The squad ends up split up, with Dan’s team on a train.
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The squad heads through the robot farm.
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Hello everyone,
This year was my first year in a while where I had no Patreon backers. The backers who I did have previously decided that their funds were better used elsewhere, and considering world events at the time they dropped out, I couldn’t argue with that. I can’t particularly argue with that anyway – your money is your money. However, going a year with no backers got me thinking that perhaps I could do more to provide more for my backers, so I’m making some changes to my support levels.
If you’re already a $5 backer, by this point you’ll notice that you’ve also been getting copies of my written reviews about a week in advance. That’s going to stay a common thing going forward. Since a lot of the reviews I’ve been doing (outside of Nintendo Power Retrospectives episodes) have been adaptations of earlier reviews for video, this gives you even more of a head start.
On top of this, starting in January (with either my second video or my first video, depending on how I’m able to wrangle the Youtube back end), all of my future videos will get uploaded with their privacy setting set to “Unlisted” instead of “Scheduled/Private”. This means that Patrons at the $5 level will get episodes up to 1 week early (concert and film vlogs will be made available when the episode is uploaded).
As far as my Let’s Plays go, currently the archives for the LP are stored on YouTube as “unlisted” – and from there I take my copy, chop it up into reasonably sized pieces, and upload those onto my YouTube channel. For backers who would like to see these earlier, which would you prefer: getting the YouTube archive its entirety, uncut (and at its full length), or would you prefer it cut into more manageable pieces for easier viewing?
Currently I’m not putting that much work into editing them, mainly for the interests of time, as only have a couple days a week to do recording and editing at present (the rest of the week – when I’m not at work – is spent on the Nintendo Power Retrospectives). If backers show enough of an interest, I can put more time upgrading the presentation on these. With the time I have available, I can probably do presentation on par with the videos on Gopher’s channel.
Is there a perk that get you to back my Patreon? What level would you be more willing to pay for some of the existing support levels? Please let me know in the comments and I’ll take it under consideration for future adjustments to my perks.
Merry Christmas and Happy Holidays.
When I read an analysis of a work of fiction – and the person doing that analysis looks at the world presented in this fiction, sees how it’s fleshed out, and because it’s fleshed out goes “This would be better/best as a video game!” I become kind of frustrated. In particular, I become frustrated because it would also work just as well for a tabletop RPG setting. A great example of this is the below installment of the “Mother’s Basement” video series, where host Geoff Thew discusses the narrative and worldbuilding of the excellent recent anime Made in Abyss, and determines that as good as it is, because of that worldbuilding it would be better as a video game:
My frustration isn’t because the opinion is objectively wrong, or because video games are somehow inferior as an medium. It’s frustrating because there’s this mindset I feel in video game fandom circles that tabletop RPGs don’t exist. They’re the thing that people used to day back before MMORPGs, and now nobody plays them anymore. I don’t mean “nobody” in the sense of nobody of consequence – that tabletop RPGs are viewed with the contempt that was/is shown to LARPers in geek circles. I mean that they just don’t exist – that the person who plays RPGs is like the Tasmanian Tiger, who occasionally emerges from the bush, and then runs back into hiding.
Even the gaming news sources that do talk about RPGs tend to focus on certain more niche sides of things. Austin Walker of Waypoint is way into the narrativist Indie game side of things (which is fine – I don’t believe in bad-wrong-fun). It’s also frustrating because there’s so much more to RPGs than that, and most game sites are only willing to do one of three takes.
Quick note about #3: There is anything wrong in these games – it’s just that there’s an excluded middle – there are games that have gotten visibility among tabletop RPG fans, but nobody outside of that circle knows about that are worth discussing and considering – from Runequest, to 7th Sea, to Savage Worlds.
Anyway, my frustration is born out of the fact that these omissions very much come out of ignorance, whether because the people who made these statements have never had the opportunity to play an RPG, or their experience was a bad time at one game, and they dismissed the medium entirely.
I’ve tried to push back against this through videos of my own, giving recommendations based on existing video games and RPGs that are in print, but my audience is small, and there’s only so much I can do by myself, much as I love tilting at windmills. This also isn’t helped by the fact that, for very valid and understandable economic reasons, much of tabletop RPG publication is done online through PDFs instead of through brick and mortar stores, and any connection between big box booksellers and tabletop RPG publishers (in terms of trying to get their books there) is a thing of the past.
What this does mean is that tabletop RPG publishers need to take some cues from Wizards of the Coast (and then some) when it comes to promoting your stuff. There are a ton of livestreams on Twitch and videos on YouTube through the Dungeons & Dragons and Geek & Sundry YouTube channels showing people playing D&D.
Chaosium, Green Ronin, and other tabletop RPG publishers should be doing something similar for their own systems. Get people to stream Call of Cthulhu, Runequest, Blue Rose, and other games. This not only shows people having fun playing the game, but it also shows people who have never played an RPG before how to play the game.
Additionally, and this is a little thing, but whenever a new Bundle of Holding comes out, the new bundle should get tweeted at @Wario64 (or someone similar), to signal boost the bundle.
Finally, the tabletop RPG industry is kinda in a Crab bucket situation. Tabletop RPGs are surviving and enduring, and as long as the books exist it won’t go anywhere, but unless there’s growth in the player base, there’s no room for growth in the industry – especially for people to make money at this full time, for companies to hire the kind of staff that’s necessary to help maintain a necessary level of professionalism (HR departments and publicists to prevent stupid crap like what happened recently with Bill Webb of Frog God Games and TSR Alum Frank Mentzer.) To do that, the industry needs to stop this stupid undermining bullshit. Politely discourage fans on your boards from slagging and actively attacking other companies games (at least professionally published games – they can slag FATAL all they want), and don’t do that yourself. If we work together, we can get out. If we promote a culture of undermining and slagging each other, we promote the perception that all our games are crap, and not worth people’s time, attention, and money.
So, in short:
The team rendezvous with the French squad.
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We wrap up chapter 2 and make our way to the upper city.
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We meet with Mifune and make our escape.
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There’s a new Star Wars movie – I take a look at it and (while avoiding spoilers for the rest of the film), takes a look at Luke’s teaching style in this movie.
Opening Credits: Star Wars Theme from Super Star Wars on the SNES.
Closing Credits: Chiptune Cantina Band from Chiptune Inc.
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I have a big long fight against a giant robot spider.
The squad has to hold off an enemy attack while Charles pushes some fuel towards a door.
Having finished the second book in the Jedi Academy Trilogy, this seems like as good a time as any to take a look at the comic book storyline discussing the rise of Exar Kun – The Freedon Nadd Uprising and Dark Lords of the Sith.
Writer: Tom Veitch
Pencils: Tony Atkins
Inks: Denis Rodier
Lettering: Willie Schubert
Colorist: Suzanne Bourdages
Covers: Dave Dorman
Publication Date: August – September 1994
This is available independently in a Kindle/Comixology edition from Amazon.com.
Writer: Tom Veitch & Kevin J. Anderson
Pencils: Chris Gossett (1-5), Art Wetherell.
Inks: Mike Barreiro (1, 3, 5-6), Jordi Ensign (2, 4),
Lettering: Willie Schubert
Colorist: Pamela Rambo
Cover artist: Hugh Fleming
Publication Date: October 1994 – March 1995
This is available independently from Amazon.com.
Both stories are available in a combined form in Tales of the Jedi Vol. 2 (along with the next two arcs of the comic).
Following the defeat of Queen Amanoa in the events of the first Tales of the Jedi storyline, Jedi Master Arca Jeth has decided that it’s best to remove the remains of Sith Lord Freedon Nadd from Onderon to the nearby moon of Dxun. As Jeth, and his students Ulic and Cay Qel-Droma, Tott Doneeta, and Master Thon’s former pupil Oss Wilum, move Nadd’s sarcophagus and the remains of the former queen, Amanoa, to Dxun, they are attacks by followers of Nadd, stealing the sarcophagi.
The Jedi consult current Queen Gallia’s father, King Ommin, for assistance. To their surprise (but not exactly mine), Ommin turns out to also be a Nadd cultist, betraying the Jedi. Arca Jeth is captured, through the rest of the Jedi get away. Meanwhile, another group of Jedi, including Nomi Sunrider are sent to help defend the planet.
While all of this is going on, two other Sith Cultists – Satal and Aleema Keto – heirs to the throne of the Empress Teta system, steal a book on the Sith from the Galactic Museum, which leads them to Onderon. They manage to steal a few relics of Freedon Nadd and return to their world home system, and murder their parents to seize the throne.
Once again, the Jedi are drawn into action to take down the two. As Republic and Jedi forces work to retake the Empress Teta system, a Jedi Knight named Exar Kun raids the crypt of Freedon Nadd and takes several relics. Nadd’s spirit directs Exar Kun to Yavin IV, and the temple and Sith laboratories of an earlier Lord of the Sith known as Naga Sadow. Nadd manages to corrupt Kun to the Dark Side of the Force, making him accept the mantle of the Sith in order to heal an otherwise mortal wound.
Back in the Empress Teta system, the Keto siblings are able to fight the Republic forces to a standstill using their Sith powers, and in particular Aleema’s ability to conjure illusions. As Kun turns to the Dark Side, a wave of power runs through force, that allows the forces of the Keto Siblings to attack a gathering of Jedi, with their battle droids killing a bunch of Jedi, including Master Jeth.
In response to this, Ulic Qel-Droma proposes a hazardous plan – to infiltrate the forces of the Empress Teta system, and to attempt to overcome the Sith from within. Several Jedi masters, along with Ulic’s brother Cay and Nomi Sunrider, attempt to talk him out of this, but he decides to go forward with this plan anyway. Ulic manages to gain the confidence of Aleema, but Satal does not trust him – drugging him with a Sith poison that will kill him if he tries to draw on the Light Side of the force. Kay and Nomi attempt to pull out Ulic, but he insists on staying to see this through.
This all comes to a head when Exar Kun travels to the Empress Teta system himself. Kun kills Satal, and ends up doing battle with Ulic. Ulic puts on an amulet from the cache of Sith artifacts in Aleema’s possession – which resonates with a similar amulet that Kun had on his person. They get a vision of a Sith Lord far older than Freedon Nadd. He informs them that this moment has been planned for long before they were born – Exar Kun is to be the new, true Dark Lord of the Sith, with Ulic Qel-Droma as his apprentice.
Ulic Qel-Droma: Still somewhat naive and brash, but also somewhat driven and idealistic, as he’s willing to put everything on the line to infiltrate the Sith in order to end this war once and for all.
Cay Qel-Droma: Still the more mature brother, tries to talk Ulic out of his plan, and tries to pull him out with Nomi Sunrider.
Nomi Sunrider: At some point fell in love with Ulic. Is a little more willing to use her lightsaber, and she’s demonstrated the ability to use Battle Meditation to get her opponents to turn on each other.
Master Arca Jeth: Dies during the Battle Droid attack on the Jedi gathering.
Oss Wilum: Has a vision that he will be “learning a great deal” from Ulic Qel-Droma.
This installment does a great job of building up the backstory for the events that are going on in the Jedi Academy trilogy, while also forwarding the existing Tales of the Jedi storyline. That said, again – I feel this would work better as an ongoing comic than a bunch of short miniseries, but that’s how Dark Horse rolls in the ’90s.
This is a great continuation of the story from the last Tales of the Jedi series. This ups the scope to a more galactic threat, and gets across why this is a big deal.
The Keto siblings are generally introduced in an interesting manner. They are something of an archetype – rich, decadent spoiled brats who turn to occultism when bored – almost the Star Wars equivalent of Fenris from the Marvel universe (though with less implied incest).
That said, once Exar Kun is introduced in full in Dark Lords of the Sith, it’s made clear that the Keto Siblings are placeholder villains. They’re certainly dangerous, but the amount of attention that Exar Kun receives makes it clear that he’s the big bad – something that is made all the more clear if you read Dark Apprentice.
The action this volume is well done, and the environments panel layouts and art really works with the scope as well. We have some tremendous vistas in this story – which in the modern era of decompressed storytelling would probably be shown as massive two-page spreads, but here are kept a little more confined. Still, they’re given a lot of page real estate to play-up the impact of the art.
The end of this part is definitely a cliffhanger, and it feels almost like our Empire Strikes Back moment, but we’ll see when we get to Part 3 of Tales of the Jedi, with The Sith War.
However, on the novel side, we need to finish off the Jedi Academy trilogy with Champions of the Force, and after that we have, on the comics front, Dark Empire II.
A while back I reviewed Andrei Tarkovsky’s classic science fiction film Solaris. However, of the various films in Tarkovsky’s filmography, while Solaris was and is extremely well regarded, it’s a film that hasn’t built quite the same following behind it as Tarkovsky’s 1979 film, Stalker. While Solaris got a highly regarded remake approaching 30 years later from director Steven Soderbergh, Stalker has gotten a series of games that draws more, visually, from the film than from the novel that inspired it.
Stalker effectively follows three characters, the titular Stalker, and his two charges, known only as Professor and Writer, as they travel into The Zone – a geographical area where weird stuff has started happening after a meteor landed. Inside the zone is The Room – where whoever enters will receive their heart’s desire. As they travel through The Zone, the three talk about their personal philosophies, and why they chose to travel to the Zone.
To be frank, in the various axis of Science Fiction that I brought up in my review of Solaris, this is a film that uses Science Fiction purely for set dressing. This could just as easily be a film about two people accompanying a lay-priest through a hazardous journey to reach a shrine that has a holy relic that is said can work miracles. This is especially case when it comes to the subject matter of the film.
With Solaris, both with the source material, and with the interpretation of the book’s themes by Gorenshteyn and Tartakovsky, they made the film about interpersonal connections, both among humans and the potential between the human and the inhuman.
Stalker, on the other hand, is about faith and belief. The Stalker is a true believer. He knows what The Zone can do. He’s traveled this route many times before, and he understands. He has internalized his belief in the Zone’s power, and the faith in what it can do. It’s a part of him, possibly not only in terms of his identity.
On the other hand, the Writer and the Professor are more pragmatic. The Professor respects the Stalkers judgement and with one exception, respects his instructions. The Professor breaks from the Stalker’s instructions only when he realizes that he has forgotten his rucksack and must return to get it (as the contents of his bag also related to his Desire). Ultimately, when the trio reaches The Room, the Professor reveals that it his intent to destroy the room, and possibly the Zone itself, with a portable atomic bomb that he’s snuck into the Zone – as he believes that The Room’s power is too dangerous to be trusted by people, that people are not worthy of its power – that the unholy cannot be trusted with the holy.
By contrast, the Writer is a complete skeptic. He frequently scoffs at the rules put forward by the Stalker, chafes at his instructions, and when he encounters potential peril, he turns on the Stalker. Meanwhile, while talking about his own career as a writer, he frequently puts blame for his lack of success on others – that Editors, Critics, and Publishers don’t properly understand his work. He complains about their appetites – not only material appetites, but appetites for reading, cloud their mind to his brilliance. Only briefly does he admit any personal failing – claiming that he’s lost inspiration – before dismissing his earlier remarks later. He fits perfectly into the archetype of the creator who attacks any and all critics of their work, taking the view that if you don’t like their work, then you don’t understand their work.
There’s also the character of the Stalker’s daughter, “Monkey” – who was born without the use of her legs, due to the Stalker’s trips in and out of the Zone. In the film, scenes shot outside the zone are filmed in a sepia monochrome, while scenes within the zone are in color, much like with The Wizard of Oz. The exception is scenes from the implied point of view of Monkey, which are always in color – and the end of the film reveals that she has some telekinetic abilities, implying that there is a little of the Zone within her.
I’ve had to think a lot about what makes this film something that would be science fiction – why the earlier narrative framework I suggested wouldn’t work just as well if not better. The best answer that comes to mind is that this is a story that, possibly like Tarkovsky’s earlier film Andrei Rublev (which I admit I have not seen), which confronts the topic of faith, but unlike Rublev, is dependant on having characters with a more modern, and in particular more Soviet take on skepticism and religion.
If I had one complaint about this film, it’s that I think the contrast would have been stronger had the scenes within the Zone been in a 16:9 aspect ratio, with the scenes outside staying in monochrome and 4:3. However, going from the documentary material on the film, the movie was a tremendously troubled production, in particular with the developers ruining the negative from the first round of filming.
The film also has one thing in common with the John Wayne film The Conqueror – it was filmed in a tremendously toxic environment. While the environment of the Zone is very beautiful, it’s also toxic as hell, with industrial pollution in the environment giving much of the cast and crew cancer, including Tarkovsky himself.
As with Solaris, this is a film I absolutely recommend watching, though I admit I may be completely off base when it comes to the themes of faith in the film – I’ll let someone more versed than I get into that (and if I do find a good essay on the topic, I’ll pass it along).
The film is available from Amazon.com on DVD and Blu-Ray. If you buy the film through those links, I’ll get a small commission on the size of that order, which will help support my work. Also, please consider backing my Patreon.
The new chapter begins, and the rain has broken.
I wrap up the chapter, and get the one time where Dan doesn’t act like an obnoxious idiot.
I encounter some of the local Japanese population, and learn the lay of the land.
I’ve previously reviewed the first two Fate anime. Now it’s time to review the third – Ufotable’s adaptation of the second route – Unlimited Blade Works.
Footage Property of Aniplex and the Unlimited Blade Works Production Committee – used under fair use for purposes of criticism.
Fate/Stay Night Review: https://www.youtube.com/watch?v=ewDl1Eob1Ho
Fate/Zero Review: https://www.youtube.com/watch?v=2-E84C2lFqk
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We take on the first boss of the game.
Dan’s team makes his arrival in Japan, and immediately start going for racist remarks…
The thing with collections of short stories is that, in theory, they should serve as your narrative buffet. You take the stories you like, and if there’s one you don’t like, you can move past it and go on to the next. However, much as some buffets have nothing to like, occasionally some short story collections have nothing enjoyable to them. Thus is the case with The Hastur Cycle and me.
As someone who has enjoyed some of H.P. Lovecraft’s fiction, and playing the Call of Cthulhu role-playing game, I had thought this collection would be right up my alley. I was wrong. As a collection of stories, it has a profoundly unpleasant tone to it that seems to permeate every work in the story. There’s recurring motifs of cruelty to animals in general and cats in particular that particularly turned me off. One story has the “lead” (I wouldn’t call him a protagonist) attempting to murder a cat with their cane, and then another draws a connection between a bus driving off a road into a flood with a sack of kittens being downed.
The latter example felt particularly unnecessary, and bounced me hard out of the story in two different directions. The first was in the context of the image being particularly gross. The second was because I had to ask myself – how and when was this particular act – drowning kittens – widespread enough that it was something that an author would feel is familiar enough to draw reference to – and finding myself really not wanting to know the answer, as learning it would be bad for my sanity.
This isn’t helped by the stories not being in any real chronological order by publication. Some of the earlier stories fit, but the rest don’t have any information in terms of when they were published, and consequently it makes it hard to figure out what stories and conceits came from HPL, and which were contributed by those particular authors. Looking at the list of stories and diversity of authors in this book, I was hoping was an aspect of the Cthulhu Mythos where Lovecraft was influenced as much as he was influential. Unfortunately, this book does not contain the answers to those questions.
That said, the central focus of the stories – Hastur, Carcosa, and the King in Yellow – are concepts of the Cthulhu mythos that I hadn’t run into that much, and I was interested in reading more about, so this made the fact that the book bounced me out all the more disappointing. It does make me wonder if this particular issue is particularly intrinsic to stories related to Hastur, or if there are short stories and novels where this isn’t an issue.
I can’t recommend this book, though I admit the issues that caused me to bounce out of this book might not be issues for other readers.
If you do want to pick up the book, it is available from Amazon.com. I receive a commission from purchases picked up through that link, so if you want to help support the site in a manner other than my Patreon, consider making any purchases through that link.
The concept of the “adventure path” – a series of adventures or vignettes strung together to form a larger campaign – has become increasingly more prevalent in tabletop gaming. Even standalone adventures, like some of the adventures for Dungeon Crawl Classics, are built around the idea of being part of a larger world, with the idea that the player characters would have further adventures brought on by the events of this adventure.
Probably one of the first examples of this to be published, though, is the G-D-Q series of adventures published by TSR for AD&D 1st Edition. The adventures were originally created to be run as a series of convention scenarios, but even then, the narrative of the three series of adventures were designed to be strung together into an ongoing story. In the interest of that, I’ve taken a look at the first scenario in the G series – The Steading of the Hill Giant Chief.
G1 is significantly different from Keep on the Borderlands in several very dramatic ways. The most obvious one is that it is designed for more high-level characters, and not a normal sized party either – the recommended party is nine 9th level characters, with less players being viable if the players are more experienced. Not if the overall party level is higher or more powerful, but if the players are more experienced and can consequently metagame better – which is especially interesting that the general vibe with modern roleplaying is in favor of less metagaming.
The other major difference is that Keep on the Borderlands is a more conventional dungeon crawl, though one designed with the concept of a bunch of monster apartments around a central hub. G1, on the other hand, has a much more cohesive structure. To make a comparison to modern video games, I’d compare it to a level from Hitman – you have an objective (Break the back of the Hill giants), and a living breathing environment that you have to navigate to accomplish that objective. Just rushing in and killing everyone all willy-nilly will get you killed, so you have to sneak through the environment trying not to get noticed. Indeed, the main set-piece of the environment, the ongoing feast between of the Hill Giant Chief and his supporters, is a location to be avoided if possible, because if you draw their attention you’re going to get squashed flat.
Further, there are several elements of the set-piece encounter that can be picked off if they show up as random encounters. A DM who wants to put some more work into this can change this from being triggered at random to setting up a guard schedule for some of the roaming portions of the set-piece. This makes it more like a Hitman sandbox level, and depending on your players might make the level more accommodating than approachable than the level as written.
As in Hitman, the preferred way of approaching the problem is to skirt the perimeter, finding a disguise if possible, and picking off guards quietly along the way. The adventure does have room for a more conventional dungeon crawl, mainly within the literal dungeons beneath the steading – where the Hill Giants keep their orcish slave labor. This isn’t a case of wiping out the orcs – but rather wiping out their guards – a few slaves upstairs will tip the players off to an earlier uprising and where the leaders are held, and in turn that if someone can take on some of the guards downstairs they can launch a larger uprising – something that sadly nobody has based a Hitman level around.
My complaint around the adventure is actually the framing narrative – that the band of adventurers are sent by their King to accomplish this task by pain of death. This makes sense within the context of a convention tournament scenario, but not within the context of a home game. Once you start approaching Ninth level, you’re starting to approach name level, and with it the responsibility of staking out land and maintaining it. So, I’d adjust the framing narrative to accommodate that – accomplishing this quest will include not only fame, riches, and glory, but also a land grant from your King that you can use to build your Name Level buildings – with the catch being that in the course of this adventure you learn that to pacify this area you will not only need to take out the Hill Giants, but also the other two groups of Giants as well (with the players learning of the Drow involvement partway through pacifying their new territory).
Overall, G1: The Steading of the Hill Giant Chief, is a really well structured adventure that provides a great break from the conventional dungeon delve, and with a few adjustments to the structure of the adventure overall, and the initial adventure hook, will make for something to keep your players adventuring and engaged once they hit Name Level.
We’ve saved the Galaxy. Time for some denouement.
Next LP is Binary Domain, and we’ll return to the Monday-Tuesday-Thursday-Friday schedule for that, at least for a while.
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Ryder and crew have their final battle against the Archon.
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Sara Ryder is back in the game, and now she’s got to stop the Archon from taking Meridian.
I saw Thor Ragnarok on opening weekend, and since we’ve had enough time to allow for some minor spoilers, I’m posting my immediate thoughts.
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