Wandering DMs Wandering DMs

Dan and Paul are thrilled to chat live with the master of fantasy, Michael Moorcock. What are his current thoughts on the legacy of his writing Elric, the Eternal Champion, critiques of Tolkien, and so much more?



Michael John Moorcock (born 18 December 1939) is an English–American writer, particularly of science fiction and fantasy, who has published a number of well-received literary novels as well as comic thrillers, graphic novels and non-fiction. He has worked as an editor and is also a successful musician. He is best known for his novels about the character Elric of Melniboné, which were a seminal influence on the field of fantasy in the 1960s and 1970s.



As editor of the British science fiction magazine New Worlds, from May 1964 until March 1971 and then again from 1976 to 1996, Moorcock fostered the development of the science fiction "New Wave" in the UK and indirectly in the United States, leading to the advent of cyberpunk. His publication of Bug Jack Barron (1969) by Norman Spinrad as a serial novel was notorious; in Parliament, some British MPs condemned the Arts Council of Great Britain for funding the magazine. He is also a recording musician; he has contributed to the music acts Hawkwind, Blue Öyster Cult, Robert Calvert and Spirits Burning, and to his own project, Michael Moorcock & The Deep Fix.



In 2008, The Times named Moorcock in its list of "The 50 greatest British writers since 1945".



This description uses material from the Wikipedia article "Michael Moorcock", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Dan and Paul reflect on what we think are the biggest mistakes and errors in the first publication of original D&D in 1974. What are the biggest blemishes that troubled the game for decades afterward? What are some of our top house rules to correct the largest problems?



The original Dungeons & Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. The set also presents rules for travelling through the wilderness by land and sea, hiring specialists as well as men-at-arms, constructing fortifications and establishing baronies. The set defines movement rates and areas are using inches, like that of the miniatures rules from which the system descended.



This description uses material from the Wikipedia article "Dungeons & Dragons (1974)", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Paul and Dan check in on their annual D&D mini-convention with friends in a house on the Massachusetts shore, now in its 15th year. What went well, what could go better, what lessons will feed into our future gaming?




Find WDM 01 - Asymmetric Monastery of the Deranged Berserkers on DriveThru RPG here!

This St. Patrick's Day, Paul and Dan discuss the rich history of Irish myths, legends, and stories in the D&D game. From Druids and Bards to the Banshees and Firbolg, what are some of the best ways to spice up your game with inspirations from the Emerald Isle?



Irish mythology is the body of myths indigenous to the island of Ireland. It was originally passed down orally in the prehistoric era. In the early medieval era, some myths were transcribed by Christian monks, who heavily altered and Christianised the myths. Irish mythology is the best-preserved branch of Celtic mythology.



The main supernatural beings in Irish mythology are the Túatha Dé Danann ("the folk of the goddess Danu"), also known by the earlier name Túath Dé ("god folk" or "tribe of the gods"). Early medieval Irish writers also called them the fir dé (god-men) and cenéla dé (god-kindreds), possibly to avoid calling them simply 'gods'. They are often depicted as kings, queens, bards, warriors, heroes, healers and craftsmen who have supernatural powers and are immortal. Prominent members include The Dagda ("the great god"); The Morrígan ("the great queen" or "phantom queen"); Lugh; Nuada; Aengus; Brigid; Manannán; Dian Cécht the healer; and Goibniu the smith. They are also said to control the fertility of the land; the tale De Gabáil in t-Sída says the first Gaels had to establish friendship with the Túath Dé before they could raise crops and herds.



They dwell in the Otherworld but interact with humans and the human world. Many are associated with specific places in the landscape, especially the sídhe: prominent ancient burial mounds such as Brú na Bóinne, which are entrances to Otherworld realms. The Túath Dé can hide themselves with a féth fíada ('magic mist'). They are said to have travelled from the north of the world, but then were forced to live underground in the sídhe after the coming of the Irish.



This description uses material from the Wikipedia article "Irish mythology", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

How does one run a successful dungeons and dragons one shot game? Dan and Paul discuss how to condense the D&D experience to a single night of fun. They'll share techniques they've developed over the years behind the DM screen, discuss which scenarios fit the one-shot format best, and advise would-be DMs on the best road to one-shot success.

Dan & Paul discuss tips for embodying a character in body and voice when playing D&D at the table. When we compare ourselves to well-known D&D performers, what are simple simple tricks anyone can use, even if we aren't trained actors?



Acting involves a broad range of skills, including a well-developed imagination, emotional facility, physical expressivity, vocal projection, clarity of speech, and the ability to interpret drama. Acting also demands an ability to employ dialects, accents, improvisation, observation and emulation, mime, and stage combat. Many actors train at length in specialist programs or colleges to develop these skills. The vast majority of professional actors have undergone extensive training. Actors and actresses will often have many instructors and teachers for a full range of training involving singing, scene-work, audition techniques, and acting for camera.



One of the first known actors was an ancient Greek called Thespis of Icaria in Athens. Writing two centuries after the event, Aristotle in his Poetics (c. 335 BCE) suggests that Thespis stepped out of the dithyrambic chorus and addressed it as a separate character. Before Thespis, the chorus narrated (for example, "Dionysus did this, Dionysus said"). When Thespis stepped out from the chorus, he spoke as if he were the character (for example, "I am Dionysus, I did this"). To distinguish between these different modes of storytelling—enactment and narration—Aristotle uses the terms "mimesis" (via enactment) and "diegesis" (via narration). From Thespis' name derives the word "thespian".



This description uses material from the Wikipedia article "Acting", which is released under the Creative Commons Attribution-Share-Alike License 3.0.