Thursday, September 26, 2019

Peter's Passing & My Exchange With Carl

On facebook I turned my wall   into a dumpster fire & poured gasoline on it! First let me offer an apology to anyone who was wondering what the Hell happened. Why did this happen? There was an exchange with my ex friend & player Carl. My childhood friend & former player Peter has passed. Yesterday I finished a conversation  with one my players & best friends in a local grocery store. I turned a corner & was confronted by Carl. This is another ex player of mine whom I hadn't seen in three or four years now. I got the blame partially for Peter's death & the spiral of alcholism, drug use, etc. which ended in a messy divorce then finincial ruin. The exchange with Carl was brief & too the point. I was told that I was partially to blame for the death of my ex friend. There were words exchanged about my politics, my religion, & my support of  the Adventurer,Conqueror,King rpg. After a lot of thought I'm going to continue to support ACK's regardless.
Peter went down a rabbit hole of nightmare that I couldn't pull him out of. I had at the time my own personal issues that I was going through. There was a tough choice to make & I made it choosing to focus on my family & my family's business. Its a simple choice that I would make again.
 But because I'm visible in the table top rpg hobby as a blogger I became a target of Carl's grief. I understand & I get it. 



 We play these games to escape reality, to get together with friends, & to enjoy the act of play. I thank both Gary Gygax & Dave Arneson for the gift of these games.
But we're getting older these days & sometimes we don't get the help we need. Peter died by his own hand through suicide. My condolences, respects, & prayers  to his family during this difficult time. Mere words can't help the circumstances  that go along with the passing of friends & family. May God have mercy.
I'm very sorry & apologize to all of my friends & family that saw my outburst on Facebook. There are sometimes when it all gets to us. This is one of those posts that I never want to make. We're adults & we make choices. Those choices have consquences &.. There are often underlying issues of mental illness that actually need to be addressed.
If you feel that depression, & thoughts of suicide are getting to you please get help call  1-800-273-8255 The National Suicide Prevention Hotline. There are people standing by Twenty Four Hours a day. 

Wednesday, September 25, 2019

Adventurer, Conqueror, King Rpg's Courtney Campbell's Eyrie of the Dread Eye Campaign Commentary

I've been gone for a good portion of yesterday with work & family commitments. But I apparently courted a good deal of controversy today with some friends. I had the crazy notion of actually playing whatever game system that you want at your own table top with friends. So I got told off about recent blog posts. That's fine with me & so after much adue about nothing I'm going go on writing about the OSR games that I love. Troll Lords has an excellent  Castles & Crusades rpg offer right now for both hard cover rule book  & pdf, "Fear no thought of your own conjuring. Suffer no doubt. Square to stand against the tide. Unflinching. Unblinking. No demon, nor monster of hell to break your will. Unmask the tyrants! Rise and bring them to ruin. Make the game yours! Castles & Crusades. Act Now and the game is yours: PHB50 gets you 50% off! 


Since I've been pissing folks off today I wanted to take a breather out & get back to Adventurer, Conqueror, King for a  moment because of taking a slightly different approach to the Basic retroclone.  ACK's has a stronger focus on 'high level play' meaning ecnomic & political play where you become kings, archmages, high priests, merchant princes, and crime lords. I want to get back into Adventurer, Conqueror, King because one of my friends is blowing into town who played in my last ACK's game. I'm also looking into combining ACK's with the Godbound rpg possibly. Why?! 





Well partially this is because of the mention today of Courtney Campbell's Eyrie of the Dread Eye; "The Eye Is Opening.

Thousands of years ago, living gods named Khepri wielded powers beyond understanding. Their bizarre magics rived a rent in reality itself. This portal—the Oculus—led to the deepest realms of Chthonic Darkness, but it was not yet fully open. Malign forces, opposed to all life, infested the Oculus, and waited. The Khepri kept vigil over the Oculus till time moved her hand. When the Khepri vanished in the Day Without Night, their Elven epigones took up the watch. In time, the Elves were conquered by the diabolic Thrassian race, and they in turn were subjugated by the Zaharans. Through the millennia, the caretakers of the Oculus studied, waited, and watched.

Now the Awakening is near, the Spheres are coming into alignment, and the Oculus is beginning to open. The dark power is reaching out and for the first time in an age the Eyrie of the Dread Eye is accessible again. As the Eye opens, reality itself comes under further and further  strain. And as rumors of a new valley containing an underground forgotten city filled with untold riches spread out from the Dark Wall, the Oculus continues to open ever wider. " 


Now I recognized what this adventure actually is a love letter to   I1: Dwellers of the Forbidden City using dangerous  environmental hazards, multiple rival factions to ally with or oppose, & tons of  weird monsters just waiting to kill every last PC. 
Courtney Campbell's Hack & Slash blog style makes it quite clear that we're in for. A nasty & dangerous classic OSR romp that has all of the bells & whistles that ACK's is known for. Plus this adventure expands upon the ACK's world & campaign setting in some very well thought out ways. Will this campaign & get together take off & possibly go anyplace? Or will this simply be more OSR smoke on the water's edge. Only time will tell.
Do I think that  Courtney Campbell's Eyrie of the Dread Eye  worth getting? In a word yes! 

OSR Commentary - Lands of the Jotunn & G1 Steading of the Hill Giant Chief By Gary Gygax (1978)

" Giants have been raiding the lands of men in large bands, with giants of different sorts in these marauding groups. Death and destruction have been laid heavily upon every place these monsters have visited. A party of the bravest and most powerful adventurers has been assembled and given the charge to punish the miscreant giants"


I've been thinking heavily about G1 
Steading of the Hill Giant Chief  By Gary Gygax (1978) & looking into how this style of tourament module could be used in a Pulp style game & before you head off give me a chance. Since these are a part of the classic Against the Giants series of modules by Gary Gygax let's get a little insight;"Against the Giants is an adventure module written by Gary Gygax and published by TSR in 1981 for the Dungeons & Dragons fantasy role-playing game." G1 Steading of the Hill Giant Chief  By Gary Gygax  takes place within Jotunn in Greyhawk & if that location was rifted into the modern world then events get very horrific & dangerous. Now I was reading through Dungeon of Sighs review of G1-3 Against the Giants from 2017. I was struck by the following; "he Hill Giant steading is a balance between two common stock communities - the barbarian ‘meadhall’ and the cannibal ‘hillbilly’ clan compound.  One can easily push it in either direction, depending on how one sees Hill Giants.  Certainly the Hill Giant of the 5th edition (and perhaps the Monster Manual) is driven by gluttony and seems like something out of “The Hills Have Eyes” more than a Fomorian of Celtic myth.  This second idea, Hill Giants as oversized classical celtic with monstrous table manners is closer to the 1978 G1.  Giants cover everything in furs and love decorative jewelry, living in a hall as an extended clan, the warrior elite lording over their captives and servants.  The little art in G1 straddles these two conceptions as well, with giants clad in furs, or sometimes dressed in 19th century looking prairie dresses and depending on one’s campaign going in either direction could be very fun. " 

Now let's say that lands of the Jotunn plannarly merged with modern day England & that's when the real trouble starts. In Norse mythology this place is literally the land of giants, trolls, and other Dungeons & Dragons humanoids. For some reason H.G. Wells Food of the Gods stuck with me here & the idea that the Hill Giants might be feeding some of the locals on their own food or Eitr. Yeah this is right outta of the Bob Something Godbound/Scion: Titanspawns play book. The hill giants have been turning the locals into cannon fodder, slaves,etc.
Now this isn't the first time I've thought about doing this & for a Godbound/Dungeons & Dragons campaign this isn't a bad way to go. Scientists who are studying the food of the gods or 
Ambrosia are extremely dangerous circumstances. The food of the gods comes from Greco/Roman mythology; "Ambrosia is very closely related to the gods' other form of sustenance, nectar. The two terms may not have originally been distinguished;[6] though in Homer's poems nectar is usually the drink and ambrosia the food of the gods; it was with ambrosia Hera "cleansed all defilement from her lovely flesh",[7] and with ambrosia Athena prepared Penelope in her sleep,[8] so that when she appeared for the final time before her suitors, the effects of years had been stripped away, and they were inflamed with passion at the sight of her. On the other hand, in Alcman,[9] nectar is the food, and in Sappho[10] and Anaxandrides, ambrosia is the drink.[11] A character in Aristophanes' Knights says, "I dreamed the goddess poured ambrosia over your head—out of a ladle." Both descriptions could be correct, as ambrosia could be a liquid considered a food (such as honey).

The consumption of ambrosia was typically reserved for divine beings. Upon his assumption into immortality on Olympus, Heracles is given ambrosia by Athena, while the hero Tydeus is denied the same thing when the goddess discovers him eating human brains. In one version of the myth of Tantalus, part of Tantalus' crime is that after tasting ambrosia himself, he attempts to steal some away to give to other mortals.[12] Those who consume ambrosia typically had not blood in their veins, but ichor the blood of immortals.[13]
Both nectar and ambrosia are fragrant, and may be used as perfume: in the Odyssey Menelaus and his men are disguised as seals in untanned seal skins, "...and the deadly smell of the seal skins vexed us sore; but the goddess saved us; she brought ambrosia and put it under our nostrils."[14] Homer speaks of ambrosial raiment, ambrosial locks of hair, even the gods' ambrosial sandals."

So let's say that the hill giants are using the local youth for part of an army of muscle & cult recruitment. Surely there couldn't be someone among them whose got the brains to organize hill giants into such a back handed group of muscle & dominance right? Well enter Geoffrey of Monmouth's Historia Regum Britanniae ("The History of The Kings of Britain", 12th century), & Gogmagog. "He was a giant inhabitant of Albion, thrown off a cliff during a wrestling match with Corineus (a companion of Brutus of Troy). Gogmagog was the last of the Giants found by Brutus and his men inhabiting the land of Albion."




Its no accident that I mentioned that G1 Steading of the Hill Giant Chief  By Gary Gygax (1978) might be transported to a modern England this goes back to Gogmagog (also Goemagot, Goemagog, GoĆ«magot and Gogmagoc); "Gogmagog ("Goemagot", "Goemagog") in the legend of the founding of Britain as written by Geoffrey of Monmouth in Historia Regum Britanniae (1136). Gogmagog was a giant of Albion who was slain by Corineus, a member of the invading Trojan colonizers headed by Brutus. Corineus was subsequently granted a piece of land that was named "Cornwall" eponymously after him.
The Historia details the encounter as follows: Gogmagog, accompanied by twenty fellow giants, attacked the Trojan settlement and caused great slaughter. The Trojans rallied back and killed all giants, except for "one detestable monster named Gogmagog, in stature twelve cubits, and of such prodigious strength that at one shake he pulled up an oak as if it had been a hazel wand". He is captured so that Corineus can wrestle with him. The giant breaks three of Corineus's ribs, which so enrages him that he picks up the giant and carries him on his shoulders to the top of a high rock, from which he throws the giant down into the sea. The place where he fell was known as "Gogmagog's Leap" to posterity."

So why would 
 Gogmagog return with hordes of hill giants & the like to modern England? To track down his modern day descendants & use them in an army of the Apocalypse to destroy modern society; "The Lord Mayor's account of Gogmagog says that the Roman Emperor Diocletian had thirty-three wicked daughters. He found thirty-three husbands for them to curb their wicked ways; they chafed at this, and under the leadership of the eldest sister, Alba, they murdered their husbands. For this crime they were set adrift at sea; they washed ashore on a windswept island, which they named "Albion"—after Alba. Here they coupled with demons and gave birth to a race of giants, whose descendants included Gog and Magog" 

There's always been a mix here of gods & giants going back to Norse mythology the primary
example here being Loki. But there are many others & to take this back to Dark Albion if 
 G1 Steading of the Hill Giant Chief  By Gary Gygax (1978) & placed it within Dark  Albion or Lion & Dragon  with our additions the effects could be devestating. Ambroisa being used as a sacrement for a cult of the hill giants on the local populace would have incredibly dangerous effects. The supplicant's strength gains  +4 & perhaps a +2 on dexterity.But their intelligence & wisdom go down by -2 points after two weeks of being on the Ambroisia. The cult's members become creatures of chaos before too long gaining unsightly & unnatural muscles. Originally these monsters were used as shock troops by the Elves in ages past & now these monsters have returned!

Hill giants have always been creatures of chaos within my mind anyway. Dangerous in the exgtreme, prone to violence, quick tempered, & representive of a different order then humanity entirely. 

Tuesday, September 24, 2019

OSR Commentary - My Time Encountering Heward's Mystical Organ


My history as a player of original Dungeons & Dragons is well known but not my misgiving encounters with an infamous artifact of Eldritch Wizardry. Let's get a bit of background & history on Eldritch Wizardry;" Eldritch Wizardry was written by Gary Gygax and Brian Blume and published by TSR in 1976 as a sixty-page digest-sized book, and was the third supplement to the original D&D rules.[4] The supplement was part of the continued expansion of D&D in 1976, which also included Gods, Demi-Gods & Heroes and Swords & Spells.
Now I've been looking deeply into some of the more infamous & slightly 'Science Fantasy' flavored
artifacts for my upcomingGodbound rpg campaign.
But looking through Eldritch Wizardry has given me flash backs to the Fall of '86.
 In the wastes of Greyhawk we ran into  Heward’s Mystical Organ. "Heward's Mystical Organ is a a massive, immobile pipe organ
 as tall as a cathedral. It is an 
artifact of tremendous power and great danger"
But I digress.



If there's one S.O.B. that as a player of Dungeons & Dragons & Advanced Dungeons & Dragons to run across in my forty years of playing the grand game to have run across its Heward. Yes that Heward who was a favorite of my uncle. My uncle was former retired RAF pilot & friend of my father's. He was from the United Kingdom who had married an American. A lovely lady & whose children have since scattered to the four wind. Both my uncle & aunt were instrumental in my education over the decades. Alas they have since departed but they both had a naught invincible love of music & this spelled my PC's doom.
We had been tracking our campaign's villain across the wastes of Greyhawk why? Because
an eldery old bard/wizard type had given his location after the villain had bought a map.
That man was Heward, Heward is a powerful quisi diety in Greyhawk & the patron god of bards.
He's descriped as thus; Heward appears as a human male of uncertain age—both youthful and elderly at once. He is lively, athletic, strong, and quick, with rosy cheeks and a wrinkled forehead. His bald head is offset by a small beard and luxurious mustache of sandy-brown. He tends to dress either shabbily, or in fine garb which is long out of style. However, if he wishes to go unnoticed, Heward can appear quite nondescript. He seldom carries weapons or wears armor. He often carries pitch pipes and tuning forks, which aid him in his travels to other planes." My wizard didn't like the S.O.B. from the start & it cemented my life long hatred of D&D bards even back then. Why was he important? Because Heward has a long & twisted some would say illustrous history with Gary Gygax's realm of Greyhawk;
"Heward was a member of Zagig Yragerne's Company of Seven. He was among the adventurers who helped imprison Iuz. Heward is distantly related to both Zagig and Mordenkainen, and often visits the latter. Although he is most often alone, he can occasionally be found in the company of CelestianFharlanghnKeoghtom, Mordenkainen, Murlynd, or Zagyg."
 
We caught up with the villain 'Lumay The King of  Musicans & Necromancers' someplace just outside of Heward's  laboratory in hills just outside one of the former Elven capitals according to my notes from the Fall of '86. There was a twelve level dungeon that dated from the Age of Elves that Heward had taken the place  over. That's where we encountered Heward's Mystical Organ! . My uncle's design of the organ was based on; "Heward's Mystical Organ appeared in Eldritch Wizardry (1976). A later expansion describing its powers apeared in A Working Design for Heward's Mystical Organ (or, "Play it Again, Sam")Dragon Magazine #29 (Sep 1979), p.43."We didn't make it outta that dungeon & it was a total party wide when our bard misplayed the organ to thwart the villain! 
Later on in my friend DM Steve's game the coven of bards belonging to Heward would contact our party again & go after the Heward's organ but this time we'd run smack into Odd House; "Heward's eccentric dwelling is said to be extradimensional in nature, far, far bigger inside than it appears from outside, and a nexus between many alternate worlds, planes, and times. He once dwelled in a building in Greyhawk City's Thieves Quarter known as Odd House or "Hew's Place", but hasn't lived there in many years. It still retains portals to other planes, however. He currently explores the planes from a variety of homes and strongholds across the multiverse."  We trekked back to the dungeon holding Heward's Mystic Organ again in second edition Advanced Dungeons & Dragons;" Heward's Mystical Organ appeared in the Dungeon Master's Guide (1989) and revised Dungeon Master's Guide (1995).[1]. It appears in the Book of Artifacts (1993), p.38-41." 


The Fatal & Friends Website has an excellent break down & commentary on the 2nd edition AD&D Book of artifacts version of the Organ of Heward;

"There’s one more artifact that I want to cover before covering magic item creation and then sealing this book in a trap-filled tomb to be forgotten. It’s Heward’s Mystical Organ, another artifact that can trace its origins to Mystical Energies. Like Lum’s Machine, the Organ is an immobile artifact that’s always housed in a cathedral-like building, “not necessarily the same one each time.” The cabinet of this pipe organ has three sets of keys-one of ivory and obsidian, one of jade and lapis, and the third of steel and brass. Each set of keys has nine ivory stops, or 27 in total. Nine rosewood petals complete the cabinet. The organ’s pipes are made of silver and gold, with the tallest reaching almost three stories in height.


Heward was the Patron of Bards, who lived during the ascendancy of humans as the elves faded to the background. Early humans apparently weren’t interested in music, so Heward set out to change that by building a magic organ. The Organ was wildly successful and made everything wonderful, so of course a few deities decided to fuck things up. These gods convinced the mice of Heward’s hall to gnaw on the Organ’s pipes. The next time Heward played the organ it gave harpies and sirens their special abilities. Heward was of course pissed, and so he played one last song to curse the mice into being lowly and meek. And then Heward and his Organ disappeared.

The suggested campaign use for the Organ is very similar to the Machine of Lum the Mad-a party needs the Organ to produce a certain effect, they need to discover the musical sheet, then they have to find the Organ itself, and play the tune. The major difference is that by the artifact’s nature, this artifact works best with a Bard in the part, a class that a PC had a miniscule chance of rolling the requirements for in 2nd edition if they used method 1 of rolling attributes.

Like the Machine, the description of the Organ’s powers is more focused on how to use it than what it can do. There are at least 23 powers of the Organ, each requiring a separate song. No, these powers aren’t actually detailed, but at least the suggested random power tables are provided. To use a power, not only must the song be played flawlessly (an unmodified proficiency check) but the stops must be set appropriately. There are 27 stops, labeled A to Z with the last one marked “!”. Stops can be set from 1 to 8, with 1 being the the default. The ! stop is especially important, as setting it incorrectly automatically triggers the curse. Otherwise, if any of the other stops are incorrect or the proficiency check is failed, the DM needs to roll a d10. On a 1-7, nothing happens, on an 8-9 the artifact curse is triggered, and on a 10 there is a random effect.



These are the suggested tables for a DM to select the Organ’s powers, but the DM can always come up with his or her own. In fact, a lot of the powers that can come from these result are pretty lackluster for the effort involved, so a DM is better off making his own.


Personal Enhancements: 16, 8, 12, 11, 16
  • 8: Regenerate 2 of the user’s hit points per turn
  • 11: Cast lasting breath at will
  • 12: Provide the user with a permanent +1 bonus to saving throw rolls
Abjurations: 3, 5, 16, 6, 12, 2
  • 3: Cast banishment by touch (1/week)
  • 5: Cast dismissal upon any planar creature by touch (1/week)
  • 6: Cast dispel evil/dispel good (1/day)
  • 12: Cast lower resistance (7/day)
  • 16: Have repel insects in a 10’ radius constantly in effect while the artifact is in hand
Enchantment/Charm: 3, 15, 11, 7, 20, 17
  • 3: Cast charm monster (1/day)
  • 7: Cast command (7/day)
  • 11: Cast emotion (1/day)
  • 15: Cast geas by touch. The mission must relate to the goals of the artifact, if any (1/month)
  • 17: Cast hypnotism (1/day)
  • 20: Cast suggestion (3/day)
Cataclysms: 9, 11, 10
  • 9: Strike the area of effect with an earthquake spell
  • 10: Rain a fire storm down upon the area of effect for 2d6 rounds
  • 11: Flood the entire area of effect, destroying buildings and fields. All living creatures unable to fly risk drowning in the rushing water. The water recedes to safe levels in 1d6 hours but remain covering land for 2d20 days.
Conjuration: 5, 17, 15
  • 5: Cast call lightning (1/week)
  • 15: Summon an invisible stalker (1/week)
  • 17: Inscribe a symbol of the user’s choice (1/week)


I guess you’re expected to make a song for every power, even if you never plan to use them

If the curse is triggered from playing poorly, then all those within the hall containing the Organ must save vs death at -4. Those who fail go mad forever, unable to tolerate any sound but unable to bear silence either. They lose all class abilities “and are controlled by the referee”. This madness can only be cured with wish. There’s also a risk that a character play the Organ too well. If the organist rolls a 1 or less on the proficiency check, at the end of the song he or she is instantly struck by melancholia, knowing their performance will never likely be matched. Anyone listening must make a Wisdom check or come to the same conclusion. Stricken characters have no motivation to do anything and will waste away. No word on whether this effect can be reversed.

As for the songs themselves, the DM is encouraged to make their own list of tunes based on their own tastes in musics, and it’s suggested to play the tune “on a stereo” at the climactic performance. That’s my favorite part of this artifact, and I could see myself including it not just in a D&D campaign, but any roleplaying game where a world-changing Organ is plausible. At the very least it would rank up there with the greatest effort taken to Rickroll a group of people. "
We got set up to take a fall from the cult of Heward & my wizard was lost across the multiverse after nearly blasting the head of the cult off the face of Greyhawk. There was a tripple cross on the part of the cult's head & I got the brunt of it. Our party's actions were noticed by Heward himself & neutral good my ass, he had a personal vendetta against our party. Every bar, two bit brothel,etc. which had a bard meant that we had our heels dogged at every turn by that quisi deity & did job after job to get back into his 'good graces'. And Heward's Mystical Organ is still out there in that dungeon & its still a giant danger on Greyhawk as well as any of the alternative versions of it strung across the planes. The organ is dangerous as Hell to any god or demigod that has the misfortune of running across it. Even god level PC's should have shape in take of breath if they even hear rumors of  Heward's Mystical Organ! 


OSR & Monster Ecology Commentary - Werebears & Goddesses For Your Old School Campaigns



The ubicquitous David Trampier Advanced Dungeons & Dragons
Monster Manual artwork. 

I've been looking into one of my favorite Dungeons & Dragons monsters today - The werebear! Yeah that's right I've been a fan of these guys since I was a kid. These lycanthropes go all the wayback to the foundation of original Dungeons & Dragons. They run all of the way through into Pathfinder today; 

"The werebear first appeared in the original Dungeons & Dragons "white box" set (1974).[1]
The werebear appeared in the first edition of Advanced Dungeons & Dragons in the original Monster Manual (1977).[2] The werebear appeared as a player character race in Dragon #24 (April 1979). The werebear appeared as a character class in White Dwarf #17, by Lewis Pulsipher.[3]
The werebear appeared in the Dungeons & Dragons Basic Set (1977,[4] 1981, 1983). The werebear appeared in the Dungeons & Dragons Rules Cyclopedia (1991).[5] The werebear appeared as a player character class in Night Howlers (1992).
The werebear appeared in the second edition of Advanced Dungeons & Dragons in the Monstrous Compendium Volume One (1989),[6] and was reprinted in the Monstrous Manual (1993).[7]
The lycanthrope appeared as a creature template in the third edition Monster Manual (2000),[8] and in the 3.5 revised Monster Manual (2003), with the werebear as a sample creature. The werebear appeared as a player character race in Dragon #313 (November 2003)."

Now while most folks would talk about the werebear's origins being closely associated with Native American mythology & we'll get to those in another blog entry! Instead I want to talk about the European  &  the Greco Roman legends of Callisto or Kallisto (/kÉ™ĖˆlÉŖstoʊ/Ancient GreekĪšĪ±Ī»Ī»Ī¹ĻƒĻ„ĻŽ [kallistɔ̌ː]); "As a follower of Artemis, Callisto, who Hesiod said[1] was the daughter of Lycaon, king of Arcadia,[2] took a vow to remain a virgin, as did all the nymphs of Artemis. But to have sex with her, Zeus disguised himself as Artemis (Diana) herself, in order to lure her into his embrace. Callisto was then turned into a bear, as Hesiod described:
...but afterwards, when she was already with child, was seen bathing and so discovered. Upon this, the goddess was enraged and changed her into a beast. Thus she became a bear and gave birth to a son called Arcas.
Either Artemis "slew Kallisto with a shot of her silver bow,"[3] perhaps urged by the wrath of Juno (Hera)[4] or later Arcas, the eponym of Arcadia, nearly killed his bear-mother, when she had wandered into the forbidden precinct of Zeus. In every case, Zeus placed them both in the sky as the constellations Ursa Major, called Arktos (αρκτος), the "Bear", by Greeks, and Ursa Minor.

Diana and Callisto
 by Rubens, c. 1635
According to Ovid,[5] it was Jupiter (Zeus) who took the form of Diana (Artemis) so that he might evade his wife Juno’s detection, forcing himself upon Callisto while she was separated from Diana and the other nymphs.[6] Callisto's subsequent pregnancy was discovered several months later while she was bathing with Diana and her fellow nymphs. Diana became enraged when she saw that Callisto was pregnant and expelled her from the group. Callisto later gave birth to Arcas. Juno then took the opportunity to avenge her wounded pride and transformed the nymph into a bear. Sixteen years later Callisto, still a bear, encountered her son Arcas hunting in the forest. Just as Arcas was about to kill his own mother with his javelin, Jupiter averted the tragedy by placing mother and son amongst the stars as Ursa Major and Minor, respectively. Juno, enraged that her attempt at revenge had been frustrated, appealed to Tethys that the two might never meet her waters, thus providing a poetic explanation for their circumpolar positions in ancient times."



In Jupiter and Callisto by FranƧois BoucherZeus/Jupiter takes the form of Artemis/Diana (Nelson-Atkins Museum of ArtKansas City)

Besides the fact that Zeus could never keep it in his pants it the means that among the stars are the children of  Ursa Major and Minor who are basically the gods & patrons of lots human tribes, were bear shamans, druids,beserks,etc. This goes a long way to explaining the presence of the continuance of the were bear tradition among humanity. This legend possibly goes back to the creation of humanity during the days of  before the oceans drank Atlantis & before the pre Bibilcal floods.



Lions painted in the Chauvet Cave. This is a replica of the painting from the Brno museum Anthropos. The absence of the mane sometimes leads to these paintings being described as portraits of lionesses. I see bears as well but that's me. All of this goes a long way to explaining the presence of were bears among the various druids covens, shaman's of various tribes, etc. Yes this ties directly in with Astonishing Swordsmen & Sorcerers of Hyperborea but it also ties in with orginal Dungeons & Dragons. I think original Dungeons & Dragons owes a debt for the werebear to J.R.R. Tolkein's Hobbit in the form of Beorn.



Beorn by JMKilpatrick (jmkilpatrick.deviantart.com)



For the Lord of the Rings crowd there's a long history of were bears in the character of Beorn; The Man named Beorn lived in a wooden house on his pasture-lands between the Misty Mountains and Mirkwood, to the east of the Anduin. His household included an animal retinue (horses, dogs, sheep, and cows, among others); according to Gandalf, Beorn "does not eat them; neither does he hunt or eat wild animals".[3]. He grew large areas of clover for his bees, who made his famous honey.
Gandalf believed that Beorn was either a descendant of the bears who had lived in the Misty Mountains before the arrival of the giants, or he was a descendant of the men who had lived in the region before the arrival of the dragons or Orcs from the north.
Beorn was of immense size and strength for a man and retained his size and strength in bear-form. He had black hair (in either form) and a thick black beard and broad shoulders (in human form). While not a "giant" outright, Beorn's human form was of such great size that the three and a half foot tall Bilbo judged that he could have easily walked between Beorn's legs without touching his body. Beorn also named the Carrock and created the steps that led from its base to its flat top.
In The Hobbit, Beorn received Gandalf, Bilbo Baggins and 13 Dwarves and aided them in their quest to reclaim their kingdom beneath the Lonely Mountain. He was convinced of their trustworthiness after confirming their tale of encountering the Goblins of the Misty Mountains and Gandalf's slaying of their leader, the Great Goblin. In addition to giving the group much-needed supplies and lodging, Beorn gave them vital information about what path to take while crossing Mirkwood.
Later, hearing of a vast host of Goblins on the move, Beorn arrived at the Lonely Mountain in time to strike the decisive blow in the Battle of Five Armies. In his bear form he slew the Goblin leader, Bolg and his bodyguards. Without direction, the Goblin army scattered and were easy pickings for the other armies of MenElves, Dwarves, and Eagles. Beorn often left his home during the narrative of The Hobbit for hours or days at a time, for purposes not completely explained."

So what's all of this bear lycanthrope ecology information what's this have to do with my current OSR fetish? Well if we look at the Godbound rpg angle then we've got the "
Proteans are Lunars, perfect shapeshifters with exceptional physical capabilities" who are basically Lunars from the Exalted Rpg that have OSR rules that work. But I've always wanted to get into the heart of why, "Werebears in their humanoid form prefer to wield larger and heavier weapons such as great swords, or great axes."  This gets into the other Greco Roman goddess, "Artio (Dea Artio in the Gallo-Roman religion) was a Celtic bear goddess! "
Own photograph by Sandstein
" A bronze sculpture from the Muri statuette group, found near Bern in Switzerland, shows a large bear facing a woman seated in a chair, with a small tree behind the bear. The woman seems to hold fruit in her lap, perhaps feeding the bear.[2]. The sculpture has a large rectangular bronze base, which bears the inscription "Deae Artioni / Licinia Sabinilla" ("To the Goddess Artio" or "Artionis", "from Licinia Sabinilla"). If the name is Gaulish but the syntax is Latin, a dative Artioni would give an i-stem nominative *Artionis or an n-stem nominative *Artio. That would perhaps correspond to a Gaulish n-stem nominative *Artiu.
Other inscription to the goddess have been discovered in Daun (CIL 13, 4203), Weilerbach (CIL 13, 4113), Heddernheim (CIL 13, 7375 [4, p 125]), and Stockstadt (CIL 13, 11789).
She's strongly connected with the legends of King Arthur -Her name is derived from the Gaulish word artos, bear (Delamarre 2003 p. 55-56), from Proto-Celtic *arto-, from Proto-Indo-European *h₂ŕ̥tįø±os, bear. A Celtic word may also be the source for the name Arthur."

The Dark Albion OSR setting  & Lion & Dragon rpg the were bears are a part of an extinct chaos cult which was a part of the rebellion against the Elven overlords in the setting thousands of years ago. The great axe & sword were part of the symbols of the chaos cult. There are very few indivduals or covens of this mysterious & ancient cult connected with the old gods.