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DUNGEONS AND DRAGONS ART AND ARCANA: A VISUAL HISTORY

WHEN IT COMES to truly iconic touchstones of fantasy and sci-fi, Dungeons and Dragons is in a plane of its own. After four-plus decades of existence, the cultural significance of its universe is rivaled by only a small handful of other heavy hitters like Lord of the Rings and Star Wars. Its early design and aesthetics borrowed liberally from Robert E. Howard’s Conan series, pulp novels and comics, and of course Tolkien, but its DNA – its “source code” – were the rigorous rulesets of the strategic wargaming community, which preceded it by decades.

John Peck
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RUMMU ASH HILLS AND SUNKEN QUARRY

THE VILLAGE OF Rummu, in northern Estonia, is home to a geographical oddity: a lake with several offshore buildings that are partially or completely submerged, skirted by pale white hills that taper down to a gentle, beach-like incline. The lake is in fact a former limestone and marble quarry, now shut down and flooded. The site teems with plant and animal life, particularly in the summer, making it a striking blend of the idyllic and creepy – particularly given that one of the sunken buildings is a former prison that once housed the quarry’s involuntary labor source.

John Peck
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THE ART OF POINT-AND-CLICK ADVENTURE GAMES

THE UK-BASED Bitmap Books is steadily becoming one of the foremost chroniclers of everything that falls under the umbrella of “retro gaming”. Their exhaustive, full-color volumes trace various threads running through the history of videogames, and while the majority of their titles are dedicated to a specific console, other volumes cover everything from vintage arcade cabinets to the lost world of game box art.

John Peck
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SPOMENIK MONUMENT DATABASE

SPOMENIK MONUMENT DATABASE, out this week from FUEL Publishing, chronicles the massive, brutalist war memorials spread across the former Yugoslavia. While “spomenik” simply means “memorial” in Serbo-Croatian, the word has come to be associated with the particular form these monuments took from the 1960s to the 1980s: wildly asymmetrical abstract constructions of concrete, stone and metal, often placed incongruously in remote, pastoral settings.

John Peck
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