Tag Archives: Bruce Cordell

5 Ways Magic the Gathering Changed the Rules of D&D

Magic the Gathering designer Richard Garfield rates Dungeons & Dragons as the most innovative game of all time. Nonetheless, in any ranking of influential games, Magic’s revolutionary design surely vies for a top spot. You might suppose that a card game like Magic would differ too much from a roleplaying game to have any influence on D&D’s rules, but Magic’s design shaped the D&D editions to follow. Today, innovations from Magic extend to the roots of fifth-edition D&D.

5. Templated text changed how rules get written—and the 3rd-edition design team.

When Magic’s designers faced the problem of bringing order to countless cards, they used templated text: they described similar game rules with consistent wording imposed by fill-in-the-blank templates. Today, the patterns of templated text appear throughout modern D&D’s rules.
But the move to templated text also lifted a D&D-outsider to lead the game’s third-edition team. Ben Riggs tells this story in a convention seminar.

Early in the development of third-edition D&D, Wizards of the Coast purchased TSR. Skaff Elias had served as a designer on several early Magic sets and ranked as Senior Vice President of Research and Development. Skaff felt that the upcoming D&D edition could fix “sloppiness in the rules” by using templated text. Skaff and Wizard’s CEO Peter Adkison told the D&D design team to switch the spell descriptions to templated text, but the team kept resisting his directives.

Eventually, the D&D team readied the release of a playtest document that still lacked templated text. They claimed rewriting all the spell descriptions according to formula would prove impossible because hundreds of spells would need templating in 48 hours to meet their delivery deadline. Nonetheless, Adkison and Skaff took the challenge themselves, working through the night to rewrite the spells and meet the deadline. Even after that heroic effort, the rules document that reached playtesters lacked the templated descriptions from the CEO and the Design VP. The design team had simply ignored their bosses’ hard work.

The failure infuriated Adkison. He lifted Jonathan Tweet to the head of the third-edition team. Designer Monte Cook remembers Adkison’s new directive: “If Jonathan says something it’s as though I said it.” Unlike the TSR veterans on the rest of the team, Tweet had started his career by designing the indie roleplaying game Ars Magica and the experimental Over the Edge. As a member of the D&D team, he convinced the team to adopt some of the more daring changes in the new edition.

4. Keywords now get careful use throughout the rules.

Much like Magic, D&D uses keywords to describe many elements in the game. Often the keywords bring few rules of their own, but other things in the game interact with the keywords. So Magic has no rules specifically for “white” or “green,” but cards with “protection from white” work in a special way.

In D&D, conditions like “charmed,” creature types like “beast,” and descriptors like “melee” work as keywords. Such keywords power templated descriptions like, “While charmed by this spell, the creature is…” and, “The next time you hit a creature with a melee weapon attack…” In early editions of D&D some words got treatment that resembled keywords. But before Magic proved the technique’s power, keywords in D&D hardly saw the pervasive, rigorous treatment they do now.

3. Specific beats general came from Magic, but started in a hugely-influential board game nearly as old as D&D.

In Magic, the text on any card can change the rules of the game, so a card like Platinum Angel can say, “You can’t lose the game and your opponents can’t win the game.” Among traditional games where all the rules fit on the underside of a box lid or in a slim pamphlet, this made Magic revolutionary. The original Magic rules explain, “If a card contradicts the rules, the card takes precedence.” In other words, specific beats general. Similarly, page 3 of the Player’s Handbook explains how when a game element breaks the general rules in some way, it creates an exception to how the rest of the game works.

Earlier editions of D&D included game elements that broke general rules, but the unwritten principle left new players to struggle with the apparent inconsistencies. Judging by how frequently D&D lead Jeremy Crawford restates the principle, players still struggle with it.

The principle of specific beats general dates to the revolutionary 1977 game that inspired Magic the Gathering and countless others. Bored with the familiar patterns of their Risk games, the designers of Cosmic Encounter wanted a game where every play felt different from the last. In Cosmic Encounter, each player controls a different alien species able to break the general rules of the game in some specific way. With more than 150 rule-breaking alien species in the game and its expansions, Cosmic Encounter offers endless, disruptive combinations.

2. With more reliance on rulings, D&D does less to separate flavor from rules.

Magic the Gathering cards typically fill any space left after their rules text with italicized flavor text. So, Platinum Angel might say, “She is the apex of the artificer’s craft, the spirit of the divine called out of base metal.” Other Platinum Angels share the same rules, but different flavor text.

Traditionally, D&D mingled rules and flavor text, but fourth edition fully adopted such separation. The power descriptions even duplicate the practice of putting flavor in italics. This practice fit fourth edition, which defined combat powers as tightly as cards. The designers aspired to create a game where flavor never bent the rules, so a DM never needed to decide if, for example, you can take ongoing damage from cold and fire at the same time.

In fifth edition, the separation mainly appears in the monster books, where rules appear in formal boxes while flavor comes between the rectangles.

1. Reactions came from Magic’s instants and interrupts by way of D&D miniatures.

In Magic the Gathering, players can act at any time, stopping another player with cards originally called interrupts. The constant activity helps make the game so compelling, but it forced the designers to develop rules to make sense of the actions and reactions.

In early editions of D&D, players might interrupt another turn for an improvised action, but such acts needed a DM’s ruling. By third edition these actions counted as free and still mainly relied on a DM. Counterspells used the system’s only means of interrupting—the readied action.

When Wizards planned a line of D&D miniatures in 2003, the company aimed to expand sales beyond roleplayers to gamers who favored competitive wargaming. The Miniatures Handbook turned third edition’s combat rules into “a head-to-head skirmish system for fighting fast, tactical battles.” The book’s authors included D&D designers Jonathan Tweet and Rob Heinsoo along with Magic designers Skaff Elias and Mike Donais. The new miniatures would come boxed in randomized assortments complete with cards describing rules for each figure, so in ways, the package resembled Magic. The competitive skirmish game could no longer rely on a DM’s rulings to resolve interruptions, but the team wanted some of the richer play suggested by a game like Magic.

The design collaboration worked. Elias and Donais brought experience from a competitive game with strict rules for timing interrupts and reactions. “While designing Miniatures Handbook, we realized that free actions hid a potential smorgasbord of cool new mechanics,” wrote designer Bruce R. Cordell. “We subdivided the free actions into immediate actions (a free action you can take when it isn’t your turn), and swift actions (a free action you can take when it’s your turn).”

Swift and immediate actions entered the D&D roleplaying game through Cordell’s Expanded Psionics Handbook (2004). “The concept that swift and immediate actions could serve as one more resource available to a player opened up new vistas of possibility, expanding options in the game.”

In fifth edition, swift and immediate actions evolve into bonus actions and reactions.

Secret D&D Games, Sharpshooters, Baby Orcs, and More From the DM David’s Comment Section

Time for another visit to the comment section. At the end, one reader tells a true story of how the Satanic panic drove a group’s Dungeons & Dragons games into secret, and what happened when concerned citizens learned of the underground game.

Strong Moral Dilemmas in D&D and the Unwanted Kind that Keeps Appearing

In Strong Moral Dilemmas in D&D and the Unwanted Kind that Keeps Appearing, I contrasted the moral dilemmas that reveal D&D characters against the baby-orc dilemma that dungeon masters should avoid.

Dan wrote, “The thing with the baby monsters from Keep on the Borderlands is that Gary Gygax never intended for the to be a moral dilemma. He assumed that all party members would be agreed on cleaning the place out, paladins included. When asked about it on the Internet in later years, he was somewhat incredulous that it even came up, stating that a properly-played paladin should view justice from a medieval perspective and would take the stance that ‘nits beget lice.’

Unlike Gary Gygax, today’s players often see humanoids as reflections of humanity. So tarring entire races of humanoids as irredeemably corrupt and worthy of extermination draws troubling parallels to the real treatment of real human groups.

Rasmusnord01 wrote, “I think of three things that can help avoid making the ‘baby-orc issue’ into a problem. (1) Have a leader of the group. In the hands of the right player, a designated leader can help resolve situations and keep the discussion from taking too long. (2) Avoid allowing mercy to come back to bite the players. (3) Make ‘evil’ humanoids more nuanced.

Teos “alphastream” Abadia wrote, “A friend of mine who used to write for Living Greyhawk said to me once that a great adventure teaches you something about your character. Over the years, that advice has stood the test of time for me. Great adventures help me better see my character’s personality and where they stand, and touch me emotionally or at a visceral level in some way.

Since that time, I’ve tried to write adventures where decisions (often but not always moral dilemmas) help you understand your character better. Maybe you swap bodies with someone else, so you see yourself from the outside and separate your personality from your frame. Who are you? Maybe you bring a spirit into yourself. What part of that personality do you accept or reject, and what is it displacing? Maybe you face a tough choice. Do you bring a child into battle if that child is an artifact? Do you sacrifice a few to save many? Maybe you have to choose between a sure thing that isn’t so sweet, and worse odds for a chance at something better?

Three Reasons the Ecology of Monsters Can Make Creatures Worse

In Three Reasons the Ecology of Monsters Can Make Creatures Worse, I suggested that framing monsters as natural creatures sometimes stifled the imagination. Lots of readers agreed but reminded me that developing monsters as creatures in nature can also fire the imagination.

It’s utterly absurd to suggest that natural creatures can’t inspire stories, because they have,” wrote greatwyrmgold. “And only slightly less silly to suggest that magical creatures can be more evocative than natural ones.

This article presents a false dichotomy between the fantastic and the naturalistic, between the magical and the dull. Creatures can be magical and dull when they pull from the same library of stock monster attributes as every half-arsed fantasy story in the past 60 years, but they can be fantastic and naturalistic with a bit of effort by the author.

Why Dungeon & Dragons Dropped Assassins and Renamed Thieves

An avalanche of comments to Why Dungeon & Dragons Dropped Assassins and Renamed Thieves noted that Assassins shouldn’t be killing for free and certainly not targeting their allies.

For instance, Carl Torvik wrote, “Assassins may the ONLY evil character you should allow in your campaign. They kill only when hired to kill. They have no reason to attack their party. They come with ready-made attachments to the NPCs and the world (guilds, contacts, associates of former targets, etc.) And they have a reason to want a gang of people around to protect them and occasionally even help them on a difficult hit.

Alphastream told how, in the 80s, friction between thieves and other evil characters broke up his game.

In my very first campaigns we had two players where one would play a thief. Before long, he would start stealing from us. The other would then back him up and threaten. It was a source of friction in our Temple of Elemental Evil campaign, but when we played Barrier Peaks, it escalated. Three of us tried to stop it and three wanted the freedom to do whatever they pleased. We separated, adventuring separately. That killed the game.

I can now look back on those events and understand what this was truly about. D&D was for me, as with many players, an escape from the social challenges of my normal life. When evil characters began to push their agenda, our D&D game ceased to become a collaborative escape from the everyday and became again a social challenge to which we had to respond. Bullying was again in my life, as were systems (here, the DM) that failed to make life better.

The worst problem with evil PCs or thieves stealing from fellow party members isn’t the lost items or even a death. It’s the impact it has on us as individuals, and how it upsets the very reason we came together to play and tell stories. We can introduce aspects that allow for party conflict, but when doing so we should look to find ways to mitigate that at the player level, or the game will suffer.

Quiiliitiila wrote, “Players who choose to create characters and then play them disruptively are to blame, not the classes. Any player who hides behind the class as a defense for their toxic actions is wrong and probably not suited to play in depth characters in the first place.

In the end, D&D and AD&D may have started as a simple hack and slash board game, but it evolved into a truly unique role-playing game where you get to experience adventure as a wizard or a cleric or even a blackguard! How you choose to play those characters is up to you, it has never been dictated by the rulebooks or class descriptions.

Alphastream agreed, but wrote, “As a designer I can choose to write mechanics that either bring people together for collaborative play or cause them to fight each other and disrupt party unity. I know which one I would rather see RPG companies design.

David’s article is examining how important names and other design elements are for play. They are extremely important. Often more important than we may realize. Any individual player or DM may or may not react to the design, but on the whole we are creating incentives for certain types of play. Assassins might be terrible at one table and not a problem at another, but what is more important is how they play overall. Overall, they caused problems.

When I design professionally, I’m often doing so for organized play, where I get to see how the design impacts hundreds to thousands of players. I can often see the impacts at a large convention and gain a really fascinating view into how the design works. Incentives that seem unimportant can end up being very important at that macro level. It’s good to go back and examine whether the design is encouraging heroic play, camaraderie, positive escapism, and other elements that routinely are cited by players as reasons to play D&D. Any individual group can always choose otherwise, but the overall design of D&D should point its incentives in that direction, because that’s what D&D is about.

Alert reader Dan realized that much of this post revisited a five-year-old topic. “Wouldn’t it have made more sense to link back to your previous post on the topic instead of copying the first half nearly verbatim, picture included?

Perhaps, but only about 1% of readers will follow a link to an earlier post. Reviving older posts sometimes helps me offer something every week. Many more folks read this blog now than did five years ago. Since few new readers browse my older posts, an old topic can still find interest.

I want to thank Dan and other dedicated readers who show enough interest in my posts to notice 5-year-old material. Your enthusiasm keeps me writing.

Sarah and Kaitlin Howard pictured with Lolth

Sarah M Howard wrote in to identify herself in the post’s photograph. “The drow priestesses in the picture are Sarah and Kaitlin Howard.” Thanks Sarah. Your costumes and the life-sized Lolth combine for an unforgettable photo.

Why Gary Gygax Added Unrealistic Hit Points, Funny Dice, and Descending AC to D&D

The post Why Gary Gygax Added Unrealistic Hit Points, Funny Dice, and Descending AC to D&D brought up THAC0, which led Erïch Jacoby-Hawkins to offer a bit of history.
Although THAC0 officially became a part of AD&D with the 2nd edition rule books, it was already being incorporated in some of the pre-2nd Edition modules in the mid to late 1980s, for example, modules I9 Day of Al’Akbar and I11 Needle from 1986 & 1987, respectively. I think THAC0 may have appeared in Dragon and Dungeon magazines around that time. The mechanic worked equally well in 1st as 2nd edition, as the AC system didn’t change, and the principle of the to-hit tables remained the same.

Perhaps I should have included Day of Al’Akbar in The Dungeons & Dragons Books that Secretly Previewed Each New Edition. Can anyone identify the first appearance of the term THAC0?

Why Did So Many Classic Adventures Come From 7 Years of D&D’s 45-Year History

The post Why Did So Many Classic Adventures Come From 7 Years of D&D’s 45-Year History told how the outsized attention and influence of D&D’s earliest adventures elevated their reputation.

Bryce Lynch parsed a word choice in Dungeon magazine’s list of 30 greatest adventures. “I note that the use of the word ‘greatest’ avoids the implication that they are actually good.” Bryce pens a series of entertainingly cranky reviews where he holds adventures to impossibly high standards. His consistently looks for three qualities: “Usability at the table. Interactivity. Evocative.

The lack of accolades given to more recent adventures led to my list of the 10 greatest adventures since 1985.

The 10 Greatest D&D Adventures Since 1985

The author of number 10, The Gates of Firestorm Peak (1996), offered more on his classic adventure. Bruce Cordell wrote, “Thanks for the review! Much appreciated. If you’re interested, I wrote about designing the Gates of Firestorm Peak a few months ago, and the associated creation of The Far Realm (which certainly got its name in Gates, but which I further highlighted in later adventures to strengthen its importance).” See http://brucecordell.blogspot.com/2019/03/origin-of-far-realm-in-d.html.

Teos “alphastream” Abadia praised number 6, Madness at Gardmore Abbey (2011) and recommended a follow up. “I love this adventure, especially in how it showcased how varied 4E adventures could be. I would also mention the prequel, Siege of Gardmore Abbey by Steve Townshend. Here, Steve takes us back in time to when the abbey first fell. It has a strong innovative take on a prequel with a variety of fun encounters built for a convention one-shot. It also has some super-fun pregens, some of which have great conflicts that are revealed during play. It’s amazing design. Siege can be found in Dungeon 210.

Teos also commented on number 5, Dead Gods (1997). “It’s also worth comparing it to other adventures of it’s time. It’s incredible how often adventures that should be amazing/fantastic (such as nearly every Planescape adventure) manage to be mundane. ‘Sure, you are in Sigil, now here is a guard duty assignment.’ More adventures need to really deliver on high fantasy.

I liked Vecna Lives for toying with some of those concepts (the opening scene is insane, the advice on running horror is incredible), but it stops short of attaining what it could. Same with Ruins of Castle Greyhawk. In 5E, Dungeon of the Mad Mage has some very strong parts, especially given the source material.

I admire that even the first-level adventures for the Dungeon Crawl Classics RPG include big, fantastic elements. Those adventures avoid caravan duty and rats in the cellar.

Responding to my list of The 10 Greatest Dungeons & Dragons Adventures Since 1985, Andrew wrote, “A key to the (good) 5e adventures is the Internet communities and third-party add-ons. By the book Tomb of Annihilation is good but falls apart here and there, but thanks to Facebook groups, Reddit and the great companion PDFs sold you can customize it with great ideas and fix weak bits really easily. Doing that back in the 1e days was quite daunting. Even a great module like Barrier Peaks was nearly impossible for me to run as a kid without any help.

Wraithmagus challenged my list’s methodology. “I am bewildered why you would create a list like this based on POPULARITY of all things, which is by far the least useful metric. If such a list is going to be useful, surely, they should be overlooked adventures, so that readers can have their attentions drawn to buried gems. Saying ‘Let me tell you about crap you already know about just so everyone can argue about how overrated it is is as unhelpful as it comes.

Although I did weigh each adventure’s reputation in my ratings, I consider that different from rating popularity. In the end, I cast my own judgement. My ratings won’t match anyone else’s, but a list like this needs to track the opinions of D&D fans closely enough to seem authoritative. As for finding buried gems, many readers had never heard of classics like Dead Gods and Night’s Dark Terror.

In Making the List of 10 Greatest D&D Adventures After 1985, I considered future lists of great adventures for high levels, from Dungeon magazine, and branded for a campaign setting.

Alphastream suggested some candidates. “The greatest high-level adventures from any era: I have to go with Throne of Bloodstone. While the design in many places is not exceptional, for a 1988 adventure it does a great job of showcasing how a truly awesome high-level plane-spanning adventure can work. It was very enjoyable as the end of my college campaign and took us to level 32-36 in AD&D play!

The greatest adventures branded for a campaign setting: For Dark Sun, Freedom does one of the best jobs at capturing a setting and introduces player well to the momentous events in the boxed set with the fall of Kalak. The same is true of the adventure included in the boxed set, which captures outdoor survival very well. Play those two and you get what Dark Sun is. Compare this to Dragonlance (or later Dark Sun adventures), where you feel like you get a bad version of the novels while the real stars are off doing the cool work.

Queen of the Demonweb Pits Opened Dungeons & Dragons to the Planes

The post Queen of the Demonweb Pits Opened Dungeons & Dragons to the Planes led Thomas Christy to write, “Great article! Check out these amazing maps by Jon Pintar! If I get to run this in the future, they will be great!

Alphastream recalled playing Q1 in high school. “The dungeon was very so-so. It did feel like a boring zoo or even a boring dungeon until the final level. It was then fantastic. The final battle was brutal. The party had a character with psionics… and Lolth does too. The old psionic combat rules had never been used until then. We looked them up, and basically everything happens in the first segment (part of a round). Party walks into Lolth’s room, psionic character drops dead as Lolth handily wins, and regular combat ensues! That was exciting!

Sharpshooters Are the Worst Thing in D&D, But That Speaks Well of Fifth Edition

A few readers responded to Sharpshooters Are the Worst Thing in D&D by describing the historical superiority of archers.

Todd Ellner wrote, “Think about it in the real world. The horse nomads of Central Asia from the Scythians to the Mongols pretty much swept all before them and replaced the style of warfare wherever they went. The life of the samurai wasn’t ‘The Way of the Sword.’ It was ‘The way of the Horse and Bow.’ Missile weapons are that much of a game-changer.

Although I like the historical perspective, D&D isn’t history, but a game where characters do fantastic deeds for the fun of players. A focus on fun leads designers like Dave Arneson and Gary Gygax to favor unrealistic, but fun things like hit points over realistic, not-fun things like sepsis and sucking chest wounds. Fifth edition pairs the intrinsic advantages of ranged attacks with the game’s two most overpowered feats to encourage situations where the sharpshooter player has fun and everyone else wonders why they showed up.

Some commenters raised the canard that archers tend to be “squishy,” lightly armored and vulnerable to attack. In this edition, fully-armored fighters also make the most efficient sharpshooters.

Some compared the damage dealing of sharpshooters to spellcasters. Certainly, spellcasters can shine for their ability to clear hordes of foes and for their utility. But most spellcasters really are squishy, and their spell slots force players to watch their resources.

Some cited certain melee fighting styles that can approach the damage output of sharpshooters. But melee types foster interesting fights because they stand in harm’s way and must move to attack. Meanwhile, monsters can surround their boss with enough protection for the mastermind to act before the barbarian can cut a path. Sharpshooters just turn potentially interesting encounters into point, shoot, and now it’s over.

Readers who see the trouble with sharpshooters offered advice to managing the archetype.

LordJasper wrote, “Start enforcing ammunition tracking. A lot of DMs let players get away with ‘forgetting’ to track their arrows and crossbow bolts. Make archers keep track of every bolt they fire.” The limit comes when archers capable of emptying a quiver in just a few rounds need to carry every missile.

Unfortunately, a 1 gp quiver of 20 arrows only weighs a pound, so players will argue they can easily carry 20 quivers totaling 400 arrows. Dungeon masters who rule otherwise will UNFAIRLY DESTROY an entire character concept—or so players will say.

This is where game mechanics poorly reflects reality,” Jason Oldham wrote. “Drawing on personal experience, an average quiver MIGHT hold 20 arrows. They are bulky and need to be packaged with at least some consideration for the delicate bits. Bolts are slightly more accommodating but only slightly. I personally enforce some rather strict house rules as far as how much a player can pack around and how readily accessible equipment may be. But that’s just me, I like to make my players suffer just a little bit.

Some readers suggested spells that hinder archers.

Oniguma wrote, “I’ve found one little, often overlooked spell that does wonders to diminish the potential of ranged attackers: Slow.

Sapphire Crook elaborated. “Slow is a rare spell that doesn’t require sight. You just pick six targets in a pretty large cube, and they have to pick a god and pray. Fireball can kill, but Slow can save lives.

Eric Bohm suggested Wind Wall. “‘Arrows, bolts, and other ordinary projectiles launched at targets behind the wall automatically miss.’ I don’t like using it because it is such a hard shut down, but it is useful for letting the rest of the party contribute.

The prospect of using Wind Wall against a party dominated by archers excites me. Still, many commenters blamed any trouble with sharpshooters on DMs who fail to prepare custom encounters to thwart the archetype. I prefer to avoid D&D games where the players bring scissors, and then the DM always prepares rocks. That approach creates an adversarial dynamic and robs the game of variety. DMs who run Adventurers League can add total cover, monsters, and hit points as I suggested in the post, but we can’t remake adventures to vex archers.

Number Monsters to Stop Wasting Time Finding Them on the Battle Map

In response to my advice that DMs number monsters to stop wasting time finding them on the battle map, Scott suggested using a 3D printer to make numbered bases that cup miniature figures.

The Two D&D Feats Everyone Loves (For Someone Else’s Character)

My post on The Two D&D Feats Everyone Loves (For Someone Else’s Character) ranked the popularity of D&D’s feats.

The relatively low popularity of Resilience surprised some commenters. For spellcasters who try to stay clear of attack, Resilience (Constitution) beats the most popular feat, War Caster. By the way, according to the letter of D&D rules, if you take Resilience for one stat, you can’t take it again for a second, different ability.

The popularity rankings of feats invited comparisons to each feat’s actual power. Thinkdm wrote, “Here’s some poll results I ran to break them down into tiers. You see the ‘broken’ feats aren’t even the most popular. Likely because they are suited to specific play styles. But, it’s still interesting.

Little-known D&D classics: Fez

In reply to Little-known D&D classics: Fez, Matt wrote, “I’ve never been to Gen Con, and in fact only came to AD&D when I was in middle school in the early 1990s. I found the Fez adventures about ten years ago when I was combing Amazon for out-of-print, non-Wizards of the Coast, and pre-d20 game materials.

They immediately changed my world.

I would spend the next decade reading, absorbing, and preparing to run Fez with my own group of gamers whose frame of reference for D&D only begins around the year 2000 or so. I’m happy to report that we finished the first Fez adventure back in May, and I’m preparing to go into Fez II, which is really the best in the series, in defiance of the law of sequels.

When I ran Fez I, I modified the game to accommodate some of their expectations: The players saw their characters’ stats, but they began as amnesiacs. Still, even with that change, the Fez formula engaged them immediately.

Fez has become one of our most memorable adventures. I highly recommend that anyone out there with a gaming group pick up these gaming classics and run them.

The True Story of the Cthulhu and Elric Sections Removed from Deities & Demigods

The True Story of the Cthulhu and Elric Sections Removed from Deities & Demigods prompted a funny exchange.

Joel Orsatti: “Any idea why the Finnish mythos was dropped?

Brent Butler: “They may have simply run out of K’s.

More likely, TSR dropped the mythos to fit the abbreviated book within a smaller number of signatures—groups of pages printed together.

The Media Furor that Introduced the “Bizarre Intellectual Game” of Dungeons & Dragons to America

In The Media Furor that Introduced the “Bizarre Intellectual Game” of Dungeons & Dragons to America, I explained why Gen Con in the 80s came to ban live-action games, and the change in attitude since. Spoiler: Today, some folks accept that playing D&D can prove beneficial.

Alphastream (again. Thanks, Teos!) wrote, “I wish I had a screen shot of an old post on the Wizards of the Coast forums by Mike Mearls during the 4E era. 4E era, mind you! That’s long after this event. In it, he briefly mentioned that when WotC was looking at the design for 4E organized play, there was a push to eliminate LARP and town-fair style play. It was due to the effect it has on the perception of the game.

I mention this not because I think WotC was necessarily wrong. (Okay, they were, but they were trying to gain acceptance for the game.) I mention it because LARPing was still seen as problematic as recently as 4E. And, because it is ironic that what has helped RPGs become mainstream during the 5E period is acting, both on livestreams and in media (Stranger Things, etc.). It is now very welcome to have people in costume, and WotC staff get in costume for livestreams and big events such as the Descent marketing event. It’s a remarkable change that has come only very recently.

Timothy Park shared his positive tale of clear-headed parents, pastors, and teachers seeing the game’s value and encouraging play.

There were a great many people using their intelligence and common sense and noticing and saying good things about D&D. They and their reasonable perspective won out. If it hadn’t, well, would you have this blog?

That story, the positive side, needs more press than the sensational bits.

As for the sensational bits, I finish this post by relaying the account from chacochicken.

My hometown was a regular hotbed of D&D and Satanic panic. In fact, the dangers of D&D was still a contentious point there until not that long ago.

I come from a small town in rural West Virginia. Evangelicalism had completely overtaken the town in the 50’s and 60’s. My grandparents moved there in 1952 and were not church going types. Strike one. My mom was an unwed mother. Strike two. My uncle got the Holmes basic set while he was in the navy and introduced my friends and I to the game. Strike two and half. It was an open secret that my navy vet uncle was gay. Strike Five.

To set the scene, it was summer 1986 and my friends and I (fortunately most kids don’t care much about the above nonsense) played a ton of D&D, but we had to keep it a complete secret from basically everyone. Our town was small enough that everyone mostly knew everyone’s business. A ring of people were in charge. The bank manager was the pastor. The pastor’s brother was the county sheriff and the high school baseball coach. Nepotism all the way down. Well these folks decided that they were going to control the behavior of the whole town more or less.

So we played that summer. A few other kids knew but none of our parents at that point. We were known to have played before, see above uncle, so everyone was wary of us. My friend Dustin, yes his name was Dustin, his parents ransacked his room and found his character sheets, dice, and some D&D ads torn our from his comic books. I’m not exaggerating, they burned all of his toys, all of them, on the front yard as he basically had a nervous breakdown. He was not allowed to speak to us again and they couldn’t risk us meeting at school so the next year he was home-schooled.

We were torn as to whether to play anymore or not because we were afraid of the possibility of punishment. Our defiance won out and we kept playing in the loft of an old barn next to my uncle’s house. He vouched for us playing regular old board games, fishing, and running around in the woods.

Then terror struck. A dog went missing somewhere close. Then a second. Then an older man “disappeared.” People went crazy. “It was Satanists!” The Panic hit full bore. The school confiscated anything to do with heavy metal music. Prayers before baseball games asking for protection against the devil worshippers that invaded our town. D&D was the primary suspect.

To be fair, as kids, we were scared too. We just knew D&D didn’t have anything to do with it. My uncle reassured us that most of the town were a bunch of crazy backwards hillbillies. He wasn’t wrong. He made a critical mistake however. I’ll never forget what happened on August 2nd 1986, a Saturday. My uncle threw a big BBQ for some of his navy buddies. We were invited to so we got some food and headed over to our barn for D&D by lantern light. My drunk uncle let slip to a friend’s wife that we were playing the devil’s game and she called her father, the aforementioned county sheriff.

We were right in the middle of the game when the sheriff and four deputies arrested us at gun point. They pointed guns at 5 kids playing a game. They were sure we were a Satanic cult cell. They put three of us in one car and two in the other. The entire drive they kept asking us about Satanism and if we killed the dogs. They didn’t take us to our parents or the police station, they took us to the church so the sheriff’s brother could rebuke us while we were in handcuffs. It was completely insane. There were 5 of us and we were all terrified except for my friend Nathan, who thought this was hilarious. His laughing and mocking the pastor helped a ton actually. We got our wits back and demanded to see our parents and told them they had just kidnapped us and we were going to call the FBI.

The sheriff took us home after that with a stern warning and a veiled threat asking me and my friends if my uncle had ever touched any of us. The next day my mom filed a formal complaint and my friend Matt’s father challenged the sheriff to a fist fight. He did not accept. The old man that “disappeared” wasn’t dead. He was on vacation in Maine or some such that summer. One or both dogs were found. We took a break from D&D for a while, but picked it back up when the Forgotten Realms grey box came out the next year. The pastor finally died in 2012 and the newer younger pastor now let’s kids play D&D other TTRPGs and board games in the church annex on Thursday nights.

So that’s the story of how D&D destroyed the brains of the people of my town for two decades because of the the media furor.

19 Adventures in the Running for 10 Greatest Adventures Since 1985

For my list of the 10 greatest adventures since 1985, nominations, reviews, and reputation led me to consider many more excellent adventures than fit a list of 10. Today’s post reveals the adventures that fell short of my 10 greatest, but merited consideration.


Treasure Hunt (1987) is a first-edition Advanced Dungeons & Dragons adventure by Aaron Allston.

Raw characters with no class levels wash up on the lost island of the pirate Sea King. They advance to first level and beyond.

“As a first adventure for initiates, this can’t be beaten. For old hands who may be tiring of AD&D, it will be a welcome change.” – Carl Sargent in White Dwarf issue 93.


King’s Festival and Queen’s Harvest (1989) are basic Dungeons & Dragons adventures by Carl Sargent.

A pair of adventures that introduces new players to D&D with a variety of linked missions.

“Absolutely the best introductory adventures in print for D&D-game-style fantasy role-playing games (FRPGs). Presented simply and clearly enough for young folks, these adventures are also challenging and entertaining enough for experienced gamers.” – Ken Rolston in Dragon 171.


Ruins of Undermountain (1991) is a second-edition Advanced Dungeons & Dragons adventure by Ed Greenwood.

The first three levels of the mega-dungeon under the city of Waterdeep presents its content with different levels of detail: Some rooms have complete descriptions, while others have terse notes. Most sections remain empty, a canvas for the dungeon master’s creation.

Rated 17th greatest adventure by Dungeon magazine.

Ruins of Undermountain was as much stuff from Ed Greenwood’s original gaming sessions as he could fit into a box. I give Ruins of Undermountain an A+. It will make you a better DM regardless of your skill level. This is a glimpse behind Ed Greenwood’s screen, giving the reader a chance to study his methods, which are very sound.” – Advanced Gaming and Theory


Vecna Lives! (1991) is a second-edition Advanced Dungeons & Dragons adventure by David “Zeb” Cook set in Greyhawk for characters of level 12-15.

After the Circle of Eight, Greyhawk’s legendary adventurers, die trying to stop Vecna’s return, their successors hunt the villain in a chase the across the world of Greyhawk.

Vecna Lives! is one of my favorite adventures from second-edition Advanced Dungeons & Dragons and I’m ecstatic that it’s been made available on dmsguild.com. Even if you never play the adventure, you should go out of your way to read/download/borrow it just to see what an incredible example of storytelling and adventure writing it is.” – Die Hard Game Fan


Night of the Walking Dead (1992) is a second-edition Advanced Dungeons & Dragons Ravenloft adventure by Bill Slavicsek for characters of level 1-3.

Characters investigate a series of murders an disappearances in a village plagued by walking dead.

“The actual adventure is one of the better blends of plotted adventures and old-school adventuring found in the ’90s. Though, there’s a deep, underlying story, it’s not a railroad. Instead, players must investigate and interact with NPCs to figure out what’s happening. Some events act as set encounters, but there’s also a big dungeon (cemetery) to crawl through at adventure’s end. The result maintains player agency while still telling a real story.” – The Fraternity of Shadows


Merchant House of Amketch (1993) is a second-edition Advanced Dungeons & Dragons Dark Sun adventure by Richard Baker for characters level 4-7.

In an event-driven adventure, characters work to end a trade in beetles with a bite that neutralizes psionic power. The quest pits the party against the most powerful merchant house in Tyr.

“This adventure has everything for me: intrigue and adventure coupled with the potential to save the world from a great threat that has just been exposed. So it’s 5 out of 5 stars.” – Warpstone Flux


City of Skulls (1993) is a second-edition Advanced Dungeons & Dragons adventure by Carl Sargent for characters of level 9-12.

Players infiltrate the demi-god Iuz’s nightmare capital to free a military commander needed to defend the Shield Lands.

Rated 26th greatest adventure by Dungeon magazine.

“Periods of stealth and quiet punctuated by short bursts of terrifying combat.” – Retro Gaming Magazine


Night Below: An Underdark Campaign (1995) is a second-edition Advanced Dungeons & Dragons adventure by Carl Sargent that takes characters from 1st level to as high as 14th level.

Billed as the “ultimate dungeon adventure,” this campaign goes from a ruins crawl, to a mine crawl, to a long journey through the Underdark.

“Night Below won’t be to some peoples’ taste, but the vast majority will absolutely adore it. Quite simply, it’s one hell of an adventure.” – Cliff Ramshaw in Arcane magazine.


Return to the Tomb of Horrors (1998)  by Bruce Cordell.

Years after adventurers gutted the original Tomb of Horrors, a dark community has built a city of necromantic evil on the tomb’s site. Even the inhabitants of this fell city have no idea of the true evil that waits beneath them.

Rated 10th greatest adventure by Dungeon magazine.

“The new material is really excellent. Return is a whole mini-campaign, not some rehash of previous work … It offers more by far than the old Tomb of Horrors, and it is more deadly too.” – Gary Gygax


Dawn of the Overmind (1998) is a second-edition Advanced Dungeons & Dragons adventure by Bruce Cordell for characters of level 8-10.

To stop a resurgent mind flayer empire, character visit a world of ancient ruins in search of an artifact of Illithid manufacture. This adventure brings a taste of Spelljammer and sword and planet adventure to conventional D&D.

“This is the third part of the Mind Flayer Trilogy, which was pretty much awesome from start to finish. One of the best D&D adventures of all time.” – Power Score


Die Vecna Die! (2000) is a second edition Advanced Dungeons & Dragons Adventure for characters of level 10-13 by Bruce R. Cordell & Steve Miller.

Die Vecna Die! takes the heroes from the Greyhawk campaign to the demiplane of Ravenloft and then to the Planescape city of Sigil in a quest to claim the Hand and Eye of Vecna—the key to stopping the evil demigod Iuz.

Die Vecna Die! pulls out all the stops, and the result is a massive but tightly constructed adventure with a truly apocalyptic feel. I’m surprised I’m recommending Die Vecna Die! as strongly as I am, but it’s just that good. It’s a great high-level adventure for any campaign.” – Fearful Impressions


Forge of Fury (2000) is a third-edition Dungeons & Dragons adventure for levels 3-5 by Richard Baker.

In a dungeon that captures the flavor of some of D&D’s original, classic adventures, characters battle though five levels of a dwarven stronghold overrun by evil.

Rated 12th greatest adventure by Dungeon magazine.

“I’ve always been impressed with the adventure; for my money it’s one of Wizards of the Coast’s best 3rd Edition era modules. As a basic, flavoursome dungeon crawl I think Forge of Fury is particularly well executed.” – Creighton Broadhurst


Return to the Temple of Elemental Evil (2001) is a third-edition Dungeons & Dragons by Monte Cook designed to take 4th-level characters as high as level 14.

Power rises again in the Temple of Elemental Evil. “Characters battle the power of darkness in Hommlet and beyond, forging their way through hundreds of encounters before reaching the fiery finale.”

Rated 8th greatest adventure by Dungeon magazine.

“Go out and buy the Return to the Temple of Elemental Evil. You will not regret it, and it will become a valuable part of your D&D library. It is one of the best adventure modules ever written.” – Talon on ENWorld


City of the Spider Queen (2002) is a 3.5 edition Dungeons & Dragons adventure by James Wyatt designed to take 10th-level characters up to level 18.

“Daggerdale is reeling from a sudden series of murderous drow raids. As a grave threat to the entire surface world develops in the war-torn dark elf city of Maerimydra, intrepid heroes must discover its source and destroy it, if they can.”

Rated 24th greatest adventure by Dungeon magazine.

City of the Spider Queen is an excellent addition to anyone’s Forgotten Realms campaign or with modifications, any Dungeons and Dragons third-edition game.” – Mania.com


Reavers of the Harkenwold (2010) is a fourth-edition Dungeons & Dragons adventure for characters of level 2-4 by Richard Baker.

In an adventure patterned after Red Hand of Doom, the characters join the resistance and take missions to thwart the army of evil that invaded the Duchy of Harkenwold.

“Definitely one of the best 4E adventures. – Will Doyle.

“I would love to see a 5E update of Reavers of Harkenwold.” – Chris Perkins


The Slaying Stone (2010) is a fourth-edition Dungeons & Dragons adventure for 1st-level characters by Logan Bonner.

Years after goblins overran and occupied a town once settled by humans, the characters enter seeking a lost Slaying Stone, the last of the magic stones created to protect the settlement.

“This is an adventure you won’t want to miss: Not only is it fun and non-linear, but it shows a DM how to better design her own adventures, and that’s something worth reading for any DM, no matter how experienced.” – Kevin Kulp


Dreams of the Red Wizards: Dead in Thay (2014) is a fifth-edition Dungeons & Dragons adventure for characters level 6-8 by Scott Fitzgerald Gray.

Teams of adventurers cooperate to explore a massive dungeon in search of the keys to a phylactery vault held by the evil Red Wizards of Thay.

“A ton of fun. Things get more and more hectic as the alert level of the Doomvault rises. It’s got good pacing, a narrative to it, and some fairly challenging encounters.” – Bell of Lost Souls


Cloud Giant’s Bargain (2016) is a fifth-edition Dungeons & Dragons adventure for level 6 characters by Teos Abadia.

Led by a talking skull, Acquisitions Incorporated interns enter a cloud castle floating over Neverwinter to determine what threats it holds. This superb adventure combines combat, exploration, and interaction with interesting choices into a single session of play. Plus it adds a touch of humor and an unforgettable guide.

The 10 Greatest Dungeons & Dragons Adventures Since 1985

This list of the 10 greatest Dungeons & Dragons adventures since 1985, draws from ratings, reviews, and appraisals from D&D fans, and then uses my completely unscientific aggregation of opinions to rank the 10 entries. The list only includes adventures printed as stand-alone titles under the D&D or Advanced Dungeons & Dragons brands. For more on why I chose to rank adventures published after 1985, see Why Did So Many Classic Adventures Come From 7 Years of D&D’s 45-Year History?

10. The Gates of Firestorm Peak
The Gates of Firestorm Peak (1996) is a second-edition Advanced Dungeons & Dragons adventure by Bruce Cordell for levels 5-8. The adventure that introduced the Far Realm to D&D starts as a well-crafted dungeon crawl, and then builds into an unsettling confrontation with Lovecraftian monstrosities. See the full review.

9. Tomb of Annihilation
Tomb of Annihilation (2017) is a fifth-edition Dungeons & Dragons adventure by Chris Perkins. Will Doyle, and Steve Winter for levels 1-11. Tomb of Annihilation mixes the dinosaurs and lost world of Isle of Dread, with the overgrown jungle ruins of Dwellers of the Forbidden City, with a deathtrap dungeon inspired by Tomb of Horrors. Every one of those influences appears on the Dungeon magazine’s 2004 list of 30 greatest adventures, and the mix plays better than any of them. See the full review.

8. Sunless Citadel
The Sunless Citadel (2000) is a third-edition Dungeons & Dragons adventure by Bruce Cordell for levels 1-3. As the introductory adventure to third edition, Sunless Citadel delivers the monsters, treasures, and even the dragon that new players expect from D&D, but the adventure serves much more than D&D comfort food. Start with a deeply evocative location: a castle dropped into a rift by some cataclysm. Add a lost dragon wyrmling, a tainted tree at the heart of the ruin, a fresh humanoid monster, and one of D&D’s most unforgettable characters, Meepo. See the full review.

7. Vault of the Dracolich
Vault of the Dracolich is a D&D Next adventure By Mike Shea, Scott Fitzgerald Gray, and Teos Abadia for level 4 characters. Vault of the Dracolich rates for its outstanding execution of a multi-table adventure. By design, a team of dungeon masters runs several tables of players who explore different parts of a dungeon at the same time. As the adventure runs, groups can interact, briefly gathering, exchanging resources and coordinating plans. The event ends with all the groups fighting a climactic battle. See the full review.

6. Madness at Gardmore Abbey
Madness at Gardmore Abbey (2011) is a fourth-edition Dungeons & Dragons adventure by James Wyatt with Creighton Broadhurst and Steve Townshend for levels 6-8. Madness at Gardmore Abbey combines the best qualities of fourth edition’s encounter design with a sandbox of adventure locations, villains, and a single powerful thread that binds them all together. That thread comes from the scattered cards of a Deck of Many Things, perhaps the most irresistible artifact in D&D. See the full review.

5. Dead Gods
Dead Gods (1997) is a second-edition Advanced Dungeons & Dragons adventure by Monte Cook for levels 6-9.
Dead Gods boasts more than the best title of any D&D adventure, it features the most audacious storytelling. For example, in one chapter, players create temporary characters to play out past events. The adventure spans the planes, ending in a climax that brings the party to the astral plane where they battle atop the 4-mile-long corpse of the demon lord to stop the creature’s resurrection. See the full review.

4. Curse of Strahd
Curse of Strahd (2016) is a fifth-edition Dungeons & Dragons adventure for levels 1-10 by Chris Perkins with Adam Lee, Richard Whitters, and Jeremy Crawford. Curse of Strahd captures everything great about I6 Ravenloft and expands it into a full campaign. While Ravenloft mainly stayed in a castle, Curse of Strahd gives players the freedom to roam the cursed land of Barovia. Although Curse of Strahd features a strong design, the vampire Strahd and the fearful gloom of his domain make the adventure’s best parts. See the full review.

3. Lost Mine of Phandelver
Lost Mine of Phandelver (2014) is fifth-edition Dungeons & Dragons adventure by Richard Baker and Chris Perkins for levels 1-5.
The adventure that introduced fifth edition serves D&D’s expected and favorite ingredients. To longtime fans, the elements may be familiar, but superb execution makes the adventure a winner. After the first encounter, players experience samples of dungeon crawls, quests, and mini-adventures. The adventure provides enough clues to keep even new players from feeling lost. See the full review.

2. Red Hand of Doom
Red Hand of Doom (2006) is a 3.5 edition Dungeons & Dragons adventure by Richard Baker and James Jacobs for levels 6-12.
Red Hand of Doom starts with the fantasy trope of an army of evil sweeping the land, and then casts the characters as heroes working to slow the march. Their missions span the landscape and vary from diplomatic meetings to dungeon delves. Along the way, the adventure accounts for the players choices, successes, and failures. See the full review.

1. Night’s Dark Terror
Night’s Dark Terror (1986) is Basic/Expert Dungeons & Dragons adventure by Jim Bambra, Graeme Morris, and Phil Gallagher for levels 2-4. The adventure starts strong with a widely-imitated episode where the characters defend a freehold against a goblin attack. The events of the siege make the night of terror. After the first episode, the adventure’s scope expands. Players explore more than a wilderness, with eighteen locations, including a number of mini-dungeons, a ruined city, a riverside village, a frontier town, and a lost valley, while active villains oppose the characters. See the full review.

Sunless Citadel (2000): Greatest D&D Adventures Since 1985—Number 8

Sunless Citadel (2000) is a third-edition Dungeons & Dragons adventure by Bruce Cordell for levels 1-3.

When Dungeons & Dragons started, creating an introductory adventure must have been easy. The adventure setting could stick close to the mundane: back alleys and caverns. New characters lack magic and abilities likely to derail an author’s plans. Choose goblins, kobolds, or bandits. Sprinkle in rats and overgrown bugs. Done.

Twenty-five years into D&D’s history, when Bruce Cordell penned the adventure that introduced third edition to new and returning players, he faced a more demanding audience. His Sunless Citadel rates as the 8th greatest adventure since 1985. In a dungeon crawl, the adventure serves the monsters, treasures, and even the dragon that new players expect from D&D. Plus dungeon delves make an easy start for new DMs.

But Sunless Citadel serves much more than D&D comfort food. The adventure includes sweet and spicy ingredients. Start with a deeply evocative location: a castle dropped into a rift by some cataclysm. Add a lost dragon wyrmling, a tainted tree at the heart of the ruin, and an evil druid with a plan. That plan adds a story element that gives characters a goal larger than looting, plus a climactic final battle. In addition to the usual low-level foes, Cordell adds a fresh humanoid monster.

While many dungeons exhaust players with fights while neglecting interaction, Sunless Citadel encourages players to ally with the kobold faction and with one of D&Ds most beloved non-player characters. “One of the surprise folk heroes of The Sunless Citadel was the hapless and pitiful kobold Meepo,” Shannon Appelcline writes in a product history. Meepo brings a compelling personality and often becomes a party mascot or guide. “Gradually the name Meepo became recognizable in D&D canon.”

Tales from the Yawning Portal updates Sunless Citadel for fifth edition.

Next: Number 7.

Start at 10

The Gates of Firestorm Peak (1996): Greatest D&D Adventures Since 1985—Number 10

The Gates of Firestorm Peak (1996) is a second-edition Advanced Dungeons & Dragons adventure by Bruce Cordell for levels 5-8.

When TSR introduced the second-edition Player’s Option books, new designer Bruce Cordell drew the job of writing an adventure highlighting the supplements.

The Combat & Tactics supplement introduced the maps-and-minis, grid-based style of combat that would come to dominate third and fourth edition. For that, the adventure packages monster tokens, and vivid—almost psychedelic—battlemaps for key locations.

For characters upgraded with Skills & Powers, The Gates of Firestorm Keep brings tough combat challenges against organized duergar resistance.

After passing the duergar guarding the gate, the party can continue through more combat, or stealth, or an alliance with a duergar usurper. Reviewer Will Mistretta writes, “Firestorm Peak is strongly non-linear, with more than one way to tackle the dungeon’s challenges.”

Never content to build a dungeon around a mere ruin or hole in the ground, Cordell begins with a evocative premise: “Once a generation, they say, a strange comet appears in the sky overhead and the gates of Firestorm Peak swing open.” One player has the option of casting their character as the offspring of an adventurer who disappeared in the mountain 28 years ago.

The adventure starts as a tactical challenge, but it veers into fresh territory. “Anyone who’s been a gamer long enough reaches a stage where he or she begins to feel like it’s all been done,” John D. Rateliff says. “This adventure is evidence that fresh talent will always come along and do the familiar with so much verve and so many personal touches that it all seems new again.”

As the party delves deeper and starts unraveling the peak’s mystery, the story creeps into the weird territory of things we’re not meant to know. “It positively oozes freaky flavor,” writes Mistretta. “The alien life forms infesting the depths of the dungeon are truly unsettling in their aspect and the gradual transition from a classic Underdark romp to the heart of an otherworldly foulness is handled quite deftly.”

Firestorm Peak introduced the Far Realm, a Lovecraftian dimension of insanity and horror. “It got a lot of attention because it was evocative and focused on one of D&D’s influences that had long been neglected—the Cthulhu mythos,” Shannon Appelcline writes in his product history. “The Gates of Firestorm Peak was also the adventure that changed the way people thought about D&D aberrations. Beforehand, they were wizardly experiments gone wrong, but afterward they were more frequently associated with Lovecraftian monstrosities.”

The Gates of Firestorm Peak ranked 11 on Dungeon magazine’s 2004 list of 30 greatest adventures.

Next: Number 9.