Mortzengersturm Sales and Shipping

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My pre-convention stock of Mortzengersturm is out--but if you didn't get a copy yet, don't despair, I may well have some available after NTrpgcon.

Over half of the orders have shipped as of this week, so if you haven't gotten yours it may be coming soon. I am on target to ship the rest before May 29.

5e Race Creation

I've posted this link before, but it just keeps getting better, so I thought it was time to remind everyone.  JamesMusicus has developed a formula for creating "balanced" 5e races and tested it through all the published races so far. He's also got a catalog of a bunch of new races he created.

Check out the other stuff on his blog here.

Wednesday Minicomic: KIng of Castle Grayskull

Taking a break from Storm, let's consider the second Masters of the Universe minicomic packaged with the first wave of toys in 1982. The comic, like the rest, was written by Donald Glut and drawn by Alfredo Alcala.

We open on He-Man and Battle-Cat happening by Castle Grayskull. He-Man tells his mount that the castle was "built by unknown hands before the Great Wars" and "whoever controls the castle controls the universe!" He-Man doesn't know it but he's being spied on from a parapet by Skeletor, who apparently scaled the outside of the castle to get there because he's got no way inside.

Skeletor uses his mystic blade to spy on the doings inside the castle as well. He see's Teela (the warrior-goddess) summoned by the Spirit of Castle Grayskull to be its guardian. The Spirit tells her that one day a king will come claim the castle's throne, but only after he finds and unites the two halves of the Power Sword. Not knowing it's being eavesdropped on, the Spirit reveals the location of the halves.

Skeletor, feels like kingship would suit him. He comes to the highest peak of Eternia, the home of Stratos, and melts one half free from rock. Next, Skeletor takes Mer-Man with him to surprise He-Man at his homestead, and before the hero can grab his super-strength outfit, they blast him. They get the other half of the sword from the rock his house is built on. Given how easy these halves were to find and the fact that two heroic warriors lived close by them, one wonders why they weren't found before?

Anyway, Skeletor rubs some gray clay on his face to disguise it and opens the jawbridge with the united power sword. Teela might have been a poor choice as guardian because a little gray facepaint has her totally fooled. She welcomes Skeletor as the King. No sooner has he sat in the throne, than he triggers the trapdoor and drops Teela into the dungeon. Skeletor marvels at all the weapons and computers and what not and boasts the secrets of the universe are his to command.

Meanwhile, this all apparently happened so quick that Mer-Man is still fighting He-Man (apparently He-Man's house is next door to Castle Grayskull), who has now managed to get his force field suit on. He-Man suits up again to increase his strength and heads out to get Skeletor.

Skeletor sees him coming on a viewscreen. When He-Man arrives, Skeletor punks him by causing the jawbridge to flip him inside. He-Man confronts Skeletor in his throne room, but in the face of his threats Skeletor calls "oafish" and zaps him with energy.

He-Man wakes up some time later in the dungeon with Teela. He tells her "Skeletor has gone insane!' Given that this is the sort of shenanigans we've seen the Lord of Destruction get up to in the first mini-comic, one wonders what He-Man is passing that opinion on. Maybe it's that Skeletor didn't strip him of his super-powered duds, which clearly was a dumb move as He-Man rips the door off the cell.

Skeletor notes their escape and sends animated suits of armor to stop them. Our heroes keep smashing them, but more keep coming. Skeletor moves in to watch the victory he is sure is coming up close--and Teela knocks the Power Sword from his hand.

Skeletor figures its time to beat a hasty retreat. He runs to the roof with the heroes on his heels. He tries to blast them with the laser cannon, but then:

Both hero and villain survive the fall. Skeletor gets chased off by Battle-Cat before he can blast He-Man with his energy blade.

The Spirit of Castle Grayskull again takes possession of the Power Sword and, maybe realizing its previous hiding places left something to be desired, now sends one half into another dimension. He tells the heroes that it maybe centuries before the true King of Castle Grayskull comes to claim it. He calls them Masters of the Universe and bids them go fight evil. In a spoiler heedless moment, we are told the Spirit smiles as they ride away because he knows He-Man will one day become the King of Castle Grayskull.

Kreature Kompendium

Threat N Ink Issue #7 Kreature Kompendium is a zine-size monster book compiled by Jethro D. Wall available via mail order here. It's for old school D&D mostly, but the stat blocks are variable and haphazard, and the mechanical description of special abilities nonexistent. In other words, if you're looking for a meticulously table-ready collection of creatures with novel mechanics, this isn't that book.

This, instead, is one of the inspiration fodder monster books, where the mechanical details come second to having something really interesting conceptually to throw at players. The Kreature Kompendium reminds me a lot of goofy fun bestiaries of old, like the monster book of the Field Guide to Encounters, but at times it has a more modern and knowing absurdist streak like something from the literary New Weird.

In the former category I'd put the Blignag Cocksparrer which we are told "prefer to ride sweet Nash skateboards into battle" although some "have looted BMXs from human victims or received them as gifts from relatives for Christmas." In the latter category is something like The Painting that Paints Itself and the associated random table to determine the PCs reaction.

As those descriptions might indicate, the monsters are a varied lot, other than they are all what you would call "nonstandard." A couple of my favorites: The Charming Tongued Snuggler that thinks it's the Snaggle Toothed Charmer, but its poor understanding of human frailty causing it to suffocate humans with its tongue while trying to drink their blood; and the Destroyer Bitch Goddess whose special attack generates a time loop where that attack is repeated 666d100 times.

It's a lot of fun. The artwork by various artists is evocative, sometimes crude, and always not the sort of thing that would be used in a modern, corporate monster compendium--which is exactly from what you want from a book like this.

If the above sounds interesting, then you should definitely check it out.

The Mighty

Art by Jack Kirby

In the Country of Sang in the Land of Azurth, there are those born among the human tribes and city-states that have abilities beyond those of other mortals. These are the Mighty.

No one knows why the Mighty are so gifted. Some believe they bear the blood of the Ancients, who had mastered mastered sorcerery and science to make themselves superhuman, while others think that they are specially chosen by forgotten gods. Often Mighty individuals will appear as normal humans until some sort of fateful trial or challenge, but these experiences are merely the catalysts of change not the source of their power.

Mighty Traits:

Ability Score Increase. Your Strength score increases by 2, and your Constitution score increases by 1.
Age. The Mighty live somewhat longer lifespans as mundane humanity, perhaps a bit over a century, but the mature at the same rate.
Alignment. The Mighty may be of any alignment.
Size. The Mighty are powerfully built and generally tall (6 to 7 feet, or sometimes more). Your size is Medium.
Speed. Base walking speed is 30 feet.
Athletic Prowess. You have proficiency in the Athletics skill.
Superhuman Endurance. You can focus your will to occasionally shrug off injury. When you take damage, you can use your reaction to roll a d12. Add your Constitution modifier to the number rolled, and reduce the damage by that total. After you use this trait, you can’t use it again until you finish a short or long rest.
Strength Beyond Mortals. You count as one size larger when determining your carrying capacity and the weight you can push, drag, or lift.
Fearlessness. You have advantage on saves against fear.

Art by Bruce Timm

Weird Revisited: Five Million Years to Dungeon

The original version of this post appeared in July 2010. I had just rewatched Five Million Years to Earth the weekend before.



Five Million Years to Earth (originally known in the UK as Quatermass and the Pit) was a 1967 Hammer Film adapted from a 1958 BBC TV serial of the same name. This was the third Hammer Film adaption of one of Nigel Kneale’s Quatermass serials, featuring the British rocket scientist, Bernard Quatermass’s encounters with X-Files-esque alien incursions.

For those who haven’t seen it, the film starts with the discover of an anomalous primate skeleton by workmen digging a new underground station in Hobb’s End, London. The large-brained primate is found in strata much deeper than it has any business being. If this discovery weren't enough, digging is halted again when what is taken for a unexploded German rocket is found nearby--only the so-called bomb isn’t magnetic.

Quatermass gets called in, and soon discovers the thing isn’t some V-rocket, but something far stranger--an alien spacecraft. The history of Hobb’s End as “bad place” plagued by ghost sightings and poltergeist activity, and a shape suggestive of a pentagram on the outside of the craft, leads Quatermass to link the presence of the craft with the human perception of supernatural evil. When they are finally able to get inside the craft and find tripodal, arthropod-like creatures with horns--suggesting the horn’s of the devil--Quatermass sees his theory as confirmed.

A few more experiments and a lot more ominous psychic phenomena later, and we find out the aliens are Martians who, like Lovecraft’s Old Ones, experimented on human ancestors and influenced our evolution. Their race dying, the Martian’s came to the “hostile” environment of earth and tried to turn humanity into a mental continuation of their race, if not a physical one. This includes, unfortunately, their violent attitudes about racial purity, which awaken horribly in London humanity in the film's climax.

It occurs to me that this might be a good explanation for dungeons, if one wanted to go in a weird science-fantasy direction, rather than a “mythic underworld” one.

Consider this: a spacecraft from a dying world crashes in the ancient past on a fantasy world. Their psychic power is considerable--maybe they're those perennial brainpower-baddies, the mind-flayers, or maybe they're the thri-keen (why not give those guys something to do for once?). This race goes about influencing the evolution of the world. Maybe orcs and other humanoids are derived from hominid stock, or maybe, in a twist, humans (the moral mixed-bag), are derived from goody-goody elvish or dwarvish stock. Unlike Qautermass’s Martians, maybe our hypothetical race doesn’t stop there. Perhaps a whole lot of dungeon monsters are part of their attempt to recreate all the flora and fauna of their dying world? Other things, like undead, might be manifestations of their powerful psychic residue lingering in their semi-sentient technology. You get the idea.

This would probably work best in a world with only one dungeon (a megadungeon, naturally) where this was the “ultimate secret” in its lowest depths. Who knows, after discovering the spacecraft in the dungeons lowest levels, and mastering (or not) the alien psychic-tech, maybe the PCs go on their own voyage of conquest High Crusade style?

Three Rooms in Amber

I've been running X2: Castle Amber for my 5e Land of Azurth game. As my session reports suggest, I've tweaked so things and changed other quite a bit. At times, I've got better ideas after I actually run it. I may post all my alterations at some point, but here are the the pertinent encounters in the "color rooms" in Castle Amber:

Overview: I envisioned these rooms as looking like more fanciful (maybe) version of the sort of rooms in Versailles or Schönbrunn Palace. I didn't have good reference in place to get that across to the players when I ran it, though, and it probably doesn't matter much anyway. I won't repeat everything Moldavy wrote that I kept, but only what I interpreted or replaced.

WHITE ROOM: The white carpet is crunchy underfoot with frosty. The walls are dusted with frost. Hard rime coats the furniture. In the center of the room, In the center of the room a giant salamander (over 10 feet long), white and striped with vein blue, lolls on a chaise longue. It's finned tail extends well beyond chair and lazy stirs up snowflakes from the carpet. 

I think actual salamanders are more interesting that lizards for magical creatures. 

GREEN ROOM: The room looks like it might be in an abandon home. The green wallpaper is peeling, vines are growing down the walls. The giant in the center of the room is entirely encased in armor with a vaguely floral motif, and that armor is complete covered in verdigris. He is easily mistaken for a statue until he moves.

I had in mind this image by Eoghan Kerrigan for the appearance of the giant, if it were patined. I want to put a little bit of distance from the Green Knight so it wouldn't be immediately picked up on, but the schtick was still the same.

RED ROOM: A large man (barrell-chested and bandy-legged) in crimson monk's robes over glittering, golden scale armor, sits cross-legged on the floor in a pose of meditation. His skin is charcoal black. His eyes appear to be windows into an internal furnace. His reddish blonde hair glows and smolders like coals.  The man has fallen from the sun; he's one of the countless throngs of dwarfs that make up the sun. They labor at the work of the cosmos and dance and sing radiant hymns to the glory of the gods. The man was into the void in a gout of ecstatic solar toil and fell to earth. 

I utilized the background of my reskins of the Azer here, since I had never put it in a game. I already had another celestial castaway in the adventure.