Showing posts with label The Lantern. Show all posts
Showing posts with label The Lantern. Show all posts

Sunday, February 22, 2026

The March 1636 Lantern is Published

Okay, The March Lantern is available. Those fast on the draw may have noticed that I mistakenly published it as free access for 56 minutes.  I was just so worn by finishing it that I failed to adjust the publishing details. But it's behind a paywall now, I'm so sorry.

The reason this thing is such a bugbear for me is twofold. In the first place, publishing anything comes with hesitancy, because like any writer, I constantly doubt the value of my own work. I can't see it through the lens of other people, so I have no idea really if it's good or not. So, irrationally, I struggle in fear to put it out there.

The other side of that coin is that if it isn't good, then what the hell am I doing all the work for?  This is also a form of poison in an artist's head. Work is work. I was remarking to my partner yesterday that by dinner time, as I was incredibly stiff throughout my joints, that it comes from concentrating so hard that any movement of one's muscles becomes a distraction. Thus, when I'm working at anything that is extremely particular, as The Lantern is, not just in writing but in overall layout, the ads, the voice the "writers" use, physically I become more and more stone-like and more and more my whole effort is toward my thinking process. Eight hours of this and my joints get very ugly when I get up to eat something.

I don't experience these symptoms with a blog post. There's nothing riding on this. I'm not charging for this. It doesn't matter if I don't write this. What I write has no long-term consequences for me. Thus I can write calmly, fuck around even, and it doesn't matter. I can't see The Lantern in those terms. It matters too much to me.

Anyway, it's published. Yay.

Saturday, February 21, 2026

The Lantern is Late

The March Lantern isn't going to be ready today. Losing Tuesday and Wednesday to a toothache, abcess and dentist's visit pretty much put me on my back heels, but I've caught up a full day on what's been lost. I would have managed this otherwise. As it's looking now, provided nothing goes wrong, this should be done sometime tomorrow evening, perhaps sooner, and no later than Monday a.m. Believe me, no one wants this done more than me.

Please be patient.

Saturday, January 3, 2026

Delay

I'm sorry, I'm not going to manage a February edition for the Lantern. I'm not going to blame in on that 4,000 word post on language, but I won't say that helped. The issue is that my creativity has gone somewhat cold over the holidays, especially with the relief of finishing the Christmas issue, so I'm going to skip a month. Whenever I feel I'm getting the rhythm of putting these things together, I find myself facing the next one and feeling, what the hell.

This scene appeared out front of my place this morning. Of course the image doesn't do it justice; for one thing, it was incredibly bright to my natural human eyes, so of course the phone camera dimmed it. Nonetheless, it was very beautiful; I found myself staring at it upon getting out of bed this morning while drinking almost all my cup of coffee. I suppose I'm just recharging.

So, I'll relax and write posts here, make notes, get the next issue under control and then see if I can put two of them back to back. I'd like that. It'll distract me while I watch the world get tossed in the dumpster.


Wednesday, December 24, 2025

A Christmas Diversion

Christmas Eve, and so I'll post one of the stories from my Lantern.  Not the best story in my opinion, and in fact I think the shortest, nor the most "Christmasy," but some might like it and might appreciate the effort that I took with The Lantern this year:

The Ancient Yule
by Tasmin Veale


Ah, there’s plenty of Devon folk struttin’ into Christmas as if the world began with their own grandmothers, knowing no more of old forest gods than a hen knows of harvest accounts. And as for the wisdom our Viking forebears brought down from the north—why, it’s slipped clean out of their heads, if ever it got in. Those men knew the worth of a tree that’s stood longer than a landlord’s promise, reading its rings like a parish ledger—sunshine, storms, and every bit of druid’s tending writ plain for them. And they weren’t such fools as to forget, when winter’s dark presses in hardest, how to coax the good still sleeping in the wood and send it into the world again, lest the sun itself take fright and turn tail for good.

When those layers are set alight upon a solstice night, each one sends out a burst of power strong enough to chase off every dark spirit skulking about—though between ourselves, half the spirits are likely to run merely from the gathering of villagers’ faces in the light the fire gives off. And of course the bigger the tree, the stronger the virtue stored in it; why, in the north they’ll set to with logs twenty feet long, standing a good eight feet high across the trunk, and the whole village comes tromping out, gaping at the blaze as if learning for the first time the wonder of the world.

Cutting down a tree is an act to be handled with great reverence, for though the tree will serve us well, it’s still a living creature that’s suffered its share and yet stood thriving through many a long century. The oldest and largest oak is best—you’ll find some with trunks a good six feet thick or more, though it’s always wiser to look for one that’s seven feet at the least. And if no oak comes to hand, an ash of six-foot width or a beech a shade broader will answer—only you must be prepared to hunt for either before you set axe to bark.

Don’t go thinking, like some do, that a bundle of smaller logs or a heap of earth-preserved branches will serve; that’s nothing but opening the door to calamity. You must remember it’s the oldest rings that bring the magic forth, not the mere bulk of the wood. A branch is nought but knots and bark, so we should expect no good from that. You ought to understand the bargain that’s set before us: we take one life—the tree’s—to shield many lives, our own, in the year that’s coming. And if we mean to drive back the spirits that would prey upon us, the trunk has to be well and truly seasoned by all those long years between ourselves and the time when it was no more than an acorn, a mast or a key.

I’ve seen well enough what comes of a village that tries to spare itself the trouble, only to find the children ailing by January, and the livestock lying hollowed and dead on the moor by February, brought low by spirits no one can put a name to, with seeds that won’t so much as stir in the soil come April. It’s not worth the saving—do the thing properly, and seek out one of my own kind, a good druid, who knows the right way such hard work must be gone about.

Once you’ve settled on a trunk of the right thickness, you’ll want a good fifteen or more feet of its length, taking it from just above the highest root. That’s what gives you a burn that’ll last the whole night through—aye, and long past a single night if the wood’s sound. It allows time for folk from the surrounding districts, lacking their own yule, to make the journey and share in the ritual as well. Such a gathering binds a wider community together and promises not only a strong harvest in the year ahead, but a fair footing for trade and tradesfolk besides. And mind you, the brighter and higher the blaze, the farther its call will reach to others.

Mind this as well—that the days before the burning must be handled with all the seriousness you’d give to preparing for a siege, for bringing the tree into the village is as good as announcing the coming spiritual confrontation. The moment the felled trunk is carried in, the villagers must be off at once to shutter the windows of every building. It’s a thing most don’t rightly grasp, but the scent of the wood will draw the lesser spirits from hither and yon straight into the village; and these, being drawn so early and not yet met by the fire that’s still days ahead, will nose about to slip into any structure they can and make mischief. So every portal must be closed against them.

In the same fashion, the wells must be covered, for water is a favoured passage for whispering entities. A single open surface lets enough of them linger to put the whole solstice at risk. The livestock, too, must be brought together into the central barns and not left out in the fields nor left to themselves. And for safety’s sake, the iron implements are to be set leaning round the outside of the barn in a ring, with lines of salt laid all about it as well, for evil spirits are ever inclined to harry the edges of a community by preying on the animals first.

And you must take heed of this besides: children and the elderly are to be kept indoors—not out of any hardness of heart, but because the frail are ever the quickest to be led astray by the spirits’ own contrivances, seeing what isn’t there and being coaxed where they’ve no call to wander. In Yule-tide custom, it’s held to be plain sense to keep such loved ones close to the hearth, for the long winter nights are when wandering beings, be they the Wild Hunt aloft or house-sprites abroad, cast about for those whose strength is not equal to the season.

While all these preparations are under way, the square where the burning is to be held must be cleansed. That means sweeping off every scrap of windblown litter, for any bit of decaying matter gives certain shadows a place to fasten themselves. After that, mark out the boundary with chalk or crushed bone, mixed best with the wood ash saved from the previous year’s burning. And if none of that is to be had, then gather ash from hearths that have burned wood only—not charcoal, nor anything spoiled by drippings. With a bit of foresight, you may clean out several hearths weeks before the log is due, and keep them burning on clean wood so the ash is fit to use when the time comes.

But for the years ahead, you’d best keep in mind that the old ash is the very thing that matters; it holds the leftover strength of the last great fire, and the spirits know well enough when a boundary has been carried from one season to the next. Then, once the boundary’s laid, there must be a set company that’s given the duty to sit out each evening and tend the braziers round the square. Best for this work are clerics, woodfolk and, if the village has the luck or the trouble of it, any faerie kin tied to their own. These should keep a low ring of flame upon the braziers, so the boldest of the spirits don’t come nosing at the boundary before the main fire’s lit. And there ought to be good, able talk about those braziers too, for nothing frets a wandering spirit more than joined voices and neighbourly friendship; so folk should go and visit the keepers, if only to see them through their watch.

Yet all that good company mustn’t turn itself toward ribaldry or celebration; no cries of joy, nor singing, nor feasting should be heard in any house. In some places, it’s common for the constables or the church folk to go knocking at doors where they catch an unusual savour of too good a food in the air, to make sure no one’s taking more than the plain fare they’d set on the table for any day in November or January. For jubilation calls attention just as surely as fear does. And mind you, the days between the felling and the burning are the most perilous of all—spirits unsettled on every side, some frightened of being driven out by the fire, and others prowling for any scrap of wrong-doing they can fasten upon.

For that very reason, the whole community must go about its work with discipline, sobriety and a quiet, steady purpose, knowing full well that if all is done as it ought to be, the great burning will not only keep the darkness at its distance for another year, but stand as a sign of the prosperity and plenty that’s meant for all.

It’s at this point a druid is of exceeding worth, for such folk know the old invocations and the binding ways; without them, the burning is nought but a great heap of flame and no more. I am, of course, such a one myself, and shall be overseeing the doings in Tavistock this year—but there are others in the countryside, even now, who’ll come on short notice and do their best by you. Look for them in the outlying hamlets, among the foresters or on the very edges of the settled land. A small delegation may go to such folk quickly and quietly in the days after the bough is cut, carrying gifts of salt, wool or iron should there be need of barter. But leave off taking gold, or jewels, or any bit of fine workmanship, for such things have scant worth where the weeds grow high and the deer keep their own counsel.

Once the druid has come, their work is not only to bless the tree, but to read it through and through, to see whether any ill-willed thing has trailed the bough back from the forest and hidden itself inside. It’s a common enough matter to find some malign presence curled deep in the heartwood—but with warning given, a druid can take the measure of such creatures readily, driving them out or shutting them fast within, where the fire may finish the task. And because it’s the sort of danger easily missed by folk who’ve no learning in it, the trouble taken to find a druid who knows the way of such matters well is never wasted.

The village ought to make ready a place for the druid to stay, and it must be set well apart from the daily stir and muddle of the parish. A cordoned-off corner in a hall house will answer, or even a poor little hovel that can be spared for a week or two. It needn’t be warm, nor swept to shining, for a druid judges comfort by what’s found under the arms of the woodland, not by any measure fit for gentry. What matters—what truly matters—is that the place stand separate and still, so the druid isn’t pestered from dawn to dusk by every flutter of fear that seizes the village folk. For if you let them, they’ll be knocking to ask after this omen or that shadow, begging for a physic for their coughs, wanting charms for their cows and pressing in with a dozen little ailments—aye, even down to the hope the druid’ll set aside sacred work to peer at some farmer’s swollen toe. Such bother will sap an aspirant’s strength quicker than cold or hunger, and this is a time when the work of the yule wants all the concentration they can muster.

Once the shaman has done with muttering and peering and pronouncing, then the great log is fetched out and set in the middle of the square upon its stone bed, raised proper and decent from the ground so the air may get at it underneath and the fire not sulk or choke like a damp hearth. There it lies, waiting, solid as a promise, while round about the square the torches are fixed in their places, every one of them ready to hand yet left dark as prudence itself, making a ring of watchfulness rather than light until the very hour comes that says it is time.

Food and drink are brought out at last, and the log is set alight; and if you have never seen such a thing, then you have missed a sight worth the telling, for it begins modest enough, with a smaller fire coaxed to life beneath the great timber, and only by degrees does it take heart and climb upward along the yule, licking and spreading as though it were learning its own strength before all our eyes. As it mounts, the musicians fall to their playing, not in any wild or heedless fashion, but careful and contained, just as custom has always required, keeping the sound low and steady while the work is still being done. And then, almost before one knows it, the whole temper of the village breaks at once, the strain gone clean out of it, as if the fire itself had sliced through the cord that held every man and woman drawn tight.

Then folk cannot keep themselves any longer, but cheer and laugh outright, laying hands on one another’s shoulders as if to make sure they are all truly there and safe. The children come darting forward at once, bold as sparrows, pressing in as near as they dare and calling over one another in their excitement as the heat rolls out upon them. And with that, the musicians throw off all restraint and strike into the very tunes that have been held back the whole year through—reels and stamping measures that set feet flying and send the folk whirling across the hard-packed snow, glad as if winter itself had been answered at last.

Meat is set to roasting on every side and the air grows thick with it, the rich savour of it mingling with the sweetness of ale and cider and the keen bite of wood smoke, all of it together smelling like life come back again after a long absence. Young couples make no secret of their joy, kissing one another plain in sight of all, while the elders lift their voices to call down blessings as though they might fix good fortune in place by naming it aloud. And for the first time since the winter took hold, the village has a sound to it that is not wind or silence, but the true noise of people living.

Most important of all, it feels as though the worst edge of winter draws back a little, not gone, but held at bay, so that old grudges are set aside without a word said about them, hands meet across family lines that have been stiff for years and everyone finds themselves thinking, almost in spite of themselves, that the spring will come kindly, the lambing be sound and the harvest answer to honest labour.

There’s a sort of tremble in the air then, slight and hard to name, as if the world has been freshened for a moment and shown what it might be if things went right, the fire having burned a clear road toward brighter months ahead, so that the future seems to lean in close, offering its promise quietly, but with a generosity that’s felt all the same.


Saturday, December 20, 2025

The Christmas Edition of The Lantern, 1635, has been published

December 20th and the Christmas Lantern for 1635 is finished. I would have preferred it not be 32 pages long, as it's been quite a lot of writing, but it's sorted and done and ready to be viewed for anyone buying into the $10 tier of my patreon.

I'll give a taste, though, since that's only fair:


Well, these things take a lot out of a person, so I'll rest now and apply myself to lighter work coming into the Christmas holiday. Unless I fail the effort, there will be another issue ready to go on the 21st of January, though the preview of that issue is going to have to wait until the 7th of January. I just won't have the time to get it together for the 1st of that New Year.

For those who may be finding it hard to enlarge the text in the image so it can be read, I'll provide what it says below:

My story tells of a cold night, in the third week of Advent. As I write these words, not two days have passed since I stood at the door of the Badger’s Head in North Bovey, content enough, as I could be. A mug of cider warmed my hand, its steam rising rich and fragrant, and my belly was full in that manner that makes one feel settled. I looked out at the well-repaired bell of St. John the Baptist Church, its brass gleaming in the fading light, where the workman’s hammer had been at it all day. The sound of that hammer striking its metal had filled the village from morning to night, a friendly and familiar noise, and a welcome one, with Christmas drawing near.

I could hear the sound of music drifting from within the tavern, the shuffling of feet upon the floorboards and the rising laughter spilling out into the chill of the night. William Moore gave my shoulder a clap as he came forth into the cold, on his way home, and I called after him, "And a merry Advent to you, Bill," to which he returned the greeting in kind. I heard the quiet crunch of frost under his boots as he went. All told, it was a fine night.

There then appeared a huge form, as large in my mind as a pony, padding down the middle of the street with no more care than if it were the most common of creatures. It was a wolf, black as midnight itself, its tongue hanging between teeth that glistened bright by the light of the Badger’s lamp. Had I my staff, I might have touched the beast with it, without lifting my feet. Then it was gone from my sight, vanished from the village, down the road eastward.

I knew it at once—the great black wolf, that savage creature that had been terrorising the West Counties since the summer past, and was said to have claimed three lives. It had passed me by just then, not a sound, not a growl—and I felt as if my heart might leap out of my chest, so fiercely did it beat. But when I got hold of myself again, where would you think I was? Why, I was running east along the road, the River Bovey on my right and the bridge over Dickford Water before me. And there, in the fresh snow, were the prints of the wolf, leading me onward.

Now why I should have done such a thing, after but six months being a mage of my own purpose, I cannot say. In my inward eye, I saw the wolf pass me over and over, seeming to remember the gleam in its eyes, the unnatural sheen of its black coat, its loping gait along the village lane—and I told myself, turn back, find others and tell them what you’ve seen. But deep down, I knew, if I didn’t stay on its trail now, it would slip away into the country as it had done so many times before.

I could not in good conscience let the creature roam where it pleased so long as I might yet tell whither it went—or so I persuaded myself—though I had neither my staff nor so much as a dagger about me. All I carried was the knife with which I cut meat or lopped branches from gathered firewood, and that other resource I scarcely trusted, my magic. And as I crossed Dickford Water Bridge, the brook was frozen clean across, its surface smooth and pale beneath the snow. The wolf had padded right over it, without breaking its stride, its footprints lying wet and dark upon the planks before me. I make no doubt that, at the time, I believed myself a brave fellow indeed.

East of the stream the ground rose sharply, and with it went any hope I nursed of passing near enough to a farmhouse to cry out for help. The brush thickened where the wolf had taken to the ridge, and I followed after him all the same, knowing full well that the village of Sanduck lay quiet in the valley beyond. My thoughts were crowded then with the certainty that the stories were true, and that the danger was no fancy either—yet I told myself I was no child and drew my cloak tighter about me. The snow crept over the tops of my low boots, numbing my feet as I went, but even so I would not give up the chase.

Upon the crest of the ridge the cold took on a keener edge and the night deepened about me. The moon shone bright enough to rim every drift with silver, so that the world looked cut from glass. Each footprint was as broad as my palm and driven deep into the snow, as if the wolf bore the weight of two creatures in one hide. Then presently we dropped down to a lane, the wolf but minutes before me, a track I had known since childhood, where we gathered holly at this season of the year. It was little more than a muddy run, following the line of ground where Farmer Bowes had once grazed his sheep. As I went, I felt the sharp, woody spines of gorse catching at the cloth of my loose breeches and pricking my legs, its tendrils flat beneath the snow.

(continued in magazine)

Wednesday, December 17, 2025

Energy Where It's Due

"Let me tell you something... getting old is a gift. I forget that sometimes... but it is. What more could a guy possibly want?"

— Jumanji: the Next Level

The strange sources in which we find things. I'm quite sure this one line was written by DeVito.

As expected, the Christmas Lantern landed with something of a thud. A few (quite literally that number) expressed interest, but the larger mass of readers shrugged, did not visit the page and did not send their regards. I've struggled with this through 2025, but not because the Lantern is a "failure." True enough, the interest hasn't been widespread, but the truth of it is that I've been much more conscious of my age of late.

This blog, Tao of D&D, is at a dead end. Not that I'm going to stop writing it, but that any real usefulness it has is played out. I'm not going to write a new post that convinces anyone at this stage to change the way they play D&D. All those posts have already been written. I'm not going to change the course of D&D. It's going down, where it's going to stay for any foreseeable future. We're just watching it circle the drain. I could write about the books until I'm blue in the face, no one's who hasn't already is going to wake up and realise they've wasted their lives shoving this junk on a pedestal. Even the next most sensible guy to me on the internet writing about D&D cannot pull the sunshine out of his ass when writing about these books.

Thus, effort given here is, from this point, merely playing for the choir. And let's face it, a lot of you good people will, soon, begin to wonder if this fantasy is sustainable for you also.

A writer needs an audience. This is something that any writer wants. If not a big audience, then certainly an eclectic one. A growing one. One that reaches beyond the same collection of folks for year after year. A congregation, if you will, that consist of more than the choir.

The Lantern, for ill or good, is sustainable. It doesn't rely on this hobby; it doesn't count on a specific kind of D&D being popular. It doesn't in fact, need D&D at all. Because the stories take place in a fictional year four centuries ago, it's timeless. When I'm gone, every issue I write gives my daughter something to sell. And, if he wants to one day, my grandson. If I can get enough issues together to make a book or two, those will still have value when I, you and all the rest of the choir are long dead. This matters to me more than the number of page views I get for an announcement this month in 2025. It has to. Because the day is going to come when I'm not here... and every day between now and that time is, yes, a gift. I can't waste that just carping about the White Box. I'll go back to carping, but realistically, that's not the priority now, and never will be the priority going forward.

I could afford to look at all this differently in 2008. D&D still looked like something that could be saved. Sure, it was looking bleak at the time, but not as bleak as it looks now. D&D, and D&D products, have no future. I'm sure of that. And the only way to make money from them in the present is to produce the most egregious, crowd grabbing shit imaginable. Thank you, no, I'm out. I won't get into that business.

I've written 20 stories and articles for the Lantern now, over five issues. I hope I can find a stride that lets me have the presence of mine to print an issue every month, not because it'll rescue me from my poverty today, but because it'll one day rescue one of my descendants from theirs. Those who have read the Lantern, who can see it for what it is, who aren't measuring it against what it isn't and that which it isn't trying to be — a D&D support product — already know how unusual and unlikely is this project.

I'm sorry that understanding hasn't taken hold. Sadly, I have no control over that. But I do control where I put my energy, and it's not going to be wholly in producing take-down posts of the White Box just because those happen to be popular just now. A year from now, no one will read them or give a shit.

I can't be sure that'll be likewise true with the Lantern. In fact, I'm pretty sure it won't be.

Monday, December 15, 2025

The Lantern Christmas Issue

This should explain where I've been and what I've been doing. The decision to put this together was sort of last minute... I started it around the 1st of the month. The principle writing is almost finished, but there's tidying up and I want to rewrite the last third of the main story once again, as I think it's a bit of a muddle. I'll try to have this ready for Friday, but just now, I can't make a promise.

It is D&D and at least two of the stories are directly about Christmas, with one a legitimate Christmas story. The adventure is not a joke, not a mock adventure, but a real one; if there's anything I find annoying about pairing D&D with Christmas, its the incessant need to make a mockery of both concepts in order to produce images that are meant to be funny and are, rather, both not funny and at the same time, pretty insulting. I don't do that here.

Some struggle was had representing Christmas in 1635. Tradition at the time was not to actually celebrate Christmas until the actual Twelve Days started, so that recent events, such as the adventure, could not actually happen during Christmas but rather, during Advent. But I do the best I can to get the honest Christmas spirit into this thing. The mace on the cover is probably, admittedly, the oddest thing ever associated with holly and mistletoe. That one, yes, is on me.

Just now, it's coming in at a whopping 32 pages. This explains the 10 c.p. ($) fee. 

Saturday, November 1, 2025

Preview of the Lantern, December 1635

A month late, or rather I've skipped a month, but I have the lantern available to be looked at for those few of you who contribute $10 or more to my patreon each month.  As ever, the Lantern will be available for $7 come the 21st of this month.

This image is of the back page, since I posted the front page a few days ago.



P.S.,

Upon request of a reader in the comments, I'm adding this post.



Tuesday, October 28, 2025

The Upcoming December Lantern

For those who may be concerned, there will be an issue of The Lantern, December 1635, available for preview on the 1st of November. The public version will be available on the 21st of that month. The principle writing is finished, the editing is ongoing and I am making ads to fill out the content. I'm a bit stuck for a back page, so if anyone has an idea, I'll certainly consider it, but I have faith someone will arise before the end of this week.

Chat's image generator has completely gone to shit and is now no longer useful for what it could do easily just four months ago. I don't know what's going on; visually, different sorts of errors were proliferating every day throughout this month, such that by just five days ago, it simply refused to render a clear image at all. Clearly the chat-5 rollout failure has the company in a tailspin, such that they're rushing around making changes without considering the consequences. The text function is always showing signs of wear, so that I can feel the goal posts moving even as all I want it to do is comment on work to see if it's either accurate or if what I'm writing makes a good impression on the reader. I suspect that it's going to become the "Betamax" of text-generation platforms, soon to be replaced by a score of alternatives.  I've recently found one, it's generating GREAT pictures for me, more quickly and in a format not that different from chat. Strange times when a doofus running a company can simultaneously throw an advance out to rival the internet and months later sabotage it idiotically.

In any case... I'm sure that given my melt down a month ago, some folks were worried, but things are fine. The stories on the cover shown are all finished and, in my opinion, excellent. I look forward to working on the issue after this.

Sunday, September 28, 2025

Telling Myself it isn't a Failure

It turns out, I'm neither ready nor able to maintain a monthly schedule with The Lantern. I felt that I was, but I've had some trouble getting into the groove and this is my admitting it to myself that I'm going to have to suspend the November issue at this time. I'll be releasing this issue as the December issue... it is about two-thirds done at present, so I shouldn't have a problem. Thereafter, I'll release a February issue and see how the work-demand goes.

I shouldn't admit it, but at present I don't feel all that great about myself just now, so I'll throw that into the mix. These ideas come to me — and I continue to believe that The Lantern must be about the best idea I've had in my life — but the degree of confidence they demand out of me is most of the time a bridge too far. I've had a long lifetime of many, many failures... so that no matter how well something is going, or how much reason I have to believe in it... or even the intellectual capacity to achieve it... what's lacking is faith. That's always going to be was sabotages me. And it just takes a bad week, a bad chance set of circumstances piling together at the same time to make me feel like the legs have been kicked right out from under me. So it is here. And I'm going to need a couple weeks of lying to myself and smacking myself in the face to make me see right again.

I don't have time to do that between now and the first of October, so... yeah. It'll be another month.

Monday, September 1, 2025

October Lantern Advance Copy Available

I've finished the advanced version of the October Lantern, posted on patreon.  I've taken the requisite three hours rest and now I'm writing about it here. It's available for a $10 donation on patreon right now, otherwise it'll cost $7 on patreon come September 21st.  In the next few days I'll start on the November edition, which I've got rattling around in my head now.  I know what three of the articles will be, so I'll get started writing those soon.

I trust all of you are having a good Labour Day holiday.

Saturday, August 30, 2025

Third Issue of the Lantern Coming Along

Two days until I provide the advanced copy of October's issue of The Lantern, which includes the follow up story to that which appeared in the September issue. Things were off track for a little while, but the work goes steady and while I may be late in the day come Monday the 1st, it's coming.

A $10 donation on Patreon gets it for you then... otherwise, the official launch comes September 21st.  Isn't this a great cover?

Thursday, August 21, 2025

The Lantern September 1635

The September issue of The Lantern is now for sale on Lulu, or on itch.io, or through a $7 donation to Patreon.  August continues to be available through the previous two sources, but no longer through Patreon at this time.  I'm afraid that back issues must in the future be located by looking the first two sources given.

Feels good to get this second one into the public. The real test of these things isn't showing that a magazine from front to back can be written, but that it can be done twenty times, month after month, without a drop in quality.  Several persons have already commented that the September issue is better than August... and while I don't expect that's always going to be the case, for the present I'll always do the best I can to make every issue a great one.

Those not rushing in, who are holding back, I don't blame you... but if you've felt over the years that this blog was worth reading, then let me tell you, The Lantern is the distillation, the evidence through fact, of all that I've ever stood for, that I've argued, that I've said the reader should do with their game world.  In other words, for the sake a mocha latte, you're missing out on the best thing anyone has ever written about this "hobby."

Which is certainly not how I see it.

Tuesday, August 12, 2025

The September Lantern coming Soon


The September issue of The Lantern has is official launch on the 21st of this month, nine days hence. Discarding the usual hype, the hard selling of the product, and all the things that we have to do as creators to generate interest, I merely encourage the reader to invest into the $7 tier on my Patreon, so that you may receive a new issue every month, starting soon. The content, I'm assured, is unlike anything anyone has ever seen — while I find myself stunned to have thought of it at all.

Monday, August 4, 2025

Printing The Lantern

Sterling has sent me the image shown. It's marvelous to see the print of the magazine, which I've not done, especially in "the wild" like this. Thrills me to no end.

He's printed up the issue in black and white, suspecting that as is, the magazine would be too dark to print as is.  I would suggest that should you choose to do so, for black-and-white, lower the brightness a touch (-5%), increase the contrast slightly (+5-10%), sharpen the text edges and desaturate instead of relying on auto-greyscale.

For colour printing, leave the brightness alone, unless your printer is known for printing dark. In that case, raise your brightness about 5%. Also for colour, reducing the contrast increase to just 3-5%, and reduce the highlights slightly (3-5%).  Turn off any vivid or enhancement modes, as those will oversaturate and distort the layout.

Try a test page first (Sterling says the cinnamon ad is a little dark behind the black text when printed), so you can judge before printing all 24 pages.  If you use a printer, be sure you discuss these things with them, so they can account for the issues.  The image is made on a computer, for computers, and I admit I tend to have my computer turned up a little bright.

Friday, August 1, 2025

The September 1635 Edition of The Lantern Advanced Copy Available

The second issue of The Lantern, for September, is available, but only as a preview.  The only way this can be read at this time requires joining the $10 tier of my patreon.  They will be the first to see it, and will no doubt want to talk about it.

A more accessible version for $7 will be available on Patreon and on Lulu on the 21st of August, by which time I will be well into the October issue. I'm very excited about September's offer because it allows me to demonstrate the greater scope of the project. My goal from the beginning was not to just produce the same concept with the same headings month after month, or use the same voices, but to create a collection of broadsheet "contributors" that will become occasional entities... while at the same time building the setting out, not just within the scope of Devonshire, but in fact the whole world.

I'm very excited about what I have planned for October, though I won't say a word about that. Meanwhile, please enjoy the easter eggs scattered through the second issue, as it lends greater depth and context to the first.
 

Sunday, July 27, 2025

How My Thinking Process Made This

It should come as a surprise to no one that presently I'm deep in the process of getting the second issue, the September Issue, of the magazine sorted and settled, now with the 1st of August being my deadline for pre-purchasers instead of the 21st. I'm in process, but it's engaging and I haven't much time to write blog posts.  I could use some spiced nettle draught right now.

Funny but the second issue is more difficult than the first, as there's an expectation to match what's been done.  The positive feedback that I've received for the first one is unequalled, exhilarating and a little scary. Nonetheless, I'm passed over the feeling that "no it can't be done" into "oh hell yeah, this is great." It's a nice tipping point.

This is my first post not trying to sell the thing, but I can't not talk about it because it's become the single overwhelming concern for me. It's pushed my sales of old books up, it's pushed my patreon up, it's pushed my self-confidence up and, well, I think it's bloody brilliant, myself.

But since it's my nature to deconstruct everything, it's a natural impulse to do so here. I'm not saying that I want to talk about how the "sausage is made," that's not of interest to me. Rather, the question in my head begins with the moment of inspiration that brought this about (and I'm listening, weirdly, to Grace Slick telling me to remember what the door mouse said as I write this).

I was looking at some of those magazine cover memes that people throw together about politics and other things, where they choose a picture and then badly design the outcalls on the front, like The Onion does. That got me to thinking, "Hm. I wonder how hard it would be to take one of those covers and actually flesh out the entire interior of the magazine..."

You know, actually design a mast head, make the art, write the articles, be as absurd as the cover is, not worry about whether or not it's true. I mucked about for a bit with that, off and on... this would be about mid-last month. And got to talking about it with my daughter, because annoying daughters with stupid grandfather stuff is how the world works. Or ought to.

It was a day or so after that when I began to think... "Isn't there some way this could work for D&D?"

As it happens, I have a very dense game world, not only because it's based on the real world, but because of the way I think about the real world.  Over the last couple of years, I've been playing with all sorts of possibilities that are available now, that weren't a few years ago, specifically in the crossroads where A.I. and Googlemaps meet.  To explain this, I have to include a passage here from a book I'm never likely to finish, but which I mess with because sometimes I just want to relax:

"Oh," Anya replied. Reaching out, touching the button, a panel glided open — revealing a hidden, chilled compartment, from which emerged a hint of cold mist. Crystalware glasses, etched with the Rolls-Royce mirrored 'R's, were just in reach. "Thank you," she said to Marshall, seeing intuitively where ice and water came from.

"Certainly, Miss. The black button opens the other bar, but I guessed you might want to keep your head clear."

"Yes, definitely," Anya replied, feeling the Rolls ease into motion as she filled a glass, the weight of the crystal strangely grounding in her hand. Without thinking, she drank it down in a single draught, as if the coolness might steady her. Resting the glass upon her forehead, Anya asked, "Do you mind if I ask... if it doesn't bother you while you drive... how long have you known Ms. Hedges?"

Marshall flicked her a look in the rear view mirror and considered as they crossed Park Avenue. Then Madison. "Unless I miss my guess, Miss Frost, you were hired today. It's your first day of work."

Keeping an eye upon her and on the road, he saw her nod, saw the reluctance to speak. Easily, Marshall turned the car onto 5th Avenue, adding, "I don't work for Ms. Hedges, but for an agency that provides specific drivers when requested... but I do remember my first day working for her. If you'll allow me to tell you." He stopped for the light on 54th street.

"Please do," Anya replied, eyes meeting Marshall's in the rear view.

"I didn't know her but I'd heard another say she was politely reticent; she dislikes any sort of interaction, such as we're having now. That day, she directed me out of the city, towards Scranton and Carbondale. It was bitterly cold... in the minus twenties. She wore a fur coat and had a mink wrapper stretched across her legs, while I had these—" he showed his leather driving gloves; "—and a suit jacket much like I'm wearing now."

The light changed and the phantom slid forward, making a lane change once they were past the intersection. "The first stop we made was outside Honesdale. One of those old-money places where the house spreads out and sits on a lot of land. Ms. Hedges had me stop... and as a woman in the house emerged, Ms. Hedges cast off the furs and slipped into a plain cloth coat. They met, hugged and went inside. I could see they were friends. In the car, I let the engine run hot and got by, even as frost grew on the windows."

Traffic on 5th flowed well, as they crossed 55th, then 56th. "She reappeared after an hour, the woman in the house with her; again they hugged, and talked a bit longer, before Ms. Hedges came to the car. Then, as she changed her coat—" Marshall slowed down and stopped for the light on 57th; "—she gave directions for our journey in a most impatient way. I wanted to ask, but of course I didn't; we went to a little place called Mehoopany, in the Poconos. Another sprawling ranchhouse, another change of her coat, another woman waiting on the porch. I watched the same scene play out again and began to wonder."

As the turn signal clicked, Marshall smiled into the rear view, engaging Anya again. "I don't know what was going on. We went to a third place; not far away. Lawton I think it was. Same scene, same embraces and the same hesitancy before separating. I don't think Ms. Hedges was disturbed by it, not exactly; each meeting looked to be with friends. But I saw that it was wearing on her."

The light changed and Marshall turned west onto 57th. "It wore on me, too. I'd been six, seven hours in the car, my feet ice cold despite the heater, my hands stiff as I held the wheel. If there'd been an opportunity, I'd have stopped and purchased one, but every place we stopped was in the country." Without malice, he paused before saying, "I must admit, I said a few unpleasant things in the car as I waited, you can imagine."

"It must have been a very long day," Anya replied kindly.

"It was. But when Ms. Hedges got into the limo after the third visit, she directed us towards Towanda. I followed the GPS and got us there, where she had me drive down main street. She told me to stop, in front of a men's clothing store, and said, 'You must be cold. Wait here.'"

They crossed 6th Avenue. "I still hear her saying that," he said. "Matter-of-factly; and she went in, bought me a rich, fine mohair coat and a pair of gloves, I don't know how much it was... but she compelled me to accept them, and not consider the cost." He chuckled. "You've seen already, no doubt, what she can be like."

The Phantom passed Carnegie Hall — Anya saw that Matteo Rüttimann was to begin a week-long engagement. "I've seen it," she agreed.

"Then you know. I was grateful. She settled into her seat, directing me back to New York. It was well after dark before I brought her home."

They sat silently, crossing 7th Avenue; the Phantom stopped again for the light on 8th. Anya's gaze drifted to the familiar stone facade of the old Hearst Magazine Building, before Marshall turned in his seat and looked at her. "She may not seem to care; but she does. I've look forward to driving her — not because we're friends. We're not even acquaintances. But she deserves to be treated with the greatest respect. If I'm her driver, I know this is what she gets." He paused. "I'm going to drop you off right there, just past the green awning on the right. I'll be back to collect you at four."


No one has to read this... it's merely the best way I have of describing the headspace that brought me to The Lantern. The above is telling two stories about two different geographical trips. One through New York City from the Citiplaza Centre (where that building that every youtube creator says is going to fall down) to the corner that, yes, has the Hearst magazine building, where Cosmo comes from.  The other covers an area of Pennsylvania and upstate New York. And if the reader knows either of these parts of the world, they'll know the locations and timing is accurate.

But here's the thing. I've never been to New York. Or upstate Pennsylvania. But I have streetview in GoogleMaps, so all the houses in Pennsylvania that the story stops at, those are all real.  The corners in New York, too. I paced all the dialogue driving through New York by word count, because it's one continous stream of conversation.  Essentially, I drew it like a screenplay, if I actually wanted to film the car moving along those streets, all in one shot.

Why?

Not sure, really. Because I could, certainly. It's been two years and some since my eyes were opened about ChatGPT, which no one talks about, save a few people in my actual real life orbit.  I assume there are others, but they don't share it on the 'net, probably because they'd sound as crazy as I do right now. Because they'd have to post large sections of a story that no one's read, to get the point across.

Presently, we can ask anything.  And because we can also check any answer we get, pretty easily, we don't have to wait for google to skew our searches, or hope that other search engines won't. We can just ask, making the question as complicated as we wish, and go on asking question after question as we shape and build and design, well... anything. I don't have to live in New York. I have all the images of New York, through Google street view, that I need.  And now I have a program that can describe every image.  I can even screen shot the image off Google and give it to chat and ask, "what is this?" and get the answer I want.

And what are we talking about? Whether students can cheat on tests. Whether artists can still function. Uh huh. It's 2025. I think the 20th century is done. Yes there will be artists. But those doing it the way it was done 40 years ago? Um... no, probably not.

All right, put all that aside. How do I publish a magazine for D&D?

'Cause that was the question.  I'm thinking about The Onion and trying to adapt that to D&D, which of course got me thinking about the Dragon Magazine, and how much I hated it, yes in 1981, because it really was such a shitty, shitty, shitty product.

And no, I didn't get to liking it later.

What bugged me then was how really worthless it was for my efforts as a DM. As a map guy, growing up in a world where floor plans are, um, everywhere, it wasn't of much use that a magazine about D&D thought what I needed were a lot of really badly made, not well scaled maps with extremely low detail, since I could pretty much draw this in less than a minute. The notion that I should "get excited" about this bothered me then, and it really bothers me now when people still talk about the Dragon as though it were some amazing thing.  The "life cycle" of the ochre jelly?  What the fuck am I supposed to do with this?

Though yes, I probably could do something with it now, I'm a lot smarter... and I have chat. But the original article is no doubt so bad, I'd do better to start with the title and nothing else.

Yet, here I am, five weeks ago now, thinking, couldn't I do the Dragon better somehow?  I mean, the real issue wasn't the staff's mediocre sense of anthropology or biology, or their crippling outlook on historical politics or social structure, or even their cut-and-paste approach to dungeon making. The real problem was that they didn't take any of it seriously. For them, it was a game — no, not D&D, the magazine.  I mean, nothing these guys did really mattered... they were just selling their stuff to an audience less bright than they were, in a market with no competitors, to a core audience with only a few alternatives to pick from (which could likewise be easily covered)... while at the same time, there was no way they could be "wrong" about anything, because it's all just make believe anyway. None of these things are real, right? Want the life history of the goblin?  Just make it up.

On some level, I appreciate that. Except that, apart from the magazine, the players in the game campaign DID want a certain degree of consistency, which the magazine wasn't. Not even remotely. Which of course matched the audience, which hard as it is to believe, were actually more ignorant then than they are now. It's just that all the ones still with us from back then, like me, educated themselves. The true idiots, whose money nevertheless supported the magazine, quit the game and ended up selling insurance.

All right, you can see, I have some issues. Fair. But because they didn't take it seriously, the writers and self-styled gurus of the culture all ended by representing themselves as fatuously "above it all," beyond criticism... which is really a terrible place for a writer. If you don't listen to criticism, and adjust to it, as a writer you just get worse.

Therefore, the problem with the dragon, I realised, was that the writers all lived in the real world. Which put them "above" the game in their heads... and thus, "too good" for it.

What if all the "writers" were inside the game world?  That's where my head went.  What if Geoffrey Fleetmarsh, the editor, was a sort of desperate, haranguing self-righteous publisher, sure that he's always right, yet beset endlessly by incompetents, bill collectors, a readership that didn't appreciate what he was doing and so on? What if the articles were written by people who had been there, suffered the thing personally, and now had a reason to take it to this small broadsheet that'll print it because the agenda is "to shock while telling the absolute truth"?  And if there are ads, they wouldn't be slick and clean and well written... they'd be self-submitted, clumsy, full of nonsense that never ought to be in an ad, but rural truthful too. And since everything was "inside" the setting, then every off-handed comment about a wolf, an abandoned building or a missing drunkard would be "real," and therefore a potential "hook" for a DM to use.

In a lot of ways, the hooks sort of write themselves. The first rule, obey the Dragon and accept that the main aren't going to take things seriously. An edict against casting weather spells indoors?  Absolutely. The inn has a problem with dwarves?  Well, they do throw dishes and bang the table when they sing.  The fellow who fixes wagons doesn't want to travel more than a mile to do so... of course.  And it's not like addresses existed then.  So don't include them in the ads.

But then, because I'm me, and I don't play a game world that's all fun and fluffy bunnies, why not make the world real. I mean, pick a year. 1635.  That's 15 years before the game world I've been designing for 30 years takes place. I know the time period. I know the people, the sociology, the politics. The west counties is a good place for it. Separate from the main land routes, but populated and familiar as an English countryside.  A good mix of sea and land. Ships regularly landing at Plymouth from all over the world. Someone arrives from... oh, Africa, and tells a story. Any story. Any standard D&D warstory, but told from the point of a view of someone in that world, whose been there, and was invested in the outcome.  No autocratic, objective DM's point of view.  Players, experiencing the world and writing the story.  So that other players would want to read it.

I knew how to research this, how to put it together, how to follow each little scene with google maps, what questions to ask, and how to shape the dialogue and frame the concept, in the time frame I have, because of that scene above where I wrote about a car driving through New York City. Each bit of design we do, each thing we learn, gets a later application. I don't worry that I'm "wasting time," because whatever I'm doing now, it'll apply to something later. That's how I became this, and not the guy scrambling to come up with something about ochre jellies.

I was kind of shaking when I thought of this. And I would have dropped it... if this had been 2022.  Because in 2022, there was no way to adequately address what the world was like in 1635.  There would have been no way to produce this much art, this fast, for the cost that would have been, adjusted to both the time period AND the idea that the work wouldn't be limited by 1635 technology.  There simply wouldn't have been a way for a single person to do this, monthly.  Not and have it look like this. If it were 2022, I'd have had this idea and it never would have happened.

And those who have expressed, here and there, their trouble with my use of A.I. art?  I've paid for art. I bought my first piece of art for a publication I was putting together in 1994.  And I have deliberated, discussed, dealt with and paid artists for the last thirty years, when I had to, because I had no choice. Those bringing up the issue, I'm guessing you've never done it... and certainly not as often as I have. And certainly not with the understanding that being able to invent a piece of art in one's head, and have it in usuable form inside of 20 minutes?

You might as well tell me I should walk to New York, because trains put coaches out of business 185 years ago.

Sorry. I can do this now. I'm not going to wait for this to be "all right" for a lot of people who can't cope.

There you are. That's where this came from.  I'll bet the above doesn't make much sense.  A lot of time, when I just throw out a post like this, without planning it, the logic doesn't hold up well.  I go down this side passages, rant, come back, sort of just stumble around to the end, until I run out of "Oh yeah, and..." moments in my head. Which is now.




Friday, July 18, 2025

Final Days of the Lantern's Free Access

Just wanted to write a brief note: the first issue of The Lantern, issue for August 1635, will no longer be available for free on Patreon after July 22.  If you haven’t yet downloaded it, now is the time. After that date, it will remain available for purchase on Lulu:

https://www.lulu.com/account/projects/nv98em7

Thank you to everyone who’s read, commented, or shared kind words so far. Your engagement is deeply appreciated. I’m continuing work on the September 1635 issue, which will release on August 21, as planned.  A preview of the front cover will be provided on the 29th of July, though it can be seen at the end of the video I posted of Elric Swann's reading.

If you have questions about The Lantern, about its construction, its content, its intentions or how I came to conceive of it, then please ask.  I'll answer most any question, provided it doesn't touch on spoilers for future articles.

Tuesday, July 15, 2025

Let Me Ask the Room

Two questions for the general zeitgeist.

First—has anyone actually downloaded The Lantern's PDF?  Patreon doesn’t tell me, and I’d genuinely like to know if it’s reached anyone’s hands yet.

Second—of Exalted Funeral, Spear Witch, or Tuesday Knight Games, who’s worth reaching out to with this? I’m not asking who you like—I’m asking who’d actually look at it.

Monday, July 14, 2025

The Lantern, no. 1, in full, for the month of August, 1635

Due to inconvenient circumstances, I'm launching The Lantern on my patreon, presently.  It's the 15th of July for most of the world, and I won't have time to do this tomorrow.

You can find the Lantern here, on my patreon.  It will be free for download until noon, Mountain Time, on July 22nd.

Thereafter, it will cost $7 USD, which may be managed either though contributing that amount to Patreon, or purchasing it here from Lulu.  Lulu gets a cut if you do the latter, Patreon gets a cut if you do the former.  Alternately, you can choose to give Paypal a cut, but I haven't used them in a while and I'll have to update my account.

As it states on Patreon, The Lantern is a monthly publication supporting fantasy role-play through the presentation of an early 17th-century game setting. Each issue offers firsthand narratives, regional reports and supernatural accounts written in the style of the time. In this debut edition: an adventure to the Old Priory near Cruwys Morchard, with humour and unnatural dangers. Presented for players and game-masters seeking historical texture and uncanny peril.

This publication is written, illustrated and assembled by me, in support of a larger goal: to offer players of fantasy role-playing games a rich, lived-in 17th-century setting, as an aid to worldbuilding. To that end, it conceptualises people, places, time period and relationships between the land and the events taking place in it.

I hope you enjoy it.