Tabletop Gaming Feeds

The youngest state of Southeastern Parsulan is at once ill-omened and favored with great promise. Morrgna, capital of the Republic, is famed for the strange lights that can frequently be seen in its night skies: the aurora-like ribbons and curtains of pale color, sometimes with faces or forms moving through them and the flickering will-o'wisps that pass through the streets or hang in place for a time before fading. Such lights are often seen in association with the irruption of shadow cysts and they do seem to foreshadow the difficulties the area has with demonic forces.

At the same time, the Republic seems to be on the rise. Less than two decades ago, it was a sparsely populated backwater, ravaged by the demonic Wild Hunt. The tide turned with the so-called Miracle of the Church of Saint Lampada, wherein Leonhart Urzen, now First Citizen of the Republic, led a band of refugees in repulsing an assault by a demonic host. The cost of victory was the death of Leonhart's adventuring companions and their retainers, a group now celebrated as the Fallen Heroes. Those Heroes are entombed with honor in a crypt beneath the great church, guarded by special Keeper-Priests, for reasons that are doctrinally obscure. They are venerated on All Heroes Day, and the night before their spirits and those of the city's other dead are propitiated with offerings and their forgiveness is sought through rituals led by the priests.

Leonhart guided the formation of the Republic by inviting in neighboring cities and towns, and organized a militia, both protect the land against demonic incursion and to collect magical artifacts that emerge from the shadow cysts and bring them to Morrgna's dungeon vaults for safe keeping. While citizens guard the cities and serve in officer roles, Mercenaries and adventurers compromise most of the forces sent into emergent shadow cysts and patrolling beyond the walls of the cities and towns. Those who die in service are considered to be added to the ranks of the Fallen Heroes laid to rest with the original group beneath the church. Though few would refuse such as an honor, agreement to this burial honor is said to be a stipulation of admittance into the militia's ranks.

Chris Achilleos is another artist I discovered while working at Metro Comics. Two years before Mike Ploog’s trading card collection,  which I mentioned in my previous post, the same company, FPG, published the Chris Achilleos Fantasy Art Trading Cards.

I don’t recall if I consciously knew Achilleos’ work before becoming obsessed with those cards. I had probably seen some of his Lord of the Rings pieces. I had definitely seen his most famous work—the Taarna Heavy Metal cover and the movie poster—on the record sleeve and later in other related media, but I had NO idea who the artist was.

You can listen to the Heavy Metal soundtrack below:

When I finally discovered the depth and breadth of his work through that trading card set, I was blown away. This was amazing fantasy artwork, but it felt entirely different from the work of the typical D&D artists and other fantasy painters I grew up with, like Boris Vallejo or the Hildebrandt brothers. His work had this fine-art quality mixed with a fantastical allure that completely fired my imagination.

As I mentioned in my previous post, this was the early 90s. We didn’t have Pinterest. We were online, but we certainly didn’t have access to art and images the way we do now. Art books, calendars, and these trading cards were my absolute main points of reference and inspiration. The best part about the trading cards was their utility at the table: I could make notes about the campaign, a specific adventure, or an NPC, clip them to a trading card featuring the art that inspired that bit of worldbuilding, and then physically show them to my players during the game.

The timeframe when these two trading card collections came out—1992 to 1994, and the years immediately following—was a defining era for me as a Game Master. I was actively organizing my campaign world, my written adventures, and my GM notes. In fact, 1993 was the year I officially rebooted the homebrew world I originally created in 1987, turning it into the version we have been playing ever since.

The Ploog and Achilleos trading cards, along with sets featuring legends like Elmore, Parkinson, Easley, Brom, Caldwell, Kelly, and Wrightson (some of those names might just pop up in future posts!), were a massive source of inspiration and reference throughout those formative years.

By the time I put together my first official, printed campaign handout for my players in 1999, I had already moved on to using desktop publishing tools and digital art. The physical trading cards started to see less use, and at one point, during a house cleanout, I ended up getting rid of many of them. The cards themselves might be gone, but the art and the artists I discovered through them continue to amaze and inspire my games to this day.

 This table transforms standard treasure rolls into immediate "Wait, why is the gold moving?" moments. Instead of just mimic chests, these entries turn the loot itself into the threat.d100 Treasures as Monstersd100The "Treasure"The Monster Identity / Twist01-05Loose Gold PileThe Coin Swarm: The coins are actually the scales of a buried, gold-plated subterranean serpent or a swarm of Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

By GMaia
Knight of the Lake Games
OSR
Levels 4-8

[…] A bold entrepreneur decided to reopen the “cursed” stage, now renamed the Daggerpierce Theater, and revive what was hailed as the greatest play ever written, and at the same time the one everyone wished never to see again. The from the Côte d’Écume, were not fully aware of the rumors surrounding the theater, the play, and its infamous author. Ignoring those who begged to keep the Daggerpierce Theater shut, the troupe accepted the job and sealed its fate along with that of The Tragedy of Gus de Montagne. The play was cut short just Wave fled Pont-Verre without leaving a single word or trace behind.

This 48 page adventure has a few locations in and around a theater with a curse. It’s pretty obvious what the adventure WANTS to be and it’s also pretty obvious that it is doing VERY little to make that happen. Maybe something like “This 48 page adventure presents some napkin notes that could one day be an adventure.” Oh, and it’s fucking pretentious.

Life. You try to make some money then you die. A symphony that is bittersweet. And this adventure explores that. The theater (always a good sign when there’s a theater in an adventure) is cursed. “the curse can only be broken when the play’s profound message is understood and performed with the sole purpose of teaching the people to value what truly matters.” Yeah, I guess The Verve is wrong because “as long as the work brings success and enriches actors and theater owners, it will remain misunderstood, and its performances will claim lives.” I don’t know, it’s love or selflessness or some shit like that. The playwright’s lover got framed by rich people to draw attention away from their counterfeiting. (Which, shows an incorrect view of counterfeiting. You don’t get away with fucking with the States money supply no matter who you are.) Anyway the designer, or playwright or someone somewhere, knows the meaning of life and The Verve’s more nuanced view can go fuck itself. This leads us to this interaction near the end where THE ENTITY asks the party questions. And you better get them right, or else! ““What would you have done for him, knowing he was innocent?” Examples: Refuse to be passive before injustice; vow to place life above wealth. 2. “What truth have you hidden for material gain that you could confess?” Examples: Based on PC story, reveal a secret of greed or betrayal. 3. “What act of justice would you perform now, even at great cost?” Examples: Cut off a hand that committed a selfish act; blind an eye that witnessed corruption.”  So, yeah, childish morality. Which means I can take the stance that this is the designer attempting to impose their own childish value system on the rest of us, and their players, in a game night that is supposed to be fun, or ITS ON PURPOSE!!, the standard artist cop-out. In this case that would appear as something like the intent of the curser, the playwright, his beliefs, and curse following that and the characters needing to figure that out so they can navigate his bullshit reality correctly. But we all know that’s not what is going on here. It’s designer imposing their morality on the rest of us and punishing us for not following it. This is absolute fucking bullshit. You can stick in all the fucking orc babies you want, you just can’t punish people for not holding whatever bullshit views you do. ESPECIALLY when there is a god of evil in the game who is ACTIVELY rewarding their followers for evil acts. Fucking bullshit.

Hey, you want a challenge, how about this one? “Two to eight (2d4) energy discs hover in the air, half a meter wide, razor-thin,crackling with electricity.” There’s your fucking combat. I guess fighting rats might make a statement about man’s subjugation of the natural world. Far better to die by crackling electric discs. 

The adventure is fucking garbage, what there is of it. I can make a decent case that this isn’t an adventure at all, just an outline of one, if that.  You get a few locations, you get some NPC”s with motivations and the rough outline of a plot. GO!. This leads to discovering clues like “Torn letter referencing a mysterious debt – Actually belongs to Auguste, proving his ties to a shady merchant guild.” How’s that for evocative gameplay?! No more to this. Just that. No letter. No details. No specifics. That’s all you get. And everything in this is like that. Just a few general ideas and notes. No specifics on how to use things. It’s weird, how detached it is. You’d think, with actors, customers, and so on that you might have some vignettes or something, but, no. Nothing. Dads house has a couple of sentences on background and then three bullets of clues. “Empty painting frame in the bedroom – Points to the diary hidden in the Red Hills hideout.” How the fuck you make that jump I have no idea. Everything is like that, half finished? Just an idea? I think it might be referring to this? “Concealed inside a magic mirror hanging on the wall, framed identically to the empty frame found in Edwin’s house (Clue #1)” So. I don’t know? Is that a clue? Am I just being obtuse? Anyway, given the page count here the lack of specificity of ANYTHING resembling a plot or details is confounding. 

The formatting is … well, an interesting choice was made. It’s doing a “facing pages” layout thing. Hardcoded in to the PDF. Ug. Not cool. Anyway, the left page is a more traditional text based description while the right is essentially a cliffs notes version of the same text. As the designer notes “this is to test whether presenting the same content twice can serve both those who enjoy a full,detail-rich reading experience and those who prefer concise keywords and minimal description.” I would take exception to this statement, The two are not mutually exclusive. Well, ok, maybe they are if we take “detail-rich reading experience” to mean “people who buy adventures to read instead of to play.” In which case, Fuck You. But I’m going to go with that the designer is taking the view that somehow full text and usable text are mutually exclusive. I think we all know, from numerous Best examples from this very blog, that is not he case. 

In any event, this experiment fails. The facing page “terse view” is a disaster. The font is in some faux-handwriting thing, which immediately destroys readability. And then its in a light blue text, which makes it even hard to read. Then it slapped down on some “lined paper” background, which again interferes. IF something sane had been chosen to put the “bullet points” in then maybe this would have worked. But not as presented. Which is too bad because every once in awhile the summary information IS good. The theater producer, in his “full on” text has a line that says something like “Does not believe in the daggerpiece curse.” But, in his summary it says “The curse does not exist.” This is interesting, presenting what is essentially the same idea in two different manners., using two different wordings. Which conveys two different attitudes. The summary version “the curse does not exist” is, I think, far better, giving a much more solid foundation on which to roleplay the manager from. 

The level range here appears to be arbitrary, with no real reason you’re level eight are fucking around with a playhouse. Also, the fucking overland map is a disaster with hard to read fonts on it. Why legibility” remains a barrier in 2026 is beyond me. And, for the final cinema sin, there’s a fucking expo dump in a fucking diary. It explains everything. Lame. LAME. DON”T PUT IN FUCKING DIARIES! DONT EXPO DUMP! Figure out how to convey information naturally through the game, if it even NEEDS to be conveyed. 

This is $1 at DriveThru. There is no preview. You make baby jesus cry when there is no preview. You don’t want to make baby jesus cry do you?

https://www.drivethrurpg.com/en/product/558386/a-grinning-ghost-s-grim-tale?1892600

 The Solar Frontier is a vast and unpredictable expanse where hard sci-fi grit meets the wonder of the unknown. In Thirteen Parsecs, the O.G.R.E.S. system thrives on fast-paced, high-stakes situations.Below is a custom D100 Space Encounter Table designed to fit the tone of the game—covering everything from industrial hazards and corporate shakedowns to the eerie isolationist horror the Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

I’ve been a fan of Columbia Games and the Harn setting since the early 1980s. It’s not just a strong medieval fantasy world in its own right. What has always set Harn apart is its modular design. Each product consists of self-contained articles, which makes it easy to incorporate material into other campaigns. I’ve used it extensively in my own Majestic Wilderlands and Majestic Fantasy Realms.

   Evael, Kingdom of the Elves Kickstarter

For decades, Harn products came as three-hole punch, loose-leaf articles. That format was ideal for organization. You could build your own binders exactly how you wanted.

That said, I’m aware I’m in the minority there in liking that format.

In recent years, Columbia Games shifted to hardcover releases, and they’ve just launched the Kickstarter for Kingdom of Evael, the final book in their nine-kingdom series.

Evael, Kingdom of the Elves Kickstarter

While a hardback, the format is still a series of articles covering the kingdom and various locations. So even if you don't ever plan to use Harn itself, it will be useful in giving you a capital for an elven realm (Elshavel*),  an elven port (Ulfshaften*), a strange, enigmatic ruin to explore (Pesino), or a cultural article on the Harnic Dark Elves (Morsindarin**)

While a lot of settings are good at lore, Harn is good at providing usable material for your campaign. And the Evael, Kingdom of the Elves, will do just that for the elves in your setting.

*I guess I am a superfan of Harn because I was able to type those names from memory correctly spelled.

** This would be useful to those of you who are fans of my Blackmarsh setting and want to flesh out the Brotherhood of the Raven.

Been awhile...
Cool way to mix random spell determination with choice...
When you level up (or even at character creation) and are gaining new spells, you roll randomly to determine what spell(s) has turned up in your off-screen research (you're a wizard, you're always researching).
This requires random lists of all possible spells (by level) in whatever system you're using. You may have to make these yourself. (I have such disdain when spells are simply listed without the option of random determination; laziness).
After a spell is rolled and you want to learn it, you need to make a learning check. In AD&D 1E this would be a "chance to know spell" check. In 3.Path, it would be a spellcraft check. If you don't want to learn it, you can pass and roll again (you can only "pass" a number of times equal to your level). You may regret this, because that spell is lost to you until you randomly roll it again or find it in the wild. (Speaking of, if you have a scroll with a spell that you want to learn, you can skip the random roll and try to learn that spell instead. Failure means you didn't learn it and must roll randomly. Success means you learned it and the scroll is destroyed. Critical failures could get interesting, as could critical successes.)

• Spell Books are coveted because they contain a variety of spells you can choose from, thus bypassing random research. But learning rolls must still be made.

If you fail to learn a spell, you record that spell on a list of "spells being learned" and can try again the next time you gain a new spell of that level. This will probably be an easier roll as your skill/intelligence score should/could be higher. If not, a small bonus may be granted each time an attempt is made.
Success on your learning roll means that you've learned the spell, of course.

More flavor... How did you find the spell? (Roll this before you roll for the spell, as it might influence whether or not you choose to learn it).

1. Library Research.
2. Dream/Meditation.
3. Another Wizard. (This might cost you, perhaps 1,000 GP/spell level, but thanks to expert tutelage, this spell is always cast as one level higher).
4. Demon/Devil. (Could be a multitude of beings, but as I view magic as black...) Learning the spell from a demonic/devilish source could come with a price such as a contract, blood sacrifice, or physical/mental corruption: Horns, rotting flesh, scars, hooves, etc. (represented mechanically by stat loss), but, the spell is learned with greater potency; cast as 1d4 levels higher.

And just like that, Wizards are infinitely more interesting.

 

Substack is starting to come together for me. Regular Notes, first couple of subscribers and here's the second post. A design post about some ideas I had for a game I'm writing just now: That Eldritch Sea. You'll get an idea what the game is about, how it will work and the details on one little idea I needed to make that game click.

You can find it here (for free):

Click this, please. 

As I said in the introduction, there's a bit more to discover now. I'll use blogger solely as a sign post from now on, until I think the blog is dead for good. It is for the better. Blogger has run its course and I need a new start of sorts. Substack fits that bill, and I'll be happy to see all those over there who liked my stuff here. As well as making new friends, of course.

Another post will hit Sunday. Meanwhile I'll do a little series of note about all my projects. That's a lot, as you'll find ^^ 

Click to get it full-size
front and back!

I’m the guy who does “monsters on a business card” posts, and I just started at MCDM, so I should probably do a Draw Steel Monsters on a Business Card, right?

Well it turns out I don’t have to! Amber over at amby.navy did it for me!

If you’re new to DS, there are a lot of new terms here and it may look intimidating! Luckily, it’s all spelled out in a few pages in the introduction of Draw Steel: Monsters. (No reverse engineering required!) But once you’ve read those pages, you may want to grab Amber’s card, which is a clever and compact distillation. Print it out, carry it, and use it to design monsters, and, heck, run completely improvised Draw Steel monsters on the fly!

The latter goal may seem crazy, but why not? In my never-ending goal to reduce my game prep time to just thinking about story beats, I intend to try out the business card to do that very thing.

In the post-industrial fantasy, The Gutter Prayer, by Gareth Hanrahan, gods are essentially strange loops of magical energy, powered by worship and quite obviously a lot more trouble than they're worth. At least most of them don't eat the souls of living being like the gods in R. Scott Bakker's The Second Apocalypse series, but that's about the only thing one could say in their favor. 

One of the interesting things in Hanrahan's portrayal are the saints. These saints are much like "The Gifted" in my Weird Adventures setting and in other posts in that they are people effectively imbued with super-powers by a god. As such, they make good inspiration for an approach to clerics in fantasy rpgs.

Saints differ from your standard cleric of the D&D variety in a few ways. One, they don't seem to cast spells, just manifest divine powers. Two, they aren't necessarily people of high faith, but ones who just happen to be on the same psychic wavelength as the god, making it easier for the god to establish a connection and work through them. Third, the saints, then, aren't the evangelists and expanders of a faith, generally, but it's holy warriors.

I've long felt that having clerical magic-users that are separate and distinct from regular priests and priestly hierarchies worldbuilding-wise, and this remains a really good approach, I think, and I feel like Hanrahan provides a flavorful implementation of it, with an interesting take on the gods, in general.

My recent deep dives into comics led me to explore other fantasy and sword-and-sorcery books I’d either missed or forgotten about over the years. That winding path eventually led me to Weirdworld, a comic created by Doug Moench and Mike Ploog. And honestly, rediscovering this series sparked an entirely new topic for my “40 Years a Gamer” retrospective: the artists who inspired my campaigns.

I absolutely love Mike Ploog‘s fantasy art. I first became consciously aware of him through his 1994 trading card collection, back when I was working at Metro Comics. I collected all those cards and used them as visual references and inspiration for NPCs and events in my homebrew world.

I eventually realized I had already seen his comic work in various back issues. I also found out later that he worked on Ralph Bakshi’s animated movies, Wizards and The Lord of the Rings, which were two of my absolute favorites!

His art style was a bit cartoony—different from the more traditional fantasy art that usually inspired me as a young GM—but it had this incredible dynamism and movement that other pieces just lacked. Sadly, I no longer have the complete trading card set. But back in the days before high-speed internet and Pinterest, physical art books and trading cards were the main sources of visual inspiration for the table.

The Weirdworld connection that sparked all these memories is actually pretty funny. I had completely forgotten about these characters. I originally read about them in Marvel Fanfare issues 24-26 back in 1986. Because I was such a huge Elfquest fan, I was thrilled to find another fantasy story, but I remember being a little disappointed. It just didn’t capture me the way Elfquest did. As it turns out, the stories I read were NOT drawn by Mike Ploog!

Because of that, I completely forgot about the setting until I stumbled across it again a few days ago and realized it was co-created by one of my favorite artists. What a great connection to finally make. You can see some of Ploog’s original Weirdworld art below.

Bonus! There was a map of Weirdworld published in Epic Illustrated #9. The map is a little silly—or perhaps whimsical, and fairy-like is a better description! While I might not use it as direct inspiration for a TTRPG right now, we’ve had two significant adventures in the Fey Realm in my long-running homebrewed campaign, so I am absolutely keeping this handy for later reference.

Random notes.

After having ran and played in multiple games with player-facing dice rolls, I gotta say I strongly prefer them. Having players roll all the dice frees the GM up to focus more on what's happening and what happens next and it keeps players being active contributors.

Player-facing rolls have moved up the ranks in my gaming preferences right up there with luck points and death choices.

Speaking of gaming... shit I'm behind. I playtested ZSF and I'm in a spot where I could hone it, focus in, and get the game done. But right now in this instant I do not have that fire. I'll get back to it later.

Meanwhile I've dashed out a few other game ideas. I wrote one the other day based an older idea called Dirty Dozen Death Squad. You make a unit of 4 or 5 characters, then all the players bring all their characters and you just go through a violent mission. I guess it's more of a skirmish game and RPG.

Made another one this week. No name yet, but it's got a neat little core where you roll a d20 if you've got a skill and a d12 if you don't. Each hit you take knocks you down a die step. But it's not a combat game... it's more of an explore and interact kind of thing.

Sketching is always on the table. Tons and tons of drawing and doodling and coming up with ideas. I've written many comic book scripts lately. I just can't seem to find the oomph to focus on one thing long enough to get it done.

But I'll get there.

 The PC's were contacted by The Ghost of Hong Kong after she took on an assignment from Tankana's corporate rivals. I'm using The Ghost of Hong Kong: Targets as a reference. The events of  Bidonville Blues  adventure & the Thresher almost ended two PC's.  This session report picks right up from New Flesh Rpg Adventure - Mission Brief: Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

 Adapting David Cook’s 1981 classic I2: Dwellers of the Forbidden City for a modern, grit-forward system like Barrows & Borderlands (B&B) requires shifting the focus from "heroic monster-slaying" to "tactical survival and factional maneuvering." This blog post picks right up from OSR Commentary Adapting C1: The Hidden Shrine of Tamoachan To The Barrows & Borderlands RpgThe Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

When I recently shared that image of classic DC Comics sword-and-sorcery characters as great TTRPG inspiration on my Facebook Page (see the featured image above!), I honestly didn’t expect to fall down such a deep rabbit hole learning about them. But one thread pulled another, and I ended up finding some incredible material that I can’t wait to bring to the table.

First up was Claw the Unconquered. At first glance, he looks like a standard Conan knockoff. But I was reading Scott Dutton’s Catspaw Dynamics blog (which I mentioned in the blog post where I wrote about Conqueror of the Barren Earth), and Scott shared some beautifully digitally recreated art for the series. More importantly, he shared a map of the setting where Claw’s adventures take place.

It’s literally called “The Known World.”

Anyone who knows me knows I am an absolute sucker for fantasy maps, and seeing a “Known World” instantly triggered my Mystara nostalgia! Seeing this immediately makes me want to track down these old comics just to learn more about how they built this world and see what I can borrow for my own campaigns.

Another classic DC Comics sword-and-sorcery character from that same era that caught my attention is Stalker. And just like Claw the Unconquered, he has a world map too! It’s a simpler one, but it still makes me want to mine it for campaign material.

The premise of the book is intriguing: Stalker is a man who sells his soul to become an unbeatable warrior, then goes on a brutal quest to recover it. The art is by the legendary Steve Ditko—obviously of Spider-Man fame, but he did so much more than that. The whole concept of a soulless warrior trying to wrest his soul back from the demon god who granted him power is such a perfect hook for a TTRPG campaign.

I really want to drop Stalker the Soulless and Claw the Unconquered in as NPCs in a future fantasy game. They could easily fit into Worlds Without Number or Savage Worlds, but honestly, they both give me massive Shadowdark or Old School Essentials vibes. Since I’ve been rereading the Shadowdark rules during my recent holiday, I’m genuinely tempted to just roll up a PC based entirely on Stalker.

As I kept digging, it turns out that back in the late 70s, DC wasn’t just publishing sword-and-sorcery heroes. They were also putting out some wild science-fantasy and sci-fi comics. I honestly did not know much, if anything, about these until I took this deep dive into old comics lore!

There are two I want to learn more about, especially since the descriptions I read online make them seem to be in the exact same vein as one of my all-time favorites, Atari Force.

The first is a science-fantasy heroine named Starfire (yes, she had the name before the Teen Titans character!). According to a quote from Hope Nicholson’s The Spectacular Sisterhood of Superwomen on the Wikipedia page, she was originally meant to be DC’s answer to Marvel’s Red Sonja. However, writer David Michelinie took her in a different creative direction, trying to give the series a vibe closer to Edgar Rice Burroughs‘ Barsoom.

The second is a sci-fi team book called Star Hunters. According to one review I read, it sounds like a bit of a mess—but that might be the fun of it. The art looks genuinely intriguing, and Donovan Flint, the titular Star Hunter, looks an awful lot like Corsair from the X-Men.

Here is the absolute best part of this whole dive: Michelinie actually created Claw the Unconquered, Starfire, and Star Hunters, and he originally wanted them all to be connected as champions in a massive battle between universal forces. It is a direct callback to that cosmic Law vs. Chaos conflict I wrote about Arion a few days ago.

All of this will absolutely serve as inspiration for my future Stars Without Number campaign.

If you want to check out the art and read more about these characters, the Catspaw Dynamics blog has some great entries with preserved and recreated art:

• Claw the Unconquered
• Starfire Poster by Mike Vosburg
• Star Hunters #1 Cover
• Star Hunters #8 (Unpublished Cover)
• The Connected DC Universe of David Michelinie

And if you want a laugh, here is that review of Star Hunters.

By Taron Pounds
Land of the Blind
OSR/Vagabond
Levels 6-10

An explosion rocks a nearby mountain range. Once the dust clears, two twisted and screaming towers remain: one black and one white. Ominous seals appear on the moon and stars. A wicked smile spreads across the eye-spotted black tower’s upper story, capped by a witch hat-like roof. Its upper and lower floors appear to be separated, with arcs of blue lightning emanating from its center. The white tower is a bastille of pale stone, with an otherworldly blue fire burning at its top. Windows of stained glass bend without breaking along the white tower’s exterior, and eyes of madness follow those who approach the black. A flock of winged serpents fly around these profanities of architecture. No one knows where these towers came from, and what has corrupted the celestial bodies. It is up to the heroes to uncover the mystery to stop a cataclysm that has been unfolding for centuries in secret.

This 44 page dungeon presents two towers with about nineteen rooms between them. It’s a funhouse dungeon in which the world ends. That’s fun! Also, you don’t actually need to do anything here but go to the top floor and pull a lever. That’s fun! I don’t see a reason to go inside.

The gods have trapped one of their own in a magic prison. Dude wants out and finally is about to break free, thanks to his two followers, each of whom built a tower. You don’t know any of this. You’ve just got some generic rando hooks that come down to “you see these two weird towers.” I hope you go inside, because if you don’t then the world ends. That’s rough. Anyway, you go inside and find a funhouse dungeon, the two towers connected to each other with some magic pathways and normal stairs and so on. Turns out that if “the steamworks” is functioning inside the tower, and someone has had their soul aged in the aging room, then if you pull the level at the top of one of the towers then the trapped god will go back to jail. There’s a friendly phoenix, powering the steamworks through a portal to the elemental plane of water, that will tell you all of this who is at the top of the other tower. Anyway, so, the steamworks already works. And someone has already given their soul to the aging room. So, just pull the level in the other tower. 

To get there you will need to … ignore everything. Basically. Whatever is in the room, just ignore it and go up the stairs or through a door. Yeah! You’ve overcome that challenge. I’m not sure anything really attacks you in this unless you go fucking with shit. Oh, wait, hang on, there’s a death knight. “Motionless at first, but disappears if vision on him breaks and he then stalks the party.” I don’t know what the whole “disappears and then stalks” thing is about. I guess that’s for the DM to handle. So, I guess you gotta fight him? I THINK that’s the only required combat. Also, “required” is a loose word; I think you can make your way through the tower without having to go in to the throne room where he sits. 

Let’s double check my theory. Room one, walk backwards down a mirror hall. No consequences for not doing that. Room two, touch nothing and go up the stairs. No consequences for not doing that. Room three, go up the stairs and don’t touch the floating books. Room four, ignore the tree and go through one of the doors. Room five ignore everything. Room six, go through a door. Room seven, go up the stairs. Room eight, go up the stairs. Room nine, go up the stairs. Room ten, meet the phoenix. That’s one full tower and half the rooms. Congrats. The second tower, to my recollection, is more of the same. 

But, hey, you can still make the world end. Every time you use a spell or a magic item or go through a magic portal in the tower then the DM rolls a die. The third time they roll a one the dude breaks free and immediately destroys the universe. You get a warning though, you hear an owl screeching, which, obviously, means the universe is going to end if you cast another spell. This mechanic also ties in to a fun “weird things happen!” table, with entries like “Unluckiest PC must save or their limbs become accordions for 1 Minute.” or some blobs teleport in, loudly fart, and then teleport out again. Fun! … Humor, gentle readers, is highly subjective and doesn’t translate well.

We lead off with three paragraphs of italics read-aloud. We get read-aloud like “This room appears to have been built to keep a phoenix in a consecrated prison.” Appears to be. And how the fuck do we know it’s a prison? Or that it’s consecrated? It’s just garbage. In one room you find some masks. “Each is Cursed and Sentient, but only speaks while worn.” We’re referred to a table telling us what they do. “The wearer fails Checks against surprise.” Dazzling. Sublime. You didn’t even bother to give the mask a name or a personality or anything else. 

I’m not a fan of the zany funhouse, but this isn’t that. I’m also not a fan of the museum trip, and this is more in that vein. Just don’t touch anything and look at the scenery and you’ll be fine. But, also, the whole “lets nerf the party” and “oops! The world ended! Guess you didn’t figure out that was going on!” is VERY time. You need to communicate that the party is racing against time or else it’s not a race against time. It just ends up being the wandering damage table and rocks fall, everyone dies. Weird that’s not fun. And if you need to nerf the party then you wrote the adventure for the wrong level range.

This is $5 at DriveThru. The preview is seven pages and shows you nothing of import. Poor preview.

https://www.drivethrurpg.com/en/product/561060/the-rook-the-crook?1892600

I'm reading DC Comics' output from January 1980 (cover date) to Crisis! This week, I'm looking at comics that were published on April 18, 1985.

Batman and the Outsiders #23: The story continues from last issue: the Outsiders are trying to rescue Halo from the Aurakles. First, they travel to Japan to retrieve the ritual necessary to call forth the Aurakle whose soul is captive in Katana's sword. They compel the being to take them to its dimension. There they defeat the Aurackles in a surprise attack leading up to a threat to destroy them all via Black Lightning's power and Metamorpho turned into a conductive line. The Aurackles give in and let Halo go. Halo is conflicted over the fact that she stole Violet Harper's body, possibly even inadvertently killing the young woman, but Katana tries to assure her that Violet was a terrible person who didn't deserve life, making Violet (like Terra) one of the "utterly evil young women" of the era. Halo isn't completely convinced, though, so maybe Barr isn't either. Davis' art is perhaps not as polished as what will come from him in a few years, but it's already great.

Blue Devil #14: Mishkin/Cohn and Kupperberg/Maygar introduce Kid Devil, whose Marla's nephew, Gopher, in a devil suit he built from stuff in Dan's workshop. Smart kid! Dan is, at first, annoyed, but when the plane Gopher's parents are arriving in is hijacked, Kid Devil is helpful in saving them.

G.I. Combat #278: The first Haunted Tank story by Kanigher/Glanzman is sort of weird (which has been happening a lot lately). The Elder Craig is having nightmares and survivor's guilt about his former tank crew from WW I that were never recovered. When trying to defend a bridge at Riviere Du Diable, the crew finds a tank and bodies from the previous war, then slip into some liminal realm (time travel maybe?) where they are unable to act in their defense, but the ghosts of Craig's old crew come to their rescue.
There are 3 short World War II stories. One is brief Haunted Tank piece about the younger Craig, but the other two feature non-series characters: a G.I. in love with a French girl trying to save her village and a klutzy apiarist G.I. who uses his bee-knowledge to save the day.
Finally, there's a Mercenaries story, but it is one of the weakest some far, I think. After foiling a kidnapping attempt against some guy in San Francisco, they agree to be his bodyguards and go with him to his secret research vessel, Pandora, in Antarctic waters where he's developed a ship-based satellite-killer missile. All of this makes him seem like a super-villain, but before we can explore any of this they are attacked by a Soviet ship. The Mercenaries sink Pandora rather than let it fall into Soviet hands.

Green Lantern #190: This Predator arc takes a weird turn. As Stewart tries to get his ring to tell him his predecessor's secret ID, Green Arrow, Black Canary, and the reporter Tawny show up with video tapes that record Stewart visiting with the two heroes at Carol's house in Coast City, something that none of them remember. Suddenly, everyone is paralyzed, and Predator swoops in and pops the tape out of the player. Katma is unaffected and tries to stop him but can't. The others have no memory of these events.
Meanwhile, Hal is on a stakeout, trying to figure out who the Predator is. He follows him, but the Predator alludes him. In the abandoned theater where the Predator had apparently been holed up, Hal catches the distinct smell of Carol's new perfume. 
Also, Guy Gardner starts to come out of his coma.

Infinity, Inc. #16: The Thomases and McFarlane/DeZuniga introduce Mr. Bones, who has a design that sort of anticipates McFarlane's Spawn. Before this though, the issue has a beach volleyball match to get in some gratuitous swimsuit shots not unlike a lot of stuff we'll be seeing in X-Men in the latter eighties. Among the bikini beauties is the newly introduced Yolanda Montez, who we aren't told much about yet, but she arrives with Wildcat. Anyway, after all this, Bones catches Fury alone and kidnaps her. To be continued!

New Teen Titans #10: Having finished the previous storyline, this issue is mostly setup for things to come. Lilith is made an Olympian god, and the other Teen Titans are sent back to Earth. Everybody is happy, except for Azrael who's really broken up, and the Titans are perhaps realistically but amusingly not terribly sympathetic to him. Cyborg kind of makes fun of him, and Azrael flies off. Meanwhile, a Tamaranian ship heads toward Earth to retrieve Koriand'r now that the Citadel is defeated.
Most of the issue is devoted to Joe and Kole. He helps her go looking for her father. In a sequence like something out of one of DC's bygone horror titles, her scientist Dad rants and tries to force them away. Joe possesses his body and they go into his laboratory, which they find full of monstrous human mutants created to find some form that could survive a nuclear war. freaked out, Joe and Kole flee. I'm sure that's not the last we've seen of Dr. Weathers, though.

Sgt. Rock #402: The main story by Kanigher/Redondo tells something of Wildman's background as the seemingly neurologically locked-in G.I. is about to receive a metal for bravery. Wildman manages to wake up and move to declare he doesn't deserve the award as the real act of heroism was performed by a former student of his who had just joined Easy.
In the second story, a reprint from 1974, an Indian survivor of a U.S. Cavalry attack on his village gets revenge on the soldiers by stealing their horses in a mountain trap. When a blizzard descends, the warrior pragmatically uses the horses to survive while the soldiers freeze to death.

Saga of Swamp Thing #38: Moore and Woch/Totleben get "American Gothic" underway with the Swamp Thing returning to Rosewood, Illinois, which he last visited about 3 years ago to the day in issue 3. Flooding Rosewood didn't get read of the vampires, but instead caused them to evolve into an aquatic, eusocial form, even more dangerous. Before telling Swampie anything more of the secrets he wants, Constantine wants him to deal with those vampires, so Swamp Thing wades in to do that.

Warlord #94: I reviewed this issue here.

Who's Who #4: More C's! Looking at characters particularly related to the period I've been reading here, we have Circe from Wonder Woman who re-appeared not too long ago, Computo showed up in Legion, and the Construct who just turned up last week in Red Tornado #1. Color Kid is also fresh off an appearance in the Legion of Substitute Heroes Special #1. There are also several entries for characters/organizations that had their first appearance in this period: The Creature Commandos soldiered through Weird War Tales for a period close to its ending; Colonel Future from introduced in Superman #378 and had at least 1 appearance since, and then there's Croc who got a whole arc in the Bat-titles. Two of these represent dangling mysteries: The identity of Colonel Computron was left unrevealed, though maybe it has been post-Crisis, as the character has had a few appearances. The generic, shadowy villainy of the Council from Supergirl is likewise noted here, though it never got fully exposed or dealt with. In the "Obscure Characters that Trey likes" column, we have Claw the Unconquered with art by Giffen.

 Codex Infernum for Castles & Crusades is a comprehensive infernal bestiary and sourcebook released by Troll Lord Games. It serves as a dark companion to Codex Exaltum (which focuses on celestial beings) and provides Castle Keepers (GMs) with the tools to integrate demons, devils, and the metaphysics of evil into their campaigns.Key Features & ContentThe Bestiary: The book contains Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

For someone who posts primarily about tabletop role-playing games, I certainly have been talking a lot about comics lately. Indulge me again, because this one is directly related to the hobby. Today, I want to look at a comic book based specifically on a TTRPG—Malibu Comics’ 1992 Torg mini-series, published under their Adventure Comics imprint.

It was 1992. Torg: Roleplaying the Possibility Wars had been out for two years, and I was completely obsessed with it. I had read the first tie-in novel (because it seemed like every major TTRPG released in that era had to have one!), and as much as I liked it, I was still trying to wrap my head around what a Torg campaign should actually look like at the table.

This comic finally gave me that answer.

It was thrilling to see an alternate-world reality invading Earth on the page. Specifically, the Tharkoldu invasion of LA! The book perfectly illustrated the dynamics of heroes from wildly different realities teaming up to face these massive challenges. I don’t have the physical issues in front of me right now—they are packed away in storage—but at the time, I was a massive fan. I managed to get my hands on issues 1, 2, and 4 right away, though it took me years to finally track down issue number 3. When someone asked me what Torg was like back then, I didn’t point them to the heavy rulebook; I referred them to these comics.

It helps that the book was written by legendary game designer Greg Gorden, who was actually part of Torg‘s original design team. His resume is incredible. He was part of the team that designed the James Bond 007 RPG, served as the main designer on Mayfair’s DC Heroes, worked on West End’s Star Wars D6, and was the main author of the Imperial Sourcebook—setting a high bar for game design that influenced the entire Star Wars franchise. He also worked on the original Deadlands, which ties my early love of Torg directly to my current predilection for Savage Worlds.

If you want a deep dive into his game design and influence on the hobby in general, check out this excellent interview and analysis over at Geekerati Media.

The art was handled by Sergio Cariello. He went on to work for more mainstream titles, but here he captured the setting’s cinematic feel perfectly. The comic looked like a gritty action movie—more grounded and realistic, and not four-color at all. It was black and white, after all!

There might be some rose-colored-glasses reminiscing about what I just wrote. But in 1992, and for a few years afterward, this four-issue run was hugely influential in shaping my conception of what Torg was and could be. I reread the original novel trilogy and these comics to prep for a Torg prequel campaign I ran in the early 2000s.

I really wish more TTRPG comic crossovers would use the medium to show what playing the game feels like, rather than just telling a generic story with the game’s branding slapped on the cover.

Have you ever read a tie-in novel or comic that completely changed how you ran a specific RPG?

Hello, friends and neighbors. Long time no see, right? Well, I was undecided how to move on from blogger. It's just that ... well, the algorithm is an unkind mistress, so we are moving tents to greener pastures. I'll show you the way.

Looky here, a Substack ...

Blogger was good the first couple of years I used it, but when g+ got the boot, it all fizzled away. And the OSR community (of yore) with it. I stayed. I tried. And I never stopped working on the stuff I started. But this isn't the place for it anymore. I barely get traffic from other blogs anyway (AND haven't been doing much here as well).

So I have to move on.

But I'd be happy to take you! So here's where it's at, with a couple of words about what it will be about:
 

Go there, if you will 

You see? I shift focus a bit. Not so much about the culture and more about me being a publisher and talking about my projects, about the tools of the trade, all that good stuff, and with clear dedication to give this a proper pulse.

I'll update here when I update there until I feel like this blog can rest now.

See you on the other side!