Artist unknown. An earlier post on the Tarasque can be found here.

Ah, it’s not an April without drastic environmental and social change, usually with multiple situations happening at once. April 2021 keeps on keepin’ on, and it’s only halfway finished. Before getting into details on the gallery, please note a very … Continue reading →

I have commented on how it is Greek mythology that brought to D&D via the Monster Manual and this month is largely a celebration of that. While Greek myths got me here, it is Norse and Celtic myths that have kept me coming back for more.

Today I had an undead monster ready to go, and it was fine, it was a good monster.  But it didn't excite me very much. It's great for my book, but not so much for a blog post trying to get excitement for that book.  So instead I am going with some more fey creatures, but this one is a little different.

Merrow
Gwenhidw, Jennys
Medium Fey (Aquatic)

Frequency: Very Rare
Number Appearing: 1d4 (1d6)
Alignment: Chaotic [Chaotic Good / Chaotic Evil]
Movement: 90' (30') [9"]
 Swim: 240' (80') [24"]
Armor Class: 8 [11]
Hit Dice: 1d8+1 (6 hp)
THAC0: 18 (+1)
Attacks: 1 weapon
Damage: 1d6
Special: Magic cap
Save: Monster 1
Morale: 6 (8)
Treasure Hoard Class: Special
XP: 19 (OSE) 21 (LL)

Merrows are shy water faeries that appear off the coasts of the oceans.  They prefer to spend their time frolicking in the shallows of tide pools and having swimming contests.  All merrow seen by land dwellers will be female.  The males refuse to have anything to do with the people of the land and will not come close to it.

Similar to a mermaid, the merrow appears to be a beautiful humanoid woman's upper half. Her hair is often green, usually seafoam green, but darker sea plant colors are also common.  Her fish-like tail is of the same color.  The most notable thing about them though is their bright red cap. This is their only treasure.  

If she is spotted the merrow will immediately flee to swim back to her home under the waves. They will avoid combat whenever they can. Though some will curious enough to seek out any humans.  Merrow are curious about humans, in particular human men. Their own males are evil, brutish, and ugly.  By use of their magic caps, a merrow can change her shape to that of a human and walk on land.  As long as she posses this cap she can move freely between the sea and land.  As a sign of trust and love a merrow can give another human her cap and thus tying her to the land forever.   Land-based merrow are indistinguishable from normal humans, though they will often learn witchcraft.

Merrows are also known as Gwenhidw or "Jennys," but this could also be the name of one of their most famous members. The offspring of merrows and humans are completely human, but they feel a call of the sea and make exceptional sailors or sea witches.  A merrow still tied to the sea does not have a soul, but if they commit to the land then they are granted a new soul.  

Male Merrows: These creatures are as ugly as the women are beautiful and evil where their counterparts are good.  They never come to the surface when they can avoid it and they are generally not welcomed. Their faces are the worst combination of humanoid and fish and their whole body is covered in green fish scales.  It is said that when a Jenny comes to land and chooses a human husband her merrow father will follow her to bring her back.  The merrow will challenge the human to a game, usually, a drinking game, if the human wins the merrow returns to the sea and leaves his daughter behind.  If the merrow wins he returns to the sea with his daughter and the soul of the human.  Particularly old and evil merrow have a collection of these souls they keep in cages at the bottom of the sea as humans might keep a pet bird in a cage. 

--

This entry pulls together a lot of threads that have been rummaging around in my head for years.

Starting with the idea of Jennys and Merrows, they *might* two different creatures, but it is hard to tease apart all these myths especially when they are all so close to each other; both in content and in geography.  I like the idea of the merrows, or Jennys, as being genuinely curious about humans. Plus I liked the Jenny character from Anita. The Jenny stealing a kiss from Anita convinced me that these creatures were not evil and actually kinda liked humans.

 The idea of the Merrow men and the soul cages has been with me forever it feels like, though they were very nearly demons.  Here they are just assholes. Evil, dangerous, but still assholes. 

To say these ideas were not influenced by this would be disingenuous.

There are a lot of parallels between the merrow and pagans from the British Isles and the general belief that the Fey do not have souls.  In a game set in a magical Medieval Europe then a Jenny would need to be baptized before she would get a soul. Then of course she is no longer a merrow.   There are likely some unpleasant parallels here involving the patriarchy, salvation, goodness vs. freedom, choice, and more.  And it is all completely intentional.   Remember I am usually on the side of the pagans and freedom here.    I would rule that a Jenny deciding to stay on land with a witch would not need to give up her power or autonomy.  That's because witches understand this. 

Noah Berlatsky / April 14, 2021

The Angel Levine was greeted with irritation, befuddlement, and a good amount of indifference upon its release in 1970. Organized and produced by Harry Belafonte, the movie is an allegorical discussion of Black-Jewish relationships using a mix of realism and fantasy that managed to appeal to neither Black nor white audiences. A contemporary New York Times review labeled it “a failure of major proportions.” The Black press barely covered it, despite Belafonte’s fame and standing as one of the leading Black entertainers of the time. After the DVD release in 2002, a mostly sympathetic critic admitted, “the best that can be said about it is that it doesn’t quite come together.”

Watching the movie now, it’s clear the film is not exactly ahead of its time. Even post-Get Out (2017), with interest in Black speculative fiction on film at a historic high, it’s difficult to imagine The Angel Levine finding much of an audience. The fact that the movie continues to alienate seems significant, though. Truly egalitarian cross-ethnic solidarity remains difficult for creators and audiences to imagine. 

The movie is based on a short story by Bernard Malamud, “The Angel Levine,” which was originally published in Commentary in 1958. Malamud was one of the postwar Jewish writers who took advantage of diminished antisemitism to celebrate his ethnic identity as a storytelling resource. His stories were often set in the Yiddish New York of the ‘20s and ‘30s, even as they dealt with contemporary themes. “The Angel Levine” is the story of Manischevitz, a Jewish tailor cursed with multiple catastrophes: his shop burns down, his insurance is insufficient, his back goes out, and his beloved wife Fanny becomes deathly ill. Burdened beyond endurance, he is startled one day by a Black man who appears unannounced in his apartment. The man says his name is Alexander Levine, and that he is an angel. Manischevitz doesn’t believe him, and the man leaves. But as Fanny grows worse, Manischevitz becomes desperate. He goes to Harlem, tracks Levine down, and finds him drinking and dancing in a very un-godly manner. Nonetheless, he tells the angel he believes in him. The angel returns to Manischevitz’s door, grows wings, and flies into the sky in a fluttering of black wings. Manischevitz enters his house and finds his wife has been cured.

Malamud’s story has Black people in it, but it’s told from a white Jewish perspective. Manischevitz is the main character, and the third person narrative is in his head; you see only what he sees, and he is the only character whose thoughts you know. The story is about the need to believe in others, and about welcoming Black people into the circle of Jewish ethical commitment. “Believe me, there are Jews everywhere,” Manischevitz says to Fanny in the story’s last line. But it is white Jewish people doing the welcoming. Levine merely waits to be summoned.

Belafonte was a singer who drew on a broad array of musical traditions, and who saw connections between working class struggle across racial, ethnic, and national boundaries. He was drawn to a story about mutual faith as a foundation for solidarity and transformation. But he didn’t want to follow Malamud in presenting that story entirely from a white perspective. Instead, he carefully assembled an interracial group of creators to work on the film. Slovakian Ján Kadár, who had been interred in a Nazi work camp, was brought on as director. Zero Mostel plays the lead, renamed Morris Mishkin, and Polish actress Ida Kamińska took the part of Fanny. But Belafonte also brought on writer Bill Gunn, who would later create the much-admired Ganja and Hess (1973). Gunn was specifically tasked with expanding the character of Alex Levine. There’s also a role for Levine’s girlfriend, Sally (Gloria Foster). Finally, Belafonte created an apprenticeship program so that young Black and Puerto Rican filmmakers, mostly excluded from the film industry, could get paid to work on set, contribute their talents, and gain experience for their own projects.

In short, Belafonte wanted Black experience to be at the center, rather than the periphery, of the filmed The Angel Levine. He accomplished this in part simply by appearing in the film himself.  Belafonte is an enormously charismatic presence, who effortlessly steals scenes even from a character actor as accomplished as Mostel. It’s impossible to see Belafonte as a figure in someone else’s drama, or as a kind of comical enigma. His smile manages to be both beatific and lived-in; you want to know more about him, because you know he has his own story to tell.

The movie, contra Malamud, takes pains to tell that story. Levine, in this version, is a small town hood who is killed by a car while trying to escape with a stolen fur. When he got to heaven, he says he was told to turn around and come right back. (“Every white mother” went right on to heaven, he says bitterly, “but me they put on probation.”) He is tasked with getting Mishkin to believe in him. That belief will allow him to miraculously heal Fanny, and become a full angel in heaven. In the meantime, though, he has his own unfinished business. He wants to reconcile with his long-suffering girlfriend Sally, apologize, and tell her he loves her.

Giving Levine a narrative of his own creates a clash of genres. In accord with the Malamud story, Mishkin is still the main character in a white ethnic Jewish tale about endurance, suffering, and empathy, told in a sentimental register.  But Levine’s story draws on the social realism of Black protest genres. His angry soliloquies (“Nothin’! Nothin’! A whole lifetime with nothin’ to show for it!”) and his quick rage at Mishkin’s casual racist slurs (“You call me a schvartze one more time and I’ll knock you on your ass!”) echo the inchoate, yearning despair and simmering righteous violence of Richard Wright’s 1940 Native Son.  

The film uses its magical elements to try to bridge these contrasting narratives. Levine simply appears in Mishkin’s kitchen, through uncertain means, and the two must then elbow around each other in the cramped set, their bodies and stories squashed in together for better or worse.  Mishkin bustles around and tries to make his wife comfortable while Levine in the next room embraces Sally in an effort to overcome her skepticism. Repeatedly, Mishkin looks through the window in the kitchen, or through a door jam, gazing at Levine just as the movie audience gazes at Levine. Those who came to see a white Jewish drama are encouraged to see, with Mishkin, another story. “Mr. Levine, you have meaning for me,” Mishkin says. That’s a demand not just for understanding, but for interest, investment, and a recognition of relevance across difference and across genre.

Being in one another’s stories should in theory provide a common ground for solidarity. The movie makes numerous efforts to show intersections of Black and Jewish experience, and to suggest that the story of one can be the story of the other. In an early scene, Mishkin applies for welfare to a Black woman caseworker—a reminder that, despite racist messaging to the contrary, it’s not only or primarily Black people who sometimes need state aid. Later, during Mishkin’s final trip to Harlem, he drops in to ask for directions in a Black tailor’s shop, looking for help from a member of his own profession.

The most obvious appeal across Black and Jewish communities, though, is the fact that Levine belongs to both. This is an approach that should resonate more solidly now than at the time of the film, more even than at the time of Malamud’s story. In 1955, Malamud could write that Manischevitz “had heard of black Jews but had never met one.” In the ‘70s, Black Jewish people still did not have much public visibility; James Baldwin doesn’t mention Black Jewish people at all in his famous 1967 essay “Negroes Are Anti-Semitic Because They’re Anti-White.” Some five decades later, however, intermarriage has substantially increased the number of Black Jewish people in the United States, and Ethiopian Jewish immigration to Israel has been a topic of international discussion. Levine in 2021 isn’t just a symbol, if he ever was only that. He’s a screen representation of people who are rarely portrayed in mainstream Hollywood films. 

Mishkin’s attitude towards Levine in 1970 is one of incredulity; he demands that Levine recite the blessing over the bread and, in a hugely inappropriate move, asks if he’s circumcised. Again, Black Jewish people are significantly more prevalent now, but Mishkin’s racist notion that Jewishness is linked to skin color persists. Sandra Lawson, a Black rabbi, wrote at the Forward that she’d “never been in a Jewish space where I wasn’t questioned.” Black Jewish Texan Tracey Nicole says that she always introduces herself to a new police officer at her place of worship because “I am the only Jew of color at our synagogue. So when I walk into situations like that, I’m wondering if people will acknowledge that I belong.”

Malamud’s story, which is rooted in Jewish experience, imagines shared suffering and marginalization as a path to renewal and resurrection. And that’s not completely fantastic; many Jewish people did work prominently for Black civil rights in the ‘50s and ‘60s, and some even died for it. But Mishkin’s racism, and the way it is still echoed in white Jewish treatment of Black Jews, should make viewers hesitant about taking away a too hopeful message. Belafonte himself approached his film about faith with a good deal of skepticism only two years after the assassination of his friend Martin Luther King Jr. “For me, the miracle in America was Martin Luther King,” he said in a press interview about the film. “In the years that King and SNCC were coming to the people with love, the people didn’t believe. They finally believed when it was too damn late.”

The difficulty in crafting a white Jewish story and a Black story simultaneously is underlined in one of the film’s most telling exchanges. Levine, distraught, has gone to the roof. Mishkin follows him and tries to comfort him by referencing white Jewish experience of assimilation and waning antisemitism. “They’re not very nice to you now, but tomorrow they’ll be ashamed of themselves and do better,” he says with complacent assurance. To which Levine responds, “Bullshit.” Black people have been in America a good bit longer than white Eastern European Jewish immigrants. Time brought them not apologies, but the opportunity to be exploited by a broader ethnicity of white landlords. When Mishkin suggests he wants to draw Levine into the orbit of white Jewish ethics and experience, it’s meant to be beneficent altruism. But it could also be a self-serving lie. How can you create solidarity without flattening difference? How do you make another’s story your own when it isn’t yours to own?

Malamud’s “The Angel Levine” mostly ignored those questions, which is why it feels finished and coherent, if slight. The film version, in contrast, tries to answer them, and seizes up in the process. It obviously doesn’t know how to wrap up its runtime. As the New York Times review says, it keeps “stopping and starting up again.” It finally dead-ends in melancholy ambiguity, with Fanny hovering between life and death back at the apartment while Mishkin stands in Harlem, reaching up to try to catch a floating black feather that eludes his grasp. He fails, and the movie largely fails as well. Belafonte was trying to rework a Jewish idiom into a Black one to create a story about universal solidarity that retained particularity without condescension. More than half a century later, American cinema, to say nothing of American society, is still unsure how to do that. It’s not even sure it wants to try.

Noah Berlatsky is the author of Wonder Woman: Bondage and Feminism in the Marston/Peter Comics.

Lilith by Isra LlonaLast verse, same as the first.

This one should not be a surprise really. I have done Lilith many times before in my April A to Z. She was in my A to Z of Demons (2013),  A to Z of Witches (2014), and my A to Z of Vampires (2015).  So naturally, I want to bring her back for my A to Z of Monsters.

Lilith is fantastic. I am a sucker for any story she is in, and if she shows up on a TV show, even better.

In my A to Z of Demons (2013) I talked about how she is the mother of the Lilim Demons and what they all are.  In many, many ways she is not just the mother of demons, she is the mother of Basic Bestiary II: Demons & Devils.  It was because of the Lilim that I wanted my own demon monster book.

While the Lilim have appeared in other books of mine, namely Eldritch Witchery (with Lilith on the cover), The Warlock, and The Daughters of Darkness, I have been tinkering with them for much longer than that.  

In 2014 I talked about her relationship with witches and then expanded on that in Daughters of Darkness.  Here I listed her as "Chaotic Evil."  In Eldritch Witchery she is just "Evil" and in The Warlock she is "Chaotic."  This is all well and good, but it doesn't really fit with her does it?  Lilith certainly has a lot of chaotic attributes, but I see her more as Neutral Evil.  She may not have started out as Evil, but as they say, sometimes you play the hand dealt to you.  I am still going back and forth on NE or CE at the moment.

Lilith
aka Mother of Demons, Mother of Monsters, the First Woman, Queen of Night
Medium Fiend (Lilim)

Frequency: Unique
Number Appearing: 1
Alignment: Chaotic [Neutral Evil]
Movement: 90' (30') [9"]
 Fly: 180' (60') [18"]
Armor Class: 6 [13]
Hit Dice: 19d8+76***** (162 hp)
THAC0: 7 (+12)
Attacks: special (see below)
Damage: See below
Special: See below
Save: Witch 19
Morale: 12 (-)
Treasure Hoard Class: Special
XP: 7,750 (OSE) 8,000 (LL)

Lilith was the first human woman. She rebelled against the gods that created her and now controls armies of demons.  The gods won't work against her or strike her down because she knows all their True Names. This makes her the most dangerous creature in the universe. Long and ancient pacts between Lilith, demons, devils and the gods keep an uneasy balance of power.  If Lilith were to truly seek out the power just within her grasp, the gods themselves would know fear.

Lilith is also the mother of monsters.  She is the mother of demons, having spawned so many, but she is also the mother of vampires and many say, witches. She rejects these titles and her many offspring.  The only ones she is even remotely interested in are the Lilim, the so-called Daughters of Lilith. 

Queen Lilith never openly attacks.   She considers combat beneath Her and will not partake in it.  Her arena is intrigue, guile, and deception.  Why fight when a cup laced with poison or a dagger in the night is much quicker.  If forced into combat she can summon pretty much any demon she likes except for the Baalor and Baalroch demons.  If it comes down to it, Lilith can cast spells as 20th level Witch of the Demonic Tradition, though she has access to every witch spell known.

As the mother of all Lilim, she shares their powers and weaknesses.

Damage types: Acid (Full), Cold (Half), Electricity/Lightning (None),  Fire, magical (Half), Fire, non-magical (None), Gas, poisonous (None), Iron Weapon (Full),  Magic / Arcane Blast (Full), Poison (None), Silvered Weapon (Half).  

Powers (at will): Charm person or Charm monster, Darkvision, ESP, Hold Person, Immune to fear, Night Vision, Shapeshift (human, demonic, spirit), Suggestion, Telepathy, and Teleport.

Three times a day she can cast fireball, lightning bolt, and wall of fire. One a week she can grant a wish. She can see perfectly in darkness of any kind. Lilith can summon 1d4+4 lilitu demons with a 100% chance. 

She always appears as a young, very attractive woman.  Most often with long flaming red hair.  It is claimed her true form is that of an ancient hag with long, but sparse wild black hair, talons, fangs, and the wings and the feet of a predatory bird.  Either or neither could be her true form. She can shapeshift to any form she likes at will. Her telepathy allows her to assume a form the viewer most desires.

Lilith has no true friends because most fear her.  She is known to ally herself with the Goddess Ereshkigal since both have similar portfolios and areas of concern.  Some even claim that Lilith spent some time as Ereshkigal's handmaiden.  Others claim she served Astártē or Ishtar. She was once the chief consort of Hell, but even the Baalseraph fear her.

--

OK! My first major demon.  REALLY gets me into the mood to work more on the demon book.  But I still have the BB1 to finish first.  Plus doing this entry makes me realize how much more groundwork needs to be done on the demons and the regular monsters still. 

Her AKA line includes her titles, whether she likes them or not.

In the Hit Dice line she has 5 stars, which means she has five special abilities that contribute to her combat power and thus raise her XP value.  I am not sure if she is 5 or not.  Once I get done with all my monsters I will survey them and edit them appropriately. 

There are details here, such as her Lilim powers, that will be offloaded from her entry and put into the Lilim entry proper.  I just needed it here for now.

Another "revised" monster today.  This one though is a revision of a monster that appeared back in the AD&D Fiend Folio from 1981.   Now I loved the Fiend Folio. While the Monster Manual was the first D&D book I ever looked at, the Fiend Folio was the first hardcover monster book I ever bought.  I would use it with my Basic and Expert Sets (Moldvay/Cook) and that would be my game.

One creature though I more or less ignored until I began reading Celtic myths was the Kelpie.

Now in the Fiend Folio, the monster Kelpie is a plant-like creature that is only superficially related to the Scottish Kelpie.  In fact, the creature in the FF has more to do with kelp (as in seaweed) than a kelpie.  So I figure I would update the creature a bit.

Kelpie
aka Water Horse
Medium Fey (Aquatic, Monstrous)

Frequency: Very Rare
Number Appearing: 1 (1d4)
Alignment: Chaotic [Chaotic Evil]
Movement: 90' (30') [9"]
   Swim: 120' (40') [12"]
Armor Class: 3 [16]
Hit Dice: 6d8+6* (33 hp)
THAC0: 12 (+7)
Attacks: grab
Damage: NA
Special: Charm, Shapeshift, Water breathing
Save: Monster 6
Morale: 8 (10)
Treasure Hoard Class: XIX (D) 
XP: 650 (OSE) 680 (LL)

The kelpie, also known as a water horse, is a shape-shifting creature of the fey that lures men to their watery lairs to their deaths.  The kelpie can appear as a beautiful woman, a handsome lad, a magnificent horse, or in its true form, a skinless, blood and slime-coated monster that combines the features of both humanoid and horse.   They live in dark and dangerous rivers and fast-moving streams.

The kelpie can only attack with its charming song which attacks like a powerful Charm Person spell. The kelpie will charm the person to approach her, in either her nymph or horse form. Once she gets her victim into the water she wraps herself around them with her strong limbs and drags them to the bottom of her lair where they drown. Victims are allowed a save vs. Spells at a -2 due to the power of the kelpie's song.  Once in the "arms" of the kelpie, the victim will need to make a simple Strength check (roll a d20 to roll under their strength score). They may attempt this in the first round they are underwater. They may recheck each round at a cumulative +2 penalty (added to their roll) each round hereafter. So +2 in round two, +4 in round three.  Once the penalty is greater than the victim's strength they drown.  

A kelpie in humanoid or horse form can move about the land but are recognizable by a few signs. In humanoid form, their hair always seems wet and they will wear a silver chain around their neck. In equine form, their hooves will appear to be backward from that of normal horses. They must return to their watery lair each new moon.  While in their humanoid or equine shape they may be "turned" by a cleric.  This turning treats them as a 6 HD creature, but they are not undead.  On a successful turning check, the Kelpie will revert back to their normal form and must get to her watery lair. All charm effects she has cast at that point end.

The Kelpie appears to be related to the nøkk of colder more northern waters.  They share a certain number of similarities, but the nøkk is not evil. 

Each-uisge. This creature is related to the kelpie and is if anything more monstrous and evil. Where the kelpie lives in rivers and streams, the each-uisge lives in lakes (lochs).  While it is unknown what the kelpie does with the humans she kills, the each-uisge has been known to eat its prey.

--

Updates.  

In the description line, the kelpie gets both an Aquatic and a Monstrous descriptor.

Since the Kelpie has better than average strength (14 in this case) I updated my THAC0 calculations to support Strength bonuses. This will not change most of my monsters since most have average strength.  But it will change others and give monsters in this book an edge over their counterparts in other books.   Of course, the Kelpie doesn't cause HP damage so her strength is not a factor in that.   

This is also one of the first "Variations" I have posted that don't require a full second set of stats, like the Faun and Greater Faun from last Wednesday.  The each-uisge is essentially the same creature, stats-wise, just from a different location and temperament.

Contrast this with the nøkk which is a similar creature but of a completely different temperament and nature.  While I could have used the same stats (and they are similar) they are different enough to make them a completely separate entry.  This means I should do a Nuckelavee too.

Here is an old favorite of mine that I just never got right.  I had featured the Jack O'Lantern on three different occasions in three different witch books and each time there were differences.  But none of them felt 100% right to me.  This one is better, but I am not sure I got the nature I want the creature to have exactly right.

Jack O'Lantern
Medium Plant (Fire)

Frequency: Rare
Number Appearing: 0 (1d4)
Alignment: Neutral [Unaligned]
Movement: 90' (30') [9"]
Armor Class: 5 [14]
Hit Dice: 3d8+3* (17 hp)
THAC0: 16 (+3)
Attacks: 2 tendril whips or special
Damage: 1d6 x2 or special
Special: Breath weapon (fire)
Save: Monster 3
Morale: 12 (12)
Treasure Hoard Class: None
XP: 75 (OSE) 100 (LL)

This creature is a roughly humanoid-shaped tangle of vines and leaves with a large pumpkin for its head. The pumpkinhead bears a leering face that appears to have been carved there and glows from within with eldritch fire.

A jack-o-lantern is a plant creature brought to life by a combination of eldritch magics. It is said that druids, the fey or a witch knows the ritual to summon these guardians. The nature of the face generally reflects the animating spirit. They are considered to be plant creatures.

The Jack O’Lantern will attack with its whipping tendrils, usually two attacks per round but a rare (5% chance) one will have three. Once per day the jack o’lantern can “Breathe” fire out of carvings in its pumpkin head. A saving throw vs. Breath Weapon is required or take 3d6 fire damage (save for half).

Summoning a jack o’ lantern requires a large patch of pumpkins. Up to four (1d4) will be summoned with a single ritual. The jack o’lanterns will never wander more than 500’ away from their pumpkin patch and will attack any creature not present at the time of its summoning.

--

Well, it is certainly better than what I had before.  

This creature introduces an idea borrowed from D&D 4th and 5th Editions, and that is the Unaligned alignment.  They are neutral for the terms of the D&D Basic and OSR games, but beyond that they are unaligned. I will not use it as much as later editions of the game, but it does have its place and uses for me. 

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition, the Jonstown Compendium is a curated platform for user-made content, but for material set in Greg Stafford’s mythic universe of Glorantha. It enables creators to sell their own original content for RuneQuest: Roleplaying in Glorantha, 13th Age Glorantha, and HeroQuest Glorantha (Questworlds). This can include original scenarios, background material, cults, mythology, details of NPCs and monsters, and so on, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Glorantha Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Glorantha-set campaigns.

—oOo—

What is it?
Vajra of the Skies presents an NPC, his entourage, and associated spirits for use with RuneQuest: Roleplaying in Glorantha.

It is a twenty-two page, full colour, 3.35 MB PDF.
The layout is clean and tidy, and its illustrations, although sparse, decent.

Where is it set?
Vajra of the Skies is nominally set in the Grazelands to the west of Sartar, home to the Pure Horse People, but the NPC and his entourage could be encountered almost anywhere, though he may also be found in the lands of Prax.

Who do you play?
No specific character types are required to encounter Vajra of the Skies. Shaman characters may benefit from their interactions with Vajra of the Skies.

What do you need?
Vajra of the Skies requires RuneQuest: Roleplaying in Glorantha and Glorantha Bestiary as well as The Red Book of Magic. In addition, The Smoking Ruin & Other Stories may be useful as Vajra is related to some of the NPCs the Player Characters may encounter in the scenario of the same name. The Game Master may need to seek further information about the Pure Horse People.
What do you get?
The second volume of ‘Monster of the Month’ presents not monsters in the sense of creatures and spirits and gods that was the feature of the first volume. Instead, it focuses upon Rune Masters, those who have achieved affinity with their Runes and gained great magics, mastered skills, and accrued allies—corporeal and spiritual. They are powerful, influential, and potentially important in the Hero Wars to come that herald the end of the age and beginning of another. They can be allies, they can be enemies, and whether ally or enemy, some of them can still be monsters.
The third entry is Vajra of the Skies, which details a Vajra, a shaman of the Golden Bow who once led the Four Gifts Clan with his younger brother, Rajhan. Since the tragic death of his brother, he has dedicated himself to his duties as his clan’s shaman and to wandering the skies of Dragon Pass on the back of the great vrok hawk Sunfriend, keeping an eye out for potential threats to the Four Gifts Clan. However, in that time, he has become all but lost in his repeated explorations of the Spirit World and addicted to the intoxicants necessary to enhance and extend those explorations. Consequently, his mind has been damaged and his grasp on the mortal realm has weakened.
Vajra may be encountered in the air astride his constant companion, the vrok hawk Sunfriend—from which he prefers to pepper any foes with magic and missiles, should combat ensue from any encounter—or even in the Spirit World, perhaps lost and in need of the Player Characters’ help. He might even seek to trade with them for any of the intoxicants he requires or ask them to obtain them for him. The two adventure seeds in Vajra of the Skies suggest encountering him in the Spirit World or having Vajra’s nephew and current leader of the Four Gifts Clan request the Player Characters track his uncle down and bring him home safe and sound. There is potential too, for a shaman Player Character to become Vajra’s apprentice, which is likely to be more of a challenge than is the norm for training to become a full shaman, given Vajra’s mentally wounded state. However, he is encountered, it will quickly become clear that Vajra is a broken man in need of sympathy and healing.

Lastly, Vajra of the Air describes the ‘Sun Horse’s Mane’, a magic item woven by worshipers of Yu-Kargzant the Sun Horse. This is a seasonal decoration and good-luck charm favoured by adolescents and new adults among the Pure Horse People, which can be woven with different flowers for different effects. It takes much of somebody’s downtime to locate the right flowers and weave them, who must invest Rune Points into the creation, and if successful, grants gifts such as resistance to disease, enhancing the Fertility Rune, and the ability to locate the wearer’s beloved. This is an interesting ‘colour’ item for any member of the Pure Horse People, but perhaps one or two suggestions as to its use could have been included for the Game Master.
Is it worth your time?Yes—Vajra of the Air presents a difficult, but challenging NPC, who can be used to introduce the Player Characters to the Pure Horse People and serve as potential, very difficult mentor for the Player Character shaman.No—Vajra of the Air presents a difficult, but challenging NPC, who might be too awkward to work into a campaign, especially if the Player Characters who do not number a shaman, as well as exploring a subject matter which not every playing group wants to include in its campaign.Maybe—Vajra of the Air presents a difficult, but challenging NPC, who might be too awkward to work into a campaign, especially if the Player Characters who do not number a shaman, as well as exploring a subject matter which not every playing group may want to include in its campaign.

Yesterday, April 10, was the 24th Anniversary of Wizards of the Coast purchasing TSR and of course, D&D.

Wizards of the Coast bought the failing TSR for $25 Million.  Today Wizards of the Coast is worth nearly $1 Billion. 

This means that Wizards of the Coast has been publishing D&D longer than TSR.

TSR D&D 1974 to 1997, 23 years 
WotC D&D 1997 to 2021 (so far), 24 years.

2024, just 3 more years, D&D will celebrate its 50th Anniversary.   IF I was WotC and looking to a new Edition that would either be when I announce it or release it. 

I am not about to speculate what will be in D&D 6 any more than I am willing to speculate when there will be a D&D 6.  I am sure we will see something more akin to D&D 5 though than the radical departures that 3 was from 2, 4 from 3, and 5 from 4. 

No idea if I will upgrade or not.  I have plenty of books and games to keep me happy till I die, to be honest.  But in any case, happy 24th birthday WotC D&D.

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

—oOo—
From the off, Knock! #1 grabs the reader’s attention and starts giving him stuff. Flip open the book and, on the front folded flap of the dust jacket, there is the beginning of a dungeon adventure, ‘Zaratazarat’s Manse’. Flip open this front folded flap and it quickly becomes apparent that the dungeon is continued on the inside of the dust jacket, all the way to the dust jacket’s back folded flap on which the dungeon’s maps have been reproduced for easy reference. Flip the actual book over and on the rear, under the dust jacket is a drop table of options to determine the stats and abilities of the baboon-like demon illustrating both the front and back covers of Knock #1. Even on the title page there is a table, ‘d12 Pamphlets Found In A Dungeon’, and this continues throughout the issue with nary a page wasted and every page filled with something interesting or useful. Leaf through the pages of the magazine and what you have is a panoply of articles and entries—polemics and treatises, ideas and suggestions, rules and rules, treasures, maps and monsters, adventures and Classes, and random tables and tables, followed by random tables in random tables! All of which is jam-packed into a vibrant-looking book.

Knock! #1 An Adventure Gaming Bric-à-Brac was published in January 2021, following a successful Kickstarter campaign by The Merry Mushmen. It is a two hundred-and-twelve page 5.9” by 8.25” full colour book containing some eighty-two entries contributed by some of the most influential writers, publishers, and commentators from the Old School Renaissance, including Paolo Greco, Arnold K, Gabor Lux, Bryce Lynch, Fiona Maeve Geist, Chris McDowall, Ben Milton, Gavin Norman, and Daniel Sell, along with artists such as Dyson Logos and Luka Rejec. The content itself is formatted for use with Necrotic Gnome’s Old School Essentials Classic Fantasy, but readily and easily adapted to the retroclone of the Game Master’s choice. Particular attention should be paid to the look of Knock! #1, which employs vibrant swathes and blocks of colour to break up and highlight the text, along with strong use of differing fonts and quotations. It is clear though that the graphic style Knock! #1 has been heavily influenced by the look (though not the tone) of Mörk Borg, but that is no bad thing as the result is eye-catching and distinctive.

Knock! #1 quickly sets out its stall and identifies what the Old School Renaissance is and what it is not. Brooks Dailey presents ‘What I Want In An OSR Game’, whilst in ‘Old – A comparison of old and new D&D’, Gavin Norman examines why he prefers Old School Dungeons & Dragons to the new through his play experiences, so elements such as objective, challenged-based gaming, encounter-based high adventure, the lack of specific rules and reliance on the Dungeon Master to make improvised rulings, rather than relying on pre-defined rules, rules where necessary, and the like. What this highlights is the fact that in places, Knock! #1 does feel as if it is treading old ground, not just that of the Old School Renaissance, but of Dungeons & Dragons itself. For example, Bryce Lynch’s ‘Wandering Monsters Should Have a Purpose in Wandering Around’ and Sean McCoy’s ‘What Do The Monsters Want?’ both address the issue of monsters being more than mere victims of the Player Characters’ weapons and wizardry, whilst Bryce Lynch’s ‘Better Treasure’ discusses why treasure to be found in many an adventure sucks and suggests ways to make it more interesting. The latter is later supported by ‘300 Useless Magical Loot’, Chris Tamm’s cramped table of magical gewgaws and whatnots. ‘The Danger of Skills’ by Brooks Dailey is very much an Old School Renaissance response to modern Dungeons & Dragons and its use of skills in that they restrict play by telling a player what his character cannot do as much as what they can, rather going by a series assumptions, such as that the character can cook and can ride.

Also traditional are the articles in Knock! #1 on dungeon and adventure design, but what is not traditional, is their approach to them, which are theoretical rather than mechanical in nature. Arnold K presents a ‘Dungeon Checklist’ of things which should be in a dungeon, to be read before and after the Dungeon Master has designed her dungeon, whilst Gabor Lux provides two pieces on the subject. The first is ‘The Overly Thematic Dungeon’ which looks at the balance between populating the dungeon in a spirit of almost random, but fantastical whimsy, and does so whilst keeping a sense of fantastic realism in mind. The conclusion is of course, to find a balance which works for you. The second is ‘The Tapestry and the Mosaic Box: On the Scope of Module Design’, which surprisingly, is inspired by my review of Echoes From Fomalhaut #02: Gont, Nest of Spies in which I criticised his scenarios for a lack of hook to involve the Player Characters. The article does not necessarily change my mind, but it does explain the author’s philosophy and that makes it an interesting response.

Knock! #1 offers plenty of new rules and means of handling various rules and rulings in Old School Renaissance play too. In ‘Does Energy Drain Suck?’ Gabor Lux suggests ways to make the attacks of Wights, Wraiths and other lesser undead more of an immediate and less of a long term effect, whilst Eric Nieudan offers alternative ways in Hit Dice might work in ‘Hit Dice Are Meant to be Rolled’, Vagabundork offers ways to avoid Player Character death in ‘Save vs actual Death?’, and Brooks Dailey gives a new rule system for handling the Class’ skills in ‘1D6 Thieving’ (which oddly follows immediately after his ‘The Danger of Skills’ article). Add to all of this are the numerous tables to be found in the pages of Knock! #1. Daniel Sell’s ‘Wizard Weaknesses’ adds multiple secrets to winkle out and undermine a wizard’s magical prowess, whilst his ‘ The village’s local retired adventurer...’ quickly generates a background for that hoary old veteran nursing a pint in the corner of the local tavern. Good-deal Nobboc’s ‘Get your gear!’ provides d66’s worth of starting equipment, Eric Nieudan suggests ‘20 Gunpowders’, Jack Shear asks, ‘What’s the Deal with Igor’s Hump?’ (complete with a picture of Marty Feldman), and Fiona Maeve Geist explains that ‘My Goblins Are…’ in a  set of tables which create goblins as more fey creatures, mundane and unnatural, but always with something interesting in their pockets. Chris Tamm also provides a complete set of sewer geomorphs and tables in ‘Sewers of Mistery’ to provide an adventuring environment close to home, under the town or city the adventurers are currently in. It also nicely ties in with James Holloway’s ‘My Aesthetic is PATHETIC And Yours Can Be Too.’ which explores the humble, grubby, and dangerous style of play British fantasy roleplaying and also the Character Funnel of Dungeon Crawl Classics Role Playing Game fame.

Elsewhere Knock! #1 explores some interesting issues and issues from interesting angles. With ‘What Kids’ RPGs are Missing’, Ben Milton analyses a playthrough of roleplaying games designed for play by kids, before suggesting that perhaps the high-risk, high-reward structure would be more to their liking, whilst in ‘The Labors of Hercules as OSR Obstacles’ suggests ways in which each of the twelve tasks might work in Old School Dungeons & Dragons-style games. It is not so much mechanical as much looking whether Hercules’ solutions might be the sort of thing players would come up with. Interesting, nevertheless. One of the criticisms of B2 Keep on the Borderlands is that it lacks names for its NPCs, but Nicolas Dessaux uses that as a starting point to apply anthropology, archaeology, geography, and other fields of study to actually find a place for the eponymous keep and explain its various features. It does get close to being dangerously realistic, but it is a fascinating examination of the module from outside of the hobby.
Knock! #1 showcases a range of maps before presenting the more mechanical content—the type of content you would perhaps expect in an Old School Renaissance fanzine—in the last quarter of the issue. The section includes new Classes such as the Living Harness, a living suit of armour once worn by a hero who died on a dark and moonless night and the Ne’er-do-well, lazy vagabonds and the like, rogue-ish, but not thieves, and very, very Vancian, both by Nobboc. None of the six classes are very serious, or even serious at all, and to a certain extent, the same can be said the monsters in the issue, such as Eric Nieudan’s ‘Thurible Cat’, a cast iron in the shape of a portly feline deity which must be fuelled with coal and incense and guards temples and which is actually based on a tea infuser! Lastly, Knock! #1 concludes with three adventures. ‘Citadel of Evil’ is for Player Characters of First to Third Level and is by Stuart Robertson, and sees them enter a mountain and ascend inside it in order to rescue kidnapped villagers. It is more serviceable and linear than interesting. Graphite Prime’s ‘Praise the Fallen’ is more interesting, a race against time for Player Characters of Second to Fourth Level to cultists from resurrecting a Fallen Angel—an angel of chaos—and whilst relatively small presents more of a challenge and a theme. Chris Tamm presents a wizard’s lair in the ‘The Wizard Cave’, which is more of a location for the Game Master to add to her campaign rather than actual adventure. The other adventure, ‘Zaratazarat’s Manse’ is for Player Characters of First and Second Level and has something strange going on in the swamps around a mouldering village. Could it have something to do with a wizard who lives in a hill in the swamp? Of course, it does, but the adventure nicely makes use of random monsters and gives a solid explanation for their appearance.

Physically, Knock! #1 is impressively bright and breezy. The layout is a little cluttered in places and the text a little too busy, but on the whole, it looks good. It needs an edit in places, but the artwork is good and the cartography excellent, but then with Knock! #1 coming out of the Old School Renaissance, it would be remiss if the cartography was anything else.

Subtitled ‘Being A Compendium of Miscellanea for Old School RPGs’, the truth of the matter is that much of the contents of Knock! #1 is far from new. A great number of the longer essays originated as blog posts, so there is a sense of some of the entries being yesterday’s comments and ideas. Much of what they say is still applicable to the Old School Renaissance segment of the hobby today, just as when they were originally posted, and in some cases, when they were explored and examined back in the ‘Golden Age’ of roleplaying that the Old School Renaissance actually draws from. So, this is not to say that the contents are poor or uninteresting or not useful, but rather that having had them published, to ask, “What next?”. As much as Knock! #1 is full of interesting, thoughtful, and useful stuff, should subsequent issues be relying quite so much on blogposts a few years old?

Knock! #1 An Adventure Gaming Bric-à-Brac lives up to both its subtitle and its own description as ‘Being A Compendium of Miscellanea for Old School RPGs.’ It is both a mishmash and an anthology of articles, essays, monsters, tables, adventures, and more—and it works for any retroclone. There is some excellent content in this inaugural issue too, like the ‘Dungeon Checklist’, ‘What Do Monsters Want?’, ‘300 Useless Magic Loot’, and ‘Borderlands’. However, some of the content does feel staid and some of it feels as if it has already been said, but the great thing about not finding one article or entry interesting, is that with over eighty entries in the anthology, all the reader has to do, is flip the page and the chances are that the next entry will be more to his liking. Ultimately, not only an excellent addition to the shelf of any Old School Renaissance Game Master, but in bringing to print a bundle of blogposts, Knock! #1 An Adventure Gaming Bric-à-Brac captures what the Old School Renaissance is like in terms of its aims and its ideas in 2020.

Another one that made it's presence felt in many D&D games at the time.  In fact, I can think of about 4 or 5 different beastmaster classes off the top of my head now.

It has been forever since I have seen this one, so lets see what we have here. 

We have a young Rip Torn as our bad guy Maax ("May Axe").  Some scantily clad witches tell that King Zad's unborn son will kill him. One of the witches is none other than the future Mrs. Wayne Gretzky, Janet Jones. 

The witches transfer the unborn baby to a cow. Here they attempt to sacrifice him but are stopped by Ben Hammer. He takes the baby to raise as his own. 

Soon young Dar shows a strong affinity to animals. And sooner again we have older Dar in the form of mulletted 80s stalwart Marc Singer.  But he gets no time to enjoy it when his village is attacked by Rip Torn's men.  Maax sees Dar's brand from the witches but before he can get him Dar's dog drags him to the wilderness.  Dar returns to his village (seeing out of the eyes of an eagle) only to find everyone dead.  Even his dog died trying to save him.  

We get an 80s training montage of Dar training and learning how to talk to animals, including some ferrets.  Mind you we are now a half-hour into the movie and Singer's most significant dialog has been with the ferrets. 

I can say it is much slower than I remember, but not as cheesy.  Oh, it is still cheesy, but not as bad as I remember.  I think I was getting it confused with some Roger Corman flicks.  Credit to the movie, they use a lot of real animals and Marc Singer seems really comfortable with them.  Today they would just use CGI.

The Beastmaster may have supernatural powers but that doesn't mean he isn't above using them to steal (the now sadly late) Tanya Robert's clothes or scare her a bit with his lion. 

There are some cool winged "bird-men" or something, but Dar doesn't fight them.

Dar finds a city "Aruk" with a ziggurat (a model, but not a bad one) and the road is lined with dead people long before the same was seen in Meereen in Game of Thrones.  Rip Torn is here sacrificing children but Dar saves one with his eagle.  An effective scene, it would have been better if the eagle had saved the child and tore out Rip Torn's eyes or something, but we still have an hour to go.  Plus Dar returns the child, so I guess the eagle was busy.  Pretty solid good vs evil lines are being drawn here. 

John Amos shows up as Seth.  He appears to be some sort of Monk.  This is one of the roles he took after Good Times.  I always like John Amos, he should have been a much bigger star than he was.  

The undead guards are kind of cool too. Even little Kodo got to be a hero in the end. 

This was much better and more fun than I recall, to be honest.  Nice to have this kind of surprise really

Gaming Content

Lots really.

Ring of Scrying. This ring has an eye set into it like a gem.  Any spellcaster that can scry (Magic-users, witches) can see through this ring using a scrying medium such a pool, mirror, or crystal ball.  Witches will give these to servants and cowans so they can literally keep an eye on them. Damage to the ring though will damage the witch viewing through it.

Beastmaster classes. I covered these a while back in a Class Struggles.

Something a little different today.  Different in that I talk a lot about the Succubus, but never really anything at all about their male counterpart the Incubus.  Since my next book after the Basic Bestiary is going to be about Demons and Devils, I figure I better get one detailed here.

The Monster Manual and medieval demonologies are replete with all sorts of "male" demons. The Monster Manual itself only has two female demons, the succubus and marilith, and only one female devil, the Erinyes. Four if you include the Night Hag (but more on that later).  Because of this, I have never really seen a need for the Incubus.  There is one "Species" the Succubus and she can shapeshift however she feels fit.  And for what it is worth that is still true.  Though I got to thinking what if the incubus was something else.

Going back to my cover, Fuseli's The Nightmare, there is an imp sitting on the chest of a sleeping woman while a ghostly horse, a Nightmare, looks on.  There are two versions of this painting, but both are the same.

The creature on her is an incubus. This got me thinking.  What if the incubus is NOT the male version of this:

But rather the demonic version of this:

An incubus is an imp-like demon that is a demonic mockery of the cherubic cupids of Renaissance and Victorian art. 

I like it to be honest. They invade women's dreams and appear to be a tall strapping male that makes love to them all night, leaving them drained (Constitution drain).  They are kin to the Succubi (they are both Lilim) and might even be the offspring of succubi and humans.

Now...I am still working on a few things for the demon book.  One of the reasons they are not in the Basic Bestiary is because I have not worked out all the issues with their stat blocks and all the demonic families I have.  I mean are succubi Chaotic Evil, Lawful Evil or Neutral Evil?  I have seen them done all three ways.  Is the Lamia a monster or are they demons?  Still too many unanswered questions.  But until then, here is an Incubus.

Incubus
Small Fiend (Demonic, Lilim)

Frequency: Very Rare
Number Appearing: 1 (1)
Alignment: Chaotic [Neutral Evil]
Movement: 90' (30') [9"]
    Fly: 120' (40') [12"]
   Spirit: 240' (80') [18"]
Armor Class: 6 [13]
Hit Dice: 5d8+15** (38 hp)
   Small:  5d6+15** (33 hp)
THAC0: 15 (+5)
Attacks: 1 claw or special
Damage: 1d4
Special: See below
Save: Monster 5
Morale: 10 (8)
Treasure Hoard Class: None
XP: 575 (OSE) 660 (LL)

The incubus is sometimes considered to be the male counterpart to the succubus.  While a succubus can change shape to male, the incubus is a different, but a related creature.  Like the succubus, the incubus can invade the dreams of their victims.  This is often how they make their first contact with the victim.  In this form, the incubus is merely a spirit and cannot attack or damage.  But once they have made contact and their victim, usually a woman of pure and good standing, they will begin their nightly visits.

The incubus can appear as any sort of creature or person the woman desires.  If that desire is say forbidden such as the love of a man married to her sister or the head of a church, then incubus' connection will be stronger. During these nightly visits, the incubus will drain 1 point of Constitution from the victim.   Any incubus typically has a few victims he sees every night, so one sign of an incubus problem would be many women wasting away over the course of a week.  When they reach zero Constitution the incubus will take their soul to be bartered in the lower planes.  

The true form of an incubus is that of a gargoyle-like imp creature about 3' to 3½' tall. It has small leathery bat-like wings, a pinched evil little face with a mouth full of sharp teeth, and tiny hands with small sharp claws. They are covered in fur and smell of soured milk, body odor, odor, and brimstone. 

An Exorcism spell will remove their spirit forms.  A Protection from Evil spell will keep them at bay for the duration.  They can only be harmed by magic or magical weapons. Killing an incubus sends it back them the lower planes. Once the threat is abolished victims can heal at the rate of 1 Constitution point of bed rest each week. 

Talismans and amulets that protect wearers from demons will work, but only if they are specifically crafted for incubi or succubi. 

--

Not bad.  Not 100% perfect yet, but I have some time.  I still need to work in magic resistance and what demonic abilities all Lilim share. 

The Incubus has three different kinds of movement and of course, has the reduced hp of a small creature.

What has become known as the ‘AGE’ or ‘Adventure Game Engine’ was first seen 2010 in Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5, the adaptation of Dragon Age: Origins, the computer game from Bioware. It has since been developed into the Dragon Age Roleplaying Game as well as the more generic Fantasy AGE Basic Rulebook and a more contemporary and futuristic setting with Modern AGE. Published by Green Ronin Publishing, it covers every era from the Industrial Revolution to the modern day and beyond, and able to do gritty action or high adventure, urban fantasy or a dystopian future. In addition to providing a ‘Classless’ iteration of the AGE System, the Modern AGE Basic Rulebook provides sufficient focuses, talents, and specialisations to take the Player Characters from First to Twentieth Level, fast-paced action built around action, combat, exploration, and social stunts, both arcane magic and psychic powers to elements of the outré and so do Urban Fantasy, solid advice for the Game Master—whether new to the game or a veteran of it, and a sample introductory adventure, all ready for play. All of which comes packed into a relatively slim—by contemporary standards—hardback.

The Modern AGE Basic Rulebook is divided into two sections. The first and slightly longer section is for the players, its chapters covering character creation, basic rules, character actions, equipment stunts, extraordinary powers, and so on. The second is for the Game Master and covers her role, mastering the rules, provides an array of adversaries, rewards for the Player Characters, settings, and the scenario. It does not come with its own setting, but explores a number of ideas and genres including historical, steampunk, gothic and cosmic horror, Film Noir, and more. It lists a number of inspirations in each case and together these should provide enough inspiration for the Game Master to conduct further research and come up with a setting of her own.

A character in Modern AGE is defined by Abilities, Focuses, and Talents. There are nine abilities—Accuracy, Communication, Constitution, Dexterity, Fighting, Intelligence, Perception, Strength, and Willpower. Each attribute is rated between -2 and 4, with 1 being the average, and each can have a focus, an area of expertise such as Accuracy (Assault Rifles), Communication (Gambling), Intelligence (Astronomy), or Willpower (Courage). A focus provides a bonus to associated skill rolls and, in some cases, access to a particular area of knowledge. A Talent represents an area of natural aptitude or special training, and is rated either Novice, Expert, or Master. For example, at Novice level, the Burglary Talent provides a Player Character with extra information about a security system or set-up when studied and an Intelligence (Security) test is made; at Expert level, a Dexterity (Sabotage) test to get past a security system can be rerolled; and at Master level, a Perception (Searching) test can also be rerolled. As a Player Character goes up in Level, he can acquire Specialisations, such as Agent or Performer, which grant further bonuses and benefits. A character also has a Background, Social Class, and Profession, plus a Drive, Resources and Equipment, Health, Defence, Toughness, and Speed, and Goals, Ties, and Relationships.
To create a character, a player rolls three six-sided dice for each Ability—assigning them in order, but can swap two, and then rolls for Social Class and an associated Background and Profession. A Background provides an Ability bonus, a choice of a Focus, and a choice of a Talent, plus randomly determined Focus or Talent, whilst a Profession provides a pair of Focuses and a pair Talents to choose from, plus a resources score and starting Health. The player selects a Drive, such as Achiever or Networker, which grants another pair of Talents to choose from as well as an improvement to a Relationship, a Reputation, or Resources. The process itself is fairly quick and results in a reasonably detailed character.

Our sample Player Character is Dominic Grey, a journalist specialising in military affairs. He grew up a military brat and attended military college, but did not serve in the armed forces following a training exercise. Instead he currently combines a part-time junior post at a local university with freelance journalism, both roles specialising in military affairs. Although in good health, his injuries prevent from taking too active a life and he occasionally walks with a cane.

Dominic Grey
Race: Human
Social Class: Lower (Military)
Occupation: Professional
Level: 1

Accuracy 2
Communication 2 (Expression)
Constitution 3
Dexterity -1
Fighting 3 (Brawling)
Intelligence 3 (Tactics)
Perception 1
Strength -1
Willpower 2

Defence 09 Toughness 3 Speed 10 Health 18
Talents: Expertise (Tactics) (Novice), Knowledge (Novice), Self Defence (Novice)
Drive: Judge
Resources: 6, Membership (Rank 1)

Mechanically, the AGE System is simple enough. If a Player Character wants to undertake an action, his player rolls three six-sided dice and totals the result to beat the difficulty of the test, ranging from eleven or Average to twenty-one or Nigh Impossible. To this total, the player can add an appropriate Ability, and if it applies, an appropriate Focus, which adds two to the roll. For example, if a Player Character comes to the aid of a car crash victim and after pulling him from the vehicle, wants to render first aid, his player would roll three six-sided dice, apply the Player Character’s Intelligence Ability, and if the Player Character has it, the Medicine Focus.

However, where the AGE System gets fun and where the Player Characters have a chance to shine, is in the rolling of the Stunt die and the generation of Stunt Points. When a player rolls the three six-sided dice for an action, one of the dice is of a different colour. This is the Stunt die. Whenever doubles are rolled on any of the dice—including the Stunt die—and the result of the test is successful, the roll generates Stunt Points. The number of Stunt Points is determined by the result of the Stunt die. For example, if a player rolls five, six, and five on the Stunt die, then five Stunt Points are generated on the Stunt die. What a player gets to spend these Stunt Points on depends on the action being undertaken. In 2010, with the release of 2010 in Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5, the only options were for combat actions and the casting of spells, but subsequent releases for Dragon Age – Dark Fantasy Roleplaying expanded the range of options on which Stunt Points can be spent to include movement, exploration, and social situations. This has been carried over into Modern AGE and expanded. Combat covers firearms, grappling, melee, and vehicles, as well as basic combat stunts, whilst Exploration stunts cover exploration, infiltration, and investigation, and Social stunts cover social situations, attitude (of an NPC towards another NPC or Player Character), and membership and reputation stunts.

So, what can stunts do? For example, for one Stunt Point, a player might select ‘Whatever’s Handy’ and grab the nearest improvised weapon, which though clumsy and possibly fragile, it will do; for five Stunt Points, select ‘Break Weapon’, which forces an opposed melee attack roll and if successful, disables the opponent’s weapon; or with a firearm, choose ‘Called Shot’ at cost of four Stunt Points, which turns the damage from an attack into penetrating damage. In an Investigation, ‘Flashback’ costs a single Stunt Point and reminds the Player Character of something he forgot, whilst in a social situation, ‘From the Heart’ costs four Stunt Points and enables the Player Character to express wholeheartedly a belief that it temporarily grants a Willpower Focus.
For example, walking home at night, Dominic Grey is spotted walking with his cane by two muggers, armed with baseball bats, who decide to take advantage of him. Dominic’s player makes an initiative roll for him, whilst the Game Master rolls for the muggers, a straight roll modified by their Dexterity Ability. Dominic’s player rolls eleven, modified to ten, whilst the muggers get a total of sixteen, so the order is the Muggers and then Dominic. The Muggers have Fighting 1, Fighting (Brawling), Dexterity, and Defence 10. Both the Muggers get a Major and a Minor action each round. Mugger #1 makes a Move as his Minor action, followed by a Charge as his Major action, which grants him a +1 bonus to his attack roll. The Game Master rolls three six-sided dice, adds +1 for Mugger #1’s Fighting Ability and +1 for the Charge action bonus, plus the standard +2 bonus for the Short-Hafted Weapon Focus. The Game Master rolls two, three, and five for a result of ten, plus the bonuses for a total of fourteen—enough to beat Dominic’s Defence of nine. The Game Master rolls for damage and Dominic suffers seven damage. The Game Master then rolls for Mugger #2, but rolls one, one, and two, which although it includes doubles, means that he misses.

The miss by Mugger #2 triggers Dominic’s Self Defence Talent, which allows him to use the Grapple Stunt, which normally costs a Stunt Point, for free. This requires an opposed Fighting (Grappling) test. The Game Master rolls two, four, and six for Mugger #2, plus his Fighting Ability for a total of fourteen. Dominic’s player rolls three, four, and six, plus his Fighting Ability for a total of sixteen. This is more than the Mugger and means that Dominic has a hold of him and he cannot move. It is now Dominic’s turn and his player rolls four, four, and six on the Stunt die. This beats Mugger #2’s Defence and generates six Stunt Points. Dominic’s player first spends two of these with the Hinder Stunt. Up to three Stunt Points can be spent on this, reducing damage taken from your opponent by two for each Stunt Point spent until Dominic’s next action. His player spends two Stunt Points on this. The remaining four are spent on Hostage. This requires another opposed Fighting (Grappling) test and enables Dominic manoeuvre Mugger #2 into a vulnerable position. If the Mugger #2 does anything other than a free action on his next turn, or if Mugger #2 attacks Dominic, he can make an immediate attack with a bonus. The Game Master rolls one, four, and five for Mugger #2, plus his Fighting Ability for a total of eleven. Dominic’s player rolls four, four, and five, plus his Fighting Ability for a total of sixteen. Dominic now has Mugger #2 in his grip and as Mugger #1 moves to attack, he manoeuvres Mugger #2 into the path of Mugger #1’s swing of his bat…Another use for the Stunt die is to determine how well a Player Character does, so the higher the roll on the Stunt die in a test, the less time a task takes or the better the quality of the task achieved. The main use though, is as a means of generating Stunt Points, and whilst Stunt Points and Stunts are the heart of the action in Modern AGE, there are a lot of them to choose from. Now they are broken down into categories, and that does limit what a player can choose from. Nevertheless, there is potential here to slow play down as players make their choices and work what is best for their characters or the situation. This should lessen as players get used to the system and what Stunts work best with their characters.

In addition to covering action, combat, exploration, and social scenes, Modern AGE covers rules for handling resources (money), reputation, equipment, and more. In particular, the more is comprised of ‘Extraordinary Powers’, divided into Arcane and Psychic powers, for example, Gremlins and Arcane Hack are effects which are part of the Digital Arcana and Kinetic Strike and Levitation are effects part of the Telekinesis Psychic Power. Each Arcana or Psychic Power is a Talent, which can be swapped out with a starting Talent during character creation or selected when a Player Character rises in Level and is eligible to choose a Talent. Depending, of course, if they are part of the Game Master’s campaign. Each Arcana and Psychic Power has its own Focus and both are fuelled by Power Points, the cost ranging between two and ten Power Points, depending on the effect. Tests are required to use an effect and so can generate Stunts Points just as with any other test. The list of Power Stunts available will be familiar to anyone who has played a mage in Dragon Age – Dark Fantasy Roleplaying. The use of Arcane and Psychic powers is entirely optional, but opens Modern AGE most obviously to the Urban Fantasy genre, but they could be mixed into a variety of different campaign settings.

The second half of Modern AGE is devoted to the Game Master and provides advice on how to run a game, game and scene types, play styles, frame particular tests, and so on. For example, it explores how to frame a breach attempt with various examples, like infiltrating a gang or hacking a computer. It does this for chases and combat as well, along with sample hazards. Other threats are presented in the form of adversaries, ranging from Assassin, Brainwashed Killer, and Cat Burglar to Psychic, Rich Socialite, and Smooth Operator—with lots in between, all of them human. Although most of the discussion of campaign types is in the Game Master section, the actual mechanics for campaigns are back at the beginning of the players’ section and run right through it. This is because they directly affect the roleplaying game’s mechanics. Modern AGE can be set in one of three modes—Gritty, Pulpy, and Cinematic. In Gritty Mode, a Player Character can be almost as easily injured as people in real life and one bullet is enough to put him out of action, and whilst he might get more skilled, a Player Character does not get tougher as he gains more experience. Stories in the Gritty Mode tend towards realism. In Pulpy Mode, the Player Characters are more obviously heroic and grow both tougher and skilled, and stories involve more action. In Cinematic Mode, the Player Characters are tough and heroic and only tougher and more heroic. Throughout the Modern AGE Basic Rulebook there are colour-coded sections which denote which rule applies to which mode, for example, Toughness works slightly differently in each mode, not all of the roleplaying game’s Stunts are available in each mode, and the adversaries have different Health, Defence, and Toughness depending upon the mode being employed. Each of the three modes makes for a different game and type of story, but no less action or success orientated with the generation and expenditure of Stunt Points.

The Modern AGE Basic Rulebook discusses a wide array of genres, from adventure and alternate history to procedurals and urban fantasy, along with various ears, running from the Age of Reason and the Victorian Age to the Cold War and the Present Day (and beyond). It devotes roughly a third to half a page to each, along with suggested further viewing. None of the discussions are overly deep, instead they do serve as a solid starting point for the Game Master, from which she can conduct further research. Rounding out Modern AGE Basic Rulebook is ‘A Speculative Venture’, designed for First Level Player Characters. The latter attend an exclusive party held by the wealthy CEO of a technology giant to remember the legacy of a cutting-edge inventor who died the year before. When a new technological break-through is revealed—the exact nature of which is left up to the Game Master to decide—it all takes a nasty turn as masked gunmen crash the party, take hostages, and it is all up to the Player Characters to come to the rescue. Involving a good mix of social and action scenes, ‘A Speculative Venture’ is a relatively short adventure, but should serve to introduce the players to the rules and what their characters are capable of.

Physically, the Modern AGE Basic Rulebook is cleanly presented, illustrated throughout in full colour, using the same cast of characters, which gives it a pleasingly consistent look. The book is also very easy to read and the rules easy to grasp. In terms of content, it is difficult to find actual flaws in the Modern AGE Basic Rulebook. Although it discusses a lot of settings, these are done in the broadest of terms, so perhaps its might have been useful to have included one or two more detailed and worked out settings, with one of them including the use of the roleplaying game’s Arcane and Psychic powers. Thus, giving the Game Master and her players something a bit more detailed to play in. The Modern AGE Basic Rulebook is designed to cover any period from the Industrial Age to the modern day, and beyond, but what that beyond is, is never really explored. Is it Urban Fantasy, is it something else? It is not Science Fiction, as that is too beyond what the Modern AGE Basic Rulebook covers. To be fair though, these are minor issues, if they are issues at all.

When Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5 was published in 2009, it not only presented a setting based on a popular computer game, it also presented a simple, playable set of rules that enabled a group to play straightforward fantasy with cinematic action. For the then Dragon Die and Stunt Points mechanics proved to be both elegant and easy—and above all, fun. In the form of the Stunt Die and Stunt Points, the Modern AGE Basic Rulebook retains these same elements, but expands them to encompass another genre—two including Urban Fantasy, and provide options and actions which allow them to shine in a variety of different situations. It is ably supported by solid advice for the Game Master for both running the game and setting up a campaign. Overall, the Modern AGE Basic Rulebook packs a lot of punch in supporting action aplenty in its mechanics and the chance for the Player Characters to shine.

Hags a huge part of any stories around or about witches and witchcraft.  Nearly any fair tale witch can be or has been described as a hag.  While through the various versions of the game a Hag has either been their own kind of creature, a giantess or even a monstrous humanoid, they have eventually settled on the place I have always thought they work best, as a type of Fey creature.  Sure they are evil, no question about that, but this also gives them a bit more.

Hag, Chaos
aka Chaos Crone
Medium Fey (Chaos)

Frequency: Very Rare
Number Appearing: 1 (1d3 only with other types of hags)
Alignment: Chaotic [Chaotic Evil]
Movement: 120' (40') [12"]
Armor Class: 7 [12]
Hit Dice: 6d8+6** (33 hp)
THAC0: 13 (+6)
Attacks: 2 claws, 1 bite or special
Damage: 1d6+2 x2, 1d4+2
Special: shape change, charm, witch magic, hag powers, fey qualities
Save: Witch 6
Morale: 10 (12)
Treasure Hoard Class: VII (V) 
XP: 950 (OSE) 980 (LL)

Str: 16 (+2) Dex: 12 (+2) Con: 14 (+1) Int: 16 (+2) Wis: 15 (+1) Cha: 12 (0)

Chaos hags are among the smallest, least physically powerful of all the hags.  What they lack in physical prowess they make up for in deviousness and cunning. 

Chaos Hags live to disrupt and cause chaos. The favorite form and tactic is to disguise themselves as a beautiful and innocent woman who has suffered some tragedy.  She will insert herself into a family, village or town.  Small enough that everyone knows everyone, but large enough to give her options.  She will then attempt to charm and seduce anyone she can to bring about distrust.  She will cause all sorts of seemingly unrelated mischief.  She won't be able to help herself though and sooner or later someone will get killed, either by her hand or someone she has charmed to do so. 

Once she has the area in a complete uproar she will try to get the most upstanding citizen to "run away with her" so they can be together.  If this citizen is a lawful cleric or good paladin then even better.  While in the lover's embrace she will then transform to her normal hideous state and kill and eat her former lover.  The next phase of her chaos will arise when leaves any children from this union at the doorstep of a good and lawful family.

The children appear normal at first. The girls are even quite beautiful but over time the boys will become Calibans (qv) and the girls will become a random type of hag when they reach 60 years of age. Despite their normal looks, they will be fully chaotic evil creatures and will continue in their mother's footsteps.

The chaos hag can attack with her claws and teeth like many other hags and she can command the spells of a 5th level witch. She can control animals to do her bidding as per the spell Animal Control. She can cast a Charm Person up to three times per day.  She is immune to sleep, charm and hold spells and only takes half damage from the cold.  She is vulnerable to cold iron and takes double damage from that.  She cannot enter holy ground unless invited and singing makes her angry. 

Given that she can birth other types of hags leads scholars to believe that they are a step between the common hags, the night hags, and the Urhags.  But no scholar has thus far been willing to test their theories.  A Chaos Hag can live anywhere in any climate.  When she is not causing trouble she can be found in a particularly dark and desolate cave. 

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Another feature I am trying out are ability scores for each monster.  These have become commonplace now for the last 20+ years of the game.  I do have all of these and use them to help figure out pluses to HP due to constitution, damage due to strength, and AC due to dexterity. 

While I do have these for every monster I am not 100% I need them. What are your thoughts.

After the last three weekends, it’s time to stay home for a little bit. The first Triffid Ranch Porch Sale of the season opens this Sunday at 10:00 out in front of the gallery, and I’ll keep the tent up … Continue reading →

With Down There both author and publisher expand their range into a whole other genre, a whole other game system, and a whole other setting. Both Adam Gauntlett and Stygian Fox Publishing are best known for their ventures in Cosmic Horror and titles for use with Call of Cthulhu, Seventh Edition and Trail of Cthulhu. Adam Gauntlett for titles such as The Man Downstairs and Stygian Fox Publishing for titles such as Things We leave Behind. With Down There, both author and publisher have released their first fantasy adventure, their first scenario for Dungeons & Dragons, Fifth Edition, and their first scenario set in the Forgotten Realms.

Down There—subtitled ‘A Fight Against the Shadows of a Sunken Temple from the Award-Winning Maker of Horror RPG Adventures’—is set in Curgir in the northern vales of the Evermoors in north-west Faerûn, a village famous for its apples and its cider, but also for its strange past. The village was once the site of a great temple which was built following the defeat of a cult devoted to the Horned Devil Caarcrinolaas and subsequently swallowed up by the ground, never to be seen again. Inhabited by a mix of Humans, Halflings, and Half-Orcs, the land on which the village sits is owned Greystone Abbey, which has established a Chapter House in the village. The monks of the Chapter House collect rent, settle disputes, and maintain common land. More recently, the monks at the Chapter House have decided to re-establish the temple with the aim of this one not sinking into the ground like the last one. To that end, the head of the Chapter House hired Marin Chain-Breaker, a Dragonborn Exorcist to determine a means of preventing that—and now he has. He plans to hold a holy wedding on the land where the new temple will be, the ceremony aiding in the reconsecration of the ground. Designed for Player Characters of First to Fourth Level, Down There will see them encounter strange creatures of shadow, dark secrets of the past, and Halfling Monks who are not what they seem!

The Player Characters are hired by Marin Chain-Breaker to escort him to Curgir and help him in his plans to re-establish the temple and prevent its disappearance. The story kicks into action when they come across signs of an abduction on the path and a note that should have been taken to Greystone Abbey. It appears that of late, the villagers are upset about the Chapter House’s leadership of Curgir, but do not give specifics as to why. Once the Player Characters reach Curgir, they find its inhabitants slightly subdued, but they can learn more with a bit of gossip. All clues point to the Chapter House, and there the Player Characters will have the first of the scenario’s two confrontations with darkness and evil. The second will likely follow after—though the scenario’s two big encounters can be played in any order—and take place in the remains of the temple that was lost… There the Player Characters will battle for the souls of the bride and groom to be, and more!

Down There involves a good mix of investigation and interaction, as well as the two combative confrontations. It comes very well appointed, as you would expect for a scenario from Stygian fox Publishing. The artwork is excellent and the maps very clear, whether for the players or the Dungeon Master. It does need an edit in places, though. Unfortunately, that is a minor problem when compared to the difficulty that the Dungeon master might have in running Down There. The issue that the contents of the scenario are not very organised. Once past the short introduction, the reader is quickly into a list of rumours and clues relating to the mystery of what is going on in Curgir, followed by an explanation of what Marin Chain-Breaker wants, and then into the scenario itself. Down There simply does not take the time to explain to the reader and potential Dungeon Master what exactly is going on in the village before diving into the plot itself. The result is that Dungeon Master has to learn it fully as she reads and thus everything is at first a surprise followed by a greater effort to pull its various elements into something that she can run.

Despite the issue with the organisation, Down There is a more than serviceable scenario. It is well presented with good maps and nicely done NPCs. It neatly subverts both the jolly image of both the Halfling Race and the reserved characters of the Monk Class, together a default combination in Dungeons & Dragons since Dungeons & Dragons, Third Edition, and turns them into something greedy and venal. There is a strong streak of horror too, with some creepy moments, primarily involving the shadows which permeate the village. Whilst it needs more preparation than it really should, Down There is a good combination of the horror genre with the fantasy and would add a darker, slightly twisted feel to any Dungeons & Dragons setting, not just the Forgotten Realms.

Welp, with help from Loyd Cryer of Texas Frightmare Weekend and his video assistants, we’re going to try again with the Thursday night videos on Twitch, tonight focusing on Sarracenia flava pitchers and flowers. (Just be glad that Smell-o-Vision isn’t … Continue reading →

Another creature from the stories and myths of Scotland.  This time a creature that is either a faerie or a ghost.  While the desire is there to classify everything, sometime the creature in question has many properties and game designers do the best they can.  So today I am presenting the Glaistig; the Woman in Green or the Witch of the Wood. 

Like the Banshee, the Glaistig is one of many different types of faerie women that might also be ghosts that inhabit the stories, myths, and legends of the British Isles. While the Banshee can be slotted, game-wise, as a ghost, the Glaistig makes more sense as a living faerie creature.

Woman in Green by Gary Dupuis

Glastig
aka Witch of the Wood, Green Lady
Medium Fey

Frequency: Very Rare
Number Appearing: 1 (1)
Alignment: Neutral [Chaotic Neutral 75%, Chaotic Good 20%, Chaotic Evil 5%)
Movement: 120' (40') [12"]
Armor Class: 7 [12]
Hit Dice: 9d8+9** (50 hp)
THAC0: 12 (+7)
Attacks: 1 slam or spell
Damage: 1d6+2
Special: Witch spells, Fey qualities, become ethereal at will. 
Save: Witch 9
Morale: 10 (10)
Treasure Hoard Class: None 
XP: 2,300 (OSE) 2,400 (LL)

A glastig is a green-skinned woman with the legs of a donkey. She will often hide these in long dresses. Since she has the ability to become ethereal she is often thought of as a ghost. 

She prefers not to attack physically but can do so by launching herself with her powerful legs to slam into a creature. Otherwise, she can cast spells as a Witch of the 7th level and make herself ethereal at will.

As a fey creature, she is immune to the effects of a ghoul's paralysis. Silver or magic weapons are required to hit. Cold iron weapons can be used and will do double damage.  

The glastig protects her lands and area fiercely. She will attack invaders but can aid those that also protect her lands. Glastigs will work with other fey creatures to keep their lands safe.  For this and her magic use, they are often called "the witch of the woods." They are also known as "The Green Lady" due to their skin color and the color they are favored to wear. 

To appease a glastig it is common to leave a bit of milk in a bowl on a rock near where the glastig is believed to live.  When no one can see the glastig will drink the milk and add whoever left it out to her circle of protection and be inclined to be Good towards them.  If the milk is spoiled when left out the glastig will disfavor the humans and become Evil.  Most times the glastig is neutral to humans. 

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She is a bit like a dryad and a bit like a nymph but a lot more powerful.  This is not the first monster I have made that uses witch magic, nor will it be the last.

My interest in RPGs and D&D, in particular, came from my love of Greek myths.  I was already a fan of Greek myths when I first picked up a copy of the AD&D Monster Manual all the way back in 1979.   So I could not in good conscious even think about bringing a new monster book to life if it did not somehow honor both my love for those old myths and that original book.   So to that end, here is the Faun, a creature from Greek/Roman myths and related to the satyr of those myths and the Monster Manual.

Faun
Medium Fey

   Faun  Greater Faun Frequency:   Very Rare  Very Rare Number Appearing:   1d4 (1d8)  1d2 (1d6) Alignment:   Neutral (Chaotic Good)   Neutral (Chaotic Neutral) Movement:   120' (40') [12"]  180' (60') [18"] Armor Class:   6 [13]  4 [15] Hit Dice:   1d8+1* (6 hp)
 4d8+4* (22 hp) THAC0:   18 (+1)  15 (+4) Attacks:   1 weapon, song  1 weapon, song Damage:   1d6  1d6+1 Special:   Song, fey qualities   Song, fey qualities Save:   Elf 1  Elf 4 Morale:   8 (8)  8 (10) Treasure Hoard Class:   XVI (G)  XVI (G) XP:   15 (OSE), 15 (LL)   200 (OSE), 215 (LL)

Fauns are fae people of the forest who love to entertain guests and go on dangerous quests. They can be rash and temperamental, and sometimes are reckless with the powers of their music. They are friendlier to men than most faeries, though are quickly angered by the destruction of woodland.  Fauns, like satyrs, are the male counterparts to nymphs and dryads.  When not playing music or drinking they are usually found chasing after nymphs.  The offspring of a faun and nymph is a satyr if male and a nymph if female.  As a creature of the fey, the faun is vulnerable to iron. They take double damage from any weapon made from cold iron.  Additionally, they are immune to the effects of charm, sleep or hold spells unless they are cast by another fey creature of greater level/HD.

Fauns are the wilder cousins of the satyr.  Like satyrs, they are rarely surprised (1 on a 1d8).  Fauns all play musical instruments like pan pipes, flutes, or drums.  If a faun plays everyone that hears must make a save vs. Spells or be affected by an Irresistible Dance spell. If the faun is with a mixed group of satyrs then their song of charm, fear, or sleep can also be in effect, with separate saves.  

A faun will engage in combat to protect their lands, their fellow fauns, and nymphs or their herds of goats.  Typically a faun is very much the stereotype of a lover and not a fighter.  They can be bribed with wine, the stronger the better.  

A faun appears to be much like a satyr.  They are medium-sized with human-like broad hairy chests and muscular arms.  Their lower half is that of a goat.  Their faces are a combination of elf and goat with elongated faces, goat-like years and horns, and a beard. 

Greater Faun:  Greater Fauns are the larger and wilder varieties of fauns and satyrs.  They are stronger and tougher than normal fauns and will act as leaders.   Greater Fauns will claim descent from some god, typically Pan or some other primal nature diety. 

Each greater faun has a True Name. Anyone that knows the True Name of a greater faun has power over him as per the spell Suggestion. 

Some greater fauns are shamans and can also cast spells as a 2nd level druid.

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So a tabled monster block today with two varieties.  These are proper fae creatures so they have the vulnerability to iron. 

Doing this table has pointed out some deficiencies in my approach though.
For starters, my Treasure Type/Horde Class needs some work.  While XVI (G) makes sense to anyone that plays Labyrinth Lord and/or OSE, it is fairly inelegant. One, XVI or G would suffice.  I guess I could just put the treasure types in the back of the book and work it out that way. 

Secondly, and this is related to the same larger issue, my XP values are also a bit of an eyesore.  Yes I am happy with the numbers I am getting.  But while OSE and LL are covered this does nothing for the GM using say Swords &Wizardry or AD&D.  I could just leave it blank, but XP listings are one of the really great things about later books and editions of the game.

Likely there will be a table in the back of the book with all the monsters listed with their XP values for various systems.  That makes the most sense.  But likely I will leave at least one there.