Gaming, Growing Up, and the Ghost of the ’80s

Glad it didn't happen in my town in the 1980s...

Of Stranger Things

As I reflected on THE CAMPAIGN in (Parts I, II, III, IV, V, VI ) , I realized how deeply formative that experience was for me—not just as a gamer, but as a early teen navigating the strange and wondrous years of adolescence. Decades later, the memories are still vivid: the characters we played, the choices we made, the jokes, the deaths, the victories. But more than that, I remember the feeling of it all. The time. The place.

Am I filling in gaps? Romanticizing the rough edges? Probably. But does that matter?

I don’t think it does.

In many ways, these memories aren’t about perfect accuracy. They’re about meaning. About resonance. And as I think about this, I’m reminded of something else that tapped directly into those same feelings: Stranger Things.

Later this year, Stranger Things will come to an end. And while the Upside Down didn’t open up beneath my small Western New York town (that I know of), the show still managed to capture something remarkably true. The way it recreates the 1980s—from the mall culture and cassette decks to the friendships forged over character sheets and Mountain Dew—feels like it was pulled from the collective memory of an entire generation.

It’s often called a “love letter” to Gen X gamers. But I think it’s more like a message in a bottle. Something we threw out to sea decades ago, filled with the thoughts we couldn’t quite name at the time. And now, years later, the tide has returned it to us—weathered, a little warped, but still true.

Or maybe it’s a time capsule. Buried and forgotten, until one day it cracks open and you’re face to face with who you were.

That’s how rereading what I wrote about THE CAMPAIGN felt. Like opening something sealed away by time. Like remembering who I used to be when everything felt new and limitless.

There’s a scene in Stranger Things that stuck with me: Will wants to keep the game going, but Mike is distracted—by Eleven, by the changes pulling them into adolescence and away from childhood. That dynamic mirrored what happened with our group. After THE CAMPAIGN we migrated toward Warhammer Fantasy Roleplay, Twilight 2000, and 2nd Edition AD&D. By our late teens, we had landed in Warhammer Fantasy Battle. The games were still fun—but the magic of THE CAMPAIGN never quite returned.

Not because we stopped playing. But because we were growing up.

That was our zenith. Our Stranger Things moment. And while everything that followed had its own feel to it, nothing quite recaptured the spell of that first, long campaign.

Like the kids in Hawkins, we changed. The world changed. And that’s part of why the show resonates so deeply. It reminds us of what we left behind—not just dice and character sheets, but a sense of discovery, of possibility, of unbreakable bonds forged in basements and dimly lit bedrooms. And rock-hard stale pizza left over from the week before.

Yes, some of us stayed friends. But life took us in different directions—careers, families, moves across the country. In my case, I eventually found myself back in the town where it all started.

As Season Five approaches, I suspect Stranger Things will be about more than monsters. It’ll be about endings. About letting go. Maybe even about what comes after. But for those of us who lived that era—not just watched it—that ending is going to land differently.

It’s going to mean something.

I’m looking forward to it. But I’ll admit—I’m also bracing myself. Because saying goodbye, even to something that only existed in fiction, still stirs up everything we thought we left behind.

And maybe, just maybe, that’s the point.

The Inspiration for Hurled Into Eternity

 

Illustration by Edward Borein

In any creative endeavor, there are people who inspire us—who push us to do more or lead us down paths we hadn’t even considered. That’s certainly been true in the development of my game, Hurled into Eternity.

The funny thing is, some of those influences I recognized while building the game. Others I only saw in hindsight—ghosts riding alongside me the whole way, whether I knew it or not.

Movies -  Upfront, it's easiest to say the most obvious inspirations are movies and TV. Pale Rider, The Good, The Bad and The Ugly and especially Tombstone and Unforgiven absolutely deserve a spot on the short list of influences for Hurled into Eternity. They’re baked into the bones of the game, whether I meant them to be or not. There’s something about their tone: dusty, desperate, mythic—that lines up perfectly with the world I’ve been building for over two decades.

Music- Music. Music is essential. While working on the latest iterations of Hurled into Eternity, I listened to a ton of Western-inspired soundtracks. One of my go-to favorites is The Lone Ranger soundtrack, along with this absolute gem from Ennio Morricone: Guns for San Sebastian.

After a while, though, I needed something fresh—and I stumbled across this original composition by Steven Lynn. It sounds like it could be in Red Dead Redemption 2 its that good!

Terrain and Buildings - Fall and winter are usually when I hunker down at the hobby table. That’s when the brushes come out, the minis get primed, and the terrain pieces start to take shape. Right now, I’ve got the beginnings of a frontier town called Timber Ridge coming together. It’s a fictional outpost set somewhere in a mythic version of Wyoming—a place with its own legends, rival factions, and more than a few bodies buried beneath its streets.

Alongside that, I’ve also got some old model trains that once belonged to my dad, dating all the way back to the 1940s. I need to dig them out. There’s something deeply satisfying about using a piece of family history to help build a fictional world. Somehow, it all connects.

Working with something physical—terrain, paint, tools—also helps get the creative gears turning in a way that’s hard to replicate on a screen.

Why the Southwest Always Wins - If you’ve ever wondered why so many Western RPGs, films, and stories are set somewhere in the American Southwest, I think it comes down to one thing: the Gunfight at the OK Corral.

That single shootout in Tombstone has become the gravitational center of the genre. There were other towns, other legends, and other infamous clashes—but none carry the same mythic weight.

And yes, the title of my game—Hurled into Eternity—isn’t just poetic. It’s pulled directly from the next day’s edition of the Tombstone Epitaph. That headline stuck with me. It said everything the game tries to say: when you draw your last card, you're not walking away.

Cards, Dice, and the Roads Not Taken - Cards have always played second fiddle to dice in most game designs. Dice dominate as the go-to resolution mechanic, and very few systems—maybe eight to ten at most—use playing cards as a core part of their engine, either fully or partially.

Not long ago, I looked up Gunslingers and Gamblers and felt a brief gut punch when I saw it mentioned cards. Then I dug a little deeper and saw it actually uses poker dice. Relief.

To the best of my knowledge, Hurled into Eternity is the first Western RPG that uses playing cards exclusively to run the whole system. And there’s a reason you don’t see that more often: it’s tough to pull off.

Cards offer a lot—tension, unpredictability, narrative weight—but getting them to feel fast and natural at the table without bogging things down? That took years of trial, error, and rebuilding from the ground up.

What I’ve got now feels sharp. It’s dangerous, intuitive, and full of risk and momentum. The way a proper Western should feel.

RPGS- I’ve mostly steered clear of other Western RPGs—and that was intentional. I own the Savage Worlds rules and I’m familiar with how Deadlands uses cards for initiative, but I made a conscious effort to avoid diving too deep into that material. I wanted Hurled into Eternity to remain honest and original, not a remix of someone else’s work.

In fact, it wasn’t until I had the game mostly locked in—around version 7.5 Alpha—that I really started looking into what other Western RPGs were out there. I came across some excellent games, no question. But I’m glad I waited. For better or worse, I wanted Hurled into Eternity to succeed or fail on its own terms.

That said, I didn’t avoid everything. There were a few titles I did check out, mainly for reference—to make sure I wasn’t unknowingly treading the same ground. Those were:

•  Western City (By Jorg Dunne)
•  Boot Hill (1st and 3rd Edition)
•  Go for Yer Gun  (By Simon Washbourne)
• Weird West (by Stuart Robertson)

Each one offers something different, but I always came away feeling like I was still building something distinct. 

Other RPG Influences- While it might not look like it in the form it is in now, the following games had a part in influencing me over the years with Hurled into Eternity:

• Warhammer Fantasy Roleplay (1st Edition)
• FASERIP Marvel Superheroes
• Twilight 2000 (especially early on its development)
• Gangbusters (An absolutely incredible game!) 

There you have it, just where Hurled into Eternity got its nods from. 

Hurled into Eternity: Two Decades in the Saddle

Back In the Saddle Again...

“Some games are written. Others are survived.”

Hurled into Eternity wasn’t born overnight. It wasn’t forged in a corporate boardroom or churned out to
ride a trend. This game has been riding shotgun in my mind for over two decades—long before terms like “narrative-forward” or “OSR” became popular buzzwords. In truth, it was born as a game I never released called Quest in late 1996

It began with fragments. Scrawled notes in the margins of notebooks. Faded maps of ghost towns that never existed. Mechanics scribbled out, rewritten, then scribbled out again. The feel was always clear though—gritty, grim, and unapologetically unforgiving. A Wild West where death ain’t just possible; it’s likely. But if you go out, you’ll go out legendary.

And now, after twenty years of iteration, evolution, and hard-earned grit, Hurled into Eternity is finally approaching the printing press.

Aiming for 2026: The Release

We’re looking at a tentative launch in Q2 or Q3 of 2026—a full-color, hardcover edition worthy of the legends it’ll carry. This won’t be a flimsy pamphlet or a bare bones beta. This is the real deal. A full core rule book steeped in sweat, smoke, and blood.

Expect more announcements leading into a proper crowdfunding campaign. I won’t rush it—but I will finish it.

In the meantime,  the rules for play-testing can be found here:  Hurled into Eternity Alpha Rules

What Hurled into Eternity Feels Like

This ain’t a game about balance. It's a game about reckoning.

You don’t play heroes—you play drifters, gunfighters, soiled doves, and outlaws. Folks clawing for survival, redemption, or one last score. The tone is dark, mythic, and soaked in the kind of hard choices frontier life demanded.

The world has a pulse. Every town has its own laws, its own secrets, and its own hangman. Every trail hides both gold and ghosts. You’ll meet legends—some living, some not. And if you last long enough, maybe you’ll become one.

Mechanics on the Edge

At its core, the game runs on the Wild Card System—a playing card–based mechanic that trades in tension, randomness, and fate. Combat is resolved through card draws, where suits determine severity and Jokers can spell miracles or doom.

Forget initiative—gunfights run on High Noon rules, where the first to flinch might be the first to fall. Skills are grouped into thematic callings (Military, Urban, Rural, Wilderness), with Talents drawn from the deck itself—fate choosing your gifts as much as you do.

Your drifter doesn’t level up like a power fantasy—they claw their way through scars, legends and fortune earned by blood.

There are critical wounds, misfires, brawls and balloon fights, and plunges into the Weird—a realm of spiritual horror and ghost story made real.

A World Rebuilt

Set in a quasi-legendary Wyoming Territory, the world of Hurled into Eternity takes real frontier history and folds it through myth, folklore, and tragedy. Towns like Redstone, Whiskey Gulch, and Crow Ridge exist between fading maps and whispered tales. The railroad doesn’t just bring progress—it brings change, and not always the kind folks want.

There are factions, bounty boards, twisted cults, and fallen lands. If you’re looking for a cinematic frontier where grit matters more than gear, you’ve found your table.

More soon.

Keep one eye on the blog and the others on the horizon. The saddle’s been empty a long time, but not much longer.

—Mark Harter, Creator of Hurled into Eternity

---

Hurled Into Eternity Reborn!

Taking a bit of a side track with all the crazy stuff going on in my life I've picked my western RPG, Hurled Into Eternity back to the fore. Its now on version 7 Alpha and will be ready for review, comments and play testing soon.

 More to come but for now a look at the FPO/Concept cover. The idea will be a pulpy dime store western novel approach:

Fantasy Series on the Horizon

WIP shield design for the new fantasy series.

Hello all, long time away I know, but big news on the horizon.

With two books under my belt (Gunner the Beagle) I turn to my on again, off again fantasy series. For background, I started writing it in 2007, and looking back? My writing from that time frame is horrible to say the least. Since then I have grown a bit in terms of ability, but realize I still have a long way to go.

With all that said, I have begun again.

After wondering what I really wanted my fantasy series to be, I have spent the last six months researching and preparing while I finish up my stories about Gunner.

The working title for the first book "The Dragon's Brood" is targeted at around 400-600 pages and is going to be in the vein of the Jack Whyte Arthurian Saga in terms of number and length of books. I am still pondering an overall title to the series, but nothing is definitive yet. If all goes well this could be as many as ten books to round out the whole story.

For inspiration I am drawing from Jack’s excellent series as well as a number of other sources from books, to movies to songs. Case in point I am rereading Beowulf (see here) as you do not get much more to the heart of the time frame than that.

Some high level points:

• A fantasy world of my own devising.
• While dragons are in the title of the first book, it is not about dragons as the main focus.
• Technology roughly corresponds to the "Dark Ages" of Earth's history, specifically Anglo-Saxon England, the Viking Age to the Norman period.
• A point somewhere between low and high fantasy.

With all this said and looking at the outline, Let It Beagle Media will be publishing the first book in the last quarter of 2025. To start especially this blog will be the vehicle for announcements.

I feel the timeline is doable given my writing output when I am engaged and focused. There are some unique features I am doing with my advance readers but more on that at a later point.

I look forward to everyone coming along for the ride.

(As a side note, the shield above is me noodling around with ChatGPT. This book will not be AI created nor the art. For art I have an excellent book designer who is already working on concepts.)

EDIT: as of 7-4-26 I'm still unsure of the direction of these books.

Warhammer Levies, next to useless, but fun to paint!

"Go and get um' lads! There is only one and there are thirty of us, what could go wrong? CHARGE!!!"

All too often the biggest, the baddest and the most cool units in Warhammer get all the attention. After all that kick ass unit that wins you game after game gets the glory, as it should. But this post is not about those glory soaked units. In fact we are going to talk about the other end of the unit spectrum: levies!

We all know about the High Elf Dragonkin in 3rd Edition Warhammer, the Daemons of Khorne or even the incredible stat lines of vampires (see below) or treemen. So instead, how about levies! In this case a peasant levy from the 3rd Edition Bretonnian Army list in Warhammer Armies.

Before we get into it, first things first, the stat-line for the unit, in this case, Rascals (sorry about the low light photo of the entry):

WS2, BS2, I2, there is no way around it, levies are bad and not in a good way. Their only redeeming feature (if you can call it that) is that they are cheap at 4 points per model. Spears and shields costing .5 points a piece do not really do much to bring them up to even being remotely useful. On top of that they are compulsory troops (yes White Dwarf #137 had a revised page for the Bretonnians, but going with this for now).

Add to this the rules from the Warhammer Fantasy Rulebook on page 99 shows that they have a special mob formation meaning they cannot expand or contract frontage. Basically the unit formation they appear with on the first turn? That is what they are going to go with the whole battle, no changing it.

So the natural question is what are they good for? The answer is really not much. On the battlefield I suppose one could use them to tie up a unit for a round or so, but the opposing player would have to be fairly dumb to get caught up in that. Barring that? They add a lot of character to a game and perhaps that is the best way to look at them.

Painting and unit composition: Aside from one brigand Games Workshop model as the leader, the rest are from the Old Glory Revenge line of medieval miniatures with a fair amount of weapon swaps from various GW sprues like the zombie and empire regiments. In a way these minis capture the look and feel of peasant warriors far better than what I could get from GW when they still did Fantasy Battle in the late 6th through 8th edition days. In fact they are fairly close to the minis of 3rd Edition at the time in terms of look and feel. Hand weapons were a bit too small, perhaps a consequence of GW over-sizing their weapons? But otherwise the proportions are a match.

I especially liked how the "front rankers" and the axe-men came out in terms of painting, and the leader most of all. I imagine him as a brigand who somehow got himself "elected" leader of this rabble and forced onto the field of battle when he would rather be in a tavern! The pitchfork minis all came out well too. Now there is a weapon! The Sword of Khaine, bane of the Elven race??? BAH, PITCHFORK!!!

In terms of color scheme I deliberately kept the color palette limited and muted, trying to make them look muddy and dirty rather than bright. I used a lot of dark washes and slathered it on deliberately. From there it was minimal highlights. Overall I kept it to various shades of brown, tans, a bit of green here and there and black. After I took the photos I noticed a few things and I am touching up the standard/totem banner. It is a bit dodgy in spots and needs a bit more attention in my estimation.

Actual usage: Well... never really on the tabletop. As I was the only "non-evil army" player in the gaming group back in the day, I was the only one that would have conceivably fielded these guys, but as I was just scrapping together models to get a force on the field, I did not. This is in spite of the fact that the first army I fielded was in fact Bretonnians for a few games before I converted over to Empire (in the early days we ignored the compulsory units to a degree for the first few games as we were assembling armies). Fortunately, I kept all the models and added these guys to the force a few years back.

Looking through Warhammer Armies I did actually use levies once, but never made it to the field. As I note here in our forays into Warhammer Siege using my Empire army, I fielded units of Landestrum, (aka Empire levies) for forage and support. I did not have models representing the units at the time though as it was not really necessary: they were only ever on the strategic map.

Finally, in terms of the armies that can field levies, out of the 12 (the 12th being the Norse in White Dwarf #107) they appear for the following: Empire, Bretonnia, Skaven and Slann in Warhammer Armies. In the case of the Slann, there are the Jungle Braves listed as a levy and the human slave unit which has the same stat line as humans, but a point cost akin to levies. Skeletons and zombies have comparable stats in the Undead army, but their special rules make them different in terms of play. One could make the argument that goblins and snotlings are close in the Orc and Goblin list, but not quite exactly levies per se, certainly with the snotling rules. Gnomes with their crappy Toughness of 2 for the Dwarf army are likewise close, but I do not think I ever even saw a single gnome miniature from GW. As such highly unlikely anyone ever fielded a unit, definitely not in my Dwarf army which grew to be quite substantial.

In the mercenaries and ally contingents section, the pygmy allies for the Slann are close with their S2, T2. The halfling ally section is similar as they likewise have S2, T2 in their stats, but make up for this with a BS4. If I ever get around to a Slann army and ever get around to a pygmy ally contingent, I would bump their BS to 4 just like the halflings, makes sense to me for the same point values. The fact that levies are not a fixture of that section stands to reason: whether hiring mercs or getting allies to your cause, one is usually not getting the dregs of a society's warriors; certainly not in the case of spending coin on mercenaries.

NOTE: From above, vampires in Warhammer? Forget sparkly Twilight vampires; check out the stat lines in 3rd Edition Warhammer, holy crap! Even the Level 5 ones kick ass, wow. Perhaps a post for another time.

A Dark Ages Fortification

Just like the fortifications of Normandy at the end of the Dark Ages, a fortress in the mold of robber knights looms from the forests in the World of Warhammer (more on that below). But indeed a wooden palisade filled with mossy beams and wooden stakes to ward off would-be attackers and a fortification of an earlier time...

Spiky! just for an attackers benefit that is.

I know I said in a post in December that the next castle I create will be something akin to the Warhammer Mighty Fortress from days of old. While that is still true, I also decided to finish this up from its start nearly one year ago.

The fort you now see started out as nothing more than me noodling around with my glue gun, x-acto knife and a bunch of sticks whittled to points to represent a palisade. I really had no other plans than testing it out and trying a few things with the Sculpey modeling clay to see how it might set after being baked in the oven. Nothing spectacular were the results and it sat for a bit.

Then for some reason I started adding more and more and constructed the gatehouse which was the most time consuming and the towers with the basis of them being 1/2 gallon milk cartons. From there I continued to add as it came into my mind and based on a motte and baileyconstruction type of Dark Ages fort.

Got to have a side view.

After the first wall which was nothing more than the initial twigs sharpened and glued I realized that due to the curves of the sticks I would need to double it up, so the second row was added. From there it was a simple matter to glue in the supports for the walkway and cut the sticks to fit and then length wise generating two pieces each to glue to the platforms. The base against the bottom of the walls switched from the aforementioned clay to the R4 foam. After that it was a simple matter to glue down the rocks and sticks and add the wooden stakes. I say simple but to be honest it was very time consuming.

The towers were constructed much the same and as I noted above from 1/2 gallon milk cartons that I cut down to the correct size. Once it was the right size I added the bass wood to each corner and glued it down to the base. From there it was just adding the horizontal parts and a heck of a lot of Popsicle (craft sticks) cut down to size, round ends snipped off and sanded. I came up with the idea of the beams jutting out after I had completed the tower construction so unfortunately I had to cut, sand and glue each one individually. That was almost as time consuming as whittling the palisade walls.

The gatehouse was probably the most complex part of this project. The roof is removable and was designed that way from the start. The bigger issue was the frame that it sits on seemed to fight me every step of the way. Eventually through trial and error I got it to work out. I also had to add a heck of a lot more reinforcement to the beams than I thought I might need. It also required a lot more bass wood to build it correctly. Like the towers, I did not think of the jutting over-beams until after it was finished.

No easy ways in here.

The last part that was constructed was the central tower. Here I really goofed and did not make the wall on the motte wide enough as it were. For a while I was using a tower that was based off of a Shackleton Scotch box. In the end that was just too wide. So I used a liquid egg carton instead which has a smaller footprint to it. Even this presented a challenge as the carton was a bit too short. So all I did in the end was grab another one and added it to the first to get the requisite height.

For which gaming system you might ask? Well it could be for almost any really. Seeing as I play Warhammer I will most likely use the rules from Warhammer Historical: Shieldwall, The Age of Arthur, Fall of the West or even Siege and Conquest. Hell I suspect even Warhammer Siege should "work". One other thought is...SAGA which I will freely admit I don't know much about.

For those interested here is the materials list for what you see to make this, all common items one probably already has lying around the painting/gaming area if you are like me.

• 

  Gatehouse with the roof off.
  

  masking tape
• white glue
• super glue
• hot glue (from a glue gun)
• cardboard
• poster board
• foamcore board
• 1/2 milk cartons
• Shackleton Scotch cardboard boxes (helps with the progress...)
  
• toothpicks
• balsa wood
  
• bass wood

• 

  It disassembles for (somewhat) easier transport.
  

  R4 residential foam (Home Depot sells it in 2x2 squares)
• Popsicle sticks
• rocks
• stones
• twigs (lots of cutting with the x-acto here, you'll need a fair number of blades!) 
• wall spackle (for covering up holes)
• circular wooden pieces for the shields
• paint
• brown (earth) flock
• green flock
• static grass
• escutcheon pins (for the main gate)
  

That is all it really is, nothing too crazy for when one is creating terrain and simple to do. Really what it is about is time and perseverance. Any big terrain piece like a castle will take months to complete if you want it done well.

After I took the photos I realized I still needed to add the wooden shields to the rearward towers and the main tower. They are glued now, just need to prime and paint them.

The main tower

 Overall I am pleased with it and through the painting the wood is a bit lighter than I envisioned and I have been toying with the idea of a mid-brown wash on it to dull down some of the brightness but am still not sure I want to go that route.

UPDATE: Since I created this post I have applied one brown wash to the whole structure but a few of the towers need a second coat of wash.

For paints it is really nothing more than: dark brown, medium brown, light brown, black ink, off white (called sandstone) for the lighter sections, blue for the windows and a light brown wash for the light parts to make it look a bit dirty and "lived in."

Future plans include finishing the court-yard and some suitably Dark Ages type buildings.