THROWBACK THURSDAY: The Whole World Is A Sourcebook!

As a creative, gaming-obsessed, pre-teen I sat in my corduroy shorts in prep school assembly seeking inspiration from the hymns we sang... just what was the to hit/damage bonus of a "bow of burning gold", what effect did "arrows of desire" have and just how fast was a "chariot of fire"?

In 1977, as well as discovering Star Wars, I had been introduced to Dungeons & Dragons and the whole world was suddenly "research material".

Everywhere I looked there were potential magic items or monsters for characters to contend with in dungeons drawn from every imaginable source.

My prep school co-dungeoneer, Tom, even ran me through a D&D adventure based on the first season of The Hitchhikers' Guide To The Galaxy (a radio serial he had introduced me to and also had a major impact on my life).

Television and books (particularly the sword and sorcery tales of Fritz Leiber, and a little later Harry Turtledove's first Elabon stories - Wereblood and Werenight) shaped many adventures and characters in those early years; then later comic books became a major source of inspiration as our games moved away from straight fantasy into the four-colour world of superheroes.

From these I still have three comic book standards that I would one day love to weave into a single, long-running roleplaying game: time travel, alternate dimensions, and cosmic entities.

Yet somehow, even in the games I've run for the Tuesday Knights in the past couple of decades, I have yet to squeeze all three of them in successfully; feeling that a campaign needs to progress at a steady pace for a considerable length of time before such contrasting, incredible elements can have their full, desired impact when introduced.

That said, all three feature heavily in The Sailor on The Seas of Fate, the second of Michael Moorcock's Elric books.

Even dreamier, more surreal and more psychedelic than Elric of Melniboné, this 190-page delight had me joining Elric on a ship sailing a strange ocean that linked not just islands, but worlds and planes of existence in time and space.

In a series of three adventures, Elric discovers he is but one face of The Eternal Champion, travelling to the Earth's future with three other incarnations of the Champion (Hawkmoon, Corum and Erekose) to battle two universe-threatening alien magicians; then he finds himself being chased by a Melnibonean sorcerer from history and swept up in a mythical love story; before finally taking a Heart of Darkness-style river journey to the legendary, lost birth place of his people.

These stories continue to leave me breathless, blown away by the absorbing text, the clever imagery and mental stimuli they spark in my enfeebled brain.

It also made me appreciate, perhaps, why I have never successfully tackled such cosmic themes as I desire to in my roleplaying games - they are best left to the master storytellers!

THROWBACK THURSDAY: Kickin' It Old School!

Supreme fantasy author Michael Moorcock admired pulp maven Robert E Howard's brutal barbarian Conan so much that when he set out to create his own swords and sorcery epic he wanted it to be as unlike the tales of the Cimmerian as possible.

And so, he created Elric: the doomed, feeble, albino sorcerer-king kept alive by, first, mysterious narcotics and later by the evil energy of his cursed sword, Stormbringer.

When I last reread the first of the Elric books - Elric of Melnibone - it took just about two days, I still couldn't put it down.

A combination of my insomnia and the power of the writing saw me reading at all hours of the day and night.

Moorcock proves you don't need a ponderous, phonebook-sized tome to tell a thrilling, memorable fantasy tale.

In a 'mere' 190-pages Elric goes from languishing on his Ruby Throne to dealing with elemental creatures, fighting off an invasion, crossing the Young Kingdoms to find his kidnapped sweetheart and finally journeying to another plane of existence to retrieve Stormbringer at the behest of the Chaos demon-god Aroich.

Outside of Tolkien's main Lord of The Rings' characters and Conan himself, Elric and his legendary sword must be two of the best known names in fantasy literature... their dreamy, nightmarish adventures seeping into all manner of related media (e.g. heavy influences on early roleplaying games from Dungeons & Dragons and Arduin to Chaosium's own Stormbringer game; to the prominent technomage in Babylon 5 universe called... Elric).

And next year, we're getting three different new Elric roleplaying games: one for Dragonbane, one for Dungeon Crawl Classics, and one for 5e!

Reading Elric of Melnibone again stirred in me nostalgic memories for the other books of my youth - Fritz Leiber's Nehwon tales with Fafhrd and the Gray Mouser or Harry Turtledove's stories of Gerin The Fox - and the old school fantasy roleplaying games of my teen years.

It filled me with a hankering for that '80s Dungeons & Dragons-style vibe, that feeling of wonder and "not knowing what's around the next corner".

To quote Wikipedia:

"Some fans of pencil and paper role playing games use [old school] to describe RPGs characterized by simple game mechanics and flexible rules. The character generation system in such RPGs tend to lack extensive lists of skills and abilities. Basic Dungeons & Dragons and the first edition of Advanced Dungeons & Dragons are often considered 'old school' role playing games."

All this hankering for past gaming glories was also been stoked back in the 2000's by several great rules-lite, war story-heavy fantasy gaming podcasts I listened to at the time. Sadly, these are now gone - swept aside by the tidal wave of "actual play" podcasts.

The pods I listened to eschewed the attitude of some of the more snobby or 'elitist' podcasts back then which looked down their virtual noses at "game stories" or the "tell me about your character" attitude.

Personally I believe that's a central element of roleplaying games - you are generating collective stories, so why not share them? Isn't this just another form of creating fantasy literature?

As long as the stories are interesting, they are as valid as any other anecdote you may care to tell.

The Final Programme (1973)

We may still be waiting (optimistically) for a live-action Elric movie, but another aspect of Michael Moorcock's Eternal Champion found his way into the movies in The Final Programme.

Although set in the "far future" during the slow death throes of civilization, this wonderful film is cut from the same cloth as such '70s spy-fi fare as The Prisoner, The Avengers, Jason King and even Doctor Who.

Written, designed and directed by Robert Fuest (of Dr Phibes fame, but has he also directed some episodes of The Avengers back in the late '60s), The Final Programme (also known as The Last Days Of Man On Earth) is mesmerizing in its psychedelic weirdness, yet not to the extent that the story is lost to the visuals.

The story revolves around biscuit-obsessed Nobel Prize-winning physicist and playboy adventurer Jerry Cornelius (Jon Finch) who is approached by a team of scientists, fronted by the sultry and possibly not-quite-human Miss Brunner (Jenny Runacre), to retrieve some key microfilm from the vaults of his recently deceased father's mansion.

It so happens that Jerry was planning to go there anyway as he wanted to rescue his sister Catherine (an all too brief cameo by Sarah Douglas) from the clutches of his dangerous, drug-addicted brother Frank (Derrick O'Connor).

The microfilm contains the key to a scientific formula that could save mankind, by kickstarting the next stage of evolution as an hermaphroditic, self-replicating, immortal human being. Unfortunately, there is still one ingredient missing...

For my money, this film was pure Moorcock, especially the non-traditional climax which these days would have had people crying out for a sequel but in the good old days was left suitably open and provocative.

The story embraces its bonkers' excesses, but as I said above it doesn't let this wash away the central storyline of the piece as happens all too often is such outré movies.

It certainly helps that the two central performers - the amazing Jenny Runacre and the suave Jon Finch - are so charismatic, with Finch's Cornelius almost certainly being an inspiration for Austin Powers.

As well as Sarah Douglas's brief appearance, the eagle-eyed - and eared - will also spot future star (and mother of Georgia Moffett, David Tennant's wife) Sandra Dickinson in her first big screen role, as a waitress in a mud-wrestling-themed restaurant.

While Moorcock himself was not a fan of Fuest's take on the story, he praised Finch for his portrayal of Jerry Cornelius during an interview at the BFI about the movie in 2010.

MUSICAL MONDAY: Horn Of Destiny (Hawkwind w/Michael Moorcock)

via

Hawkwind - The Chronicle of The Black Sword (1985)

The chance to finally see a live performance of one of my favourite albums of recent years was too good an opportunity to pass up, even if the cost of the DVD on eBay was a bit on the pricey side.

Hawkwind: The Chronicle of The Black Sword is a 75-minute live show by the legendary rock band, performing select tracks from their 1985 album of the same name, a musical adaptation of the early adventures of Michael Moorcock's cursed, albino, swords-and-sorcery anti-hero, Elric of Melniboné.

Not only does Elric himself appear in the show, in the form of actor Tony Crerar, complete with Kabuki-style face paint and wielding a mighty Stormbringer prop, but Michael Moorcock pops up as well, providing lyrical 'spoken word' narration to some of the stories being presented.

He returns for the encore, adding guest vocals to the medley of Hawkwind tracks.

Hawkwind: The Chronicle of The Black Sword isn't a full-on rock opera though, more a series of psychedelic vignettes, often centred around primitive and dated lighting effects, clearly designed not so much to be "watched" as "experienced", quite possibly with the aid of non-prescription drugs. 

Filmed at London's Hammersmith Odeon in 1985, and released (presumably initially on VHS) the following year, both the sound and the image quality are not up to the levels we are used to these days, and I couldn't help feeling that this concert recording could benefit from a 21st Century Blu-Ray or 4K upgrade.

I think I only consciously discovered Hawkwind, and particularly this Elric-inspired album, in the last decade or so.

I have to confess that this live performance will never replace the majesty of the original album, but it was certainly captures a moment, and gives us a unique Moorcock-endorsed look at a hallucinogenic interpretation of the world of Elric.

For comparison, the album tracks, on the version I own, are:

• Song of the Swords
• Shade Gate
• The Sea King
• The Pulsing Cavern
• Elric the Enchanter
• Needle Gun
• Zarozinia
• The Demise
• Sleep of a Thousand Tears
• Chaos Army
• Horn of Destiny
• Arioch
• Night of The Hawks
• Green Finned Demon
• Dream Dancers
• Dragons and Fables

Whereas the songs performed in the live set are:

• Song of The Swords
• Sea King
• Master of The Universe
• Choose Your Masques
• Needlegun
• Zarozinia
• Lords of Chaos
• Brainstorm
• Moonglum
• Elric The Enchanter
• Magnu
• Horn of Destiny

Now, come on Hollywood, where's our Elric of Melniboné movie?

You already have the perfect lead in Tilda Swinton...

More Blood and Souls For My Lord Arioch!

Michael Moorcock's Elric may not have been my (post-Tolkien) introduction to the sword-and-sorcery genre (that honour rests with Fritz Leiber's Fafhrd and The Gray Mouser), it was Moorcock's work that truly shaped my taste in reading.

I haven't read any Leiber in an age, but I often revisit the twisted, hallucinogenic, weird fantasy adventures of Elric of Melniboné and The Young Kingdoms.

There's something about the succinctness of Moorcock's early tales of Elric and his soul-devouring sword Stormbringer that I've always found more enchanting than the doorstop tomes so prevalent today.

It was after years of reading Moorcock that I instituted my "Moorcock Rule" (more of a guideline)  that stated that a book REALLY had to work hard to justify itself if it ran longer than 150-200 pages. 

That said, I've never used the Young Kingdoms - nor any of the trappings of Elric's adventures (even Stormbringer, itself) - in my own roleplaying games. 

I don't own a copy of Chaosium's Stormbringer/Elric of Melniboné RPGs (1981 - 2010). I've looked into it in the last couple of decades but those books generally command silly money on the secondary market.

However, in recent weeks, both Goodman Games and Free League have announced they will be releasing games based on this IP next year (after crowdfunding campaigns).

Goodman Games is planning two different iterations: one using Dungeons & Dragons 5e and one using Dungeon Crawl Classics. While I feel the latter system is probably more suited to emulating the demon-fuelled magic of Elric's world, neither of these systems really tickle my fancy at the moment.

However, my interest is well-and-truly piqued by Free League's offering, Legends of Stormbringer, which will run on the Dragonbane engine. 

I know I keep saying I'm out of the buying new games side of the hobby, but to quote Michael Corleone in The Godfather, Part III:

"Just when I thought I was out, they pull me back in."

Dragonbane isn't a game I'm particularly familiar with, except from second hand accounts which are a generally overwhelmingly positive... with a few minor niggles about some of the mechanics.

A translated version of Drakar och Demoner, a game system played in Scandinavia since 1982, Dragonbane's definitely been at the top of my "must check out the starter set" list since it was first released in English in 2023.

This recent announcement might be the nudge I "needed" to pull the trigger on yet another game that I may - or may not - run for the Tuesday Knights.

You can read about Free League's forthcoming Stormbringer offering (and a bit about Dragonbane) here.

Tell Me About Your Character

One of the most powerful influences in my formative gaming years - and one that still inspires me to this day - is the "dedication" sections found in old role-playing games, where the author records (usually in just a simple phrase) the fates or notable deeds of play-tester's characters.

Not only did this prove to me that the system had been thoroughly play-tested (something a lot of games, I fear, these days - especially from some of the 'bigger' companies - don't get) but also that the players were clearly putting some thought into their characters and helping craft a grand story, the bigger picture.

The list of characters above is from the 1979 Heroes game, a Dark Ages RPG that has long since left my collection - the only memento I retained from it being a photocopy of the dedications page.

But as great as the Heroes dedication was, the ones that have driven my role-playing ambitions the most were the dedications by Dave Hargrave in the first two volumes of his seminal Arduin Grimoire:

I know I've talked about the "Elric in Hell" scenario several times in recent days, but this is the kind of myth-making that is a cornerstone of my love of role-playing games, especially those with an 'old school' flavour, over any other form of gaming.

I don't want to know about your "feat-combos" or "power-ups" - I want to hear the stories you've had a hand in creating, the actual adventures your characters have undertaken... and I want to help my players create those moments and memories as well.

This, for me, is the essence of role-playing games and why they are the greatest hobby in the world.

Elric In Hell!

My beloved original Arduin Grimoire trilogy

I mentioned the foundational roleplaying text (for me) the Arduin Grimoire the other day, but I'm pretty certain it's not as famous (infamous?) these days as it was when I was growing up as a young gamer.

When I first encountered Dungeons & Dragons, back in the late 70s, I had little to no idea about the concept of worldbuilding.

It wasn't until I acquired the three little tan books that make up David Hargrave's original Arduin Grimoire trilogy (there are now nine volumes in total, but none as inspirational as the first three) that it even dawned on me that 'other people' were making up their own worlds to campaign in.

The first thing that struck me, and that I still love today, was the sense that the history of Arduin had been a co-operative development between the gamesmaster and his players.

This was crystallised in the dedication pages of the first two volumes where Dave lists the names of the some of the player characters and their fates.

In the first volume, Dave's own character is listed simply as "Elric The Hell-Lost", but this is expanded upon in volume two, Welcome To Skull Tower:

"The Baron In Exile, Lord of the House Of The Tower of the Dragon, wishes to thank formally the brave and steadfast people who gave their years and their lives to return him and his from the very clutches of the Lord Of The Undead.

"These true friends crossed three hells and seven and a half long, long years to fight their way to our succour. Our House is ever in the debt of the House Of The Rising Sun, the House of Ibathene, the House of Greylorn the Patriach, and to all those heroes who joined in that undertaking.

"You who slew the Great Lord of the Undead himself know who you are, and you know that our House will give its all in your need, if ever that time should come. We who were hell lost and soul caged SALUTE YOU, our comrades and friends.

"David A Hargrave

"a.k.a. Elric,

"Baron and Lord of

"The House of the Dragon Tower".

However, the most detailed explanation of these events came in issue two of the superb Different Worlds magazine,  in which Dave Hargarve recounted a potted history of his campaign:

"Elric, Duke and Lord of the Dragon Tower, spent seven years in hell, a captive of Cimmeries, Lord of the Undead. The efforts to free him cost the souls of over 40 other characters and was directly linked to the causes of the Great Insurrection. But freed he was, to take up a blood feud with those he felt had left him there!"

It's no wonder that that imagery has stuck in my head for the better part of 30 years, and has constantly played a leading role in my "wish list" of unfulfilled role-playing moments.

Although the hefty Legendary Lands Of Arduin makes reference to Cimmeries as Lord of the Undead and Elric's House of the Dragon Tower, there is no mention in that 800-page tome of his time in the underworld that I can see (but I haven't read the book cover-to-cover!)

I'd love to find out more details of this "campaign-within-a-campaign", if there is anyone out there in the Interwebs with more detailed knowledge please get in touch.

THROWBACK THURSDAY: Whence Lovecraft?

Mythos Tomes: My earliest forays into the works of HP Lovecraft

I've been reading HP Lovecraft since I was a teenager. I recall writing about him in my English Literature A Level exam, which given I was supposed to be critiquing Dickens' Great Expectations probably explains my poor grade.

My memory of how I actually came upon the works of Lovecraft is rather hazy, but I'm sure I was already aware - and a fan - of his oeuvre before I invested in my first edition box set of Chaosium's seminal Call Of Cthulhu game.

This was published in 1981, with the second edition coming out in 1983, which suggests I picked up the game sometime between those dates.

I suspect my introduction to Lovecraft could well have been TSR's Deities & Demigods (the Advanced Dungeons & Dragons supplement, published in 1980, that - only for its first edition - included the Cthulhu Mythos as well as Michael Moorcock's Elric mythology, as well as various pantheons or gods and heroes from ancient religions around our world).

This almost certainly led me to invest in the paperbacks you see above, several of which are stamped as coming from the P&P Book Exchange in Goods Station Road, Tunbridge Wells (which is where I also came across my first collection of Wolfman/Perez era New Teen Titans comics that got me hooked on the medium and turned me into a 'proper' comic book collector).

Those paperbacks have seen better days. particularly The Haunter In The Dark And Other Tales Of Terror (a 1963 edition from Panther Books, priced at three shillings and six pence!) which is falling apart because it was read so much.

THROWBACK THURSDAY: Conan Digests

When we were readying ourselves to move house half-a-dozen years ago, I was shifting boxes in the 'office' part of my attic-gamesroom and 'discovered' a long concealed bookcase; squirrelled away in the corner, on which was my collection of eight, old Conan The Barbarian digests.

These were pocket-sized, British reprints (in black and white) from the early '80s, of Conan's original stint in the pages of Marvel Comics, each around 50-pages long.

These were my first exposure to both Conan The Barbarian and the works of Robert E Howard, I would have been about 14 or 15 when I picked these up.

I guess I was a comparative latecomer to the exploits of the mighty Cimmerian, having cut my sword-and-sorcery teeth - soon after being introduced to Dungeons & Dragons at the tail-end of the '70s - on Fritz Leiber's Nehwon tales with Fafhrd and the Gray Mouser, Harry Turtledove's stories of Gerin The Fox, and then Michael Moorcock's Elric of Melniboné, years before I encountered Conan The Barbarian.

In truth, I think, after the comic book digests, my first actual Robert E Howard book was a remaindered copy of The Gods Of Bal-Sagoth, an Ace Science-Fiction collection of non-Conan stories, that I purchased in a discount book store while out shopping with my parents.

Like pretty much everything at that time, my early interest in Howard's work - and Conan - was fuelled by my desire to make everything about my blossoming passion for roleplaying games, and particularly Dungeons & Dragons.

A passion they still serve today.