Adrift Amid the Random Isles

If your players find themselves, like Captain Bill Clanton and the two Javasuan maidens above, adrift in the South Seas, you might need to know that sort of island they ultimately wash up on. For just such an occasion, I present the Random Island Generator:

Island Type (d10):
01-02: Volcanic (extinct)
03-05: Volcanic (active)
06-07: Mountain top of a drowned continent
08-09: Coral atoll
  10:  Exotic (man-made, giant turtle, floating, etc.)

Island Size (these are all small in a general sense--that’s why they’re uncharted) (d6):
01: Very small (1-10 sq. mi.)
02-03: Small (11-49 sq. mi.)
04-05: Medium (50-200 sq. mi.)
06: Large (201-1000 sq. mi.)

Inhabitants (d6):
01: None
02-03: Animals
04-05: Intelligent Creatures (then see below)
06: Special

Intelligent Creatures (d12):
01-02: Crabmen
03: Lava Children (active volcanic only)
04-05: Sahuagin
06-08: Humanoid
08-10: Human
11-12: Exotic (tiny humans, giants, animal-headed, etc.)

Civilization (d100):
01-11: cannibal
12-15: peaceful
16-25: war-like women (50% man-hating, 50% man-hungry)
26-35: feuding tribes
36-45: Gender-split, feuding
46-55: Cargo cult
56-65: Lost colony, highly developed
66-75: Lost colony, devolved
76-80: Seeming utopia
81-91: Remnant of a great civilization
92-00: Other (monster-worshipping, alien, etc.)

Unique Monster (if desired) (d6):
01-03: Giant animal
04: Froghemoth
05: Living Statue(s)
06: Earth-bound god

Tombstones in Their Eyes

Sit down in any small-town diner in the West of the New World, and like as not, you’ll hear stories of ghost towns. These are minor trail-stops that wasted away when the course of the railroad or the highway took civilization elsewhere; or mining towns that went from boom to bust when the mines dried up. Most of the time, the stories say they’re haunted. Sometimes, the stories are true.

It’s not a rare thing to encounter a ghost--most human habitations of any size have their share of them. What makes the real ghost towns of West unusual is that they’re not places of single hauntings, or even a group of restless spirits. In other places, a dilapidated tavern may be full of ghostly revellers and staff. Ill-fated hotels may have multiple patrons who never leave. But visitors to some of these towns have recounted tales of almost entire, if small, populations of ghosts.

This is a misperception, or perhaps it’s better termed a trick. There are no ghosts in these towns. The towns themselves are the ghost.

For reasons unknown to modern thaumaturgical sciences, the West was fertile ground for the development of deranged genius loci--spirits of place. Maybe these lonely places grow mad with isolation, or maybe they’re born bad--a final curse of the Native shamans driven from their ancestral lands. Whatever the case, the spirits of these towns, either in madness or as an attempt to ease their loneliness, populate their streets and structures with the semblances of people from their memory. Essentially, they put on a phantasmagorial puppet show.

Some ghost towns are homicidal in their madness and seek to lure in living humans, then kill them in fiendish ways. Others are simply lonely, and will attempt to beguile or otherwise convince humans into staying with them.  Whatever their desires, they sit quietly in the high desert, the lonely praire, or snow-bound mountainside, forlorn and waiting.

GHOST TOWN
No. Enc.: 1
HD: 12
AC: see below
Abilities: Ghost towns may be destroyed, or at least weakened to the point where they can no longer manifest significantly on the prime material plane, only by destruction of most of the structures making up the town--so traditional hit points don’t apply. Eidolons created by the town act as ghosts, but of lower hit die, as the total number of its manifestations can have no more than 12 hit dice, total. The ghost town may produce more phantasms than this, but the rest are simply illusions with no substance. None of these sub-ghosts automatically cause aging and fear, but they can display a horrifying countenance which will do so. Ghost towns may also use telekinesis as per the spell, but must wait 1d4 rounds to do so again.

Living Tattoos

Living tattoos are two-dimensional, intelligent entities--parasites perhaps--which manifest as body art. The origin of living tattoos is mysterious, but they first appeared in the Orient in the dim past. They prefer to keep their existence a secret, hiding among mundane tattoos.

These beings can be place on human skin by means of a summoning ritual, and a magical ink known to the sorcerers of the High Lords of Yian, and perhaps others. Once they have been placed, however, unless they are magically bound, they may wander and pass to others by physical skin-to-skin contact for several seconds, at least.

Living tattoos have no magical ability to coerce bearers, but their constant presence and whispering influence tend to eventually lead all but the strongest willed to fall under their thrall. For every week a person bears a living tattoo, there is an additional -1 to his or her save against doing as the tattoo suggests (wisdom bonus, if any, adds to the save). Living tattoos have goals of their own, but in general, urge bearers acts of violence or depraved pleasures.

The tattoos can not be physically injured except by means that destroys the skin of the bearer, though a remove curse can cause them to flee to another bearer in available and failing that, cast them from this plane, and certain spells are able to affect them directly.

There are rumored to be factions among the living tattoos. They work at intrigues through the proxy of their bearers to get the upper hand on the others of their kind. The ultimate stakes in these games remains mysterious.

Living Shadow
No. Enc.: 1
Hit Dice: 6
Save: F6
Morale: 12

Gone to Texas

Which I have, on business--but the title as much refers to the phrase people in the 19th Century might find carved in the door--often in the abbreviation "G.T.T."--of the abandoned homes of friends or family.  "Gone to Texas" was used to describe folk who have found it expedient to leave their homes due to debt or other legal difficulties.   The phrase provides a title for the 1975 publication of Forrest Carter's novel, better know in its film adaptation--The Outlaw Josey Wales.

All this is by way of introduction of a little project I started a year or so ago which might be of interest to those playing (or planning) Western rpgs, or just those with an interest in the Western genre in film.  I present to you, the Western Film Timeline, which places the events described in various movies in a historical context.  It remains a work in progress, but covers events from 1836 (The Man from the Alamo) to 1917 (The Professionals).  Corrections are welcome.

Warlord Wednesday: Birds of Prey

Let's re-enter the lost world with another installment of my issue by issue examination of DC Comic's Warlord, the earlier installments of which can be found here...

"Birds of Prey"

Warlord (vol. 1) #33 (May 1980)

Written and Pencilled by Mike Grell; Inked by Vince Colletta

Synopsis: Morgan and Shakira are flying along on the disc they stole from the titans. Morgan broaches a subject with Shakira that’s been bothering him: is she a woman who turns into a cat, or a cat turns into woman? And how does she do it, anyway? Shakira refuses to answer the first question, only replying “I have to have some secrets.” She suggests that maybe her ability is “magic.”

Morgan has little faith in magic. He shows Shakira the burned-out remnant of the Hellfire Stone. Magic can’t bring back his son, and it can’t make him forget he caused his son's death. He keeps the stone as a reminder of magic’s limits.

The conversation is interrupted by the attack of winged, bald men Shakira identifies as “hawkmen.” Morgan and Shakira hold their own against the attackers until the hawkmen lasso Shakira and bear her off into the sky. Watching her abduction, Morgan lets his guard down for an instant and is hit from behind, knocking him from the disc.

Morgan’s quick reflexes allow him to save himself by grabbing the control cable, but supporting his wait shorts the controls. Morgan finds himself dangling in midair, being dragged behind a runaway flier. He travels that way for short distance, until the flier gives out, and plunges to the ground.

Morgan lies unconscious in the forest, where he's found by a group of dwarves. They debate what to do with him, worried he might be allied to the hawkmen.  Eventually they decide to take him to their village and let their mayor decide what to do.

In their quaint, tree village, they bring Morgan before the mayor. Before he can pass judgement, Morgan awakens, which causes all the dwarves to run away in fear. Morgan coaxes them out of hiding by convincing them he’s not with the hawkmen--in fact, he’s their enemy. The dwarves are pleased by this, as the hawkmen raid their village and steal their women. The mayor pronounces Morgan a friend and offers him a drink:

The strong dwarvish liquor brings tears to Morgan’s eyes and almost makes him fall over. The mayor opines that “it takes some getting used to.”

The mayor tells Morgan the hawkmen are away on a raid to the South. That gives Morgan the idea to prepare a surprise for them on their return. The mayor says Morgan will have to do it alone--the dwarves are too small to stand up to them. Besides, they’ve got know way to reach the hawkmen’s aerie. He shows it to Morgan, high atop a giant tree. There’s no way to climb up!

Morgan asks if they’ve ever tried, though he knows the answer.  He tells the mayor all he needs from the village is 100 feet of rope and goat-skin full of their dwarvish firewater.

Morgan begins climbing the tree. He’s surprised to find guards swooping down at him. After a precarious battle with Morgan swinging around the giant tree trunk on his rope, the hawkmen are defeated. He resumes his climb with more urgency. He has to reach the top before the rest of the hawkmen return.

Upon reaching the aerie, Morgan makes a grisly discovery. Scattered about are human (or dwarven) bones. No sooner has he found the fate of the hawkmen’s captives, than he sees them returning with Shakira. Morgan quickly spreads the liquor around their nest, then hides.

As soon as the raiders carrying Shakira are within the nest, Morgan attacks. He cuts Shakira free, then throws down a torch, igniting the liquor. Morgan grabs Shakira’s hand and says their only way out is to jump into the lake below.

Shakira balks with a feline dislike of water. She turns into a cat to run away, but Morgan snatches her up. He jumps from the tower with her cursing him.

Morgan and Shakira climb from the lake and look up at the aerie, now engulfed in flame. The mayor thanks Morgan for his help, and asks if he got his cat back. Morgan replies, “Yes..."

Things to Notice:

• Where are the hawkwomen?
• Shakira talks while in cat form.
• Dwarven females are taller and less comical looking than the dwarf males.

Where It Comes From:
The hawkmen are likely inspired (and named) for the hawkmen of Alex Raymond's Flash Gordon comic strip, and related media.

The dwarves Morgan encounters seem to have a Munchikin-esque character, mode of dress, and appearance, though they live in tree homes more like the Keebler elves.  It's possible that The Wizard of Oz was the whole impetus for the story, with the dwarves inspired by the Munchikins and the hawkmen standing in for the evil flying monkeys.

The Tintype of Dark Wonder

The Tintype of Dark Wonder is a magical artifact, often discovered at a carnival photography booth or in the possession of a street photographer. The photographer will not have taken the picture himself, nor will he know how it has come to be among his wares. It’s usually sold cheaply.

The small cult who follows the picture's movements, and chronicles them in iterations of the mimeographed or photostatted tract known as The Menagerie Grotesque, holds that it has its origins in drowned Meropis. No serious scholars view the cult as anything more than a collection of crackpots, so this, like all their other claims, are doubted. What is not in doubt, however, is that the item gives the possessor control over three magical entities, but at a price.

The possessor may summon the three, frankly ludicrous, animal caricatures pictured by simply holding the tintype, looking at the desired creature, and willing said creature to act in accordance with his will. When a creature is summoned it disappears from the picture, returning only when its task is complete. The creatures will act in the following manner:

The gluttonous frog: When called the frog will follow any individual the possessor wills. It will be invisible to all with magically aided vision but the possessor. The victim will find themselves with a growing appetite for food, sex, and other pleasures. Over time, these appetites will grow increasingly bizarre. The victim will gain weight, whether eating excessively or not. Over a period of 2-12 months they will become immensely fat and virtually immobile, and entirely depraved. A saving throw will allow the victim to intuit that they are under a curse. Remove curse will chase the frog away.

The lanky hound: When called, the hound begins harrying a victim. It will only be visible to the victim, the photo’s possessor, and those with magical sight. The hound will always stay far enough away from the victim so that it is a vague shape in the distance, or perhaps a distorted figure in the fog, glimpsed by peripheral vision. The hound's presence will cause the victim increasing feelings of dread and paranoia. Within a week, they will be suffering the effects of poor sleep. Within two, they will be unable to perform in any critical situations and be essentially homebound by fear--only being able to leave with a successful Wisdom check. The victim seeking out the hound and chasing it, will drive it away for a time, but it will return in 1d4 days. Only remove curse or the like will drive it away permanently. After 1d4 months, only a saving throw will keep the victim from attempting to end their own life.

The twisted eel: The twisted eel causes the degeneration of the body of the victim, by progressive nerve death, and crippling arthritis. The victim will feel the eel's cold-blooded presence but only the possessor and the magically sighted see it. After a 1-6 days of the eel’s influence, pain will cause a -1 to all roles involving physical aptitude. After 2d4 weeks, dexterity and strength will begin to be reduced at a rate of 1 point a week. Healing magic will stave off loss for that week, but not halt the degeneration. When strength and dexterity are reduced to zero, constitution begins to decline at a rate of one point a day. Once again, remove curse or the like will drive away the eel.  If the eel is driven off before a score reaches zero, it will fully heal with time.

Death of the one who summoned the creature will also end its attack. If a remove curse drives the creature from its intended target, it will attempt to attack the possessor instead, unless a successful saving throw is made. Each possessor may only summon each creature once, after that the picture seems to be just a picture....except for the untoward attention it brings to the possessor from extraplanar entities, and sorcerous collectors eager to add the tintype to their collections.

Crossover

Crossovers are a time-honored tradition in media, going back to the ancient Greeks (remember the Argonauts?) at least. The intertwining of genre literature characters hit its high mark with the so-called Wold-Newton Universe. What Philip Jose Farmer created to give a give illustrious pedigrees to Tarzan and Doc Savage, others have turned into a grand unified theory of crossovers.

The appeal's obvious to any genre fan. If the Shadow meeting Doc Savage is good, throwing in the Cthulhu Mythos and Shaft might just make it better--particularly if a way to really explain all these characters existence in the same universe could be found.

“Anything (or almost anything) goes” crossovers can have a lot gaming appeal. Superman can join the Avengers in a supers game. Philip Marlowe or Sam Spade might cross paths with investigators in Call of Cthulhu. Or maybe its apes versus machine, as Escape from the Planet of the Apes meets the Terminator.

Crossovers can also be used on a smaller scale to create setting continuity. PCs from one game might show up as NPCs in another, or events from a previous game might be referenced. This can even work cross-game and cross-genre. The Hyborian Age of Conan was long part of the prehistorical past of the Marvel Universe, so there’s no reason one’s D&D game could be somehow related to the history of one’s superhero game, or even one’s modern occult game.

All this just scraps the surface. Anybody have any crossover examples from their own games?