Hymla the Horn #1 Proof Copy Ordered

Tonight I pulled that trigger and ordered a proof copy of my new comic book Hymla the Horn #1. Probably takes a couple of weeks to print and ship and of course I'll happily share images once I get it in hand. Then I'll order a batch and offer them for sale.

The book is 28 black and white pages + color cover. It features five short tales of this plump barbarian woman having adventures in Seapth and Wyvern Valley in the world of Yria. These are fun little goofy rated R romps with nothing heavy or serious to say. The tone is rather like my RPG zine Black Pudding, and in fact the stories are set in the same world presented the zine.

If you follow me on socials, you've seen me posting drawings of Hymla for the past year or more and you know how much I enjoy the character. I really loved making this comic book.

Anyway, very stoked about this. I'll be talking about it more on social media as it becomes available.

 

Where U At, B/X?

This is a meandering TTRPG design post mostly pondering why I haven't been making D&D stuff lately.

I just thought this was funny. I don't know.

Yeah, so I haven't had the inspiration to work on any D&D-based stuff in a long hot minute.

Got me to thinking about why. Because for a long hot minute I was all about the B/X D&D shit. What changed?

Well, I've always been into designing other types of systems. I've always felt that a good RPG has its own original system for maximum effect. Even though I used to be drawn to "generic" systems (GURPS, The d6 System, FUDGE, etc.) because they felt like toolkits, I also felt like they were a one size fits all... which means one size fits nobody.

You get your hands on FUDGE in the 90s and it feels fucking amazing. "You mean I can just make my own game with this?!" And yeah, you can. But hey... here's the secret: You can just make your own game without FUDGE or GURPS or D&D.

Anyway, not shitting on those games. I think FUDGE was amazing and I loved getting my mitts on it in the 90s. But the real shit is when you design a game from the ground up. You don't have to jettison stuff you don't need and you don't feel compelled to include stuff you don't need because it was already there. You just make what you want.

The reason I did so much material for B/X type games was that it was the first RPG (B/X is just cleaned up 1e, after all), it was the game I played as a young teen, and thousands of goons from my generation know it well. It's because of the vibes, not the system.

These days I'm more interested in designing games from other starting points. I don't want to be hemmed in by a set of rules that wants to do things other than what I want to do.

Aside: Isn't it weird that I feel like I have to justify my decision to NOT base a game on D&D?? Most folks reading this who don't have this problem are scratching their heads and wondering why the fuck this is a thing. But it is a thing! Perhaps it's some kind of OSR brain rot? I don't know.

See, even now my instinct is to say "I still love B/X!". But why would I have to say that? I created 8 issues of Black Pudding, a B/X-based zine. I published modules based on that game. I have nothing to prove or justify. So I am not going to tell you that I still love B/X.

I just find all this fascinating.

The Princess Lies Story Game

THE PRINCESS LIES

Setup: You and at least 2 other players who have seen the movie The Princess Bride get 5 six-sided dice each. Each of you writes at least 2 agendas (goals) on note cards. The agendas should be in conflict with the goals of characters from the movie. For example, you might write “Vizzini secretly loves Buttercup and wants to get her away so he can marry her himself.”

The film’s framing device of the grandpa and kid are not included in game play, with one exception (described below). So your agendas cannot include them.

Shuffle all the agenda cards and place the stack upside down. Each player then draws 1 card. This is your narrative agenda. Outside it, you can guide the story however you wish, keeping to the movie’s story if you prefer.

Keep your agenda entirely secret! Lie to conceal it, if you must.

Play: Someone starts by describing a scene. It doesn't have to be in the movie... it can be a scene that was implied but not shown, or one that you invented that fits into the story.

For example, you say the story begins with child Wesley arriving at the Farm as an orphan. The first thing they ask him to do is muck the stalls in the barn. When he enters the barn, he sees Buttercup playing. She says something smarmy like "You're supposed to be working."

At this point, your narration ends. You set up the scene and introduced a conflict. But you cannot be the one to narrate the outcome. Another player must step up and decide what happens next.

If more than one player wants the honor, they roll 1d6 each and whoever rolls highest wins that honor. If a player strongly wants to do it, they can gamble dice from their pool of 5d6, rolling as many of them as they wish until they run out of dice or win the roll. These gambled dice rolls are added to the original total, not counted as separate attempts.

You never recover spent dice. Once you roll them, they are gone. Regardless of an empty pool, everyone gets to roll at least 1d6 when they want to compete for narrative control. The only player excluded from competition for narrative control is the one who setup the conflict. Once a different conflict is introduced, the original player can rejoin play - even if it is technically the same scene.

When you have narrative control, you can describe the outcome of a conflict and/or change scenes. If you change scenes without resolving the conflict, someone can interject in a high pitched, worried voice with “But what happens to [fill in name of character]?” When this happens, another roll-off is initiated.

Goal: Your goal is to weave and guide the narrative to achieve the agenda written on your card. If your agenda is satisfactorily completed and the game is still going, draw another agenda. If that agenda no longer makes sense due to events that have already been described (example: "make sure Inigo fails to get revenge"... but Inigo has somehow already died), then draw another card.

The game ends when a player has no agenda and the agenda bank is empty. That player then narrates the final scene. The end.

If you really want, you can count how many agendas each player achieved and whoever has the most is the best Princess Liar.

Notes: Obviously you can play this game with another movie or story. You could do Supernatural, Lord of the Rings, Buffy, War and Peace, or whatever you want. But the whole group has to be familiar with it and agree on it.

This was just a silly idea that hit me at work Friday. I'm open to questions or suggestions, but I doubt I'll do much more with it other than maybe putting it into a PDF. 

Artists I Like: Cassegrain Didier

I think I found French artist Cassegrain Didier's Instagram a few years ago and followed him, but didn't pay much attention. I mean... I follow a few thousand people on there. I don't pretend to keep up. Stumbling upon his work again, I'm quite blown away.

I know absolutely nothing about this guy other than he's French and does comics. What strikes me about his work is that he draws very lovely figures and his approach is naturalistic... not Frazetta, but in a similar mode. Which is kind of catnip to me.

Anyway, good stuff.

 

Legendary Lives

Last year, at the suggestion of a friend, I hunted up a copy of the RPG Legendary Lives (Second Edition, 1993) by Joe Williams and Kathleen Williams. Published by Marquee Press, which I believe was the Williams' imprint.

This is a hell of a book. I mean... it's of a time. It's a wonderful example of desktop publishing and early 90s RPG design. It has many, many flaws. It has difficult material that, for that time, felt perfectly OK... just fantasy stuff. But in 2026 having a "gypsy" as a race template is quite problematic at best. But all that being said, it's a hell of a book and I'd like to talk about it a little.

"In Legendary Lives™, you'll play a hero in a fantastic realm of epic adventure." says the back cover. It boasts 26 races, an open-ended magic system, and emphasis on fast action and storytelling. It also boasts that it is the first game to have player-facing dice rolls. But they don't call it that, they call it "semi-diceless", meaning that the GM doesn't roll anything. An innovation, it seems. I'm unaware of earlier games that had this baked into the rules.

For characters, you pick a race, generate or assign stats to a healthy list of attributes, make adjustments, pick skills, and roll 1d20 to resolve tasks. Pretty standard stuff for RPG design of the time.

You have a bunch of races like nethermen, foresters, witches, and hillfolk. The term "race" is used loosely here, which I think is kinda nice. Who ever heard of the "race of foresters"? But I think maybe each race is linked to a region of the world, which means race encompasses culture. If this was made in 2026, they might go with heritage instead, which would be a better fit.

There are also a bunch of character types, such as shaman, sorcerer, bard, knight, etc. So you end up with a netherman sorcerer or a nomad spy. 

The magic is nice. There's a list of 16 or so spells that, like Ars Magica, are very broad in application. If you have the Illusion spell, then you can make all sorts of illusions. You describe what you want to accomplish and the referee (they use that dreadful term... oh well, I can just change it to Legendeer) decides how much it would cost. If that cost is more than your current spell points, you can't do it. Spell points are equal to your skill level with the spell. 

The book has a chunky section about religions and cults. A hell of a lot more than you would expect, which is pretty awesome. This kind of stuff is spread out through the game from the races, types, magic, and the setting material itself. So the world is baked right in, but not heavily. It's a game you could play in a generic world or some other setting, with a little trivial effort.

Unfortunately it doesn't appear that the game is available for purchase or download anymore. I got my copy via eBay. But here's the official website and it has links to a bunch of adventures and resources for the game. I think there was a lot of love for it, at least for a time, and at least among a small cadre of gamers.  

Artists I Like: Bryan Baugh

I've spoken about my love for Bryan Baugh's work before in this post. But he needs to be officially immortalized in my Artists I Like series.

Baugh hits the dark, campy, Halloween horror vibe like a champion. His Wulf and Batsy comic is delicious. But I already said this in my other post from 2023. But some of the links in that post are now dead, so here's where you should go to find his work: Instagram and Bryan Baugh's Monster Art and Comics.

Dead Wizards Design Log 03

Almost all my game designs include some form of "meta currency". Luck points. I got the idea originally from the TSR AD&D adventure module CB1: Conan Unchained. In that module, David "Zeb" Cook gives us a cool luck mechanic invented for the adventure to help mitigate the disparate outcomes of a typical AD&D game vs. what you see on the big screen (the module cover is literally a photo of Arnold in the Conan movie). In other words, Conan does amazing feats that are difficult to simulate if you're just playing the game straight.

Cook's idea was simple. Each PC has a set number of Luck Points that only the DM knows. You as a player have no idea who many points you have. Here's a screenshot of the text. 

I actually adore this. I've tried to use it a couple of times in one-shots with mixed results. Players need to embrace the idea and you gotta remind them to use it or they just keep playing normally.

Anyway, for Dead Wizards, there is Sand. Sand is the meta currency. Players know how much they have and they can spend it to auto-succeed in tasks or to take over narrative control of the game for a very short time (kinda like The Pool).

The auto-succeed is called a Sand Storm. The idea is the Judge rolls a secret d6 to see how many actions you can get away with. You start describing your actions. You stop when you feel like it, but once you exceed the number of actions rolled by the Judge... you're run out of luck. If you exceed it, your excess action not only fails but it fails in a terrible way. So it's a gamble.

Dead Wizards Design Log 02

Last post was about Cunning and Prowess, which are the stats PCs roll against to accomplish almost everything. But that's not the first part of character creation.

First, you come up with two Marks, or "specials". There's a list of 20 fleshed-out examples to build from. Here are a few to give you an idea what I'm talking about.

"2. You have a silver flute that was given to you “for luck” by an old woman on her deathbed. Playing it clears your mind and lets you focus. Sometimes playing the flute allows you to see solutions to problems or divine facts you could not otherwise have known."

"17. A vicious vulture plucked out one of your eyes. You know its name and nature. A desert devil, it is. A supernatural monster with part of your soul inside it. When you close your good eye and concentrate, you can see through the evil old vulture’s eyes. You can often make it fly where you like so you can see distant places. One day it may find you and try to finish the job."

Marks don't include game mechanics. The way they work is to be sorted out between player and Judge, but usually comes down a modifier to an Action Roll (Prowess or Cunning) or an Oracle (1d6)... the two mechanics used in the game.

I'm trying to keep this focused on the setting's theme, on characters, and the stuff that develops naturally through play. The mechanics underpin it, but I wouldn't call this a crunchy or fiddly system at all. 

Dead Wizards Design Log 01

Dead Wizards is a sword and sorcery RPG set in a sandy land. A bit of sand and sorcery, if you will.

The idea came up about ten years ago as an OD&D hack inspired by Corben, Howard, and Tanith Lee. Revamped it later and it changed into something completely different, becoming GOZR.

But now I'm back to the original concept. I started with GOZR mechanics as a base and I've been working from there. I stripped a few things away, added other things.

I'll try to do this as a series of posts over time, just talking about one aspect of the game or another. If you read this, feedback is greatly appreciated.

First up, the core character "stats": Prowess and Cunning. Prowess for all things physical and Cunning for everything else. Why just these two? Because in all the sword and sorcery tales I enjoy, characters deal with their world through only these two modes. I don't think any more are needed.

You roll for your stats. But like GOZR, lower is better because the stat is the target number to meet or beat on a 1d20 roll.

The roll to set the stat is 1d4+2 for each, so you can only get 3-6. A very narrow range, which is extremely on purpose and I spent a lot of time thinking about it, running simulations, and all that. It means the guy who gets a 3 and the guy who gets a 6 are still fully compatible in terms of skill.

The rolled target number is for a Basic level of difficulty. Then each level higher adds 3 to that target number. The difficulties are Basic, Arduous, Grueling, and Epic.

So if your Basic Prowess is 5, then you'd have a spread like this:

Basic 5
Arduous 8
Grueling 11
Epic 14

As with GOZR, this simply means you look at your sheet to see what your target number is. Quick and dirty. But here the Judge has options for increasing difficulty. The Judge can decide case-by-case how difficult a task is.

Bonuses to rolls are low. In most cases, you're not getting one. But you can get a +1 for some things and maybe even +2. That makes those target numbers more challenging, but not daunting. You are playing heroic, capable sword and sorcery characters... not farmers and zeroes.

Once your target numbers are set, they do not easily change. There's a way you can swap points between adventures, making Prowess 1 better and Cunning 1 worse, for example. But 3 is the hard limit. Nobody has a stat target lower than 3.

Characters are more differentiated by their histories and their special traits. More on that later. 

Setting Survey 2

Continuing from this thread, here's a few more random RPG pulls and my off-the-cuff thoughts on how they handle setting.

The Black Sword Hack by Kobayashi is a sword and sorcery RPG based on David Black's The Black Hack and is essentially Elric the RPG. It's fantastic. The majestic art of Goran Gligović makes the book shine.

Anyway... setting. In this book, the setting is strongly implied by the tone and themes with the names of locations and kingdoms scattered in random tables, such as a list of languages. There is no default map or specific setting details. Instead, you invent the setting as a group, using the setting elements of the game. For example, there's a "dusty, crumbling empire" called Askavian and a little set of events that could happen in relation to it. But that's about it. The rest is up to you.

The book includes a nice little example setting by Evlyn Moreau.

It's a good approach. If I remember correctly, Orkworld did a similar thing. In that game there is a map without names and you put the various setting locations wherever you want. Either way, these approaches are a hybrid between a written setting and tools for creating your own setting.

Heavy Metal Thunder Mouse by Derek A. Kamal with illustrations by Jacob Hunt is a game about mice and rats in motorcycle clubs. I think this is a FATE-based game and is explicitly called a storytelling game by the author. The way it handles setting is very simple: the game is set in Thunder City, a fictional city on the west coast (of the USA, I think). It's a commerce town, a young town, a place to seek your fortune. The first page of the game is a little map of Thunder City.

So that's a pretty straightforward way of handling setting. But since this is a storytelling game, they aren't overly concerned with laying out every street and dive bar. It's pretty open ended, I think. There's a lot of descriptions of motorcycle gangs, clubhouses, and so forth. Fun.