Tuesday, 12 February 2019

Krawl Space


As mentioned a week or so ago, I've expanded my Krawl manifesto into spaaaaaaace!

So clearly it's Krawl Space.
Enthused and slightly madenned by the inky void I organised a quick shoot with some of my 40K randoms. Tearsofistvaan kindly loaned me his beautiful Oldhammer boards from Tyranid Attack and they came out gloriously. All those bright colours just popped under the lights. I believe these are the same boards as were in Advanced Space Crusade but the game engine was slightly different.

I've done a second shoot on another Oldhammer tileset which I'll show in the next few weeks. In the meantime, enjoy the technicolour!







Saturday, 2 February 2019

Lovecraft and deep time strata

The concept of Deep Time has been around since the 18th century. The term refers to the vast spans of geological or interstellar time that lie far outside the human experience and lifespan. The aeons that passed since the formation of the universe then planet earth, or the quintillions of years until the (probably inevitable) destruction of the entire universe. Cheery stuff.

Horror and science fiction writers have harnessed this concept (and it's related cousin, Deep History) ever since the birth of speculative fiction. Nigel Kneale is one of my favourite screenwriters partly because of his deft handling of the idea. His masterful works Quatermass and the Pit, and The Stone Tape are brilliant examples of this.

Typically the storyteller's ruse is that a haunted house is built on something much older, and the ancient thing has been making everyone's life a misery for centuries. Such tales play on our fears about control. Humans love the idea that we have achieved mastery over nature by virtue of our skills and our ability to learn. Discovering that we might be prey to far older things that still exert an influence no matter how much concrete we pour over them is disconcerting, to say the least.

In this post, I want to talk about Lovecraft's handling of the topic and I'm going to use some fancy diagrams to do it. What I like about Lovecraft's work is that the Deep History is clearly articulated through the strata of his locations. He describes in exacting detail the tiers of his locations and buildings with enough information to make a floorplan so detailed you could create an RPG encounter. As the protagonists descend through the layers of, say, Joseph Curwen's shabby Pawtuxet bungalow, the reader discovers more and more about terrible secrets buried at the bottom of the dungeons.

These delvings often take a turn for the surreal. In many tales there are episodes leading to temporal distortions or wormholes (sometimes causing, or being indiscernible from, madness) which lead down strange, alternative paths. These are Deep History or Deep Time excursions 'out of aeons'. They typically reveal more information about the scope or scale of the conspiracies. But these episodes also serve a second function. They evoke our primal fears around existential nihilism. By breaking the laws of physics or showing just how utterly doomed humanity is, these wormholes imply that life has no intrinsic meaning or value. In the context of Lovecraft, this has been dubbed Cosmicism.

Without further ado, let's look at some examples. I ought to point out that this is not an exhaustive list of all of Lovecraft's stories which use this technique, but a few of my favourites.

The Rats in the Walls

The Rats in the Walls is one of my favourite Lovecraft stories because he uses Deep History to great effect. The architecture of Exham Priory reflects and is intimately entwined with the exploits of the de la Poer family. The family make use of a vast natural grotto behind a cliff face, and the tiers of subsequent generations of buildings reflect each period of their occupation. This 'stack' is topped by the Gothic manor that the reader is introduced to as the story opens. The manor is being refurbished by the last surviving member of the family, who is unaware of his heritage. A 'temporal slip' occurs at the end of the tale, as the narrator's consciousness is dragged back through time and merges with his forebears' gestalt memories.



The Shunned House

This is arguably not one of Lovecraft's best stories due to its his over use of rather dull lists and his failure to make the reader care about any of the characters. However, the titular house on Benefit Street is clearly described and the strata (including the partly exposed basement) play a central role in the tale. Buried under the packed earth basement floor is something very large and very strange which is revealed to be the cause of the occupants' misfortune. There is a minor 'out of aeons' experience here, where the faces of the beast's victims from centuries past are briefly visible in an ectoplasmic manifestation that subsumes the last victim.



The Case of Charles Dexter Ward

Rightly regarded as one of Lovecraft's best tales and one of his few novel-length works. The story  revolves around Joseph Curwen, a New England necromancer. It is told as a substantial flashback before moving forward to the present day to detail his resurrection by his ill-fated descendant. In life Curwen constructed a base of operations under his farmhouse, which his scion finds and recommissions. The youth's doctor discovers this warren and explores it at the climax of the story. The basement is a proper dungeon, with its winding rooms and features described in some detail. There are two 'out of aeons' experiences. At the end Dr Willett falls unconscious and wakes to find the entrance to the maze mysteriously sealed by an ethereal benefactor. More interestingly, in the long flashback that starts the novel, we discover that Curwen tortured the souls of the dead to gain occult information. During one of these sessions a spirit-victim reveals information about the Black Prince’s massacre at Limoges in 1370. The soul tells of an altar in the ancient Roman crypt beneath the Cathedral there. There is, therefore, a double strata at work here facilitated by the story-within-a-story.




The Haunter of the Dark

This tale is one of my personal favourites. The pace at which Lovecraft reveals the horrors successfully builds a real sense of dread. It's the story of an ill-fated artist/writer who awakens an entity slumbering in the steeple of a shunned church. The beast is kept at bay by light, and when the power goes out across the city and darkness descends it is unleashed. This story is interesting from the perspective of deep time and strata. The strata are reversed - as the protagonist climbs upwards, from the undercroft to the steeple of the church he encounters more secrets and weirdness. In the bell tower he finds a 'shinging trepezahedron' which opens vistas into time and space in a manner akin to Tolkien's (later) palantir.

Friday, 1 February 2019

So, what have you been doing then?

Thanks for asking. Quite a lot, it transpires. Here's a bit of a run down, with some tasters of things to come:

The Burning of Innsmouth

After a year of work I sent the WIP version of my first comic off into the wild. It's been a lot of work and there is plenty more graft to go, but I'm pretty pleased with the results so far. You can check out the website here, join the Facebook page here (which gets almost daily updates and where I post WIPs), and if you're REALLY keen  you can buy the t-shirt (literally) here. Don't forget you can download the 12-page sampler free from the website to get a taste of the action.

Mordheim MMXIX

echoesofimperium has been doing a great job organising this 20th anniversary game in Helsinki. If you get a chance do check out the blog where Alex is posting round-ups of everyone's progress and his own excellent work on the board we'll use for the game.

My weirdo time travellers are now built, based and gradually having paint applied. You can see the grey plastic versions and read more about my crew here. I posted the first painted guy on Instagram earlier this week and he seemed to go down well. Here he is, admirably demonstrating the shape of things to come:


I also have an idea for game aids I'm very excited about. Alas I don't really have anything to show at the moment. But it involves 3D printing, an old concept I did for micro-gaming-kits and this:


If it works out it'll become a whole series of packages maybe tying into my Krawl project. Talking of which...

Krawl

I was pretty happy with my dungeon crawling manifesto and am enthusiastically prepping and painting fantasy randoms for inclusion. Among these are The Eyes of the Nine - a great warband for Underworlds but also a great pack of dungeon denizens as there is a lot of texture to the group (lots of different critters all of different sizes). I hacked up and converted Vortemis. The others remain largely un-converted (bar new bases). Here's Vortemis MKII:


I want to do more shoots on my extensive collection of floorplans too. So that'll happen when I get a moment.

In related news...

Krawl Space

What do you get if you mix AoS Krawl with 40K? Krawl Space, clearly.

This is the 40K sister project facilitating my 40K randoms. Again, GW's amazing back catalogue of floor tiles will serve as the environments. Tears of Isstvan has kindly loaned me some vintage Tyranid Attack tiles so expect a photoshoot on them soon. It must be a real project... it has a logo!


Lovecraft cutaways

I'm working on a post for this blog I hope to publish very soon. It's about Lovecraft's use of the Deep Time / Deep History horror trope. It's taken a while to prepare because it's accompanied by four quite detailed drawings. Each represents one of the author's most iconic locations. Among them there are the Curwen farmhouse from The Case of Charles Dexter Ward and the eponymous Shunned House. Watch this space, especially if you're a fan of D&D floorplans.


Proper work

The Games Workshop Licensing team has been 'knocking it out of the park' of late. We had the launch of Battlefleet Gothic: Armada II which is getting rave reviews. If you prefer turn-based tactical games, Mechanicus did a stunning job of depicting the Ad Mech as they investigate a world that turns out to be anything but dead... The GW Funko Pops! are waiting in the wings and GW Community artist Sarah Kaiser did a great interview talking about her involvement on the project. Coming up we have the action RPG Chaosbane which is getting lots of good press at the moment. If you like pen and paper roleplaying, the exquisite new edition of the classic Warhammer Fantasy Roleplay from Cubicle 7 is for you. Indeed, all GW's physical licensed goods can be seen at the new hub page on the GW website that lists what's available.


What? There's more?

A bit. Some dungeon doodles. These may work themselves into my Krawl/dungeon accessories projects but I'm not sure at the moment.


Phew!

Saturday, 19 January 2019

The Burning of Innsmouth

Wondering why I haven't shown much personal work in the last year? Well, here's the answer:

Yup - that's right. I've been beavering away on a comic book. It's a thriller set in the aftermath of Lovecraft's classic tale The Shadow Over Innsmouth. It tells the story of how the ill-fated coastal town came to be destroyed by the American Government.

Check it out at:theburningofinnsmouth.wordpress.com

You can also like the Facebook page and buy buy buy some awesome gear from the new Redbubble store.


 I'll leave you with a choice selection of artwork.


Sunday, 13 January 2019

Progress to Mordheim MMXIX

It's been a while since my last post on Mordheim MMXIX. I'll go into why this is in a moment, but the good news is my warband is coming along nicely now. You can see it below in all its (unpainted) glory.



65532_1 tried to relax, as he had been told. Despite his best efforts, he could feel the tension in his neck building. His sixth sense told him that his comrades were equally tense as they stood shoulder to shoulder in the rusty metal box.
"65532_1, please confirm third ear function."
"Viddy horrorshow"
65532_1 heard some kind of a noise over the link, which he took to be a curse. If his face had been visible, one would have noticed a tiny smile emerge on the corner of his lips. He knew full well that 7HEADSFOR7SINS was irritated by the use of argot.
"Aye, brother. Third ear functioning"
There was another noise. Which 65532_1 rightly assumed was another curse.
"Acknowledged", 7HEADSFOR7SINS said, after a moment. "Attainment on three. Two. One."
Years ago when 65532_1 was in the gulag he and his fellow inmates had been cleaning the yard. Old Balazs was sweeping the tracks just outside the freight tunnel. They had all screamed and screamed at the old man, despite knowing he was deaf. Those with their wits about them had waved their arms maniacally. Despite their efforts, they failed to attract his attention. 65532_1 had been looking right at Balazs as the gurney emerged from the tunnel at full speed. He watched as Balazs was instantly transformed into a cloud of red mist and tiny spinning chunks of mince meat.
That was pretty much how he felt for what seemed like an hour. Or maybe a day.
He was unclear how long he had been lying down. In fact, he didn't even remember how he had ended up face down on the earth. He breathed out and tried to focus his vision. Gradually blades of grass came in to view. He watched with dumb curiosity as an insect crawled up the stem of a plant. After a while (he had no idea how long) he managed to roll himself onto his front and, like a toddler, shuffle onto all fours. He lifted his head. His third ear vision seemed to be functioning. He saw a desolate landscape in front of him with mist hanging low over hillocks of broken ground. Smaller mounds were, he correctly surmised, the prone forms of his comrades. Broken walls and the ribs of shattered rooves were perceptible on the horizon.
The Zone. 7HEADSFOR7SINS had done it. They had travelled back to Mordheim.
Now their mission would really begin...

So, what was the hold up? Well, in part a few Real Life things came along to distract me. More importantly, while I still think my general idea was a strong one, there was a problem. Readers will recall that I was mining the oeuvre of Stalker and Roadside Picnic as inspiration. The trouble is that, while the world in these works is well realised, the aesthetic of the stalkers themselves isn't. Subsequent Stalker-related works (like Metro 2033) and the costumes in Gilliam's Twelve Monkeys ultimately just didn't inspire me.

Then I remembered the work of Thomas Dubief:





I really love his medieval-WWI aesthetic, with its hints of early tech, heraldry and dazzle camo all muddied down through what we presume to be months of trench warfare.

Perfect for convicts sent through time with the aid of bizarre tech on a mission into hell they barely comprehend.

So I got to work on some Cawdor gangers. The overly-large goggle-heads were a feature I wanted to ape. I borrowed weirdingsway's trick of combining two Marine shoulder pads to form a half-capsule element. The Ad Mech raygun was a deliberate choice as it has a Mauser feel to it which I really like. The shields were components with the perfect blend of slab-like geometry with a few refined curves. I chose swords which had a very utilitarian feel to them - more like machetes than rapiers. Like they are trench issue kit for Tommys as opposed to elegant blades.

In terms of painting I want to go for something quick which captures Dubief's heraldry and camo. I've got a bit of an aversion to airbrushing at the moment, so I might use Death Guard Green spray as a base and go from there. I'll keep the heraldry simple and will look at Imperial Knights decals as possible sources for iconography.

I'm back off into The Zone now, so I'll see you in a few hours. Or weeks. It's hard to tell...