David Trampier, Ambiguity And Implied Narrative

If you want to read a really good article on David Trampier's art, you can find it here.

The term "Implied Narrative" has been adopted to describe Trampier's style, a style of which I am very fond. I must admit that most every piece of D&D art that I have viewed, since becoming acquainted with Trampier's artwork, has been judged against his narrative approach.

Several months ago I mentioned the early black and white artwork of Todd Lockwood. The early Lockwood illustrations also capture a narrative ambiguity which I find compelling.

Viewing Lockwood's illustration of Orcus, I found myself asking: Is Orcus sleeping or drooling? Why is has this woman been brought to his throne? What happens next? The great strength of Tramp, and other artists like Lockwood, is not just that the scenes they depicted were filled with action, drama or suspense.

Like my favorite art, I prefer implied narrative in my role-playing games as well. To quote from Only A Game:

"Implied Narrative: this is another category of [game] narrative where, like The Sims, there really is no writer-defined narrative per se, but the stories emerge from a dynamic play environment."

No writer-defined (or Dungeon Master defined) narrative. I think this is the key (or what we imagine to be the key) to the appeal of Trampier's artwork, and the appeal of old-school gaming. The lack of agenda on the part of the Dungeon Master when it comes to what story will be told.

Like a good Dungeon Master, Tramp wasn't necessarily rooting for the good guys. Heck, we don't even know that characters in his illustrations, or the player characters in our games, are the good guys! That is up to the players themselves, or the art-viewers, to decide.

Just like the ending to their story is up to the players.

David Trampier, Ambiguity And Implied Narrative

If you want to read a really good article on David Trampier's art, you can find it here.

The term "Implied Narrative" has been adopted to describe Trampier's style, a style of which I am very fond. I must admit that most every piece of D&D art that I have viewed, since becoming acquainted with Trampier's artwork, has been judged against his narrative approach.

Several months ago I mentioned the early black and white artwork of Todd Lockwood. The early Lockwood illustrations also capture a narrative ambiguity which I find compelling.

Viewing Lockwood's illustration of Orcus, I found myself asking: Is Orcus sleeping or drooling? Why is has this woman been brought to his throne? What happens next? The great strength of Tramp, and other artists like Lockwood, is not just that the scenes they depicted were filled with action, drama or suspense.

Like my favorite art, I prefer implied narrative in my role-playing games as well. To quote from Only A Game:

"Implied Narrative: this is another category of [game] narrative where, like The Sims, there really is no writer-defined narrative per se, but the stories emerge from a dynamic play environment."

No writer-defined (or Dungeon Master defined) narrative. I think this is the key (or what we imagine to be the key) to the appeal of Trampier's artwork, and the appeal of old-school gaming. The lack of agenda on the part of the Dungeon Master when it comes to what story will be told.

Like a good Dungeon Master, Tramp wasn't necessarily rooting for the good guys. Heck, we don't even know that characters in his illustrations, or the player characters in our games, are the good guys! That is up to the players themselves, or the art-viewers, to decide.

Just like the ending to their story is up to the players.

War Of The Angels: Todd Lockwood

In addition to his Orcus illustration, of which I earlier professed my fondness, Todd Lockwood produced several other pieces of black and white art, appearing in Dragon Magazine in late 1980.

Sixteen years later, Todd Lockwood would become better known for his color illustrations, having been instrumental in defining the look of 3rd Edition Dungeons and Dragons art.

In the process of discovering his later body of work, I came across another black & white Tom Lockwood illustration, which I believe is entitled War of the Angels. His mastery of light and dark, evident in the Orcus illustration, is re-affirmed in this piece.

Sadly, my ambivalence towards the "modern" D&D rulesets interfered with my appreciation for the artwork being produced by the Todd Lockwoods, Fred Fields and the other, later, D&D artists. While the early illustrators, like Dave Sutherland, Erol Otus and David Trampier will always strongly define the visual representation of D&D for me, its great to see that other artists like Todd Lockwood had a connection to the early days of the hobby, and, even then, made a strong impact on what I thought D&D was meant to "look like".

War Of The Angels: Todd Lockwood

In addition to his Orcus illustration, of which I earlier professed my fondness, Todd Lockwood produced several other pieces of black and white art, appearing in Dragon Magazine in late 1980.

Sixteen years later, Todd Lockwood would become better known for his color illustrations, having been instrumental in defining the look of 3rd Edition Dungeons and Dragons art.

In the process of discovering his later body of work, I came across another black & white Tom Lockwood illustration, which I believe is entitled War of the Angels. His mastery of light and dark, evident in the Orcus illustration, is re-affirmed in this piece.

Sadly, my ambivalence towards the "modern" D&D rulesets interfered with my appreciation for the artwork being produced by the Todd Lockwoods, Fred Fields and the other, later, D&D artists. While the early illustrators, like Dave Sutherland, Erol Otus and David Trampier will always strongly define the visual representation of D&D for me, its great to see that other artists like Todd Lockwood had a connection to the early days of the hobby, and, even then, made a strong impact on what I thought D&D was meant to "look like".

Old School Illustrators: Todd Lockwood

Yesterday, I posted one of my favorite Orcus illustrations, which appeared in the October 1980 issue of Dragon Magazine. It was the product of a little-known D&D player -- and budding artist -- named Todd Lockwood. A few subsequent issues of Dragon Magazine also contained his artwork, but then inclusion of his artwork in Dragon Magazine ceased.

Who knew, at the time, that this same Todd Lockwood -- who starting out playing D&D with his buddies in the early years of the hobby, and played while attending art college -- would join TSR sixteen years later, and become famous (along with Sam Wood) for defining the visuals of 3rd Edition Dungeons and Dragons.

I am embarrassed to report that I had no idea that Todd Lockwood, of Dragon Magazine #42 fame, is the same Todd Lockwood who would later create the concept art framework for 3E and 3.5E, and provide memorable covers for D&D products, such as The Forge of Fury (I bought the adventure and the related Black Dragon miniature, based on that cover alone) and City of the Spider Queen. A list of Todd Lockwood's impressive artistic rpg art credits can be found here, at Pen and Paper.

You can find Todd Lockwood's website here, and his blog, Behind The Water Heater, here.

Old School Illustrators: Todd Lockwood

Yesterday, I posted one of my favorite Orcus illustrations, which appeared in the October 1980 issue of Dragon Magazine. It was the product of a little-known D&D player -- and budding artist -- named Todd Lockwood. A few subsequent issues of Dragon Magazine also contained his artwork, but then inclusion of his artwork in Dragon Magazine ceased.

Who knew, at the time, that this same Todd Lockwood -- who starting out playing D&D with his buddies in the early years of the hobby, and played while attending art college -- would join TSR sixteen years later, and become famous (along with Sam Wood) for defining the visuals of 3rd Edition Dungeons and Dragons.

I am embarrassed to report that I had no idea that Todd Lockwood, of Dragon Magazine #42 fame, is the same Todd Lockwood who would later create the concept art framework for 3E and 3.5E, and provide memorable covers for D&D products, such as The Forge of Fury (I bought the adventure and the related Black Dragon miniature, based on that cover alone) and City of the Spider Queen. A list of Todd Lockwood's impressive artistic rpg art credits can be found here, at Pen and Paper.

You can find Todd Lockwood's website here, and his blog, Behind The Water Heater, here.

Fat And Manky Orcus

Tim Brannan of The Other Side blog wrote a recent post on the history of Orcus, along with a conversion to Unisystem. His post is well worth a read.

He also posted the above illustration, which first appears in The Dragon Magazine, Issue 42, October 1980. He was not sure who the artist was, nor when it was published. The illustration is by an artist by the name of Todd Lockwood. This is perhaps my favorite Orcus illustration, showing Orcus sitting lazily on his throne: I can't be sure whether he is snoring or drooling.

Fat And Manky Orcus

Tim Brannan of The Other Side blog wrote a recent post on the history of Orcus, along with a conversion to Unisystem. His post is well worth a read.

He also posted the above illustration, which first appears in The Dragon Magazine, Issue 42, October 1980. He was not sure who the artist was, nor when it was published. The illustration is by an artist by the name of Todd Lockwood. This is perhaps my favorite Orcus illustration, showing Orcus sitting lazily on his throne: I can't be sure whether he is snoring or drooling.