Gameable Fiction Settings

Finding the audiobook of Simon Green's Deathstalker free on Audible until next week, I decided to revisit it. It's a book I read in the 90s, but I've found most of it has stuck with me, and my impression hasn't changed. It's high of action and invention, but above all, it's a really rpg setting-like world. 

Of course, almost any setting is gameable, but some worlds seem have been built with the requirements of game settings in mind: distinct character types with cool abilities, sources of those cool abilities as setting elements, and factions in varying degrees of conflict. The Deathstalker series has all of this and the kitchen sink: noble houses, rebel ESPers, rebel cyberpunks, a sleeping cybernetic army, an inimical AI civilization, and mysterious alien threats. Sources of "power" including intensive training, cyber-and biotech enhancements, weird alien tech, and psionic abilities. And there are swordfights.

All of this reminds me of a gaming setting. It says "play me," I think, more than any rpg tie-in fiction I have read (which isn't a lot, admittedly, but some).

Another series with this quality is Stephen Hunt's Jackelian novels. They are steampunk at base, but also sport robots, feyblooded mutants, biotech, Lovecraftian ancient gods, and a number of post-apocalyptic secrets. I gave them a fuller overview here.

I'm sure there are other such book series out there. Sykes' Graves of Empire series is in that vein, though not as kitchen sink as the above. Certainly, mainstream comic book universes are this and then some. 

The Funhouse Crawl

This past weekend, I visited my mother's family's old hometown of Panama City Beach, Florida. I got a chance to show my kid one of the landmark's I remembered from my childhood, the kitschy miniature golf course known as Goofy Golf. The firebreathing pink dinosaur that once demanded your attention at the roadside is, alas, no longer there, but the sphinx, giant ape, statue of Buddha, Asian dragon, Easter Island head, and assorted more mundane dinosaurs are still in evidence, along with rockets, windmills and the like.

I feel Goofy Golf is good inspiration for a point- or hexcrawl. I don't mean in its specific set-pieces (not necessarily, at least) but in the way it's basically a spread out funhouse dungeon. I like a good, well-thought out setting as much as the next guy, but I also enjoy the kitchen sink weird lost worlds. I'm thinking of things like Ka-Zar's Savage Land or the world beyond the Bermuda Triangle Skull the Slayer gets sucked into. Hollow World has more than a little of this vibe with cavemen, Rip Van Winkle still dwarves, and gaucho orcs, but there isn't as much of this done in gaming as there could be.

Making it a bounded location to be explored like a pocket dimension or lost world frees it to strain seriousness and consistency in a way than might not work in an entire setting. 

Weird Revisited: Spelljammer 1961

The original version of this post appeared in December 2020...

"Thinking beings of earth planet. This message was sent subsequent to the bravery of Yuri Gagarin and the achievements of the Soviet Union, but its intended recipient is every individual of your species. We are the Esoteric. We are now honored to admit you into the interstellar society. Many things we have to show you will definitely shock you and cause confusion. We have regret in that our policies mean you are living in a controlled environment where your understanding of physics has been restricted. We guarantee that this was done to protect you. Now, you are graded ready to have the safety guard removed to more fully experience the universe. We look forward to meeting with your government representatives and giving you a menu of offered services."

The poorly translated message broadcast to the entire planet was from beings who called themselves the Arcane. They revealed the image of the solar system taking shape from modern observations was an illusion. The real solar system was teeming with life, and ships powered by something more like magic that rocketry sailed through the heavens.

Once the principals were understood, humanity was able to get impossible, physics-defining things to happen even deep within Earth's gravity well, but it was always easier the thinner the atmosphere was. Humanity wasted no time in establishing orbital colonies and bases on the Moon, though they were ultimately more fantastic than anything science fiction had dreamed since the Victorian era. Once trade started with Mars and magical wood was imported, even private individuals were able to build all manner of spacecraft.

The Space Age had truly begun.

One thing that would have to determine with a setting like this is how technology Earth's technology would work in the Spelljammer type space. Could guns (or nuclear weapons) be exported into space. Spelljammer ships look much like sailing ships, but I don't know that the setting requires that as written. Could a C-47 cargo plane fly through "space?" What about a nuclear submarine, if it could get there?

The answers to these questions would perhaps take you further afield from trad fantasy, potentially moving things in a pulpier (and I think) more interesting direction, but it would make it harder to implement with D&D rules. 

From Azurth to the Moon

 

After a bit of a hiatus, we weren't to our 5e Land of Azurth game this past Sunday. We left our heroes with the shock of finding the princesses of the four countries, the leaders of the rebellion against the Wizard, turned to stone.

A council of important secondary leaders was quickly assembled. In addition to the PCs, it included some familiar names and faces from the party's adventures: Mapache Took, alleged head of the Raccoon-Folk Crime Family, who's brother's vault the party robbed; Black Iris, Pirate Captain from the Motley Isles who they rescued from the Candy Isle; King Gheode of the Earth Fae, who helped them get passage through Subazurth beneath Noxia; and Freedy, frogling ambassador from Under Sea.

Princess Viola's gnome techs have done a lot of analysis and report that have a high degree of suspicion that the Wizard used the power of the Shadow Elves focused through a crystalline power-purifier, likely one of the original heavenly crystals from the Sapphire City was supposedly grown. Some of the council favors sending a group in stealthily to perhaps still this supposed crystal from within the Wizard's palace. Others feel it's the time to strike with the giant robot the party recovered from Sang.

While they were discussing it, a representative from the Mysteriarchs of Zed appears in the room from a glowing orb. He is perhaps the same one they met previously. The representative tells them that a crystal such as they seek exists on the Moon!

As everyone knows the Moon is the home of the Bright Lady and the Thrice Hundred demigods revered by the Rabbit Folk. It's reasonable to think they might be willing to help the heroes of Azurth. But how can the party get to the mood?

Well, they have a ship, the one they took from the Domed City of Yai, and a pilot in the person of Irwin-37. They don't know anything about the Moon or how to get there, but they recall that Jaka Oloap, who they met originally in the Hybercube prison and met again in Sang, had boasted of going there.

After a quick flight to Sang to recruit Jaka, the group takes off for the Moon. They're enjoying the strange vistas of Azurth from far above, when they are approached by shantak-riding women bandits calling themselves the Night Sisters. The party refuses to surrender their vessel and a fight ensues on the hull (the party has to tie themselves to the ship with rope). When Tura, the leader of the Night Sisters, is killed the others break off the attack, but promise revenge.

When Dinosaurs Ruled the Earth

Maybe there's a game or setting I'm unaware of, but I feel like there's a missed opportunity for a dinosaur themed "incursion from elsewhere" post-apocalypse. I realize Rifts has a Dinosaur Swamp and could have dinos elsewhere and probably Torg has some somewhere, but neither have made it as central as I think it could be.

Another interesting approach would be a fantasy world that plays to the Lost World tropes (like the Warlord's Skartaris or Ka-Zar's Savage Land) but is ultimately a post-apocalyptic setting like, well, Warlord I guess (though it's an Atlantean apocalypse) or Corman's Teenage Caveman with dinosaurs and magic. 

Sorry if I spoiled the twist of Teenage Caveman for you.

Weirdest of all possibilities: you take Valley of the Gwangi and combine it King's Dark Tower series to get Western, dinosaur, post-apocalypse.

[Rifts] Some thoughts on the Coalition

Overall, I think the Coalition is a nice set of bad guys, in the sense that they've got a distinctive look, a lot of scary toys, and a suitably odious and belligerent outlook, ensuring the PCs will come in conflict with them. I think there are a few things I would do differently with them than what I've seen in published material.

Let's start with something really basic: I'm not fond of the despot of the Coalition being "the Emperor." That sounds like the leader of, well, an Empire, not a Coalition. My view of the Coalition is as a military dictatorship that perhaps seized power from an earlier, more collaborative group that called itself the Coalition. Prosek might call himself Director, General, or even President, but I'm inclined to prefer something like Supreme Leader or Supreme Commander.

Good paint job for a Coalition robot

I like the idea that the Coalition is, at least rhetorically, out to restore America. There should be an aspect of palingenesis to it in line with the fascist regimes that inspired it. It does bug me it doesn't drape itself more in American symbols, but I can retcon the Coalition flag to be the U.S. stripes with the skull and lighting bolts instead of stars, maybe. 

We are told that (at least in Chi-Town) the majority of Coalition citizens are illiterate. I assume that doesn't mean complete illiteracy, because the art in the original book with its signs and graffiti suggest a level of basic literacy is present. I assume that, transplanted to our society, the average citizen would be considered functionally illiterate, though within their own culture they are not so impaired. Chi-Town, like other cyberpunkish settings, is to a degree post-literate. What the Coalition educational restrictions take from them is an understanding of the past and a level of abstract reasoning and means communicate those thoughts.

The brings me around to Coalition media. I think there is probably a lot of it, but not much of it worthwhile. It will be blatant propaganda when it isn't just vapid. The pervasive TV of American Flagg! seems good inspiration here. As always, sex will sell. I figure Coalition news magazines/morning show sort of lite journalism programs, would do their hiring of effervescent hosts accordingly.

The Runaway Shadow

 We had a couple of players out, so we postponed our Land of Azurth 5e game until next week. So instead of gaming, I got a chance to work on the Land of Azurth comic story starring Waylon the Frogling called "The Runaway Shadow." This was originally planned for Underground Comics #2, but that hasn't happened unfortunately. Also, Jeff Call, the original artist, got a new job in animation in California and moved before being able to complete the story back in 2018. I did get this page out of it, and it was great. Lettering here, by me:

The project was shelved for a few years, but then I picked it back up in in 2021, at least enough to commission comics artist Mike Kazaleh to draw the whole thing. I told Mike I was looking for a bit of Harvey Comics vibe, without being a pastiche, and he did a great job. Here's the the first page, again lettered by me:

I started coloring it last night, using digital halftone brushes to mimic old school comic's coloring, but I'm not done with that yet.

Planning for Rifts

With my 5e campaign winding down perhaps (or at least switching to a new phase) in the near future and the Bundle of Holding I mentioned before, I have been giving serious consideration to running Rifts. No, not the system; I left that behind in high school. The setting is what I'm looking at likely to be run with Savage Worlds as it offers the advantage of requiring little work to get started and the VTT support several of my players will desire.

It's been over a decade since I thought about what I might do with Rifts, and almost as long since I riffed off it. I think I will have a slightly different approach that what I imagined in 2014, partly because it's been 11 years, but mostly because I am now thinking about running it with a specific group of players in mind that I know well thanks to playing with them for a long time.

Here are my updated notes:

"I'm Different!"

Characters in should be distinctive and have their own niche. Having a lot of character types helps that but even characters of the same type ought to have their own signature style. This is a trait that makes Rifts sort of comic book-like, but of course it's common to all sorts of pulpier media.

Coded For Easy Identification

I feel like the setting at times suggests a sort of cartoonish, easy recognizability where inspiration is often barely disguised, if at all. This can be taken too far; I certainly don't mean in terms of racial/ethnic stereotypes in portrayals of non-U.S. countries. More that locations within the former U.S. ought to mix signifers of their flavor and the sort of adventures they support.  There ought to be a lot of cowboy hats in Lone Star and the West, and just sub-Firefly or Bravestarr Western cliches. The Dinosaur Swamp might mix a bit of hicksploitation with its saurians.

Totally 80s

In 2014, I suggested Rifts perhaps was best approached as an alternate history.  That may still be the best way to go, but I think I will focus on "this is the level of technology which has been recovered" and be vague about the past. And that tech level would by something like "1989+super science." Being somewhat post-apocalyptic, obviously, some of the late 20th Century tech wouldn't exist due to lack of suitable infrastructure, but the most advance places are just a projection from the 80s standard: broadcast TV, physical media, and a lack of smartphones or 21st century internet.

"I'm Making it My Business"

This isn't the only way to go, certainly, but the setting lends itself to rogues with hearts of gold setting out to make a buck and colliding with evil. Knowing my players, they will readily take to that approach. It's a mode with a lot of examples from Westerns and Space Opera that make "what are we supposed to do?" readily understandable.

Toyetic

Rifts has a lot of space devoted to gear and equipment. While the accumulation of too much stuff by the characters can be a problem in some games (and possibly here), I think it would be a mistake to too not have all the toys in the catalog available.

More Adventure than Survival

Post-apocalyptic media and games are often about just getting the basic necessities. Rifts isn't Oregon Trail, though. The game focus feels better placed on having cool adventures. I do think the setting should touch on that survival aspect, but it's largely window dressing.

Appendix Nth: Inspirational Media for Rifts

 The recent blast of Rifts related Bundles of Holding had me not only spending a bit of money (with 5 bundles one was bound to get me!) but also got me thinking about the lack of a sort of "Appendix N" documented for the game. In fact, so far as I can find on the internet, its creator has never really discussed his influences, though apparently he has said it grew out an earlier version called Boomers focused on the mecha pilots later called "Glitter Boys." The former name was abandoned when someone told him the term was used in Bubblegum Crisis (which rules that anime out as an influence).

So, I want to look back at the media prior to August of 1990 and think about the things that seem like plausible influences on Rifts. Obviously, I have no way of knowing whether any of these things actual were, but they'll be at least somewhat educated guesses, using what is known of Siembieda's interests. 

I'm going to stick to things with multiple points of applicability. Firestarter, for instance, might be an inspiration for the burster (or might not), but that's really the only Rifts-relevant point.

Film/Television

Planet of the Apes series (starts in 1968). Beneath the Planet of the Apes (1970) seems the most relevant as a post-apocalypse with evolved animals and psychic mutants.
Damnation Alley (1977) - post-apocalyptic with a team with a cool vehicle.

Star Wars trilogy (starts in 1977) - An evil empire with a toyetic flair, a lot of aliens; knights with energy swords.

Thundarr the Barbarian (1980) - post-apocalypse with super-science and sorcery; the sunsword.

Blade Runner (1982) - future city aesthetic, artificial humans.

The Terminator (1984) - robot, travel between "worlds" (or in this case, times)

Robotech (1985) - Mecha, aliens.

Akira (1988) - Dystopia with psychic powers, "city rats", and a future urban landscape. The manga Akira also started its American publication this year.

Comics

"War of the Worlds" (Killraven) (starts in 1973 in Amazing Adventures v2 #30) - Post-apocalyptic world conquered by aliens, features freedom fighters and mutants.

Deathlok saga (begins in Astonishing Tales #25 in 1974) - A government cyborg in a post-apocalyptic future, based in the Midwest.

Judge Dredd (in 2000AD from 1977) - future in a megacity in a dystopian future with psychics, robots, and mutants. Most Rifts-relevant is arc may be "The Cursed Earth" in 1978.

Dreadstar (1982) - A space opera team of sort of superheroes but not officially featuring a guy with a psychic sword, a psychic, a cybernetic wizard, and a cat man battle an evil empire.

Grimjack (1984) - features a pan-dimensional city where magic and technology co-exist.

Scout (1985) - Takes place in a dystopian future; a lot of guns, some mystic monsters, a few mechs.

Appleseed (1988, in English) - cyberpunk, mecha, cyborgs.

I am reliably told that there are a number of anime and manga whose designs seem to have influenced greatly Rifts artists. I haven't repeated those here because I'm not sure what influence they had on Seimbeida, and I personally am not familiar enough with them to do more than repeat what I've heard.

Readings in Planetary Romance: Lost on Venus

Not too long ago, I made the case for Planetary Romance, and particularly its Sword & Planet (sub-)sub-genre, as good fodder for role-playing games, particularly games focused on exploration of the sort come to old school hex and point crawls. I've recently re-read the first of Edgar Rice Burroughs Venus series, Pirates of Venus (1932) and read for the first time its sequel, Lost on Venus (1935). These provide could examples of the Sword & Planet virtues I mentioned.

The Venus series follows the adventures of Carson Napier, young engineer and daredevil, who's launched out in a missile for Mars, but due to faulty calculations, winds up on Venus. Unlike most epic fantasy or even Sword & Sorcery heroes, but like most of his Sword & Planet brethren, these adventures largely come down to him being lost a lot and stumbling onto monsters and weird civilizations.

In Pirates of Venus, he falls in (literally) with the Vepajan loyalists in exile, in a city built high in titanic trees. After learning the language, he gets a job as a tarel gatherer in training, which turns out to be a dangerous line of work, as tarel is the silk of a giant spider. After getting lost in his first outing, he and a friend end up on the ground, where they encounter more hostile wildlife before being taken as slaves by birdmen working for the Vepajan's enemies, the Thorist revolutionaries. 

Taken on board a Thorist vessel, he foments a conspiracy among the other slaves and leads a mutiny to take control of the ship. They briefly turn pirate (or privateer without letters of marquee since they act in Vepaja's interests), until the Vepajan princess Carson is in love with is abducted by Thorists into the wilderness and Carson gets tossed overboard in a storm.

Lost on Venus picks shortly after that, when both Duare (the love interest) and Carson have been captured and taken to a Thorist colonial settlement. There, Carson is placed in a death trap with 7 deadly doors. He escapes though and manages to rescue Duare through a series of the sort of coincidences that Burroughs is famous for. They run into and get lost in the Venusian forest where they have to avoid dangerous animals and cannibals and figure out a way to get food, which involves making a spear and bow and arrows.

Eventually, there's a capture by a mad scientist-type with an army of undead (and another escape), then Carson winds up in an advanced, scientific "utopia," which is really a totalitarian state with an obsession with genetic purity. And then they escape...

If this all sounds rather episodic, well it is--in exactly the way roleplaying games are episodic. The deficits (at least in this regard) these originally serialized stories have as literature are virtues for the table. Finding food and shelter is a concern, too, in a way it might be in a hexcrawl, though the plot armor provided Burroughs' characters ensure none of them starve.

Burroughs' protagonists, and Sword & Planet protagonists in general, are often more reactive than players are or at least often like to be. Things happen to them, or they are forced into a certain course of action. I feel like some of this is broadly acceptable, though there should usually be ways to avoid an encounter by cautious players, and there should always be multiple of ways out of any predicament. 

Bigger and Better! A New Random Appendix N Generator

James over at Adventures in Gaming v2 took my throwaway idea from last week and ran with it! Check out his much more comprehensive generator on his blog.

Random Appendix N Campaign Concept Generator

Need a campaign idea or at least a prompt to develop your own? Just roll on the following table based on the AD&D "Appendix N" and fill in the blanks! 

Protagonists like [A] in a setting like [B] with magic like [C].

Roll     Author

1         Poul Anderson

2         Leigh Brackett

3         Lin Carter

4         Edgar Rice Burroughs

5         L. Sprague De Camp

6         De Camp & Pratt

7         Lord Dunsany

8         PJ Farmer

9         Gardner Fox

10       Sterling Lanier

11       Fritz Leiber

12       H.P. Lovecraft

13       Abraham Merritt

14       Michael Moorcock

15       Fred Saberhagen

16       Magaret St. Clair

17       J.R.R. Tolkien

18       Jack Vance

19       Manly Wade Wellman

20       Roger Zelazny

So, I got A=17, B=20, and C=12, which gives me: Protagonists like JRRT, a setting like Zelazny, and magic like H.P. Lovecraft. I'll interpret that this way: There's a tidally locked planet (suggested by Jack of Shadows), where the nightside is dominated by Elder god-horrors with an oppressed human class in a technological realm, and the dayside is a sylvan realm of elves and dwarves, who seek to keep back the encroaching hegemony of the nightside.

One more example: A=4, B=14, C=10. ERB, Moorcock, and Lanier. This is an easy one. A group of "modern" Earth folk find themselves in post-apocalyptic realm of knights and chivalry where psychic powers are viewed as magic.

Give it a try!

It's A Madhouse!

This weekend I got my (first) shipment from Magnetic Press and the Planet of the Apes RPG Kickstarter. The books are gorgeous and the extra swag (including a cloth map of Ape City) is suitably well done. 

The game focuses on the original POTA continuity, not the 21st Century prequel/reboot films. Hopefully there will be a supplement for that in the future, but obviously the original film era is what most people (including myself) really want. Thankfully, the Burton film was likewise ignored.

The game uses the "Magnetic Variant" of West End Game's D6 system: you roll a bunch of six-sided dice and total the result, comparing it to a difficulty. There have been some modernizations and modifications, but having not played a D6 game in years, I'm not sure the extent of them. It does use a wild die to add additional consequences (positive or negative) to the results of a roll giving the "yes/no, and" and "yes/no but" sorts of spread. The Core book covers rules (and gives archetypes) for ape, astro-naut (they always spell it that way), mute, future human, and mutant characters. There's a clever detail where it is suggested (similar to the Cavemaster rpg) that the players of the bestial, future humans attempt to communicate with the other players only by gesture or pantomime, assuming they are in a mixed character types party.

After equipment, the rest of the book is given over to gamemaster (Lawgiver, in this case) stuff: setting info, campaign advice/suggestions, and adversaries/monsters.

Additionally, I got the ANSA Files Sourcebook, which details the era (or eras, really) related to the original film series. Really, the core book gave the essentials, but this book deep dives into the various time periods of each film, gives suggestions for running games in each, and stats prominent NPCs. I don't know that anyone would want to play a Cold War, space race game in an alternate 1970s, but with this supplement, you could!

In addition to the new films, I'd like to see more coverage of the TV show era and the ability to play speaking humans Also, delving into some of the more gonzo aspects of the various comic series would be cool for a supplement, too.

The Planet of the Apes rpg isn't as yet available to non-backers, but Amazon has pre-orders up for January, and I would suspect it becomes available in pdf prior to that.

A Few More Words from the Wyvern's Prophet

Work in progress from Jason

While we're awaiting the technically still awaiting the announcement of the winners of the Appx. N Jam, I've been thinking about what's next for my project. Specifically, I'd like to do an expanded to include things I just could fit into 4 pages.

This will include things like more GM guidance for how to run the factions, particularly once their "balance" has been disrupted by the PCs arrival, and some additional encounters including a chance to visit the accumulator core of the installation and learn the strange fate of Dhu Rojat, former keeper.

Best of all though, it means more art from Jason Sholtis.

This won't be massive expansion. It's still intended to be a minor adventure. A side encounter in a hexcrawl, perhaps. Hopefully, though, this version will improve upon the basic concept. I'm probably bring it to drivethru as a pay what you want.

Cover Design

 I have been recently thinking about adding a page on the blog with a complete listing of my rpg related works including both things I have written and things for which I did some graphic design. Easily, some of my best collaborations in this regard have been with Jason Sholtis.

I'm particularly proud of the alternate covers I did for Completely Unfathomable, though I wasn't directly involved with the final decisions and preparation for print, and with the rush to get the project over the finishline, they maybe didn't turn out as well as they might have.

The one that was used for the final cover was this one with refer to as the "blacklight cover." It isn't blacklight, really, but I colored Jason's art in that garish sort of way to look like it might be.

Originally, we had designed it to use the logo I had made for the original Operation Unfathomable, but on seeing the final mockup Jason was gracious enough to let me quickly do another one I thought would fit the image better.

I had originally designed other covers for the various editions of the book, in the end I believe they just went with the one and the others were just given as extras? Anyway, my favorite of all of them was the faux bubble card wrapper cover:

Recently, Jason and I collaborated again on a cover for my Appx. N Jam submission. He held off his usual grayscale shading to make it easier for me to color. I added some texture in the background I hoped support his great image. The logo hand-drawn (or handconstructed digitally really) based on the title text of the Ace Double edition of People of the Lens by Leigh Brackett was actually the first thing done. Jason and I worked out the cover layout in discussion and then he drew the image.

The Non-Fantasy Origins of Fiend Folio Monsters

I've mentioned before how the original Fiend Folio (as compared to the Monster Manual) seems suited as inspiration for sci-fi creatures. In part, I think that's because the inspiration for so many of them seem to lie outside fantasy fiction or myth and legend. They owe their creation to media that would generally be placed in some other genre. 

Here are a few I'm aware of whose origins I think are generally accepted, but I'm sure there are more:

Grimlock 
(by Albie Fiore)
Inspired by the morlocks in H.G. Wells' The Time Machine (1895), particularly their portrayal in the 1960 film by George Pal.

Meenlock
(by Peter Korabik)
While the name likely has its origins in Wells' morlocks again, their portrayal adapts the demonic entities from the 1973 TV movie Don't Be Afraid of the Dark written by Nigel McKeand and remade in 2011 by Guillermo del Toro.

Art by David Mattingly

Quaggoth
(by Andrew Torchia)
Their name was possibly coined by blending Sasquatch and Sagoth, a race of ape-like humanoids (serving the "orc" role) appearing in Edgar Rice Burroughs' Pellucidar series, first appearing in At The Earth's Core (1914).

Art by Frazetta

Qsquip

(by Brendan Bulger)

Their description matches the ulsio (Barsoomian rat) first described in "City of Mummies" (Amazing Stories, 1941) later fixed up into Llana of Gathol (1948).

Art by Wayne Barlowe

Xill

(by Brian Ashbury)

Inspired by the alien ixtl in "Discord in Scarlet" (Astounding, 1939) by A.E. von Vogt fixed up into Voyage of the Star Beagle (1950).

Spelljammer Like This

To my mind, the these works and works provoke an impeccable Spelljammer vibe:

Don Lawrence (Storm)

Al Williamson

Magnus (Milady 3000, I Briganti)

Alex Raymond (Flash Gordon)

Howard Chaykin (Cody Starbuck, Ironwolf)

Inspiration Excavation

Earlier this week, Anne reminded us of an old post where she discussed her earliest, fantasy inspirations. It reminded me of my own fantasy genre prehistory. I wrote a bit about it in my very first post on this blog back in 2009:

In my personal pre-history (which is to say the mid-seventies to the dawning of the eighties), there was already in my brain a nascent cauldron of fantasy abubble: The Wonderful Wizard of Oz conjured by the voice of a babysitter, King Arthur for boys illuminated by NC Wyeth, four-color barbarians on spinner-racks, Myth and legend sifted by Bullfinch and Harryhausen, singing hobbits and rotoscoped orcs, power swords split in twain on not one, but two, alien worlds; an elf, a dwarf, a giant--and a slayer named Hawk, the doom that came to Vermithrax Pejorative, fantasylands with oracular pigs and messianic lions.

I also not in the post the inspiration for my first character (in AD&D): An elf fighter/magic-user inspired by the protagonist in the Endless Quest book by Rose Estes, Mountain of Mirrors.

That's not the only thing in my gaming history I can trace to a specific source. For another example, I've used flightless birds as mounts in several campaign worlds I created, I suspect all traceable to this cover by James Gurney for a book I haven't read:

There are numerous things like that. Some probably borrowed from sources so long ago, I don't even remember their origins.

Appx. N Jam and Prophet of the Wyvern's Word

My submission for the Appx. N Jam went live on itch today. You can check it out there with all of the other cool entries.

The 4-page maximum page count (including cover) was brutal. I may do an expanded version and put it on drivethrurpg later.