Tag Archives: Gary Gygax

25 Years Ago I Posted My Wish List For D&D. How’s it Going?

At Gen Con in 1999 Wizards of the Coast revealed plans for a third edition of Dungeons & Dragons, scheduled for release in 2000. The upcoming release would preserve the “essential look and feel” of D&D while introducing intuitive changes like a unified d20 mechanic where high rolls meant success. Free t-shirts teased the upcoming changes.

During that 1999 announcement, I thought back to 1989 and how AD&D’s second edition rules addressed few of the game’s weaknesses. I remembered the disappointment that I had felt. I wrote, “Second edition had some virtues: It consolidated and organized the rules; it featured leaner, more readable writing; and it dumped some of the clumsier bits like giving distances in inches and dividing rounds into segments. But mostly the second edition just repackaged the hodgepodge of rules accumulated since the first edition. Almost all the game’s inconsistencies and clunky bits remained.”

Since 1974, the roleplaying games that followed D&D featured countless innovations that improved play, so in 1989, D&D’s rules looked as dated as a Model T. The 1999 announcement previewed something different: a third edition that redesigned the game from its foundation. That promise fired my excitement. I posted a wish list of the changes to D&D that I hoped to see. Now 25 years later, how many of my wishes came true? My original post appears in italics.

1. Unify the game mechanics.

Want to find out if you hit? Roll high on a d20. Want to jump a chasm? Roll low. Want to use a skill? Roll high. Want to use a thief skill? Roll low on a percentile. Listening at a door? Who can remember? Look it up. The third edition fails if it fails to make sense of this.

Third edition delivered the mechanic where players add an ability modifier and other adjustments to a d20 roll, and then compare the result against an AC or difficulty class to determine success. This mechanic remains at the heart of the game and ranks as the single biggest refinement over the game’s 50-year history.

Wish granted.

2. Smooth the power curve for magic user advancement.

Playing a 1st-level mage means spending your adventure waiting for your big moment when you can cast your single, feeble spell. The situation improves little until level 5 or so. Some say that this balances the class against the extreme power of high-level spellcasters. I say it’s bad design. Low-level casters should have more than one spell. If this unbalances the class, then reduce the power of high-level casters.

While third edition kept low-level magic users in the game by granting them bonus spells based on intelligence, wizards still surged in power at higher levels, eventually overshadowing other characters. Fourth edition D&D solved the problem, matching the power of different classes by giving every class the same allotment of daily and encounter projects. The uniformity left some gamers unhappy, and that included the designers. “I’d never wanted to use the exact same power structure for the wizard as every other class,” said lead designer Rob Heinsoo, “But we ran out of time, and had to use smaller variations to express class differences than I had originally expected.”

Fifth edition reverted to a magic system that resembled the Vancian magic of older editions, but the game made three changes that check the power of high-level wizards and other spellcasters.

Many spells now require their caster to maintain concentration to keep their magic going. Critically, a spellcaster can only concentrate on one spell at a time. Now rather than layering haste, invisibility, fly, blur, resistance, and a few others, a caster must pick one.
Spells cast by higher-level casters no longer increase in power simply based on the caster’s level. Now, for example, to increase the damage of a fireball, a wizard needs to spend a higher-level spell slot.
Compared to earlier editions, spellcasters gain fewer spells per day, and much fewer high-level spells. In the third edition, a 20th-level wizard could cast four spells of every level including 8th and 9th level. In fifth edition, a 20th-level wizard gets 14 fewer spells per day, and only one 8th- and one 9th-level spell. Sure, the fifth-edition caster enjoys more flexibility, but far fewer slots.

The damaging cantrips introduced in fourth edition also let low-level wizards do something magical every turn, rather than spending most combats flinging darts like exactly zero magic users in our fantasy imagination.

Wish granted.

3. Drop THAC0.

To the folks boasting that they have no problem with THAC0: Don’t spend too much time lauding your math skills. We all can do the addition and subtraction in our heads, but the system remains a clumsy and counter-intuitive vestige of D&D’s wargame roots.

In drafts of the original D&D game, a 1st-level fighting man could figure the lowest d20 roll needed to hit by subtracting the target’s AC from 20. New fighters needed a 20 “to hit armor class zero,” and with each level they gained, their THAC0 improved by 1. The to-hit tables that reached print lacked the same simplicity, but descending armor classes remained. So when the second edition dropped “attack matrix” tables in favor of THAC0 numbers, the game returned to its roots. Still, THAC0 used negative numbers for especially tough ACs, made mental math more difficult, and forced a counter-intuitive concept on players.

Second-edition designer Steve Winter said, “There were all kinds of changes that we would have made if we had been given a free hand to make them—an awful lot of what ultimately happened in the third edition. We heard so many times, ‘Why did you keep armor classes going down instead of going up?’ People somehow thought that that idea had never occurred to us. We had tons of ideas that we would have loved to do, but we still had a fairly narrow mandate that whatever was in print should still be largely compatible with the second edition.”

Third edition dropped THAC0 and descending armor classes in favor of a target to-hit number and to-hit bonuses players added to their roll. Suddenly, the game became more consistent and intuitive.

Wish granted.

4. Give complete rules for magic schools and specialization.

The second edition mentions magic users who specialize, but the core rules fail to give rules for magical specialists other than the example of illusionists.

Third edition included rules for wizards specializing in each school of magic. The 2014 version of fifth edition built on the idea by giving specialists abilities specific to their school.

Wish granted.

5. Give rules for different clerics for different deities.

The second edition mentions variant priests for other deities, but the core rules fail to give rules for priests other than clerics. Why shouldn’t a priest of a god of the hunt use a bow? Why shouldn’t the priest of a thunder god be able to cast a lightning bolt? Why should the rules force the DM to answer these questions?

In the third edition, clerics chose two domains such as the air and war domains suitable for a god of thunder. Domains brought extra powers and domain spells like chain lightning. By fifth edition, cleric domains turned into full subclasses with accompanying abilities. Alas, gods of the hunt still lack support.

Wish granted.

6. Make spell statistics consistent.

Playing spells in AD&D either demands that you memorize the details of each spell or that you waste game time thumbing through the PHB. Why can’t most ranged spells have consistent ranges? Why can’t most area-of-effect spells affect the same area? Similar spells should be grouped and should share similar numbers for range, duration, area of effect and so on.

The fourth edition of D&D granted this wish, but I also learned that part of D&D’s charm came from spells like polymorph, phantasmal force, and wish that no cautious game designer would pen. Unlike earlier editions, fourth edition provided spells with effects that confined their effects to grid and to a tightly defined set of conditions. Often spells no longer worked outside of combat. Even fireballs became square.

These changes simplified the dungeon master’s role by eliminating judgment calls over debates like whether a wizard could toss an earthworm above their foes, polymorph it into a whale, and squash everyone flat. The fourth-edition designers aimed to make the dungeon master’s role easy—something a computer could handle. But this approach discouraged the sort of ingenious or outrageous actions that create unforgettable moments. D&D plays best when it exploits a dungeon master’s ability to handle spells, actions, and surprises that no computer game allows.

Although fifth edition returned to spells that demand a DM’s judgment, the spells feature more careful and uniform descriptions than in the game’s early editions. Credit this improvement to a card game.

When the designers of Magic: The Gathering 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.

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.

7. Make spell power consistent.

Spells of the same level suffer from wildly different power in game play. This means that each spell level includes a few powerful spells that see constant play and many weaker spells that are forgotten. Worse, spells like stoneflesh pose game balance problems.

As long as D&D adds spells, the game will fall short of making their power consistent. The 2024 version of the fifth-edition rules makes changes to nearly 200 spells from 2014. Some changes affect power levels by changing their damage or healing dice, by adding concentration, or even by substituting a different spell for an old name. The changes bring the power level of spells closer to other spells at the same level. Still, silvery barbs remains unchanged even though players widely regard it as broken. And the completely rewritten conjure minor elementals spell joins the list of broken spells often nerfed by house rules.

8. Shorten one-minute rounds.

Who besides Gary Gygax accepted minute-long rounds as plausible? I recently reread the second edition’s rationalization of why someone can accomplish so little in a minute, but found the explanation as silly as ever. While the length of time simulated by a round makes little difference on actual play, I still prefer some sense underlying the mechanics.

Original D&D specified that a 10-minute turn consisted of 10 combat rounds, making rounds one minute long. Nonetheless, the D&D Basic Set (1977) specified 10-second combat rounds. Editor J. Eric Holmes based the set’s shorter round on house rules like Warlock and The Perrin Conventions common among his circle of California gamers. The West Coast community tended to rely on combat experience earned in fights staged by the Society for Creative Anachronism. To them—and to most gamers—10 seconds seemed like a reasonable time for an exchange of blows. Meanwhile, Gygax stood loyal to D&D’s wargaming roots and favored the 1-minute rounds that let D&D fights mix with Chainmail miniature battles where armies of combatants needed minutes to mount attacks. In the AD&D Dungeon Master’s Guide, Gygax spends a quarter page defending 1-minute rounds against critics who argued that in a minute real archers could fire a dozen arrows and real fencers could score several hits. The second-edition Player’s Handbook dutifully spends four paragraphs justifying the 1-minute round by explaining how a character could easily need a full minute to drink a potion. So much for drinking a potion as a bonus action! When the third edition switched to 6-second rounds, few mourned the 1-minute round.

Wish granted.

9. Simplify experience.

Totaling experience shouldn’t require a spreadsheet. Why bother having exacting formulas for combat experience when non-combat experience remains largely up to the DM’s judgment? Newer games use extremely abstract experience systems because calculating experience adds no fun to a game.

Unlike the original D&D and AD&D rules, second edition avoids setting a standard experience point (XP) system for the game. Instead, the Dungeon Master’s Guide reads like a draft presenting two methods: Half the text suggests that DMs improvise awards based on how well players foster fun, show ingenuity, and achieve story goals. Half suggests DMs award XP for beating monsters. The book cautions against awarding XP for treasure. “Overuse of this option can increase the tendency to give out too much treasure.” In the end, the text offers little guidance. “The DM must learn everything he knows about experience points from running game sessions.” Obviously, when I griped about point totals that required a spreadsheet as if that were the only option, I forgot the current edition’s indecisive XP rules.

In practice, the best experience system matches the style of play that gamers want.

For games centered on looting dungeons, D&D’s original XP system worked brilliantly by rewarding players for claiming treasure and escaping the dungeon with as much as they could carry.

For games focused on stories that resemble an epic fantasy tale, awarding experience for overcoming obstacles works better. This builds on the essentials of storytelling where characters face obstacles to reach their goals. Most second-edition players chose to award XP for defeating monsters. This method based XP awards on the game’s most frequent and quantifiable obstacles, namely monsters, so the method avoided relying on arbitrary decisions. However, it fails to account for games without much combat or where smart players reach goals without a fight.

Fifth edition offers an XP system based on beating monsters while suggesting awards for overcoming non-combat challenges.

As a flexible alternative to grant XP for overcoming obstacles, DMs award XP to parties when the reach their goals—the Dungeon Master’s Guide calls these goals “milestones.” Many DMs skip the point totals by simply granting levels for meeting goals.

For gamers who stick to points, the totals still add up to thousands, high enough numbers to merit a spreadsheet. Those high numbers remain as a vestige of the original D&D game where one gold piece brought one experience point.

10. Publish fewer rule books.

All the optional rule books make the second edition too sprawling, too heavy, too expensive, and too intimidating. Plus, if you use all the options, then you hardly play the same game.

Ever since TSR Hobbies learned that D&D fans would buy books of campaign lore and character options, the D&D team faced a temptation to publish too many D&D books. As sales sagged in the second-edition era, TSR tried to bolster revenue with more and more books. When the third edition’s sales boomed, Wizards of the Coast tried to capitalize by publishing more books.

But even the most eager gamers can only spend or play so much, so inevitably those additional books meet indifferent players and languish on store shelves. Rows of D&D books in game stores tend to intimidate potential new players who wonder how much they need to buy to start playing and how much they need to master to join existing players. The editions of popular roleplaying games typically end with game store shelves glutted with product. By fourth edition, the D&D team knew this pattern, but they still published hardcovers almost monthly.

Fifth edition stands as the first to stick to a slower release schedule that may avoid the risk of overwhelming fans with products. Until 2018, Wizards of the Coast only published three books a year. Still, the number of D&D hardcovers released annually has climbed to four, then five. Even as a D&D enthusiast, I no longer find time to play or even read every release. Count the wish as granted, but perhaps only through 2021 when five books a year started reaching stores.

11. Make healing spells consistent with the hit point concept.

I can accept the rational behind the gain in hit points a character receives with each level: A 10th-level fighter cannot actually survive 10 times more injury than he could at 1st level. Instead, his combat skills enable him minimize the damage from a stab that once would have run him through, so instead of a fatal wound, the 10th-level fighter suffers a minor cut.

Fine. But why does a cure light wounds spell have a negligible effect on the 10th-level fighter when the same spell can bring a 1st-level fighter from death’s door to perfect health?

I admit this issue is more of a peeve than a serious problem with the system, but a bit of consistency would make the rationale for hit point advancement much easier to accept.

Fourth edition granted this wish. In the fourth edition, rested characters gained a limited number of healing surges, and then healing magic let characters trade surges for healing. Because the number of points healed by a surge grew with a character’s hit point total, magic like healing potions cured wounds in the same proportion at every level. Fourth edition’s treatment of hit points and healing ranks as one of the edition’s best innovations, but it needed the edition’s hit point math to work, so fifth edition returned a scheme where a 1st-level cure light spell offers minimal healing to a high-level character.

From B1 to Pinebrook: Every D&D Adventure That Includes DM Advice and What They Taught

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Over the 50-year history of Dungeons & Dragons, the game has changed enough that some gamers prefer the early versions of the rules to duplicate the play style of 1974. Have the qualities of good dungeon master changed too? For a tour of DM advice over D&D history, I sought the D&D adventures that included advice, from In Search of the Unknown (1979), to Peril in Pinebrook (2023), and pulled the best, worst, and most dated guidance. Most advice remains timeless, revisited in print over the decades, so this post only mentions guidance when it first appears.

B1 In Search of the Unknown (1979) by Dave Carr

Most adventures that include advice aim to help new DMs through their first session. Later printings of the 1977 Basic Set packaged In Search of the Unknown as a start. Originally, this Basic Set just included unkeyed dungeon maps that DMs could cut apart and rearrange into different configurations. Following the original dungeon design standards, new DMs could just roll for monsters and treasure to stock the map. B1 keeps some of this learn-by-doing approach. The adventure included vacant locations along with separate lists of monsters and treasures to pair with the open locations.

Designate a caller

One player in the group should be designated as the leader, or ‘caller’ for the party, while another one or two players can be selected as mappers (at least one is a must!).

Early on, DMs proved much scarcer than players so groups often included 8-12 players and D&D co-creator Gary Gygax ran sessions for as many as 20. Designating a caller to speak for the group helped speed play. For more on the lost role of mapper, see The Dungeon Mapper: From Half of D&D to a Forgotten Role.

Make the game enjoyable and challenging

The DM’s foremost concern should be to provide an enjoyable game which is challenging to the players. A good DM does not attempt to influence player actions or channel the activity in a particular direction. Although you may set up situations to challenge players, you must understand that you are not their adversary, nor are you necessarily out to defeat them. However, if your players abandon caution or make stupid mistakes, let them pay the price—but be fair.

As Dungeon Master, you are the game moderator. This means you set the tempo of the game and are responsible for keeping it moving. If players are unusually slow or dilly-dally unnecessarily, remind them that time is wasting. If they persist, allow additional chances for wandering monsters to appear—or at least start rolling the dice to make the players think that you are doing so.

In the 1979 Dungeon Master’s Guide, Gary Gygax suggests speeding characters by rolling dice behind the screen, mainly to hint at the threat of wandering monsters. As random encounters fell out of favor, I figured this advice became outdated, but a recent adventure discussed in this post, The Hidden Halls of Hazacor (2018), recommends the same trick. For some of my advice on the subject, see Getting Players Moving, Especially When No One Wants to Drive.

Lastly, it is important to remember that the Dungeon Master is the final arbiter in his or her game. If players disagree with you, hear them out and reasonably consider their complaint. With human nature as it is, players will undoubtedly attempt to try to talk you into (or out of) all sorts of things; part of the fun of being a DM is this verbal interplay. But in the end, what you say is what goes.

T1 Village of Hommlet (1979) by Gary Gygax

By 1979, D&D publisher TSR had split Advanced Dungeons & Dragons from the original game. As an introduction to AD&D, Gygax penned Village of Hommlet, a module that added a village as a home base complete with non-player characters the players might not kill. For more on creating NPCs that players might not kill, see How to Create Loveable Non-Player Characters While You Supercharge Your Sex Appeal. (That title is not pure click bait; the post really does explain how to supercharge your sex appeal.)

Roleplaying NPCs

The persons met at the inn, along the road, and so forth, are you; for the Dungeon Master is all-monsters, NPCs, the gods, everything. Play it to the hilt. Do it with flair and wit. Be fair both to the characters and to yourself. Be deceitful, clever, and thoroughly dishonest when acting the part of a thief. Be cunning but just when in the role of a warding ranger. Actually think of it as if the part you are taking is that of a character you are playing, and act accordingly, but temper actions with disinterest in the eventual outcome and only from the viewpoint of that particular role. Wearing two, three, or a half dozen or more different hats is challenging, but that is part of being an outstanding DM.

For more on roleplaying NPCs and modelling good roleplaying for players, see Most Advice for Encouraging Role-playing Stinks, But I Found the Good Stuff.

B2 Keep on the Borderlands (1979) by Gary Gygax

In 1981, Keep on the Borderlands replaced B1 in the Basic Set. The adventure reprises the familiar advice, but Gygax adds a lofty pep talk for novice DMs.

As DM you are to become the Shaper of the Cosmos. It is you who will give form and content to all the universe. You will breathe life into the stillness, giving meaning and purpose to all the actions which are to follow. The others in your group will assume the roles of individuals and play their parts, but each can only perform within the bounds you will set. It is now up to you to create a magical realm filled with danger, mystery, and excitement, complete with countless challenges. Though your role is the greatest, it is also the most difficult. You must now prepare to become all things to all people.

If all of this seems too difficult, never fear! Just as your players are learning and gaining experience at D&D play, so too will you be improving your ability as a DM. The work necessary to become a master at the art is great, far greater than that necessary to be a top player, but the rewards are even greater. You will bring untold enjoyment to many players in your role as DM, and all the while you will have the opportunity to exercise your imagination and creative ability to the fullest. May each of your dungeon adventure episodes always be a wondrous experience!

Roleplaying monsters

When the players experience their first encounter with a monster, you must be ready to play the part fully. If the monster is basically unintelligent, you must have it act accordingly. Make the encounter exciting with the proper dramatics of the animal sort – including noises! If the encounter is with an intelligent monster, it is up to the DM to not only provide an exciting description but also to correctly act the part of the monster.

B10 Night’s Dark Terror (1986) by Jim Bambra, Graeme Morris and Phil Gallagher

In the 80s, the D&D line sold in a series of boxed sets. The Basic Set started players with dungeon adventures, and then the Expert Set expanded the game to the wilderness. Night’s Dark Terror helped introduce players to the great outdoors. This adventure rates as one of the best ever.

Fudging rolls

Adventuring is, above all, about enjoying yourself, and sometimes in order to do so it is necessary to overrule some dice throws. It is your job as DM to give your players an exciting and fun time, relying entirely on the dice is not always the best way to do so—they are an aid, not a means in themselves. But be discrete—you don ‘t want your players to get the idea that you are pulling any punches!

No other adventure suggests fudging die rolls, but when Peril in Pinebrook (2023) suggested that DMs play to avoid killing player characters, the recommendation took heavy criticism from some gamers. That adventure appears later in this post.

B11 King’s Festival (1989) by Carl Sargent

By 1989, most of the earlier introductory adventures lapsed out of print, so TSR started a new set with B11 King’s Festival.

Description and the senses

Never forget that you are the eyes and ears of the player characters during the game. Players are wholly dependent on you to tell them what their PCs see, hear, and so on. Good DMs are able to convey the feel and atmosphere of an adventure, the thrills and scares, by using good descriptions of what actions are taking place and what the PC can see around them.

A good DM details more than simply what PCs see. Don’t forget noises (scurrying vermin, voices, whistling wind, owl hoots, the scraping of something on stone-is it metal, chitinous claws, or something even more horrid?), smells (food, garbage, the reek of a filthy ogre aiming a club at a PC), and tactile senses (“you feel hair rising at the nape of your neck,” or “the stone feels cold and slimy as you touch it”).

For more, see Narrating Your D&D Game: The Essentials and How To Make Descriptions Vivid and Evocative.

DDA2 Legions of Thyatis (1990) by John Nephew

Legions of Thyatis continued the line of B-series adventures that started with B1, but TSR feared the high module numbers hurt sales, so they restarted the series with DDA1 and DDA2.

Characterizing NPCs

One quick way to characterize an NPC is to visualize him as an animal, and picture that animal as you describe and play him. Another way to create stock characters is to use foils, or opposites. One example is the wimpy, fast-talking thief teamed up with a hulking mountain of a thug.

Winging it

“Winging it” means running an adventure without a detailed script or area key. Like all skills, doing it will be easier after you’ve tried it a few times. When winging a plotted adventure, just identify the main turning points of the plot; how the players get there is less important than the fun they have doing it.

Don’t worry at first if the encounter sends the party away from the main plot—you can practice steering them back to it! Players depend on you dropping clues to guide them, and they can easily get lost if they miss something vital. Don’t panic; keep giving them chances to get on the right track until they connect, if your first clues were too subtle. If they don’t connect, you can decide after the session whether you want to get them back on track or modify the adventure to go in their direction.

If the player characters scatter, think ahead to the next point in your plot at which you can bring them all back together. Try to do this as soon as possible; it’s most important to have all the players in the game, for player boredom is certain death for an evening’s fun.

Finally, you may have a situation where things have gone out of control. In such cases, stopping the game for a few minutes to sort things out is perfectly okay.

WGA4 Vecna Lives! (1990) by David Cook

Unlike all the prior adventures on this list, Vecna Lives! targeted experienced DMs. However, this module aimed to create a more structured story and a more horrific mood than a typical D&D romp.

Story beats

Allowing the player characters to succeed against a seemingly major villain, deadly trap, or a puzzle increases their confidence. This victory may be followed by a stinging defeat or the discovery that their accomplishment was only a small part of something greater and more powerful.

This technique must be used sparingly, however. You don’t want to take away all your player’s accomplishments or they will get discouraged. Wait until they are overconfident and cocky, then give them a reverse and it will remind them that things are not as easy as they seem.

Building tension

To make your players sweat, you must let them know they are in danger before anything actually happens.

Which creates more tension—the player characters open the door and discover the monsters, or the player characters hear a strange noise on the other side before they open the door? In the second case, the players suddenly stop and have to judge the amount of risk. They know something is there, but don’t know what.

The trick is to give your players hints that they are in danger without revealing enough for them to avoid that danger. In movies, this can be done by showing the audience the threat (the monsters lurking behind the door) but not showing it to the hero (about to open the door). This is a little harder in a role-playing game, since players are both audience and heroes.

You can use foreshadowing techniques to some extent. Fleeting, incomplete, and inaccurate glimpses of the major villains will put characters on their toes. The characters can discover Vecna’s grim handiwork just moments after the fact. Ancient manuscripts suggest the full extent of Vecna’s power. Even his Hand and his Eye, as powerful artifacts, only suggest the full extent of Vecna’s power.

Eye of the Wyvern (1999) by Jeff Grubb

Eye of the Wyvern and its twin adventure Wrath of the Minotaur both teach the game using sections with titles like “Funky Dice,” “The Physics of a Gaming Session,” and “The Fine Art of Winging It.”

The adventures even include scripted text for the DM to read to new players who apparently have no idea what activity awaits them.

“What we’re going to do here is tell a story, a story that you’re going to help create. Each of you has a character: a fighter, a wizard, or a rogue. The story takes place in a world filled with monsters, treasure, and adventure. I’m going to be the Dungeon Master, or DM. I’ll describe what your characters see, and you’re going to tell me what your characters do in response.“

Dead characters

The adventure gives advice for character deaths that I’ve never seen before or since. “Just replay.” in video games gamers routinely replay bad outcomes often, but on the tabletop the suggestion feels like a violation of the social contract. Perhaps replaying should not feel like a transgression, especially with a table of new players.

With some lucky dice rolls for the ghoul and some unlucky ones for the characters, the ghoul might be able to paralyze and defeat all the characters if it decides to stay around and fight. This might be a cruel thing to do to the characters (and their players), but it would be a good way to show the players how dangerous a monster like the ghoul can be. (And you can always back up and start the adventure over, or just replay the scene in the library, if you want to give the characters another chance.)

Sock puppets

Eye of the Wyvern includes ravenous little lizard-gremlins called wyverlings, and Grubb gives DMs fun advice for playing them while using your hands as puppets.

One easy prop to use to show wyvernling action is to hold up your hand, thumb in front of the palm. Touch the ring and middle fingers to your thumb and extend the whole outward. You now have a rough approximation of a wyvernling head, which you can use to demonstrate all types of wyvernling activity. Sock puppets work, too, but this is good on the fly.

Crypt of the Smoke Dragon (1999) by Jeff Grubb

Despite already publishing two starter adventures in the same year, TSR later printed a third, free intoduction also by Jeff Grubb. Crypt of the Smoke Dragon uses a “demo version” of D&D that only requires d6s. It includes 3d6 rolls to hit and for ability checks. Plus, none of the foes have parents, so it meets another of my starter adventure rules. (See 6 Things to Include in a 1st-Level D&D Adventure.) It even includes a (smoke) dragon boss battle.

Make the adventure your own

When the heroes try something that isn’t covered in the text, just make it up! Even better, make something up in each scene so that the adventure is uniquely your own. That’s the fun of the D&D game.

Call to adventure

Crypt of the Smoke Dragon gives each pregenerated PC a motivation to go adventure even though the players will proceed just because they sat for a D&D game. One seeks the destruction of evil, one treasure, one knowledge, and one just feels loyal to the other PCs. For more on motivating adventurers, see The D&D Adventures That Stumble by Missing the Hook.

H1 Keep on the Shadowfell (2008) by Bruce Cordell and Mike Mearls

The fourth edition’s introductory adventure, Keep on the Shadowfell, makes subtle change that marks a big improvement. The 1999 introductory modules included four characters, three male and one female. This adventure leaves the names and genders of the pregenerated character blank so players set a gender. Too bad all the PCs’ illustrations appear male.

Way back in 1987, I embarrassed myself by creating a batch of male pregenerated for my event at Gen Con. A woman sat down and asked if any of the characters were female.

Hint: If you ever create characters for other players, always leave the gender unspecified. The (hopefully) ambiguous names I used for my last batch of PCs include Doc (cleric), Lucky (rogue), Sparky (wizard), Sprig (druid), Moxie (fighter), Roamy (Ranger). I could have left the names blank, but making names proved too much fun.

Make the adventure your own, part 2

You want to create a seamless world that seems both deep and exciting. You can accomplish this by adding story elements to the game when the opportunity arises.

Perhaps you think Wrafton’s Inn needs a bard stroking a lyre by the fire as he sings of Sir Keegan’s tragedy. Or perhaps you want to add flavor to a mundane object, such as the wyrmpriest’s necklace from the Kobold Ambush encounter.

Anything you can do to add your personal touch to an adventure makes it that much more distinctive and memorable to your players. Immerse them in the story, and you’ll all be rewarded with a unique experience.

The adventure recommends making NPCs distinct by giving them an accent or favorite saying, showing them with a favorite thing like a lucky coin or pet cat, or adding a personality-related adjective like “greedy, bored, suspicious, tired, enthusiastic, sly, nervous, dumb, zealous, and so on.”

Helping indecisive players

Sometimes when you ask players what they want to do next, they won’t know. If this happens, try to move them in a certain direction by asking a leading question. For example, if players spend a long time after the kobold fight considering what to do next, you can ask, “Are you ready to continue toward Winterhaven?”

This advice works for novice DMs running their first adventure, but if the players have already decided to travel to Winterhaven, you can typically let their decision stand without revisiting whether they want to continue. To break through indecision while giving players a better sense of autonomy, list their most promising three options, and then remind them that they can chose an entirely different action. See The Best DM Tricks for Helping a Party Make Choices.

Lost Mine of Phandelver (2014) by Richard Baker and Chris Perkins

Fifth edition’s introductory adventure, Lost Mine of Phandelver, still rates as one of the best for the game’s current version.

Don’t let rules questions stall the game

When in doubt, make it up! It’s better to keep the game moving than to get bogged down in the rules.

Be consistent. If you decide that a rule works a certain way in one session, make sure it works that way the next time it comes into play.

For advice on delegating rules questions, see Delegate to run better role-playing game sessions by doing less.

It’s a shared story. It’s the group’s story, so let the players contribute to the outcome through the actions of their characters. Dungeons & Dragons is about imagination and coming together to tell a story as a group. Let the players participate in the storytelling.

Make sure everyone is involved. Ensure every character has a chance to shine. If some players are reluctant to speak up, remember to ask them what their characters are doing.

This reverses the early advice to designate a caller to speak for the party.

Read the table

Pay attention. Make sure you look around the table occasionally to see if the game is going well. If everyone seems to be having fun, relax and keep going. If the fun is waning, it might be time for a break, or you can try to liven things up.

Cloud Giant’s Bargain (2016) by Teos Abadia

When an Acquisitions Incorporated game streamed live to theaters, audiences received Cloud Giant’s Bargain as a perk. Although the adventure works for character levels 5-7, it also seeks to encourage fans of live play to run their first game.

If you are a new DM, it is perfectly normal to feel a bit apprehensive before your first session. Just remember: players need DMs to play. What you are doing is valuable and coveted. You don’t need a perfect understanding of the rules or to have Chris Perkins’ improvisational skills for players to have a great time. When in doubt, make decisions that you think the players will enjoy. The more often you run games as a DM, the easier it gets!

See Why Faking Confidence Makes You a Better Dungeon Master.

Name tents

Create a name tent by taking a note card or similar piece of cardstock and folding it in half. Open the fold to a right angle, so that it forms a display tent when the edges are placed on the table. Give one to each player and have them write their character’s name, race, and class on each outer side of the tent. This will allow you and the other players to remember character names and important details.

For advice on name tents and more, see 11 Great Dungeon Master Tips Revealed at Winter Fantasy 2020.

Going off script

If players lose sight of their goals or start chasing red herrings, the adventure recommends luring them back. “One thing to remember is that players often respond to something exciting, interesting, or profitable.”

An old school approach to failure

Unlucky dice can always turn against characters, however, allowing them to be overwhelmed. Defeat is always a possibility in Dungeons & Dragons-but that’s what makes victory so sweet.

The Hidden Halls of Hazacor (2018) by Scott Fitzgerald Gray

Most introductory D&D adventures come directly from the TSR or Wizards of the Coast. After all, D&D’s publisher stands to reach virtually all new DMs first. Nonetheless this independent adventure, The Hidden Halls of Hazacor, gives first-time DMs an adventure stocked with guidance. And the adventure stands out for being the first and only adventure to give advice for some situations that have vexed DMs since 1974. The adventure targets kids and the writing aims for youngsters, but the advice works for any age.

Dealing with murderous treasure hunters

When some new players start playing a game that allows any choice of action, they relish the chance to shatter society’s rules of behavior, often in ways that disrupt the game for players who want to work together without making war with villagers.

Characters can be arrested in the stronghold for getting into fights, stealing from NPCs, climbing the stronghold walls, or trying to break into shops or apartments. So if any players talk about their characters wanting to do such things, it’s up to you to convince them it’s a bad idea.

Describe how there are guards everywhere in Purdey’s Rest, patrolling the streets and the market court. But also, characters will see guards eating in the taverns and visiting people at the inn. Purdey’s Rest is a safe place for its people, and the guards will keep it that way by kicking troublemakers out of the stronghold. If you need to, remind the players that they’ll have lots of chances to fight things in the dungeon.

For more on players who feel tempted to attack townsfolk, see Two weird D&D questions no one asks anymore, answered by the City State of the Invincible Overlord.

Helping distressed players

If you see that a player is uncomfortable with your descriptions, change what you say so it doesn’t seem as real. A player will feel better about monsters and scary descriptions after they play for a while. One way to help with that is to give the player a chance to feel like a hero. During combat, describe how a successful hit by a character makes a monster stagger or fall back. This lets the player know they are in control, and that they don’t need to worry.

For a time my scary descriptions may have wrecked the fun, see My 5 Biggest Game Mastering Blunders Ever and What I Learned.

Running for empathetic players

When you run adventures as a GM, you might see that some players don’t like the idea of killing intelligent creatures, or monsters they feel sorry for. Some players might be upset if they feel as though the game is making them kill other creatures. So it’s important for you to remind the players that they always get to decide what their characters do. Instead of killing intelligent creatures like orcs, goblins, and kobolds, the characters can defeat them in combat, then threaten them into leaving.

The crates, barrels, and boxes of loot that the orcs and the goblins have collected are all stolen from merchants and travelers. It’s okay for the characters to take the stolen loot and sell it if that’s what they want to do. If any players are worried about taking things that were stolen, they can return the stolen goods to the guards in Purdey’s rest instead of selling them.

Arguments among players

Sometimes arguments are more serious. But you can still solve many serious arguments by talking to the players. If two of them want their characters to kill goblin bandits but the other players want to let the goblins go, ask all the players why they feel the way they do. The players who want to kill the goblins might just be worried that the sneaky goblins will come back and attack the party again. So ask for Wisdom (Insight) checks if you want the characters to know that the goblins are too scared to come back, and that the players don’t need to worry.

Sometimes you might have a different situation. Most of the players don’t want to kill the goblins because they feel sorry for them. But one player says they’re going to kill the goblins just to make the other players feel bad. You might have a player who ignores other players when they want to talk to monsters, and who always attacks instead. Or a player might say that since their character killed most of the monsters in an encounter, they deserve more treasure than anyone else. Fixing those kinds of arguments is harder. Because when a player tries to wreck the fun for other players on purpose, that’s a kind of bullying.

Just like with other arguments and problems in the game, you should try to fix bullying first by talking. Remind everyone that characters do best in the game when they work together. Tell the player that as the GM, you want everyone to have fun, and what they’re doing is hurting the fun for the other players. But sometimes a player who’s being a bully won’t stop. And if that happens, that’s the one time when you get to use your power as the GM to tell the player that their character can’t do what they want. You might even need to tell the player that if they don’t stop, they won’t be allowed to play in your game.

For more on player cooperation, see A Roleplaying Game Player’s Obligation.

Summarize the boring parts

When you decide things aren’t important, you can give the players a short summary instead. Traveling is often best summarized. If the characters leave the dungeon to rest up, then come back, you don’t need to play out having them move through every room like you did when they first explored. You can just tell them that the dungeon is dark and quiet as they go back to where they left off.

See Just Because a Dungeon Numbers Every Room Doesn’t Mean Players Have To Explore Room-by-Room and What Choose-Your-Adventure Books Can Teach Game Masters About Pacing and Decisions.

Peril in Pinebrook (2023) by Shawn Merwin

Peril in Pinebrook is a free, introductory adventure designed for new and young Dungeons & Dragons players and inspired by The Practically Complete Guide to Dragons. For a more accessible experience, it includes a simplified version of fifth edition’s rules and premade character sheets.

Let players succeed

Use “Yes, and …” or “No, but …” Allow the players to succeed as much as possible, and let them participate in the telling of the story. If they want to try something unexpected, try to say “yes” and then work their ideas into the story. If you have to say “no” to a player’s idea, suggest options that let them do something similar.

Allow Alternatives. D&D is a game of fantasy, where heroes use wits, skill, and determination to overcome obstacles. Sometimes those obstacles are defeated with weapons and spells. But characters can succeed in other ways. Communicating with monsters, tricking them or frightening them away, or avoiding a fight while cleverly sneaking past a challenge can be just as much fun. Such options are ideal if anyone playing the game wants to avoid violence.

The advice to let players succeed reminds DMs to allow player ingenuity rather than looking for whatever solution we have in mind, but still acknowledges that not every idea works. See Challenging Your Players’ Skill Without Risking Frustration and Sometimes I Tell Players No, but “Say Yes” Made Me a Better Dungeon Master.

Listening as a safety tool

Encourage your players to speak to you, publicly or privately, if something in the game upsets them. Then respond appropriately. For instance, you can move past upsetting topics by quickly narrating a resolution to a scene, then quickly move to the next part of the story.

Avoid character deaths

Peril in Pinebrook started a controversy by suggesting ways for DMs to avoid killing new player’s characters. “You can intervene if the characters seem to be losing the battle. For instance, you can give the characters advantage on attack rolls or give the monsters disadvantage on attack rolls.” The adventure also advises DMs to avoid focusing fire on a single PC. For more on sparing characters, see How To Adjust Combat Difficulty on the Fly Using the Magic of Roleplaying.

Before scorning the advice, consider that even Gary Gygax recommended occasional mercy for characters. In the original Dungeon Master’s Guide (p.110), he wrote, “Now and then a player will die through no fault of his own. He or she will have done everything correctly, taken every reasonable precaution, but still the freakish roll of the dice will kill the character. In the long run you should let such things pass as the players will kill more than one opponent with their own freakish rolls at some later time. Yet you do have the right to arbitrate the situation. You can rule that the player, instead of dying, is knocked unconscious, loses a limb, is blinded in one eye or invoke any reasonable severe penalty that still takes into account what the monster has done. It is very demoralizing to the players to lose a cared-for-player character when they have played well.”

D&D’s Biggest Controversies Ranked—1. D&D Becomes a Target of the Satanic Panic

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Content warning for discussion of murder, suicide, and mentions of child abuse.

Through the 1980s, Satan made regular headlines. Folks kept blaming the devil for luring kids to murder, suicide, and ritual sacrifice. Police dutifully investigated. The falsely accused sometimes went to prison only to be cleared years later. And the media trumpeted every lurid moment. Concerned parents found the devil’s work in heavy metal music, Dungeons & Dragons, and especially day care centers. The fervor became known as the Satanic Panic.

The panic started in 1980, but its power came from the culture of the seventies.

Throughout the seventies, the counterculture of the sixties lingered as a new age passion for astrology, crystals, and such. To some, things like tarot cards and witchcraft just seemed like a way to explore their spirituality in daring ways, but Christian fundamentalists saw the fad as an invitation to the devil.

In 1969, Charles Manson led his followers to perform a series of murders. The group staged the killings to appear ritualistic, leading the public to search for other murderous cults potentially inspired by the devil. The seventies had no more serial killers than other eras, but serial killers now got nationwide attention. The public learned how killers could seem like friends and neighbors, and how their bloody crimes might follow a ritual pattern. The Zodiac Killer even coined his nickname from astrology.

In the media, The Satanic Bible by Anton LaVey reached bookstores in 1969 and went to sell over a million copies. In 1973 the The Exorcist set box office records. The movie claimed to be based on a true story.

Meanwhile, the number of women working outside the home surged. They put their children in day care, but they felt guilty about it and feared time outside the home might somehow damage their children.

To battle what seemed like a rise of a depraved and godless culture, conservative Christians like Jerry Falwell organized the religious right into a voting block and helped elect Ronald Reagan as president.

Together, these trends created the right culture for a panic. The furor started when a 1980 book titled Michelle Remembers became a bestseller. The book tells how its author, psychiatrist Dr. Larry Pazder, treated a housewife named Michelle Smith using a technique called “recovered-memory therapy.” Prazder claimed to have uncovered Smith’s repressed memories from when she was five years old. She claimed to remember being given to a satanic cult and enduring 14 months of captivity and torture, while seeing ritual murders and mutilations, often involving babies. Today, recovered memory therapy is discredited as pseudoscience, but then many accepted Smith’s stories as fact. Pazder and Smith established themselves as authorities in “Satanic Ritual Abuse,” and they became resources for psychologists and law enforcement authorities. They made television appearances on shows like Oprah.

An anxious public came alert to the threat of satanic cults hiding next door, and they started seeing the devil’s influence everywhere.

In 1983, a California mother named Judy Johnson accused staff at her son’s preschool of abusing him. Questioned by investigators, her accusations grew to include sexual encounters with animals and a story of one teacher flying through the air. Prosecutors found no evidence, but the investigation expanded to interviewing several hundred children who had attended to school. Interviewers used suggestive techniques that invited children to pretend or speculate on supposed events. Children told of sexual abuse, and also of flying witches, hot air balloon trips, animal sacrifices, and a goat man. During the interviews, one child identified Chuck Norris from a photo as one of the abusers. Based on media reports, the day care seemed like a front for a satanic cult. The investigation lasted until 1987, and trials until 1990, when all charges were dropped without convictions. After a 12-day psychiatric examination during the affair, Judy Johnson was diagnosed as a paranoid schizophrenic.

Original Proctor & Gamble logo

News media and talk shows made the scandal into a national spectacle. Across the country, people found clues that seemed to reveal satanic cults hiding everywhere. Rumors spread that the consumer goods corporation Proctor & Gamble supported Satan. The evidence came from the company’s man-in-the moon logo from 1882. Part of the man’s beard resembled a reversed number 666 and the image included thirteen stars, a reference to the thirteen original U.S. colonies. Law enforcement officers trained to spot cult activities and traded information about satanic calendars, symbols, and supposed organizations. Authorities spent millions investigating hundreds of accusations of satanic abuse, especially in day care centers. They put suspects in jail and ruined lives and families. Eventually though, the cases proved baseless.

While this panic raged, D&D featured devilish-looking creatures and idols on the covers of its rule books. Inside, concerned parents found descriptions of demons, devils, and spells that could summon them. In 1979, the public learned about the game from reports that painted the game as “bizarre” and its players as “cultish.” During the Satanic Panic, D&D became a lightning rod.

D&D co-creators Gary Gygax and Dave Arneson both identified as Christians. Gary’s devotion even led him to refuse to celebrate Christmas, in part because of the holiday’s pagan roots. But Gygax recognized D&D as make believe and happily added elements from real Christian religion to the game. That included holy men who could walk on water and turn sticks into snakes. He added demons named in Christian sources. If demons and devils served as foes to kill, Gygax saw them as fair game for pretending.

However, fundamentalists saw the game differently. In 1980, Utah parents demanded that Wasatch High School ban its D&D club because the game’s lack of holy reverence for biblical miracles like water walking and resurrection. Christian Life Ministries examined D&D and reported on the dangers they perceived. “If it’s only a game, why do they use hundreds of traditional Christian terms? And why do they use them in such blatantly blasphemous ways?? Why??” Across the country, parents fought to rid D&D from their schools.

In 1982, teenager Irving “Bink” Pulling II committed suicide. The Washington Post reported that the boy had trouble fitting in. A classmate said, “He had a lot of problems anyway that weren’t associated with the game.” On his death, his mother Patricia Pulling learned for the first time that Irving had been playing D&D for the last two years. She blamed the strange game for her son’s death and started a crusade against D&D. She founded the group BADD, short for Bothered About Dungeons & Dragons. She sued her son’s high school principal for negligently allowing D&D play at the school. She sued D&D publisher TSR and accused the company of brainwashing kids and leading them to the occult. “If kids can believe in a god they can’t see then it’s very easy for them to believe in occult deities they can’t see.”

Televangelists like Pat Robertson, whose Christian Broadcasting Network reached millions, connected the game to “news reports of murders, suicides, fantasy mental changes. Young people are going totally crazy as a result of this game.” Evangelist Jack Chick published Dark Dungeons (1984), a comic that aimed to show readers how D&D led to Satan.

Many parents saw the alarm about devil worship as silly, but they still worried that the game blurred reality and fantasy in unhealthy ways, potentially causing psychological damage. The news offered plenty of stories to support that fear. For a while in the eighties, anytime a young victim of suicide happened to play D&D, the media reported on the D&D angle. A youth convicted in a murder case even tried to use D&D as part of his defense, claiming the game accustomed him to violence and led him away from God. Whenever tragedy struck the lives of young people who happened to play D&D, parents looked for something to blame, and the strange new game they didn’t understand seemed like an obvious culprit.

In 1985 more than 22 million people watched a segment linking Dungeons & Dragons to suicide and murder on the prime-time news show 60 Minutes. The report interviewed Pat Pulling and her tearful daughter. Gygax defended his game, but he stood little chance against the emotional appeal. On 60 Minutes, part of the entertainment comes from showing apparently guilty culprits squirm under the camera. Gygax tried to explain that D&D’s surging popularity meant that millions of kids played the game and, separately, some of those kids happened to be involved in tragedy. He aptly called criticism of D&D a witch hunt. The segment steered away from the devil-worship angle and toward the notion that the game damaged young minds. Still, psychiatrist Thomas Radecki talked about parents who saw their son “summon a Dungeons & Dragons demon into his room before he killed himself.”

To defend D&D from claims that the game threatened emotional harm, TSR hired psychologist and TV personality Dr. Joyce Brothers. TSR avoided ever showing gameplay that blurred reality with fantasy, so Gen Con banned any “live action events.”

To defend D&D from claims that the game lured kids to the occult, TSR removed the devilish idols and efreet from the covers of the Player’s Handbook and Dungeon Master’s Guide in favor of more wholesome pictures in 1983. Then they renamed Deities & Demigods to Legends & Lore. The game’s second edition removed the words “devil” and “demon” and replaced them with the purely make-believe terms “tanar’ri” and “baatezu.”

Today, most parents’ opinion of D&D completely reverses the fears of the eighties. Parents see the game as a creative activity that teaches teamwork, encourages reading, practices arithmetic, fosters social skills, and creates real-world friendships. Today’s parents fear that children spend too much time glued to screens, so best of all, D&D games encourage kids to spend time with friends together at the kitchen table.

Go back to number 10.

D&D’s Biggest Controversies Ranked—5. D&D Splits Into Two Games With “No Similarity,” Provoking Lawsuits

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D&D’s original Basic Set arrived in stores in the fall of 1977, but in only reached third level. For higher levels, the set directed players to Advanced Dungeons & Dragons—except the advanced game would take two more years to complete. The AD&D Dungeon Master’s Guide, which included the advanced combat tables, came in 1979. For 2 years, D&D players blended combat rules and magic items from the game’s original brown books with monsters from the AD&D Monster Manual, and later with the new races and classes from the AD&D Player’s Handbook (1978).

In the June 1979 issue of The Dragon, Gary Gygax made claims that baffled D&D fans used to playing with a mix of original, basic, and advanced D&D rules. “ADVANCED DUNGEONS & DRAGONS is a different game. Readers please take note! It is neither an expansion nor a revision of the old game, it is a new game. It is necessary that all adventure gaming fans be absolutely aware that there is no similarity (perhaps even less) between D&D and AD&D than there is between D&D and its various imitators produced by competing publishers.”

Gary Gygax

AD&D never proved as different as Gygax claimed. His new version of D&D remained roughly compatible with the original. Supposedly, AD&D featured strict rules while original D&D featured room for customization, but everyone—even Gygax—changed and ignored AD&D rules to suit their tastes. Later, Gygax wrote, “I just DMed on the fly, so to speak, and didn’t use the rules books except for random encounters, monster stats, and treasure.”

Why did Gygax vehemently argue that AD&D held “no similarity” to D&D when the game’s fans found the claim laughable? Because D&D co-creator Dave Arneson felt that TSR owed him royalties for AD&D, while the company claimed Arneson only deserved royalties for the original game.

From Dave Arneson’s perspective, D&D came from his ideas. He had started with a sort of miniature game that had existed for generations and that appealed a tiny hobby, and then he had added the concepts that made a revolutionary game. Arneson invented a game where each player controlled a single character, and where a referee enabled players to attempt any action. He discovered the fun of looting dungeons. His fantasy game added characters defined by numeric attributes, and characters who could improve through experience.

From Gary Gygax’s perspective, he had labored for years on D&D. He had turned 20 pages of notes into the original rules. He had bet every cent he could scrape together on publishing an odd, risky game. In supplements and magazine articles, he enriched D&D. He defended it in letters and editorials. His friend Frank Mentzer wrote that for D&D, Gygax “paid the costs in stress on himself, his marriage, family, and friends.” Arneson had only planted an idea.

Dave Arneson (photo Kevin McColl)

Dave Arneson and Gary Gygax each argued that D&D’s success rested on his contribution. Both were correct, but that didn’t make sharing the wealth any easier. The court fight lasted until March 1981. The settlement granted Arneson a royalty of 2.5% of the cover price of core AD&D books. (In 1985, Arneson sued TSR again. His lawyers argued that the Monster Manual II—a collection of new monsters—qualified as a “revision” of the Monster Manual. Stop laughing. The court agreed.)

After Wizards of the Coast purchased TSR, they dropped the “Advanced” brand for the game’s third edition. In 30 Years of Adventure, Wizards CEO Peter Adkison wrote, Arneson “was supposed to get a royalty off of any product TSR published in the Dungeons & Dragons line. Previous owners ‘got around’ this royalty by publishing everything as Advanced Dungeons & Dragons. To me this seemed silly. I talked with Dave, and we agreed that he would release all claims to Dungeons & Dragons if I simply gave him a big check. I did.”

For the full story, see Basic and Advanced—The Time Dungeons & Dragons Split Into Two Games.

Next: Number 4.

D&D’s Biggest Controversies Ranked—7. D&D changes the game’s original handling of races and humanoids

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When D&D creators Dave Arneson and Gary Gygax adopted the word race for the playable species in D&D, they used the term in the same sense as the human race. More commonly, “race” refers to human groups who share superficial traits common to their ancestry, and that use recalls a long history of people using ancestry and appearance to justify mistreating and exploiting people. The choice of the word “race” weighed the game with problems that lasted until today. And D&D’s issues with race go beyond the baggage that weighs on the word.

“In the old days, elves and dwarves and some of the other playable options were very much the product of folklore, and in folklore, elves and dwarves were embodied metaphor,” said D&D’s lead rules designer Jeremy Crawford. “They were metaphors for different aspects of the human psyche. So elves were often associated with more elevated lofty aspects of the human psyche. Dwarves were often associated with the industriousness that some people manifest.” If fairy tales, these metaphors became talking creatures. “You can meet a demon that’s embodied evil. You can meet an angel that’s embodied good. You can meet a dwarf that’s the embodiment of industriousness and hardiness.”

Often gamers enjoy playing metaphors and relish taking the role of an ale-loving, hammer-smacking dwarf who craves gold. Sometimes gamers like to play characters who stand out for their unique qualities, such as a dwarf wizard who happens to love tea and gardening. When the D&D team made faeries a playable race, tiny barbarians became widely popular. A chance to play a raging fairy that felt one of a kind delighted players.

Through most of D&D’s history, the rules penalized or blocked players who wanted a character who defied a race’s archetype. At first, rules blocked many combinations of race and class, so a dwarf simply couldn’t become a wizard. Later, the game added racial ability score modifiers that encouraged characters to fit the archetype of their chosen race, so half-orcs gained strength and constitution, but lacked charisma. Originally, half-orcs only excelled as assassins. The modifiers meant a player who wanted to play something like a dwarf wizard had to settle for a less efficient character. Most players disliked suffering a penalty just to play a certain combination of race and class.

Also, ability score modifiers raise troubling reminders of how real ethnic groups can suffer from racist stereotypes that paint people as lacking certain aptitudes. D&D’s unfortunate use of the word “race” makes those reminders far more powerful. D&D races can include robot-like warforged, tiny fairies with wings, and humanoid dragons that breathe fire and lay eggs, but they all represent sorts of people in the game world.

In 2020, the D&D team decided that some of the game’s rules and lore aimed at treating non-human game people as metaphors had to go. To “pave the way for truly unique characters,” Tasha’s Cauldron of Everything stopped linking ability modifiers to race. Now, players could create a dwarf wizard with a green thumb without settling for a less efficient build than a similar character who happened to be an elf.

Players also wanted game people to have just as much potential to be good and virtuous—or to be wicked—as real people.

Humans have a knack for imagining human-like qualities for animals, monsters, and even inanimate objects like desk lamps. When a human-like character also shares qualities associated with a human group, we tend to imagine that that character as part of the group, so a cartoon truck with eyelashes and a bow seems female. When imaginary creatures share qualities associated with real human groups, this tendency can create troubling associations. For example, Gary Gygax created drow to resemble the photo-negative of Tolkien’s elves. Instead of having dark hair and white skin, drow featured white hair and black skin. A dark-skinned race characterized as evil without exception creates a troubling association. Drow are imaginary, and Gygax never intended to link drow to real races, but the association remains. Suppose you read a children’s book featuring imaginary talking dogs. In the tale, all the golden dogs are good and pure, while all the brown dogs are wicked and savage. Instead of thinking, “Well, they’re just imaginary talking dogs,” you would say, “Oh, hell no,” before hurling the book across the room.

The D&D team wrote, “Throughout the 50-year history of D&D, some of the peoples in the game—orcs and drow being two of the prime examples—have been characterized as monstrous and evil, using descriptions that are painfully reminiscent of how real-world ethnic groups have been and continue to be denigrated. That’s just not right, and it’s not something we believe in.”

This belief shows in the alignments listed for creatures in the game. The 2014 Monster Manual listed drow and orcs as evil, but newer books characterize them as having “any alignment.” Even demons and angels now get “typical” alignments rather than unvarying ones. Some of this just reflects an extra emphasis. The 2014 Monster Manual already explained that “the alignment specified in a monster’s stat block is the default. Feel free to depart from it and change a monster’s alignment to suit the needs of your campaign.”

More recently, the D&D team announced that the 2024 update to the game would scrap the term race, likely in favor of the word species. Unlike races, the differences between character species go beyond superficial, so the term “species” fits better, even if its flavor seems a bit scientific for a fantasy game.

Some folks have pointed out that the word “species” brings as much historical baggage as “race,” because real world racists once pretended that people who looked different were different species, and then used that as a way to justify all sorts of injustices. Still, “species” likely rates as the best of all the imperfect options.

The controversy came from different perspectives. Some gamers favored characters that fit mythic archetypes—a valid preference. Some gamers loved the D&D they grew up with and felt angry about any changes that implied the old game included elements that felt racist. Some gamers wanted a game with unalterably evil humanoids, so young and old orcs could be killed without question. And many just followed an allegiance to their ideological team and raged at change.

Next: Number 6.

D&D’s Biggest Controversies Ranked—9. D&D Infringes on Tolkien by Including Hobbits, Ents, Nazgûl, and Balrogs

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Battle of the Five Armies (TSR 1977)

When D&D co-creator Gary Gygax penned the original D&D books, he took fantastic creatures and magic from every source he knew and added them to the game. He never considered who owned the ideas. Surely a few references to hobbits in a game that originally reached a minuscule number of hobbyists would pass unnoticed. So the first D&D books and supplements included references to hobbits, ents, nazgûl, and balrogs.

In April 1977, TSR went too far by releasing an unlicensed game based on The Hobbit called Battle of the Five Armies. A note under the title said, “From ‘The Hobbit’” and revealed that TSR had applied to trademark “The Battle of the Five Armies.”

The board game reached hobby shops just as marketing started for a television adaption of The Hobbit. Perhaps, TSR figured that the game could benefit from the movie publicity, while escaping the notice of any lawyers. This calculation proved wrong. Worse for TSR, the board game drew legal attention to D&D.

Hobbit (TV Movie 1977)

The Hollywood production company behind The Hobbit owned the non-literary rights to Tolkien’s works, and that included games. The man running the production company, Saul Zaentz, would later gain fame by suing John Fogerty for plagiarizing his own songs. (Zaentz owned the songs Fogerty wrote for Creedence Clearwater Revival, so when one of the artist’s new songs sounded too much like “The Old Man Down The Road,” Zaentz took Fogarty to court. Fogarty would strike back by penning the song “Zanz Kant Danz.”) Zaentz‘s company sent TSR a cease-and-desist notice.

TSR killed the board game and cut words coined by Tolkien from D&D. They used synonyms while leaving the fundamental concepts unchanged. Hobbits became halflings, ents became treants, and nazgûl became wraiths. The Eldritch Wizardry supplement dropped the note that said Type VI demons were sometimes called balrogs. Eventually, the D&D version of the demon would become balors.

Next: Number 8

How D&D’s Rules Changed To Encourage More Varied Groups of Heroes Than Those in the Pulp Fantasy That Inspired the Game.

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Today’s Dungeons & Dragons focuses on letting players build custom characters to suit their taste, but for half of the game’s 50-year history, the rules emphasized rolling a character and playing the numbers the dice gave. Especially at first, gamers demonstrated their play skill by making the most of some random combination of scores. Original D&D paired non-humans with particular character classes, so dwarves could only become fighting men. Every elf, dwarf, and (until 1977) hobbit fit their race’s archetype. Mainly though, gamers loyal to the game rules played humans, because the rules limited the number of levels non-humans could gain. For example, a dwarf could only reach level 6. Largely human parties suited the taste of D&D co-creator Gary Gygax. Ability scores hardly mattered, and with limited character options, characters became distinctive as they adventured and won magical gear. Those magic trophies served as mementos and made one elf play differently from all the others.

Today’s game looks very different. If a party contains a single human, the group rates as unusual. Player’s typically want characters who feel extraordinary from level 1. Often, that means playing the best ale-loving, hammer-smacking, dwarf who ever craved gold. Sometimes that means playing a dwarf wizard who happens to love gardening. The countless tiny, fairy barbarians that have joined my tables show that players relish a chance to play a character who defies type and at least seems one of a kind. Non-human characters only match a racial archetype when a player chooses it. To most players, the old rules that made races fit a stereotype now feel confining. Sometimes, those old rules even feel like a troubling reminder of outdated attitudes.

This evolution took all of D&D’s 50 years. This post tells the story of the change.

“In the old days, elves and dwarves and some of the other playable options were very much the product of folklore, and in folklore, elves and dwarves were embodied metaphor,” says D&D’s lead rules designer Jeremy Crawford. “They were metaphors for different aspects of the human psyche. So, elves were often associated with more elevated lofty aspects of the human psyche. Dwarves were often associated with the industriousness that some people manifest.” In fairy tales, these metaphors became talking creatures. “You can meet a demon that’s embodied evil. You can meet an angel that’s embodied good. You can meet a dwarf that’s the embodiment of industriousness and hardiness.”

Early D&D included rules that made characters fit the archetype of their chosen race. The game restricted non-humans to particular classes and blocked their advancement to higher levels. Later, the game added racial ability score modifiers that encouraged characters to fit certain archetypes, so half-orcs gained strength and constitution, but lacked charisma. Originally, half-orcs only excelled as assassins.

Gary Gygax favored the sort of human-dominated fantasy that appeared in the fiction that inspired him. To Gary, non-human level limits explained why humans dominated D&D worlds despite the extraordinary talents and longevity of elves and dwarves. Gary wrote, “If demi-humans, already given some advantages, were as able as humans, the world would be dominated by them, and there goes the whole of having a relatively familiar world setting in regard to what cultures and societies one will find in control. So, a demi-human is unlimited in thief level only, as that this a class not destined to control the fate of major groups or states.

“Why are humans more able to rise to higher levels than demi-humans?“ Gygax wrote in a internet discussion. ”Because the gods say so, and don’t like pointy eared types with curly-toed shoes, squat miners with big beards, hairy-footed midgets, etc.” Gygax intended the comment as harmless fun at the expense of make-believe creatures, and in 2005 most readers read it that way. But now the comment reads in a way Gygax surely didn’t consider. In our history, people have justified inflicting countless horrors on other humans by claiming that God disapproved of some group. Talking about even fictional half-humans like this raises uncomfortable echoes.

This adventuring party was pictured in Arduin Grimoire III

Even in D&D’s first years, not every player shared Gygax’s taste for games where most characters resembled the human heroes of Poul Anderson, Fritz Leiber, and Robert E. Howard. When J. Eric Holmes wrote the 1977 D&D Basic Set, his draft explained, “An expedition might include, in addition to the seven basic classes, an African witch doctor/magic-user, a centaur, an Amerindian medicine man/cleric, a lawful werebear, a Japanese samurai fighting man and a half-human, half-serpent naga”. The published book cut most of those options, leaving only “a centaur, a lawful werebear, and a Japanese samurai fighting man.” In Dragon 53, Holmes wrote about the set’s limited character options. “I am personally sorry to see the range of possibilities so restricted. The original rules (the three little brown books) specifically stated that a player could be a dragon if he wanted to be. I enjoyed having dragons, centaurs, samurai and witch doctors in the game. My own most successful player character was a Dreenoi, an insectoid creature borrowed from McEwan’s Starguard.” Meanwhile, Arduin Grimoire III (1978), an unofficial supplement to D&D, included pictures of an exotic adventuring parties that scarcely resembled a typical group. Author Dave Hargrave wrote, “The fact is that most players want individuality in their characters.”

When Wizards of the Coast purchased TSR, new CEO Peter Adkison steered D&D to more flexible character options. “My biggest beef with the older rules were the consistent limitations on what characters could become,” Adkison wrote. “Why couldn’t dwarves be clerics. Why could wizards of some classes only advance to some pre-determined level limit? Why couldn’t intelligent monster races like orcs and ogres pick up character classes? In my mind these restrictions had no place in a rules set but should be restrictions established (if at all) at the campaign-setting level.” The 2000 edition scrapped non-human level limits and rules that limited each race to particular classes.

Still, ability score modifiers remained in the game, and they stayed in the 2014 Player’s Handbook. Lead rules designer Jeremy Crawford said the modifiers “are specifically there just to reinforce the traditional D&D archetypes for dwarf adventurers, elf adventurers, halfling adventurers, and so on.” The modifiers meant a player who wanted to play something like a dwarf wizard had to settle for a less efficient character.

Experienced players rarely settled, so the ability score modifiers felt like as much of a restriction as the old rule that limited dwarves to playing fighting men. As for new players, the ability score modifiers became a trap. A player who fancied playing a halfling barbarian would later learn their character suffered a permanent limitation. Restrictions that force players to make interesting choices can make better games. Much of the fun of character building comes from choosing among enticing options, but for players set on a class, the choice between one race and a plainly weaker option adds nothing. “All games are about making choices and making meaningful choices,” Crawford said. “But we want the choices to be between things that are all fun and interesting. Like a great example is making the choice between the classes where it’s an open-ended field and you get to just choose the one that sing to you. What we don’t want is choice where just hiding inside it is some kind of trap. And that’s what the traditional ability score bonuses often feel like to people.”

Aside from adding a trap—and not the fun kind—ability score modifiers raise troubling reminders of how real ethnic groups can suffer from racist stereotypes that paint people as lacking certain aptitudes. D&D’s unfortunate use of the word “race” makes those reminders far more powerful. When D&D creators Dave Arneson and Gary Gygax adopted the word race for the playable species in D&D, they used the term in the same sense as the human race. More commonly, “race” refers to human groups who share superficial traits common to their ancestry, and that use recalls a long history of people using ancestry and appearance to justify mistreating and exploiting people.

Our characters in roleplaying games represent us in the game’s imaginary world. They might be just-pretend types like dragons, vampires, and robots—sometimes pronounced warforged—but we identify with them because our game world stand-ins think and feel mostly like us as people. Our characters represent people, and if they’re people, we can imagine them enjoying the same versatility and potential as real-world people.

To “pave the way for truly unique characters,” Tasha’s Cauldron of Everything (2020) stopped linking ability modifiers to race. Now, players could create a dwarf wizard with a green thumb without settling for a less efficient build than a similar character who happened to be an elf. “It is not our assumption and never has been in fifth edition that those bonuses in the players racial traits are true of every member of the race,” said Crawford. “As the game continues to evolve, and also as the different types of character people make proliferates and becomes wonderfully diverse as people create types of characters that many of us would never imagine. It’s time for a bit more of those old assumption to, if not pass away, to be something that a person can set aside if it’s not of interest for them and their character. It’s with that in mind that we created this system to be true to our philosophy. We sometimes talk about when we give DMing advice to whenever possible say yes. This is a system about saying yes to players. That yes, you can play the dwarf you want to play. You can play the elf you want to play. You can play the halfling you want to play.” In D&D, player characters stopped serving as metaphors.

The Scandal of Palace of the Silver Princess, the D&D Adventure that TSR Printed and Trashed

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In 1981, Dungeons & Dragons publisher TSR printed an adventure so scandalous that when new copies reached key TSR management, they ordered the entire print run sent to dumpsters rather than to distributors.

The story of the adventure, B3 The Palace of the Silver Princess, began when Dungeons & Dragons co-creator Gary Gygax hired Jean Wells as the first woman to join the design team at TSR. After a year working mostly administrative tasks, Jean finally landed a creative assignment writing an adventure that would introduce D&D to new players. Perhaps the company’s management expected a woman to deliver a gentle module that would nurture D&D’s burgeoning young audience. Instead, she wrote a sandbox with the same grown-up sensibilities as prior TSR products.

Gygax had hired Wells because he liked her ideas, and she wanted her first module to show her unique voice. She feared that other developers would meddle, so she had Gygax remind the development team to leave her ideas intact and to limit changes to proofreading. Artist Erol Otus remembers “The module was sent in and the editors were told hands off. Don’t change Jean’s stuff. Send it through.”

TSR editor Stephen Sullivan says that the adventure “was what Jean wanted it to be. It was her baby. And for another place and another time, it probably would have been just perfect.” Wells and Sullivan collaborated on one of the module’s illustrations.

The liberty that Gygax granted the project gave artist Erol Otus a sense of creative freedom. For the module, he illustrated a group of 3-headed creatures called ubues. He says, “I remember asking Jean if the ubues could be male/female. I remember being thrilled when she said yes. I remember being really happy to put male and female together in different combinations and just thinking about what they’re lives would be like.”

Ubues by Erol Otus

Work on the adventure came after some recent firings, leaving tension between TSR’s management and creative staff. “We [artists] were down with the editors and designers,” says Otus. “We felt like we were a team.” In the spirit of team and perhaps as a cheeky dig at management, Otus drew the ubues’ heads so they resembled members of TSR’s creative team.

Photos in reading order: Lawrence Schick, Dave Cook, Jean Wells, Dave LaForce, Skip Williams, and Darlene

When the module reached print and upper managers saw the drawing, they saw the resemblances, but could not figure out who the picture mocked. Designer Lawrence Schick says, “There were a lot of in-jokes in there. And if you aren’t ‘in’ on the in-jokes, it can be easily misinterpreted.” Designer Kevin Hendryx says, “Management was very sensitive about mutiny in the ranks at the time and took all these perceived slurs or snoot-cockings as an insult and a challenge.”

Forty years later, Otus no longer remembers more of the creative process behind the picture, or even who the likenesses match.

Even though management found Otus’s picture of the ubues troublesome, another illustration in the adventure actually landed the print run in the garbage.

For the adventure, Wells imagined a new monster called the decapus that used illusion to lure prey. “I created the decapus to draw paladins into the room quickly without thinking and to be the first in. I wanted them to rescue the maiden whose clothes were torn and seemed to be surrounded by nine ugly men taunting her. Editor Ed Sollers thought it was a good idea and so did our boss Harold Johnson. It went through the channels with no problems at all until it had been printed.”

Illusion of the Decapus by Laura Roslof

Artist Laura Roslof drew the creature’s illusion as Wells described. A woman dangles from a ceiling beam, bound by her own hair. Men taunt and poke her, “pulling at what few clothes she has on.” Just a year ago, such an illustration might have passed unnoticed. After all, in the October 1980 issue number 42 of Dragon, TSR printed a picture of a bound, naked woman on her knees before the corpulent, goat-headed figure of Orcus.

But in 1981, TSR no longer just catered to an older audience of wargamers and sci-fi fans. James Dallas Egbert, a gifted and troubled 16-year-old studying at Michigan State University, disappeared in 1979, and the detective searching for the teen blamed D&D. The case fired a media sensation that introduced D&D to America. Dragon magazine editor Tim Kask wrote, “Dungeons & Dragons is getting the publicity that we used to just dream about.” The attention led to rocketing sales, but news reports also consistently painted D&D as a “bizarre” game enjoyed by “secretive” and “cultish” players. By 1981, TSR strategy focused on making sales to younger gamers while comforting the parents who might worry about a game full of evil creatures and supernatural make believe.

The decapus illustration threatened to alarm parents. Worse, the drawing appeared in a teaching module for the basic D&D line, all targeted for younger gamers. “D&D was under attack by religious conservatives at the time,” explained Lawrence Schick, “and TSR thought that releasing the original B3 would be just throwing red meat to the mad dogs.”

According to Gygax, when copies of the newly printed module reached Brian Blume, he “pitched a fit.” Blume held a seat on the TSR board and was part of the family that controlled TSR. Only he and his brother held the power to overrule Gygax.

Jean Wells and her editor Ed Sollers were called into the office of art director Dave Sutherland. She remembered that TSR vice president Will Neibling waited “mad as hell.” She and Ed knew they were in trouble, but had no idea why. Neibling asked, “Why did you write S&M into a child’s module?”

According to Wells, neither she nor Sollers knew what sadomasochism was. “Ed and I just looked at each other and went, ‘What’s S&M?’ Will didn’t believe us, but we just stood there looking dumbfounded because we didn’t know.”

Kevin Hendryx remembers the blowback. “It happened very, very fast. One day they were handing out our office copies, and then one day we were told that supervisors were collecting copies, telling people to turn theirs in. Most of us, having got a whiff of what was going on, were busy squirreling ours away.”

Stephen Sullivan estimates that the print run numbered between 5,000 and 10,000 copies. Management made sure that TSR handyman Dan Matheson supervised the work of moving the stacks to the landfill and personally witnessed their burial. “I find it funny that management was so concerned about anyone filching copies of B3 that they had employees like Dan—who was a big, imposing bear of a fellow, burly and bearded—riding shotgun on the garbage dump,” says Hendryx.

“It really was just a tempest in a teapot,” Gygax wrote later. “Had TSR not made a fuss about it, I think it would have passed largely unnoticed. They’re going now for really high prices, but I think most of the people who get them are really disappointed because there’s nothing really very wrong in the thing.”

“Jean held onto her filing job, but her only shot at success was blown,” writes TSR insider Frank Menzer. “Tom Moldvay rewrote the module significantly, removing most of Jean’s flavor and replacing it with his own style and preferences.”

The trashing of her creative work left Wells feeling soured, but she rallied and pitched more creative projects to TSR. “Everything I suggested to someone, anyone, was shot down as not a good idea.” Soon, Wells would leave TSR, marry, and raise two sons. She died in 2012.

Related:

The Story of Palace of the Silver Princess, the Adventure so Scandalous That the Print Run Went to a Landfill

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In 1981, Dungeons & Dragons publisher TSR printed an adventure so scandalous that when newly printed copies reached key TSR management, they ordered the entire print run sent to dumpsters rather than to distributors. According to legend, the art featured a bound, naked woman menaced by leering monsters, and another art page that mocked TSR’s owners by putting grotesque versions of their faces on three-headed creatures. The legends proved exaggerated, but because surviving copies sold at auction in shrink wrap for sky-high prices, few knew the truth.

“I think that the reaction to the module is more interesting than the module itself,” said TSR design head Lawrence Schick. “The actual content of it is only mildly eccentric by current standards. It’s more a matter of what light it shines on the management reaction at the time, and the ‘Satanic Panic.’ It’s like Bigfoot, except the first edition of this module actually exists. It can be seen.” (Teaser: Schick’s likeness appears as one of those monstrous heads.)

The true story mixes the trials of the first woman to work at TSR as a D&D designer, a cheeky bit of rebellion by the TSR art staff, and executives fearful of provoking angry parents at a time when the media consistently painted D&D as a “bizarre” game enjoyed by “secretive” and “cultish” players.

In 1979, 23-year-old Jean Wells responded to an ad in Dragon magazine seeking game designers, D&D co-creator Gary Gygax liked the ideas she pitched well enough to hire her. “Gary and I corresponded from around Thanksgiving until mid-January when he flew me up,” Wells said. “I spent three days at his house.” Wells became friends with Gary and his wife Mary, who Wells taught how to make southern fried chicken and tried to show the game. “We liked each other, but Gary knew I didn’t know how to really write rules. He told me he’d teach me how to do them his way. He was hiring my imagination and would teach me the rest.”

Gygax said he wanted “to give the game material a feminine viewpoint—after all, at least 10% of the players are female!”

D&D insider John Rateliff wrote “Wells’ hiring was a deliberate attempt by Gary Gygax to expand beyond the all-male perspective that had dominated the design department for the company’s first eight years—no doubt with an eye toward attracting a female market to match the burgeoning youth market the game had already tapped.”

Wells became The Sage who answered rules questions for Dragon magazine. Readers enjoyed how she answered even the strangest questions with poise and wit. She contributed art for the eye of the deep and for the rat to new printings of the Monster Manual. For Gygax, she edited B2 Keep on the Borderlands (1981). When Gen Con needed an extra DM to run the D&D Open competition, Jean stepped up. “I grabbed my stuff and met the team and did that. One of the semi-washed teenaged boys on the squad there looked at me, gaping, and said, ‘It’s a woman!’. I said, ‘10 points for perception.’”

However, Gygax lacked time to develop her design skills, and no one else filled in. Instead of getting design assignments, she got filing and administrative tasks. “I don’t think my sex had anything to do with it being difficult for me,” she said. “I lacked a proper mentor and that is what I believe made it difficult. I believe that lacking a mentor cast me into the role of token female.” She underestimates the disadvantage of being dismissed as a token.

Still, Wells paid her dues and earned an assignment writing a teaching module for D&D. That project became B3 Palace of the Silver Princess (1981). But now, her friendship with Gygax may have hurt her chances of success.

The adventure let players explore the haunted ruins of a castle and dungeon 500 years after its silver princess mysteriously disappeared. The adventure includes clues to the princess’s fate for players to discover, and the discoveries can prove surprising. Reviewer Merric Blackman praises the adventure’s attention to non-player characters. “Wells’s work gives hints to the palace existing in a greater world: there’s a wilderness outside it, and NPCs that are described to be more than simple opponents or allies.”

Wells delivered something more than a first adventure; she created the foundation for a campaign. The original describes the wilderness around the palace and includes rumors and random encounters. Wells created the keep above the dungeon to give characters a home base for future adventures. The dungeon includes multiple collapsed tunnels and advises, “To expand the dungeon, the DM need but open up the blocked passageways and add new and challenging dungeon levels.”

But in 1981, such an old-school, sandbox design might have just seemed old fashioned to the rest of the design team. Surely, one of Wells’s instructional tricks seemed outdated. Like in B1 In Search of the Unknown (1978) by Mike Carr, Wells left blank spaces for new DMs to fill with their own traps, monsters, and treasures. Gygax had already dropped that technique when he wrote Descent Into the Depths of the Earth (1978). To be fair, Wells improved on the method by leaving the spaces for rooms that start empty but that a DM might want to fill later. Justin Alexander writes, that the space “emphasizes that dungeon keys are designed to evolve and change over time: These rooms are empty now, but perhaps they will not be the next time the PCs come here.”

Later when Tom Moldvay redesigned Silver Princess to create the version that reached stores, he abandoned the content that created the backbone for a campaign. He reworked the sandbox adventure in favor of the newer fashion of designing for a particular story. For example, he eliminated a staircase leading to the lower level, forcing players to take a more linear path through the dungeon to the final foe and to the story’s climax.

For all the original adventure’s virtues, it suffered from inevitable rough edges. “Jean did pretty well, though there were a few errors characteristic of a newbie who didn’t know the ropes,” wrote TSR insider Frank Mentzer. “I was also involved in the playtests. I helped a bit, critiquing some of the details, but didn’t give it a full checkover. I didn’t have time.” Mentzer assumed development and editing would lead to improvements, but Wells’s friendship with Gygax let the project skip some of the usual development process.

After a year of paying dues, the adventure stood as even more than Wells’s big shot, it also gained a personal investment, perhaps too personal. “The Silver Princess character was also her persona in the Society of Creative Anachronism—a hauntingly lovely woman who destroyed hearts,” artist Bill Willingham wrote. “It was clearly the private fantasies of the author.”

Wells wanted to protect her work, and so she leveraged her relationship with Gary Gygax. Game developer and designer Kevin Hendrix wrote, “When this thing came through, and the development people wanted to edit it, Jean went to Gary and said—and I know I’m going to make this sound more harsh than it actually was—‘They’re changing my stuff, tell them not to do it.’ And Gary reminded us all that we were not to change the designers’ word or intent in the work.” So, a new hire, editor Ed Sollers, got the project and only did proofreading.

Despite the flaws that skipped development, Menzer still rated it as publishable “and potentially popular for Jean’s style (notably different from other writers).”

Instead, the adventure’s art destroyed Well’s chance at design success and landed virtually the entire print run into a Lake Geneva landfill.

Part 2: Scandal!

The Astral and Ethereal Went From Interchangable to Overcomplicated. How Can D&D Fix Them?

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As introduced in the original Dungeons & Dragons supplements, the astral and the ethereal planes seemed like two names for the same place. D&D characters visited both planes for the same reason: to snoop undetected. Either way, travelers pass through walls. On both planes, travelers braved the psychic wind. Monsters with attacks extending to one dimension invariably touched the other as well. The two planes shared the same encounter tables.

Today, thanks to decades of new planar lore, the astral and ethereal now differ. Instead of psychic winds, ethereal travelers face ether cyclones. On both planes, travelers fly around at will, but on the ethereal, creatures have a sense of gravity. Planar diagrams show the astral plane touching outer planes like the Hells and Limbo, while the ethereal touches the elemental planes. (Nonetheless, characters will still use plane shift and portals to travel the planes.)

Despite these differences, when the fourth-edition designers simplified the lore in their Manual of the Planes (2008), they dropped the ethereal plane. No wonder fans felt incensed!

How did D&D wind up with the Coke and Pepsi of planes? Do their redundancies just add useless complication to the game’s cosmology as the fourth edition designers seemed to conclude?

Two magic items that appeared in Greyhawk (1975) introduced the ethereal to D&D. Both oil of etherealness and armor of etherealness put characters “out of phase,” letting them through solid objects and making them immune to attack except by other creatures that can also become out of phase. Only a mention of creatures that can see ethereal things reveals that ethereal travelers are invisible rather than merely intangible.

One spell that debuted in Greyhawk introduced the astral to D&D. The astral spell let casters send their astral form out of their body. The form can fly at the speed of 100 miles per hour or more “and nothing but other astral creatures could detect it.” so the spell offered a superb way to find the best treasures and the worst traps in the dungeon.

The astral spell offers no more detail about astral travel, but fantasy gamers in the early 70s likely understood the concept. In Doctor Strange’s comic book appearances of the time, the Sorcerer Supreme frequently traveled in ethereal, astral, or ectoplasmic form; the superhero’s writers used the terms interchangeably. Gary Gygax included every idea he found in fantasy and folklore in his game, and gamers in his circle knew Doctor Strange. Brian Blume, the co-owner of D&D publisher TSR, was a fan. The teenage artist Gary recruited to draw the original D&D cover patterned the image after a panel in a Doctor Strange comic. Gamers could also consult books like the Art and Practice of Astral Projection (1975). Back then, astral projection attracted popular attention and even the U.S. Army took the paranormal seriously enough to launch a research effort that included astral projection.

The Eldritch Wizardry supplement (1976) frequently mentions ethereal and astral travel together, making the two dimensions interchangeable except for the magic item or spell required to reach them. The distinction between oil of etherealness and astral spell created one big difference in play. The oil made the body ethereal, so when the effect wore off, the user gained substance wherever they had traveled. With the astral spell, the caster’s astral form left their body behind and then returned to their body when the spell wore off or when something destroyed their astral form. This let someone scout while nearly immune to harm, but they could not physically travel to another place.

Until the plane shift spell debuted in the Advanced Dungeons & Dragons Player’s Handbook (1978), characters could not bring their bodies to the astral plane. Plane shift enabled travel to and from the astral and ethereal, making visiting either plane equally simple.

In the AD&D Player’s Handbook, Gary’s urge to gather ideas from other sources led him to complicate the astral spell with more lore from astral projection. Some real-world investigators into astral projection claimed that during their out-of-body experiences, they saw an elastic, silver cord that linked their astral form to their physical body. Based on this, the astral spell added cords that tether astral travelers to their flesh and blood. Breaking the cord kills the traveler, so the cords potentially add some risk and tension to astral projection, even though “only a few rare effects can break the cord.” When Charles Stross created the astral-dwelling githyanki for the “Fiend Factory” column in White Dwarf issue 12 (1979), he wisely gave them swords capable of cutting the silver cords, adding some real peril to astral travel.

In the July 1977 issue of Dragon magazine, Gary Gygax printed a diagram that showed a difference between the astral and ethereal planes. The astral stretched to the outer planes like Olympus and the Hells, while the ethereal reached the inner, elemental planes. This proximity hardly made a difference in gameplay, since Gary never explains how astral travelers can navigate to Olympus, or why someone might care in a game with plane shift on page 50 of the Player’s Handbook. Besides, with Queen of the Demonweb Pits still years away, a DM who allowed players to travel the planes lacked any example to follow.

As far as players cared, the astral and ethereal just offered ways to snoop while undetectable and unblocked by walls. The choice of plane depended on the available magic. In 1977, D&D co-creator Gary Gygax would write about how astral and ethereal travel “posed a headache for DM’s.” In Tomb of Horrors (1978), he writes “Characters who become astral or ethereal in the Tomb will attract a type I-IV demon 1 in 6, with a check made each round.”

The Manual of Planes (1987) finally created differences between the astral and ethereal that factored into game play.

The astral no longer overlapped the material plane, so astral travelers lost the power to scout and spy. At best, astral travelers could find a portal called a color pool leading to the material plane and use it as a window to scry. Instead, the astral became a crossroad of connections to other planes. The astral gained those color pools and also conduits that work like portals but looked different. Years later, the fourth-edition designers fully realized this idea of the astral connecting to the outer planes when it made the Heavens, Hells, and other outer planes domains floating in the astral sea.

The ethereal still allowed invisible, intangible scouting, but it now extended into the deep ethereal, a place that connected to the elemental planes and various demi planes. The deep ethereal seems like a useless complication that stems from a diagram Gary printed in that 1977 issue of Dragon, because it resembles the astral plane, and besides players travel by plane shift and portal.

By the 90s, as D&D settings started proliferating, D&D designers started looking for ways to connect them. The Spelljammer setting gave characters a way to pilot their fantasy spaceships between Faerûn, Krynn, Oerth, and so on. The Planescape setting uses the deep ethereal to create similar connections between D&D worlds.

The astral and deep ethereal are different thanks to Coke versus Pepsi nuances of flavor and because each plane led to different places. (Does that feel like too much complexity for few gameplay rewards?) In practice, plane shift and portals mean that few visit the astral except to fight githyanki and no one visits the deep ethereal ever. In today’s game, the new Spelljammer setting uses the astral sea to connect D&D worlds, leaving the deep ethereal with no reason to exist. (Update: The Radiant Citadel of Journeys Through the Radiant Citadel exists in the deep ethereal, which provides the feel of a magical place disconnected from the ordinary, but without the problems created by locating a city in the astral where nothing ages.)

If I were king of D&D, I would adjust the astral and ethereal with some changes:

Drop the deep ethereal, keeping the ethereal as the sole, overlapping plane of creatures out of phase. The deep ethereal rates a description in the 2014 Dungeon Master’s Guide, but I suspect no fifth-edition character has ever visited it.
Drop the astral projection spell and the silver cords. The ability to spy from the astral plane disappeared in 1987, so the astral spell just rates as a pointless nod to a passing interest in the paranormal.
Make the astral sea the plane of portals and conduits that serves as the crossroads of worlds and planes.

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Tag Archives: Gary Gygax

25 Years Ago I Posted My Wish List For D&D. How’s it Going?

D&D’s Biggest Controversies Ranked—1. D&D Becomes a Target of the Satanic Panic

D&D’s Biggest Controversies Ranked—5. D&D Splits Into Two Games With “No Similarity,” Provoking Lawsuits

D&D’s Biggest Controversies Ranked—7. D&D changes the game’s original handling of races and humanoids

D&D’s Biggest Controversies Ranked—9. D&D Infringes on Tolkien by Including Hobbits, Ents, Nazgûl, and Balrogs

How D&D’s Rules Changed To Encourage More Varied Groups of Heroes Than Those in the Pulp Fantasy That Inspired the Game.

The Scandal of Palace of the Silver Princess, the D&D Adventure that TSR Printed and Trashed

The Story of Palace of the Silver Princess, the Adventure so Scandalous That the Print Run Went to a Landfill

The Astral and Ethereal Went From Interchangable to Overcomplicated. How Can D&D Fix Them?

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B1 In Search of the Unknown (1979) by Dave Carr

Designate a caller

Make the game enjoyable and challenging

T1 Village of Hommlet (1979) by Gary Gygax

Roleplaying NPCs

B2 Keep on the Borderlands (1979) by Gary Gygax

Roleplaying monsters

B10 Night’s Dark Terror (1986) by Jim Bambra, Graeme Morris and Phil Gallagher

Fudging rolls

B11 King’s Festival (1989) by Carl Sargent

Description and the senses

DDA2 Legions of Thyatis (1990) by John Nephew

Characterizing NPCs

Winging it

WGA4 Vecna Lives! (1990) by David Cook

Story beats

Building tension

Eye of the Wyvern (1999) by Jeff Grubb

Dead characters

Sock puppets

Crypt of the Smoke Dragon (1999) by Jeff Grubb

Make the adventure your own

Call to adventure

H1 Keep on the Shadowfell (2008) by Bruce Cordell and Mike Mearls

Make the adventure your own, part 2

Helping indecisive players

Lost Mine of Phandelver (2014) by Richard Baker and Chris Perkins

Don’t let rules questions stall the game

Share the narrative

Read the table

Cloud Giant’s Bargain (2016) by Teos Abadia

Name tents

Going off script

An old school approach to failure

The Hidden Halls of Hazacor (2018) by Scott Fitzgerald Gray

Dealing with murderous treasure hunters

Helping distressed players

Running for empathetic players

Arguments among players

Summarize the boring parts

Peril in Pinebrook (2023) by Shawn Merwin

Let players succeed

Listening as a safety tool

Avoid character deaths

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