Sunday, July 19, 2009

Couldn't Have Said It Better

There's been a pretty productive comment thread going on over at Monsters and Manuals regarding "kids these days" and how to bring them into the hobby. Oddysey, I thought, made an excellent point about the changing demographics of young potential gamers:

The big issue with RPGs and teenagers right now (besides the fact that the industry isn't paying any attention to them) is that they're still coded "boy stuff," but a lot of the things that boys traditionally get into RPGs for (killing stuff, fiddling with numbers, imaginary hot chicks) are done better by computer games. Girls are a much more natural target for post-CRPG tabletop games, but since RPGs are something that "boys do," the only girls who pick it up are the ones are sort of intentionally oblivious to gender roles. That's far from a majority, particularly in the prime RPG introduction age of 10-13.
I find this to be a fascinating Catch-22 while simultaneously offering a kernel of hope for the future of RPGs, should they survive.

Robert Fisher pretty much summed up my thoughts on how to re-create the sort of "gateway" product that used to exist, the kind that brought me and millions of others into the hobby:

Licensing (i.e. a Harry Potter RPG) isn’t the way to do it. Firstly, those handcuffs aren’t worth the price. Secondly, I think history proved that RPGs didn’t need to license anything to get off the ground and be successful. Better to play on the same tropes—as D&D and Traveller and many others did—rather than bother with licensing Harry Potter.

Price is not a problem. Kids and the people who buy things for them regularly spend more than I’ve ever seen any RPG product priced. (Ignoring a couple of ridiculous outliers.) Although, I do think that pricing as low as you can is a good idea.

Too often, introductory RPG products have tried to be a gimmick. Tried use board-game elements or videos or other things in the name of being accessible. That seems so clearly the wrong way to go. You sell something by selling it.

And, yeah, I see RPG marketing, but not when I’m doing things with my kids.

And don’t tell me we have to turn the hobby into something different to compete with all the newfangled stuff. My kids see the value in traditional games and activities that haven’t needed to be updated to appeal to them. They’ll turn off the TV, PS2, Wii, computer, iPod, etc. all on their own for activities that have stood the test of time. They even beg me to do it with them.

Saturday, July 18, 2009

Coat of Arms

I 'Shopped together a coat of arms for the character I'm running in Des's Pendragon game, Sir Addonwy.

It's his second coat of arms, and is a variation on his first, which featured the oak tree and key--symbols of his parentage. He was born and raised at the Castle of the Maidens in the savage North; his mother was the high druidess, his father the seneschal of the Castle. He's added the symbol of the Virgin (despite being a Pagan knight) holding a shield with a red rose to represent his devotion to the Goddess and to the cult of womanhood and his Amor for the fair Lady Ahvielle, the Red Rose of Wuerensis. His "shield of peace" (or targe) is simply the image of the Virgin and rose shield.

Ah, I love this game.

EDIT: After our latest session, I modified the heraldry for, I believe, one last time. I'm quite satisfied with this version:

I replaced the rose shield with the Queen's coat of arms to represent my status as one of the Queen's Knights. The lower-right quadrant now bears red and gold stripes, the colors of the lady I've devoted my Amor passion to. The shield of peace will remain the same as stated above.

Wednesday, July 15, 2009

Call of Cthulhu: Actual Play

When we sat down to play a little one-on-one Call of Cthulhu last Thursday, I wasn't sure whether I wanted to do a campaign or a one-shot. For now, it stands as being the latter, but things were certainly left open-ended enough at the end of the scenario that things could get picked up again, either with a new group or with more solo gaming.

Either way, here be SPOILERS. Fairly warned be ye, says I.

Des and I had sat down for character creation a couple evenings before we played. Being the proud owner of Secrets of San Francisco, I knew I wanted to set the game there, but outside of that it was anything goes. I did something I don't normally do when I run Cthulhu: I let Des re-roll her attributes. Normally, I don't see much point in allowing this--it's Cthulhu after all!--but her first set of rolls were truly atrocious. I don't think there was anything above a 10. And particularly with a single player, you want at least a decent Sanity going in to things. It's a shame, too, because Des had a rather inspired idea to do a wheelchair-bound character based on her attribute rolls. What a great idea that was! The more I think about it, the more I wished we'd stuck with that first set of rolls. Ah well, lesson learned.

The second set of rolls had a much nicer spread, with a few highs and a few lows. Perfect. Des decided to do a young artist, a sculptor. Her roll on the Income Table came up a "9"--obviously he had struck it rich in the art world!

For the start of the game, I ran a sort of "prelude" adventure, set one year before the main events, in which we explored where Des's character, Vincent, got his jolt of artistic inspiration that turned him from a struggling artist living on Portrero Hill to a local celebrity. Essentially, I ran the introductory adventure out of Dreamlands, in which a friend, having discovered the Dreamlands, decides to commit suicide so he can live there forever. Before he dies, he gave Vincent a box of chocolates as a gift; the chocolates were coated with a magical powder that granted access to the Dreamlands. Vincent visited his friend in Ulthar and walked around the countryside a bit, taking in the otherworldly sights and imagery.

(This little intro was meant to set up further adventures in the Dreamlands if things had moved in a campaigny direction. As it is, I'm now more taken with the idea of doing an all-Dreamlands campaign featuring the wheelchair-bound character Des almost made. Oh my, the potential!)

At any rate, this also established in my campaign world a new art movement, the Fantasists. Forerunners of the Surrealists who take their inspiration from the Mythos, Vincent would be one of them; others would include Richard Upton Pickman, his students, and others (like a certain London-based artist who pops up in Masks of Nyarlathotep).

With that little interlude out of the way, we flashed forward to "present day"--summer, 1924. Vincent had moved out of his Portrero Hill rat's nest and bought a cozy cottage in the sleepy little rail town of Sausalito. Or perhaps it should be called "Sauce-a-lotto" since, as I found out in the course of preparing for the adventure, it was basically the rum-running capital of the West Coast! Great stuff, and lots more campaign potential there, of course.

The adventure I was running was "Mr. Corbitt" from Mansions of Madness. It's a story of a kindly old neighbor and his rather, um, unspeakable hobbies. I was very much put in mind of The 'Burbs, and was half-tempted to give Des an oafish neighbor and addled WWI vet (and a punk-ass kid) to interact with in the course of her investigations of the mysterious Corbitt residence across the street from her cottage.

Things kicked off when, in the course of bidding farewell to some party guests on a Sunday evening, Vincent spotted Mr. Corbitt pulling up to his house. He took two cloth-wrapped bundles from his trunk and made his way to the front door. Fumbling for his keys, he dropped one of the bundles; the cloth fell open, and Vincent stared in disbelief at what looked like the hand and fingers of the severed arm of a small child! Mr. Corbitt hurriedly picked up his package and headed inside. A light came on in his basement, but this was quickly obscured by a drawn curtain.

Vincent tried to put the event out of his mind--surely he hadn't seen what he thought he'd seen. Perhaps it was a bit of an old marble sculpture (then why did it make an audible slapping noise when it hit the concrete?). Still curious, Vincent in time headed down to the local newspaper morgue to see if he could find out a bit about Corbitt's past.

He turned up a couple articles describing the death of Corbitt's father during a hiking trip in the Himalayas and the death of Corbitt's wife during childbirth a few years later. Tragic events, certainly, but no overt signs of weirdness. There was an item in the latter article about the midwife attending the birth going into a coma from a stroke she suffered during the labor. Vincent took the ferry to San Francisco and visited Saint Mary's Hospital, only to find out that the midwife had expired shortly after being admitted. (Unfortunately, he didn't make a good impression with the doctor who handled the case, or he would have found a clue in the midwife's last words as she briefly came out of her coma before expiring.)

Heading back to Sausalito, Vincent decided to follow Corbitt during his weekly Sunday afternoon drives. This proved difficult, however. Vincent was fairly certain Corbitt had spotted him, but nothing came of it--Corbitt went for a scenic drive along the Marin County back roads, then returned home. (Another clue missed! Two successful driving rolls would have tracked Corbitt to the public dump where he procured amputated children's limbs from a mentally disturbed hospital worker.)

Returning home, Vincent decided to trouble himself with Corbitt no longer, but the next evening the old man came over with a basket of tomatoes fresh from his vegetable garden. He was known around the neighborhood for his gardening hobby, and often gave his neighbors fresh veggies. On this occassion, he was also dropping by to ask Vincent to watch his house while he was out of town for a few days--pick up his mail, water his garden, that sort of thing.

Vincent agreed and thanked Corbitt for the tomatoes as well. Taking them back into the kitchen, he gave them a careful looking over. Good thing, too: he spotted little puncture marks, as if from a syringe, on the underside of each tomato. (Corbitt, suspicious that Vincent was on to him, had given him tomatoes laced with a powerful hallucinogen.)

Not partaking of the poisoned food, Vincent headed over to the Corbitt house the next day after his neighbor had departed for the train station. He walked around the grounds and found a vegetable patch and greenhouse around back. He checked out the greenhouse and found it filled with all manner of exotic flora. Good thing he didn't stick around long--a couple of the plants in there were very exotic indeed, and had a bit of a taste for human flesh...

Heading back towards the house, Vincent heard a crash from down in the basement. Looking through the basement window, he saw a darting form running from the shadows! A burgler, perhaps? Sausalito boasted a two-man police force; sometimes it was better to take matters into one's own hands than to rely on the law. Vincent decided to investigate.

Forcing the window, he slipped into the room. The form suddenly dashed from the shadows and through a door. It moved with a peculiar hopping gate, as if it was injured, Vincent noted. He followed, curious. Pushing open the door, he found himself in what looked like a combination of a science lab and gardener's toolshed. He also caught sight of motion heading up a flight of stairs, and quickly after that heard the sound of fists banging on a door. Vincent grabbed a three-pronged gardening trowel to use as a weapon in case things came to that.

Rounding the corner, Vincent was ready to shout to the prowler to give himself up when he stopped dead in his tracks. Standing at the top of the stairs, hammering on the door, was a monstrosity: a woman's head with a single leg sewn to its neck and arms emerging where the ears should be. From it emanated the sound of terrified meepings and grunts as it banged furiously on the door.

Vincent dashed up the stairs, determined to catch the abomination, but at that point it knocked the door open and dashed into the upper house. Like any good house sitter, Vincent pursued, determined to minimize any damage the thing might cause to Corbitt's furniture. The thing tore around the ground floor of the house, knocking over chairs and a china hutch, before Vincent cornered it. The thing turned, fear blazing in its eyes, and lept at Vincent, trying to bowl him over. Vincet struck out reflexively with the trowel, and the next second the thing was lying on the ground, twitching, a trowel embedded in its forehead. (Des rolled a "01" on Vincent's to-hit roll: double damage!)

Looking around, Vincent spotted a bookshelf with a set of journals, one for each year since Corbitt's fateful trip to the Himalayas when his father met his untimely end. There were also a couple tomes of an occult nature, but Des is a savvy Cthulhu player who tends to stay away from such things when she can help it. What is it with these players and trying to preserve their precious sanity? Sheesh.

At any rate, Vincent did pick up the latest volume of the diary and flicked through it. Detailed entries regarding some kind of "child" in the basement and the procurement of children's body parts convinced him to call up Bert and Ernie, the town's cops. Little did Vincent know that the "child" described in the journals was not the thing he had just killed but something far, far worse.

The two cops showed up presently and told Vincent to wait in the squad car while they secured the rest of the house. A few minutes later, screams could be heard coming from the basement. Ernie (or was it Bert?) came flying out the front door seconds later, sweating and rambling incoherently. Seemingly forgetting about Vincent in the backseat, he fired up the car and took off, somehow managing to drive back to the downtown police station without rolling the vehicle on a sharp turn.

The events of the next 24 hours quickly took on a surreal tone. San Francisco police were called in first, then the Feds. Then some guys who might have been the Feds, but might not. Then some guys in lab coats. Then the entire Corbitt house was burned down. A statement was distributed to the neighborhood to the effect that a virulent disease had been isolated in the house and that fire was the most efficacious way of eradicating the threat. A newspaper article appeared a few days later announcing Mr. Corbitt's arrest in Vancouver on federal bootlegging charges.

(Those of you who have read "Mr. Corbitt" know what was down in the basement, and why it was probably best for Vincent's sanity that he didn't go poking about down there. In the end, it was a great session filled with creepy chills and much nail-biting anxiety. Des lucked out with her Sanity checks, and rolled hot when she needed to. All in all, a great reminder of why I enjoy Call of Cthulhu so much.)

(Oh, and one other thing: I used this session to experiment with utilizing RPGDeck, software for managing background music and sound effects. It worked out great; highly recommended!)

In which I quickly retreat back to High Adventure

Well, that didn't last long.

So remember when I was anticpiating a shift towards the more naval-gazing end of the RPG gaming spectrum? How could I not make such an assumption, what with me running two games that both seemed to promise a palpable shift away from chucking dice and slaying beasties and into the territory where considerations of theme and story reigned supreme. As it turns out, things weren't quite dire as all that.

I've already written about my Blue Rose impressions, but I'll just re-iterate here that it's an aptly named game, for it truly is a case of a "D&D by any other name" smelling just as sweet. Plus I've wanted to run a pirate-based campaign for years, so this should be lots of fun.

As for my Castle Falkenstein game, that sadly has been retired after one session by mutual consent. There were a couple issues with it once we got down to the nitty-gritty of actually playing it. First, the setting of this particular campaign combined with the character Des created proved to be a rather intense combination, and we're both sort of in a more light-hearted mode right now. Second, the game really is an ur-indie document, and a lot of its baseline assumptions for how to play a "proper" game didn't really sit with us. Particularly the whole bit about keeping a campaign/character journal. We both essentially write for a living, and we didn't really feel the need or urge to take on more writing as a recreational activity!

Having said that, reading through and preparing the Falkenstein campaign gave me a lot of food for thought vis-a-vis 90s-era game design, and may well form the fodder for a future post. Plus, the bit that I did run told me that I definitely want to do more steampunk gaming in the future. Probably more of a "pure" steampunk game without all the magic and faeries.

Something else I came to terms with after putting the kibosh on Falkenstein is reconciling an old, silly prejudice of mine, that of the attitude that running adventures/campaigns that are entirely one's own creation is somehow better than using published modules. I think I've always had this attitude, but I can't really say where it came from. Probably some residual adolescent snobbery on my part.

But the fact of the matter is that my old Pendragon campaign was one of the most successful--if not the most successful--campaigns I've ever run in large part thanks to the plethora of published adventure material I was able to draw upon. The adventures and monolithic Great Pendragon Campaign gave me a structure to hang my own GMing from. When I was feeling burned out, I could simply trot out an adventure and run it as is; when I more in the zone, I could, to return to an analogy I've made before, riff wildly off the melody line established by the GPC's year-by-year events log. After I ran my one Falkenstein adventure, my brain felt like it was on fire, and I couldn't figure out why. I realized later on that it was due to the fact that it was the first time in a while I'd tried to run something wholly original.

I think this is another reason I always return to D&D and Call of Cthulhu--there's just so much good material out there for both games, it's like standing before the world's biggest gaming Smörgåsbord, fingers poised to pick the choicest bits from the heaping piles of goodness.

Speaking of heaping piles of goodness, in the wake of Falkenstein's demise, Des finally took a seat behind the GMing screen! She's started up a one-on-one Pendragon campaign with me, and I couldn't be happier with how it's going. In contrast to the epic campaign I ran, this one's much more focused at a lower level, which is exactly what I wanted out of it. There's something kind of pleasantly reassuring about aspiring to own a single manor and deciding to put in a mews to support my falconry habit. And as I suspected, Des is proving to be a more than capable GM: she has a background in acting and is very good at keeping things focused and on-task. Plus, and yes, maybe this has to do with the whole "being a girl" thing, she immediately filled the campaign with NPCs and relationships and allies and rivals and other such things as that. Plenty to chew on and have fun with.

As for myself, I'm of course sticking with the Blue Rose campaign for as long as that wants to last. Since two of the three players are either newbies or getting back into gaming after a long absence, there are the inevitable scheduling issues. The last game was about two weeks ago and the next game isn't for another two weeks, but hopefully after that we'll be able to settle into a regular biweekly schedule. But apart from that, I'm sort of taking it easy so I can focus on projects both game and non-game related. Gaming-wise, I want to get back to doing BRP conversion work for my Rifts:2112 setting (not publically shareable, unfortunately) and I'm pretty keen to pick up on my Dragon Warriors-Magnamund conversion. And there's always background reading for campaigns yet-to-come.

Topping that list are Cthulhu-related books. Listening to the Lovecraftian Tales from the Table revived my interest in running some Cthulhu, which is never far below the surface to begin with (hell, Rifts:2112 is essentially a Cthulhu setting). As I mentioned in a previous post, I definitely want to run a CoC campaign before the year is out, probably as a follow-up to Blue Rose (I'm really going to try and limit myself to running one campaign at a time--hey, these are the kinds of problems you want to have, right?). Right now I'm sort of torn between Delta Green, which I've never really run in any kind of extended or satisfactory manner, and Masks of Nyarlathotep. We'll see.

In the meantime, I scratched my itch by running a Cthulhu one-shot with Des last week after the latest Pendragon session (hooray for all-day gamefests!). It was quite fun and satisfactory. I think I'll post a little actual play narrative of it since it was such a neat and tidy little adventure.

And I think that's about all the news that's fit to print, for now...

Woods: But as for me, I'm off to battle aliens on a faraway planet.
Marge: That sounds like a good movie.
Woods: Yes...yes, a...a movie, yes.

Saturday, July 11, 2009

Friday, July 10, 2009

A Few Quick Reviews

Over the last month, I've made a few fun and/or exciting and/or tasty game-related purchases and I thought I'd share my impressions here in the form of little capsule reviews. These are all, to some extent or another, "playtest reviews," in that I waited until I actually was able to use these books in play or otherwise reach a point where I felt I could give a fair opinion based on more than simple initial impressions.

So here goes:
  • Blue Rose Core Book: I wrote a bit about this before. As I said at the time, I picked up Blue Rose after an old co-worker expressed interest in RPGs and then expressed interest in playing an animal as a PC. I'm all about making the players happy (although some of my players might argue that my definition of "happy" can be a bit skewed at times...), so I grabbed the Core Book during a quick stop at Active Imagination in Albuquerque when I was out in New Mexico last month.

    Now, I can see why the game stirred up controversy when it was released. As the whole Carcosa kerfluffle proved, there's a pretty strong vein of conservatism running under the surface of a sub-culture that normally likes to think of itself as outside the norm. And I can understand the problems some folks might have with the utopian, New Age feel-goodery of the default setting. But I have to say that, when we all got together a couple weeks ago to create characters and play our first session, it felt like good old-fashioned D&D to me. Did I run the game 100% in keeping with the setting as laid out in the book? Of course not! But I think the seeds of the essence of "romantic fantasy" as defined by the game were planted; it felt of D&D, but it definitely was also apart from trad-D&D.

    The campaign, incidentally, is pirates-themed. I found an interesting little campaign outline that I used as a jumping-off point for my own ideas. And as a sign of how much Blue Rose is, under all the Art Nouveau, Romantic Fantasy fluff, still just good old D&D, I easily adapted an old adventure from Dungeon magazine that featured a tribe of bugbear pirates operating off the back of a zaratan, a giant floating tortoise-island from the Al-Qadim setting. In fact, my biggest critique of the True20 engine that powers Blue Rose is that it doesn't go far enough in stripping down d20!
  • Ultimate Toolbox: Another Active Imagination purchase. I had AEG's Toolbox in PDF form, but the massive d20 stat blocks were a bit of a turnoff for me. Ultimate Toolbox is an improvement on multiple fronts. For one thing, it's much BIGGER. More charts than you could ever feasibly have use for in a lifetime of gaming, which makes it well worth its admittedly steep cover price. I used a couple of the charts in my first Blue Rose session, and as with all random goodness, it steered the game-play in directions I couldn't have anticipated or come up with on my own. Also, unlike its predecessor, it is system-neutral. This is a huge plus for me.

    The emergence of system-neutral publications since the debut of D&D 4e has, I think, been an unintended boon brought on by the clustermuck of the GSL debacle. As great as the OGL has been for all its innovative uses (Castles & Crusades, the retro-clones, games like Mutants & Masterminds or Star Wars Saga Edition), it also promoted a "one-true-wayism" that led to that good old d20 glut of a few years back. Seeing system-neutral books like Ultimate Toolbox or the Points of Light setting books emerge in the wake of the GSL has been, for me, a really encouraging trend. I love nothing more than taking seeds of ideas and growing them in my own way (more on this in a future post); I don't particularly care for everything being laid for me from A to Z. Give me A and let me go from there. The system-neutral books are a perfect balance between justifying their existence while simultaneously allowing GMs to actually do something other than roll dice and facilitate PC bad-assery.

  • Lovecraftian Tales from the Table: This is a DVD-ROM, eight gigs strong, of Cthulhu-related goodness. In 2005 and again in 2007, Paul of Cthulhu, the bloke (and I can use that term cos he's British) who runs, and players from his local gaming club got together and recorded, from start to finish, their happy romps through the mega-campaigns Masks of Nyarlathotep and Horror on the Orient Express. The result is, I believe, about four solid days of audio. I checked out both podcasts when they came out, but I'm not a very avid podcaster under normal circumstances and with both series I let my attention wander after the first handful of episodes. But even at the time, I really enjoyed and appreciated the effort and the experience of listening. As Paul notes on the DVD:

    An obvious question may be, "Why do this?". It is difficult to say for certain why audio recordings of roleplaying games should be popular, but over the years since our groups started and a with range of feedback from those who listen, it would seem the following are key points:

    The games remind lapsed or infrequent players of what they miss. In a way, recordings can act as a surrogate game and help maintain an interest and enthusiasm in RPGs. Anywhere from highly active listening to its use as audio wallpaper.

    Recordings can be a good way to assess how new games can play. There is often a dfference between reading a roleplaying book and actually playing the roleplaying game. Audio provides an example of the latter.

    People who are curious about roleplaying, but never quite sure what it is, can now listen to games being played. This is a far more powerful introduction than the typical "What is roleplaying?" section at the start of many rule books, especially if you've got no-one else to introduce you.

    Sometimes they are listened to purely for entertainment as part documentary (of the players' lives) and part radio-play, by people who may never anticipate playing RPGs, but who find the stories and banter engaging.

    Tips & examples. On occasion Keepers of Arcane Lore may listen to identify potential pitfalls in the plot, and to see how some sections of the campaign could play out.

    And to that I'd add that it's quite fascinating to get an insight into other gamers' snacking habits! With all the episodes now contained in one place, I'm diving back in to the podcasts. I'm currently on Session 10 of Masks and enjoying it tremendously. I'd especially agree with the "tips & examples" Paul cites; if I ever get around to running Masks (and I'd very much like to), I'll have a much better idea of how to go about it having heard it played through already.

    In addition to the podcasts, the DVD contains a bunch of nifty bonus material, including--happily--a full suite of PDFs that would allow a gaming neophyte to fire up a Call of Cthulhu game straightaway: the "Quick Start Rules" plus character sheets, an adventure, and even a sheet of number chits to substitute for dice. There's also PDFs of the venerable Freeport Trilogy and the new (systemless!) Cults of Freeport. Although perhaps a strange inclusion at first glance, the overtly Lovecraftian elements of the Freeport modules/setting make it an obvious inclusion and a great bridge for hardcore D&Ders looking to incorporate Lovecraftian elements into their fantasy gaming.
  • The Elfish Gene: My one bad review. As such, there's no direct link to any purchasing source; you want to read this turkey, track it down yourself! Likewise, I'll just point to some other well-written reviews of the book that pretty succinctly sum up my issues with this "memoir" that's actually a rather disturbing insight into the psyche of the ultimate self-hating geek. I was pretty disappointed as I had bought the book thinking it was the literary answer to the praiseworthy final episode of Freaks & Geeks, one of the few examples of mass media treating RPGs as something positive rather than as a target for mockery or derision. Let's bask in the warmth, shall we?

Sunday, July 5, 2009

Cthuloid Miscellanea

Like many gamers, I can count Call of Cthulhu among my all-time favorite RPGs. The game's been much on mind lately; I think I would definitely like to run a grand CoC campaign before the year's out.

Thinking of CoC reminded me of a couple of my earlier "fan efforts" inspired directly and indirectly by the game. In the spirit of Christopher B's awesome scanning project, I went ahead and scanned a printout that hangs on my wall (the original digital file is long gone), my first-ever bit of Photoshop manipulation:

I cranked this out on an old Mac about 10-12 years ago while fooling around with Photoshop for the first time. I took a still from The Maltese Falcon and dropped in a simple Cthulhu idol in place of the original MacGuffin. I love the result; it really looks like a group of intrepid Investigators contemplating a Sanity-blasting find.

Around the same time I also created my first web site. It was motivated by my interest in integrating some authentic period slang into the dialogue of my CoC Twenties-era PCs and NPCs. Finding sparse resources on the Net at the time, I made one myself and posted the results. I recently revamped the site after noting how run-down it looked and collecting some new entries.

Today, the "Internet Guide to Jazz Age Slang" continues to draw thousands of hits from around the world every year. If my old Guestbook (hey, it was the 90s) was any indication, most of the visits come from English students assigned to check out the page by their teachers, followed closely by writers. Hopefully plenty of CoC gamers have gotten some use out of it too.
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