Tag Archives: Poul Anderson

Turning a Monster Into a Puzzle

In first-edition Dungeons & Dragons, clay golems could only be hit by magical bludgeoning weapons. Also, only three spells, move earth, disintegrate, and earthquake, affected these monsters. As foes, they worked as puzzles. “Our DM ran the golem encounter from Mordenkainen’s Fantastic Adventure this way,” recalls @Stoltzken. “It was terrifying. The key to making it work for us was we had fair warning in the initial round that this was as much a puzzle as a fight. First round was minor damage. From there on though…”

Poul Anderson’s novel Three Hearts and Three Lions (1961) inspired D&D’s regenerating trolls. To the hero of the novel—and to early D&D players unfamiliar with the book—the problem of killing a troll makes a puzzle.

Now everyone knows how to kill a troll, and that shows one problem with puzzle monsters such as trolls and golems. Players learn the solutions. Early in D&D’s history, co-creator Gary Gygax figured that only dungeon masters would read the books of treasures and monsters. He assumed players would learn the game’s secrets in play. In practice, even kids who couldn’t find a group studied the Monster Manual. At every table, someone knew every monster’s vulnerability.

That problem invites obvious solutions: Invent new monsters, vary existing monsters with new immunities, or add secret enchantments that block familiar attacks. @StaffandBranch writes, “I ran a rock, paper, scissors, encounter where the rock golem could only be defeated by wood, the treant by metal weapon, and the storm of swords by stone or rocks.”

Recent editions of D&D rarely add strong immunities to monsters. The third-edition rogue reveals why. That edition’s designers gave rogues a sneak attack ability limited by numerous monsters immune to sneak attacks. Creatures like oozes lack vulnerable spots, so those limitations made sense. But players saw too many encounters where rogues could not use their signature ability. Since then, D&D’s designers have steered toward avoiding immunities that hamper characters and lead players to feel-bad moments.

Mainly though, the blame for driving puzzle monsters from D&D belongs to foolhardy players. When did you last see players run from a fight? In early D&D games, players expected to find monsters too strong to defeat. Fragile characters made retreat a common option. Often now, players who face a creature that seems immune to attack just try hitting harder. (See The Story of the Impossible Luck that Leads D&D Parties to Keep Facing Threats They Can Beat.) When players don’t know the key to beating a puzzle monster, such encounters can lead to total party kills.

Still, puzzle monsters can enrich D&D and many players love them. Creatures with secret vulnerability make D&D games feel more mythical. They let players work their brains while their characters flaunt their power.

For some monsters, players can find the key to victory during battle. Perhaps pushing that clay golem into running water dissolves the thing. Often puzzle monsters must be trapped rather than killed. I’m reminded of Spider-Man trapping the Sandman in a vacuum cleaner.

Other puzzle monsters might require gathering lore and engaging with the game world. A hunt for a lich’s phylactery can work like that. Some might spur a quest for the artifacts that enable a monster’s defeat. Curse of Strahd works like that.

Puzzle monsters work best in games seeded with rumors of the creature’s invincibility and hints to the creature’s vulnerability. For players particularly slow to spot clues, devise a plan B enabling an escape or rescue. I once put a puzzle-based golem on a ledge over water. If the players took too much damage before spotting the creature’s invulnerability, the jump offered an easy escape. I didn’t even fill the water with sharks. Sometimes I’m such a cupcake.

The adventure Deep Carbon Observatory by Patrick Stuart and Scrap Princess features my favorite puzzle villain. Spoilers follow. In the adventure, a rescued child whispers in an character’s ear.

There was a bad old woman who lived in the corn.
Only children knew that she was real.
She had seven souls and couldn’t die the same way twice.
So all the children poisoned her.
Then they stabbed her and smashed her and sliced her
and burnt her and drowned her.
And then they threw her in the well.
That’s Six And Seven Makes All…

To slay the witch, the players need to find a means of death the children never used.

What’s your favorite puzzle monster?

The best of D&D’s Appendix N: The Broken Sword by Poul Anderson

In the original Dungeon Master’s Guide, Appendix N lists the books that inspired Gary Gygax in the creation of Dungeons & Dragons. Gary cites three books by Poul Anderson.

Of the titles, D&D fans tend to give Three Hearts and Three Lions the most attention because it contains the roots of the paladin, the troll, and of law and chaos. But as a read, Three Hearts and Three Lions pales next to Anderson’s finest fantasy, The Broken Sword.

Poul Anderson's The Broken Sword 1971 edition

Poul Anderson’s The Broken Sword 1971 edition

With The Broken Sword, Poul Anderson writes a book inspired by the same Norse sagas that fired Tolkien’s imagination. But while a nostalgia for an idyllic past colors Tolkien’s work, The Broken Sword hews closer to the bleak reality of history. The heroes of The Broken Sword see murderous viking raids as an ordinary summer, and enslaving thralls as the prerogative of the strong. Here, the elves and other “good” faerie folk seem as dangerous and amoral as the trolls and goblins—all well suited for frightening a skald’s listeners around the fire. If you think fey creatures lack menace, then the The Broken Sword becomes required reading. Both gods and faerie bring doom to the mortal men unlucky enough to cross paths.

The story turns on a witch’s entirely-justified quest for revenge. No fairy tale plot of poison apples or spinning wheels, her plan relies on cunning and dark bargains. The story adds a changeling, an apocalyptic war between elves and trolls, forbidden love, and a demon-haunted runesword. The Broken Sword jams more passion and emotion in a slim volume than modern fantasies work into a fat trilogy. The tale’s villains earn nearly as much sympathy as the heroes. As the story hurtles forward, both heroes and villains call on ever more dangerous means to achieve their ends, knowing they draw closer to doom, but unwilling or unable to stop.

The book’s demonic runesword and growing sense of doom echo Michael Moorcock’s Elric saga because The Broken Sword provided half of Moorcock’s inspiration for Elric, and set the tone for Moorcock’s other fantasies. (The second half of Elric’s inspiration came from the notion of reversing Conan’s qualities, turning a mighty, barbarian warrior into a sickly, ultra-civilized sorcerer.)

Originally published in 1954, The Broken Sword quickly dropped out of print until 1971, when the success of the Lord of the Rings  opened the door for paperback reprints of other fantasies. For the 1971 printing, Anderson took the unusual step of revising the book. He drew on 16 years of additional writing experience to make it “more readable.” You can find an excellent account of the differences between the two editions in Broken In Two: Poul Anderson’s two versions of The Broken Sword.

About 20 years ago, I read the 1971 version. Recently, I read the 1954 original version. The original cuts closer to the flavor of the mythic sagas, complete with more ornate, more poetic language. Still, I favor the leaner prose of the revision. I suspect that, like me, most modern readers will find the 1971 edition “more readable.”

The Broken Sword ranks with Guy Gavriel Kay’s Tigana as my two, favorite single-volume fantasy books.

The best of Appendix N: The Broken Sword

Among Dungeons & Dragons fans, Poul Anderson’s Three Hearts and Three Lions gets the most attention, as it contains Gary Gygax’s models for the paladin and the troll. But as a read, Three Hearts and Three Lions pales next to Anderson’s finest fantasy, The Broken Sword.

Poul Anderson's The Broken Sword 1971 edition

Poul Anderson’s The Broken Sword 1971 edition

With The Broken Sword, Poul Anderson writes a book inspired by the same Norse sagas that fired Tolkien’s imagination. But while a nostalgia for an idyllic past colors Tolkien’s work, The Broken Sword hews closer to the bleak reality of history. The heroes of The Broken Sword see murderous viking raids as an ordinary summer, and enslaving thralls as the prerogative of the strong. Here, the elves and other “good” faerie folk seem as dangerous and amoral as the trolls and goblins—all well suited for frightening a skald’s listeners around the fire. If you think the Feywild lacks menace and danger, then the The Broken Sword becomes required reading. Both gods and faerie bring doom to the mortal men unlucky enough to cross paths.

The story turns on a witch’s entirely-justified quest for revenge. No fairy tale plot of poison apples or spinning wheels, her plan relies on cunning and dark bargains. The story adds a changeling, an apocalyptic war between elves and trolls, forbidden love, and a demon-haunted runesword. The Broken Sword jams more passion and emotion in a slim volume than modern fantasies work into a fat trilogy. The tale’s villains earn nearly as much sympathy as the heroes. As the story hurtles forward, both heroes and villains call on ever more dangerous means to achieve their ends, knowing they draw closer to doom, but unwilling or unable to stop.

The book’s demonic runesword and growing sense of doom echo Michael Moorcock’s Elric saga because The Broken Sword provided half of Moorcock’s inspiration for Elric, and set the tone for Moorcock’s other fantasies. (The second half of Elric’s inspiration came from the notion of reversing Conan’s qualities, turning a mighty, barbarian warrior into a sickly, ultra-civilized sorcerer.)

Originally published in 1954, The Broken Sword quickly dropped out of print until 1971, when the success of the Lord of the Rings  opened the door for paperback reprints of other fantasies. For the 1971 printing, Anderson took the unusual step of revising the book. He drew on 16 years of additional writing experience to make it “more readable.” You can find an excellent account of the differences between the two editions in Broken In Two: Poul Anderson’s two versions of The Broken Sword.

I read the 1971 version about 20 years ago and recently read the 1954 original version. The original cuts closer to the flavor of the mythic sagas, complete with more ornate, more poetic language. Still, in 1985, I enjoyed the leaner prose of revision more than I would have enjoyed the original. I suspect that, like me, most modern readers will find the 1971 edition “more readable.”

The Broken Sword ranks with Guy Gavriel Kay’s Tigana as my two, favorite single-volume fantasy books.