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Incline D&D and non-D&D artworks by Jennell Jaquays (Paul Jaquays)

LESS T_T

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Codex 2014
Game designer and artist Jennell Jaquays (born Paul Jaquays) has been posting her past artworks (D&D and non-D&D) to her Facebook page. While many images are higher quality than the internet had before, unfortunately Google doesn't crawl Facebook pages, and so they are pretty much unsearchable with the image search.

So I rounded up some artworks and her comments from the page. Also for your viewing pleasure.

---

nhFjUTX.jpg


Around 1990 or so I worked with Crossover Technologies of NYC on an MMORPG to be played the Prodigy network. Prodigy chose not to go forward. I did both scenario design and concept art for the project. This image was rendered in Ink washes on Bristol paper and to the best of my knowlege remains in the posession of Crossover Tech.


KXltY9M.jpg


Another oldie. Done for the licensed Ghostbusters RPG from West End Games. Apokermis Now! Essentially the party at the end of the world. The demon on the frog (toad?) was intended to be a play on Frank Frazetta's famous Deathdealer painting. While I was able to add a number of touches, this was a pretty heavily art-directed image. It also represents my painting style just prior to my "break-out painting" done a year or so later.


4crJpQs.jpg


This is that "break-out painting" in which the way that I handled color changed. It was done as a cover for Dungeon magazine and remains one of the very few fantasy painting for which I still own the rights to reuse it.

I started working into color themed backgrounds (entire painting a color before I add detail) and then began mixing color differently ... taking grays and blacks out of my palette.

The painting appears on an early-ish cover of Dungeon magazine from TSR and is for an adventure called Thunder Under Needlespire. The creature is supposed to be special variant illithid.


svTxoY4.jpg


I painted this for TSR for the cover of the boxed adventure Dragon Mountain for AD&D. Colin McComb was the author and a young, nearly unknown illustrator, Tony DiTerlizzi, was the interior artist. This ended up being my most famous piece of work.


2ghRjzu.jpg


This painting was created for the cover of The Feral, a Dragon Dice booster set. It depicts the anthropomorphic animal warriors army featured in the rules set and created as icons on the dice. It's an acrylic painting, rendered on illustration board mounted to a light plywood for stability.


2H4rYBI.jpg


Because David Shepheard has been so patient in asking and waiting for this piece to be posted ... here is Last Descent, a cover that painted for a Dungeon cover back in the early 90s. It's acrylic on illustration board mounted to light plywood. The space scape was created using a wet in wet technique shown me by artist Randy Asplund. I used this in several paintings. The space ship, a nautiloid comes from TSR's Spelljammer campaign setting. It's damaged and going down to a planet surface for the last time. I actually built a rough model out of Sculpey for the ship to get an idea of how to draw the forms in perspective.

This was obviously one of my own favorites and hung on my walls at home and the office for years. Now in the hands of a private collector.


M1MKmlq.jpg


This is a piece that doesn't get a lot of views. It was one of the pieces that I did for what I thought, at the time, was a solvent publisher. I even allowed a second use for their magazine cover. What I didn't know was that the company was steps away from bankruptcy. I was never paid for this. When they finally offered compensation quite some time later, it was in product. Product they couldn't sell to keep their company afloat. Product offered at full cover price. I said no. So this piece becomes one of the few paintings for which I retain all rights due to forfeiture.

The name of the piece fits both the image and the tale of it's creation: Unpaid Debt.

I posed for the monster. Looking back, I pretty much posed for all the monsters in my paintings. I think that says something.


zHcqpCm.jpg


DrLicR9.jpg


Very early illustrative work for me. The Martian troopers depicted in the black and white work are one of the player sides for the Metagaming microgame Olympica. I THINK it was done as concept work for Martian Metals, who were contemplating a line of figures based on the game. I know that one of the Martians ended up in their 15mm Traveller figures line. Obviously, this was all done as traditional media hand work. This puts the piece at around 1978-80 for creation. At some point later, I apparently added type printed from my 1984 Mac computer..

The color piece is the second cover that I did for the game. I like it better than the first. It is rendered in designers gouache on illustration board.


mjFSWN5.jpg


This was another of my personal favorite freelance pieces that I did for TSR back in the early 90s. It appeared on the cover of Dungeon magazine, another Spelljammer related piece, called Sea of Sorrows. This was a giant dragon creature that lived in fantasy space. The menacing black object in the background was drawing all manner of debris into it.

The original painting was done in acrylics. This is not the original painting, but a digital rework of it. I changed the shape of the painting and cloned in additional space clouds around the edges.

My name is hidden in the painting.

It was the cover for Dungeon #36.


BvbXdDL.jpg


So here it is, the painting that a number of my fans have been asking for ... Thornworld, a Spelljammer themed scene for the cover of a Dragon magazine back in the 90s. My original intent for the painting was more complex, but deadlines pushed me toward a simpler rendering. If I can find the original sketch, I'll attach it in the comments.

The painting is rendered in acrylics.


janYR46.jpg


The sketch, featuring figures that never appeared in the final.


emwIm9M.jpg


TSR was not my only cover painting client back in the day. This piece called "And Await My Return" was done for West End Games's TORG line, a game book by John Terra called The Gaunt Man Returns (it also appeared on a novel by John as well). The model for the Gaunt Man was one of my regular models, Robert Orke, an art student at a local college. He looked nothing like this, of course.


n7CUdZ0.jpg


This is a second pass on the original sketch for cover (the room interior was added). I can't remember if the choice to remove the stained glass was mine or the art director's (Stephen Crane of West End Games).


ndg26L5.jpg


(The Acrylic cover painting for Goblinz, a childrens' board game (unproduced) for TSR, Inc. Painted in 1996.)

Goblinz! This was supposed to be a childrens' board game for TSR. Its a painting done in my last year at TSR. Players would move one of four goblinz tokens around the playing board to sneak into the dragon's lair, grab its treasure and run away.

When I let my cartoony art style come through, I could create cover paintings more suited to mass market retailing than some of the other staff artists. I did three covers in that style, Dragon Dice Battle Box, the Dungeon board game cover and this one.

I came up with the game name, the logo, the characters, painted their tokens, and painted the cover. Steve Winter was the designer and creative director, and I think Stephen Danielle was the art director.

The sketches were a part of my development of the characters.


C4eMGp5.jpg


The cover for the first Mystara boxed set, Karameikos, Kingdom of Adventure.


laG6Uy3.jpg


For those discovering me through Owen Stephen's art link of my work, here's a piece that I did 25 or so years ago for Dragon magazine. The original work was done in ink wash on Bristol paper for an article that I wrote on summoning avatars of deities in Runequest type games. I've enriched the contrast here from the original.


EjW3GMo.jpg


This was, I believe, the last cover that I painted for TSR. It was for a novel called A Thief in the Tomb of Horrors. It was used, eventually, by WotC, but not for ToH book. It's one of my smaller paintings from that time period. Acrylics on mounted Bristol paper (or illustration board. Stephen Daniele, then the art director for the project, posed for the Thief character. One of the editors, whose name now escapes me, posed for the lich.

----



And one of her recent works:

Q8RlLHw.jpg


Over a year ago, I completed a digital painting as a part of a Kickstarter. The art was for a fantasy book. The author ran the KS to fund the cover. It slipped my mind til now, but the author did give permission to include the cover in my portfolio.
 
Last edited:

octavius

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Great stuff!
Jaquays can also design complex dungeons, so bearing in mind Burger Becky's infatuation with anime, I hope Jaquays does the creative work and Becky the programming for Dragons of the Rip.
 

LESS T_T

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OK, I found the URL of bigger image for A Thief in the Tomb of Horrors/Star of Cursrah one. Glorious :D
 
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Oh man. Some of those are gorgeous. I know I must have seen most of them two+ decades ago as I had a sub to Dragon at the time, but I don't remember any of them. Those Spelljammer pieces in particular are fantastic. Stuff like this just makes me want to cry when I look at my PF books.
 

FeelTheRads

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Yeah, not next gen enough, that's true.

They're all pretty awesome but the Spelljammer and the Tomb of Horror ones are the best
 

Alchemist

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Her attention to detail, especially on the Tomb of Horrors one is incredible. I kinda wish she'd stick to using acrylics though - that digital piece doesn't really compare well to her older work.
 

LESS T_T

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Jaquays can also design complex dungeons,

Oh, right. I should have compiled these too.

---

sz4pllH.jpg


A friend of mine noted that I list myself as an author but mostly post art. So I'll address that. I've done both. I write for games. Not about games, but the content that goes in them. I began as a fan of Dungeons & Dragons back when D&D was in its infancy (it will be 39 years ago this month when I first encountered the game). In 1976 I and a friend created what would become The Dungeoneer. And with it, I stepped into the pages of gaming history as the first (or second) designer to create and publish a fully fleshed out game adventure for D&D. I was definitely the first to produce a mini-adventure (something playable in a single session). And I also did the cover art and all the interior illustrations.


ocul6r7.jpg


More "author" creds. Roughly 36 years ago I was busily writing and designing a game adventure that would also secure my name in the annals of history. Dark Tower for AD&D was my first professional game module, written for Judges Guild. I based it on one of my favorite ideas for a dungeon ... a buried structure that has been opened up for exploration. The warring factions were inspired by Robert E. Howard's Conan story, Red Nails. The warring deities drawn from that same fictional mythology (as interpreted through the D&D supplement, Gods, Demi-gods & Heroes). For whatever reason, this adventure is considered by one authority to be one of the 30 best Dungeons & Dragons adventures ever created ... and the only one of that collection NOT to be published by TSR.

--

Jennell Jaquays I still love the black and white and color look from the late 70s.


rN61hsf.jpg


More "Authorial" work ... done under the name I used back then. This is another very popular Dungeons & Dragons campaign level (multi-session) adventure that I wrote and illustrated for Judges Guild. It's been adapted and reprinted once, and I believe copies of both can be purchased through online PDF retailers.

The basic theme for this was "beast men" and ancient, buried ruins. The jackal-headed creature on the cover was intended to be a Jackalwere from first edition Dungeons & Dragons, but the book's license was downgraded from AD&D to original D&D and thus they became an original creature called a "dogbrother."

--

Jason Charles Smith Spencer I can't believe I didn't think of this before... But does this mean one day I could play a D&D campaign with you?! Hehehe

For the image... Nice stuff as usual. Keep sharing the neat stuff. :)

Jennell Jaquays I've played D&D a number of times since I wrote this (Lawrence Schick, currently the Loremaster for Elder Scrolls Online was my last regular D&D DM), but I haven't run a regular D&D (any flavor) since perhaps 1978.


fIaPbzA.jpg


(cover by Tim Truman)

The Enchanted Wood (written using the name Paul) was the last game adventure that I designed during my early freelance period (1979-1981). I consider this possibly the best game adventure product that I have written. And yet, I have never played SPI's Dragon Quest, the tabletop RPG for which it was written. I based my game balance for it on a system with somewhat similar mechanics, Runequest.

The basis for the adventure was inspired by Piers Anthony's anth novels ... a realm of strange and often random-seeming magic. Some of the NPCs who set up the adventures are based on people I worked with in the first few months at Coleco (I wrote this while still a contractor there in early 1981). I used my strange-combos design technique to create the inhabitants. So a minotaur rides a giant bull. The iron axeman is really just Oz's Tin Woodman.

This was also one of the first game adventures that I ever wrote not to feature a single piece of my own artwork. The cover and interiors were all done by Tim Truman.

This was also pretty much the last Dragon Quest product from SPI. They went under not long after, their assets snapped up in a deal with TSR, Inc. (the Dungeons & Dragons publishers).

Fragments of the Enchanted Wood became a part of my Runequest campaign. And stories of playing out some of those encounters became my anecdotal game mastering examples in the AD&D 2nd Edition Blue Leatherette sourcebook, Campaign & Catacomb Guide ... which was originally supposed to be a major section of the 2nd Editon DM's guide.

Six years later, I proposed doing the Enchanted Wood as a D&D adventure for TSR (since they now owned the copyright). That went no where, but I eventually wrote a combo adventure for them featuring both AD&D stats and Dragon Quest stats that not only used characters from the Enchanted Wood, but also moved them to the Forgotten Realms setting.

Over the next few years, Forgotten Realms work that I did for TSR included additional pieces of The Enchanted Wood, including characters, monsters, villains, and even mythology. Amusingly (to me) that mythology became a part of the Realm canonical history.

Dragon Quest finally died, the adventure I wrote was little more than something done to keep their trademark for it. They actually used it later for another RPG type game (unrelated).
 

charlesartist

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A lot of fun strong pieces. My favorite of the whole set, hands down is the mind flayer. I like the dynamism in the tomb with the giant mummy and the undead while he's trying to pick up the sword. I would have loved to have any of those commissions. That was a real fun set.

The colors are also pleasing to the eye. A good style for this sort of work. Good of you to catalog it so the search engines can find it. It would be sad if work that interesting and fun to look at would disappear in the new digital millennium now that almost everyone is using digital (not that there is anything wrong with that). It's refreshing to see older art from the days when most of the work was done by hand with natural materials.
 

LESS T_T

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She posted design document for a canceled computer game based on board game Tales of the Arabian Nights: https://www.facebook.com/notes/1601959473405492/

Author's Note: I wrote this in 1993. I wrote a LOT of freelance material in the late 80s and early 90s, and not all of it was ever published. One of my clients, Crossover Technologies (founded by game designer Eric Goldberg) was redeveloping Eric's board game Tales of the Arabian Nights as a single player computer game. The project was eventually shelved. One of the changes made for single player was the addition of story lines in the spirit of the original folk tales that walked the player through a specific story. For this one, I took the tale of Aladdin's Lamp, and turned it on its side, making the "African Magician" of the original into the hero/heroine of the tale. Here are the first four encounter nodes.

The basic idea of the game is that as the player moves the hero through the world, encounters occur and the hero acquires or loses certain statuses. These statuses are tested at each encounter, and the outcome changes depending on the presence or non-presence of particular statuses. The player doesn't have choice and the tests are invisible to them. Its a sort of "what happens next" sort of play.

The original board game was intended to be a social, story-telling game of players relating their tales to each other as if they were relating their epic adventures in marketplace. It worked for the board game. Not so much for the computer game, I fear.

This note contains the first four encounters of a seven-encounter tale (actually quite long in terms of the game).

The board game version of Tales of the Arabian Nights has been updated and republished in a beautiful edition by Z-Man Games.

Jennell Jaquays- (July 23, 2015)

The Magician’s Tale

by Jennell Jaquays

A quest for Tales of the ArabianNights (Computer version of the West End Games board game by Eric Goldberg)


[Approx.:11,000 words]

Synopsis: A notedmagician offers to share the secrets of his art with a lazy nephew, but theyouth repays the generosity with grief and ingratitude.


Quest Specific Items
Charactersex: male or female (no penalty)
Start:Alexandria
End:[Random?]
Lockout:Cave of Al-Kolo-Ats, Valley of Diamonds, Ring, Lamp, Diamond, Major Magic
NullStatuses: Hidden #1[1],Hidden #2[2],Hidden #3[3]
NullTreasures: [none]


New Gender Variable:
<Magician>Magician/Enchantress, same sex as character
<uncle>:uncle/aunt, same sex as character.
<brother>:brother/sister, same sex as character.




Design Notes:

1. For this quest, theRing confers the Major Magic skill as an innate property of itself.


2. The player is automatically given the skillMINOR MAGIC and may only select two other skills.


Origin: Alexandria

You have devoted allyour life to the study of sorcery and how it may be used for good. Althoughthere are many other magicians of note in your home city of Alexandria, yourgreat accomplishments have earned you the title of THE African<Magician>. Before the Defiler of Mansions comes, you would like to passon your wealth of knowledge and wisdom to an heir. Yet your years of study havenot been without cost. -- you have few friends and no family. Thinking back toyour childhood in far off Su Chou, you remember one friend quite fondly; ayouth named Mustapha. You determine to travel to Su Chou and name one ofMustapha's children to be your heir. Who would not be pleased to have an<uncle> such as you? [W+1 (Max: Respectable)/Ring/Minor/Major]


Milestone 1: Ill-met inSu Chou.

Su Chou, mighty jewel ofthe far eastern lands has changed little with the intervening decades. As youwander its teeming streets, the happy memories come flooding back. But when youask after your friend Mustapha, your sadness knows no bounds. Mustapha hasdied, leaving but a single, lazy son named Ali, who will not support hismother. You seek out young Ali in a market he is known to frequent andintroduce yourself as his <uncle>, his late father's <brother>. Youtell of your desire to make him your heir and teach him the mystic arts. Herudely spurns your offer -- it sounds like work to him.



You can:


1. Visit Ali's home andspeak with his mother.

2. Offer to set Ali upin business.


1. The tiny,pest-infested apartment in which Ali and his widowed mother dwell saddens yourheart even more. You approach Mustapha's widow, introduce yourself, and tellher of your intent to make her son your heir. Perhaps, you may even help theshiftless boy mend his ways. She, in turn, remembers that her husbandoccasionally spoke of you.

NOSKILL: Your strange appearance and talk of sorcery frightenthe poor woman. She will have nothing to do with you. "You are mad!"she cries. "Leave us alone. Nothing can change my useless son!"Nevertheless, you secretly vow to do what you can for your dead friend'sfamily. What money you have would be of little use, but you remember tales of agreat fortune in gems that can be plucked from the ground like fallen fruit ina mountainous place near the city of the Bulgars called the Sparkling Vale.[Determined/Score: 0]

COURTLY (male), BEGUILING (male): Your cultured charms andpromises to end their poverty overwhelm the poor woman and she readily agreesto your plan. So how can you refuse her offer of hospitality? [Seduction (1use)/Go to Paragraph #1A]

PIETY (female):, WISDOM (female): Your sincerity impressesthe poor woman and she unburdens her sorrows on you. Rather than drawing youdown with her misery, you gain courage from her inner strengths, and in turn,your faith gives her understanding. Taking her hand as a friend, you vow to endher poverty. [Piety/Go to Paragraph #1A]


PARAGRAPH #1A

When Ali stumbles drunkenly into the house, he blearilyagrees to accompany you to an exotic place called the Sparkling Vale, wheretogether you will gather enough gems to ensure a comfortable life for him andhis mother. With fresh excitement, you and Ali set your feet upon the path tountold fortune. But several hours later, when Ali learns that the valley issouth of the Ural Mountains, in the Land of the Golden Horde, his willingnessquickly evaporates. [Hidden #1 (null status)[4]/Score:5]


2. You are convincedthat reforming this lad is Allah's great mission for your life. Perhaps magicis not to his liking. You note that despite his lack of ambition, he seemsquite clever. Thinking that he might make a good grocer, or perhaps even aseller of fine cloth, you generously offer to purchase a shop and goods for himto sell.

NOSKILL: Ali ponders your offer, but being as clever as he islazy, he decides that he must be a gem merchant. Only that career will suithim. In his heart, he has already planned to quickly sell off the gems and livea life of ease for as long as he can. With a sigh, you realize that you lackthe funds to start such an expensive business. Despite your generosity, Aliscornfully refuses to accompany you on a journey to obtain gems from theSparkling Vale. With Allah as your witness, you vow to gain the necessary gemsfrom that legendary valley in the Land of the Golden Horde, south of the UralMountains. [Enduring/Score: 0]

BARGAINING: You convince Ali of your earnestness in thismatter, and he reluctantly agrees to become a silk merchant. Nevertheless, moremoney than you carry will be needed to buy the necessary silk. So you propose ajourney, a pleasure trip really, to a nearby valley where diamonds may beplucked from the ground like fallen apples. Ali willingly agrees to join you.Already the imaginings of easy wealth have swelled to consume all his thoughts.With Ali as your companion, you set out for the mountainous Sparkling Vale, inthe mountainous Land of the Golden Horde, south of the Ural Mountains. [Hidden#1 (null status)[5]/Beguiling/Score:10]


Milestone 2: SparklingVale (Valley of Diamonds)

(Location: Land of theGolden Horde)


None in this place claimto know of the Sparkling Vale, but they leave you in peace to search for it.You find a narrow trail leading up into the mountains. Yet the trail markergives you pause. A gigantic serpent skull all but blocks the trail head. In life,this monster could have easily swallowed a man whole! Greater still is yourshock when a cold shadow passes over you. A giant roc circles far over head,then drops suddenly out of sight behind the cliffs.


You can:


1. Return the way you came.

[End Encounter--> Theencounter is still here when the player returns]]

2. Continue up the trail

[Go to Paragraph #2A]


PARAGRAPH #2A

The mountainous trailleads you to a camp high above a steep-sided canyon. Far below the sun glintsand sparkles on the precious gems that litter the valley. Diamond collectorsfrom many nations eye you suspiciously, for they are jealous of the valley'ssecrets. The others laugh when they hear your tale of diamonds laying aboutwhere anyone can reach them. To get the diamonds, they cast animal carcassesinto the valley and wait for giant rocs to return to their nests with thecarrion. When they frighten away the rocs, diamonds are often found sticking tothe meat. Each collector has staked a claim to one or more nests. With harsh laughter,they welcome you to seek the diamonds any way you wish. One fellow, a man fromTripoli who recognizes your name, warns you about the deadly vipers that dwellbelow. So numerous are the tiny snakes, that one cannot cross the valley floorwith stepping on them.


You can:

1. Climb down into thevalley.
2. Use sorcery to obtainthe diamonds.
3. (If Hidden #1)Instruct Ali how to best obtain the diamonds.


1. The weathered rockcrumbles beneath your hands and feet several times before you reach the canyonfloor. Only the rope looped about your waist and tied fast to a tree on thecanyon rim, keeps you from falling to your death. Sparkling diamonds ... andtiny vipers are everywhere.

NOSKILL: You scoop up several handfuls of diamonds before aviper, hiding beneath a rocky ledge, sinks its fangs into your leg.

NOSKILL: Asthe viper's venom takes hold, you cry out to the collectors, and they drag youout of the valley. You are too ill from the snake's poison and rough handlingto argue when they take over half the diamonds for saving your life. [W+1 (Max:Rich)/Diseased/Wounded (6 or less)/Score: 0/Go to Paragraph #2B]

ENDURING:Though the tiny snake's bite is painful and makes you ill, you force yourselfto climb out of the valley with your prizes. Surprisingly, the trip up iseasier, for you have learned how to pick a safe path up the rock face.[Wilderness/Diseased (7 or less)/W+2 (Max: Princely)/Score: 5/Go to Paragraph#2B]

SCHOLARSHIP: Your knowledge of fine gems guides yourselection of stones, allowing you to swiftly collect only the finest.diamonds.One stone, in particular catches your attention, for it is far larger than theothers and shaped like ball. But it lies in a nest of writhing vipers!


Youcan:

1.Leave it.
2. Usesorcery to destroy the snakes.
3.Distract the snakes.


1. Asyou climb back to the collector's camp, you wonder if you have made the bestchoice. But then, you praise Allah that you are alive to even wonder about suchthings. The collectors are astounded at your diamonds -- some enough to risktheir own lives in the valley as you did. [Diamond/W+3 (Max: Fabulous)/Score:10/Go to Paragraph #2B]


2. Yousummon lightning to strike the snakes, incinerating their writhing bodies intoso many sticks of charcoal. You trust to Allah that your sorcery will notdamage the marvelous ball-shaped gem.

NOSKILL:The power of your sorcerous attack does indeed shatter the great gem. Yourheart breaks to see the destruction of so marvelous a treasure When you reach the camp, your other prizesstill excite the collectors. [W+2 (Max: Princely)/Grief/Score: 5/Go toParagraph #2B]

PIETY,LUCK: What a fool you were! Praise Allah that He did not allow such a marvel tobe destroyed by your thoughtlessness. You realize anew how your entire life isin the hands of the Most High. [Piety/Planisphere/W+2 (Max: Princely)/Score:15/Go to Paragraph #2B]


2. You consider themethods used by the diamond collectors and devise your own. You collect thegummy resin from nearby trees. Using sorcery, you distill the resin into asticky, glue-like paste which you apply to a coarse sack stuffed with leaves,old clothing and stones. After tying a long rope to the sack, you cast it intothe valley and drag it along the ground.

NOSKILL: Each time you pull the sack up,several diamonds are stuck to the resin paste, as are numerous vipers. Aftereach cast, you reapply the resin. On your final cast, you turn the sack overand a nest of vipers squirm loose and disappear into the underbrush. The othercollectors call down curses upon you, for now the deadly vipers are out of thevalley. [W+2 (Max: Rich)/Accursed/Score: 0/Go to Paragraph #2B]

WILDERNESS: You consider the rocs andthe sharp eyesight that lets them see prey from great heights. You create acharm that gives you vision like the mighty bird. Your sorcerous vision guidesyour casts. You see diamonds vastly larger than those gathered by thecollectors and throw your sack in their direction. Each toss draws back afortune. [Diamond/W+3 (Max: Princely)/Quick (1 use)/Score: 5/Go to Paragraph#2B]


3. Ali reluctantlyagrees to help you. You can see in his eyes that only the promise of vastwealth secures his unwilling aid. Even so, he refuses to enter the valley. Nowealth is worth having to work so hard. He does, however, agree to help pullyou back out of the valley. You carefully dodge the vipers and gather diamonds.When you decide to leave the valley, you call up to Ali. When no answer comes,you tug on the rope, and it comes tumbling down around you.

NOSKILL: As darkness draws near, you find one of thecollector's animal carcasses and crawl inside the stinking thing, just before aroc grabs it. Your rage is such that the collector who finds you doesn'trequest a fee for use of his nest. [W+2 (Max.: Rich)/Lose Enduring/Score: 0/Goto Paragraph #2B]

STEALTH: As night falls, the snakes become sluggish, allowingyou to avoid them with relative ease. You explore the steep stone walls anddiscover a narrow crevice. Slowly, you work your way up to the top of thecanyon. Near the top, you find an unexpected treasure, wedged in a hidden niche-- a perfectly sphere-shaped gem. [W+2 (Max: Princely)/Luck/Planisphere/Score:10/Go to Paragraph #2B]



PARAGRAPH #2B

NOSKILL: The collectors praise Allah for your luck and skill.You learn from one of them, that newcomers are often robbed and cast into thevalley. But you have impressed them and shown them ways that they mightincrease their wealth. You ponder your future. You doubt that you will be ableto convince the youth of the error of his ways. Rather than return to Su Chou,you decide to simply send Ali a share of the gems and return to your home inAfrica. You give Ali's share of the diamonds to an honest and respectedmerchant, with instructions that it be taken to the boy and his mother. [W-1(Min: Respectable)/Go to Paragraph #2C]

HIDDEN #1: When you at last escape the deadly valley, youfind that Ali has been playing dice games with the collectors. If this alonewere not enough to draw your anger, the wastrel has placed wagers against yourendeavors and lost nearly half of what you have gained. Your blood boils. Youranger is almost without equal. Only your concern for the boy's mother keeps youfrom transforming the useless youth into a pig. With clenched jaw, you give asmall portion of the gems to Ali and tell him to flee home, lest he rekindleyour anger against him. [Lose Hidden #1/W-2 (Min.: Respectable)/Go to paragraph#2C]



PARAGRAPH #2C

From the diamond collectors, you learn that the best diamondprices are to be gained from the merchants of Gaya. You turn your thoughts awayfrom Ali and consider the collectors' advice.


upon what you know ofthat city and it's many sorcerers.


Milestone 3: Gaya

The streets of Gayaswirl with a surging sea of humanity. You allow yourself to pulled along by itslively tides. As you bargain beneath the sun-dappled awnings of merchants, dinewith scholars in a flowered park and take in the scented air, the troubles andtrials of your "nephew" Ali all but fade away. After several days ofrestful leisure, you seek out the gem markets and dispose of the diamondsgained from the Sparkling Vale at great profit. Yet your spirit remainstroubled. You no longer feel a need to train an heir, but your heart is stilltorn when you think of the plight of your dead friend's family. Should you turnyour back on Ali and his mother and return to Africa or fulfill your vow to aidthem? Perhaps you you should seek the counsel of others. [Lose Diamond/W+2(Max: Princely]


You can:

1. Visit othersorcerers.
2. Seek out a holy manat an impressive mosque.
3. (If Planisphere)Consult the Celestial Planisphere.


1. You are treated likea visiting prince, for even in Gaya, the local sorcerers have heard of TheAfrican <Magician>. When you speak of the youth Ali to one enchantress,and describe your troubles with him, she reacts with astonishment. Shedescribes a certain star configuration that reveals the location of thewondrous Caves of Al-Kolo-Ats and its greatest treasure the Magic Lamp. Butonly the "Chosen One" may open those caves or take things from them.

NOSKILL: You wonder if she believes that Ali is the chosenone. But before you can question her, you succumb to the elixir she has placedin your drink. When you come to your senses again, the dank filthy walls of thesultan's dungeon surround you. The charges against you are lies, of course,fabricated by the Gayan Enchantress . You have no doubt that your former hostis on her way to Su Chou. Unless you can reach Su Chou and Ali first, theunequaled power of the Magic Lamp will fall into her unprincipled hands.[S1/D1/Hidden #1 (null status)[6]/Imprisoned/Score:0]

QUICK: You study her astrological work and discover thatindeed, Ali is the "Chosen One" who may enter the caves and removeits great treasure, the Magic Lamp. Such a treasure as that must not fall intothe hands of someone who might use its power for ill. Instead of revealing thetruth, you point out several places where here calculations may have flaws. Sheaccepts your wisdom, and you hurry from her home, before she discovers yourruse. What a fool you were! How could you spend so much time with the boy andnot realize his nature? You must return to Su Chou before another wizard candiscover the secret of Ali and the Magic Lamp. [S1/D1/Beguiling/Score: 10]


2. The Imam Ibrim ibnVazier eyes you suspiciously as he sets a scroll aside. "I've no love forsorcerers and other workers of Shaytan's evil. But perhaps our talk will bringinsight into your errors and bring you back to the True Faith." You saynothing, for nothing would convince the Imam that not all sorcery is evil.Instead, you tell of your concern for Ali and his mother.

NOSKILL: "The boy is an incorrigible wastrel." theImam pronounces. "Allah will surely judge him as I have." If youwould serve the faith, he demands that you seek out the great wonder that Allahhas revealed through his dreams. He describes a cave filled with splendidtreasures. Chief amongst these treasures is a Magic Lamp of great power. It isclear to him that this treasure belongs in his hands where it may best servethe mosque. He reveals that only the "Chosen One" can open the cavesor take things from them. He describes the "Chosen One," and yourealize that Ali is that very person. With growing horror, you imagine whatmight happen if the power of the Magic Lamp were to fall into the hands of thisnarrow-minded fool. You must return to Su Chou before the Imam tells the worldof the secret of Ali and the Magic Lamp. [Fated/Score: 0]

COURTLY: The Imam ignores your tale and continues to condemnyour sorcery with increasing emotion. You patiently forbear his anger, but thatonly increases his anger. At last he chokes and dies of apoplexy. You noticehis scroll, a text that describes a place called the Caves of Al-Kolo-Ats andits miraculous treasure, the Magic Lamp. So powerful are the guardians in thatplace, that only the "Chosen One" can open the caves or take thingsfrom them. The description of the Chosen One fits Ali of Su Chou. What a foolyou were! How could you spend so much time with the boy and not realize hisnature? You must return to Su Chou before others discover the secret of Ali andthe Magic Lamp. Your reverie is disrupted when servants enter the room anddiscover you with the dead Imam. [Outlaw/Pursued./Score: 10]


3. The gem you gained atgreat risk from the serpent filled Sparkling Vale is indeed the renownedCelestial Planisphere! It glows brightly and as you peer within it, manysecrets of the world become clear. It is only with some difficulty that youfocus your attention on Su Chou and the source of your troubles, the lazy boy,Ali, son of your late friend, Mustapha.

NOSKILL: As the vision produced by the Planisphere expands,your eye seems to descend down into Su Chou towards a familiar street. You seethe boy, Ali, dressed in fine clothes, while his mother wears rags. The viewchanges and you are drawn to a cave filled with wondrous treasures, and in itsdimness, a single brass lamp. You recognize it to be the Magic Lamp, anartifact endowed with great and wondrous powers. Suddenly, a hand, Ali's hand,reaches out to take the lamp. [S1/D-1/Envious/Score: 0/Go to Paragraph #3A]

SCHOLARSHIP, WISDOM: The Planisphere shows you images of thefuture -- your future intertwined with that of Ali. You see him dressed like aprince, causing a magical lamp to create vast wealth which he uses to deceiveothers. When you ask to know how this is to come about, the Planisphere showsyou with Ali, as the youth opens a cave of wonders and then enters its stygiandepths. [S1/D2/Wisdom/Score: 10/Go to Paragraph #3A]



PARAGRAPH #3A

That lamp's powers aretoo great for one such as Ali. It should be yours to use wisely! You mustreturn to Su Chou and prevent the lamp from falling into unprincipled hands!


Milestone 4: Su ChouAgain

The journey from Gayahas taken longer than you had expected.

NOSKILL: You hope that none other has discovered that Ali isthe "Chosen One" who can open the Caves of Al-Kolo-Ats in the AfricanDesert of No Shadows and remove its greatest treasure, the wondrous Magic Lamp.[Go to Paragraph #4A]

HIDDEN #1: You hope that you have arrived before the GayanSorceress. She was indeed right that Ali is the "Chosen One" who canopen the Caves of Al-Kolo-Ats in the African Desert of No Shadows and removeits greatest treasure, the wondrous Magic Lamp.. And you are certain that bynow, she has discovered how you tricked her. [Go to Paragraph #4A]


PARAGRAPH #4A

Upon entering Su Chou,you go directly to Ali's home. You discover that Ali has been imprisoned forstealing from the local merchants. The money gained from the sale of thediamonds from the Sparkling Vale only whetted his appetite for jaded pleasures.Since learning of the Caves of Wonder, you have used your sorcery to affirmthat only Ali may open them or remove their treasures. So long as the cavesexist, there stands the chance that some unprincipled sorcerer will convinceAli the wastrel to remove the Magical Lamp inside, and use it to the ruin ofall. Therefore, it is up to you to free Ali from the sultan's prison andpersuade him to get the lamp and give it you.



You can:

1. Abduct Ali fromprison and hide in the wilds.
2. Purchase Ali'sfreedom from the sultan's prison.


1. You seek out theprison and engage the eunuch jailer in conversation. You wonder if, perhaps,you might bring your nephew a blanket and a meal. The jailer agrees and youcarry the gifts into the cell. As Ali greedily devours the food, you tell himabout the rich treasures of the Caves of Al-Kolo-Ats, the Magic Lamp and the"Chosen One" who can take it from the Caves. You tell Ali that he isthe "Chosen One." If he will agree to accompany you to the Caves inthe distant African Desert of No Shadows, you promise to break him free fromthis prison. You can see that greed has captured the youth's imagination. Hereadily agrees to your plan.

NOSKILL: Your clumsy attempts to overcome the jailer fail!Ali breaks free and escapes, but you are imprisoned in his place! You have nodoubt that the boy's greed is greater than his sloth. He will seek out theCaves of Al-Kolo-Ats in the African Desert of No Shadows. [S1/Hidden #2 (nullstatus)[7]/Imprisoned/Score:0]

STEALTH: When the jailer returns, you overpower him and lockhim in Ali's cell. You and Ali flee the city. You have no doubt that that thesultan will name you an outlaw for your treacherous actions. [S1/Outlaw/Score:5/Go to Paragraph #4A]



PARAGRAPH #4A

NOSKILL: That night, you make an unfortunate choice of hidingplaces in the wilderness. With a snarl, the returning tiger challenges you forpossession of his lair. Ali slips away as you struggle with the great cat.Though the journey to the Desert of No Shadows is long, you have dropped enoughhints about the Caves of Al-Kolo-Ats that you believe Ali will go there anyway.And you must follow! [S1/Hidden #2 (null status)/Wounded (7 or less)/Score: 0]

WILDERNESS: You flee into the wilds that surround Su Chou.Though the journey to the Desert of No Shadows in distant Africa is long,. youknow the Cave of Al-Kolo-Ats awaits you. [Luck (1 use)/Score: 5]



2. You approach theeunuch jailer and offer to purchase your "nephew's" freedom. Theeunuch immediately begins to rattle off a long list of crimes, many of whichare no doubt concocted on the spur of the moment in order to extort a greatersum from you.

POOR or less (Mandatory): The eunuch scorns your paltryoffer. No respectable <man> would offer so little.



You can:


1.Abduct Ali from prison and hide in the wilds.
2.Leave the prison and seek the needed money.



1. [Dochoice #1 of the previous option tree]

2.[Leave this milestone uncompleted. When the player enters Su Chou again (or onhis next turn) he starts at the top of the option tree.]


NOSKILL: The bartering goes badly and you part with far moremoney that you had planned. Nevertheless, Ali is freed into your custody. [W-2(Min: Penniless)/Score: 5/Go to Paragraph #4B]

BARGAINING: Not only do you obtain Ali's freedom, but youalso convince the poor jailer that Ali is related to the sultan and has agreedto forget this embarrassing incident for a trifling sum. When you finallyleave, the jailer is relieved to see you go, considering his lost wealth a fairprice for keeping his head on his shoulders. [S1/D1/W+1 (Max: Rich)/Score:10/Go to Paragraph #4B]



PARAGRAPH #4B

After freeing Ali fromthe sultan's prison, you return to his mother's house. She is not all thathappy to see him and berates him for stealing. Next time the sultan will takehis hand no doubt! You doubt that her words will have any lasting effect. Forone such as Ali, petty theft is often an easier career to embrace than anyother.


1. Tellhim about the caves and their wonders.
2. AskAli to accompany you to the Caves of Al-Kolo-Ats.
3. (IfHidden #1) Warn that other sorcerers may come to enslave him.



1. Outof generosity, you give Ali's mother yet another portion of your wealth beforeAli returns from his daily revels. Over dinner, you describe the wonders of theCave of Al-Kolo-Ats, which you have discovered in the African Desert of NoShadows. Nevertheless, you do not mention the Magic Lamp. When you tell howonly the "Chosen One" may open the caves, and give a description ofthat one, you watch Ali's face to see if he has caught on to your tale.

NOSKILL:Ali appears unmoved by your words, so when the household retires, you sleepalso. When morning rouses you from slumber, you discover that Ali has slippedaway, taking much of your money and your magical Gold Seal Ring with him.Cursing yourself as a fool, you set out after the youth. You now know that heunderstood every word and that he will not stop until he has reached theAfrican Desert of No Shadows and its long-hidden prize, the Caves ofAl-Kolo-Ats. [Hidden #2 (null status)/Lose Ring/W-2 (Min.: Penniless)/Score:-5]

STEALTH,STORYTELLING: Your words hold Ali enrapt. The marvelous story of fabulouswealth held behind a door that he alone may open has obviously caught hisimagination. When you mention that these wonders can be found in the Caves ofAl-Kolo-Ats in the African Desert of No Shadows, Ali's face breaks into a slysmile. At night, you pretend to sleep. When Ali disappears in the darkness, youstealthily follow him. The youth's greed has overcome his laziness. You know hewill not stop until he has reached the hidden Caves of Al-Kolo-Ats in thedistant African Desert of No Shadows. [Hidden #2 (nullstatus)/Storytelling/Score: 5]



2. Youdescribe the wondrous treasures of the Caves of Al-Kolo-Ats for Ali and hismother. You ask Ali if he would accompany you, for you believe that he is the"Chosen One" who can open the Caves. However, you fear that withoutyou to guard him, he might succumb to the dangers and terrors to be foundinside. Yet Ali stubbornly refuses to go. Adventures sound like work to him.

NOSKILL:With a sigh, you tell him of the Magic Lamp to be found in the Caves and offerhim your marvelous, magical Gold Seal Ring to protect him. He greedily acceptsit. He promises to accompany you to the Caves in the morning. But when themorning sun brightens the house, Ali is gone, with your ring and some of yourgold. Cursing your trusting nature, you seek the gates of the city and longjourney to the African Desert of No Shadows, and hidden Caves of Al-Kolo-Ats. s[W-1 (Min: Penniless)/Hidden #2 (null status)/Lose Ring/Score: 0]

BARGAINING:You continue to argue your case, but still he refuses ... until you tell of theMagic Lamp to be found in the Caves and offer your Gold Seal Ring as protectionagainst the dangers of the journey. Rather than risk losing both the boy andthe ring, you leave immediately. The long journey to the distant African Desertof No Shadows lies ahead. You hope that you have not made a mistake. [LoseQuick/Lose Ring/Score: 5]



3. Youremember your visit with the Enchantress in Gaya. She too will be seeking Alito gain entrance to the Caves. Desperately, you tell Ali the truth, that as thelegendary "Chosen One," only he can open the Caves of Al-Kolo-Ats.The sly look of undisguised greed steals over his features. You warn him thatother sorcerers will come and seek to force him open the caves. You are certainthat one sorceress may already be searching the streets of Su Chou. She willnot care whether she hurts Ali, or his mother. He must come with you, or riskfalling into the Gayan Sorceress's evil grasp.

NOSKILL:Ali calls you a liar.and runs out into the night. You assume that the youngfool has gone to find the Caves by himself. Despite the distance to the distantAfrican Desert of No Shadows, wherein the Caves can be found, you have no doubtthat the boy will reach it. After bidding farewell to Ali's mother, you depart.As you walk through the city, you discover that Ali has spread untrue talesabout you. The residents of Su Chou mock and revile you. [Scorned (6 to Lose)/Hidden #2 (nullstatus)/Score:0]

APPEARANCE,BEGUILING: A fearful, trembling Ali believes you and agrees to accompany you tothe Caves in the morning. With the grace of a diplomat, you calm his fears.When the sun gilds the city's roof-tops, the two of you set off for thewondrous Caves of Al-Kolo-Ats. The boy is perhaps even more surly, rebelliousand lazy than you last remembered. You doubt that you will enjoy the longjourney to the African Desert of No Shadows. [Courtly/Score: 10]
 

Neanderthal

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Brings back some damn good memories, though i've got to say it was probably Gary Chalk's illustrations that more defined my childhood. Clyde Caldwell as well if i'm honest.
 

LESS T_T

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Codex 2014
eSAq37M.jpg


Something to Throwback on a Thursday #ThrowbackThursday ... a cropped in view of the cover for Dragon Dice: Undead expansion pack. I designed and painted the cover, as well as designing the icons for all the dice as well.

The painting was rendered in acrylics on mounted Bristol paper. I originally rendered the entire painting in burnt umber (a red-brown pigment) and then layered in the color over it. Much of the warm underpainting shows through in the final. Each character represents one of the dice armies in the set.@DragonDice https://www.facebook.com/DragonDice

---

George Hardy Wow - very cool. While I don't understand the technical aspects you mentioned the end result is awesome.

How many hours does it take to make something like this?

Do you need to have drafts first and such?

Jennell Jaquays There's about four to five weeks of full time-plus work in this. I generally did a prelim sketch and then a more detailed, full-sized sketch that required sign off by both the art director on the project and the Creative Director for it.

https://www.facebook.com/Jennell.Ja...1073741830.1473304302937677/1604348996499873/
 
Joined
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Messages
5,869
"One does not go from conservative, somewhat outspoken, publicly visible, former church deacon, heterosexual male game developer to (still fairly conservative) transsexual lesbian female game developer who is still publicly visible without having some things to talk about. When you do that "on camera" as I did, you discover that you are now A) a trans-activist, and B) a role model."

:what:

Cool art, though.
 

LESS T_T

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Codex 2014
a2bhX0Q.jpg

#ThrowbackThursday offering. I painted the cover for Paul Kidd's Mus of Kerbridge, a novel intended for the young adult market while at TSR. It's one of the few covers that I had to do a set of color comps in advance so management could choose a color palette. They wanted to make sure that some of my colors had a more masculine feel to them (this in a time when TSR was trying to get their adult and juvenile lines to breakaway from the typical buyer of fantasy fiction in 1995-96 ... women).

One of the little factoids not really promoted about this book ... it IS set in a role-play game world, but not one TSR owned or created. Welcome to the world of Lace & Steel, a recreation of the 17th century Europe ... with centaurs, satyrs, and harpies. The the novel and RPG were written by Australian author Paul Kidd and the game was illustrated by American artist Donna Barr. https://en.wikipedia.org/wiki/Lace_%26_Steel

https://www.facebook.com/Jennell.Ja...1073741830.1473304302937677/1608636026071170/

Mark R. Shipley I like the picture. I am wondering if this is part of the effort to break into a new genre that caused a fatal backlash against TSR.

Jennell Jaquays TSR was always looking for ways to expand their fiction audience, as far back as they even had a fiction department. They always had a line of non-game titles. A few of them were actually enjoyable reads (most were dreadful ... actually except for work from a few authors, most of the game-related titles were fairly awful as well). At the end, TSR was simply cranking out more product than the market really wanted.

Mark R. Shipley I listened to a presentation at GenCon by (I believe) Louis Zocchi. He said that the woman running TSR tried to force distributors to carry TSR's childrens' novels, and they called in options that put the company $5 million in debt.

Mark R. Shipley Resulting in the buy-out by Wizards of the Coast.

Jennell Jaquays TSR was mismanaged into unrecoverable debt. The games that senior management played had nothing to do with dungeons or dragons. It finally caught up with them in late '96 while I was there.

Mark R. Shipley As an outsider, all of the non-D&D projects had an air about them of being either foolish or desperate.

Jennell Jaquays Perhaps ... ill-considered (which may put a kinder spin on "foolish.").TSR was ALWAYS looking for ways to expand their market and their attempts to lure younger players in were not succeeding. RPGs were already losing attraction with younger players to video games ... and as the Internet blossomed away from subscription services like Genie, Compuserve, AOL , and Prodigy, the gaming universe was changing in ways that made multiple large companies like TSR and WotC unsustainable.

Mark R. Shipley An interesting perspective. Gamers tend to bristle when I point out that Gygax, himself, was a great gamer, but not a great business man.

Jennell Jaquays To be honest, I find that most creatives tend to be not-great at business. There's a reason why over half the board of directors on my own company are focused on the biz side of games, not the making side (in fact, I may be the only one who is strictly a creative on our board).
 

Inspectah

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Joined
Jun 29, 2015
Messages
468
I don't understand anything about paintings.
Now that I am properly disclaimed, the ship in space one is absolutely amazing and I want it on my wall
 

LESS T_T

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https://www.facebook.com/Jennell.Jaquays.Artist/posts/1613283935606379

sFSPVUC.jpg


Exciting news.

In the mid-70s, my gaming friends and I wrote and published a fan magazine or “fanzine” called The Dungeoneer. In so doing, I became the second person to write and publish a fully detailed role playing game adventure, F’Chelrak’s Tomb in the first issue of The Dungeoneer. After six issues, I sold the magazine to Chuck Anshell, who in turned over the magazine (and my content) to Judges Guild. I joined him there later in the year and worked at the company for a year as a designer and artist.

I moved on from there and have been in the game industry ever since. Meanwhile, the adventures I wrote for The Dungeoneer and Judges Guild D&D adventures like Dark Tower, and Caverns of Thracia have continued to be played and enjoyed ever since.

My exciting news is that Judges Guild has graciously released the rights to me for everything that I wrote for the Dungeoneer. I signed the paperwork of the release this morning. I really appreciate that Bob Bledsaw II, the current owner of Judges Guild has reached out to me in this way.

I don’t know what I’m going to do with them just yet. But I now have things to think about in that regard. This past summer, I redeveloped my D&D adventure Night of the Walking Wet for the Swords & Wizardry to run as a convention event at North Texas RPG convention this past summer.

Judges Guild will continue to the publish the Adventuresome Compendium (Judges Guild, 1979) of the first six issues of The Dungeoneer and any material that I created for them while on staff.

Clarification: the rights to republish the magazine were not returned, only the rights to my writings within it. I cannot publish or republish the Dungeoneer itself. Those remain with JG.
 

nikolokolus

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May 8, 2013
Messages
4,090
I just stumbled on to a great book by Jacquays I missed back in the day. Central Casting: Heroes of Legend. It's a great resource for giving an NPC or PC a bit of history and background with lots and lots of tables.

51OorPhtB7L._SX258_BO1,204,203,200_.jpg


Super fucking expensive on E-bay if you can find a copy, but there is a pdf floating around in the interwebz if people want to grab it. (skip the 4shared one, it's bogus and leads to a malware site).
 
Last edited:

LESS T_T

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https://www.facebook.com/Jennell.Ja...1073741830.1473304302937677/1623498927918213/

H319Rz5.png

One of the last projects that I illustrated before slipping out of freelance RP game illustration back in early 1981 and going into electronic game design was Blue Frog Tavern, a solo adventure for Flying Buffalo's Tunnels & Trolls RPG. Several of the illustrations that came out of that project became personal favorites. This one, which I call Lovely in Leather was one of those. The original was done in technical pen and India ink on hot press Bristol paper. It was drawn on the kitchen table in the apartment that I shared with co-worker Michael Stackpole across the street from the Coleco Industries offices in Hartford, CT.
 

LESS T_T

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Codex 2014
https://www.facebook.com/Jennell.Jaquays.Artist/posts/1626577164277056

uICuYCj.jpg


Cjqz8ql.jpg

‪#‎TBT‬ ‪#‎ThrowbackThursday‬ time! During the summer of 1979 William Paley and I wrote several articles for The Dungeoneer based around super hero game themes. I created an armored super-villain for the cover who I named "CyberDum" (pronounced Sigh Burr Doom). Bill called him The Wight for the Superhero 2044 scenario that he wrote. I wrote up a 9 page Villains & Vigilantes scenario called Research Station Mega Gamma. There was also an NPC called The Patriarch and some rules conversions that I wrote for makiing OD&D content work with V&V

The cover and the interior illustration were both drawn in ink and then colors added with half tone overlays.
 

LESS T_T

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Codex 2014
It's Halloween: https://www.facebook.com/Jennell.Ja...1073741830.1473304302937677/1632201100381329/

O7rwNjd.jpg


Something Halloweeny. I ain't afraid of no ghosts ... or animated pumpkin spirits. At the time, I had a pumpkin patch growing in the backyard of my house ... almost as overgrown as this one. Acrylics on mounted paper. This was done for the cover for Pumpkin Patch Panic, a Ghostbusters RPG game adventure back in the late 80s for West End Games. My kids' other mom is the female ghostbuster in this pic.

One of the few cover paintings I created that I still have in my possession.
 

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