I6 Ravenloft

Title: I6 Ravenloft

Price: $6.99 (PDF), $9.99 (Softcover)

Publisher/Year: TSR / Wizards of the Coast, 1983 / 2013

Author(s): Tracy and Laura Hickman

System: Advanced Dungeons & Dragons

Character levels: 5-7

DriveThruRPG Link

Rating: 3.5/5

Ravenloft was originally an adventure for First Edition AD&D, released in 1983, and written by Tracy and Laura Hickman's husband-and-wife team. It was part of the "I" or intermediate series of adventures. Most of these were not linked and only shared that they were higher levels than beginning adventures. Ravenloft, given the code I6, was for character levels 5 to 7. 

Ravenloft is not your typical dungeon crawl, and it is very atypical of the time's adventures. There is less of the typical Howard, Moorcock, and Tolkien here, and it is pure Bram Stoker. 

Ravenloft is Gothic Horror—or, more to the point, it is the Hammer Horror flavor of Gothic Horror laid over the top of Dungeons & Dragons. Harker was a milder-mannered English solicitor. The heroes here have fought dragons, goblins, and other real monsters. How can the Lord of Castle Ravenloft measure up to that?

Quite well, really.

I  picked up this adventure when it was first released and essentially threw it at my DM and told him he had to run me through it. It was everything I had hoped it would have been. Remember, my Appendix N is filled with Hammer Horror, Dracula, and Universal monsters. This was perfect for me. 

Ravenloft was a huge change from many of the adventures TSR had published to that date. For starters, the adventure featured an antagonist, Count Strahd von Zarovich, who was no mere monster. Yes, he was an AD&D Vampire, but he was meant to be run as an intelligent Non-player Character.  Before this, the vampires have been the unnamed Vampire Queen of the Palace of the Vampire Queen, Drelnza, the vampire daughter of Iggwilv in The Lost Caverns of Tsojcanth, and Belgos, the Drow Vampire in Vault of the Drow. By 1983, the amount written on all three of these vampires would not even be as long as this post will be. Strahd was different.

Strahd had a backstory, motivation, and intelligence, and he was ruthless. The goal was to destroy him, and that was not an easy feat by any stretch of the imagination.

The adventure also introduced some new elements. The dungeon crawl was gone, replaced by a huge gothic castle and a nearby village. The adventure could be replayed and unique given the "Fortunes of Ravenloft" mechanic, which allows key items, people, and motives to change based on a fortune card reading.

Finally, there were the isomorphic, 3D-looking maps from Dave Sutherland, which helped give perspective to many levels of Castle Ravenloft. 

The adventure was an immediate and resounding hit. This adventure, along with the Dragonlance Adventures, also by Tracy Hickman (and Margaret Weis), led to something many old-school gamers call "The Hickman Revolution." They claim it marks the time between the Golden Age and Silver Age of AD&D, with the Silver Age coming after 1983. While yes there was change, a lot of it was for the better.

For me, it was a dream come true. Vampires had always been my favorite creatures to fight in D&D, and I was an avid Dracula fan. I bought this adventure and then threw it at my DM, saying, "Run this!" 

I grew up on a steady stream of Universal Monsters, Hammer Horror, and Dark Shadows. That's my Appendix N. So, an adventure set in pretty much the Hammer Hamlet where I get strange locals and have to fight a vampire? Yeah, that is what D&D was to me. You can almost hear Toccata and Fugue in D minor while running it. 

I find that the people who don't like this adventure don't see what makes it great. This is not Lord of the Rings, Conan, or some other Appendix N pulp fantasy. This is Hammer Horror. Strahd has to be played with a combination of charisma, scene-chewing villainy, and absolute brutality. In other words, it is exactly like Christopher Lee playing Dracula.  Even the nearby village is filled with terrified but pitchforks in the ready villagers. 

That is not to say the adventure doesn't have its problems. At times, the Gothic elements are shoved into the Swords & Sorcery fantasy of D&D. And...let's be honest, some of the puns on the headstones in the lowest level are more than cringe-worthy.  If played properly, a vampire like Strahd could wipe out a party, and that is not counting all the other monsters (gargoyles, really strong zombies, werewolves) in the castle. Though Strahd suffers from the same issues that Christopher Lee's Dracula did, completely obsessive that blind him to some obvious blunders. But that is the nature of vampires, really. 

Doctor Strange Vol 2: The Last Days of Magic

Title: Doctor Strange Vol 2: The Last Days of Magic

ISBN: 9780785195177

Price: $24.99

Publisher/Year: Marvel, 2016

Artist: Chris Bachalo, Mike Deodato, Jorge Fornes, Kev Walker, Kevin Nowlan, Leonardo Romero, Danilo Beyruth, Mike Perkins

Writer: Jason Aaron, Gerry Duggan, James Robinson

Rating: 3.5/5

Anyone who came to Doctor Strange as a new reader, their curiosity stimulated by the 2106 movie, couldn’t have asked for a better primer to the man and his world than The Way of the Weird. Jason Aaron and Chris Bachalo covered all the essential elements in a spectacular graphic novel. So how does the continuation stack up? Not as well, unfortunately.

When last seen, an other dimensional technocratic civilization known as the Empirikul (ugh!) had worked their way through several other dimensions pursuing their dogmatic ideology of eradicating all magic. They’ve now launched an attack on Earth and almost all magic has been wiped out. This is where the wider Marvel universe becomes problematical. When confined in places only accessible to Doctor Strange vastly powerful technology-worshipping zealots are a viable threat. Have them invade Earth, however, and the obvious question becomes where are the Avengers? Claiming the Empirikul to be beyond the sight of mortals doesn’t really cut it.

Ignore that, and it’s a big ask, and Aaron delivers a thrill ride with multiple threats and a desperate Doctor Strange gathering what little scraps of magic remain accessible in our dimension. This is enough to enable Chris Bachalo to shine once more. With Strange relying on locating ancient objects in accessible places Bachalo opens his imagination, unleashes the nightmares, and in turn terrifies ours. He makes good use of variations of an image repeated as a statement from the early pages of the previous book, and his cast designs are suitably creepy.

So we have a big plot hole, and Doctor Strange reduced to Indiana Jones. Can Aaron pull it back again? No, not really. The conclusion to a desperate situation has been foreshadowed, quite well actually, but it’s a solution that we’ve seen before, both in Doctor Strange and elsewhere, and seeing it again in what had been a relative beacon of originality is disappointing. Furthermore, given their inflated reputation, the Empirikul surely previously encountered resistance along the lines of that offered.

This is still very good Doctor Strange by most reckonings, but nowhere near as good as what came before. The ending still leaves a major problem, and that’s Strange’s task for the next book settled.

As the plot affected magicians other than Doctor Strange there’s also a spotlight on their reactions to the disappearance of magic with the involvement of Aaron, but with Gerry Duggan and James Robinson (with a clever twist) also writing sequences. There’s some excellent art from Daniel Beyruth and Mike Perkins among others, and the magical world is expanded and given a wider ethnic spread via the introduction of viable new characters, which is welcome.

Avengers: Endgame Paradox Problem

I was recently thinking about the 2019 movie Avengers: Endgame and realized there is a huge paradox contained within.

In the scene where the Ancient One and Bruce Banner are discussing the problems with taking any of the Infinity Stones out of their timeline, it is mentioned that the stones would need to be replaced at the exact time they were taken from in order to not create a branching/divergent timeline.

When Captain America and Iron Man go back 1970 to steal the Tesseract from a S.H.I.E.L.D. facility. We know that the Tesseract houses the Space stone and to retrieve the actual stone, the Tesseract must be broken.

Because of this, Captain America would have to recreate the Tesseract to house the Space stone in order to return it to the S.H.I.E.L.D. facility. Since he couldn't do this, it wouldn't be returned correctly, S.H.I.E.L.D. wouldn't be able to continue researching it and Loki wouldn't have been sent to New York to retrieve it so the Chitauri could attack Earth. This would have created a whole new timeline.

I would love to hear your thoughts on this.

Stranger Things: The Bully

Title: Stranger Things: The Bully

ISBN: 9781506714530

Price: $12.99

Publisher/Year: Dark Horse, 2020

Artist: Valeria Favoccia

Writer: Greg Pak

Rating: 4/5

Stranger Things: The Bully by Greg Pak is a thoughtful, character-driven graphic novel that expands the Stranger Things universe in a quieter but meaningful way.

Set during the early days of Stranger Things Season 1, the story centers on Troy Walsh, the school bully who torments Mike, Dustin, and Lucas. When Troy witnesses something strange in the woods—something tied to the supernatural events unfolding around Hawkins—his already fragile sense of control begins to crack. As fear and pressure mount, Troy is forced to confront the consequences of his actions, his troubled home life, and the difference between power and cruelty. The story ultimately explores how trauma and fear can perpetuate cycles of bullying without fully absolving Troy of responsibility.

What makes The Bully stand out is Greg Pak’s decision to focus on a minor antagonist rather than the core cast. Troy is not redeemed, but he is humanized. Pak carefully balances empathy with accountability, showing how Troy’s abusive behavior is learned and reinforced while still making it clear that his choices harm others. This perspective adds emotional depth to the Stranger Things world and reinforces the series’ broader themes of fear—both supernatural and human.

The artwork plays a crucial role in setting the tone. The illustrations successfully evoke the 1980s setting, with recognizable character designs and environments that feel authentically Hawkins. Facial expressions are especially effective, conveying anxiety, anger, and vulnerability with subtlety. Troy’s body language, in particular, often tells more of the story than dialogue alone.

That said, the art can feel uneven at times. Some panels are highly detailed and atmospheric, while others appear rushed or overly simplistic, particularly during action or transitional scenes. The creature designs and horror elements are understated compared to the TV series, which may disappoint readers expecting more visual intensity from the Upside Down. However, this restraint also aligns with the story’s focus on psychological tension rather than spectacle.

Overall, Stranger Things: The Bully is a strong companion piece rather than a must-read epic. Fans who appreciate character studies and moral complexity will find it rewarding, while readers seeking heavy action or major plot developments may find it more subdued. As a reflection on fear, empathy, and accountability, it succeeds—and the art, despite minor inconsistencies, supports that message effectively.

Stranger Things: Zombie Boys

Title: Stranger Things: Zombie Boys

ISBN: 9781506713090

Price: $10.99

Publisher/Year: Dark Horse, 2020

Artist: Valeria Favoccia

Writer: Greg Pak

Rating: 4/5

Dark Horse have a new comic offering to hold them over in the original graphic novel Zombie Boys set after the events of season one. School is back in session in the normally quiet town of Hawkins, Indiana. Mike, Lucas, Dustin, and Will are still grappling with the traumatic encounters with the Demogorgon and the Upside Down. As tensions rise and fractures begin to form in the group, a new kid shows up to AV club with a Betamax Camcorder and an idea. The new Spielberg-wannabe friend, Joey Kim, wants to make a horror movie about a local legend, but when he sees Will’s drawings, he discovers that his new friends are local legends.

Greg Pak has an impressive body of work which ranges from classic superhero epics like Planet Hulk and World War Hulk to more teen orientated works such as Mecha Cadet Yu and his take on Agents of Atlas. These experiences make him a perfect candidate to tackle an adventure featuring the younger protagonists of the Stranger Things world. All the characters are true to their live-action counterparts and Pak has an authentic approach to writing younger characters that shines through in this comic. Whilst there is a greater emphasis on the boys’ antics this time round, he brings a balance with focus also being put on Will’s adjustment to returning to his normal life after his traumatic experience in the Upside Down.

Valeria Favoccia’s art is also a perfect fit for the story. With a style that has elements of manga and European influence sprinkled throughout, it gives the art a more light-hearted feel than previous Stranger Things comics that is ideal given the focus on the boys’ school antics. Not that she can’t pull off more serious moments too – with Will’s drawings of his Upside Down experiences and his subsequent bullying at the hands of his fellow students being particularly strong.

This is another strong entry in Dark Horse’s recent run of Stranger Things comics.

Comic Book Covers 4 Cancer: The Covers

 

As my most loyal readers/followers know, I ran a small non-profit to help raise money for the American Cancer Society named Comic Book Covers 4 Cancer. Long story short, I felt like I had to call it a day at the beginning of 2026 for a myriad of reasons.

Since the idea for CBC4C was originally spawned from The Walking Dead 100 Project from Hero Initiative, I would try my hat at publishing a book filled with some of the various covers donated through the years.

Thanks to Amazon, that dream has now become a reality!

$20 USD for a copy of my book entitled: Comic Book Covers 4 Cancer: The Covers. Proceeds from the sale of this book will be donated to the American Cancer Society.

Thank you to everyone who helps to make this a success! Please share this news with all your friends.

Pride

I don't typically express my political opinions openly, and I definitely don't express my feeling on personal sexual preferences, but I will always support my friends who identify as part of a marginalized community.

This year, with all the major strife that has been going on in America, I felt the need to make a statement of some kind. That's why I am openly supporting those of the LGBTQ+ community alongside those who would identify as gamers.

I remember a time where being known as a gamer put you in a marginalized and outcast light. I grew up in the shadow of The Satanic Panic. I had a couple of friends in high school that questioned my reasons for choosing to associate myself with cults and evil. I always responded with the fact that gaming isn't evil, it's what you do in real life that makes that determination. Yes, there are devils and demons in Dungeons & Dragons, but they are primarily there as antagonists to be overcome by the players and not necessarily forces to be joined.

The parents of one of my high school girlfriends were so against my gaming that they had my GF ask me to quit playing D&D. I agreed to do that, but failed to inform them of the other games my group and I were playing at the time; Robotech and Rifts to name just 2. Since these weren't Dungeons & Dragons, I didn't break my promise. It also helped that I actually decided to foreswear D&D at that time because I firmly believed that the 2nd edition was nothing but a cash grab and would not support it.

Beyond that, I always felt like a square peg in a round hole when it came to my sexual feelings. While I always felt a strong attraction to females, I would occasionally find myself being attracted to males as well. For so many years, society would be the determining factor of keeping my personal preferences secretive. It wouldn't be until the mid-90's where I would (at least partially) break that character trait as I would enter into my first (and to date only) relationship with another male. It also helped that he was a part of a gamer organization that I was joining; The Camarilla.

There was no confusion about my feeling towards him. I loved him. The odd things was that he was also a drag queen. I'm not sure if that didn't play a big factor in my initial attraction towards him. While we continued to LARP, I would also support him by attending his drag shows and meet his fellow drag friends. None of them were gamers so our encounters were limited to the shows.

We spent the better part of about 4 years together. He would occasionally attend my family holiday gatherings and would also be invited to our birthday celebrations. I never told my family of our real relationship status. Looking back, I'm sure some of them knew but didn't care to say anything.

I don't remember a lot about our years together except for the fact that I was usually happy. I can't remember why our relationship eventually ended, but I did have a journal that I used to write in that helped to fill in some of those blanks... unfortunately, they didn't always paint a pretty picture of the relationship I once cherished. I have since decided to discard that journal in lieu of living with the good times still in my head. We both had relationships after we split up. I even got married and he helped my bride to be get ready for the ceremony.

Last September (2025), he passed away due to complications of his diabetes. When I hear the news, even though we had grown apart and lost touch, my heart sank and I felt an emptiness in my life. His name was Gene and I loved him.

Gene on the left. Me in the middle.

And that I the reason why I will be finally openly supporting my friends and fellow allies of the LGBTQ+ community. I'm sorry it took the passing of a wonderful soul to get me to this point.