Is it Science Fiction or Reality?

© JournalizeThis 2010. Please ask to use.

Recap of a Journal Entry
Journalizer's email to a friend on January 13, 2010

On July 21st 2008 I had an experience that changed my life and made me question all I've ever known. This experience made me realize my vision is different from other people and maybe even significant. A friend of mine thought I "lost energy" during trauma I experienced and suggested I have three Shamans she knows, that are Reiki Healers, “journey” to my energy and reclaim it for me. I agreed to meet with the Shamans out of curiosity, however, I did not really take any of it seriously. I mean, I wanted to believe it, but I was pretty sure it's just "hocus pocus." in fact, when my friend told me about her Shamanic adventures I kept thinking to myself, “I’ll believe it when I see it.”

Long story short: While the Shamans journeyed to my energy I lied down with my eyes closed and watched the "glowing pixels" in my vision do stuff. It is not until the Shamans were finished that they told me what they did on their journey. This discussion completely and utterly shocked and amazed me because everything they did, down to very specific details, was exactly what the "glowing pixels" did in my vision.

This event absolutely astonished me. I walked through that Shaman’s house afterwards in a daze. My brain could not process what had happened because it did not align with my concept of reality. I was completely floored.

The first thing I did was google "reiki healing" and then I discovered a Reiki School where I attended class shortly there after. The same thing continued to happen in these classes. Each time someone did Reiki I "saw" the things they intended with the energy.

I have a background of disbelief and ignorance to spirituality (public education) and so I could not believe that this was something real and I wondered why I was never told about this. And what are the possibilities? I obsessed and painted paintings and wrote about my experience.

I was eager to meet someone who has similar eyesight/vision than I. I met people at Reiki school that have seen ghosts and we all experienced intuition with our "third eye" (more stuff not mentioned in public education) but the "glowing pixels" I see are in my "real", "earthly" vision and I could not find anyone who relates.

However, I recently discovered examples of people who see the "glowing pixels." There is a website called isitnormal.com where people can ask if other people relate to the world similarly or not. Here is a link to a page where someone asked "Is it normal to see colorful dots?" My comment is under the handle "astralvision."

Is it Science Fiction or Reality?

Up on A Tree Stump™ #5: Creative Exceptionalism & Asking "Why"?

Up on a Tree Stump™
(or) All I Know about D&D™ I Learned From Life


©2010 Robert J. Kuntz

"The root cause of any problem is the key to a lasting solution." -- Taiichi Ohno, pioneer of the Toyota Production System in the 1950s. Link to full article.

I have the greatest respect for SF/Fantasy writers and their past and future involvement in the craft. It is indeed they along with the historians and other great artists and authors who have given us by adaptation Role Playing Games, for without their ideas, their time devoted to such imaginative and enlightening subject matter, none of it would exist, there would not have been an RPG, or at least not as we now know it. These authors made leaps in exposing new ideas and in challenging stereotypes in all fields of knowledge and social context, and often with a critical eye brought us profound concepts and new ways of seeing the world through the focused lens of their stories.

The majority of good literature has stood upon a spacious ground of perceptive social critique and in this case SF/Fantasy, in the main, has been no different. By transference, then, we can rightly assume that RPG designs that in whole or part emulate speculative fiction have at least that same range of possible articulation. Even though we can choose to separate an RPG from speculative fiction to the point where it becomes a mere vehicle of entertainment amid flourishes of creative addition by its author (in this case, the game designer and/or GM), there is no denying that pushing the bar of its application can expose ranges that contribute to honoring its fullest potential just as any piece of fiction can.

Thus the creation of more challenging forms of design that reach beyond tired and over-tested varieties indeed marks solidly the reason "why" they are conceived of and then produced to begin with, as these literally go hand in hand with the progressive ideal of design. But it also makes for a unique challenge to take fiction and games and weave them together into a unique tapestry that makes not only sense to the designer but to the players of such scenarios or games. And every great designer, and for that matter, great player, loves a challenge.

We have noted a plethora of titles and themes from past and present authors of speculative fiction, so we know that "whys" in our cousin-market can vary tremendously and often do. Such diversity not only promotes a wider range of interesting product but introduces a wider range of readers while expanding these boundaries. In essence it feeds the industry with new blood through fresh approaches which in turn furthers continued sustainability of creative exchange. That is then good for the industry that such writers or designers are deeply involved in.

However, what is important to some may not be so for others. This re-poses the "Why" in a different light, for a truly intransigent creator looks to outdo past designs to make his or her mark. They are the ones who will ultimately, in many cases, deserve the accolades of informed fans and valued critics. Unfortunately, most beginning writers and designers often fail to realize that ongoing homework is needed to succeed in such markets. Homework can here be roughly defined as necessary planning but takes into effect an ongoing challenge he or she envelopes themselves in. This includes innovative story, plot and character development; and in the case of RPG scenarios this will include what might be unique among its parts and how these do or do not compare to previous designs. In either case, creating unique inroads may require more planning and/or reading past examples or primary texts depending upon the proposed story's/scenario's specifics and depth.

To successfully pursue a career in speculative fiction or with any of its related by-products attaching to the RPG industry, writers should not cast their works in a mould that will more often be viewed as mere imitation. Indeed the challenge for those intransigent few who see such investments as a continued test of their creative metal is to continue outdoing themselves and others, and by correspondence greatly influencing all of what they value.

The Lake Geneva Tactical Studies Association as a group had a no holds barred approach to design. We were all very opinionated--I argued with EGG over points that I fet strongly about. I was in fact looking for "Whys". His previous tutoring of me when I was age 13 finally found purchase around age 16 in exactly the entire realm as he had projected it, which was to be unique, not just to follow his example only. EGG was a strong supporter of investigating possibilities and absracting "what ifs" from anything before him. Given that mindset we were as a whole disposed to sliding this way or that on issues of creative departure but more often found ourselves in agreement through such exchanges. Don Kaye, his childhood friend and co-founder of TSR Rules, summarized his perspective on this differently but with the same open respect for EGG: "Rob, I argue with him not so much because I think he's wrong, but just to keep him honest."

This working idea of open discourse which always fed creative rumination and critical departures from the norm or "fashionable" worked itself into D&D's play-test and design, as I've noted elsewhere, and became a very important notation for me when considering how this now relates to the whole idea of design and thereby learned artistc processes of that time. In consideration of this ongoing impact, I feel that designers should look as hard at their sources for inspiration as many like myself have done: EGG was a prolific writer, inspired game designer, trenchant humorist, avid and informed critic, amateur artist, animated story teller, superlative editor, and the list goes on. But above all EGG was an outspoken individual, and that added continuous depth of expression to his designs. There was no middle ground as he always attempted to go beyond what was being presented. When faced with design hurdles he was not shy (that word does not figure into his make-up at all) to call upon the LGTSA members to discuss options, or to play-test an idea. When faced with creative challenges (as in his Alexander he Great board game) he advanced innovative system design. Throughout all of his creative phases his voice was heard and his opinions were felt loud and clear and were for the most part respected (except by certain fragile and sensitive egos); and he was highly regarded as a designer who pushed the limits of design.

Part of the reason why this played out so was in fact due to a non-competetive arrangement between us. We were not competing with one another but in fact contesting to see who could contribute to making whatever design was before us better. In essence no one then had any time to be offended or put off by all of the flurry of debate and criticisms and play-tests and the holistic parts that were constantly being interchanged. This wasn't outwardly about ego, though of course ego is vested in design at some level, but most certainly about creation and the creative ideal. As Dave Hickey points out in my recent video post, creators, especially truly unique ones, should be allowed to express their opinions in open discourse without somebody being offended. Creativity is about reaching outwards and beyond and that is done at a sustainable level which is as unique as the artist doing so.

When we were refining D&D through play-test--in fact when we play-tested and developed all games then--we were in DEEP and open discourse. Creativity and transformation cannot occur between others in closed discourse and every artist knows this. On the personal level I have always noted that strongly creative people have equally strong opinions. It is intrinsically part of their natures, or else they could not separate from a community standard and choose their own unique paths for expression. And if anyone believes that true creativity can aspire and grow and implant itself on one's doorstep and in their hearts, otherwise, they are mistaken. D&D separated from the wargames community and formed a totally new game concept and game type; and while doing so, it was at first ridiculed, misunderstood and often vilified. But its adherents stuck with it and proved that creative exceptionalism is the rule, not sameness.   What made RPG possible were select designers and play-testers who became responsible for the unlimited possibilities of human expression in a game where people, not standards, had recourse. In comparison, one cannot look at an artistic product because of this, and as Hickey noted in that video, again, and not see the artist or his kin. And in doing so, I might add, you cannot look at the best of these either without seeing, if only in some degree removed, what inspired that art, design, or writing.

Co-equal with that, certain art can be imitated, but artists cannot be. There will always be distinctions in this by their very acts, natures and beings; and more importantly, the fire of individual creation is not found in "grouping principles" but in standing away from said group and building one's own fire. Gary Gygax was, and still is, the prime example of outspoken individualism in our industry, and so too those whom he encouraged along such paths. It is a fundamental truth that an artist must have absolute freedom to be uniquely creative. This sometimes requires the interjections of others, but in the end, it most certainly requires that a true creator take his or her hammer and smash home the nail of self expression. Otherwise designers and writers adopt another's truth and with that lose their individual creativity and trim their capacity. And the latter in no way embraces what we--prior to and during the years of TSR--promoted while upon the unending search for creative exceptionalism.

"The New Book Banning"

Here's the link.

I say, save us from ourselves!!

Dave Hickey on The Evils of Creationism: Art History According to Darwin October 21, 2009

The title has less to do with the matter being discussed. As I cannot embed it here (for some reason) here is the video link at the Smithsonian.

Poul Anderson's "On Thud & Blunder"

While organizing files with a future mind to referencing I came across this gem which I have quoted from for one of my future essays. This is well worth reading for anyone crafting fantasy worlds, tales, fiction and/or FRPG related matter. From one of our undeniable Masters... Poul Anderson.  Here's a partial, then the link to the rest at SFWA.

... " With one stroke of his fifty-pound sword, Gnorts the Barbarian lopped off the head of Nialliv the Wizard. It flew through the air, still sneering, while Gnorts clove two royal guardsmen from vizor through breasplate to steel jockstrap. As he whirled to escape, an arrow glanced off his own chainmail. Then he was gone from the room, into the midnight city. Easily outrunning pursuit, he took a few sentries at the gate by surprise. For a moment, arms and legs hailed around him through showers of blood; then he had opened the gate and was free. A caravan of merchants, waiting to enter at dawn, was camped nearby. Seeing a magnificent stallion tethered, Gnorts released it, twisted the rope into a bridle, and rode it off bareback. After galloping several miles, he encountered a mounted patrol that challenged him. Immediately he plunged into the thick of the cavalrymen, swinging his blade right and left with deadly effect, rearing up his steed to bring its forefeet against one knight who dared to confront him directly. Then it was only to gallop onward. Winter winds lashed his body, attired in nothing more than a bearskin kilt, but he ignored the cold. Sunrise revealed the shore and his waiting longship. He knew the swift-sailing craft could bring him across five hundred leagues of monster-infested ocean in time for him to snatch the maiden princess Elamef away from evil Baron Rehcel while she remained a maiden — not that he intended to leave her in that condition … .

Exaggerated? Of course. But, unfortunately, not much, where some stories are concerned."...

SFWA Link.

DimeNovels

"The 2 May 1991 issue of The Washington Times reports that Randy Bird of Portland, Oregon is attempting to revive the "dime novel" paperback. He plans to publish 12 novellas each month, including pulp-type science fiction.

Bird's company, called DimeNovels, will pay $2000 for a completed manuscript plus 2% of the gross. He plans a press run of 100,000 copies per book.

DimeNovels has written guidance for wannabe authors. Who knows where this could lead!"...

This was a short-lived publishing attempt 1990-1992 that issued 18 imprints only.  They reprinted two novellas by the great Robert Sheckley: "Mind Warp and Alien Starswarm."  A selection from their covers:

Black Festival Going to Press

I am proud and excited to offer our first Swords & Sorcery fiction in the form of my novella, "Black Festival."

My Barbarian Frank, Wolfar, dominates this tale of 20,000+ words along with his off-and-on companion the rogue, Thekela.  Written in the style of Gardner Fox's and REH's Kyrik and Conan tales, I know that this will satisfy.  This will soon be available from Noble Knight games (link above).  We are only issuing 150 impressions and they will be signed and numbered by myself.  Be looking for a *specific* release date in the next 2 weeks from myself and NKG.

If anyone has questions, feel free to ask away.  Here's the prolog and back page matter...

Gary Con II, Honoring the Memory of The Father of Role-Playing Games

Greetings Seekers,

The Gary Con II Event catalogue is posted on the website (www.garycon.com/registration/2010_catalog.pdf). Check out the Distinguished Guests (including Robilar himself!) and the featured events. Everyone that pre-registers will be able to reserve 2 slots before the doors open. Featured events will fill up quickly- so don't delay.

For those that don't know, Gary Con II will be held 19-21 March at the Lodge at Geneva Ridge in beautiful Lake Geneva, WI. Go to the Gary Con website to pre-register (www.garycon.com). It is only $20 for all three days!

I look forward to seeing you all there, playing games and honoring the memory of The father of Role-Playing Games.

Luke Gygax

Jessica Amanda Salmonson

Another great author of both fantasy/horror-fiction and non-fiction, and a superb book that I am reading of hers--The Encyclopedia of Amazons--and well worth the time spent for inspiration regarding woman warriors, past to (near) present.

Also note her website here which is a treasure trove of information (including extensive essays) on fantasy, legend and the supernatural.  Thanks Jessica (and all of her friends and associates)!

From the Desk Top: The Pursuit of Good Game Design

Some Principles of Good Game Design

irbyz said here: "Indeed, but avoiding wholesale re/conjuration of one's campaign world on a regular basis or because of poor decisions in its development that cannot be easily papered over is still perhaps worthwhile being wary of?"

The above quote is yet another starting point of thought on designing games/game scenarios/and world-crafting.  The overall idea might be recast in this way:  what we adhere to can or will force us upon a path.

Embarking upon game design involves many choices and tough questions.  Of course we know that the end result must be fun for the player(s).  But beyond that, and more importantly as the front matter to this, designers must ask these questions:  Who?  What? Where? When? Why? and How? before, during and after the design has been prototyped. For published RPG adventures this tenant is most important as it points to areas where they are weak and in need of improvement.  Designers, unlike fans of their games, must stand aside and let critical intercourse take place in order to effectively achieve their creative ends.  If this is not apparent in the initial process, or worse, if the chosen model  is a worn one, then it will not push the boundaries of design but will merely imitate something, with varying results.  This raises the question which should be at the heart of every designer to begin with:  Why?  If the answer is less than the sum of the reason for providing a new idea which has worth in standing apart from other models, then more questions need to be asked to pinpoint their 'why'.  If this process is outright ignored then good design will be ignored; and if one cares not for good design then ultimately they do not care for those who they design the games for and they or their fans must therefore question their artistic morals and/or reasons for proposing or accepting such designs to begin with.

Basing designs on past models is a practical approach and is used in most game designs over the history of games. Let us assume that we have a design proposal for an underground adventure emulating EGG's "D" series.  In fact, let us further propose that the designer "loved" them and wishes to cast his or her design in the same light.  All fine and good, but what is the purpose of said emulation? Why must there be emulation?  Fiction writers and fine artists face the same questions.  I love Hemingway.  Picasso was the best.  Emulation is in itself a flattery; but as our past publishing history has shown, not many unique designs spring forth from strictly limiting creative efforts to wholesale emulation.  When basing one's designs on past models designers must in course properly identify the overall utility for doing so; and while atomizing these parts there may be, in the best cases, found a base of tools for them to work with in creating something unique. These are components, like structure, theme, narrative transitions, dialog, style, design weight, creative range, and so forth.

Short Example:  The Theme. The "Theme" is about an underground adventure. Thematically this has been done a thousand or more times in fiction and RPG.  What will set yours apart from the rest?  Nothing as good as defining if the model has been much overused from the onset:  look around, if you want a unique design, one that will actually challenge your artistic fiber rather than just add another coal to a fire which everyone is throwing said lumps upon, then don't do what others are doing, that simple.

This then begs several questions, such as, "Are the models which precede our own designs unworthy or broken?"  The answer to that is simply no and/or maybe.  What one designer brought to bear on a theme is of consequence in considering ultimate design goals but all of these components are just guides.  But if you find yourself a mere imitator, or worse, only a shadowy part thereof, then the emulation is not worthy in any case, for it takes what is a good example and exalts it with faint praise, while in turn lowering the design standard.  Take for example the imitators of Tolkien's LotR for a good comparison.

The next question is, "Then what am I to do as a designer if faced with insurmountable choices of models to draw upon?"  In answer, one can design their own models.  It is similar to asking what car manufacturers ask every year in their competition with each other.  How will we make a better car that is more attractive to consumers?  More mileage, sexier, more room, drop down seats.  In essence, "Features."  Does this make each separately branded car better? Or is each just another car as every manufacturer is doing the same thing? We are now in a very general area of concern that rarely perpetuates truly unique designs but instead more often roots them to a mocking principle. Specifically, designers must look at their designs to add non-competitive features to them.  That is, do not look at the models beyond the fact of initial realization.  I have a car.  I have an underground adventure.  By peering too long at the path of others' designs, one will eventually walk these paths for better or worse. And as with car manufacturers, more often a designer will then be but a "tweaker" of what already is and has been done, and this is not unique design.  By adding non-competitive features to your design, it will start to grow in uniqueness and sooner or later, through nursing that growth, you'll have something that stands apart from the rest.

Free Form Expression and Thinking as a Tool to Excellent Design.

Note here a recent exchange on this blog that became, and still is, a free form exercise allowed to define its own limits.  What started as a speculative post by Journalizer takes upon multi-dimensions of exchange.  In essence, it becomes free from constraints and expectations.  There is fun in this participation as there are no set limits of proportion or form.  In essence this is ART.  It is at the same time PLAY.  And overall it is a real example of possibilities when one does not confine themselves to a box but instead plays with ranges of expression.  All good designers do this, and more often they do this out of need to continue separating the thought process from the here and now, to stay in the abstract playground of creative expression so that anything can, and will, eventually happen.

As a designer one must ask many questions to promote the idea of an expressive design to successful completion.  What am I expressing here? And why?  How will I best achieve that? If your "base" answer to the second question is 'My Expression should be unique' then you have won the first battle against mediocrity, one which otherwise destroys any long-lasting success at design.  It then remains up to you, the creator, to find a unique ground on which to express and build your creation.  But remember this:  I can express myself by driving a BMW, but that does not make me unique as there are thousands of them out there (and as a car salesman friend of mine once added to this, "Yeah, and even then it doesn't much matter for expression if they are leased...").  Same for any type of design.  Just because everyone is driving them indeed makes them the SAME, and therein should be found the glorious contradiction which puzzles and challenges all those who wish to create anything which reaches beyond these predefined limits.

As I began this article, so will I end it, with a quote from a Scotsman, this one from a letter written by Robert Louis Stevenson:

BONALLIE TOWERS, BRANKSOME PARK, BOURNEMOUTH, HANTS, ENGLAND, FIRST WEEK IN NOVEMBER, I GUESS, 1884. 

MY DEAR LOW

"I am Philistine enough to prefer clean printer's type; indeed, I can form no idea of the verses thus transcribed by the incult and tottering hand of the draughtsman, nor gather any impression beyond one of weariness to the eyes.  Yet the other day, in the CENTURY, I saw it imputed as a crime to Vedder that he had not thus travestied Omar Khayyam.  We live in a rum age of music without airs, stories without incident, pictures without beauty, American wood engravings that should have been etchings, and dry-point etchings that ought to have been mezzo-tints.  I think of giving 'em literature without words; and I believe if you were to try invisible illustration, it would enjoy a considerable vogue.  So long as an artist is on his head, is painting with a flute, or writes with an etcher's needle, or conducts the orchestra with a meat-axe, all is well; and plaudits shower along with roses.  But any plain man who tries to follow the obtrusive canons of his art, is but a commonplace figure.  To hell with him is the motto, or at least not that; for he will have his reward, but he will never be thought a person of parts." 

Re: Creative Stirrings. What is that metallic ball that has a sponge-like substance within it?

Spheres discussed on LotGD post called Creative Stirrings referring to JournalizeThis post The Problem with Science

The following is text from an article summarizing several accounts of Mystery Spheres Baffle Nasa:

A balanced and concentric ringed mystery spheroid

The riddle of the rotating spheres, that rotate completely, twice a year, on their own axis – "baffle NASA scientists"

Man and rock. Stones, which are billions of years old and rotate on their axes, while in a vibration free environment, captured the attention of Mr. John Hund of Pietersburg fifteen years ago. Review previously published reports about Hund's journey to the Gestoptesfontein mine near Ottosdal in the Northern Province where he found a stone just like the one he read about and saw in the Klerksdorp museum.

While playing with the stone on a very flat surface at a restaurant one day, Hund realized it was very well balanced. He took it to the California Space Institute at the University of California to have tests done to determine just how well balanced it was. "It turned out that the balance is so fine, it exceeded the limit of their measuring technology and these are the guys who make gyrocompasses for NASA.

The stone is balanced to within one-hundred thousandths of an inch from absolute perfection," explains Hund. Nobody knows what these stones are. One NASA scientist told Hund that they do not have the technology to create anything as finely balanced as this. He said the only way that either nature or human technology could create something so finely balanced would be in zero gravity.

Here is an extract of Mr. Hund's letter:

The existence of the sphere came to my attetion ca 1977 while removing endangered rock engravings from the site where pyrophyllite or "wonderstone", as it is commonly known in the region, is mined on the farm Gestoptefontein (meaning plugged fountain) near the little village of Ottosdal about 110 km from Klerksdorp in South Africa's Northwest Province.

I was intrigued by the form of the spheres, grooves around the middle and the fact that they are as hard as steel, while the material (pyrophyllite) in which they are found, is as soft as limestone with a count of only 3 on the Moh scale.

As you probably know, pyrophyllite (Al2 Si4 O10 (OH)2) is a secondary mineral and the deposits were formed by a process of sedimentation. On Gestoptefontein volcanic activity was responsible for the forming of outcrops varying in height from about 10 to 100 meters. The smooth and relatively soft surface on the slopes were ideal for the prehistoric dwellers (San) to make their engravings of animal and abstract designs.

On Gestoptefontein these outcrops were "swan" into huge pieces by means of twisted steel cables running zig-zag on pulleys for several kilometers. These blocks were then cut by the same method into more manageable pieces of about 500 x 500 mm. Occasionally the "sawing cable" got stuck on one of the metal spheres embedded in the pyrophyllite.

They vary in size from " 30 – 50 mm in diameter and have perfectly concentric grooves round the center as if they were molded. Inside the hard "shell" some have a spongy substance, while in others it resembles charcoal.

When only partly embedded so that they can be seen on the surface, they are not all spheres, but some are also oblong in form.

According to Professor Andries Bisschoff of the University of Potchefstroom (retired some years ago) they are limonite concretions. Due to the relative scarcity of the spheres and the almost impossibility for outsiders to obtain samples from the mine, his conclusions have not been verified by other scientists.

It is very strange that the grooves are always and only round the center. Mr. Credo Mutwa, a notorious witch doctor from the city of Soweto was brought to the museum by a TV – team some years ago and he as well as some amateur archaeologists believed the spheres to be from outer space. It is also hard for me to believe their theory. The original sphere exhibited in this museum was stolen by a white sangoma (witch – doctor) - not Mr. Mutwa, for its supposedly magic qualities and was never retrieved.

Inquiries were made from all over the world about this phenomenon. Countries include Canada, Switzerland, Denmark, Germany, England, USA, Norway, France and Botswana. Institutions such as the University of South Florida, Miles Price and Associates, the Society for Physic Advancement (S.A), Kokkolan Kaupunchi (Finland), Esotera (Germany) Geologisches Institut der Universiteit Pleicherwall (Germany), the Department of Philosophy UICC (Chicago), Danfoss (Denmark), Illustreret Videnskab (Coppenhagen), Louisiana Geological Survey, Gale Research Company (Michigan) and Search and Research Institute of Florida also made inquiries.

I wrote NASA HQ, to confirm or deny this in 2000, and never received a reply. Mr. Hund's letter was removed from the Klerksdorp Museum page, afterwards, when I checked back some time later, and the page re-designed.

߃--¹¹
Psybertronist

Text from:
Mystery Spheres Baffle Nasa

References:
Off the Record. Ted Loman interviews Micheal Cremo
Forbidden Archeology Secret Discoveries of Early Man
Govardhan Hill Publishing
Closest Natural Mineral to Compare With
The Metamorphic Conjecture of Origin
Manganese Oxide Considerations in Metamorphic Conjecture
Pyrite Nodules Resemblance in Metamorphic Conjecture
Images: Gallery of Mystery

"Welcome Back to the Creative Fold." Extracted from my In Progress Memoirs

Copyright 2010.  Robert J. Kuntz.

"... After I quit TSR I embarked upon a massive self-learning and creative phase, with all the joys and bumps associated with it. This included continued world-crafting of my World of Kalibruhn, creation of related and ancillary RPG matter, fantasy- and science-fiction story crafting and board game design. For the latter I finished three prototype designs:  "Ice Age," "Dragons" and "Magus" with the last to eventually find publication in Dragon Magazine 147.  These were in turn submitted to the Avalon Hill Game Company which rejected them, though with a nice letter of response favoring the "Dragons" game wherein one adopted the role of a dragon.  Since I believed through the play-tests that the strongest one was "Magus," I ventured onward, first to Mayfair Games, who took too long considering it, so I finally pulled it back.  I then decided to take the bunch to the Dragon Magazine and therefore arranged a meeting with its editor (who I shall not name, other than it was not Tim Kask, Kim Mohan or Roger Moore, all of whom I had respect for in their separate runs as editors).

I had been out of sight for a year by then, a reclusive artist banging away at the keyboard and filling boxes in my reconverted attic cum office with reams of material. As I entered this editor's office, he said, "Rob!  Welcome back to the creative fold!"  As I sat down I was immediately uncomfortable.  It was a sixth-sense impression that was gathering steam for what I was to later add to the presumptuous and insulting category.  Here I was, I finally thought, in the Golden Halls of Allah, and with a representative thereof whose very chair he was sitting upon was in part due its existence to my prior work as an employee and designer for the company, and quite some time before his own arrival.

Many would be writers would have laughed off the remark, of course, looking to the future sale.  That glorious sale.  The object of desire.  The reason for being.  Being there.  But it isn't, really.  Now or then.  Being a creator, the aftermath of my undertakings have found various coigns:  in publication, in filing cabinets, in boxes, on a bed stand, pinned to walls, and some unfortunately for their final repose found a lone and unexpected fire, consumed from the indited page but not from my minds-eye of experience.  I thought about this meeting for some time afterwards. My coyness at his questions; and my sudden reversal of intent.  I fairly escaped the meeting by promising to be back in touch when I had polished them some more, and he had not even held the designs in his hands.  The "meeting" lasted less than ten minutes.

In retrospect my sensibilities about the ideas of creator and creation had been offended. Was there only one spot on earth for such artificing? Why yes!  The very spot where it takes place at, so there are many "one-spots". . .  My own experience proved an invaluable lesson.  It was about the work.  Good works will always find a place and time to nurture them.  Under Kim Mohan's  capable leadership not too soon after the afore-noted editor's removal,""Magus" found a home. ..."

Creative Stirrings

Some creative stirrings hither and yon:


1)  I have posted this link before, but cannot recommend enough the diversity of illustration and art contained at this blog.


2)  The Journalizer's blog "Journalize This" raises numerous avenues of thought, expression and dare I say "concern" with her recent post here.  Now what is that metallic ball that has a sponge-like substance within it?  Imaginative, inquiring minds want to know... among other things.


3)  RPG Theory Comprehensive Link.  Some interesting articles here which lead to this quote by jrients at the FORGE:  "Roleplaying reconnects us with our ancient need to sit in a circle and tell stories.  More and more, our culture surrenders our storytelling to an elite who deliver stories to us via TV/movies.  For most of humanity's history storytelling was an active endeavor, today it has become passive..."


Very good! I once commented during a video interview at GENCON that RP is a tribal event with the constant exchange of information, everyone gathered about the elder to hear not only stories, but to assimilate information that might not otherwise be gathered or retained.  It was/is entertainment and learning at once, which is the way education should be, so I feel.




Back to meine Arbeit.

Boyd, Jenkinson and Ackerman: 3 Books on "Play"

These are all in my library and are all *very highly* recommended:

Handbook of Games by Neva Boyd

Online Purchase link

The Genius of Play by Sally Jenkinson

Extracted from The Genius of Play

"The question, “Who am I in this game?” and “How must I be as my new self?” is a major preoccupation for most young players. Through imaginative play, and in particular through socio-dramatic play, children are able to express and explore their own viewpoints and feelings, and as Jane Hislam perceptively observes, they are also able to explore those feelings which are not necessarily their own. (Moyles, Hislam et al, 1994). In the magic of empathetic imitation, which is quite different from copying, children live imaginatively into the experience of “the other.” Then, guided by the inspirational spirit of play, the ability to “read” the thoughts and feelings of others begins to awaken and the journey towards emotional literacy begins.

This capacity, is absent in most children with autism. In his book, The Development of Play, David Cohen argues that although autistic children do play with objects, by moving them around and so on, they hardly ever engage in pretend or imaginative play. He suggests that this is because autistic children find it impossible to develop a theory of the other mind. Like adults with Asperger's syndrome, they might know what tears are, but not what they mean. Most autistic children are unable to perceive what another person might think or feel because, sadly, they are locked into their own worlds. (Cohen 1996:166). Tina Bruce gives an example of a child who begins to explore, through unsentimental imitation, the very different thoughts, feelings, and experiences of someone else.

“A new girl called Jo joined a nursery class. Jo had an artificial arm and two girls, Nadia and Jody were fascinated when she took it off at story time because she did not want to wear it all the time. That afternoon, the children played together and Nadia was Jo. Through her play, Nadia entered an alternative world to her own, in which she had no arms. She used all her knowledge of what arms are for and she came to know about Jo as she hadn't before.” (Bruce 1994: 117)

A society that is unable to live into the experience or feelings of “the other” is one which can be described as culturally autistic. It is my belief that through their own play, children can foster and develop the very qualities which will provide a powerful antidote to the “cultural autism” which threatens our society today."

Sally Jenkinson Publisher Link

Deep Play by Diane Ackerman

Extracted from the Cornell Chronicle...

"Deep Play"

Diane Ackerman is serious about play
  "It is exquisitely human to play; we relish and require it to feel whole. It is our refuge from ordinary life," she told a David L. Call Alumni Auditorium audience.
  In her July 9 Summer Session lecture titled "Rapture, Ecstasy and Play," Ackerman, a Cornell alumna, poet, essayist and naturalist, enveloped the audience in her world by offering prose about love and personal anecdotes to explain her perspective on life's special moments, which she described as "deep play."
  "The language of play has always fascinated me," said the author of A Natural History of the Senses and A Slender Thread: Rediscovering Hope at the Heart of Crisis.
  According to Ackerman, "Every element of the human saga depends on play. Even language is a playing with words," she said. "We, as human beings, require a poetic version of life. All human beings of all ages and all cultures use the elemental poetry of everyday language."
  Swimming with dolphins and communing with nature, she said, led her to the question, "What are we to make of dolphins and humans playing together?" The answer, she found, is that humans and animals alike understand play.
  "Play is ingrained in the matrix of childhood and we take it for granted," Ackerman said. Though children rejoice in play, adults have a "deeper, transcendent form of play," she said.
  The uncertainty and illusion of play can take place in countless venues, she suggested. "We can play anywhere that is set off from reality, whether it be a playground, a field, a church or a garage."
  Ackerman explained there are many ways in which adults engage in deep play.
  "Deep play doesn't have to do with an activity, like shallow play. It has to do with attitude or an extraordinarily intense state."
  Furthermore, she said, "Deep play is an absence of mental noise -- liberating, soothing, and exciting. . . .We spend our lives in pursuit of those moments of feeling whole, or being in the moment of deep play."
  The idea of deep play, Ackerman said, was originated by the philosopher/utilitarian Jeremy Bentham. However, she said, "he despised it and thought it was irrational." He felt that what could be lost far outweighed what could be gained.
  Ancient people had their own forms of deep play, Ackerman said, and termed deep play to be rapture and ecstasy. "Rapture is being seized by force ... rape, ravage, usurp," she explained. "Ecstasy is a Greek word meaning a symbol of standing, or to stand, outside oneself. When you are experiencing ecstasy, you fly out of your mind and watch the known world dwindle in the distance."
  Ackerman explained that one of the manifestations of deep play is love. "Love is a cult of two, full of mysticism, where you romp with your playmate and there is a feeling of ecstasy. When the couple breaks up, their secret world is shattered, leaving the partner disavowed. The illusion and the game are over."
  Another form of deep play can come when one is in a moment of extreme danger, she explained. When Ackerman fell while mountain climbing and had to climb down with three broken ribs, she was in that state, she said. "I had to muzzle into life and drink from the source."
  "Deep play means no analysis, no explanation, no promises, no goals, no worries. You are completely open to the drama of life that may unfold."

Diane Ackerman's Webpage
Buy at Amazon

The Tale of Lohengrin, Knight of the Swan: After the drama of Richard Wagner

The tale of Lohengrin By T. W. Rolleston