Ben L

@benlaurence.bsky.social

Author of Through Ultan's Door, Downtime in Zyan, and Mazirian's Garden. Creator of the podcast Into the Megadungeon. Links here: https://linktr.ee/ultansdoor Patreon: https://patreon.com/ultansdoor Webstore: https://throughultansdoor.bigcartel.com/

Public Domain Art is the lifeblood of small tabletop rpgs, but it can be a nightmare trying to find the right art and license. This week, I’ve re-uploaded my old list from 2020 (with updates) of public domain websites. That's 500,000+ public domain paintings, photos, maps, and film. Link below 🔗👇

So I've been playtesting a new game / adventure. Working title: MACE OF THE MONKEY KING. Premise: the Monkey King's dropped his mace. It's fallen on a town. Whoops! In its early stages, the adventure has PCs exploring a community hit by a comet. So far we're two sessions in. 1/

A little over two weeks ago I released a jokey blog post about what to expect going into an o/u-like LTRP. Now its time to give Baseline Drift the chunky post-mortem blog treatment as its predecessor with a reprise of my first ever blog post. thegardenbelow.blot.im/voice/expres...

Voice / Expression / Reprise - The Garden Below

Exploring markdown formats, plural identity, and other tools of live text expression in the wake of Baseline Drift.

thegardenbelow.blot.im

Playing the Quiet Year with my wife and elder daughter (17). Her bestie introduced her to it! I cannot believe that she plays in Cataphract games and knows who Avery Alder is. So far it's very fun especially bc my wife isn't into role playing games but can get into this. 🎆

*staring at my 80 page heartbreaker Jorune ruleset manuscript* "Maybe this thing where we try to make the perfect ruleset to run a single campaign...is a mistake?"

Suppose I'm using group initiative. Does anyone know of any blogpost or forum discussion of the comparative merits of alternating sides in a sequence of phases i.e. winner moves, loser moves, winner shoots missiles, loser shoots missiles, etc. VS the winner does all their stuff and then the loser?

I've been making A LOT of progress on my Jorune vaporware campaign, to the point where it's...almost not vapor ware?It will be a large player base (20-25 active players) living world campaign. Very excited about it! #osr

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My daughter wants me to go to GenCon with her. Frankly it sounds like a nightmare to me and seems to cost a wild amount of money to sign up for events. Am I right that the fun is to be had outside of the scheduled events?

Are there good supplements or magic systems that have properly psychedelic spells or psychic powers? What are they? Since I'm an OSR head, I'm not looking for freeform systems. I want lists of trippy spells. Psionic powers are ok too if they're properly weird.

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John Blanche did to wargaming what Vivienne Westwood did to fashion. Dungeonpunk showed us that you didn't have to respectfully render Tolkien in historical hues, but could slap on tentacles and spikes and lipstick and chequers and blazing evil moons.

Famous Heroes of the Kabuki Stage Played by Frogs by Utagawa Kuniyoshi (1798-1861), a woodcut illustration of personified frogs in costume acting out scenes from Kabuki plays. Original from Library of Congress. Digitally enhanced by rawpixel. Text by rawpixel

This whimsical ukiyo-e woodblock print, titled Famous Heroes of the Kabuki Stage Played by Frogs, is a brilliant masterpiece of satirical illustration (giga) by the legendary Edo-period master Utagawa Kuniyoshi (1798–1861). The multi-figure composition captures a lively assortment of personified frogs dynamically posed across a brilliant blue background, acting out dramatic, easily recognizable scenes and stock poses (mie) from popular Kabuki plays. Kuniyoshi’s celebrated genius for humor, caricature, and subverting strict government censorship guidelines shines through in this piece, transforming the highly dramatic world of the Edo theater into an endearing, amphibian spectacle.

The composition is densely populated by more than a dozen anthropomorphic frogs arranged in theatrical groupings, each meticulously detailed with distinct skin patterns, expressive faces, and elaborate stage costumes. Across the surface, small vertical yellow cartouches contain calligraphic text identifying the specific Kabuki characters and roles being lampooned. The frogs seamlessly mimic human actors: some are draped in heavy, wide-shouldered samurai robes (kamishimo) with tucked-in sashes and unsheathed swords, while others grapple in high-energy stage combat or dynamic wrestling poses, their round white bellies and webbed limbs adding an irreplaceable comedic layer to the rigid formality of the theater.

A pale-green spotted frog lunges with open arms in a dramatic pose, while a large, fiercely expressions-filled blue frog dominates the upper right, raising a long staff or weapon above its head. In the center left, a green frog stands with its webbed hands clasped tightly in a classic dramatic gesture, paired with a crouching warrior frog below it clad in a crisp, blue-and-white checked pattern over-garment, brandishing a raised sword. On the middle right, two frogs are locked in an intense, physical struggle, capturing the tense physical choreography of a theatrical climax.