Saturday, April 7, 2018

focus of the day: George Sterling

George Sterling was one of the greatest American poets, chiefly operating during the early 1900s. He was celebrated far and wide in the Pacific states so wikipedia denotes, and sat at the head of every noteworthy counter-culture movement of that era.



From wikipedia
The uncrowned King of Bohemia (so his friends called him), Sterling had been at the center of every artistic circle in the San Francisco Bay Area. Celebrated as the embodiment of the local artistic scene, though forgotten today, Sterling had in his lifetime been linked with the immortals, his name carved on the walls of the Panama-Pacific International Exposition next to the great poets of the past.

Wikipedia also says that
A Wine of Wizardry has "been classed by many authorities as the greatest poem ever written by an American author.
SFGate says the poem sparked a furor among critics, a sea of imitators, and caused many to flock to Carmel to see the author who wrote it. I thought I would include it here today.


A Wine of Wizardry

"When mountains were stained as with wine By the dawning of Time, and as wine Were the seas."
  - Ambrose Bierce

Without, the battlements of sunset shine,
'Mid domes the sea-winds rear and overwhelm.
Into a crystal cup the dusky wine
I pour, and, musing at so rich a shrine,
I watch the star that haunts its ruddy gloom.
Now Fancy, empress of a purpled realm,
Awakes with brow caressed by poppy-bloom,
And wings in sudden dalliance her flight
To strands where opals of the shattered light
Gleam in the wind-strewn foam, and maidens flee
A little past the striving billows' reach,
Or seek the russet mosses of the sea,
And wrinkled shells that lure along the beach,
And please the heart of Fancy; yet she turns,
Tho' trembling, to a grotto rosy-sparred,
Where wattled monsters redly gape, that guard
A cowled magician peering on the damned
Thro' vials wherein a splendid poison burns,
Sifting Satanic gules athwart his brow.
So Fancy will not gaze with him, and now
She wanders to an iceberg oriflammed
With rayed, auroral guidons of the North--
Wherein hath winter hidden ardent gems
And treasuries of frozen anadems,
Alight with timid sapphires of the snow.
But she would dream of warmer gems, and so
Ere long her eyes in fastnesses look forth
O'er blue profounds mysterious whence glow
The coals of Tartarus on the moonless air,
As Titans plan to storm Olympus' throne,
'Mid pulse of dungeoned forges down the stunned,
Undominated firmament, and glare
Of Cyclopean furnaces unsunned.

Then hastens she in refuge to a lone,
Immortal garden of the eastern hours,
Where Dawn upon a pansy's breast hath laid
A single tear, and whence the wind hath flown
And left a silence. Far on the shadowy tow'rs
Droop blazoned banners, and the woodland shade,
With leafy flames and dyes autumnal hung,
Makes beautiful the twilight of the year.
For this the fays will dance, for elfin cheer,
Within a dell where some mad girl hath flung
A bracelet that the painted lizards fear--
Red pyres of muffled light! Yet Fancy spurns
The revel, and to eastern hazard turns,
And glaring beacons of the Soldan's shores,
When in a Syrian treasure-house she pours,
From caskets rich and amethystine urns,
Dull fires of dusty jewels that have bound
The brows of naked Ashtaroth around.
Or hushed, at fall of some disastrous night,
When sunset, like a crimson throat to hell,
Is cavernous, she marks the seaward flight
Of homing dragons dark upon the West;
Till, drawn by tales the winds of ocean tell,
And mute amid the splendors of her quest,
To some red city of the Djinns she flees
And, lost in palaces of silence, sees
Within a porphyry crypt the murderous light
Of garnet-crusted lamps whereunder sit
Perturbéd men that tremble at a sound,
And ponder words on ghastly vellum writ,
In vipers' blood, to whispers from the night--
Infernal rubrics, sung to Satan's might,
Or chaunted to the Dragon in his gyre.
But she would blot from memory the sight,
And seeks a stainéd twilight of the South,
Where crafty gnomes with scarlet eyes conspire
To quench Aldebaran's affronting fire,
Low sparkling just beyond their cavern's mouth,
Above a wicked queen's unhallowed tomb.
There lichens brown, incredulous of fame,
Whisper to veinéd flowers her body's shame,
'Mid stillness of all pageantries of bloom.
Within, lurk orbs that graven monsters clasp;
Red-embered rubies smolder in the gloom,
Betrayed by lamps that nurse a sullen flame,
And livid roots writhe in the marble's grasp,
As moaning airs invoke the conquered rust
Of lordly helms made equal in the dust.
Without, where baleful cypresses make rich
The bleeding sun's phantasmagoric gules,
Are fungus-tapers of the twilight witch
(Seen by the bat above unfathomed pools)
And tiger-lilies known to silent ghouls,
Whose king hath digged a somber carcanet
And necklaces with fevered opals set.
But Fancy, well affrighted at his gaze,
Flies to a violet headland of the West,
About whose base the sun-lashed billows blaze,
Ending in precious foam their fatal quest,
As far below the deep-hued ocean molds,
With waters' toil and polished pebbles' fret,
The tiny twilight in the jacinth set,
With wintry orb the moonstone-crystal holds,
Snapt coral twigs and winy agates wet,
Translucencies of jasper, and the folds
Of banded onyx, and vermilion breast
Of cinnabar. Anear on orange sands,
With prows of bronze the sea-stained galleys rest,
And swarthy mariners from alien strands
Stare at the red horizon, for their eyes
Behold a beacon burn on evening skies,
As fed with sanguine oils at touch of night.
Forth from that pharos-flame a radiance flies,
To spill in vinous gleams on ruddy decks;
And overside, when leap the startled waves
And crimson bubbles rise from battle-wrecks,
Unresting hydras wrought of bloody light
Dip to the ocean's phosphorescent caves.

So Fancy's carvel seeks an isle afar,
Led by the Scorpion's rubescent star,
Until in templed zones she smiles to see
Black incense glow, and scarlet-bellied snakes
Sway to the tawny flutes of sorcery.
There priestesses in purple robes hold each
A sultry garnet to the sea-linkt sun,
Or, just before the colored morning shakes
A splendor on the ruby-sanded beach,
Cry unto Betelgeuse a mystic word.
But Fancy, amorous of evening, takes
Her flight to groves whence lustrous rivers run,
Thro' hyacinth, a minster wall to gird,
Where, in the hushed cathedral's jeweled gloom,
Ere Faith return, and azure censers fume,
She kneels, in solemn quietude, to mark
The suppliant day from gorgeous oriels float
And altar-lamps immure the deathless spark;
Till, all her dreams made rich with fervent hues,
She goes to watch, beside a lurid moat,
The kingdoms of the afterglow suffuse
A sentinel mountain stationed toward the night--
Whose broken tombs betray their ghastly trust,
Till bloodshot gems stare up like eyes of lust.
And now she knows, at agate portals bright,
How Circe and her poisons have a home,
Carved in one ruby that a Titan lost,
Where icy philters brim with scarlet foam,
'Mid hiss of oils in burnished caldrons tost,
While thickly from her prey his life-tide drips,
In turbid dyes that tinge her torture-dome;
As craftily she gleans her deadly dews,
With gyving spells not Pluto's queen can use,
Or listens to her victim's moan, and sips
Her darkest wine, and smiles with wicked lips.
Nor comes a god with any power to break
The red alembics whence her gleaming broths
Obscenely fume, as asp or adder froths,
To lethal mists whose writhing vapors make
Dim augury, till shapes of men that were
Point, weeping, at tremendous dooms to be,
When pillared pomps and thrones supreme shall stir,
Unstable as the foam-dreams of the sea.

But Fancy still is fugitive, and turns
To caverns where a demon altar burns,
And Satan, yawning on his brazen seat,
Fondles a screaming thing his fiends have flayed,
Ere Lilith come his indolence to greet,
Who leads from hell his whitest queens, arrayed
In chains so heated at their master's fire
That one new-damned had thought their bright attire
Indeed were coral, till the dazzling dance
So terribly that brilliance shall enhance.
But Fancy is unsatisfied, and soon
She seeks the silence of a vaster night,
Where powers of wizardry, with faltering sight
(Whenas the hours creep farthest from the noon)
Seek by the glow-worm's lantern cold and dull
A crimson spider hidden in a skull,
Or search for mottled vines with berries white,
Where waters mutter to the gibbous moon.
There, clothed in cerements of malignant light,
A sick enchantress scans the dark to curse,
Beside a caldron vext with harlot's blood,
The stars of that red Sign which spells her doom.


Then Fancy cleaves the palmy skies adverse
To sunset barriers. By the Ganges' flood
She sees, in her dim temple, Siva loom
And, visioned with the monstrous ruby, glare
On distant twilight where the burning-ghaut
Is lit with glowering pyres that seem the eyes
Of her abhorrent dragon-worms that bear
The pestilence, by Death in darkness wrought.
So Fancy's wings forsake the Asian skies,
And now her heart is curious of halls
In which dead Merlin's prowling ape hath spilt
A vial squat whose scarlet venom crawls
To ciphers bright and terrible, that tell
The sins of demons and the encharneled guilt
That breathes a phantom at whose cry the owl,
Malignly mute above the midnight well,
Is dolorous, and Hecate lifts her cowl
To mutter swift a minatory rune;
And, ere the tomb-thrown echoings have ceased,
The blue-eyed vampire, sated at her feast,
Smiles bloodily against the leprous moon.

But evening now is come, and Fancy folds
Her splendid plumes, nor any longer holds
Adventurous quest o'er stainéd lands and seas--
Fled to a star above the sunset lees,
O'er onyx waters stilled by gorgeous oils
That toward the twilight reach emblazoned coils.
And I, albeit Merlin-sage hath said,
"A vyper lurketh in ye wine-cuppe redde,"
Gaze pensively upon the way she went,
Drink at her font, and smile as one content.


From A Wine of Wizardry and Other Poems by George Sterling (San Francisco: A. M. Robertson, 1909). Transcribed by David Schultz.

Friday, April 6, 2018

Jack Vance - Eyes of the Overworld, review

20180406 -
The Eyes of the Overworld -- audiobook








I finished this marvelous Jack Vance masterpiece today. I have been doing chores, building things, running around lately, so I'm continuously in need of audiobooks. I burned through this one.

It is the tale of Cugel the Clever as he wrongs a powerful wizard. He gets caught trying to steal something and for that, the wizard sends him on an errand to the northlands, which are one stranger occurrence after another. You get the feeling that Vance's imagination knows no bounds. It becomes thrilling because of the sense that not only can anything happen, but that you know that no matter what it is, it's going to be great.

The real nectar is the writing itself. Vance has graduated to a higher plateau of writers voice with this one. He writes in a particular kind of structured prose that is very careful, clear and descriptive and often wielding advanced words. Many times the wordings are works of joy in and of themselves because over and over again he manages to describe something so clearly that you are sure that it is the most succinct you have ever heard such a thing described.

Next for me was the revelation that this book is really about personal ego in confrontation with the world, as it is full of other lifeforms, all different, but all made up of like parts in that they are also instances of self-serving ego running around. What you get as the result is endless plot because Cugel is always trying to screw over the denizens of the world. While the many inhabitants he runs across are almost always trying to screw him over as well. Many times Cugel is deceived and steps into one of their traps or job offers only to find himself constrained or bested in some way. It all feels so organic and natural in the way it plays out. The inhabitants he writes about are creations of high-fantasy and bizarre genetic mutations. Despite this, the writing feels more like our world than the many "normal" books that adhere to the trappings and rules of reality. Vance bests them all.

10/10

Friday, March 30, 2018

Some thoughts about how rpg game systems interact with reality

Had an experience last night reading Fight On where again I experienced that thrilling sensation where game mechanics mimic mechanics taken right from actual reality. These inklings suggest to me that one of the aspects (at least that I find so pleasing) about RPG design is when mechanics mimic or capture exactly how something works in real life.  Indeed, good RPG is about simulation. It is about a system that provides guides that you can use to simulate an imagined scenario.  The dice and tables in effect act as reality: the quantum statistical fluctuations which make up the decisions of the universe. There is a little quantum uncertainty; the dice are the portal which let this fuzzy aspect in to permeate the story telling.

To gamers, RPG books function essentially as religion. It is a worldview that accepts that the true god is statistical fluctuation as born from the quantum mechanical interactions of molecules.  That is--we and everything we interact with is composed of matter which is in turn is an expression of energy and vibration and quantum wave functions. When a group of players walk into a cave and do battle with a red dragon, that is a bunch of succinct expressions of universal energy, and the ensuing dice rolling and procedural combat actions are a giant statistical and procedural system where the outcome is not assured until it has come to pass.

RPG'ers know this is simulation. There is never any doubt about that. Ever. But what is implicit in this understanding is that we are all sensing that the universe at large, the real world on its grandest scale, is actually following a similar set of rules, just that there are infinitely more variables and interactions, but that the core mechanic is essentially the same. We are entities at play in a large quantum mechanical field equation. Anything can happen, but the events that actually do happen in our lives tend to be those that are most likely. (Occam's Razor)

What is happening in the OSR movement is interesting. Because the gate-keeping on the systems themselves has opened up. Anyone can specify any system now, and many do.  Some systems, I admit, appear far more appealing to me than others, but all systems are exercises in this kind of thinking about the modeling of something.

I believe at the core of it we crave a complete system. A really really good one for specifying an imagined world. A system so good that it is able to replace this system (the real one), at least temporarily. This would mean, that like Chalker's Markovian Well World, we could pencil in our deepest fantasies and wishes. We could allow ourselves to fly, to explore the far reaches of space, etc. But in order to do that, first we must triumph over the systems that govern the confines of how we think about the world, which binds us here.  That is why we keep churning out new game systems, continuously play-test them and explore new options.

Wednesday, March 28, 2018

DIY digest-size OD&D books

I'm sure this has been done hundreds upon hundreds of times, but I printed copies of the original little brown books for my own use. Gizzards of the Roast can bite me as far as copyright is concerned. I own the originals of all of these -- (yes, even Don't Give Up The Ship and Warriors of Mars!) It took several weeks and a new printer cartridge to do it. I wanted to do Supplement 5 Carcosa as well but the pdf I have has the pages sequentially 2 to a full-size page, so it can't be paginated correctly for book layout, not without some Herculean photoshoppery effort. Not worth the time really.




 I hand sewed the bindings. I kind of made everything up as I went along. I didn't know how to paginate, so I wrote a little python script to create the page input to the printer software. An example looks like this:

$ python3 ./print_layout_book_order.py 1 68 1,2,67,68
inputs: 1 68 [1, 2, 67, 68]
setlen (before skip): 68
skipping: 1,2,67,68
setlen (after skip): 64
3,4,5,6,7,8,9,10,11,12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,43,44,45,46,47,48,49,50,51,52,53,54,55,56,57,58,59,60,61,62,63,64,65,66
SET LENGTH: 64
TOTAL SIDES: 32
TOTAL PAGES: 16
Divisible by 4? YES
66,3,4,65,64,5,6,63,62,7,8,61,60,9,10,59,58,11,12,57,56,13,14,55,54,15,16,53,52,17,18,51,50,19,20,49,48,21,22,47,46,23,24,45,44,25,26,43,42,27,28,41,40,29,30,39,38,31,32,37,36,33,34,35

My first attempt of the original 3 LBBs is humorous at best. I attempted to combine all 3 into a single block. I had to do a few passes splitting it into sections instead of one giant unmanageable block until I got something that made sense. I ended up sewing the sections to a backing made out of an unused oil-lamp wick, and glued that to a bit of scored poster-board. I then realized it was destined to fall apart as the hinges would separate so I glued a strip of leather onto the outside, as if it weren't tacky enough before. It's pretty weird looking. It might actually be nice to use but I didn't trim the edges correctly so it's difficult to flip through.





The reason I bothered is I really want to read the books thoroughly, and I figured I'd avoid marking up my originals up with creases and finger-oil. There's much I haven't read yet, and I need tangible print copies if I'm going to; PDFs wouldn't do. It's not like any of this stuff is in print. Lizards would just screw it up anyway by making some ridiculous graphical improvement or something. Printing the originals is a nice compromise and a chance for me to learn something. Now I have well-thought out, untampered-with original text and layout, in a format I can produce if need be. (Well, almost original. I did omit the covers to save ink)


Update: Addendum: My wife got a G+ notification about this post and asked to make sure I wasn't selling these. "You aren't going to get in trouble for this, are you?" I suppose there is that undercurrent there, but "No," I told her. "I own all these books. I'm not sure what the legality is. But I can't imagine it ever being illegal to photocopy a book that you own, for use in your own home. I'm not posting the result online. Nor am I selling it." Besides, none of these are in print. Rotc has no reason to print them; what they would make if they did is a tiny pittance compared to the big-production values derivative stuff they are used to making. The real reason they don't print them is that they don't care. They really don't. They have their own ulterior motives and owners (shareholders?) they are beholden to. The care and preservation of the magical early days of the hobby is left up to the enthusiasts. The trail of messy copyright and legal mumbo-jumbo has left a lot of legacy materials in a questionable state of legality. Therefor it is incumbent upon me--and everyone else who wishes to--to make copies of these things, to preserve them by propagating them in any way we see fit. The law is not always right. In fact it is only right roughly 50% of the time. Much of what the law represents is the result of bad luck, societal currents, or effects from the abuse of power by the powerful. Does that mean then that all good plebeians should be quiet and do what they are told because it is the "right" thing to do? No, of course not. The "right" thing to do is to understand systems--at the meta philosophical level--so one doesn't become imprisoned by them.

Friday, March 2, 2018

Encouragement for the creative

I'm excerpting this from the 2012 edition of Astonishing Swordsmen & Sorcerers of Hyperborea, because the creative can never have enough encouragement:

A while back, I emailed Barry Moser, an American artist, to pass on how much I was inspired by his work. I thought it appropriate to include his response here for all who are interested in pursuing the creative as a career:

All good wishes for a successful career. And, if I may, never underestimate the power of luck. Especially when that power is generated by the omnipresence of hard, consistent, and daily work--never in competition with others, but always in competition with your self and your last work, which, if you are working well and sincerely, will never be good enough. God help you if it ever is. Work well. -- Barry
-- Ian Baggley, May 2012

 

Branding is a false promise used by advertisers to steer consumer behavior


(Branding is a false promise used by advertisers to steer consumer behavior by utilizing subterfuge, in a way which benefits the merchant while functioning as a detriment to the customer. TL;DR You're getting screwed by people using old psychology tricks to mess with your head without you knowing they're doing it, and then you think they're really nice people for screwing you.)

Just now I was driven to comment on DM Glen's latenight rant from about a year ago. He was talking about new games, and addressing the apparent influx of comments that he should get into the new Fifth Edition D&D.

My gripe with 5e I think goes more to the marrow. It's kind of like WotC is projecting that we must buy this thing because it has the trademark. Do trademarks really posses this much power over us? Just because a thing has a strong, recognizable name indicating its contents, does not necessarily anymore assure us of its authenticity. There is--like you said--an embarrassment of riches coming out of OSR, whereas, from what I see, mostly branding and (terrible) CG artwork coming out of the other. Why should anyone play 5e in this world where there has been a literal explosion of great new game systems? The real problem would be which free new system to choose except that the venerable Mythmere has done such a great job on S&W and Stuart Marshall on OSRIC. I think that going backwards might feel repellent to newcomers & youngsters, but once you analyze the progression of published games the last 30 years, it quickly becomes apparent that the whole pastime went off course (this is a universal story amongst every early player), making going backwards and returning to known-good gamesystems seem like not such a bad thing after all. The strategy is: Go back to last known good and then start over again from there, and that's exactly what has been going on. Great rant Glen.

Furthermore, I am realizing when thinking about branding here that there is a direct inverse correlation between companies that rely on branding to market their wares, and the quality of the actual product itself. Branding is a crutch used by the uncreative, or simply by those who are under a lot of pressure to generate sales for a thing.  This pressure harkens back to much more basic economic concepts that apply today over just about everything. When you too many shareholder expectations, and or the company itself is simply too large or spending too much money, then there is a lot of pressure to sell. This pressure can become completely debilitating to the product itself, because it ends up steering the direction of the product, and co-opting its message. This is *NEVER* a good thing.  It's always about core quality, always, and never really about the economics. 5th Ed. here functions mainly as a springboard for me to launch into an analysis of much larger phenomena whose tendrils have spread down and corrupted a great many things in the modern era.

The morale? Simple that growth for the sake of growth is an economic lie told by shareholders who own stock in products they don't care about, simply to receive remuneration for doing absolutely nothing. ([1] See Rushkoff's Google Bus book)


D&D
Where does D&D fit into this?  Well, everywhere and nowhere really. My disregard for any post-Gygax TSR/wotc D&D really goes back to just that: it's post-Gygax. Which is another discussion for another post.
I mean really, can it possibly be Dungeons & Dragons without E. Gary Gygax?

 

Tuesday, January 19, 2016

First Post

I learned a long time ago that if you are slightly weird and your thinking process falls outside of the norm, that blogging is not a good activity to take part in. My mind darts from subject to subject in a fairly wide range. I touch on so many things that very quickly the gammut of subjects I might cover in a weeks worth of blogging becomes much too much material for a regular person to appreciate or even tolerate.  This is understandable.  It is a facet of myself that I did not know about until I naively jumped into the arena of just writing whatever popped into my head on the internet without much direction or guidance.

So why am I starting a blog now?
Answer: Dungeons & Dragons. A few years ago I rediscovered First Edition Dungeons & Dragons, and then, like so many others, I discovered a large community on the web of like-minded folks in the exact same boat as me -- people who played AD&D in the 80s, then stopped playing due to life happening to them, or because 2e and later editions just weren't the same thing. I didn't know then what I know now about why the later editions of D&D sucked, but I they did set off my bullshit detector. I knew that I didn't like the art, that the new covers just got worse and worse and worse. Whatever that magic was of the original Players Handbook and Dungeons Masters Guide, the new editions clearly didn't have.

I didn't spend any time wondering why. I was growing up; there were bmx bikes, and then girls, and then rock music, and even parties to go to. Then college. I was in a series of rock bands, had a gripping social life and didn't miss it. One has to wonder what might had been different if Gary had retained control, unified and polished the product further. I might have been playing D&D in college and drinking cokes instead of cases of cheep beer.

Blogroll
My first thought and impetus to start this thing is to create a blogroll as a convenient way to organize all of the links I am discovering (there are too many).