JVW Tropes

Here are some elements of my RPGs and comics and general art that keep recurring. I felt like making a list of them because sometimes you have to reflect to understand.

• Sexy plump women. I cannot lie. This is a theme I adore and I'll probably be doodling boobs on the day I die, possibly smiling. I mean you no harm.

• Wyverns. I just like drawing them. Serpents in general, but wyverns in particular keep popping up as common monsters in my RPGs stuff. I like the idea of the mountains being thick with all kinds of wyverns. But, oddly, I rarely talk about dragons. Both Yria (Black Pudding) and GOZR are thick with the things.

• Serpents. See above, but also snakes and huge long serpent monsters. Especially in conflict with naked barbarians. Classic.

• Petrified eyeballs. I've mentioned them in many random roll tables and in monster and class descriptions.

• Skulls.

• Witches. I tend to draw a lot of magic women.

• Robots. Even in a fantasy piece, I often stick in a robot. I like genre-bending. Yria has the botten, which are machine people.

• Spattered and colorful space scenes. Lots of wild clouds and nebulae and shit like that. Maybe some Kirby Krackle too.

• Liquids on people. Blood, mostly.

• Ruins. Crumbling ruins.

Zarp

Here's a bit of a meandering post about my devil character Zarp, who you might have seen around since I use him in almost every profile pic I have.

Origin

I created this red guy in 2001 and he appeared in several comics I published, including various issues of Random Order Comics & Games. Later, around 2006, his stories were collected by Twisted Gate into a single issue simply called Zarp. The only place I know of that you could have purchased that comic was at the 2006 Small Press and Alternative Comics Expo. Or perhaps online.

At the time I created him, I was pretty depressed. 2000 was not a good year for me. I came out of the 90s with most of my professional dreams basically crushed because they were unrealistic and I didn't understand what was required of me to see them fulfilled. And, honestly, I didn't even know what I wanted. Zarp was this cynical little bastard who was fun to draw and expressed some of my darker energy at the time. He was a seeker. He was always looking for something, being paid to do gigs or discovering treasures and living a hobo lifestyle. He was a little red devil Conan.

Zarp was partially inspired by Hot Stuff and Cerebus, no dobut.

Hot Stuff!

I cannot remember exactly how Zarp came to be. I have some chicken scratching in journals where his name appears or where an early version of him is doodled. But it didn't take long for him to form on the page. I didn't spend long in development of this idea. And, I think, he was always lurking there just beyond the light. And I think it was the famous Hot Stuff the Little Devil that formed the iconic inspiration for his appearance. That and a dash of Conan via Cerebus the Aardvark.

When I was about 8 years old, someone in the family gave me a stack of old comic books. That was 1979. The comics were all funnies, such as Casper, Donald Duck, and Hot Stuff. They were already in bad shape when I got them. I have no idea what became of that stack of books. Wish I still had them. I probably underestimate the degree to which they influenced me.

Maybe 2 years later I got a 3-pack of Smurfs comics. I don't remember much about them, but it must have been the Marvel Comics 3 issue series. They were all bagged together. I think those were also kind of seminal to my internal view of art. I think Zarp's look has something of Smurfs in it as well.

And Now?

I have revisited this character over and over, in my sketches and noodlings. Always with the intent of doing more comics. But inevitably I gravitate away from him for some reason. It's like he lives on and more fiercely as my mascot. Just an icon on a screen. Though I did create a 16 page Zarp story last year called Eggsuckers, which I am currently coloring for inclusion in an upcoming comic book.

I'm crossing my fingers that the little prick will show his face more frequently in my inspirations so I can put him in more comics. We'll see, I guess. If not, I'm happy to have him around as an occasional party crasher.

A Reflection on Dead Wizards

EDIT: I changed the name from Dead Wizards to Sand in the Bone for various reasons. This post is talking about the same game.

What follows is a long-winded reflection on Dead Wizards* and where it is headed for the future.

This might be the first time I mention the game in the blog:

My good friend Cyd is running a Penny Hack for us on Mondays, which is probably wrapping up soon. At that point I will ask my cohorts to indulge me once again and dive into a campaign that is largely inspired by mixing up Tanith Lee, Robert E. Howard, Frank Frazetta, and Richard Corben. Some good ole S&S in a project I've been calling Dead Wizards (or Kanebok... not sure how it will appear yet). I ran this once before and it was nice but this is a totally revamped version. Trying some ideas. Breaking the old game down and working from its bones to make a new toy. If all goes well, this will be one of my 2017 publishing projects.

But that was 2017 and I know for a fact I ran a Dead Wizards playtest locally almost 4 years ago. Or something like that.

This all started when I looked at Swords & Wizardry White Box and fell in love with the simplicity of the single saving throw. Somehow that morphed into a desire to make a sword and sorcery RPG which somehow morphed into sand and sorcery.

Sand and Sorcery

(Which, BTW, might make a killer game title.)

I am not sure if this label has a distinct definition. If it does, I am unaware. But it is what I use to describe Dead Wizards. All I mean by it is that the genre is sword and sorcery and that the setting has

a desert sands flavor.

First, about sword and sorcery. To me, S&S is fantasy wherein magic is both uncommon (but not necessarily "rare") and dangerous. There are no high elf good witches here. The genre sometimes has a bleak view of humanity too. But all I'm really concerned about is that the magic is uncommon and the heroes are larger than life - but still all-too-human. If you are a person who turns into a cat, then  you are weird and dangerous to others, not special and magical.

The sand bit is a little harder to nail down. I am not interested in making fantasy Arabia, but I am interested in riffing on some of the fantasy Arabian tropes. I'm also borrowing heavily from various African cultures and even dipping a little bit into India and southeast Asia. But none of them are the model and this setting isn't a representation of any real world analog. It is fantasy, pure and simple, wherein the people are not white and the landscape is not European.

If that is confusing all I can say is I'm going to try really fucking hard to practice "show, don't tell" with the presentation of this game.

And on to that reflection stuff

So the game began its life as a S&W hack. I ran one or two sessions in that vein, which were fine. Then I broke away for a while to do Rabbits & Rangers and when I came back to it I tried to design an original system, but with lots of S&W bits. The system was kind of modeled on the old descending AC from D&D. You had three categories and for each you'd have a to-hit table. That playtest was short but went OK as well. I still wasn't feeling it, though. I ran a few sessions of it and then my mom got sick and I kind of fell away from running games for a bit.

The next stab I took at it was even more of a non-OSR system. This time no playtesting took place. And now I'm back at it with another redesign. This one feels more right than ever before. An important element fell into place recently where a piece of the setting kind of clicked with the system. Namely, sand.

Since sand is everywhere in the setting, I thought what a great way to express it - have a "sand" category on your character sheet. Sand is how much willpower you can exercise over the world in which you live. The powers-that-be express their will on the world, and sand is their blood. So characters can use sand to express narrative control in the game.

This takes me back, back in time to 2001 when I wrote The Pool. The same concept is at play here. There is a bit of a gamble to the use of sand and the payoff is narrative control. This idea is what I remember being the most powerful and prescient impression I got from The Forge. This simple notion that a player could do some of the work that a GM is normally doing. Of course that idea blew up after those days and now we have probably hundreds of games devoted passionately to narrative gaming. Back then, not so much.

To be clear, this is not a story game. It would be fine it if was, but it isn't. This is a traditional RPG in the sense that you have a GM and players and the GM is responsible for setting the stage, describing things, and adjudication. But, like The Pool, this game allows for some degree of narrative control to go to the players via the sand mechanic.

I'll speak more about sand later. I've yammered enough tonight.

*I decided it was preemptive to bold and italicize a game that doesn't yet exist. So until I actually have a manuscript, I won't bold and italicize Dead Wizards like I normally would. It doesn't matter, I know. Stop judging me. My blog, my rules.

More posts about this game over the last few years:

Playtest #3
A Bit of Dead Wizards
Drawing Gaj'Uth the Three Headed Elephant