Monthly Archives: December 2013

Running I11 Needle at Gen Con in 1984

Way back in 1984, my gaming interests had wandered from Advanced Dungeons & Dragons to other role-playing games, and I began running events at Gen Con with my own homebrew rules. I was not an RPGA member then. Perhaps the RPGA found themselves pinched for judges, because they asked if I would run an RPGA slot, and I agreed.

Needle cover letter
Needle Gen Con 17

Recently, I stumbled on the packet for the adventure that I ran. Nowadays, judges receive adventures as PDF files. Back then we got mailed pages fresh from a photocopier in Lake Geneva. This module would later see print as I11 Needle. In 1984, Gen Con took place on the campus of University of Wisconsin-Parkside. At the con, I ran the game in a classroom–I’ve never enjoyed such a quiet setting for a convention game since.

I11 Needle

With the confidence of youth, I gave the adventure a quick read, I assumed I could return to the AD&D rules after a couple of years away, and I expected to dazzle my players. The event failed to go as planned. As we played, I found myself scrambling to read the adventure ahead, and at the end, my players politely filled me on on the rules I’d forgotten. I got no complaints, so I cannot be certain that I left unhappy players, but thinking back on this event makes me cringe. I suspect that in a box in Wizards of the Coast headquarters sits a file transferred from TSR that includes a permanent record of any poor feedback scores I received. I wish I could run that table over again, and do it properly.

Whenever I sit down as a dungeon master, especially with strangers at a convention, I feel a keen responsibility to make them pleased they spent four or five hours gaming with me. This responsibility explains some of the reason I arrive at the table with miniatures, props, and pages of notes. I know DMs who just bring dice and a battle map, and who give their players a smashing time, so perhaps I overcompensate, but every time I sit in the DM’s chair, I try to redo that table in 1984 and do it right.

3 reasons science and ecology make a bad mix for some monsters

Larry Niven's disk

The Magic Goes Away inspired Larry Niven’s disk

Back in the formative years of Dungeons & Dragons, speculative fiction enjoyed something of a fashion for combining science and fantasy, so the popular Pern and Darkover novels provided scientific explanations for what fantasy-flavored worlds of dragons and magic. Meanwhile, in The Magic Goes Away and related stories, hard science fiction author Larry Niven treated magic as science and investigated all the implications.

Readers appreciate these kind of hybrids for a couple of reasons. The injection of science gives magical concepts a boost of plausibility. In some future world, perhaps science really could engineer telepathic dragons as in Pern. Plus writers and readers who enjoy explaining things with science’s reasoning get to play with fantasy’s toys. I share these impulses. I’ve never been entirely satisfied with fantasy that leans too heavily on “just because” to explain candy houses and winged monkeys. I keep trying to imagine a scientific explanation for the long and varying seasons in the world of George R. R. Martin’s Game of Thrones, even though I’m confident George has no such explanation to offer. In Westeros, seasons last for years because it supports theme and story. Winter is coming. Part of what makes fantasy powerful is that not everything needs explanation. Sometimes Fantasy just needs to feel true. And sometimes resonate stories come from mystery.

Ecology of the PiercerPerhaps inspired by the fashion for using science to explain fantastic concepts, Chris Elliott and Richard Edwards took a somewhat silly monster, the piercer, and wrote “The Ecology of the Piercer,” which first appeared in the UK fanzine Dragonlords. The piercer seems obviously contrived to harass dungeon-crawling PCs, so a dose of science and ecology adds some verisimilitude. Dragon magazine editor Kim Mohan must have fancied the article’s concept, because he reprinted the piece in Dragon issue 72. The ecology series took off and Dragon went on to print more than 150 installments.

The ecology concept improves some monsters, especially those that share the non-magical nature of the piercer, but adding a dose of science to every prominent creature damaged the assumed world of Dungeons & Dragons.

For many monsters, magic provides a better creative basis than science and ecology.

Monsters that come from magic can inspire stories

Magical creatures can bring histories that go beyond ecological niches and breeding populations; they can come from stories that players can participate in. Magical creatures can begin with a curse, they can be created for a sinister purpose, or in experiments that went wrong. For example, in “Monsters and Stories,” D&D pooh-bah Mike Mearls explains how medusas come from a magical bargain and a curse, and then he explains how this can inspire gameplay. “One medusa might be a vicious, hateful creature that kills out of spite, specifically targeting the most handsome or beautiful adventurers that invade its lair. Another might be a secluded noble desperate to conceal her true nature, and who becomes a party’s mysterious benefactor.”

Magical creatures can be evocative in ways that natural creatures cannot

Does imagining dragons as a form of dinosaur, as presented the 2nd Edition Draconomicon, improve either dragons or dinosaurs? Dragons become less magical, less mythic. Meanwhile, dinosaurs don’t need to be blurred with fantasy to excite us—they were huge and real. Mythology teems with chimeric hybrid creatures from the gryphon to the cockatrice. Does supposing these creatures have populations with natural ranges and diets improve them? Why can’t the cockatrice emerge from a tainted, magical mating of bird and serpent? Why cannot gryphons be a divine creation based on some godling’s favorite creatures?

Magical creatures can break the laws of nature

Every culture seems to include giants in their myths. Giants may be the most pervasive and resonate monster of the human imagination. But giants defy science’s square-cube law and walk in defiance of physics. We ignore that because we like giants, and because of magic.

When I did my post on the 11 most useful types of miniatures, I determined that elemental and, especially, undead monsters appear in a disproportionate number of adventures. In the early days of the hobby, dungeon designers could put living creatures in a remote and unexplored dungeon without a source of food, and no one would care. Now days, dungeon designers feel limited to populating their crypts, lost castles, and vaults with the undead and elementals that gain an exemption from the bounds of nature. This stands as the stifling legacy of the ecology articles. By treating most D&D creatures as natural things that feed and breed and live natural lives, we make them difficult to use in the game.

Embrace the magic in magical creatures

We should embrace the obviously magical nature the D&D bestiary and free more creatures from the limitations of nature. Unnatural creatures can be unique. They can spontaneously generate in places where foul magic or bizarre rituals were practiced. They can leak into the world in places where the barriers between planes have weakened. They can be immortal. Undying, they can survive aeons trapped in some underground lair, growing more hateful and cunning with each passing year.

In the Wandering Monsters post “Turned to Stone,” James Wyatt writes, “One of the things that we’ve been thinking a lot about is that we are creating—and facilitating the creation of—fantasy worlds. The monsters of D&D aren’t races of aliens in a sci-fi setting. They don’t all need to have logical biology.”

D&D operates in worlds’ brimming with enchantment. The ecology articles threw too much magic away; I’m thrilled to see the D&D Next designers bring some back.

5 reasons someone might build a dungeon filled with clues and tests

In “Puzzle traps,” I explained how the most fun traps come with clues that alert players to the danger. I listed a few reasons why clues might accompany traps even though their builders want them to be unnoticed.

In addition to the accidental clues I suggested for puzzle traps, Dungeons & Dragons features a long tradition of tricks and puzzles constructed in a dungeon builder’s effort to test and confound intruders.

C2 Ghost Tower of Inverness cover

C2 The Ghost Tower of Inverness

Most players enjoy these sorts of conundrums. Funhouse dungeons filled with odd challenges such as White Plume Mountain and Ghost Tower of Inverness rate as some of the most beloved adventures of Dungeons & Dragons’s golden age.

But why would any dungeon builder construct a room that forced intruders to answer riddles or to move like chess pieces on a huge board? Traditionally, dungeon authors provided one of two answers:

  • “The builder was crazy.”
  • “Are you going to keep asking annoying questions or are you going to play the game?”

Unless your players signed up to play in a game set in 1978, dungeons built by insane, magical pranksters no longer seem fresh or plausible; the life-size chess boards and reverse-gravity rooms can feel tired and silly. Also, while the crazy-wizard premise offers dungeon authors complete freedom, it gives little backstory to serve as a source of inspiration.

Still, Keraptis, Galap-Dreidel, and I all share an affection for pitting adventures against a strange and confounding room, so I will list some other reasons why a dungeon’s architects might build in clues and tests for intruders.

Some of these reasons assume that a dungeon exists to help guard or defend something: treasure in tombs, powerful or dangerous items in vaults, creatures in lairs or prisons. These dungeons’ built-in challenges allow worthy intruders through, and tempt the unworthy to die trying.

A test of merit

From the sword in the stone to the quest for the princess’s hand, fantasy offers plenty of examples of tests to reveal the worthy. A dungeon’s challenges could be constructed to reward the worthy and slay those lacking.

In the 2013 D&D Championship, players needed to solve three puzzles to retrieve three magic staffs. The puzzles were created to prevent the addled, insane cultists of Zargon from seizing the staffs before worthy champions.

Dungeon Crawl Classics 15: Lost Tomb of the Sphinx Queen

Dungeon Crawl Classics 15: Lost Tomb of the Sphinx Queen

In the Dungeon Crawl Classics adventure, Lost Tomb of the Sphinx Queen, the tomb is a prison for the evil Sphinx Queen. “The labyrinth below consists of a series of guardian creatures and traps, designed both to test the party (to ensure that they’re powerful enough to destroy Ankharet and her crown) and to teach them of the now-forgotten glories of the Sphinx Empire.”

The clues tempt intruders with false hopes for success

The dungeon includes clues and puzzles so that the any survivors who escape will spread tales that serve as a challenge, tempting more adventurers to test their meddle.

The original The Tomb of Horrors acts as trap to capture the souls of the strongest adventurers for some wicked purpose. The ambiguous clues written on the tomb’s floor seem almost as likely to lead to death as to success, so could they be a lure for more victims?

Challenges taunt intruders with the builder’s genius

The dungeon’s builder is like the serial killer who leaves clues because he wants to flaunt his genius over the cops pursuing him, or because his name is Edward Nigma so what else? This premise works as a more plausible version of the insane prankster.

The 2010, fourth edition Tomb of Horrors says, “It’s not enough for Acererak to win; he has to to prove his superiority by by saying, ‘I gave you a chance, and you still weren’t smart enough to beat me.’”

Someone wishes for the dungeon to fail its purpose

During a dungeon’s construction, something may have worked to sabotage it so that it ultimately fails its purpose. This sabotage can come from a few sources:

  • psychological conflict. We’ve all heard stories of the killer who secretly wished to be caught. Suppose a dungeon builder’s inner demons—or real, live demons—drive her to create a dungeon’s death traps, but her better nature, or some compulsion, or even a foe’s geas drives her to bury clues with the traps.
  • architects and workers. Most dungeon builders recruit architects and workers to construct their vaults. The patrons always boast of retirement plans, while they plan to slay their workers to preserve the dungeon’s secrets. But suppose the architects added clues as a means of revenge on their overlord? This results in a dungeon filled with clues subtle enough to escape the overlord’s notice, but within the grasp of clever adventurers.
    Charles IV of Spain and his Family paid for a portrait that flattered them with glittering jewels and finery, but the family’s dead eyes reveal them as foolish and banal.

    Buyer beware: Charles IV of Spain and his Family paid for a portrait that flattered them with glittering jewels
    and finery, but the family’s dead eyes reveal them as foolish and banal.

  • bargains. Fantasy includes many examples where bargains with mystical powers give a scheme an Achilles heel. Here, the dungeon’s weakness comes from the same, mighty powers called to help construction. Great magic often comes from a source with its own, unknowable motives.
    In the Dungeon Crawl Classics adventure, Tears of the Genie, the Grand Caliph binds a djinni in his dungeon, but the gods of Àereth force the Grand Caliph hide the means of freeing the djinni within the prison.

Dungeon crawling is a sport

XCrawl Crawl or Die

XCrawl

If adventurers crowd the streets and dungeons lie under every mountain, then dungeon crawling could become sport. This premise supports the six Challenge of Champions adventures that appeared in Dungeon magazine. Pandahead productions combined dungeon crawling for sport with all the posturing and pay-per-view rights of professional wrestling to create XCrawl. This premise abandons the mystery and enchantment of the exploring ruins, and replaces the thrill of confronting evil with artificial challenges and, in the case of XCrawl, humor.

If mortals can find sport in dungeons, then gods can too. Beedo from Dreams in the Lich House imagines death mountain, a place where the death god Hades can lure the land’s heroes, and then collect their skulls as trophies. This concept fits with the Olympians’ penchant for using mortal proxies as toys. “The other gods, for that matter, are greatly entertained when heroes overcome the machinations of the death god, and have gone so far as to sprinkle Hades’ sprawling dungeon with divine boons, godly weapons, and hidden shrines and sanctuaries where their beloved champions might gain a small respite.”

A religion or cult demands it

When Mike Shel decided to write an adventure inspired by Tomb of Horrors, he realized that the original tomb failed to provide much justification for its built-in clues and challenges. For The Mud Sorcerer’s Tomb, he created a cult of mud sorcerers, who “delighted in riddles and conundrums, disdaining those who couldn’t equal their mental prowess.” And then he gave them a reason for planting clues. “It may puzzle your players that Tzolo would leave hints lying about for would-be grave robbers. However, the clues were intended for for her liberating servants.”

Mike Shel was on to something. D&D’s assumed background needs a cult or religion that provides a ready-made excuse for dungeons that test characters with puzzles and strange obstacles. The mud sorcerers point the way, but their plan seems flawed. Why build clues for your servants that could also aid meddling do-gooders?

I propose a new creation.

The cult of Seermock, god of wealth and power through cunning

Seermock serves as a secret patron to those of wealth and power who earned their status through scheming and manipulation. Although few know of the cult’s existence, Seermock gladly spurns the common herd that he deems unworthy. Seermock upholds these principles:

  • Wealth and power exist as a reward reserved for the cunning, while those of lesser intellect deserve impoverishment, servitude and then death.
  • The weak minded who wish to claim wealth and power must suffer punishment for their presumption.
  • Bequeathing wealth on the unworthy only rewards the foolish. Those cunning enough to join Seermock after death must strive to protect their worldly gains from those of dull wit.

Like many figures of wealth and power, followers of Seermock strive to memorialize their achievements with grand tombs. But followers of Seermock build their tombs to test those who attempt to seize the riches inside, rewarding the clever while slaying others presumptuous enough to seek treasures they do not deserve.

A spot in the Great Blog Role Call, plus Dungeon Tile reference pages

I once asked fellow-blogger Radiating Gnome about how he wrote to maximize page views. He told me his most-read posts included disagreeable material that inspired readers to tell him just how wrong he was (not that I’ve known him to be wrong). Since then, I’ve wondered if I failed to stake out enough controversy in this blog. As if to calm my concerns, Charles Akins at Dyvers cites DM David as a blog he tends to argue with. Thanks for the mention Charles! And thanks for compiling a trove of blogs for me to explore. (Someone needs to devise an easy way to catch up on a blog in chronological order.)

Enhanced Dungeon Tiles Gallery

I enhanced my gallery of Dungeon Tiles sets with reference pages devoted to each set, starting with the first.

DT2 Arcane Corridors sample dungeon 1

DT2 Arcane Corridors sample dungeon 1

This addition reveals my glaring lack of photos for any of the three master tiles sets.
I punched and scrambled my own copies of the master sets before I thought of my photo gallery. I’m reluctant to buy second copies, because I seem to have a lot of dungeon tiles already. So I’m calling for help. If you have an unpunched copy of a master set that you could photograph for this reference, please let me know in the comments.

Next: 5 reasons someone might build a dungeon filled with clues and tests

Early combinations of adventures with battle maps

In my post, “Battle maps take over Dungeons & Dragons,” I credited the 1995 release, Player’s Option: Combat & Tactics with introducing tactical play to the D&D game, and the supporting adventure The Gates of Firestorm Keep with introducing the now-common feature of bundling battle maps with adventures. Alert reader Curtis tipped me off to several earlier instances. Thanks Curtis!

In 1985, TSR launched a series of D&D accessories with AC1 The Shady Dragon Inn, a collection of pregenerated characters with a name that suggests something else. A gridded, miniature-scale map of the inn appears on the flip side of the cardboard cover. This map seems like a way to do something with the inside cover, because the inn of the title gets virtually no mention beyond that.

AC3 The Revenge of Rusak detail

AC3 The Revenge of Rusak detail

In 1984, AC3 3-D Dragon Tiles: The Kidnapping of Princess Arelina packaged cardboard walls intended to be folded into 3-D dungeon rooms, with cardboard standees, maps, and an adventure. This product’s play map lacks any grid, so the set seems unsuited to visualizing tactical combat. Instead the accessory appeared intended as a toy for younger players. In 1985, AC5 3-D Dragon Tiles featuring The Revenge of Rusak presented a similar package with village fair and wilderness tiles, this time with a grid sized for the playing pieces.

B10 Night’s Dark Terror contents

B10 Night’s Dark Terror contents

In 1986, the classic adventure Night’s Dark Terror includes a section where players defend a homestead against a goblin siege. To aid dungeon masters running the assault, the adventure packages a gridded map of the battlefield and a set of punched counters to represent the battling forces. This adventure was a decade ahead of its time.

Night Below an Underdark Campaign contents

Night Below an Underdark Campaign contents

In 1995, alongside Combat & Tactics and The Gates of Firestone Peak, TSR released the boxed mega-adventure, Night Below: An Underdark Campaign, which includes gridded maps and color counters. Although Night Below, does not explicitly tie with Combat & Tactics, it supports the move to battle maps and tactical combat.