That's why I'd like to prevail upon the collective knowledge of my readers. Are there any programs out there that might enable an incompetent Luddite such as myself to make rough approximations of these maps? Once upon a time, there was a program called Hexographer that came close to doing so, but its current iteration looks much too complex for some of my limited skills to use effectively. Are there any alternatives readily available or must I buckle under and learn how to use this new version of Hexographer?
Monday, February 6, 2023
Hex Help
Pulp Fantasy Gallery: A Princess of Mars
Since the real world continues to be demanding of late – my apologies for the lighter than normal posting – I've decided to present another entry in the Pulp Fantasy Gallery series. This week, I've opted to go back more than a century, to one of the foundational works of fantasy and science fiction (not to mention roleplaying games), Edgar Rice Burroughs's A Princess of Mars. Long-time readers may recall that I had previously included this book in an early installment of Pulp Fantasy Gallery. In that post, I only highlighted an image of perhaps the most famous – and, in my opinion, best – cover illustration, that by Frank E. Schoonover.
Friday, February 3, 2023
Labyrinth Repair Shop
Rob Conley alerted me to the existence of a blog post over at Old Vintage Computer Research, in which the author pulls out his copy of the game (which he barely played at the time he first received it), examines it in detail, and then sets about repairing it so that he can finally get around to playing it after all these years. It's a terrific post, filled with lots of information on the inner working of the game. I suspect it'll be of great interest to anyone who, like myself, has a fondness for the electronic "boardgames" of the late '70s and early '80s.
(As an aside, it's worth noting that this game, as well as the slightly later Dungeons & Dragons Computer Fantasy Game, are D&D-branded rather than AD&D-branded, like the Intellivision game cartridges that appeared in 1982. I assume this is the result of various legal and financial wranglings at TSR vis à vis Dave Arneson, but have no proof of this one way or the other. Regardless, it's yet another fascinating wrinkle in the long history of attempts to turn Dungeons & Dragons into a mass market consumer brand.)
Wednesday, February 1, 2023
Retrospective: GURPS
For me, the appeal of a universal system lay in the promise of never again having learn new rules just because I wanted to play a new game (or setting). As both a referee and a player, I'm indifferent to rules, except to the extent that I forget them or confuse them with the rules of another game with which I'm also familiar. In general, once I find a ruleset that works well enough for my purposes, I stick with it. This probably explains why I've played so much D&D and Traveller over the years, despite the existence of purportedly "better" systems for fantasy and science fiction: I know these rulesets and they're more than adequate for my purposes.
In my youth, I knew plenty of people who had adapted the rules of Dungeons & Dragons to their favorite genres or settings. This was, I gather, a common practice in the days when there were only a handful of different game systems. Even at the time, this felt odd to me, despite my affection for D&D and my facility with its rules. Nevertheless, I understood the impulse. Why reinvent the wheel? Why did every RPG have to have its own unique – and frequently idiosyncratic – game system? Wouldn't things be easier if you and your fellow players had to learn just one ruleset rather than a new one every time you started a campaign?
So, when I first heard about Steve Jackson's "Great Unnnamed Roleplaying System," I was more than a little intrigued. Though I had never played Jackson's previous RPG, The Fantasy Trip, I knew it was well regarded and, from what I had gathered, the then-upcoming GURPS was designed as a successor to and an expansion of the core concepts behind The Fantasy Trip. Plus, I was a very big fan of Jackson's Ogre and Cars Wars, both of which my friends and I played regularly. By my lights, this pretty much guaranteed that GURPS – or whatever its "real" name would eventually be – would be a winner.
The first publication to carry the GURPS name, Man to Man, was released in the summer of 1985, along with a collection of scenarios entitled Orcslayer. Man to Man was a kind of preview of GURPS, presenting the game's combat system. I never saw a copy of it at the time – indeed I've still never seen one – so its release came and went without much notice from me. By the time the full GURPS Basic Set was published the following year, in 1986, I had largely forgotten about the whole thing, so it too escaped my attention. I'm not entirely sure why this was, though I suspect, given the timing of its release, that I was distracted by other matters.
When I did finally see a copy of GURPS, it was already on its third edition. This would have been sometime in the late 1980s. The game was no longer sold as a boxed set with multiple booklets but as a single softcover volume. I ordered my copy through the mail, based on an advertisement I'd seen somewhere (Dragon? Challenge?), which reminded me that GURPS did indeed exist and that I'd once been quite interested in the project. I was very happy to receive it, along with a copy of the GURPS Space supplement, since I was then, as I am now, more or a sci-fi fan than a fantasy one.
I was very impressed with GURPS when I first read it. The rules were simple and easy to understand. The presentation was similarly straightforward – a no-nonsense layout with black and white art and informative little sidebars throughout. I loved how modular everything seemed, with skills, advantages, and disadvantages all capable of being added or swapped out, depending on the setting and genre of the campaign you were planning to run. Likewise, the supplementary material, like Space, provided lots of tailored options for the referee to consider. All in all, GURPS exceeded my expectations.
Unfortunately, I never got the chance to play much GURPS in the months immediately after I first bought it. It wasn't until several years later, after I'd graduated from university and moved to my present home, that I rectified this. My local friends had played GURPS extensively, having effectively abandoned all other game systems in its favor for several years beforehand. They thus knew the system's ins and outs and were quite happy to share their thoughts on the matter. By and large, their experiences were positive, but they also recognized that, at least in its third edition – things may have changed in more recent editions – the rules creaked somewhat the farther one got from the power and technological level of medieval fantasy. In short, GURPS had something of a scaling problem, particularly as one moved toward science fiction.
This was disappointing to hear, but it didn't stop me from making use of GURPS several times over the years. Whatever its flaws might be, it was still a simple and convenient way to play campaigns that deviated from those presented in other commercially available RPGs. It was a terrific "toolkit game" and its supplements were often among the most inspiring and best researched I'd ever seen. I continued to support the game for years, despite playing it only sporadically. That's no knock against the game itself so much as an acknowledgment that, despite my appreciation for it and what it tries to do, GURPS never succeeded in joining my list of go-to RPGs. I definitely think there's a place for a game like GURPS, which is much more accessible and user friendly than, say, HERO. That said, I'm much less convinced these days that a one-size-fits-all universal system is even possible, let alone desirable and so GURPS remains on my shelf, unplayed.
Monday, January 30, 2023
Pulp Fantasy Gallery: Swords and Deviltry
Thursday, January 26, 2023
Nothing New Under the Sun
Years ago, when I first read this story, I was convinced that it had to have been the origin of D&D's lich. While I knew the lich from the AD&D Monster Manual, with its unforgettable illustration by Dave Trampier, the lich was introduced into the game through Supplement I to OD&D, Greyhawk. There, liches are described as "skeletal monsters of magical original, each Lich being a very powerful Magic-User or Magic-User/Cleric in life, and now alive only by means of great spells and will." The longer description in the Monster Manual adds that a lich possesses not just a skeletal form but "eyesockets mere black holes with glowing points of light." That sound a lot like REH's description of Thulsa Doom to me.The face of the man was a bare white skull, in whose eye sockets flamed livid fire!
"Thulsa Doom!"
"Aye, I guessed as much!" exclaimed Ka-nu.
"Aye, Thulsa Doom, fools!" the voice echoed cavernously and hollowly. "The greatest of all wizards and your eternal foe, Kull of Atlantis! You have won this tilt but, beware, there shall be others."
magazines, such as Monsters on the Prowl. Issue #16 of that magazine (April 1972) featured an original Kull story called "The Forbidden Swamp," in which Thulsa Doom is introduced to comics readers. As drawn by the brother and sister team of John and Marie Severin, Thulsa Doom shares a lot with D&D's lich, don't you think?
Wednesday, January 25, 2023
Retrospective: Blackmoor
Since last week's Retrospective was about Greyhawk, it seemed only right that this week's should be about Blackmoor. It's also appropriate because Supplement II to Original Dungeons & Dragons occupies a special place in the story of my explorations into the history of the hobby of roleplaying. When I was in high school, my father told me about a hobby shop near his workplace that was selling off all their "old D&D stuff" and he asked if were interested in any of it. I told him that, without a list of the titles they had on offer, there was no way I could answer. The next day, he went back to the store and brought me "samples" of what they had, among which was Blackmoor.
At the time, I think I'd seen the occasional references to Blackmoor, such as in the preface to the Monster Manual. And, of course, I was familiar with the land of Blackmoor as it was briefly described in the World of Greyhawk. However, that was close to the extent of my knowledge, this being several years before the publication of the DA-series of D&D modules that began with Adventures in Blackmoor. Consequently, I was very excited to read this weird, little, brown book and see what secrets it might reveal.
I can't say for certain that Blackmoor revealed any secrets to me at that time, but I did find it a very peculiar book nonetheless. Gary Gygax's effusive foreword included references to Dave Arneson's Blackmoor campaign, as well as how he "would rather play in his campaign than any other." This certainly whetted my appetite for information about the campaign itself. Indeed, I was hoping that this little book might shed light on the mysterious northern land mentioned in the World of Greyhawk folio.
Instead what I found was a collection of disconnected rules, many of which looked like early versions of material I'd later see in various AD&D books. There were write-ups for the monk and assassin character classes, sages, diseases, and aquatic monsters – all stuff I'd seen previously in slightly different forms. The only rules in Blackmoor I hadn't seen before were the "Hit Location During Melee" sections. Though they intrigued me, I also found these rules somewhat out of place in Dungeons & Dragons, which conceived of hit points in a fairly abstract manner.
I was feeling a little confused and even let down by all of this. That's when I decided to look more closely at the sample adventure that took up almost twenty pages of Blackmoor. Entitled "The Temple of the Frog," it was quite different from any adventure I'd seen before. For one, its maps were clearly hand drawn, unlike the much more polished maps with which I was hitherto familiar from TSR's products. For another, its primary antagonist, the high priest of the Temple, Stephen the Rock, was described in great detail – including the fact that was "an intelligent humanoid from another world/dimension!" This really grabbed my attention, especially after it became clearer that Stephen possessed high-tech weapons and armor of a science fictional sort.
By this point, I'd already read Gygax's own Expedition to the Barrier Peaks, which also mixed the peanut butter of science fiction with the chocolate of fantasy, so the ideas presented in "The Temple of the Frog" weren't completely unfamiliar to me. At the same time, Arneson's adventure had a very distinct feel to it, one that differed considerably from Gygax's. The crashed alien spaceship in Barrier Peaks is basically a one-off dungeon, a weird locale separated from the wider world. The Temple of the Frog, though, is an active player in the world of Blackmoor; the Brothers of the Swamp are a rising power, whose ideology of batrachian supremacy over mankind might one day threaten the order of things. That their new high priest just so happens to be an alien possessed of advanced technology only makes the situation more potentially volatile.
When I first opened the pages of Blackmoor, I expected I'd probably find some new rules and ideas derived from Dave Arneson's Blackmoor campaign. Instead, what I got was a mishmash of ideas I'd mostly seen before and that, as I later learned, were largerly the work of other hands (Steve Marsh primarily). But then there was "The Temple of the Frog." Though it's almost completely lacking in larger details about the Blackmoor setting, its ideas and presentation took me by surprise. After reading the adventure, I wanted to know more about Arneson's odd setting and the way it might have mixed elements of science fiction and fantasy together.
That would have to wait a few more years, of course, but Blackmoor was the first step I took down that road. Prior to this, Dave Arneson himself was just a name I'd occasionally see in the credits of my D&D books and Blackmoor was just a mysterious land at the top of the World of Greyhawk map. Now, I knew a little better and for that reason I'll always be fond of OD&D's Supplement II.
Monday, January 23, 2023
Pulp Fantasy Library: The Cat and the Skull
Conan, who first appeared twenty-five months after Kull's published swan song, plays a huge role in explaining why Kull is largely unknown today. Even among those aware of Kull, there's often a false sense that he's little more than a "rough draft" of the Cimmerian, an impression that isn't helped by the knowledge that Howard re-purposed a rejected Kull story, "By This Axe I Rule!," for Conan's debut, "The Phoenix on the Sword."
This is a great shame in my opinion. As characters, Kull and Conan have similarities, to be sure, but they also have differences. These differences are much more apparent when one reads the various unpublished Kull stories that Glenn Lord found in REH's famous storage trunk. Lord, a fan and fellow Texan, tracked down "the Trunk," as it is sometimes known, in 1965, finding that it contained about half of everything Howard had ever written, most of which had never been published in any form – including numerous Kull stories in various stages of completion.
Two years after the discovery of the Trunk, the anthology King Kull was released by Lancer, who'd already found great success with its line of Conan paperbacks. And just like those Conan paperbacks, this volume included posthumous "collaborations" between Robert E. Howard and editor Lin Carter. In this case, Carter finished three incomplete tales of Kull to varying degrees of success. Among the wholly Howardian stories presented for the first time in King Kull is one entitled "Delcardes' Cat" therein but whose proper title is "The Cat and the Skull."
The start of the tale is compelling.
King Kull went with Tu, chief councillor of the throne, to see the talking cat of Delcardes, for though a cat may look at a king, it is not given every king to look at a cat like Delcardes'. So Kull forgot the death-threat of Thulsa Doom the necromancer and went to Delcardes.
Thulsa Doom! Now, there's a name to seize the imagination. Though generations know him as the antagonist in John Milius' Conan the Barbarian, he is, in fact, the archnemesis of Kull and this story marks his first ever mention (and, as it later turns out, appearance) in fiction.
Kull is no fool and is thus skeptical of the existence of a talking cat. Tu is even more "wary and suspicious" in part because "years of counter-plot and intrigue had soured him." Indeed, he suspected that the supposed talking cat "was a snare and a fraud, a swindle and a delusion," not to mention "a direct insult to the gods, who ordained that only man should enjoy the power of speech." Does this sound at all like the opening of a Conan story? The yarn begins almost whimsically and I cannot deny that I was immediately seized with interest in seeing where Howard took things.
The cat, whose name is Saremes, is the companion – not pet! – of Delcardes, a Valusian noblewoman, who is herself described as "like a great beautiful feline," whose "lips were full and red and usually, as at present, curved in a faint enigmatical smile." She has come to the court of Kull to crave a boon from the king. The boon in question is marriage to Kulra Thoom of Zarfhaana, a match that would be forbidden, because "it is against the custom of Valusia that royal women should marry foreigners of lower rank." Delcardes knows this and argues that "the king can rule otherwise," much to the consternation of Tu, who reminds Kull that such a breach of tradition "is like to cause war and rebellion and discord for the next hundred years."
Kull will have none of this.
"Valka and Hotath! Am I an old woman or a priest to be bedevilled by such affairs? Settle it between yourselves and vex me no more with questions of mating! By Valka, in Atlantis men and women marry whom they please and none else."
Delcardes sees this as the perfect opportunity to remind Kull of the cat who accompanied her. The cat
lolled on a silk cushion, on a couch of her own and surveyed the king with inscrutable eyes ... she had a slave who stood behind her, ready to do her bidding, a lanky man who kept the lower part of his face concealed with a thin veil which fell to his chest.
The noblewoman explains that Saremes was "a cat of the Old Race who lived to be thousands of years old." She then asks him to ask the cat her age.
"How many years have you seen, Saremes?" asked Kull idly.
"Valusia was young when I was old," the cat answered in a clear though curiously timbered voice.
Kull started violently.
"Valka and Hotath!" he swore. "She talks!"
Delcardes laughed softly in pure enjoyment but the expression of the cat never altered.
"I talk, I think, I know, I am," she said. "I have been the ally of queens and the councillor of kings ages before even the white beaches of Atlantis knew your feet, Kull of Valusia. I saw the ancestors of the Valusians ride out of the fear east to trample down the Old Race and I was here when the Old Race came up out of the oceans many eons ago that the mind of man reels when seeking to measure them. Older am I than Thulsa Doom, whom few men have ever seen.
"I have seen empires rise and kingdoms fall and kings ride in on their steeds and out on their shields. Aye, I have been a goddess in my time and strange were the neophytes who bowed before me and terrible were the rites which were performed in my worship to pleasure me. For od eld beings exalted my kind; beings as strange as their deeds."
This is great stuff in my opinion. Apparently, Kull thought so too, because his interest is greatly piqued, so much so that he then asks the cat.
"Can you read the stars and foretell events?" Kull's barbarian mind leaped at once to material ideas.
"Aye; the books of the past and the future are open to me and I tell man what is good for him to know."
It's at this point that Kull's skepticism of the existence of a talking cat – a skepticism that Tu still holds – gives way to hope, hope that Serames might possess knowledge that will enable him to make the right decisions as he ponders how to rule Valusia and meet the challenge of Thulsa Doom the necromancer.
What follows is an odd pulp fantasy tale, one in which the barbarian king of a civilized land spends much time discussing fate, prophecy, and free will with a talking cat. I ask once again, does this sound like a Conan story? "The Cat and the Skill" is a fun story, one that nicely balances thoughtfulness with action, honesty with intrigue. That – and I hope no will be surprised to learn this – Serames is revealed to be a fraud, just as Tu warned, in no way takes away from my enjoyment of the story. What transpires before this revelation is thoroughly captivating and a much-needed reminder that Kull is no "rough draft" of anyone, but rather a uniquely engaging character in his own right.
Sunday, January 22, 2023
Robert E. Howard, Escape Artist
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REH (age 18) costumed as a pirate (August 1924) |
Adventure
Friday, January 20, 2023
How Soon We Forget
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