Great adventure ideas don't always come from our imaginations, sometimes they show up in the news.
http://news.yahoo.com/astronomers-discover-planet-made-diamond-014913051.html
Hard to top this. Great material for a sci-fi, spelljammer, or planar travel campaign. I'll have to file this away for future reference. Diamond planet, just saying it almost makes me giggle with excitement. Heh.
Monday, August 29, 2011
Tuesday, August 16, 2011
Buffalo Trace Bourbon
As previously noted in the treasure haul, I scored some Buffalo Trace Kentucky Straight Bourbon Whiskey. I am pleased to say this blended bourbon has character which is typically only seen in single malts.It has a pleasant bronze/gold color, and shows well in its old style bottle. I had mine neat - no ice or water. I have to say there was complexity in the aroma as well as the palate. The aromas included vanilla, molasses and some spice. The tastes included brown sugar, spice, leather, and sort of smokiness. It certainly had the alcohol burn of a 90 proof whiskey, but it was not overwhelming or unpleasant. It is easy to drink, and a quality bourbon especially considering its price point. Recommended.
Cheers!
Sunday, August 7, 2011
Al Stewart show
Last weekend we went to an Al Stewart show at one of our local venues, the Tupelo Music Hall in Londonderry NH. Let me say we really like this venue. It is in a barn like structure, holds around 200 people or so, and no one is more than about 60 feet from the stage. They host artists on their way up, or those mature acts past their prime of filling huge halls. The focus is on folk, blues, rock, and here and there some related music like Celtic bands.
Al was joined on stage by Dave Nachmanoff, who appears to be Al's sideman or protege. Dave opened the show solo, and opened the second set solo. The two played acoustic guitars, with Dave providing the lead and special effects. It was an enjoyable show, and besides the little trouble the two gentlemen had keeping their guitars in tune due to the heat and humidity, there were no problems. I was only disappointed that they didn't play more of my favorite Al Stewart tunes, but what they did play was done very well. We worried the lack of orchestration would leave us unsatisfied with the music (as many of Al's recorded ballads feature liberal amounts of piano, horns, stringed instruments, etc), but the two pulled it off quite well.
Among my favorites were Lord Grenville, a superb version of On The Border, and of course the signature Year Of The Cat. Dave's guitar work was just excellent on a number of songs and really brought the feel of the original recordings to the live venue. Dave obviously idolizes Al, and the two gave us quite a bit of good natured banter between songs. Al also told a number of interesting antidotes about where the songs came from or his earlier life and how he came to be where he is now; these were almost always prompted by Dave so there is another pitch for what he brings to the show.
At the heart of it, Al Stewart is a folk musician. Listening to his recorded catalog one may forget that, with all the orchestration and big hit ballads. Many of the songs played that evening were old folk tunes he had written and played in his youth, and he likes to haul them out during his shows. There is apparently no fixed set list, Al decides what he wants to play and Dave has to figure out what it is and jump in. It was quite humorous at times. Al was lively enough for a guy (by my rough calculations) pushing 66 years young.
I like that Al writes songs about quite a variety of topics, and is not stuck in the rut many song writers are stuck writing about lost love. More importantly I like how Al paints pictures in my head. His words may not resonate for everyone, but for me his ability to create a striking image in just a few carefully crafted sentences is magical. For example, take these lines from Year Of The Cat:
"She comes out of the sun in a silk dress running, Like a watercolor in the rain"
"She doesn't give you time for questions, As she locks up your arm in hers
And you follow 'till your sense of which direction, Completely disappears
By the blue tiled walls near the market stalls, There's a hidden door she leads you to"
And then there is On The Border:
"The wind whips up the waves so loud, The ghost moon sails among the clouds, Turns the rifles into silver on the border"
Oh, and in Road To Moscow we get lines like these:
"Two broken Tigers on fire in the night, flicker their souls to the wind"
"And the evening sighs and the steely Russian skies go on forever"
I find he is a good role model for cleverly turning a sentence. Painting your picture in just a few sentences is powerful and it keeps the attention of your audience. I try where I can to remember this lesson whether I am writing in my work, or creatively for stories, or as a GM in my games.
Al was joined on stage by Dave Nachmanoff, who appears to be Al's sideman or protege. Dave opened the show solo, and opened the second set solo. The two played acoustic guitars, with Dave providing the lead and special effects. It was an enjoyable show, and besides the little trouble the two gentlemen had keeping their guitars in tune due to the heat and humidity, there were no problems. I was only disappointed that they didn't play more of my favorite Al Stewart tunes, but what they did play was done very well. We worried the lack of orchestration would leave us unsatisfied with the music (as many of Al's recorded ballads feature liberal amounts of piano, horns, stringed instruments, etc), but the two pulled it off quite well.
Among my favorites were Lord Grenville, a superb version of On The Border, and of course the signature Year Of The Cat. Dave's guitar work was just excellent on a number of songs and really brought the feel of the original recordings to the live venue. Dave obviously idolizes Al, and the two gave us quite a bit of good natured banter between songs. Al also told a number of interesting antidotes about where the songs came from or his earlier life and how he came to be where he is now; these were almost always prompted by Dave so there is another pitch for what he brings to the show.
At the heart of it, Al Stewart is a folk musician. Listening to his recorded catalog one may forget that, with all the orchestration and big hit ballads. Many of the songs played that evening were old folk tunes he had written and played in his youth, and he likes to haul them out during his shows. There is apparently no fixed set list, Al decides what he wants to play and Dave has to figure out what it is and jump in. It was quite humorous at times. Al was lively enough for a guy (by my rough calculations) pushing 66 years young.
I like that Al writes songs about quite a variety of topics, and is not stuck in the rut many song writers are stuck writing about lost love. More importantly I like how Al paints pictures in my head. His words may not resonate for everyone, but for me his ability to create a striking image in just a few carefully crafted sentences is magical. For example, take these lines from Year Of The Cat:
"She comes out of the sun in a silk dress running, Like a watercolor in the rain"
"She doesn't give you time for questions, As she locks up your arm in hers
And you follow 'till your sense of which direction, Completely disappears
By the blue tiled walls near the market stalls, There's a hidden door she leads you to"
And then there is On The Border:
"The wind whips up the waves so loud, The ghost moon sails among the clouds, Turns the rifles into silver on the border"
Oh, and in Road To Moscow we get lines like these:
"Two broken Tigers on fire in the night, flicker their souls to the wind"
"And the evening sighs and the steely Russian skies go on forever"
I find he is a good role model for cleverly turning a sentence. Painting your picture in just a few sentences is powerful and it keeps the attention of your audience. I try where I can to remember this lesson whether I am writing in my work, or creatively for stories, or as a GM in my games.
Saturday, July 30, 2011
Wild Horse Vineyard Pinot Noir 2008
The pinot noir grape is a very fussy fellow. Done well it has an amazing range of subtle tastes and is quite enjoyable with many food types or by itself. Done poorly, it comes across as expensive grape juice. Based on my experience, any pinot noir done well and had for less than $20 a bottle is a gem.
In that criteria, the 2008 Wild Horse Pinot Noir I had is a gem. It is a Central Coast wine and exhibits a mild amount of the trademark pinot noir earthiness. It is light bodied, as you would expect from a pinot noir, well balanced, and had hints of vanilla (probably from the oak aging). The primary flavor here is a light berry, for me it came across as fresh strawberry - though your taste buds may find that slightly different. My guess is this vintage would have benefited of a few more years laying down (which we never do - drink 'em if you got 'em). At our local state liquor store the list price was $20, but we scored it on sale for $14.
Casually recommended @ $20, highly recommend for the price on sale.
Cheers!
Casually recommended @ $20, highly recommend for the price on sale.
Cheers!
Wednesday, July 27, 2011
I took the Gygax quiz and all I got was this html code
Barad T Gnome took the Hardest Gary Gygax Quiz in the World and got 50%! You are a Gary Gygax Swashbuckler. You are cunning in the ways of Gary Gygax. You've probably been to Gen Con once or twice, and if I searched your house, I bet I'd find a Gary Gygax autograph, a humorous D&D-related T-shirt, and/or a stack of Dragon magazines.
Paladin Code: You completed this quiz without using Google.
Embarrassing really. I got an easy one wrong cause I typed without thinking. The really hard ones I had no idea cause I never read Gygax novels. Cross my heart I did it without Google.
Thursday, July 21, 2011
Breaking The Barrier Of Death
D&D has a number of troublesome higher level spells. Troublesome because they significantly alter how civilization would function if it were available, and therefore forces a game master to think hard about the implications to their world (or ignore it at their peril). In that definition, the various spells which can bring the dead back to life qualify as troublesome.
Some game masters completely remove the spells. I don't like that solution for a number of reasons, one of which is it removes a power from the clerics that is part of the D&D flavor. Some game masters let it run rampant and are not troubled by the impact on the flavor of the game. If it were that readily available, you would never have a ruler, rich noble, or otherwise wealthy and powerful individual die from anything other than old age. This could be the source of a number of problems in game, especially if you desire a rich and interesting setting of cultures and civilization.
How would the returned to life individual feel if they had been removed from their benevolent eternal reward? How might they be different if their reward was not so benevolent? What about the death experience, would they behave differently in attempt to avoid or not in the future? Would they be angry at those who returned them to life?
What about the legal issues? If a ruler is slain, when does the next in line take command? Would there be laws controlling succession or a waiting period? What if they do not give up willingly? Laws aside, would those in succession now work to make sure their predecessor does not return? Imagine the politics of churches and clerics regarding whether they follow the laws, or get caught up in political intrigue. This problem might go down the line to any member of nobility with a title passed on by inheritance. Would the laws be different for nobility than for normal folks? It could be a negative aspect of becoming a noble.
What about the common folks? If you are killed and returned what happens to your inheritable belongings? Are you legally still the same person if you come back? Perhaps you only still own that which was buried with you, doesn't that have interesting game implications? Would wealthy parents and their children all want the same laws on the books in this regard? This doesn't even touch upon the related subject of magic enhanced longevity, which could be more than frowned upon for a number of reasons.
What about execution? Would there be laws against returning someone who was executed?
What about social stigmas? Would those returned be seen as normal folks, or would they be regarded as abominations, or akin to the undead? Or is it possible those returned would be viewed as some sort of divine messenger or avatar, both awed and avoided all the same?
There is much to consider, and a plethora of fuel for creating interesting cultures and traditions around returning from the dead. For me, I want to keep 'Breaking The Barrier Of Death' something rare and special. Typically in my game, any wealthy or powerful individual who was slain and returned would usually attempt to keep that a secret. Additionally, there are some criteria to meet to even be eligible to return. Rather than just explain it as part of the setting rules, I had the characters learn it from interacting with the world. They found this letter, from a well known and respected cleric, sent to a cleric about to be ready to learn about raising the dead:
I find this works much better for me. It allows me to have some control over who comes back without completely removing the power from the players and the clerics.
The dice never lie.
Some game masters completely remove the spells. I don't like that solution for a number of reasons, one of which is it removes a power from the clerics that is part of the D&D flavor. Some game masters let it run rampant and are not troubled by the impact on the flavor of the game. If it were that readily available, you would never have a ruler, rich noble, or otherwise wealthy and powerful individual die from anything other than old age. This could be the source of a number of problems in game, especially if you desire a rich and interesting setting of cultures and civilization.
How would the returned to life individual feel if they had been removed from their benevolent eternal reward? How might they be different if their reward was not so benevolent? What about the death experience, would they behave differently in attempt to avoid or not in the future? Would they be angry at those who returned them to life?
What about the legal issues? If a ruler is slain, when does the next in line take command? Would there be laws controlling succession or a waiting period? What if they do not give up willingly? Laws aside, would those in succession now work to make sure their predecessor does not return? Imagine the politics of churches and clerics regarding whether they follow the laws, or get caught up in political intrigue. This problem might go down the line to any member of nobility with a title passed on by inheritance. Would the laws be different for nobility than for normal folks? It could be a negative aspect of becoming a noble.
What about the common folks? If you are killed and returned what happens to your inheritable belongings? Are you legally still the same person if you come back? Perhaps you only still own that which was buried with you, doesn't that have interesting game implications? Would wealthy parents and their children all want the same laws on the books in this regard? This doesn't even touch upon the related subject of magic enhanced longevity, which could be more than frowned upon for a number of reasons.
What about execution? Would there be laws against returning someone who was executed?
What about social stigmas? Would those returned be seen as normal folks, or would they be regarded as abominations, or akin to the undead? Or is it possible those returned would be viewed as some sort of divine messenger or avatar, both awed and avoided all the same?
There is much to consider, and a plethora of fuel for creating interesting cultures and traditions around returning from the dead. For me, I want to keep 'Breaking The Barrier Of Death' something rare and special. Typically in my game, any wealthy or powerful individual who was slain and returned would usually attempt to keep that a secret. Additionally, there are some criteria to meet to even be eligible to return. Rather than just explain it as part of the setting rules, I had the characters learn it from interacting with the world. They found this letter, from a well known and respected cleric, sent to a cleric about to be ready to learn about raising the dead:
Dear Youtharn
As you do, many young acolytes question me about using our sacred granted powers to bring back those who have left this world through death. First let me remind you that the gods grant us only a limited time on this world, and when our bodies are spent we are meant to go on to whatever rewards we have earned in this life. You may have heard of stories regarding powerful magics that prevent aging and therefore extend life. Be wary of such attempts to circumvent the god's plans for us; it can only lead to corruption and ruin.
There are powerful spells that senior clerics are granted by the gods that can breach the barrier of death. All of these spells are subject to two core canons. First, the spirit of the deceased must be willing to return. No power we understand here or in the realms of the gods can force a spirit to come back to this world against their will. Second, the barrier of death is breached only by the combined power of the cleric on this world and the boon of a god or goddess to hold open a portal to the realm of the dead. It is no small feat for mortal and immortal to breach the curtain. The natural order of life and death is not easily put aside. It is rare and unusual for the gods to spend whatever power it requires to hold open the curtain between life and death that allows the mortal cleric to call back the dead. We have come to believe that a god or goddess will only spend their powers to part the curtain of death for those with an unfulfilled destiny here on the mortal world that furthers that immortals greater purpose.
An Augury can be cast asking a particular god if they will support the opening of the curtain of death. A answer of weal indicates an immortal's willingness to support your attempt. A Divination can be cast to determine if the mortal spirit is willing to return. Neither of these spells is required to be cast to have the Raise Dead, Resurrection, or True Resurrection spell be successful. However the prudent cleric will determine in advance whether or not it is possible for their attempt to breach the barrier of death before casting these spells as the material required for the spells is consumed regardless of success or failure.
Even though their spells are sometimes alien to us, we are certain that the druids of the woods have the same limitations to breaching the curtain of death.
I pray you fortune in your studies and in carrying forth Eukko's will. Yours in his grace,
Leomark
I find this works much better for me. It allows me to have some control over who comes back without completely removing the power from the players and the clerics.
The dice never lie.
Thursday, July 14, 2011
Querceto Chianti Classico Riserva 2004
On the high side of medium bodied, this ruby/garnet colored Chianti was quite lovely. It was nicely balanced, had enough tannins for a little structure, was dry, and had dark fruit that lasted on the palate. It was certainly ready to drink, but had enough tannins to lay down for a bit (though we never really do that - drink 'em if you got 'em). This Chianti probably could have stood up to a bit of steak with no problems. Highly recommended.
Cheers!
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