5 minutes ago
Monday, March 27, 2017
A Blurry Picture of my Haul of Dubious Treasures from GaryCon
What we've got here is: Journey to the Cloud Castle, All The Worlds' Monsters Vol. 2, DM's Book of Nasty Tricks Misfits and Magic, The Hole Delver's Catalog, Dragons of Weng T'Sen, Amazon Mutual Wants You! Vol. 1, and The Trouble with Friends.
Why these particular items? It would be ahrd to say, though some of them had the requisite amount of old school kitsch or nostalgia from seeing ads in Dragon. I did buy a couple of newer things but this was the weird stuff.
Friday, March 24, 2017
Weird Revisted: Weird Weapons, Weird War
Usually with these revisitations, I go for a most from around the same date, but Jason "Dungeon Dozen" Sholtis aske me a related question yesterday, so I thought it was worth revisiting this one from 2010:
First among these was the use of alchemical weapons, particularly gas. The forces of Neustria were the first to utilize them with fragmentation shells filled with stinking cloud potions. The Staarkish army soon escalated to lethal chemicals. Their "Magic Corps Men" cast cloudkill which, as a heavier than air gas, was ideal for filling enemy trenches. Since mages are a quirky lot, generally ill-suited to military discipline, their numbers in the Staarkish forces were small, and it proved expedient to replace them with thaumaturgic shells which could be fired from artillery at a greater distance. The gas could also be pumped out of tubes, if the wind directions were right. Soon these methods were adopted by all the larger nations.
Other, more exotic chemicals were tried. Acid fog was released from sprayers to discourage attackers or soften defenders. Yellow musk, the pollen of the eponymous creeper, cultivated in secure greenhouses, was used to entrance enemies and make them easy targets. Amorphing solutions delivered via artillery shells sowed terror by making flesh malleable, dissolving limbs or even melting soldier's together. The only limits were the imaginations (and funding) of the alchemists and thaumaturgic engineers.
Magical weapons of mass destruction were also employed, and could be delivered to distant targets through the use of artillery and airships. Thaumaturgical explosives and blights laid waste to cities and farmlands. Rays of searing light, or jets of intense cold fired from zeppelins cut swaths of destruction across enemy trenches. Implosive weapons literally collapsed fortifications--or hapless troops--in on themselves.
Then there were the weapons calculated to cause as much terror as direct damage. Teleportation beams were turned upon population centers. Fear rays lead to mass panic. The battlefield fallen were briefly animated to turn on their grieving comrades. This is to say nothing of the even more exotic reality-warping weapons which, though rare, were powerful enough to disrupt the elemental fields to this day.
Man-shaped golems were still used--largely for their flexibility and, in some cases, greater psychological effect on the enemy--but these were produced with greater mechanical skill, giving them a wider variety of uses. Once again terror was a prime goal, as squads of murderous constructs with the appearance of children's toys were sent into unsuspecting villages in the dead of night.
It's the hope of many that the most lasting innovation of the conflict will be that man has finally had enough of war. Certainly, the devastation wrought in Ealderde, and the refugees that still pour into the New World to escape the post-war horror, ought to be powerful reinforcers for such a lesson. Still, as the cynics among us would point out, no one has ever lost money betting on the short-memory or long-term foolishness of mankind.
“The object of war is not to die for your country but to make the other bastard die for his."When the crazy-quilt patchwork of nations that was Ealderde erupted in the Great War, a number of new technologies were brought to bear. Thaumaturgical and alchemical weapons and "weaponizable" advances were among these, and were utilized on a scale never seen before--with long-lasting, and terrible consequences.
- Gen. George S. Patton
First among these was the use of alchemical weapons, particularly gas. The forces of Neustria were the first to utilize them with fragmentation shells filled with stinking cloud potions. The Staarkish army soon escalated to lethal chemicals. Their "Magic Corps Men" cast cloudkill which, as a heavier than air gas, was ideal for filling enemy trenches. Since mages are a quirky lot, generally ill-suited to military discipline, their numbers in the Staarkish forces were small, and it proved expedient to replace them with thaumaturgic shells which could be fired from artillery at a greater distance. The gas could also be pumped out of tubes, if the wind directions were right. Soon these methods were adopted by all the larger nations.
Other, more exotic chemicals were tried. Acid fog was released from sprayers to discourage attackers or soften defenders. Yellow musk, the pollen of the eponymous creeper, cultivated in secure greenhouses, was used to entrance enemies and make them easy targets. Amorphing solutions delivered via artillery shells sowed terror by making flesh malleable, dissolving limbs or even melting soldier's together. The only limits were the imaginations (and funding) of the alchemists and thaumaturgic engineers.
Magical weapons of mass destruction were also employed, and could be delivered to distant targets through the use of artillery and airships. Thaumaturgical explosives and blights laid waste to cities and farmlands. Rays of searing light, or jets of intense cold fired from zeppelins cut swaths of destruction across enemy trenches. Implosive weapons literally collapsed fortifications--or hapless troops--in on themselves.
Then there were the weapons calculated to cause as much terror as direct damage. Teleportation beams were turned upon population centers. Fear rays lead to mass panic. The battlefield fallen were briefly animated to turn on their grieving comrades. This is to say nothing of the even more exotic reality-warping weapons which, though rare, were powerful enough to disrupt the elemental fields to this day.
Another technological change in the Great War was touted as potentially rendering the human soldier obselete. Constructs and automata have been used before, but never in such a scale. "Land ironclads" or "landships"--now colloquially called "tanks"--were an innovation by the army of Grand Ludd on thaumaturgical techniques used to make anthropomorphic golems. Some tanks required human operators, but others were automonous to a degree, like the golems. This proved to be another one of the mistakes of war, as man-hunting kill-machines still roam the blasted former battlefields and depopulated wastes of Ealderde.
Man-shaped golems were still used--largely for their flexibility and, in some cases, greater psychological effect on the enemy--but these were produced with greater mechanical skill, giving them a wider variety of uses. Once again terror was a prime goal, as squads of murderous constructs with the appearance of children's toys were sent into unsuspecting villages in the dead of night.
It's the hope of many that the most lasting innovation of the conflict will be that man has finally had enough of war. Certainly, the devastation wrought in Ealderde, and the refugees that still pour into the New World to escape the post-war horror, ought to be powerful reinforcers for such a lesson. Still, as the cynics among us would point out, no one has ever lost money betting on the short-memory or long-term foolishness of mankind.
Wednesday, March 22, 2017
Wednesday Comic: Head Lopper #5
Andrew MacLean's quarterly heroic fantasy comic Head Lopper returned last week with the first part of a new story arc: "And the Crimson Tower." I've discussed Head Lopper before, pimping the collection of the first storyline. In brief, it's the adventures of a burly, bearded warrior with a flair for decapitation and an unusual sidekick--the still-living, severed head of a witch he decapitated.
This new arc starts off with a setup pretty much as D&D as you can get. Head Lopper, his friends, some plucky little humanoids, and some ne'er-do-well adventures, enter the Crimson Tower of Ulrich the Twice Damned. It's pretty much a killer dungeon with puzzles, deadly traps, and a fight with a three-headed dragon automaton.
Check it out!
Monday, March 20, 2017
Midnight on the Prismatic Peak
I've been working on Mortzengersturm, Mad Manticore of the Prismatic Peak all weekend--and Jeff Call has put in some awesome work too. Check out the illustration of the Prismatic Peak above. Jeff does a really good Mary Blair, don't you think?
Sunday, March 19, 2017
Weird Revisited: Curse of the Wolf
This post first appeared five years ago today. It a part of the mostly unpublished (except here) planar stuff for Weird Adventures:
Imbibing the liquid has the immediate effect of transforming the drinker into an anthropomorphic wolf resembling the inhabitants of the Land of Beasts. Despite the startling change, people encountering the person for the first time in werewolf form will not react as if anything is unusual: such is the extraplanar magic of the potion. This initial transformation lasts 1d100 minutes, but there is a 50% chance that the potion has given the imbiber the hiccups and each hiccup will bring a shift between forms. After the initial transformation, the imbiber will return to normal, but the wolf form will re-emerge ever night at sundown.
Persons suffering from this werewolfism aren't ravening beast like common lycanthropes but are compulsive carousers and cads. No attractive member of the opposite sex is safe from their crude come-ons. While in werewolf form a individual can be hurt, but quickly shrugs off any damage sustained (regenerating like trolls). They do not have any particular susceptibility to silver.
Victims of this “werewolf curse” often make themselves destitute with their spending and unwelcome in any night-spot in town with their skirt-chasing as they fulfill their wolfish appetites.
Besides the usual sorts of lycanthropes, the City sometimes sees a rarer sort created by an elixir from the Outer Planes. Known as the Potion of Werewolfism, the magical elixir is thought to be brought to the Prime Material Plane by agents unknown from the Land of Beasts. It appears as a shockingly effervescent liquid of shifting color within a somewhat oversized test tube stoppered with a cork.
Imbibing the liquid has the immediate effect of transforming the drinker into an anthropomorphic wolf resembling the inhabitants of the Land of Beasts. Despite the startling change, people encountering the person for the first time in werewolf form will not react as if anything is unusual: such is the extraplanar magic of the potion. This initial transformation lasts 1d100 minutes, but there is a 50% chance that the potion has given the imbiber the hiccups and each hiccup will bring a shift between forms. After the initial transformation, the imbiber will return to normal, but the wolf form will re-emerge ever night at sundown.
Persons suffering from this werewolfism aren't ravening beast like common lycanthropes but are compulsive carousers and cads. No attractive member of the opposite sex is safe from their crude come-ons. While in werewolf form a individual can be hurt, but quickly shrugs off any damage sustained (regenerating like trolls). They do not have any particular susceptibility to silver.
Victims of this “werewolf curse” often make themselves destitute with their spending and unwelcome in any night-spot in town with their skirt-chasing as they fulfill their wolfish appetites.
Friday, March 17, 2017
Straight from the Prismatic Peak
A Mortzengersturm preview! The Oubliette of Mistakes wher ethe mad manticore wizard keeps the creations that displeased him. The roll call:
Mocka: This attempt to cross a naga with a clown triggered even Mortzengersturm’s coulrophobia in the end. It giggles and mugs and sways and bounces like a jack-in-the-box unboxed, eager to bring laughter and joy.
Gruebird: This spiteful creature hides in total darkness that only a magical light source can penetrate. It will attack anything that comes close enough for it to peck or snatch with its talons.
Chimerical Chimera: A swirling, churning cloud of protoplasm that never looks like the same thing twice. Each round, its abilities and appearance changes.
Jam: A sweet-tasting, edible variant on the deadly slimes or jellies of Subazurth was not to be. It is sweet, but no less deadly. Those entrapped by it may die in a euphoric sugar-sleep.
Moonster: A glowing spherical creature resembling the moon with a face: a bemused smile under half-lidded eyes. The Moonster is a narrator—and an annoying one. It will narrate the actions of anyone that enters the shaft in a somewhat florid diction, but with an ironic distance. It knows the past of the subject of its narration with certainty; its predictions for the future are only speculation, no matter how assured their delivery.
Miszm Throppe’s wizardly capotain, indigo and silver and arrayed with mystical symbol, crouches atop his decaying skull and waits. It was never a particularly virtuous piece of headwear, and somehow it has gained a degree of life and with it an even greater measure of malevolence.
Wednesday, March 15, 2017
Wednesday Comics: Storm: Pirates of Pandarve
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 Pirates of Pandarve (1983)
(Dutch: De Piraten van Pandarve) (part 5)
Art by Don Lawrence; script by Martin Lodewijk
After recruiting the other slave miners to their side, Storm and Nomad lead them to the elevator out of the mine. Along the way, they defeat more guards and bring ever more slaves to their side.
When Storm reaches the surface, he finds Rann just about to buy back his freedom from the mine owner. That's all unnecessary now as the battle is joined between the former slaves and the owner:
The slaver breaks out some shuriken:
Before the mine owner can have his monster throw Storm in the pit, Nomad pushes them in. The monster tries to climb out, but Storm shoots the rope.
Storm has trouble keeping his army under control. They run wild in the street, looting and burning, as he attempts to lead them to the harbor. They force the ferryman to carry them into orbit, where they promptly commandeer a ship, sending the crew down to the planet.
Nomad poses a question to Storm:
THE END OF PIRATES OF PANDARVE
(Dutch: De Piraten van Pandarve) (part 5)
Art by Don Lawrence; script by Martin Lodewijk
After recruiting the other slave miners to their side, Storm and Nomad lead them to the elevator out of the mine. Along the way, they defeat more guards and bring ever more slaves to their side.
When Storm reaches the surface, he finds Rann just about to buy back his freedom from the mine owner. That's all unnecessary now as the battle is joined between the former slaves and the owner:
The slaver breaks out some shuriken:
Before the mine owner can have his monster throw Storm in the pit, Nomad pushes them in. The monster tries to climb out, but Storm shoots the rope.
Storm has trouble keeping his army under control. They run wild in the street, looting and burning, as he attempts to lead them to the harbor. They force the ferryman to carry them into orbit, where they promptly commandeer a ship, sending the crew down to the planet.
Nomad poses a question to Storm:
THE END OF PIRATES OF PANDARVE
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