Drawing Board

Hipster-Free Singles Club: East Meets West

In mid-April, Z. from Hipster, Please! twittered that he was looking for artists to do some album covers for him. I volunteered my services, and boy did I have no idea what I was getting into.

Turns out Z. has been planning to release a series of downloadable singles, featuring recent or upcoming works by two of his favorite artists along with a mash-up of those songs by a third artist. He wanted me to provide the art for his inaugural release, since it would have would have an East-meets-West flavor. And the artists involved would be Hidari and I Fight Dragons, whose songs would be remixed by Snake Eyes. Talk about pressure. Who wants to be the weak link in that chain?

6-Up Ideas

These are the original concept sketches I wound up presenting to Z. I actually doodled about twice as many ideas as you see here, but I wound up discarding a lot of them for feeling like warmed-over Mangajin covers — ukiyo-e-style kabuki actors in sharp business suits, that sort of thing. So from left to right we have:

  • the "Clash of the Titans" cover, with image fragments depicting each of the bands
  • hot dog sushi
  • a cowboys and a ninja teaming up like buddy cops
  • a samurai and a knight teaming up to fight a two-headed Eastern/Western dragon
  • a salaryman wearing a Kamen Rider-esque helmet (hey, I never said I discarded all of those warmed-over ideas)
  • a dragon and a robot sharing a milkshake (Z.'s original cover idea)

Whittling these down was actually fairly easy. I think my lack of enthusiasm for the shared milkshake concept might have been obvious, the cowbys/ninja team-up didn't really set anyone's world on fire, and the samurai/knight team-up was too similar in tone to another project Z. is working on. I went back and refined the three remaining cover concepts so we could present them to the bands.

3-Up Ideas

These are the refined sketches we presented to the bands. The Kamen Rider salary was almost immediately nixed for feeling like a warmed-over Mangajin cover, and the hot dog sushi felt like it was maybe a tad too sedate. On the other hand, everyone loved the "Clash of the Titans" cover. Go figure — the first idea I had turns out to be the one everyone liked. I started working that up.

cover pencils

Here are the rough pencils we. You can see it's more or less identical to what I presented in the last stage, though I've completely redesigned the robot. I was worried that the toy robot from the previous stages was neither particularly Japanese or particularly Hidari-esque, so I ditched it for a Mazinger-style samurai robot. Cool beans. No one had any further adjustments at this stage so it was time to start inking.

(Bonus factoid: the Muppetlike dude in the lower right-hand corner is actually based on the storm drains on the corner near my office.)

color guide

Here's the color guide. Things are pulling together nicely. If you can tell, I actually wound up shifting Snake Eyes up a smidgeon to give the cover a nice arc. I also ditched the record from the original thumbnails because I thought it was cluttering things up.

final cover

And here's the final cover with crazy color holds, overlaid textures and other assorted awesomeness. The record's back — everyone missed it so back in it went, though adjusting the logo to fit and still be legible was a real pain. Coloring the samurai robot was also a real pain, just because I got a bit nuts and filled in too many blacks at the inking stage. Coloring the barbarian and dragon, though, was serious fun.

Anyway, enough of my nattering — you were just looking at the pretty pictures anyway. The single is freely downloadable over at Hipster, Please! And do check out everything else these bands have done, because it's all awesome. I'm not kidding.

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Toronto Comic Arts Festival 2009

Wrap-Up

On Sunday every panel I sat in was pure gold, whether it was "All About Eurocomics!" With Emmanuel Guibert, Antoine Dode, Francois Ayroles, Jose Villarrubia, Anke Feuchtenberger and Bart Beaty; "Newspapers, Comics and the Internet" with R. Stevens, Scott McCloud, Stuart Immonen, Bendan Buford and John Martz; or the "Critics Roundtable" with Bart Beaty, Jeet Heer, Dan Nadel, Doug Wolk and Tom Kaczynski. I twittered the best quotes and most surprising insights, so check that out when you have the time. On the other hand, the $20 I had left in my pocket at the end of the show made a liar out of me, since I spent the last twenty minutes of the show buying minis so I wouldn't have to exchange it at the Duty Free shop. I even got a chance to get over into a quiet corner that I'd completely missed yesterday, where Carla Speed McNeill and Kagan McLeod and Jillian Tamaki were set up.

It's hard to single out what makes Toronto such a great show. It could be the incredible creators at the show, the bustling crowds who seem genuinely interested in a wide variety of comics, or the fantastic and insightful panels. It might be that as a biennial show TCAF has a lot more time to make sure that everything happens just right. It might just be that it's a show less interested in raking in money and more interested in ensuring that Toronto has a vibrant comics scene. Whatever the case is, the whole weekend I was giddy and excited like I was attending my very first convention. Even Jim Rugg, who went into the show feeling kind of down, left feeling energized and excited and partially in awe at the size of the sandwiches you can get at a Toronto mini-mart for $5.

Here are the highlights of what I purchased at the show and at the Beguiling on Friday. Mind you, this is only a fraction of what I purchased at the convention. There are enough comics packed into my luggage to keep this blog occupied for months, assuming I can ever get back to regular posting.

But do you know what I'll remember long after these comics have yellowed and started to smell funny? The drive home to Pittsburgh, talking comics the whole way with Tom Scioli and Jim Rugg. Six hours spent discussing about important aesthetic issues like art technique and storytelling and publishing and why Batman has a better rogues gallery than the Fantastic Four (Sorry, Tom, it's true).

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Toronto Comic Arts Festival 2009

Sunday

3:30 PM

Photos, avec commentaire, behind the cut.

Photographie.

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Toronto Comic Arts Festival 2009

Saturday

11:30 AM

I'm busy rushing from panel to panel but wanted to start you off with some photos. More info when I break for lunch, and tweets when I can remember to tweet..

The Toronto Reference Library, avant le deluge

The show floor circa 9:30 AM.

1:30 PM

It's not a secret that I hate converions. The crowds, the noise, the smell, the hucksterish atmosphere, everything about them. Also, I hate being charged $20 to get inside and spend more money. So it's probably worth emphasizing that the Toronto Comics Arts Festival is an actual arts festival and feels like it. Which is probably why it's my favorite show.

I've sat in two panel discussions today: "Concept Comics" with Scott McCloud, Jason Shiga, Dash Shaw and Tom Kaczynski; and "Manga Around the World" with Deb Aoki, Brian Lee O'Malley, Becky Cloonan, Eric Ko, Jason Thomas, and Antoine Dode. They were both very entertaining and informative, though I'm not sure what the first panel was subbosed ot be about. (Neither were the participants, it seems.) Actually, truth be told, I think the parallel academic track going on sounds fascinating too but getting into those presentations looks like a big pain in the butt.

Oh, and in case you weren't sure how big this show gets, here's a comparison shot...

The show floor circa 1:30 PM.

Last time I was at the show, in 2005, I didn't bring a lot of cash and I sort of regretted that. So this time I bought a lot of cash. Turns out it still wasn't enough. Time to go out and hit the bank...

3:30 PM

I left the convention for half an hour and it went from certified to certifiable. This place is packed and hot and full of crazy energy. It's all good. But my shoulder is sore from carrying my laptop around, my wallet is running low, and my clothes are still damp from the last downpour I got caught in. The crowds are getting hard to move through and it's getting hard to remember what I have and haven't seen. On the plus side I got a sketch from Kate Beaton. So day = officially made.

I think I'm going to spend all of tomorrow attending panels. My wallet will thank me.

5:00

Photomerge = fail.

The show floor circa 4:30 PM.

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Toronto Comic Arts Festival 2009

When you get on the train to Niagara

This weekend I'm at the Toronto Comics Arts Festival (as a fan, not a guest). Today I drove up with Tom Scioli and Jim Rugg, and then we spent a while yesterday just hanging out before the convention. So did we go to the big Drawn and Quarterly Tatsumi/Tomine gallery opening? Nope. Did we party hearty? Nope. Did we sat around our hotel rooms drawing comics?. Nope.

Mostly we spent all afternoon waiting around for Chris Pitzer before giving up and walking down to the Beguiling. Then, after we finally did manage to hook up with Chris we spent about fifteen minutes trying to figure out if we could make a showing of new Star Trek movie or not, and then an hour or so arguing about what we should eat. (Final call: burgers and poutine.) Still, good fun.

Also, we hit Niagara Falls on the way in.

Jim Rugg ponders the promised land (Fort Erie)

More tourist-y photos behind the cut...

And, because Astralagos demanded it...

The happiest place on earth

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Maximus the Medicated

So, I've been reading through War of Kings and one of the things that struck me is that their portray of Maximus is less Maximus the (Mwa-Ha-Ha) Mad and more Maximus the Mildly Manic. He's actually helpful, likeable, and it seems like no vestiges of his former personality remain outside of the occasional sarcastically snide remark. Can anyone tell me when Maximus got this personality transplant, or is it something new for War of Kings?

War of Kings #2, p. 11

War of Kings #2, p. 11

Not that I'm complaining, mind you. I think Maximus's bipolar megalomaniac shtick was one-dimensional and played out, and this portrayal does have some potential for him to slide back into villainy while still remaining a sympathetic and interesting character.

Less Human Than Human

While we're at it, let's talk about the Inhumans. They're a Marvel mainstay whose appeal I've never been able to understand. Individual characters like Crystal and Black Bolt have a lot of potential, but as a group they're utterly forgettable. Actually, let me change that. As a group they're utterly reprehensible.

They have a rigid caste system that devalues those with powers they don't deem useful. They either treat one of their own royal family like a dog, or think it's hilarious to make others believe that they do. That same royal family rules with an apathetic populace, even though their internicene power struggles have almost destroyed their society several times in the last decade. They genetically engineered their own slave caste, only decided to manumit them at the point of a gun, and their idea of "freedom" was to let their slaves do the same work they'd always done for free while they slowly went extinct. Every time they do come to Earth they stand in the corner like an obnoxious non-smoker, coughing and shooting us mean glances while they mutter about pollution under their breath. Their selling point appears to be that they're just another race of generic super-people, and as I've said before that's not an inherently interesting concept.

Yeah, these are wonderful characters. About the only thing I can say about them is that they've got some nice Kirby designs.

The only take on the Inhumans I've ever been able to stomach is Paul Jenkins's Inhumans series. Jenkins implicitly understood that the Inhumans are total bastards, and much of his series involved characters who have been pushed to the outskirts of society and who are trying to force their way back in. At the end of the day, though, even that wasn't enough to make me care about the Inhumans as characters.

Can somone else explain what the appeal of the Inhumans lies?

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What I've Been Reading

Wow, driving into work every day has definitely killed the pace of my reading. It took me over four months to read ten books? That's just shameful.

Eric Flint, 1632. Riverdale: Baen, 2000.

A friend recommended this series a few years ago, so I finally picked up a copy of the first volume in December. Two days later I was at another friend's Christmas party and saw it on the bookshelf she'd devoted to books that weren't worth the paper they were printed on. Whoops.

You may be familiar with the premise of 1632, which is that a West Virginia mining town is sent back in time to Thuringia in the middle of the Thirty Years War. It's not exactly an original premise, but it's one with a lot of miles left in it. Will the West Virginians be able to uphold their modern American ideas in the face of hardship? How can they survive when their modern conveniences stop functioning? Will they change history, or will history change them? Unfortunately, absolutely none of these avenues are explored. In fact, there's practically no conflict in this book. Any philosophical debates the community might have engaged in are barely mentioned. They have just enough resources and know-how transported with them so they can hold out until they develop local replacements. Every political power that might stand against them is either immediately won over to their cause or powerless to act. The first time a meaningful conflict rears its head you're 50 pages away from the end of a 600 page book and you're well past the point where you'd care.

It doesn't help that large chunks of the book read like nerd porn. There's a scene where a husky RPG nerd turns out to have the soul of a hardened warrior (improbable). There's a painfully awful sequence where the aforementioned nerd bags a hot but damaged German chick who falls unreservedly in love with him despite the fact that they can't speak a common language and have only known each other for two days (impossible). A whole volume of the book is given over to showing off the author's personal knowledge of the Thirty Years War, despite the fact that almost none of what's going on impacts the plot directly (interminable).

I find it incredible that this awful book has five direct sequels and six associated books of shared world fiction. I guess there's no accounting for taste.

Lucas Conley, OBD: Obsessive Branding Disorder: The Illusion of Business and the Business of Illusion. New York: PublicAffairs, 2008.

My first salaried job out of school was with a software company that had absolutely no entrepreneurial vision. Instead of marketing their existing software as the reliable workhorse it was, they kept trying to rebrand it as a "new" product (despite not changing it at all) or trying to tweak the company's tagline in a way that would allow them to break through. They wasted a fortune on letterhead revising that damn tagline four times in one year.

Lucas Conley's Obsessive Branding Disorder does a great job of showing how this attitude has become entrenched in our business and marketing culture — that it's far easier to push around paper and rebrand yourself than it is to take a chance on new ideas and new technologies. But the fact is that the way to have a strong brand is to produce a quality product; to stand for a specific value proposition that remains unchanged; to stick with your visual style for as long as humanly possible, only making minor tweaks to keep up with current design trends; to keep doing what you're doing long enough that you become entrenched in the popular consciousness. A good brand expert can help you develop new brands or slowly steer your brand in a new direction, but this is a slow process that does not produce instant results and anyone who tells you otherwise is a liar.

Anyway, mini-rant aside, this is a great book and I recommend everyone read it. When the "branding" industry collapses in the next year or so you'll be glad that you did.

Mark Bauerlein, The Dumbest Generation: How the Digital Age Stupefies Young Americans and Jeopardizes our Future. New York: Penguin Books, 2008.

On the other hand, this book is just pure alarmism. Kids today aren't stupid. They're just as lazy, distracted and venal as they've ever been — it's just that now they have more ways of goofing off. Any perceived decline less to do with digital culture than decades of social engineering that's stratified our economic classes and turned the lower classes into mindless consumers. And also bad parenting. Let's not forget that.

John Hodgman, More Information Than You Require. New York: Dutton, 2008.

If you liked The Areas of My Expertise, you'll enjoy this. It's unfortunately similar, to the point where it includes 700 moleman names in an attempt to top the 700 hobo names from the repvious book. I do kind of wish Hodgman would try something new, because between these books and his media appearances his shtick is starting to get a little old. Not that it isn't still entertaining, but it's not as entertaining is it could be.

Then again, if the "Taxonomy of Complete World Knowledge" from the inside of the dust cover were turned into a giant poster, I'd buy it.

Minding the Store: Great Writing About Business from Tolstoy to Now. Edited by Robert Coles and Albert LaFarge. New York: New Press, 2008.

There are some great pieces in here, including works by Kafka and Flannery O'Connor, but it's sometimes hard to see what ties them in to the overarching theme of "business writing." I suspect that it works much better as a supplemental textbook to Coles and LaFarge's lecture course.

Dave Crenshaw, The Myth of Multitasking: How "Doing It All" Gets Nothing Done. San Francisco: Jossey-Bass, 2008.

"There's just one thing I don't understand," said Sarah. "Why are so many management technique books written as fables or dialogues? Is it to disguise the fact that they contain about five paragraphs of useful advice buried in a hundred pages of large type?"

"That's part of it," said Dave, "but it's mostly because the average middle manager can only read at a first-grade level."

I picked up this book hoping that it would have some useful advice on managing my workflow, only to discover that all the salient points could have easily been summarized in a short bulleted sidebar. It doesn't help that this "advice" is presented in an obnoxious sing-songy dialogue that makes Who Moved My Cheese? look like Leaves of Grass. I'm sure Crenshaw is a much better consultant than this book would suggest, but damn, I wouldn't hire him after reading this.

Luke Sullivan, Hey Whipple, Squeeze This. (3rd ed.) Hoboken: Wiley, 2008.

An advertising/marketing classic, and I can't believe it's taken me this long to get around to reading it.

G. Xavier Robillard, Captain Freedom. New York: Harper, 2009.

I've enjoyed G. Xavier Robillard's short pieces for McSweeney's and was hoping that this novel would be more of the same. Captain Freedom gets off to a great start, with the titular hero defeating the ferocious Genghis Kong and being forced into early retirement, but it goes downhill fast. I can live with the fact that Captain Freedom doesn't experience any sort of character growth — indeed, it'd be completely out of character for the image-obsessed and shallow Captain to have any sort of insight into his own life — the real problem is that the satire is spread so thin that it rarely ever finds a target. This would have been an amusing short story but as a novel it's painful.

David Levy, Love and Sex With Robots. New York: Harper, 2007.

This is not a very good book. Even if I set aside my personal objections to strong AI, David Levy spends far too much time examining why anyone would fall in love or have sex with a robot. I think these questions have fairly obvious answers — psychology has shown that human beings have been a remarkable talent for anthropomorphization, and Loveline shows that we're perfectly willing to share our genitals with anything that's the appropriate shape.

The more interesting question from my standpoint is what loving a robot means both philosophically and culturally. If the robot is truly intelligent and free-willed, I certainly think love between man and machine is possible though it's hard to see what the robot would get out of the relationship. But what Levy envisions are robots who are programmed to never fall out of love with their owners, who devote all their clock cycles to keeping their relationship fresh and who administer secret MRIs to discover your likes and dislikes — in short, pathetic love slaves, and I think I said all I need to say about the subject almost a decade ago.

The Japanese Beetle for the week of April 16, 2001

Leslie Gornstein, The A-List Playbook. New York: SkyHorse, 2009.

I don't have any particular interest in celebrity gossip, but Leslie Gornstein (also known as E! Online's Answer Bitch) dishes it out with such style that I can't help but tune in week after week. Since I can't donate money directly to her podcast, buying her book is the best way to show my appreciation. Now if only she'd expand her book tour to include shops outside of the Greater Los Angeles area.

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The Book That Ruined My Life

I recently read an online essay about "the book that will change your life!" (and if I can ever find the URL in my list of bookmarks, I'll link it up here). The essayist's key point was that most books aren't going to change your life, and especially not the ones that are marketed that way. In my case, though, there actually is a book that changed my life forever. For the worse.

Let me set the stage. It's early 2002 and The Japanese Beetle! is floundering. I've been at it now for four years with nothing to show for it except a closet full of unsold "Button Men" and a couple thousand readers who never, ever write no matter how much I beg. I'd spent the better part of several months building to a big storyline featuring the United States of America (or at least a rogue government agency) as the primary villain, but 9/11 led me to change those plans. It takes me forever to come up with a replacement storyline, as I've been short of ideas since my brother stopped co-writing the strip (mostly by not returning my calls). On top of that you can add my usual anxieties about the quality of my art and the fact that I spend six hours a day chained to the drawing table and zero hours a day going out and meeting girls.

Enter Balzac's Illusions Perdus. Or rather, Lost Illusions since I'm not fluent enough to read Balzac in the original French.

Honore de Balzac

le grave du Balzac, Cimitière du Père Lachaise, Paris

For those of you not familiar with Lost Illusions, let me give you a quick summary. It's about Lucien de Rubempré (ne Chardon) egocentric doofus who, in his pursuit of art and fame, betrays all his friends and principles and destroys the lives of everyone he meets. Eventually he comes to his senses and tries to set things right, only to discover that his friends and family have already taken care of things without his assistance, comes to the realization that his life is utterly without meaning and kills himself. (Okay, he spends a few years as an apprentice grifter, but that's another story entirely.)

In short, it's about the worst novel for an artist having a crisis of conscience to read. I instantly began empathizing with Lucien and started to feel that I'd been frittering away my life on artistic folly. Within months the strip ground to a halt, and though I made a brief stab at resurrecting it the following year the spark was gone. And the spectre of that failure has preemptively squashed a good chunk of my artistic efforts since.

Which I suppose is an awfully long way to say that I'm starting a new webcomic today called Different Package. Working on it has been supremely awkward — there's so much rust to shake off that I'm not sure there's any metal left beneath it. But I hope to have fresh content up every other day, alternating with blog posts here. Hopefully this will help me pull out of the five year slump caused by that bastard Balzac.

All joking aside, Lost Illusions is still of my favorite books. It's got wonderfully fleshed-out characters, a gripping plot full of moral dilemmas, and some fantastic writing which shines through even in translation. I actually re-read it a few years ago, appropriately enough on a trip that took to Paris and Angoulême, the book's two primary settings. I highly recommend it, or anything else written by Balzac for that matter.

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First Flowers

Crocuses

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March 24 2008 - March 9, 2009

What can you say about a 250-year-old elf who died?

"He loved halflings. A lot."

Llwmrch the Wanderer

Llwmrch the Wanderer

Male Elf (Gray) Wizard 6
CN Medium humanoid
Init +3; Senses Listen +4, Spot +4, low-light vision

Defense

AC 15, touch 14, flat-footed 12
hp 11 (6 HD)
Fort +4, Ref +7, Will +9 (+11 vs. enchantments)

Offense

Spd 30 ft.
Melee admantine longsword +1 +3 (1d8/19-20/x2)
Ranged longbow +6 (1d8/20/x3)
Space 5 ft.; Reach 5 ft.
Wizard Spells Prepared (CL 6th, +2 melee touch, +6 ranged touch)
3rd (3/day) - fireball, fly, major image, suggestion
2nd (4/day) - hideous laughter, invisibility, pyrotechnics, scorching ray, shatter, web
1st (5/day) - burning hands, cause fear, charm person, color spray, disguise self, endure elements, enlarge person, identify, magic missile, magic weapon, protection from evil, ray of enfeeblement, silent image
0th (4/day) - all

Statistics

Str 8, Dex 17, Con 10, Int 20, Wiz 14, Cha 10
Base Atk +3; Grp +2
Feats Point Blank Shot, Scribe Scroll, Silent Spell, Spell Focus (enchantment), Spell Focus (illusion), Still Spell
Skills Concentration +9, Craft (alchemy) +11, Decipher Script +11, Knowledge (arcana) +14, Knowledge (architecture/engineering) +8, Knowledge (geography) +6, Knowledge (history) +11, Knowledge (the planes) +8, Perform (lute) +1, Spellcraft +16
Languages Common, Draconic, Elven, Goblin, Orc, Sylvan
SQ immune to sleep effects
Combat Gear admantine longsword +1, longbow, wand of magic missiles (CL 3rd, 8 charges)
Possessions 27 gp, 5 sp, admantine longsword +1, arrows x18, arrows (silver) x2, bracers of armor +1, cloak of resistance +2, donkey, flask of acid x5, flask of alchemist's fire x3, iron rations x5, pack saddle, pen and ink, potion of cure light wounds x3, ring of protection +1, spellbook, wand of magic missiles (CL 3rd, 8 charges), wineskin

Background

Llwmrch is not from these parts. He's a true wanderer at heart, blown hither and yon by the winds of fate. He has no goals other than enjoying life as it comes, and he's game for just about anything. If someone said to him "save this village from goblins!" or "worship my insane made-up god!" he'd probably do it just to see what happened.

Personality-wise, Llmwrch might be called "sprightly." He's polite, lively, quick-witted and charming. He's also vain, not half as clever as he thinks he is, easily manipulated, and doesn't care what other people think. His good looks let him get away with an awful lot of shit (at least at first). He is constantly cracking jokes, seducing beautiful women (unsuccessfully), and playing the ukelele (badly). He also has an annoyihg habit of pushing people's buttons just to see what happens, which may have contributed to his current profession of "wanderer."

Of course, he may also be wandering just to get away from his fiancée, the enchantress Ardaea, who just scares him shitless. Maybe it's the fear of commitment, or maybe it's her habit of throwing charm spells around whenever she doesn't get her way.

Llwmrch is surprisingly tall, even for a gray elf. He's got an impishly androgynous face, large golden eyes, a disturbingly wide smile, frizzy silver hair and for some reason, what looks like three days worth of stubble (or about three decades worth for an elf). He's wearing tight leather breeches, a cream-colored pirate shirt, and very dusty hooded traveling cloak (which may be scarlet under all that road dust, but who can tell?).

When he first meets the party, he's in dire need of a bath and a haircut.

So, yeah, one of my D&D characters got ripped to shreds by a hydra last night. We were fighting on a causeway and all of the other characters made a mad dash for solid ground, forgetting that the wizard a) was standing right in front of the hydra, b) was last in the initiative order, and c) was easier to hit than a broad side of a barn. Three heads latched on and he went from 11 hp to -21 hp in one round. Ouch.

My only regret is that Llwmrch never really got a chance to do anything heroic. Which isn't to say that he didn't kill a lot of goblins, just that all that killing never really seemed to amount to anything. The highlights of his brief adventuring career:

  • Casting burning hands on the undead knight that was mowing through the party, even though that also meant killing the party member that was bleeding out at his feet.

  • Getting his hands on a magic black longsword (he was the only one in the party who could wield it) and pretending he was Elric for a few sessions.

  • His immature little feud with the party's cleric, which ultimately escalated to the two of them refusing to use spells to help each other, and one amusing combat where they each took turns exposing the other's flank to enemies.

  • Spending three weeks seducing a halfling merchant, which actually wound up upsetting me because the DM boiled everything down to a d100 roll. I was perfectly fine with the DM deciding out of hand that all my seduction attempts were failures, but resolving something like that with a die roll rather than RP just seemed... I dunno, pointless.

Oh well. I'd say "rest in peace" except everyone knows that elves have no souls.

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