Blackmoor Vituperative

Years ago, while watching The Wraith, I wondered out loud why “cool” villains like Dracula (or Nick Cassavetes in The Wraith) were always surrounded by incompetent creeps and toadies like Renfield (or “Skank” in The Wraith) — people I wouldn’t trust to guard an egg salad sandwich. Her reply was, in essence, because those are the kinds of followers they deserve — that they are not, in fact, “cool” at all.

I am reminded of that conversation whenever I read comments by Larry Correia and Brad Torgersen where they make weak attempts to distance themselves from Theodore Beale without distancing themselves from what Beale says or does. When you find yourself on the same side as the Theodore Beales of the world, it’s time to reevaluate your position.

Ran across this (“Cinematic Lightsaber Dueling“) today, which reminded me of an ongoing game-design problem that I have never solved to my own satisfaction. In the source media from which I draw inspiration for my own games, it is often the case that a combat ends when one opponent successfully hits the other: a single hit ends the fight. This isn’t the case for every fight, even within a single genre — fistfights, in particular, tend to lend themselves more to the traditional “whittling down the hit points” game mechanic. But in duels with lethal weapons — whether using lightsabers, phasers, or rapiers — a single successful hit tends to end the combat.

The biggest problem is not in coming up with a game mechanic to replicate this. The “Extended Tasks” rules in Bulletproof Blues, for example, could easily be used to model this sort of combat. The hurdle for me is combining this type of conflict with the more traditional “whittling down the hit points” combat in the same fight. They don’t really work together.

At the moment, I am thinking that a possible solution might be to use the same “Extended Tasks” style of resolution for conflicts that seem, on the surface, to be more traditional fights, and treating the “whittling down the hitpoints” as a “special effect” rather than a fixed number representing a concrete (rather than abstract) effect.

It occurs to me that way back in the day (the early to mid 1980s), this is how some people interpreted combat in AD&D (first edition, although of course we did not call it that back then). It was not a widely held interpretation, and was observed more in theory than in practice even among its proponents.

Just watched Hustle & Flow. To my surprise, I liked it a lot. Craig Brewer and John Singleton get the South. They get it.

Everybody gotta have a dream.

Exactly one year ago, I held a rum-tasting at the Midnight Frights​ party at RavenCon​. The best one we tried was the 12-year rum from Trinidad, followed closely by the 5-year rum from Barbados. The 8-year rum from Haiti was a distant third. The New Orleans rum and the Cruzan 5-to-12-year rum were not very good, but perfectly serviceable when mixed with orange/pineapple/banana juice and ginger ale.

(I am posting this here so that I can easily find it when I am at the liquor store. If you find it useful, that’s a bonus.)

Just finished watching Gaslight (1944), with Charles Boyer, Ingrid Bergman, and Joseph Cotten. It’s interesting to contrast Cotten’s performance in this with his role in Shadow Of A Doubt, released the previous year. If you’ve not seen these two films, I suggest that you do.

And is that a very young Angela Lansbury as the saucy house maid with aspirations “above her station”? Why yes, it is! In truth, I did not recognize her. I only know this because I read the credits.

When confronted with the “antis” — anti-immigrant, anti-gay, anti-gun, anti-women, anti-science, anti-South, anti-sex, etc. — who seem so devoted to their agendas of hatred, ignorance, and irrational fear, I am reminded of a line from Anaïs Nin‘s “Seduction of the Minotaur” (echoing a much older idea):

We do not see things as they are, we see them as we are.

Just watched Lucy with Susan and Vixen. Vixen and I LOVED it. What the Matrix is to computer science, Lucy is to biology. No, it does not make sense, and in fact it’s absurd on several levels, but it is nonetheless AWESOME and perhaps even mind-blowing. And much like the Matrix, any sequel(s) would be both superfluous and inevitably disappointing.

Vixen agrees.

I was at a restaurant once, and the widescreen TVs were set to non-widescreen stations, with the image squashed vertically (or stretched horizontally, potayto potahto) to fit. That was bad enough. But then the show itself had a person standing in front of a TV (it was some kind of “news” show or something), and THAT TV was a widescreen TV showing a squashed 4:3 image.

How can anyone not notice how wrong this is?

WHY ARE YOU DOING THIS? STOP DOING IT!

I do not paint miniatures anymore. It takes me a very long time, and I simply have too many projects as it is.

Still, by the time I stopped, I think I had gotten pretty good at it. Below are the painted figures I have held on to, from oldest to newest. The oldest was painted in the early 1990s. The most recent was painted in 2009 or so.

How many of you remember with fondness the 1973 “Dr. Phibes’ Abominable Christmas Special”?

“Twelve signs of the zodiac. Twelve apostles. Twelve times, twelve! The human body has twelve cranial nerves, Doctor. … I will now play the Twelve Days Of Christmas. Ho. Ho. Ho.”
(from “Dr. Phibes’ Abominable Christmas Special”, 1973)

Dr. Phibes’ Abominable Christmas Special was a Christmas-themed television special starring Vincent Price broadcast December 23, 1973 on ABC. It featured guest star Joseph Cotten in a reprisal of his role as Dr. Vesalius from The Abominable Dr. Phibes. Also guest starring were Virginia North as Vulnavia, Billie Hayes as Witchiepoo from “H.R. Pufnstuf”, Tim Conway, Roz Kelly, Florence Henderson, rock band Pink Floyd, Billy Barty, Betty White and, in an unbilled surprise appearance, Sonny and Cher (whose own Christmas episode of the hit show “The Sonny & Cher Comedy Hour” had been broadcast on CBS four days earlier, on December 19, 1973).

The 1983 Japanese LaserDisc release is the only issue of this special on disc due to the rights issues involved with the various characters and musical performances. The special was announced for DVD release in 2002 but then cancelled when rights could not be obtained, and Disney now claims rights clearances are impossible.