Tag Archives: Lale Plak

The Dreamlands Express II – The Bestiary of Dreams

When I was compiling the Dreamlands Express itinerary I thought about the fauna and flora of the Dreamlands and added it to the views from the train by way of local colour.

The fauna included Dreamlands fauna like magah birds, at least one animal of my own invention (from a dream in fact), and a smattering of real animals, mainly African. After all there are elephants and peacocks, yaks and zebras in the Dreamlands, so there must be a few other exotics tucked away. This had an unexpected side-effect. Just before Mark play-tested the Dreamlands Express scenario I found him leafing through the Dreamlands bestiary looking for quagga and okapi. I hadn’t realized it was possible to mistake these real world animals for dream beasts, but I guess their names do look kind of made up.

The okapi, a pleasingly defined “giraffid artiodactyl mammal”, is fortunately still with us:

What this okapi photograph doesn’t show you is that okapi tongues are so long  they can lick their own eyeballs  [Source: themagazine.ca August 2009]

The quagga, alas, is not.

A South African sub-species of zebra, it was hunted to extinction in the wild. The last quagga died in an Amsterdam zoo in 1883. I included the quagga in the Sona-Nyl description because one of the few things we now know about the quagga – the sound of its cry – was described in a poem. As Robert Silverberg notes dryly in The Dodo, The Auk and the Oryx, it is not a good poem, but it gives us today this one useful fact. I thought that any animal immortalized in poetry should have a chance to live on in Sona-Nyl, the Land of Fancy.

Quagga in the London Zoo, 1870 [Source: Wikipedia]

The other important Dreamlands animal is of course the cat. Lovecraft loved cats and the Dreamlands was one of the few areas of his fancy where he could give this affection full play. I had great fun with a cat sub-plot on the Dreamlands Express, where cats have their own compartment and are treated as full passengers. If the dreamers ask about this, they are given reasons taken straight from Lovecraft’s DreamQuest and The Cats of UltharFor the cat is cryptic and close to strange things that men cannot see; for the Sphinx is his cousin and he speaks her language; but he is more ancient than the Sphinx and remembers that which she hath forgotten.

So in closing, here are some cats of Istanbul. Remember, they are looking out for you in their dreams.

Cat of Istanbul enjoying a carpet

Cat of Istanbul, ready to take a nap on a carpet

Cat of Istanbul enjoying a windowsill

Cat of Istanbul enjoying a snooze on a windowsill

Cat of Istanbul enjoying a box of records outside Lale Plak music shop

Cat of Istanbul napping in a box of records outside Lale Plak music shop

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Dance of the dead

Dead Can Dance

Dead Can Dance (Palais Theatre, Melbourne 2013)

Last night Penny and I fulfilled a 20 year musical ambition by finally getting to see the remarkable band Dead Can Dance play here in Melbourne. They’re a musical duo, but I have always preferred the ethereal vocal tracks sung by Lisa Gerrard in a language of her own design to the earnest ambient folk songs of Brendan Perry. Hearing Gerrard sing “Now We Are Free” from Gladiator was one of the highlights of my gig-going life; I think the hairs on the back of my neck are still up.

Dead Can Dance have many gothic ambient tracks suitable for roleplaying game sessions. The right music is the secret of my success as a Keeper; it lifts a session well above the ordinary, and players admire any sync between the story and the soundtrack as evidence of your genius (it is in fact luck, although the right playlist helps). Gerrard’s soaring emotional track “Sanvean” is perfect for, say, when the investigators must break the hard wintry ground of Europe 1923 to bury one of their own. (Not that we’re saying that is a certainty. Did we mention we are adding a new Investigator Survival Guide?)

I’m always on the lookout for ambient music for writing and for gaming, so when we were in Istanbul I was keen to get some Turkish music. Istanbul Encounter from Lonely Planet recommended Lale Plak up in the Beyoğlu shopping district; we were heading up there anyway in search of a painting of tortoises. The shop was crammed with jazz, ambient and more, and there was a cat asleep in a box full of vinyl.

Lale Plak

Lale Plak music store (Istanbul, 2010)

The friendly owner suggested Mercan Dede, a project by Turkish-born DJ Arkin Allen who embellishes his electronic ambience with traditional instruments and Sufi lyrics. It takes me straight back to the Bosporous whenever I listen to it, and I look forwards to using some of the tunes in the playtest when the investigators reach the Golden Horn. Here’s a sample from Breath (2007). Imagine the investigators plunging into the Grand Bazaar. Are they being followed? Surely not…

Horror on the Orient Express already has its own soundtrack, composed by Alex Otterlei. He is working with Chaosium for a new special issue release to coincide with the boxed set. You can hear samples from the current version on CD Baby and iTunes. It’s an honour to work on such a project with so many fantastic creative people bringing our train to life.

Horror on the Orient Express soundtrack

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