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I wrote a guest blog post about Sammy Steel for the awesome Little Weirdos blog about collecting odd little toys and figures. Check it out here!
I give a basic overview of the toy line and summarize each of its three series. The article uses an assortment of photos from my Sammy Steel articles.


Replaces the guns and monsters of Doom and Doom 2 with ridiculous crap from the Killer Tomatoes franchise. Play at your own peril.
Downgrade your weapons! Summon sexy tomato women to do your bidding! Battle annoying paparazzi, deadly ninja, and other non-sequitors! Tolerate blatant product placement! Save the world from the real red menace — killer tomatoes!
Get it here if you’re bored enough to play this drivel.
It’s not finished, and may never be. Who knows.
It’s meant to resemble a terrible 90s shooter, so most of the guns are renders of questionable quality from Duum 2 Super, Shambles, and Liquidator.
attack of the killer tomatoes
attack of the killer tomatoes
it started as a film franchise
then briefly a cartoon
and now it’s a mod
for gzdoom!
two games were made before, though
for spectrum and nintendo
bad game design and graphics too
brought nothing but sub par reviews
and now it sucks
on pc too!
tomatoes!
tomatoes!
we almost made you Tara
but decided shouldn’t oughta
she’s pretty and accessible
and very well endowed
but draws lots of hate
from the tumblr crowd…
this mod has no new levels
no imps or cyber-devils
just play it when you’re getting bored
with fighting off demonic hordes
and help it to win
a cacoward!
tomatoes!
tomatoes!
So I was browsing toys in the local Savers for props to use in a play set in the early 80s, and lo and behold, what do I find?

My girl, Wisp! In great (if soiled) condition! From 1983! This cutie is typically priced at $20 to $30 on ebay, so I can’t believe I found her. She even has her star decal intact!
She got to be a prop in the play, and then I took her home and prettied her up a bit. Face was caked with soot. Still got some stains on the white bits that need to be washed out, so she’s a work in progress. Still in wonderful condition considering where I found her.
I really, REALLY hope this thing is legit: that a toy company repurposed the mold for Vicious Volcano when the Flintstones movie came out in 1994 (one year before Sammy Steel was a thing), and made this cute little playset thing.
Presumably if it IS real, there were two, and half the figures are from the other set.
Even if it’s a custom job, it’s pretty badass. Haven’t been able to find the figures anywhere on their own, and I don’t know yet if I want to shell out what the seller is asking for it without knowing for sure where it came from (he WAS nice enough to let me use his photos, though).
EDIT: THEY’RE REAL! Just found a listing with carded sets being sold in France! Apparently Flintstones were extremely popular there.
There are a number of Mighty Max toy variants that collectors will want to be aware of, some much rarer than others. I don’t have a single one, so I had to borrow photos from ebay and other places once again in order to archive them here. Excuse the occasional bad photo, since I didn’t take these, and due to Photobucket deciding to flush itself down the crapper and yank away everyone’s off-site hosted pics, I had to borrow thumbnails in some cases.
Corpus (Series 2) got a pastel makeover to make it less scary, I guess. Now it looks like the worst easter egg ever.
Battle Conqueror got a weird death metal repaint, making him look strangely modern.
Ice Alien (Series 1) has a rarely seen cousin, the Fire Alien. I’m not sure if that’s what it said on the card, too, or if that’s just the nickname for this odd variant, which may have come with one of the UK multi-packs.
Wolfship 7 (Series 1) gets another gaudy color scheme that makes the original toys look positively subtle. Either that or these variant aliens are colorblind.
This is an official variant of Scorpion (Series 2), made to resemble as closely as possible a shitty custom paint job by a mong on the internet.
I hope to find better pics of this one: the red variant of Kronosaur (Series 1), which still looks ridiculous, but not quite as bad as the others.
Aurore graciously donated these beautiful photos of the rare blue Lockjaw (Series 2). Guess Big Blue smothered to death in his pretty pink coffin.

There’s also a super rare periwinkle Rhesus variant apparently, which I’ve never seen apart from this photo.
I’ve also seen variants listed of Arachnoid, Skull Dungeon, and Doom Dragon (Series 1). The Arachnoid variant has a near-imperceptibly browner case, and with the latter two I failed to see any difference from the originals. As far as I know, these are all the official variants. Anything else is probably a knockoff or a shit custom repaint.
I put this together after I started pondering which of the Mighty Max toys were objectively the best and worst as far as design, aesthetic, and functionality goes.
DOOM ZONES
Best: Series 1

The highlight of the toy line definitely got off to a great start with Series 1. There are a lot of creative designs and very distinct locales, with a good balance of spooky, colorful, and endearing to introduce young kids to a toy line that would get progressively more gruesome as they got older. The compact designs weren’t as outrageous as Series 3, but none of the Series 1 entries are forgettable, whether or not you like the cutesy design aesthetic. The whole thing has a 50s cult monster movie vibe, with tributes to Frankenstein, The Mummy, The Fly, and the countless cult and alien films of the era. Each set also has one or two cool gimmicks to make it stand out from the others, like moving machinery, giant monsters that are part of the inerior AND exterior, and tightrope acts to name a few.
Worst: Series 2

Series 2 isn’t “bad” by any stretch. It just isn’t as inspired as 1’s distinct locales or Series 3’s amazing compositions. Where it falls short is how half of them have bland exteriors, strange color choices for interiors, and/or general lack of anything going on inside, almost like oversized horror heads.
Series 1 Best: Palace of Poison
Not only does it feature the badass setting of ancient Egypt, it has the most creative design of Series 1 that can depict a dig site with or without a giant snake shrine protruding from the sand, or an elaborate tomb with a tightrope act. The color scheme is unmisakably sandy and the whole thing gives a great Indiana Jones vibe. Every area is interactive and pitting sweet little Max against a giant scorpion for the amusement of a dehydrated despot is truly magical.
Series 1 Worst: Ice Alien
A great color scheme is wasted on a rather dull interior, foreshadowing half of the Series 2 sets. It’s extremely pretty and has a wonderfully detailed exterior, but inside it’s just kinda bland, and the big monster is sort of amorphous and not terribly memorable (though it is neat that it features one complete ice alien and two more still forming out of the glacier). The main baddie is pretty cool at least, and didn’t use the awkward-looking hinged waist mechanic.
Honorable Mention: Skull Dungeon
Awesomely detailed tribute to Frankenstein. When you mention Mighty Max, this is immediately what I think of. A shining example of what the toy line was capable of, and never fails to impress: every time I show this one off, I get a gasp of delight. Bonus points for the awesome jawbridge that makes a rare use of a playset’s interior AND exterior.
Series 2 Best: Maneater
An attack sub designed as a giant shark is amazing all on its own, and allows Max to fight on the inside AND outside, which is rare for a doom zone. The details are exquisite and the colors and overall aesthetic are a perfect balance of flesh, tech, and treasure. It also splits into various layers: from giant shark, to attack sub in a cavernous bay, to an undersea treasure trove or biomech ship interior. Top it off with a cool squidman, two squid minions, and a cyber-manta jetski, and you’ve got a winner.
Series 2 Worst: Scorpion
Worst was initially a tie among Ape King, Scorpion, and Battlecat given the lack of interesting interior design, among other problems. Originally I picked Battle Cat because it lacks a titular cat and has a gaudy Polly Pocket palette, but after some deliberation I realized Scorpion was the biggest offender. For all their faults, the other two can at least stand on their own. Scorpion is basically two vehicles, one of them totally impractical, the other only interesting when combined with other sets.
Honorable Mention: Cyclops
Shades of Skull Dungeon, but much more macabre. There’s a ton of interactivity in this dungeon, a very cool giant eyeball monster, and a compact that screams Ray Harryhausen. A great layout as well, with the twin stairs leading up the horn and onto the upper landing. It’s easy to fall in love with this one, and it’s my personal favorite of Series 2.
Series 3 Best: Fly
An awesomely detailed giant fly compact hatches into a Cronenberg-esque nightmare filled with giant maneating bugs and squirming human hosts for their parasitic young, with a little mad science thrown in via the man-fly villain and his cyber-bug forklift thing. The compact’s eyes double as sliding windows in a very cool clockwork touch. Color choice is perfect here, screaming “alien bug” and other general unpleasantness. Cool setting and very cool goodies inside, most of which contribute to the overall presentation whether the set is closed or open.
Series 3 Worst: Cyberskull
Nothing in this set resembles much of anything. It’s a random mix of bone and computer guts. Yawn.
Honorable Mention: Nautilus
I really wish more of the playsets went with the vertical split gimmick seen here — some of the less interesting playsets might have benefitted from it. It’s an awesome two-part bisection of a biomechanical submarine lair, but hurts from the gaudy Polly Pocket colorscheme. I guess parents were getting angry about the macabre atmosphere of these toys and felt goofy pastels would tone it down sufficiently to placate them. With a more macabre palette this might have had a shot at my #1 spot for Series 3.
HORROR HEADS
Best: Series 2

Whereas most horror heads were glorified figure carrying cases, the Series 2 ‘Heads did it right by establishing a tangible and interactive environment inside. The overall designs were also the most fearless of the whole toy line, with lots of gore and gross fleshtones. Fantastic work.
Worst: Series 3

Series 3 was the first sign of the toy line’s downward spiral. Like Series 1, the interiors were a bit lazy and uninspired, but they also didn’t include the featured bad guy! It’s nothing but shit vehicles and henchmen here, and just about all of these designs had lots of room for improvement before final production.
Series 1 Best: Kronosaur
It’s almost impossible to pick a best from the series that started bringing out Mighty Max’s more gruesome side: each of the original Horror Heads had a tangible environment but figures that were lacking, or lazy environments with really great figures and accessories, with exterior designs that were okay on average. I settled on this one because it has the best balance of all three. A beautifully lush colorscheme, an interior with bloody and mechanical highlights, a wonderfully mean-looking caveman villain, and an excellently designed exterior complete with the compact clasp being incorporated as the kronosaur’s incisors, all makes this one a winner. It looks good in your collection and has neat stuff on the inside. Best of all, it’s really easy to find on ebay.
Series 1 Worst: Sea Squirm
The monsters are awkwardly posed and the interior has a lot of clutter. They put more thought into the looks than the functionality for this one. As I said, most of the Series 1 ‘Heads are aesthetically beautiful, but limited play-wise; this one is the extreme in both. Really pretty pattern on the serpent’s skin, and a lovely undersea motif overall, just bettter suited to making your collection look good than actually playing with.
Honorable Mention: Zomboid
It’s so wonderfully icky I can’t ignore it. Disgusting interior of a giant rotting human, with the abcessed brain as the villain and a giant centipede sidekick. What’s not to like?
Series 2 Best: Corpus
Takes a note from Maneater by providing a shifting environment: the action takes place at an open grave or inside a spooky catacomb. Either way, it’s a great idea with some spooky-ass bad guys, grim Poe-esque detail, and a palette so disturbing they had to make a “safer” pastel-colored re-release.
Series 2 Worst: Werewolf
It gets points for great presentation, but lacks the titular Werewolf, thus the set has a lack of overall direction. Honestly not that bad for a “worst” pick, further demonstrating the expert design of Series 2.
Honorable Mention: Ax Man
This one has the most fun interactive feature: a giant swiveling guillotine for disemboweling Max. Co-starring gruesome maniac with a chainsaw!
Series 3 Best: Beetlebrow
This is as close as the awful Series 3 comes to including the featured villain in the set, unlike the other three, and the showdown basically boils down to a jousting contest: Max riding a giant tick, versus the beetle borg riding a space jetski. The color scheme has some nice stark contrasts, the interior features hapless astronauts being eaten alive by parasites, and when the set is closed up, all of the components contribute to a rather fearsome space bug mug. The theme is the least abstract — people being fed to alien parasites by a scooter-riding bug-bot — and there’s plenty of goodies to fool around with. Too bad it’s impossible to find on ebay, probably the rarest of the entire toy line.
Series 3 Worst: Hydron/Rhesus 7
A “planet of the apes” setting is perfect for Mighty Max, but they bungle it pretty badly here. Half the pieces form the worst vehicle in toy history, and again the (ridiculous looking) main villain is strangely absent. There was plenty of room for both Hydron and his lackey and a smaller, more sensible mount for Max. All the good designers must’ve left the company by this point.
Honorable Mention: Freako
Freako is the black sheep of this series: the only one to lack both a vehicle AND the “removable jaws” aesthetic of the other three sets. It also has a great exterior design with a striking color scheme that really grabs your eye, and everything inside does a nice job conveying “circus freakshow”. Unfortunately the compact’s interior, while awesomely psychadelic, is useless except as a carrying case, and again the featured villain is absent. Why not a retractable highwire and a Freako figure?
BATTLE MASTERS
Best: Cybot
Everything about this screams “awesome”. Undead ED209 with a variety of killer missiles/extending arms, a flying vehicle for Max or Cyberskull, and a command post inside the big guy’s head. Battle Masters / Battle Max / Whatever the hell you call this particular branch of the line was never better than this.
Worst: Lava Beast
It seems when the designers didn’t know what to do, they defaulted to lava, and the result is always dull. A nice minimalist colorscheme, and the big guy can eat the little guys and puke them back up. There’s nothing interesting inside, and the accessories are all bland.
Honorable Mention: Battle Conquerer
Easily one of the best in this series: a giant lion-man with giant weapons that he OR Norman can use, plus a dragon-jet with a ballista for finishing him off. Only gripe is the Conquerer’s crappy “side kick” leg pose. Handsome metallic color palette as well. A great medieval counterpart to the sci-fi Cybot — if you only own one from this series, and it’s not Cybot, make it this one.
BIG SETS
Best: Skull Mountain
The pictures speak for themselves. If this were a GI Joe playset, it would be six feet tall. It’s the biggest set in the toy line, and filled with tons of goodies and features: skelevator, dragon lair, two retracting bridges, a face-changing villain, projctile weapons, a guillotine, a submarine bay…Skull Mountain has it all.
Worst: Terror Talons / Dread Star
A giant horror head with lots of figures. The only intersting part is the wall-face throne that opens and closes it jaws and moves its eyes around. This coulda been two more doom zones. Utter crap.
Honorable Mention: Dragon Isle
Like Skull Mountain, every inch of this set is a finely detailed environment, although there is only half as much to do. The bay areas are particularly spooky and delightful. One of the easiest MM toys to find on ebay, too.
Best Overall Collection: Horror Heads, Series 2
As far as design, creativity, atmosphere, and playability, this set is the most consistent across the board. Every other collection has its ups and downs; here, even the downs have enough going for them to put the “worst” of the other collections to shame. Not only are these great looking and fun to play with, they attest to the creativity of the designers: look what they were able to do with such restrictions on space, size, and number of pieces. These are outstanding, and if you only own one collection, you could do a hell of a lot worse than this. Each one draws your attention and admiration.

Got a Goodreads account? Enter this giveaway for a chance to win both Bishop & Holiday books, autographed by me! Interdimensional travel, red tape in the afterlife, mythical babes, three-headed dogs, alien spiders, and daemonic possession: all in a day’s work for the Bishop & Holiday Paranormal Agency.

Jumping Required
The HORUS terrorist group has just made super-terrorist Victor Baloch its new leader, and they’ve stolen several nuclear warheads. With the nukes in tow, they’ve begun holding the world hostage one region at a time.
In response to this, NATO has greenlit a campaign to eradicate HORUS and Victor once and for all, with the Hercules of counter-terrorism Hector Juarez taking point. Operation Body Count is a go.
The original Operation Body Count could have been Jihadenstein, but was instead a pile of crap. The mod ended up being an amalgamation of missions based on other games about terrorist takeovers: Hostages, Persian Gulf Inferno, and Alcatraz to name a few. Each mission is a single map filled with various objectives and nasty terrorists, often inspired by other games of the same era that revolved around terrorist threats.

I often end up talking Lovecraft with new writers who haven’t read him, and I make sure to bring up the following points:
- He is one of the most influential horror authors of the 20th century, if not THE most. Pretty much every horror author cites him as a major inspiration.
- His writing style is very dense and archaic (gothic style), even for his time (prohibition and the great depression), so he’s not an easy read unless you have patience and diligence. Same goes for any gothic style fiction.
- He was a WASP and a keen racist who hated the idea of mixing races, and it shows in his works. However, that doesn’t make his writings irrelevant to the genre. Just adds an unfortunate sour edge to his bibliography, much of which can be reinterpreted thanks to postmodernism.
- There is no definitive guide to how to pronounce any of the names he invented. When people asked HP himself how to pronounce the names of his creatures, he gave a different answer every time – the idea was to give the impression of a long-forgotten culture, the names from which no one would know how to pronounce correctly. So if anyone tries to correct your pronunciation of Yog-Sothoth, Cthulhu, R’lyeh, or any of the others, they are a hipster and don’t know what they’re talking about.
- His entire bibliography is in the public domain, and available here.
Lovecraft wrote a variety of macabre tales: from short traditional spooks to sprawling novels of poetic horror, and some are more effective than others. Here are what I find to be the best of his works: the scariest, most accessible, and least unwieldy for new readers. If you haven’t read Lovecraft before, these stories make for a good introduction, and may convince you to give his longer works a shot.
THE LURKING FEAR. Something of a more traditional haunted house story, but with a cool new spin on the concept. The atmosphere is palpable in this one, and there are a number of climactic scares throughout, rather than a slow burn with no payoff til late into the story, like in The Shunned House (though it’s also a good read). The writing is as dense as you would expect from HP, but it’s worth it once he starts dropping the scares into your lap. Thinking of being in the protagonist’s shoes still gives me chills when I think of what he went through, and there are moments when the mere anticipation of a terrible event makes you squirm. A frightful delight.
THE DUNWICH HORROR. Many of HP’s works involve a lot of buildup for very little payoff, but this one constantly raises the stakes and the weirdness, lacing it all with a thick atmosphere that really makes the degenerate backwater of Dunwich come alive. The reader gets a better sense of involvement than in Call of Cthulhu: both are great horror tales written in an investigative journalism style (forgiving the dense gothic prose HP loved so well), but whereas Cthulhu leaves the reader feeling far removed from the events described, Dunwich somehow manages to feel more like an event in progress, and feels more intense as a result. The actual horror doesn’t kick off until the second half, and manages to predict classic creature features involving giant monsters running amok in human civilization. Many of HP’s “big reveals” are telegraphed pages in advance like always, but the overall experience is a great one and leaves you with a broad collection of unsettling images and ideas. Great spooky fun, and definitely worth reading more than once.
OUT OF THE AEONS. Essentially ghostwritten for Hazel Heald, this is a surprisingly effective tale of the mythos revolving around a strange mummy, an equally strange scroll, and one of the most frightening creatures in all of Yog-Sothothery. HP was fond of folk tales and mythology, and it really shows here: the story of the people of Mu is fascinating and feels like something out of a textbook, and the mystery of the mummy lends itself to a lot of spooky fun. It ends up feeling like the sort of yarn you’d read in a scary story anthology, albeit with a more archaic writing style. It’s underrated and highly recommended, despite the bogusness of the Mu culture irl, and a few questionable science fact elements.
I also want to give a shout-out to Robert W Chambers, who inspired Lovecraft and wrote The King In Yellow, a great anthology and fascinating combination of proto cosmic horror and romanticism; and Robert Bloch, who contributed a lot of great stories to the mythos, collected in the anthology The Mysteries of the Worm.
I stammer and stutter my way through another podcast thing, probably frustrating listeners to no end as I struggle to remind my brain and mouth how to collaborate.
This rant got me kicked out of the “Creative Writers” Facebook group a few months ago. I seem to make a habit out of being banned from facebook writing groups.
So I’m reading the posts in this group and I come across a member’s post that apparently had comments locked by an admin. Reading the shitstorm that resulted from this post has helped me to realize why I keep getting into fights with so many people on facebook lately. I’m not going to requote the post or comments because I hate drama, but I AM going to talk in more detail and clarity than the OP did, even though many of you will not even bother reading to the end (or you will, but you won’t actually pay attention). This does have to do with authors, so bear with me.
I almost didn’t bother writing this, but I’m posting it anyway, partly because I have first-hand experience with this issue as a content creator and I’m tired of putting up with it, and tired of watching others fall victim to it; partly because posting elsewhere would feel like preaching to the choir, which is just pointless masturbation; partly as an exercise in “not being afraid to speak my mind”, as is the norm on the internet nowadays; and partly to point out how this sort of thing actually affects your audience. For that last point alone, you authors need to read to the end and think about it. Don’t argue: I know a lot of you are already opening the comments box to refute me, but you’re doing it out of anger and not thinking straight. Pretty sure the admins will close comments anyway, to prevent further drama — necessity of the topic notwithstanding. So don’t argue. Just think about it, is all I ask. Have a beer or a spot of tea while you think. If you HAVE to argue, first take a week off to calm down, then message me about it when you’re rational. (Again, coming from first-hand experience here, it really helps if you take a break before responding).
Here’s the topic:
The person in question argued that authors shouldn’t be required to use trigger warnings on their books or posts, nor should they be bullied into it. A ton of people jumped on him and called him a troll for saying this. I don’t know the context outside of that post and its reaction: maybe he had posted incendiary stuff before, or maybe it was his first post in the group on the subject.
The fact is, though, he’s fucking right. It IS ridiculous to expect me to add detailed disclaimers on a regular basis, for the sake of people who (theoretically) need professional help so badly that mere words like “rape” or “suicide” send them into a helpless, sobbing mania. Not just here in this facebook group, but anywhere. And whether he was serious or not, it’s the members’ reactions I’m more concerned about: the sincere and angry argument that it’s the author’s solemn duty to warn the reader of every potential trigger that pops up in their work, and if they don’t they’re an irresponsible asshole who should be ostracised. That is as ridiculous and unreasonable as it is impossible, especially these days.
I am NOT responsible for the mental stability of my readers. Not even on facebook. Argue the contrary all you want, you’re still wrong.
Rating systems like we have with films are more than enough, as unreliable as they are: R means adults only, and therefore all content is fair game, the theory being — flawed as it is — that adults are mature enough to handle things like death, sex, drugs, rape, cursing, etc. If a book isn’t for kids, it is not found in the YA or children’s section, and therefore the content is fair game.
However, the issue goes beyond merely having gruesome content in a work of fiction: trigger warning enthusiasts are championing for the weak and the wounded, worried that the poor dears will fall apart if they read a depiction of something they themselves experienced. If that’s ever the case, it’s because the victim isn’t getting the help they need (or like in a few cases I’ve personally met, because they WANT to feel like victims). In most cases it’s people who have no experience with the trauma in question, which is even more pathetic. In no case is it the author’s fault, nor is it the author’s responsibility to rectify it or pander to it. Nor should that author be crucified for being so insensitive as to include bad things in his adult-oriented story that happen in real life to real adults.
So I did an experiment that panders to the trigger warning demographic. Here’s what the front page of The Helios Legacy would look like if I adhered to this sort of mentality and listed everything I know someone would be offended or triggered by. Because let’s be real, listing one or two wouldn’t be enough if we want this to be a standard practice: we’d have to cover all the bases with a proper disclaimer, and make sure everyone knows exactly what they’re getting into, so nobody feels misrepresented or left out. These are all things that I’ve seen people flip out over. So hold onto your butts.
Trigger Warning: contains depictions of, or references to, the following:
– harsh language
– harsh language around minors
– harsh language by minors
– characters contemplating suicide
– attempted suicide
– attempted suicide by a minor
– sexual abuse
– sexual abuse of a minor
– use of the word “rape”
– use of the word “cunt”
– use of the word “fuck” and all its variants
– use of the word “suicide”
– taking the lord’s name in vain
– racial slurs
– homosexual slurs
– violence against women
– woman protagonist who shows vulnerability
– women who speak of subjects other than women
– unflattering portrayals of radical feminism
– references to and depictions of social anxiety
– references to and depictions of depression
– references to and depictions of wartime PTSD
– unflattering portrayals of radical leftist politics
– lack of trans characters
– scary imagery
I took about two hours making up that list, just to make sure I didn’t leave out any subject worth a safe space visit or an angry email. Now nobody can say I didn’t warn them about the content of the book…though I had to do it at the expense of misrepresenting the content of said book. You read “sexual abuse of a minor” and probably think of seven chapters of wanton kid-rape in excruciating detail, but in fact it’s just a vague reference to the fact that the kid was abused and you don’t actually see anything. I had to mention it as part of the trigger warning, so there it is, context be damned.
Did reading the disclaimer give you second thoughts about reading the book? Good, because that brings me to yet another reason trigger warnings are a stupid practice.
It’s anti-marketing. By scaring potential readers away with an out-of-context list of vague warnings (even if I had only listed rape or suicide), they miss out on a good story with engaging characters they can actually care about. They miss out on the soldier who helps the traumatized boy learn to trust adults again. They miss out on the damaged mom who finds the will to live after a terrible loss. They miss out on a villain who’s actually likable and sympathetic. They miss all the cool little moments between the guilty war hero and the mother of her dead teammate, or the flashbacks of a romance that was meant to be, but ultimately self-destructed. They miss out on the imagery: a nuclear winter city, a passenger train splayed across a snowy wasteland like a dead behemoth. They miss out on a really awesome scene with improvised firearms. They miss out on the surprise of picking up a random indie book they never heard of and actually enjoying it.
They miss out, period.
At some point we as a species need to stop babying each other. I’m very close to people who have actually suffered abuse or serious mental illness. If you told any of them that trigger warnings were essential for anyone, least of all for them, they would think you’re a condescending asshole out to empower yourself at the expense of others, and they’d be right. The world depicted in Demolition Man was intended as a joke, not something to aspire to.
Enforcing this kind of thing isn’t helping anyone. It turns people away from your books for superficial reasons. It empowers the self-righteous and makes people afraid to speak their minds. It forces people to be hypervigilant on a constant basis. It takes those who have actually suffered and paints them like blubbering infants. It ensures that those who THINK they need trigger warnings and safe spaces never fucking recover, and live the rest of their lives with a victim complex. Most of all, it insults your reader’s maturity.
So I urge everyone to drop this practice and start respecting their readers again. That’s ultimately what you’re doing when you include a trigger warning: you’re treating your readers like children. In which case, you’re probably writing in the wrong category.

The Sequel to Project Einherjar
Version 4.0
14 maps for Gzdoom 3.7.2 (strobe effects don’t work in later versions).
DOWNLOAD IT!
Now retired after saving the world from nuclear disaster, Juno is asked to help escort dangerous war criminal Dietrich Drogo to Normandy, to be tried for crimes against humanity. Once in Normandy, the caravan is hit, Drogo is rescued by his fellow war profiteers…and Juno takes the blame. Now Public Enemy Number One in a foreign country, Juno must hunt and recapture Drogo to clear her name.
I had thought about a sequel to Project Einherjar for some time, but more importantly, a game experience that better encompassed the essence of the book series it was based on. Whenever I edit my fiction, I listen to a music playlist that suits the mood of the piece, to fuel my drive to finish the project. I thought it would be cool to use that music in a game project to help bring Winter Agent Juno alive the way I envisioned it. So I built Midgard Outlaw around the dynamic music mechanic, using music directly from my WAJ inspirational playlist, and toned down the sci-fi elements considerably. I’m really happy with the end result and hope you guys and dolls enjoy it, too.
This does mean that youtube will likely de-monetize videos of this mod due to the music used, so Let’s Play only if you really feel up to it.
In my second guest appearance on World Extermination Radio, we have an in-depth discussion about tabletop role playing games. Well, mostly I talk his ear off about it. That’s why he invites me on the show, I guess.