Nothing in this game works without a connection.

You can run the most finely crafted dungeon, write the most terrifying villain, drip suspense like wax onto the map, but if there’s no connection at the table, it falls flat.

No tension. No stakes. No spark.

Because in the end, this is a shared experience. Between players and the DM. Between the characters and the world. And, maybe most importantly, between the characters themselves.

We talk a lot about storytelling in RPGs. Plot arcs. Mystery reveals. The slow burn of occult horror. But the game isn’t just what happens. It is who it happens to, and why that matters.

Suspense only works if the players care.

Horror only works if the players believe in it.

Mystery only works if the players want to know more.

Danger only matters if they don’t want to lose what they’ve found.

Daggerheart is good at this. So is Blue Rose. They help foster connections that matter. Even the FFG/Edge Star Wars I have been dipping into has this. It’s not really new, of course, we did this a lot with DC Heroes and Marvel Super Heroes.

That’s why I care so much about connection in my games. The bonds between players and characters are the emotional engine behind everything else. When those bonds are strong, everything hits harder. The betrayal cuts deeper. The rescue means more. The shared victory feels earned.  It makes the stakes feel higher and the victories feel better.

Sometimes this connection happens naturally. A few good players click, and suddenly you’ve got a party dynamic that could fuel an entire campaign. Other times, you have to work for it. Give them moments to talk. Space to share. Conflicts that force them to choose each other over the easier road.

And it’s not just about the characters. It’s about the people at the table.

As a DM, I try to read the room. I listen. I adjust. I check in. Because every suspenseful pause, every creepy whisper, every climactic reveal, only works if the players trust me enough to lean in. That connection is the unspoken contract we all agree to when we sit down and roll dice together.

Even when I’m building strange, mythic, symbolic games, when the world feels uncanny and the magic is layered with secrets, what holds it all together is the bond.

Between the witch and her familiar. The rogue and her rival. The paladin and his doubts. The players, sitting together in a shared dream.

Connection makes it real. Connection makes it matter.

And without it?

You’re just telling stories in the dark, hoping someone’s still listening.

Questions

 What. Grateful. Rule. I might have answered this one or some variation of it. What rule am I grateful for Rule #0 that says the GM can change what they need to. 

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I love combat. I love magic duels, chaotic tavern brawls, dragons roaring from the sky while the players scramble for cover. There’s a thrill in the crash of dice, the rush of tactics, the immediacy of it all. 

But you know what sticks with players longer than the fight?

The silence before it.

Suspense is the slow blade. It’s not about surprise, it’s about anticipation. That creeping sense that something is wrong, but no one’s named it yet. It’s the moment when the music fades. When the torch flickers once and then goes out. When the NPC who always answers the door… doesn’t.

As a DM, building suspense is one of the most powerful tools I have. And unlike combat, there’s no initiative roll for it. It lives in pacing, description, rhythm. It lives in what I choose not to say.

I’ll lower my voice a bit. I’ll describe something small. Too small. I’ll pause more often. I’ll ask, “Are you sure you want to do that?” even if I’m not planning anything. Yet.

Suspense is a collaboration between the DM and the players. I give them the shadow, they give it teeth. The more room I leave, the more their imaginations fill in the gaps. And usually, what they come up with is far worse than what I had planned. As I mentioned already, often it is best to let the players’ own imaginations fill in the gaps. 

But here’s the trick: suspense isn’t just for horror games. It’s not just ghosts and witches and the slow creak of a basement door. Suspense works anywhere there’s uncertainty. Fantasy thrives on it.

• The crypt that hasn’t been opened in centuries.
• The noble court, where one wrong word will get you exiled or executed.
• The ancient artifact that hums when no one is looking.
• The character’s dream that ends with a name they’ve never heard… and the next day, an NPC says it.

Suspense turns every room into a question. Every choice into a forked path. Every moment into a heartbeat you feel at the table.

In my Occult D&D projects, I lean hard into this. I want the players to hesitate. To ask, “Wait… is that normal?” I want the moment before they open the book, before they cast the spell, before they step through the arch. Because once they do? That’s when the reveal comes. That’s when the real danger starts. But the suspense is what makes that moment matter.

There has not been enough danger in finding an old spell book in current games. It’s a spellbook. In Occult D&D, it's an ancient grimoire that belongs to an ancient witch queen, then passed down to a corrupt warlock who talked to spiders and learned their secrets. Is that human skin it is bound in? Why does it feel a little too warm to the touch? Did the book flinch when it was touched?

You can run a game without suspense. Plenty of people do. But once you start using it, once you learn how to play the table like an instrument, quiet, careful, patient, you’ll find your players remember those moments just as clearly as the big battles.

Maybe more.

Questions

 How. Enthusiastic. Person.  Ok...How enthusiastic am I to game in person? Hey, it's what I live for! 

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

Witchcraft Wednesday Edition

Dungeons & Dragons, at its roots, is a game of tactics.

It grew out of wargaming. Miniatures on a battlefield. Movement rates. Ranges. Terrain. Planning your strike before the other side rolls initiative. That foundation still lingers, even in the wildest fantasy campaigns. Position matters. Choices matter. You can feel the wargame bones in every hit die and saving throw.

But today I want to talk about a different tactic.

 And a very different kind of fight.

My current opponent doesn’t breathe fire or lurk in dungeons. It’s not a dragon, or a lich, or even one of those slippery players who always find a loophole in your spell descriptions.

It’s my Occult D&D project.

This thing has grown far beyond what I thought it would be. What started as an experiment, "What if I treated witches as seriously as clerics and magic-users, and they had been part of D&D from the start?" has turned into a full-blown system of spells, subclasses, traditions, monsters, mechanics, cosmology, and philosophy.

And the tactic I’ve used to wrestle it all into something cohesive?

 Research. Years of it. I looked back at my first notes on this back in mid-July (they are sitting here now), and they are dated 2013. Not my first notes ever, just the first notes I began collecting for an AD&D book. I have notes still dating back to the 1980s. All carefully kept (much to my wife’s chagrin sometimes) in three-ring binders. I might be obsessive, but it works for me. 

I’ve read historical witch trial records. I’ve gone deep into Margaret Murray, Jung, and Campbell. I’ve pulled from Golden Dawn rituals, folk magic, Wicca, Kabbalah, medieval grimoires, Victorian spiritualism, and pop culture from Dark Shadows to The VVitch. I’ve cross-referenced monster entries, spell levels, class XP charts, and Dragon Magazine articles like I was studying for an occult-themed Ph.D. dissertation.

And every time I thought I was close to done?  Another thread appeared. Another tactic had to be employed. Another heretic idea needed a place on the page.

This project hasn’t just been about building something.  It’s been about learning how to listen, to myth, to symbol, to rhythm, to the structure of D&D itself. And then figuring out where my work fits, and where it pushes back.

There’s tactical thinking in this, even if it doesn’t look like a battlefield. 

•  What does each Tradition offer? 
•  How do I balance the occult with the arcane and divine?
•  Where does narrative shape the mechanics, and where do the mechanics open new story paths?

And yes, I am using the word “story” here. Why? Because that's what the player is going to do with this. I am fairly sure that the audience here is the ones that will look at the traditions, subclasses, and classes I have and say, “yes, these are different from each other.” They are the ones I want to reach. 

It's not always straightforward. Sometimes it’s sitting at my desk, staring at a spell description for 20 minutes, trying to decide if it should be second or third level. Sometimes it’s rewriting a single monster power because it breaks one of the unwritten rules of AD&D logic, or it is too close to something already done, OR even because I need it to be closer to something already done.

But that’s the work. That’s the tactic. Slow, careful, deliberate construction.

I love a good battle map. I love clever flanking. I love using the environment to turn the tide.

But sometimes the most satisfying tactic isn’t found in the order of initiative.

It’s in building something that others can use.

And knowing that somewhere, someday, a new player’s character might light a candle, draw a circle, and say, “I cast an occult spell.”

Questions

 Where. Confident. Accessory. Hmmm...Where am I confident I can get the latest accessory? Easy, my FLGS, Games Plus.

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

 Double hitter today. Went out on a hunt for some old-school D&D and came home to some mail.

Dragged my wife and youngest out to a yard sale way north of Chicago because I saw online they had a ton of D&D books. A box of adventures, hardcovers, a box of Dragons, and a bunch of old Ral Partha minis. We got there in plenty of time, but the boxes were stanched up by, well... I never got a satisfactory answer. My wife and kid suspected (with some good reason) that the people running the sale held it back for someone. I kept getting a different answer from the workers (it was a managed sale) and the person buying them all didn't seem like a gamer because they really couldn't answer and questions.

Oh well. I did get a chance to look into the boxes, and I had about 95% of it all anyway.

I DID manage to score boxed sets of Top Secret and Indiana Jones. This gives me more evidence that person buying didn't know what they had. These were right next to the books and were ignored. That's fine, I didn't have these, so score for me! I also got the Doctor Who Technical Manual to replace my old one that was lost. 

The boxes are in worn shape, but the contents are good. Missing dice, save for the saddest looking d10 I have ever seen.

On the mail front, this was waiting for me when I got home.

The Folio Black Label #3 White Witch and Black Stone from Art of the Genre.

And it looks like I got the last copy! Sorry all. But honestly, how could I have said no? It features Duchess and Candella as NPCs and the main antagonist is "the White Witch."  I mean, come on? 

While print is sold out, the PDF is still available. 

I'll get a proper review of this up soon. Now I just need to figure out where I am going to slot this into my War of the Witch Queens.

 One of my favorite characters in Superman has always been Lex Luthor.

Why? Because Lex never thinks he’s evil. In his mind, he’s the only one doing the right thing. Humanity can’t trust an alien god with their future, no matter how many kittens he rescues from trees. Lex isn’t mustache-twirling evil, he’s rational. Cold. Calculating. Absolutely convinced that he is the smartest man in the room and that everyone else is either too blind, too stupid, or too naïve to see the danger.

That, to me, is the perfect nemesis.

In my games, I’ve had plenty of recurring villains, necromancers, devils, cultists with too many teeth, but only a few that have earned that capital-N “Nemesis” title.

Magnus is one. He’s my classic evil necromancer, complete with black robes, pale skin, and an ego that can barely fit into the dungeon. But I’ll be honest, sometimes he feels like a cartoon villain. Fun to bring out for a good dramatic monologue, but not quite the existential threat I want.

Yoln was a better one. He was the nemesis in my AD&D 1st ed and Buffy the Vampire Slayer games. His evil had a face, a voice, a reason. Players hated him, but they also understood him. That’s good villainy.

Dracula? Always a favorite. But he’s more of a force of nature than a true nemesis. The devil you invite in by accident.  The Refrigerator? Fun, but he is a misanthropic one-trick pony.

But lately… I’ve been circling something deeper. A presence that’s shown up in many of my games, even when I didn’t know it yet.

At first, it was just a phrase, The Whispering God. A vague mythos thread to tie things together. But somewhere between running a Buffy session and catching a train in downtown Chicago, I realized something. Magnus has heard those whispers. So has Yoln. And maybe, just maybe, they were never the real threat.

They were echoes. Shadows.

The true nemesis is something I’ve started calling The One Who Remains.

He’s not a person, not really. “He” is just a convenient pronoun. “It” would be more accurate. “They,” maybe. Or “We,” if I’m being honest.

Here’s what I know:

• He was once a human, or something like it.
• He helped end the Age of Old Ones, maybe in the Wasted Lands’ Dreaming Age, maybe earlier.
• He did something, some ritual or betrayal, that shattered his being across time and space.

Now he is trying to pull himself back together.

Like gravity pulling dust into stars, his scattered thoughts, identities, and echoes are coalescing. Slowly at first. Then faster. Always faster. And when he is whole again?

It will be too late to stop him.

Some worlds feel his influence only faintly, a name in a forgotten grimoire, a face glimpsed in a nightmare. Others bear him like a scar. In some, he is barely more than a drive or a hunger. In others, he takes on form: a warlock, a high priest, a masked prophet. In some campaigns, he’s just a whisper. In others, he’s a storm.

And in my multiverse?

He’s everywhere.

He’s the shadow behind the coven. The Patron no one names. The face in the mirror when the moonlight is hitting it wrong,  or maybe just right.

He is the Nemesis not of a single hero, or of the world, but of all the cosmos. Of memory. Of meaning.

He is the end that waits, and the beginning that never should have been.

And the worst part?

He’s almost here.

I can’t wait for you to meet him.

Questions

What. Envious. Genre.  What Genre am I envious of? Well none really. Though I do like hearing people talk about their superhero games. I can't ever keep one going for long.

 

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

 For years, I have been getting these little blank journals. My kids used to like to get them and give them to me for birthdays, Father's Day, and Christmas. Anyway, I typically keep them next to my desk, my bedside stand, and my end tables where I read or watch TV. I have dozens of them filled up, and maybe twice that number that are partially filled. 

This past summer, I have been working on collecting these into something. Not 100% sure what that something is, but I have been scribbling it all down under the header of "Occult D&D."  

Here is a "monster" I have been playing around with for a little bit. The first version of this was from a notebook I had all the way back to my earliest AD&D 1st Edition days. Revised heavily in the 1990s, and picked back up this past July.

Starchild - Photo by Alesia  Kozik

STARCHILD

(Custodes Sidereus, Ascended Master, Starborn)

Astral Celestial (Unique/Extraplanar)

FREQUENCY: Very Rare
NO. APPEARING: 1
ARMOR CLASS: -2
MOVE: 15"/48" (Fly)
HIT DICE: 14–16
% IN LAIR: 15%
TREASURE TYPE: see below (Astral Cache only)
NO. OF ATTACKS: 1 (touch) or by spell
DAMAGE/ATTACK: 2–12 (psychic touch) or by spell
SPECIAL ATTACKS: Spell use, see below
SPECIAL DEFENSES: +3 or better weapon to hit; immune to charm, sleep, fear, illusion
MAGIC RESISTANCE: 65%
INTELLIGENCE: Supra-Genius (20–22)
ALIGNMENT: Variable (see below)
SIZE: L (10'–12' tall)
PSIONIC ABILITY: 200
Attack/Defense Modes: All / All
LEVEL/XP VALUE: IX / 19,500 + 20/hp

Starchildren appear as radiant humanoid beings of flawless beauty and serenity. Their physical forms are idealized, genderless or androgynous, glowing with starlight or surrounded by cascading auroras. In some traditions, they appear as translucent, elven-like sages robed in constellations; to others, they are shining spheres of cosmic intelligence, barely contained in mortal shape.

Starchildren rarely engage in physical combat, preferring pacifism, diplomacy, or departure. However, they will defend others from destruction, particularly mortals of magical inclination. They attack once per round with radiant energy (3d6 damage), or may cast spells as a 20th-level magic-user, 20th-level witch, or illusionist, depending on which magical tradition is strongest in the region.

They also possess the following innate abilities, usable at will unless noted otherwise:

• Teleport without Error
• Plane Shift
• True Seeing
• Detect Magic
• Telepathy (universal languages)
• Contact Other Plane (always succeeds, never drives them mad)
• Banishment (3/day)
• Akashic Memory (see below)

Once per week, a Starchild may grant a mortal access to the Akashic Record as per the Access the Library ritual spell. This is usually done only for profound magical seekers or as part of a sacred pact.

Starchildren possess all psionic defense and attack modes and may use any of the "sciences" or "devotions" as needed in a particular situation. 

No two sources agree on what the Starchildren are. Some witches say they are the ascended forms of the first witches, elevated beyond mortal limits. Others insist they are celestial beings from the stars, what modern occultists call Star People or Elder Teachers. Still others view them as sentient emanations of the Cosmic Consciousness, a universal mind from which all magic flows.

They do not reproduce, nor do they maintain societies in the conventional sense. However, Starchildren have appeared to witches in times of great need, offering insight, visions, or magical gifts.

Starchildren are known to walk the Astral Plane, the Ethereal Realm, and other dimensions unknown to mortals. They are believed to be custodians of the Akashic Record, a vast, extradimensional archive of all knowledge, magic, thought, and possibility.

Starchildren do not eat, breathe, or sleep. Their presence warps reality subtly, nearby spellcasting becomes easier, plants grow slightly better, and dreams become filled with symbols and visions. Prolonged contact with a Starchild can result in magical mutations or spiritual awakening, depending on the soul of the one exposed.

A slain Starchild does not leave a corpse, but transforms into stardust and ascends, its essence dissolving into the Astral Light.

Though they do not hoard material goods, a Starchild’s sanctum may contain:

• A spellbook containing 1d6 unique or forgotten spells.
• Crystalline artifacts imbued with planar energy.
• An Astral Map that allows access to unknown planes.

Starchildren as Patrons. If the Starchildren were once patrons of witches, as many believe, they are no longer. Though all traditions have something in their teachings that many conclude is a product of the Starchildren. 

Each Witch Tradition interprets them differently:

• The Aquarian Tradition see them as the progenitor of their tradition and the form they ultimately aspire to transcend to.
  
  
• The Atlantean Tradition believes they are the architects of the great crystal cities beneath the waves.
  
  
• The Classic and Pagan Traditions see the Starchlidren as the messengers of the old gods of their faiths. They would be called angels in other philosophies. 
  
  
• The Daughters of Baba Yaga whisper that Baba Yaga herself is the most terrible and wise of the Starchildren.
  
  
• The Followers of Aradia believe the Starchildren first taught Aradia the language of the stars.
  
  
• The High Secret Order seeks audience with them for the secrets of deep occult power.
  
  
• The Scaled Sisterhood refer to them as Cosmic Serpents, and some suspect the great Dragon/Serpent Anantanatha is one.

Names of the Starchildren

These are the Starchildren known to occult scholars.

Unceph the Dual-Flame: The one who whispers across mirrored selves. Keeper of the Seventh Gate of Thought. They are male and female, both eternally. 

Lioriel of the Infinite Choir: Angel of harmonics and secret words. Her voice is a thousand singing stars.

Xavhalon the Prism-Eyed: All colors bend through their gaze; they dream in radiant geometry.

Astraema of the Crystal Veil: Watcher of fates yet unformed, veiled in moonlight and deep water.

Seraphex, Keeper of the Burning Glyph: Bearer of the first word etched in flame. Those who read it are forever changed.

Urilathe the Memory Unbound: He who walks the halls of unchosen pasts. Wields the Book of What Might Have Been.

Omniala the Pale Aurora: She dances on the threshold of death and dreaming, trailing silver fire.

Zyntharion of the Thirteenth Ray: Patron of heretics and innovators. The ray no one remembers seeing.

The Archon Selador: Who guards the spiral path inward. All questions asked three times.

Velek-Tha of the Outer Spiral: The serpent-form of stellar wisdom. They uncoil thought from the void.

Galithriel, She of the Star-Seeded Womb: Mother of the Starborn. Cradles the souls of those who dream beyond the veil.

Nocturiel the Dream-Encoded: Sleeper beneath the silver sphere. His sigils bloom in moonlit minds.

--

One might be excused for thinking that this all originated from weird post-70s New Age thinking. And yes, that is true, but it was equal parts that, equal parts of Chariots of the Gods?, and equal parts of television shows like The Phoenix. The catalyst, though, had to be Juice Newton's cover of "Angel Of The Morning."  My thought was, if there is an Angel of the Morning, are the others? Of course there are. 

I make no claim that Lioriel looks like Juice Newton circa 1980. But I also do not not claim it.

Monstrous Monday Edition

Over the decades, we've had "Dungeon Level," Monster Mark, Threat Levels, Challenge Ratings, Encounter Difficulty, and a dozen other shorthand systems meant to answer one very old question:

 "Can my party handle this thing?"

And here's the short version of my answer:

 Maybe. But also... maybe not.

That’s the paradox of Challenge in D&D and most fantasy RPGs. It sounds like math, but it plays like myth. There’s a desire, especially in newer editions, to systematize danger. To give you charts, budgets, and formulas that make the world behave. The 3rd Edition tried really hard to codify it. 5e softened the math, but still aims for the same goal: fairness. Balance.

But here's the thing. Balance is an illusion.

Challenge doesn't live in the numbers. It lives in the tension between what the players think they can do and what the world dares them to try.

In old-school games, especially AD&D 1st Edition, there was no guarantee that the next room wasn’t going to have something that would eat you in one round. The game trusted the Referee to warn, not to weigh. The sign of blood on the doorframe, the sulfur stink in the air, the scratch marks on the wall. That was the challenge rating.

And as a monster-maker and adventure writer, I love that freedom. It lets me drop a coven of night hags in the woods outside of a Level 3 village, not because it “fits,” but because it means something. The challenge is a story, not a stat block.

When I design new monsters for my campaigns, or for my witch projects, I rarely ask “Is this balanced?” I ask “Is this meaningful? Is this memorable? Will this scare the players just enough to make them think before they roll initiative?”

Because the best challenges are the ones that change the characters. Not just in XP or loot, but in story. The foe that scars them. The one that got away. The one that cost them something. The monster that becomes a legend around the table.

So sure, build your encounter tables and run the numbers if you like. But don’t forget what the real challenge is:

Getting out alive, with your story intact.

Questions

When. Excited. Adventure.

When am I excited for an adventure? Any time I get to play with my kids and family. 

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

Every game has that moment.

The moment when something slips out of the shadows. A secret comes to light. A mask comes off. The moment a reveal hits the table and changes how everyone sees the world, or themselves.

As a DM and a designer, I live for those moments.

They don’t have to be big. Not every reveal is a secret villain or a hidden bloodline. Sometimes it’s just a player realizing they’ve been wrong about their character’s path. Or that the “harmless” NPC has been manipulating things since session two. Or that the relic they’ve been carrying isn’t what they thought it was, and never was.

One of my favorite reveals was during my series of 5e Gen Con games my family played in. There was this elf-girl who kept ending up on the PCs tail. She would be in the same dungeon, or be in the slaver’s camp, or just following. She was Evelyn, the Princess Escalla, and she was leading the rebellion of elven slaves in the drow city of Erelhei-Cinlu.

But every reveal has weight.

In my worlds, especially the occult ones, revelations aren’t always helpful. They don’t always come with a neat explanation or a reward. Sometimes the truth is confusing. Frightening. Half-seen. And that’s the point. Not every mystery needs to be solved cleanly. Some truths don’t bring clarity, they bring consequence.

Another one was Yoln as The Hand of Leviathan. My players (and ther characters) thought the hand was a weapon. It was a person or a former person. 

Speaking of which. 

Lately, I've been threading something into my games. A presence. A name. A whisper behind other plots. He’s not always visible. In fact, he rarely is. But he’s there, like a recurring nightmare that no one talks about. A cosmic echo that appears in different guises across different campaigns and settings.

The players don’t always notice it at first. But eventually, someone will ask:

 “Wait… haven’t we heard that name before?”

 “Didn’t someone else dream about that same phrase?”

 “Why does this ruin in the Realms have the same symbol we saw in a galaxy far, far away?”

And that’s when I smile. Because the reveal isn’t just a plot point. It’s a pattern. Something reaching across time and space and genre, pulling pieces of itself together.

I’ve started calling him The One Who Remains.

He’s not just a villain. He’s not even entirely real in the way most beings are.

 He’s the echo of something that broke too long ago to remember.

 A shadow stitched from regret and silence.

 A thought that keeps trying to remember itself.

In some campaigns, he’s just a whisper. In others, he’s the secret patron behind a warlock’s power. In still others, he’s already won, and no one realizes it yet.

He’s been revealed slowly, in fragments.  And he’ll get more detail in just a couple of days. Day 26 is coming.

Sometimes the best reveals aren’t about answers. They’re about realizing the question has been with you the whole time.

Questions

How. Proud. Person. 

Easy. I was proud of my kids in their first Gen Con game and then really got into the spirit of it right away. The GM later told me he didn't normally like having kids so young, but they did great.

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

On the tail of Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another Dungeon Master and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Not every fanzine for the Old School Renaissance need be dedicated to a specific retroclone, such as The Phylactery.

The Phylactery Issue #2, published by Planet X Games in September, 2021, following a successful Kickstarter campaign, is a fanzine for the Old School Renaissance rather than any specific fantasy retroclone. Thus, it works for Old School Essentials or The King of Dungeons or Labyrinth Lord. As with The Phylactery Issue #1, it is a collection of magical items, NPCs, monsters, and a scenario or two. It presents the Game Master with a relentless barrage of choice and options, some of which is ready to use, some of which is not, and so will require the Game Master to develop and add some stats. Everything comes with background elements—some specifically so to make them interesting—enabling the Game Master to flesh out her campaign setting as well as introduce an item of magical power. All of it is written by Levi Combs, the publisher, and his words are backed up with some decent artwork and excellent maps.
The issue’s magical items begin with ‘The Skullstaff of Stelos’, the first of its many magical items and it is a big one. Originally crafted for Stelos the Necromancer, it is a great, gnarled staff, topped with a charred, horned skull. The wielder can command undead as a Tenth Level Cleric (or four Levels higher, if already an evil Cleric) as well as cast various spells and talk to the undead. However, it will transform the wielder into an undead creature as well, but he will not accept that he is changing. This is a very nicely detailed item that any Game Master is going to want to equip her big evil villain with.
‘Of Longstriders and Giant Killers – Renowned Rangers of the North’ is inspired by Tolkien’s Aragon and describes five tough NPCs and their most feared weapon or magical items. For example, the Dragon-bone Spear is a Spear +2 once wielded by Helka ‘Red-Spear’, known for her hatred of Frost Giants after her family was killed for them. Not all of the NPCs are dead, like Belken ‘Stormbreaker’, who wears The Counsel of Crows, a silver torc that enables him to talk to crows and other corvids as per the spell, Speak with Animals. He is so feared that even a murder of crows overhead is enough to scare away bands of Orcs and Goblins. None of these NPCs is given stats, so the mechanical focus is on their magical items.
The magical items continue with ‘Magic Armours and Weapons of Legend’. They include The Alabaster Armour of St. Saldric the Blessed, a set of plate armour sacred to the god of justice, all alabaster white, except for the left gauntlet, which is left plain to symbolise the one-handed nature of the god! It is Platemail +2 and can reflect spells as per the Ring of Spelling Turning. This article adds another three, nicely detailed items with lore aplenty that can be worked into a campaign. And then, ‘Secrets From the Lich’s Crypt - A Whole Buncha Weird Ole Crap in a Dead Wizard’s Lab’ gives the Game Master a pick and mix of things to fill a wizard’s laboratory, such as the Elixir of Curdled Swarms, which when imbibed causes the drinker to wrack with convulsions and then vomit Ochre Jellies under his command! This develops a thematic line of oozes and jellies that runs through the issue, and is one of nine fascinating items that add spice to a particular location or can be pulled out and placed elsewhere in the Game Master’s campaign.
The monsters and NPCS start with ‘Strange Things That Live Underground And Other Weird Creatures’. They include Shroud Spiders that combine the worst features of giant spiders and undead shadows; Ooze Cultists of the Slime-Lord which have melted faces and lurk in the underworld, capturing the unwary and transforming captives into gelatinous horrors or feeding them to the carnivorous jellies of their slime-farms; and Worm Polyps from the Void Beyond, great green sacs that hang in fungal forests that when they burst, shower the area with carnivorous worms whose continued bite will transform the victim into a monster (sadly, the actual monster is not detailed).
The legendary Grandmother of Witches is fully described in ‘She Rides on the Wind – Baba Yaga, Hag Queen of the North’. The equivalent of a Twentieth Level Magic-User, she can even learn Cleric spells and has an array of monstrous abilities, the equivalent to a god. Her magical items are detailed too and all together she is a fearsome foe, should she turn her attention to the Player Characters. ‘Hali Oakenspear, Wandering Cleric of the Luck Goddess’ is given a full write-up as an NPC, an Eighth Level Cleric who has dedicated herself to wandering the land and doing good.
The last of the monsters are detailed in ‘Here There Be Monsters!’. The four entries include ‘Sodden Bastards’, the unfortunate souls of those who drowned at sea and now lurk in shipwrecks, ready to instil fear in those they surprise, and the ‘Murdershroom’, a fungal horror formed from the energies of a magical gate or the fallout of a demon summoning gone wrong, which stalks victims in the dark of the underground, breathing toxic spores on them causing hallucinations, and after slaying them, taking their bodies back to a corpse farm to attract more victims.
Further flavour is added ‘More Forbidden Demon Cults of the Outer Void’, which describes three demons and their cults, like ‘Mulg, The Bloated One’, a mountain of yellowing fat and bone whose approach is heralded by a vile, unwashed odour, and who revels in greed, deviancy, and worse, and who can consume anything. Like the other two entries, it is accompanied by a ‘Fun Demon Cult Fact!’, in this case the rise of Mlug from a minor demon to a greater demon after it got lost on the astral plane where it gnawed away at the body of a dead deity!
The Phylactery Issue #2 includes three scenarios of varying length. Deigned for Player Characters of roughly Eighth Level, ‘Brood-Hive of the Slime God’ describes a set of caves near the fishing village of Urtag Horn, several of whose inhabitants have gone missing, been beset by strange dreams, and even gone mad. The local clergy want the matter investigated, the mad man indicating the cause as being inside the caves. These are slime-encrusted and very nicely detailed and quite a tough little dungeon that can played through in a single session, two at most. It is nicely detailed and its location makes it easy to add to a campaign, as is ‘Grindhouse Deep Crawl #1’. This is a dungeon complex intended to be added to a bigger dungeon, a half-finished and forgotten annex. There is no real theme to the set of nine rooms, instead being a set of well designed and interesting encounter written around a very attractive map. There are at least two shafts that drop to lower dangers; a tomb of Prefect Thrim, a cleric consumed by a carnivorous creeper who thinks that it is the cleric and if the Player Characters can speak to plants it might be able to answer questions they pose, whilst the vegetables it grows have divine spell effects if eaten; and a Demon-Frog’s Fane, where the wounded may be given its blessing if they bathe in its waters before its bloated statue and let it feed on more blood! Lastly, ‘It Came From Spawn Vat X!’ is more of an encounter, the Player Characters going to investigate the tower of a well-regarded wizard, which has recently exploded, and facing the last of his experiments gone awry. It is short and simple and very easy to prepare.
In between, ‘Twelve Things a Magic Mouth Would Say’ is a fun table that can be used to unnerve the Player Characters or lay the seed for a puzzle or adventure hook. Similarly, ‘10 Wayward Oddfellows You Might Meet on Any Given Night at Old Man Rumple’s’ gives a table of NPCs can be used in the same fashion, whether to add colour or spur further adventure. The latter is very similar to ‘1d10 Tough SOBs, Roadhouse Hoodlums, Bored Adventurers, and Mean Ole Bastards You Might Meet in a Tavern’ from The Phylactery Issue #1. Barring the stats, they do draw comparison with the ‘Meatshields of the Bleeding Ox’, the regular collection of NPCs from the Black Pudding fanzine, and they are just as useful.

Physically, The Phylactery Issue #2 is very nicely presented. It is well written, and both the artwork and cartography are excellent.

The Phylactery Issue #2 continues the stream of content begun in the first issue, presenting the Game Master with a wealth of options—monsters, treasures, and more that she pick and choose from to add to her campaign. Some of it needs a little development, even if only to fold into a campaign setting, but there is so much here to choose from and use, that a Game Master is not going to be disappointed with the content. (The only disappointment might be when the author runs out of steam!) Suitable for any Old School Renaissance retroclone, The Phylactery Issue #2 continues the torrent of ideas and dangers and more, still giving the Game Master a wealth of choice and content to work with.

 One of the joys of this hobby is how often we revisit the past.

Old characters. Old settings. Forgotten rulesets we swore we remembered better than we do. And yes, there’s a kind of magic in cracking open that AD&D 2nd Edition Forgotten Realms box and realizing that even though you’ve been gaming for decades, somehow… this still feels new.

But lately? I’ve been reminded that the recent moments are just as powerful.

In the last few months, I’ve been lucky enough to dive into a few very different games, and each one has changed the way I think about the stories we tell at the table.

Daggerheart caught me off guard in the best way. I went in expecting a rules-light, character-driven story game, and it is that, but what really stood out was how it handles party dynamics. There's a gentler kind of tension here. Not the clash of classes or alignment charts, but emotional connection, hope, and the quiet drama of shared vulnerability. It’s not just how the characters fight together, but how they heal together. And for someone who’s spent a lot of time in dungeons and haunted ruins, that shift was… refreshing.

Then came a run in Edge’s Star Wars RPG, and that was a whole different ride. Fast, cinematic, gloriously messy. But what it reminded me most of was this: balance isn’t the point. Fun is. Characters aren't finely tuned chess pieces. They’re scoundrels, force users, misfits, and rebels flying by the seat of their robes. The game never once worried if something was "too strong" or "underpowered." It just asked, “Did that feel cool?” And honestly? That’s a design philosophy I want to carry with me.

And finally, there’s my return to the Forgotten Realms, but this time, through the lens of AD&D 2nd Edition. It’s funny. I’ve spent years reading Realmslore, pulling from its gods and guilds, its elven legacies and deep roads beneath the mountains. But actually playing in that space, using the materials from the late '80s and early '90s? That feels different. It’s like stepping into a place I’ve only ever read about. Not as a scholar or a fan, but as a traveler.

Nostalgia is great. It’s powerful. But it’s not a substitute for presence.

And that’s the thing I keep coming back to: the most important past isn’t what we played twenty years ago, it’s what we did at the table last week.

That last game. That weird plot twist. That character choice no one expected. That moment of laughter, tension, heartbreak, or triumph that came out of nowhere.

So yeah, I love looking back. I’ll always treasure the books, the maps, the stories that got me here.

But what really matters?

What’s happening in the next session?

Nostalgia is great and fun, but sometimes the most important past is what we did in our most recent game.

Questions

What. Confident. Genre. 

What genre do I feel the most confident in? Easy Horror. I love running horror games. 

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On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed how another Dungeon Master and her group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Most, but not all fanzines draw from the Old School Renaissance. Some provide support for much more modern games.

Lowborn is ‘An Independent Grim Perilous Fanzine for Zweihänder RPG’. As the subtitle suggests, this is a fanzine for the Zweihänder: Grim & Perilous RPG, published in 2017 and thus modern, but actually a retroclone of another roleplaying game. That roleplaying game is the definitive British roleplaying game, Warhammer Fantasy Roleplay, published by Games Workshop in 1986.

Lowborn Issue 2 was published in August, 2020. The content begins with with ‘The Dark Order’ by Peter Rudin-Burgess. This is a scenario set in the chancery of Edessa, below the city of Outremer. This is a murder mystery set below the city where single-sex work gangs labour at feeding the great steam turbines. Gang Master Zangi leads a gang of twenty-four free women who, in turn, drive sixty female mutant slaves, all loading city waste into the furnaces. Gang Master Zangi has disappeared, but now her skull has been raked out of Number 2 furnace. Shortly after, a new gang leader is appointed, and then it happens again when another gang master is found boiled alive and a new gang member is also appointed. This is followed by the murder of a bar owner and then another gang master. The scenario is presented with a lot of set-up up front and then followed by the plot hooks and the various genres in which the scenario might be used on. The scenario needs a lot of work to run effectively with clues to connect the murders to the culprits and it is also only halfway through the scenario is it mentioned that it is for Dark Astral: Chapbook for ZWEIHANDER Grim & Perilous RPG, the Science Fiction equivalent setting for the ZWEIHANDER Grim & Perilous RPG. It is mentioned on the cover, though. The map of the lair is by Dyson Logos, so good.
‘New Distinguishing Marks’ by Adrian Kennelly is literally that, a table of entries like ‘No chin’ or ‘Unbending knee’. Chuck Kranz’s ‘Random Space Encounters’ provides twelve encounters, again for Dark Astral: Chapbook for ZWEIHANDER Grim & Perilous RPG. For example, ‘Just like in the TV shows.’ expands to ‘A tear in space erupts of the port barely out of manoeuvring range, but a strong magnetic pull of the anomaly pulls your ship in. A voice in your head echoes, “I have such wonderful sights to show you.” The darkness takes you after being dragged through the event horizon. When you come to your ships nav-computers are not able to gain bearing on where you are… or when you are.” These are fine and again something that the Game Master will need to develop.
It is not quite clear what Sean Van Damme’s ‘Introduction to Assassinations’ quite is, initially, but what it turns out to be is a means of introducing options for the budding assassin. The Claw of Retribution is the largest guild of assassins in the great city and puts up notices on a board at the West Wind Pub, where the guild previously operated from, of small jobs, or rather, assassinations of minor folk that it has been hired to do. Its members can perform them, but it lets prospective members undertake them as a test. There are thirteen such tasks, not always hits or deaths, such as burning down a distillery that is not guild affiliated or forcing a member of the faith to stop preaching in the docks. The Game Master will need to develop the hooks, but there are some fun options here that will support a grittier, dirtier style of play for thug and thief type characters.
‘Order And Corruption: Purity Points’ by Lyle Hayhurst gives an extension to the Corruption Points of ZWEIHANDER Grim & Perilous RPG. Corruption Points are gained for immoral acts, giving in to personal weakness, and even being injured, and will potentially force a Player Character down a dark path. This article suggests another path that a Player Character can go up. By committing acts of goodness, being tolerant of those different to himself, protecting the innocent, giving to the poor, being merciful to a villain, and more, a Player Character can gain Purity Points. Like gaining Disorders for Corruption Points, he can gain Blessings for accruing enough Purity Points like becoming a ‘Friend of Animals’ or gaining a ‘Inner Glow’ of Purity. The article suggests that a Player Character can earn both Corruption Points and Purity Points and need to be tracked, and what this does is add some flexibility and complexity to the play and reward a player for good roleplaying whatever his character’s action.
Ignacio M. writes three entries in the issue. The first, ‘Learning from Different Arcanas’, suggests a way in which an Arcane Magick user can cast magick from a Wind other than his own. For each symbol that Player Character has to pass through to get between his Wind he has studied and the one he wants to cast from, there is a penalty to the Incantation test and if the Channelling test is failed, then extra Chaos dice has to be rolled. The rule is quick and simple and potentially dirty if thing goes wrong! He also suggests ‘New Combat Actions’ with ‘Oh No You Don’t’ which enables a Player Character to study the ebb and flow of the battle and interrupt the action of a foe; ‘Goad and Deter’ to slow a foe’s action down; and ‘Leave It Open’, in which he tricks a foe to gain a bonus on his next attack. These are decent additions.
Lastly, ‘Carnival II’ continues the description of a magical carnival—a common trope in roleplaying games inspired by Warhammer Fantasy Roleplay such as Zweihänder: Grim & Perilous RPG—begin in Lowborn Issue 1. However, unlike in many cases what lies behind the magic in the carnival is not necessarily dark or dangerous, but that rather its various members are all anthropomorphic animals. They include a middle-aged anthro-rabbit who controls his perfect puppets though his voice alone and Priscilla, middle-aged anthro-hedgehog who is also a very skilled physician, alchemist, and herbalist, and exotic dancers that somehow entice audience to buy the overpriced drinks at their show. The latter is perhaps the only real danger in the carnival, but others might see it differently and act accordingly. This adds another three tents and their occupants to add to the three previously described, so there is yet room for expansion. If there is an issue for the article, it is the inclusion of the anthropomorphic NPCs and whether that fits a Game Master’s campaign. She, of course, has the right to change such details and the various NPCs could be hiding something else instead. Bar some scenario ideas or hooks, ‘Carnival’ offers an intriguing and different type of circus, one with plenty of room for expansion and development.
Physically, Lowborn Issue 2 is a bit untidy and rough around the edges, plus it needs a slight edit. The layout is also a little tight in places.
Lowborn Issue 2 is a mixed bag with some content more useful and more interesting than others. ‘Introduction to Assassinations’ is packed with great hooks for a bruising lowlife campaign and like ‘Order And Corruption: Purity Points’, has plenty of roleplaying potential. Elsewhere, several of the articles are rough and could be clearer in their set-up, let alone their execution.

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.
Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Then there is also Old School Essentials.
Carcass Crawler is ‘The Official Fanzine Old-School Essentials zine’. Published by Necrotic Gnome, Old School Essentials is the retroclone based upon the version of Basic Dungeons & Dragons designed by Tom Moldvay and published in 1981, and Carcass Crawler provides content and options for it. It is pleasingly ‘old school’ in its sensibilities, being a medley of things in its content rather than just the one thing or the one roleplaying game as has been the trend in gaming fanzines, especially with ZineQuest. To date, Carcass Crawler #1, Carcass Crawler Issue #2, and Carcass Crawler Issue #3 have all focused on providing new Classes and Races, both in ‘Race as Class’ and ‘Race and Class’ formats as well as general support for Old School Essentials, and Carcass Crawler Issue #4 is no exception.
Carcass Crawler Issue #4 was published in December, 2024 and includes three new Classes, four gods, eight monsters, a shelf of arcane grimoires and their contents, expanded rules for brewing, purchasing, sampling, and describing potions, and a short adventure. The first two of the three Classes draw heavily from Tolkien’s Middle-earth and specifically The Shire. The first is the ‘Halfling Hearthsinger’ by James Spahn and Gavin Norman, which specialises in collecting and memorising legends, lore, and folk tales. The Class’ primary abilities are ‘Foster Friendship’, enabling the Hearthsinger to temporarily make friends if he can tell a story; recall Lore about monsters, folk tales, legends, and even magical items; and ‘Read Languages’ that are non-magical, including codes and dead languages. He can also better listen at doors and as a ‘Rumour Monger’ learn more rumours from others! Eventually, when he has enough money, he can establish tavern, although there is no Level requirement. The ‘Halfling Hearthsinger’ has a maximum of eight Levels and is a Class designed for interaction, so suitable for players who like to talk and build relationships.
The second new Class is also Halfling related. Designed by James Spahn, the ‘Halfling Reeve’ is more obviously based on the Bounder, who patrols the borders of The Shire. The Class must be Lawful and is a capable forager and hunter, good at stealth, and is also a Goblin Slayer and a Wolf Hunter. In addition, the Class also is able to cast Druidic magic at higher Levels. Again, this Class has a maximum of eight Levels. The Class is effectively a variant upon the Ranger, but pleasingly effective.
The third Class is Gavin Norman’s ‘Arcane Bard’. This is intended to be like the jack-of-all-trades Bard Class from Advanced Dungeons & Dragons, Second Edition, combining skills such as Climb Sheer Surfaces, Hear Noise, Pick Pockets, and Read Languages with the Lore ability as per the ‘Halfling Hearthsinger’ and the casting of Arcane magic. The only musical benefit that the ‘Arcane Bard’ gains is an ‘Anti-Charm’ effect against song-based powers like that of the fairies or Sylvan creatures. With its mixture of Thief abilities and ability to cast magic, the Class is more of a generalist and not quite as interesting a design. It can go up to a maximum of fourteen Levels.
‘Deities and Cults’ by Chance Dudinack and Gavin Norman describes four gods, the benefits of worshipping them, and their spells. For example, ‘The Black Alderman’ is the god of skulls, dentistry, and organ dirges who directs his worshippers to collects skulls for him, including those of rare monsters and influential personages. Some worshippers, known as ‘Bonesmiths’, work as travelling dentists and bone-setters, but its spellcasters gain traits such as a pallid complexion for gaining the ability to cast First Level spells, a sunken, skull-like facial features for Second Level spells, and more. The spells include Skull Speech, which causes a skull to speak, even that of an undead skull; Skull Sentry, which sets a skull to chatter its teeth if anyone of the designed type comes close; Danse Macabre, which makes bones come to life and dace; and Control Skull, which gives complete control of a skull, but not the rest of the bones, to the caster. The other gods include a deity of redemption and light, once a fiendish deity, but now reformed; a god of insane, danger, perils and risk, which revels in seeing others overcome great odds and thus endlessly creates them; and a god of the weird deeps of the Underworld. These are all small cults and will really enhance a campaign as very nicely themed faiths and there are some entertaining spells to go with them as well as some nice roleplaying hooks, whether for a player or the Game Master.
‘The Mage’s Grimoire’ by Brad Kerr and Gavin Norman adds more spells. These consist of Burning Hands, Feather Fall, Shocking Grasp, Unseen Servant, Pyrotechnics, Ray of Enfeeblement, Shrinking Cloud, Blink, Slow, and Tongues. These are all going to be familiar from Dungeons & Dragons, specifically for Advanced Dungeons & Dragons, but which do not appear in Old School Essentials. Now they do. The article also add five tomes, packed with spells, including several of those listed earlier. Not only do they add spells that can be studied and learned, but also flavour. For example, the ‘Book of the Hideous Frog, written by the Frogmancer Neem, is a wide, frog-faced tome bound in damp frog flesh that wiggles in an unnerving fashion and which causes frogs to spawn in the owner’s clothes and belongings each night! These are all great fun and will just add a little bit of flavour to a campaign and inspiration for the Game Master to create more should she need them.
Gavin Norman’s ‘Strange Brew’ expands the basic guidelines for potions included under ‘Magical Research’ in Old School Essentials with a plethora of options. It allows any character able to create magical items to brew potions or if not, hire an alchemist. An alchemist NPC can brew potions at half the time it would take a Player Character, but is an expensive hireling—1,000 gp per month, and that does not include the cost of the actual potions. The article does not discuss either Potions of Delusion or poison, but otherwise, keeps things simple by approximating potion effects with particular spells, such as a Potion of Control Undead with the spell Control Monster and a Potion of Speed with the spell Haste. It also suggests possible potion ingredients, like a Storm Giant’s heart for a Potion of Giant Control or Pegasus feather for Potion of Levitation; what hints might be gained on a sampling a potion for the first time; and a table of options to describe potions. Handling alchemy and brewing potions in Dungeons & Dragons-style games can get bogged down in a lot of detail, but the guidelines here opt for simplicity and clarity. It does not delve too much into the how and why of brewing potions, but suggests ways in which the ‘Magical Research’ rules can be expanded and the use of potions in game play can be enhanced.
Penultimately, Gavin Norman details eight new monsters in ‘Terrors of the Dark’. These are all creatures to be found in the depths of the Underworld. They include the Grue, a thing of magical darkness found stalking desolate places; Oil-Mites, tiny, rock-like mites that lurk in webs and drop onto passing adventurers to consume their flasks of oil; and the Torch-Bearer’s Ghost, the spirit of some poor townsfolk who met his end in a dark dungeon after being hired as a torchbearer by an adventuring party and now haunts the dungeon, carrying a flickering light, and potentially leading other adventurers to their doom in revenge! This is a delightfully thematic octet of threats and dangers several of which play upon the fear of the dark for both players and their characters and their need for light.
Lastly, ‘Noximander’s Cave’ by Chance Dudinack and Brad Kerr is a rare inclusion of a scenario in the pages of Carcass Crawler and a rare appearance of a scenario for old School Essentials for Player Characters of Fourth and Fifth Level. With a map by Glynn Seal, it describes a small complex of rooms and caves used by the illusionist Noximander the Tenebrous to worship Moumb and conduct further research. Located under a city, builders recently broke into the complex via a cellar and the adventurers are hired to investigate. This is a decent mini-dungeon using many of the monsters from ‘Terrors of the Dark’ that could be played through in a session or two.
Physically, Carcass Crawler Issue #4 is well written and well presented. The artwork is excellent and the cartography good.
Although Carcass Crawler describes itself as a fanzine, it is not really a fanzine, since much of its content is written by the designer and publisher of Old School Essentials, it is published by the publisher of Old School Essentials, and it is obviously more polished and professionally produced than most fanzines. That aside, the content in Carcass Crawler Issue #4 is a good mix of the useful and the flavoursome. The new-is spells of ‘The Mage’s Grimoire’ and the potion details of ‘Strange Brew’ are interesting, whilst the flavoursome include the ‘Halfling Hearthsinger’ and ‘Halfling Reeve’ Classes with their lovely bucolic feel, and ‘Deities and Cults’ adds delightful roleplaying details that will make any setting that bit more interesting. Overall, Carcass Crawler Issue #4 is a very enjoyable issue with plenty that will enhance any Game Master’s campaign.

Something a touch different today for Fantasy Friday. 

I was chatting with some Daggerheart fans, and they liked the Sonja build I had done. They suggested I should do Conan as well, but I got to thinking about my earlier statement of a connection between Kull, Conan, and Kane, and thought it might be fun to stat them all up in Daggerheart to see how I could represent the pinnacle of the Howardian "fighting men" in this new system. 

Joe Kubert's Connecting Covers Featuring Conan, Kull, and Solomon Kane

Caveat and Full Disclosure. I have read all of the Kull and Conan stories by Howard and most of the Kane ones. I have read some of his letters to others about these characters, but I know there is still an absolute ton I have not read. TL;DR I only marginally qualified to write them up as characters. Yeah I know what I would do with them, but there are people out there, people I am friends with, who are far more knowledgeable than I am about this. I apologize in advance for any mistakes I might make.

Kull of Atlantis

Kull spends most of the tales I read as King of Valusia and an exile of Atlantis. We know he has been a hunter, a gladiator, a soldier, a general, and finally a king. He is philosophical and brooding. He cares for his people even if he sometimes despises their civilized ways and the "masks" (though that turns out to be true later on) they wear. According to Wikipedia, his lifetime was some 100,000 years ago, or near the end of the Old Stone Age. The tales, of course, read more like Bronze Age. 

For this reason I am choosing Guardian for him. The Domains are Valor and Blade, the two competing aspects of his personality.

Level 3
Class & Subclass: Guardian (Stalwart)
Ancestry & Heritage: Wildborne Human
Pronouns: He/Him

Agility: 2
Strength: 2
Finesse: 0
Instinct: 2
Presence: -1
Knowledge: 0

Evasion: 9
Armor: 5 

HP: 9
Minor Damage: 15 Major Damage: 28
Stress: 7

Hope: 2

Weapons: Battleaxe, Strength Melee, +2 2d10+3 Physical

Armor: None

Experience
Fighting Man for Life +2
The Brooding King +2
Enemy of the Serpent Men +2

Class Features
Bare Bones (add STR to Armor), Not Good Enough (reroll 1 & 2 on damage), Bold Presence, Versitle Fighter, Soldier's Bond

Ok. I like this one. This is a soldier's soldier. This would be a fun character to play. Granted, he should be a bit higher level, but I wanted him lower than Conan.

Conan the Cimmerian

Howard's better known creation and maybe the Godfather of all D&D fighters. Now I feel better about doing Conan than Kull. 

Conan is the archetypical barbarian. Yes he has been a soldier, general, thief, sailor, pirate, and eventually King, he is at his heart a barbarian.

Like Red Sonja, he would be a warrior with his Domains Bone and Blade, but he is a little different. I am giving him the sub-class Call of the Brave, because if nothing else Conan knows no fear.

Level 7

Class & Subclass: Warriror (Call of the Brave)
Ancestry & Heritage: Wildborne Human
Pronouns: He/Him

Agility: 2
Strength: 3
Finesse: 0
Instinct: 2
Presence: -1
Knowledge: 1

Evasion: 12
Armor: 4

HP: 10
Minor Damage: 14 Major Damage: 22
Stress: 7

Hope: 2

Weapons: Longsword, Agility Melee, +3 3d10+10 Physical
Broadsword, Agility Melee, +3 3d8+7 Physical

Armor: Chainmail

Experience
I have been everywhere +3
I will LIVE by Crom! +3
I live, I burn with life, I love, I slay, and am content +2
Polyglot +2

Class Features
Get Back Up, Not Good Enough, Ferocity, Brace, Scramble, Deadly Focus, Know Thy Enemy, Battle Hardened, Recovery, Rage Up

Again, this is a good character and a fun one to play. I tried to capture Conan's multi-lingual ability here in Experiences. This covers that fact that he knows a lot of languages, but no formal education in them. I spent the extra point to bump up his knowledge to 1 (from 0) to also show that he isn't a dumb barbarian.

I gave him chainmail, which he sometimes wears, but he is just as often in just a loincloth or even the garb of a sailor.  Still, this is a good version of him I think.

Solomon Kane

Next is our dour puritan Solomon Kane.

For Kane, I also picked the Guardian class as I did with Kull. But where Kull is a Stalwart, Kane is dedicated to Vengeance. I mean, look at his single-mindedness in pursuing Le Loup. Kane sees himself as the instrument of God's will and often God's vengeance. He is more similar to Batman in this respect than he is say Conan or Kull.

With Kane, I went in a different direction. While I did what I could to increase Kull's and Conan's HP, I spent more time increasing Kane's Stress. Most of Kane's adversaries are a little more supernatural in nature and seem to be more taxing on his mind and soul than on his body.

To respect his Puritan background, I gave him the heritage of "Orderborne."

Level 6
Class & Subclass: Guardian (Vengeance)
Ancestry & Heritage: Orderborne Human
Pronouns: He/Him

Agility: 2
Strength: 1
Finesse: 1
Instinct: 1
Presence: 0
Knowledge: 0

Evasion: 11
Armor: 4

HP: 9
Minor Damage: 12 Major Damage: 19
Stress: 10

Hope: 2

Weapons: Rapier, Presence Melee, +0 3d8 Physical
Flintlock Pistols, Agility Ranged, +1 3d10+3 Physical

Armor: None

Experience
I am God's Instrument +3
Avenge the Weak and Defenseless +2
Wanderer of Africa +2
Scholar of the Occult +2 (this also covers his connections with N'longa)

Orderborne Dedications
Evil Must be Destroyed.
I am the instrument of God's vengeance.
Chivalry and Honor are not dead, not while I breathe.

Class Features
Bare Bones (add STR to Armor), Get Back Up, I Am Your Shield, Critical Inspiration, Deadly Focus, Rousing Strike, Champion's Edge

I like this version as well. Very solid.

Even among "Fighting Men" (to use the old term), there is a lot of variety and versatility in Daggerheart and I like that. Though each has their connections with the other. You could make a group of all "fighters" and still have plenty of differences between them to keep the game interesting. 

Fantasy Friday Edition

If the unexpected is where the magic happens, then allies are the ones who help you survive it.

In most fantasy games, we talk a lot about the players, the villains, and the world. But some of the richest, strangest, most meaningful moments don’t come from the final boss or the quest-giver with a shiny reward; they come from the people the characters meet along the way.

The allies. The NPCs. The ones who weren’t supposed to matter, but suddenly do.

I’ve long believed that a good ally is more than just someone who helps in a fight. They’re the soul of a campaign. They give the players a reason to care about the world. A reason to stay. A reason to come back.

Sometimes they start as simple archetypes: the barkeep with a missing eye, the goblin who insists he’s a poet, the witch in the woods who offers help with a price attached. But then something happens. A player makes a connection. They ask a question you weren’t ready for. They offer kindness, or threat, and the relationship takes on a life of its own.

Suddenly, that nameless sage becomes the character’s mentor. The grumpy caravan driver becomes comic relief, and then a trusted friend.

 The rival adventuring party becomes something more complex than competition.

In fantasy stories, allies ground us. They remind the characters that they’re not alone. That the world isn’t just monsters and gold and ancient curses, it’s people. Living, flawed, sometimes irritating, and often surprising people.

And yes, sometimes they betray you. Sometimes they turn out to be working for the villain, or hiding a dangerous secret, or just get in over their heads and die in the second act. That’s part of the deal. But the good ones, the ones who stay, those are the ones your players will talk about years later.

I’ve had NPCs who were meant to be one-hit wonders end up starring in entire campaigns.  I’ve seen players go to absurd lengths to save them, avenge them, or recruit them. The characters and players even look forward to seeing them. Evelyn, the Princess Escalla, is an excellent example of this. They hated her at first, but when she showed up at the right time, they loved her. Not bad for a little half-pixie girl with a huge sword.

And I think that’s the point.

In the middle of all the darkness and mystery, all the chaos and combat, allies give us something else: hope.

 Even if they’re flawed. Even if they’re weird, and Evelyn was weird. Even if they were just a name on a note card five minutes ago.

They remind us that the world is worth saving. Or at least, worth traveling through one more day.

Questions

When. Confident. Rule.

Hmm. When am I confident in a new rule? When I have made a new rule for a game, I am confident it will "sell" well when my playtesters tell me how cool it was.  

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

On the tail of Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed how another Dungeon Master and her group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons,RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Another popular choice of system for fanzines, is Goodman Games’ Dungeon Crawl Classics Roleplaying Game, such as Crawl! and Crawling Under a Broken Moon. Some of these fanzines provide fantasy support for the Dungeon Crawl Classics Roleplaying Game, but others explore other genres for use with Dungeon Crawl Classics Roleplaying Game. One such fanzine is the aforementioned Crawling Under A Broken Moon.

Crawling Under A Broken Moon Fanzine Issue No. 10 was published in in october, 2015 by Shield of Faith Studios. It continued the detailing of post-apocalyptic setting of Umerica and Urth which had begun in Crawling Under A Broken Moon Fanzine Issue No. 1, and would be continued in Crawling Under A Broken Moon Fanzine Issue No. 2, which added further Classes, monsters, and weapons, Crawling Under A Broken Moon Fanzine Issue No. 3, which provided the means to create Player Characters and gave them a Character Funnel to play, Crawling Under A Broken Moon Fanzine Issue No. 4, which detailed several Patrons for the setting, whilst Crawling Under A Broken Moon Fanzine Issue No. 5 explored one of the inspirations for the setting and fanzine, He-Man and the Masters of the Universe and Crawling Under A Broken Moon Fanzine Issue No. 6 continued that trend with another inspiration, Mad Max. Crawling Under A Broken Moon Fanzine Issue No. 7 continued the technical and vehicular themes of the previous issue, whilst also detailing a major metropolis of the setting. Crawling Under A Broken Moon Fanzine Issue No. 8 and Crawling Under A Broken Moon Fanzine Issue No. 9 were both a marked change in terms of content and style, together presenting an A to Z for the post-apocalyptic setting of Umerica and Urth.

Crawling Under A Broken Moon Fanzine Issue No. 10 is different to previous and that is because it is the fanzine’s ‘monster issue’! Previous issues have detailed new monsters and creatures that the Judge can add to a Umerica and Urth campaign or her own post-apocalypse setting. From the Aetherian War Cat, Bowel Tyrant, and Concrete Giant to Xenotaur, Zilla, and Zmooph presents a total of thirteen new monsters. They include a mix of the weird and the silly and all are given a two-page write up that includes an illustration, stats, and quite a detailed description. Each also includes adventure hooks which lifts the contents far above being a simple, short, mini-bestiary.

The monster list opens with an entry very obviously inspired by one of the inspirations for the Umerica and Urth campaign setting, which is He-Man and the Masters of the Universe. This is the Aetherian War Cat, a combatant so good it has its own Deed Die and can perform its own Mighty Deeds. If a Player Character uses a Deed Die, then he can approach a riderless Aetherian War Cat and attempt to bond with it. When ridden, the only Might Deed it can perform is the ‘Assist Rider’ and the description includes a table of outcomes. The Bowel Tyrant is a tiny, intelligent alien parasite that enters via the bowels of its victims and enslaves them before its slave excretes more when it relives itself, ready in waiting for further victims. It is a bit icky, but sets up an alien invasion of a very different kind. The Concrete Giant lurks in the ruins of broken buildings, its grey, ridged skin looking like concrete enabling it to blend in readiness to ambush its victims and take them back to its lair to eaten raw. Worse are the Cyborg Concrete Giants which are created by the Technomages to lead the other Concrete Giants, being faster, tougher, and armed with shoulder-mounted grenade launchers! The three adventure hooks for the Concrete Giants include them being sent out on random destructive rampages to instil fear by the Technomages; details of where Concrete Giants are forged which could be turned into a raid or encounter; and rumours of road gangs and Concrete Giant wrecking crews actually working together.

Elsewhere, the Flying Laser Ursine, which is exactly what it sounds like, is silly and simple, whilst the Fruiti-Slush Ooze is weird and silly, a jelly formed out of the fruity, partially frozen slushies and partially by the multi-dimensional cataclysm, which do desiccating, freezing Stamina damage that leaves a wound smelling of fruit. Which fruit? Well, there is a table for that! The adventure hooks include harvesting fruity jerky form their victims for exotic gastronomes and having to stand over a cold storage tanker with some sounds of movement coming from inside it… Weird too, is the Harpoonnik, a slimy, batrachian-humanoid with a strange cylindrical mechanism where its head should be. It can fire a tongue-harpoon out of this mechanism, to spear its victims which it drags away and bludgeons them to death! The oddest are the Zmooph, tiny purplish humanoids described as being roughly three grenades tall, but with a quarter of that height consisting of large, speckled cap mushroom that blooms directly from their skull. Ruled by Patriarch Zmooph, they are mostly peaceful, but when they encounter others, they swarm in xenophobic rages and overwhelm the victims of their ire. There is no suggestion as to what they do with such victims or anything about female Zmoophs, but somehow they feel as they should be blue and wear white hats.

Physically, Crawling Under A Broken Moon Fanzine Issue No. 10 is as serviceably presented and as a little rough around the edges as the other fanzines in the line. Of course, the problem with Crawling Under A Broken Moon Fanzine Issue No. 10 is that much of its contents have been represented to a more professional standard in the pages of The Umerican Survival Guide – Core Setting Guide, so it has been superseded and superseded by a cleaner, slicker presentation of the material.

Crawling Under A Broken Moon Fanzine Issue No. 10 contains a pleasing variety of monsters and creatures—weird, silly, and even more silly (Flying Laser Ursine, really?). Now to be fair, bestiaries are not always the most exciting to read and certainly not the most exciting to review, especially if there is monster after monster and not much else. That could be case with Crawling Under A Broken Moon Fanzine Issue No. 10, but the adventure hooks make the entries and descriptions that much more readable and much more immediately useful. Not so much, ‘Here’s a monster I can use’, but more ‘Here’s a monster I can use and a suggestion as to how I can use it’, Crawling Under A Broken Moon Fanzine Issue No. 10 goes that little further than you would expect. Plus of course, the monsters will work with a lot of other post apocalyptic roleplaying games and not just the Dungeon Crawl Classics Roleplaying Game or Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic.

 I am still enjoying Daggerheart, but I haven't had much of a chance to play lately. Star Wars has been taking a lot of our time. No need for minis when you still have Kenner Star Wars figures!

This past week, we saw the limited release of the new Red Sonja movie, which, by all accounts, is not bad. Better than the 1985 movie (not a high bar, of course). Too bad it did not get a better release. Have to wait for an on-demand or digital release. I am also reading Gail Simone's "Red Sonja: Consumed." I wanted to follow up with some Red Sonja after reading so much of Howard's original work, and I wasn't all that interested in reading the Conan or Kull pastiches. There were a couple of newer Kane books (from different authors) that looked fun. And since anything done is worth doing in excess, I grabbed the latest Humble Bundle of Dynamite's Red Sonja comic run.

Appendix N Note: Although Red Sonja is not listed in Appendix N, Gary was aware of the character from Marvel's 1973-1986 run. That is prime "Golden Age" D&D time. She gets honorable inclusion, I think.

I like Red Sonja. Ok. I like her a lot. She might be one of the reasons so many of my characters have red hair. Ok, her and Batgirl. I loved her run in Marvel comics. I do think we get a slightly more sophisticated character under Dynamite, but all the Sonjas are great in my mind. One of the stories I read last night, "Red Sonja: Altered States," dealt with her spirit reappearing in modern New York. Fun idea really. Got me thinking maybe the "red goddess Scáthach" is really just Sonja herself helping her reincarnations throughout time and space. Anyway, there is something I am planning to have some fun with later on, but for now I think I want to see what she would be like in Daggerheart.

Sonja the Red for Daggerheart

There are a lot of "fighter"-like classes for Daggerheart and lots of things she could be. While there is the "barbarian" idea from Conan, I always felt Sonja was a bit different. In AD&D terms, she would be a fighter. A good fighter, but not a ranger (though that is what she is in Pathfinder: Worldscape) and certainly not a paladin. 

In Daggerheart classes are made up of two Domains. Given her moniker of "She-Devil with a Sword" I feel that one of those domains needs to be "Blade." This gives me two choices, Warrior (Blade and Bone) and Guardian (Blade and Valor). For this, I have to go with Warrior.  After that the rest fell into place rather quickly.

Red Sonja of Hyrkania

Level 5
Class & Subclass: Warrior (Call of the Slayer)
Ancestry & Heritage: Wanderborne Human
Pronouns: She/Her

Agility: 3
Strength: 2
Finesse: 0
Instinct: 1
Presence: -1
Knowledge: 0

Evasion: 12
Armor: 4 

HP: 7
Minor Damage: 14 Major Damage: 22
Stress: 6

Hope: 2

Weapons: Greatsword, Strength Melee, 3d10+8 Physical
Hallowed Axe, Strength Melee, 3d8+6 Magical

Armor: Leather 6/13 +3

Experience
No Man Can Defeat Me +2
I Will Avenge my Clan +2
Gold! Drink! Adventure! +2 (can find adventure, or trouble)
I have been to lots of places +2 (picking up tidbits of knowledge and language)

Class Features
No Mercy, Call of the Slayer, Weapon Specialist, Get Back Up, Untouchable, I See It Coming, Reckless, Fortified Armor, Vitality x2

This was a fast and easy build. 

Her features (the class cards) fit her well, to be honest. Given Daggerheart's narrative structure, fitting these to her backstory is easy. And given her backstory has changed over the years, well, this all still works.

I have seen Red Sonja in New York, in Victorian London, in Pathfinder, and even in Riverdale. Maybe this is Red Sonja in Iriandor. Why she is there, though, is an excellent question. She is never a tourist; there is a reason. I am going to blame the Wizard Thorne.

I am not sure what that reason is just yet.

Links to my other Red Sonja builds

• Old-School Essentials, with Thorne
• Army of Darkness
• Spellcraft & Swordplay
• Mutants and Masterminds 3rd Edition
• Barbarians of Lemuria
• Astonishing Swordsmen & Sorcerers of Hyperborea
• Leagues of Adventure (Ubiquity)

I could certainly do more, to be honest.

 The unexpected is where the magic happens.

You can prep the dungeon. You can write out the villain’s monologue. You can stack the random encounter tables and plan your traps with precision. But none of it survives contact with the players.

And that’s the point.

"Everyone has a plan until they get punched in the face." 

 - Mike Tyson

Fantasy roleplaying lives in that strange middle place between structure and surprise. The tension between what we plan and what actually happens. And over the years, I’ve learned to stop resisting the unexpected and start inviting it.

I’ve had villains turn into allies, thanks to a clever player speech. I’ve had major arcs derailed by a single spell (more than one). I’ve seen players bond with NPCs I hadn’t even named yet (too many times to count), turning a throwaway shopkeeper into a long-running favorite. I’ve had sessions where everything clicked, and others where nothing went according to plan but somehow worked anyway.

That’s what I love about this hobby. The unexpected isn’t a problem. It’s the reward.

But it’s not just in gameplay mechanics or plot twists. It’s also in the tone. The emotional texture. I’ve had horror campaigns become character dramas. Light-hearted one-shots veer into genuine catharsis. Once, in the middle of what should have been a tense combat encounter, a player described their character’s internal conflict so beautifully it stopped the game cold. We just sat with it. That moment, unplanned and unprompted, said more than any scripted scene could.

And sometimes, it’s the characters themselves who surprise you. The warlock who resists the call of their patron. The cleric who starts to doubt. The witch who turns away from power to protect something small and fragile. The hero who decides not to fight, but to forgive.

As a DM, I’ve learned to treat the unexpected like a knock at the door. You don’t always know who’s there, but it’s worth answering.

Because that’s where the best stories begin.

Not where you planned, but where the players took you instead.

Questions

How. Excited. Character.

How excited am I for a character? I am always excited about a new character, all the untapped potential. Everything about a new character.

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

 Today I conclude this "mini-series" on the pivotal works of Robert E. Howard, one of the most influential authors in Appendix N, shaping the Dungeons & Dragons experience. 

I have already covered Conan in Part 1, and his horror stories in Part 2. Today I am going to talk two of his other characters, King Kull of Atlantis and Solomon Kane.

Kull of Atlantis: Silence Where a Witch (or even Women) Might Be

Kull’s stories are dreamlike, almost mythic, often more about philosophy than plot. Women of any kind are scarce, and witches are entirely absent. When sorcery intrudes, it comes from male figures: Thulsa Doom, the snake-men, necromancers, shadowy priests.

Is Kull even interested in women? Howard never shows him with lovers, nor does he pit him against the temptations or sorceries of an enchantress. Kull broods on law, on identity, on the shifting unreality of his throne, but not on witches, or even women for that matter. Their absence says much: the philosopher-king is concerned with metaphysical threats, not the seductions or mysteries that witches (and sorcerers) often embody in Howard’s other tales. 

Kull's most significant interaction with a woman comes from one of his earliest tales. A girl in his village is being burned at the stake for taking a lover from the wrong tribe. Kull, not seeing the justice in this, uses his own flint dagger to give her a merciful, quick death. For which he is hunted. 

Speaking of flint daggers. Kull is supposed to be taking place around 100,000 BCE. So really pre-history, but it feels more like 100 BCE in terms of "technology." Granted it is "lost age" the same sort you see working in Wasted Lands: The Dreaming Age. Credit where it is due, Howard does do a great job of making it feel like Kull predates Conan by centuries. 

If Kull, and Conan, are covered well by Wasted Lands and other Fantasy RPGs, then Kane is dipping right into horror.

Solomon Kane: A Puritan Without Witches

If Kull’s Atlantean dreamtime excludes witches entirely, Solomon Kane’s early modern setting seems tailor-made for them. The 16th and 17th centuries were rife with witch trials and burnings, and Kane is a zealous Puritan avenger. You’d expect him to clash with witches by the dozen. But he never does.

Instead, Kane’s foes are vampires, demons, revenants, and African sorcerers. Women in his stories are usually victims or innocents caught in evil’s path, never witches themselves. Was this deliberate on Howard’s part? Perhaps he didn’t want women as Kane’s outright antagonists, preferring instead to cast him against inhuman horrors or exotic magics.

One exception worth noting is Nakari from The Moon of Skulls. She is cruel, manipulative, and queenly, with many of the trappings of a witch, save for actual sorcery. She does have a coven of sorts, her "Starmaidens" and she knows some Atlantean rituals.  She rules through charisma and cruelty, not spells. And despite her names she is neither demon nor vampire. Kane’s crusade against her feels witch-hunter-like, yet Howard stops short of giving her magic. Again, we see the absence: Kane fights monsters, not witches.

Kane is adventure fiction, but it dips into horror and horror themes more often than not. 

Kull, Conan, and Kane make up an interesting trinity of Howard protagonists. All are cut from the same cloth and each could be a reincarnation of the previous.

Accidental Feminism?

Now, I do want to say upfront that Howard considered himself a feminist. He had some very progressive views for his time, but also some fairly typical ones. People are complicated. 

If Conan’s world has some witches and Kane’s and Kull’s are completely barren of them, what does that say about Howard? His female characters are sometimes villains (Salome, Tascela, Nakari), but they are also commanding presences, equal to or greater than the men who face them. When Howard leaves witches out, women almost vanish. But that absence makes it striking when he does put women at the forefront, because when he does, they are unforgettable.

Think of Bêlit, the Queen of the Black Coast, who is as fierce and ambitious as Conan himself. Or Valeria of the Red Brotherhood, a woman who makes her own choices and follows her own path. Red Sonya of Rogatino and Dark Agnes de Chastillon are not sorceresses at all, but warrior women who seize the agency the world denies them. These characters aren’t “witches” in the pulpy sense, but they are Howard’s women: strong, willful, larger than life, and often overshadowing the men around them. Red Sonya appears in one tale, yet "Red Sonja" has hundreds, including comics, novels, and a new movie out. Bêlit & Valeria have also appeared in plenty of comics together, often sans Conan, to prove they are interesting enough characters in their own right. Even if I am getting a bit of a Betty & Veronica vibe from them sometimes. Though Red Sonja has teamed up with Betty & Veronica in the past.

Bêlit, Red Sonja, (and Conan) and Valeria by Geof Isherwood

That duality shows up outside the stories too. In a famous letter to Harold Preece, Howard rattled off a litany of great women, from Sappho and Aspasia to Joan of Arc, Emma Goldman, and Edna St. Vincent Millay, defending their genius, passion, and rightful place in history. “Women have always been the inspiration for men,” he wrote, “and… there have been countless women whose names have never been blazoned across the stars, but who have inspired men on to glory.”  

Howard’s pulp tales are not feminist manifestos, but they carry a paradox I’d call his “accidental feminism.” In his fiction, women may be cast as temptresses, pirates, or witches, but they are never weak. And in his private words, he saw women as philosophers, poets, and warriors equal to any man. It may be accidental, but it left us with heroines and enchantresses who still burn as brightly on the page today as they did nearly a century ago.

Conclusion

There are more Robert E. Howard tales. Lots more, and many that could be fundamental to what the D&D experience was going to become. But here is where I part ways with the author. I found his sword & sorcery tales to be captivating, his horror stories fascinating, and his heroes equally as wonderful in their own imperfect ways. There is a reason why we all know of Conan and Kane, and to a lesser degree, Kull. Even his forgotten "step-daughter," Red Sonja.

When it comes to witches, Howard doesn't give me enough, though what he does give is wonderful. Salome and Tascela are fantastic characters who I would have loved to see more of, or more to the point, more like them. Too bad that they died in their respective tales; they would have made great antagonists for Bêlit, Red Sonja, and Valeria.

 There’s a moment that happens in every good fantasy RPG. It might not look like much on paper. A room description. A line of dialogue. A decision so small it barely draws attention at the time.

But something shifts. The torches are lit. The players lean in.

And the question lingers: Do you enter?

That’s the threshold.

To enter is not just to cross into a new place. It’s to leave something behind. Safety. Certainty. Sometimes even identity. And once you've stepped through, the world is never quite the same.

I think about this a lot when I design adventures. Not just dungeons or lairs, but those moments when the world opens up and becomes other. That heavy door groaning open into darkness. The portal that hums with a color you don’t have a name for. The standing stones that seem to lean in closer when you blink. These are not just places, they’re invitations. Rites of passage. The crossing over from the known to the unknown.

In the monomyth, it’s called the first threshold. In Campbell’s Hero’s Journey, it’s the moment when the hero accepts the call to adventure and moves from the mundane into the mythic. But I’ve always felt witches and warlocks experience this differently. For them, it’s not a line they cross once. It’s a cycle. A spiral. The path winds inward, deeper each time. Every doorway leads to another, and each one costs a little more.

Sometimes it's a literal entrance: the black iron gate of a cursed estate, the crumbling stairs beneath a ruined temple. Other times it’s less obvious. Opening a book you were warned not to touch. Answering a voice in your dreams. Saying “yes” to something without understanding what you’ve agreed to.

These moments aren’t about combat or treasure. They’re about change. The world shifts. The story deepens. And the characters, whether they know it or not, are no longer who they were on the other side of that door.

I try to honor that in my games. I give players the moment. I let them feel the weight of the threshold before they step through. I don’t need to say anything dramatic. Just a pause. A look. The air gets a little colder. The fire flickers once. Something remembers their name.

And then they enter.

Because they always do.

Questions

What. Nostalgic. Rule.

What rule am I most nostalgic for?  I miss the days when the thief class had more options for thief skills, beyond just a d20 roll for "Thievery."  While AD&D 1st Ed was great, I like the flexibility granted by AD&D 2nd Ed where you could distribute points into the skills. 

https://www.autocratik.com/ • https://www.castingshadowsblog.com/

 Sometimes I have the impulse control of a toddler. 

I saw this game, Witch Mountain, featured in a post (Gen Con, I think), and I thought, "Damn. I need that." So a quick trip to eBay and I found one, cheap, and still in shrink wrap. Plus it says right on the box, a game with "Witches & Dragons."  Sounds like the RPGs I have been playing for the last 45 years.

A few days later, it was mine. 

I pulled off the shrink and was treated to the game inside. 

The game board is neat. The objective is to get your colored pawns into the center, "Witch Mountain" before the other players, and avoid the witches and dragons flying around. 

Gameplay largely relies on the luck of the dice roll. Though it does have the nicest dice rolling cup I have ever seen in a game. Nice hard plastic lined with cork. The board is sturdy, typical of the 1980s. The play reminds me of "Sorry!" The dice are colored sides with a mix of the player colors and an occasional witch or dragon. 

Given the date of 1983 I can't help but think the "Witches & Dragons" is an attempt to grab some of that fantasy game market.

Traveller Envy

In my ongoing obsession with adding some board game experience to my Fantasy RPG and Horror RPG experiences, I have been thinking about how to add this. Obviously the pawns are all rival witch covens who need to get to the top of Witch Mountain. The witches flying around are the current occupiers of the mountains and the dragons do their bidding.

Come to think of it. It seems odd to me that I have not codified a more permanent "Witch Mountain" in my games. One of the milestone events in my love of witches was the 1975 Disney film "Escape to Witch Mountain" and it's sequel "Return from Witch Mountain." Although I was disappointed that there were no real witches in it, despite many of the trappings, I still loved the movies. The 2009 "Race to Witch Mountain" was also good. I will admit that I have always given any witch character I play TK and telepathy/empathy of some sort as my nod to Tia, played by Kim Richards, in the first two movies. 

I do have a set of mountains outside of my West Haven setting called "The Broken Mountains," which is my homage to the Brocken mountain in Germany. Given it's, and Pendel Hill's,  importance to witch lore ([1] and [2]), I really should have something.

I do have the Montblanc Family, and they come from near a "white mountain."  Maybe they are the witches in control of the Hexenberg. I have always said they were a very old, and very rich, witch family. Having control of a few dragons is not really a stretch for me to consider. 

So I hope to come up with some more ideas for der Hexenberg. Or even an adventure featuring the Witch Mountain. I have been wanting to write more adventures.

Links

• Witch Mountain at BGG