My Gygax Quiz Results

To be honest, this was the second take (the first take was 70%).   Between takes, I checked my copies of the Gord books and "bam!" did much better.  I used Bookshelf fu and not Google-fu.  I still missed the word that Gary didn't use in the DMG.

Christian Lindke took the Hardest Gary Gygax Quiz in the World and got 100%!



You are a Gary Gygax Dungeon Master. You are a world expert on Gary Gygax. My guess is you are either a former TSR employee or an extremely obsessive fan. You can be proud of your in-depth knowledge - few are so expert in any subject! Also, I would like to be in your D&D group.

Paladin Code: You completed this quiz without using Google.

A Game Master's "Appendix N" -- A List of Books Every GM Should Own

Gary Gygax's list of recommended reading, is "appendix," on page 224 of the first Advanced Dungeons & Dragons Dungeon Master's Guide holds a special place in the role playing game community.  In role playing circles, the list is as influential -- if not more so -- than the Lin Carter Ballantine Adult Fantasy series is for Fantasy fans in general.  Gygax provided the list so that Dungeon Masters could be filled with the same wonder and inspiration that eventually culminated in his creation of the Dungeons and Dragons role playing game.

The appendix is quite marvelous.  It begins by mentioning that Gygax's father's story telling was a key component in sparking young Gary's imagination.  Too often discussions of Appendix N leave out the opening paragraph when discussing the important influences, but we should all remember how important it is to share stories with our children and to take some time to make up our own bed time stories.  It is wonderful to read to our children, but by telling them stories we show our children that it is okay to invent their own tales.

But this post isn't about Gary's list. There are plenty of posts discussing "Appendix N," such as this Cimmerian post on the topic. The original "Appendix N" was a list of inspirational authors and works of fiction that Dungeon Masters could read to spark their narrative imaginations, and better understand the kind of Fantasy that would be experienced using the Dungeons & Dragons rules. That was a lofty goal, and one that the list succeeded at, but it is only half of what a good GM needs. A GM needs both food for the imagination, and food for the presentation.

By this I mean that GMs need stories that can lead them to create wonderfully rich narratives for their players, but they also need the tools that will help them to manage very good sessions. Essentially, GMs need both a degree in "Literature that Inspires Good Gaming" and "Game Session Management." Over the 25+ years that I've been running games, and as someone who was once a terrible GM, here is a list of books I've found invaluable. Future blog posts (on no particular schedule) will highlight some of these books and talk about why they are so important.

• Aaron Allston's Strike Force
• Robin's Laws of Good Game Mastering
• Prince Valiant: The Story Telling Game
• Through Dungeons Deep
• DC Heroes
• Advanced Dungeons & Dragons Dungeon Master's Guide
• Dungeons & Dragons 4th Edition Dungeon Master's Guide 2
• Shared Fantasy: Role-Playing Games as Social Worlds
• Hamlet's Hit Points
• A Penny for My Thoughts
• Game Design Workshop
• Vornheim
• Role-Playing Mastery
• Master of the Game
• Shadow, Sword, & Spell
• Thousand Suns
• The Burning Wheel
• A Theory of Fun
• The Bones
• The Fantasy Role-Playing Gamer's Bible
• James Bond 007
• Justice Inc.
• Call of Cthulhu
• Savage Worlds
• Vampire: The Masquerade
• Amber

There are others, to be sure, but I believe that every one of these should be somewhere on a GM's shelf.

SyFy's Mercury Men -- "Skyscraper Saboteurs"

"Skyscraper Saboteurs," the second episode of the intriguing Mercury Men web series, went live this morning. The episode builds on all the qualities that worked in the first episode, and features fewer of the drawbacks. It appears that the series is quickly getting past the sense of "pilotitis" I felt regarding the first episode.

The series takes place in Pittsburgh in 1975 where Jack Yeager (Curt Wootton) -- a character wonderfully inspired by classic pulp figures -- discovers a sinister plan by Venusian invaders, a plan that only he can stop. Lucky for the Earth, Jack is a combination Flash Gordon, Doc Savage, and Blackhawk:

Daring League captain, aerospace engineer, and former US Air Force pilot, Jack travels the galaxy to explore unknown worlds, new alien races, and advanced technological wonders. Always at Jack's side is the Lumiére, his trusted revolver which fires bolts of condensed light. Jack is dispatched to Earth to investigate the glowing men of Mercury.

Like the pilot, I do have some complements and criticisms regarding the episode, but watch the episode first. It is well worth your time. Join me in discovering the sinister plan of the Mercury Men!

Pros:

I've got to give the production team at Mercury Men Pictures credit for their focus on sound design. Poor design can really tank a feature, particularly a genre feature, but the MMP crew have added some interesting environmental sound effects that add depth to the feature. I am particularly fond of the "fuzz" sound of the Mercury Men themselves.

The visuals continue to be fairly impressive. I was particularly impressed by the scene where our heroes were on one side of a wall constructed of glass bricks, and the Mercury Men were on the other. The image where we look through Jack's looking glass was also impressive as it included "warping" around the edges and was more than a mere "circular cutout" image. Jack's hologram projector was a nice touch, and a nice effect.

Like the serials that Mercury Men is based upon, the MMP crew use a lot of visual storytelling. When the Mercury Men's plan is revealed, it is shown and not told. Very nice!

Cons:

I still find Mark Tierno's performance as Edward Borman a little forced. He seems to be acting in a style more akin to silent films than talkies. He isn't bad, but his movements have an odd fluidity that seems natural in a purely visual story. His line delivery is good, but I'm on the fence. If Edward gets blasted by the invaders I won't be overly distraught.

When Jack and Edward are walking down a stairway there is a wipe effect -- a nice homage to the serials -- that goes against the movement of the action taking place. This has the visual effect of slowing down the pace of the story and decreasing urgency. It almost feels as if the action is being rewound. I think wipes should follow movement, not run against the grain. Just a personal opinion.

Now that I've seen the story so far, I am more convinced than ever that I need to lift ideas from it for a short term Savage Worlds or Cortex+ campaign. I will certainly be statting up some of the characters as the show goes on and we learn more about them.

The MMP crew have captured the tone perfectly. This show is obviously done of love of the material and lacks the kind of ironic distance that too often seeps into the gaps and ruins a good story. Let's hope they keep it up. If their website, and their digital props, are any hint I think they will.

I already wish they'd build a flash based game based on their fictional Atari 2600 game.

[Blogging Northwest Smith] "Dust of the Gods" (Reprise) Moore at the Mountains of Madness

"I have graven it within the hills, and my vengeance upon the dust within the rock." -- Edgar Allan Poe, Narrative of Arthur Gordon Pym

Catherine Moore's fourth Northwest Smith story is one which continues a noble tradition in Weird Horror fiction, that of the Antarctic/Arctic expedition. This tradition has included some of my favorite horror and sf tales and movies. A list that includes Poe's Narrative of Arthur Gordon Pym, H.P. Lovecraft's At the Mountains of Madness, John W. Campbell's Who Goes There?, and John Carpenter's The Thing, based on Campbell's tale. These stories combine mankind's natural curiosity, the desire to explore the unknown, with mankind's natural fear of that same unknown. Given the lifeless wastes of the Antarctic/Arctic environment, it is the perfect setting for a scary story.

It is a particularly perfect location for the "post-mythological" horror story, the kind of horror story that leaves superstition and mysticism to the dust bin of history and creates supernatural horror that might exist in a rational and material universe. This is the perfect horror for a scientific age. Kenneth Hite, in his [Tour de Lovecraft] entry for At the Mountains of Madness describes this kind of tale as "remythologization." As he describes it, horror that provides a "plausible entryway for 'adventurous expectancy' not through a world-view that saw everything as magic but through a new world-view, one that saw everything as rational." It is horror for a world where "God is Dead," and where traditional spooks don't provide the chills they once did.

One can also see the line of "remythologized," or "post-mythological," horror represented in film franchises like SAW, HOSTEL, LAST HOUSE ON THE LEFT, MANHUNTER, and TEXAS CHAINSAW MASSACRE. Films like these, themselves descendants of Grand Guignol, provide the shocks and chills that thrill the imagination without the need of "mystical" events.

Unlike these human-o-centric tales of mass murder the Antarctic/Arctic expedition tale does include elements of the "supernatural," but it is only "supernatural" in the sense that what is encountered goes beyond what we currently understand about nature. The supernatural element isn't something that violates the laws of nature, rather it is something that man has yet to encounter that evolved according to the laws of nature in a manner different than previously encountered. Poe is the possible exception here -- the one that proves the rule. Like the monster in ALIEN, and the Couerl of A.E. Van Vogt's Voyage of the Space Beagle (which are expedition tales that substitute space for Antarctica), the unstoppable horrors are material and not mystical.

This is a fun genre and it is nice to see Moore dip her toes in with "Dust of the Gods."

"Dust of the Gods" begins, like many Dungeons and Dragons campaigns and too many fantasy stories, at an "inn" where our protagonist and his loyal companion sit in search of something to do. Northwest Smith and his trusty Venusian sidekick Yarol are broke and down to their last drop of whiskey. They are in need of adventure and finances...not necessarily in that order.

While they are commiserating about their lack of liquidity, Yarol notices two men entering the establishment. He describes them as "hunters" to Smith, and hints that they might know where he and Smith can get some work. It doesn't take long for Yarol to notice that there is something different about these two men than Yarol remembers. They are more paranoid than usual. Smith sarcastically proposes that the reason the two men are so skittish is that they may have found what they were looking for and are now haunted by the experience. This is in fact, as it turns out, the case. The two men were hired to go into the arctic regions of Mars to find the "Dust of the Gods" and bring it back, but after finding it have returned to civilization psychologically scarred.

China Miéville argues convincingly in his introduction to Lovecraft's At the Mountains of Madness that it was a retelling of Poe's Narrative of Arthur Gordon Pym, and not in any way a sequel. I think he is right, but I think that Moore's "Dust of the Gods" is a sequel to both the Lovecraft and Poe tale. It is also, if Miéville's account of the politics of Lovecraft's tale is correct, a political response to the Lovecraftian version. The two "hunters" are the men who have returned from Lovecraft's Antarctica forever changed by the experience, Lovecraft's Antarctica has merely been moved to Mars so that Northwest Smith and Yarol can follow in the footsteps of those who have been broken, like Lovecraft's Danforth and Poe's Pym, and succeed where the others have failed. Smith seeing once brave men, now jumpy and frightened, has intrigued his own sense of adventure. He wants to know what could shatter the psyche's of once brave men.

Smith doesn't have to wait long, for he is quickly approached by an old man of indeterminable race. His features are described as follows, "under the deep burn of the man's skin might be concealed a fair Venusian pallor or an Earthman bronze, canal-Martian rosiness or even a leathery dryland hide." The old man's race, and the true color of his skin, is obfuscated by time and wear (an important contrast to the clear black/white dichotomy of both the Poe and Lovecraft version).

It turns out that the old man is the person who hired the other hunters and that they indeed found what they were seeking (or at least "where" they were seeking), but that they failed to return with that which the old man seeks. Smith and Yarol listen as the old man gives them his sales pitch. He wishes Smith and Yarol to travel to the arctic in search of the remains of the god Black Pharol, of whom all that remain are a pile of dust. Pharol was one of the three original gods, on whom all others are based, and the only one to leave behind any physical essence. As the old man describes them:

There were gods who were old when Mars was a green planet, and a verdant moon circled an Earth blue with steaming seas, and Venus, molten-hot, swun round a younger sun. Another world circled in space then, between Mars and Jupiter where its fragments, the planetoids, now are. You will have heard rumors of it -- they persist in the legends of every planet. It was a mighty world, rich and beautiful, peopled by the ancestors of mankind. And on that world dwelt a mighty Three in a temple of crystal, served by strange slaves and worshiped by a world. They were not wholly abstract, as most modern gods have become. Some say they were from beyond, and real, in their way, as flesh and blood.

In one paragraph, Moore has transformed a theological construct into an alien and material one -- following very much in the footsteps of Lovecraft by making her "gods" ancient trans-dimensional aliens. The first two alien gods, Saig and Lsa, disappeared so long ago that not even legends of them exist, but Pharol -- "a mighty Third set above these two and ruling the Lost Planet" -- continued to exist after the other two had faded away. Eventually Pharol too passed from this dimension leaving behind a pile of dust that still contains some of his essence, and which the old man seeks so that he can reach Pharol and control him. The old man knows tht for "the man who could lay hands on that dust, knowing the requisite rites and formulae, all knowledge, all power would lie open like a book. To enslave a god!"

For some reason, that old man's maniacal declaration doesn't dissuade Smith and Yarol from taking the job -- apparently they are desperately in need of money and the whiskey it can buy. Besides, if you're drunk enough are you really going to notice the primordial extra-dimensional god destroying the universe as you know it? Smith and Yarol accept the man's offer and travel off to the arctic to find the dust remains of an ancient god.

They eventually arrive at a range of mountains in Mars polar region and follow the directions the old man gave them, where they discover a passage leading under the surface of the planet and -- if the old man is right -- into the heart of the crystal temple that once was home to the Three gods.

As they pass through the tunnels, they encounter two phenomena that are references back to the earlier Poe and Lovecraft tales. First, they encounter a darkness that is impenetrable. Their space age flashlights cannot penetrate the darkness and it is an almost palpable thing. In a way, Moore's inclusion of a physically palpable darkness is reminiscent of Poe's inclusion of dark people in the Antarctic regions, only here Moore refrains from the racist undertones of Poe and Lovecraft by having the darkness itself alive and no more terrifying than the next "thing" to appear. That thing is a white apparition reminiscent of the figure at the end of Poe's Pym. Smith and Yarol are able to determine that this white figure is what the two original hunters fled from and it is this that they fear is chasing them.

It should be noted that while Poe's Narrative ends abruptly with the appearance of a white apparition, it is the narrator's recalling of this apparition that likely causes his untimely death and thus inability to finish the tale. Poe's readers never find out what happened next because the narrator dies, likely from fear, during the retelling. One might say that Smith, after he encounters and passes Moore's white apparition, is continuing where Pym left off. He is certainly continuing beyond where the hunters explored. The appearance of the white apparition pulls on Smith's psyche, but he manages to retain his connection to reality and leap past the apparition and "fall" deeper into the planet. Smith eventually speculates that the apparition may only be able to exist in the palpable darkness.

When Smith and Yarol do find the crystal temple and open its doors, they have yet more one wonder revealed to them. The crystal temple is illuminated by light that behaves like a liquid and their entry has provided a whole by which the light can drain from the room like a crack in an aquarium. This light is the true counterpart to the darkness described earlier and the description of it draining from the room is one of the most interesting descriptions I have read in fiction for sometime. I might venture to say that the concept of "liquid light" is one of the more original ideas I've read.

As the light drains from the room, Yarol walks up to the triple throne and finds the dust of Pharol and is about to pack it up for delivery when he picks up on Smith's thoughts that it may not be the best idea to give a madman this kind of power. They had initially written the "power" of the dust off as superstition, but their journey has made them think better of it. Smith and Yarol finally make their first "moral" decision to date in the NW stories, they decide to destroy the dust if they can. During their attempt, Smith's psyche is overwhelmed as he sees images of the world as it was when it was ruled by Pharol and the others of the Three. He even sees the death of the Lost Planet and realizes that this temple crashed into Mars eons ago where it became a temple for ancient Martians before their civilization decayed and the gods were forgotten. Smith and Yarol leave to return to their lives having encountered darkness, but still whole for the experience.

It is in this ending where Moore breaks most strongly from Poe and Lovecraft. In their tales, the protagonists are broken by an experience beyond their control. In Moore's tale, Smith and Yarol leave having decided to save a world -- possibly a universe -- from horror. China Miéville argues that the Shoggoths of Lovecraft's tale represent the "masses" and their decaying effect on civilization. Lovecraft's protagonist has a mental breakdown while in a subway station, reminded by the sounds of the masses around him of the amoeboid horrors in Antarctica. The masses are the horror in Lovecraft, in Moore it is the dictator who is the horror. All Smith and Yarol need do is to stop one man to save mankind, mankind isn't the villain of the tale. "Dust of the Gods" was written in 1934 and the "Enabling Act" that gave Hitler dictatorial control of Germany had been passed on March 23, 1933. One wonders if the rise of the dictator in general, and Hitler in particular, were on Moore's mind as she wrote this tale. Whatever the case it is certain that by focusing on the evil one man is capable of doing, rather than the terror of the mob, Moore was not merely writing a sequel to Lovecraft. She was also writing a political response to him.

It should also be noted that Moore's use of the dust of Pharol seems to be a reference to the final sentence of Poe's Narrative, which is the quote at the top of the piece, and demonstrates how centrally important story titles can be to the literary conversation that authors participate in with each other as history unfolds.

Previous Blogging Northwest Smith Entries:

3)Blogging Northwest Smith: "Scarlet Dream"
2) Blogging Northwest Smith: "Black Thirst"
1) Blogging Northwest Smith: "Shambleau"

SyFy's "The Mercury Men" -- Lots of Small Quibbles, but Lots of Fun So Far.

I checked out the first episode of SyFy's new web series "The Mercury Men." At first glance, it appears to be an amalgam of all those wonderful b/w serials I used to watch with my Opa late on Saturday nights. That means it warms a special nostalgic place in my heart, but it also means that every slight flaw feels like a great betrayal. I've got a list of pros and cons below the video, but before I taint your experience watch the show. Only then read my pros/cons.

Pro -- The music and special effects are quite good. The lead does a credible job and I love his costume. There is some good humor. This looks like it could be great inspirational material for a Savage Worlds Slipstream campaign.

Con -- 1975? Are you sure? It doesn't look like 1975? The employee looks 50s, the hero 30s/40s, the girl has modern eye makeup and 60s youth quake hair. How many shots does the hero get per round of ammunition? The acting on the part of the older employee is a little over the top.

I'll keep watching, but it is going to be a battle between my forgiving genre eye and my extremely critical nostalgic eye. If you are trying to capture the magic of a Buster Crabbe serial, then you had better capture that magic.

So far, they are meeting the test.

The Face of "Television" is Changing and Becoming "Internetelevision"

For the past few years, I have been talking about how our television viewing habits are being changed by the internet and how soon most of our viewing choices will be made "on demand."  Providers of digital narrative viewing entertainment will be able to reap great rewards from the system, even as it shatters some of the older models.  The studios, big and small, will likely benefit by the changes and affiliate stations will suffer as people move away from "command" television of the kind that local affiliates provide, and move toward "on demand" television where the viewer is empowered to watch shows directly from the provider.  The content provider and the distributor system will change, but likely not be completely eliminated as trusted "content hubs" will make finding new content easier for viewers.  The overall shift will likely empower creators and viewers and lessen the power of distributors -- though the need for effective marketers will be significant.

I began imagining this future before anyone offered streaming video content, but after reading The Future of the Mass Audience in a political science class as an undergrad.  Since I started talking about the topic -- which was a topic for a couple of early Geekerati podcasts -- we have seen the rise of Hulu, Netflix streaming, television stations streaming their own shows, FunnyorDie!, and many DiY Web Series of varying quality -- some quite excellent.

Now one of the leaders in the field is moving forward toward the purely on demand future.  It is one thing for television networks to provide their content online after it has aired through traditional channels, it is quite another for a streaming provider to purchase and produce a high end show strictly for streaming.  That provider is Netflix and they are looking into the possibility of providing two upcoming on demand televisions shows in the near future.  The first is House of Cards starring Kevin Spacey and the second is an unnamed show by the Kenji Kohan (the creator of "Weeds).

Change is in the wind, and that change looks very interesting indeed.

[Review] "Battle of 4 Armies" is Fantasy Fun for All!

Earlier today, I made the second of what I hope will become a regular monthly or bi-monthly visit down to Victory Point Games headquarters in Santa Ana, CA.  The game company's staff are friendly and welcoming, and it doesn't take long before a visitor gets talked into participating in a playtest of an upcoming game.  On my last visit, I was able to playtest an upcoming game entitled "Assault on Galactus Prime."  The game was a blast, and I eagerly look forward to its release.

This time I playtested an expansion for "Battle of the 4 Armies," one of VPG's existing game products.  But before I played the expansion, I had to learn how to play the base game.  I own a large stack of VPG games, but I had yet to purchase "Battle of the 4 Armies" by designer Nathan Hansen.  It is a testimony to VPG's desire to support and educate burgeoning game designers that this game, which was released on May 12 of this year, already has an expansion in the works.

The premise of "Battle of the 4 Armies" is simple:

 In a wealthy valley through which a warm,  enchanted river flowed from Foggy Mountain, Queen Elyra’s Council could no  longer keep secret her mysterious disappearance. She, the last heir to the Crown of Chip, was gone and, as word of  her departure grew more dire in each retelling of this new while spreading o’er
the land, order in the realm crumbled.

The representatives of the Great Races in the Queen’s Council, long assembled in peace by the force of her will, laid forth their claims to the crown in her absence – first with words, and then with deeds, calling their armies from afar in all directions to this land, each seeking to claim and restore the Crown of Chip.

In order to lay claim to the Crown of Chip, the winning Race must either completely defeat the armies of all of the other Races or control 3 of the 4 strategic locations on in the wealthy valley. Hansen provides some very simple tile placement and combat resolution rules that constitute the majority of game play, rules that echo some of the best elements of Diplomacy and Neuroshima Hex.

At its core "Battle of the 4 Armies" is a territory control game with very few random elements. Save for one random mechanic utilized to represent the morale of units in the game, this is a luckless game. Given the strength of Hansen's basic mechanics, this single random mechanic impacts play but does so in a way that is predictable and adds realism to the game -- morale effects being a staple of wargaming of all kinds. It would be easy to give a pure description of the rules, but they really are so simple that almost any attempt to describe them would border on plagiarism. As one of VPG's "Battlelesson" line of games, the game spends more text providing clear examples of good strategy than it requires to convey the basic mechanics.

That simplicity shouldn't be misinterpreted as meaning that the game is shallow. On the contrary, the choices required of players in the game are quite complex. Where to place and move pieces, when to push forward, when to retreat, these are all very significant choices -- choices that can result in very interesting movement combinations. Not only are the choice options complex, but the size of the territory to be controlled is small enough to guarantee that players must become actively engaged or suffer the consequences. There is no stalling in Australia in order to build up your armies in "Battle." The game can be played with 2 - 4 players, and the more players participating the more frenetic the game play.

Hansen designed the game as a "strategy game" to use during a role playing game session. The game represented a game that was played within his fictional game world. It has since come to be an excellent generic fantasy war game, one that I plan on inserting into my Eberron campaign as a representation of a battle that took place during the "Last War."

In short, "Battle of the 4 Armies" is almost a definition of what reviewers mean when they call a game elegant. There are few pieces, simple rules, but complex and diverse choices to be made that result in remarkable combinations. The game is quite simply one of the best games I have played this year, and is well worth the $15 price tag that VPG are charging.

Buy the game. Play the game. And help me start a viral campaign to convince VPG to do a Kickstarter project that produces a copy of this game with a cardstock map and nice plastic fiddly bits.

[Blogging Northwest Smith] "Scarlet Dream" (Reprise)

Published in the May 1934 issue of Weird Tales, "Scarlet Dream" is the third of C. L. Moore's tales of the interplanetary rogue trader Northwest Smith. It is also the third story in Paizo's Northwest of Earth collection. With this tale one can really see C. L. Moore developing her voice as an author of the weird supernatural horror story. Of the three Smith tales I have read for this series of blog posts, this is the best of the bunch so far.

Like in her previous Smith stories, there is little within the narrative itself that signifies that this is a science fiction story. Other than the fact that Smith eventually uses his magic wa... err ... "gun" against a foe, this story fits firmly within the narrative tropes of the "faerie" tale. Like Christina Rossetti's wonderfully frightening Goblin Market the tale demonstrates the consequences of tasting the "fruit" of Faerie. Like Dunsany's King of Elfland's Daughter, this tale has time in the land of magic move at a different pace than that of the real world. Unlike either of those tales, morality offers no salvation for our hero.

"Scarlet Dream" begins with Northwest Smith wandering the streets of a vibrant bazaar where he purchases a shawl made of an unbelievably light textile and bearing a mysterious glyph. The shawl, "clung to his hands like a live thing, softer and lighter than Martian 'lamb's-wool.' He felt sure it was woven from the hair of some beast rather than from vegetable fiber, for the electric clinging of it sparked with life. And the crazy pattern dazzled him with its utter strangeness."

In describing the physical properties of the shawl, Moore provides foreshadowing to the events that are about to unfold as the tale progresses. It is masterful foreshadowing as it occurs in a description where one does not assume the author is providing a map to the structure of the tale. Who would guess that the shawl clinging "to his hands like a live thing" hinted at darker things to come? Not darker things from the shawl itself, that would be obvious, but darker things that come as a result of the unnatural properties of another world. The use of strange patterns and objects of alien make would be used again by Moore in her section of Challenge from Beyond -- a shared universe tale she wrote in 1935 with H.P. Lovecraft, A. Merritt, Robert E. Howard, and Frank Belknap Long. Each of those authors adding their own characteristic touches to the story. In Moore's case, that touch is an artifact -- a shawl in "Scarlet Dream" and a crystal in "Challenge."

The market where Smith buys the shawl is in the city of Lakkmanda on Mars, but the description of the market is similar to one that might be given to the bazaar of Baghdad. It is not until Smith returns to his hotel room, a small cubicle of polished steel, that one gets any visual sense of the science fictional (sfnal). It doesn't detract from the story that it isn't a "hard science" tale, it adds to the mystery and sense of wonder as the tale unfolds.

Smith falls asleep covered in the shawl and is overtaken by a disturbing dream. He awakens, only to fall back asleep into another dream. It is in the second dream that Smith's consciousness is transported into a fantastic land. When he arrives he meets a young woman who is fleeing a horrible beast. She is covered in blood and frantic. Smith calms her and soon discovers that he is in an eerie bucolic paradise. The weather is pleasant and the lakeside landscape is beautiful. The temple building where he arrived in the world is the only large man made structure. There are no books, no worldly distractions, and as he soon learns...no food.

He is initially puzzled by the lack of food, but the beauty of the land -- and of the woman (whose name is never revealed) -- intrigue Smith and he follows the young woman to her house. The next day Smith finds himself overcome with hunger and asks the young woman to take him to the temple to acquire sustenance. When he arrives, he sees people kneeling before spigots docilely consuming the liquid being dispensed. He himself begins to partake when he realizes that the people, and now he himself, are feeding on blood! No mention is made of where the blood comes from, and Smith recoils in horror at the thought of feeding on blood. Yet...he has found it satisfying. As the days pass, he eventually partakes in a routine of idyllic days and nights with the young woman interrupted only by regular feedings at the temple. Smith has completely overcome any moral objections to the feeding, satisfied that it sustains him.

Throughout the story, there are references to a beast of some sort that was responsible for the murder of the young woman's sister -- beast that eventually comes for everyone when their time has come. Smith is unworried, and the girl is fatalistically accepting of her mortality. Life in this world is idyllic, yet the routine of it eventually over comes Smith. He needs adventure and discovery, not a dull routine in a beautiful setting. Unable to return home, he decides that he must journey within this realm to find adventure, but this is to be denied him. The planet has no food to sustain him, save for the temple's blood spigots, and Smith learns another terrifying fact. It seems that the entire planet, plants and all, are alive and feed on the blood of living things. If you stand too long in one place, the grass will drain you of your blood. You cannot sleep if you aren't on stone as the plants will eat you. This is a world where all the denizens are sustained by blood.

Smith is not shocked or terrified by the prospect, he is resigned to satisfy his sense of adventure. His spirit cannot be sentenced to a life of dull routine. It is his Fredrick Jackson Turnerian frontiersman spirit that saves him from a fate worse than death.

How? That's for you to find out when you read the story.

What is particularly interesting in this story is the way that Moore uses the traditional elements of the faerie story, that of entering a beautiful but dangerous world, while demonstrating how a non-moral actor would react to the environment. What use has the adventurer for bucolic paradise? Apparently, not much. It would be unfair to leave out that the girl, like the sister in Goblin Market, sacrifices herself in order to save a beloved, but in Goblin Market the spirit of curiosity is the culprit and not the savior. Also interesting was Smith's reaction to the feeding process in the world. He is initially revolted, as I imagine any one would be, but he quickly overcomes his moral rejection and feeds like everyone else. This is the moment where the audience, though not the character, get to feel a sense of cosmic horror. We look into the abyss with Smith, horrified, but he allows the abyss to look back into him and is largely unaffected. This is a disturbing thing to read. How does one react to a protagonist who so quickly, Smith does not resist eating for days nobly suffering before succumbing, to temptation?

Smith may never have discovered the name of the young woman, but the audience never discovers the origin of the blood the people feast upon. Is it the blood of those killed by the beast? Is it the blood of those killed by the planet? Is it the blood of the planet? If it is the blood of those killed by the beast, is some of it the young woman's sister's blood? Creepy...and wonderful.

Previous Blogging Northwest Smith Entries:

2) Blogging Northwest Smith: "Black Thirst"
1) Blogging Northwest Smith: "Shambleau"

Heartbreak & Heroines: I'm on Board

[EDIT: I received an email this morning stating that this project has been cancelled.]

Three days ago Caoimhe Ora Snow (also credited as Kynn Bartlett) announced a new Kickstarter roleplaying game project. As many of you know, I have been supportive of a number of gaming related Kickstarter projects in the past. I believe that "sourcefunding" or "patronage" are wonderful ways to build the venture capital needed to fund and self-publish games, films, books, you name it. The explosion of sourcefunded projects in the past year is a boon for gamers, and I am sure for other art forms as well. It is a boon, because it allows for projects that might otherwise be impossible to distribute to have a chance at seeing daylight. Heartbreak & Heroines is one such project.

For years, there has been heated discussion about the inclusiveness of the role playing game hobby toward those women, minorities, or LGBT who are participants in the gaming community. The conversations have been similar to those regarding the SF/F community. Someone examines the field and finds a result and comments on it, this is then followed by knee-jerk backlash and possibly meaningless counter-examples attempting to refute initial comment, the conversation fades unresolved. A typical exchange can be seen over at the Black Gate Magazine website in the conversations here and here.

There is some good discussion of women in the role playing game hobby in particular in Michelle Nephew's dissertation on authorial power "Playing with Power", a chapter of which is included in the book Gaming as Culture. If you can get a copy of the dissertation, do so. It's worth it. If you cannot, the chapter is a very thought provoking read. She discusses how the milieu of games can be very sexist and off putting to women gamers, "From this perspective, including the historical facts of sexual inequality and other discriminatory practices as part of the game setting allows male players to escape into a game world that validates their own sense of worth by making their characters physically and socially superior to others around them, whether those ‘others’ happen to be monsters or women.” (Nephew, Michelle, 187 - 188).

Nephew's dissertation covers many more topics than the appeal of games to women, but it is interesting to note that a hobby that has near limitless possibilities with regard to creating counter-cultural societies -- and which often prides itself on being counter-culture -- rarely creates games that truly go against social norms. It is also rare that a game will come along that is constructed specifically to be inclusive toward overlooked communities of potential players.

The announcement of Kynn's Kickstarter project met with some predictable outcries that mirrored the traditional pattern. "She's saving us from ourselves." "The window of which she speaks has always been open." "It's not like we've got any roleplaying games which include women in anything."

It's true, if one looks hard enough, one can find games like Blue Rose and Faery's Tale (to name only two) that seek to appeal to new audiences. It is also true that games like Vampire initially broke the "kill, loot, and power up" style of game that is directed at male players -- though the splat books soon empowered those gamers significantly. That doesn't matter. Assuming that it does assumes that the conversation is over. It isn't.

We need more games, and we need more points of view. Gaming is a place where we get to construct meaning and tell stories together. It's a place to mirror and to break stereotypes.

I for one, am looking forward to Kynn's offering -- now is when I should admit bias as Kynn has been regularly playing in a D&D Encounters game I run once a week for the past month or so.

My only concerns are that the game will only capture the imagination of one of the two audiences that such a game should appeal to.

Games aimed at inclusiveness should target two audiences. The first audience is the group that is already playing, but who are being overlooked by the majority of game offerings. Heartbreak & Heroines certainly meets this goal. The second audience is the group that isn't playing games because of the social barrier built up by the underlying assumptions of what a role playing game is, and how to "properly" play.

I know the H&H is reaching the first audience -- the Kickstarter is doing very well -- but I hope it can make some ground in the second.

Kynn has provided a basic outline of the game's mechanics on the Kickstarter page, as well as one hint regarding the setting/narrative assumptions of the game, and I look forward to seeing how they pan out in play.

Gaming*Mirth [Cartoon] -- GAMR GRLZ #2 "The Quests Begin"

This week, we have the second offering in my wife Jody's experiment with a gaming themed cartoon strip entitled GAMR GRLZ. She's still refining who the characters are, and what challenges they will face, but she is having a wonderful time discovering the young girls who will be featured in the comic. For those of you not familiar with Jody's work, she was the first woman to win the prestigious Charles M. Schulz cartooning award -- which she won for her fantastic Nicnup cartoon strip.

As usual, blogger being blogger and not a webpage optimized for cartoon syndication, if you click on the cartoon you will get a larger and easier to read image.

Agent 13 Returns -- Pulp 2.0 Reprinting Classic TSR Pulp Title

My good friend, and former Geekerati Co-host, Bill Cunningham recently announced that his independent publishing company Pulp 2.0 will be republishing the Agent 13 novels that TSR printed in the late 80s. The Agent 13 character was featured in a trilogy of novels written by Flint Dille and Dave Marconi, in a set of comic books, and in an excellent Top Secret S.I. setting/supplement.

When Bill told me the news, I was extremely excited. I have been a fan of the Agent 13 character for some time and the Agent 13 Sourcebook is one of my prized gamebook possesssions.

I only hope that Bill and Flint will be releasing/licensing new RPG or Boardgame material based on this great character.

You can read the full press release below (I don't normally cut and paste press releases, but Bill covers all the bases).

Pulp Publisher to Collect the AGENT 13 Novels by Flint Dille and David Marconi

Los Angeles, CA - Pulp 2.0 Press CEO Bill Cunningham today announced that the company has signed an agreement to redesign and republish the adventures of the classic pulp character, Agent 13,  created and written by Flint Dille (Transformers G1) and David Marconi (Enemy of the State). This Pulp 2.0 collector’ edition titled The Agent 13 Dossier will be exclusively in print, and will collect all three of the original Agent 13 novels as well as exclusive features disclosing the secrets behind the mysterious Midnight Avenger.

Agent 13 was originally published in 1986 by TSR in a trilogy of novels - The Invisible Empire, The Serpentine Assassin and Acolytes of Darkness.  The character spawned a set of graphic novels drawn by artist Dan Spiegle (with covers by Jeff Butler) as well as a role-playing game and comic. Kidnapped as a young child in 1907, a gifted boy was brought to The Shrine, the hidden headquarters of the ancient organization known as The Brotherhood. His past memories were erased, he was assigned the title Agent 13 and trained as an assassin and agent in clandestine operations. He became the best disciple and would have risen high in the ranks of the Brotherhood, until he discovered its true evil nature under its cadaverous leader, Itsu - The Hand Sinister. Fleeing The Brotherhood he is hunted by their ninja-like agents, and begins a deadly cat-and-mouse contest against the organization. He fights back, forming his own group of allies against the Brotherhood who dare to plunge the world toward war.

“Agent 13 is Dille and Marconi’s love letter to the pulps, cliffhanger serials and comics. We at Pulp 2.0 are ecstatic to present our readers with these great pulp adventures in an exclusive collector’s print edition,” said Pulp 2.0 CEO Bill Cunningham.  “I remember reading... okay devouring these books when they first came out, and I’ve always loved the world and characters that Flint and David created.  To be able to design a new edition to share these rare novels and the secrets behind Agent 13 is an honor.”

“We were sitting in Flint’s living room one day, and we started jamming ideas back and forth. Flint was a big fan of the pulps and he showed me some of the old materials he had. He had a book featuring the old pulp covers that we looked at that was very inspiring. I had just written some screenplays for Warner Brothers and had good relationships there, and said that if we came up with an interesting story/pitch about this stuff, we can possibly set it up as a screenplay to write.’ So we originally developed AGENT 13 as a studio pitch to set up as a film, and spent quite a lot of time developing the story and characters as we pitched it around to the various producer/buyers around town,” said co-creator David Marconi.

“Then, when the movie wasn’t getting set up as quickly as we hoped, but the story had progressed to the level where we had all the characters and everything else worked out, we decided to just write the book. Flint  had access to Random House through Gary Gygax and TSR, so we were able to get a publishing deal, and dove straight into Agent 13 novel world. Which at the end of the day, was more fun in that it allowed us to go much deeper into the characters and backstory which can’t be explored in great detail in a 2 hour script format.”

More details will be forthcoming as the project progresses. The Agent 13 contract was negotiated on behalf of the creators by Howard Bliss of Union Entertainment.

About Flint Dille:

Flint Dille is a living embodiment of Transmedia. His career started by turning toys into TV Shows with G1 Transformers, G.I. Joe, Inhumanoids and Visionaries.  He has designed games with Gary Gygax and written movies for Steven Spielberg. Flint has sold game design documents as feature films - Venom  (Dimension 2006) and Agent In Place (Lionsgate 2010).   Flint directed the interactive movie Terror T.R.A.X., Track of the Vampyre which became a television pilot for Fox as well as Dragonstrike, one of the first hybrid film projects.  

Flint has twice won 'Game Script of the Year' (Riddick: Escape from Butcher Bay (with JZP) and Dead to Rights and was nominated for Ghostbusters and Dark Athena.  He has worked on crown jewel franchises including James Bond, Mission: Impossible, Tiny Toons, Batman: Rise of Sin Tsu (Guiness Book of Videogame Records for creating the first Batman villain outside of the comics), Superman, Dungeons & Dragons, Teen Titans and Scooby-Doo.

He has a degree in Ancient History from U.C. Berkeley and an MFA from USC.  Currently, Flint is teaching a class on Alternate Reality Games at UCLA.  His follow up book to The Ultimate Guide to Video Game Writing and Design is about Transmedia.

About David Marconi:

A native of Highland Park, Ill., Marconi was passionate about film making from an early age.  After winning several high-school film making competitions, Marconi was awarded an Alumni Merit Scholarship to attend the University of Southern California's Film School.  Upon graduation, landed his first job as Francis Ford Coppola's assistant on The Outsiders.  

Working closely with Coppola, Marconi "cut his directing teeth" watching Francis direct both The Outsiders and Rumblefish. In 1993, Marconi wrote and directed his first feature, The Harvest, (Columbia TriStar).   The film premiered in the 'official selection' of the San Sebastian Film Festival and went on to win numerous awards in International Film festivals.

The success of The Harvest brought Marconi to the attention of  Simpson/Bruckheimer who commissioned Marconi to write his original screenplay Enemy of the State (Disney) starring Will Smith and Gene Hackman.  Marconi continued  creating tent-pole action films for the major studios; WW3.com (which served as the basis for the Die Hard sequel; Live Free or Die Hard ) (Twentieth Century Fox,) Perfect Suspect for Chris Rock (Twentieth Century Fox,) and the high-tech., science fiction epic; No Man's Land.  (Dreamworks.)

Most recently, Marconi was a featured guest speaker for IADC, International Attorney's Defense Council, and the Department of Defense Cyber-Crime Conference where he lectured on his film Enemy of the State and how it relates to privacy concerns and cyber-warfare in a post 9-11 world.  2011 will mark Marconi's second foray behind the lens as a writer/director with his new feature film; INTERSECTION, a gritty thriller currently in pre-production being produced by Luc Besson, the director of THE PROFESSIONAL, FIFTH ELEMENT and Europa Corp.  Holding duel citizenship for the US and EU (Italy,) Marconi divides his time between Los Angeles and Europe.

Conan -- And With this Preview...I'm Excited

I no longer care that this Conan screenplay isn't pulled from the pages of a Howard story.  Count me as officially jazzed...even with the weird costuming on Ron Perlman.  If only they didn't do the whole "it's in 3D" thing.  Then I'd be ecstatic.

Beyond the Edge of Darkness, There is a World of Sword and Sorcery

Today's fantasy film, and roleplaying game, film viewers are spoiled.  The modern fan of fantasy films can brag about the production values of Peter Jackson's "Lord of the Rings" adaptations, or how How to Train Your Dragon was one of the best films released in 2010.  Today's movie studios aren't afraid to use SF/F intellectual property as the basis for tent pole productions.  Today's fantasy films are often big budget affairs with top named actors and cutting edge special effects.

Even smaller productions like Fantasy Flight Games' Midnight Chronicless exhibit a seriousness almost completely absent from the fantasy films of the 80s.  In the 80s, the vast majority of fantasy films were B-movie productions that had to make up in "fun" what they often lacked in style or budget.  Things that would today be exiled to SyFy for their initial release, were theatrical films in the 1980s.

This isn't to say that the films of the 80s weren't enjoyable, just that they weren't as polished and professional as those made today.

Of those fantasy films of the 80s -- excluding Excalibur which is just pure awesome -- one film loomed large above the others in my mind.  That film was Hawk the Slayer.

No film captured the sense of fun and fantasy of Dungeons and Dragons like Hawk.  The film was camp, it was crazy, and I loved every minute of it.  I still do.

Three decades have passed since the release of that film, but its legacy lives on.  The director is planning a sequel, which can only be a labor of love, and I hope that the sequel gets completed.  I'll be among the first in line.

[Blogging Northwest Smith] -- Black Thirst (Reprise)

The following is a reprise of my second "Blogging Northwest Smith" series, this time discussing "Black Thirst." Looking back on the older post, I find that I ought to have mentioned how the focus on beauty does mirror some aspects of Planetary Romance tales like the John Carter series. I didn't point it out in the past because I don't think Moore is writing strict Planetary Romance, she's doing something more.



In the last installment of "Blogging Northwest Smith," I discussed how C L Moore's tales of Northwest Smith included elements of Space Opera and Weird Horror and pushed the envelope of what constituted a Science Fiction tale. By Space Opera I am referring to the earlier "Space Opera equals Space Westerns" description often used during the early days of the genre.

I am far from the first to notice that Moore incorporated elements of Weird Horror into the tales of her space faring anti-hero, Lin Carter noticed her inclusion of these elements and thought it likely they were added to garner publication in Weird Tales. Whatever Moore's reasons for including Weird Horror elements, as she did with her adaptation of the Medusa into "pleasure vampire" in "Shambleau," she was deeply enough tied to the Lovecraftian circle that she was one of the co-authors (in fact she was the jump start author) of a Lovecraftian "shared world" tale entitled The Challenge from Beyond (more on this in a later post).

For the modern fan of Science Fiction, the incorporation of horror elements into a Science Fiction narrative seems perfectly natural. Everything from the Atomic Horror films of the 50s and 60s to Ridley Scott's masterpiece Alien (based on A.E. van Vogt's 1939 Astounding story "Black Destroyer" which was included as chapters 1-6 of The Voyage of the Space Beagle) to Joss Whedon's Firefly demonstrate how deeply saturated film and television are with the SF horror story. But for fans of "Space Westerns," Foundation, or modern Space Opera, the shift in suspension of disbelief from hard SF to Weird Horror SF isn't guaranteed.

When I read "Shambleau," I was struck by how much the narrative followed the format of a classic Western and by how the monster/alien of the tale was Lovecraftian in nature -- tentacles and all. "Black Thirst" takes the combination of Science Fiction and horror a different direction than "Shambleau." Where in "Shambleau" the tale was one of Weird Horror overlaying a Western, "Black Thirst" is a tale of Gothic Horror that contains no small elements of the Western and Weird Horror genre.

Our tale begins with our protagonist, Northwest Smith, leaning against a warehouse wall in some unfriendly waterfront street on Venus. He soon encounters a woman, immediately recognizable as a Minga maid, who begs Northwest to visit her in the Minga stronghold in order to provide her some sort of aid.

Moore spends some time describing the Minga palace as a building that pre-existed the majority of civilization on Venus, describing how the stronghold was already built by the time some great Venusian explorer had sailed the seas in search of new land. The Minga maids themselves are as mysterious as the palace from which they are sold, they are "those beauties that from the beginning of history have been bred in the Minga stronghold for loveliness and grace, as race-horses are bred on Earth, and reared from earliest infancy in the art of charming men. Scarcely a court on the three planets lacks at least one of these exquisite creatures..."

Establishing the mysterious origins of the stronghold and the maids, Moore quickly establishes the dangers associated with attempting to "lay a finger" on a Minga maid. It is a danger with no appeal as "The chastity of Minga girls was proverbial, a trade boast." The purpose of these beauty slaves seems not to be a sexual one, and this is reinforced later when the real purpose of the breeding of the maids is reveals, but a purely aesthetic one. The women are bred for their beauty, in form and manner, and the price paid is for these things alone.

The concept of a stronghold of courtesans, trained in the art of charming men, combined with the similarities between Malcolm Reynolds and Northwest Smith leave one wondering if Joss Whedon had read this tale before creating Firefly. Not to imply with any certainty that Whedon was directly influenced by Moore, but it is hard for me to visualize anyone other than Nathan Fillion playing Northwest Smith in a movie -- and if he did Whedon fans would cry foul that Northwest is a direct Mal ripoff.

As the Minga maid, named Vaudir, leaves Smith she does so with a warning. She warns Northwest about the evil that is the Alendar and hints at his origins when she discusses there are "elemental" things that don't sink back into the darkness from which they came if a civilization develops too swiftly. "Life rises out of dark and mystery and things too strange and terrible to be looked upon." Here she hints at the history of the Minga and the Alendar and Moore incorporates imagery from Weird Horror. The concept of elemental evil is one of Weird Horror and it is the type of horror that is used to describe the Alendar.

Smith agrees to help the maid and approaches the stronghold as she told him he should. What follows is a series of scenes reminiscent of Bram Stoker's Dracula in which our hero plays, a much braver version, of Jonathan Harker. Smith wanders the hallways of the palace sensing, but not seeing, the great evil that awaits him. He arrives at Vaudir's room, but it is not long before he encounters the Alendar him/itself. The Alendar is a manlike creature possessed of great psychic powers, powers which overwhelm our protagonist and could kill him in an instant. But a quick death is not to be for Smith as he possesses something of value that the Alendar desires.

The Alendar, it seems, is -- like the Shambleau -- a kind of vampire. Unlike the Shambleau the Alendar does not feed on sexual/physical pleasure, instead he/it feeds on beauty. For the Alendar beauty is a tangible thing, an objective thing that provides real nourishment. The only way in which beauty is subjective regarding the Alendar's hunger is in its "form." What is beauty for a human female isn't beauty in a human male, which is why the Alendar has spared Smith. Smith possesses the quality of male beauty which must be fully developed before the Alendar can feed on him. As the Alendar describes his method of nourishment, Smith is given glimpses of unimaginable beauty -- beauty that can cause madness.

How the tale unfolds from here I will leave for you to discover on you own, but I would like to spend some time discussing some of the interesting concepts Moore threw into this story.

She is quite obviously writing a tale about slavery and presents human trafficking as a horrible affair, but she is also presenting a discussion of beauty and what constitutes true beauty. The Alendar describes beauty as follows:

"Beauty is as tangible as blood, in a way. It is a separate distinct force that inhabits the bodies of men and women. You must have noticed the vacuity that accompanies perfect beauty in so many women... the force so strong that it drives out all other forces and lives vampirishly at the expense of intelligence and goodness and conscience and all else...

For beauty, as I have said, eats up all other qualities but beauty."

The beauty that Moore has the Alendar describe is in itself horrifying, yet it is also an interesting spark for discussion. Vaudir -- who has asked Smith for assistance and led to his current state of danger -- is beautiful, but she possesses something more. She possesses and intelligence and free will that make her more desirable to the Alendar than her beauty alone would demand. Smith too possesses this combination of independence and beauty, a combination that the Alendar seeks to use in order to overcome the boredom which results from the consumption of his current fare of pure beauty. Moore is simultaneously critiquing the "cult of beauty" and proffering an alternative -- a beauty that combines intelligence, independence, and appearance. There is a strong feminist spirit underlying the story and it is this spirit that separates this tale from a run of the mill narrative.

As before, Moore combines elements from a variety of literature in this piece in a manner that is fluid. The discussion of elemental evil has ties to Weird Horror. The Alendar, his stronghold, and the equation of beauty itself with the horrific echo Gothic Horror. The manner in which Smith is encountered and the stories resolution are straight from a Western, one could easily see "Black Thirst" as an episode of Wild, Wild, West. With all that Moore combines genre elements one might expect to become lost in some residual narrative clutter, yet that never occurs. Moore has a story she wants to tell, of a vampire who consumes beauty yet seeks something more, and it makes for quite an entertaining ride.

Previous Blogging Northwest Smith Entries:

1) Blogging Northwest Smith: "Shambleau"

Character 'Death' in Fantasy Role-Playing Games

One of my best friends, and a regular at my gaming table, Eric Lytle wanted to share his thoughts on role playing games and character deaths. He's a great asset at the table, and I thought his observations might demonstrate some interesting differences underlying game play for modern gamers versus "grognards."

Illustration Copyright 2011 Jody Lindke

I HATE character deaths in fantasy Role-playing games, for the most part. I certainly think death has a valid place in the milieu. I can't recall ever running away from an encounter, ever. And for this reason I've had many characters die on me. The most telling example is 1st edition Basic D&D where this is pretty much the norm. Even printed adventure expect DMs to be killing characters left and right. I've rolled up at least 10 characters for a level 1 adventure in basic D&D. As a result the cast of characters for our campaign include a cavalcade of boring faceless dead. I just stopped putting any effort into developing them. They were ammunition in a gun. Not the richly developed characters;with character links to other players, emotional ties to NPCs, well developed back story that creates good heroic motivations for actions, that I usually enjoy playing. When the first basic D&D came out and there was nothing else to be had on the market I'm sure that I would have been fine with it. My introduction to the RPG scene was much later. I started really heavily playing paper and pencil role playing games with Star Wars D20, which is a cinematic role-playing game about being awesome(read Jedi Knight). It's certainly not the wild west days of RPGs anymore.

As a member of the RPG 'new school' it is my expectation that character death is not an imminent threat. Party level balanced encounter design is the norm for new school RPGs and I think this is a good thing. It takes a lot of headaches away when the maths is all figured out for you. Game expectations are to tell a collaborative story and not an antagonistic one. GM and players are working together to have fun and tell cool stories. There is no sinister villain behind the DM screen trying to kill the player characters anymore.

As a player I want character death to have meaning. I get attached to the characters create and unless it's a character I was provided for a 4-6 hour convention game I'm looking to create long story arcs with them because I sure as heck have imagined an entire back story for them even if it's not written down or well articulated to the other players. And even when I'm playing a 'con' game I want the death to be meaningful. I didn't pay money to have some GM bully me for six hours and finish the story with "I'm sorry you died".

As a GM I don't want to frustrate my players or have them feel like I overwhelmed them. The goal is to tell a heroic story. If the high critical zombie minion takes out the Dragonborn paladin with a lucky shot its not that heroic of a tale. PC death can be an interesting part of the story but it should come organically from storytelling not from opposed tactics and lucky dice rolls. Sure the villain should be trying to stop the PCs from interfering with their plans. But there are many ways to be 'taken out' of a situation that aren't lethal. Setbacks are great in these kinds of games. But having to develop a new character in an established game because of chance shouldn't be a goal or a byproduct for fantasy RPG play.

This is specific to Fantasy RPGs (i.e. D&D and its clones). I can see the value in having disposable characters for other types of role-playing games. Character deaths in a gritty noir story or a Lovecraftian horror story make a lot of sense to me. Check out Sean Preston's discussion of Grittiness in Savage Worlds in regards to Bennies at Reality Blurs. Although to be honest I'm lying about this point. I still hate character death unless it serves some story purpose. Rob Donoghue talks about character death in Fantasy over at his Some Space to Think blog (with Game of Thrones spoilers), which also touches on how it adds that gritty feeling to the genre. It is unthinkable to kill your characters in other genres too. Doc Savage and friends aren't going to be biting the bullet in your pulp RPG.

Disney's "John Carter" Teaser Trailer Captures the Wonder of the Imagination

I have mentioned in the past that it was Michael Moorcock who instilled in me a love of fantasy, and that it was Edgar Rice Burroughs who instilled in me an everlasting and insatiable love of reading.  Those who have seen my overflowing book shelves, and my large storage unit filled with books and games, might find the fact that I once claimed that English was my least favorite subject due to all the reading a little incredible.

...seriously, who has a storage unit filled with books and games?...

Of all of Burroughs tales, it was his wonderful John Carter Planetary Romances that sparked my imagination to wonder at distant shores.  It was these books that gave me an insatiable hunger to experience that kind of escape and profound sense of greatness.  It wasn't that Burroughs wordsmithery was profoundly great and beautiful.  It was his ability to convey just enough information for your own mind to create that sense of wonder that kept me coming back.

The John Carter stories -- with their stilted Edwardian/Victorian morality -- provided an interesting and valuable look at love and courage.  It was a point of view that was often lacking in much of the fiction of the my youth, which was more jaded and more realistic in the presentation of relationships.  

Even Elric -- tragic, ironic, sardonic, immoral, cynical, despicable as he is -- is a student of John Carter when it comes to love.  His love for Cymoril, and his remorse over her death, echo Carter's love.   No man can love a woman as much as Carter loves Dejah Thoris, and maybe no man should, but it makes for wonderful romance.

By the looks of the preview, the upcoming Disney film manages to capture some of the wonder and romance of the Burroughs tales in addition to all of the action.  If the preview is any indication, the film also manages to capture the feel of the alien yet familiar geography of Barsoom.  Disney's John Carter doesn't look like "my" imagined one -- which was heavily Michael Whelan influenced -- but it does capture my imagination.

I have high hopes for this film.

[Blogging Northwest Smith] -- Shambleau (A Reprise)

Almost two years ago, Cinerati featured a post discussing the differences between Sword and Sorcery tales and stories of Planetary Romance. According to the post, a couple of the key differences were the moral clarity of Planetary Romance tales and the inclusion of "Weird Supernatural" elements in Sword and Sorcery tales. In response to the post, Blue Tyson, posited that I had left a "Northwest Smith" sized hole in my argument. The implication being that these tales contained "Weird Supernatural" while falling squarely into the Planetary Romance genre.

At the time I had only read Catherine Lucille Moore's Jirel of Joiry tales, and not her Northwest Smith stories. Blue Tyson's comment deeply intrigued me, and I decided to read C.L. Moore's Northwest Smith stories and to do one blog entry per story as I read them. For the exercise, I used Paizo Publishing's excellent Planet Stories edition of Northwest of Earth, which contains the complete stories of Northwest Smith (including "Nymph of Darkness" a collaboration with Forrest J Ackerman and "Quest for the Starstone" a collaboration with Henry Kuttner), as my reference during the discussion.

Eventually, life caught up with my ambitious attempt -- in the form of twin daughters, graduate school, and work related stresses -- and I was unable to complete the experiment.

I think of it as one of my failings as a blogger. I think of it as my biggest failure, just above not being able to continue my Geekerati podcast with Bill Cunningham and Shawna Benson -- a podcast that I still think is among the best done. Just skip the last couple of episodes, which were recorded as the podcast was in its twilight.

Now that it is summer, and Gen Con approaches rapidly, I would like to re-ignite my series. To that end, I will be re-posting the earlier blog posts for the next few days, after which I will complete my Northwest Smith journey. If you want to skip ahead, you can read the originals by going to the Blogging SF/F page, but I'd rather you stuck around for the ride and commented on the new pages.


For those of you who are unfamiliar with Northwest Smith, he is often discussed as the fictional character who is the inspiration for George Lucas' character Han Solo. Any need to point out similarities between Northwest Smith and Indiana Jones seems unnecessary, as the names themselves speak volumes about that connection. According to John Clute's Encyclopedia of Fantasy, "Through Smith, CLM helped revamp the formulae of both space opera and heroic fantasy. Smith's introspection and fallibility give him a more human dimension than his predecessors in heroic fantasy, and the depiction of his sexual vulnerability represented a psychological maturity uncommon in the field."

I think it bears mentioning that Stephan Dziemianowicz, who wrote the entry in the Encyclopedia, makes no mention of Planetary Romance in the Northwest Smith section and focuses on Smith's importance in space opera and heroic fantasy. I mentioned in the prior post that Planetary Romance was a sub-genre of heroic fantasy, but then again so is a great deal of fiction that no one would ever imagine being classified as Planetary Romance.

If "Shambleau" is any indication of the direction that future Northwest Smith tales will wander, Moore's tales of Smith belong firmly in the genre of space opera and completely outside the bounds of Planetary Romance. Though the Smith tales' inclusion of imagery associated with "Weird Fiction" marks them as stories that extend the boundaries of the traditional space opera tale.

In support of the Smith stories falling into the sub-genre of space opera -- a genre that some argue includes the Planet Stories tales of Leigh Brackett, though I believe that classification lacks specificity and makes space opera too broad a category -- I looked to David G. Hartwell and Kathryn Cramer's The Space Opera Renaissance for a working definition of space opera. They offer two early definitions of the genre. These early definitions are most useful given the publication dates of the Smith tales, newer definitions bring to mind epic tales like Iain Bank's "Culture" stories or Asimov's "Foundation" due to the expansion of the use of the term space opera.

According to Hartwell and Cramer, the Fancyclopedia II had the following definition:

Space Opera ([coined by Wilson] Tucker) A hack science-fiction story, a dressed-up Western; so called by analogy with "horse opera" for Western bangbangshootemup movies and "soap opera" for radio and video yellowdrama.

Hartwell and Cramer are quick to point out that this definition is actually a watered-down version of what Tucker actually said in his fanzine, which wasn't to actually equate Westerns and Space Opera as telling similar tales. But the connection had been made and by the early 1950s, Galaxy magazine was firm in its use of space opera as "any hackneyed SF filled with stereotypes borrowed from Westerns." The definition of what constitutes space opera has since expanded significantly since the 50s -- it has come to be so broad as to include both Planetary Romance and the "Culture" stories which is almost too broad -- but the connection between the Western and space opera seems particularly significant in the case of Northwest Smith. I would not call Moore's writing hackneyed, but "Shambleau" could easily be rewritten as a Western with only minor cosmetic changes.

"Shambleau," which was Moore's first published story, was published in 1933 during the height of the pulp era. The shelves were filled with a wide array of writing of various qualities, but it is easy to see why Moore's piece was selected for publication in the November 1933 edition of Weird Tales. The piece could also be used as a demonstration for how to mold a work of writing to suit a particular publication. It isn't hard to believe that Moore actually started this as a Western and then adapted it to better suit the tastes of Weird Tales.

"Shambleau" opens with a prefatory paragraph which sets the tone of the tale, establishes a sense of history and place, and gives readers some foreshadowing regarding the turn the tale will take. The paragraph is reminiscent of the paragraphs Robert E. Howard used to open his Conan tales. Where his paragraphs represented excerpts from the fictional Nemedian Chronicles, Moore's resemble the careful tone of a campfire tale. The paragraph is different in tone from Howard's, but serves much the same purpose.

It begins:

MAN HAS CONQUERED Space before. You may be sure of that. Somewhere beyond the Egyptians, in that dimness out of which come echoes of half-mythical names -- Atlantis, Mu -- somewhere back of history's first beginnings there must have been an age when mankind, like us today, built cities of steel to house its star-roving ships and knew the names of the planets in their own native tongues--

One might believe after reading this paragraph -- especially since the place names for Mars and Venus used later in the story are those used in this paragraph -- that he or she is about to read about Space travel in this time before time. This is not the case. References to "New York roast beef" and a "Chino-Aryan war" leave any speculation that this tale takes place in a forgotten time behind. No...this tale takes place in our future, after mankind has once again conquered Space. The sense of the mythical is used in order to make the twist of the story plausible and ensures that the twist falls well within a reader's suspension of disbelief.

We know that our tale take place at some time during mankind's Space conquering future, but what kind of future is it and what kind of man is our protagonist? Apparently, the Mars of the future is a lot like Virginia City.

"Shambleau! Ha...Shambleau!" The wild hysteria of the mob rocketed from wall to wall of Lakkdarol's narrow streets and the storming of heavy boots over the slag-red pavement made an ominous undertone to that swelling bay...

Northwest Smith heard it coming and stepped into the nearest doorway, laying a wary hand on his heat-gun's grip, and his colorless eyes narrowed. Strange sounds were common enough in the streets of Earth's latest colony on Mars -- a raw, red little down where anything might happen, and very often did.

Moore gets us into the action quickly. After a prefatory paragraph that sets the tone and place, she launches us straight into a dangerous situation. It's like reading the scrolling preface before a Star Wars film and then being thrust right into the action. In this case, the action of the tale is simple enough. A wild mob is shouting for the death of a woman, whether "Shambleau" is her name or the name of her people has not yet been made clear, and Northwest Smith takes it upon himself to calm the mob and save the girl. It is only after saving the girl that Northwest Smith comes to understand why the mob was after the woman in the first place -- to tell you more about the girl would be spoiling the fun, but it would also be unfair to leave out further discussion of our protagonist.

We know by his introduction, and his hand on his heat gun, that Northwest Smith is a dangerous man. We come to find out that his saving of the woman probably had little to do with chivalry, but more to do with "that chord of sympathy for the underdog that stirs in every Earthman." This chord of sympathy must stir strong in Smith, because the mob is pretty persistent and Smith -- like Han Solo after him -- isn't the kind who wants to get too involved in this kind of action. Smith's business is usually of a different sort:

Smith's errand in Lakkdarol, like most of his errands, is better not spoken of. Man lives as he must, and Smith's living was a perilous affair outside the law and ruled by the ray-gun only. It is enough to say that the shipping-port and its cargoes outbound interested him deeply just now...

Apparently, Smith is a blaggard whose day to day business is so unseemly that Moore refrains from sharing it, likely because the audience would lose sympathy with our protagonist. It is easy to see how Smith became the archetype that anti-heroes would be based upon for decades to come. He's a cautious man, who pulls for the underdog, but who participates in business best left unspoken. Sounds like Han Solo to me...or Wolverine.

"Shambleau" is a fun tale with a nice twist, a twist that is fairly obvious after the prefatory paragraph. One can see illustrations of "Shambleau" by Barbarella creator Jean-Claude Forest at this fairly NSFW link if you don't want to wait to find out the surprise. I recommend waiting. Read Moore's prose first. Moore incorporates classic mythology into the Science Fiction narrative smoothly and dramatically. Her writing is addictive and she manages to take a classic monster and turn it into something really weird.