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Axel Castilla
Ancient, Timeless Myth & Wisdom — Fantasy Role-Playing
Ancient, Timeless Myth & Wisdom — Fantasy Role-Playing

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A nibble from the Dragon Magazine

In his Dragon Magazine #39 article (*), Douglas P. Bachmann makes some statements I can agree with, although I'm concerned with knowledge, not just action (moral):

«The art of Fantasy is not concerned with real-life evil, or science, or quickies or getting high. It is concerned with the profound mystery behind and within life, nature and the human soul. 
(. . .)
I do believe that as we struggle to discover the reality of Faerie and the proper forms of Fantasy, as we design game mechanics which are true to those realities, we will discover our souls.»

It goes without saying that some years have passed since the release of this Dragon Magazine issue (also featuring the Anti-Paladin), but there could have been at least hope for Douglas of arriving to some solid understanding, since he acknowledged a sort of objectivity to "Fantasy", and that even despite the misleading influence of mainstream psychologistic authors like J. G. Frazer, C. G. Jung, J. Campbell . . . (related G+ posts: Modern Anthropology,; Primitive Mentality,, between others.)

(*) The problem of morality in fantasy, 1980.

#DnD   #RPG   #Fantasy   #Myth   #Metaphysics
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Two screenshots of the enigmatic and magnificent Dark Souls III.

Dos pantallazos del enigmático y soberbio Dark Souls III.
2 Photos - View album

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Latest GURPS News mention a number of projects, including a possible reprint of the Dungeon Fantasy Roleplaying Game along with advances of a physical Dungeon Fantasy Bestiary book.

Looks great to my mind.

#gurps #dungeonfantasy #bestiary

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Modern dichotomies: Two Crowns
Dicotomías modernas: Dos coronas (bilingüe)

As approaching to its modern "form", Christian religion became more and more deprived from its essence, and one of the results was to not acknowledge any immanence corresponding to exalted divine names in creation, mostly in favor of purely sentimental and worldly morals.
Which gave rise to curious perceptions and dichotomies, also very troublesome.

Excerpts from the linked website:

«In The Two Crowns Dicksee portrays an English medieval prince returning home in triumph on a white horse decorated with three feathers. Wearing a golden crown, he gazes up at a crucifix, Christ's crown of thorns contrasting starkly with the jewelled headpiece and opulent armour of the prince. Although surrounded by admiring onlookers, the prince is transfixed by the sight of this representation of Christ, a vivid reminder of the lack of importance of temporal power and riches.

The Two Crowns is one of a number of paintings by Dicksee with a medieval theme, including The Redemption of Tannhäuser (1890) and The Passing of Arthur (1899). But in contrast to both these works The Two Crowns does not represent any particular historical event. Dicksee seizes the opportunity to create a scene brimming with pomp and ceremony. The jubilation of the crowds at the Prince's homecoming is represented with flying banners and coloured confetti thrown by the youthful maidens in the foreground and from the balcony above. Kestner has argued, however, that the image of the chivalrous prince confirms Dicksee's belief in 'Aryan empowerment, heroic conquest, and male dominance' (Kestner, p.192). Previously regarded as merely escapist Kestner highlights the subservient women gazing into the prince's blue eyes and the banner on the left which reads VS VINCI legible 'conquer -'; factors which, he believes, confirms the artist's later allegiance to Fascism.»

#religion #divinenames #epic #immanence #middleages

Conforme se acercaba a su "forma" moderna, la religión cristiana quedó cada vez más privada de su esencia, impidiéndole el reconocimiento de cualquier inmanencia correspondiente a elevados nombres divinos en la creación, principalmente a favor de una moral simplemente sentimental y mundana.
Lo que dio lugar a algunas percepciones y dicotomías curiosas, también muy problemáticas.

Traduzco unos extractos de la web enlazada:

«En "Las dos coronas", Dicksee representa un príncipe inglés medieval volviendo a casa triunfante sobre un caballo blanco decorado con tres plumas. Portando una corona dorada, mira a un crucifijo, con la corona de espinas de Cristo contrastando agudamente con la suya y su opulenta armadura dorada. Aunque rodeado de la admiración de los espectadores, el príncipe está traspasado por la visión de esta representación de Cristo, vívido recordatorio de la falta de importancia del poder y las riquezas terrenales.

"Las dos coronas" pertenece a una serie de pinturas de Dicksee con tema medieval, incluyendo "La redención de Tannhäuser" (1980), y "La muerte de Arturo" (1899). Pero en contraste a ambas de estas obras "Las dos coronas" no representa ningún evento histórico particular. Dicksee aprovecha la oportunidad para crear una escena desbordante de pompa y ceremonia. El júbilo del gentío a la vuelta al hogar del príncipe se representa con banderas al vuelo y confetti colorido arrojado por las jóvenes damas en el primer plano y el balcón arriba. Kestner ha sostenido, sin embargo, que la imagen del príncipe caballeresco confirma la creencia de Dicksee en "el poder ario, la conquista heroica, y el dominio masculino" (Kestner, p.192). Anteriormente considerado como meramente escapista, Kestner resalta las mujeres serviles mirando a los azules ojos del príncipe y la bandera a la izquierda en la que se lee VS VINCI legible "conquer -"; factores que, él cree, confirman el posterior compromiso del artista con el Fascismo.»

#religión #nombresdivinos #épica #inmanencia #edadmedia

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«If someone pretends that it is possible to contemplate the divine Beauty without having been educated by the divine Rigor, reject him, because he is an antichrist (dajjâl)...»

Abûl-Muwâhid at-Tûnsî

Quoted from "Shaykh Al-'Arabî Ad-Darqâwî - Letters from a Sufi Master".

«Si alguien pretende que es posible contemplar la Belleza divina sin haber sido educado por el Rigor divino, recházalo, porque es un anticristo (dajjâl)...»

Abûl-Muwâhid at-Tûnsî

Citado de "Shaykh Al-'Arabî Ad-Darqâwî - Cartas de un maestro sufí".
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Here's my MeWe profile due to the announced Google+ shutdown.
I hope to see you there.

Éste es mi perfil MeWe por el cierre anunciado de Google+. Espero veros por ahí.

#google+ #shutdown

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This post is now bilingual.

Este post ahora es bilingüe.

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Swords are hard objects!
¡Las espadas son duros objetos!

Apart from Exanima demos, this is the first time I see a video game implementing swords as objects other weapons unintendedly can collision with, effectively increasing your defenses, even if you're not expressly holding the "Parry button".

A nice achievement of +Warhorse Studios I'm going to need to check this release if it fits in my machine.

By the way, this manner of increasing defenses of a figther reminds to me the concept of GURPS Third Edition of "Passive Defense", carried over to Fourth Edition as "Defense Bonus", only for shields.

Demos de Exanima aparte, la primera vez que veo un videojuego implementando las espadas como objetos con los que otras armas pueden colisionar involuntariamente, aumentando tus defensas, ¡incluso si no pulsas expresamente el "botón de Parar"!

Un buen logro de +Warhorse Studios Voy a tener que probar este título si le cabe a mi máquina.

De paso, esta forma de aumentar las defensas de un combatiente me recuerda el concepto GURPS tercera edición de "Defensa Pasiva", llevado a cuarta como "Defense Bonus", solo para escudos.

+Sean Punch +Peter V. Dell'Orto +Douglas Cole +Christopher R. Rice +Antoni Ten Monrós +Steve Jackson Games +Mark Langsdorf +Brian Ronnle

#swords #middleages #roleplayinggames #espadas #edadmedia #juegosderol

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This looks fine and illustrations provide a good medieval feel. I wonder if anyone will traslate it into English!

Found via +Capitán Mordigan
Le lundi, c'est gratuit !
Princes et Vagabonds, c'est un petit exercice de style pour s'amuser - assembler quelques briques du lego OSR, tenter des petites choses dans l'écriture et le graphisme, bidouiller de la maquette pour voir et se réchauffer la main avant d'attaquer les illustrations d'un gros projet.
C'est là :
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