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The Other Appendix N

The Other Appendix N

runequest2coverThe death of Gary Gygax, co-creator of Dungeons & Dragons and one of the fathers of the roleplaying game, provided added impetus to the already-extant (in 2008) re-evaluation and appreciation of what have come to be popularly known as “old school” roleplaying games. An important part of that re-evaluation centers on the literary origins of RPGs, particularly the books that fired the imaginations of their designers. Gygax helpfully provided us with a list of the authors who were, in his words, “of particular inspiration” to him. This list is now known quite widely simply as “Appendix N,” since it first appeared as just that, a lettered appendix at the back of his Dungeon Masters Guide (1979).

Appendix N has been much discussed over the last half-decade, becoming a significant talking point for those interested in the origins of the hobby of roleplaying. For example, there is much debate regarding the extent to which D&D truly captures the spirit of the books Gygax presented as being “the most immediate influences.” So energetic has the discussion of Appendix N become that it has not only spilled over into the wider world of fantasy (including this very site), but it has led to a mini-revival in pulp fantasy, with authors such as Abraham Merritt, Fletcher Pratt, and Margaret St. Clair (to cite but three on Gygax’s list) receiving more attention in recent years than they probably have in decades. Within the roleplaying hobby itself, Appendix N is well on its way to becoming a “brand,” with at least one RPG, Goodman Games’s Dungeon Crawl Classics, heavily promoting its own adherence to Gygax’s canon as one of its major selling points.

The creators of other early roleplaying games were usually not as forthcoming in acknowledging their literary inspirations, though there are, of course, exceptions, such as Steve Perrin and Ray Turney’s RuneQuest. First published in 1978, RuneQuest is, in its own words, “a departure from most FRP (as they are abbreviated) games” in that it is “tied to a particular world, Glorantha.” The brainchild of Greg Stafford, Glorantha is a fantasy world evocative of ancient history and myth and one of the most enduring settings in the hobby. For that reason, Glorantha is also frequently described as being both complex and idiosyncratic to the point of being inaccessible to newcomers.

I do not share this judgment of Glorantha, but I understand why some might make this claim. Fortunately, its designers offered some insight into their own inspirations in a bibliography that they coincidentally also labeled “Appendix N,” a full year before Gygax would use the same designation. Like Gygax’s own list, it is not exhaustive, but only “contains those [books] we felt exemplary or exceptional.” RuneQuests Appendix N one-ups Gygax, in my opinion, by being an annotated bibliography, which provides additional insight into not just what books and authors were inspirational, but why.

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Unleash your inner Conan with Barbarian Kings

Unleash your inner Conan with Barbarian Kings

Barbarian Kings SPI-smallMagic Spells and Enchantments! Elves and Orcs and Dwarves! Airships and Pirate Fleets! Heroes and Wizards and… Barbarian Kings.

That’s the cover copy on the boxed version of Barbarian Kings, one of the most fascinating games from my childhood, a game clearly inspired in equal measure by Robert E. Howard and J.R.R. Tolkien. Except for the airships, which I think maybe was an attempt to throw in a little Edgar Rice Burroughs and John Carter of Mars.

My fascination didn’t stem from any virtue of the game design. In fact, I never even had the chance to play it when it was first released in 1980. But it loomed large in my imagination.

Barbarian Kings was originally published in Ares #3. I’ve mentioned Ares before — it was the short-lived (and today, highly collectible) magazine published by SPI that included a science fiction or fantasy board game in every issue.

And what games they were. Star Trader, simulating high-stakes interstellar trade, commerce, and piracy; The High Crusade, inspired by Poul Anderson’s classic novel of a medieval conquest of the galaxy; Nightmare House, which featured intrepid explorers venturing into a haunted house; Voyage of the B.S.M. Pandora, a solitaire game of interstellar exploration on savage worlds; The Omega War, simulating a post-apocalyptic battle on a war-scarred North America in 2419. And nearly a dozen others.

And in issue #3, it was Barbarian Kings, a simple but compelling game of fantasy empires in conflict for 2-5 players. The Jack Kirby-inspired art on the cover communicated just about everything you needed to know (click on the image at right for a bigger version). This was a game of empire building in a world of dwarves, orcs, and magic, just like any of a hundred fantasy novels crowding the shelves in the 70s. It was a compact theatre of the imagination that could drop you smack dab into your favorite fantasy setting and let you run rampant with an army at your back. And airships. Let’s not forget the airships.

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Robert E. Howard and Appendix N: Advanced Readings in D&D

Robert E. Howard and Appendix N: Advanced Readings in D&D

Weird Tales July 1936 Red NailsGary Gygax’s famous Appendix N, the list of titles he considered essential reading for Dungeon Masters hoping to create authentic adventures for their players, is perhaps the purest distillation of the literary recipe at the heart of modern adventure gaming.

Gygax put Appendix N in the back of his Dungeon Master’s Guide in 1979. Read all the writers on that list and you’ll understand the creative gestalt underlying 20th Century fantasy that eventually exploded into Dungeons & Dragons in 1974.

That’s the theory, anyway. Plenty of people have tried it. It’s sort of the gamer’s version of going walkabout. Immerse yourself in Appendix N and spiritual understanding will be yours. Plus, as a bonus, you end up with a rockin’ library.

Tim Callahan and Mordicai Knode are attempting this spiritual journey together, and they’re chronicling it at Tor.com. They begin with a look at Robert E. Howard’s Conan story “Red Nails,” originally published in the July 1936 issue of Weird Tales:

There is a giant mega-dungeon; it hardly gets more D&D than that. The two elements that really strike home here in terms of inspiration are the populated dungeons as its own character of rivalry and strife, and black magic. The city as one massive labyrinth is great, as is the characterization of its architecture & embellishment — gleaming corridors of jade set with luminescent jewels, friezes of Babylonianesque or Aztecish builders — but it is the logic of the city that shines brightest to me. “Why don’t the people leave?” There are dragons in the forest. “What do the people eat?” They have fruit that grows just off the air. “Where do all these monsters come from?” There are crypts of forgotten wizard-kings. There is a meaningful cohesion to the place; Howard manages to stitch dinosaurs, radioactive skulls, Hatfields and McCoys, and ageless princesses into something cogent.

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Fantasy Face-Off: Henry Kuttner’s Elak of Atlantis vs. Robert E Howard’s Conan the Cimmerian

Fantasy Face-Off: Henry Kuttner’s Elak of Atlantis vs. Robert E Howard’s Conan the Cimmerian

Weird Tales, July 1938, featuring Elak of Atlantis in "Spawn of Dagon"
Weird Tales, July 1938, featuring Elak of Atlantis in “Spawn of Dagon”

Now, before I start actually looking at these two heroes, I should probably explain why I’m doing what I’m doing.

You see, when Robert E Howard — creator of the sword and sorcery sub-genre, bare-fisted boxer, and all-round amazing writer — killed himself at the age of thirty, he left a pretty substantial gap in the pulp fiction market, one that was very hard to fill, but one that had to be filled. So Henry Kuttner, a fellow writer more famous for his science fiction than his fantasy, was called in to take up the sword and sorcery mantle — and stumbled in doing so.

The blurb describes the Elak stories as “exciting tales that helped establish a genre,” and “a major step in the evolution of the genre.” (I read Gateways kindle collection.)

Yeah that’s… an overstatement, not much more than a writer’s hyperbole. To be frank, the Elak tales are most easily comparable to a Saturday morning cartoon or a SyFy B-movie, what with all the hackneyed prose and clichéd characters.

Kuttner makes no attempt to advance the formula that Howard established, no attempt to evolve the genre as the over-enthusiastic blurb suggests. What you get instead is a readable adventure, entertaining, but not much more; it’s plot and prose, its action and characters merging with all the other yarns you’ve read and books you’ve consumed.

But then perhaps that’s the point. Pulp is meant to entertain; it’s not The Lord of the Rings or The Game of Thrones, it’s not supposed to make you think or take sides, not intended to evolve anything. Just to entertain.

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Vintage Treasures: Robert E. Howard’s Cthulhu: The Mythos and Kindred Horrors

Vintage Treasures: Robert E. Howard’s Cthulhu: The Mythos and Kindred Horrors

Robert E Howard Cthulhu The Mythos and Kindred HorrorsOn April 27, I wrote a Vintage Treasures article about Robert E. Howard’s The People of the Black Circle, one of the first fantasy books I ever owned.

The Comments section quickly became a discussion of REH collecting, with readers swapping photos of their favorite Howard books. Joe H. shared a LibrayThing catalog of his Howard collection, noting the hardest title to find had been Cthluhu: The Mythos and Kindred Horrors. “It took me years to track down a copy,” he said.

Well, that’s exactly the kind of thing that perks up a collector’s ears. Intrigued,  I went on a quest to find my own copy of Cthluhu: The Mythos and Kindred Horrors, a collection of Robert E. Howard’s Cthulhu stories.

I finally succeeded this week, after a two-week search. I settled in with my new copy today. First thing I noticed is that the cover, by Stephen Hickman, depicts a treasured artifact from my own collection: the Hickman-designed Cthulhu statute by Bowen Designs — a prized collectible these days. Now that it’s worth something, maybe my wife will let me bring it up out of the basement.

The other thing I noticed is that this is a sizable collection: 250 pages. While I knew Howard had made some minor contributions to Lovecraft’s famous milieu before his death, I had no idea he’d written so many stories that could be categorized as part of the Cthulhu Mythos.

Perhaps editor David Drake has been fairly liberal with his selections. I note that “Pigeons from Hell” is included, and that’s only peripherally a Cthulhu story — but it’s a damn good tale, so I’m not complaining.

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Why is it Always a Northern Barbarian?

Why is it Always a Northern Barbarian?

Taras BulbaMy mother was Spanish and my father was Polish, so there was a little north vs. south going on in my home all the time as I was growing up. My mum would encourage us to watch Zorro and El Cid, my dad was all for Taras Bulba and whoever else Yul Brynner was portraying that week on late night TV. When my mother would make remarks about the superiority of the Mediterranean culture, my father would remind her that the Spanish culture, at least, came mostly from the Moors, and that Rome fell, crushed beneath the heels of the – you guessed it – northern barbarians.

Aside to the historically educated: Yes, I know that isn’t exactly what happened. Otherwise, why did it take Gibbon seven volumes to write The Decline and Fall of the Roman Empire? I’m not talking history here, I’m talking popular (mis)conceptions.

Last week I took a look at the rise of the hero in popular culture – by which I meant not just among our genre-respecting selves, but with all those other people. This week I’d like to take a look at where heroes come from – or where we expect them to come from.

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Vintage Treasures: The People of the Black Circle by Robert E. Howard

Vintage Treasures: The People of the Black Circle by Robert E. Howard

people-of-the-black-circleI may have more books by Robert E. Howard in my collection than any other writer.

I’m not certain, as I haven’t counted, and if you allow anthologies then he’ll be beaten out handily by folks like Isaac Asimov and Martin H. Greenberg. But the venerable Mr. Howard occupies more than two shelves in my library, which is astounding for someone who died at the age of thirty.

I came to Howard early. The first story I read by REH was “Pigeons from Hell,” which Charles Saunders mentioned in a speech he gave to the Ottawa Science Fiction Society in 1981, the year his groundbreaking Imaro was released. “Horror doesn’t usually scare me,” he told us. “‘Pigeons From Hell’ scared me.”

I think the second REH tale I read was the Solomon Kane tale “Skulls in the Stars,” which I enjoyed even more. (I wrote about the two Bantam Solomon Kane collections, Skulls in the Stars and The Hills of the Dead, last year.)

But I wasn’t a Conan fan. Most of it was prejudice — in those days, all those novels with barbarians on the cover were considered the lowest form of fantasy, and I generally snubbed them. Oddly, I don’t think I even associated Conan with Robert E. Howard.

I surreptitiously tried a Conan book in my early teens, a collection of tales mostly by L. Sprague de Camp and Lin Carter, if I remember correctly. Didn’t impress me. That was all I needed to confirm that I was better than this stuff and return to reading books of quality, like Perry Rhodan and Alfred Hitchcock and the Three Investigators.

All that began to change with The People of the Black Circle, a Christmas gift from my brother Michael.

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Blue Sonja: The Last Red Sonja Post

Blue Sonja: The Last Red Sonja Post

Unchained 1 BlueI started this series of posts with the intention of only writing one. “In Defense of Red Sonja” was meant to be a stand-alone post about how the character was more than just a female version of Conan the Barbarian, more than just a fan-service redhead in a chain mail bikini, more than a misogynist rape-challenge. I’ve been collecting comics from the “Bronze Age” (approximately 1970 through 1985) for years and Red Sonja wasn’t the only female character to pop up. There was Spider-Woman, She-Hulk, Ms. Marvel … all clearly starting as female versions of established male heroes and all eventually transcending those limits to become their own concepts.

That first post quickly grew in size, reaching over three-thousand words before even going into her appearances in Marvel Feature or her self-titled book. As it covered three distinct themes (how she differed from Conan, where the bikini came from, what the vow meant), I thought it would be better to break it into three separate articles. By the time the third post came out, I’d gotten enough positive reaction that I thought it might be nice to keep exploring how the character grew over the course of her own title. It was at this point that I realized just how much humor got slipped in to various panels of the title, which got me in the habit of highlighting a couple images each week. The novels and film were good ways to show how the character translated into other media, as well as how she was still evolving. And it was all a lot of fun.

So why is this the end? There were two more Marvel Comics series in the early eighties, as well as two Dynamite Entertainment series (Red Sonja and Queen Sonja) currently running. Not to mention a slew of one-shots and mini-series. I’ve got enough material to easily keep this column running at least another three years. And it is tempting to try.

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Red Sonja: The Movie

Red Sonja: The Movie

Red Sonja filmAfter watching the Red Sonja film, many viewers will find themselves asking why the film was made. Who was responsible? How could such a thing happen?

It began in 1982, with the release of Conan the Barbarian. That film’s success led to the release, two years later, of the far cheesier Conan the Destroyer. Red Sonja appeared the following year, bringing an embarrassing end to what could have been the sword & sorcery equivalent of James Bond.

But first, the plot. After resisting the sexual advances of Queen Gedren, the evil lesbian sorceress has Sonja’s entire family murdered before ordering her men to rape her.

No, really, save your complaints until the end of the review.

Sonja is visited by a ghost that gives her the strength to best any foe in combat. After training for an indeterminate amount of time, Sonja is approached by Lord Kalidor (played by Schwarzenegger as basically Conan with pants), who takes Sonja to visit her dying sister.

Yes yes yes, her entire family was killed ten minutes earlier, but apparently her sister Varna was out with friends or something.

Varna warns Sonja that Queen Gedren has gotten hold of the Talisman (gah, think of cooler names for your artifacts), which will give her the ability to rule the world by causing earthquakes. Or something. The Talisman can only be touched by a woman, so Varna makes Sonja swear she will destroy it. After swearing an oath and building a funeral pyre for sis, Sonja goes off on her quest. She is followed by Kalidor, as well as the boy-prince Tarn and his assistant, Falkon. They fight some bandits, the phoniest-looking sea monster you’ll ever see (seriously, even the characters realize it’s just a prop), and finally the evil witch-queen herself. Spoilers, the Talisman is destroyed, Red Sonja pretty much chucks her vow, and the Conan film franchise is forced into hibernation for decades.

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Red Sonja: The Novels

Red Sonja: The Novels

Red Sonja 1 - The Ring of IkribuIn late 1981, Red Sonja finished her orbit from Robert E. Howard character to Conan supporting cast member to comic book heroine and back to text. Writers David C. Smith and Richard L. Tierney were commissioned to write six Red Sonja novels. Their take on the character was uniquely their own, yet there’s enough of the character’s trademarks to leave no doubt these are Red Sonja novels and not just generic adventure tales with a recognizable name pasted over them.

The series began with The Ring of Ikribu, first published in December 1981. After a brief introduction by Roy Thomas (wherein the origins of the character are explained), the story opens with Asroth (an evil wizard) chewing out one of his lieutenants for failing to locate the titular ring. As punishment, he magically rearranges the lieutenant’s face into some sort of Lovecraftian unspeakable horror. Shifting locations, we learn that Asroth has seized the kingdom of Suthad with an army of ghosts. The ousted king, Olin, is gathering a mercenary army to take back Suthad and Red Sonja is one of those mercenaries. Also amongst the mercenaries is Duke Pelides, the aforementioned lieutenant who is now forced to wear a mask at all times. Olin wants the return of his kingdom, Pelides wants revenge, and Sonja just wants to get paid. Of course, as is the way with Sonja, she slowly becomes emotionally invested in those around her and eventually the money ceases to be her driving motivation. In less than two-hundred and fifty pages, the novel does a good job of conveying the sense of a long, grueling campaign without actually become monotonous.

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