REPOST: The Articles of Dragon: Ares

I'm going to cheat for today's installment of this series. Rather than focusing on a single article from issue #84 of Dragon (April 1984), I'm instead going to talk about Ares, the magazine's new science fiction gaming section. First, a bit of background. Between 1980 and 1982, SPI published a gaming magazine entitled Ares. The magazine included a complete game in every issue (as was once typical of wargaming magazines), along with articles and reviews. Though not limited to sci-fi by any means, Ares did have a slightly science fictional bent to its content. There were eleven issues of Ares before TSR acquired SPI in 1982, followed by five more issues after the acquisition. The last stand-alone issue of Ares was published in "Winter 1983." TSR never really knew what to do with SPI's properties and wound up frittering them away over the course of the next few years, in the process alienating the company's considerable fanbase, many of whom (quite rightly) felt that TSR had handled the situation very badly. Though TSR tried to make some use of SPI's name and products, only the Ares name survived for long – and even then, "long" is a relative term.

From issue #84 to issue #111 (July 1986), Ares was one of my favorite sections of Dragon, since I've always been more of a SF fan than a fantasy one. The section featured articles on games like Traveller and Star Trek and Space Opera, as well as Gamma World, Star Frontiers, and a host of superhero games, especially Marvel Super Heroes. Because sci-fi has always played second (or third) banana to fantasy, you'd have expected that the pool of articles would have been pretty shallow in Ares but that wasn't the case. In my opinion, the quality of the articles in this section was consistently high, higher even than that of the rest of Dragon (which is saying something). However, its appeal was definitely more limited, which is why I suspect it was eventually killed. Why devote some many pages of each issue to genres that are also-rans compared to fantasy, especially D&D's brand of fantasy?

To this day, though, when I look back on the years when I subscribed to Dragon, the Ares articles are among those that stick out most prominently in my mind. Its coverage of Gamma World, for example, was truly excellent and I used a number of its Traveller rules variants over the years. And of course Jeff Grubb's regular "The Marvel-Phile" column was invaluable if you were running a Marvel Super Heroes campaign (or even if you weren't and were just a fan of the comics). I've always thought it a pity that a non-fantasy-centric gaming mag never really gained any degree of prominence. GDW's Challenge, where my first published writings appeared, was a decent stab at such a thing, but it eventually folded, too, much to my disappointment. Like Ares, Challenge filled a hole in the hobby that needed filling. In my opinion, it still does.

Polyhedron: Issue #27

Issue #27 of Polyhedron (January 1986) features yet another cover by Roger Raupp, this time depicting a clan of dwarves. Raupp was a very prominent artist in the pages of both Polyhedron and Dragon during the second half of the 1980s – so prominent that, for me at least, his illustrations strongly define the look of that era. I also remember Raupp's work on many of the later Avalon Hill RuneQuest books, which, as I understand it, are very well regarded among Glorantha fans. 

Leaving aside the forgettable "Notes from HQ," the issue properly kicks off with "Dominion" by Jon Pickens, which introduces a new type of spell for use by AD&D magic-users. Unlike previous collections of new spells by Pickens, this one looks not to magic items for inspiration but rather psionics. All of the dominion spells concern "controlling the victim's voluntary muscles and sensory linkages." This is not mind control but rather bodily control of another being (with the senses being considered part of the body). It's an interesting approach and ultimately, I think, a better one than AD&D's psionics system, which, in addition to being mechanically dubious, didn't really mesh with the overall feel of the game.

"The Thorinson Clan" by Skip Olsen presents five dwarves, related by blood and marriage, from his Norse mythology-inspired AD&D campaign. These are the characters Roger Raupp portrayed on the cover. They're an interesting bunch and I must confess I appreciate the fact that Olsen's campaign is multi-generational, a style of play I think is under-appreciated (and one of the reasons I think so highly of Pendragon). Almost certainly coincidentally, this issue's installment of Errol Farstad's "The Critical Hit" offers a very positive review of Pendragon, which he calls "the stuff of which legends are made." Needless to say, I agree with his assessment.

Next up is "She-Rampage" by Susan Lawson and Tom Robertson, a scenario for use with Marvel Super Heroes. As you might guess based on its title, the scenario involved She-Hulk but also a number of other female Marvel characters, like Valkyrie, Spider-Woman, Thundra, and Tigra. There's also an original character, Lucky Penny, who's based on the Polyhedron's editor, Penny Petticord. The background to the adventure is rather convoluted and involves alternate Earths where one sex dominates the others. The male-dominated Earth, Machus, has learned of the existence of our Earth and sees the existence of super-powered women as a potential threat to be eliminated. This they attempt to do by traveling to our world and then – I am not making this up – releasing doctored photos and scurrilous stories in the pages of "a girlie magazine known as Pander." Naturally, the superheroines take exception to this and it's clobberin' time. I have no words.

Michael Przytarski's "Fletcher's Corner" looks at "problem players." More specifically, he's interested in two different types of players who can cause problems for the referee. The first is the "Sierra Club Player," who's memorized all the rulebooks and uses his knowledge to overcome every obstacle the referee sets before him. The second is the "Multi-Class Player," whose experience is so wide that he tells other players the best way to play their class. In each case, Pryztarski offers some advice on how best to handle these players. Like most articles of this sort, it's hard to judge how good his advice would have been at the time, because most of what he says is now commonsense and has been for a long time. 

"Alignment Theory" by Robert B. DesJardins is yet another attempt to make sense of AD&D's alignment. Like all such attempts, it's fine to the extent that you're willing to accept its premises. DesJardins argues that "law versus chaos" is a question of politics, while "good versus evil" is a question of heart (or morality). He makes this distinction in order to fight against the supposed notion that some players believe Lawful Good is more good than Chaotic Good – in short equating "law" with "good" and "chaos" with "evil." Was this a common belief then or now? I suppose it's possible players who entered the hobby through Dungeons & Dragons might have carried with them echoes of its threefold alignment system, but, even so, how common was it? I guess I long ago tired of alignment discussion, so it's difficult for me to care much about articles like this.

This month, "Dispel Confusion" focuses solely on rules and other questions about Star Frontiers, which surprised me. Meanwhile, "Gamma Mars: The Attack" by James M. Ward offers up a dozen new mutants to be used in conjunction with the "Gamma Mars" article from last issue. Most of these mutants are mutated Earth insects, but one represents the original Martian race, whose members have been lying beneath the planet's surface in wait for the right moment to strike against human colonists to the Red Planet. I find it notable that Ward was long interested in introducing extra-terrestrial beings into his post-apocalyptic settings, whether Gamma World or Metamorphosis Alpha. I wonder why it was an idea to which he returned so often?

As you can probably tell by this post, my enthusiasm for re-reading Polyhedron is waning. I'm very close to the end of the issues I owned in my youth, so I may simply be anticipating the conclusion of this series. On the other hand, I also think there's a certain tiredness to the newszine itself. The content has never been as uniformly good as that of Dragon and it's become even more variable as it has depended more and more on submissions by RPGA members, few of which are as polished or imaginative as those to be found elsewhere. The end result is a 'zine that's sometimes a bit of a chore to read, never mind comment about intelligently. 

Ah well. I'll soldier on.

Polyhedron: Issue #25

Issue #25 of Polyhedron (September 1985) features eye-catching artwork by the Marvel Bullpen, depicting the Hulk and long-time foe, the Abomination, bursting through the cover. Both characters appear in the issue's Marvel Super Heroes article – a first for the newszine. At the time, I was quite pleased by this expansion of Polyhedron's coverage, because I was a big fan of MSH and was always on the look-out for new material (particularly write-ups of Marvel characters that hadn't yet appeared elsewhere).

Normally, "Notes from HQ" is filled with RPGA-related ephemera and thus doesn't command my attention for long. This time, though, part of it is of greater interest, specifically the call for Dungeon Masters to submit "a store, tavern, house, city block, NPC, street encounter, guild" for inclusion in a fantasy setting to be used by the RPGA as a "home base" and possible locale for adventures. Robert Asprin's Thieves' World is referenced as an inspiration and it's stated that Gary Gygax has agreed to allow this city to be placed in his World of Greyhawk setting. If any of this sounds familiar, that's because I suspect the project was eventually retooled for use with the Forgotten Realms, becoming Ravens Bluff, the Living City, an RPGA staple for years to come.

Jon Pickens offers up a second part of his "Unofficial Magic-User Spells" series, again looking to existing magic items as source of new spells (like the ring of spell turning and ring of x-ray vision). It's fine, if a bit unimaginative, though I cannot forgive the consistent misspelling of "absorption" as "absorbtion" throughout, especially when the magic item that inspired it, the rod of absorption, spells it correctly. The "RPGA Network Player and Judge Standings" is hardly worth mentioning, since it's little more than three pages' worth of names. Looking through them, I spotted the usual assortment of TSR employees and freelancers, along with a few others whose names I recognized from Dragon and elsewhere. I wonder if any readers of this blog had earned enough tournament XP to make it onto the list?

Part II of Frank Mentzer's AD&D adventure, Needle, also appears in this issue. Having found the titular needle – a magical obelisk – in Part I, the characters are now tasked with removing it for transport back to their homeland while dealing with hostile bullywugs and pirates. The adventure is quite fascinating, in that it's mostly a matter of resource management and logistics. The characters command a team of workers and mercenaries over the course of the several weeks needed to achieve their goal. How well they manage their resources, as well as how they respond to various threats, determine whether or not their mission is successful. I have no idea how it would be to play, the idea behind this scenario sounds compelling.

Michael Przytarski's "Fletcher's Corner" returns, talking about high-level adventures this time. That's a topic of great interest to me, since there aren't a lot of good examples of them in my opinion and I'd love to read some good advice on how to create my own. Sadly, there's not much meat to this article. It's mostly brief nuggets ("Try not to be bring the gods into it") intended to keep things somewhat grounded and avoiding boredom ("Three red dragons are fun, but they can become tiresome"). Perhaps the article's brevity (one page) prevents Przytarski from getting into the weeds of this topic, I don't know. Regardless, I didn't find what I was looking for here, which is a shame. My quest continues.

"Rampage" by Roger E. Moore is a straightforward Marvel Super Heroes scenario, in which four different super-strong characters – the Hulk, Hercules, the Abomination, and Titania – in the streets of New York. It's not deep, but it's fun. I also appreciate the way that Moore presents different Karma award charts for each character as a way to highlight their differences. That's something I always liked about Marvel Super Heroes and that's harder to implement in a game where the characters are all original creations of the players rather than established personalities. 

With apologies to Rembert N. Parker, I'm going to pass over his "How to Succeed at Judging an RPGA Network Event," because it's of minimal interest to me. "Dispel Confusion" consists of two full pages of AD&D questions, with no other RPGs represented. By and large, the questions this issue concern ambiguities in the rules and, as such, aren't that interesting to discuss here. The most notable question concerned psionics and its use, with the answer noting that psionics will be revised "in the future." Rounding out the issue is a positive review of Paranoia, an old fave of mine, though it's been years since I've attempted to play it. Maybe I should change that.

As always, Polyhedron is so much more of a mixed bag than is Dragon and it's frustrating. Most issues contain good material, but very few are consistently good. That probably explains why I eventually stopped reading it, while I continued with Dragon well into the 1990s. I suspect this is because Polyhedron always had a much more "amateur" quality, which limited both its audience and its submissions. It's a real pity.

Polyhedron: Issue #24

Issue #24 of Polyhedron (July 1985), with its cover illustration by Roger Raupp, is another one I remember very clearly from my youth – and the cover is a big part of the reason why. When I first saw this odd collection of characters, I honestly had no idea what I was looking at. Were they supposed to be orcs or half-orcs or something else entirely? As I turned out, my guess wasn't far from the truth, but that initial perplexity compelled me to read the issue with great interest. Nearly forty years later, I still remember it.

"Notes from HQ" can be quickly dispensed with, since most of it concerns RPGA matters of little lasting interest. The main thing worth discussing is a note indicating that, in response to pleas from the editor in previous issues, there have been a number of submissions from RPGA members. Indeed, Penny Petticord states that "we have not rejected a single article." She quickly adds, though, that submissions are still very few in number and that "only a fraction of the so-called active membership has contributed." At the time there were supposedly "over 8000" RPGA members worldwide, so I can sympathize with Petticord's lament about the small number of submissions. 

"Letters" is quite interesting this issue. First, there's a letter in which a reader complains about the heavy D&D focus of Polyhedron, as well as the lack of support for Marvel Super Heroes. In response to the first part, the editors explain that Polyhedron can only publish those articles that are submitted to it, so, if anyone wants to see more non-D&D content, they'll need to make it happen themselves. As I think I said before, I wish I'd paid more attention to this sort of stuff when I was a subscriber, because I probably would have had better luck getting published in Polyhedron than I ever did in Dragon. In answer to the second part, the editors point out that, because MSH is a licensed game, Marvel itself must review and approve everything it publishes for the game. This makes it harder for any writer, especially those outside the TSR staff, to produce new articles to support it. Also among the letters published are a couple discussing the bad publicity Dungeons & Dragons is getting in their area, a consequence of the ongoing Satanic Panic. If I hadn't lived through those times, I'd hardly believed such things happened!

"Secrets of Success" by Steve Null offers tips on playing in RPGA tournaments. Never having participated in RPGA events, I must say I only briefly skimmed this article and saw nothing worthy of comment here. "Unofficial New Magic-User Spells" by Jon Pickens continues what he began in issue #22. The selection of new spells continues to focus replicating the effects of AD&D magic items, which is fine, but I'd have liked a little more variety myself. More notable, I feel, is that, like its predecessor, it includes the word "unofficial" in its title – a reminder that nothing that appears in Polyhedron carries the official TSR seal of approval. 

Part I of Frank Mentzer's AD&D adventure, "Needle," appears in this issue. Designed for characters of levels 8–10, this is another tournament adventure offered for the delectation of readers of Polyhedron, like most of the adventures published in its pages previously. The adventure concerns an expedition to locate and examine a powerful magic item – the titular Needle – that is found in a ruined city located in a far-off land. The characters are all members of an adventuring guild called SMART, which stands for Syndicate of Master Adventurers for the Recovery of Treasure. All the pregenerated characters have what I assume (hope?) are merely nicknames, like Slim, Smiley, Blondy, and Blaze. To be honest, I found this nomenclature detracted from my enjoyment of scenario, which is otherwise decent, filled with lots of challenges and puzzles. Maybe it's just me, but I prefer a slightly more serious tone when it comes to things like names.

Errol Farstad's "How Reviews are Done" is an overview of how RPGs and RPG products will be reviewed in Polyhedron, since such reviews are a new future in the newszine. All games are given a Difficulty rating from 1 to 4, with 1 being the easiest to learn for a newcomer and 4 being the hardest. Then, the product is rated on a scale of 1 to 10 in three other categories: Packaging, Rules and Explanations, and Miscellaneous. Taken together, these four ratings contribute to its Overall score, rated from 0 to 4 Stars. With the explanations out of the way, Farstad reviews Star Trek the Role Playing Game, to which he gives an overall rating of 3 Stars out of a possible 4. He had some minor (and frankly nitpicky) complaints about the game, which did not detract from his otherwise very positive opinion of it. Being a big fan of the old FASA game, I could not disagree with his assessment.

"The Grond Family & Friends" by Roger E. Moore is the first installment in a new series called "The New Rogues Gallery." Like the book after which its named, this series is intended to present write-ups and illustrations of characters from people's home campaigns – basically "Let me tell you about my character(s)" in written form. The eponymous John Grond is a half-ogre and it's his friends and family whom Roger Raupp depicted on the cover of this issue. Half-ogres were briefly described as a possible player character race by Gary Gygax in issue #29 of Dragon (September 1979). Moore apparently liked the idea enough to adopt and adapt for his own use. The article presents six characters, ranging from Grond himself (a 16th-level fighter) to his wife (a 4th-level half-ogre cleric) and followers, like Boron the Moron, a full ogre of limited intelligence.

"Fletcher's Corner" by Michael Przytarski – and people say my name is hard to spell – is the start of a new column devoted to "solving the everyday problems faced by anyone who judges role playing games." In short, it's another referee's advice column. Consequently, I expect it'll be filled with lots of good insights and advice that will be genuinely useful to someone who's sitting behind the screen for the first time but rather dull to the veterans among us. That's OK: there are always newcomers in need of advice and that's good for the hobby. For his inaugural column, Przytarski takes up the topic of introducing new characters (and, by extension, new players) to a campaign. It's a good topic and his advice is solid, though nothing I haven't heard before (or come to understand through years of play). It'll be interesting to see what he tackles next and whether I find it useful.

Concluding the issue is "Dispel Confusion," with answers to questions about D&D, AD&D, and Marvel Super Heroes. Sadly, none of the questions piqued my interest, because they were all very banal. Most pertained to discrepancies between two sections of the rules or details that had been inadvertently left out of the text – in short, the kinds of rules questions about which you can't say very much else. Personally, I've always enjoyed questions that afford the responder to pontificate a little about a philosophy of play or game design, but that's just me. Maybe next issue!

Polyhedron: Issue #18

Serendipity is a funny thing. No sooner did I mention my childhood affection for Spider-Man than I find that issue #18 of Polyhedron (July 1984) features everyone's favorite web-slinger facing off against the Scorpion on its cover. This only makes sense, of course, since TSR's Marvel Super Heroes debuted around this time and was a big hit for the company. In fairly short order, it seemed as if there were nearly as many adventures being released for MSH as there were for Dungeons & Dragons, though my memory might well be faulty.

Spidey and the Scorpion form the basis for this issue's "Encounters" article, written by none other than Jeff Grubb, the designer of Marvel Super Heroes. Like all previous "Encounters" articles, this one is brief, but Grubb nevertheless makes the most of the limited space, presenting a scenario in which Spider-Man must rescue J. Jonah Jameson from a subway car that's been commandeered by Scorpion. It's straightforward and simple but does a good job, I think, of presenting the kind of situation in which the Web-head often found himself.

James M. Ward's "Cryptic Alliance of the Bi-Month" focuses on the mutant mirror image of the Knights of Genetic Purity, the Iron Society. Also known as the Mutationists, the Iron Society seeks to rid the post-apocalyptic Earth of all non-mutated life, with pure strain humans being the primary target of their ire. Needless to say, this makes the Society an object of fear in Gamma World and I always felt that they'd be used primarily as antagonists in most campaigns. Compared to the Knights, who might excellent villains in my opinion, the Iron Society somehow feels a bit more one-note and the article does little to change my mind on this, alas.

"Remarkable, Incredible, Amazing" by Steve Winter. As you might guess from its title, it's an overview of the then-newly released Marvel Super Heroes RPG. It's basically an advertisement intended to entice gamers into buying TSR's latest product and, in that respect, it does a fair job. Much more interesting is Roger E. Moore's "Kobolds and Robots and Mutants with Wings." Over the course of three pages. Moore talks first about the joys of "hybrid" games that mix and match rules and setting elements, something that even the AD&D Dungeon Masters Guide discusses briefly. He then moves on to talk about various hybrid games he's run, such as when AD&D adventurers made use of a well of many worlds to travel to the universe of Bunnies & Burrows to fight rats in thrall with agents of the Cthulhu Mythos. Finally, he presents a lengthy discussion of kobalts – kobolds who traveled to Gamma World's setting, were mutated by radiation, and then bred true as a distinct species. Moore stats them up for both GW and AD&D and presents lots of information on how they could be used in both games. As I said, it's a very interesting article and a reminder of just how imaginative a writer Moore was.

"The Magic-User" by James M. Ward presents yet another "archetypical" [sic] example of a Dungeons & Dragons class, including her personality, skills, possessions, and holdings. In this case, that's Delsenora, an older woman who uses potions of longevity to retain her youth, who has a particular hatred for powerful undead, like vampires and liches. She also has a passion for flying through the use of magic. Consequently, she's built her castle high in the mountains, in a place otherwise inaccessible to those without flight. Appended to the end of Delsenora's description are two more magic-users, one by Ward (named Lidabmob – Bombadil spelled backwards) and another by Susan Lawson, presumably a RPGA member.

"Two Cents" by Joseph Wichman is a rambling opinion piece in which the author, another RPGA member, covers a number of vaguely related topics under the header of "roleplaying." He begins by arguing, contra the "Two Cents" column in issue #14, that roleplaying is not the same as acting and that any referee who expects his players to immerse themselves deeply in their roles is being unreasonable. He also touches on "troublesome" players, evil characters, and player vs character knowledge – all perennial topics in the gaming magazines of my youth. While I don't disagree with anything the author writes here, the article is somewhat frustrating to read, since it bounces around from one subject to the next.

"Layover at Lossend" by Russ Horn, yet another RPGA member, is a short Star Frontiers scenario set on the titular planet of Lossend. The format of the single-page scenario reminds me a bit of the "Encounters" feature, in that it includes of player characters to be used in conjunction with it. The adventure itself isn't particularly worthy of comment, since it's very short and sketchy, leaving most details to the referee to work out. What is interesting is that Horn refers to the referee – the official term for the Game Master in the game – as "the DM."  This is obviously just a small slip-up, both on the part of the writer and the Polyhedron editorial staff. However, I think points to the extent to which the terminology of Dungeons & Dragons had become the defaults in RPG discussions, even discussions about other games.

"Money Makes the World Go Round" by Art Dutra – again, an RPGA member – is a thoughtful little piece about the role of money and treasure in an ongoing D&D campaign. Dutra's focus is primarily from the side of the referee, highlighting the ways that money can be used to both motivate and impede player characters. He points out all the costs that PCs can incur during a campaign, especially those that are overlooked, like training and converting gems into coins, among many others. Dutra is absolutely correct, in my opinion, that referees often fail to take into account the, if you'll forgive the pun, value of money as a driver of a campaign. My only criticism is that focusing on taxes, exchanges rates, hidden costs, and other expenses can very quickly become tedious, or at least that's been my experience. Finding a way to keep money in mind without degenerating into an exercise in bookkeeping would be truly worthwhile topic for an article or essay.

Speaking of tedious, this issue's "Dispel Confusion" is largely filled with very persnickety rules questions of the sort that bore to tears. Whether because of laziness or a lack of intelligence, I've always been much more of a rulings guy rather than a rules guy, so this stuff frequently baffles me. I'm especially baffled by questions that begin "Can I ...?" as if the sender felt he needed TSR's permission to introduce something into his own campaign. I suppose these are the inevitable fruits of the company's attempts to maintain tight control over all of its games and to discourage its customers from buying or making use of "inferior" supplementary materials.

Issue #18 of Polyhedron shows the continued evolution of the 'zine. Perhaps the biggest change is the inclusion of many more articles submitted by RPGA members. That's a welcome change, though the quality of those submissions seems to vary quite a bit. Over time, I suspect that, too, will change, but, for the moment, it gives the issue a much more uneven feel than some of its immediate predecessors. Nevertheless, I look forward to seeing what future issues have in store. 

Splitting the Party

Within a few years of my entrance into the hobby, my friends and I were playing a wide range of different RPGs. Dungeons & Dragons remained our staple, of course, but we also regularly played other games. Playing those other games not only cleansed our palates genre-wise, but also medium-wise. For example, Champions and Marvel Super Heroes, being inspired by the medium of comic books, both included game mechanics intended to emulate the kinds of things you'd see in the sequential storytelling of those four-color magazines. Consequently, when we played those RPGs, we made an effort to do so in a way that mimicked the action we'd see in issues of our favorite DC or Marvel titles. I'm not sure we did this consciously. More likely, it was simply something that seemed right, given how clearly (and explicitly, in the case of Marvel Super Heroes) these games modeled themselves after their source material.

This mindset carried over into other RPGs, too. One that sticks very firmly in my mind – and that's relevant to the larger topic I want to discuss in this post – is Star Trek the Role Playing Game. As I've no doubt said too many times before, Star Trek was my original fandom, the gateway through which I entered more solidly into the wider world of nerdery. When FASA published their RPG adaptation of the TV series in 1982, I snapped it up immediately and ran the game almost non-stop over the course of several years in the mid-80s. Though the rules of the game made some effort to model the conventions of the show – the starship combat system is perhaps the most successful instance of this – they weren't as strongly wedded to emulation of that kind as were the superhero roleplaying games I mentioned above.

Even so, my friends and I, as if by suggestion, tried to replicate the beats of the 1966 Star Trek series as best we could in play. One of the ways I attempted this – I say "I," because I was almost always the referee – could be seen in my handling of landing parties. In our sessions, as in the television program, characters would sometimes split up, with some of them remaining aboard ship, while others transported down to the planet it was orbiting. The two groups would stay in communication with one another, conveying useful information back in forth, but there were often times when they were out of contact for short or extended periods of time. Occasionally, the lack of communication between ship and landing party was a major plot point, with each group of characters having to deal with a problem in isolation, with only part of the overall picture available to them. 

This set-up makes for good drama and I thought it'd make for good roleplaying too, especially since my friends and I were all fairly committed to bringing our sessions in line with the TV show. In those days, we regularly played in the basement of the home of two brothers. In sessions where one group of characters beamed down to a planet and another stayed in orbit, I'd physically separate them, sending one group upstairs to the living room or kitchen, while leaving the other in the basement. I'd shuttle back and forth between each group, handling their current situation in isolation. When they communicated with each other, I'd allow a player from one group to go to the other and they'd exchange information, as if they were using a communicator. This approach, while it slowed down play and involved a lot of running back and forth on my part, was often quite effective. I can still recall several sessions where the ignorance of one group of characters about the activities of the other led to memorable moments of roleplaying (and humor). Nowadays, I could probably handle this much more easily and effectively with technology unavailable to us in the 1980s. 

Ironically, in my House of Worms campaign, the characters recently found themselves in a situation where I could have made use of a technological solution – and I didn't do so. While exploring a mysterious location, the characters came across a large, pillar-like object with multiple open apertures leading inside. After some experimentation to determine that it was probably safe, several of them entered and all found themselves in a different place. As some of them eventually discovered, the pillar was a device of the Ancients called a superposition enclosure and it was being used to hold an Undying Wizard called Getúkmetèk prisoner. Each of the characters who entered found himself in a separate reality in which he experienced a possible past/present/future where he had achieved some goal he greatly desired. Meanwhile, there were several characters outside the superposition enclosure, none of whom had any idea what was going inside it.

Bear in mind that House of Worms has been, since its inception in 2015, an entirely online game. We use Discord for voice chat and the campaign's server could easily accommodate separate voice channels into which I could separate all the characters so that their players would have no idea what was happening elsewhere. I didn't do this, however, and I'm not entirely sure why. Part of it, I suspect, is that I was simply lazy. Unlike my teenage self, the thought of popping back and forth between voice channels seemed like too much work, even though the end result might have been dramatically effective. Part of it, too, is that I worry about players losing focus while I tended to a player segregated in his own channel. As I have been running it, all the players have the chance to hear what's happening to their comrades, even if their characters do not. That keeps everyone engaged and, more than once, hearing the reactions of the players to things their characters do not know was positively delightful.

Does anyone reading this have any experiences with this sort of thing? Have you ever split up players in this fashion and, if so, how did it turn out? I'm quite curious to know how others have done it.

Rhubarb

Though my series of White Dwarf retrospectives is complete, I continue to examine the advertisements that appeared in the magazines. I do this partly out of pure nostalgia – I enjoy being reminded of important RPG releases from my youth – but I also do it because, as a UK periodical, WD regularly had advertisements I never saw elsewhere. 

A good case in point is one for TSR's Marvel Super Heroes game. The ad consisted of the front page of The Daily Bugle, featuring several headlines and news articles. One of them is entitled "Mayor's Visitors Are Not Cannibals," which I've reproduced below.

What's fascinating about the "story" above is that it contains only a handful of intelligible words, with the rest of its text consisting of "blah," "harrumph," and "rhubarb" written over and over. "Rhubarb," for those who don't know, is the UK equivalent to the American "walla," a word repeated over and over again by extras in order to mimic the murmur of conversation by a crowd. Its appearance here is quite funny to me, since it's being used in written form to fill out the text of an imaginary article in an advertisement rather than as audio filler.

White Dwarf: Issue #79

With issue #79 of White Dwarf (July 1986), I reach the penultimate issue I'll cover in this series. Though I'm glad to have done it – and I hope it's been profitable for those of you reading along – I can't deny that my enthusiasm has been waning for some time now. Sadly, this issue did little to make me regret my decision to end the series with #80, though there are a couple of bright spots – like John Blanche's cover illustration ("Amazonia Gothique"), which I like for reasons I can't fully articulate.

This issue marks the first one featuring Paul Cockburn as editor. His inaugural editorial mentions that there will be still more changes in store for the magazine, though these will "come in bit by bit." Cockburn also notes that Citadel Miniatures would, from this point on, include "a small warning, intended to prevent figures being sold to that part of the public who might actually be harmed by lead content." He elaborates that there had recently been a Citadel ad in a magazine "aimed at a very young audience," which necessitated this warning. Maybe I'm just old and contrarian, but I felt a slight pang of sadness upon reading this. By 1986, the Old Days (and Old Ways) were already fading ...

"Open Box" takes a look at two related Palladium products, Teenage Mutant Ninja Turtles and Other Strangeness and its post-apocalyptic supplement, After the Bomb. Both products are positively reviewed, but the reviewer, Marcus L. Rowland, expresses a preference for the "present day setting of the original game," which he feels offers "more opportunities for plot development and diversity." Also reviewed is Secret Wars II for Marvel Super Heroes, which is judged "an awful lot better than Secret Wars I." Never having seen the original, it's not clear to me whether this is faint praise or not. Two Chaosium releases, Black Sword (for Stormbringer) and Terror from the Stars (for Call of Cthulhu) get positive reviews, as does West End's Ghostbusters. Acute Paranoia, a supplement for (naturally) Paranoia earns a more middling appraisal, largely due to its "disappointing" mini-scenarios.

"Where and Back Again" by Graham Staplehurst is one of the aforementioned bright spots of this issue. Dedicated to "Starting a Middle-earth Campaign," the article lays out all the decisions a referee looking to run a RPG campaign set in Tolkien's world must make. Staplehurst covers subjects like "style" (i.e. campaign frame), rules, and even source material. He also raises the question of how closely one might wish to hew to Middle-earth as described by the good professor and the consequences for choosing to deviate from that particular vision. It's a solid, thoughtful article on a topic that has long interested – and vexed – me. 

Dave Langford's "Critical Mass" has only rarely been something I've enjoyed and this issue's installment does little to change my mind. More enjoyable (to me anyway) is his second contribution to the issue, an odd little article entitled "Play It Again, Frodo." Ostensibly, Langford's assignment is to demonstrate "how closely role-playing and literature are entwined" in order to help readers convince their "serious" friends that gaming isn't a silly hobby. He attempts to do this through a series of vignettes based around famous books or movies – Star Wars, Indiana Jones, Conan, The Lord of the Rings, etc. – where he postulates that events go other (and humorously) than how they do in the originals. The idea here is that roleplaying allows to do things "your way" rather than being bound by the dictates of an omnipotent author. 

"20-20 Vision" by Alex Stewart reviews science fiction and fantasy movies. The bulk of this issue's column is devoted to the film, Highlander, in which "a medieval Scottish warrior with a French accent" is befriended by "Sean Connery's Glaswegian conquistador." Stewart calls the movie "a stylish, raucous and utterly preposterous D&D scenario transplanted bodily into contemporary New York." That's probably the most succinct (and amusing) way I've heard Highlander described and it does a good job, I think, of capturing the essence of its cheesy glory.

"All in the Mind" by Steven Palmer offers an alternate psionics system for use for AD&D. Palmer's system interests me for its relative simplicity – the article is only four pages long, as well as for its more flavorful elements. For example, there's a discussion of the heritability of psionic powers, as well as the inherent connection between twins. Neither of these elements plays a major role in his system, but the fact that they're mentioned at all is in stark contrast to the dreary, tedious treatment of psionics in the Players Handbook. 

"Ghost Jackal Kill" by Graeme Davis is a Call of Cthulhu scenario that's presented as a prequel to The Statue of the Sorcerer, a Games Workshop CoC adventure. The scenario is set in San Francisco and involves not only the Hounds of Tindalos, one my favorite type of Mythos entities. It also features real-world historical figures, specifically the actress Theda Bara and writer Dashiell Hammett. Normally, I tend to be leery of the inclusion of such people in RPG adventures, but, in this case, I think it works, particularly Hammett, who did actually work as a detective for the Pinkertons and drew on those experiences for his fiction. In any case, it's a good, short scenario and another of the issue's stand-outs in my opinion.

"Think About It" by Phil Masters examines the purpose and use of the Intelligence score (or its equivalent) in roleplaying games. Because it's an overview of a large topic, it's necessarily brief in its examination, but it does a good job, I think, of presenting different options and approaches to handling Intelligence in RPGs. "'Eavy Metal" provides tips on converting miniature figures, along with some nice color photographs. 

"Psi-Judges" by Carl Sargent – a name that would feature prominently on the covers of many RPG products throughout the late '80s and into the 1990s – is an expansion of Judge Dredd: The Roleplaying Game focused on, of course, psi-judges. Interestingly, it's equal parts a rules expansion and a roleplaying expansion. There's information on how to play a psi-judge in the game, alongside discussions of game balance and other matters. "Gobbledigook" and "Thrud the Barbarian" are still here, but I can't deny that I miss the presence of "The Travellers." The comic's absence really hits home to me just how much White Dwarf has changed from the days when I read (and enjoyed) it regularly.

One more week!

White Dwarf: Issue #78

I've got to be honest: reading White Dwarf for these posts is not as much fun as it used to be. Partly, I think I'm simply tired of the magazine, which I've been reviewing for almost two years now. At the same time, I'm finding the individual issues are much more miss than hit, in no small part due to the shift in content toward games that don't interest me very much. That's not necessarily a comment on White Dwarf itself. However, the end is nigh for this series. I'll try to tough it out till issue #80, so I can end it on a nice round number. Any more than that is beyond my patience.

Issue #78 (April 1986) features a cover by Chris Achilleos and a new editor, Paul Cockburn. Prior to coming to White Dwarf, Cockburn was an editor and writer at TSR UK's Imagine, which ceased publication in October 1985, with its thirtieth issue. In his editorial, Ian Livingstone, states that "it looks like everything is changing around here except the name" and he's not mistaken. The whole look of WD is different with this issue – the graphic design is more "professional" and there's a lot more color, for instance. Whether that's good or bad is a matter of taste, I suppose. I can only say that, for me, these "improvements" are a vivid signal that the times, they are a-changin' and I hate change.

With this issue, "Open Box" abandons numerical ratings for its reviews, which I applaud. As commenters have repeatedly pointed out to me, those ratings were not made by the reviewers themselves but by someone on the magazine's editorial team, hence their frequent inconsistencies with the actual text of the reviews. The first product examined is Night's Dark Terror, which the reviewer liked as much as I. Cthulhu by Gaslight is also reviewed positively, though somewhat less enthusiastically. The Nobles Book for Pendragon receives an even more muted thumbs up, while Dragons of Glory is recommended only for "the Dragonlance fanatic," which, I think, is quite fair. 

Paul Mason's "Cosmic Encounter" is not, strictly speaking, a review of the classic science fiction boardgame. Instead, it's an overview of the game's rules and play, no doubt with an eye toward enticing readers to purchase Games Workshop's new edition of the game. Dave Langford's "Critical Mass" is, oddly, more readable now than in previous issues. Whether that's due to a better layout or the fact that Langford – in this issue anyway – reviews fewer books, I can't rightly say. It's a pity that, with one exception, none of his reviews stuck with me. The one that did, for Gary Gygax's Artifact of Evil, which Langford criticizes for its "brutalities visited upon the English language" and for being little more than "an AD&D campaign write-up." I wish I could disagree.

"Solar Power" by Gary Holland is an occasionally amusing bit of original fiction about Norbert Parkinson, a man whose maladaptive development leads to a psychosis in which "he lives in a world occupied by elves, goblins, dragons, evil wizards and diverse other fantasy figures ..." It's fun enough for what it is, I suppose. Meanwhile, Graeme Drysdale's "Ashes to Ashes" is supposed to be "a closer look at resurrection in AD&D." In fact, it's a fairly cursory examination of all the magical spells by which a character can be returned to life in AD&D (reincarnation, raise dead, and resurrection) along with some comments and advice about their advantages and drawbacks. Again, fine for what it is, but nothing special.

Peter Tamlyn's "The Pilcomayo Project" is an adventure for Golden Heroes. The scenario is long – 7 pages – and takes place in Bolivia, where a Neo-Nazi supervillain and his robot stormtroopers are attempting to locate the legendary city of El Dorado. It's four-color nonsense, of course, but probably enjoyable in play. I find it notable, though, that, unlike previous superhero scenarios in White Dwarf, this one is not dual statted for Champions, only Games Workshop's own Golden Heroes – a sign of the times, no doubt! 

"The Spunng Ones!" by Marcus Rowland is an adventure for Judge Dredd the Role-Playing Game. This is another long one (8 pages) but it's absurd in a way that only a Judge Dredd story can be. A gang of criminals have given an experimental food additive called "Spunng" to a group of "fatties." Spunng converts their fat deposits into rubbery flesh that is also bullet proof. The fatties the engage in a crime spree the player Judges must stop. As I said, absurd, but that's Judge Dredd for you. "'Eavy Metal" takes a look at Judge Dredd miniatures and includes photos of a Sector 306 diorama built for Games Day '85. As always, it's a pleasure to see the amazing work others put into their miniatures.

This issue includes a full-page "Gobbledigook" comic, along with a re-telling of The Lord of the Rings had "Thrud the Barbarian" been involved. Hint: it doesn't go well for the Dark Lord. Sadly, the issue also marks the end of "The Travellers" comic, which had long been a favorite of mine. If I didn't already have other reasons for wanting to give up on this series, the departure of "The Travellers" might be sufficient.

Two more to go, two more to go. I just need to keep telling myself that ...

White Dwarf: Issue #77

Issue #77 of White Dwarf (May 1986) features an immediately recognizable cover illustration by Chris Achilleos. The image is probably best-known for its appearance on the September 1981 issue of Heavy Metal, though it has appeared in many other places over the years. I've noted before that, compared to Dragon, WD more regularly used re-purposed artwork for its cover illustrations, though I've never come to a satisfactory conclusion as to why this was the case. My best guess is that it was a matter of simple economics, reprinted art being perhaps cheaper than commissioning original art, but I honestly don' know if that's the case. In any event, this particular cover induces a bit of cognitive dissonance in me, since I so strongly associate it with Heavy Metal, not White Dwarf.

Issue #77 is also the last issue under the editorship of Ian Marsh. Marsh only took over in issue #74, so his departure so soon after his installation comes as a bit of a shock. In his final editorial, Marsh states that "the other staff of the magazine" would also be leaving, though he doesn't specify which ones. He seems to obfuscate on the reasons for all these departures, simultaneously reminding readers that Games Workshop was moving to Nottingham and that he and the others "have decided not to accompany it on this move," while also couching their decision as being for nebulous "reasons of our own." The next issue will have a "fresh team" headed up by Paul Cockburn.

The issue proper begins with the reviews of "Open Box." The first of these is Mayfair's DC Heroes, which receives a quite favorable (8 out of 10) review by Marcus L. Rowland, who continues to be the workhorse of the magazine. The Stormbringer adventure Stealer of Souls likewise scores 8 out of 10, while The Sea Elves, a supplement for the Elfquest RPG gets 7 on the same scale. Another Chaosium product, Alone Against the Dark for Call of Cthulhu earns 9 out of 10, but Yellow Clearance Black Box Blues for Paranoia receives only 7 – another example, I think, of where the numerical scores don't quite align with the text of the review itself. Finally, there are reviews of two supplements for FASA's Doctor Who RPG: The Daleks (7 out of 10) and The Master (6 out of 10). 

Dave Langford's "Critical Mass" is mostly forgettable to me, as usual, but he does take note of the death of Frank Herbert, opining that Chapter House: Dune, to which he gave a "mildly favorable" review back in issue #65 might be the end of "galactic power-politicking" in the Dune universe. How I wish that had been true! Colin Greenwell's "2020 Vision" reviews a few movies, most notably Young Sherlock Holmes, a forgettable, even laughable, Steven Spielberg movie that nonetheless does feature one of the earliest examples of a computer-generated character in the history of cinema – a dire portent of things to come.

"The Crazy File" by Peter Tamlyn provides a handful of new "crazies" – zealous devotees of social fads – for use with the Judge Dredd – The Role-Playing Game. The article contains no game statistics; it's pure background information intended to give the referee something inspirational for use in his own adventures and campaigns. "Spellbound" by Phil Masters looks at "magic in superhero games." Again, there's nothing mechanical here. Instead, it's an overview of how magic has been used in comics over the years and then offers advice and examples of how to make use of it in one's own original superhero RPG adventures and campaigns. It's well done in my opinion and helped by the fact that it's not geared toward any particular superhero RPG. 

"The Final Frontier" by Alex Stewart does something similar for Star Trek gaming: it's an overview of the unique characteristics of Gene Roddenberry's science fiction setting and how they can best be used to create enjoyable adventures and campaigns. As a fan of Star Trek – or at least I once was – I think the article is pretty well done for what it is, though I do find myself wondering about its intended audience. White Dwarf used to have lots of these introductory articles in its early days. To see them return so late in its run strikes me as odd, though I'm sure there's a logic to it that eludes me. 

Graham Staplehurst's "A Secret Wish" is an adventure that's written for both D&D and Middle-earth Role Playing. The scenario itself assumes the players take on the role of hobbits and deals with the disappearance and return of Glorfindel. How well it jibes with the actual history of Middle-earth as laid out by Tolkien, I can't rightly say, though, to me, it reads a bit like a work of fan fiction rather than something that could have come from the mind of the Professor himself. "A Cast of Thousands" by Graeme Davis is yet another look at NPCs and how to give them "personality." It's fine, though, as is so often the case with articles like this, I find it difficult to sift through the conventional wisdom repeated for the hundredth time from the genuine insights.

"The Cars That Ate Sanity" by Marcus L. Rowland is a set of car chase rules for use with Call of Cthulhu. Is this something anyone needed? I don't mean to be flippant, but I cannot recall any car chases in Lovecraft's fiction. Maybe my memory is failing me again. Chris Felton's "Gaming for Heroine Addicts" – a clever title – is about how avoid "sexism" in one's games and make them more enjoyable to women. As you might expect, the article is a very mixed bag of topics, not to mention perspectives. I'm not sure the article offers a coherent viewpoint on any of its topics, which range widely and make many assumptions about RPGs, men, women, and everything in between. I've already spent more time thinking about it than it probably deserves.

Joe Dever's "Tabletop Heroes" looks at the best techniques for photographing one's painted miniatures. I found it fascinating and very much appreciated the little diagrams that accompanied the article. They showed the placement of lighting, camera, and background and did a great job of illustrating the principles Dever discusses. "The Travellers," "Gobbledigook," and "Thrud the Barbarian" are all here as usual. "Thrud" pokes fun at superheroes by having the tiny-headed barbarian face off against the All-American Legion of Incredibly Stupid Heroes, such as

After reading Ian Marsh's farewell editorial, I now feel an obligation to read at least a few more issues. I'm genuinely curious now to see how much will change under a "fresh new team" at the helm of White Dwarf. If nothing else, it'll be fascinating purely from a historical perspective. Till then!

White Dwarf: Issue #76

Issue #76 of White Dwarf (April 1986) features a cover by Peter Andrew Jones, whose art has appeared on the cover of the magazine several times in the past, the most recent being a year before, with issue #64. Like his previous work, this cover is quite striking, depicting a hippogriff – a mythological creature not often shown in fantasy gaming illustrations, so it definitely wins points in my book for its uniqueness (though its inclusion here is in reference to the issue's AD&D adventure).

Ian Marsh's editorial notes that the "unannounced demise" of many long-running columns in WD, such as "Starbase" for Traveller, "Heroes & Villains" for superhero gaming, "Crawling Chaos" for Call of Cthulhu, "Rune Rites" for RuneQuest, and, most significantly, "Fiend Factory," a staple of the magazine practically since its inception. Marsh claims that, "with the greater variety of popular games on the market, having a department for each is impractical, and indeed restricts the content of the magazine." Future issues would include articles according to different metrics, such as themes. Issue #76 is the first example of this, focusing as it does on thieves. 

The issue begins with a longer than usual "Open Box" that devotes three pages to its many reviews. The first is ICE's Riddle of the Ring boardgame, which received only 6 out of 10. Better reviewed is another ICE product, Ereech and The Paths of the Dead for MERP (9 out of 10). Chaosium's solo Call of Cthulhu adventure, Alone Against the Wendigo, receives 8 out of 10, while the Paranoia scenario, Send in the Clones, is judged slightly more harshly (7 out of 10). TSR's Lankhmar – City of Advenure, meanwhile, gets a rare perfect score (10 out of 10), which is slightly generous in my opinion, but I can't deny that the product is a good one nonetheless. Two adventures for FASA's Dr. Who RPG, The Iytean Menace and Lords of Destiny, are reviewed positively and, oddly, receive a joint rating of 8 out of 10. Finally, there's Hero Games's Fantasy Hero (8 out of 10). That's quite a large number of products for a single issue – and not a single GW product among them!

Dave Langford's "Critical Mass" does its usual thing and I do my usual thing of mostly not caring. More interesting to me is the first of this issue's thief-themed articles, "How to Make Crime Pay," by John Smithers. It's written as if it were a lecture given by a guildmaster to apprentice thieves and it's all the better for it. Smithers presents lots of practical advice on how to handle a wide variety of larcenous activities within a fantasy RPG. What makes the article stand out is that its framing device makes it such that the article is useful to both players and referees without having to shift perspectives or divided itself into different sections. Articles of this sort are hard to pull off, so I'm all the more impressed that Smithers succeeded.

"You're Booked" by Marcus L. Rowland is an expansion of Games Workshop's Judge Dredd RPG, introducing the "misunderstood" Accounts Division of Mega-City One's Justice Department. The article lays out the purpose of Acc-Div, as it is known, and how it could be used within a campaign, with several scenario outlines presented as examples. The division is not suitable for Player Judges, but its inclusion in an adventure or campaign could help to flesh out the Justice Department and add a note of levity, as Judges deal with paperwork and expense accounts. 

"Glen Woe" is a Warhammer miniatures scenario by Richard Halliwell. It's intended to expand upon the material provided in McDeath – a Shakespeare-inspired scenario pack released around this time. Not being a Warhammer player, I can't to much about the quality of the material presented here, only my amusement at knowing there was ever a miniatures scenario based around MacBeth. "Banditry Inc" by Olivier Legrand looks at thieves guilds within the context of AD&D from the referee's point of view. While hardly revolutionary, it nevertheless raises some useful questions about the organization and operation of the guild that any referee should consider if thieves and thieves guilds become important in his campaign.

"Caped Crusaders" by Peter Tamlyn is a three-page article on "running Golden Heroes campaigns," though most of its advice is equally applicable to superhero campaigns using another RPG system. Tamlyn covers a variety of topics and the quality of his advice will depend, I imagine, on how familiar one is with both refereeing and the superhero genre. I judge it pretty positively myself, though I imagine others might find it old hat. "Thrud the Barbarian," "Gobbledigook," and "The Travellers" are all here, among a handful of only a few remaining connections to the eatly days of White Dwarf. Since I was not a reader of the magazine at this time, I can't help but wonder how much longer they will continue to grace its pages.

"Castle in the Wind" by Venetia Lee, with Paul Stamforth, is a lengthy AD&D scenario aimed at characters of 5th–8th levels. As its title suggests, the adventure concerns the sudden appearance of a "sky castle" above a desert in the campaign area. There are several things that make "Castle in the Wind" stand out aside from its length. First, there's its vaguely Persian setting, a culture that doesn't get much play in fantasy games in my experience. Second, there's the clever design of the sky castle itself (including its hippogriff nests). Finally, there's the open-ended nature of the adventure itself, which spends most of its text presenting a locale rather fleshing out a traditional "plot" for the player characters to follow. 

"How Do You Spell That?" presents a collection of six new AD&D spells culled from reader submissions. The article is listed as being part of the "Treasure Chest" column, which surprised me, since so many other standbys of White Dwarf were axed this issue. Part two of Joe Dever's look at oil painting closes out the issue. In addition to the usual color photographs that always accompany it, the article also includes a mixing guide for how best to achieve certain results when using oil paints.

I must admit, I found this issue a bit of a slog. I don't know that it was objectively any worse than most issues. Indeed, I suspect it was probably better than many I'd read in the past. Nevertheless, I can't shake the feeling that the magazine has changed and that change has started to sap my enthusiasm for reading it. Of course, I might simply be tired of this series. Slightly more than three-quarters of the way to 100 issues, I hope I can be forgiven a little White Dwarf fatigue. Still, I will attempt to soldier on for a little while longer.

White Dwarf: Issue #75

Issue #75 of White Dwarf (March 1986) sports a horror – or I should I say Call of Cthulhu? – themed cover by Lee Gibbons, whose work appeared several times in the past few months, most notably issue #72. This issue marks a changing of the guard at the magazine, with Ian Marsh taking over its reins from Ian Livingstone. In his inaugural editorial, Marsh admits to "an element of trepidation" about his new job, especially at a time when WD is "mutating slowly into a different beastie." He elaborates on this, explaining that there is a "shift away from the usual formulaic style" of the magazine, by which I think he means an end to the regular, monthly columns and other features that have defined its content since the beginning. Regardless, the times, they are a'-changin' at the Dwarf.

"Open Box," for example, consists almost entirely of reviews of Games Workshop products, starting with the Supervisors Kit for Golden Heroes (8 out of 10) and Terror of the Lichemaster (9 out of 10) for use with Warhammer. There's also a review of Judgment Day (9 out of 10), an adventure for Judge Dredd – The Role-Playing Game. Rounding out the GW products covered this issue is its edition of the venerable science fiction boardgame Cosmic Encounter (also 9 out of 10 – I'm sensing a theme here). Finally, there's a look at Chaosium's second Call of Cthulhu companion, Fragments of Fear, which earns 7 out of 10. While it's inevitable that a periodical published by a company involved in the industry it's covering will include reviews of products it also publishes – TSR's Dragon certainly did – I nevertheless can't help but feel a line was crossed this issue, given the preponderance of Games Workshop releases reviewed. Perhaps next issue will be better?

I feel like a bad person for only enjoying Dave Langford's "Critical Mass" when he snarks about books about books and authors I, too, dislike. This month he brings the hammer down on the Darkover novel, Hawkmistress:

There will no doubt be hordes more 'Darkover' tales from Marion Zimmer Bradley: publishers love issuing books very similar to previous ones. Hawkmistress ... despite its veneer of science-fantasy, seems hauntngly familiar. Heroine Romilly wears breeches and gets on well with animals, but Daddy wants her to don girlish clothes and marry. One knows instantly that the chap Romilly finds most loathsome is Daddy's intended bridegroom: and so it proves. With hawk and horse our heroine to find her way in the world.

The interesting thing about Langford's critique of the novel is not that he thinks it's bad – he calls its "a readable yarn" – but that it is essentially a romance novel in very thin science fantasy dress, which I think is a fair criticism of her oeuvre (and that of Anne McCaffrey, come to think of it).

"Getting the Fright Right" is this month's installment of Colin Greenland's "2020 Vision" column. It's a collection of reviews of then-current horror movies, broadly defined, ranging from The Return of the Living Dead to Fright Night to Teen Wolf. Greenland's reviews of these films is interesting, because, as the article's title suggests, he takes some time to talk about the proper balance of thematic elements within a horror movie to make it enjoyable for him. I like this approach to reviews, since, even when I disagree with them, I at least understand where the reviewer is coming from and that's quite useful.

"Thrud Gets a Social Conscience" is this issue's installment of "Thrud the Barbarian," humorously addressing the claim that the comic (and, by extension, the entire genre of sword-and-sorcery) is sexist. This leads to an amusing exchange between Thrud and his occasional female guest star, Lymara the She-Wildebeest, about how her attire reinforces negative sexual stereotypes.

There are also new installments of "Gobbledigook" and "The Travelles," but they're not nearly as amusing.

Oliver Dickinson's "RuneQuest Ruminations" is a look at the third edition of RQ (published by Avalon Hill) with a special focus on those parts of its rules that he found vexing or inadequate in some way. A lot of the article is very "inside baseball" to someone like myself whose experience with RuneQuest is limited. What most comes across, though, is how much of a shock and disappointment this edition of the game was to many of its long-time fans, particularly in the way that it downgraded Glorantha to the status of an afterthought. 

"How to Save the Universe" by Peter Tamlyn is a lengthy and thoughtful look at "the delights of superhero gaming." Tamlyn's main point seems to be that there are a lot of different styles of play within superhero RPGs – more than enough to satisfy almost every preference. Consequently, one should not dismiss the entire genre as "kid's stuff." "Gamesmanship" by Martin Hytch is an oddly titled but similarly lengthy and thoughtful look at "injecting a little mystery" back into AD&D adventures. The overall thrust of the article concerns the way experienced players treat so many of the game's challenges in a procedural fashion, quoting rules and statistics rather than entering into the fantasy of it all. It's difficult to summarize Hytch's advice in a short space; suffice it to say that it's mostly quite good and filled with useful examples. I may write a separate post about it, because I think he does an excellent job of addressing the many questions he raises.

"Mass Media" by Andrew Swift looks at the nature of communications technology at various tech levels in Traveller. It's fine for what it does but nothing special. On the other hand, Graeme Davis's "Nightmare in Green" AD&D adventure is phenomenal. Aimed at 4th–6th level characters, it concerns the threat posed a collection of nasty, plant monsters crossbred by a mad druid. I'm a big fan of plant monsters, so this scenario immediately caught my attention, all the more so since some of the monsters are inspired by the works of Robert E. Howard and Clark Ashton Smith. 

That brings us to another highlight of this issue. You may recall that, back in issue #68, reviewer Marcus L. Rowland gave a very negative review to GDW's Twilight: 2000. This led to a flurry of letters in issue #73, both pro and con Rowland's review. With this issue, Frank Chadwick, designer of the game weighs in and he pulls no punches.

"The Heart of the Dark" by Andy Bradbury is "an illuminatingly different" Call of Cthulhu scenario, because it does not directly feature any encounters with the Mythos or its associated entities. Indeed, the adventure includes no game statistics of any kind "since it is doubtful that they will be needed." This is a pure, roleplaying scenario filled with lots of investigation, social interactions, and red herrings. It's intended as a change of pace 

"Local Boy Makes Good" by Chris Felton looks at character background in AD&D, with lots of random tables for determining social class, birth order, father's profession, and so on. I suppose this could be of interest to others, but not to me. Finally, Joe Dever begins a new series on preparing and using oil paints for miniature figures. I know nothing about this topic; despite that, I find it weirdly fascinating, like all of Dever's articles in his monthly "Tabletop Heroes" column.

Issue #75 of White Dwarf continues the recent trend of feeling slightly "off" to my sensibilities. There's still plenty of excellent content, but there's also an increasingly detectable undercurrent of change and not for the better. Perhaps I am simply hypersensitive to this because I know that WD will soon be little more than a house organ for Games Workshop and I am constantly one the lookout for signs – any signs – of this imminent transformation. Regardless, I will keep plowing ahead, though, for how much longer, I don't yet know.

White Dwarf: Issue #74

Issue #74 of White Dwarf (February 1986) sports a cover by American conic book artist, Frank Brunner, who's probably best known for his work on Creepy, Eerie, and Vampirella, as well as his covers for Marvel's Savage Sword of Conan and Red Sonja. The issue also marks the point where Ian Livingstone hands over day-to-day editorial duties to Ian Marsh. Livingstone states that he is not "deserting the magazine" and will still "be keeping a benevolent eye on the progress of [his] eight-year-old love-child" in his new capacity as Editor-in-Chief. Despite his reassurances, this nevertheless feels like a turning point in the history of White Dwarf.

Case in point: the issue kicks off with "Superpower" by Bruce Hollands, which is an extensive look at the Games Workshop-published boardgame of the same name. Like the look at Warrior Knights from the previous issue, this article, while informative, nevertheless feels more like an extended advertisement for a GW product than a "real" article. That may be an unfair judgment on my part, but reading it convinced me that the oft-discussed transformation of White Dwarf into a full-on house organ of Games Workshop was not far in the future.

Countering that worry is "Open Box," which only reviewed one GW product this issue, the Call of Cthulhu scenario Night in Norway, which scores 7 out of 10. Also reviewed is Dragon Warriors and two of its supplements (The Way of Wizardry and The Elven Crystals), which collectively earn 9 out of 10. After all these years, I've still never read Dragon Warriors, which people whose opinions I respect tell me is well worth a look. The historical RuneQuest supplement Vikings gets 8 out of 10, while Oriental Adventures for AD&D receives 9 out of 10. The Pendragon Campaign, the predecessor to the well regarded The Boy King, is similarly well regarded, earning 9 out of 10. The column wraps up with a look at two different scenarios for use with FASA's Star Trek, The Outcasts and Termination 1456, both of which are judged perfect (10 out of 10). 

Dave Langford's "Critical Mass" generally vexes me, but this issue's column at least looks at a few books I know and have read, like Jack Vance's Planet of Adventure series. Langford quite correctly recognizes the value of these books and of Vance more generally

The good stuff lies in Tschai's rich scents and colours, and in elaboration of style. No Vance villain would say 'I'll get you for that.' Instead: 'Low-grade assassins will drown you in cattle excrement! Twenty pariahs will drub your corpse! A cur will drag your head along the street by your tongue!'

Langford's byline reappears under "The Power of the Frog," a science fiction short story about a human junior military officer held prisoner by an alien race. Like all of Langford's previous short stories, this one is both brief and amusing. It's clear the man has talent, which is why I sometimes feel bad at the lack of interest his book review column elicits. Truthfully, I wish he had contributed more fiction to White Dwarf. 

"Terror at Trollmarsh" is an AD&D adventure for 4th–5th-level characters by Peter and Janet Vialls. I really enjoyed this one, which takes the form of a murder mystery with fantasy/horror elements. A monster is stalking the halls of Baron Uther Torgrim, killing his servants, and it's up to the players to figure out just what is really going on. While the overall concept is a standard, even clichéd one, the authors handle it well, giving the referee an interesting, well mapped out environment, an array of compelling NPCs, and a culprit with clear, understandable motives. "Terror at Trollmarsh" is nothing revolutionary, but, like all good scenarios, it gives players lots of "moving parts" with which to interact as they grapple with its central mystery.

"A Company of Wolves" by Peter Blanchard looks at lycanthropy in AD&D from both a game and folkloric perspective. The article doesn't offer much in the way of new rules mechanics, which I appreciate, focusing instead on "social" aspects of this magical curse, which is to say, how it might function in a fantasy setting, including its advantages and drawbacks. "The Hide of the Ancestor" by Chris Watson is a short RuneQuest scenario about the recovery of a relic holy to the twenty-six tribes of the Ithillian-Fane, a race of lion-centaurs. I find it oddly refreshing to read a RQ adventure set in Glorantha whose author feels comfortable enough with the setting to his own creations, like the Ithillian-Fane to it. Too often settings like Glorantha – and Tékumel and Hârn and ... – are treated as inviolable to the point that no one is even willing to play in them, lest they "do it wrong." That's nonsense in my opinion, which is why I delight in scenarios like "The Hide of the Ancestor."

"Gentlemen and Players" by Richard Edwards and Chris Elliott is nice little article about creating British characters for use with Call of Cthulhu. As its title suggests, the article focuses on the creation of "gentlemen" (or aristocratic amateurs) and "players" (professional sportsmen). "Hitting the Right Note" by Ian Berridge presents information on musical instruments, their use, and the how to learn to play them for use with AD&D. Articles like this are godsends to those whose campaigns would benefit from such fine details – and absolutely useless to those whose campaigns wouldn't. 

"Alternative Origins" by Ian Thomson is a collection of random tables for use with Games Workshop's Golden Heroes. The tables are intended to replace those presented in the game for character generation in order to produce more "convincing" heroes whose powers are an incompatible jumble. This makes good sense to me, but then I haven't looked at a copy of Golden Heroes in decades, so it's hard for me to judge how useful this article would be. Elsewhere, Joe Dever offers part three of his look at "Dioramas," accompanied by some lovely – though non-diorama – photographs of painted miniatures.

The issue also includes more "Thrud the Barbarian," a full-page "Gobbledigook," and "The Travellers," which continues its Shadows-inspired plotline. I particularly enjoyed the latter, especially this bit:

Of course, I've always been fond of the way that "The Travellers" blends Traveller-specific humor with more general lampoonery of roleplaying games, so I may be biased. In any case, it's nice to see that one of my favorite comics remains as amusing ever, even if White Dwarf as a whole looks to be on the verge of some monumental – and not entirely pleasing – changes.