Bebop spin: a little bit cyberpunk, a little bit 70s action film.

Howard Chaykin

If I ever ran a similar game again, besides using a system besides GURPS, I think I would draw more visually from '80s and 80's sci-fi, borrowing some elements from things like American Flagg! and 80s cyperpunk rpgs. The players' would still be ne'er-do-well, planet-hopping bounty hunters/troubleshooters but with a different skin.

Janet Aulisio

Thunder Bunny!

I new episode of the Bronze Age Book Club podcast dropped yesterday, this one about the Archie Red Circle comic Thunder Bunny #1! Hear it below or on your podcast app of choice.


Listen to "Episode 13: THUNDER BUNNY #1" on Spreaker.

Omniverse: Birds of A Feather

There is a lost city, hidden by the clouds, drifting slowly above the modern world, every bit as silent as the tomb it has become. This was the city of an ancient civilization of winged humanoids, the Bird People. It had existed for eons before the future king of Aquilonia, Conan, came to it some 12,000 years ago. It was called Akah Ma’at, and its people were at war with the bat-winged humanoids of Ur-Xanarrh, something Conan helped them with.

The Hawkmen of Mongo may well be the descendants of an abducted group of Bird People. The cannibalistic hawkmen Travis Morgan encounters in Skartaris are certainly of the same lineage.

It may be that Akah Ma’at meant “Sky Island” and eventually came to mean “Aerie,” because when they clouds recede again, and the city appears in the modern historical record, those are the names it is given in translation. In the 1920s, an airplane because lost in a storm and crashes into the Sky Island. A young boy was the only survivor. He was taken in by the Bird People and would be the costumed hero Red Raven¹.

It is possible that the hero Black Condor (Quality Comics) represents the same individual, since the Black Condor’s origin as related in the comics of being raised by condors in the Gobi seems implausible--and not just because condor's are native to the Americas. Perhaps the Bird People were in the habit of taking in foundlings?

Red Raven eventually had to turn against his adoptive people when their warrior class, under the influence of the Bloodraven Cult of demon-worshippers, sought to make war on the surface world. The ensuing civil war destroyed part of the city and ended with population either fleeing or placing themselves in suspended animation. The city was left in the charge of two android Bi-Beasts who would later encounter the Hulk.

There is some confusion regarding the origins of the Bird People. Accounts suggest that are an offshoot of the Inhumans, but this ignores the prior existence of Akah Ma’at. Rather, there is an Inhuman offshoot people with more avian features. These are the Feitherans, the people of the superhero Northwind, who lived in a hidden city in the Arctic Circle, and also probably the Aerians that live near the South Pole in the Savage Land.

¹Red Raven’s flight costume was made with Cavorite, which may or may not be the same thing as nth metal, but certainly as similar properties.

Wednesday Comics: Barbarian Life

I can't believe I haven't mentioned it before, but I couldn't find it in a search, so here goes Roy Thomas's Barbarian Life is subtitled: "A Literary Biography of Conan the Barbarian," but what it is a sort of a "director's commentary" on Marvel's Conan the Barbarian series.  It's two volumes, both now available in Kindle and soft cover. The first volume covers the inception and first 51 issues of the title, while the second goes up to #100, and Thomas and Buscema's final issue together.

Talislanta: In Zandu

Art by P.D. Breeding-Black

The land Zandu and it's people are relatives of the Aamanians, but the opposite side of the coin. Tamerlin tells us they are "eccentric and uninhibited" and "enhance their features with vividly colored pigments, adorn their hair with silver bands and dress in flamboyant apparel" to express their individuality. Where Aamanian society is uniform except for class, several factions of Zandir are described.

The entries on Zandu are no help with the Aamanian skin-color dilemma, however. The archetype descriptions across most editions say they have "topaz skin" (as they do for the Aamanians), but the setting text only says they "bear a marked physical resemblance to the Aamanians, both being descended from the copper-skinned Phaedrans." As mentioned before, the 4th edition attempts to resolve this by given the Zandir "copper or cinnabar" skin, and the 5th edition just says copper for everybody.

"I respond to three questions," stated the augur. "For twenty terces I phrase the answer in clear and actionable language; for ten I use the language of cant, which occasionally admits of ambiguity; for five, I speak a parable which you must interpret as you will; and for one terce, I babble in an unknown tongue." - The Dying Earth, Jack Vance

Perhaps the most interesting aspect of Zandu is its state religion, Paradoxism (or Paradoxy, as Tamerlin would have it). The Paradoxists  "profess to be mystified by their own existence." The central text  of the faith is "The Great Mysteries (author unknown), a lengthy book filled with over 100,000 questions, and no answers." The Paradoxist writ is named The Book of Mysteries from the Cyclopedia vol. 4 on. There are no Paradoxist priests, but wizards serve as seers for the faith. Outside of Zandu, these wizards "are largely thought of as frauds and impostors."

French Talislanta art

Paradoxy gets most detail in CTv4. It may contradict Tamerlin's original account by naming the founder of the philosophy as Zand, though this is ambiguous. I suppose he might not have been the author of the foundational text. While Paradoxy has no central deity or Pantheon, CTv4 introduces the idea of the Ten Thousand, which is the poetic name (there number is unspecified and ever changing) of the syncretized "saints, heroes, and deities" incorporated into Paradoxist practice.

"No fear of that. Cath has no laws, only customs, which seems to suit the Yao well enough."
- Servants of the Wankh, Jack Vance

All of that is the good stuff in the noncanonical CTv4, but it also has a tendency to present Zandu as the good guys with Aaman as the villains. There are hints of this in other Talislanta products, but it is the most present here. I think this is a mistake. Zandu is certainly more into personal freedom than Aaman, but it's ruled be an absolute despot and a capricious one to boot! It's a place where disagreements are often handled with duels.

I think Zandu works best if it is as frightening as Aaman in its own way. The culture of the Yao as presented in Vance's Planet of Adventure series would certainly be a strong inspiration. The libertarian, but baroque culture bound society of Sirene in Vance's "The Moon Moth" would be an influence here, too.

Paradoxy is, in many ways, more interesting than Orthodoxy, because it seems like it could come in so many flavors from absurd ascetism (not very popular) to lampoon's of New Age-y faddishness. I imagine variants of Paradoxy rise and fall like gods in Lankhmar (see "Lean Times in Lankhmar.") As to its seers being charlatans, well, I mostly take that to mean they have no more spiritual connection than anybody else, but their wizardry is likely real.

Talislanta: The Iron of Arim

"...a suspicious folk, who flourish their knives at a harsh word. At night they strike without provocation."
- The Dirdir, Jack Vance

Arim in the West of Talislanta is described in The Chronicles as "a grey and windy realm" of "rough and irregular hills." The Handbook (1987) tells us it's people are: "a dour and moody folk who find no joy in song, dance or revelry. They drink heavily, favoring chakos, a bitter and metallic tasting liquor." They're neither lookers nor snappy dressers, as Tamerlin observes:

They are swarthy of complexion, with long black hair and dark, deep-set eyes. The men tend to be gaunt and wiry, with glaring countenances and hatchet-like features; the women, heavy-set and lacking in charm. The customary mode of dress in this region defies all concept of fashion, and consists primarily of sackcloth garments, animal hide boots, bulky fur vests, and wristbands, knives, and ear-rings made of dull, black iron.

This description is largely ignored in later editions where they tend to present Arimites as well-muscled, relatively attractive folk.

Arimites are mostly miners, but this is usually only mentioned in passing to get to the more interesting stuff: Arimites' fame as skilled knife-fighters and their secret Revenant cult. The Chronicle describes the Revenants  as "members of a secret society who specialize in carrying out acts of vengeance for their clients." Tamerlin reports that they have subspecialties in various "forms of revenge from delivering insults and threats to arson, coercion, muggings and murder-for-hire." Later editions tend to emphasize their roll as assassins, implying that that's all they do.

The deuterocanonical Cyclopedia Talislanta vol. IV gives information on the structure of Revenant Cult's cells and mentions a mysterious High Revenant that rules them all. Third edition says this leader is an assassin-mage who lives in a mountain top sanctum, which seems unlikely given the preponderance of evidence indicating the Arimites are poor mages. All editions agree that the Revenants are the de facto rulers of Arim, in that the nominal ruler, the Exarch, refuses to leave the Forbidden City of Ahrazahd out of fear of them. The Exarch, for what it's worth, is not very popular among his people.

The Cyclopedia holds that Arimites worship or perhaps revere Destiny, or have a few of cults that do. Fourth edition says they are agnostics.

The Arimites have the gloomy environment of Robert E. Howard's Cimmerians and elements of a number of hill or mountain folk. They've got a thing for knives like the Afghans of pulp tradition with their Khyber knives, though the Arimites mostly use throwing knives. They're miners, and prone to feuding and substance abuse, traits often associated with Appalachian folk. I say play up that stuff and add a bit from the Khors of Vance's Tshcai--see the quote at the start, and here's another: "they consider garrulity a crime against nature."

The Revenants at times seem to be trying to draw on the Persian Order of Assassins and maybe even the ninja. I'm okay with that, as long as a hillbilly element is played up. I also like the Vancian absurdity of them doing acts of vengeance besides murdering people.

Exarch as the title of Arim's ruler is interesting. Since it's a Byzantine title for a governor of a territory, it suggests to me that the earliest exarchs were perhaps barbarian stoogies of the Phaedran Empire. A "Forbidden City" is an odd detail for hillfolk, but I assume it's more a fortified town and the Exarch is more a chieftain or tribal leader with delusions of grandeur.

Talislanta: The Purity of Aaman

Art by P.D. Breeding-Black

In The Chronicles of Talislanta (1987), our narrator the wizard Tamerlin starts his journey across the continent with Aaman in the Westernlands. The introduction of Aaman was actually in the Talislanta Handbook published a month before. This, in summary, is what we are told about the Aamanians, and what holds true across every edition:

• Aaman is a remnant of the Phaedran Empire and a theocracy, ruled by conservative Orthodoxist faith, worshiping Aa the Omniscient (Or Omnipotent. Or Omnificent.)
• Aamanians are high conformist and dressing simply and conservatively, and removing all their facial and body hair. 
• All Aamanians desire to attain mana, "so that they may rise in status and piety." 

The Aamanians' skin color is the subject of some disagreement across publications. Character archetype descriptions in the 1st-3rd editions hold that they have "topaz skin and green eyes." The text of The Chronicles, however, describes them as having "skin the color of cinnabar," as does the Talislanta Worldbook of the 2nd edition. The 4th edition is the first to be internally consistent is this regard and goes with "cinnabar." With the 5th we are back to some discrepancy, with Hotan's History saying "cinnabar" and the Player's Guide saying "copper-colored."

Art from the French edition of Talislanta

But that's a minor issue. What's more interesting is mana. The 1st edition Handbook tells us mana is accumulated by good works: "pilgrimages to officially sanctioned holy sites, donations to the church, service to the Hierophant, and so on." By gaining sufficient "mana points" one can advance in status. The Chronicles expands on this by telling us mana is "spiritual purity," and defines the hierarchy with the Hierophant with unlimited mana at the top, and the district-ruling (and mana awarding or deducting) Monitors beneath him having at least 1000 mana points. Slaves and infidels have 0 mana points, naturally, and between the extremes are ten ranks of Aspirants.  Advancement in status by this measure is a "preoccupation" of Aamanians because position in the worldly Orthodox "caste system" corresponds to position in the after life in some unspecified way.

Material wealth enters into this as we are told the easiest way to obtain mana points is to enter into the priesthood and study to become an archimage--but tuition is high. In addition to the other means mentioned in the Handbook, buying statues, medallions, and relics is also a possibility.

The 2nd edition (in the Worldbook) tells us that "aalms" are the unit of mana (presumably the mana points mentioned). Reading all the texts, I am confused as to whether mana is a state or a thing to be accumulated. I suppose like the word sin, it might be employed both ways, though the analogy isn't perfect because counted sins are discrete entities, not a continuum that needs units to measure it, like say force or electric current.

The Cyclopedia Talislanta vol. 4 (1989) is now considered "noncanonical" for reasons various and not entirely clear, but it does have some interesting, detailed information on Aaman. It emphasizes the importance of wealth in determining status, presumably indirectly by the purchase power it allows to buy aalms. (Confusingly, it calls mana "the mystical unit of a person's worth.") It notes a requirement to buy a different symbol of Aa at each level of the Hierarchy. 

The Cyclopedia is the first to address gender roles and places women as second class citizens in the hierarchy, making them always one status level below their husband or father. 

Art by Jason Sholtis

The oppressive theocracy is a genre staple, though Aaman never seems to dip into the "decadent or hypocritical theocracy." Instead, it seems to go in the direction of more secular totalitarian societies in science fiction. The aalms economy and rank system is interesting, too. It seems to have parallels to Scientology as well as the obvious ones to the indulgences of the Middle Ages.

I would leave out the sexism of the Cyclopedia; Aaman should be equal opportunity in its oppression. I would play up the extreme conformity and societal control, borrowing from Vance's The Pnume, and the speaking in aphorisms and quotations of liturgy mentioned in the text, almost to a degree that resembles the Ascians of Wolfe's The Book of New Sun. While material wealth would afford some advantages in maintaining one's position Aamanian society, I figure high mana is the key to getting wealth in the first place by leading to the award of lucrative positions, titles, and contracts, and some high mana individuals might wield considerable power without a lot of wealth.

Finally, despite what is possibly implied in The Chronicles, I lean toward the idea that Orthodoxy is aniconistic with regard to its deity--other than the eye. There is no commentary literature regarding the holy Omnival. The word means what the Hierophant says it means. Doctrine does change with time, but devout Orthodoxists will not admit a revision has ever occurred, indeed they may be strongly conditioned not to see it, even it it is pointed out to them.

Wednesday Comics: Hill House

Hill House is a horror imprint of DC Comics curated by horror writer, Joe Hill. He writes a number of comics himself, as well as presumably selecting the other creators. I have read at least the first issues of three of the four current titles and while it's difficult to draw definitively conclusions in this age of decompression each is off to a promising start.

The Dollhouse Family
Six year-old Alice is left a Victorian dollhouse by a great-aunt or something, and soon finds she can visit the house's inhabitants. and can even escape the domestic violence of her home to live their all the time. There's a price, I'm sure. This one is written by Mike Carey and his art by Peter Gross.

Low, Low Woods
Described as "coming of age body horror" it tells the story of two outsider teenage women in a dying mining town with a cold seam fire beneath it. There's also a mysterious plague that causes people to lose their memory and the girls already have one night they can't remember in a movie theater. Then there are the skinless bodies (undead maybe?) they show up sometimes in the woods. Unlike The Dollhouse Family, it's harder to see where this one is going. It's written by Shirley Jackson Award winner Carmen Maria Machado and features art by Dani, fresh from Coffin Bound.

Daphne Byrne
In Victoria era New York, Daphne Byrne has recently lost her father and her grief-stricken mother is an easy mark for spiritualist hucksters. In dreams, Daphne is contacted by her presence who claims to be her brother and promises help for her situation. It's writer by television writer and playright Laura Marks, and features artwork by the great Kelley Jones.

Getting Out of Rivertown

Our Land of Azurth 5e game continued last night with the "Masters of Mayhem" in the midst of a robbery. Using a Blades in the Dark-esque opportunity to retcon planned events (at the price of a greater chance of a complication), the players attempt to establish that they bribed the vault guards to look the other way prior to the robbery. They are successful with the pertinent rolls and the retcon is established. The approaching guards are ready to be knocked out with a sleep spell, if necessary.

But the angry invisible stalker has not been bought off. It attacks the party again, and Bellmorae (disguised as the vault manager Wotko) is unable to get it to stand down. The party eventually kills it with magic and stolen energy weapons.

The party decides to get out while the gettings good, but their only choice is to leave their Armoire of Holding behind with the hope of regaining it later. On the way through the lobby, "Wotko" (the disguised Bell) is accousted by a customer demanding her attention. She manages to talk her way out of it and they leave the vault with Gladhand's gold.

The party becomes concerned that when the real Wotko and his associate awaken, they may well draw attention to the Armoire, leading to the heist being discovered. They figure they have to get out of town. But they also want to get the Armoire back. They make the mistake of letting Gladhand know this before negotiating for a higher fee, and he offers to both help them get out of town and retrieve the Armoire in lieu of further payment. 

Ultimately, though, they decide not to take his offer of getting them jobs and cover identities with a caravan heading across the Dragonspine Mountains to the Country of Sang. Instead, they plan to make their own way to the Sapphire City along the Wizard's Road, and from there to Virid to meet Queen Desira.

Talislanta: The Continent and Magic

This is a follow-up to this post, and the beginning of my examination of the setting throughout its publication history. First up, the big picture.

Talislanta the setting is named for the continent which is its central focus. Though other, semi-legendary lands are mentioned in passing, The Chronicles of Talislanta (1987) makes a pitch for dropping the continent into any fantasy setting:

As to the land of Talislanta: those scholars who do not dismiss the topic out of hand disagree as to the origins of this otherwise forgotten realm. Some claim that Talislanta existed long ago, perhaps during the legendary First Age of Atlantis. Others, lending even broader scope to their imaginations, cite Tamerlin’s chronicles as proof of the existence of parallel worlds or alternate realities. Proponents of the hollow earth theory, avid readers of Charles Fort, and others of similar bent may formulate even more intriguing explanations for the Talislantan texts.

This vagueness regarding the wider world doesn't last. In 1988's Sorcerer's Guide, Talislanta's world is placed on the plane of Primus within the wider Omniverse, not utterly unlike D&D's planar setup, but much less complicated. With the 2nd edition and The Talislanta Worldbook (1990), Talislanta's planet gets a name: Archaeus. Archaeus has seven continents in total:

The origin of magic in the Talislantan milieu is revealed for the first time. A tribe of "Sub-Men" (Talislanta's name for the primitive humanoid inhabitants of much of the continent) discover the wreckage of a ship of some kind and find a crystal orb that contains "the secrets of a lost and forgotten art—magic." Learning magic, these Sub-Men develop into the race known as the Archaeans (simply called "Men" in the 1st edition).

The 3rd edition largely follows the Worldbook's details, but demotes Archaeus from the center of its system to being a planet orbiting binary stars. This star system is just one of many within the material plane. The Sub-Men tribe uplifted by magic from a wrecked "strange vessel," now become known as Archaens.

Archaeus' solar system is de-emphasized in the last two editions, but the origin of the Archaens is now firmly established. In the 4th edition, Sub-Men is a derogatory term for the "Wild Folk" and the crashed ship is called out as "alien" and called an "ark." The 5th edition, affirms the ship was alien and states that it is believed to be of extra-dimensional origin. There are parts of it still in existence, recognizable by the rainbow color they emanate. The Sub-Men are again Sub-Men.

Why does the stuff about the Archaens matter? Talislanta was established from the beginning as a post-apocalyptic setting with frequent references to a Great Disaster. The Archaens were not only the ancestors of the "human" races of Talislanta, but the source of most of its magic, and also (perhaps) the cause of the destruction of their own civilization.

The idea of magic, or at least the advanced practice of magic, being alien in origin is a nice little detail to me, and one I don't think Talislanta has ever explored to its fullest. There is a lot that could be done with that in a campaign.

The vacillation between extraplanetary aliens and extradimensional ones, seems to coincide with some ambivalence about whether Archaeus is a planet in a science fiction conception or a "world" in a fantasy conception. I like a view of "outer space" more metaphysical than strictly physical, like in Medieval cosmology or pulp fiction like Howard's "Tower of the Elephant" or Lovecraft's Dream-Quest of Unknown Kadath, for Talislanta. I favor a more fantastic Archaeus, as well. One where you could sail across an ocean and into another world, perhaps.

Those preferences are in general. For the Sword & Planet thing I'm planning, I'm go with a much more realistic world around a realistic star.

Return of the Bronze Age Book Club

First episode of 2020!

Listen to "Episode 12: CONAN THE BARBARIAN #127" on Spreaker.

Through A Veil of Blue Mist Did I First Behold Talislanta

I've mentioned my appreciation for Stephan Michael Sechi's Talislanta setting. Since I'm contemplating running a Sword & Planet game that uses Talislanta as the "planet," I though it was a good time to revisit the setting, and it's publication history in a series of posts, as I think about what I'm going to use and what I might do differently.

Historically, Talislanta is both a setting and a game. It's core, however, has always been the systemless Chronicles of Talislanta, first published by Bard Games in 1987. Chronicles is the narrative of Tamerlin, a wizard from another world, as he explores the continent of Talislanta. Sechi's imaginative setting is made more compelling by P.D. Breeding-Black's distinctive illustrations.

When I first encountered Talislanta, I didn't have much experience with Sechi's inspirations: the works of Jack Vance, Marco Polo's Travels, The Dream-Quest of Unknown Kadath, and the comics of Philippe Druillet. To me, it seemed more daring than the implied setting of D&D, and at once goofier and more lurid than the likes of Middle-Earth. It reminded me of Star Wars and comic books. I liked it instantly.

My appreciation has only grown over the years. So, I'm going to trace Tamerlin's journey and the places it visits across editions and think about how I might make it my own, influenced by my understanding of Sechi's stated influences and influences of my own.

More to come.

Weird Revisited: In the Twilight

The original version of this post appeared in 2016...

At least ten empires rose and fell during the Meridian of Earth. Each was glorious and wrested such secrets from the universe as to enable it to bend laws of nature, obdurate to earlier cultures, to its whim. Each in time fell into decadence, dwindled, and died, but at the end of the Meridian Time, the Earth had been transformed by their works; it had become the abode of beings other than Man.

As the Twilight fell and the sun grew bloated and sanguine, those Outsiders and abhuman things encroached ever closer on the nations of Man. By and by, they gained greater dominion over the Earth. In the early centuries, the technologies of the elder Meridian still functioned, and Man comprehended enough to build great walls as a defense against the inhuman. As Twilight deepened, many of these redoubts fell, but a few stood fast and managed even to throw back their foe. The Coming Night was held in abeyance for so long that generations passed and many began to doubt it would ever fall.

But beyond the walls, the Great Beasts crouched and waited with patience inhuman but not infinity, and abhuman armies gathered in the deepening in gloom...

Here's the pitch: Take the early modern bleakness, occasional black humor, and body-warping chaos of Warhammer Fantasy and put it in a Dying Earth gone weird like Hodgson's The Night Land, making sure to filter the Watchers (Great Beasts in this case) through Lovecraftiania, a hint of kaiju, and good old fashion goetic demonology. Wrap it all in "points of light" surrounded by walls out of Attack on Titan.