Stranger Things 5: The First Six Episode Titles

Rumors of the first six episode titles for Stranger Things 5 have dropped. Here they are.

1. The Crawl, by the Duffer Brothers
2. The Vanishing of ___ Wheeler, by the Duffer Brothers
3. The Turbow Trap, by Frank Darabont
4. Sorcerer, by the Duffer Brothers
5. Shock Jock, by Frank Darabont
6. Escape From Camazotz, by Shawn Levy
7. ?
8. ?

Speculations that grabbed my attention:

We’ve known the title of episode 1 for some time (since November 2022) and there’s been more than enough speculation about it.

Regarding episode 2, The Vanishing of ___ Wheeler, it copies the title of the season-1 premiere, “The Vanishing of Will Byers”. There have been photos of Karen Wheeler doing shots at the hospital set, so maybe it refers to her. There’s also a new actress playing Holly Wheeler: Nell Fisher, who starred in the film “Evil Dead Rise”; so maybe she will be the one to disappear. I hope, however, that it’s either Nancy or (even better) Mike, one of the lead Wheeler characters, but I rather doubt the Duffers will have the balls to raise the stakes that high. My bet is on Holly.

Regarding episodes 3 and 5, The Turbow Trap, and Shock Jock, each is directed by Frank Darabont who did The Shawshank Redemption. Talk about a coup. A turbow trap involves enhancing sound systems, which could have something to do with WSQK radio station (the set piece leaked in various photos). A shock jock is an offensive radio DJ, and so again, this would point to WSQK radio station. I’m looking forward to a vulgar-mouthed DJ. Two candidates who come to mind are Dustin Henderson and Murray Bauman.

Episode 4 is called Sorcerer. Since episodes 3 and 5 have the common director and common radio station theme, they were probably shot back to back, and “Sorcerer” in between may focus on another character or characters entirely. If Vecna is the sorcerer referred to, then the episode may focus exclusively on Max’s consciousness that is trapped in Vecna’s mindscape. (That’s exactly what I did with my chapter 4 of Stranger Things 5: It’s called “The Eternal Nightmare of Max Mayfield”, and it’s all her and Vecna.) On the other hand, if Will Byers is the sorcerer referred to, then we might see a confrontation between Will and the entity that has been on his back, if not inside him, for so long.

Episode 6, Escape From Camazotz, is the one directed by Shawn Levy. In the previous seasons he has always directed episodes 3 and 4, and made the 4th episode particularly intense. In season 1, it was Joyce screaming at Will through her living room wall, when she saw him trapped and crying for help in the Upside Down; in season 2, it was Will’s possession scenes and Eleven’s telekinetic tantrum in Hopper’s cabin; in season 3, it was the sauna battle between El and Billy; and in season 4, it was his crown-jewel episode “Dear Billy”, in which Max barely escapes Vecna’s mind on the wings of Kate Bush’s song.

In season 5 Levy is doing only one episode due to his current work on Deadpool & Wolverine, and it’s safe to assume it’s going to be great. The title Escape From Camazotz could hint at some next-level shit. Camazotz is a planet in the classic book A Wrinkle in Time — the planet controlled by a hivemind (the dark entity IT). However, Camazotz is also a Mayan god known as the “death bat”, and is associated with death and sacrifice; the Camazotz ritual often involves sacrificing peoples’ hearts. I’m a bit worried that “escape” from Camazotz might involve the resurrection of Eddie Munson who was killed by the demo-bats in season 4. If the Duffers pull a back-from-the-dead maneuver like this, I’m going to be pissed. Otherwise the episode sounds very promising.

Shogun: The Episodes Ranked

Here are the ten episodes properly ranked. My overall rating of Shogun is 8.3/10, certainly not the masterpiece everyone has been claiming, but fine enough and enjoyable. My three main critiques of the series have been its (1) a failure of nerve, omitting many of the book’s best parts for fear of controversy; (2) a failure of character evolution, as Blackthorne hardly embraces the Japanese culture to the degree he does in the book; (3) a failure of lead character development, in that Toranaga hardly bonds at all with Blackthorne until the very end — nothing like the book Toranaga who danced the English hornpipe. But I want to stress that I did enjoy the series, and some of the episodes were truly excellent. Click on the episode titles for my full reviews of each.

1. The Abyss of Life. Episode 8. The best episode comes from the best part of the book (chapters 47-51), though the title comes from a much earlier point (chapter 25), when Buntaro is cornered by Ishido’s guards at Osaka Castle and contemplates killing himself — relieved that he is finally able to escape the “abyss of life” — until he sees an escape route. Though the term isn’t used in this episode, the idea is felt in every frame, as everyone seems to feel life as an abyss. Buntaro is cruelly rejected by Mariko after he gives her a beautiful tea ceremony. Practically all of Toranaga’s generals want to die, unable to bear the shame of his submission to Ishido and the regents. Hiro-matsu actually does kill himself, slitting his belly in front of Toranaga and all the other generals. It’s a stunning departure from the book, which hit me even harder than Mariko’s sacrifice (see #2 below) and shows what Toranaga is made of. Imagine the will to shame yourself and demoralize your followers so badly that it makes the best of them kill themselves. All for sake of a facade. Rating: 9 ½.

2. Crimson Sky. Episode 9. The climax of the story (from chapters 52-57 in the book) does full justice to Mariko’s symphony, which consists of four movements: her defiance in Ishido’s audience hall, her attempt to leave Osaka castle with Toranaga’s ladies, her aborted seppuku attempt, and her sacrifice during the shinobi attack. The way she traps Ishido is simple: if he lets Mariko go, every single “guest” (hostage) in the castle will also demand to leave; if he lets her kill herself, every noble family in the city will rebel against him. But Ishido — with some treacherous help from Yabu — turns the trap around, and the tragedy of Mariko plays out as it only can be. Ever since her father’s treachery she’s been a living contradiction, embodying the worst shame while doing the most honorable things in service to her liege lord. She’s samurai but Christian; a loyal wife to the worst husband, but an adulterer in love with a foreign barbarian. Only death can bring peace to such a person, and there’s something fiercely triumphant about Mariko holding the door and getting blown to bits, if also heartbreaking. Rating: 9 ½.

3. The Eightfold Fence. Episode 4. It omits the most important scene in the book (Blackthorne’s attempted seppuku, though see #4 below), but aside from that, it’s a stand-out episode, covering the initial period of Blackthorne’s stay at Ajiro village (chapters 30-33 in the book), where for six months he must be tutored in the Japanese language and customs, as he trains Yabu’s men in the art of cannon warfare. It ends on a wonderful display of those cannon when Naga blows Jozen and his men to smithereens. Blackthorne and Mariko have their first affair, prefaced by a scene at the hot springs which is very well shot and superbly acted — proving that this glacial version of Mariko can convey emotion. And there is the great line from Blackthorne when Omi tries taking his pistols from him and he gives them to Fuji for safekeeping: “Tell this milk-dribbling fuck smear I’m ready to go.” Rating: 9.

4. A Dream of a Dream. Episode 10. The most important scene in the book has been transplanted here. Blackthrone attempts seppuku because Toranaga is slaughtering villagers on his behalf — he wants the villagers who burned down Blackthorne’s ship to fess up. Except that’s a facade, because it’s Toranaga himself who ordered the arsonists to burn the ship. Making him twice as monstrous. This finale is a great epilogue of the shogun-to-be who in the final pages of the book had come to think of Blackthorne as his one and only friend: Anjin-san, you make me laugh and I need a friend. I daren’t make friends among my people, or among the Portuguese. Yes, I will whisper it down a well at noon but only when I’m certain I’m alone: that I need one friend. The friendship between the two men is nothing like in the book, but in the end it’s compelling enough. Rating: 9.

5. Broken to the Fist. Episode 5. Blackthorne’s village live-in continues, and as with episode 4, only about four book chapters are covered (34-36, 38, and the start of 39), so there’s not a rushed feeling to it like in the early episodes. It must be stressed that the fallout from Jozen’s death in episode 4 is handled poorly, for it implies that Naga’s vengeance on Jozen would be the trigger for open warfare between Ishido and Toranaga. When insulted or dishonored (as Naga was), samurai were expected to take vengeance. By destroying Jozen and his men, Naga was acting in full accordance with the code of honor and shame. The pheasant tragedy, on the other hand, is handled superbly and capped off by a very moving moment, when Blackthorne puts the rock in the garden in honor of the house servant who died for him. The earthquake is also a great scene, though it would have been nice to see Blackthorne’s sudden grasp of the concept of karma — the moment in the book when he sheds his western fears of death. Rating: 8 ½.

6. Servants of Two Masters. Episode 2. It takes things up a notch from the premiere with the arrival at Osaka (chapters 10-18 from the book). It feels rushed that Blackthorne is here after only one episode, but that’s the pacing of Shogun in ten episodes. The best scene is Blackthorne’s drawing of the global map in the sand and explaining to Toranaga that the pope divided the world into the “Spanish half” and the “Portuguese half”, and that Japan thus “belongs” to Portugal. A close second is the assassination attempt on Blackthorne’s life at the end. The whole episode simmers with political tension as Blackthorne reveals truths that the Portuguese do their damnedest to keep secret. He gets thrown into prison, then released, then abducted and rescued, until finally the assassin comes for him. Rating: 8 ½.

7. A Stick of Time. Episode 7. The most padded episode by far — it covers only two of the sixty-one chapters in the book (42 and 44) — but what it does do it does well. Toranaga gets hoodwinked by his half-brother Saeki, who has been appointed regent (to replace Sugiyama after his murder at the end of episode 6), which means there are five regents again, who can now legally impeach Toranaga and order him to the great beyond. Saeki announces that the village is surrounded by his forces, and none will be allowed to leave unless they submit to the will of the regents. While he’s surrounded, Toranaga gives the mama-san Gyoko a special audience, and she proposes that Toranaga take control of the Tea Houses and make the Willow World like any other craft, a guild subject to policing and taxation. Also, there is an added element to this scene: Gyoko hints that she can see can see through Toranaga’s ruse, that he is not really submitting to the regents, despite his outward show of giving up. If only his generals were that wise and shrewd. Rating: 8.

8. Anjin. Episode 1. The first episode blazes through the first part of the book (chapters 1-9) a bit quickly, and noticeably sanitizes some of the characters’ actions. Yabu acts like Pontius Pilate, not wanting to boil any of Blackthorne’s crew until leaned on heavily to do so by a Portuguese priest; Toranaga punishes a wayward samurai less harshly than in the book; Yabu’s retainer does not jump off a cliff and purposely kill himself in order to get Yabu’s attention; etc. Otherwise the premiere does a good job of throwing this first-time English pilot into the alien world of medieval Japan, and it ends on a wonderful montage with Rodriguez’s voice over explaining the nature of the Japanese: “Every man has three hearts: one in his mouth, for the world to know; one in his chest, just for his friends; and a secret heart buried deep where no one can find it.” Rating: 8.

9. Tomorrow is Tomorrow. Episode 3. If “A Stick of Time” (see #7) is the most padded episode, “Tomorrow is Tomorrow” covers so many chapters from the book (18-29) that it basically had to strip them to the bone. Toranaga and Blackthorne don’t dance the hornpipe together; Mariko and Blackthorne don’t argue about sodomy; Mariko doesn’t get harassed by the bosun on Captain Ferriera’s ship. It’s just the escape from the castle; all action and none of the character moments that make Shogun such a classic. That’s not to say the escape sequence isn’t impressive. It’s well done. But it’s done at the expense of too much important source material. Even the final scene — that has Blackthorne teaching Toranaga how to dive into the ocean — doesn’t feel earned, because there’s not enough that has happened between the two men to make us feel invested in their relationship. Rating: 7.

10. Ladies of the Willow World. Episode 6. This will sound like a hollow criticism, but in an episode that focuses on the Willow World, where are the tits and ass? The book portrays nudity when warranted, and it doesn’t hold back on other things that may arouse discomfort in viewers as much as they did Blackthorne. In this case the numerous sex toys that Kiku shows Blackthorne and explains their functionality. It would have nice to see that; not because it’s gratuitous (it isn’t) but because it fits. Alas, Blackthorne’s night in the Tea House is a rather mundane affair, certainly nothing that makes Blackthorne realize (in the book) that “heaven on earth is here in Japan”. There’s a lot to this episode about Mariko’s backstory, which is a bit overdone, and some more stuff from chapters 37, 39-41 in the book to get by, but this is easily the least engaging episode of the series. Rating: 6 ½.

1. Episode 8. Rating — 9 ½ = A
2. Episode 9. Rating — 9 ½ = A
3. Episode 4. Rating — 9 = A-
4. Episode 10. Rating — 9 = A-
5. Episode 5. Rating — 8 ½ = B+
6. Episode 2. Rating — 8 ½ = B+
7. Episode 7. Rating — 8 = B
8. Episode 1. Rating — 8 = B
9. Episode 3. Rating — 7 = C+
10. Episode 6. Rating — 6 ½ = C

Overall (Average) Rating: 8.3 = B/B+

 

Shogun: Episode 10

Pop quiz: By whom, to whom, and about whom was the following said in the final chapter of the novel Shogun?

“Did you see him go purple when I mentioned his piles? Ha! I thought they were going to burst on him then and there.”

(a) Yabu, Omi, Buntaro
(b) Yabu, Omi, Hiro-matsu
(c) Yabu, Buntaro, Toranaga
(d) Yabu, Blackthorne, Toranaga

The correct answer is (b). Here’s the full scene from the final chapter (61) in the book: Toranaga has ordered Yabu to commit seppuku for betraying him and engineering the attack on Osaka castle, which took Mariko’s life. Yabu calmly accepts his fate and chooses Omi to be his second. Buntaro and Hiro-matsu ask Yabu if they can be witnesses to his seppuku.

Buntaro said, “Where do you want to do it, Yabu-sama?”

“Here, there, down by the shore, or on a dung heap — it’s all the same to me. I don’t need ceremonial robes. But, Omi-san, you will not strike till I’ve made the two cuts.”

“Yes, Sire.”

“With your permission, Yabu-san, I will also be a witness,” Hiro-matsu said.

“Are your piles up to it?”

Hiro-matsu bristled and said to Buntaro, “Please send for me when he’s ready.”

Yabu spat. “I’m already ready. Are you?”

Hiro-matsu turned on his heel.

Then, soon after, when Yabu is talking privately with Omi in preparing for his seppuku, he scorns Hiro-matsu:

“That old manure heap! Fool!” Yabu laughed again. “Did you see him go purple when I mentioned his piles? Ha! I thought they were going to burst on him then and there. Samurai? I’m more samurai than he is! I’ll show him! You will not strike until I give the order.”

Until episode 8 I was looking forward to this bit of dialogue in final episode — or at least hoping for it — but the death of Hiro-matsu obviously killed that idea (unless Yabu could make fun of someone else’s piles). It’s the kind of witty dialogue that James Clavell breathed so effortlessly to make his characters live, even as they were about to die. Honestly, by the end of the novel Shogun — and this has been true every time I’ve read it, which is about seven or eight times — I feel like these characters are part of my family.

The TV series hasn’t had that effect on me, but I have enjoyed it even when I gnash my teeth over its problems. And the final episode, which covers the final four chapters (58-61), makes me feel more conflicted than ever. Yabu, for one, behaves nothing like in the passage cited above. In the wake of Mariko’s death he’s become quite un-Yabu like. Let’s address that business first.

A sympathetic Yabu

I understand why the show writers turned Yabu into a crazy guilt-ridden coot. It allows him to display a vulnerable side prompting Toranaga to open up and confide his innermost secrets before Yabu kills himself. In the book we get Toranaga’s master plan only through his inner thoughts. That doesn’t work on screen unless you use Dexter-like interior monologues, which would obviously be out of place in a series like this.

Thus Toranaga explains why he sent Mariko to Osaka castle: to do what an army could not. Because of Mariko, Ochiba has grown tired of her alliance with Ishido, and in a letter to Toranaga she has now pledged to keep the Heir’s army off the field at the future Battle of Sekigahara. On that fateful day, Ishido will have no banner and the regents will turn on him. In the book it’s a bit different; Mariko’s sacrifice accomplishes something else. There is no hint that Ochiba or the Heir will turn on Ishido. Mariko’s actions, rather, provoke Ishido (and the other regents) into coming out of Osaka castle, and bringing the fight to Toranaga, rather than stay safe in Osaka where an assault from Toranaga’s army would be bound to fail. Toranaga’s plan was (through Mariko) to kick a hornet’s nest that would make the regents go on the offensive, thus making them vulnerable.

Though I much prefer the book on this point, the adaptation works well enough. The idea is the same, that Toranaga’s use of Mariko was a strategic gambit well played. By utterly shaming Ishido, Mariko made him look so bad so that he is either provoked to leave the safety of his castle (book) or that Ochiba is so disgusted with him as to backstab him (TV series). Yabu sits in awe listening to Toranaga explain his strategy, which is definitely not from the book. In the book, after Toranaga orders Yabu to slit his belly, the two never speak to each other again: Yabu accepts his sentence with pride and scorns everyone around him. The last person he would sit down with for an enlightening discussion is Toranaga.

But in the show, Yabu’s questions give us answers, and we learn even more about Toranaga’s master plan. Why it was he who allowed Blackthorne’s ship to be burned (not Mariko acting alone); why he values Blackthorne so much as a friend; how he will use Blackthorne to build another ship, even if he will have to agree to destroy that one as well in the ongoing politics with the Christian daimyos; how he will encourage Blackthorne to keep building new ships until he is ready to expel the Portuguese Catholics from Japan once and for all. (Something the historical Tokugawaa finally accomplished 14 years later, in 1614 AD, with the aid of Will Adams’ ship.)

This scene between Yabu and Toranaga is well played and in my judgment a reasonable adaptation. But the earlier Osaka scene showing Yabu mad-crazy in the garden pool was plain wrong. Being wracked with guilt over Mariko and grasping for non-existent catfish like a lunatic is simply not Yabu. It diminished his character and I didn’t buy it. I think it’s the worst scene of the series.

Now for Blackthorne, who gets his seminal moment in a very surprising way…

Blackthorne DOES attempt seppuku after all

Having bitched up a storm over the omission of his attempted seppuku in episode 4, am I now grateful for an improved adaptation of that event in episode 10? Well… yes and no.

On the one hand this shift heightens the drama considerably by making Toranaga the monster instead of Yabu. In the book Yabu threatens to crucify the villagers of Anjiro if they fail to teach Blackthorne Japanese satisfactorily in a few months time. Blackthorne, unable to live with such a possibility on his account, decides to take his life and his blade is stopped at the last moment by Omi and Igurashi. Here in the finale, Toranaga is already in the process of taking his vengeance on the villagers; his samurai are beheading them. Nominally this is to find out who the arsonists are who set fire to Blackthorne’s ship — to make the guilty parties fess up — but that’s just for show. Toranaga knows damn good and who the arsonists are, since he’s the one who secretly ordered the arson. Heads have rolled and are on gruesome display throughout the village, all for sake of a facade. Blackthorne doesn’t know that Toranaga is behind the destruction of his ship, but he can’t stomach what Toranaga is doing in any case; he has lived with these villagers and finds their execution on his behalf too much to bear. So he decides to kill himself, and it is Toranaga who stops him from plunging the blade into his gut. Toranaga then relents, promising to stop the slaughter for sake of Blackthorne’s conscience. It’s great drama between the two lead characters and makes Toranaga as monstrous — even more so — as the Yabu of the book. Normally this is the sort of adaptation I heartily approve. Except for the rather obvious problem.

Being that the whole point of the story of Shogun is Blackthorne’s gradual evolution. He becomes Japanese slowly and organically, first by his seppuku attempt (which should have happened in episode 4). Then later, during the earthquake, when he realizes the wisdom in karma/fate, and how silly it is to get upset over his gardener who had to die for moving the pheasant against Blackthorne’s orders (which should have occurred in episode 5). Then later at the Tea House when imbibing the wisdom of sex toys and courtesan pleasures (by rights, episode 6), and realizes that “heaven on earth is here”. But none of these moments of epiphany occurs in the series. Blackthorne’s arc isn’t much to speak of. He gets his moment of “rebirth” (if it’s even that) only here at the tail end.

It does admittedly allow the series to go out strong. Or put it this way: Having botched Blackthorne’s character arc, the show writers made up for it in the best possible way at the finish line. Good enough.

An extended epilogue

Many viewers were let down by this episode, since it functions as a denouement or extended epilogue. But having read the book, I fully expected this. I certainly wasn’t expecting a climactic battle scene, because the Battle of Sekigahara is only foreshadowed at the end of the novel. What we get is something better than a battle: closure between characters in some moving scenes.

The scene between Blackthorne and Father Alvito is a nice one, and for once I’m happy that the writers scrapped a confrontational scene from the book — the one where Captain Ferriera tries to take Blackthorne away from the Jesuits in order to burn him at the stake. Much as I love that scene in the book, here it would have bogged things down, and diluted the final parting between Blackthorne and Alvito.

I absolutely love Blackthorne’s dream of his two sons. It moved me more than I expected and it’s a fitting scene since Blackthorne (like the historical Will Adams) will never return to England. I was even kind of hoping that he would propose to Fuji and marry her, but I’m not complaining, because the moment they share in the rowboat is even more precious: Blackthorne helps her pour the vase of her husband and son’s ashes into the sea.

Then there is Buntaro. I’m on the fence about this one. In the book this piece of shit is utterly irredeemable. In the series he turns out to be one of the most sympathetic characters of all. Part of me can’t help being moved when he bows to Blackthorne in the final scene and joins in hauling the remains of Erasmus out of the water. The other part of me thinks Buntaro has been sanitized too heavily and doesn’t deserve to be portrayed like this. Maybe his character arc will grow on me.

Verdict

“A Dream of a Dream” is a well-executed finale with mostly superb performances: 9 out of 10.

Shogun: Episode 9

Episode 8 was Toranaga’s story, and this one is all Mariko. The writers did her justice, and her symphony comes in four movements: (1) her declaration to Ishido in the audience hall, (2) her attempt to leave the castle with Toranaga’s ladies, (3) her aborted seppuku attempt, and (4) her sacrifice during the shinobi attack. I’ll go through each. The material is adapted from chapters 52-57 in the book.

Back in Osaka: No impending visit from the Emperor

The set up is a bit different from the source material. In the book Yabu takes Blackthorne to Osaka with intentions to stay there only briefly, so that he can prepare for Toranaga’s arrival in the city, and then go straight to Nagasaki with Blackthorne so that Anjin-san can be set loose there against the Black Ship. Mariko, meanwhile, travels to Osaka by land. When she arrives, she finds Yabu and Blackthorne still there, because their plan to go to Nagasaki has been aborted by the announcement that the Son of Heaven himself (the Emperor) is on his way to Osaka and will arrive in nineteen days, having been petitioned by Ishido. So in the book the regents’ summons for Toranaga is now officially a divine mandate which is absolute. Yabu has been invited as well, and with only a nineteen-day window, he can hardly bring Blackthorne to Nagasaki, turn him loose on the Black Ship, and then be back to Osaka in time.

The TV series dispenses with the emperor drama and has Yabu, Blackthorne, and Mariko all traveling to Osaka by ship. Though as in the book, Yabu and Blackthorne are in the dark as to what Mariko has been ordered to do. Like Hiro-matsu, she is a precious soul to be sacrificed in the cause of Toranaga’s destiny. She wastes no time cutting to the chase when received in the audience hall, repeatedly insisting that she’s leaving Osaka the next day with Toranaga’s ladies. Ishido keeps refusing her but she won’t back down, and it’s at this point Blackthorne realizes that her purpose in coming to Osaka was to use her death as a bargaining chip to expose that Ishido’s guests are indeed hostages.

Mariko’s procession: Operation Crimson Sky?

Mariko begins her march, and her retinue of browns is slaughtered by Ishido’s grays. It follows the book pretty closely, though the TV-Mariko is more proficient with weapons. Not that she actually kills any of the grays. Somewhat puzzling to me is the episode’s title “Crimson Sky”, which is the code name for Toranaga’s military raid on Osaka Castle. (In the book, it refers to his raid on the cultural capital of Kyoto, where the emperor holds court, but as I mentioned, almost everything about Kyoto and the emperor has been dropped from this series.) In the book operation “Crimson Sky” still hasn’t been launched by the end of the novel, and obviously by the end of this episode no battle has yet been initiated. Has “Crimson Sky” become a different operation altogether, referring now to Mariko’s gambit and sacrifice? I doubt it. I think rather that “Crimson Sky” is a metaphorical title, as there is plenty of blood spilled in this episode regardless. Mariko’s sacrifice is the crimson sky that will rain down hard on Ishido.

A surprising second

If the show writers are trying to apologize with this scene, I half accept. Remember, they unforgivably scrapped Blackthorne’s attempted seppuku back in episode 4 — the pivotal moment in the book when he “becomes Japanese”. With Mariko’s attempted seppuku, he offers to do something likewise unthinkable by western standards: assisting Mariko with her suicide. In the book, Yabu is her second and here’s how it plays out:

She looked so tiny sitting there motionless, a splash of white on the square of crimson. She reached forward and touched the knife and straightened it. Then she gazed once more through the gateway to the far end of the avenue but it was as still and as empty as it had ever been. She looked back at the knife.

“Kasigi Yabu-sama!”

“Yes, Toda Mariko-sama!”

“It seems Lord Kiyama has declined to assist me. Please, I would be honored if you would be my second.”

“It is my honor,” Yabu said. He bowed and got to his feet and stood behind her, to her left. His sword sang as it slid from its scabbard. He set his feet firmly and with two hands raised the sword. “I am ready, Lady,” he said.

“Please wait until I have made the second cut.”

Her eyes were on the knife. With her right hand she made the sign of the cross over her breast, then leaned forward and took up the knife without trembling and touched it to her lips as though to taste the polished steel. Then she changed her grip and held the knife firmly with her right hand under the left side of her throat. At that moment flares rounded the far end of the avenue. A retinue approached. Ishido was at their head.

She did not move the knife.

Yabu was still a coiled spring, concentrated on the mark. “Lady,” he said, “do you wait or are you continuing? I wish to be perfect for you.”

Mariko forced herself back from the brink. “I — we wait … we … I …” Her hand lowered the knife. It was shaking now. As slowly, Yabu released himself. His sword hissed back into the scabbard and he wiped his hands on
his sides.

Ishido stood at the gateway. “It’s not sunset yet, Lady. The sun’s still on the horizon. Are you so keen to die?”

“No, Lord General. Just to obey my Lord….” She held her hands together to stop their shaking.

A rumble of anger went through the Browns at Ishido’s arrogant rudeness and Yabu readied to leap at him, but stopped as Ishido said loudly, “The Lady Ochiba begged the Regents on behalf of the Heir to make an exception in your case. We agreed to her request. Here are permits for you to leave at dawn tomorrow.”

“Sire?” Mariko said, without understanding, her voice threadbare.

“You are free to leave. At dawn.”

“And Kiritsubo-san and the Lady Sazuko?”

“Isn’t that also part of your ‘duty?’ Their permits are there also. Why should we keep anyone against her will? Are we jailers? Of course not! If the Heir’s welcome is so offensive that you wish to leave, then leave.”

Ishido turned on his heel, shouted an order at the Grays, and walked off. At once captains echoed the order and all the Grays began to move off.

“Lady,” Yabu said huskily, wiping his damp hands, a bitter vomit taste in his mouth from the lack of fulfillment. “Lady, it’s over now. You’ve… you’ve won. You’ve won.”

I love this scene from the book and Yabu was true to form. Even if he had secretly allied with Ishido, he was instantly ready to slay Ishido for his public display of rudeness to Mariko in her final moments of life. And he genuinely “wanted to be perfect” as her second. But the show writers hit on something even better. When Kiyama doesn’t show, Mariko doesn’t call for anyone, Yabu or otherwise, determined to go through with killing herself without the aid of a second — the most brutal way to die committing seppuku. Then Blackthorne steps up. Not only does this violate the heart of his Christian conscience, it forces him to kill the woman he has fallen in love with. This is the moment, in the Shogun TV series, in which Blackthorne “becomes Japanese”, if there is such a moment. It’s not as compelling as when he tried to kill himself in the book, but it’s something.

And of course, Mariko’s shaming of Ishido is masterful. From her unrelenting defiance in the audience hall to her aborted seppuku, she made him look like a thug in the eyes of his people.

Hold the door

The ninja attack on Osaka Castle is a mind-blowing scene in the novel, but it’s hopelessly anachronistic. As I mentioned in my review of the first two episodes, I’m glad to see the show writers discarding acrobatic ninjas and using the more mundane shinobi — covert mercenary agents proficient at infiltration and ambush, but certainly not wall-crawling spiders who throw shurikens and smoke bombs and perform impossible gymnastics.

The attack of the shinobi is shown sparsely in fact; just enough to drive the point home that the castle is being overrun by assassins. Blackthorne gets to fire his pistol a few times and nail his targets.

The way I see it, the show has been building to episodes 8 and 9. In the former we saw what Toranaga is made of. In the latter we get the paradox of Mariko resolved as it only can be. Ever since her father’s treachery she’s been a living contradiction, embodying the worst shame while doing the most difficultly honorable things in service to her liege lord. She’s samurai but Christian too; a loyal wife to the worst husband, but an adulterer in love with a foreign barbarian. Only death can bring peace to such a person, and there’s something fiercely triumphant about Mariko holding the door and getting blown to bits, if also heartbreaking. For this reason, I withdraw my earlier complaints about Sawai’s performance. It’s true that she’s more glacial and off-putting than the Mariko of the book, though perhaps more realistic that way, given her baggage.

An interesting post-script about Mariko. This series has almost completely sidelined the romance between her and Blackthorne. They had their first affair in episode 4 and in this episode finally another good fuck (before she got blown to bits) but very little elsewhere by way of intimate moments, whether physical or not. But though I would have preferred to see a bit more of that, I find the treatment in this series vastly preferable to the 1980 mini-series that allowed the romance to become so all-consuming that it completely overshadowed everything else in the story — the politics, the scheming, and the other important characters. So I’m not really complaining on this point. If you have to err, err on the side of holding back. Shogun is about lot of things besides a romance, and the 1980 miniseries essentially gave us a soap opera.

Verdict

A splendid episode as good as the previous one: 9 ½ out of 10.

Update: see my review of episode 10.

Shogun: Episode 8

I’m feeling very positive now. Episode 7 set a dramatic stage for Shogun’s end-game, and now we get the best episode so far. It covers material from my favorite part of the novel (Part 4, chapters 47-51), which is set in Yedo (Edo in the TV series), Toranaga’s capital of the Kwanto (Kanto) region. Click on the map to the right, which is from the novel, to see how far Yedo/Edo is from the fishing village of Anjiro/Ajiro and from Osaka. (Edo is 65 miles from the village and 300 miles from Osaka.) Edo of course would later become Tokyo, when the Tokugawa shogunate ended in 1868.

Everyone is in Edo to prepare for Toranaga’s formal journey to Osaka. Everyone is angry. Everyone is appalled. They can’t believe Toranaga is giving in to the regents. Saeki has permitted them the detour to Edo allow Toranaga a 49-day period to grieve for his son, which is a bit different from the book where Toranaga is just stalling for time without any real justification. (So this is why the show writers killed off Naga: to make Toranaga’s stalling more believable.) It’s during this part of the novel that Toranaga plays the ruthless tyrant in order to keep his family and generals in line, as they’re on the verge of mutiny. The show writers do an excellent job adapting that material, but before we get into that, I want to say a word about the episode’s title.

“The Abyss of Life”

The term actually comes from a much earlier point in the novel, chapter 25, which was covered by the events back in episode 3. It happens during the escape from Osaka Castle, and Buntaro is cornered by Ishido’s forces and about to be captured — the most shameful fate for a samurai. So he prepares to kill himself, and as he does so he looks forward to death as an escape from “the abyss of life”. It’s worth citing the narrative at length:

Buntaro knelt and placed the short sword neatly on the stone in front of him, moonlight flashing briefly on the blade, and stayed motionless, almost as though in prayer, facing the galley.

“What the hell’s he waiting for?” Blackthorne muttered, the galley eerily quiet without the drumbeat. “Why doesn’t he jump and swim?”

“He’s preparing to commit seppuku,” said Mariko.

“Seppuku? He’s going to kill himself? Why? If he wants to die, for Christ’s sake, why doesn’t he go there?” Blackthorne’s finger stabbed toward the fight. “Why doesn’t he help his men? If he wants to die, why doesn’t he die fighting, like a man?”

Mariko did not take her eyes from the wharf. “Because he might be captured, and if he swam he might also be captured, and then the enemy would put him on show before the common people, shame him, do terrible things. A samurai cannot be captured and remain samurai. That’s the worst dishonor — to be captured by an enemy — so my husband is doing what a man, a samurai, must do. A samurai dies with dignity. For what is life to a samurai? Nothing at all. All life is suffering, neh? It is his right and duty to die with honor, before witnesses.”

“What a stupid waste,” Blackthorne said, through his teeth.

“Be patient with us, Anjin-san.”

But then a glimmer of hope comes with the arrival of four of Toranaga’s smaurai on horseback, with a fifth spare horse tethered to one of them. At that point Toranaga orders Buntaro to try escaping after all:

Toranaga cupped his hands and shouted, “Buntaro-san! Go with them now — try to escape!”

The cry swept across the waves and was repeated and then Buntaro heard it clearly. He hesitated, shocked, the knife poised. Again the call, insistent and imperious.

With effort Buntaro drew himself back from death and icily contemplated life and the escape that was ordered. The risk was bad. Better to die here, he told himself. Doesn’t Toranaga know that? Here is an honorable death. There, almost certain capture. Where do you run? Three hundred miles, all the way to Yedo? You’re certain to be captured!

He felt the strength in his arm, saw the firm, unshaking, needle-pointed dagger hovering near his naked abdomen, and he craved for the releasing agony of death at long last. At long last a death to expiate the shame — the shame of the woman, Mariko, and of his only son, both forever tainted, the son because of the mother and she because of her father, the assassin Akechi Jinsai. And the shame of knowing that because of them, his own name was befouled forever.

How many thousand agonies have I not endured because of her?

His soul cried out for oblivion. Now so near and easy and honorable. The next life will be better; how could it be worse?

Even so, he put down the knife and obeyed, and cast himself back into the abyss of life. His liege lord had ordered the ultimate suffering and had decided to cancel his attempt at peace. What else is there for a samurai but obedience?

He jumped up, hurled himself into the saddle, jammed his heels into the horse’s sides, and fled.

That’s the only time “the abyss of life” occurs in the novel, which is understood as accepting one’s karma or fate and moving on to something better to escape the miseries of life, or at least this life, which gods know hasn’t been good to Buntaro. The term is never used in episode 8, but it’s a well chosen title, as we can feel almost everyone’s desire to commit seppuku under the weight of Toranaga’s surrender. More on that below. To start with I need to retract a complaint about last week’s episode.

Chapter 43 revisited: Buntaro and Mariko do share a cha-no-yu ceremony

In my review of episode 7 I complained that chapter 43 was skipped over entirely, but I was premature. The chapter has been worked into the Edo events of chapters 47-51. The stuff with Father Alvito only partly. The Jesuit does not go apeshit over his acolyte’s fornication with a whore; that’s wholly absent. But the priest does visit Toranaga who excoriates him for not bringing the Christian regents (Kiyama and Ohno) to his side. Still, as in the book, Toranaga allows the priest to begin building a church in Edo. Though quite amusingly, the site of the church will be right next to the mama-san’s Tea House — the new Pleasure District, in other words. The expression on Alvito’s face when he learns this is priceless. Toranaga is quite the troll.

The most important part of chapter 43 is of course the cha-no-yu ceremony shared by Mariko and her loathsome husband, who proves that he can be not so loathsome when the occasion demands it. The actors play their parts well and made me actually feel sorry for Buntaro. He is samurai and has certain graces, and does love Mariko in his twisted way.

But Mariko has none for him. With one swipe of the hand she humbles her husband and honors him for the ceremony. With another swipe she utterly ruins him, by refusing his offer of the death she has always craved. For what she wants is death as an escape from him, and his offer is that they kill themselves together. Mariko — as she so eloquently and tearfully puts it — doesn’t want to saunter into the afterlife with Buntaro at her side. It kills him to hear that; a brutal moment after his beautiful ceremony. I imagine this is what the show writers had in mind by calling the episode “The Abyss of Life”. There’s no question Buntaro feels that way about his life right now, even more so than when he was cornered by the enemy back at Osaka Castle.

Blackthorne hates his crew, and starts bonding with Yabu

In chapter 48 of the book Blackthorne visits the seven remaining members of his crew and is appalled at their filthy habits and manners. He tries to be understanding: “they’re just poor ignorant fools who don’t know any better; you were once the same”. Here in the series he’s much less forgiving. He’s so revolted when he encounters just one of them, Salamon, outside in an alley, that he refuses to go inside and talk to the others. He beats the shit out of Salamon too, which I enjoyed. I’ve complained about the series not making Blackthorne “become Japanese” enough, but here we at least see his sudden appreciation for eastern ways as he takes a long hard look in the mirror; he was once indeed like these uncouth sailors and hates himself for it.

More surprising is the way Blackthorne starts bonding with Yabu, begging for his help to take the Black Ship. (In the book Blackthorne just keeps imploring Toranaga.) Yabu is scornful at first but by the end of the episode is practically Blackthorne’s buddy. I like this adaptation, as we’re finally seeing how Blackthorne has flipped, first by rejecting his crew mates and then by becoming friendly with this ultimate “shit face” who boiled one of his crew alive. And I must say I’ve been getting a kick out of Yabu in the recent episodes. He’s not nearly as juicy or complex as Clavell’s Yabu but impressive enough. For that matter, his scenes at the start of the episode are pretty funny too, when he ranks Naga’s clumsy death on a lower tier than the boiling of one of Blackthorne’s men. Ranking deaths by their “dishonor factor” is classic Yabu.

Toranaga’s defeatism and the death of Hiro-matsu

The reason chapters 47-51 are my favorite part of the book is because they show what Toranaga is made of. Imagine the will to shame yourself and demoralize your followers and make some of them kill themselves — for sake of a facade. In the book Toranaga orders his son Sudara (who is not in the TV series) to murder his toddler children in order to prove his loyalty — that he’s not trying to usurp leadership from his father. Then Toranaga calls a meeting of all his samurai and generals, forces them to leave their swords at the door (intolerably shaming them), and heaps insults and derision on them when they simply tell him the truth: that he is betraying his heritage by bowing to Ishido. He even tells some of them to go out and commit seppuku for their “treason”, which they do gladly rather than continue to pledge their allegiance to this daimyo who has emasculated himself as a daimyo.

The lengths to which Toranaga goes to make his generals and vassals believe he has given up is staggering, and it’s a large part of what makes his eventual victory feel so earned. I was worried that the series wouldn’t do this theme justice, but was I ever wrong. Granted some of the scenes I just mentioned are absent (notably Sudara or any son of Toranaga being ordered to murder his children), but the series compensates for that with the stunning death of Hiro-matsu. If Naga’s death took me by surprise in the last episode, Hiro-matsu’s had my jaw on the floor. The historical Naga lived beyond the events of the story (until 1607) but he was expendable in the narrative. The historical Hiro-matsu lived even longer (until 1610) and the last character I would have expected to get killed off. He is Toranaga’s closest friend and confident. He’s still alive in the final pages of the novel, when Yabu makes a rude comment about his hemorrhoids. He’s a great character. And precisely for that reason Toranaga must sacrifice him. For how, now, can Ishido possibly doubt Toranaga’s intentions to surrender? Even his closest friend couldn’t bear to live with the shame. And once yet again I felt remorse for Buntaro, who had to act as his father’s second and chop his head off. But that’s nothing compared to what I felt for Toranaga, who was clearly being ripped apart inside.

So I’m looking very forward to the last two episodes. I’m sure Mariko will be the next sacrifice, but hers happens in the book and won’t be an unexpected kick in the gut (or will it?). I wonder about the ninja attack on Osaka castle though. I predict the show writers have scrapped the anachronistic acrobats in favor of mundane ronin.

Verdict

Finally, a grade-A episode. It delivers the most emotional scene of the series so far (Mariko and Buntaro) and the most dramatically intense scene so far (Toranaga confronting his generals). 9 ½ out of 10.

Update: see my review of episode 9.

The Best Classic Traveller Modules

This post is long overdue. The ten best Traveller modules in my opinion.

1. Fate of the Sky Raiders. J. Andrew Keith, 1982. 5 stars. It’s the last in the Sky Raider trilogy (the others being Legend of the Sky Raiders and Trail of the Sky Raiders) but can easily stand on its own. Honestly I’m not a fan of the other two; they have a lighter Indiana Jones tone while this one is more Conan. It’s an “explore the alien ship” scenario, but on a staggering scale that blew my mind when I first read it. The asteroid ship is a huge realm that’s been drifting in space for over 5,000 years, measuring 6 miles x 5 miles x 4 ½ miles, displacing about 50 billion tons, and containing a devolved society that’s been marooned in deep space for thousands of years. (For comparative purposes, the dark-elf realm in Vault of the Drow measures 6 ½ miles x 4 ½ miles x 1 mile. Pretty close.) The regressive cultures are either hostile or loosely allied to one another, but more the former — very much a “Red Nails” environment like AD&D’s The Lost City. The module provides mechanisms to help game masters, with tables for “Creating Cultures”, for example, and even better is the blogger who has taken the trouble to do exactly that, creating (1) the Phepul (“the People”), cannibalistic ghouls; (2) the Mahlytri (“the Military”), warrior families who control agricultural field sections on the asteroid and are at constant war with the ghouls, and sometimes trade with the reformers; (3) the Ahngens (“the Engineers”), a survivalist culture of reformers, descended from engineer families, who have turned to religion as their salvation; and (4) the Ghurvam (“the Government”), small inbred remnants of the original Sky Raider government, still well versed in high tech and psionics, and because of the latter are known as the “pale sorcerers”. There’s a prepackaged plot to Fate of the Sky Raiders that ties back to the other two modules, but you can use this brilliantly conceived sandbox really however you want.

2. Duneraiders. William H. Keith Jr., 1984. 5 stars. It feels like that greatest sci-fic novel while being very much its own thing. The Duneraiders are modeled on the Fremen, and the plot involving rival off-world mining companies calls to mind the Atreides-Harkonnen conflict. There’s an enemy agent like Dr. Yueh. But there are no spice or sandworm equivalents, and the travellers aren’t involved with a rebellion that will overturn the socio-political order (much less the galaxy). They’re goal is modest though dangerous: they sign on as mercenaries for a small company (Jericorp Mining) that is being bullied and sabotaged by a rival (Dakaar Minerals). As “corporate security troubleshooters”, the travellers are hired to ride shotgun on a Jericorp orecrawler — the only crawler the company has anymore, thanks to Dakaar, who either destroyed or stole the others. On the crawler their mission is to defend against any attackers, and also to provide security against any Dakaar agents that may have infiltrated the crawler’s crew. Both threats — open attack and infiltration — are very real and will have the players sweating to save everyone’s skin. This is one of the few Traveller modules published by Gamelords, and it turns out to be one of the best ever designed for the game. It’s thoroughly presented, doesn’t stint on maps, and has all the tables a game master will need. On top of that, there’s a mechanism for shuffling the plot so that the enemy agent can be a different person (one of six) every time the module is used. If I had to single out a Traveller module as a template for “how adventures should be designed”, I might very well choose Duneraiders.

3. Leviathan. Bob McWilliams, 1980. 5 stars. In some ways Leviathan is a quintessential Traveller adventure, involving the exploration of unknown worlds, most of them dangerous but teeming with opportunity. Travellers are commissioned to investigate trading possibilities in the Trojan Reach, and they clash with pirates, hostile environments, and agents of the Zhodani Consulate who throw psionic power around like the rest of us exhale breath. A good bulk of the module details the layout of the Leviathan Class Merchant Cruiser, for which there are eight decks, requiring a crew of 56 to operate (15 of Second Officer and above, 41 of Third Officer and below). Starship expertise continually comes into play and ship encounters are a guarantee. Star maps and keys for the Ergyn and Pax Rulin Subsectors are provided, adding up to a sandbox in space that offers endless avenues of game play. When I’m asked to name the Traveller module that feels most like Traveller, it’s Leviathan I say without even thinking. Others would probably say Twilight’s Peak (down at #10), but that module, for all its epic greatness, isn’t as “pure” as Leviathan, which needs hardly a sliver of pre-packaged plotting to enjoy.

4. Murder on Arcturus Station. J. Andrew Keith, 1983. 5 stars. I wanted to rank this higher, because it’s not only a brilliantly designed murder mystery, it’s the best murder mystery (that I know of) that has been designed for any RPG. (Two runner-ups would be Terror in the Streets for Lamentations of the Flame Princess, and Death of an Arch-Mage for AD&D.) A murder takes place on a space station, and the travellers must find who did it or they might be arrested for the crime. And they’re on a tight clock. The cast of suspects — nine of them — is superb; they have great backstories and everyone seems to have a motive. There’s the estranged wife; the mistress; a jealous rival; a Solomani rebel; an Aslan noble; etc. And like Duneraiders (at #2 above) it’s a highly replayable module, as the murderer can be any one of the nine suspects each time the module is used.  Each suspect is given three ways he or she could have performed the murder. (So right there, that’s 18 different ways the adventure might play out.) Each suspect is also given an alibi. The murder could have been a shooting, or a strangulation, or a knifing, poison, bomb explosion, etc. Each suspect gets to roll on a table, to determine their reaction to other suspects, whether they’re an ally or aiming for blackmail, etc. The killer gets to roll too; maybe he or she will try to kill the travellers or frame them, or something else. The module is simply the best toolbox (that I’m aware of) for creating a murder mystery for any RPG, let alone Traveller.

5. Nomads of the World Ocean. J. Andrew Keith and William H. Keith Jr., 1983. 5 stars. There’s everything in this adventure. High-level corporate intrigue, a different culture to interact with and also a great chase/combat on the open ocean. It’s basically Dune on a water planet, with huge sea creatures (daghadasi) standing in for sandworms, cancer-killing drugs for spice, sea-nomads for Fremen, daghadasi hunts for wormriding, and ship cities for sietches. The daghadasi are being killed off, harvested by an off-world corporation for the unique life-extending drug contained in the creatures’ biochemistry. This has aroused the ire of the native sea-nomads, as well as an environmental group — the Pan-Galactic Friends of Life — who protect worlds that have endangered species and threatened ecologies. So the PGFL hires the travellers to go to the ocean planet (Bellerophon) and survey the daghadasi herds. In addition, the corporation’s parent company — worried about a PR nightmare, and working in liaison with the environmental group — ask the travellers to pose as a purchasing team for a firm that might be interested in the drug, so that they might gain access to the corporation’s executives, tour its facilities, and hopefully learn how it conducts its unethical business. The travellers’ second mission is thus to obtain solid evidence of wrongdoing on the part of the corporation, but they will doubtfully be successful here, and more likely to be  abducted by the sea-nomads. At the nomadic ship-city the travellers will be treated as inferiors unless they are willing to prove themselves and begin a long process of acculturation into the nomad way of life. As I said, the module offers a taste of everything — business backbiting, colonial exploitation, cultural assimilation, and environmental crusading. It’s fantastic.

6. Prison Planet. Eric Wilson and Dave Emigh, 1982. 4 ½ stars. This is my kind of module: a punishing ground of sadism that will teach players humility, and to never again take their characters’ freedom for granted. It’s an old-fashioned sandbox that assumes a basic plot of escape, but nothing is predetermined least of all success. Escaping the prison requires months of careful planning and lots of luck. During this time events happen according to random die rolls, and characters do their best to survive prison gangs and deadly working conditions. How things proceed depends largely on them: the reputation they build among their fellow inmates, and their decisions made in highly constrained situations. The point is that the characters have agency (for prison convicts anyway) and there’s no railroading. The module supplies the mechanics to ensure a variety of possible adventure paths. Indeed, Prison Planet could be used more than once for the same players who get arrested and convicted multiple times if they don’t learn their goddamn lessons. Players won’t like this module, or at least not at first, for obvious reasons. Captivity scenarios seem so unfair in RPGs, as they leave characters without their possessions and money, and most importantly their freedom. But good players live for hard challenges, and really good players should end up liking Prison Planet as much as they hate it… though probably only once.

7. The Argon Gambit. Frank Chadwick, 1981. 4 ½ stars. This is half of a double-adventure module, the other being Death Station, which is ranked immediately below. Everyone loves Death Station but passes over The Argon Gambit. Frankly I like the latter every bit as much as the former, and perhaps a bit more. Of course, I’m a sucker for mysteries and shadowy intrigue, and there’s plenty of that in this amoral stew of politicians looking out for their interests and covering their asses. Basically there is a power struggle in the Solomani party in the city of Argon, between three members of its steering committee: one of them is a hard-liner believing in the superiority of Solomani humans, and he’s being blackmailed for hypocrisy, as his maternal grandmother was Vilani, not Solomani; another is a moderate; and the third is a swing-vote independent, currently siding with the guy getting blackmailed. The travellers are hired by the assistant of the hard-liner to save his boss’s reputation. They are to break into a villa and steal the damning genealogical documents, and then have replacement genealogies forged. But the assistant is playing a much deeper and treacherous game; what he really does is shaft the travellers by leaking the date and time of their break-in to the moderate on the committee, and to the police as well. Things get even more convoluted from that point, and the players will need summon every ounce of shrewdness to figure out who is doing what to whom and for what reason.

8. Death Station. Marc Miller, 1981. 4 ½ stars. If The Argon Gambit is tied to a rigid Third-Imperium setting, its counterpart, Death Station, is about as location-neutral as you can ask for — so modular it can be used in just about any backwater world in any subsector of the galaxy. High above that world a laboratory ship has gone silent, and the players are hired to investigate. It’s assumed to be a routine communications breakdown, but on the ship they discover humanity itself has broken down. The surviving crew members are mad with rage, cannibalizing their dead comrades, and will keep killing each other until only one remains. As the travellers proceed, evidence emerges of illegal medical experiments and corporate espionage. This is Traveller meets 28 Days Later, though here it’s seven days later and the surviving crew aren’t zombies. They retain every bit of their mindfulness and intelligence: fully human but super-enhanced; homicidal and starving. Shrewd and hard to catch. The lab ship is a death zone and perfect dungeon crawl to throw at players who crave genuine horrors and scares. The idea of a derelict ship containing a deadly virus is cliche (and probably was even in 1981), but the module executes the trope with so much nerve-wracking tension that it doesn’t matter. Sometimes cliches work, and they certainly do in Death Station.

9. Divine Intervention. Lawrence Schick, 19824 stars. One of the funnest missions ever designed for Traveller. The mission is to infiltrate a floating palace on a world of religious fanatics, and get the thearch (the religious dictator of the planet) to reverse his isolationist policy that prohibits the exportation of the planet’s valuable mineral resource (iridium) to worlds abroad. The travellers must get inside the palace and plant a device in the sleeping chamber of the dictator; activate the device, and then leave. At some point when the thearch is in the room, the device will project an image and sound in a way that will seem miraculous to the thearch — “the voice of God” out of nowhere — and the message will advise allowing the exportation of iridium to other worlds. (After this, the device will self-destruct in a “miraculous” blinding flash.) The travellers must therefore be sure to leave not a scrap of evidence that they were ever in the palace, let alone be caught invading it. If they are spotted by anyone, that person must be stunned and taken away when the group leaves the planet. And the travellers’ employers are unable to supply plans of the floating palace, so finding the thearch’s innermost sanctum could take a lot of time. It’s an extremely delicate mission, and gods help the travellers if they are caught and apprehended by these fanatics.

10. Twilight’s Peak. Marc Miller, 1980. 4 stars. If you polled the old school for their favorite Traveller adventure, I suspect that Twilight’s Peak would be a popular choice. It seems as widely loved as D&D’s Ravenloft, and I can understand why though I don’t think it’s perfect by any means. It requires ambitious players with top-notch investigative skills to kick things into high gear, and even then it will take many gaming sessions to reach that point. It’s a module best used, I believe, in conjunction with other modules — side ventures — to liven things up. But what it does well, it does very well, though ends on something of a deus-ex-machina. The plot is basically as follows: The travellers search across star systems for a lost military expedition that carried a fortune in drugs, looking to become rich. Depending on how shrewd they are, they might end up visiting over a dozen systems, gathering clues bit by bit, chasing down red herrings, until they finally find the right world. On this world they get more than they bargained for — an old relief shelter in a mountain valley that’s now a haunted tower, and which conceals something even more shocking below it: an Ancients base, in which the legendary aliens have started to reawaken. On top of that, there is another alien base at this planet’s starport, where undercover Zhodani agents plot to overthrow the Imperium. This all comes together with the two alien races clashing, and the travellers caught between them, in danger of being killed by either one unless they can persuade the Ancients to work with them in common cause. It’s probably the most ambitious Traveller adventure ever designed, but the reach exceeded the grasp, yet it’s widely loved for good reason.

Shogun: Episode 7

After the stale outing of episode 6, we’re back on track. Three book chapters are covered (42-44) in episode 7, and because chapter 43 has been all but ignored, it’s effectively only two. In the book these chapters take place at the village of Yokose, about halfway between Anjro village and Yabu’s capital at Mishima. In the series we’re still at Anjiro, which make sense to simplify things.

Chapter 42: Toranaga’s half-brother

In the book his name is Zataki and he’s openly hostile upon arrival. In the series his name is Saeki and he lulls in Toranaga with a false sense of fraternal camaraderie. This is a nice adaptation since it builds tension and allows for a scene where Saeki is dining with Toranaga and his generals. He regales them with childhood stories about the way Toranaga won his first battle at the age of 12 and flatters his hosts, especially Naga. Then Saeki yanks the rug out from under them with another tale in which poor Toranaga shat his pants in fear, shaming his host. At this point Saeki shows his true colors: he is the newly appointed regent (after the murder of Sugiyama at the end of the last episode), which means there are five regents again, who can now legally impeach Toranaga and order him to the great beyond. He announces that the village is surrounded by his forces, and none will be allowed to leave unless they submit to the will of the regents. This whole bit is very well played.

I was also pleased by the special audience that Toranaga grants Gyoko. The mama-san’s proposition is that Toranaga take control of the Tea Houses and make the Willow World like any other craft, a guild subject to policing and taxation. This would include the introduction of geishas, who are not obligated to have sex with the customers, along with the usual courtesans. In my review of last week’s episode I thought this might be skipped over, so I’m glad to be wrong. Also, there is an added element to this scene not in the book that’s important: Gyoko hints that she can see can see through Toranaga’s ruse (more on that below), that he is not really submitting to the regents, despite his outward show of giving up. In the book it is two women who see through his ruse, Yuriko (Yabu’s wife) and Mariko. A woman’s wisdom sees far in this culture of samurai machismo, and so using Gyoko to fill the role of Yabu’s wife and Mariko makes perfect sense.

Chapter 43 slashed: No Father Alvito; Buntaro and Mariko do not share a cha-no-yu ceremony

Once again the show writers remove some of the great books scenes, in this case the tail end of chapter 42 and all of 43, which consist of two pieces of drama that I really like. The first is Father Alvito excommunicating one of his Japanese acolytes. The Jesuit priest is in a towering fury and disrupts the harmony of surrounding villagers — including Toranaga and his generals — by going apeshit over an acolyte who slept with a whore and then took the eucharist unconfessed. Alvito bellows at him for a long time and tells him that he’ll have to be lashed, at which point the acolyte rebels (his Japanese pride not allowing for such a shameful punishment) and then Alvito excommunicates him.

Then Alvito is summoned to see Toranaga, who railroads the Jesuit for his inability to bring the Christian regents Kiyama and Onoshi to his side. He demands that Alvito excommunicate these two regents, to which Alvito says that such an act would be out of line on his part, given that Kiyama and Onoshi have commit no mortal sin. Which only enrages Toranaga further, given what Alvito just did to the poor acolyte. He says to Alvito:

“You make a poor fool outcast for a natural act like pillowing, but when two of your converts [Kiyama and Onoshi] behave unnaturally — yes, even treacherously — when I seek your help, urgent help, you only make ‘suggestions’ to them. You understand the seriousness of this?”

Alas, this entire incident has been omitted. (Father Alvito isn’t even in the episode.)

Second, chapter 43 contains the touching tea ceremony — the highly ritualized cha-no-yu — between Mariko and Buntaro. It’s the one time in the book we see a vulnerable side to Buntaro, indeed a rather shockingly humble side as he treats Mariko gently and respectfully for a change. What we get instead is Buntaro’s plea to Toranaga that he be allowed to take Blackthorne’s head (which happens elsewhere in the novel), and he makes this request in front of Mariko. The looks exchanged between all three speak volumes and the actors play their parts well here. Immediately prior to this scene, Buntaro attacked Blackthorne when Yabu and Blackthorne were sparring on the beach, and I got a chuckle out Blackthorne getting knocked on his ass by Yabu before Buntaro intervenes with more serious intent.

Chapters 44: Submission

Saeki demands Toranaga’s formal answer the following morning and the book is followed closely here. Toranaga bows to the will of the regents and says that he will go to Osaka, which of course means the death of him and his family line as he will be ordered to commit seppuku. Omi, Yabu, Buntaro, and Hiro-matsu are appalled — as is Blackthorne, who rather shockingly gets up and makes a display of insulting everyone. That certainly doesn’t happen in the book, and while it makes for an entertaining scene it’s thoroughly unrealistic to expect that all the daimyos and samurai generals (on both sides) would tolerate such outrageously bad manners.

Of course, we know (if we’ve read the book) that Toranaga has no intentions of really going to Osaka, and there’s a lot of good drama in the book involving the outrage of his generals. I hope we get to see this in episode 8.

The final scene took me completely by surprise: the death of Naga when he attacks Saeki (this is after Saeki’s sexual role-play with the courtesan Kiku). Naga doesn’t die in the book, but he does fade into the background by this point in the story, and so killing him off was a good move in my opinion. I suppose the viewer who hasn’t read the book might have been expecting something bad to happen to him, after his use of the cannon regiment against Jozen in episode 4.

Verdict

This is a return to form after the lackluster episode of last week: 8 out of 10.

Update: see my review of episode 8.

The Gazetteers of Mystara

There’s an irony in my relationship to the world of Mystara. I love the place, even though it’s the setting for Basic D&D which I almost never played. I played by Advanced D&D rules but hated the world designed for it; Greyhawk struck me as artificial and uninspiring. Mystara, on the other hand — also known as the “Known World” — hooked me right away, from its sketchy inception in The Isle of Dread module, to the fleshed-out detail in later gazetteers. Those gazetteers are the subject of this post.

The nations of Mystara are compelling analogs of our own world: click on the map above to see the Empire of Thyatis (= the Roman Empire), the Grand Duchy of Karameikos (= southeastern Slavic Europe), the Principalities of Glantri (= western Europe, ruled by wizard-princes), the Ethengar Khanate (= the Mongols), the Republic of Darokin (= the mercantile states of medieval Italy), the Atruaghin Clans (= the Native American Indians), the Emirates of Ylaruam (= Middle Eastern Arabs), the Northern Reaches of Ostland/Vestland/Soderfjord (= Scandinavian Vikings), the Kingdom of Ierendi (= the Bahamas), the Minrothad Guilds (= Switzerland + 19th century Britain), plus regions for the dwarves, elves, and halflings. To the east of this continent is the huge empire of Alphatia (which basically = Atlantis). I still consider Mystara the most ideal setting for D&D campaigns. Pastiche like this should come across as lazy world-building, but in this case it doesn’t. The resonance with our own world is what makes Mystara so compelling to me.

Some of the best old-school modules are set in Mystara: The Keep on the Borderlands, The Lost City, The Isle of Dread, Castle Amber, Master of the Desert Nomads, and Temple of Death. But I often set other modules there too. In my following ranking of the gazetteers, I do so primarily on the basis of how these regions and nations inspired me, not necessarily on how the content is presented. In some cases (most notably The Atruaghin Clans) the gazetteer could have been better designed or fleshed out, but it still had enough of the cultural material that I value in these products.

1. The Principalities of Glantri. Bruce Heard, 1987. 5 stars. This is what a nation of magic-users looks like at its most diversified, dangerous, and eccentric. In this land, clerics and priests are treasonous criminals to be executed, and dwarves second class citizens at best, usually taken captive for magic experiments. There are ten principalities, to each their own: (1) the House of Sylaire is based on medieval France, and ruled by the insane family from the module Castle Amber; (2) the House of Crownguard is derived from medieval Scotland, highly invested in necromancy, and ruled by a prince who is a lich; (3) the House of Ritterburg owes to German and Prussian influences, and evokes shades of the Third Reich; (4) the House of Sirrechia is like Renaissance Italy; (5) the House of Igorov is ruled by vampires and much like Transylvania; (6) the House of Singhabad comes from the nomadic Asians of Ethengar (based on our Mongol culture, see #11 below) and they have more tolerance for clerics and priests; (7) the House of Silverston descends from exiles of the Alphatian Empire (see #10 below) and are followers of the Air; (8) the House of Linden also descends from Alphatian exiles but are followers of the Flame and rivals to House Silverston; (9) the Clan of Alhambra are elves that come from way beyond the Mystaran continent, and are short and hot-tempered, their culture reminiscent of medieval Spain; (10) the Clan of Ellerovyn are elves from the nearby kingdom of Alfheim (see #6 below), having emigrated to Glantri, and are basically much like classic D&D elves. What’s fascinating is that all of this is practically a microcosm of the Mystaran continent itself, which is an amalgam of cultures that evoke either our world or classic D&D. The Principalities of Glantri follow suit and you’d expect that sort of pastiche to fail, or at least come across as lazy world building. It doesn’t. These cultures are all the more lively because of their diversely familiar elements and exactly what I want a confederation of mages to be like in my campaigns.

2. The Atruaghin Clans. William Connors, 1991. 5 stars. This one has a poor reputation and for good reason. It’s a half-finished product rushed out of the gate. Certain ideas are padded to take up space; the font is huge and the page margins wide. No cities are detailed; no bestiary; none of the usual material in a Mystara gazetteer. But for me this hardly matters much, because what the gazetteer does provide is what I really need: the cultures and tribes of a very compelling Native-American-like confederation. Also, the product was later finished in the unofficial Mystara Reborn Gazeteer: The Atruaghin Clans, by Glen Welch. [The pdfs for that completed gazetteer are freely downloadable here (Player’s Guide) and here (Dungeon Master’s Guide).] Between the original product, the inspiration I took from it, and Welch’s top-notch finished version, I have to say that The Atruaghin Clans is a hands-down favorite. There are five clans: (1) the eight tribes of the Elk Clan, the largest of the clans located at the center of the Atruaghin nation, staunch traditionalists who adhere religiously to the Old Ways and the policy of isolationism; (2) the four tribes of the Horse Clan, the most independent of the clans who have no spoken language (using only hand signals, facial expressions, body postures, and occasional vocal cries), and are led by the strongest warriors, and live for horse riding, buffalo hunting, warfare, and scalping their enemies (a practice the other tribes find barbaric); (3) the seven tribes of the Bear Clan, the most conflicted clan between the Old Ways and the new, believing in the importance of trade with outsiders; (4) the five tribes of the Turtle Clan, the most forward thinking of the clans and openly doubting the Old Ways, and even allowing intermarriage with non-Atruaghin, and embracing foreign trade with minimal reservations; (5) the eleven tribes of the Tiger Clan, a close analog to the Aztecs of our world, and who are not part of the confederation that loosely unites the other four clans; the Tiger Clan is a nasty theocracy that practices human sacrifice daily and wages merciless warfare against the other four clans and the outside world. Welch’s completed version is a brilliant creation. The 35 tribes are given enough detail to make the Atruaghins believably complex, but not too much to overwhelm.

3. The Emirates of Ylaruam. Ken Rolston, 1987. 5 stars. I give this highest marks despite the fact that I changed so much of the content. Remember, I’m ranking these based on how inspired I am by them, how much pleasurable use I get out of them, and by that yardstick The Emirates of Ylaruam should probably be at the top of my list. (It’s only because the Glantri and Atruaghin gazetteers are incomparably awesome that they take the lead.) But as I say, I had to give it a huge overhaul. The analog of Muhammad, Al-Kalim, is way too sanitized. In my revision, Al-Kalim is the historically accurate warlord intent on the subjugation of all peoples who refuse to embrace the religion of the Eternal Truth. In my revision, the emirates are among the harshest places to live in Mystara, given that the rule of law is the equivalent of our world’s Islamic law, sharia law, and the way of jihad (holy war). In my revision, women are second-class citizens (unlike the skimpily-clad dancer suggested on the cover) and clitoridectomies are mandatory in two of the six emirates, and encouraged in the other four. And aside from being more accurate, my revisions make the Emirates a much more dangerous and hostile region, which is what I want for challenging campaigns. I was so inspired by this product that I wrote a novel set in Ylaruam, involving The Lost City, with jihadists from the surface world threatening to annihilate the Cynidiceans. This sandbox is so loaded with potential and I could get years of campaigning out of it.

4. The Northern Reaches. Ken Rolston, 1988. 4 ½ stars. It’s designed by the author of The Emirates of Ylaruam, and so no wonder I like it so much, and the vikings indeed share certain traits with the desert jihadists: they don’t fear death — they often look forward to it — and are bound by codes of honor that can be just as inflexible. But at least the vikings can laugh about it and enjoy life. From a technical point of view, Rolston did an even better job with The Northern Reaches, because he supplied more game mechanics for the culture of the region. There are personality traits (cautious/rash, modest/proud, peaceful/violent, courageous/fearful, reverent/godless, forgiving/vengeful, loyal/unreliable, etc.) that can impact a PC’s interactions as much as ability scores. Characters have reputation ratings — a rather crucial rating in an honor-shame culture and something that should definitely have been put in the Ylaruam gazetteer. Clan benefits are described. Background skills (intimidate, boating, ship building, know terrain, know market value, skald, etc.) are also provided and very easy to use. The region itself is divided into three realms: the island kingdom of Ostland (conservative and watch yourself here), the kingdom of Vestland (more modern and cosmopolitan), and the Soderfjord Jarldoms (unruly, and somewhere between Ostland’s duel-based values and Vestland’s more progressive court-based system). If you’re a running a Norse-like scenario anywhere, this gazetteer will be of immense use.

5. The Minrothad Guilds. Deborah Christian and Kim Eastland, 1988. 4 ½ stars. These islands are dangerous in a very non-standard way for D&D play. Crime of any sort is punished severely, and what constitutes crime is, well, just about anything you do without the permission of the appropriate guild. Cast a spell? You’re in trouble, unless you’re part of the Tutorial Guild, or under its direct supervision. Draw a weapon? You’re in trouble again, unless you belong to the Mercenary Guild. As for thieves, there is zero tolerance; the punishment for minor theft is the loss of one or both hands, and for major theft it’s execution. (There is a Thieves’ Guild in Minrothad, but it’s highly secret, and if any of its members are unlucky to be caught, their punishment is the same as that for a non-guild member. Ditto for the Assassins’ Guild.) Standard crimes are punished with severity; even an act like sacrilege against a church can earn you a year in a dungeon, and the prisons on these isles are among the worst in all of Mystara. Minrothad is basically a combination of Switzerland and 19th-century Britain: strictly neutral in the affairs of other nations, insular and unwelcoming to outsiders, but reaching out far and wide with its merchants to rule the sea trade. Their merchants sail everywhere with goods that are hard to come by, and their merchant-princes run tight ships — and with spellcasting abilities that give pirates and anyone in their right mind a serious pause. It’s not possible for Minrothad to completely monopolize trade abroad, but it comes pretty damn close. For D&D play, these islands offer unusual challenges: covert operations that demand thinking more than fighting, and where it’s all too easy to get a bounty put on your head. The only character class unrestricted by the guilds are clerics and druids. The isles are multiracial, and elves (water elves and wood elves) are actually dominant over the human, dwarven, and halfling populations. And there is a terrific section on ships, navigating weather patterns, how many hull points various ships have, what damage points do to a ship’s performance, etc. — this section is even better than what the DM’s Guide offers on the subject of ship combat. What can I say, The Minrothad Guilds is everything I look for in a fresh new region that will challenge players in radically new ways. Oh, and to top it off, these isles have recurring problems with lycanthropy and vampirism, just to shake things up extra.

6. The Kingdom of Ierendi. Anne McCready, 1987. 4 ½ stars. This one isn’t nearly as bad as its reputation suggests. In fact I adore it. At some point PCs want a break from all the standard D&D fare and just go on a goddamn vacation. Ierendi is the place for that. It’s the Mystaran equivalent of the Bahamas, ten subtropical islands each having something unique about them. The most noteworthy, aside from the main island of Ierendi itself, is Safari Island, which is a nature preserve and theme park — the medieval equivalent of our modern laser-tag sites, where adventurers can test themselves in regulated combat games, and hunt dangerous beasts (if they’ve obtained a license for it), for the most part safe, though accidents do happen. Ierendi thrives as a tourist industry, and so it is most welcoming to outsiders unlike their neighbors to the east, the insular Minrothad isles (on which see above). As a naval power Ierendi remains unrivaled (though Minrothad is a close second), thanks to the secret cabal of mages on Honor Island; they use a secret formula to make Ierendi’s fire ships, impervious to damage and able to shoot fire at enemy ships from great distance. There’s a druid colony on another island; albino aborigines on another; a pirate den on another; etc. The king and queen are figureheads more than anything, chosen each year if they can win the royal tournament set on Safari Island. True rule comes from the Tribunal, a cabinet of aristocrats. There is fascinating history to the isles, as it used to be a penal colony for the Thyatian Empire until liberated by pirates. I’m greatly inspired by The Kingdom of Ierendi and it has way more potential than often claimed. Using it in conjunction with The Minrothad Guilds would make for an epic campaign, not to mention a schizophrenic one.

7. The Elves of Alfheim. Steve Perrin, 1988. 4 stars. Canolbarth Forest isn’t Lothlorien by a long shot, but then it shouldn’t be. The elves of D&D are different from Tolkien’s immortals and have more room for the edginess of character one associates with pulp fantasy. That said, the forest of Canolbarth — which covers the whole realm of Alfheim — is strongly enchanted, created by mages who gave it lasting endurance through twelve magic points. These magic points (with names like Glowtree, Shadowdown, Misthaven, Dewdrop, Turnclaw, Dreamland, etc.) preserve the pleasant climate of the forest and arresting plant life all around. On the other hand, three of the twelve magic points have gone bad (named Thornbush, Dragontree, and Stalkbrow) and are unremovable spots of perverted magic, making the forest as dangerous as it is benign. Even the good points can be perilous; for example, non-elves who wander near the magic point of Dreamland have been known to walk away with drastic personality changes. As for the seven clans, they are distinctive, though somewhat vanilla, and could have used more fleshing out. One clan favors contact and trade with outsiders, to the alarm of the other clans. Another is known for its skilled artisans. Another is into tree lore and druid power. Another trains foresters, rangers, and trackers. Another is heavy into magic use, even by elvish standards. Another preserves knowledge as the “librarians” of the forest. And the seventh grooms exceptional warriors. D&D elves aren’t immortal like in Middle-Earth, but they do live long (600-1000 years), and at the time these gazetteers are set (1000 AC), Alfheim is only on its fourth king since the realm was established 1800 years prior. This is a solid gazetteer that does the elves justice.

8. The Dwarves of Rockhome. Aaron Allston, 1988. 4 stars. What strikes me most about The Dwarves of Rockhome is that this region is what I wanted Moria (1984) to be like. Not that Moria was bad, but it felt that ICE’s heart wasn’t quite in the project; the mapwork consisted almost exclusively of route maps, which infuriated me, and it didn’t dive as deep as I would have liked into the dwarven culture. The Dwarves of Rockhome remedies some of the problems I saw with the Tolkien product. If I were running a Middle-Earth campaign, I’d use a lot of the material from this gazetteer to beef up the kingdom of Durin’s Folk. I like the description of the seven clans in particular. One clan is theocratic and produces a lot of dwarven clerics, as well as crusaders against the surrounding threats of orcs and goblins. Another clan is aristocratic. Another is dominated by isolationist zealots. Another pushes advanced technology. Another is into trade. Another is highly militaristic. And the seventh ostracized clan is full of dwarven pariahs. The capital city of Denghar is very well designed; I’d use Upper Denghar in the First Deep of Moria and Lower Denghar in the Second Deep; only a few modifications would be necessary for the other five deeps below and seven levels above. The Dwarves of Rockhome has a good reputation and I join the chorus of praise for it. It fits right at home in either Mystara or Middle-Earth — and probably most any world that has a mountain hive of dwarves.

9. The Grand Duchy of Karameikos. Aaron Allston, 1987. 4 stars. This is a strong #1 favorite for many and I can understand why. Karameikos is an ideal setting for a D&D game, especially beginners, since it’s a frontier setting writ large — settled enough to provide bases from which characters can explore, wild enough to provide endless opportunities for adventure. But I have to agree with James Maliszewski that this is precisely what makes it vanilla: “Beneath the Slavic veneer of the place, it’s your typical fantastic medieval realm with the full panoply of D&D flourishes… a very solid set-up for a standard model of a D&D campaign. However, if you’re hoping for something different, or even just off the beaten path, you’ll likely be disappointed. And I was. I was simply unimpressed.” That’s sort of how I feel about it, though I think I would have loved this gazetteer in my earliest years of playing D&D. It’s the first in the series for good reason. The classic beginner’s module The Keep on the Borderlands is set in Karameikos. Looking at this product today only does so much for me, and it hardly inspires given how far I’ve come with the game. I’m not saying it’s a bad product. I rate it 4, which is very good. But it doesn’t particularly grab me at this point in my gaming career, and culturally speaking it’s rather bland. Since I look to these gazetteers primarily for cultural novelty, The Grand Duchy of Karameikos can only do so much for me.

10. Dawn of the Emperors. Aaron Allston, 1989. 3 ½ stars. I was expecting something more epic here, befitting the rival empires. We’re talking about Rome and Atlantis after all. The Empire of Thyatis (based on the Eastern Roman Empire of 330-1453 AD) and the Empire of Alphatia (mystical land of wizards and magical might) needed far more space and treatment than this product gave it. These are the two giant empires of Mystara, constantly at each other’s throats: Thyatis with its military tradition and feudal nobility valuing law and order, but with an underside of oppression and corruption; Alphatia with its mages, promoting knowledge and freedom, but also with its own dark side of cruelty and elitism against those who can’t work magic. The lands of Thyatis and Alphatia each cover far more territory than the rest of the gazetteer regions combined. If you have any doubts, click on the adjacent map. The areas numbered 1-16 in that little pocket on the west are the regions covered in the other Gazetteers. Thyatis and Alphatia are comparatively off the scale. Dawn of the Emperors is a fine enough resource that details all the major areas and cities, their populations, etc., but it all seems a bit dry and vanilla like the Karameikos gazetteer. To put it mildly, this product needed more life breathed into it.

11. The Golden Khan of Ethengar. Jim Bambra, 1989. 3 stars. The analogs for Kublai Khan’s people get a decent enough outing here. The lives of these Mongol-like nomads revolve around horses: “They don’t just breed their horses, they merge their lives with them. They follow the horse, living, eating, and sleeping wherever the horse leads them. Everything else is brought along with them; they leave nothing behind.” The Ethengar are a transient people, and ride as fluently as other races walk. It’s the basis for their superiority as they see it. Eight tribes live on the steppes, each with their own grazing areas, each loyal to its own khan. All serve the Great Khan (the khan of whichever tribe is currently the strongest), but those loyalties sometimes run skin deep. The shaman class is able to summon spirits — nature spirits, undead spirits, and evil spirits from the Land of Black Sand — and perform other spells beyond the reach of standard clerics. I’ve never used this gazetteer, probably because I have minimal interest in Mongol culture, but those who do will find it a helpful resource.

12. The Republic of Darokin. Scott Haring, 1989. 2 stars. From here on down they’re bad. The first of them, The Republic of Darokin, presents a fantasy capitalism where all the rich folks are generous. This is so unrealistic and unlike the approach of the other gazetteers which make their region to be complex and full of internal tensions. (For example, The Minrothad Guilds, at #5 above, portrays a very compelling proto-socialist economy of guild trade.) Darokin society is far too good to be true. Hell, no one even cheats on their taxes in Darokin because things are so rosy. Don’t get me wrong, I’m a capitalist at heart and have no desire to see it demonized as today’s wokes do. But nor do I want to see it romanticized. Even the best political and economic systems have problems and all societies brim with ugliness beneath the surface. Utopias are impossible to achieve on prime material worlds, and yet as written by Scott Haring, the Republic of Darokin comes across like a capitalist utopia. I’m inclined to give the gazetteer a single star, but I throw it two for a couple of good things: the merchant class with a unique set of spells (like count coins, evaluate, ignore road, trust, check load, crowd summoning, silver tongue, inventory), and a helpful section on pack and draft animals, how far they can travel in a day and how much load they can carry.

13. The Orcs of Thar. Bruce Heard, 1988. 1 ½ stars. I find it hard to believe that this product was designed by the same author of The Principalities of Glantri (which absolutely claims the #1 slot on this list). It’s widely derided for its silliness, and in this case I join the consensus. It’s so comedic that it’s farcical, and on top of that, I dislike the hodgepodge approach of throwing every humanoid type — orcs, goblins, hobgoblins, trolls, bugbears, kobolds, ogres — into a single realm. And before you say the Caves of Chaos did the same thing, no, it’s not the same thing. The Caves of Chaos had different tribes of humanoids living in each cave; all fine and well. The Broken Lands are presented as the major realms for each humanoid, all living side by side, which is lazy and artificial. And incidentally, that’s exactly what this gazetteer should have been titled: The Broken Lands, not The Orcs of Thar, since orcs are only part of the bigger picture. That bigger picture is marred by crass juvenile humor. One picture has an orc with a finger jammed up his nose. The map called “The World According to Orcs” shows a rudimentary map of Mystara with name-calling labels, such as “Ierendi Freaks”, “Dwarven Maniacs”, “Happy Campers” (for the Atruaghin Clans), “Our Potatoes” (for the Five Shires), “Their Potatoes” (for the Duchy of Karameikos), “Tree Scum” (for the Elves of Alfheim), “Desert Bums” (for the Emirates of Ylaruam), and you get the drift. I have a sense of humor too, but there’s a time and place, and when it’s all over the map it becomes impossible to take these evil creatures seriously. Not to mention the cartoon drawings and depictions of the humanoid personalities. The Broken Lands should be presented as threatening, deeply menacing, and The Orcs of Thar fails this mandate with flying colors.

14. The Five Shires. Ed Greenwood, 1988. 1 star. I have something of an attitude on hobbits used outside of Middle-Earth. Tolkien made them unique, and when other authors or game designers co-opt his creation they just seem like short humans. The Five Shires is no different, really, and in my gaming years I often pondered removing the halfling race altogether from Mystara and making the Shire region an extended wilderness of the Grand Duchy of Karameikos. Objectively this gazetteer is a good enough source book, and it includes an interesting subclass called the Master, which is a druid-like halfling who leaves his or her clan to nurture the Shires by using lore learned in the past from the elves. There’s some other stuff too. It doesn’t matter: every time I try giving this product its due, I soon put it down. It simply does nothing to inspire me or even want to have hobbits in the world of Mystara.

 

15. The Shadow Elves. Carl Sargent and Gary Thomas, 1990. 1 star. There are those who applaud this gazetteer for its balanced, nuanced, and fair treatment of the dark elves. I’m not one of them. The classic drow created by Gary Gygax are the only dark elves I acknowledge: the genetically evil race of depraved sadists brought to life in Vault of the Drow. This product instead follows the trend begun in the mid-’80s of bastardizing the drow and turning them into misunderstood minorities. The Shadow Elves, in this sense, represents the concerns of a dawning political correctness. Today it’s outright heresy to speak of evil drow (and evil orcs for that matter), but the seeds of that wokeness go back to the mid-’80s when D&D was being increasingly commercialized and dumbed down for wider appeal. If you want good supplemental material for the drow, read Dragon Magazine #298. It contains some of the best stuff ever written about the dark elves. This gazetteer, by contrast, makes my heart sink on every page. As a result, all of the effort that went into it is wasted on me.

 

Shogun: Episode 6

Not the best, to be honest, especially after the impressive fourth and fifth episodes. We’re still at Ajiro village, as Toranaga readies for war, and as with the previous two, only about four book chapters are covered (in this case 37, 39-41). So nothing feels rushed, which is good, but then a lot of material from the novel is omitted in favor of Mariko’s backstory. That does us no favors. Here’s the breakdown.

Chapter 37: War council

In the book Toranaga reveals his plan for Crimson Sky to his chief advisors: Hiro-matsu (who always knew about it), Naga, Buntaro, Yabu, and Omi. What precipitates this announcement is the arrival of Kiri’s carrier pigeon from Osaka, delivering a tiny sliver of good news: that Lord Sugiyama has resigned from the council, which buys Toranaga a bit of time since there must be a full council of regents to impeach him. The bad news is that Sugiyama and his family are abducted and massacred by Ishido’s scumbag ronin. Toranaga explains his “Crimson Sky” plan, which is a desperate attack on the city of Kyoto, where the Son of Heaven (the Emperor) holds court.

In the TV series, however, Sugiyama’s refusal to cooperate and death occur at the end of the episode, well after Toranaga’s war council, and Crimson Sky is revealed as a plan to attack Osaka rather than Kyoto, and Toranaga is immediately ready to launch Crimson Sky. Hopefully this is a ruse on his part (as it is in the book), because rushing into war at this point in the story threatens to strip away a good chunk of the novel, where Toranaga feigns submission to the regents. Chapters 44-50 (which is basically all of Part 4) portray a deflated and irritable Toranaga who has given up and intends to lead his advisors and generals to Osaka and bow to the will of the council. But he secretly has no intention of giving up; he’s playing his vassals for fools, even his most trusted confidant Hiro-matsu. He has to make everyone believe that’s he’s given up — so that spies will report back to Ishido that it’s for real — and so he shits on everyone around him, treating them shamefully, even to the extent of ordering his son Sudara to murder his children in order to prove his loyalty. I hope this thread isn’t skipped over in the series.

Chapter 39: Let me at ’em

In chapter 39 of the book, Blackthorne petitions Toranaga to turn him loose on the Portuguese — that with Erasmus and some trained naval samurai he could attack the Black Ship and rid Japan of Catholic interference. For the most part this plays out in the show as expected. Toranaga outwardly chastises Blackthorne for his presumptuous intentions of warfare in his country; he secretly likes Blackthorne’s idea to attack the Portuguese, but since we’re not reading the book we’re not exposed to what Toranaga is thinking under the surface. However, Toranaga does announce (as he does in the book) that Blackthorne will be given a fief of land with an annual salary befitting his station as hatamoto, in effect giving him the means to recruit the people he needs to go against the Black Ship.

Chapters 40-41: Heaven on earth is here?

The part I was really looking forward to is announced by the episode’s title, “Ladies of the Willow World”, but it’s underwhelming to say the least. And once again, it’s head-scratching how the show writers go out of their way to shave away the most arresting and interesting material from the novel. In the book, Blackthorne’s night at the Tea House results in his third cultural epiphany. To review, his first epiphany was his “return to life” after trying to commit seppuku, which the show writers scrapped entirely in episode 4. The second epiphany was his sudden grasp of the meaning of karma/fate after surviving the earthquake and rescuing Toranaga from it, which the show writers omitted from the earthquake event in episode 5. His third epiphany is now also removed, from the tea house event in episode 6. In the book, the tea ceremony is accompanied by a display of sex toys and some very amusing dialogue as Blackthorne attempts to keep a sense of humor about the whole business. Then it suddenly hits him — the prudish hang-ups of his western culture, the unwashed filthiness of English society, the incredible cleanliness of the Japanese, all culminating in a night of contentment as he realizes that “Heaven on earth is here,” in the Japans. Because of all these omissions, we don’t get to appreciate Blackthorne’s cultural conversion that Clavell depicted so well. The whole point of Shogun is that despite the brutal code of honor and shame, a western man is gradually won over to the Japanese. We’re just not seeing that brought to life in the TV show — and we’re certainly not seeing Blackthorne bond with Toranaga to the degree he has by this point in the novel.

I did enjoy Omi’s display of jealousy the next morning as Blackthorne bows to Kiku who beams with pride. But I wish Kiku had stood there for a long time to see Blackthorne off as he turns and leaves, thereby giving him greater honor. I also wish we got to see more of Gyoko the mama-san. In the book she’s a viciously conniving bitch, but here she’s little more than a madame who tries to get as much money as she can get from her customers. In the book, moreover, she proposes something major: that Toranaga take control of the Tea Houses and make the Willow World like any other craft, a guild subject to policing and taxation, and to introduce geishas (who are not obligated to have sex with the customers) along with the usual courtesans. A true heaven on earth, and another thing I’d have liked to see. But maybe Gyoko will propose this in the next episode.

Events at Osaka and Mariko’s backstory

Aside from his petition to Toranaga and vanilla-flavored stay at the tea house, Blackthorne is largely absent from this episode. Instead we see a bit more of Ochiba and the regents, which I liked, and a lot more of Mariko’s backstory, which I’m not wild about, as it is tied to Ochiba’s. First the regents: Ito is the new one replacing Toranaga, and he shows every sign of being the ineffectual fop that he is in the novel. The horrible murder of Sugiyama and his family (which I mentioned already) is well handled. So the question is whether Toranaga’s half-brother will become the new regent replacing Sugiyama, as in the book.

As for Mariko’s backstory, the show writers got creative by making Ochiba the actual daughter of the Lord Kuroda (Gordoda in the novel; Oda Nobunaga in history), who was assassinated by Mariko’s father, Akechi Jinsai. (Jinsai was then executed after being forced to execute his entire family for his own treachery, except for Mariko who was claimed by Buntaro.) Ochiba and Mariko thus grew up closely together, and we see in the flashbacks that as children they had been friends. Both Ochiba and Mariko carry serious baggage and want revenge, Ochiba craving power through her son, the heir of the Taiko, and Mariko wanting payback for her father and whole family’s execution. This drama rubs me the wrong way. Revenge stories usually climax in cliches, and Mariko’s climax in the novel is already 100% perfect. I don’t want to see that messed with too much.

Verdict

This episode isn’t bad but it isn’t all that good either, and is my least favorite so far — 6 ½ out of 10.

Update: see my review of episode 7.

Shogun: Episode 5

The fourth episode was terrific and the fifth is pretty good too. It continues Blackthorne’s stay at Ajiro village, as Toranaga returns from Yedo with his generals and many troops — including the loathsome Buntaro whom everyone thought dead. As with episode 4, only about four book chapters are covered (34-36, 38, and the start of 39), and so there’s not the rushed feeling of the early episodes. On top of that, and unlike episode 4, the best and most important scenes from these chapters are covered. There is a major problem however, regarding reactions to Jozen’s death. As before, I’ll go through them by comparisons and contrasts with the corresponding book chapters.

Chapters 34-35: A loathsome husband and unwelcome guest

Toda Buntaro is one of the nastiest husbands ever portrayed in a literary work. Most of Clavell’s characters have something redeeming about them, but Buntaro has none, and Blackthorne must choke down this piece of shit as a dinner guest. This, of course, is after fucking the man’s wife (Mariko), of which Buntaro is unaware… and yet he seems itching for a fight right away, as if he somehow suspects. I’d guess that Buntaro is the sort of man who always suspects another man of the worst regarding his wife, regardless of how groundless the suspicions are.

It’s at this unpleasant dinner that we learn Mariko’s shameful family history. Buntaro forces her to explain it and Blackthorne to listen: Her father had been a general of a cruel overlord and murdered him for the greater good. But however good the intentions, killing one’s liege is dishonorable and so all of Mariko’s family was exterminated for her father’s act of treachery. Her mother, sisters, and brothers had to kneel before her father as he decapitated them before killing himself. Mariko was the sole survivor, ordered to be spared against her will by her new husband (Buntaro), who continues to forbid her from following her family into death. I’d want to die too if I were Mariko.

As for Buntaro’s archery stunt, it closely follows the book. From the dinner table he shoots an arrow at a target outside the front door, while aiming the arrow so that it barely misses Mariko’s face. Later that night in her bedroom, Buntaro beats the shit out of her, and Blackthorne snaps, chasing him outside to challenge him to a duel. Buntaro pleads drunkenness and Blackthorne relents — though with far less graciousness than he does in the novel.

Every epic tale needs a demon, a character so repulsive that you cringe every moment he’s on stage. In Game of Thrones it’s Ramsay Bolton. In Tai-Pan it’s Gorth Brock. In Shogun it’s Toda Buntaro. So far the show writers are doing the demon justice.

Chapter 36: A stupid son and muddled confusion

This is the episode’s first scene, trailing the messy end of episode 4. The death of Jozen wasn’t handled well, and I’ll repeat what I said in responding to a commenter. Toranaga absolutely approves Naga’s murder of Jozen, since destroying Jozen and his men is necessary. But this point is thoroughly muddled by the show writers. In the book, Toranaga’s only objection is the way Naga allowed himself to be manipulated by Omi (thereby making himself a shameful tool of Yabu and Omi) instead of Naga coming to the decision to kill Jozen independently on his own. He tells Naga this explicitly in the book, but here in the series he doesn’t, leading the viewer to perhaps believe that he’s pissed at Naga because Jozen’s death will escalate the conflict between him and Ishido. But Toranaga has been escalating conflict from the get, in his very clear struggle against the regents. He obviously has no problem heightening tension, and the show writers were wrong to imply (at the end of episode 4) that Naga’s murder of Jozen would trigger an all-out war. Naga’s action, by samurai standards, was an honorable way of responding to Jozen’s insults; Jozen was being incredibly disrespectful and insulting to Naga (as in the book) to which Naga, as a samurai, had the right to seek vengeance. Jozen’s murder is justified in this sense by the samurai code of conduct, even if Ishido would be infuriated by it and accelerate the conflict between him and Toranaga on other pretexts.

In this light, Yabu’s hysterical reaction to Naga (at the end of episode 4) was also over the top. In the book Yabu didn’t shriek in terror when Jozen was killed. He very firmly ordered Naga to lay off Jozen and his men (to make outwardly clear that he had nothing to do with the attack), and when Naga refused (on grounds of his honor), Yabu simply said, “Very well,” and walked off, smugly elated that his and Omi’s plan worked. They had gotten rid of Jozen entirely through Naga and kept themselves clean of the affair; all Yabu cares about is preserving his double-agent status and staying in Ishido’s good graces. But in the show, Yabu is horrified like Mariko, fearing war as an immediate consequence of Jozen’s death, which makes no sense. To put it most obviously: Yabu engineered the murder of Jozen, so he wouldn’t be horrified by the murder of Jozen!

The fifth episode admittedly undoes some of the confusion. When Toranaga scolds Naga, he says, “Did it ever occur to you that by killing Jozen you might have been doing Yabu’s bidding?” In other words, as in the book, Toranaga is not objecting to the fact that conflict might escalate because of what Naga did, but rather that his son has made himself a tool of Yabu and Omi. But unlike the book, he doesn’t come right out and say to Naga that killing Jozen and his men was a good thing.

Rather, it is Yabu whom he says this to, later in the episode (image to the left). Toranaga accuses Yabu of manipulating Naga, and Yabu deflects by heaping the blame solely on Omi and promises to discipline Omi for it. Toranaga replies:

“Discipline? Omi found a way to force our enemies to attack. Why would I need to discipline such a promising young man? If I were to attack them in the stronghold of Osaka, I would surely lose. But thanks to your nephew, they will surely take the offense and must draw out to attack us here. We can entrench ourselves. Drain their numbers.”

In other words, the slaughter of Jozen and his men was a good thing. To which Yabu replies, “Exactly what I was thinking!” Except that he didn’t seem to be thinking that at the end of episode 4, when he was shrieking and like Mariko looked terrified over the prospect of an immediate all-out war. In the book Yabu and Mariko are as intelligent and calculating as Toranaga. Here in the series, Yabu comes across as confused, inconsistent, and rather stupid.

And while the above dialogue from Toranaga does undo some of the mess at the end of episode 4, it still implies that Jozen’s death will be the trigger for open warfare, which is absurd. In the book, Jozen’s death is a blip on a wide canvass of conflict, and the trigger for war comes much later toward the end: it is Mariko’s brilliant shaming of Ishido (and her resulting death) at Osaka Castle, along with fears that Toranaga might actually have the balls to subdue the Son of Heaven, that finally trigger the regents to declare war on him. By rights, those events should happen down the road in episode 9. So I wonder seriously how much the plot will be altered by attaching too much importance to Jozen’s death.

Chapter 38: Pheasant tragedy

This part condenses material from chapters 32 and 34 as well. Back in chapter 32 (the part of the book covered in episode 4), Fujiko arranges for a pheasant to be caught and cooked and Blackthorne is immensely pleased as he enjoys a more western meal for a change. This scene doesn’t appear anywhere in the show. Then in chapter 34, immediately prior to Buntaro’s visit (on which see above), Blackthrone has acquired another pheasant, and hangs it to dry outside his house. This is where the thread starts in episode 5. Blackthorne gives strict orders to his house servants that no one is to touch the pheasant or “they will die” — said jokingly of course. The pheasant soon begins to rot and stink to high hell, disturbing the harmony of the villagers. Buntaro is none too pleased about the smell either, when he arrives for dinner.

A point of note: In the book Blackthorne didn’t threaten his staff with death, not even jokingly. He simply said, with mock gravity, that “No one is to touch the pheasant except me.” Which amounts to the same thing in the samurai context of honor and shame. Orders are orders, and to defy them means death. Because the smell is so disgustingly awful, one of Blackthorne’s household staff — the gardener, Uejirou — “takes one for the team” by disposing of the pheasant, which means that he must dispose of himself afterward (commit suicide) for having disobeyed Blackthorne’s orders. For Blackthorne is a samurai/hatamoto, and for a peasant to go against a samurai’s orders means the end of line. I wish they had followed the book here; there was no need for Blackthorne to specify (however jokingly) that he would kill anyone who touched the peasant. The order itself — “No one is to touch the pheasant except me” — speaks for itself.

I was frankly wondering if they would even include this scene, given how the show writers have been bending over backwards to sanitize things and shave off cultural elements that make Shogun so interesting. Episode 4’s omission of Yabu’s threat to crucify the villagers and Blackthorne’s attempted seppuku is unforgivable. I wasn’t holding my breath waiting for the pheasant tragedy, and was pleasantly surprised to see it not only included but handled well. It’s capped off by a very moving moment (above pic), when Blackthorne puts the rock in the garden in honor of Uejirou who died for him.

Chapter 38 (and start of 39): Earthquake

A great scene in this episode is when Blackthorne, appalled over the completely needless (as he sees it) death of his gardener, requests that Toranaga allow him to leave Japan. Toranaga can’t understand why Blackthorne is so upset over the pheasant incident and gets quickly fed up with fussing over trivialities. “I can’t be bothered with this nonsense”, says Toranaga, getting up from his chair and walking off in a huff — at which point he becomes bothered in the extreme when an earthquake hits.

It happens much like in the book — a major earthquake that makes the cliff crumble right underneath Toranaga, and Blackthorne then jumps down and digs Toranaga out of the dirt. But there’s a serious omission that I resent, not to mention a seriously missed opportunity, as it would have tied (as it does in the book) with Blackthorne’s anger over the Japanese seeming indifference to killing and death. This is what happens in the book:

Blackthorne said, “Mariko-san, would you explain to Lord Toranaga for me: I seem to understand now what you meant about karma and the stupidity of worrying about what is. A lot seems clearer. I don’t know why — perhaps it’s because I’ve never been so terrified [from the earthquake], maybe that’s cleaned my head, but I seem to think clearer. It’s like Old Gardener. Yes, that was all my fault and I’m truly sorry, but that was a mistake, not a deliberate choice on my part. It is. So nothing can be done about it. A moment ago we were all almost dead. So all that worry and heartache was a waste, wasn’t it? Karma. Yes, I know karma now. Do you understand?”

“Yes.” She translated to Toranaga.

“He says, ‘Good, Anjin-san. Karma is the beginning of knowledge. Next is patience. Patience is very important. The strong are the patient ones, Anjin-san. Patience means holding back your inclination to the seven emotions: hate, adoration, joy, anxiety, anger, grief, fear. If you don’t give way to the seven, you’re patient, then you’ll soon understand all manner of things and be in harmony with Eternity.’ “

It would have been nice to have something like this in the show, as it’s one of Blackthorne’s cultural epiphanies — a memorable summation from Clavell on the acceptance of death in eastern culture.

Verdict

The episode gets an 8 ½ out of 10. I really like it, but the confusion over the catalyst for war threatens to derail the plot and makes intelligent characters look silly; also, there were a couple of missed opportunities.

Update: see my review of episode 6.