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...

Again, the Giants!: Glacial Gallery of the Frost Giant Artist

This is the third in a series of posts riffing of the giant theme of the classic Against the Giants:

Hightlights include:

1. Dissipated giant scenesters, artistic proteges, and hangers-on.

2. The artist's pet wolf pack.

3. Caves full of unwilling frozen subjects!

One Last Tease

With Mortzengersturm, the Mad Manticore of the Prismatic Peak poised to go off to the printer, I figured one last tease of a two-page spread was in order. The art, as always, is by Jeff Call.

Ozian D&D

There's been a bit of discussion on Google+ about Oz-influenced D&D. From its conception, Oz has been an important (though certainly not the only) influence on the Land of Azurth (particularly for the primary campaign site, Yanth Country), so I've thought some about how Ozian elements can be used to inform D&D fantasy.

First off, it must be aknowledged that "Ozian fantasy" may not be a precisely defined thing. The portrayal of Oz itself changes from the first book to later books by Baum--and to an even greater degree throughout the "Famous Forty" and beyond. Oz in the The Wonderful Wizard of Oz is mostly uninhabited, and the places that are inhabited are mostly agrarian, but later books pile on more and more civilization. Baum's vision is of an American fairytale, and so the early books lack standard European-derived or Arabian Nights-inspired creatures and characters: The Tin Man is a woodsman not a knight. Ultimately, however, knights, dragons, and genies all become part of Oz.

(Anyone interested in Baum's American fairytale conception and examples of it in his non-Oz fantasies should check out Oz & Beyond: The Fantasy World of L. Frank Baum by Michael O. Riley)

With that sort of lack of specificity in mind, here are my broad suggestions for how to make a D&D campaign more Ozian:

Lost worlds/hidden kingdoms instead of dungeons: Whether standard D&D or Oz, exploration and discovery plays a part, but D&D's exploration sites are often known areas of material wealth and danger near settled areas that are usually purposefully visited to be exploited. Ozian sites are unknown or little known areas, accidentally discovered, like the lost worlds of adventure fiction.

Animated Simulacra and Talking Animals instead of the usual demihumans: Both D&D and Oz have nonhuman characters, but Oz’s are more individual, not representatives of "races." They also aren't the near-human types of elves, dwarves, and halflings. In fact, all of those races would probably fall under the "human" category in Oz. (In the first book, most Ozites are short like halflings, not just the Munchkins).

Social interaction/comedy of manners instead of combat or stealth: Violence and death sometimes occurs in the Oz books, but conversation and timely escape are the most common ways of dealing with problems. While this may in part be due to them being century plus year-old children's books, some of the exchanges in Dorothy and the Wizard are not dissimilar to the ones that occur in the works of Jack Vance, albeit with much less wit or sophistication. No Ozian villain is too fearsome not to be lectured on manners--at least briefly.

Magical mundane items or magical technology instead of magical weapons: The noncombat orientation of Oz extends to magic items. Magic belts, mirrors, food dishes, etc., occur in Oz but few magic swords or the like that you see in D&D or European legend. Oz blurs the lines between science/technology and magic to a degree. (The examples of this that are more Steampunkian or magictech seem to be unique inventions, however.) Pills and tablets will fantastical (though perhaps not magical in the sense the term would understood in Oz) properties are more common than potions, for instance. In general, foodstuff with fantastic properties, both natural and created, are more common than in D&D.

Faux-America instead Faux-Medieval: Ozian society seems almost 19th century in its trappings, or more precisely, it is a society that is not foreign (except where it specifically means to be) to the a young reader in the early 20th century. It lacks most of the elements of the real world of the 19th Century, however, like industry, social conflict (mostly), and (sometimes) poverty. It also lacks complicated social hierarchies: there is royalty, but no nobility.

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 1)
Art by Don Lawrence; script by Martin Lodewijk

Storm, Nomad, Rann, and the would-be  pirate crew are on their way to Rann's home asteroid. The crew are none too happy as they're looking for plunder. A mutiny is in the offing.

The mutineers attempt to kill Storm by ramming a timber into the cabin while Storm, Rann, and Nomad are inside. The cabin's smashed but Storm manages to dive out of the way. Still, Storm's knocked out and the leader of the mutineers get's the drop on him.

Nomad is forced to surrender. Soon, Storm and his friends are being marooned on a tiny asteroid:

Storm discovers large eggs in the nest of some sort of bird. They don't have to wait long to see the mother:

Meanwhile, Theocrat Marduk is still trying to find the Anomaly (Storm)  but his technicians can't get a fix. He demands his unwilling bride-to-be Ember be brought to him so she can give a description of the Anomaly to help them. Ember, however, has escaped with the help of a woman with a hidden face. She leads Ember into the cities sewers.

Back on the asteroid, Storm hits the bird in the head and Rann wraps his sash around its eyes, trying to escape the darkness the bird flies--and our heroes ride it all the way to Rann's home.

Rann is reunited with his daughter and the poor space bird is sent on its way. Storm on his a few days to rescue Ember before the wedding to Marduk. Rann relates he knows of a quick way to reach Pandarve's surface: The Devil's Ride. Storm and Nomad take that ride:

TO BE CONTINUED