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GLUMMY REBELLION IN MULTIPLE OPPRESSORBADIAN CANTONS

OUTLAWS BURN GOVERNMENT BANK.

STREET BATTLES IN STYROFOAMYBAD

3 LEGIONS OF NATIONAL TROOPS ORDERED TO SUPPRESS UPRISINGS; MANY TROOPS DISLOYAL.

A Secret Society known as the “Glummys” has risen in rebellion against the Dictatorship of Chairman Glumjaw. Antember 5th they risked open battle with National Soldiers, led by Majorette Margy Margoffsya near Gloomdrul. The Glummys loss was over 20 killed, perhaps 40 wounded. On the following day 13 unlucky bodies were counted unclaimed and unburied on the field. National losses are said to be small, the Glummys claim magical protection and went into battle armed entirely with common farming implements. Though dispersed, in the Glumdrul area, they are reassembling and preparing for further fighting.

Telegrams from the Gnarnool Station state the the “Glummies” are gathering there in force threatening the lives of loyal government families and visiting foreigners. The homes of tens of Polyestrine, Gueratian, and Guapmolotlic merchants have been looted and loyal servants were hanged by mobs carrying banners proclaiming “Magical Power” and “Follow the Witches, Fight the Dictator!” The countryside south and east of Garnool and north of Styrofoamybad is greatly disturbed.

Street battles in Styrofoamybad continue with military patrols having been attacked with several dead and injured, the Government Bank was robbed, and burned to the ground by a violent mob on Fryday. The Government of Chairman Grimjaw has summoned 3 legions of National Troops to the Capitol, though treason from railway workers has impeded the progress of the various columns.

The situation in Oppressorbad is being watched closely by Polyesterdelphia, Guerat, and Mantz. Guerat has rattled it’s saber, moving two divisions to Moopighaven and Beaume, determined to keep the Guntish Secret Societies from crossing the border. Mantz has been less overtly militant, but has offered police forces to Oppressorbad to curb border crossings by the bandits. Gross Montaigne, with it’s plastic mines that feed the Balsabad Industrial region is economically dependent on Oppressorbad and has expressed frustration with the Glumjaw government’s inability to keep the trains running.

Twosday saw a small mixed force of Glummy bandits descend from the mountains near Baddog in the direction of Grimshore only to be caught between National Troops from Laducat and a wandering patrol of the Fabuouth Armee in a fire fight on the Vinalville-Laducat road. Mr. Earlow our corespondent is currently looking into this affair and we will deliver more on it presently.

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This October Horror Movie Challenge, I am going "themeless." Well, not entirely themeless, I am going to hit some movies I have been wanting to see for a while. I am going to hit some movies with a strong occult themes to help with my Occult D&D ideas. And a lot of movies that are random picks. 
So, lets get in a Witchcraft Wednesday special!
Some horror movies become classics because they’re great. Others become classics because they’re terrible. And then there are the ones like Witchcraft (1988)—movies that sit in that odd middle space where you can’t really call them good, but you also can’t quite look away. This was the beginning of what would inexplicably become the longest-running horror franchise of all time, with over a dozen sequels. Yep, this little direct-to-video oddity outlasted Friday the 13th.

Witchcraft has always been out there, taunting me. The later direct-to-video offerings are essentially cheesy, low-grade horror with soft-core porn. There is a time and place for that, but not often in the Horror Movie Challenge. Still, I am not going to rule out more of these for the simple reasons that A.) this one wasn't so bad (ok it is, but) and B.) maybe there is something to extract here.

The setup is Gothic in all the right ways. The film opens with a young woman, Grace Churchill, giving birth to a child in a spooky old mansion, watched over by ominous figures who may or may not be part of a Satanic coven. The baby, William, grows up haunted by strange powers and a dark inheritance. That’s about as coherent as the plot gets. The rest is a mix of supernatural brooding, awkward family drama, softcore sex, and a finale where witchcraft and devil-worship clash in melodramatic fashion.

It’s the kind of movie that promises “occult terror” on the box but delivers more soap opera than sorcery. The budget clearly wasn’t there, and it shows—cheap sets, stilted acting, and special effects that would’ve been laughed off Tales from the Darkside. But there’s something about the sheer earnestness of it that makes it oddly watchable. You get the sense that everyone involved thought they were making something serious, maybe even artistic. Instead, they accidentally launched the trashiest franchise in horror history.

What stands out, though, is the vibe. Witchcraft is soaked in late-80s VHS energy, grainy lighting, synth score, and a sleazy Gothic tone that feels like it belongs in a tattered paperback you’d find in a used bookstore. It’s not scary, not really, but it is atmospheric in that “midnight cable TV/Cinemax” way.

Witchcraft (1988) isn’t good. But it’s important. It’s the seed from which a whole weird forest of bargain-bin horror would grow, a franchise that leaned more and more into sleaze and supernatural soap opera. I can't help but think that this series promises a better movie. 

Maybe I'll watch them all one day. But not this month. 

Occult D&D and NIGHT SHIFT

Yeah, there is a NIGHT SHIFT campaign here, but it is likely a silly one.

October Horror Movie Challenge 2025
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 It is the start of October and time for another foundational author for D&D from Gary's Appendix N. As always with this feature I am focusing on the witches presented in these tales.

Poul Anderson (1926-2001) is much better known for his Science Fiction tales, but he does have three (well, 2.5) fantasy stories on the Appendix N list, and two of these feature witches rather prominently: "Three Hearts and Three Lions" and "The Broken Sword."

I will take each in turn and also expand a little from "just witches" with these.

Three Hearts and Three Lions (1953)

Anderson’s Three Hearts and Three Lions is already famous in D&D circles for giving us Law vs Chaos, the Swanmay, regenerating trolls, and even the proto-paladin in Holger Carlsen. But nestled amid the elves, trolls, and Moorcock-before-Moorcock cosmology is one of the first proper "witches" of Appendix N.

The unnamed witch of the forest hut is classic fairy-tale witchcraft: ugly, corrupt, but wielding real power. She brews potions, dabbles in deviltry, and represents the Chaos side of Anderson’s moral spectrum. Anderson clearly has one foot in the folkloric hag tradition; this witch could have walked right out of the Brothers Grimm, but her function in the story is thematic as much as narrative. She exists as a living symbol of the Chaos that Holger is pitted against, an incarnation of superstition and malice. While her interactions with Holger are not long, she is his first clue that magic, chaos, and evil are real, tangible things in the world/time.

Then there is Morgan Le Fey. She is Holger's former lover in a past life, and she is the main antagonist. She is a representative of the "Old Ways," the paganism of Europe, dying out in the face of rising Christianity. She is also representative of chaos, evil, and magic. Where the old hag is evil and ugly, Morgan Le Fey is evil and beautiful. Representing that evil does come in many guises and our hero needs to recognize that.

The battle is a parallel of the one Holger left in his time, World War II.

Both witches represent the two types of witches most often seen: the old Satanic Hag and the beautiful Pagan. Both, however, represent evil and mostly Chaos. 

The notion of Paganism/Old Ways versus Christianity is a recurring theme in Anderson's other significant Appendix N book.

The Broken Sword (1954/1971)

The Broken Sword gives us a much darker, more primal vision of witchcraft. 

Here we get another hag-witch who is close enough to the elves and trolls to have dealings with them, but is also very explicitly Satanic. She lives in a run-down cottage/hut, deals with the dark forces of evil, and has a talking rat familiar. Honestly, she could even be the same witch if so many years were not between them.

She also tempts our main antagonist, the Changeling Valgard, by glamouring herself into a beautiful woman. It is her desire for vengeance that sets the plot into motion. 

Like Three Hearts, the Witch, and she never is given a proper name, is a force of evil and chaos. Also like Three Hearts, the story centers around the battle between Pagans and Christianity, which Anderson casts here as Evil/Chaos vs Good/Law, respectively.

The elves and trolls of The Broken Sword are more similar to each other; both are forces of Chaos, for example, and an elf/troll child is a Changeling. Their magic is also described as akin to witchcraft ("witchsight" allows humans to see the world of faerie) and to the witchcraft the old hag employs. Many elves and trolls have "Warlocks" in their ranks.

Here, also, the big Pagans vs. Christians war takes a back seat to two warring factions of Pagans, the Elves/Faerie and the Trolls/Giants. The interaction our protagonist Valgard has with the displaced Faun is very telling. This area of England/British Isles is one of the last holdouts of the Pagan ways. 

The mixing of the various mythologies, Norse, Irish, Welsh, British, and Greek, is very D&D. 

That Last Half

I joked above, 2.5 books in Appendix N. The ".5" is "The High Crusade" which is more appropriately a Science Fiction or Science Fantasy novel. I didn't include it here because, simply, I have not read it. 

A Note About Trolls

Three Hearts and Three Lions is notable for giving us the "D&D Troll," but the ones in The Broken Sword are much more interesting. Yes, they are ugly and brutish, but they are also smarter, and while they have enough similarities to elves to produce offspring (with the help of magic), they are explicitly related to the Jotun of Norse myth. 

Closing Thoughts

Anderson gives us some compelling stories. While not explicitly set in the same world, they are also not not the same world. His epic war of Good vs. Evil, Law vs. Chaos, is something that rings loudly even today in all editions of D&D. His wars of Christians vs. Pagans ring loudly to me.

His witches are less characters and more caricatures at times, but this fits into the world view these books have: the witches are just pawns and tools. Even when they have agency, their fate is already predetermined.

The entire time I was reading The Broken Sword, I could not help but wonder why witches didn't play a more prominent role in the game. Of course, the reason is simple. I was reading this looking for witches and not the larger themes. Gary, I assume, read these and saw the cosmic battle of Law vs. Chaos.  

None of the witches in these two tales would make for good Player Characters. They would, however, make for great NPCs using the Dragon Magazine witch class. 

In the AD&D Player's Handbook, it is mentioned that the Druid class is the same as the pre-Christian (not Gary's words) druid that has survived to Medieval times. If this is the case then certainly other "pagans" have survived. The witches of Poul Anderson certainly could be among those numbers.  

 from the Rockrump Morning Mail of Piefestober 2nd.  an article by Nedulum Nostrail.  

In Oppressorbad street fighting continues in Styrofoamybad between the combative religious extremists commonly called Glummies, and the national forces of Chairman Grimjaw.  Glummies armed with light machineguns and rifles have forced thier way from the outskirts towards the Motherland Steam Rail Station, and the Factories along the Clearmuck Waterfront.  Captain Colonel Grittoplast of the 76th National Legion has erected barricades on the routes leading to the National Plaza, and Chairman Grimjaw himself has been seen assisting the troops moving up field artillery.  On Fryday Evening Grittoplast's men opened fire upon a large body of Glummies, and halted the advance, while bugles near the waterfront indicated that the radical witches had  subverted railway operations, probably to bring artillery of their own up the line.  The civil war between the Oppressorbad National Government and the Guntish old Religionists continues to be cruel and unforgiving.  National forces are reported to have massacred injured fighters, while the Glummies have routinely burned mayors, librarians, doctors and teachers in the towns and villages they have gained control over.  It remains to be seen which faction will come out on top, but undoubtedly the common citizen of Oppressorbad will lose either way.

 It's October-eve, and that means big things here at The Other Side. I'm starting my Horror Movie Marathon here in a bit. And my theme this year is ... no theme at all! That's right, I am just going to watch horror movies as I find them, as they come to me, or however they get here. I plan to watch all the movies in The Conjuring universe and the movies in the Insidious series, too. 

Really looking forward to this month.

 I was looking for an idea to post today and saw that it was Michaelmas. Now I am not Catholic (I am not even a Christian, or a believer) but I thought this was a good excuse to round out my hierarchies of angels both for my Occult D&D project and for my Basic Bestiary.

A Word About My Basic Bestiary

This one is taking a bit. I am climbing the dual mountains of editing close to 400 monsters AND finding good art for them. I am funding the art myself, as I don't want to rely on crowdfunding for this. 

Angels

I have talked about the various angels and related creatures in my games before. 

• Monstrous Mondays: Angels
• Monstrous Mondays: The Agathós (and other Angels)
• Monstrous Mondays: Starchild (Occult D&D)

What I want to do is create groupings of various good-aligned outsiders (Celestials) and assign them hierarchies similar to those found in the lower planes. Angels, then, are the Lawful Good-aligned Celestials. 

The trick has been finding the right way to group them all, figure out the hierarchies as the Medieval scholars would have classified them, AND (and maybe the most important) find something that works well for the games I play.

The Archangels

The generals of Heaven's armies are the seven Archangels. While some scholars equate an archangel to a particular layer of the Seven Heavens, this is not really the case.  Of these seven, St. Michael is considered to be their leader and the most powerful. 

ARCHANGEL MICHAEL
General of the Heavenly Hosts

FREQUENCY: Unique
NO. APPEARING: 1
ARMOR CLASS: –6
MOVE: 24”/36” (flying)
HIT DICE: 22 (231 hp)
% IN LAIR: Nil
TREASURE TYPE: Special (holy relics only)
NO. OF ATTACKS: 3 (flaming Holy Avenger sword +6)
DAMAGE/ATTACK: 1d12 + 12 (STR and magic bonuses) + 1d8 fire per hit +6d6 damage to the "unholy."
SPECIAL ATTACKS: Holy Word at will; spell-like abilities as a 22nd-level cleric; Voice of Authority (as Command on all evil within 60’, no save vs. 6 HD or less); Haste 3/day; may summon 2–20 angels once per day.
SPECIAL DEFENSES: +2 or better weapon to hit; immune to fire, lightning, charm, petrification, poison, death magic; regenerates 3 hp/round; 90% magic resistance.
MAGIC RESISTANCE: 90%
INTELLIGENCE: Supra-genius (25)
ALIGNMENT: Lawful Good
SIZE: Huge (9’–10’ tall)
PSIONIC ABILITY: 350
— Attack/Defense Modes: All/All

“I have seen demons in their true forms, nightmare creatures born in dreams of madmen, and even sat in the galleries of a diabolic auction to bid back a mortal soul from the clutches of a Duke of Hell. I have faced things that should have unmade me, yet I walked away with laughter still on my lips.

But when Michael appeared, when the sky split as if dawn had come at midnight, my laughter died. I had thought devils horrific, but they are at least comprehensible: greedy, ambitious, vile. The Archangel is none of these things, and that is what made him terrifying. His presence was like a storm that judged the worth of every breath I had ever drawn. His eyes pierced every spell, every secret and lie I had cloaked myself in, and for a moment, I was naked in truth before the heavens. And he saw all. 

I confess, the most dreadful creature I have ever faced was not a demon or a devil or some abomination from beyond the veils of reality, but the Archangel himself. Not because he is cruel, but because he is absolute and just.”

- From the Journal of Larina Nix

Michael is one of the seven archangels and the greatest warrior among them. He appears as a towering, armored figure of radiant fire, bearing a great Holy Avenger that burns with divine light. His voice alone can turn entire legions of fiends.

When encountered, Michael is always on a mission of cosmic import, never idly wandering the planes. He may be summoned only by direct decree of the highest divine power. In battle, Michael is the equal and opposite of the greatest demon princes and arch-devils, such as Demogorgon or Asmodeus.

Michael is the war-leader of Heaven, the one who cast down Lucifer in the First Rebellion, and who wields the flaming sword at the threshold of Paradise. He is invoked in exorcisms, called upon as protector of the dying, and hailed as the angel of judgment. In many myths, Michael weighs the souls of the dead upon golden scales, determining whether they ascend or fall.

Unlike other celestials who guide, heal, or inspire, Michael exists to fight. His presence is a living reminder that the heavens themselves are not pacifistic, but hold a sword against the darkness. He embodies both the mercy of the divine and the implacable wrath of cosmic law.

The sword borne by Michael is no ordinary weapon, but a Holy Avenger of such potency that it channels his immense strength and divine fire together. Each strike inflicts 1d12 damage, to which both his +6 Strength bonus and +6 enchantment bonus are added, followed by an additional 1d8 points of searing flame. Against demons, devils, undead, and those faerie creatures which are inimical to Law and Good, the sword delivers an additional 6d6 points of radiant destruction. Few beings can withstand even a single blow.

Michael’s arsenal of powers extends beyond his martial prowess. He may utter a Holy Word at will, casting down evil beings as if by the decree of heaven itself. His Voice of Authority compels obedience in all creatures of non-good alignment within 60 feet, with no saving throw allowed for those of 6 hit dice or less. In battle, he moves with preternatural swiftness, able to Haste himself and his allies thrice per day, and once per day, he may summon an entire host of angels (2–20, of any order) to his side.

In defense, Michael is nearly unassailable. Only enchanted weapons of +2 or better may harm him. He is wholly immune to fire, lightning, charm, petrification, poison, and all death-dealing magics. His body regenerates 3 hit points per round even if dismembered or disintegrated, so long as a spark of his divine essence remains. In addition, he possesses a 90% magic resistance, rendering most spells against him useless.

To mortals, the sight of Michael is awe beyond bearing. His radiance is said to blind the unworthy, and even those of good heart find their voices stolen in his presence. Against him, demon princes falter, and arch-devils bow in bitter hatred.

Michael as a Patron of Celestial Warlocks

Unlike the dark bargains made with demons and devils, pacts with Archangel Michael are covenants rather than contracts. The warlock does not “steal” or “bind” power from him; instead, Michael bestows divine might upon the worthy as part of their service to the Cause of Law and Good. Such warlocks are sometimes called Knights of the Flame or Champions of the Dawn.

The requirements and duties of the Warlock of St. Michael are so strict that few can adhere to them. 

Requirements

Alignment: Lawful Good. Any deviation severs the pact.

Vows: The warlock must swear oaths of courage, protection of the innocent, and resistance to evil in all its forms. They may never knowingly ally with demons, devils, or the unseelie fae.

Service: At least once per year, the warlock must undertake a holy quest of Michael’s choosing (via vision, angelic messenger, or dream).

Gifts of Michael

Warlocks in covenant with Michael receive invocations suited to battle and the banishment of evil:

(Minimum level in parentheses.)

Radiant Smite (1st): Once per day per level, the warlock’s weapon shines with holy fire, dealing +1d6 radiant damage to undead, demons, devils, or evil faerie creatures.

Shield of the Host (3rd): The warlock may call upon angelic warding, granting them protection from evil 10’ radius for 1 turn once per day.

Voice of Command (5th): Once per day, the warlock may issue a single-word command (as the spell Command), affecting all evil creatures of 6 HD or less within 30’.

Flame of Michael (7th): The warlock may invoke Michael’s light, striking a foe with 3d6 holy fire (save vs. spells for half). Usable once per week.

Summon the Dawn (9th+): Once per month, the warlock may summon a single Agathós (Aurora, Astral, or Lunar) to aid them for 1 turn per caster level.

Drawbacks

Michael is implacable in judgment. Warlocks who deviate from his vows may find their powers withdrawn instantly. Should they betray their covenant or consort with the unholy, Michael himself may appear, not as a teacher, but as an executioner.

 This year I have been celebrating various Fantasy RPGs and judging them on their ability to replace D&D. For October I am going to focus instead on Urban Fantasy games with Horror elements to them; something I rather love. 

This past week, instead of gaming, my son and I worked on characters. I was working on characters for my Urban Fantasy Fridays and he was doing Call of Cthulhu 7th ed. We got to talking while listening to his "D&D Classic Rock mix" when the subject came around to the Supernatural series. We both commented on how this September was the 20th anniversary of the show's premiere (September 13, 2005). We all agreed we had a lot of fun watching it. It was the last show we all watched together as a family, you know, before the kids got their own lives. Liam lamented that there was no Supernatural RPG. To which I corrected him and pulled it out.  He was pretty excited about it, to be honest. 

So we dropped the games we were working on (him CoC7, me Chill 3rd Edition) to recreate the same characters in Supernatural.

Supernatural RPG

2009. by Jamie Chambers. Published by Margaret Weiss Productions.

Supernatural: The Role Playing Game came out in 2009 from Margaret Weis Productions, back when they were adapting a lot of TV properties into RPG form. Like Smallville and Battlestar Galactica, this one used the Cortex System (the pre-Cortex Plus version). That alone puts it in a particular place in RPG history, when licensed games were less about “crunch” and more about catching the mood of the show.

I am somewhat hesitant to review this one. The big reason is that it is long out of print. You can find it on eBay for some really insane prices. The other reason is it only covers Supernatural up to Season 3; so about 20% of the show. There is a lot in the show that is not covered by these rules. Lastly, and this one is hard, it doesn't really *do* anything that other games can also do. The system itself, Cortex, is like a bastard child of Unisystem and Savage Worlds. 

The book is great looking and there is a lot here in terms of use and layout that will later be seen in the Dresden Files RPG. 

So I am taking this one out of my "Urban Fantasy Fridays" proper, but still giving it its own due by placing it in Supernatural's premiere month. 

As you’d expect, this game built for monster hunting, salt, shotguns, and a healthy dose of bad family drama. The book does a good job of introducing newcomers to the Supernatural world, but if you were watching the show back then, it was a nice way to immerse yourself in that universe at home. Characters are hunters, of course, though not necessarily Sam and Dean. You can make your own, or play with archetypes drawn right from the show. Sam, Dean, John (their dad), and Bobby (their other dad) are the only featured NPCs.

Mechanically, it’s pure Cortex: roll a couple of dice based on your traits and hope for the best, with plot points to keep the action flowing. It’s not a heavy system and fits the episodic structure of Supernatural really well, you can knock out a “case of the week” in a session or two. The downside is that it doesn’t dig too deep into campaign longevity; it’s really tuned for one-shots and short arcs rather than sprawling epics. Which is ironic given the show's eventual 15-year-long life. 

Looking back, the game is a time capsule. The series was still early in its run (season three), so it reflects Supernatural before it got truly cosmic. So no Crowley, no Castiel, and sadly no Rowena. That makes it more urban horror and road-trip mystery than angels, Leviathans, and end-of-the-world plots. In a way, that’s a strength, it captures the weird Americana vibe that made those early seasons fun.

It’s out of print now, and not easy to find at a reasonable price. Still, as a piece of the Cortex lineage and a reflection of Supernatural’s monster-of-the-week roots, it’s worth a look for fans. For me, it sits on the shelf next to Chill, NIGHT SHIFT, and Buffy the Vampire Slayer RPG, a reminder of when urban horror TV and RPGs crossed streams in fun and exciting ways.

Expanding the Supernatural RPG Universe

I mentioned above Cortex in this version feels like the bastard child of Unisystem (Buffy, WitchCraft) and Savage Worlds (Rippers, etc.) so expanding the RPG options of Supernatural are fairly easy.

I even have a few posts about it already, back when this game first came out.

• Supernatural RPG
• Cortex and Unisystem
• Magic in Cortex, Savage Worlds and Witch Girls Adventures
• Supernatural & Smallville
• Cortex, Part 1

I have used these ideas at varying degrees to make some new characters, espeically expanding the Supernatural universe to include witches and even succubi. 

• Wayward Sisters for the Supernatural RPG
• Cortex: The Hex Girls
• Willow & Tara: Cortex

Each one uses a slightly different type of witchcraft/magic system, and that works fine with me. None is "perfect" as far as I am concerned, but I am sure I could craft one.

In truth if I was going to play Supernatural these days, I would just use NIGHT SHIFT. 

But, I'll give magic/witchcraft one last try for Supernatural/Cotrtex.

Larina "Nix" Nichols for Supernatural

Would my witch be in the Supernatural universe? I have to say honestly, not likely. Witches are generally evil or at least up to no good in Supernatural. And anything she would do in the game can already be done by the witch and future Queen of Hell, Rowena MacLeod. But hey, this is my universe.

Larina Nichols

Concept: Witch (Seasoned)

Attributes
Agility: d6
Strength: d4
Vitality: d6
Alertness: d12
Intelligence: d12
Willpower: d12+d2

Derived Attributes
Initiative: d6+d12
Endurance: d6+d12+d2
Life Points: 20
Resistance: d6+d6

Weapons
Knife d2
Arcane Blast d8, Range: 40 Ammo 6 (Vitality)

Skills
Animals d6, Artistry d4, Craft d6, Discipline d4 (Concentration d6), Influence d10, Knowledge d8 (Linguistics d10, Occult d10), Lore d6 (Demons d8), Perception d6 (Empathy d8, Intuition d8), Performance d4, Ranged Weapons d4, Science d6 (Social Sciences d8), Unarmed Combat d4

Traits
Allure d6
Witch d8 (Telekinesis, Arcane Blast, ESP)
Obsessed (Magic) -d2
Dark Secret (Witch) -d4

Honestly, I like this build. I need to refine the magic system further, but this will certainly suffice. I don't think she would show up on the main Supernatural series. Witches end up in a bad way when Sam and Dead are around. No, if she is going to be a "guest star," then it has to be on Wayward Sisters. Avoids her and Rowena from sharing the same scenes. The group would seek her out for occult advice, not knowing she is a witch. And in proper Supernatural fashion, she even has her own soundtrack to choose from!

I should post Rowena, but she is basically similar to this, only more powerful (as she should be). 

Doing this does make me nostalgic for the show. 

The Ruins of Myth Drannor is a 1993 boxed set for the Advanced Dungeons & Dragons 2nd edition role-playing game, immerses players in the perilous and ancient elven city of the Forgotten Realms. This supplement provides Dungeon Masters with the comprehensive tools needed to run epic adventures within the fabled, and now monster-infested, ruins.

It really isn't the Forgotten Realms' answer to Gondolin, but I am at a loss to come up with a better example.

Back in the early 90s, TSR was hitting its stride with big boxed sets for the Realms. The Ruins of Myth Drannor (1993) is a prime example, a sprawling campaign supplement that promised to take players deep into one of the most iconic fallen cities of D&D lore. Like a lot of the Realms material of this era, it’s packed to the brim, sometimes messy, always ambitious.

MY first encounter with this mythical Elven realm didn't come from this boxed set, but rather the Forgotten Realms novel Spellfire. I have been looking forward to checking it out on its own for some time, but the prices for it on eBay are all over the place. So, I am settling for the PDF and print-on-demand copies. 

The Ruins of Myth Drannor (2e)

1993. By Ed Greenwood. Artists: Erik Olson, Jeff Easley, Arnie Sweikel, and John Sattem

While I will refer to the "boxed set" here, since that is how it was originally published, I am working off of my Print on Demand version from DriveThruRPG.

The box itself comes with three books, a pile of maps, and the Monstrous Compendium monsters. The full “big box” treatment I have come to expect from 1990s Realms.

The Ruins of Myth Drannor Campaign Guide

128 Pages. 

This book details the extensive history of Myth Drannor, from its zenith as the "City of Song" to its tragic downfall. It provides in-depth information on the various factions and creatures that now inhabit the ruins, offering a rich and dangerous environment for exploration. The materials include maps of the city and surrounding areas, new rules for the unique and fluctuating magical environment of Myth Drannor, and detailed descriptions of key locations within the ruins. Adventurers are warned that the city is a treacherous place, filled with deadly dangers and formidable monsters, making it a challenge even for the most experienced players.

Once a beacon of magic and civilization where elves, dwarves, gnomes, and humans coexisted in harmony, Myth Drannor fell to a great evil centuries ago, leaving it a despoiled and haunted place. The elves long guarded the ruins to contain the darkness within, but with their departure, the city's long-lost treasures and powerful magic are now a lure for adventurers from across the lands.

Of particular note here are the return of the Devils, aka Baatezu to the Realms. Myth Drannor is filled with them. But they are almost eclipsed by the Baelnorns and the Phaerimm. 

We also get some NPCs of note and a good collection of magic items. I am not 100% sure, but I think some of these have appeared in the pages of Dragon Magazine. Whether or not they did, it is always good to have them in their proper place here.

Myth Drannor Adventures

32 Pages.

One thing I’ve always appreciated about this set is that it doesn’t shy away from the scale. Myth Drannor isn’t just a dungeon crawl; it’s a blasted, cursed, haunted city where every corner hides a different threat. The designers clearly wanted this to be more than a string of rooms, it’s an entire sandbox of dangerous possibilities. There are magical zones, weird planar overlaps, and plenty of remnants of the elves’ glory days now twisted into something darker.

The adventures lean into that. You don’t just wander into a ruin and fight skeletons; you’re uncovering old elven magic, running into rival adventurers, and dealing with the ongoing fallout of Myth Drannor’s fall. For a 1993 product, it feels ahead of its time in terms of encouraging exploration and faction play.

Map Book

50 pages*

Ok this part of the PoD book likely differs a lot from the Boxed Set. I am assuming that the maps were done much like the maps of other Realms boxed sets with a guide book. Here they are all one big document. While the Realms maps art works of art in their own right, sometimes they work better on the walls than on the game table. These are easier to use at the table, but haver their own issues. I might need to print them all out and tape them all together. Less than ideal, of course, but beggars can't be choosers. 

Monstrous Compendium Monsters

This includes 18 new monsters to add to your Monstrous Compendium binders. That is if you don't mind the chaos the alphabetizing is already descending into. I detail that more below. 

Overall

Of course, it has its quirks. Like many TSR boxes from this era, the material can be overwhelming. There’s so much stuff that it’s easy to lose track, and unless you’re ready to put in the prep time, you’ll drown in details. 

Still, if you’re a Realms fan, The Ruins of Myth Drannor is a classic. It captures that sense of wonder and danger that defines the best Forgotten Realms material. It’s not just about elves and ruins; it’s about the weight of history pressing down on the present, and what happens when your adventurers dig too deep into stories that should have stayed buried.

Looking at it now, this set feels like a bridge between old-school mega-dungeons and the more narrative-driven campaigns that would come later. It’s very much a 2e product, but one that still has plenty of life for DMs willing to do the work. If you want your players to feel like they’re stepping into a legendary, doomed place, Myth Drannor delivers.

The Campaign guide is just fun reading to be honest. While I was looking forward to using this in my Realms game, it was also just a pleasure to read through.

Sinéad, Nida, Arnell, Jaromir, and Rhiannon

That sense of danger and epic quests fits in perfectly with where my own characters are heading. Sinéad, Nida, Arnell, Jaromir, and Rhiannon have been journeying eastward, leaving the safety of Sword Coast and the Dales behind. For them, Myth Drannor is less a tourist stop and more a trial by fire. 

I read the material and thought about what these characters might be thinking as they pass through. While Sinéad is overtly the "star" of my little adventure, it was the other characters that began to shine through. 

Sinéad feels the pull of her people’s legacy in the ruins; Arnell feels the same pull but along with a loss he can't explain; Nida says she is going to treasure but really she worries about what old magic might do to the weave of the world; Jaromir is simply wary of walking into a place where so many great adventurers have already fallen. And Rhiannon, well, she can’t resist the thought of lost lore buried beneath the rubble. Her quest really starts here.

Nida, Arnell, and Rhiannon come out of this most changed. Honestly, Arnell leaves the group, such is the weight of loss he feels for this fallen elven empire. Sinéad's reaction is more tempered by her human side. Nida, who I know I am going to switch over to wizard soon, feels a loss as well, but for the magic.

By the end of this, Nida is an 8th-level Rogue and will Dual-Class into a wizard soon. Sinéad is 7th level in Bard and Wizard Multiclass. 

Looking back on the sheets I have for them (and it is lot surprisingly) I had both Nida and Sinéad be different types of Witches. I am not sure that applies to them anymore. At least not how I have been playing them of late. I think I will keep Nida as witch, using the Witch-kit from The Complete Wizard's Handbook (which was what I had planned for Sinéad) and then use the Rashemaar Witch kit for Rhiannon (planned initially for Nida).  What I wanted was to try out all the witch kits that 2nd ed had to offer. I might still try that in some way.

About the Print on Demand

I have enough Forgotten Realms boxed sets now to know what to expect, and to know what I am not getting here. The maps are part of the book rather than being printed separately, which honestly limits their utility. 

The books are bound together in alphabetical order, which is not a huge help as "Adventures" comes before "Campaign Guide." It is a little odd though. 

The Monstrous Compendium supplement, while perfectly usable here in the book format, also comes as a PDF for my printing pleasure. So much that I accidentally printed two copies. One copy went into my grow Forgotten Realms Monstrous Compendium and the second copy was divided between my Core Compendiums and my Ravenloft one. 

Final Thoughts

What really strikes me, reading this set today, is how much mythic weight and age it gives to the Forgotten Realms. Myth Drannor is not just another dungeon stuffed with monsters and treasure; it’s a reminder that the Realms had centuries of triumph and tragedy before any adventuring party set foot in it. The magic items scattered across Faerûn don’t come from nowhere; they’re the legacy of civilizations like this one, built by the elves and then broken by hubris, war, and time.

I know from reading online Ed had a tight deadline for this, but I wonder how much it he already had planned or even written. The feel is he had Myth Drannor in some form in his head and maybe on paper already. The result only adds to the mythic feel in my mind.

For Sinéad, Nida, Arnell, Jaromir, and Rhiannon, the ruins are a crucible, but they’re also a history lesson. Every shattered tower and cursed bauble is proof that even the mightiest fall. And that’s what makes Myth Drannor so compelling: it’s both a playground for adventurers and a gravestone for a lost golden age.

Running or reading The Ruins of Myth Drannor reminds me why I have come to love the Realms in the first place. It’s a world with scars, where the past is constantly pushing against the present, and where the future is written by those bold (or foolish) enough to venture east into the ruins.

 So, back at the end of October 2024, I celebrated reaching 10 million hits here on the Other Side. 

Not too shabby of a milestone if you ask me. 10 million hits from 2007 to 2024. Pretty good for 17 years (at that point). I said then: "I hope the next 10,000,000 hits are just as good as the first or even better."

Well. They were! And I barely noticed them.

Sometime last week I hit 20 Million!

It took me 17 years to reach my first 10 million, and then about 10-11 months to reach my next 10 million.

The uptick in my hits all began around the time I stated that D&D 2024 needs a new game world. They shot up significantly then and never really came back down. According to my Google Analytics page I have a reasonably consistent reader base that basically grew by about 500% this year.

That's just crazy. I hope I am doing enough here to make your visits and reading time worthwhile. 

What am I going to do for the next 10 million hits? No idea, but hopefully we will all figure it out together.

 I started this post once before, but I am returning to it now. Especially now with so much new Castle Greyhawk material to be had.  I also wanted to do another of my In Search Of... feature.

In Search Of... Castle Greyhawk

Castle Greyhawk has been a quasi-mythical dungeon. It did exist, in one form or another, and was part of Gary Gygax's own D&D campaign. It was rumored to be anywhere between 13 levels, to 70 to 100s of levels. It was merged with Rob Kuntz's "El Raja Key" at some point and made even larger. The full Castle Greyhawk had always been promised to us but only partially delivered. I'll have some links below so you can read more on all of these topics.

The Published Castles Greyhawk

Despite never getting a full and proper publication, many Castles Greyhawk have existed over the years. Some official, others...well, less so, but all fit the spirit of the idea of Castle Greyhawk. I will cover them below with my own experiences.

WG7 Castle Greyhawk

I remember being quite excited about this one. The *real* Castle Greyhawk. Finally! Well...that is not the case, really. I like humor in my games, but this was not a great adventure nor a particularly good "joke" one. There are some good bits here. I loved the idea of multiple levels. I loved the idea of a different author/designer taking on each one. Some of the levels were also fun send-ups of my early D&D tropes like "The Temple of Really Bad Dead Things." Sadly, it all never really worked.

Getting different designers to cover each level was fun in theory. They never connected at all. Some were even so bad that I had my players bypass them altogether. For example, when they got to Level 8, I put a "handwritten" sign (in ketchup, no less) up outside the entryway saying, "Food fight in progress, please proceed to Level 9."  Eventually, the whole thing collapsed under the weight of its own silliness. 

There are some good ideas here. There are some good hooks, and I like the introduction and the first level. Though I do remember some awkwardness in the transitions between levels. One I recall was Level 10, which assumed that you had gone all the way back up to Level 1. Seemed to run counter to the stated reality of the adventure. The maps are good, the art, for the most part, is fun, and again, pulling it all apart to make a bunch of unrelated mini-adventures might be the way to go.

However, I can't help but think that there was a little bit of vindictiveness in having such a high-profile and "bad" adventure carry the name Castle Greyhawk come out in the days after Gary Gygax had been let go.  Given that the previous WG7 was supposed to have been a high-level adventure from Gygax called Shadowlands. There is a lot of evidence against this, but thinking back to 1988 and knowing that Gary had been booted. Plus, at the time, I was connecting with other gamers from all over the state, and we shared our pre-Internet opinions. Well, conclusions, truthful or erroneous, can be drawn, and opinions die hard.

Don't misunderstand me; I know Gary loved a good funhouse dungeon. And really, is this one any more ridiculous than "Tomb of Horrors" or the really awful puns in the graveyard of Castle Ravenloft? This one, however, feels like a bridge too far.  It was too bad, really. I was in the midst of my "Greyhawk renaissance" at the time, and I wanted to consume anything and everything related to Greyhawk, but mostly official Greyhawk material, rather than the pastiche I had built over the years. 

I had a copy, but I lost it many years ago, and I recently reacquired my copy from my old DM's collection. I have the PDF, but I never had a desire to grab a new PoD version. However, I did think about it back in my early days working with Eden Studios, when I read the WitchCraft short story "The House that Dripped Clichés." I wanted to make something good of the Castle Greyhawk adventure. But ultimately, I reasoned I would be better off making my own. Thankfully, I didn't have to.

WGR1 Greyhawk Ruins (2e)

After the misfire of WG7 Castle Greyhawk, TSR had another go at presenting the legendary dungeon in print. This time, in 1990, they gave us WGR1 Greyhawk Ruins, written by Blake Mobley and Timothy Brown, for 2nd Edition AD&D.

On the surface, this one looked like a course correction. Gone was the parody tone, gone were the ketchup-smeared signs, and in their place was a serious attempt to frame Castle Greyhawk as an honest-to-goodness megadungeon. The adventure describes the ruins of the Castle aboveground, and beneath them, three partially intact towers that served as gateways to the deeper dungeon levels.

This felt much closer to what I had always imagined Castle Greyhawk to be. The presentation was straightforward: keyed maps, monsters, treasure, and plenty of challenges. In many ways, it’s a classic meat-and-potatoes dungeon crawl, and for DMs who wanted a usable Greyhawk megadungeon without wading through parody, it delivered.

But there were two problems. First, no published module could ever live up to the myth of Castle Greyhawk by this point. Gamers had been hearing about Gary’s original for over fifteen years, and expectations had grown to impossible heights. Second, the stink of WG7 still lingered. After being burned once, many fans weren’t ready to embrace a new “official” Castle so soon. That left Greyhawk Ruins in a tough spot: serious in tone, expansive in scope, but struggling to shake off its predecessor’s shadow.

I also have to admit, I’ve never been a fan of the cover. It doesn’t capture the sense of awe and menace I wanted from the ruins of the game's greatest dungeon. Inside, though, the content is solid. Twenty-five plus levels of dungeon to explore, each with its own flavor, from ruined laboratories to caverns crawling with monsters. It’s not subtle, but it is dangerous, and it can easily keep a party busy for years of game time.

Looking back, WGR1 Greyhawk Ruins represents the first truly earnest attempt to give us Castle Greyhawk as an actual megadungeon. It wasn’t Gary’s Castle, and it wasn’t Rob’s either, but it was playable, and it kept Greyhawk alive at the table in the early 2e era. For me, it feels like the first step toward reclaiming the myth after WG7, even if it never stood a chance of satisfying everyone’s expectations.

This is another old adventure of mine that was in the collection of my old DM. I think I bought it with the idea that he would run me through it, but it was the 1990s, and I was still finishing up my undergrad studies and likely never got around to it.

Expedition to the Ruins of Castle Greyhawk

By the time 2007 rolled around, I had already been through the highs and lows of Castle Greyhawk in print. WG7 had left a sour taste, WGR1 had done some course correction, but the mythical real Castle Greyhawk still seemed just out of reach. Then came Expedition to the Ruins of Castle Greyhawk for D&D 3.5. On paper, this was the one that might finally get it right.

This was a big (224 pages), glossy hardcover and part of Wizards’ “Expedition” series that included Expedition to Castle Ravenloft, Expedition to the Demonweb Pits, and Expedition to Undermountain. These books were meant to be love letters to classic adventures, rebuilt for the then-current edition. And with writers like Jason Bulmahn, James Jacobs, and Erik Mona (names I respected then and now), I had reason to hope.

The book immediately set itself apart from WG7’s funhouse antics. Instead of a parody, it gave us a full-on campaign, a sprawling dungeon crawl combined with political intrigue in the Free City of Greyhawk. Iuz, Zagyg, my ex-girlfriend Iggwilv, and even Zuoken show up, giving the adventure cosmic stakes beyond just “loot the dungeon.” It’s pitched for characters of about 8th–13th level, which honestly felt right. By that point, adventurers are strong enough to tangle with demigods, but not so epic that the whole thing feels like a superhero comic.

The design is ambitious. You don’t just get dungeon rooms mapped and keyed; you get partial maps, encounter tables, and plenty of blank space to make the Castle your own. That’s clever; it echoes the fact that Gary’s original Castle Greyhawk was never static. It was a living, changing environment, tailored to the players at the table. Of course, the downside is obvious: if you're looking for a completely mapped, plug-and-play megadungeon, you won’t find it here. DMs had to be ready to improvise and prep.

I ran pieces of it rather than the whole campaign. Some of the encounters, especially with the new monsters (the aurumvorax got a facelift here, and the cataboligne demon was nasty), were deadly even for 13th-level PCs. My players loved that sense of danger, though — it felt like the dungeon had teeth again.

But did it finally give us the “real” Castle Greyhawk? Well. That depends on what you were hoping for. If you wanted Gary’s original notes, this wasn’t it. If you wanted a megadungeon that was both a campaign centerpiece and a love letter to Greyhawk lore, it largely delivered. It felt like Mona and Jacobs, in particular, were saying, “Yes, Greyhawk matters. Here’s why.”

I remember closing the book after my first read-through and thinking: this is probably as close as we’re ever going to get to a “canon” Castle Greyhawk. Not Gary’s, not Rob’s, but a 3rd Edition interpretation that pulled from the mythos, built a strong framework, and left room for each DM to add their own touch. Say what you like about 3rd Edition, but at the time, respect for Gary was at an all-time high. 

Thankfully, it was not the last word. 

Castle of the Mad Archmage

If Expedition to the Ruins of Castle Greyhawk was Wizards of the Coast’s official attempt to canonize the Castle for 3rd Edition, then Castle of the Mad Archmage was the fan-driven answer — and in many ways, it feels closer to the dream of a “true” Castle Greyhawk than anything TSR or WotC ever put out.

Joseph Bloch, the “Greyhawk Grognard,” originally released Castle of the Mad Archmage starting in 2009. His idea was simple: if Wizards of the Coast wouldn't and TSR couldn't (because they were gone) give us the real Castle, then he would build one in the old school spirit, level by level, and let people play in it. Later, he expanded and polished the whole into a professional print version through his company, BRW Games. You honestly have to admire that. 

This is a megadungeon in the classic sense, sprawling, multi-layered, with dozens of levels stacked on top of each other. Unlike WGR1 or Expedition, Bloch’s Castle doesn’t pull back. It goes all in. If you want a dungeon that feels like it could go on forever, with weird sub-levels, eccentric monsters, and dangerous tricks, this is it. The DNA is clearly Gygaxian: funhouse elements mixed with deadliness, nods to pulp fantasy, and the sense that anything could be around the next corner.

When I first cracked it open, I remember thinking: “This is what I wanted WG7 to be.” It’s not parody. It’s not restrained to three towers. It’s not half-mapped. It’s a full megadungeon you could run a whole campaign in, or strip for parts if that’s more your style. And it’s very much meant for old-school play, resource management, exploration, and danger at every turn.

Is it Gary’s Castle Greyhawk? No, of course not. But in spirit, it comes closer than most. Bloch captures that sense of scale and unpredictability that the Castle always promised. For me, this book represents what the fan community can do when official channels fall short: keep the torch burning, keep the dungeons sprawling, and keep Greyhawk alive at the table.

Now I am a bigger fan of "Expedition to the Ruins of Greyhawk" than Joseph is. But I am happy to have both in my collection.

There are several "flavors" to choose from to suit your gaming needs.

• Castle of the Mad Archmage (5E Edition) Digital + Print Bundle
• Castle of the Mad Archmage (Pathfinder Edition) Digital
• MA1 Castle of the Mad Archmage - The Core Levels
• MA2 Castle of the Mad Archmage Level 3 East, The Museum and the Watery Caves
• MA3 Castle of the Mad Archmage Level 4 South, The Gardens
• MA4 Castle of the Mad Archmage Level 9 West, The Brumal Realm

There will likely be more.

Castles & Crusades Castle Zagyg Yggsburgh

When Gary Gygax himself returned to publishing in the early 2000s, hope flared again that we might finally see his Castle Greyhawk the original megadungeon that started it all. Of course, Wizards of the Coast owned the Greyhawk name, so Gary couldn’t publish it directly. Instead, he partnered with Troll Lord Games and released it under the title Castle Zagyg (Zagyg being Gary’s famous mad archmage, his own anagram).

The first product in this line was Castle Zagyg: Yggsburgh in 2005. Rather than plunge straight into dungeon levels, this hefty book detailed the city of Yggsburgh, Gary’s version of the Free City of Greyhawk. It was written for Castles & Crusades, Troll Lord’s ruleset that deliberately hewed close to the feel of old-school AD&D, but conversion to earlier editions was painless.

Yggsburgh wasn’t the dungeon itself, but it was meant to set the stage: a living, breathing city that adventurers could use as their home base before venturing into the nearby Castle. The book offered districts, NPCs, and hooks galore. For those of us who had been following the “Castle Greyhawk saga” for decades, it was tantalizing. At last, we had something directly from Gary’s hand.

The plan was to follow this up with the dungeon levels themselves, released as boxed sets under the Castle Zagyg name. A few pieces trickled out, Castle Zagyg: The East Mark Gazetteer and The Upper Works (2008), before Gary’s death in March 2008. After that, the line was discontinued. For various reasons that I don't really need to get into now the line would remain dead for the next 15 years.

In 2023, Troll Lord Games released a 256-page Classic Reprint of Yggsburgh through DriveThruRPG and their own website, making this long out-of-print title available again to fans who missed it the first time. It’s a facsimile edition, preserving the original text and layout; a chance to finally own one of the last projects Gary worked on. Not only that, the maps are by none other than Darlene herself.

So, what we got in Yggsburgh was a glimpse of what could have been: Gary’s vision of the city that would sit at the foot of his legendary Castle. The megadungeon itself never fully saw print. That fact alone makes this one bittersweet. Reading through Yggsburgh now, you can see the connective tissue to Greyhawk, but also Gary striking out on his own terms, freed from TSR and later WotC.

For me, Castle Zagyg: Yggsburgh is less about the content (though it’s rich with Gary’s flavor and quirks) and more about the promise it represented. We almost had the real thing. We almost got to walk the halls of the original Castle with Gary as our guide. Instead, we’re left with fragments. 

And the myth grows ever larger.

How to Reconcile All These Castles Greyhawk?

Regardless of what version of Castle Greyhawk you prefer, someone else has a different opinion. How can we have ALL the Castles Greyhawk in a game? 

Well. We borrow from the real world. 

Zagig Yragerne as Ludwig II of Bavaria

Known as "The Mad Archmage," Zagig Yragerne was the builder of Castle Greyhawk. But what if the Mad Archmage had something in common with another famously "Mad" person? In particular King Ludwig II of Bavaria, also known as "The Mad King."  Why was he mad? He built castles. Lavish ones at that.  Neuschwanstein Castle, Linderhof Palace, and Herrenchiemsee. Neuschwanstein is a "fairy tale" castle and is the model for the castles of Disney World and Disneyland. There is even a tenuous connection to Castle Falkenstien here that I might explore later on. 

So what if all the Castle Greyhawks are real? All were built by Zagig Yragerne, and all of them were called at one point or another "Castle Greyhawk?"

Which leads me to my next thought.

Castle Greyhawk as a Pan-Dimensional Altgeld Hall

On five Illinois college campuses, castles were built during the time of Gov. John Altgeld. These buildings are all called Altgeld Hall, and all resemble Gothic Revival Castles. There has been a long-standing rumor that you could take these buildings and put them together to form one massive castle. There is no evidence of this, but it was a powerful idea. Plus, having walked by Altgeld Hall at SIUC for years, it left a powerful image. One too good to ignore. 

What if all of the various Castles Greyhawk are connected somehow? Not like I suggested with the Temple of Elemental Evil (one location that exists simultaneously across multiple realities), but one supermassive structure built in different pieces in different locations. 

What was Zagig trying to accomplish? Was he going to build these different castles and link them? Merge them across time and space? This may explain why WGR1 Greyhawk Ruins and Expedition to the Ruins of Castle Greyhawk have similar maps in some places but very different ones in others.

Maybe I could tie this into my whole idea of Erde/Oerth/Arth/Urt/Learth/Ærth, where there is a Castle Greyhawk on the various connecting planes, and they are the point of contact. From the Castle's perspective, it is one massive structure; it's just that mortals only see what is on their own plane. Now, are the castles there because the planes are connected? OR are the planes connected because the  Castles are there? 

There is at least some published evidence to this. Erde/Aihrde, the world of Castles & Crusades, has its own Castle Yggsburgh, AND for a time, they were the publisher of Lejendary Adventures. So maybe Erde/Aihrde is what I jokingly refer to as Learth. 

Frank Mentzer gave us Urt, an earlier name for Mystara which is Earth circa 150 MYA. And we know that he was working on the other side of Oerth; Aquaria. It is not a stretch then that there is a Castle Greyhawk on Mystara/Urt too. Those with the knowledge can move from to the next and thus cross realities.  NOTE: I am not going to explain why Empyrea failed here. There are more sites on the net that have gone over that far more in-depth than I will or even want too. 

By this logic, there could be more Castles Greyhawk out there in the D&D multiverse just waiting to be discovered. 

In Search Of the Real Castle Greyhawk

At the end of this long journey through the printed Castles Greyhawk, I keep coming back to the same realization: there was never just one Castle Greyhawk. Every attempt to capture it on paper; from the parody of WG7, to the earnest sprawl of WGR1 Greyhawk Ruins, to the ambitious but incomplete Expedition to the Ruins of Castle Greyhawk, to Joseph Bloch’s Castle of the Mad Archmage, and finally Gary’s own Castle Zagyg: Yggsburgh; all circle the same mythic source but never quite touch it.

Part of that is simple: Gary’s Castle was never a finished product. It was a living dungeon, reshaped by play, rebuilt after disasters, improvised week after week for the players in his original group. You can’t publish that experience whole cloth. At best, you can give glimpses, fragments, or homages. It will never be the late 1970s in Lake Geneva, WI ever again.

But maybe that’s the true legacy of Castle Greyhawk. Not the maps, or the monsters, or the towers above the Free City, but the idea that the dungeon is never done. It’s always changing, always waiting for the next group of adventurers to descend into its depths. Every version we’ve looked at, official or unofficial, serious or silly, carries a spark of that truth.

Gary himself got closest with Castle Zagyg, and though his death left that project unfinished, what we did get reminds us that the Castle was never about completeness. It was about potential. It was about mystery. It was about a group of players gathered around a table, wondering what lay behind the next door.

So, in a sense, the real Castle Greyhawk has always been with us. It’s in every megadungeon we map, every ruin we stock with monsters, every campaign we launch into the unknown. The Castle is a myth, yes, but it’s a myth that keeps inspiring us to build, to imagine, and to play.

And maybe that’s the best tribute of all.

Links

This is not an exhaustive list, it is the one I used when researching this post. 

• Castle Greyhawk at the Greyhawk Online Wiki
• Castle Greyhawk at Grognardia
• Castle Greyhawk at Swords & Stitchery
• Castle Greyhawk at Zenopus Archives
• Gygax's Yggsburgh (2005) available once again
• Castle Greyhawk at Greyhawk Musings (I especially enjoyed the stuff on the Circle of Eight)
• Castle Greyhawk at Greyhawkery
• Castle Greyhawk Comic
• Greyhawk Grognard, who has forgotten more than I know about Castle Greyhawk
• Posts about Castle Greyhawk
• Posts about the Castle of the Mad Archmage
• Castle of the Mad Archmage 10th Anniversary edition
• Wikipedia
• Castle Greyhawk
• Castle Greyhawk (module)
• El Raja Key
• Gary’s Immersion in Castle El Raja Key: The Four-Way Footsteps, EN World by Rob Kunzt
• Kunzt Bibliography
• El Raja Key Archive
• El Raja Key Archive and the Mapping Styles of Kuntz & Gygax
• Frank Mentzer notes
• Empyrea and  Aquaria, east of Gygax’s World of Greyhawk Setting
• Empyrea at ENWorld
• Empyrea at Dragonsfoot (with the disappointing ending of it all)

 Today is the first day of Autumn in the Northern Hemisphere. Yesterday we all piled into the Honda Odyssey and partook in our family tradition of hitting the apple orchards in the northern part of the state.  We also still have a bunch of tomatoes and hot peppers in the backyard to harvest. It is our modern harvest celebration.  So to celebrate the second of three harvest celebrations, Lughnasadh, Mabon, and Samhain, here is a monster associated with them.

The Ankou

(Spirit of the Harvest Dead, Servant of Death)

Frequency: Very Rare
No. Appearing: 1
Armor Class: 1
Move: 12"
Hit Dice: 8+8
% in Lair: 30%
Treasure Type: None
No. of Attacks: 1 (scythe)
Damage/Attack: 2–12 (plus special)
Special Attacks: Wither, death strike, aura of dread
Special Defenses: +1 or better weapon to hit; immune to sleep, charm, and hold spells; turned as spectre
Magic Resistance: Standard
Intelligence: Average (10)
Alignment: Chaotic Evil
Size: M (man-sized, gaunt)
Psionic Ability: Nil
Level/XP Value: VIII/2,800 + 12/hp

The Ankou is a dreaded harvest revenant, said to be either the spirit of a cruel farmer cursed to reap souls, or a servant of Death itself. It appears only during the great harvest festivals of Lughnasadh, Mabon, and Samhain. At dusk, it is a fleeting shadow on the fields, but by night, it roams openly: a skeletal figure in ragged peasant garb, a wide-brimmed hat casting a shadow over its skull-like face. Within its eye sockets, cold points of balefire burn.

The Ankou carries a great mowing scythe, which functions as a Sword of Nine Lives Stealing. On a natural roll of 20, the victim must save vs. death magic or perish instantly, their soul cut down like wheat at harvest.

The Ankou fights as a skilled reaper, striking once per round with its enchanted scythe. It can also call upon its powers of decay:

•     Wither Crops & Beasts: Once per night, the Ankou may extend its hand toward a field or herd within 6". Crops blight instantly, and livestock sicken. This ability can affect up to 1 acre per HD of the Ankou. No saving throw is allowed for plants or animals, although magical herds (such as pegasi and unicorns) may save against spells to resist.
  
  
•     Aura of Dread: Any creature within 30' must save vs. spells or suffer a –2 penalty on attack rolls and morale. This is not cumulative with a fear effect but is constant while the Ankou is visible.
  
  
•     Death Strike: On a critical hit (natural 20), see above. The scythe of the Ankou is part of it's existence. If the Ankou is destroyed, the scythe is also destroyed. 

The Ankou may be turned as a spectre, though it will often resist by summoning a cold wind and vanishing into shadow.

The Ankou wanders the fields and barrows of rural lands, sometimes seen by day as a distant silhouette, always acting by night. Peasants leave offerings of bread, cider, or the last sheaf of wheat to appease it. If ignored, it will strike at fields and flocks, leaving ruin in its wake.

Witches sometimes whisper that the Ankou is not a true undead but a manifestation of the dying year itself. Its role is to ensure that the harvest is paid for in blood and that the cycle of death and rebirth continues.

The Ankou cannot be permanently slain by weapons or spells. If destroyed, its form reconstitutes at the next Lughnasadh, unless a Remove Curse or Exorcism is performed at its lair (usually a barrow mound, gallows tree, or abandoned farmhouse).

It is believed there is never more than one Ankou per land, and that each year’s harvest binds a different soul into the role, chosen from the cruel or the damned. Some claim that those who die alone at harvest are most likely to become Ankou. The Ankou disappears after Samhain, not to return till next year.

--

Been wanting to do this guy for years. This came out of a conversation that none of the Halloween scarecrows we saw were scary enough. 

Fungi of the Far Realms is many things. First, it is a systemless sourcebook of mushrooms, toadstools, and other fungi, and where they might be found, suitable for use in almost any roleplaying game. Second, it is an in-world guide to mushrooms, toadstools, and other fungi, and where they might be found, one that could be in almost any fantasy roleplaying game setting. Third, it is an in-world artefact, a tome of mushrooms, toadstools, and other fungi, and where they might be found, one that could be in almost any fantasy roleplaying game setting. Fourth, it is it is a systemless sourcebook of mushrooms, toadstools, and other fungi, and where they might be found, that could be used as series of fungal prompts for situations and scenarios, that the Game Master can develop for her campaign in almost any fantasy roleplaying game setting. Sixth, it is guide to the mushrooms, toadstools, and other fungi of the Far Realms, wherever that may be found in the Game Master’s campaign in almost any fantasy roleplaying game setting. Seventh, it is a guide to fantasy mushrooms, toadstools, and other fungi rather than those of the real world. Eighth, and last, Fungi of the Far Realms is simply a beautiful book.

Fungi of the Far Realms is published by the Melsonian Arts Council, a publisher best known for Troika!, the Science Fantasy roleplaying game of baroque weirdness that lies beyond eldritch portals that open into non-Euclidean labyrinths which lie on the edge of creation under skies filled with innumerable crystal spheres and the golden-sailed barges that travel between them. Although Fungi of the Far Realms could be used with Troika!, it is not designed to be used with it, or indeed any specific roleplaying game. The mechanics in the supplement are there to determine what fungus the Player Characters might have come across and that is it, although an appendix does include a table of random effects that might best a Player Character should he decide to consume any of the entries in the book. Of course, one of the first things that the author makes clear in Fungi of the Far Realms is that it is not a guide to real world mushrooms—and thankfully not, because some are weird—and should definitely, definitely not be read as such. The other advice is that the contents of Fungi of the Far Realms should be used sparingly, so as to reward the Player Characters for exploring an area.

In game, Fungi of the Far Realms is a volume written by E.Q. Wintergarden. In particular, it is a new facsimile edition of the classic work on mycelium with an introduction by A.R. Clements and a new introduction to the second by S. Zhang. A.R. Clements is the ‘Chair of Mycology at the Imperial College of the Brass Spires’ and S. Zhang is the illustrator of the original edition who actually accompanied E.Q. Wintergarden on his research trips. Yet, one Alex Clements is the author of the Fungi of the Far Realms and Shuyi Zhang is the illustrator. So, there is a sense of world within a world, or rather a book within a book within a world with Fungi of the Far Realms.

Of course, the bulk of Fungi of the Far Realms is devoted to over two hundred entries, each a particular fungus. They run from ‘The Adversary’, ‘Agaric Rex’, and ‘Almost Invisible Trumpet’ to ‘The Wrack’, ‘Yellow-Spotted Creeper’, and ‘Zarafetti’s Eyelash Fungus’. Each entry is accorded a single page which includes a full illustration in water colours, a mini-map of the Far Realms where the fungus can be found, and a description of its habitat, appearance, flavour/mouthfeel, and aroma. So, ‘Flibbertygibbets’ can be found on river sidings and in reed beds, and has the appearance of, “Finger-like protuberance reaching upwards. Intensely pink at the base, colouring to deep royal purple at the tips. Covered in tiny hairs giving it a soft, almost velvet texture. ‘I’d rather suck a flibbertigibbet!’ – common peasant oath.” The flavour/mouthfeel is described as “bitter, unpleasant!” and the aroma as “sour lemon”.

There are no suggestions as to how entries might be used, but some entries are more suggestive. For example, the habitat for the ‘Church Black Bracket’ is the high branches of wild plum and has the appearance of, “Black top crust with a fluffy pore-bearing surfaces that drip an oily excretion. Processed into a paint used by religious artists. Hard to work with but produces a fine, glossy black pigment. The heretic sects in the far west make wonderful use of this paint, but as the bracket doesn’t grow in such hot climates, it has become a valuable trade good (if one can bear to trade with such barbarians).” It has the flavour and mouthfeel of being far too oily and the aroma of rotten cherry. This has much more of an immediate use as the prompts are stronger and suggest questions that the Game Master might want to answer.

Thus, the entries vary in how useful they are in terms of storytelling. Some tend towards being mundane, others are more interesting. It should be noted that many entries are of an adult nature. Not necessarily explicit, but definitely requiring an adult readership.

If Fungi of the Far Realms does not detail the effects or uses of its fungi in the induvial entries, the appendices do. The first appendix suggests various potential symptoms for consuming a fungus, such as ‘Cucco Aminata’ that causes a homunculus to grow and bud from the consumer, or ‘Pixie Yeast’, a puddle of which can produce a small loaf of bread each day or a flagon of beer in two weeks. ‘Pixie Yeast’ can be kept aside over and over, so that it can be grown again and again over time to provide more bread and perhaps, beer. The second examines poisons. This provides an overview of potential poisonous effects rather than specific rules since Fungi of the Far Realms is systemless and every roleplaying game has its own rules for poison. Simply, a poisonous fungus should not simply kill the consumer, but suggest symptoms and give time for a Player Character to react and seek help. There is a table of entries for hallucinogenic effects, plus details of some fungal infections and a quick word about fungiculture that it is hard work and probably done by a mycologist. A view of the Far Realms is included inside the front cover with a grided map inside the back cover to help locate the various entries in the book in the region.

Physically, Fungi of the Far Realms is a beautiful looking book. The artwork is excellent.

Fungi of the Far Realms is an attractive book, but not an immediately useful book and it makes clear that not all of its entries are going to be used and that they should be used sparingly. What this means is that Fungi of the Far Realms is a book that is likely to sit on a Game Master’s shelf far longer than other sourcebooks and only be pulled from said shelf when there is a need a fungus, a toadstool, or the like. The fact that it is systemless is both an advantage and a disadvantage. An advantage because it can be used with any roleplaying game and a disadvantage because the Game Master still needs to develop the entries in the book to give them a role in her campaign setting or world, with some entries more interesting in the prompts they provide. Fungi of the Far Realms is a lovely book to have and pretty to peruse, but of limited use and application.

 This one came about in a weird way. 

So my oldest and I have been playing AD&D 1st ed. Forgotten Realms at night when he gets off work. He is a chef and works till midnight. Recently though, we have also dipped our toes into the Fantasy Flight Games/EDGE Star Wars, which caused me to pull out a bunch of my original Star Wars figures.  These have been sitting on my desk for a while. Much to my wife's chagrin.  Anyway that is the background.

I have all these Star Wars figures on my desk along with some of the ReAction figures, including a Sorceress I repainted to look like Larina (I am dedicated to my obsessions). I also have a collection of various witches and the Dungeons & Dragons Cartoon characters decorating my desk. We were talking about how much I still prefer d20 Star Wars because of the D&D connections. Liam dislikes it for that reason. He wanted to know if there was a system out there that could do both. So, I told him about Cartoon Action Hour.

I spent some time with Cartoon Action Hour Season 3 a while back and even detailed Zatanna for Super Friends.

We pulled it out and thought about making a silly game with his Mandalorian Bounty hunter (using my Boba Fett from 1979, sent in my Proofs-of-Purchase!), Larina, and my repainted astromech droid KE11-N3R, or "Kenny". Cause why not, anytime we pull out a new game we try something familiar. And there may have been some beers involved. 

It was fun and silly, and we had a great time, really. 

While I was hungover the next Thursday (and Liam was not) I was thinking that this game might make for a good system for the Dungeons & Dragons cartoon. Cartoon Action hour specifically calls out D&D as a great example of the Saturday Morning Cartoon they loved. So, I started to think about what would work.

A while back, I had talked about the new D&D cartoon minis and how Shelia was missing from set. I said this at the time:

 I did not watch the D&D cartoon much, but I was aware of it. I can't help but wonder if the red-headed girl with a penchant for wearing purple and hoods in 1983-85 didn't somehow influence my red-headed witch with a penchant for purple dresses and black hoods in 1986?  I honestly can't say.

In fact, I didn't even think about it until I scored this D&D Cartoon "kids" book at my local game auction.  It is called "The Witch's Spell Book."

That is the image above. 

The basic plot of this  Choose Your Own Adventure is that you have the Golden Wood by finding Agnes the Witch's Spell Book. The spell causes Tiamat's heads to argue among themselves. For reasons, only Shelia can read the spell. You would think Presto, but no, it is Shelia. Each of these books featured a different character, and they tend to go for a lot of money now on eBay. See the books for Bobby (written by Margaret Weis!), Shelia, Hank, and Eric. No idea if Presto or Diana got one, but someone was Book 2. Glad I got mine a lot cheaper than that. 

Now, not to go out on a limb too far, but does this make Shelia an initiate witch?  It would in my games. She is 13 in the show, the age witches often "hear the Call of the Goddess" in my game worlds. (BTW this is what makes Larina special, she heard the Call at age 6.) There is a witch in this book, Agnes. So I guess it is possible. 

I am not 100% out in left field here. Sheila is called "La ilusionista" (The Illusionist) in the Latin American dubbing of the cartoon. And in at least one of the Spanish intros Presto and Sheila are called, "Los Magos," or "The Wizards." Same for the German dub. In the German dub, Diana is "The Princess of Acrobats."

Why not try to make an adventure of this book? I speculated that Shelia was not going to be part of my War of the Witch Queens, but maybe this could be a side-quest. Anyway, I worked up some details for Cartoon Action Hour. I mean, a spell to get Tiamat's heads to argue with each other? That is some profound cartoon logic. don't know if I'll run it yet, but I have everything I need, really.

Dungeons & Dragons Cartoon, 1986 Season

The Dungeons & Dragons Cartoon did not make it to 1986, which is too bad, really. While I did not watch it a lot when it was on, I did watch it a ton with my kids.  I can imagine a continuation of the series (many have) where we finally get to see Skylla show up. Also, since it is my 1986, my witch would show up as well. Plus, I already did stats for her.

So here is my premise. Sheila, having realized she has a knack for witchcraft due to the events of The Witch's Spell Book, seeks out some answers. She finds two witches, one good and one evil, in Larina and Skylla, but which is which? Great cartoon logic, and a chance for me to use some of the ideas originally planned for Skylla in the Cartoon. Plus the title "Which Witch" kinda writes itself. In a perfect world, it would have been written by Paul Dini.

Here is our star, Sheila the Thief. I am posting the sheets instead of text because these sheets are just to damn fun NOT to post. I gave her Cloak of Invisibility a score of 6 because it is supposed to be an artifact. 

Skylla belongs here. She is a great evil character and always up to no good. Besides, what are heroes without their villains? 

Here is Larina, for her as a GMC I would tone her down a bit to the same level as Skylla.

I fully expect some of my numbers to be off. Please remember, we were drinking while doing this. Well, I am sure Sheila's stats are good.

I also just noticed that the Dungeons & Dragons Cartoon premiered on Sept. 17, 1983. So 42 years ago!

We will have to come back to this game more often.

Quick-starts are a means of trying out a roleplaying game before you buy. Each should provide a Game Master with sufficient background to introduce and explain the setting to her players, the rules to run the scenario included, and a set of ready-to-play, pre-generated characters that the players can pick up and understand almost as soon as they have sat down to play. The scenario itself should provide an introduction to the setting for the players as well as to the type of adventures that their characters will have and just an idea of some of the things their characters will be doing on said adventures. All of which should be packaged up in an easy-to-understand booklet whose contents, with a minimum of preparation upon the part of the Game Master, can be brought to the table and run for her gaming group in a single evening’s session—or perhaps two. And at the end of it, Game Master and players alike should ideally know whether they want to play the game again, perhaps purchasing another adventure or even the full rules for the roleplaying game.

Alternatively, if the Game Master already has the full rules for the roleplaying game the quick-start is for, then what it provides is a sample scenario that she still run as an introduction or even as part of her campaign for the roleplaying game. The ideal quick-start should entice and intrigue a playing group, but above all effectively introduce and teach the roleplaying game, as well as showcase both rules and setting.

—oOo—
What is it?
Conspiracy X 2.0 – Introductory Game Kit is the quick-start for Conspiracy X 2.0, the most recent edition of the roleplaying game of hidden alien invasion, conspiracies, and secrets. Conspiracy X 2.0 is very much a roleplaying game inspired by and published in the wake of The X-Files and in the nineties, was a very contemporary roleplaying game. Originally published by New Millennium Entertainment in 1996, it was published by Eden Studios, Inc. from 1997, receiving a second edition in 2006.

It is a thirty-four page, 15.96 MB full black and white PDF.

How long will it take to play?
Conspiracy X 2.0 – Introductory Game Kit is designed to be played through in a single session, two at the very most.
What else do you need to play?
The Conspiracy X 2.0 – Introductory Game Kit needs a a four-sided, six sided, eight-sided, and ten-sided per player.

Who do you play?
The Conspiracy X 2.0 – Introductory Game Kit includes Aegis Cell of six operatives. They consist of a CDC scientist, the cell leader determined not to lose another agent again; an FBI agent recently recruited to Aegis for asking too many questions and who believes he was abducted as a child; an ICE investigator who really found himself investigating an illegal alien; an MKULRA psychic with limited powers; a US Army technician skilled with computers; and a DEA agent with an empathy for dogs.

The Cell has a base of operations in an abandoned building. It includes barracks, a field hospital, gym, communications suite, and medical, electronics, and computer workstations.
How is a Player Character defined?An Agent in the Conspiracy X 2.0 – Introductory Game Kit has six attributes—Strength, Dexterity, Constitution, Intelligence, Perception, and Willpower. Life Points are the amount of physical damage a character can suffer; Endurance his fatigue; and Essence Pool, his spiritual energy. He will have a variety of Qualities and Drawbacks—advantages and disadvantages, a Profession that is his day job, and various skills. These typically range in value between one and five, but can go higher, though two and three represents general competence.

How do the mechanics work?
Mechanically, Conspiracy X 2.0 uses a ten-sided die to resolve actions, which can be a Test or a Task. For a Task, the player rolls the die and adds a value each for his agent’s appropriate Attribute and Skill. A result of nine or more (this target number can be higher) is a success and higher results can grant better outcomes. For a Test, where there is no skill that applies, the player only adds the value of the Attribute, doubled for a simple Test, but not for a standard Test. Modifiers can be applied to a Test or a Task, ranging from ‘+5’ for easy to ‘-10’ for Near-Impossible.

If a player rolls a natural ten, a bonus six-sided die is rolled and one deducted, the result added to the ten. The player can keep doing this as long as he keeps rolling a six on the bonus die. Similarly, if a natural one is rolled, six-sided die is rolled and the result subtracted from the roll, and this is also open-ended.
An ‘Outcome Table’ in the Conspiracy X 2.0 – Introductory Game Kit gives the possible results of outcomes from nine to twenty-four. There are results given for rolls one and lower.
The rules cover vehicles and chases as both feature very heavily in the included scenario.
How does combat work?
Combat in the Conspiracy X 2.0 – Introductory Game Kit is kept simple and starts with initiative being determined by the Chronicler—as the Game Master is known—and then narratively. A Player Character can undertake multiple actions, but the latter comes with penalties. Melee attacks can be parried or dodged, and range for missile or gun attacks modifies both the Task difficulty and the damage multiplier. The rules also allow for lighting, recoil on firing heavy weapons, the use of scopes, and actually being under gunfire. This forces a Willpower Test. If an attack is successful, the result on the ‘Outcome Table’ can add a modifier to increase the damage. Body armour has its own Armour Value, which is rolled for when the wearer is attacked, and the result subtracted from the damage rolled.
A Player Character or NPC reduced to five Life Points or less is badly hurt and suffers penalties to all actions. A Consciousness Test is required if the Life Points are reduced to zero or less, and a Survival Test if they are reduced to minus ten or less.
The rules also cover Endurance loss for exertion and Essence loss for mental stress and exhaustion.
How does ESP work?
All Player Characters in the Conspiracy X 2.0 – Introductory Game Kit are capable of five basic ESP abilities—‘Hunch’, ‘Intuition’, ‘Ken’, ‘Read Aura’, and ‘Second Sight’. They require a Difficult Willpower Test and if successful, an individual ability cannot be used for a week.
This differs from the full Conspiracy X 2.0 rules where the players have the option to draw Zener Cards as in a real Rhine Test to test psychic ability.
One of the Player Characters in the Conspiracy X 2.0 – Introductory Game Kit has the Clairvoyance Psychic power, and unfortunately, it is not clearly explained how this works in the rules given.
What do you play?
The scenario in the Conspiracy X 2.0 – Introductory Game Kit is ‘Convoy’.In the wake of the Roswell Incident of 1947, the secret organisation whose brief during World War 2 has been to monitor Nazi occult activities, split over how it would handle the increasing activities of extraterrestrials on Earth. Both claim to want to protect the USA and the world from both alien and paranormal threats. They just differ in how they wanted to achieve this. Aegis works to monitor alien activities and study their physiology, technology, and psychology, whilst developing the means and methods to combat the aliens as a threat. The National Defence Directorate has made treaties with the aliens that has allowed the abduction of human subjects, genetic experimentation, sabotage, and espionage. In return, the National Defence Directorate has received advanced technology from the aliens. Unfortunately, the rivalry between Aegis and the National Defence Directorate has festered and developed to the point where encounters between the conspiracies are often lethal. ‘Convoy’ is one of these encounters.
In ‘Convoy’, the Player Characters’ Cell is activated to protect and transport a recovered alien spacecraft to the Groom Dry Lake Research Facility. Another Aegis Cell has already recovered the spacecraft from a National Defence Directorate team and the Player Characters are directed to meet the other Aegis Cell survivors. This is a challenging scenario. The National Defence Directorate agent assigned to track them down is ruthless and has access to extensive resources to bring to bear on what quickly turns into a manhunt in which the Player Characters may end being identified as wanted criminals. The scenario can start wherever the players have decided their characters’ Cell is based (or it can start anywhere on the continental USA). Expect state police chases, watchful toll booth operators and seemingly innocuous weighing stations, biker gangs paid to do the dirty, and even abductions by the Greys—depending upon how the players and their characters decide to transport the downed spaceship. The players and their characters have free as how they approach the problem, but they will definitely need guile and some luck as well as brute force to get their truck and its cargo to its destination.
Is there anything missing?
Yes. The Conspiracy X 2.0 – Introductory Game Kit has everything the Game Master and her players will need to play, except for the full rules for use of the Clairvoyance by the Psychic Player Character. The Game Master will either need to access the full rules for Conspiracy X 2.0 or make up the rules on the spot.
Is it easy to prepare?
Yes. The Conspiracy X 2.0 – Introductory Game Kit is easy to prepare, although an example of combat would have helped, as would clearer explanations of the Player Character Psychic’s ability.
Is it worth it?
Yes. Although there are elements missing from the Conspiracy X 2.0 – Introductory Game Kit, this is a simple, but tough, action-packed challenge for any group of players and their characters. The bad guys of the National Defence Directorate are desperate to recover their lost alien spaceship and will go to almost length to get it back. The scenario sharply showcases the rivalry between the two agencies in what could be a desperate fight for survival.
The Conspiracy X 2.0 – Introductory Game Kit is published by Eden Studios, Inc. and is available to download here.

 cut this out for the scrapbook today. 

The Player Characters awake, their minds fuzzy, but their bodies cold and damp, and in pain. They each hang by one arm fettered over stagnant water. The water sloshes and the air is rank with the smell of decay, but there is the sound of snoring too. Light flickers and bobs up and down from below, a candle all but burnt down to the nub floats on the water. In the cells around them, the Player Characters can see each other. They are dressed, but have neither arms or armour, or indeed any of the equipment they brought with them earlier that day. For it was only today that they reached the castle, its tall spire jutting from the landscape, having travelled at the behest of its count, a noble who pleaded for their help in lifting a curse. He promised a great reward in return, yet he did not welcome the visitors kindly. First proclaiming them to be the answer to curse that he could no longer bare to suffer alone, and then pouncing upon the Player Characters.

This is the set-up to The Count, the Castle, & the Curse. Published by Deficient Games, it is a scenario for ShadowDark, the retroclone inspired by both the Old School Renaissance and Dungeons & Dragons, Fifth Edition from The Arcane Library. It is designed for a party of Player Characters of First to Third Level, and is intended to be played through in roughly four or five hours. Thus, it is possible to play through the scenario in a single session, but definitely no more than two.
The Count, the Castle, & the Curse is not only a Gothic horror scenario, but very clearly a retelling of the myths around vampires and Dracula. Further, it is possible to see The Count, the Castle, & the Curse as the retelling of the story of Count Strahd von Zarovich and events in Castle Ravenloft as originally appeared in 1983 in I6 Ravenloft for Advanced Dungeons & Dragons First Edition, but reimagined for Old School Renaissance. It has a Count, who is unnamed, away at war who returns to his lonely wife to discover that she has been unfaithful with his brother and in his jealousy cuts a bloody swathe through the castle.
As the scenario opens, the Player Characters have already arrived at the castle and find themselves trapped within its confines. In a situation in roleplaying that goes all the way back to Escape from Astigar’s Lair from Judges Guild (and beyond), they begin play imprisoned, chained up, and stripped of their equipment. Freeing themselves and recovering their equipment is the first of their goals, for their true aim—set by the Count—is to escape the castle. To that end, he is going to give them every opportunity to do so, all whilst taunting them, stalking them, yet not attacking them. He will only do that when the clock strikes Midnight, and he comes for them. This does not apply to his minions within the castle who will haunt and haunt the halls of the castle in search of their prey, that is, the Player Characters. Until Midnight though, the Player Characters have free reign to explore the limits of the castle and in the process discover its secrets and its past, including how the Count came to be cursed with vampirism and how his wife and brother died, and the ways out. There are multiple ways out of the castle, none of them easy, of course. The simplest are probably the most physically challenging, whilst others require crisscrossing the castle and up and down its tower to obtain the right items to activate an exit. Effectively, The Count, the Castle, & the Curse is a puzzle dungeon, but pleasingly, one with multiple solutions.
The Count, the Castle, & the Curse includes a number of stylistic and mechanical changes to both handle and enforce its Gothic genre. The most obvious is not to map the castle. Or rather not map the castle in its entirety, floor by floor, corridor by corridor, room by room, in two dimensions. Instead, it focuses on the important rooms and showing the links between them, presenting the relationship between them in a side or cut away view of the castle. Combined with detailed descriptions presented as a series of bullet points and the scenario focuses on the individual locations rather than on the time spent between them, that space shrouded by shadow into between the bursts of candlelight found elsewhere. Narratively and mechanically, this makes the navigation of the castle relatively easy, and it is further eased for the Game Master by the clear presentation of the rooms at the top of the page above their descriptions.
Mechanically, the scenario does away with Armour Class and some cases, the traditional Saving Throws. Instead, it replaces both with a floating value called Stress Level. This ranges in value between eight and twenty-two, but begins at ten and can go up and down according to the actions of the Player Characters and environmental factors. Witnessing a horrifying event, becoming frightening or paralysed, a player rolling a natural one or a monster a natural twenty, and being in darkness or split apart—do not split the party—will all increase the Stress Level. Sharing a strong drink, a player rolling a natural twenty or a monster a natural one, finding a trinket from home and narrating it into the story, and more will reduce the Stress Level. Stress Level will rise hour by hour of real. The players are kept fully aware of the current Stress Level, so can work to manipulate it, but also react in despair as it rises.
Each Player Character also begins play under the same curse as the Count—or at least partially under the curse. Throughout the exploration of the castle, he will be tempted again and again by the curse. This is ‘Progressive Vampirism’. The temptation is to consume blood and doing so grants vampiric traits and weaknesses as well as increasing the Player Character’s Hit Points. On the plus side, this also decreases the current Stress Level, but the Player Character is also tempted to feed repeatedly, and if he feeds too much, he not only gains more vampiric traits and weaknesses, but imperils his soul. If the Player Characters have not escaped by then, at the climax of the scenario at Midnight, when the Count appears for the final time, any Player Character who has given into his desire for blood and fed once too often may end up joining the Count in fully embracing the curse and becoming one of his minions.

Physically, The Count, the Castle, & the Curse is clearly and simply presented with an excellent layout. Bar the cover, there are no illustrations in the scenario. That said, given the genre, it is easy for the Game Master to base her descriptions on any number of vampire stories and films. The scenario does need an edit in places.
The Count, the Castle, & the Curse is written for use with ShadowDark and the dark and gloomy halls of its Gothic castle setting chime perfectly with the torch and light mechanics of ShadowDark, with the Stress Level mechanics only adding to the fear and horror of the setting and its genre. (Of course, the scenario can be run with the retroclone of the Game Master’s choice.) Given its story and its genre, there is much that is familiar in The Count, the Castle, & the Curse, but that makes it easier for the players and their character and the Game Master to engage with it, whilst the Stress Level and vampirism mechanics enforce and encourage the engagement. The Count, the Castle, & the Curse is a well-done retelling of an old story that makes for a classic Gothic horror one-shot.

When it comes to legendary role-playing games, few carry the mythic weight of King Arthur Pendragon. Originally created by Greg Stafford in 1985 and in 2016 published in its 5.2 edition. Chaosium owns it again and there is a new (2024) edition out.  I have not picked that one up, so I am sticking with 5.2 for now. Pendragon has always stood apart from its fantasy cousins. Where Dungeons & Dragons gave us dungeons, monsters, and treasure, Pendragon asks us to sit at the Round Table, wrestle with honor and passion, and live out the great romances and tragedies of Arthurian legend. Still, it is an epic RPG and one worth looking into.

King Arthur Pendragon (5.2)

2016. Greg Stafford.

Greg Stafford often called Pendragon his “masterpiece,” and for good reason. He poured decades of study into Arthurian myth, Malory, Chretien, the Welsh triads and built a system designed not just to simulate combat but to embody the ideals and contradictions of chivalry. Over the years, the rules have been polished but never really overhauled. The 5.2 edition (2016) is a refinement of the earlier 5th, cleaning up layout, clarifying rules, and giving new players the most accessible entry point into the game’s deep traditions. I picked up my old 2nd Edition version and it is remarkable how compatible they are with each other. 

The system is similar to Chaosium's Basic Role-playing system. So it has always been sorta-kinda compatible with Call of Cthulhu and RuneQuest, though the years and system assumptions have pushed them all away from the BRP standard. You won't be seeing Yog-Sothoth showing up in Wales anytime soon with this game. No Pendragon is for people who want to play an Arthurian game and respect the scholarship that went into this game. That is not to say there isn't magic in this game; Morgan le Fey is here after all as is Merlin, but it is not a central theme. 

The game itself is a fantasy realized epic Britain of the 5th and 6th centuries, with the style of the High Medieval Periods of the 10th to 15th centuries. You can play it as a strict Dark Ages game or a high-fantastical one, as seen in the popular King Arthur culture. You can do "Excalibur" or even the TV show "Merlin."

I am using the 5.2 version of the rules, which if you asked me, I could not tell you the difference between it and the 5.1 version save for new color art in 5.2, some reorganization, and different cover art. While I think the 5.1 art is more evocative of the game, I can't deny that the 5.2 version is extremely attractive. I have not updated to the full 2024 edition at all, but it looks attractive as well. I do have the Starter Set in PDF, though. Maybe I'll pick it up someday.

Character Creation

Instead of rolling up wandering adventurers, you take up the mantle of knights (and occasionally others) tied to lineage, land, and loyalty. The core stats are familiar, Strength, Constitution, Dexterity, Size, but where Pendragon shines are the Traits and Passions. Traits are moral-ethical pairs (Chaste/Lustful, Merciful/Cruel, etc.) that don’t just describe your knight, they drive play. Roll Merciful in the wrong moment, and your knight may act against your intentions, because that’s what stories do. Passions, like Loyalty (Lord) or Love (Family), give bonuses when invoked, but can also shatter a knight’s will if betrayed.

Character creation is as much about heritage as numbers. You’re asked: Who was your father? What did he earn? What land do you hold? Your knight isn’t a blank slate, but part of a saga. And unlike most RPGs, Pendragon expects you to play not just one knight, but their descendants across generations, carrying your family name into the twilight of Camelot. Something that obviously appeals to me.

It is assumed that players will be creating characters together to form some sort of cohesive narrative. There is a lot of freedom here and role-playing is stressed over "roll-playing."

The chapter assumes you are going to be a starting Knight, well, Squire. I am taking a different approach for my characters. 

Chapter Three: Family and Fatherland is notable since it details the experiences of your father and grandfather. If you are so inclined, it can be adapted to any Feudal Fantasy RPG. Just change the years to whatever makes sense in your game. 

The Pendragon Campaign

No review of Pendragon is complete without mentioning The Pendragon Campaign. First published in 1985, and then later as The Great Pendragon Campaign in 2006, this massive tome lays out a year-by-year chronicle of Arthur’s Britain, from the final days of Uther through the rise, glory, and eventual fall of Camelot. That’s over 80 years of history, adventures, and story hooks, meticulously tied to the mechanics of the game.

The brilliance of the Pendragon Campaign isn’t just its scope, but its structure. Each year has events, rumors, and opportunities for your knights (or their descendants) to shape the story. Early sessions might be about Saxon raids and border skirmishes, while later ones touch on the Grail Quest, courtly romance, and the heartbreaking dissolution of the Round Table. Players get to live through the entire legend, sometimes gloriously, sometimes tragically, but always with a sense of being part of something larger than their character sheet.

For Pendragon, the Pendragon Campaign is more than a campaign guide or adventure path, it’s the framework that shows the system’s true purpose. This isn’t a game about “beating the dungeon” or “killing the dragon.” It’s about legacy, dynasties, and the arc of myth. And its influence has quietly rippled into other games. Long campaigns like The Enemy Within for Warhammer Fantasy Roleplay (1986) or Masks of Nyarlathotep for Call of Cthulhu (1984) were the rage at this time and the Pendragon Campaign shines even among these other memorable campaigns.  Even modern campaign design in games like Pathfinder’s Adventure Paths or D&D’s hardcover campaigns can be seen as walking in the shadow of what Pendragon pioneered.

For me, the Pendragon Campaign is a reminder of what tabletop RPGs can do at their very best: give us not just a night of fun, but a saga, a shared legend that lingers long after the dice are put away.

Johan Werper and Larina Nix for Pendragon

The best way to explore a game is through the characters. Thankfully, I have two that are ready to go! Typically, Johan and Larina were never in the same games. I'd play one or the other. I mixed this up a bit with Pathfinder and had them known to each other. I figured it was an alternate universe.  

I am going to do the same here, but with the intrigue of courtly politics I might consider them as clandestine lovers. Honestly I am basing it on Liam Neeson's and Helen Mirren's roles in Excalibur. 

How does a Roman Catholic Knight from the Continent meet up with a Pagan Welsh girl? Easy, I'll just adapt their meeting in Pathfinder where Larina found the wounded Johan and healed him. He feels indebted to her, he gives her access to a world she would not have normally been allowed in. Everyone thinks she has bewitched him. 

Johan Werper

I can't pick up a game like this and NOT wonder how my Knight-in-Shining-Armor Johan would work out. I had decided way back in High School that if Johan had a culture from Medieval Europe, it would be French, but living in England. Pendragon makes this easy for me since the language of the High Court would be French. I will say that he is from Brittany and traces his lineage back to Saxon invaders. 

Johan Werper II

Age: 22
Son Number: 1
Homeland: Brittany
Religion: Roman Catholic
Lord: Johan I

SIZ: 11
DEX: 14
STR: 16
CON: 11
APP: 12

Damage: 4d6
Healing Rate: 2.7
Movement: 3
Total Hit Points: 27
Unconscious: 7

Personality Traits
Chivalry Bonus: 0
Religious Bonus: 0

Chase/Lustful: 13/7
Energetic/Lazy: 12/8
Forgiving/Vengeful: 13/7
Generous/Selfish: 10/10
Honest/Deceitful: 12/8
Just/Arbitrary: 11/9
Merciful/Cruel: 13/7
Modest/Proud: 13/7
Prudent/Reckless: 10/10
Spiritual/Worldly: 10/10
Temperate/Indulgent: 13/7
Trusting/Suspicious: 10/10
Valorous/Cowardly: 15/5

Passions
Loyalty (Lord): 16
Love (Family): 17
Hospitality: 15
Honor: 15
Hate (Saxons): 10

Skills
Awareness: 5
Boating: 1
Compose: 1 
Courtesy: 4 
Dancing: 2
Faerie Lore: 1
Falconry: 3
First Aid: 10
Flirting: 3
Folklore: 3
Gaming: 3
Heraldry: 4
Hunting: 10
Intrigue: 3
Orate: 3
Play (Lute): 3
Read (Latin): 10
Recognize: 3
Religion (Roman Catholic): 10
Romance: 3
Singing: 2
Stewardship: 2
Swimming: 2
Tourney: 2

Combat Skills
Battle: 10
Horsemanship: 10

Sword: 17
Lance: 10
Spear: 6
Dagger: 5
Bow: 5

Distinctive Features
Long Blonde Hair

Glory: 1,500

Chainmail and shield
Silver arm band

Johan is a good fit for this game. I would do him as an alternate reality version and really dig deep into family events to help define who he is in this game. It would really be a lot of fun to be honest. I could even explore the family's past as part of Pagan Europe. That would have been 350+ years before this game though. Still something to think about.

Larina Nix

Of course, I had to try translating Larina into this framework. She doesn’t sit easily in Arthur’s world, but that’s half the fun. Larina as a mystical advisor? A Welsh witch standing at the edge of history? She’d never pass as a proper knight, but as an enchantress, wise woman, or secret Pagan counselor to Arthur’s court, she fits perfectly into the tension between the Christian and Pagan worlds that Pendragon thrives on. Plus, it is a theme I love to come back to time and time again: Pagans vs the rising tide of Christian conquest.

When working on Larina one of the first things I run into is how women characters are treated differently than men. Now is 100% it is emulating Arthurian legends and tales, so just like Call of Cthulhu has a Sanity system, this has different rules more men and women characters. Grated you can grab something like Pagan Shore for older versions to even things out, but I want to try this with the version in front of me. Now there is nothing in the rules saying I can't female knight, and there are examples given, but they are exceptional examples. Fine, Larina is a Pagan anyway and wouldn't be a knight. There is a "witch" detailed (such as it is) on page 179. "Witch" is only mentioned four times in the whole book. I mean I know I can grab something from say Basic Roleplaying or Advanced Sorcery, but that is not the point of Pendragon is it? Plus there is no POW score for these characters. 

Larina ferch Lars

Age: 19
Daughter Number: 1
Father: Lars Nicholson 
Homeland: Cymru
Religion: Pagan
Lord: Johan I

SIZ: 9
DEX: 10
STR: 10
CON: 16
APP: 18

Damage: 3d6
Healing Rate: 2.5
Movement: 2.5
Total Hit Points: 19
Unconscious: 4

Personality Traits
Chivalry Bonus: 0
Religious Bonus: 0

Chase/Lustful: 5/15
Energetic/Lazy: 13/7
Forgiving/Vengeful: 10/10
Generous/Selfish: 13/10
Honest/Deceitful: 13/7
Just/Arbitrary: 10/10
Merciful/Cruel: 10/10
Modest/Proud: 7/13
Prudent/Reckless: 10/10
Spiritual/Worldly: 12/8
Temperate/Indulgent: 10/10
Trusting/Suspicious: 10/10
Valorous/Cowardly: 10/10

Passions
Loyalty (Lord): 15
Love (Family): 16
Hospitality: 15
Honor: 15
Loyalty (Old Faith): 13

Skills
Awareness: 3
Chirurgery: 10
Compose: 1 
Courtesy: 5 
Dancing: 3
Faerie Lore: 10
Falconry: 2
Fashion: 2
First Aid: 15
Flirting: 11
Folklore: 4
Gaming: 3
Heraldry: 1
Industry: 5
Intrigue: 2
Orate: 3
Play (Flute): 3
Read (Ogham): 10
Recognize: 2
Religion (Pagan): 10
Romance: 2
Singing: 3
Stewardship: 5
Swimming: 1
Tourney: 1

Combat Skills
Battle: 1
Horsemanship: 3

Dagger: 5
Staff: 5

Woman's Gift
Natural Healer

Enchantments
Enchantment
Magical Healing
Glamour

Distinctive Features
Long red hair
Bright, piercing blue eyes
Larger than average nose

Glory: 1,140

There is no INT or POW stat in this flavor of BRP. So there are not really any rules to cover her proficiency with languages. Plus as Welsh pagan girl she would not really have much of chance to learn languages save via exposure. But I did roll Natural Healer for her gift, so that is her "in" to the courts, or at least how she gets noticed.

For magic, the rules are thin. I mean, with a game that has Merlin as a character an appendix on magic would be nice. I gave her "subtle" magic. So, an enchantment here, magical healing, and glamour. All things that can be explained away with deft skill. She has a knack for healing, so she augments it every now and then with some pagan magic, OR is it just her knowledge of herbs and plants? Hard to say. Likely to get her burned at the stake if it were about 1000 years later. 

I love the idea that these versions of Johan and Larina are clandestine lovers. It would add the proper tragedy to the narrative and game. Plus, it is that nice push and pull between the Pagans and Christians I love to explore.

Why Play This Instead of D&D 5e?

D&D 5e is about heroes exploring dungeons, defeating monsters, and gaining power. Pendragon is about knights struggling with ideals, navigating dynastic politics, and finding their place in the grand sweep of legend. It’s a game of story rather than loot.

• If you want to explore chivalry, honor, and tragedy rather than XP and levels, this is your game.
  
  
• If you’re drawn to the romantic, mythic sweep of Arthurian legend, no other RPG captures it as faithfully.
  
  
• If you want to play not just a character, but a family across generations, Pendragon offers something unique.

In short: D&D tells us what it’s like to be an adventurer. Pendragon tells us what it’s like to live and die as part of the great legend of Arthur. 

That is not to say one game doesn't have something to offer the other. As D&D has grown, it has left its feudal medieval roots behind, if it really had any to start with. Yeah, Greyhawk cosplays as feudal lands, but really the place where D&D was always the best is in its name: Dungeons. 

The game is great. It's attention to historical detail is its strongest feature, but also its weakest one for me since I do like to have a bit of magic in my fantasy. No worries, I have a LOT of FRPGs with magic. 

Now in its eighteenth year, Free RPG Day for 2025 took place on Saturday, June 21st. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.
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As its title suggests, the Exalted Funeral DOUBLE FEATURE! contains scenarios for two of the roleplaying games published by Exalted Funeral. These are for Land of Eem and for Monty Python’s Curricular Medieval Reenactment Programme. The ‘Land of Eem: Curse of the Chicken-Foot Witch – A Quickstart Adventure’, which is for the roleplaying game which describes itself as ‘The Lord of the Rings meets The Muppets’, is not quite a full quick-start in that the Game Master will need to download a set of Player Characters, whilst the content for the Monty Python’s Curricular Medieval Reenactment Programme is a scenario rather than a quick-start and again, the Game Master will need to download a set of Player Characters. The two scenarios are presented as a tête-bêche book, so that one book is upside-down relative to the other. Both scenarios can be played through in a single session or so.
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The scenario for Monty Python’s Curricular Medieval Reenactment Programme is ‘The Brachet and the Black Heart’. This is actually the scenario from the quick-start, so essentially the Game Master is getting with Monty Python’s Curricular Medieval Reenactment Programme half of Exalted Funeral DOUBLE FEATURE! is a version of the scenario with better presentation and artwork. The scenario does have some requirements in terms of which of the pre-generated Player Characters should be used. The Troubadour and the Knight should definitely be included as well as a Lower-Class Player Character such as the Knave or the Churl. The Enchanter will likely also be useful. However, the scenario itself does not make this explicit.

The scenario opens with the Player Characters in the village of Lower Entrails, which is described as quaint, nice, has several chickens, and not too much shit on everyone. There is a festival going on and the Player Characters are encouraged to wander around, gossip,and shop. There are plenty of prompts here for the Game Master to portray various encounters here, but the scenario begins with the Knight being approached by a footman from the nearby manse of Lord Arthur Name who invites him to a grand banquet to celebrate the betrothal of his daughter, Lady Lucky. Once the Player Characters have got past the Gumbys who serve as gatekeepers, they are divided by social class and funnelled into different scenes and activities. The Knight is feted, the Troubadour is expected to work, and anyone lower class is sent to the kitchens to work. There is the chance to pick up some gossip before, in the middle of the banquet, Lady Lucky is abducted by a giant dog chased by a surprisingly large flying mouse! Of course, Lord Arthur Name looks to the Knight to go after his daughter and rescue her.

The second part of the scenario is more traditional, a trek or quest into the Forest Sauvage to locate Lady Lucky. However, this is Monty Python’s Curricular Medieval Reenactment Programme and so the encounters along the way include with French knights and a witch a la Monty Python and the Holy Grail before the confrontation with a dragon that is more Jabberwocky than Monty Python. There is an optional encounter which will reveal the villain behind the whole affair, but like the encounter with the Gumbys, the encounters with the French knights and the dragon are a chance for the Game Master to play up her knowledge of Monty Python and quote from its oeuvre in character. ‘The Brachet and the Black Heart’ is a decent adventure which treats its medievalism in fairly silly fashion. Where it fails is in telling the Game Master what is going on until the very end of the scenario, so she must read to find out rather than the scenario telling her as part of her preparation.

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In comparison to ‘The Brachet and the Black Heart’ for Monty Python’s Curricular Medieval Reenactment Programme, the ‘Land of Eem: Curse of the Chicken-Foot Witch – A Quickstart Adventure’ does actually include an explanation of its rules. This starts with its core mechanic. To have his character undertake an action, a player rolls a twelve-sided die and adds a skill modifier. On a result of one and two, the attempt is a complete failure; a failure with a plus on three to five; a success with a twist on result of six to eight; a success on nine to eleven; and a complete success on a twelve. There is a lot of scope for interpretation in terms of what the twists and failures might be, but there are explanations of each along with the rules for advantage and disadvantage, proficiencies and deficiencies, and the attributes, stats, and skills for the Player Character.

The conflict rules are given an equally straightforward and simple explanation. Notably, conflicts are handled in four phases—‘Parley’, ‘Improvise’, ‘Run’, and ‘Combat’—with the emphasis being that fighting is not the only option. Both melee and ranged combat have their own outcomes similar to those for a standard ability or skill test. Notably for melee combat, instead of success with a twist on result of six to eight, the result is ‘Hit with a Counterattack’. This means that the defender can attack back when hit, but could then roll the result of ‘Hit with a Counterattack’. This could simulate a duel, but it could also lead to the serious inflicting of Dread. Dread is a measure of the mental and physical harm that an attack or effect can inflict, and it is deducted from Courage. Armour will reduce physical Dread. A Player Character reduced to zero Courage is not dead, but unconscious and can suffer wounds, but if Courage is reduced to zero again, a Defy Death check must be made.

The adventure, ‘Curse of the Chicken-Foot Witch’ is described as having the hijinks tone and being “A fun, goofy, and light-hearted Level 1+ adventure’, inspired by The Muppets, Labyrinth, and Adventure Time. A witch, Chara the Chicken-Foot Witch, is causing trouble in the Used T’Be Forest in the Mucklands, including cursing the powerful Gnome, L. Dorothy Sandwich and turning her into a muskrat. Unable to undo the curse as a muskrat and stuck at Wally’s Waffles and Weorgs, L. Dorothy Sandwich hires the Player Characters to enter Chara the Chicken-Foot Witch’s hovel and steal back her Wand of Decursification. The adventure begins with the Player Characters at the Crack, the fissure in Used T’Be Forest that is the entrance to Chara the Chicken-Foot Witch’s hovel. The hovel is presented as a one-page location consisting of seven individual rooms and caves detailed in a list of bullet points. The caves are full of monsters, but also victims of Chara the Chicken-Foot Witch’s ire and jealousy. Some will have to be fought, but in many cases, the Player Characters can parley with the inhabitants or even avoid them all together. Of course, Chara the Chicken-Foot Witch cannot be avoided, but again, she does not have to fought to be defeated and the scenario includes ways in which the Player Characters can successfully Parley with her.
The adventure is definitely goofy and there is a little bit of whimsy to it. A headless skeleton wanders the caves, a ghostly ballerina weeps for her lost career, and an anthropomorphic Wug bakes cookies for his mistress. Depending upon the route taken through the caves, the scenario could be played in less than a single session. It looks like a mini-dungeon, but whilst there are opportunities for combat, the ‘Curse of the Chicken-Foot Witch’ encourages other options than that and is all the better for it.
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Physically, the Exalted Funeral DOUBLE FEATURE! is a colourful affair. The artwork is excellent, and both scenarios are well written, even if the ‘The Brachet and the Black Heart’ does leave it to the end to explain to the Game Master what is going on.
Unfortunately, there is a disjointed feel to Exalted Funeral DOUBLE FEATURE!. Not because of there being content for two roleplaying games within its pages or the tête-bêche format, but because of what is missing and what the Game Master has to do to run either scenario. Both require that the Game Master download the Player Characters rather than giving them to her up front and in the case of ‘The Brachet and the Black Heart’, the Game Master has to download the quick-start for Monty Python’s Curricular Medieval Reenactment Programme, which not only includes the rules to run ‘The Brachet and the Black Heart’, but also ‘The Brachet and the Black Heart’ itself. Which is weird, as in, “So, to get the rules I need to run the scenario you have given me, I need to download the quick-start which includes the scenario you have already given me?” Ideally, Exalted Funeral DOUBLE FEATURE! should have been two books and the Game Master would have had everything needed to play one or both as is her wont. Instead, what Exalted Funeral has provided is a weird, unsatisfying compromise.
Nevertheless, Exalted Funeral DOUBLE FEATURE! does include two very enjoyable scenarios. Although they require a bit more effort to prepare than they really should, both ‘The Brachet and the Black Heart’ and ‘Curse of the Chicken-Foot Witch’ nicely showcase the humour and tone of their respective roleplaying games and present the players with some entertaining challenges for a single session each.

 This is the first issue from the Eric C. Harshbarger collection. I did have a copy already, but it is in rather sad shape. I have had a copy of this issue for a bit. I was hesitant to review it since it not exactly the same as reviewing a proper issue of Dragon. This is a curated collection, or as it says on the cover, a Best of. Part of the fun of This Old Dragon is reflecting on the issue, what I was doing at the same time it was out, and finding the gems, or lumps of coal, in each one. But, I am very willing to make an exception for Best of The Dragon vol. 1 and Best of Dragon vol. II for various reasons. First, I am not likely to find the older issues they cover, especially from Vol 1. Secondly, these issues were part of my D&D experiences growing up. I remember getting my copy of Best of Vol. II at the same time I picked up Expedition to the Barrier Peaks. My old high school DM, Grenda, and I agreed he would buy the odd-numbered ones and I the even-numbered ones. So there is some added nostalgia for me. So lets get into it.

I should note that this issue is really just "Best of The Dragon." There no other volumes to be a Vol. I for yet. But it will come soon.

Best of The Dragon

This best-of collection was initially published in 1980 and was edited by Tim Kask. It covers the Strategic Review and The Dragon vols I and II, or the first two years of The Dragon. So, from 1975 to 1978. Game-wise, this also covers the era of Original D&D and the dawn of AD&D.  

What I want to get from this is a feel for what was going on then. 1975 to 1978 is a great time since this predates my own involvement in the game. I would not start playing until 1979. So the Best of Dragons were like hidden treasures of a bygone age. These were my "Glamdring" and "Orcrist" treasures. That is, if Gygax was Turgon and Lake Geneva was Gondolin. 

This reads like a White Paper for AD&D. You can see how, where, and even why AD&D was made here with the various additions and rule guidelines. To expand on this further to my own interests, the lack of inclusion of the witch class seems a little odder. 

There are a lot of articles here and they are packed together. I will mention them all, but some might not get much more than that. Others though are very interesting.

Section 1: Design/Designer's Forum

This all reads like rough drafts of the AD&D game presented from the D&D point of view. I should also add that Metamorphosis Alpha also gets some coverage.

Planes by Gary Gygax gives us our first look at what will become the famous D&D "wheel" cosmology. The color-coded planes of this article make it slightly more useful than its Player's Handbook counterpart.

How Green Was My Mutant, also by Gygax, gives us some random human mutation tables. I note these can be used in conjunction with the the random demons tables in the back of this issue. More on that later. 

What follows are some more MA articles, Some Ideas Missed in Metamorphosis Alpha by James M. Ward and An Alternate Beginning Sequence for Metamorphosis: Alpha (note the colon) by Guy W. McLimore, Jr. It is easy to see the ideas brewing that would transform MA into Gamma World. 

Hints for D&D Judges is a three-part series from Joe Fischer helping what will be called Dungeon Masters. I like the use of "Judge" here, very much old-school and the original idea for DM. Part 1 covers towns. Part 2 is Wilderness, and Part 3 is the Dungeon itself.

The amazing Lee Gold has a rare Dragon appearance with her article on Languages or Could You Repeat that in Auld Wormish? Given the discussions I have had here on languages, you know this is one that I have gone back to many times. 

Tony Walston is up with The Development of Towns in D&D. It covers two pages and is packed really. I think some of this morphed into future articles about towns. Like all articles from this time, it is largely "here are your tools, go build it," which is great and works well for me. I am fairly sure that Grenda used some of this for all the cities he built and we adventured in.

On the other side of this is Let There Be A Method To Your Madness from Richard Gilbert. This article details how you should design your dungeons from the ground up, er, down. Followed by Daniel Clifton with Designing For Unique Wilderness Encounters. There is an assumption here, I think, that this is largely for a hex-crawl sort of adventure. 

Jim Ward is back with two more MA-related articles, Deserted Cities of Mars and The Total Person In Metamorphosis Alpha. 

Ok, now this one is an odd one. How Heavy Is My Giant is overtly a good article. It is a math-intensive guide on how much a giant-sized human should weigh. The article was "written" by Shlump Da Orc. Seriously? The article is good and whoever wrote it should be taking credit.

Rob Kuntz is up with Tolkien in Dungeons & Dragons. Knowing what I know now, this article hits a little differently. Though there is one solid point that was very true then and very true now. While there are similarities between Tolkien and D&D, they are not the same thing. The best example is the elves. D&D elves are not the immortals of Tolkien, nor should they be.

Jim Ward, our MVP of this collection, is up again with Notes From a Semi-Successful D&D Player. It is a bit of his reflections on playing as long as he had been at that point. He continues these thoughts on Some Thoughts on the Speed of a Lightning Bolt. This is less about how fast a lightning bolt moves, and more about how fast the wizard can cast the spell. 

The Meaning of Law and Chaos in Dungeons & Dragons and Their Relationships to Good and Evil is next. It sounds like the title of a Master's Thesis, and in a way, it is. It was from Gary Gygax himself and it is in my opinion required reading. The graph of the soon-to-be AD&D alignment system is more complex than what we see in either Holmes Basic D&D or the AD&D Player's Handbook. There is a sense of "degree" or "intensity" in this. So, Demons are the most Chaotic Evil, then followed by Red Dragons (back then, yes), Trolls, and moving closer to Neutral, Orcs, Efreeti, Wereboars, and more. So not all creatures of the same alignment experience or act the exact same way. I think this distinction was lost later on. Suggesting that a Chaotic Evil creature can only act as chaotic evil. 

This is the start of a series of articles by Gygax. There is a short article, Gary Gygax on Dungeons & Dragons which covers how Gary says he started the game. We know now of course it was much more involved that the handful of paragraphs here. This is followed by D&D is Only as Good as the DM. This is the first mention in this magazine of the "Dungeonmaster" (one word).

The Dungeons & Dragons Magic System is next from Gary and covers how the D&D magic system evolved out of Chainmail.

Section 2: Dragon Mirth

This section covers some of the "funnier" articles from TSR/The Dragon.

There is a Monster Reference Table Addition for a bunch of creatures they just made up for this. Sort of amusing I guess. 

Jake Jaquet is up with The Search for the Forbidden Chamber. A bit of fiction. 

Omar Kwalish (really Tim Kask) is up with What To Do When the Dog Eats Your Dice. Which is actually helpful, in a silly premise way. What to do if you don't have dice handy. Granted this is an artifact of the time. Everyone has a phone with access to dice rollers. But he also provides some solid 20th-century solutions like chits, cards, numbered straws/sticks, spinners, and even calculators with random functions. I used to use that one a lot. 

Excerpt From An Interview With A Rust Monster from Michael McCrery is honestly best ignored. But I am sure someone out there enjoyed it. 

While Sturmgeschutz & Sorcery is a silly idea from Gary Gygax, it has some practical uses. Namely, how much damage can a WWII tank do in D&D terms? The emphasis here is more Chainmail in origin than D&D, but it is still fun to read. 

Section 3: Variants

Ok, now this section is much more interesting and gives us what The Dragon did the best: providing us with new material for our games.

Peter Aronson has two articles about Illusionists. The first gives us the class to 13th level and 5th level spell ability, and the next extends this to 14th level and 7th level spell ability. Both include a bunch of new spells. It honestly looks perfect to add to my Expert Set box.

Jim Ward is back with treasures found in Tombs & Crypts.

Gary is also next with Halflings, Dwarves, Clerics & Thieves in Dungeon! In this case, the Dungeon board game. I am going to make copies of this one and put it in all my copies of Dungeon. Not only are there new rules for these player types, but there are also new treasures and new monsters. 

Doug Schwegman has a classic one for me next, the original Bard class in Statistics Regarding Classes: (Additions) - BARDS. I have played this Bard in the past and it works out great. The feel is more OD&D + Greyhawk, but that also means it would work well in Basic D&D and even AD&D. This is the one I used for my 1st Ed version of Nida. 

Joe Fischer has a "new" Ranger class in The Original Ranger Class. Again, the presentation makes it look perfect for Basic D&D.

Charles Preston Goforth, Jr. is up from The Dragon #5 with Wizard Research Rules. This expands the rules covered in OD&D and again in The Dragon #2. It is a pretty solid set of rules for spell and magic item research. I'd have to compare it to later editions, but what strikes me about it is the simplicity of it all. 

Ah. Next is the first version of the venerable Dragon Magazine Witch class in Witchcraft Supplement for Dungeons & Dragons. There is no author listed, not even Tim Kask knows who wrote it, but it is quite well written. It is overtly for OD&D Prime. Even before Greyhawk was released. The "Best Of" format has it neatly confined to 5 pages of text with some art. There is a lot to love about this article and class, really, and I am still puzzled why we never got an official witch class in old-school D&D.  Though, I suppose if we had I'd be over here droning on about something else. 

An ad for Fantasy Games Unlimited. 

John M. Seaton is up with Monkish Combat in the Arena of Promotion, or how monks gain levels officially.  It has diagrams that remind me of old martial-arts manuals. 

Two pages of tables for Solo Dungeons & Dragons Adventures by Gary Gygax, with contributions from George A. Lord and play testing by Ernie Gygax and Robert Kuntz. I mean, it looks like it could work. I know for certain if I had seen this I would have tried to write a BASIC program to mimic this. I mean it would not be very difficult at all. 

George Rihn is up with Lycanthropy - The Progress of the Disease. Which is basically discussing lycanthropes and XP progression for lycanthrope levels. It also looks pretty solid and I wonder why it didn't catch on. Though as I have mentioned many times, my Appendix N is more Hammer Horror than it is Pulp Fantasy; playing a werewolf is something that was going always come up in my games.

The Japanese Mythos are next by Jerome Arkenberg. This appeared originally in The Dragon #13 from 1978 and uses the format laid out by 1976's Gods, Demigods, & Heroes. There are three and half pages here and there are more entries than seen in the Japanese Mythos section of Deities & Demigods. 

Paul Montgomery Crabaugh and Jon Pickens have two similar articles, Random Monsters and D&D Option: Demon Generation, respectively. With a few dice rolls you can create any sort of monster; living, undead or demon, to fill your dungeons. Combine these with the How Green was my Mutant article above and you can generate thousands. Again, this is exactly the sort of thing I would have tried to program in BASIC on my old TRS-80 Color Computer 2!

I said this was packed, right?

Ok, so a lot of great articles here that hit heavy on the nostalgia, but also still have some use today. I might try that random monster generator, or more to the point recombine it all and see what I can come up with. Maybe Python or something. Could be fun.

The Witch, of course, is the star for me. Love going back and looking at this older version. 

One of the big issues I have with this collection is that while I can lump it all into a specific time, the time before I played, I miss the nuances of the times. I mean, I was very different from 1975 to 1978, and so was our hobby. I would have liked to see the date and issue each of these was published originally, like Best of Dragon Vol II does. I do miss the ads and the commentary from that time, though. 

Still, it is a fascinating, if brief, glimpse into a time that remains a foreign country to me. 

Should I do Best of Dragon Vol II? Have to think about that.