Eric's Archive
Entries 31-40

Those who forget the past
Are doomed to reread it.

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Entries 41-50
Entry 40 October 1 2004
Entry 39 September 28 2004
Entry 38 September 25 2004
Entry 37 September 22 2004
Entry 36 September 19 2004
Entry 35 September 16 2004
Entry 34 September 13 2004
Entry 33 September 10 2004
Entry 32 September 7 2004
Entry 31 September 4 2004
Entries 21-30
Archive


The Killer Penguin Death Squad and Friends; Plus, No Bonus feature

By now, most of you (but not all, I know this for a fact) have heard that, this summer, I began the gamer equivalent of doing drugs: I started playing Warhammer. To be more specific, I began playing Warhammer 40K (which is kind of like saying, I started taking cocaine) as opposed to Warhammer Fantasy (which would be like saying, I took up shooting crack). Readers who know the game might be interested to know that the army I chose was the Necrons, which will come as no shock at all. For people who don't know the significance of this, I may make it the subject of a future Entry, if asked. In any case, after a ridiculous number of hours spent painting and gluing and a painful amount of money spent on figures and equipment (I have a well paying job; it's good to be the chosen of a god), my army is now utterly, completly, and totally finished, with every figure I could possibly need now ready to be fielded and used if required, with the exception of one last Heavy Destroyer, which I wanted to paint tonight but couldn't because the glue was drying too slowly. The point is, now that every single piece is playable and in my possession, I thought Readers might have some interest in reading about the army. If Readers are not in fact interested in this, I refer you to the helpful disclaimer posted at the end of every Entry.

So anyway.

The total number of figures in my collections is in excess of 120 models, depending on whether or not one counts the Big Freaking Tanks as single models. The way the game works, of course, I cannot field all of these at one time, but my army is able to reach the lofty heights of a 5000 point army list, which is essentially the nigh-unreachable target number of the biggest single army one can possibly have. No matter what Necron unit I want to use, I have the ability to put out one full unit of it at least. I actually have two monoliths (by mistake) and way more Lords than I could legally use, even in a game allowing three or four detachments. None of this, however, I expect, is very interesting to anybody... no, what my Readers want to hear about is the backstory.

First off, my army is not actually Necrons... it's the Imperial Guard Warhammer 40K Grand Battle Force, a divison of the Aerican Imperial military which is stationed at the Aerican Embassy to Everything Else. Necrons figures and stats are used purely for convenience; Games Workshop is not likely to release Codex: Aerican Empire in the near future. Under direct command of the Emperor, the Grand Battle Force takes part in large scale simulated combat on a regular basis. Two elite warrior groups and four rellatively expendable squads make up the main troop body, which is supplemented by a variety of special units.

Foremost in the Battle Force is the Killer Penguin Death Squad, the elite warriors squadron of the Aerican Empire. Never before defeated in combat, the Killer Penguin Death Squad is the most feared group of combatants in the Empire, and their gauss weapons, coupled with their ability to shrug off hits that would decimate forces of any other army, make them a formidable force. Rarely seen at the forefront of a battle, the Killer Penguin Death Squad is deployed in the most difficult and challenging combat missions facing the Battle Force.

The second elite unit attached to the Grand Battle Force is the Flag-Bearer squad. The Flag Bearers march into battle wearing the Imperial colours of red, white, black, and yellow, and the sight of their skull-like smiley-faces is feared to a degree second only to the Killer Penguin Death Squad among the Empire's enemies. Primarily a ceremonial unit and thus rarely seeing combat, the Flag Bearers are none-the-less composed of twelve of the most elite warriors in the Battle Force, and each warrior faces battle with a smile.

The remaining four squads of twelve warriors each are the Nightrunners, the Battle Lords, the Cleaners, and the Survivors. The Nightrunners are the Imperial unit which has seen the most combat as a whole, and their gleaming black hides and glowing red eyes are synonymous with the inexolerable march of the Empire's forces. The Battle Lords and Cleaners are the Empire's all-purpose fighting force, supporting the other units as needed. Finally, the Survivors are just that -- surviving warriors from other, less-fortunate units where only one or two warriors survived previous combat. The Survivors are thus the most diverse unit, as each member retains the uniforms and colours of their old units, including such diverse fallen squads as the Frogmen, the Agents, the Superconductors, the Stormtroopers, and the Googlies.

Supporting the warriors squads are units of wraiths, tomb spyders, destroyers, heavy destroyers, flayed ones, immortals, and pariahs, as well as two Monolith tanks, several Lords, one Destroyer Lord, and two warriors who are units unto themselves, the Nightbringer and the Deceiver. Most of these forces have no special differentiation, save for the four unique tomb spyders (Entamological Thingamabob, Big Shiny Battlecraft, Vile Mandibled Horror, and Foul Engine of Destruction). The Destroyers too are broken down into squads (The Elementals, the Heavy Metals, and the Landskimmers), but no one really cares about them.

Thus, we have the Imperial Grand Battle Force, of which more can be said but little more would be read by people who don't play Warhammer.

Also, there was going to be a Bonus Feature tonight, but I'm watching Shaun of the Dead for the second time today instead, and then I'm going to bed.



Have Fun Brainstorming the Castle!

I have been asked, from time to time, how I go about writing games. On the surface, this is a reasonable question; I run what I consider to be fairly sucessful and popular games, and I follow, both biologically and philosophically, in the footsteps of people who have run popular games, so when people (and not just my own players) want to learn how to storytell, it is natural (and pleasing) that they come to me looking for advice. I'm useless in that respect, of course, but it's nice none-the-less.

Every storyteller writes games in their own way. In my experience, there are three distinct styles of preparation, which can be further broken down into as many sub-categories as there are storytellers. The three basic categories, though, are

The Notetaker, which is, in my experience, three out of every four storytellers and thus includes some of the best and some of the worst I've played with, build everything from scratch. They keep meticulous notes, in their heads as often as on paper. Everything in their games is categorized, organized, planned, considered, supported, and contingencied. The major characters in the game have backstories that would take five or more pages of text, and it's usually all been layed out. The Notetaker plans *everything* and is often (but not always) completly fraaled if they don't have time to plan a session one week, or if something catastrophic happens due to the players.

The Populator plans out only the bare bones of a story and world, allowing the players to shape the storyline any way they choose. The Populator, however, outdoes the Notetaker on the dimension of characters and places. If a character is of any importance, they have a name, a backstory, a character picture, a family, friends, enemies, favourite foods, hobbies, shoe brands, toothpastes... This is a good way to run a Vampire game, and I've seen it used to great effect; the city is filled with characters but there's no story until the players start angering the wrong people.

Lastly, the Outliner broadly defines everything in a very vague sense, leaving as much open as possible. Characters are frequently not named until they're encountered, cities are generally not layed out until players look for a particular shop, and storylines are rarely planned out in anything resembling detail. The Outliner, however, will select one aspect of the game to set in stone and, from that point, build out everything else. I fit myself into this category, and my pivot points are quotes and climaxes. I will almost never sit down and actually write a story -- I come up with three or four lines of dialogue that I want to use, I plan the climactic sequence (usually a fight, but not always), and then I let the players decide what the story is and how they get to the bits I plan to use. If the process is done well, the players don't really realise that they're the ones writing the plot, and even when they do know it, they rarely have enough concious control to deliebrately shape it in anything other than a broad sense.

My biggest strengths, in my opinion, are 1) my ability to think on my feet, 2) my ability to craft a very basic story in seconds, and 3) my villains. It's safe to say that nearly everyone reading this has actually spoken with me face to face: I stutter, I pause, I forget simple words, and my mode of speech is generally not conducive to dramatic effect. None the less, players report to me that my games are engaging, interesting, entertaining, and, yes, even dramatic. As a wise man once wrote, if it ain't your delivery, it's probably your bad guy. I believe that I have a gift for creating nemeses that my players don't just want to oppose, they actually want to slaughter. When you think about it, I may not know drama and I don't understand emotions, but I do know villains.

Of course, what made me think of all this recently was my being asked to tell a horror story to a group of... ahem... "friends"... with bare moments to compose it. I was exhausted, I was weak, I was mosquito-bitten and I was aching from moving furniture, but I still composed a Lovecraftian tale of werewolf-based horror in turn-of-the-century New England in 53 seconds. I don't know how good the story would have been, since I was interrupted before I got more than one sentence in and immediately took the opportunity to escape from having to tell it, but I'm sufficiently proud of the fact that I was able to write it. It was fairly easy, actually, since the only elements I needed to have before I started were

And, all in all, in 53 seconds we have the story of a non-heroic man who, with no money left and trapped in a village in the middle of nowhere, is persuaded by kindly villagers to rid them of a vampire preying upon them. He travels at risk to life and limb into the mountain forests, stumbles his way past ghoulish servants, is beaten terribly by the vampire until he forces it under a waterfall (I never bothered coming up with how; I would have had a good fifteen minutes to make that up while getting to that point) where it melts and dies in agony (with vivd description of bubbling and running flesh for my listeners, of course). Finally, bleeding, battered, and broken, our hero stumbles back to the village, where the townspeople thank him profusely, and then transform into werewolves (again, slowly describing the Lonny Talbot style change, complete with ripping muscles and popping bones, with sound effects courtesy of my hands), and tear him limb from limb.

I doubt the story would have had much of a moral, but I'm funny that way.

So, getting back to the point, I usually tell people, if they want to learn how to tell stories, they should just read more novels and join a few D&D games. It may not be good advice, but at least they never ask me again.



Meditations on Yom Kippur; Plus, Bonus Feature

I hate synagogue. I'm hungry. Hail Eris. And since I have nothing else to say on the topic, it's time for a

Bonus Feature!

The Cardboard Tube, Volume 2, Issue 2
That Savages the Soothed Beast
Heavily Modified, Modernized, and Simultaneously Cut and Expanded
"I'm going to hunt down the people who have strong opinions on subjects they don't understand. Then I'll bop them with this cardboard tube." -Dogbert

Disclaimer: This column does not always address matters of entertainment. Frequently it resorts instead to pseudowisdom and mock philosophy. This issue looks at music instead. Live with it.

Modern music caters to people with no taste by talking endlessly about poorly thought out themes in an inartistic manner. I can say this with authority because I'm a qualified music critic.

I take great pride in the fact that I am a qualified music critic. What makes me qualified, you might ask? People who have actually heard the music I like (compiled in a fourteen volume CD set entitled "Music to Scheme By") have usually detested it to the point of begging me to turn it off. I hate almost every piece of music currently (or that ever has been) on the radio. So what makes me a qualified music critic? I have heard the worst song ever written and survived: Bobby Vinton's "Halfway to Paradise." Don't go download it; try and fight the curiosity. If you listen to it, you'll regret it. I warned you. Anyway, I use a very simple scale to rate music. There are three places in this scale. There's Good, which contains gems such as Weird Al's "Dare to be Stupid" and "Spaceballs: the Song" by Mel Brooks and the Spinners. There's Bad, which means "Halfway to Paradise." Lastly there's Everything Else, which is everything else.

*Everything* is better than Bobby Vinton's "Halfway to Paradise."

Now then, is everyone's train of thought derailed yet? Good. Back to popular music now.

As one might guess, I have eclectic tastes in music. (For new readers, it's okay if you have to go look up what "eclectic" means. I get that a lot.) I freely acknowledge that the vast majority of people don't like the same things as me. I counter, however, that that's because people haven't heard much of what I like, and so are naturally predisposed against it. Humanity fears what it does not understand, a natural fear which dates back to ancient Greece, when Plato dressed up as Zeus, scuffed his feet on a thick carpet, and zapped people with little electrical discharges. This scared the tanookie out of the gullible masses, and so they turned to men like Pythagoras. None of them understood geometry, either, but they didn't think that it could hurt them.

If they only knew.

To cure you all of your woeful lack of musical education, I present here a brief list of good (and less good) works, as well as less brief commentary on each. This will be a pleasant change of pace for those of you who have already (or are about to) read the diatribes of several other writers in favor of popular music. The vast majority of the songs listed below are downloadable online, but you shouldn't even try to get them, because software piracy is illegal and evil. Besides, it's hard to type with a hook.

One of history's greatest movies is also one of the world's best soundtracks. No, I'm not talking about Titanic (may the invocation of that hated name bring nose-bleeds). I'm Talking about Evil Dead 3: Army of Darkness, staring Bruce Campbell as Ash, the shotgun-toting sales clerk. The reasons why I love this movie alone could fill a column, but I'm trying to stick to music. This is Danny Elfman's work, and has a wonderfully gothic sound. I say it is gothic, not because it sounds like Marylyn Manson, which it doesn't. I say gothic in the way that philosophers say that architecture is frozen music. If architecture is frozen music, then this soundtrack is a melted church. It goes from ominous to wacky with little or no warning, much as the movie does.

Though I'm not a fan of the vast majority of the sickeningly sweet material produced by Disney, some of the songs which they have put out are memorable. You expect, perhaps, that I will cite some of the more commonly loved songs, but my tastes run towards the villains' themes. "Be Prepared" and "You're Only Second Rate" are two lovely pieces which I include in my collection. These songs are not just for the memorable lyrics, but also for the imagery of an evil plan being laid out Jeremy Irons.

Weird Al Yankovic is among my two favorite artists, the other being John Williams. I'm the sort of person who enjoys music for the lyrics as much as or more than the music, and that's why I like Al. Songs such as "Dare to be Stupid," "Everything you Know is Wrong," and "It's All about the Pentiums" are unfailingly the most amusing things I listen to. The music videos are fun, as well. There are two videos for "Dare to be Stupid," for example. In one, the Transformers battle the Junkions, and in the other, a neon green mummy cuts up a kiwi. Pure genius.

If you're actually of a mind to sample some of this work, here's a handy list of files to search for.

Shiver my Timbers, Shiver my Soul (Muppet Treasure Island)
Bounty Hunter (The Men They Couldn't Hang)
The Old Irish Ballad (Tom Lehrer)
Entropy (Moxy Fruvous)
Presenting the Hook (Hook)
The Usual Suspects Main Theme(The Usual Suspects)
The Ballad of Boba Fett
This is Halloween (The Nightmare Before Christmas)
Tiax Rules (Baldur's Gate)
Lost in the Shadows (The Lost Boys)
Hemoglobin (Music from the Succubus Club)
Bloodsucker 2000 (Music from the Succubus Club)
Mars Attacks! Main Theme (Mars Attacks!)
Planescape: Torment End Credits (Planescape: Torment)
When I Held Your Brain in My Arms (Mystery Science Theater 3000)
The Elements Song (Tom Lehrer)
The Last Saskatchewan Pirate (The Arrogant Worms)
I Have not Been to Paradise (Starship Troopers)
A Tale They Won't Believe (Weddings Parties Anything)
Attack of the Killer Tomatoes (Attack of the Killer Tomatoes)
10,000 Miles (Juno Reactor)
King of the Heap (The Odds)
City of Sails (Midnight Syndicate)
Let the Games Begin (Sinbad and the Legend of the Seven seas)

There you have it: Eric's guide to music. You have two logical choices now. You can either set aside the paper and pretend you didn't read any of this, or you can go out and experience the music that you will not find on almost any radio station. There are other things you can do, but since they don't relate to me in any way, I don't see how they're of any importance.

"My tragic tale I won't prolong, sing Rikiti Tikiti Tin. My Tragic tale, I won't prolong, and if you have not enjoyed my song, you've yourselves to blame if it's too long! You should never have let me begin. Begin. You should never have let me begin!"



What?

This being the new year and all, it seemed like a good time to ask one of the questions I've been putting off answering for a while but have just recently been asked again several times: What's the deal with the Six Unaswerable Questions of the Universe?

Who are you? What do you want? Why are you here? Where are you going? Who do you serve? Who do you trust? The astute reader will recognise these questions as having their origin in that finest of all television programs, Babylon 5. While I did not originate these questions, however, I have adopted them as mine and, in the last five years, I dare say that nearly everyone of significance to me has been asked these questions several times. There are at most two, perhaps three people who have not been asked at least three of the questions at least once each; I ask myself them on a more or less daily basis.

The questions are fascinating to me because I believe they sum up most of a person's world view, and to be frank, most of the stuff which these questions doesn't cover is of no interest to me. Between the questions, you can ascertain a person's sense of self worth, their self image, who their closest friends are, how they relate to family and co-workers, what they dream of in the future, what they regret in the past, and pretty much anything else philosophical that one might want to ask. The first three are the most important in my mind, and it is the first two which I ask most frequently (and most repititiously).

The questions are aptly named (and the name does come from me, if not the questions). They are unanswerable because a person's answer changes from week to week and perhaps even from moment to moment; what a person wants might be very different if you ask them just before lunch. They are the Questions of the Universe because they are purely philosophical and have as little practical utility as possible, with the exception of the second one, which may or not be useful if asked of someone just prior to their birthday.

One feature of the questions which has most puzzled people is the fact that I ask them over and over again, not just over time but often several times in the space of a few minutes. To illustrate the reason for this, I present a sample conversation; the names have been changed to protect the incompetent.

Person 1: So let me ask you a question: Who are you?
Person 2: (Gives their name)
Person 1: Yes, but who are you?
Person 2: Uhh....
Person 1: So you're nothing but a name? You have nothing of your own, you are purely what others have labeled you.
Person 2: No, of course not!
Person 1: Then who are you?
Person 2: Uhh... (Gives their name again, lists their place of employment and their school)
Person 1: Yes, but who are you?
Person 2: What do you mean?
Person 1: That's where you work. At best, it tells me who you want to be. But who are you?
Person 2: (Proceeds to list family, friends)
Person 1: Yes, but who are you?
Person 2: I don't know!
Person 1: Oh, good. In that case, what do you want?
Person 2: (Screams)

Because the questions don't really have a clear answer, the question is often followed up with the simple statement of "yes, but (ask the question again). This is meant to have one of two purposes. If the person is sufficiently clever and of the appropriately philosophical mindset, they will see that the simple answer is never the complete one and they will attempt to give more information. If the person is not sufficiently clever, it will annoy and frustrate them, and a peron who is off balance will often tell you a great deal more about themselves than they otherwise might.

Above all, it is essential to understand that the questions are not only perpetually changing but are also utterly subjective. No one can judge an answer to "who are you" except the person who is giving the answer. This means that, arguably, any answer given to the question is both the correct one and the incorrect one. The person asking the questions should always be concious that what they think the question is asking is probably not... invariably not... what the answerer thinks they are being asked, and should tailor their own responses appropriately. In most cases, this means stopping asking the questions, eventually. In the case of two people who understand the value of the Questions, this means proceeding to ask them again. And again. And again. And again....



Apologies, 2004

It is with considerable difficulty that I remember the original era of my being...
Frankenstein's Monster

Nothing moves me, on Earth, as much as stupid courage.
William Goldman

The fate of the architect is the strangest of all. How often he expends his whole soul, his whole heart and passion, to produce buildings into which he himself may never enter.
Johann Wolfgang Von Goethe

It is by will alone I set my mind in motion. It is by the juice of Sapho the thoughts aquire speed. The lips aquire stains. The stains become a warning. It is by will alone I set my mind in motion.
Piter de Vries

It's genuinely useful to society to have some small, contained fraction of reckless fools who are willing to consume untested and unknown devices and substances.
Bruce Sterling

Old friends and new,

As yet another year of the Hebrew calendar begins, it is once more that time when I reflect upon the past year. I am pleased to report that, for the fifth consecutive year, I have continued to be me, and not become, for example, a lettuce or something. At the same time I regret to report that I have, indeed, continued to be me, and not, for example, a deific cosmic entity with powers and abilities beyond the ken of mortals. Under the circumstances, I choose the see the glass as half full; I have not conquered the world, but at least it has yet to conquer me.

This past week, I celebrated September 10th, my rebirthday. Eric 4.0 became five years old. It is somewhat appropriate that this day is so close to Yom Kippur; it is poetic that no sooner do I celebrate my creation, I begin apologizing for the stuff I’ve done. It’s enough to make someone feel almost... human. Almost, but, thank Forsteri, not quite.

There have been some few changes this past year. First of all, there is now only one person in the world about whom I do not hate anything. Last year at this time, there were two such people, but since then, I have decided that I really hate the way Thalia hasn’t kept in touch or been available to people trying to get in touch. In contrast, the number of things I hate about myself actually went down this year, and while there’s still stuff on the list, I am more enamored of myself than ever before. This year has seen other changes... I became the president of the Concordia Pagan Society, then asked to become vice-president instead since I didn’t want to do any work. When that got boring, I switched to be the president of the Games Club, a job I look forward to fulfilling and have already put actual effort into. This past year saw me beginning to make plans for graduate school, during which time I have valiantly held on to my self-image as a kid, though adulthood, as ever, looms ominously. Finally, this past year saw me begin a public journal, but I won’t go into detail about it, since only four of you read it and they already know everything I could say about it. These challenges, and many others, I take one year at a time.

So, thank you all for bearing with me for yet another year, or in the case of people newly added to this list, for your first year. It is my continuing pleasure to associate with each of you, and, as such, for all the nasty stuff I have done this past year, I’m sorry. That said, here are some specifics.

Eric’s Apology, Ten Days of Penance, September 2004
Or: “On the first day of penance, my Eric gave to me...”

General Apologies
General weaselness
My driving in general, and downtown in particular.
Not staying in touch for months at a time.
Wincing at hugs.
Still dressing in the exact same styles as I did in 1998.
Awkward silences
Lack of silence when I won’t shut up
Constant finishing of people’s sentences for them.
Upsetting the significant others of friends with my usual mindgames
General use and misuse of logical argument
Mocking of drunken friends
The third verse of “C is for Chaos.”
All Verses of “Razorblades, Handgrenades.”
The Six Unanswerable Questions
Refusal to sing at birthday parties
Ceaseless “weasel” jokes.
Still not dating anybody despite the efforts of certain aquaintances
Confusion arising from my attempt to organize everyone’s transportation to the Labour Day party.
My reuse of numerous items, verbatim, from last year’s Apology.
Four Socrates jokes hidden in this letter.
“My God’s Better Than Your God” and similar speeches.
Forgetting to include anything on this list.
My hate of and inability to speak clearly into telephones.
Injuries and insults dealt at Bob’s New Years Party, particularly to anyone who had the misfortune to sit next to me while watching the Swordfight between Inigo and Wesley.
My refusal to proofread my otherwise very well written work for stupid spelling errors and typos.
Fnords. All the fnords. So many fnords...

Eric’s D&D Game
General weaselness
Naglfr (I told you!)
Giving the Teddy Bear laser-shooting eyes on top of everything else
The Wand of Auric Transformation
The whole Carrot invasion, in general
The various scheduling screwups
“Chained mindrape? Sure, you can cast it.”
Continually misremembering spells, forgetting blindsight, etc...

Sean’s D&D Game
General Weaselness
Turning other characters evil (well, chaotic neutral)
“Behold the wrath of Moradin!”
Missing so many sessions that the game became bi-weekly.

The Netherhells Game
General weaselness
Allowing the game to just die.
The bicyclopedia.
Kartaxia; for creating it and for not running it.

Miscelaneous gaming
The Magical Golden Dice
The Random Luck Die
Necrons in general.
Failure to read, understand, or follow rules
Never running WoD: HALF
Conceiving of WoD: HALF

People who trust me or hold me to unusually high standards
General weaselness
Failing to meet that trust on any occasion.
Making flippant responses to serious problems.

People who have known me a fairly short time and aren’t used to me yet:
General weaselness
My complete inability to read people
My inability to fully trust a person until I’ve known them for about three years
The Six Unanswerable Questions

The Journal
Failure to update on time
Nonsensical entries
Overhyping the journal (www.aericanempire.com/eric)

Please feel free to send me a letter if I have forgotten anything, to discuss this entry amongst yourselves, or to send this entry on to anybody who you think I owe an apology to but didn’t send one.



Challenge Rating 3.14195

This past week, my thoughts have been occupied exclusivly with two things: graduate schools and gaming. Since I don't imagine that any of you want to hear me complain about fellowships and exams, this really only leaves me with one topic I can write about, and as such, I now present a brief list of some of the more esoteric and eccentric monsters which live(d) in the Dungeons and Bandersnatches world where my three D&D games have been set. This will be a short Entry because, what with four classes today and the high holidays and everything, I don't have a load of time to update right now.

Bog Wombler
Large Wombler
The rare and dreaded bog wombler is a massive creature of indeterminate nature. The Bog Wombler appears to be a large black rock of roughly spherical shape and a diameter of about 10 feet, with two large, heavy lidded eyes and a thin, toothy mouth on one side. The bog wombler is a generally non-hostile beast and will not attack travelers unless attacked first. However, bog womblers possess an almost racial jealousy of unicorns and dragons, who have dominated human art for milennia and, the womblers feel, deprived other mythical beings of their chance for fame; a bog wombler will always have an initially hostile attitude towards one of these creatures.

Womble (EX): The most fearsome attack of the bog wombler is its ability to womble, usually in bogs. As a standard action, the bog wombler begins to roll backwards and forwards at high speed, becoming a blur of motion. A wombling bog wombler moves at 100 feet per round and deals 1d100 damage to any creatures it strikes, with a reflex save for half. The bog wombler may automatically grapple any one enemy it strikes while wombling, but it cannot womble again while maintaining this grapple. Creatures grappled by the wombler take a -10 penalty to their escape checks, as they are pinned to the ground by the bog wombler's great bulk.

Running Gag
Medium abberation
The Running Gag is a human sized creature notable for its perpetual movement. Like sharks, running gags must move continually to breathe, and so run at all times, even while sleeping. A running gag typically moves at approximatly sixty feet per round but, when pressed, can reach speeds of upwards of sixty miles per hour.

Running gags come in two varieties. Lesser gags are vaguely "G" shaped and have intelligence scores of 1 in addition to nearly indestructibly thick hides. Greater gags are "A" shaped and posses intelligence typical of an average human. A superior gag can dominate up to two lesser gags at a time, and will thus typically travel everywhere with one lesser gag ahead of it and one behind it, for protection, while it guides them to food and safety. In addition, superior gags are highly social creatures, and thus, any time that one running gag is found, it is likely to be followed by at least two others.

Drain Wisdom (SU): Running gags are native to the plane of Repetitive Things and feed off of the psychic emanations of those around them. Any target struck by the running gag's charge must make a will save (DC 20) or suffer 1 point of temporary wisdom damage in addition to damage taken from being run over. Because this damage is cumulative for every gag which strikes a target, and successive hits reduce the will save with which a target would defend itself, this attack can quickly decimate even a party of adventurers.

Werehuman
Medium humanoid
Perhaps the third rarest form of werebeast in existence, the werehuman is a human which, at will or due to certain triggers, will sometimes transform into a human... albeit, a completly different human. The most common variety of werehuman is a medium size humanoid which transforms into a large humanoid, gaining strength and constitution as would be expected for such a change. Rarer types of werehuman transform into smaller versions instead, gaining benefits of dexterity and charisma when in their alternate forms. All types of werehuman have damage reduction 10/natural weapons and can be harmed effectivly only by items which are in their natural state, never shaped or forged by sentient effort.

Curse of Humanity (SU): Any humanoid hit by a werehuman's attacks while in their alternate form must make a fortitude check of DC 15 or contract the disease of lycanthropy and become a human. Any humanoid infected with this disease gains all the traits of a werehuman and, in addition, their natural form becomes medium sized and they permanently lose 2 points of wisdom, intelligence, and charisma, although they may immediately select a new feat from any list available to them. These changes are irreversible unless the curse of werehumanity is removed also.



Character Portraits: Wyvern

There is a Heav'n.
And there is a Hell.
And there is more in each of these than is dreamt of in any philosophy.

The multiverse is a place of extremes, and within it can be found those extremes, incarnations of forces the likes of which no mortal can comprehend. Good is not a societal creation, but an absolute which is watched over by creatures of innate purity which put the simple idea of "perfection" to shame. And if such paragons exist in the multiverse, whose very existence brings light to the dark regions they have never seen, how much more foul must their opposite numbers be, the incarnations of evil?

In the infinite layers of the Abyss, where chaos and evil hold equal sway in the form of the vicious Tanar'Ri and their doomed and damned servants, anything can, will, and usually already has happened, for the Abyss is an infinite potentiality in an already infinite universe. It came thus to pass that a mighty half-demon, child of an elder pit fiend, came to rule one of the endless layers, and took a half-demon mate from its servants, and they sought to bring forth a child who was each of their deadliest aspects. Just as each was half demon, so did they each pass on but a half of their own essence to their child, and thus the young spawn was thin blooded and weak, barely a tiefling and far beneath a true demon. The child was named Tanaris Karolich, which in the parents' tongue meant "it may not be as good as a demon, but give it a chance and maybe it'll make something of itself, by some miracle." Raised as little more than a slave, the child grew strong and dark, and when a group of adventurers passed through the Abyss the child joined them and fled to the prime material.

Long had Tanaris lived under the thrall of demons, and thus believed himself to be as weak in all things as he was in his home. On the prime material, however, he found humans, mortals, and found the power that was in his blood. A mere tiefling he might have been born, but among the mortals, he was as a god, for Tanaris had the strength of ten men, could run faster than a great cat and snatch arrows from flight, could grasp complex magic with the speed of an archmage and turn mighty spells back upon their casters, and no weapon or spell shaped by mortal hands could slay him. He slew his new companions, laughing all the while, and bathed in their blood, and took the name Wyvern, for while he was but a shadow of the power of his demon kin, still was he a deadlier beast than any who crossed him could imagine.

For a mere decade did Wyvern travel the world, and this time was but an eyeblink to an immortal such as he. Aimlessly he wandered, glorying in his power over mortals, doing what a demon does among humans and reveling in his atrocities. As all beings of power in his era did, he at last came to the attention of Naglfr, The Chronomancer, who moved through time as mortals crossed a room and twisted destiny to suit his needs. The Chronomancer offered Wyvern power for his service, and caring nothing for his own vow, Wyvern agreed. Thus did Naglfr lead Wyvern to the ancient order of the Tatoos, who inscribed their magic upon the flesh of their members. Wyvern had held the strength of ten men; now he was as twenty. He had had the brilliance of a wiseman; now he was as a sage. He had possessed the mighty flesh of a demon; now, at will, he could become the dragonkin of his namesake, taking to the sky or rending steel with equal ease in his new body. As a Tattoo, Wyvern served several masters but always reported, when it suited him, to Naglfr. Wyvern passed through the service of Hessek, the Dark Godling; of Lord Vitari the weredragon; and at last, of the dreaded Church of the Evolving Light and Darkness, and their Apostle of Magic. It was in this service that Wyvern encountered the heroes he would plague for months, the ones chosen by destinty to repulse the Carrot invasion, the ones who Naglfr had sworn to make fail.

As the Carrot Invasion became imminent, Naglfr came to Wyvern and claimed the tiefling's service, and though Wyvern tried to refuse, the Chronomancer put a powerful geas upon him, and forced Wyvern to serve, as Wyvern had been forced to serve his father long before. Even controlled, Wyvern was a demon, and to scheme and plot was to him as breathing, and so he sought a way to be free of his slavery. Many times did he sabotage the Chronomancer, giving aid to the chosen ones as often as he plagued them. When at last destiny culminated, and the heroes faced Naglfr in mortal combat, Wyvern fled rather than fight, and deprived of his most powerfl warrior, Naglfr himself fell to his enemies, his head taken by a foe wielding the Chronomancer's own mighty Windblade.

Free at last and with a new, untouched world to despoil, Wyvern hatched a plot of his own. He had faced servitude one time too many, and swore to become a demon lord in his own right, as had his father before him. Wyvern went into the planes and sought out other tieflings, beings of power who, simply due to their diluted blood, would be forever denied their rightful power, and offered them power on a new layer of the Abyss he would create. Each one agreed, and Wyvern returned to his new world to enact his plan. In his time as servant to the Chronomancer, Wyvern had had access to all of Naglfr's great magic knowledge, and had found the means to create the raw stuff of emptiness, liquid portable hole, on a grand scale. He would build a factory, and in this factory he would manufacture pure nothingness, and when he had enough, he would cover the world, turning the entire plane into an eternal bottomless pit and bringing it into the lower planes of the multiverse as a part of the Abyss. Naglfr's enemies, though, had long since become those of Wyvern as well, and they pursued him, destorying his factory before Wyvern could create enough liquid to cover the world but not before he created enough to cover several sizeable kingdoms. Wyvern retreated to a volcano, and there prepared to open a gate to the elemental plane of fire, and thus blast his liquid hole into the sky and rain it down upon the world. Still was he pursued, however, and at last, in the chamber of the liquid, he faced his enemies. Strong and cunning and all but unkillable, Wyvern confronted his mortal foes, but was caught unprepared by their popwer and ferocity. His forces were crushed and his equipment was destroyed, and as he stood defiant against them, Wyvern was pinned by arrows against the very silo which held the deadly liquid.

With wounds that would have slain even his own parents, Wyvern still fought on, for their weapons and spells could not destroy him. As he pulled the arrows from his own body, however, he found to his horror that the tank behind him had been puctured just as he had been, and streams of pure emptiness sprayed from it, through his body, and to the floor in front of him. Wyvern could do nought but look up at the face of his slayers in shock as the tank ruptured and the evil that was Tanaris Karolich was erased utterly from all existence.



The Most... Wonderful Time... of the Year!; Plus, Bonus Feature

September is probably one of the most interesting times of the year in my life. In addition to the obvious... classes resuming, the weather becoming how I like it for just a few brief weeks... September brings two significant events: the Jewish new year, and my rebirthday.

Once more, I will celebrate both of these events this September. First, for the goyyim in the audience, a word about the new year. I am not particularly Jewish, and in a very real sense, Rosh ha Shanah and, ten days later, Yom Kippur, qualify as three of my least favourite days of the year because on these days and these alone I face mandatory synagogue attendence. I dislike... despise, really... official places of worship, and synagogues are among my least favourite. At best, I will spend several hot, stuffy, and uncomfortable hours surrounded by literally hundreds of kibbitzing senior citizens in the depths of Cote St-Luc. At worst, I will instead be attending services at the long term care facility where two of my grandparents live (which is very much akin to holding a religious ceremony in a mortuary). The very best I can hope for is that it won't be a day of horrible ghastly heat, which it is, most years. Yom Kippur is precisely like Rosh Hashanah except that (A) it's a day shorter but (B) we fast rather than feast, and I don't do well without sugar in my system. The only consolation I have on these three days is that, and this is a totally unbiased opinion, I look damn good in a suit.

One might reasonably ask why, all said, I find the new year an interesting time. This is a good question, and the answer is deeply tied to this journal. Simply put: penance. In the ten days between the new year celebration and the somber Yom Kippur, Jews are expected to go forth and apologise for all the nasty things they did during the year. This is one of the few, quite possibly the only Jewish ritual which has any significance to me; I find it fascinating and make every effort to make a proper Apology for all the stuff Ive done since the last apology. This not only forces me to look back upon the year and who I was during it, but also gives me the opportunity to look at the people I know and ask myself who among them is still a close enough associate for me to give a damn if I did anything to them. Lastly, it gives me an excuse to send out just one more mass e-mail to all my friends, the purpose of which is just to subject them all to my ranting.

Before you ask, no, this is not one of the things I apologise for.

More interesting than the high holidays, to me at least, is my rebirthday. It's reasonable to assume that all my readers are already familiar with my being Eric 4.1, natural sucessor to all previous (and generally inferior) models. My rebirthday (which is, in fact, September 10th, the day this is being written) is the anniversary of the day when Eric 3 was officially replaced with Eric 4. naturally, the process of one's entire personality altering takes more than one day, but as near as I've been able to reconstruct over the last few years, September 10th, 1999 was the most significant day during that transition period. If I really wanted to split hairs, I'm actually capable of narrowing it down to a period of about two hours, but I see no reasons to get bogged down in details. This rebirthday marks my becoming five years old (1999 to 2004... do the math if you don't take my word for it).

How did I celebrate my rebirthday? Suffice it to say, I own some new Necrons. As a corrolary, of course, I have to type this whole entry with two fingers since I've superglued my hands together trying to build them...

As far as I know, nobody else in the world celebrated this momentous event, although one person did ask if they're supposed to buy me a rebirthday gift, to which the answer is "no, but spontaneous displays of affection are always appreciated." Well, affection or cash, whatever. Happy new year! Vote Lis for Games Club President! And be sure to read the

Bonus Feature

The Cardboard Tube, Volume 3, Issue 3
Translation, Please!
"I'm going to hunt down the people who have strong opinions on subjects they don't understand. Then I'll bop them with this cardboard tube." -Dogbert

Eric's Note: This column was first printed after the John Abbott Anime Club had been bugging various other clubs and organizations; they had somehow gotten it into their B.E.S.M.ed heads that the things they had to say had value, and when they met a lack of respect, they fell back upon the time honoured tradition of "repeat what you just said, but keep getting louder until they agree with you." The column before (actually in most of the previous Bandersnatch), people had thus taken potshots at the Anime Club as a whole at at particular members in particular. I made up an angry letter from them so that I could mock them further, and had a wonderful time watching the faces of Anime Club members as they read the column. I love being me.

Let me open by saying, I am by no means a perfectionist.

Before I get into what that confession has to do with this Cardboard Tube, I would like to address an e-mail I got after last issue, which I reprint here letter for letter.

"Ur last isue was carp, dont make Fun of th anee culb."

The letter's reply address didn't work, so if the person who sent this letter is reading this... what's an anee culb?

Anyway, this letter sent me thinking along lines best expressed by a web comic called Bob the Angry Flower (www.angryflower.com). This site has a strip entitled Bob's Quick Guide to the Apostrophe, You Idiots. In this strip, the author vents his frustration with people misusing the apostrophe, who I confess annoy the flarn out of me, too.

I am fully aware that I'm not a flawless writer. I make mistakes... sometimes. I take pride in the fact that, in general, my work requires less copy editing than much of the things that get printed in our beloved Bandersnatch. I take pride, because quite frankly, some of what you people come up with scares me.

Let's take a look at the e-mail recopied above. Through my incredible powers of deduction, I can only conclude that this is in Speedtalk, a language first named by Robert Heinlein, who foresaw that people on the internet wouldn't bother to hit the right keys. For example, if saying "this food is very good" is too long for one's attention span, Speedtalk would come out as "fud gud." Disconcerting as this can be to read, imagine having a conversation like that. So, we plug the e-mail into our PET (Personal Electronic Thing, only ninety-nine, ninety-nine, ninety-nine), and we get

"Your last issue was a carp, so don't make. Fun of the anee culb."

Clearly, this is not much of an improvement. It would seem that I am being accused of spontaneously generating fish. Moreover, Speedtalk doesn't decode what the anee culb is. However, as the sentence clears up, we begin to get an inkling. Since the result is incomplete, it's time to face our terror and try L33t.

L33t (pronounced "leet, short for "elite,") is a new language, dating back to the early days of the internet. Depending on what history of L33t you read, the language is up to 39 years old and has gone through names such as Quaker, Frag, Speedtalk 2, Fastspeak, and Counter-Talk. Basically, the language involves replacing letters with shapes that look vaguely like letters to someone with minor dyslexia. Case in point, the number 3 looks kind of like a capital e, in cursive, written backwards, if you're drunk. Other abominations in this tongue include the words haxxor (hacker), pLr3ak (freak/phreak), and, chillingly, (on|\|3k73d (connected). Most upsetting is the fascination that L33t speakers have with using a z instead of an s when a word is made plural, as in the infamous phrase, "ph33r my l33t ski|z."

To the people who actually *choose* to use L33t, I don't actually have anything against you people. Some of my best friends are comp-sci people. Really. I just hate your language.

Anyway, we plug the now familiar e-mail into the PET and we get

"Ur last isue was carp, dont make Fun of th anee culb."

It turns out that the e-mail has absolutely nothing to do with L33t. Although it makes no sense, it's apparently not deliberately so.

Linguists will now note that I am rapidly running short of languages which I might use to decode this e-mail. I have exhausted the languages that I myself speak (English, French, Hebrew, Yiddish) and the two most popular internet languages (which I can read and speak but try not to). I hesitate to try some of the other languages found online, such as Tolkienian Elvish or Runic. This leaves me with one option, which I suspect even the casual reader considers to be what I should have done in the first place: conclude that the letter is not in another language but, rather, just really really poorly written.

Now, the problem with Gibberish is that it can't just be plugged into a translator for instant understanding. As anyone who has played You Don't Know Jack will attest, Gibberish phrases can often be translated into quite a large number of possible translations. A rather simple phrase in Gibberish, such as "gang aft a gley," might easily become "gang and a glaze," "gone through a gate," or "punks behind glue," just to name a few of the more plausible possibilities. The careful reader will note that the sample phrase is, in fact, Gaelic, and means "often go awry." Who would have guessed that?

At last, we plug the e-mail into the PET and translate to decode Gibberish. And what does it translate as now?

Oops, out of space. Well, I'm sure some of my more enlightened readers will be able to solve it on their own.



Bicyclopedia; Plus, Bonus Feature

And now, culled from my various writings and, in some cases, made up just for this, more selected entries from the Imperial Plagiarized Encyclopedia!

Approximate:
The scientifically and academically accepted phrasing of "I'm making these numbers up."

Boom:
1: A graphic and frequently violent manifestation of a strongly exothermic reaction and/or the result of the exchange of a large amount of kinetic energy in a short time.
2: A thing which can reasonably be assumed that, if it did not happen yesterday and did not happen today, will probably happen tommorow, because there is always a boom tommorow.

Credible:
The condition of a thing which is deemed insufficiently incredible.

Dramatic Inconvenience, Law of:
The principle which states that events will happen at the most comedically or dramatically inconvenient moment, ie, the phone will ring at the moment one becomes unable to answer or a place of business will become busiest when only only one person is available to watch over it.

Earth:
That thing what you stand on to keep from falling into the planet's molten core.

Fnord:
This word does not exist; do not attempt to look for it or attfnordempt to define it.

Grok:
To gain a complete understanding of a thing; to become one with a thing; to eat a thing.

Horrible Ghastly:
The most appropriate descriptor for any person, event, or thing which is both horrible and ghastly simultaneously.

Infinity:
Bigger than the biggest thing ever and then some. Much bigger than that in fact, really amazingly immense, a totally stunning size, real "wow that's big," time. Infinity is just so big that, by comparison, bigness itself looks really titchy. Gigantic multiplied by colossal multiplied by staggeringly huge is the sort of concept we're trying to get across here.

Joke:
Something said or done to provoke laughter; a brief oral narrative with a climactic humorous twist; the humorous or ridiculous element in something; an instance of jesting; something not to be taken seriously.

Kung Fu:
An ancient art which, through years of rigourous physical, mental, and spiritual training, highly trained individuals can create some of the worst movies ever made.

Lunch:
1: A meal, typically taken in the middle of the day and/or between the meals of breakfast and dinner, which is usually smaller than those meals.
2: Any occasion of eating which is of great significance or holiness.

Mustelashock:
The condition of a creature which has been rendered temporarily catatonic due to overexposure to shiny objects.

Nifty:
1: The quality of being very good, very attractive, very desirable, or very entertaining.
2: A thing which is very good, very attractive, very desirable, or very entertaining.
3: Descriptor of an object which can be reasonably defined as being as good as it could possibly be under the current circumstances without changing its nature.

Overkill:
The condition of having used an excess amount of force to accomplish a goal; widely considered to be fictional.

Perfection:
The condition of a thing when it cannot possibly be improved in any way without changing the nature of that thing.

Question:
An interrogative expression often used to test knowledge, with the purpose of either uncovering an answer believed to be obtainable or to stimulate thought on issues where an answer is assumed to be unobtainable.

Reality:
Everything that refuses to go away when one stops believing in it.

Shiny:
Oooooooohh...

Thump:
The sound created when an object of ideal mass collides inelastically with an ideal surface.

Universe, the:
Everything. No matter what direction you look, that's still the universe. Yes, even in the cupboard, and under the bed where nobody ever really goes. The universe, by definition, conatins and includes everything that can possibly be contained and included by anything, and is an intinite space remarkable in its sheer infiniteness and spaciness. Some maps of the Universe may exclude Wyoming and/or New Jersey.

Vorpal:
The quality ascribed to any object which has been found to be much sharper than it looks, particularly if the discovery of actual sharpness involves a beheading.

Wheel:
The single simplest machine ever developed by humanity and, as such, the first in a seires of very poor ideas.

Xtreme:
One of the Really Stupid Words, the unjustified use of which, under Wilde-Heinleinian law, is punishable by death.

Yesterday:
The space/time point at which all deadlines are due.

Zealot:
One who has remarkably strong opinions on any topic which they do not fully understand.

And, for those of you who have been particularly keen, we now present The Cardboard Tube, Volume 3, Issue 1,

Low Resolution
Eric Lis
"I'm going to hunt down the people who have strong opinions on subjects they don't understand. Then I'll bop them with this cardboard tube." -Dogbert

Well, the first month of the new year is almost done, and I have to say, I'm kind of disappointed. No obelisks. No evil computers. No manned missions to Jupiter. I don't regret the lack of flying cars, though. God knows I don't trust you people to drive safely when you're on the ground, let alone a hundred feet above it.

Anyway, the new year is, traditionally, the time when people take a good, hard look at their life, frequently in the companionship of a good, stiff drink, and try to think of something that they would like to change with their lives. Traditionally, these lies are called "resolutions," as in, "gee, this is low resolution."

In my continuing study of humanity, I decided (around January 7th) to actually make some of these "resolutions" and try to keep them. If other people can find fault within themselves and try and fix it, after all, I certainly could. If nothing else, it's a lovely gesture to come up with something worth fixing, whether it gets fixed or not.

The first one that came to me, after some ten seconds of thought, was a nice and simple resolution: I would make no more unreasonable goals for myself. This lasted nearly four seconds before I realized that the resolution itself was a paradox and had to go watch old episodes of "Reboot" to break the logic loop. It's like I always say: when you aspire to world domination, all other unreasonable goals seem simpler in comparison.

My second attempt at a resolution was better: I would try to catalogue all the facets of my own personality which could fairly be described as having distinct personalities. This is something I've been working at for quite a long time, and so it seemed perfectly good as a choice. Upon thinking about it, however, it occurred to me that it wasn't much of a resolution if it was something I'd been doing already. Besides, I couldn't agree with myself about how to get started and the extra opinions that I had to offer myself were of no help.

It was around this point that the main problem with resolutions occurred to me. Let's make some assumptions. 1: A resolution is something about ourselves or the world that we want to change or improve. 2: A resolution should be something which we haven't been working on already. 3: A resolution should not focus on or be dependent upon changes made by other people. 4: A resolution should solve problems we face or prevent new ones from arising. If we take all of these resolutions to be valid, which seems reasonable, what's left? The average person has four kinds of problems: things they can't change, things they don't want to change, things they're already trying to change, or things they aren't aware of. If that's so, then resolutions cannot possibly apply to any of the problems in your life, and so the entire process is useless. Or is it?

Yes, it is.

When you know that the new year's resolution is just a gag, it must be hard to come up with something serious. Sure, I could come up with something silly, like watch more cartoons, or do well in school, but I promised myself that I would put some real thought into this and not take the easy way out. I knew that even if I just gave up and made a silly choice, it couldn't be something simple. It would have to be a spectacular (or at least, decent) trick. I had said that I would try to come up with a resolution, so the quest continued.

At last I hit upon the answer. It had become clear that coming up with a serious and effective new year's resolution was useless and going nowhere, but I had made an oath to try and come up with a good, serious resolution. I had left myself one fallback plan: the Chaos Conquers All Rule. According to the Path of Enlightenment to which I aspire in place of the conventional moral code that most people live by, the Chaos Conquers All Rule states that if an oath was made only to oneself, it is acceptable to break it as long as the way in which it is broken brings amusement or confusion to others in a friendly manner. If coming up with a good, serious resolution was hopeless, then by Forsteri, I would come up with a good ridiculous resolution. Here it is. Ready?

"I, Eric Lis, will keep my new year's resolution all year."

Yes, it's like I always say: there's nothing better than a self-fulfilling prophecy. If the whole process of the new year's resolution is a big annoying paradox, then I would make the paradox would work for me or get bored trying. In the end, I have flawlessly kept my new year's resolution so far, which is more than a lot of people have done.

I guess the point of all this is that I learned an important lesson this winter break. Society has made up all sorts of weird rituals, like the new year's resolutions, or the criminal code. There are times when these rituals just can't work, and so people who are cunning and eccentric have no choice but to take the silly way out rather than follow the path well traveled. And when we're left with only one solution, what is it?

That's right: to go use the computer and forget about the whole thing.



Misnatures and Misdemeanors

In response to the utter lack of wonder in response to Entry 28, we today discuss nature and demeanor. For the benefit of readers unfamiliar with the (now obsolete) World of Darkness system of personality categorization, White Wolf's roleplaying games explained character behaviour in terms of a character's nature, who they are, deep down, and a character's demeanor, which is how they act and appear to others. I've always found this idea fascinating; before seeing it in the books, it had never really occured to me to look at minds in terms of what they are and what they appear to be (this statement must be clarified by pointing out that I first read this when I was 14; it hadn't really occured to me to look at the human mind as anything yet). The most interesting part of the nature/demeanour system is that it addresses one of the fundamental aspects of behaviour which D&D misses: people are sometimes the diametric opposite of who they appear to be. Nature and demeanor might be identical, but they might also be things that are polar and logical opposites.

Picture, for the sake of argument, the stereotypical Evil Corporate Guy. This character is a heartless, scheming, lunatic who enjoys torturing others and profiting from pain; let's assign him the nature "monster" to reflect an utter lack of humanity and general not-niceyness. However, ECG isn't stupid, and understands that if he stabs people in the street (say, four or five people a day), he will be put in prison, and so he acts like a nice, friendly person; let's assign him the demeanor "defender" to reflect his donating to charities, funding urban renewal, and being an outspoken voice in the popular media on all the current social topics. So, Evil Corporate Guy is a monster/defender... he acts the part of being good, which is all most people see, but is secretly quite the opposite. Clearly, an image such as this is much better able to capture the inherent duality... some might say, deceptiveness... of human behaviour than a more simplistic alignment system. We will, of course, choose to ignore subsequent levels of complexity, which people would invariably argue that they possess, since such would not be part of the game.

Now we look at ourselves. Depending on who you ask, you will get various guesses as to my nature: Autocrat, Bureaucrat, Celebrant, Conniver... I see myself, however, as the Architect, defined by the WoD as "You desire to create something lasting and incredible." The driving force in my life (meaning, as always, for the last five years) has always been the creation of Stuff, be it through my writing, my sculptures, my storytelling, or even essay-writing. Note that here, I am not saying creating something new and original, just creating. The underlying message of my life is: I Make Stuff... stories, characters, messes, problems, mistakes, schemes, artworks, whatever. The identity and quality of what is being made is of secondary importance to the fact that something is being made.

Demeanor is much easier for the lay-person to judge when observing another, since by definition demeanor is what other people perceive a character as. Popular guesses as to my demeanor include Jester, Showoff, Reveler, Poltroon, and Manipulator... and indeed, I have always believed Jester to be the one. I choose to see myself as someone who sees humour everywhere (or tries to) and attempts (beyond the limits of sense and taste) to get others to share the joke. Naturally, this fits in well with my nature, since the comedian always needs new material (or at least, new ways to present the same stuff). My games aren't written for high drama, they're written to get a laugh out of my players. Sure, the stories are supposed to be grand tales of incredible feats and high adventure, but if I can get one of my players to laugh so hard he falls off a chair, my work is done. The Architect in me crafts immense storylines spanning years of gametime and realtime, stories of galactic armies and wars for the fate of worlds; the jester in me makes the villains of the stories in marauding carrot armies.

The final important question to ask regarding nature and demeanor is: does it work? Is the character playable in the way it is designed? We've all designed characters who, as it were, seemed like a good idea at the time. Since the human mind is prone to perceive itself poorly, I choose to look outwards for the test of whether or not my nature/demeanor is one that suits me well and allows me to function in the world. I measure my success in simple terms, the same terms I'd use to measure the sucess of my design of a character: is it fun to play and is it fun for others to play with. I enjoy being me... that's part of it... and other people seem to like me being me... that's the other part. What have here, therefore, is a sucessfully designed character, at least in terms of nature and demeanor.

I'm still working on developing some disciplines, but hope springs eternal.


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