Breaking into printOne of the questions we receive most often is some variation

on �How do I get to be a writer for TSR?�Writing for DRAGON® Magazine is a good start.The first thing you need is knowledge of the magazine, of our

audience, and of the game system you plan to write about.(Don�t write an article on FORGOTTEN REALMS® lore that includesdefilers.)

You also have to know the mechanics � the how � of writingfor a magazine. For DRAGON Magazine and DUNGEON® Adventures,the basics are in our writer�s guidelines, which you shouldrequest by sending us a note and a self-addressed, stampedenvelope (SASE). Specify which set of guidelines you want.

There are other submission guidelines that are fairly standardin the publishing industry. These include having your name, thearticle title, and a page number on every page; double spacingyour manuscripts; and using a font such as Courier in a legiblesize. The standard is 12-point type. The reason for this standardis twofold: legibility, and that each page is approximately 250words in length, and we can get an idea of word count by look-ing at the manuscript. Small, single-spaced, proportional fontslike Times or Helvetica hurts our eyes, and tends to make us pre-disposed to dislike a submission. You can get more informationfrom books and magazines on writing such as Writer�s Digest andThe Writer.

Now for the hard part. We return manuscripts full of basicgrammatical or syntactical errors. For instance, know the differ-ence between their, they�re, and there. Punctuate your sentencesproperly. Know the difference between passive voice (�the ballwas thrown�) and active (�I threw the ball�), and why we preferthe latter.

If your cover letter is riddled with typos and misspellings, wecan�t take your work seriously. That�s not being cruel; that�s beingrealistic. We get dozens of queries and submissions every week,and we can spend only so much time on them. We have to knowwhich ones to look at and which ones not to waste time on.

Okay, you have all this down. Good. You�reahead of the pack. The next step is to send

lines. Submissions without that form are returned unread. (Youdid remember the SASE, didn�t you?) Remember to spell out whatyou plan to write. Don�t just say �I�ve got 15 new magic spells� or�There are five new magical swords.� That doesn�t tell us any-thing. What are the spells? What do they do? What kind ofswords, and why do we need them? That�s what creates interest.Think of yourself as a salesman. Be convincing.

In your cover letter, tell us why you should write this article. Ifyou are submitting something on Ancient Egyptian PC kits, forexample, We�d be more impressed if you had a small library ofon Egypt, studied the history, or even took classes in MiddleEgyptian at U.C. Berkeley a few years ago. This tells me that youknow your material and aren�t likely to make whopping greatmistakes.

We prefer queries to whole articles because we may not beinterested. If we are, we�ll ask for the article. We may give you adeadline if a particular issue is coming up that suits your idea.

I generally discourage e-mail queries for DRAGON Magazine (it�shard to put your best foot forward when you�re used to the infor-mality of online banter), but if you are on an online service andwe are interested in an article, we may ask you to e-mail it to us.

Enough of the bad news.If you want to break into print, an easy place is the depart-

ments. Bazaar of the Bizaare, Dragon�s Bestiary, Arcane Lore, andthe like are always popular.

I�m not trying to discourage anyone from submitting material.In fact, I actively encourage submissions from new writers. Sowhy do some names pop up over and over in our pages?Because they do it right, and they do it well. If you have an orig-inal idea that is really good, and you can present it well andclearly, you may find your name in the magazine one day aswell.

For an editor, few things are as exciting as opening an enve-lope from a new writer and finding a piece that is just what weneed. Will your submission be the next one?

us a query letter. Don�t forget the disclo-sure form that�s attached to our guid-

Publisher Associate PublisherTSR, Inc. Brian Thomsen

Associate editor Associate editorDave Gross Michelle Vuckovich

Editor-in-ChiefPierce Watters

SubscriptionsJanet L. Winters

EditorAnthony J. Bryant

U.S. advertisingCindy Rick

Art directorLarry W. Smith

U.K. correspondent/advertisingCarolyn Wildman

Printed in the USA

DRAGON #226 3

February 1996Volume XX, No. 9Issue #226

The Magic Goes AwayPaul FraserWhat�s the secret to game balance? Could if be limitingthe number and power of users of magic?

Page 8Rome May Not Have Been

Built In a Day, But...David Clarke

Your campaign world can be.

showsThis simple step-by-step walkthroughhow to make one in just a few hours

Off-the-Cuff NPCsPage 17

Melissa C. ThompsonThe key to an enjoyable gaming experience ismemorable NPCs, and now you can create a fewin no more time than it takes to read this blurb.

Page 22Improve with Improv

Jason StrasserImprovisational skills are not just for musicians.

Good DMs need to be able to make rulingsand come up with game elements on the fly.

Page 28

Dot to DotMichelle BottorffThey may all look alike on the map, but not allcities are identical. Don�t make all your towns clonesof each other.

Page 36Powers From the Past

Andrew TurpinSometimes it�s the things people do that make

their objects magical.

Page 52

4 FEBRUARY 1996

Arcane Lore: Monsoonsand the Power of OmMichael A. SelinkerThese powerful new wizard and priest spellscome from the Indian subcontinent.Page 42

Game Wizards: The UltimateDungeon Master’s Aid

William W. ConnorsAt long last! The AD&D® game core reference

books (and more!) are on CD-ROM.Page 49

Bazaar of the Bizarre:Magical Scabbards and SheathsDavid HowerySometimes, it�s not the sword that�s magical. . .Page 62

Rogue’s Gallery: TheahtynRobert Martin

Meet Theahtyn, a powerful dwarven fighter. Just whenhis life was calming down, tragedy struck. Now he is

coming out of retirement, and he has a mission.Page 77

Campaign Classics:The Magical Sands of ZakharaRudy ThalbergerWhen your world is surrounded by sand, that becomesthe fool you use. These wonderous sands wereonce fhe exclusive possessions of sha�irs.Page 80

68 Miniature PlayerCharacter RecordSheets

DRAGON #226

Columns3 . . . . . . . . . . . . . . . . . . . . . . . . The Wyrm’s Turn

So you want to write for TSR, eh? It�s notreally all that hard...

6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D-MailReaders� letters on castle defenses, obtain-ing back issues, and more.

74 . . . . . . . . . . . . . . . . . . . . . . . . . .ForumLetters this month contain advice for DMsand players, as well as a discussion onwomen in gaming.

78 . . . . . . . . RPGA® Network NewsNetwork coordinator Scott Douglas dis-cusses running a Network-sanctionedevent.

84 . . . . . . . . . . . . . . . . . . . . . . . Role of BooksJohn C. Bunnell reads the newest novelsand keeps on Trekking.

89 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sage AdviceSkip Williams answers questions on theDARK SUN

® setting and the ever-popularstoneskin spell

92 . . . . . . . . . . . Role-playing ReviewsRick Swan plays some cool games.

96 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cons & ProsWe let you know where the conventionsare and who�s going to be there.

120 . . . . . . . . . . . . . The Current ClackAllen Varney talks about the industry andWotC�s big news.

Other Material100 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DragonMirth102 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gamer’s Guide105 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Libram X109 . . . . . . . . . . . . Knights of the Dinner Table110 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Floyd115 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TSR Previews

5

Replacing old magazinesDear DRAGON,

In DRAGON® Magazine issue #166, you

published a game called �Dino-Wars.� Iliked this game so much that I cut thepages out of the magazine and put themin a notebook. Recently, my notebookwas lost in a move. Could you pleasesend me a copy of this article to replacethe one I lost? If it�s not possible, couldyou tell me where to write to buy areplacement copy of the issue?

G.S. JamesLindale, TX

As you may guess, we can�t photocopypart of an issue and send it out. You canorder back issues from TSR�s Mail OrderHobby Shop, 201 Sheridan Springs Rd., LakeGeneva, WI 53147 The number is 1-800-558-5972

Issue #166 costs $3.50 (plus postage).

Exclusive material for RPGA®

Network membersDear DRAGON,

I recently sent for and received theTSR Mail Order Hobby Shop catalogue.When it arrived, I also found informationon joining the RPGA® Network and aback issue (#96) of the POLYHEDRON

®

Newszine. As I leafed through it, I noticedan article by Ed Greenwood called�Mysterious Turmish.� I play and DM inthe FORGOTTEN REALMS® setting, so this

DRAGON® Magazine (ISSN 0279-6848) is published monthly by TSR, Inc.,

201 Sheridan Springs Road, Lake Geneva, WI 53147, United States ofAmerica. The postal address for all materials from the United States ofAmerica and Canada except subscription orders is: DRAGON® Magazine,201 Sheridan Springs Road, Lake Geneva, WI 53147, U.S.A.; telephone(414) 248-3625; fax (414) 248-0389. The postal address for materialsfrom Europe is: DRAGON Magazine, TSR Ltd., 120 Church End, CherryHinton, Cambridge CB1 3LB, United Kingdom; telephone: (0223) 212517(U.K.), 44-223-212517 (international); telex: 818761; fax (0223) 248066(U.K.), 414-223-238066 (international).

Distribution: DRAGON Magazine is available from game and hobbyshops throughout the United States, Canada, the United Kingdom, andthrough a limited number of other overseas outlets. Distribution to thebook trade in the United States is by Random House, Inc., and in Canadaby Random House of Canada, Ltd. Distribution to the book trade in the

caught my interest. When I finished it, Ifound that it was the first of a series ofarticles about the land of Tumish. Doesthis mean that nothing is to be issued onthis subject for general publication? As Ihave never been an RPGA Networkmember, does this mean that I cannotread about this and other areas of inter-est within the FORGOTTEN REALMS that havealso appeared in POLYHEDRON?

Phil MartinNewcastle-Upon-Tyne,

England

POLYHEDRON has published a great deal ofinteresting material that has never appearedanywhere else. One of the good things aboutjoining the RPGA Network is the access to allthis exclusive material. You can possibly getback issues from the Network, but I�d suggestjoining. I was amazed the first time I lookedat a POLYHEDRON. It may be TSR�s best-keptsecret, but we�re trying to let people knowthat it�s out there.

Looking forGiants in the EarthDear DRAGON,

I enjoyed the series �Giants in theEarth.� To my dismay, I only have a por-tion of the series. What I am hoping for isto obtain a copy of that entire series ofarticles. If you can help me, I wouldappreciate it.

John P. HazenMasury, OH

�Giants in the Earth� was a series from theold days of double-digit DRAGON issues. Theseries featured heroes from literature and leg-end done up with gaming stats. No compila-tion of them has ever been done, and there�snever been an attempt to bring it buck.

Sorry, but we can�t photocopy articlesand send them out, either. Your best chanceto get any old pieces you want is to findavailable back issues.

There was an index for all past DRAGONMagazine articles in issue #214, so you canfind out which issues you need. I�d suggest

United Kingdom is by TSR Ltd. Send orders to. Random House, Inc, OrderEntry Department, Westminster MD 21157, U.S.A.; telephone: (800) 733-3000. Newsstand distribution throughout the United Kingdom is byComag Magazine Marketing, Tavistock Road, West Drayton, MiddlesexUB7 7QE, United Kingdom; telephone: 0895-444055.

Subscription: Subscription rates via second-class mail are as follows:$42 in U.S. funds for 12 issues sent to an address in the U.S.; $49 in U.S.funds for 12 issues sent to an address in Canada; £36 for 12 issues sentto an address within the United Kingdom; £49 for 12 issues sent to anaddress in Europe; $65 in U.S. funds for 12 issues sent by surface mail toany other address, or $119 in U.S. funds for 12 issues sent air mail to anyother address. Payment in full must accompany all subscription ordersMethods of payment include checks or money orders made payable toTSR, Inc., or charges to valid MasterCard or VISA credit cards; sendsubscription orders with payments to TSR, Inc., P.O. Box 5695, Boston MA

then writing the Mail Order Hobby Shop andhaunting gaming conventions looking forthe issues you want. Good luck.

Castles and magic defense:taking a second lookDear DRAGON,

I have a problem with Jeffrey Paul�sarticle �The Castle Designer�s Guide toCoping with Magic and the Supernatural�(issue #224). He�s overlooking the basicprincipal of castle defense: the castlewalls are the last line of defense.

In his example, he illustrates whathappened to Hector, the hapeless DM,who was stunned by his players� annihi-lation of his castle. Mr. Paul decided thatthe problem was a design flaw in the cas-tle. With the exception of his improvedtowers, he had some very good ideas.

Unfortunately, any decently creativeplayers would be merely slowed by hissuggestions. Defending a castle isn�tabout how tall the walls are or how youhave built them. Both are important, butdefending a castle is about keeping anenemy from reaching the walls in the firstplace. Defending the walls is the lastoption of the despirate. The first line ofdefense is always information.

If someone wants to attack a castle,they have to come from somewhere andhave equipment and support personnelor retainers. Any decent network ofscouts will see them coming long beforethe party can get within spell range.

Devices such as the heliograph exist-ed in Greek and Roman times. Systemslike the pony express could be employed.This doesn�t even consider such things asdivination magic and crystal balls.

Once sighted, a small group of sol-diers should be sent against the enemyto test their strength and resources. Thisdetermined, the castleholder can launcha series of appropriate attacks on theparty.

If the party is able to reach the castle,the castleholder still has at his disposalone of the most devastating weapons of

02206, U.S.A. In the United Kingdom, methods of payment includecheques or money orders made payable to TSR Ltd., or charges to a validACCESS or VISA credit card; send subscription orders with payments toTSR Ltd., as per that address above. Prices are subject to change withoutprior notice. The issue expiration of each subscription is printed on themailing label of each subscriber’s copy of the magazine. Changes ofaddress for the delivery of subscription copies must be received at leastsix weeks prior to the effective date of the change in order to assureuninterrupted delivery.

Back issues: A limited quantity of back issues is available from the TSRMail Order Hobby Shop (201 Sheridan Springs Road, Lake Geneva, WI53147 U.S.A.) or from TSR Ltd. For a free copy of the current catalog thatlists available back issues, write to either of the above addresses.

Submissions: All material published in DRAGON Magazine becomes theexclusive property of the publisher, unless special arrangements to the

6 FEBRUARY 1996

the middle ages: archers. Individually,low-level or zero-level NPCs are littlemore than sword fodder to a high-levelfighter, but 50 archers are not. In theexample by Mr. Paul, two towers ofguards were wiped out by fireballs fromground-level arrowslits. Most castles inthe real world avoided placing arrowslitsthat low; that was where the walls had tobe the strongest. The only exceptionswere castles built in the middle of lakesor rivers, where siege engine or batteringram use would be unlikely.

Toward the end of the article, he pro-poses a version of improved towertops.His idea was to dome over the towertopbecause they were exposed to aerialattack. If you don�t have a self-guidedweapon, the best anti-air-assault defenseis to fill the sky with weapons. By domingover the towertop, the defenders havegiven up at least half of their arcs of fire.An open, flat-topped tower is ideal formassive arrow volleys.

One may argue that arrows alone area poor defense against creatures likedragons or griffons, but if the defenderscould launch several hundred arrowsbefore the dragon were to come withinbreath range, how would the dragonlikely fare?

One last point; if the party is blessedwith this juggernaut factor, so too shouldbe the castleholder and his lieutenants. Ifthere is a powerful mage in the party,give the defender one. If one of the partyis a high-level fighter, give the castle-holder a powerful lieutenant. The point isthat gadgets and gizmos don�t defendcastles. People do. Any DM who forgetsthat should change his name to Hector.

James A. Mieritz

Interesting counterpoint.A similar sentiment was expressed by

Takeda Shingen, one of my heroes, He was aJapanese daimyô of the Warring StatesPeriod (1570s) who was famous for amongother things eschewing castles when castle-building was all the rage for his peers. Hewrote a poem that described his moats,

contrary are made prior to publication, DRAGON Magazine welcomes unso-licited submissions of written material and artwork, however, no responsi-bility for such submissions can be assumed by the publisher in any eventAny submission accompanied by a self-addressed, stamped envelope ofsufficient size will be returned if it cannot be published. We strongly rec-ommend that prospective authors write for our writers’ guidelines beforesending an article to us. In the United States and Canada, send a self-addressed, stamped envelope (9 ½” long preferred) to Writers’ Guidelines,c/o DRAGON Magazine, at the above address, include sufficient Americanpostage or International Reply Coupons (IRC) with the return envelope. InEurope, write to Writers’ Guidelines, c/o DRAGON Magazine, TSR Ltd.,include sufficient International Reply Coupons with your SASE

Advertising: For information on placing advertisements in DRAGON

Magazine, ask for our rate card All ads are subject to approval by TSR,Inc. TSR reserves the right to reject any ad for any reason. In the United

walls, and castle defenses asloyal retainers and vassals.

consisting of his

What is and isn�t obsolete?Dear DRAGON,

I haven�t been gaming for very longbut I�ve collected a moderate amount ofmaterial. Some recent events have meworried. With the new books out andcoming out (the new Player�s Handbookand DUNGEON MASTER® Guide, and thePLAYER�S OPTION� and DUNGEON MASTER

Option books), are the old PHB and DMGsupplements obsolete? Are they worth-less now? Will there be any more of thePHB and DMG supplements?

Christopher C. DeckerFrederic, MI

If you mean the Complete handbookseries (The Complete Wizard�s Handbook,The Complete Paladin�s Handbook, etc.), Idon�t think we�ll ever run out of material.(Note the recent Complete Necromancer�sHandbook and Complete Ninja�s Hand-book.) Does PLAYER�S OPTION make any ofthem obsolete? No, they just contain differentinformation.

With this much optional material avail-able for play, it is no surprise that some rulesconflict with others. You�ll have to decidewhich parts work better for the style of cam-paign you run. It may sound like work (and itis), but you�ll have a really special, uniqueworld when you�re finished.

You could also do what a lot of gamers Iknow do; use everything you can find thatinterests you, and resolve the rare rule con-flicts as they occur using common sense andDM fiat.

Reviewing the reviewsDear DRAGON,

I notice in Rick Swan�s reviews that henever approaches the most importantpoint about the supplements he reviews.Do they make the game more fun? If not,then regardless of how well-crafted, theyare useless and potential buyers shouldbe warned.

States and Canada, contact: Advertising Coordinator, TSR, Inc., 201Sheridan Springs Road, Lake Geneva WI 53147, USA In Europe, contact:Advertising Coordinators, TSR Ltd.

Advertisers and/or agencies of advertisers agree to hold TSR, Inc. harm-less from and against any loss or expense from any alleged wrong doingthat may arise out of the publication of such advertisements. TSR, Inc. hasthe right to reject or cancel any advertising contract for which the advertis-er and/or agency of advertiser fails to comply with the business ethics setforth in such contract.

DRAGON is a registered trademark of TSR, Inc. Registration applied for inthe United Kingdom. All rights to the contents of this publication arereserved, and nothing may be reproduced from it in whole or in part with-out first obtaining permission in writing from the publisher. Materialpublished in DRAGON®’ Magazine does not necessarily reflect the opinions of

On the Cover

We here in the frozen tundra ofthe upper midwest were alsodrawn to the abundance of purplecone flowers. With such an imagein circulation, can spring really befar behind?

Scott Burdick’s unique vision of“The Eye of the Dragon” dramati-cally portrays the immense size andpresence of these mythical beasts. Itisn’t often that we get a glimpse ofthe intelligence and sensitivity thesefearsome creatures are capable of:

TSR, Inc. Therefore, TSR will not be held accountable for opinions ormisinformation contained in such material

® designates registered trademarks owned by TSR, Inc. ™ designatestrademarks owned by TSR, Inc. Most other product names are trademarksowned by the companies publishing those products. Use of the name ofany product without mention of trademark status should not be construedas a challenge to such status

© 1996 TSR, Inc. All Rights Reserved All TSR characters, characternames, and the distinctive likenesses thereof are trademarks ownedby TSR, Inc

Second-class postage paid at Lake Geneva, Wis., U.S.A, and additionalmailing offices Postmaster: Send address changes to DRAGON Magazine,TSR, Inc, 201 Sheridan Springs Road, Lake Geneva WI 53147, USAUSPS 318-790, ISSN 02796848.

DRAGON #226 7

In DRAGON Magazine #222, Swanreviews The Complete Book of Necro-mancers. I would like to give my twocents worth.

The new nonweapon proficienciesand kits are useful. The Vile Pacts andDark Gifts are unnecessarily unbalancing.They do have weaknesses, but I haveadded something. Good priests can turnany recipient of Dark Gifts as specials.This brings back game balance.

Another point; the AD&D game is notCall of Cthulhu*. Insanity spells and mad-ness descriptions are unnecessary. Theonly thing I would have added is a com-plete spell description of all the necro-mantic spells now available in the game.Having them all under one cover wouldbe a big help.

Steve Shawler

It would be great if we could put every-thing in the Complete series that we�d like;unfortunately, we�re constrained by space.We can only include so much, so materialappearing elsewhere, like other necromanticspells, have to be given only a mention. Asfor the insanity rules, I must disagree.Different campaigns call for different mea-sures.

I�ve never had a brownie, pixie, or sprite you might want to establish a name for your-in any of my campaigns, but I wouldn�t say self by selling a few articles to gaming maga-we should have no rules for them. Rick may zines like DRAGON Magazine or DUNGEON®not always say in so many words that �X is a Adventures. If that route interests you, writefun supplement,� but it should be fairly clear to us, ask for a copy of our writer�s guidelines,from his review if he enjoyed it. If he didn�t, and enclose an SASE for them.he�ll let you know. Good luck.

Jobs in the RPG industryDear DRAGON,

I�m a junior at a small college on theChesapeake Bay. Graduation is rollingcloser, and I�m facing the old question ofwhat to do when I�m out in the realworld. I recently got to thinking aboutturning my long role-playing experienceand exposure to the gaming world into acareer.

How does someone go about gettinga job in the role-playing industry? Arethere many positions available?

Justin C. Keane

I can�t tell you about the availability ofpositions. My experience is that if the rightperson comes along, a position can befound. The best way to get hired by an RPGcompany is to send in your resume.

If you don�t have much of a track record,

How to contact us

If you have a comment, opinion, orquestion for the editors of DRAGON®Magazine, write us a letter. We�d like tohear from you.

In America and Canada, write to:Letters to the Editor, DRAGON Magazine,201 Sheridan Springs Rd., Lake Geneva,WI 53147, U.S.A. In Europe, write to:Letters to the Editor, DRAGON Magazine,TSR Ltd., 120 Church End, CherryHinton, Cambridge CBl 3LB, UnitedKingdom.

If you expect a personal reply,please don�t forget to enclose a self-addressed, stamped envelope (SASE)with your letter.

You could also address commentsto us via e-mail at: tsrmags@aol.com.

8 FEBRUARY 1996

10 FEBRUARY 1996

by Paul Fraserillustrated by Pamela Shanteau & Tom Baxa

Cutting down on spellcasterscampaign balance

very game master worth his dice agonizes over keepinghis campaign balanced. The fiend Monty Haul stalks everyself-respecting GM.

One reason to limit magic is that an overabundance is theeasiest way for any fantasy role-playing campaign to get out ofcontrol. Spells and magical items can catapult a carefully bal-anced campaign into Valhalla faster than too much treasure ortoo rapid level advancement, because magic is the most power-ful tool � and weapon � that player characters have.

Another reason for limiting magic is authenticity. To make afictional world come alive to the players, it must be authentic.Many campaigns are patterned � however tenuously � on real-life examples. Medieval Europe seems the most popular choice,but even if your campaign is based on Homer�s Iliad or Japan�sSengoku Era, you must still ensure your creation is faithful to itsprototype.

Consider a typical ADVANCED DUNGEONS & DRAGONS® campaignpatterned after Europe during the Middle Ages.Your players have probably pointed out the use-

is the key to

lessness of traditional stone castles in a world with spells suchas fly, transmute rock to mud, and earthquake.

Magic makes it difficult to justify the feudal society that formsthe backdrop of most campaigns. How can mortality rates andfood shortages exist when a cursory reading of The Player�sHandbook suggests the head priest of every village temple is atleast 8th level? That means every community has access tothree cure light wounds, three slow poison, three cure disease or cre-ate food and water, and two neutralize poison or cure seriouswounds spells per day.

What about wizards? What�s the point of all those feudalarmies when a 5th-level mage with a fireball can kill up to 30 HitDice worth of 0-level men-at-arms at a crack? Why should long-distance travel be difficult with teleport and teleport without errorspells?

Magic also raises a much larger question about technologicaldevelopment. Why bother with technological innovations (wind-

mills, crossbows, clocks) when magic can accom-plish the same results more efficiently? Indeed,

11DRAGON #226

some campaigns (such as the MYSTARA®setting) boast highly magical worlds withefreeti-driven steamships and the like.

Some GMs are uncomfortable withhigh-magic worlds and the logic prob-lems generated by widespread magic, orthey want their campaign worlds to beauthentic reflections of a given era (suchas those DMs who use TSR�s excellenthistorical reference campaign source-books).

The historical reference books offerplenty of practical advice on limitingmagic in a campaign, depending onwhether the GM wants a historical, leg-endary, or fantasy flavor. Methodsinclude lengthening spell casting times,limiting spell selection, and restrictingavailable character classes.

There is more to consider than justhow to limit magic; one must considerwhy to limit magic. The matter isn�t justrules and campaign flavor; it�s game bal-ance, pure and simple.

For instance, what�s to stop a cleverpriest or wizard PC from casting continuallight spells atop wooden poles to createpublic lighting for a city or town, settinghimself up as a sort of public utility com-pany? Both versions of the spell are per-manent, and both are available at rela-tively low level (3rd level for the wizard,5th level for the priest).

A greedy wizard ought to make akilling selling easily produced magicalitems. Similarly, a character with adecanter of endless water could exact ahuge sum from a desert kingdom.

Telling a player his character can�testablish a public lighting utility �becauseof game balance� is likely to annoy him.Good DMs must offer their players rea-sons for the rarity of magic and its valuewithin the context of the campaign.

The root of the problemLimiting magic means limiting spell-

casters. They�re the ones who cast thosetroublesome spells. They create thosepesky magical items.

Spellcasters must be rare. In too manycampaigns (including some publishedworlds), priests and wizards are as com-mon as fleas on a junkyard dog. TheDUNGEON MASTER® Guide stresses: �Thegreat mass of humanity, elf-kind, thedwarven clans, and halflings are �0-level�(zero-level) characters.�

The DMG goes on: �Only a few peopleactually attain any character level, nomatter how low. Not every soldier whofights in a war becomes a fighter. Notevery urchin who steals an apple fromthe marketplace becomes a thief charac-ter.�

The DUNGEON MASTER® Option: High-LevelCampaigns book proposes that only oneperson in 10 qualifies to become anadventurer and break that 0-level barrier.

In real terms, Florence in the 1400s,with a population estimated at 40,000,would have had about 4,000 adventur-ing characters of all types and all levels.Some DMs might feel even this guidelineof one in ten too generous and considerratios of 1:20 or even 1:50 more in linewith the admonishment in the DMG.

It�s worth pointing out that the High-Level Campaigns book establishes theratio for the sake of an example. Theratio is based on the assumption that theminimum requirement for an adventureris a 15 or better prime requisite abilityscore, a Constitution of at least 9, and noother score lower than 8. A DM mightchose more stringent minimums.

Words of wisdomThe DMG explicitly states that spell-

casting priests are rare: �Priest charactersare (obviously) not required to take uparms and set out on adventures to smiteevil. No, their hierarchies require admin-strators, clerks, and devout workers of alltypes.�

No one expects a 10,000-strong armyto be made up entirely of 1st-level fight-ers. Why should religious hierarchies bemade up of 1st-level (and up) spellcastingpriests?

According to the DMG, �it is possible tohave leaders within a religious hierarchywho show no signs of special clericalability, only proper faith and piety.� Themeasure of a priest is devotion, not rawpower.

Even the high priest of a faith neednot have spellcasting powers. Rememberthat village head priest? He is most likely0 level, with no ability to cast spells.

The DMG says only a few inhabitantsof a temple or monastery will be mem-bers of the priest character class. Chancesare good many such places won�t haveany spellcasters.

After all, the ability to cast spells is apowerful gift. Surely a deity will grant itonly to exceptional individuals, in muchthe same way paladinhood is reservedfor a chosen elite. And surely those abili-ties will be granted only to someone whoreally needs them and will use them daily� not the acolyte stuck at a monasterycopying books, but an adventuring priestbattling his faith�s foes. Spellcastingpriests should be the exception, not therule, in any clergy.

12 FEBRUARY 1996

The next time the PCs stumble into alocal shrine seeking healing from the res-dent priest, they�ll be in for a surprise.Characters will be forced to rely on theirown resources. Resurrection and raise deadspells will be much harder to come by.Not only will characters be forced to paythrough the nose or trade favors tosecure such aid, they�ll first have to trackdown the spellcasting priests. This couldbe an adventure in itself.

Plagues, famines, and high-mortalityrates become a much more believabledanger in the campaign world, both forthe PCs and the NPC population.

In my campaign, only the members ofcertain elite fighting orders (patternedafter the real-world Knights Templar,Knights Hospitaller, and Teutonic Knights)can cast spells, plus a few adventuringpriests who live in unsettled areas ornear the borders of pagan lands.

The bulk of the priesthood are 0-levelmen and women. Historically, prieststended to better educated, so the non-spellcasting priests in my campaign havesage abilities. Local priests may not beable to supply PCs with magic, but theycan offer information.

Whittling down wizardsThe DMG takes a different view of wiz-

ards. Although it requires �highly special-ized training,� wizards are fairly common:�Almost every village has a fellow whocan whip up a few useful spells to helpwith the lambing or simplify the con-struction of a house. . . . Nearly all majorfamilies, merchant princes and nobleshave a mage or two in their employ.�

That�s a lot of wizards for the averagecampaign world. Better would be to havemost village �wizards� little more thanwise men who use non-magical herbalremedies to effect cures. A clever combi-nation of chemicals and minor contrap-tions might produce �magic.� At most,these hedge wizards would have accessto the cantrip spell. Even 1st-level spellsmight be beyond them.

Many wizards should be charlatanswho pose as spellcasters but are really lit-tle more than stage magicians. Theirmagic is trickery and deception. Morethan one noble patron could be fooledby a wily wonderworker posing as amighty mage.

Consider real-life examples such asCagliostro and the Comte de Saint-Germain. These conmen posed as work-ers of magic in the royal courts of 18th-century Europe, telling fortunes, conjur-ing spirits, and dabbling in alchemy. Buttheir �powers� sprang from science andshowmanship, not spells.

True wizards suffer many constraintsin a given campaign world. They requirethe correct material components (oftenexpensive and rare) to cast spells. Andthe long periods of time they need todevote to their studies tend to keep theirnumbers low.

The DMG implies that most wizardsare low level, because only a few are will-ing to undertake the dangerous adven-turing career needed to accumulateexperience points quickly.

Most members of society wouldn�thave the offspring to spare for such apursuit. The lower classes need all thehands they can get just to produceenough food to survive. A nobility basedon a warrior class might hold wizards incontempt for their poor fighting skills.The upper classes, such as the landedgentry, wealthy merchants and expertartisans, need their oldest child to carryon the family tradition.

Younger children are sent into thepriesthood to hedge a family�s bets, as itwere. If the oldest child can�t make a goof it, maybe the younger one can tap

into the wealth and power the priest-hood likely offers. Or younger childrenare married off to make favorablealliances.

Iconoclastic and independent wizards,as the DMG describes them, go throughmoney as fast as they accumulate it inpursuit of their studies. Although wizardspossess great personal power in the formof spells, they do not necessarily acquirethe influence or wealth (for long) that theupper classes find desirable.

Persecution and competitionNon-spellcasters would rightly view

wizards and priests with grave suspicion.Think of the potential for havoc at aspellcaster�s fingertips. Little wonder theyshould be mistrusted by commoners andthe secular and religious authoritiesalike.

Priests are to some extent constrainedby their hierarchies and their deities, butwizards have no such controls. Priestsmight view wizards as threats to theirpower, or at least capricious competitors.Wizards might feel the same way aboutpriests. In Glantri, a wizard-ruled nationof the MYSTARA® setting, priests are hunt-ed down as �heretics.�

The degree of persecution that existsin the campaign is up to the DM. Wizardsmay have to hide their powers, pretend-ing to be simple sages, apothecaries, orstage magicians. In wizard-dominatedareas, priests might have to pose as fight-ers or pilgrims.

DRAGON #226 13

Perhaps spellcasters are merely dis-trusted, rather than hunted. They canpractice their profession openly, whilebeing careful not to provoke a backlash.A few bad apples might ruin things forthe bunch, of course.

The more pious might look askance atwizards because wizardly powers don�tcome directly from a deity, unlike thoseof the priest. How, then, can wizards betrusted to use their powers wisely?Literature and folklore the world over arerife with stories of wizards who actedunwisely in the pursuit of knowledge,power, or magic, thereby inflicting greatsuffering on others.

The young apprentice wizard Ged, inUrsula K. Le Guin�s The Wizard of Earthsea,unleashes a terrible creature of unlifeupon the world while conjuring up adead spirit after being challenged inmagecraft by a fellow student.

The sinking of Atlantis is sometimesblamed on some terrible experiment �whether powerful magic or technology �gone awry. Perhaps a mighty nation inyour campaign world suffered a similarcatastrophe thanks to a meddling wizardor priest, blackening the names of his fel-lows everywhere as a result.

Spellcasters might also suffer persecu-tion at the hands of other spellcasters.Powerful wizards or priests would find itin their best interests to limit the numberof young upstarts. It makes life safer forthem � fewer young whippersnapperslooking to knock off a �big gun� to makea name for themselves or rise in the hier-archy.

When you�re on top of the heap, youhave nothing to gain by shaking up thestatus quo. Inexperienced wizards andpriests might be hunted down by theirmore powerful and less scrupulous peersand enslaved, imprisoned, or even killed.

For spellcasters in the business of pro-viding their services to wealthy clients,reducing the amount of competition goesto the heart of being successful. Thefewer of you there are, the higher thewages you can command.

Spellcasters will also compete forspellbooks (in the case of wizards), magi-cal items and necessary material compo-nents. Depending on the alignments ofthe participants involved and the rarity ofthe item in question, such competitioncould get fatal very quickly. At the least,it will always be fierce. And one of thebyproducts of �survival of the fittest� isthat it helps thin the ranks.

Higher learningSpellcasters might want to keep their

profession an exclusive club. It might befor selfish reasons, like status, or for thebest of intentions. They could argue thepotential for harm is too great to teachmagic to just anyone. Today, for instance,we expect surgeons to go to medicalschool before they begin cutting openpatients on the operating table.

Like the modern legal and medicalprofessions, spellcasters might establisha quota system to keep their numberslow. Perhaps aspiring wizards mustattend officially sanctioned magicschools. Acolytes must spend time in amonastery or seminary.

Only a few students would be admit-ted at a time. Enrollment might also beexpensive, making it affordable for onlya few. Student training might involve haz-ardous tests and trials. Like a modernarmy bootcamp, not all cadets will pass(or even survive) basic training. Considerthe tests of magic in Krynn, of theDRAGONLANCE® setting.

Spellcasters who practice their artswithout proper accreditation risk arrest.Rogue wizards would likely have theirspellbooks confiscated. Priests might beexcommunicated.

Inherent powersIn some campaigns, spellcasting could

require more than just proper training.Only those born with the power might beable to wield magic. Perhaps the forcesbehind magic can be manipulated onlyby those with a special gift for it (or curse,depending on how magic is viewed).Wizards and priests, in effect, aremutants.

Of course, proper study and training isstill needed to actually cast spells. Butsomeone without �the gift� could studyfor as long and as hard as he likes andstill be unable to cast a single cantrip.

This raises questions the DM mustanswer. Do the gods decide who will andwill not have this ability? Are theregroups seeking to control or eliminatethe gifted? Are the gifted revered orreviled? How is the gift recognized?

The Tome of Magic offers a spell thatfits well with this view of magic. By ana-lyzing a person�s aura, the spell wizardsight permits the user to determine ifsomeone is or isn�t a spellcaster, or tosense if a non-spellcaster has the poten-tial to learn and cast wizard spells.

A DM might expand the spell to

include priestly magic, or he mightdecide priests don�t operate under thesame restrictions. Perhaps priestly magicdiffers in nature from that utilized by wiz-ards, and a person need not be born witha special gift to cast such spells, he needsonly to be sanctioned by his deity.

Paying a priceIt may be that the laws of magic

demand that a spellcaster make somesacrifice or suffer a curse or taboo to beable to cast spells.

This is a common occurence in folk-lore and fantasy literature. Wu jen (anOriental wizard kit from The CompleteWizard�s Handbook) who break their vol-untary taboos lose levels, become ill andcan even die. In the Thieves� World books,the wizard Randal was unable to curehimself of his allergies without greatlyreducing his power to cast spells.

Taboos could range from relativelyminor (not letting anyone see the spell-caster eating) to major (never castingspells after dark). Curses might rangefrom premature baldness to the utterdestruction of the character�s health, aswith Raistlin in the DRAGONLANCE novels.

Sacrifices might include fasting forlong periods of time (to purify the bodyand mind) or ritual mutilation (runningthe gamut from simple body tattoos toscarification or worse). The Norse godOdin hung on the world-tree Yggdrasilfor nine days and nights to learn thesecrets of magical runes. He cast one ofhis eyes into the well of Mimir to gainwisdom.

As spellcasters grow more powerful(i.e., gain more levels), the nature of thecurse or sacrifice grows more costly. At1st level, a priest might need only toswear never to ride a horse in the rain. At5th level, the priest might be forced toabstain from all alcohol. At 10th level, thepriest might tattoo his face.

Given such costs, low-level wizardsand priests would form the majority ofthe spellcastering population. Only themost power-hungry would be willing topay the price for access to high-levelspells.

Another price spellcasters might payinvolves pacts with extraplanar powers.The witch, another kit from The CompleteWizard�s Handbook, suffers periodic strug-gles with the extraplanar forces thatteach her spells. The most famous exam-ple is Faust, who is granted sorcerousabilities after making a pact withMephistopheles. Faust is able to conjure

14 FEBRUARY 1996

up the shade of Helen of Troy as hisparamour and satisfy his obsession forlearning hidden lore. The price he pays,of course, is his immortal soul.

In some sense, priests make pactswith extraplanar powers in return forspellcasting abilities as a matter ofcourse. But perhaps wizards are unableto cast spells in your campaign unlessthey too make some kind of pact oralliance with the Beyond.

Powers of Good are unlikely to exactas unpleasant a price as Mephistopheles,of course, but the cost might still besevere enough to give any would-bespellcaster reason to pause. Such aPower would likely want the wizard toadvance its interests and conform to itstenets, even if they conflict with the wiz-ard�s own � and good GMs will see to itthat they do.

On-the-job fatalitiesOf course, spellcasting is a dangerous

line of work. Job-related deaths and seri-ous accidents should prune the rankscontinually.

The relative weakness of low-levelwizards has been discussed in the pagesof DRAGON® Magazine many times. Withonly 1d4 hit points and one 1st-levelspell, a 1st-level mage needs friends,brains, and luck to survive. Beginningpriests have it slightly better, with 1d8 hitpoints and the ability to wear armor.

Adventuring spellcasters face manyobvious hazards, including monters,traps, and enemy magic. Even stay-at-homes are vulnerable to famine, disease(not the hardiest folk, most wizards), acci-dents (�He never saw that runawaywagon coming!�), and old age. Wizardsand priests might have access to power-ful spells, but they don�t make the spell-casters superhuman.

Spellcasters also work with dangeroussubstances in their experiments (monsterbody parts, acids, chemicals, etc.) anddabble in Things Best Left Alone. Theaccident rate is likely pretty high.

A DM could take inspiration fromnearly any story by H.P. Lovecraft. Hisprotagonists almost invariably end upcrippled, insane, or dead as they pursueforbidden lore and traffic with terrifyingElder Gods and their demonic servitors.

Rather than limit your options, useseveral rationales to give yourself moreflexibility in the face of players� efforts topush the envelope on magic availability.

A canny player will have thought up

plenty of reasons why her charactershould be able to establish a wizards�guild to attract other mages and appren-tices, thus gaining access to allies andspells.

A DM worried about the effect ongame balance will have a much strongerhand to play if he can point out that notonly was the last such guild broken up byrival wizards fearing its power, but itsfounder was tried and executed forwitchcraft by the local religious authori-ties.

A happy side-effect of deciding onrationales for limiting magic is that theyadd flavor to your campaign. A worldwhere wizards are hunted by the HolyInquisition � forced to work their magicwhile posing as sages or apothecaries �is going to be a lot more memorablethan a campaign where spellcasters arejust another group of mundane profes-sionals, like innkeepers or armorers.

Although the AD&D game is used byway of example, the rationales offeredhere could be applied to any game sys-tem where magic exists.

Paul Fraser is a full-time journalist in NovaScotia, Canada. He has DMed successiveAD&D campaigns since 1983. He has writtenfor DRAGON® Magazine before.

Remember your SASE?

If you are writing to DRAGON®Magazine, don�t forget to enclose aself-addressed, stamped envelopeif you want a reply.

DRAGON #226 15

Quick and dirty worldbuildingby David Clarkecartography by Roy Boholst

t first glance, the process of creating your own campaign

Aworld may seem overwhelming. Consider the detail andbreadth of the FORGOTTEN REALMS® and the GREYHAWK® set-

tings. What DM, by himself, could create such a thing?The answer is you; and in a lot less time than you think.The process has only three broad steps � one of which you

can do in a hammock with your eyes closed. Admittedly, each ofthese broad steps has smaller steps within, which is where thereal work is. Based on what you do in Step One, though, creat-ing your own campaign world can be as quick or easy or time-consuming as you like. (We can even design one as we go).

Step 1: Decisions, decisions...You won�t need any graph paper or pencils for this stage,

though it may ultimately be the most important. You must makethree decisions, but don�t cast any of your choices in stone untilyou�ve considered all three.

First you will have to decide how much detail you want yourworld to have.

�More is better� is not necessarily the correct idea. If you spend400 hours developing every burg and bramble, you won�t havemuch time for actual DMing (or anything else, for that matter).Also, if you have all the details worked out ahead of time, youwon�t have much flexibility later on if you have new ideas, if yourcampaign changes, or if you find a module you like but can�t usebecause your world is too defined for improvisation. What maybe worst of all is that too often DMs create wonderful, richadventures and settings for the places they think the

The other extreme is to have very little detail. Perhaps a mapand what type of culture you want to occupy each area will suf-fice for you and your players. In a combat-intensive campaign,who cares who the Pasha of Phlegnar is, as long as you get tokill the fire giants in his mountains?

The best approach for most people is one of moderation. Thisapproach gives you the detail you need immediately and allow-ing flexibility to change things later on. You might decide todetail the areas where the campaign begins and add otherdetails to areas as the players travel there. Obviously, this will bea problem if your players don�t go where you expect them to.You might instead decide to add some detail to each area, just incase. The problem now is either that an area is short-changedwith too little detail or that you�ve overworked detailing everytree and bird. A lot depends on how much information your play-ers want and what type of campaign you�d like to have.

You must next decide where to place the balance between sci-ence and fantasy. If you choose a high-fantasy world, there canbe steamy jungles in the middle of the arctic tundra, rain can fallup, dandelions can talk, and all unicorns can expect to beaddressed, �Your Hornedness.� In other words, you�ll be makingup the rules by which your world functions. This choice is a goodone for those who don�t want to add much detail, since you canmake up whatever details you need, whenever you want andneedn�t worry about players arguing that �it can�t be.� Keep inmind, however, that in a fantasy world where the rules by whichthe players live are void, they will probably have a lot of ques-tions. A high-fantasy DM must be very creative and inventive.

On the other hand, there�s the scientifically accurate cam-paign world, based on the actual principles by which we live (atleast to the extent that they�re used in the AD&D® game). This isa choice favored more by detail-enthusiasts, because of theabundance of languages, flora, fauna, climate, topography,

PCs will go, then the PCs go in the opposite direc-tion, and all the work is wasted.

alphabets, political systems etc. While this methodoffers immediate answers to questions like

DRAGON #226 17

�What season comes after spring?� and �Isit cold up in the mountains?� it can berestrictive. If you follow geographical sci-ence, areas along rivers which flood year-ly must be fertile, even if in the middle ofa desert, whether you want them to be ornot. Likewise forests north of a certainpoint will have to be strictly coniferousdue to the extreme cold and lack of water.In such a world, you needn�t be as cre-ative, but you are somewhat morerestricted in terms of what is possible. (Forour sample world, we�ll lean toward sci-ence but reserve the right to explain somethings with fantasy).

The third thing you must decide is thetype of campaign you want to play. Asnoted before, details like politics and per-sonalities don�t matter much to playerswhose goal is to kill monsters and collecttreasure. If this is the type of campaignyou�ll be running, your job as worlddesigner is much easier.

If, on the other hand, you like geo- pol-itics and intend to run a role-playingintense or political intrigue type game,you can be pretty much assured that the

low-detail approach does not work. Role-playing and intrigue both rely on NPCsand good stories. NPCs need homes,backgrounds and experiences; storiesneed settings. No matter how heavilybased on fantasy, a low-detail, highlyimprovised world soon develops peopleand stories that should be connected butaren�t. Players quickly notice discrepan-cies and become disenchanted. This is notto say that a political campaign needsnotes as thick as a phone book, but itdoes imply that more detail and workmay be necessary.

Step Two: Get the crayonsNow that you�ve made your basic deci-

sions, the concrete process of creationcan begin. By the end of this stage you�llhave a map with civilizations and topo-graphical features a plenty.

First, list the various climates and topo-graphical and geographical formationsyou want to use. You can also draw yourbasic land form(s) (e.g., a big island, sever-al small islands, continents, etc.).

Your decisions may be influenced bythe resources you have, such as the VikingCampaign Sourcebook. To incorporate this,use an area with a cold climate, moun-tains, and fjords on a sea that borders onother cultures.

Another option is to choose featuresbased on the monsters who inhabit them,such as a jungle and vegepygmies andsu-monsters. You may want hills forhalflings and forests for elves. Bear inmind that you�ll have difficulty squeezingit together realistically if you choose toomuch that is too diverse. It is better tohave too many ideas and have to scrapsome than to not have enough. If you�replanning a high-fantasy campaign, yourtopography may be somewhat unusual(or even weird).

Next, list the various cultures and civi-lizations you want in your world. Keep inmind that any PC races you want need tohave a homeland. If you have source-books such as The Roman Empire, Kara-Tur,or the AL-QADIM® setting, you can counteach of those as at least one culture.Really what you�re doing is paving the

areas. You may define some areas by the campaign materials you plan to use for them, as in the areas based on the AL-QADIM® andRAVENLOFT® settings above.

18 FEBRUARY 1996

Map one. At this stage, you are mapping out the generalities. This includes geographic features and which cultures inhabit what

way for adventures and plots within yourcampaign.

If you intend to play a “Law vs. Chaos”campaign, you might be able to get bywith two vast empires and some smallindependent states. If you don’t want tohave to detail too much, you can justhave a few nations. Civil wars and otherpolitical forces could always diversifyyour selection later on. If you intend to dothis, you may want to build cultural orreligious differences into the country rightfrom the start.

Cities are a special problem, since youhave to either own one that’s pre-designed, such as the LANKHMAR™ cam-paign, Golden Huzuz, or Waterdeep, oryou must design your own. Consider thateach country probably has a capital too(see Step Three). Important ruins, land-marks, and religious sites might also beadded to your list.

You should now have a pretty impres-sive list of geographical and political fea-tures ready to be placed on a map. This isthe third task. Depending on the diversityand quantity of features you listed, this

step can be easy or difficult. Likewise, ifyou’re designing a more fantastic world,you needn’t worry too much about therationale of any decision.

Elves and dwarves may live together(maybe even underwater) in a fantasyworld, while the more reality-orienteddesigners will want to separate them abit. Keep in mind that if they’re too farapart, you won’t be able to justify theirtraditional racial animosity toward eachother.

A quick glance at the first map showsthat there are four states based on class,four based on race, and five “sourcebookstates.” Two states focus on political sys-tems, three are centered around mon-strous inhabitants, four are based on cul-ture, and several areas are unoccupied byan established body. This arrangement isperhaps a little crowded, but so is Europe.Unlike Europe however, my states stilllack borders.

Because borders are often geographi-cal features, they require some attentionat this point. As yet, we have no rivers onthe map because I've saved them for this

purpose. Not all states need to be sepa-rated by rivers and mountains; theymight use stone markers or have bordersestablished only by tradition. As usual,fantasy worlds might have no bordersand no sovereign states, thereby avoidingthese problems altogether. For adventur-ing purposes, however, borders and bor-der conflicts can be great plot motivators.

Step Three:Then what happened?

At this point, we have a stage withscenery but no play. Four things remain tobe done to make the production a suc-cess. The first (and easiest) is to name allthe nations, cities, seas, forests, and so on.I find that taking names from the phonebook or words from the dictionary andswitching a letter or two is a good way tocome up with names. You might also trytwisting a synonym for the region, suchas Arcania (from arcane) for a nation ofmagic users.

If you’ve chosen a rather scientificapproach, be sure that the names you

Map two: Here is where you give everything names and draw the borders. Whether you actually deliniate borders or keep them inyour head, know where your empires and kingdoms are. Places previously idetified only as capitals, major cities, and gameworld-based areas are named.

DRAGON #226 19

choose correspond to whatever languageyou assign to an area. One interestingalternative to this might be not to labelanything except where your players start(and perhaps where they�re from). As theytravel through the world they can notenames � which you�ve had plenty of timeto think up � and draw their own map.The map would be very valuable to theparty (and other less scrupulous parties)as would maps with information gatheredby others. Imagine the PCs breaking intoHegel Keep just to steal a look at theChamberlain�s map of the northeast cor-ner of the world.

If you chose this rather unorthodoxapproach, it could make your second stepmore complicated; namely, devising theplot(s) occurring in your world. This step isprobably the most important if you wantyour campaign to exist in a vibrant, �liv-ing,� world. Even if you chose a low-detail,high-fantasy approach, a certain amountof plot is necessary to keep the gamefrom getting stale. If you chose a morepolitical type of campaign, you�ll definite-ly want these plans well laid.

For example, a civil war is beginning ineastern Rathuric due to some Paladins�beliefs that not enough is being done tooppose Gnashskull. This area, known asTarnation, has historically been the homeof �Good� extremists, in the �Lawful vs.Good, which is more important?� debate.The leader of this uprising is one SirDerek, assisted by his advisor, Nemur.While Derek is Neutral Good, Nemur isChaotic Neutral and an agent of the Lordof the Dark Lands. It is the Lord�s hopethat a divided Rathuric will be unable tostand against the continental war he isplanning.

I�ve decided that the civil war will be infull swing after one month of game time(from the start of the campaign). After sixmonths, the Dark Lord will begin to mobi-lize his forces, and within nine months thewar will be well underway. If my charac-ters pass through Rathuric or the DarkLands, I know what�s going on there. Ifthey�re in another part of the world andask a Paladin for news, he can relate themost recent news of the war. If I weremore interested in details, I could havefive such plots for each country andregion. Instead, I have one or two foreach, some related to others, all inter-woven into the Dark Lord�s plans.

The plots in each country are mostlypolitical, but the details I�ve devised varyfrom economic to political to social andhistoric. In Grundee, I�ve focused on themilitary fears of the Rift and relations with

the Nomads on the other side of themountains. In Yeo, I�ve focused on theemergence of two new political and reli-gious leaders, while the entry under�Elementia, League of� focuses on thesocial influence of the Elements in thosecountries. The only uniformity I�ve held tois defining a nation�s borders, capital andleader(s). A more detail-oriented DMmight want to define the political, socio-economic, and historical background foreach country. Likewise, they might detaileach capital city (which I did not do).

With everything named and the storyin motion, the third step is to define othermajor actors besides the PCs. In actualgame play, most kings, queens, andemperors will probably not be vital NPCsto the party, as they will be far too impor-tant to waste time regularly on even high-level adventurers. The nobles, merchants,generals, priestesses, and other charac-ters who will be helping, healing, andharassing the PCs however, should beconsidered.

Some DMs prefer to play NPCs as theyarise, others have entire life histories writ-ten up. Whichever extreme you choose,this is the time to plan for those encoun-ters. Again, if you know the route yourplayers are likely to follow, you might beable to develop NPC�s for the first fewmonths of game time and worry aboutany others later on.

The final step is detailing. Even ifyou�ve chosen initially not to add manydetails to your world, you will eventuallyneed some. If you�ve chosen to detailyour new creation heavily, you�ll quicklyfind that there�s no end to what you coulddo. For the sake of playability, there areseveral other subjects you should proba-bly focus on initially.

Religions, weather, and languagestend to have a lot of impact on actualplay. Folklore, customs, and etiquette canbe used a lot in dealings with foreign gov-ernments. You may also choose to designyour world like this sample one, wherethere could easily be another continentsomewhere off the map to the north. (Myplayers have yet to learn that they cancross the glacier and reach another land).

Over the years, I�ve created four cam-paign worlds, and, using the aforemen-tioned system, can now create a playableone in about three hours. Obviously, itsnot a high-detail world. For that I�d needseveral days. Adding details isn�t asHerculean a task as it sounds. Nothingabout creating your own world is difficultif you know what you want first and takeit one step at a time. You�ll find creatingyour own world is the most satisfyingexperience a DM can have.

David Clarke lives in West Allis, Wisconsin.

20 FEBRUARY 1996

by Melissa C. Thompsonillustrated by Jim Holloway

he crazy radish peddler; the swearing barkeep; the scribewho insisted that his pet iguana, Prissy, was once afamous adventurer: all of these are NPCs that I have run

into during the course of gaming. The characters from the cam-paign I was in didn’t interact with these NPCs for more than fiveor 10 minutes, and they had absolutely no significant bearing onthe adventure at hand, yet they still stand out in my mind. Why?Well, they were quirky, funny, and just plain interesting.

All too often, numerous NPCs take on the same personality:that of the DM. This phenomenon has occurred in quite a fewof the campaigns I have been in, but it is not necessarily thefault of the DM. Let’s face it, players often do unusual and unex-pected things, especially when it comes to meeting other char-acters, and the DM can’t possibly be expected to anticipatethem all. On occasion, the players will completely bypass thetown sage, whose background and personality traits are listedin detail in the module, in favor of speaking to a miscellaneousstreet urchin. How could the DM ever guess that the party wouldtry to question every single villager when the mayor’s chain ofoffice was stolen?

Times like these force the DM to think on his feet, andalthough many of us seem to forget, DMs are people too; theyhave their bad days just like everyone else. Maybe its late in theevening and the DM is tired, or maybe the players have inter-acted with so many NPCs that the DM just can’t think of anymore personalities. Whatever the case, the result is that the DMswitches into “generic town constable” mode, or she uses her“average city merchant” voice. (I am just as guilty of this as thenext DM.) While this serves its purpose well enough to get thecharacters through the plot, it does little to add to the excite-ment of the story.

The following tables present a possible solution to this prob-lem. They include various physical and behavioral characteris-tics, ranging from the the common to the downright weird. Theyare not intended as a substitute for NPC personalities generatedby the DM, because as we all know, no chart or table can pos-sibly top the creativity of the DM when he’s on a roll; however,they can be very handy during city adventures, for example,when the players insist on conversing with every shopkeeper,barmaid, and street vendor in town. And with the help of theDM, they can provide unique details that will stand out in play-ers’ minds long after the adventure is over.

Give the tables a try. Maybe your next encounter with anNPC will be a moment you’ll never forget:

“Oh, so you’re adventurers, are you? Ah, well, I know allabout that. My iguana friend here, Prissy, used to travel exten-sively before she hooked up with me. Didn’t you

TABLE I - roll 1d61-3 - go to Table II.4-6 - go to Table III.

TABLE II - roll d100The NPC:01 - talks at twice the speed of the average person.02 - often falls into a reverie while talking, cutting off his

sentences.03 - has a habit of twirling a coin between his fingers.04 - has facial twitches.05 - hasn’t bathed in 76 days.06 - is completely bald, with a large tattoo of a dragon on

the top of scalp.07 - only speaks in a whisper.08 - has no teeth.09 - blinks very rapidly.10 - has slurred speech.11 - always flourishes his cape before introducing himself.12 - speaks in a language that none of the PCs understand.13 - has a potbelly that sticks out from underneath his shirt.14 - will stop and stare at every attractive woman/man that

passes by.15 - has an obsession with any jewelry that the PCs may be

wearing.16 - has a pet ferret named “Stinky.”17 - is blind.18 - will work the topic of her dead mother into any

conversation, adding “May the gods bless her soul.”19 - hums under his breath. (If asked, he denies that he’s

doing it.)20 - tries to teach one of the PCs the latest dance from

Waterdeep.21 - refers the PCs to Anchor’s Aweigh, a very shady bar by

the docks.22 - tries to convert the PCs (except clerics) to the religion of

the DM’s choice.23 - sighs loudly every three minutes.24 - is too intoxicated to talk.25 - loves animals and will speak to any horses or familiars

that the PCs may have.26 - is dressed in a court jester's outfit (but is not a court

jester).27 - has a hook instead of a left hand.28 - invites the PCs to have dinner with her grandmother,

her husband, and her eight children.now, Prissy? Go on, girl, and tell the nice humans 29 - speaks in an unusual dialect. (DM'sabout it. Now there's a good little lizard. . . .” choice.)

DRAGON #226 23

30 - constantly looks over his shoulder.31 - has a nasal tone of voice.32 - munches a raw onion during inter-

action with the PCs.33 - pretends to cast spells, but is not a

mage.34 - is accompanied by a pit bull

named �Petunia.�35 - begs the PCs for food and drink.36 - has a beard 2� long.37 - is 4� tall.38 - loves to tell jokes.39 - snorts when he laughs.40 - hugs all of the PCs to welcome

them.41 - has a permanent sneer on his face.42 - carries a staff with an ostrich egg

mounted on the top.43 - is a �mad scientist� type.44 - has fangs.45 - is dressed in black from head to

toe and wears a veil.46 - has very low self-esteem.47 - carries a large bouquet of flowers

and gives it to a PC before depart-ing.

48 - is a noble in disguise.49 - wears a large nose ring.50 - has the physique of a body

builder.51 - plays the mandolin.52 - tries to convince the PCs to take

him adventuring with them.53 - is hard of hearing and asks the

PCs to repeat themselves morethan once.

54 - wears a horned Viking hat.55 - only makes sarcastic remarks.56 - carries a small, potted plant.57 - does not trust mages.58 - does not trust clerics.59 - does not trust anyone.60 - is a �neatness freak� and tidies up

after the PCs.61 - talks to himself.62 - tries to sell the PCs an elderly cow.63 - attempts to pick the pockets of the

largest PC.64 - mistakes one of the PCs for a

long lost relative.65 - is a know-it-all.66 - smells like a garbage dump.67 - stridently insists that the end of

the world is near.68 - asks one of the PCs for a date.69 - eats everything in sight.70 - refers the PCs to his cousin�s hus-

band�s best friend�s son, DarienStout, for blacksmithing work.

71 - is mute.72 - has a habit of constantly winking

at people.73 - moves as if he were sneaking

around, even in broad daylightwith people watching him.

74 - falls in love at first sight with oneof the PCs.

75 - sings rather than speaks.

76 - has a breathy tone of voice, a laMarilyn Monroe.

77 - offers to buy the PCs a round ofdrinks at the Rusty Nail Pub.

78 - wants the PCs to try his latestculinary creation.

79 - mistakes the PCs for members ofthe local thieves guild.

80 - shakes uncontrollably.81 - asks to exchange a PC�s valuable

weapon (DM�s choice) for five�magic� beans.

82 - has one pointed ear and onerounded ear.

83 - wears a white, powdered wig.84 - mistakes the PCs for the minions

of a personal enemy.85 - is wrapped in a wolf skin.86 - is a vegetarian.87 - tells the PCs all of the local gossip.88 - brandishes a dagger as the PCs

approach.89 - twirls his mustache.90 - wears numerous gold necklaces.91 - slurps his drink.92 - laughs at everything the PCs say,

humorous or not.93 - has a chronic, hacking cough.94 - is annoyingly cheerful.95 - is annoyingly melancholy.96 - has a romantic outlook on life.97 - fiddles with a string cat�s cradle.98 - gives the PCs excessively long

(and boring) directions.

24 FEBRUARY 1996

99 - speaks at half the speed of theaverage person.

00 - Go to Table IV.

TABLE III — roll d100The NPC:01 - prefaces every sentence with

“Excuse me, but...”02 - is always chewing on a toothpick.03 - pants as if breathless.04 - views the PCs as “beneath” him

and acts accordingly.05 - speaks in a shrill, high-pitched

voice.06 - spits often.07 - informs the PCs of all of his health

problems, from the corns on hisfeet to his migraine headaches.

08 - refers to the PCs as “young miss”and/or “young lad.”

09 - advises the PCs that, when caughtin a dungeon with a low food sup-ply, rats really don’t taste too bad.

10 - wheezes alarmingly every nowand then.

11 - wears a fur hat regardless of theweather.

12 - is enamored by the stylish cut of acharacter’s armor. (DM’s choice.)

13 - tells outlandish tales of his ownadventuring days, all of which areobviously not true.

14 - whines.15 - feels the need to psychologically

analyze each of the characters.16 - argues with spouse while talking

to the party.17 - gives each character a piece of

candy at the end of the conversa-tion and says, “Now run along.”

18 - has an intricate, tribal design tat-tooed on his face and neck.

19 - has an accent.20 - tries to pick a fight with the small-

est PC.21 - wears a string of garlic around her

neck.22 - calls everyone in the party “dar-

ling,” “dearie,” or “honey.”23 - constantly interrupts whoever is

speaking.24 - wears bright red lipstick.25 - gives a few coins to the shabbiest

looking character as charity.26 - has researched 127 different types

of spores and fungus and shareshis knowledge with the party.

27 - has built a secret flying machine.28 - hisses sibilants.29 - travels with a dancing bear.30 - peddles wares by yelling, “Hey

you! Buy this!”

31 - is dressed entirely in bright purple.32 - speaks with a lisp.33 - appears frightened of the PCs.34 - speaks in a blatantly patronizing

tone.

35 - asks the characters to join in achant of blessing.

36 - dares a character (DM’s choice) toa horse race.

37 - wears a medallion bearing acrossed wand and dagger.

38 - taps fingers impatiently.39 - trips and falls during conversation

with the party.40 - asks, “Haven’t I heard about you

before?”41 - tries to convince a character (DM’s

choice) to marry a brother or sister.42 - cleans fingernails with a dagger.43 - kisses a PC in order to make a

spouse jealous.44 - always smiles.45 - never smiles.46 - demands, “You want what!?” at

any request.47 - disagrees with anything the char-

acters say.48 - agrees with everything the charac-

ters say.49 - espouses faith in the ability of

local government officials.50 - has a frog in a cage with a sign:

“Kiss the Frog Prince, one copperpiece.”

51 - speaks with a drawl.52 - is incredibly clumsy.53 - has a tarantula on one shoulder. 54 - has pieces of straw stuck in his

hair and clothing.55 - often trips over his own feet.56 - repeatedly shifts weight from one

foot to the other.57 - has the contents of an entire tool

box hanging from belts and ban-doliers.

58 - has hair so long that it drags onthe ground.

59 - claims to have seen a tarrasquearound the last corner.

60 - asks the characters for every littledetail of their adventures.

61 - wears a ring on every finger.62 - mumbles.63 - peppers conversation with reli-

gious affirmations like “Selune bepraised” and “May Tyr light yourpath.”

64 - has a close friend who is “the bestsword fighter in this part of therealm. No, I really mean it!”

65 - makes throaty, growling noises.66 - goes out of his way to assist the

characters.67 - is a one-man band.68 - has a witty retort for all of the

characters’ comments.69 - squints due to extreme short-

sightedness.

DRAGON #226 25

70 - has a bad case of the sniffles.71 - wears too much perfume, causing

one of the PCs (DM�s choice) tosneeze uncontrollably.

72 - will answer only �yes� and �no�questions.

73 - speaks in cliches.74 - is 96 years old (human).75 - informs the PCs of the medicinal

value of prune juice and cayennepepper.

76 - complains about high taxes.77 - has a limp.78 - is an undercover constable.79 - can discuss no topic besides war.80 - is not wearing shoes.81 - taps one foot rapidly.82 - fusses with his hairstyle.83 - has painted-on eyebrows.

84 - has a haunting voice.85 - clears throat before speaking.86 - flexes muscles for the characters.87 - is painfully shy and will flee in

embarrassment if dealt withharshly.

88 - uses rural, colloquial expressionssuch as �How do you like themapples?�

89 - has a quick temper.

90 - belches.91 - cries easily.92 - offers to tell the characters� future

by reading tea leaves, all for thereasonable price of 5 gp each.

93 - speaks in a monotone voice.94 - has pierced eyebrows.95 - speaks in pig-Latin.96 - composes a poem in honor of the

PCs.97 - wears a graduation-type robe and

a mortar board.98 - tries to sell the PCs rare �faerie

dust.� (It is actually finely-groundsalt.)

99 - can only talk to the PCs for twominutes and 56 seconds, due to abusy schedule.

00 - Go to Table V.

TABLE IV — roll 1d4The NPC:1 - is schizophrenic and often hears

�voices.�2 - is a Siamese twin, connected at the

hip.3 - is a maniac. There is a 50% chance

he will make an attack on theparty.

4 - is dead. It takes ld6 roundsbefore the party realizes theNPC�s condition.

TABLE V — roll 1d4The NPC:1 - has wings.2 - is psychic and can anticipate the

player characters� everyquestion.

3 - is invisible.4 - is undead.

Melissa C. Thompson lives in Grayslake,Illinois. This is her first appearance inDRAGON® Magazine.

26 FEBRUARY 1996

by Jason Strasserillustrated by Phil Longmeier

ost people associate improvisation with jazz,yet improvisation is the heart and soul of beinga good Dungeon Master. No skill is more useful

or more called upon, nor so separates the masters from thenovices.

It is essential to the seamless progress of a tightly wovencampaign that you, the DM, be ready for any eventualities thatthe ever-crafty players may come up with. This is not merely amatter of assuming a few probable courses of events and plan-ning for them, nor is it simply resorting to manipulation of NPCsand settings willy nilly. Players deserve a reasonable, consistentreality.

A DM who tries to influence the players to follow a carefullyplotted adventure inevitably winds up restricting them andimpinging upon the necessary illusion of freedom. No onewants to play in a world where everything is obviously predes-tined. Free will is important, as it draws the players deeper intothe game. It therefore behooves the wily DM to give the play-ers all of the rope they need to hang themselves. This is wherethe improvisation comes in.

Like a jazz musician, the experienced DM has a few scenar-ios (scales) and characters (chords) up his sleeve to throw out inresponse to any situation he may find himself in. The real art isin the spontaneous application of these templates

scales in response to the chord changes. Changing the scenarioto fit the changing characters is the key to improvisation. Theflexibility to adapt constantly to the mood, sentiment, and atten-tion span of your particular cast of characters lies in intelligentand tasteful application of this principle.

Improvisation is a delicate balance between order and chaos,a balance that constantly shifts and is extremely tenuous.

Say, for example, that your players are between adventuresor embarking upon a fresh one. A poor DM would simply tellthem what happens to lead them to the next scenario. This,however, is an excellent opportunity to draw your PCs in byusing a little improvisation. Instead of telling the players whathappens to them, let them do whatever they want to do. In fact,try to stay out of their way. Simply describe for them the loca-tions they place themselves in. Then use NPCs and elementsnatural to the setting to introduce plot threads. Be subtle, allow-ing the players and the natural inclinations of the NPCs to dic-tate the action. On the other hand, something dramatic musthappen in the first few minutes in order to hook your players inand perk up their interest in continuing.

I have seven �golden rules� useful in DM improvisation.

1. Listen to the playersDMs often ignore the valuable information that players

knowingly and unknowingly hand them throughout the game.The most important information you can glean from your play-ers is whether they are having fun. Sometimes we forget why weplay these games, so it is vitally important to gauge the player�s

level of interest in a given subject or aspect of play.in real time. As DM, you must be able to followthe changes, moving effortlessly between

Try to ascertain what sort of adventure theywant, for what kinds of objects they would

29DRAGON #226

quest, what kind of enemy they wouldfight, what causes they would defend,etc. Are they hackers and slashers or puz-zle solvers? You need to know this rightaway.

Listen to what they say, especiallytheir first impressions. Pay close attentionto how your ideas work in execution. Youmay be able to tailor future scenarios ifyou are better aware of what has workedand what hasn�t.

Use the words your players use.Sometimes even repeating back the lastobject they spoke about in your descrip-tive reply can be a useful device. Forexample, when Borundi the Bold says hewants to �grab the purple-headed serpentby the neck and crush the life out of it,�then you reply with, �As you grab the pur-ple headed serpent by the neck andattempt to crush the life out of it, it spitsa stream of acid at your eyes. [Rolling thedice.] Oooh! You might wanna make asaving throw.� Don�t overuse this device,however, as it can get monotonous.When used in moderation, it gives theplayers the feeling that they have aneffect on the outcome, or at least thatyou are listening to them.

Listen, listen, listen. This cannot besaid enough. Listen to the tone of voiceyour PCs are using. You can give yourselfa pat on the back and know that youhave done well if you hear them laugh-ing or displaying some other emotion. Ifthey sit up and pay closer attention toyour words, then you are on a roll... gowith it.

2. Break scenarios into plotpieces and threads

Start by taking all of your scenariosand breaking them down into the small-est amount of action possible. Separateout all of the �plot pieces� that do notrequire any previous action for their logi-cal usage at any time.

These are your threads, and withthem you can weave any story into yourplayers� destinies.

Compile, a list of each thread with allrelevant details (such as NPC and monsterstats with a brief description). When theplayers find themselves in a likely loca-tion, you can apply any suitable thread.Good threads immediately create conflictand moves the story along quickly.

For example, a woman in the room isactually the goddess Artemis in disguise,and she is looking to abduct a fewdecent woodsmen for her annual mortalhunt. Having heard the PCs bragging and

exaggerating about their exploits, sheassumes them to be worthy heroes andattempts to kidnap them. Neither brilliantnor boring, this is the type of thread thatcan be played at any time with a goodchance of snagging all the players into aseries of events that would never haveotherwise happened.

Give players a chance or two to optout of any situation, but also give themthe chance to opt in. It is a good idea tohave a few divergent threads goingsimultaneously, allowing the players tofollow whichever they please or none atall.

Not all threads are huge events thatjust seem to happen; many are simplyinteresting NPCs or inviting locales (e.g.;scuffling noises emanating from a circustent after hours). Once the players havetaken a thread, however, you can chooseplot pieces. Improvisation is about know-ing where you can smoothly go to fromwhere you are now. Smooth is the keyword.

If you are paying attention to yourplayers, you will know when to usewhich plot piece and which ones grabspecific players. You may have to work alittle to bring them all in. The PCs mayrequire different threads. Seemingly dis-similar threads can, in fact, be differententrances to the same scenario.

Plot pieces from different scenarioscan be used anywhere they fit, but theynever force the PCs into anything. Allowfree will to draw them into whatever sce-nario they would most thoroughly enjoy.Let them think they are chosing theirown destinies; only you need know theyare following your plans. Remember thatstorytellers are illusionists. Strive to useplot pieces in as unobtrusive a manner aspossible. If the the hand is quicker thanthe eye, then how much more so is themind?

3. Practice creating detailson the spot

No matter how well you plan ahead,there will be something in the course ofplay (more likely many somethings) forwhich you couldn�t have planned. Yourplayers will wind up asking questions forwhich you haven�t prepared answers. It istherefore to your advantage to be ablecreate details on the spot. Many timesthis is just a matter of asking yourselfsome key questions.

Your scenarios should include a wellanswered who, what, where, when, andwhy, but you need to be able to come up

with the how and a bunch of logisticaland descriptive details fairly quickly. Askyourself what kind of things you wouldfind in the current locale. Try not to betoo cliched, but really go after thosethings we take for granted. Avoid simplytelling the players about details; rather,introduce details with action.

For example, when Uther the Barbar-ian gets up and knocks a table over inthe Red Crow Inn, this is a good time tomention details such as (a) the textureand consistency of the pea soup Utherwas eating, (b) the relative positions ofthe PCs and NPCs to the flying debris,and (c) a more detailed description ofUther and his demeanor. You may wantto describe some things with a magnify-ing glass, while allowing other details togo unreported.

Much of this is a question of style.Your campaign may be filled with jokersand be something of a comedy. On theother hand, your campaign may be moreof a standard action adventure.

Even within the traditional sword andsorcery genre there is room for manystyles. Dark fantasy requires a differenttouch from epic fantasy. It is quite possi-ble that you prefer a minimalistic style,and just want to cut to the chase. Mostcampaigns jump genres to some degreewhile staying within a fantasy frame-work. Many times a perceptive DM willchange the tone of the campaign tomatch the current mood of the PCs.Again, this is up to you as the DM, but inany case, be prepared to conjure believ-able details out of thin air, regardless ofthe style or tone of your campaign.

Even the best written modules aremerely outlines that your words flesh out.Your spontaneous ability to turn flat, two-dimensional scenarios into vivid, larger-than-life, technicolor dramas is constantlycalled upon as a DM. It�s worth spendinga little time honing this skill by practicingvisualization exercises and enacting mul-tiple �what if� scenarios. Much of this isdaydreaming, so to speak. In fact, the bet-ter you can daydream, and the more con-trol you can exert in those dreams, thebetter DM you will come to be.

4. Determine the probabilityof success for any action

Many times, players attempt to dosomething for which you either can�tremember the rule or for which there isno rule. Back in the early days of RPGs,when rules were more ambiguous, DMshad to make quick judgments on the

30 FEBRUARY 1996

spot as to what should happen. Eventoday there are many circumstances forwhich the rules are silent. You have to beable to judge the ease players will havein performing some action or another.

Once the players get into a flow andare quickly moving along, you should doeverything in you power not to break thespell. In any event, a good DM should befamiliar with all the rules; you should beable, when necessary, to come up withquick percentages or modifiers to speedthings up and not break the flow of thegame.

Begin by giving everything a 50/50chance or an attribute roll, and applymodifiers as you see fit. For instance, ifPhylo the Nimble has the priceless Eye ofImhotep and is running down a slickmarble hallway from two burly templeguards, and he comes to a dead end, theplayer may desperately come up withsome impossible move (probably seen insome movie) to save him. Say Phylodecides to run full speed at the wall withthe intent to flip backwards off the walland kick both guards in the head.Ludicrous, you say, and you are right; butPhylo wants to try it, and he does have aDexterity of 17. So, instead of wastingtime looking the issue up in the DM�sguide, you bite the bullet and make a rul-ing. Due to the complexity of the maneu-ver, you may start with 51%, or threetimes his Dexterity rating. Then, becauseof the slick floor, subtract maybe 10%,and maybe another 10% for having hisarms full, and you get 31%. Using per-centile dice, allow Phylo the chance topull off his Bruce Lee dream move. (Ofcourse, even if he makes it, he still mustsuccessfully roll his attacks.)

Whether the percentage accuratelyreflects Phylo�s chance of actually accom-plishing the act is not as important aswhether you have to spend five or 10minutes looking up the actual rule. Ingeneral, if the players can think it up,then give them some chance at succeed-ing. This doesn�t have to be realistic; theplayers are fantasy heroes and expect tobe able to do things impossible for nor-mal people. By all means, if someonerolls a 01, let him do just about anything.Even David killed Goliath.

5. Really get into theNPC�s heads

NPCs are generally shop-worn stereo-types or thin, penciled-in extras. Worse,the typical DM plays NPCs with little orno differentiation and solely to further

the plot. DMs are missing out on a goldmine of overlooked methods to draw PCsfurther into the game. Interesting NPCscan provoke players into situations theymight never have found themselves inotherwise.

Whenever you are called upon to playan NPC, do your best to get into thatcharacter�s mind. What motivates thatparticular character? Put some thoughtinto what this character would say or doin a given situation. Make them complex,realistic, and living beings.

NPCs are seldom privy to the deepersecrets of a campaign and may act formany very different reasons. It addsanother layer to the scenario if the NPCsthink that something other than what ishappening is happening. It can be usefulto allow a delusional NPC to steer theplayers down the wrong path.

Let the players get to know yourNPCs, and use the same NPCs (especiallythe villains) over and over again duringthe course of a long campaign. Nothingadds more continuity than recurringcharacters and locations. Bring old char-acters back in new locations and oldlocations with new characters. This is asure-fire way to grab the characters.(What is Father Johnston doing 1,500miles from his church out here in thebush of some tropical island?)

It would be even more intriguing if inpast adventures the PCs had stumbledupon some small piece of evidence thatthe church was involved in smugglingslaves. Perhaps the characters aresearching for a treasure described in thejournal of some shipwrecked slavetraders. The possibilities are endless.

Never get too attached to your NPCs.You must be willing to let the PCs slaugh-ter, ridicule, or � even worse � ignoreyour NPCs. They are fodder, grist for themill, and as such their sole purpose is togive you a pre-made cast of characters tofall back upon. Sometimes they are justfiller, like the dark-eyed rogues in themarketplace with the smug grins. Othertimes they become essential storymovers, like the Dwarven prince whohires the PCs to escort him home.

When necessary, you can improviseand change things so the rogues fromthe marketplace can become would-beassassins hired by a rival kingdom to killthe sole heir to the dwarvish thronebefore he can get back to the safety ofhis homeland. It really doesn�t matter.The important part is the ability to impro-vise well and to keep the player charac-ters interested in the game.

The more thought you put into yourNPCs, the better they will serve you inthis regard. This paradox, like many oflife�s little secrets, is only contradictory onthe most obvious level. It may seem likethinking about your NPCs beforehandwould work against spontaneity andimprovisation, but in actuality you aremore likely to improvise well and gener-ate believable dialogue if you have someidea as to what their principle motiva-tions are.

If you have already run through all ofyour pre-generated NPCs and you needto come up with someone on the spot,think of some character from fiction, film,or your life who could be cast in the role.Even without statistics, simply having apersonality in mind while you play theNPC adds a whole new level of reality tothe scene. There is nothing worse than aDM who plays all of his NPCs the sameway. Unless you�re trying to slip a littleTwilight Zone effect into the campaign,you should avoid making entire groupsof people think and act the same way.

6. Juxtapose things to addvariety and interest

Get creative. How many more balding,fat barkeeps or inn proprietors with anear for gossip do we really need? Andabout those damsels in distress....

A quick and easy way for a swinging,jazzy improv-DM to be rid forever ofcliches and overused stereotypes is toswap opposites in any traditional setting.For instance, instead of the ogre whocrashes at the gates in the wee hoursbeing a man-eating savage brute, makethe ogre a scholarly priest fleeing from ahideous army of zombies and wraithsthat have destroyed his temple and uni-versity. Why not? Ogres can be educatedand religious, too. It makes for an inter-esting story.

Although few campaigns live up totheir potential, RPGs are about the real-time interactive creation of a story withseveral people. Even though most cam-paigns wouldn�t make it as reruns ofHe-Man cartoons, they have the potentialto create interesting dramatic fiction.

Instead of having the characters starta new adventure by leaving their homesto go search dungeons for treasure againand again, try having the characters livein the dungeon (as prisoners) and gosearching the palace upstairs for treasureafter an earthquake releases them fromcaptivity. If you need a blacksmith NPCbecause Gan-Win Chung has broken his

32 FEBRUARY 1996

spear and wishes to have it fixed, youcould use your typical bare-chested, glis-tening bald guy with a hammer, but per-haps a young woman, the only daughterof a late master craftsman, might bemore refreshing. (Even more so if she hasa higher Strength than the strappingGan-Win Chung and bests him in an arm-wrestling match.)

What seems frequently to be askew orwrong somehow is, in fact, inherentlypowerful. I would recommend trying asmany off-the-wall characterizations andsettings as you can come up with. Thinkof something you�ve often seen or readbefore and simply throw in a major twist.Oftentimes, this propels the scene along,practically doing all the work.

Take special care to flesh out the odd-ities realistically when using juxtaposi-tion. Give bizarre things a bit of normalcyand vice versa. If done correctly, thistechnique has the ability to generatecomplex and rewarding scenarios formany sessions to come.

7. Always ask what theplayers want to do

The final golden rule is perhaps themost pert inent and useful of a l l .Throughout the game, the DM is con-stantly asking the players what theywant to do. The key to artistic improvisa-tion is deciding when to ask. Now, obvi-ously, you can�t play the entire game inmelee rounds, asking the players whatthey want to do every minute of thegame, but you can and should ask themafter every new description or majoraction. The time frame in which theyanswer should set the pace of the game.

Asking the players what they want todo involves them in the decision-makingprocess to a higher degree and gives youa break.

After any cursory description, espe-cially one involving material previouslyunplanned, you owe it to yourself to stopand ask the players what they want todo. This gives you the opportunity tobreathe and think about the situation. Italso supplies needed feedback on whatis getting through to the PCs and whatthey wish to pursue. A DM at a loss tocome up with something often tosses the

34 FEBRUARY 1996

ball back to the players only to find, uponthe ball�s return, that the players havekeyed in on something the DM mayhave overlooked.

If you happen to be on a roll and thePCs are listening raptly, then ride, cap-tain, ride. But, the moment you notice theplayers becoming distracted, start think-ing about asking them what they want todo. Wind up the monologue, and getback to a moving dialog.

Allow players to do what they wantunless or until something prevents ormakes it difficult to do so. Say, forinstance, that Brother Lawrence tells youhe wants to try to sleep in a makeshiftlean-to he built in the forest. Fair enough;he is basically successful in this, otherthan the fact that every hour or so, youmay want to roll on the local wanderingmonster table. If a wandering monster isgenerated, then most likely Lawrence willhave to wake up. The point is that hisintent to sleep remains the same and car-ries him through hours of game worldtime. (Of course, hearing a troll gibberingoutside his lean-to might get him tochange his mind.)

Realizing that, while gaming, you areeither describing something to the play-ers or listening to their intentions, youcan surmise that these are the two mostimportant aspects of being a DM.

A DM can�t plan descriptions ahead oftime; it is impossible. Nor can a DM beexpected to know the players� intentionsbefore they actually express them.Improvisation therefore becomes anessential factor in the effectiveness of aDM.

The most essential tool any DM has inhis improv-arsenal is the golden ques-tion, the role reversing, polarity shifting,rhythm defining question: �What do youguys want to do now?�

Spontaneity, as the central force inimprovisation, is unrehearsed creativity.Although many jazz solos are unre-hearsed, the musicians are in no wayunprepared. This holds true for DMimprovisation as well.

Jason Strasser is traveling. He was inTurkey recently, and when last heard of, hewas somewhere in Israel.

Ideas for interesting towns

by Michelle Bottorffillustrated by David Home,

and Dee Barnett.

Exciting Actropolis is where the vileunderlord Morticus spins his cruelplots. The adventurers have discovered

a message from him on the body of one ofhis hirelings and are heading toward themighty city. Fewmar eagerly looks at hismap. �Look here! If we travel across countrywe�ll cut weeks off the journey.�

The adventurers head out into thewilderness, make a few bad rolls during ariver crossing, and finally, sick and tired ofroughing it, they run across the road to...Poketon? The DM stares blankly at the doton his map. The players are sick of randomwilderness encounters and are ready forsome real role-playing, but he knowsabsolutely nothing about this place!

adventure, or maybe the DM just wants toadd some real ism to his campaign.

get them back on the path of the planned

Just because the DM is improvising does-n�t mean that all the small towns on themap need to end up generic and boring.The players may want a change of pace, orthe characters may need a bit of nudging to

36 FEBRUARY 1996

Whatever the reason, here are someideas for making improvised towns inter-esting, exciting, memorable and maybeeven useful.

The personality of the placeOne method is to give the town its

own mood. The original edition of theAD&D® DUNGEON MASTER® Guide has manysplendid lists of adjectives. (If you don�thave it, try a thesaurus.) These were orig-inally intended for the fleshing out ofNPCs but work equally well when deter-mining the character of a town. Pessi-mistic, aloof, dreamy, soft-hearted,spendthrift; all these adjectives, and ahost of others, can be used to describetowns as well as people. With practice aDM can generate a whole town from arandomly picked adjective.

DM: Tall fences line both sides of theroad. Past them and to the left you cansee a farmer working in his fields.Though he shouts no greetings, youseem to sense his head turning as hewatches you go by. Soon you find your-self among the stone buildings of the lit-tle village. Stout oak doors with peepholes line the narrow street. A little boy

playing with a cup and ball game stopsto stare at you. Suddenly a door is flungopen. A young woman runs out andgrabs the boy, hauling him inside. Thedoor crashes shut behind them.

Lady Ariadne: (Placing her hand onher rapier and frowning after the van-ished child.) My friends, this town seemsless than friendly.

Beran the Brave: Much less!Fewmar: I wonder why they�re so sus-

picious...

When creating a �mood town,� mostof the people in the community willshare its dominate characteristic, but becareful not to overdo it. Even the mostsuspicious of towns probably has one ortwo friendly characters.

The inhabitants are not the only thingthat affects the mood. Architecture is animportant factor, and it is much morelikely that the buildings fit the adjectivebetter than the people. A friendly townfor instance, might have thatched roofsand brightly painted cottages; an extrav-agant town would have peaked archesand impressive façades. Other things totake into consideration are the town lay-out and the types of businesses. A townwith numerous taverns built around a

bustling town square conveys a totallydifferent mood than one built on a grid,with one small tavern and no inn, withonly a way-house at the nearby religiousretreat.

Another more subtle indication oftown personality is how quickly it acceptsnew ideas. Progressive towns are inter-ested in news of other places and aredelighted by anything that is innovativeand new. Anti-progressive towns aren�tinterested in the rest of the world and arescornful of any device (or fashion) theyhaven�t seen before. Some towns aremixed, with half the populace eager forchange, while the other half clings des-perately to the past. This alters not onlythe mood of the town but also its tech-nology level. The technology levels thatare possible depend largely on your cam-paign world, but don�t hesitate to go toextremes. Inventors do not always live inthe city, so Poketon may well be a fewyears ahead of the rest of the country,while the neighboring town is centuriesbehind the times.

DisputesIf the players are bored, the DM may

decide not to take the time to build a

DRAGON #226 37

mood but opt instead for quick action.The easiest way to do this is to have thetown already involved in some kind offight. A special dispute not only keeps theplayers happy but also serves to makethe town stand out in their memory.

Feuds work well. Take, for examplethe story of Romeo and Juliet. It�s abouttwo important families whose feud is sosevere that they manage to involve agood part of the city. In a small town thissort of situation is even more deadly. It�svirtually impossible for anyone to remainneutral; even chance visitors need totake sides at least to the degree of decid-ing whose inn they will sleep in thatnight.

DM: You awake to the smell of smokeand the sound of shouting. Footsteps areclattering down the hall outside yourdoor.

Beran: (Leaping to the door andthrowing it open.) What�s going on here!?

DM: A peasant boy turns to face you,waving his dagger and shouting, �Deathto all Saiger-lovers!�

Beran: (Picking the boy up and shak-ing him.) I love only Galyna, Lady ofHearthkeep, and I�ll kill anyone who saysotherwise!

Fewmar: What�s a Saiger? Wasn�t thatthe the name of the innkeeper?

Lady Ariadne: Never mind that; I thinkthe inn is on fire!

Another interesting situation occurswhen the town is divided politically. Forinstance, the last election was a tie, andboth candidates now consider them-selves mayor. If the situation is violent,the players will be called upon to choosesides, but there is always the possibilitythat there is no fighting, just two townsheriffs enforcing two sets of laws, twotax collectors, two places they must gettheir weapons licensed, etc.

Each mayor could have his own dis-tinct territory, but it is generally more funto just have each mayor claim the wholetown or to at least have the border linebetween sections irregular and indistin-guishable so the players never knowwhich set of laws they are subject to atany given moment.

Guard: Ho there!Fewmar: Yes?Guard: You just used magic!Fewmar: Err, yes.Beran: You got a problem with that?Guard: It�s against the law to use

magic in Poketon.

Lady Ariadne: Nonsense, my goodman. That fellow in High street didn�t sayanything!

Guard: High street is in UpperPoketon. You�re in Lower Poketon now.Come with me.

If Poketon has a close neighbor, thenit would be quite likely for them to havedeveloped a rivalry. This rivalry is mostcommonly expressed by strong competi-tion in sporting events, with a number oftowns going so far as inventing their ownevents. For instance there are two townsin England that annually compete over aside of ham. The ham starts at a midwaypoint between the two towns, and thetown that gets it into their own townsquare first gets to keep it. A fun varia-tion could be to have a whole live pig,which would, of course, be doing its bestto get away. Any type of contest will do:and there are many to choose from;team sports, wrestling, greased poleclimbing, target shooting, seeing howhigh you can count before taking abreath. Try to pick something that willinterest your player�s characters.

Whether there is a sporting eventactually going on, there are many peoplein a rival town willing to bore the playersto death by giving blow by blowaccounts of every event that occurredduring the last 10 years. It is important toremember that according to Poketon�sloyal citizens, Poketon is clearly superior.Anything Rivalburg does, Poketon doesbetter. This attitude carries over fromsporting events to industry and almost allother aspects of smal l town l i fe ;Poketon�s cows produce better milk thanRivalburg�s cows, their priest is morepious, their blacksmith better skilled.

In extreme circumstances a rivalrydevelops into a war,

DM: The small shifty-eyed manbehind the bar leans towards you.

Bartender: Are you from Rivalburg?Lady Ariadne: Use your eyes, my

good man. Do I look like somebody fromRivalburg?

Beran: Never heard of the place.Bartender: Then I�m glad you�re here.

You two look like you�d be useful in afight. The sheriff asked me to look out foranyone who might be willing to join ourmarch on Rivalburg!

Fewmar: Why are you attackingRivalburg?

Bartender: (Ignoring Fewmar.) Whatdo you say?

Lady Ariadne: Hmmm. Why not?

After all, a good fight is always amusing.Bartender: Well, we�re not attacking

them, precisely, you understand. It�s aprotest march.

Beran: A what?Fewmar: What are you protesting?Bartender: Those scurvy knaves have

been under-cutting our prices! We�regoing to lay down the law to those das-tards! Either they put their prices back towhere they used to be or we retaliate!(The bartender shakes a fist in the direc-tion of Rivalburg, then realizing he�smaking a scene, looks back at the adven-turers.)

Lady Ariadne: I�m sorry. I don�t dodemonstrations.

Bartender: (Shrugging.) Sheriff wantedsome heavy-weights around in casethere was trouble. We�ll pay you, ofcourse.

Poketon doesn�t need to be fightinganother town; they could be fighting out-laws, a renegade magic user, an appro-priate monster or some kind of spelleffect gone wild.

Points of interestSome �points of interest towns� are

considered so interesting that theyexpect people to come visit them. ThePCs are not likely to turn tourist, but thetownsfolk don�t know that and willexpect them to be fascinated by the localpoints of interest. Some points of interestcan even prove useful to the characters.Tourist towns are usually easy for the DMto invent, since he can �borrow� a townthat he has actually been to and alter itto fit his campaign world.

Buildings are common points of inter-est, though they rarely contribute directlyto a campaign. Buildings are generallynotable for their architecture, purpose,and historic association. Good choices forsmall towns are: the Deserted Tower ofJoe the Ultra-magical, the tavern whereBlack Bart the famous Outlaw ate his lastmeal, or one of the Royal HuntingLodges. Haunted buildings are also good,especially if the characters actually get tomeet the ghost.

When inventing a notable building,keep in mind what people might be stay-ing there. These people can often be use-ful to the characters. For instance, thecountry residence of a VIP will be popu-lated by his dependents, who can act asa source of valuable introductions andprovide an excuse for getting the playersback on the road to Actropolis.

38 FEBRUARY 1996

Lord John: You wouldn�t by anychance be heading to Actropolis?

Beran: Yes.Fewmar: Why do you ask?Lord John: I was hoping you could

deliver a message to my brother, the Earlof Swaite.

Lady Ariadne: We�re entirely at yourservice, milord. Where is he staying?

Other points of interest are a trifleharder to make useful. Natural features,for instance are mostly just boring for theplayers because most of them look inter-esting. Of course you can use boredomto convince the characters that they arein a hurry to get out of town. After hear-ing eight or nine people tell them howspectacular the local waterfall (mountain,rock formation, centuries-old tree, etc.) isthey will be happy to climb right back ontheir horses.

Much more interesting is the townwith historical associations. This is thetown that has a real place in history andcapitalizes on it. Some towns may inventa place in history, and, unless one of thecharacters has an education, it comes outto much the same thing. As a rule ofthumb, half of the people in a �historic�town have an encyclopedic knowledgeof the historic event in question, and theother half thinks the whole thing is agreat bore. At least half of those whoknow exactly what happened will knowa vastly different version from the otherhalf, and at least one person from eachside likes nothing better than to argueabout it.

Historic towns are a lot of fun but areeasier to improvise if you already have agood grasp of the history of the cam-paign area. If the campaign area has nopredetermined history and you areinventing it, remember to take notes.Absolute consistency, however, is unnec-essary since most history tends to get dis-torted. In fact, it is more authentic tohave several versions of a particular his-torical incident.

Miller: Don�t you sneer at me milady!I�ve a respectable trade. And it was amiller, after all, that hid King Conniewhen his brother Ed tried to usurp thethrone.

Lady Ariadne: I sneer at whom I like.Fewmar: Besides, it was a blacksmith

who hid King Connie.Miller: Nonsense, it had to be a miller.

Who else would have such a large supplyof grain sacks?

Fewmar: Grain sacks?

Miller: Didn�t you know that he wassmuggled out of the country disguised asa sack of grain?

Fewmar: I thought he disguised him-self as a serving maid.

Beran: The brewer told me he hid in akeg of ale.

Lady Ariadne: What? Not a cart loadof cabbages?

Miller: It was a grain sack, I tell you! Iknow all about it.

It can be difficult making a historictown useful unless the town also containsa collection of historic artifacts. Oftensome historian or collector lives in a smalltown so he can pursue his hobby inpeace, and many of these can providegenuine assistance to adventurers. Hemight lend them some special magicalitem, or they might be able to peruseancient documents for clues to the loca-tion of this ancient ruins, or that powerfulitem.

Usually a collector demands yetanother item to add to his collection aspayment. This often leads to anotheradventure. If you do not wish to createanother adventure (it does not have tohappen immediately; the collector maybe willing to wait) then another form ofpayment must be found.

Collector: I call it a collusion detector.It�s a very rare item, and not very usefulin a fight, but invaluable for uncoveringsecret plots. It�s how King Connie finallydiscovered Prince Ed�s treachery.

Fewmar: It must be very valuable. Youwouldn�t want to lend out something sounique!

Collector: Well, I offered it to hismajesty when I first found it, but he pre-ferred to rely on the services of the RoyalWizard. It�s terribly easy to counter, yousee, so it�s really only useful if no oneknows you have it.

Beran: What price?Collector: You wouldn�t happen to

know where King Connie�s Crown hasgotten too?

Fewmar: In the capital?Collector: Oh dear me, no! That one is

quite fake. (Looks at adventurers andsighs.) Oh well, I could use some helpabout the place. There is a terrible man-power shortage here in Poketon.Inventory perhaps, and if you could helpme move some of the larger pieces anddo the dusting...

Lady Ariadne: Sir! I�ll have you know,I don�t dust!

Some collections are singularly use-less; old theater props for example, anddecorated chamber pots; but they stilladd immeasurably to the flavor of thetown. In fact, useless items are oftenmore distinctive than useful ones. Whocould forget a giant hammer, a floatingbuilding, an illusionary organ grinder andmonkey, or the statue of a moose?Things that are odd or out of place arenoticed and remembered. You must usethis technique sparingly, however,because if there is something peculiar inevery town the players will come toexpect it, and it will no longer be memo-rable.

Unforgettable CharactersOften a town is remembered not for

itself, but because of someone who livesthere. You don�t even have to make up acharacter; you can just steal one fromanother source. Just remember thatwhen you are in a town, character isestablished not just by how the DMdescribes a character but by how theother townspeople talk about them. Acharacter that is interesting to the playersis also likely to be interesting to his fellowcitizens.

DM: It�s a town, about average size.Only one street is paved, the one you areon, the rest are packed down dirt.

Players: Where�s the tavern?DM: A sign showing a foaming mug

hangs over a building ahead and to theright. As you approach you pass close toa young man. He wears tattered rags,and his bright red hair looks like it hasnever been combed. He is looking aboutvacantly, but when his eyes pass overLady Ariadne he starts and rushes over toher, grasping her sleeve.

Lady Ariadne: Hands off, sirrah!DM: One of his eyes stares earnestly

into your face, while the other eye wan-ders about. �Who?� he asks. �Who?�

Lady Ariadne: I am Lady AriadneWynn. Hands off knave!

Townswoman: Don�t mind him none,Milady, he�s just Moe, the town idiot.

DM: Moe releases your arm and wan-ders off to the side of the road. As youenter the tavern, the bartender, a tallman with a mop of improbable yellowcurls addresses you.

Bartender: So you�ve already met thetown idiot.

Beran: He seems harmless enough.Bartender: Surely, but there is some-

thing about him. Normally he seems to

DRAGON #226 39

have the wits of a rabbit, but then hesays something so remarkably apt...(Shakes his head wonderingly.) And thenthere�s the way he arrived!

Fewmar: Oh? How was that?

The town�s interesting character maynot live there any longer. This is poten-tially very useful. If he is a personage ofimportance in your planned campaign,this is a great way to let the players digup some back-ground information onhim. Not only do the townspeople knowall about his childhood, but they likelyhave a very good idea of what he is upto now.

Establishing the legal limitsA small town may have developed it�s

own set of laws and rules. Though mostof these rules had a very good reasonbehind them when they were made, notall reasons last as long as the rule does.Not knowing the reason for the rule,(which may indeed no longer exist,) theplayers are likely to find some of the vil-lagers� rules ridiculous in the extreme,such as: anyone walking down mainstreet must wear a hat; no lighting firesout of doors; no talking in the townsquare; or anyone who sleeps in townovernight must first introduce himself tothe priest.

Other rules are obvious as to the rea-soning but irksome to the players: oneway bridge, no wearing of unregisteredweapons, no mounts allowed in the vil-lage proper, no killing the local wildlifewithout a license, taxes.

Sheriff: Have you got a license for thatthere creature?

Fewmar: Shasta is a marmot. She�smy familiar.

Sheriff: Doesn�t matter. All domesti-cated animals require a license if youwant to bring them into Poketon. Youalso need licenses for your horses.

Lady Ariadne: Don�t be ridiculous, mygood man!

Sheriff: Oh, you needn�t worry, horselicenses are easy to get. Just walk intotown, take a left at the Mermaid, andpretty soon you�ll find Jasper�s stables.Jasper will come out here and inspectyour beasts for a reasonable fee, andthen I write out your license. Simple! Idon�t know about that marmot creaturethough. Never done a license for a mar-mot!

Getting any kind of a license requiresfinding the person with the properauthority. This is not necessarily any eas-ier to do in a small town than in a bigcity. A common problem is that no one issure who the proper person is. The land-lord sends you to the mayor, who sendsyou to the sheriff, who sends you to thepriest, who thinks that really Lord So-and-such ought to be the one to sign it, onlyhe�s off hunting or something and noone knows when he�ll be back. By havingthe locals waffle back and forth you cankeep the characters running around forsome time. This is not a good idea if youare trying to hurry the players off toActropolis, but it works fine if you justthought of a neat adventure they couldhave right here if only you have enoughtime to work out the details.

Another important thing to rememberis the powerful effect that organizationscan have on a town. At some points inhistory, the guilds were more powerfulthan the monarch. A guild (or local equiv-alent) flexing its muscles is a good way tomake a town memorable. Merriment andcheer are in short supply at the tavern ifthe brewers are on strike; the playersmay have to brave the picket-lines inorder to buy supplies at a non-union gro-cer, or the Tanner�s Guild may havepicked this very town for their annualconference, and the stench is making theplace uninhabitable. Even lesser organi-zations can have quite an impact. Neverunderestimate the power of the PTA orthe Civic Improvement Association; thelocal busybodies may well decide thatadventurers make rotten role-models fortheir children and attempt to run themout of town.

Townsman: Are you a member of theMagistar and Wonderworkers� Union?

Fewmar: No, I can�t say that I am.Townsman: In that case we would

really rather you moved on, this being aunion town and all.

Fewmar: Can�t I just promise not touse my magic?

Townsman: If I just say a few words tomy fellow citizens this town wouldbecome less than comfortable: ridicu-lously high prices, full inn, that sort ofthing.

Lady Ariadne: We will not be threat-ened!

Beran: We are trying to get toActropolis. We only stopped here to getsome more supplies.

Townsman: Oh? Well in that case Iwould be happy to direct you. Our grocer

is on High Street, he carries hardtackguaranteed to survive flood, spell, andhard journeying. Our armorer is justthere, across the square, and...

Yes, Poketon is certainly an interestingplace. It will be long remembered by yourplayers, who are now back on the roadto Actropolis. At least they were back onthe road to Actropolis until a randomencounter with some horse thievessomehow put them on the road toSameville. Sameville is another dot onthe map, but there is no problem makingit distinctive. The dots themselves maylook identical, but by using one of theseideas you can guarantee that Samevillewon�t be the same at all!

Things to remember:

Personality1. Pick an adjective, any adjective2. Technology level

Disputes3. Feuds4. A Town Divided5. Sporting Rivals6. Other battles

Points of interest7. Buildings8. Natural features9. Historical10. Collections11. Oddities

Characters12. The Character13. He used to live here

Legal Limits14. Ridiculous rules15. Bureaucracy16. Guilds17. Other organizations

Michelle Bottorff lives in Saint Paul,Minnesota, with her husband and three chil-dren. This is her first appearance in DRAGON®Magazine.

40 FEBRUARY 1996

by Michael A. Selinkerillustrated by Terry Dykstra

These magic spells for the AD&D®game are inspired by Indian historyand legend, but they are not meant

to be historically accurate. These spellscan be integrated into existing cam-paigns or used in conjunction with thearticle �Caste of Characters� in DRAGON®Magazine issue #225. Together these arti-cles can help form the basis of a cam-paign set in a civilization based on India.

�Caste of Characters� described Indiankits for different character classes. TheIndian mage kit is called a Swami. Magespells below are available to all Swamisas well as Fakirs (an Indian bard kit) andYogis (ascetics; see Legends & Lore, page125). Yogis do not need material compo-nents for any spells, including thosebelow; neither do they need spellbooksto cast spells. Conversely, they cannotread mage scrolls. Non-Swamis andFakirs (i.e., �conventional� mages andbards not from Indian-based civilizations)may have access to the spells below atthe Dungeon Master�s discretion, per-haps after seeing them or learning themwhile on some quest to an area based onIndian culture.

Brahmins (the Indian priest kit) gainspells as do most other priests, with thehighest-level spells being granted byavatars (manifestations) of their deities.Brahmins have access to all priest spellslisted below, provided the spheres arecompatible. Non-Brahmins may gainaccess to these spells at the DungeonMaster�s discretion, though steep soma-juice should be limited in its travels. Incampaigns set in the FORGOTTEN REALMS®or other settings that do not feature anIndian culture, modifications may haveto be made to some spells before theycan be included.

Several spells below deal with con-cepts unique to Indian philosophy, all ofwhich are explained in Legends & Lore,pages 123-126. Karma should be a rul-ing force in the lives of those playing PCsbased on Indian culture. Specific atten-tion should be paid to the rules on rein-carnation on page 126, with the practicalrestrictions on raise dead and resurrectionspells used on Indian kit characters, whoshould automatically be reincarnatedwithin a day. Attempting to alter thiscycle is dangerous.

42 FEBRUARY 1996

Swami Spells

Cloud messenger(Conjuration/Summoning)Level: 1Range: 0Components: V, S, MDuration: SpecialCasting Time: 1Area of Effect: SpecialSaving Throw: None

This spell, based on a classical pane-gyric poem, can be cast only on a daywith cloud cover: mist, rain, snow, and soon. The spell summons a small cloud toact as a messenger for the caster. Thecaster can impart a message of up to fiveminutes length to the cloud, which thenhurries across the sky to the intendedrecipient. Its maximum Move is 96,though favorable gales might increasethis. The cloud messenger must be told thelocation and general appearance of therecipient; it is incapable of asking fordirections. It is not entirely substantialand so can go through tiny openings andsurvive heavy winds. It can carry objectsweighing up to 10 pounds for delivery.When it reaches its recipient, it relates theentire message including whatever emo-tion it heard in the caster’s voice. Thecloud messenger then returns to its caster;one may follow it to the caster’s location.The material components are fresh flow-ers and a bottle of rainwater.

Waking light of dawn(Enchantment/Charm)Level: 1Range: 10 yardsComponents: V, S, MDuration: SpecialCasting Time: 2Area of Effect: 1 creature/levelSaving Throw: None

This spell causes sleeping creatures toawaken. If naturally asleep or affected bya sleep spell, the creatures awakeninstantly. If under the influence of a morepowerful enchantment, the creatures aregiven new saving throws against theeffect, modified by +1 per four levels ofthe caster. If the creatures are sufferingfrom a sleeping poison or disease (suchas that from the tsetse fly), the spellworks exactly as a slow poison on theaffected creatures. The spell does notsimulate the effects of a good night’ssleep, nor can it reduce the sleep neces-

sary before memorization of spells. Thematerial component is a lock which mustbe unlocked during casting.

Distract(Enchantment/Charm)Level: 3Range: 0Components: V, S, MDuration: 2 rounds/levelCasting Time: 3Area of Effect: SpecialSaving Throw: Special

A mage can use this spell to distract allwithin hearing distance who are trying todo any sort of work other than combat.The material component of the spell is aflute. While the caster plays the flute (noproficiency necessary), those wishing tocontinue in their work must make aWisdom check each round to concen-trate on their task at hand. Wisdomchecks are at +4 if stopping work wouldresult in imminent harm (failing to shoreup a seawall during a monsoon, forexample). Distracted persons cannot for-mulate strategies, instruct others, write,draw, or otherwise do complex work.However, the spell does not pacify thosepresent, so they may attack the caster ifthey desire. If the caster stops playing theflute before the duration is over, theeffect ends.

Skin of the fire tiger(Alteration)Level: 3Range: TouchComponents: V, S, MDuration: 3 rounds/levelCasting Time: 3Area of Effect: 1 creatureSaving Throw: None

When cast on the caster or anothercreature, this spell imbues the subjectwith glowing orange stripes across hisskin. These stripes generate a deep inter-nal warmth that acts as a resist cold spell.While in effect, the subject’s skin is scald-ing hot to the touch, so anyone touchingthe subject’s open skin suffers 1d3 pointsof damage. I f the subject uses anunarmed combat attack or is attacked byan unarmed foe, the damage is appliedto the subject’s foe. The subject and hisgarments are unaffected by the scaldingeffect but are not otherwise protectedfrom fire or heat. After the spell elapses,the subject will be incapacitated for oneround due to shivering unless endure coldor resist cold is cast on him. The materialcomponent of the spell is a tiger-eyegem.

DRAGON #226 43

Serpent garland(Alteration)Level: 4Range: 0Components: V, S, MDuration: 1 round/levelCasting Time: 4Area of Effect: 1 itemSaving Throw: Special

By casting this spell, the mage turnshis ordinary scarf, necklace, or otherneckwear into a poisonous snake. Thesnake appears to be the normal piece ofclothing or jewelry until the caster desiresit to attack. It strikes as a Warrior with alevel equal to that of the caster. Its bitecauses 1d2 points of damage, plus it alsoinjects a poison if the victim does notmake a saving throw vs. poison. The poi-son may be of the caster�s choosing:lethal (save or die), paralytic (save or beparalyzed for 4d4 turns), or soporific(save or fall into a coma for ld4 days).The snake may attack once per round,during which time it is revealed as a ser-pent. Reversing the sticks to snakes spellcancels this magic, and the snake is sub-ject to snake charms. When the durationelapses or the effect is dispelled, the gar-ment or jewelry returns to normal.

Mourning stone(Abjuration)Level: 4Range: TouchComponents: V, S, MDuration: PermanentCasting Time: 5Area of Effect: Up to 1 ton/levelSaving Throw: Special

This spell channels a person�s griefover loss of a loved one into stone. Whencast upon a subject and an amount ofstone, the spell pulls the grief from thesubject�s heart and forces the stone togrieve instead. The subject gets a savingthrow vs. magic to avoid the effects if hewants to retain his grief. When affectedby the spell, the subject feels the weightof sorrow unburdened from his heart.The stone shows its grief by becomingpristine white and refracting light like aprism, never appearing exactly the sametwice. Persons viewing the stone areawestruck and saddened for one roundthough not stopped from acting. Within10� of mourning stone, emotion, and othersuch spells and effects are cancelled.Stone enchanted by this spell can beused to erect buildings, in the manner ofbeautiful and enigmatic mausolea likethe Taj Mahal.

Third eye(Evocation)Level: 7Range: 0Components: V, S, MDuration: 1 round/levelCasting Time: 7Area of Effect: CasterSaving Throw: Special

This spell creates a swirling spiral onthe caster�s forehead which casts beamsof annihilation. The third eye fires a raywhich has the same attack roll as themage. The beams must attack a targetevery round, l iv ing or otherwise .Creatures hit by the third eye�s ray mustsave vs. spell or be killed, while inani-mate objects must save vs. disintegrationor break apart. While this spell is ineffect, the caster may use no other spellsor attacks. At the end of the spell, thecaster must make a System Shock roll toavoid falling unconscious for 3d4 rounds.

Life illusion(Illusion/Phantasm)Level: 8Range: 10 yards/levelComponents: V, S, MDuration: SpecialCasting Time: 8Area of Effect: 1 creatureSaving Throw: Special

Similar to a maze spell, the life illusionspell creates a new mental world inwhich the subject can live. The illusionarylife (maya) can include any manner ofnew persons, surroundings, and evennew classes and abilities for the subject.The subject is allowed a saving throw vs.spells to avoid entering this new world,but if he fails, the subject retains onlydream-like memories of his real life.Entire months or years can pass in thisnew life, though time passes much fasterhere than in the real world. No methodof exit is allowed while in the illusoryworld, except the priest spell penetratecosmic ignorance. The illusion seems realbut may contain flaws and mispercep-tions based on the subjects lack ofunderstanding of his new surroundings.Thus, the subject is allowed new savingthrows vs. spells every so often based onhis Wisdom score. If a saving throw issuccessful, the subject returns to realitywith much of the memory of the illusorylife, though no new abilities are retained.New saving throws are allowed on thefollowing schedule:

44 FEBRUARY 1996

Subject�s TimeWisdom Between

Score Saving Throwsunder 3 2d4 days

3 - 6 1d4+1 days7-10 2d8 hours11-14 1d8+1 hours15-18 1d4 hours

19 and up 1d4 turns

The material component is a sketch ofthe environment in which the subject willstay. If the sketch is marred or destroyedduring the spell�s duration, the subjectimmediately returns to reality.

Monsoon(Conjuration/Summoning)Level: 9Range: 0Components: V, S, MDuration: 2 turns/levelCasting Time: 1 turnArea of Effect: 10d100 square milesSaving Throw: None

This spell can only be cast in a climatewhich could have monsoons, such as asemi-tropical coastline. When cast, thespell conjures up the most powerful ofwind and rainstorms to ravage the area.Winds come at hundreds of miles perhour, smashing boats and unstable struc-tures. Rain pounds the area, swampingpiers and depressions. The spell causessiege damage as by a screw or drill on allstructures and trees in the area of effect,and all unmoored ships must make sea-worthiness checks. (DUNGEON MASTER®Guide, pages 105 and 170). Creatures thatcannot take adequate cover on highground must save vs. paralyzation toavoid drowning. From the caster�s pointof view, the most dangerous aspect ofthis spell is its range of zero. This meansthe caster must be amid the effect; if heis not protected, he is subject to the sameeffects as everyone else. The monsooncan be countered using a control weatherspell, but the caster of that spell must rollgreater than the monsoon creator�sIntelligence on a d20, with +1 added tothe roll for each level that the controlweather caster exceeds the level of themonsoon creator. Once the monsoon isunleashed, the caster has no control overit, and it may combine with existingweather conditions to have greater dura-tion and effect than anticipated.

Brahmin Spells

Om(Abjuration)Sphere: AllLevel: 1Range: 0Components: VDuration: Until ceasedCasting Time: 1Area of Effect: CasterSaving Throw: None

This simple chant creates a deep clar-ity in the caster�s mind. All outsidesounds and sights are blocked out, allow-ing the priest to regain spells or hit pointsat a 50% faster rate; however, the priestcannot focus on anything outside him-self. Anything that disrupts concentration,such as an attack on the priest or a con-scious action by him breaks the spell.Spells cast on the priest are affected bythe om spell. The priest is immune tosleep and charm effects while chanting,and receives a +4 on all saving throwsthat allow Wisdom bonuses; however,the priest forfeits saving throw bonusesfor Dexterity or anything else requiring-conscious thought. Magical healing is notaffected by the spell�s increased healingrate.

Sanctify ghi(Alteration) ReversibleSphere: AllLevel: 1Range: TouchComponents: V, S, MDuration: PermanentCasting Time: 8 hoursArea of Effect: 2 ounces/levelSaving Throw: None

This augments the holy clarification ofbutter into a liquid substance called ghi.Cow or buffalo milk must be churned,boiled, and blessed to make holy ghi,which can be used on undead as holywater. When drunk, the holy ghi acts as amild curative, healing 1d3 points of dam-age per ounce. The reverse of this spell,desecrate ghi, is used by evil priests to cre-ate a liquid butter version of unholywater, which harms paladins andKshatriya. Either of these spells can beused to counter the other.

Karma sight(Divination) ReversibleSphere: DivinationLevel: 2Range: 10 yardsComponents: V, SDuration: 1 round/levelCasting Time: 2Area of Effect: 1 creature/levelSaving Throw: Neg.

DRAGON #226 45

This spell determines the number ofkarma points that a target creature has.(For rules on karma, see Legends & Lore,pages 124-126.) In creatures from soci-eties not based on India, it determineslevel or Hit Dice. Unless the creature is awilling target, it is allowed a saving throwvs. spells to avoid the revelation of itskarma. This spell does not directly affectthe mind of the target, so Wisdombonuses and mind shielding do not helpavoid the effect. The priest may examinemultiple targets, but if a creature savesagainst the effect, it cannot be examinedagain during that casting of the spell. Thereverse of the spell, karma musk, hides asubject�s karma for 24 hours, though anydivine being can see through the mask.

Steep soma-juice(Alteration)Sphere: ProtectionLevel: 2Range: TouchComponents: V, S, MDuration: One weekCasting Time: 8 hoursArea of Effect: 2 ounces/levelSaving Throw: None

This spell is per Legends & Lore, page132. It is primarily for those of Indiansocieties, though others could be allowedto use it or their deities could grant it ifthe Dungeon Master desires. When thepriest brews and blesses the soma plant�sleaves, he creates a powerful magicaljuice. Those drinking at least one ounce aweek receive two benefits: an increase ofone point of Constitution and immunityto non-magical disease. These effects dis-sipate at the end of a week withoutsoma-juice. The priests generally restrictthe usage of the juice to nobles andpriests.

That art thou(Divination)Sphere: DivinationLevel: 3Range: 0Components: VDuration: 1 round/levelCasting Time: 1Area of Effect: 30� radius sphereSaving Throw: None

By uttering the phrase �tat tvam asi�(�that art thou�), the caster�s sensesbecome one with all beings and objectswithin a 30� radius sphere centered on

the caster. The caster sees and feelseverything sensed by every person, caterpillar, tree, and rock in the area of effect.(A first-time caster will be surprised howmuch a rock feels.) The onrush of sensoryinformation allows the caster to know ofall beings and objects in the area, includ-ing hidden and invisible creatures, traps,and magic items. The caster does notsense thoughts or detect powers of crea-tures and objects contacted. Because thespell accesses thoughts, any being whosethoughts are masked cannot be spottedsolely with this spell. While the spell is ineffect, the caster may take no otheraction, including movement and speech.The caster may discontinue the effect atany time during the spell�s duration.

See all faces(Divination)Sphere: DivinationLevel: 4Range: 10 yardsComponents: V, MDuration: 1 roundCasting Time: 4Area of Effect: 1 creatureSaving Throw: Neg.

This spell requires that an itembelonging to the target be in the caster�spossession. When cast, an unwilling tar-get must make saving throw vs. spells orhave all major aspects of his personalityrevealed to the caster. Thus, if the targetis a mage, a rajah, a lothario, or a liar, thecaster knows it. Note that the see all facesspell reveals only truly major aspects; ifthe aforementioned target also likedchocolate and raga music, this would notbe revealed. Since this spell does notaffect the mind, mind shielding andWisdom bonuses are not effectivedefenses.

Pool of deeds(Enchantment)Sphere: Divination, Elemental (Water)Level: 5Range: 10 yardsComponents: V, S, MDuration: 24 hoursCasting Time: 6 turnsArea of Effect: 1 poolSaving Throw: None

The pool of deeds spell turns any poolof water, from as small as a birdbath toas large as a small lake, into a storyteller.The enchanted pool can recount the pub-

licly known deeds of any one individualexactly as they happened. The subjectmay be living, dead, or even not yetborn; the deeds may reflect the past, pre-sent, and even possible futures. The sur-face of the water reflects the images as ifthey were happening at the moment,and at the speed at which they occurred.The caster must know of the stories thathe wants to reflect, but he need notknow the details. If the caster wishes toreflect deeds that are not publicly known,he may try The subject makes a savingthrow vs. spells to keep secrets unre-vealed; this roll is at the subjects level atthe time of the revealed deeds.

The caster may create a pool of deedsthat reflects his own future, but theimages may leave out critical details toprevent tampering with the future. Thecaster should expect whatever appearsto come true, regardless of his efforts tochange it. The pool is activated by toss-ing in a handful of colored powder.

Conceal lifeforce(Abjuration)Sphere: NecromanticLevel: 5Range: TouchComponents: V, SDuration: 1 day/levelCasting Time: 5Area of Effect: 1 creatureSaving Throw: None

This spell hides a being�s lifeforce(shakti) from detection, preventing spellslike karma sight and reincarnation sightfrom working on the creature. It can alsobe used for a much more dangerous pur-pose: to prevent the creature from beingreincarnated, at least temporarily. By cast-ing conceal lifeforce on a creature withinan hour of its death, the creature�s self(atman) is hidden from the divine agentswho attend to reincarnation. During thespell�s duration, the character may beraised or resurrected. (This should be theonly way raise dead or resurrection can beused on a character from an Indian-based culture or with an Indian-based PCkit more than a day after death; seeLegends & Lore, page 126.) Using this spellfor this purpose is a violation of the cos-mic order and may trigger divine wrath.

46 FEBRUARY 1996

Reincarnation sight(Divination)Sphere: Divination, NecromanticLevel: 6Range: SpecialComponents: V, S, MDuration: 1 roundCasting Time: 6Area of Effect: 1 creatureSaving Throw: None

This spell reveals the presence of areincarnated character. Using a piece ofclothing belonging to the original charac-ter, the priest may use this spell to dis-cover the reincarnation of that charac-ter�s name, appearance, and approxi-mate location. If found, a reincarnationhas only vague memories of his past andwill be unlikely to recognize any of hiscompatriots. The spell can cross planarbarriers, but it cannot penetrate barrierslike conceal lifeforce or amulets of life pro-tection.

A second use of this spell is to revealto a person all of the memories of one ofhis reincarnations. The priest needsmerely to touch the subject, and heknows all that his past life contained.Using the two uses of this spell in ordercan reacquaint old friends, at least in asuperficial way. (Note that these spellsallow a slain PC to rejoin the campaignwith his memories intact, and perhapshis level and abilities. See the reincarna-tion table on page 126 of Legends&Lore.)

Penetrate cosmic ignorance(Divination)Sphere: DivinationLevel: 7Range: 0Components: V, SDuration: SpecialCasting Time: 7Area of Effect: 108/level radiusSaving Throw: Special

This dangerous spell is based on theage-old belief that the world is just illu-sion and that mortals may not compre-hend it. Penetrate cosmic ignorance allowsa partial piercing of that veil. When cast,the spell reveals the divine hands behindevery creature and object present. Thecaster learns of characters� patron deities,consecrated spaces, holy relics, spellresidue, and extra-planar creatures. Ittells every character�s level, every magicitem�s power, and every monster�s spe-cial abilities, among many other revela-tions. Wherever the hands of deitiesmanipulate life � and they do so every-where � the priest will know it.

Using this spell requires the caster tomake a saving throw vs. breath weapon,modified only by Wisdom bonuses. If thecharacter fails, he is driven insane by therevelation; if ever cured, he forgetseverything he saw. In addition, using thisspell wipes all other spells from the cast-er�s mind, and the character must rest afull night before learning new ones.

Call avatarSphere: AllLevel: 7Range: UnlimitedComponents: V, S, MDuration: SpecialCasting Time: 6 turnsArea of Effect: SpecialSaving Throw: None

This risky spell allows the priest tosummon an avatar of his deity. The spellopens up a gate to another plane, and,though the avatar is compelled to comethrough the rift, it is not compelled to staymore than an instant. Even if it chooses tohear the requests of the priests, the avatarmay or may not grant them. The avatarmay also make demands on the priest aswell, and the priest would do well to heedthem. The avatar may stay as long as itlikes, often at great expense to the caster.The spell requires a relic of the deity inquestion; when the avatar leaves, it takesthe relic with it. Casting this spell ages thecaster five years.

Michael A. Selinker is a game designerwho lives in Seattle, Washington. This is thesecond in a series of three articles he has writ-ten on bringing the Indian subcontinent intothe AD&D® game.

DRAGON #226 47

by William W. Connors

remember a time, long ago,when I was not the cynical, jadedcomputer guy that I am now. I

used to go over to the apartment ofLarry Smith (not the one on theDRAGON® Magazine staff), a verygood friend of mine, and spendhours attempting to delve deeperinto the depths of the firstWizardry* game. If you aren�t fullyaware of the time scale involvedhere, let�s just say that Larry wasthe proud owner of a brand new,top-of-the-line, cutting-edge Applecomputer. The word �smokin��comes to mind.

Larry and I were avid fans ofrole-playing games, both electronicand paper versions. We wouldspend far too many hours gaming,talking about gaming, and talkingabout talking about gaming. Withthat in mind, you can imagine ourdelight when we saw a new seriesof �Dungeon Master�s Assistant�programs on the shelves of ourlocal computer store. Of course, webought them on sight and went home tosee what wonders might be on those unas-suming little discs.

Between then and now, a greatm a n y t h i n g s h a v e c h a n g e d .Leeching fell out of favor in themedical community, the coloniesdeclared their independence fromGreat Britain, someone inventedthe compact disc, and a secondedition of the ADVANCED DUNGEONS &DRAGONS® game was written.

Have you figured out where thisis headed yet? Good, then I canmake an announcement that a lotof people have been wanting tohear (or read, actually) for manyyears: In August of 1996, at theGEN CON® game fair in Milwaukee,Wisconsin, TSR, Inc., and EvermoreEntertainment, Inc., will be releas-ing a CD-ROM version of theAD&D® core rules. Encumberedwith the rather staggering name ofAD&D CD-ROM Vol. I, Core Rules, this

product promises to revolutionize theway in which the AD&D game is played.

you play AD&D and own a computer thatemploys either Windows 3.1 or Windows 95, then

this program is going to be a must-have.Now, in describing this new tool for the eager player and

Dungeon Master, I could go on and on with a list of impressivesounding things. Consider the following:

I could, for example, tell you that it includes all the material

We weren�t disappointed. These programs allowed us to cre-ate characters, generate encounters, and dozens of other things.What more could modern science do for the gamer?

Of course, that was many years ago. Monochrome displays,primitive vector graphics, load times measured in minutes, and300-baud modems were the rule. In fact, a lot of us used cas-sette recorders instead of magnetic discs, and even if you didhave one of those 300-baud modems, you couldn�t do muchwith it except call up other people with 300-baud modems andadmire the fact that you were both, in a word, geeks.

in the Player�s Handbook, DUNGEON MASTER® Guide, MONSTROUS

MANUAL�, Tome of Magic, and Arms and Equipment catalog. Everyword of text, every table, every spell description, every monster� all rendered in an electronic format compatible with virtuallyevery word processing program known to modern man.

I might even mention that all of this text could be easily crossreferenced, sorted, and compiled. A user who wanted to do asearch for every rule that affects a character�s THAC0 wouldonly need to type in a few simple command and � ta-dah! �there it would be.

But I know the readers of DRAGON Magazine. They don�t wantto hear about stuff like that. If they did, it would make sense forme to tell them other things as well.

DRAGON #226 49

For instance, I could point out that the audience would be demanding to knowCD-ROM includes a number of programsdesigned to automate the more time-consuming aspects of the game. Fromcomplete character generation to the cre-ation of detailed treasure hordes, fromthe compilation of individual spell booksto the design of customized magicalitems, it�s all here.

where they could buy a product like this.They�d be standing by their phones, cred-it cards in hand, eager to give their nameand number to an operator who woulddrop a copy of this fine product into themail as soon as they hung up. But youaren�t the average consumer, are you?

I didn�t think so.By now, of course, a less sophisticated A truly demanding audience, like the

Character generation isfaster and easier than everbefore. Every option that�savailable at every step of theprocess is laid out. Mistakesare a thing of the past.

one I�m writing this for, wouldwant to know how this programwould help them in the long run.They�d demand that it allow themto keep character records andsuch on file in an electronic for-mat. Beyond that, they�d insistthat, when they update one num-ber on the sheet, all of the charac-teristics derived from it would beadjusted automatically. They�dinsist on the program doing all thenit-picky things that no one reallyenjoys, like calculating encum-brance categories or movementrates, so that they would havemore time for carving up mon-

sters, saving princesses (or princes), andotherwise having fun.

Well, the nice folks at EvermoreEntertainment have done all that. Inaddition, they�ve taken the time to createa visually stunning cinematic tour of amedieval village. They�ve combined elec-tronic versions of TSR�s best art withgraphic images commission specially for

this program. Down to the small-est detail, they�ve gone out of theirway to make this program as visu-ally appealing as it is useful.

Let�s not forget that no amountof electronic wizardry will changethe fact that AD&D is a pen-and-paper game. When you need acharacter sheet, you just press abutton and your printer zaps out anice-looking, easy-to-read-and-ref-erence character sheet. Remem-ber how nice a new one looks?Now you can have one at the startof every game session.

But, of course, that�s what you�dexpect, isn�t it? So I�m not tellingyou anything you don�t already

The mapping tool lets DMscreate detailed dungeons,villages, cities, castles, andwilderness areas. It shows anyview in 3-D, cutting guessingwhat characters can see fromwhere they�re standing.

50 FEBRUARY 1996

One of many screens thathelp DMs create adventures isthe treasure generator. Thecomputer never forgets thetiniest copper coin.

know (or hadn�t guessed), am I?So what is it that you want from

me? What do I have to tell youabout this program to impressyou? Do I have to tell you that it�sbeen created with the aid of someof the most respected designers inthe game industry? That peoplelike Jim Ward, Tim Brown, SteveWinter, and Paul Jaquays havew o r k e d c l o s e l y w i t h V i c t o rPenman, who helped create SSI�saward winning AD&D gold boxgames (as well as the originalDungeon Master�s Assistant* pro-grams I mentioned early on)?

No. I know gamers better thanthat. They�re a caring and sensitivebunch. They want to know about emo-tional side of this project. They want tohear about the fact that this has been alabor of love for everyone involved. Theywant to know that we did it for them.That the first question we asked at thestart of every step of this process was:how can we make this program betterfor all those gamers out there? Theywant to know that everyone involved inthis project has come together inthe spirit of democracy and free-dom that liberated Eastern Europeand brought peace to the MiddleEast.

Well, I suppose that�s mostlytrue, too.

The fact is, ever since the day Ifirst started playing around withthe original Dungeon Master�sAssistant programs, I�ve thoughtthey could be improved upon. Wayback then, long before I wrote myfirst adventure or attended my firstconvention, I started working on aplan to see to it that the ultimate

Users get a fully-animatedAD&D® adventure and villagetour. Game veterans willenjoy the detailed medievalsetting and encounters, whilenewcomers get to see first-hand how the action unfoldsduring a role-playing session.

AD&D computer tool would be produced.Sure, my scheme was subtle. I used devi-ous methods that even the CIA frownsupon. But in the end, I got my way. Peoplewho never even met me were doingthings that I had planned years ago. Eventhe folks at Evermore, who thought thiswhole thing was their idea, didn�t suspectthe truth. Gradually, one-by-one, thepieces of this complex puzzle fell intoplace.

Now, 15 or so years later, my diaboli-cal plan is almost complete. Soon, I willhave the computer program that I�vealways wanted.

William W. Connors is a game designer atTSR, inc. He is currently hard at work on thenew DRAGONLANCE®: THE FIFTH AGE box set.

* indicates a product produced by a company otherthan TSR, Inc.

DRAGON #226 51

by Andrew Turpinillustrated by Robert Klasnich

Can PCs� actions affect their belongings?rin drew the sword from its scabbard.EThe flickering torchlight danced in the

mirror-like surface, glinting as it foughtback the shadows. No runes or decorativescroll-work marred its simple beauty, and itsleather hilt was worn smooth by constantuse. It was a plain blade made for an uglypurpose: killing.

�This feels strange, Tom. Is it magical?�she asked.

Tom moved the torch closer. �I didn�tnotice it at first, but now that you mention itthere is a certain aura.� The frame burned

brighter in the burnished steel, tendrils ofsmoke seemed to curl down into its depths,rather than upward to the ceiling.

�It reminds me of the story of AranthBackstabber He drove his sword though hisKing�s back, dooming his people as theyfought for their lives during the Ogre Wars.�

�You think this might be the sword?� Erinshivered.

�It might be. I wouldn�t use it though. Theblade was tainted by his evil; you yourselfcan feel something of that aura, and you arenot trained for such things. Anyone who

actually wields it falls in to shadow, betrayingthose that they love, gradually spreadingdarkness wherever they go.�

�What happened to Aranth?��No one knows for sure. . .� Tom paled as

he looked from Erin to the sword.Erin dropped it and quickly rubbed her

hand against her cloak. Not such a nicesword after all.

Throughout the life of a character, hecomes into contact with many wondrousmagical items. The player�s reaction

DRAGON #226 53

ranges from bored to dismissive whenthe Dungeon Master reveals the item�sabilities. The only time an eyebrow israised is when the item has earth-shat-tering powers. Game balance teeters onthe brink while the player saves theworld in a single combat round, butwhen asked what the item�s history is,the PC probably says, �Er, dunno. It cansplat an orc at a thousand yards though!�

The magical item is noted on the PC�srecord sheet, becoming merely a list ofabilities and bonuses that add very littleflavor to a hobby that thrives on theimagination. Any DM who has workedhard at breathing life into his campaignwill feel his efforts wasted as the charac-ters turn into lists of combat bonuses,personal i t ies los t among the fa int

pencil marks. Perhaps, in some cases,it is not only the players who have lostthe urge to forge a new legend in a worldof heroic deeds; a DM who has lost inter-est is even more of a problem.

All items will have a history. How werethey created? Why were they created?

Details such as these will bring a cam-paign to life, helping both DMs and play-ers as they strive to create an enjoyableadventure that will be rememberedmany years down the road. Characters�possessions will be linked to them, carry-ing their legends into the future, creatinga legacy for the ages. A character�s swordwill be held in awe for centuries after his

death, his heroic nature part of its steel.Perhaps it will �grant powers� to

live up to the legend. One need nothave a magical sword to have a worthyblade; any weapon that the characteruses in a dramatic fashion will be remem-bered.

These rules will enable you to create�magical� items based upon the actionscharacters take to keep their names alivein the ages to come, helping the playersto create and maintain their legends, andhelping the gaming group to enjoy theirhobby.

Creating a legend

those who wield it in the future,powers that will enable others to

As the players role-play their charac-ters� actions, they make many deci-

sions. Every action becomes partof the character�s history, threads

that will be woven to form the pattern ofa character�s personality. Players definethe boundaries of what their charactersare willing to do. Every character has adifferent range of possible actions: some

FEBRUARY 1996

strive for honor, helping those in dangerand offering aid wherever it is needed,while others kill their associates for gain.The more dramatic an action, the more itwill be talked about in the years to come,moving the character further along theroad to becoming a legend.

With each action, there is a chance ofa reward. The more dramatic an action,the more powerful the reward. A charac-ter who constantly trips his friends withhis staff, sending the poor fellows plum-meting to their death, might receive anegative reward. Perhaps his staff willstrike out at his friends during combat,earning muttered curses from the otherheros. He will be eyed suspiciously wher-ever he goes, everyone afraid of what hemight do when their backs are turned.

Rewards should be treated carefully.They should not be powerful enough totip the balance completely in the charac-ter�s favor, nor should it cause any play-er to feel he has been treated unfairly.

Each time a power is given, a list ofinteresting role-playing possibilitiesshould be thought up and presented tothe players. A power might not benefitthe party, but it can still be interesting touse, causing mayhem in the midst of amelee, or just being an amusing trick thatthe players can use when things start toget a little serious.

Each time a character takes an action,he adds bit by bit to the ongoing legendof his life. Whether his possessions gainpowers is based on how dramatic hisactions are: the more dramatic the actionthe higher the chance that an item will beaffected in some manner.

Action ratingsTo asses the probability of an action

giving some magical power as a reward,use the following list to gauge the wor-thiness. There are six ratings: normal,low, high, very high, exceptional, andunique.

Actions of a normal rating are nothighly heroic or evil in nature. They areeveryday actions that someone woulddo without any danger involved. A lowrating means that something the charac-ter did was slightly out of the ordinary.For instance, dragging a friend out of aburning house would come under thisrating. A high rating means that the char-acter made a conscious choice to facedanger. The character in the exampleabove who had just dragged his friendout realizes that his younger brother islocked inside the house. He turns around

der around some of the other kegs andthrows his keg away. Kneeling, he strikeshis flint and steel together, sending aspark leaping into the powder. He turnsand charges through the open door justas the powder room explodes. The blasthurls Tom clear and buries the guardsunder a pile of old stone and burningwood. The DM decides that Tom’s fool-hardy action has a very high rating,which has a Spell Points value of five. Herolls dice to see whether a reward is dueand manages to beat the 15% target.Tom’s player and the DM decide that twospells will be embedded in that flint andsteel: deafness and gust of wind. Thesewere chosen as the combined effectwould be similar to the result of theexplosion. The two spells are embeddedin the flint and steel and activate whenthe two are struck together.

Should a character be carrying a mag-ical item when he “creates a legend,” thatitem will act against any roll made togain powers. To reflect this, subtract 20%from any roll made, so only actions of aunique nature will grant any powers.Even if a roll is made, only one spell pointshould be given. Think of how the peo-ple would tell the story of a character’sactions when using this ruling. If a war-rior armed with nothing but a magicalmace faced a horde of screaming orcs,the action would not be deemed quite soheroic, even though the warrior’s braverywould still be praised for many years tocome; but if all he had to fight them offwith was a rough wooden club. . .

Whenever a magical item is createdusing this method, the DM must decidehow many times each power may beused a day.

An embedded spell can be cast onceper day for each time it is embedded, buteach duplication of the spell costs doublethe number of spell points. For example,powers are rewarded for an exceptionalaction, granting seven spell points. Thecharacter and DM decide to embed a 1st-level spell three times. The first time costsone point, the second two, and the thirdduplication four points for a grand totalof seven. All of the spell points havebeen used up, enabling the spell to becast three times per day. Using thismethod, only spells below fourth levelmay be cast multiple times per day, pre-venting the more powerful ones fromunbalancing a campaign.

Certain powers function continuouslyand therefore don’t need to be cast morethan once. These effects are very specialand will probably only be available

and rushes back into theflames in an attempt to save him. Anaction that would be given a very highrating is deliberately guiding the rest ofyour party to their deaths at the hands ofa group of marauding orcs.

Exceptional means that you havedone something that few people wouldeven consider. Fighting single-handed-

ly against overwhelming odds for thesake of strangers, for example.

The unique rating describes once-in-a-lifetime actions such as laying down yourlife for someone else, or perhaps regi-cide.

The table below lists each of these rat-ings and gives the corresponding per-

centage chance that the actionreceives a reward.

Whenever you feel acharacter has done some-

thing dramatic, you may

are allowed per level (or per year ofgame time if the character can no longeradvance). The first of these rolls can befor either a good or evil action. The sec-

make a roll, but only two successful rolls

ond must be for an action of anopposite moral stance. So, if the firstroll was for an heroic action, the

second can be only for an evil deed, orvice versa.

One other column is present in thetable: spell points. This determines themaximum number of spell levels that can

be rewarded for a certainaction.

Any spell up to thislevel can be embedded

into an item, it is up to the player and theDM to choose them. If the spell pointsvalue is high, you may allow more than

bined spell levels must be no greaterthan the original number of points.

one spell to be embedded, but the com-

Table: Action Ratings% Chance Spell Points

0 05 1

RatingNormalLowHigh 10 3Very High 15 5Exceptional 20 7Unique 25 9

For example, Tom runsinto the powder roomof the castle and grabs

one of the powder kegs.From outside he can hear the guardsshouting and charging towards theroom. Quickly, he sprinkles a bit of pow-

FEBRUARY 1996

through actions that are rated at excep-tional or unique status.

If you wish you may also allow itemsthat have combined powers to use themall simultaneously once a week for agrand effect. Going back to the flint andsteel example, gust of wind and deafnesscan both be cast once per day. Once aweek, though, they can be cast together,combining their effects to recreate theevent from which they were formed.

Spell restrictionsDue to the immense power of some of

the higher-level spells, some restrictionsshould be imposed.

As a starting point, you may wish toconsider limiting spells that cause a largeamount of damage, such as fireball, orspells that do not allow a saving throw,as is the case with most of the powerword spells. One type of spell that shouldbe considered very carefully is the wishspell.

All spell effects function at 12th-levelmagic, unless the power actually requiresa higher level. In such cases, the power isused at the minimum level required tonormally cast the equivalent spell.

Weapon combat bonusesMagical weapons often give bonuses

to rolls made during combat. These canrange from being beneficial on someweapons to being penalties on those thathave been cursed.

To imbue a weapon with a bonus, usethe number of Spell Points as a guide. Forevery step above six, the item receives a+1 bonus (-1 for cursed items). Forexample, seven Spell Points yields a +2weapon. This gives a maximum of a +3bonus when using nine spell points. Evilitems may not necessarily have a nega-tive bonus. (They may, under certain cir-cumstances, make it easier to hit, such aswhen attacking a friend, or when assas-sinating someone.)

For some reason, lost in the mists oftime and past AD&D® rule books, swordsare able to be enchanted with a higherbonus than +3. Perhaps they are easierto work with, the care that goes into theircrafting enabling a mage to pour moremagic in than any other item is capableof holding.

Whatever the reason, magical swordsmust be treated differently than anyother weapon. To work out the bonusthat a sword can receive, give a +lbonus for every step above four, to a

maximum of a +5 bonus for a swordwhen using nine Spell Points.

Bonuses that weapons receive canalso be combined with other effects tocreate more unique abilities. Just as withother combined powers, the total levelsmust be no greater than the originalnumber of spell points.

Manifestation of item powersThe adventure continues once the

item�s powers have been decided upon.The characters move on down the roadto becoming a full-fledged legends. Themagical item awaits, gradually growingin power as the story of its creationspreads. To reflect this slow increase inpower, the final spells embedded in theitem should not be activated straightaway. They take months or perhapsyears to become fully active, their effectgrowing in power until they finallyachieve the desired state.

This delay should have a minimumnumber of months equal to the numberof spell points. The more powerful thespell, the longer the delay. Think up vari-ous abilities that are slightly less powerfulthan the desired result, and have themactivate at various times throughout themanifestation period, gradually increas-ing their power as time goes by.

For example, Tom�s flint and steel willeventually have deafness and gust of windembedded in them. Five spell points wereused in creation, so they take a minimumof five months for the two spells tobecome fully active. Over the next fewmonths Tom and Erin witness strangethings around their camp at night: theydon�t seem to be able to light any fires,and, when they do, the flames burn with-out a sound, no spits or crackles can beheard as the eager flames consume thewood.

Five months after causing that incredibleexplosion, Tom tries to light the campfireonce again.

He strikes the flint and steel together andis blown off his feet us a powreful wind guststhrough the woodland clearing. Erin returnsa few moments later to find Tom dustinghimself off.

�No luck with the fire,� she says us Tomnotices her.

�I can�t hear!� he says, much too loudly.

If you wish, you can create a magicitem without letting the players know thefinal effect. You can have fun watchingthem try to figure it out, using the clues

they get over the next few months ofgame time.

Using a legendary itemFor an item�s powers to be activated,

the user must be aware of any legendassociated with it. For the character whooriginally possessed the item, this is noproblem; but as the years go by, and thestory is forgotten, it prevents the item�spowers from being used until the full his-tory is discovered.

If a detect magic spell is cast on anitem, it will radiate an aura equivalent tothe highest-level power embedded. Abard�s ability to learn the general use ofa magical item can be used to find outthe legend behind the item�s creation.This only gives the story; specific detailsas to the nature of the item�s powers stillremain a mystery. Once the entire story isknown though, anyone who uses theitem can feel what the powers are andmay use them freely.

Should a player keep a legendary item(thinking that it is normal), no effect isimmediately visible. There is a manifesta-tion period, similar to the one mentionedearlier, over which the item will exert itspower to let the user know what it is. Thecharacter begins to have obscure dreamsabout past events that the item has seen.One dream keeps recurring, telling of thedramatic event that transformed the ordi-nary into the extraordinary. It is up to theplayer to decipher what these dreamsmean. Only when he has singled out therepetitive dream as meaning somethingspecial will he begin to realize the item�spower. You must then tell the playerwhich of his items is magical and what itspowers are.

Andrew Turpin lives in Wales.

Are you a gamer?

You should consider joining theRPGA® Network.

You should also check out Cons &Pros on page 96 to see what gamingevents or conventions may be held inyour area.

If you are planning on holding a gam-ing event or convention, let us knowabout it and we�ll be glad to publish theinformation in Cons & Pros.

Write to us at Convention Calendar,DRAGON

® Magazine, 201 Sheridan SpringsRoad, Lake Geneva, WI 53147, U.S.A., ore-mail us at tsrmags@aol.com.

58 FEBRUARY 1996

Magical Scabbards and Sheaths

by David Howeryillustrated by Anthony J. Bryant

When King Arthur first receivedExcalibur, says one legend,Merlin asked the future king

which was more valuable: the sword orits scabbard. Enraptured by Excalibur(who wouldn�t be?), Arthur replied thatthe scabbard was beautifully made, butthe sword was obviously the greatertreasure. Merlin shook his head. Thescabbard was also magical and wouldprevent wounds from bleeding. Excaliburcould take the lives of Arthur�s enemies,but the scabbard could save his.

Arthur�s attitude is also found in theAD&D® game. There are dozens of mag-ical swords available, but theENCYCLOPEDIA MAGICA� lists only two mag-ical scabbards. A magical scabbard canmake an ordinary sword more usefuland a magical one truly fearsome.

Herein, the term �scabbard� may betaken to refer to sheaths from knife togreat sword sizes. When a magical scab-bard is found, the DM rolls on the tablebelow (or the table on page 1336, vol. IV,of the ENCYCLOPEDIA MAGICA� book) to findits size.

1 bastard sword2 broad sword

3 - 4 dagger5. knife

6-8 . long sword9. scimitar

10-11 short sword12. two-handed sword

BondbreakerIn many cities, weapons must be

peacebonded. This means that a cord istied around the sheathed sword�s guardand the scabbard so it can�t be drawnquickly in the heat of anger. The bond-breaker magically unravels the peace-bond instantly upon command, allowingthe sword to be drawn at normal speed.Paladins and other lawful characters nat-urally despise this scabbard, whilethieves and other nefarious types paymuch for one.XP Value: 300. GP Value: 1,500

Quickarm ScabbardThis scabbard has two main func-

tions. One command word teleports the

62 FEBRUARY 1996

sword that is sheathed in the scabbard Scabbard of Flame nent; even anti-magic and dispel magicinto the wielder’s hand from up to 20’away. The wielder therefore does not

Any nonmagical sword placed in this spells do not affect the inert sword.scabbard for one continual day without XP Value: 700 GP Value: 3,500

incur any initiative penalty for takingtime to draw his weapon, and he does

being drawn gains the powers of aflametongue sword (ENCYCLOPEDIA MAGICA, Not all magic is beneficial. Just to keep

not even have to be wearing the lV:1369). These powers last for one PCs on their toes, here are three cursedsheathed sword. The second command hour, then vanish. The sword can be scabbards.word recalls or returns the sword, tele- resheathed for another full day andporting it back into the scabbard, with a regain the powers, again for one hour Cursed Scabbard of Bindingrange of 50’. This latter function is espe- only. The sword can be used over and This appears to be a normal scabbardcially useful if the sword is accidentally over in this scabbard. Magical swords and is often found with a magical sworddropped into a pit or river. are not affected by this scabbard. sheathed in it. The scabbard works nor-XP Value: 2000 GP Value: 10,000 XP Value: 3,000 GP Value: 15,000 mally at first. But when the character is

in a combat situation and tries to drawScabbard of Adjustment Scabbard of Protection the sword, the scabbard clings fast to the

This scabbard changes shape, shrinks, This scabbard provides a +1 bonus to blade. The sword cannot be drawnor enlarges to fit any sword, dagger, or its wearer’s Armor Class. It can be used in regardless of the character’s strength.knife, as needed. combination with normal or magical Once activated, the scabbard never letsXP Value: 250 GP Value: 1,000 armor and shields. At the DM’s discre- go of the sword, even when the combat

tion, it might not be effective when worn is over.Scabbard of Care with other magical items that improve Unlike other cursed items, the scab-

Any sword placed in this scabbard for AC. bard does not stick to the character; itone full turn is cleaned and oiled, regard- XP Value: 1,000 GP Value: 5,000 sticks only to the sword. The scabbardless of blood, dirt, water, or anything else and sword can be discarded. A removeon the blade. If sheathed before the Scabbard of Sharpening:sword is destroyed, the scabbard A nonmagical sword placed in thisremoves even the acidic secretions of scabbard for one full day without beingmonsters like puddings, green slime, etc.; drawn is magically sharpened. Whenthe scabbard itself is immune to suchsecretions.

drawn, the sword is equal to a sword ofsharpness (ENCYCLOPEDIA MAGICA, IV; 1392).

XP Value: 300 GP Value: 1,500 The bonus lasts for 24 hours. The swordcan be used over and over in this scab-

Scabbard of Empowering bard, recharging for one full day, andThis scabbard gives magical bonuses gaining the bonuses for 24 hours each

to nonmagical swords (it has no affect time. Magical swords are not affected byon magical swords). For every full con- this scabbard.tinuous week that the sword is left in the XP Value: 3,000 GP Value: 15,000scabbard without being drawn, thesword gains a +1 bonus, to a maximum Scabbard of Weightlessnessof +3. Once the sword is drawn, thebonus slowly fades, losing each +1

This applies to the sword, not thewielder. A sword placed in this scabbard

bonus per week. Resheathing the sword is effectively weightless and does notdoes not recharge the bonus nor pre- count against the character’s carryingvent the bonus from fading, until the capacity.bonus has faded to 0. The sword can XP Value: 500 GP Value: 2,500then be resheathed and recharged;again, the sword regains and loses +1 Scabbard of Wound Closurebonuses per week. Thus, the sword can Modeled after the wondrous scab-be used over and over again in the mag- bard for King Arthur’s sword Excalibur,ical scabbard. this functions exactly like a periapt ofXP Value: 2,000 GP Value: 10,000 wound closure (ENCYCLOPEDIA MAGICA,

Il:827).Scabbard of Forging XP Value: 1,000 GP Value: 10,000

This scabbard repairs broken swords.If all the pieces of a broken sword are Scabbard-swordplaced in the scabbard and left for one This is a one-use magical item. If thefull day, the sword is repaired and sharp- wielder finds himself weaponless, theened, good as new. Note that magical command word polymorphs the scab-swords are rendered nonmagical when bard into a sword of the appropriate sizebroken; the scabbard can repair them (e.g., a scabbard sized for a long swordbut cannot restore their original magical would become a long sword). The swordbonuses. is well balanced and finely made, but itXP Value: 1,000 GP Value: 5,000 is nonmagical. The change is perma-

DRAGON #226 63

after all others involved in the combat.This happens every round in which thecharacter tries to draw the sword in bat-tle. The scabbard cannot be discarded; italways reappears when the character isin combat, displacing any other sheathhe wears. A remove curse spell is needed

�Gee, he�s sleeping so peacefully, I almost hate to overthrow him.�

curse spell is required to negate thecurse.XP Value: 0 GP Value: 10,00

Cursed Scabbard of CowardiceThis seemingly mundane scabbard

performs normally at first. When the

character who wears it is in combat andtries to draw the sword, the scabbardtwists the hilt away from his hands. Sincea scabbard can�t move far, the charactereventually gets his hand on the hilt anddraws the sword; however, he automati-cally loses initiative that round, acting

to be rid of the scabbard.XP Value: 0 GP Value: 1,000

Cursed Scabbard of TrippingThis scabbard does not hinder the

character in drawing the sword; how-ever, when he is in combat, it tanglesitself around his legs. The PC must makea Dexterity check every round of combat.Failure means he trips and falls, losingthat round in getting back on his feet.The scabbard cannot be discarded. Italways reappears at the character�s beltduring combat. A remove curse spell isneeded to negate the curse of this item.XP Value: 0 GP Value: 1,000

David Howery lives in Goading, Idaho. Heestimates he�s written something like 29 arti-cles for DRAGON® Magazine and DUNGEON®Adventures over the past few years.

64 FEBRUARY 1996

For both Dungeon Masters and players!I f y o u � r e l i k e m o s t D u n g e o n

Masters, you probably have a book ortwo, a bunch of dice, a notebook,some pencils, the odd map, and lots ofscraps of paper hidden behind yourDM Screen. It gets pretty cramped,doesn�t it?

With the availability of small refill-able notebooks, it doesn�t have to beso crowded back there. You can putmaps, campaign notes, and just abouteverything in one of them.

Along those lines, DRAGON® Magazineis pleased to present our first smallnotebook gaming accessory: playercharacter mini record sheets. Thesesheets don�t hold all the informationtheir full-sized cousins do, but theyhave most of it � and just about every-thing the DM will need to keep track of

the capabilities and equipment of thecharacters in the campaign.

They�re comprehensive enough forplayers to use, and they have slots forthe PLAYER�S OPTION� information onsubcharacteristics.

At 6 ¾� × 3 ¾�, the pages are stan-dard size for the smaller portable note-books. You can pick one up at any sta-tionery or office supply store. Whileyou�re there, you can get plain white,lined, or even graph filler paper aswell.

All you have to do is cut out thesheets and punch out the pre-markedholes. You can photocopy these asoften as you wish for personal useonly. (We suggest you photocopybefore cutting.) Or you could just buyextra copies of this issue.

Note that there are four differentsheets for each basic character class.Players with multi- and dual-classedPCs should use whichever sheet seemsmore appropriate.

Specific kits fit under any of thesesubheadings. For example, a playerplaying a kshatria (an Indian paladinkit outlined in �Caste of Characters� inissue #225) would use the warriorcharacter record sheet, and someoneplaying a ninja (from The CompleteNinja�s Handbook) would use the roguecharacter record sheet.

For all intents and purposes, thesesheets function in the same way asfull-sized character record sheets, butthey�ll leave the DM much more roomfor dice , handbooks , and wickedschemes for their players.

68 FEBRUARY 1996

Priest sheet (suitable for clerics, priests, druids, etc.)

(By permission of TSR, Inc., this page may be reproduced for personal use only. ©1996 TSR, Inc. All rights resewed.)

Rogue sheet (suitable for rogues, thieves, bards, etc.)

DRAGON #226 69

Priest sheet (suitable for clerics, priests, druids, etc.)

(By permission of TSR, Inc., this page may be reproduced for personal use only. ©1996 TSR, Inc. All rights reserved.)

Rogue sheet (suitable for rogues, thieves, bards, etc.)

70 FEBRUARY 1996

Warrior sheet (suitable for fighters, rangers, paladins, etc.)

(By permission of TSR, Inc., this page may be reproduced for personal use only. ©1996 TSR, Inc. All rights reserved.)

Wizard sheet (suitable for wizards, mages, illusionists, etc.)

DRAGON #226 71

Warrior sheet (suitable for fighters, rangers, paladins, etc.)

(By permission of TSR, Inc., this page may be reproduced for personal use only. ©1996 TSR, Inc. All rights reserved.)

Wizard sheet (suitable for wizards, mages, illusionists, etc.)

7 2 FEBRUARY 1996

Forum welcomes your comments andopinions on role-playing games. In theUnited States and Canada, write to Forum,DRAGON® Magazine, 201 Sheridan SpringsRd., Lake Geneva, WI 53147 USA. In Europe,write to Forum, DRAGON Magazine, TSRLtd., 120 Church End, Cherry Hinton,Cambridge CB1 3LB, United Kingdom. Youmay also send e-mail to: tsrmags@aol.com

We ask that material be neatly typed orhandwritten. You must give us your fullname and mailing address if you expect yourletter to be printed (we will not consider a let-ter sent anonymously), but we will not printyour name if you ask us not to do so. We willprint your complete address only if yourequest it.

The ability for gamers to air theirthoughts and concerns about theAD&D® game here in Forum is help-

ful and refreshing. There comes a time,however, when there is too much of a�good thing.� There is just too muchincessant complaining that pops up inevery other issue about �game balance.�

I have no problems with people airingtheir complaints; it�s just that after a hun-dred issues or so, reading them gets a bittedious. I would like to point out somesolutions.

1) Take it up with your DM. Explainyour views to him and give him sugges-tions as to how the problem could becorrected. The DM is supposed to be neu-tral, and should at least listen to theproblem. If you are a DM yourself,change the rules. After all, the DungeonMaster® Guide points out from the startthat all these rules are optional.

2) Look at the Player�s Handbook sup-plements (e.g., The Complete Fighter�sHandbook). For Daniel Arenson in issue#219, The Complete Ranger�s Handbookoffers many career-broadening solutions.(Don�t forget the ranger�s species enemy.A +4 attack bonus is pretty hefty!)

3) Try the PLAYER�S OPTION�: Skills Powers book to add more to the game.You might trade a few special abilities forthe advantage of weapon specialization.

I have found it useful to set up a fewsmall adventures (DUNGEON® Adventures isa great source for these) with the expresspurpose of trying out new rules. Theplayers make up new PCs for these one-shot adventures and everyone gets to trysomething new. This also adds some-thing to the game play, as the players aremore willing to risk the lives of their�one-shot� characters.

I would also like to address LeyshonCampbell�s letter regarding the haste spellin the same issue. While I applaud yourdetailed analysis of the spell (and somereally interesting side-effects), I havefound that such an extreme emphasis onrules interpretation slows down thegame too much. This is supposed to beheroic (or sometimes not) fantasy. I havefound in my games that this �ruleslawyering� causes general player dissat-isfaction and extreme discontent, assome other player who knows it alldebates the issue with the DM.

You are right in that no one reallylooks at all the side-effects of the magicin the game, but this is a game, after all,not a medical journal. Magic has this spe-cial way of going outside science and thelaws of physics to do what it wants. Afterall, the human body is incapable of chan-neling the extreme amperage to makethe lighting bolt as effective as it is, andthe poor wizard�s hands would simplewither away with the casting of burninghands.

This is not intended as a knock down;rather, it is just something to think of.

I�ve been experiencing an extremeproblem in my games with certain peo-ple who could be classified as ruleslawyers. I�ve tried every solution, fromthrowing out the rules at hand to gettingjust as picky as the lawyer. All I�ve man-aged to do is endanger and old friend-ship. The situation is rapidly spiralingdownward as other players are com-plaining about the lawyer�s dominationof game play and extreme obsessionwith the rules. (He even insisted that if hischaracter was wearing even a simplegold ring that his damage in bare-hand-ed combat should equal killing damage.)

While the DM�s word is supposed tobe final, it gets rather hard to uphold thatwhen pretty close to every judgment �from the awarding of experience pointsto the adjudication of a gambling match� is called into question. I would appre-

ciate hearing any possible solutions (out-side ostracizing the individual).

Tim NuttingEverett, WA

I�d like to comment about the letter inissue #221, where Hussain Adulhaqqcomplains that his DM has problems pre-venting the characters from breaking thelaw and acting in evil ways, which theplayers choose because it is easier.

What I�m wondering is, how do thesepeople act in real life? I mean, would theplayers go about robbing stores andbeating up people if they knew theycould get away with it? Maybe I�m just alittle over-sensitive now (a few days aftermy prime minister was assassinated), butkilling innocent PCs for four years, as amethod, makes me worry about theseplayers.

If you really want to give the charac-ters a taste of their own medicine, havea stronger party come at them at night,steal all their equipment, and try to killthem �because its cheaper than buyingthe stuff.� See how they like it. (But this isnot really the method I�d recommend.)

Eyal Telervia e-mail

I would like to respond to several let-ters from issue #224.

My first response is to George Keefe,who was having DM troubles. I am a DMmyself and I fail to see the point in whatyour DM is doing. Whenever I have newpeople join one of my campaigns, I try todo the opposite that he does. I agree thatnew characters shouldn�t be given magi-cal items, but I make sure that the newPCs are equal to the lowest character cur-rently in my campaign. I also let the newplayers do as much as possible, althoughthis sometimes leads to embarrassing sit-uations requiring some work to get outof. If necessary, I try to make light of thesituation, not make fun of the players.

I�m not sure why your DM is doingthis, George, unless he just likes to humil-iate newcomers, but he�s definitely hurt-ing his campaign by turning off the peo-ple he asked to join. All I can suggest is,tell him this and hope he uses a littlesense.

My next response is to Linda Edwards,who had trouble finding a campaign thatwould accept her. I doubt very much ifany DM would allow a 50th-level drowin his game. This is well beyond the sug-gested retiring time for characters, andthe fact that your PC is one of the pow-erful, magically-inclined, and dangerous-

74 FEBRUARY 1996

ly evil drow makes it even harder to han-dle. Starting off at 1st level again isn�t theanswer, though. Ask if you can make anew character that is the same level asthe lowest level character already in thatcampaign. If that doesn�t work, thenmaybe you are right in that part of it isthat you�re a girl. Although I would wel-come a girl into one of my campaigns,there are some DMs who wouldn�t.

It isn�t that hard to start your owncampaign. Quite a lot of people read fan-tasy or play fantasy video and computergames. Find them and talk to them or tryto show them parts of the AD&D gamethat they might like. Inquire at your localhobby shop. Mine used to put up namesof players seeking DMs and vice-versa.Good luck.

Ryan LeachTappen, B.C., Canada

I have been inspired to write by KarrieHull�s letter in issue #223, regarding sex-ism in gaming and the scarcity of womenplayers. This is a theme that has keptrecurring over at least the last four or fiveyears, and seems to crop up both in theU.K. and America. I agree that it is anissue that needs addressing, but I amconcerned about the image that we areportraying to new or potential gamers.

In the interests of balance, let meshare my experiences with you.

I ply regularly in two weekly games.There are six of us in one group: threemen and three women. In the othergroup, it is six men and me. All my fellowgamers are normal, well-adjusted humanbeings and when we meet up, we chat abit, consume large quantities of choco-late cookies, and we get on with role-playing. In short, we have fun. There�s nohassle, no pressure, and no sexism(unless, of course, someone is role-playing a character with unreasonable preju-dices, in which sexism is no more likelythan �classism� � as in �all fighters areidiots� � or elfism or dwarfism).

I�m not denying that there are somesad people out there with hopelessly out-dated sexist attitudes. All I�m saying is,don�t assume that you will automaticallyencounter them if you join a role-playinggroup.

If you do encounter the sexism of thesort Karrie described in her letter, don�tact the meek little woman and suffer insilence: do something about it. If youobject to a product�s cover art, write tothe company concerned and tell themwhy you object (and tell them that it hasstopped you from buying the product). If

someone announces that he is going tochat up all the NPCs with a highCharisma score, tell him to re-read theC h a r i s m a s e c t i o n i n t h e P l a y e r � sHandbook. If a male player is trying tochat you up using his character to chatup your character, try role-playing yourresponse, The possibilities are almostendless. If you�re a virtuous priest, givehim a lecture on the perils of the tempta-tions of the flesh (preferably when he�s acaptive audience). If you�re a mischie-vous thief, why not borrow something ofhis or planting something embarrassingin his backpack when he�s not looking?Even a low-level mage could find a rela-tively harmless spell to cast to makesomeone look foolish.

Sexist DMs placing restrictions onyour character for no good reason is aharder one. All I can say is, talk it throughwith your DM. Challenge him if you thinka restriction is unreasonable; see if youcan�t reach a compromise.

Finally, a word to Karrie. If you want tobe taken seriously, please don�t start anymore letters by telling us that you�re 27and attractive. I�m sure its very nice foryou, and would very important if youwant to be Miss America, but to be agood role-player and DM, who cares?

Eleanor ClarkeBirmingham, England

This is in response to all those lettersabout female gamers with their cries of�they wouldn�t let me play because I�m afemale!� Many of these gripes are well-

founded.I�ve been playing for many years in

this �male-dominated� game and only inthe past two hears have we had a femalegamer in our circle. This is not because ofactive persecution, but because of thelack of female interest. Let�s fact facts:generally, fantasy role-playing gamesattract males, especially those at ayounger age. Also at younger ages, yourbest friends tend to be of the same sex.These were your close friends, the onesyou usually played with.

I must ask for understanding fromfemale gamers. I play in three role-play-ing games a week with my friends. In twoof them, we have a female gamer, andwe would always welcome anyone elsewho would like to play, sex notwith-standing. There is out third game, inwhich few are welcome and all are male.Why? It is very simple. It�s the �guy�s nightout.� In other words, male bonding. Call itwhat you will, it is nothing more than theguys getting together to have fun. Someguys on their nights out play poker, drinkbeer, and smoke cigars; some play pool;others go bowling. We happen to berole-playing gamers. It is just us malesgetting together once a week to talk,brag, and joke with the freedom of nothaving to watch what we say, or worrying about who may hear us.

William Valentine185 Slater Park Ave.

Pawtucket, RI 02861

DRAGON #226 75

by Robert Martin

11th level fighter

STRENGTH:DEXTERITY:CONSTITUTION:INTELLIGENCE:WISDOM:CHARISMA:AC:THAC0:MOVE:HIT POINTS:ALIGNMENT:SPECIAL ATTACKS:

15121410119510968LG+l to hit orcs, half-orcs,goblins, and hobgoblins.+ 3 vs. poison+ 3 vs. magical attacks fromwands, staves, spells, and rods.4� 3�

SPECIAL DEFENSES:MAGIC RESISTANCE:

SIZE:

Special Abilities/Bonuses: 60� infravision. �Natural� dwarvenskills (detecting grades, slopes, etc.) are only 50% as effective asother dwarves. Attacks 3/2 rounds.

Weapon Proficiencies: Broadsword (master specialization),dagger, dagger (thrown), axe.

Nonweapon Proficiencies: Armoring, blind fighting, hunting,rinding (land-based), singing, survival.

Physical Appearance: Theahtyn is an older dwarf; by humanstandards he is in his middle age. He is balding, with a pale graybeard which he always keeps neatly braided and tucked into hiscollar when he is in the field. What hair he has left he lets growlong. He has several scars from his youthful campaigning days,including a very noticeable one on his forehead.

Background: Theahtyn doesn�t know how old he is for sure.He was orphaned when he was very young. His village wasoverrun by orcs, and the remaining villagers fled in the night.One of them was his mother, who managed to carry the infant10 miles to a farmer�s home before she died from arrowwounds. The farmer and his wife raised him as one of their ownsons, but as they had too many mouths to feed already, whenhe was old enough he left to seek his fortune on the adventur-ing trail. He was alone for several years, and made quite a rep-utation for himself as a fearless warrior and dauntless foe of orc-kind. In time, he�d gained enough wealth to go back home andbuy a large homestead for his foster parents. In a few moreyears, men began to flock to him and treat him as a leader. Thelocal duke called him friend. Theahtyn married the daughter ofa penurious noble dwarf, settled down, and retired from cam-paigning. With the leave of the duke he built himself a smallestate on the border. He lived well and in peace for 75 years

until disaster struck. He went to visit his foster family for a fewdays and returned to find his home a smoking ruin, with no signof his wife, their two children, or any of his retainers. That wasfive years ago. He has wandered ever since, looking for clues asto what might have happened, and where his family could be,if indeed they are even alive.

Equipment: Theahtyn considers himself on a quest, and willwear nothing but armor until he has achieved his goal. He usu-ally wears a coat over his mail, and a cloak if necessary to con-ceal the armor. If a town requires him to be unarmored andunarmed, he will immediately go elsewhere. Everything else �rations, tools, water � he carries in a large backpack.

Magical Items: Very few of his possessions survived. He hasonly the things he had with him when he went to visit his oldhome and the few he was able to acquire lately. Sword of sharp-ness, dagger +2, ring (Draupnir II), amulet of health.

Role-playing Notes: Much of the light has gone out ofTheahtyn�s existence. He was once a jolly, jovial man, but nowhe is taciturn. He has been called gloomy and obsessed, but tohim nothing matters but finding his family. Theahtyn is not atypical dwarf; since he grew up in human surroundings, heshares many of their interests and tastes. He also has no hatredor ambivalence about elves, and the few halflings he knows heconsiders fine fellows all around, He has little interest in mines,caverns, gems, or gold; fellow dwarves find this odd. Anotherside effect of growing up in the company of humans is that,while he can speak dwarvish, he can speak few of the other lan-guages most dwarves can (e.g., kobold, gnome, etc.), but he haslearned orcish. His life above ground and with humans limits hisability to detect slopes or traps underground.

DRAGON #226 77

Conventions generate a lot of interestfor RPGA® Network members, andthough not all game players attend theseevents, they can be a great deal of funthose who do. In 1995, the Network pro-vided sanctioned tournaments to over200 conventions in North and SouthAmerica, Europe, and Australia.

This is how it works: a conventionwrites us, saying that they�d like to offerNetwork tournaments. The convention�sgaming coordinator contacts us at leastfour months ahead of the conventiondate, six months if asking for first-runscenarios. There is a form to fill out andthere are some fees to pay, but theprocess is relatively quick and painless.

The Networks tournament coordina-tor sends a complete mailing to the gam-ing coordinator about six to eight weeksbefore the event date. This mailing con-tains copies of the scenarios requested.Most Network scenarios include copiesof pregenerated characters for the play-ers� use as well. In addition, we includeprizes, scoring forms to assist in deter-mining winners, and RPGA Networkmembership forms for distribution at theconvention.

A good gaming coordinator makessure that judges are well-prepared for theevent. Care must be taken that judgesget their scenarios early enough to givethem thorough study; likewise, judgesmust be instructed in advance as towhen and where they�ll be needed.

At the convention site, the gamingcoordinator is responsible for makingsure players get marshalled out to tables,judges have additional character sheetsand scoring packets, and results getturned back to the convention�s gamingheadquarters area. Those scoring pack-ets are tabulated and double-checked.Lists are then compiled of the playersadvancing to semi-final and final rounds;those lists are usually posted soon after

by Scott Douglas

tabulation. Winner lists are also posted,though some conventions prefer to giveout awards at a ceremony at the end ofthe event.

The Network always provides prizesfor sanctioned tournaments. Most oftenthese come in the form of gift certificatesto TSR�s Mail Order Hobby Shop, but newor vintage products are given away onsome occasions. Some conventions evenprovide trophies or plaques for top eventwinners.

After all of the excitement of the con-vention has passed, the gaming coordi-nator has one duty left to perform: toreturn the completed scoring packets andany unused prizes back to Network head-quarters. We give them a final inspection

here, and then they�re entered into theNetworks points system so that judgesand players can accumulate points toimprove their Network rankings.

Playing and judging RPGA Networksanctioned tournaments at conventionscan provide the most fun gaming experi-ences you might ever enjoy. It takes a bitof effort to plan and organize, but thereward of seeing friends have the gam-ing experience of their life can be wellworth the investment.

Scott Douglas is the RPGA® NetworkCoordinator.

*indicates a product produced by a company otherthan TSR, Inc.

The RPGA® Network is the world�s largest game club, with over 7,000 mem-bers in North America, and another 2,500 around the world. While originally cre-ated as a D&D® fan club, the Networks real mission is to encourage excellencein role-playing gaming by providing members opportunities to meet enthusiasticand experienced gamers like themselves. Network members often meet throughgaming activities at conventions, but many form their own Network-sanctionedclubs, either in their communities or online. There are RPGA Network sanctionedclubs on GEnie, on America Online, and on the Internet.

Network members receive the POLYHEDRON® Newszine monthly; the newszinekeeps members informed about goings-on in the Network, with monthly articlesfrom members and from well-known authors such as Ed Greenwood and RogerMoore. Network members are also entitled to play in members-only tournamentevents. The Network sanctions member-written tournaments at local conven-tions, tournaments in Call of Cthulhu*, Shadowrun*, Star Wars*, the AD&D® game,and many other popular game systems.

Many members especially favor the Networks AD&D-based shared-worldcampaigns: the LIVING CITY�, the LIVING JUNGLE�, and the LIVING DEATH�. In addi-tion, the Network also sanctions two other campaigns: Virtual Seattle, aShadowrun-based setting, and Threads of Legend, a setting for the Earthdawn*game.

Scott Douglas is the RPGA Network Coordinator, making him the headDungeon Master for the LIVING CITY, the world�s largest shared-world campaign.For more information about the RPGA Network or any of the Living settings, writeto Scott at: RPGA Network, 201 Sheridan Springs Rd., Lake Geneva, WI 53147, ore-mail him at rpgahq@aol.com.

78 FEBRUARY

is a remarkable sub-stance. It’s dry, yetfluid, rippling under thedesert winds like waterin an ocean. During a

storm, its capable of blinding and cut-ting, yet, when melted to make glass, it’ssmooth. When it covers the ground fromhorizon to horizon, it symbolizes theemptiness of eternity, yet we use itsgrains to measure the passage of time.The following magical items all take theirinspiration from the physical andmetaphorical properties of sand and thedesert.

Zakhara, the Land of Fate, is not sur-prisingly the source for these magicalsands.

General InformationMagical sand is usually found in a

sack or a jar. Unlike magical dusts, wherea pinch is sufficient, a handful of magicsand is required to produce an effect.Thus the containers are relatively heavy.

Magical Sandsof Zakhara

by Rudy Thaubergerillustrated by James Holloway

Each container contains 1d10+10 hand-fuls of sand, each weighing roughly halfa pound. Magical sand is slightly morecohesive than regular dry sand and canbe thrown up to 20’ without losing itseffectiveness. The area of effect is typi-cally no more than 10’ wide. All savingthrows against magical sand attacks aremade with adjustments for Dexterity.Saves are made vs. breath weapon,

unless otherwise stated. To compensatefor their bulk, magical sands, unlike mostpotions or powders, can have a cumula-tie effect if more than one handful isused.Crystal Sand

Crystal sand can be used to form crys-talline objects in any shape the possessordesires. The object can weigh up to fivepounds per handful of sand used, andcan be a weapon, a key, a plate, a gob-let, or anything else. The crystal is hardas steel, has AC 0, and is +2 on all saves.Weapons made of the crystal are +1 tohit and damage. All objects have 5 hpper handful of sand used to create them.

To make an object, the possessormust pour the sand on a flat surface inroughly the shape desired, then speakthe name of the object (sword, ladder,cup, etc.). A three-dimensional objectthen forms out of the sand. The quality ofworkmanship reflects the creator’sdegree of skill. The object remains solidfor one hour, after which it shatters, caus-

80 FEBRUARY 1996

ing 1d6 hp damage to all creatures with-in a 10� radius (save for half).XP Value: 1,000

Fire SandFire sand is an extremely volatile sub-

stance, capable of creating sheets of flamewhen it strikes an object or is ignited.It can be used in two ways: as an areaspell or to create a flaming wall. Whenthrown, it flies up to 20�, spreading out tocover a 10� × 10� area. The force of impactignites the sand, causing 3d6 hp damageto all creatures in the area of effect (savefor half). If the sand is poured carefully ina line on the ground and then ignited,either by a flame or a sharp blow, a wallof fire results, inflicting 6d6 hp damageto any creatures attempting to movethrough it. The wall is 20� long per hand-ful of sand and burns for 3d4 rounds.XP Value: 2,000

Rasping SandThis sand tears away at the surface of

any object it touches, living or non-living.The effect of the sand lasts for 3 rounds.Non-living objects must save vs. spellevery round with a cumulative -1 modi-fier each round after the first. If the objectfails its save, the sand tears it apart.There is a limit to the size of the objectthat can be affected. This varies some-what, depending on what the object ismade of, but generally should be nomore than 100 pounds per handful ofsand used against it.

Living creatures suffer excruciatingpain when struck by rasping sand, suffer-ing 2d6 hp damage in the first round, 3d6in the second and 4d6 in the third. A sav-ing throw vs. paralyzation must be suc-cessfully made each round or the creatureis incapacitated by pain.

Rasping sand dissolves in water. If atleast a gallon of water per handful ofsand is thrown on it, it immediately ceas-es to cause damage. If a creature with anatural AC 5 or better, all damage ishalved. Creatures with AC -1 or bettersuffer 1 hp damage per round. Characterswearing armor are similarly protected,although the armor itself falls victim tothe sand and must make the appropriatesaving throws.

This sand is so deadly that the posses-sor must use a specially treated glove tohandle it, lest he fall victim to its malignpower. The glove is made of the samesubstance as the bag that contains thesand and is usually found alongside it.XP Value: 2,000

Sand CageWhen a handful of this magical sand

is thrown at a target, it forms a sandywhirlwind in the shape of an invertedcone roughly 8� high and 4� wide at thetop. The whirlwind flies at the nearest liv-ing creature and envelopes it. The crea-ture must be no larger than man-sizedand suf fers 1d6 hp damage whenenveloped. Once trapped, the victim isunable to attack or cast spells and suffersan additional 1 hp damage every roundhe remains inside the whirlwind. Becauseit consists of sand, the whirlwind severe-ly reduces visibility and makes a loudhissing noise that drowns out all but theloudest sounds. The victim can still move,however, although the whirlwind movesalong with him up to a movement rate of24. The whirlwind itself can be attackedfrom outside.

The whirlwind is AC 2 and it can with-stand 20 hp damage before falling apart.Only magical weapons or spells canaffect it, however, and there is a 50%chance that the victim inside the cage isdamaged as well. The victim of the sandcage can attempt to step out of the whirl-wind for a moment, in order to attack it

from the outside. This requires a Dexter-ity check and a successful initiative roll. Ifthe victim�s initiative beats that of thewhirlwind, an attack can be made. Aprice is paid for this tactic. Each time thevictim enters or leaves the whirlwind, hesuffers 1 d6 hp damage.

The whirlwind pursues its victim untilhe dies or the whirlwind ceases to exist.A sand cage lasts for 2d6 rounds. If sub-sequent handfuls of this sand are thrownon an existing whirlwind, all damageinflicted by it is increased (doubled, tre-bled, etc.) and the duration is increasedby another 1 d6 rounds per handful.XP Value: 2,000

Sand of MiragesThis sand creates an illusion that can

be anything the possessor desires, solong as it is created outdoors under thelight of the sun. The area of effect is a 50�cube for each handful used. The illusionlasts as long as the sun shines on it. Noillusory creatures can be created with thissand. Physical contact with a living crea-ture does not destroy the illusion butmerely exposes its true nature.XP Value: 1,000

DRAGON #226 81

Sand of ObscurementWhen thrown into the air, sand of

obscurement creates a small, highly local-ized sandstorm, blinding all within itsarea of effect. The storm lasts for 2d4rounds and covers a 50� cube. All withinthe storm must make a saving throw orbe blinded during the storm and for anadditional 10 rounds afterward. This peri-od can be reduced if the victim escapesthe storm and spends 1 round rinsing hiseyes with water. Vision is then restoredimmediately. Those who save still cannotsee in the storm, but once they leave thearea they suffer no blindness. The char-acter who used the sand of obscurement isnot immune to its effects, but as heknows what�s coming, it is assumed hehas closed his eyes, allowing him to saveautomatically. He is still blind inside thestorm however. Additional handfuls ofthis sand thrown up during a stormincrease the duration of the storm by1d4 rounds each.XP Value: 1,000

Sand of RestorationWhen sand of restoration is sprinkled

on the ruins of stone or brick buildings,the buildings are momentarily restored.Broken walls, cracked floors, and col-lapsed ceilings all appear as they oncedid, except now they are made oftranslucent, shimmering sand. Fifty cubicfeet of building can be restored with eachhandful of sand. The restored building issturdy for normal purposes, providingshelter from the elements, but if it sus-tains even 1hp of structural damage, itcollapses. The restored structure remainsin existence for 12 hours.XP Value: 1,500

Sand of SinkingSand of sinking creates a 108 × 108

square of �quicksand� whenever it isthrown onto sand, earth, or stone. Theeffect lasts for 2d4 rounds. Victims stand-ing on the affected area sink at a rate of5� per round, to a maximum depth of 10�.When the effect of the sand wears off,the material solidifies, trapping anyonestill caught inside it. The sand can also beused against stone walls and the like, cre-ating a 10�-deep opening similar to apasswall spell. Because the �quicksand�flows down, out of the wall, the openingis permanent. Additional handfuls of thissand do not create deeper holes, butthey can be used to broaden the area ofeffect.XP Value: 2,000

82 FEBRUARY 1996

Slow SandThis form of magical sand makes time

stand still. Up to three man-sized crea-tures may be affected, provided they areall within 10� of each other. Any who failtheir saving throws become frozen intime, effectively held, for 5 rounds. Theyare not aware of the passage of time andaren�t affected by anything that occurswhile they are in stasis. Those who maketheir saving throws are merely slowed for1 round. If a second handful of sand isthrown on an affected creature, either atthe same time or after the first handfulhas taken effect, the duration increasesto one hour. A second save is made at -4with no Dexterity adjustments allowed.XP Value: 1,500

Solid SandSolid sand can be scattered onto any

soft surface�sand, soft earth, mud,quicksand, even snow � and it immedi-ately hardens, forming a shell that canthen be walked upon. The shell is solidand stable, allowing for good tractionand balance. The area of effect is 500square feet per handful. The shells lastsfor 1d4 turns.XP Value: 500

Thirsty SandSimilar to dust of dryness, thirsty sand

drains moisture, but from creatures, notbodies of water. Only one creature canfall victim to this sand, but he suffers 3d6hp damage and must endure excruciat-

ing pain for 1d4 rounds, suffering -2 onattack and damage rolls, as well as a +2penalty on Armor Class and initiative. Asuccessful save halves the damage and

duration of the pain. Once the sand is fin-ished draining moisture, it falls in wetclumps at its victim�s feet. If additionalhandfuls of thirsty sand are thrown at avictim before he has had a chance toreplenish the lost liquid, his saving throwis made with a cumulative -2 modifier.One gallon of water is necessary toreplace the lost moisture and avoid thispenalty. Water-based creatures sufferdouble damage from this sand.XP Value: 1,000

Sand of ScintillationWhen this sand is thrown into the air,

it explodes in a burst of blinding, hypnot-ic light. All who see this flash of lightmust save vs. spells or be stunned for2d4 rounds. The effect extends for 50� inall directions. If two or more handfuls arethrown up at once, the light is brighterand the area of effect extends by 50� foreach additional handful. In addition, sav-ing throws made inside the first 50� suf-fer a -2 penalty.XP Value: 500

Rudy Thauberg lives in Vancouver, BritishColumbia. He has written for DRAGON®Magazine before.

DRAGON #226 83

©1996 John C. Bunnell

Book of MoonsRosemary EdghillTor/Forge $20.95

A plot-description of Book of Moonsdoesn�t do much to help classify it genre-wise. The publishers describe it as a mys-tery, but the label of �supernatural sus-pense� fits equally well, though the toneis mild enough to suggest contemporaryfantasy rather than horror. Yet at thesame time, �fantasy� seems an unlikelydescription for a novel whose modern-day witchcraft has a ring of authenticitythat�s rare in any branch of genre fiction.

Edghill�s narrator, Bast, is a modern-day Wiccan with a job in a New York Citygraphic-design studio. As this second ofher adventures opens, though, she�s gota trickier problem: someone is stealingBooks of Shadows. �Part logbook, partrecipe book, part liturgy, and part magi-cal diary,� as Bast describes it, a witch�sBook of Shadows is her most valuable andintimate possession. In theory, the miss-ing books could be recreated withoutmuch difficulty, but in practice the impli-cations of the thefts are worrisome. Andmeanwhile, another Book of Shadows isthe object of much avid speculation:someone is hunting for the reputed gri-moire of Mary, Queen of Scots.

What�s distinctive about Book ofMoons is that Edghill presents theWiccan lore with dead-on insight that�sboth good-humored and thoughtful. Herwitches are sincere in their beliefs, but

Bast, at least, cheerfully acknowledgesmodern neo-paganism�s checkered histo-ry and the diverse, eccentric character ofmany of its adherents. These are charac-ters for whom magic is as real as theWorld Trade Center and the Macy�sThanksgiving Day Parade, and Edghillcaptures the contrast wisely and well.Bast, especially, is a remarkably pragmat-ic yet deeply spiritual heroine, and hergrapples with Wiccan theology are amajor part of the story Edghill is telling.

By contrast, the novel is only mildlystartling as a puzzle story, as it�s fairly evi-dent early on who�s behind the oddthefts and the murder that grows out ofthem. Yet this is less of a problem thanone might expect in a mystery yarn.Though most readers will identify thecriminal long before Bast does, Edghill �and perhaps Bast herself � seem almostto expect this. The result is a tale that�sless a whodunit than one about whatBast learns as she learns it. There�s stillsuspense, but of a different and morerealistic character than is often found inthe average mystery.

This, just possibly, makes Book ofMoons singularly appropriate reading fordevotees of role-playing. Regardless ofwhether one finds Bast�s world of mod-ern witchcraft adaptable to a game cam-paign, this is a story in which the journeyis as important as the ending, and that�scertainly one of the major attractions ofthe RPG hobby.

Enchanted ForestsKatharine Kerr 8Martin H. Greenberg, editorsDAW $5.50

Go into a forest expecting magic, andyou may find anything from a talkingwolf to a gingerbread house to the Kingof the Dragons. Or you may find any ofthe numerous magical folk populatingEnchanted Forests, the latest in DAW�sseemingly endless stream of themeanthologies. This time, however, thetheme brings together a more than usu-ally diverse assortment of tales.

As with her previous anthology, WeirdTales from Shakespeure, lead editor Kerr

subdivides her stories into groups ofrelated pieces. The riskiest element of thisstrategy is that most of the anthology�scomic pieces are deliberately stacked atthe the front of the book � but it�s a riskthat pays off. All three of these light-tonedtales are sophisticated and successful.Kevin Andrew Murphy�s inversion of theGrimm and Andersen fairy tale arche-types displays the most wicked sense ofwit, while Ken St. Andre skillfully relates ajovial bit of Arthuriana, and KatherineLawrence offers a pleasantly subversivetale in which novice PI Kit Marlowe useslessons from two worlds to solve her firstcase.

The mood then switches from amus-ing to haunting. Lawrence Watt-Evans��Out of the Woods� is the transition piece,a story in which a faerie wood proves tobe other than as originally advertised.Then we shift to viewing the wood fromthe inside out, nowhere more eerily orintimately than in Connie Hirsch�s�Viridescence.� Best of the other tales inthis section is Brook and Julia West�saccount of a scientific expedition whichproves unexpectedly harrowing; theWests neatly balance a pulp-monster-movie premise with the smooth plausibil-ity of more modern, realistic chills.

Beyond this point, the subthemesbegin to fade into each other, some moreclearly defined than others, but nearly allof the stories attempt a sophisticationwell beyond the average sword-and-sor-cery or coming-of-age yarn. Among themost memorable contributions areMichelle Sagara�s �Ghostwood,� abouttwo siblings� devotion to each other atnearly any cost, Susan Shwartz�s memory-driven tale of a childhood summer campadventure featuring more than one sortof monster, and a uniquely clever addi-tion to Rudyard Kipling�s �Just So Stories�from Karawynn Long.

One story element does cross betweenKerr�s subsections, that of the tree-spirit ordryad, usually as romantic object. Somehalf a dozen stories address this idea andrelationship with varying degrees of orig-inality. The two strongest come fromDave Smeds and Kate Daniel, the firstfeaturing strong characters in a sword-and-sorcery setting and the second com-

84 FEBRUARY 1996

bining the original Greek myth with auniquely American milieu.

Most of the other entries are at leastintriguing if not challenging in some way.The chief exception to this is LawrenceSchimel�s �Ties of Love,� a vignette whosepunchline is out of touch with its setup.And the oddest of several very odd talesis easily Gregory Feeley�s �In Fear of LittleNeil,� which draws two well-known liter-ary worlds together with decidedly dis-turbing results.

All in all, though, Enchanted Forests iseasily one of the least predictable andmost varied theme anthologies DAW haspresented in recent years, and chief edi-tor Kerr (with the acknowledged assis-tance of Jo Clayton) has assembled a vol-ume that�s a great deal more ambitiousthan the title might suggest.

The Fantastic Four:To Free AtlantisNancy A. CollinsBoulevard/Byron Preiss $5.99

By comic-book standards, theFantastic Four are latecomers to theworld of tie-in fiction, lagging well behindSuperman, Batman, Spider-Man, andeven Iron Man. Then again, the super-intelligent Reed Richards may have sus-pected what To Free Atlantis demon-strates � namely, that it�s more difficult tonovelize a super-team�s adventures thanit is to chronicle the exploits of a solohero in prose form.

Part of the problem is evident fromthe book�s title alone. While the Fantastic

Four get top billing, Nancy Collins� novelis really centered on Namor, the Sub-Mariner, effectively leaving the Four toact as guest stars in their own book. Theplot revolves around a bid by a palacerival to stage a coup and take over theundersea kingdom of Atlantis, and onlywhen they encounter and rescue a dyingNamor do the FF enter the picture.Likewise, while legendary archvillain Dr.Doom gets back-cover billing as the pri-mary antagonist, he, too, is a back-ground figure who scarcely appearsonstage.

It also doesn�t help that the novel is agood deal shorter than it looks. CountingNamor, Doom, and her Atlantean char-acters as well as the FF, Collins is workingwith nearly a dozen significant playersand a double-stranded plot, so space forviewpoint scenes and character develop-ment is limited at best. Not surprisingly,Collins chooses instead to concentrateon her action-driven structure, and shegenerally succeeds in the attempt. Butwhile Collins hasn�t padded her prose,the book�s designers have padded itspage count with relatively large type,unusually wide margins, and a space-eat

ing design for page headings.What readers end up getting is a story

that�s very much a comic book talemutated into straight text. Characteri-zations, including those of the FF, tendtoward one-note status, while the story-line runs to visually-oriented actionsequences. Collins also commits the clas-sic comic-book device of entirely chang-ing the story�s agenda in the final chap-ters, pulling new McGuffins out of her hatand revealing that all that�s gone beforewas a smokescreen for the real plan.Unfonunately, as often happens with thecomics, there�s no apparent foundationfor the shift, and what sometimes worksin graphic form is far less successful inplain prose.

Yet if To Free Atlantis isn�t notable forits story or characters, Collins has at leastmanaged to pull a surprisingly largequantity of Marvel-Universe detail intoher narrative. Purely as an introduction tothe world in which these characters live,the novel is fairly effective and remark-ably compact. But as the debut book-length adventure of one of comicdom�slongest-lived hero-teams, the novelleaves a great deal to be desired.

DRAGON #226 85

Star Trek ConcordanceBjo TrimbleCitadel Press $19.95

The Art of Star TrekJudith and Garfield Reeves-StevensPocket Books $50.00

Whatever else the Star Trek franchisemay have become, it�s generated a verylarge and complicated universe over thelast three decades. Just how large andcomplex it is can be gathered via even aquick glance at these two recent addi-tions to the avid Trek fan�s reference shelf.

The Star Trek Concordance is actuallysomething of a legend. Originally com-piled and circulated by Bjo Trimble as afan project, it eventually saw professionalpublication in an edition now long out ofprint. This new, updated volume bringsthe Concordance back into the market-place, and while its focus is squarely onthe �original series� characters, the featurefilms and relevant references from currentTrek shows are included.

The original-series focus gives the vol-ume a useful and distinctive slant as com-

pared to the assorted �official� technicalmanuals and encyclopedias, whoseauthors� chief familiarity is with the morerecent television and movie projects.While there is no shortage of episodeguides to the classic shows, Trimble addsto this material by several orders of mag-nitude. The least of these are the mostcomplete indexes of actors and technicalpersonnel yet seen for these productions.Also notable is the Concordance�s com-prehensive treatment of the animatedepisodes, which Trimble cogently defendsas entirely canonical despite reluctance insome quarters to acknowledge them assuch.

The main body of the volume, though,is its encyclopedic lexicon of creatures,characters, and other terms used in theseries. In this, Trimble presents a uniqueand mind-bogglingly detailed body ofinformation, comprising more than allbut the most die-hard fans will ever needto know about the Star Trek universe.Included separately are catalogs ofStarfleet vessels and of the stars and starsystems which figure in the series. Andperhaps most striking, the book is gener-ously illustrated with detailed sketches

and drawings by a host of talentedartists.

There are, as with any large referencework, a few nits to be picked. The mostnotable is a design problem � many lex-icon references point to the separate�cosmos� or �vessel� subsections, but notypographic convention notes this fact,so that unwary readers may find them-selves looking fruitlessly for lexiconentries for �cosmos� and �vessel�.Secondly, while the Star Trek material ispainstakingly well-supported, notes per-taining to real-world history and mythol-ogy are occasionally questionable (Isis,for example, is referred to as theEgyptian goddess of nature, which isdecidedly misleading).

But while the art in the Concordance isnotable for its variety, that in The Art ofStar Trek is notable for other reasons.This is a huge, full-color coffee tablebook; where the Concordance provides athorough written guide to the original-series Trek universe, Judith and GarfieldReeves-Stevens have assembled a spec-tacular and equally thorough visualrecord of the entire run of Trek history,from the earliest days all the way for-

86 FEBRUARY 1996

ward to the present Voyager series.While there are plenty of vivid full-

page space panoramas, this is as much ofa reference volume as Trimble�s; thereare also design-sketches for a variety ofmodels, costumes, and props as well asphotographs of the materials themselves.And the various starships are represent-ed in detail, inside and out, though herethe emphasis is on the more recent shipsrather than the first U.S.S. Enterprise.Captions and supporting text give cleardescriptions and amplify considerably onthe production process; readers will learna good deal about the mechanics of cos-tume and prop design from studying therelevant sections.

But valuable as the volume is as acraftsmanship text, its primary appeal is� as it should be � as an art book. Again,its far from merely a collection of outer-space shots; there are a number ofimpressive background matte paintings,and the volume closes with a full-pagerendering of Data�s amusing, Picasso-likeportrait of his cat. There is a great deal tolook at and admire in the compilation,and it�s presented in a high-quality pack-age.

By themselves, both the Concordunceand The Art of Star Trek are valuableadditions to a Trek fan�s reference collec-tion, all the more so if one is a devotee ofthe now out-of-print Star Trek RPGs. Buttaken together, the two volumes areeven more striking, one giving a pictorialrecord while the other provides a win-dow into the internal logic of the Trek uni-verse. Though not inexpensive, this pair-ing is very possibly indispensible to theserious student of the Federation and itsmost notable citizens.

Recurring rolesOver on the fictional side of Star Trek

publishing, the most notable recent entryis The Captain�s Daughter (Pocket, $5.99).Peter David gives us a �Captain Sulu�adventure that also provides a history forDemora Sulu, the daughter seen in themost recent feature film. As usual, Davidis both a witty and touching storytellerwho is among the very top rank of writ-ers in the Trek fold.

In a darker ve in , Batman: TheUltimate Evil (Warner, $19.95) is as dis-turbing as the brown half-paper jacketsuggests. With its strong and mature sub-ject matter, this is emphatically not abook for the squeamish or the veryyoung, and it wears its politics vividly onits sleeve. But Andrew Vachss� tale is

nonetheless entirely in Bat-character, andthose who can handle a tale of all-too-real evil should find it compelling.

Elizabeth Scarborough�s The God-mother�s Apprentice (Ace, $19.95), by con-trast, retreats for the most part from thesocial-commentary agenda of its prede-cessor to tell a sometimes silly, some-times chilling tale in which godmother-trainee Snohomish Quantrill must copewith an absent-minded tutor, a pilgrim-age of cats, and the general sense ofbewilderment that can result wheneveran American tourist visits Ireland. Morestructurally sound than the prior book,this is lively reading.

Finally, a trip to the FORGOTTEN REALMS®world finds two new titles from MarkAnthony among the highlights. Curse ofthe Shadowmage (TSR, $5.99) is a sequelto his previous book about CaledanCaldorien and a worthy tale in itself, fea-turing a solidly traditional but very well-executed quest involving a magical arti-fact and Caledan�s very possible doom.Escape from Undermountain (TSR, $5.99)moves across Faerûn to the legendarydungeons beneath Waterdeep, introduc-ing a new set of protagonists in a lively

tale of dungeon-delving replete withdevious traps, insidious creatures, andthe deepest foray yet into Under-mountain�s depths. Anthony is a goodhand with Toril�s magic, and some of thedevices in this novel are well worth aninvestigation.

John C. Bunnell is a writer and reviewerwho lives in Portland, Oregon.

Have a Question?Do you have any questions on

TSR�s game products? Write to�Sage Advice� for the answer!Send your questions to SageAdvice, DRAGON® Magazine, 201Sheridan Springs Rd., LakeGeneva, WI 53147 USA. InEurope, write to Sage Advice,DRAGON Magazine, TSR Ltd., 120Church End, Cherry Hinton,Cambridge CB1 3LB, U.K.. Youmay also send your questions viae-mail to: tsrsage@aol.com

DRAGON #226 87

If you have any questions on the gamesproduced by TSR, Inc., �Sage Advice� willanswer them. In the United States andCanada, write to: Sage Advice, DRAGON®Magazine, 201 Sheridan Springs Road,lake Geneva, WI 51347, U.S.A. In Europe,write to: Sage Advice, DRAGON Magazine,TSR Ltd., 120 Church End, Cherry Hinton,Cambridge, CB1 3LB, United Kingdom. Weare no longer able to make personal replies.Please send no SASEs with your question.SASEs are being returned with copies of thewriter�s guidelines. You can also e-mail ques-tions to tsrsage@aol.com.

This month, the Sage visits the newlyrevised DARK SUN® setting and considerssome optional rules and spells, including yetanother look at the dreaded stoneskin spell.

The Way of the Psionicist book in therevised DARK SUN boxed set (and thepsionics section in the PLAYER�S OPTION�:Skills 8 Powers book) says that charac-ters with chaotic alignments cannotbecome psionicists. This is incorrect, atleast on Athas. The Will and the Way ref-erence lists several chaotic psionicists.Are chaotic psionicists no longerallowed on Athas?

Chaotic psionicists have never beenallowed on Athas (or anywhere else forthat matter; see The Complete PsionicsHandbook, page 10); at least not as play-er characters. Pages 37 and 38 of theRules Book from the original DARK SUN

boxed set contain several Athas-specificchanges to the psionics rules, but referreaders back to the CPH for anything notcovered there. Changes to the alignmentrequirement for psionicists are notincluded in the Rules Book. The chaoticpsionicists from The Will and the Way areanomalies; exactly how they managed tobecome psionicists and retain theirchaotic alignments is unrevealed.

The Age of Heroes book in the revisedDARK SUN boxed set gives individualexperience awards based on characterrace, but there are no entries for thenew PC races of aarakocra and pterrans.Is this an omission? Or are there nobonuses for these two races?

Here are individual experience awardsfor the two races:

Aarakocra:Demonstrate deep and abiding respect

for nature: 20 xp/dayAbuse nature: -50 xp

Pterran:Pursue life path: 20 xp/dayRevere Earth Mother: 30 xp/dayProvide specific, meaningful service to

Earth Mother: 50 xp

Page 26 of the Age of Heroes booksays defilers destroy the environmentwhen they cast their spells, which is howdefilers were originally handled. Page67, however , says defi lers causedestruction when they memorize theirspells. Which is correct? If the latter istrue, how should DMs of ongoing cam-paigns explain the change?

The text on page 67 is correct. Notethat in addition to causing damage whenmemorizing spells, defilers also mustmake Intelligence checks to see how suc-cessful they are (see Table XVII on page28) in acquiring the spells. Defiling is nolonger a sure thing.

How you should implement the newdefiling rules into an established cam-paign is a problem you must solve onyour own. The simplest way is to ignorethem and stick with the old rules. Formost campaigns, you can just announcethat reality has changed and that thingswill be different from now on. To add alittle mystery, you might want to explainthat no one, not even the PCs, remem-bers any other kind of defiling. If you�refeeling a bit cruel, you might rule that thePCs remember the old way of doingthings, but no one else does.

I f y o u f a v o r a m o r e d r a m a t i capproach, you can introduce some spec-tacular or cataclysmic event (the appear-ance of a hitherto unknown cometwould do nicely) that causes the change.In either case, you might introduce thechange gradually. For example, perhapsdefilers only have to make Intelligencechecks when memorizing spells after

sunrise, and the defiling effect of memo-rization might be minimal, a radius ofinches. Over the next few weeks ormonths, gradually increase both theradius of the defiling effect and decreasethe number of hours in a day that theeffect can be avoided. You might evenwant to design a series of adventuresthat would allow your PCs to prevent thechange � if they want to.

Can the undead trolls, kobolds, ogres,orcs, lizard men, pixies, gnomes, andgoblins that roam the Dead Land, SmallHome and the City of a Thousand Deadbe raised, resurrected, or reincarnated?Since these races actually continue toexist on Athas, why wouldn�t a reincar-nate spell be able to reincarnate a char-acter as one of these �dead� races?

According to my colleague BillSlavicsek, the creatures you�re askingabout have been dead since the CleaningWars 3,500 years ago. That puts themwell beyond the reach of any raise dead,resurrection, or reincarnate spell.

Generally speaking, a reincarnate spelltransforms a recipient into some creaturethat is more or less characteristic of theworld where it is cast. Trolls, kobolds,ogres, orcs, lizard men, pixies, gnomes,and goblins are not typical of Athas, eventhough there are sizable populations ofundead specimens on the planet. Even ifthere were hidden populations of livingtrolls, kobolds, ogres, orcs, lizard men,pixies, gnomes, and goblins (and by allaccounts there are not), they still wouldnot be representative enough to appearon the creature list for reincarnate spells.

What are the thief ability adjust-ments for Athasian races that can�tbecome thieves but can become rangersor convict gladiators?

Here are the adjustments:

Race Hide in Move AllShadows Silently Others1

Half-Giant - -10% -10%Thri-kreen +5% +5% -15%2

1. For convict gladiators only2. Thri-kreen never gain the ability to climb

walls.

If someone punches a person who isprotected by a stoneskin spell, does theattacker suffer damage? Does the recip-ient of a stoneskin spell look different inany way? The Player�s Handbook seemsto suggest that a charge of a stoneskin is

DRAGON #226 89

lost even if an attacker rolls a miss whenfighting, is this so? If this is so, what isthe reasoning behind it?

A stoneskin spell never damages anattacker. The spell description does notspecify any change in appearance for therecipient of a stoneskin spell, but thatdoesn’t mean the DM can’t specify one.

A spell loses one “charge” each timethe recipient is subjected to an attack,that’s just the way the spell works. Notethat an attack roll usually isn’t necessary,just mark off a charge from the spell. Theonly time you need to make a roll iswhen the attack can damage the recipi-ent in spite of the stoneskin spell. Notealso that an attack that bypasses thespell and damages the stoneskin recipientstill negates a charge.

If a clay golem hits a character, will asuccessful dispel magic allow a priest ofless than 17th level to heal the charac-ter?

No.

Table 29 in the PLAYER’s OPTION: Skills &Powers book shows adjustments tothieving abilities for high Dexterityscores, but they are different from the

DARK SUN boxed set. If you are using sub-abilities, I recommend the adjustmentson the tables below.

B a l a n c e

adjustments shown on Tables 4 and 5.What are the correct adjustments?

Tables 4 and 5 are only for use withthe new rules for subabilities in ChapterTwo. If you’re not using subabilities, skipTable 29 and use either table 28 fromThe Player’s Handbook or Table XXI fromthe Age of Heroes book in the revised

Subability Move Hide in ClimbScore Silently Shadows Walls3 -30% -30% -30%4 -30% -25% -25%5 -30% -20% -20%6 -25% -20% -20%7 -25% -15% -15%8 -20% -15% -15%9 -20% -10% -10%10 -15% -5% -5%11 -10% — —12 - 5 —- —13-16 — — —17 +5 +5% +5%18 +10% +10% +10%19 +15% +15% +15%20 +20% +17% +20%21 +25% +20% +22%22 +30% +22% +2523 +33% +24% +27%24 +35% +27% +30%25 +35% +30% +33%

Skip Williams is a game designer and edi-for at TSR., Inc. If you have any questions onTSR products for the Sage, you can write tohim at 201 Sheridan Springs Road, LakeGeneva, WI 53147, or you can e-mail him attsrsage@aol.com. We regret that personalreplies are not possible.

A i mSubability Pick Open Find/ Escape Forge TunnelingScore Pockets Locks Remove Bonds Documents

Traps3 -30% -30% -30% -30% -30% -30%4 -25% -25% -25% -25% -25% -25%5 -25% -20% -20% -25% -25% -20%6 -20% -20% -20% -20% -20% -15%7 -20% -15% -15% -20% -20% -15%a -15% -15% -15% -15% -15% -10%9 -15% -10% -10% -15% -15% -10%10 -10% -5% -10% -10% -10% -5%11 -5% — -5% -5% -5% —12-15 — — — — — —16 — +5% — — +5% —17 +5% +10% — +5% +7% —18 +10% +15% +5% +10% +10% +5%19 +15% +20% +10% +12% +15% +10%20 +20% +25% +12% +15% +17% +15%21 +25% +27% +15% +17% +20% +20%22 +27% +30% +17% +20% +22% +25%23 +30% +33% +20% +22% +24% +30%24 +33% +35% +22% +24% +27% +35%25 +35% +35% +25% +30% +30% +35%

90 FEBRUARY 1996

True confession: when I’m playing acharacter in a fantasy game, I optfor a no-frills, plain vanilla human.

Understand, I like gnomes and lizardmen as much as the next guy. But I havea hard time getting a handle on their per-sonalities; when I play a lizard man, hecomes off as Arnold Schwarzenegger withscaly skin. If you’re having similar prob-lems — or if you’d just like to spice upyour games with some offbeat gueststars — here’s some help.

GiantcraftADVANCED DUNGEONS & DRAGONS®

game supplement128-page softcover bookTSR, lnc. $15Design: Ray Winninger with Troy Denning

and Jeff GrubbEditing: Karen S. BoomgardenIllustrations: Matt Cavotta and Daniel

FrazierCover: Jeff Easley

Ever since Jack clambered up his firstbeanstalk, giants have been a mainstayof fantasy fiction. Not so in the AD&D®game. Sure, they occasionally pop up asvillains, and no MONSTROUS COMPENDIUM™volume would be complete without agigantic something-or-other. But to find abook that gives the big guys their due,you have to go all the way back to 1978and the G1-G3 adventure series

Role-playing games’ rating

Not recommended

May be usefulMay be useful

FairFair

GoodGood

ExcellentThe BEST!

(Steading of the Hill Giant Chief, Glacial Riftof the Frost Giant Jarl, and Hall of the FireGiant King, repackaged in 1986’s Queen ofthe Spiders anthology and worth search-ing out). Now, at long last, comesGiantcraft, a compendium of backgroundnotes, campaign tips, and new rules forcharacters of the gargantuan persuasion.There’s a lot of thoughtfully presentedmaterial here, and most of it makes thegrade; but at the risk of sounding like aningrate, there’s also less than meets theeye.

First, the good stuff. The book openswith the history of the Faerun giants,which traces their origin from an adulter-ous relationship between the demigod-dess Othea and a minor sea god namedUlutui. Their union produced four sonswho would establish the giant-kin dynas-ties. Othea’s husband responded bykilling Ulutui and casting his body intothe Cold Sea, where radiation from hismagical amulet caused the waters tofreeze and create the Great Glacier. It’s aenchanting story, well-told, made all themore compelling by the unusual arcticlocale.

From there, the book clears up somemyths (think all giants are evil? Nahh...they’re just misunderstood), then pro-ceeds to a clutter-free discussion of char-acter creation. Along with the requisiteability scores and saving throws, we’reoffered lucid, sensible rules for adjudicat-ing strength checks, determining clanheritage, and casting runes, a form ofmagic that employs symbols and inscrip-tions instead of spoken incantations. Ahelpful role-playing section advises theDM to stand on a chair when portrayinga giant, which serves the dual purpose ofintimidating the players and makingthem giggle.

92 FEBRUARY 1996

The book also takes a detailed look atthe Ice Spire mountain range, whichserves as a base for giant-centered cam-paigns. Located west of the Great Desertof Anauroch and south of the Endless IceSea, the frigid mountains are home to avolatile mix of humans, giants, and mon-sters. It�s a fascinating setting, burstingwith adventure possibilities. The barbar-ians of Harsvale stage ceremonial huntsinvolving reindeer sleds and human prey.Cloud giants place bets on whether theycan coerce a particular woman to fall inlove with a particular man. A clan of hillgiants stage competitive eat-offs, vyingfor the title of Master Eater; fellow clans-men look to the Master Eater for politicalleadership, as well as �gastronomicalinspiration.�

Unfortunately, many strong conceptsare underdeveloped. We�re told thatgiants have unique concepts of good andevil, called maat and maug. But asidefrom a few behavioral examples � hon-oring family members is maat, killinganother giant is maug � the definitionsare fuzzy; in essence, maat is just a funnyword for good. Archetypes are no soonerintroduced than they�re jerked away; thePatron (a stone giant storyteller), theGlutton (a leader of the hill giants), andthe Weirdner (a frost giant rune caster)receive only a paragraph each of descrip-tion, and they deserve full-blown charac-ter kits. Elsewhere, the designers takeunnecessary detours. A discussion of anogre settlement eats up several pages ofthe Ice Spires section. The appendix isdevoted to creatures like shadowhoundsand krotter yak, whose connection togiant-kin is dubious. The wind chill table,frostbite rules, and other meteorologicalmiscellany � much of it recycled from theFR14 Great Glacier supplement � seemssuperfluous; do giants really worry thatmuch about frostbite?

Evaluation: In fairness, Giantcraftdoesn�t pretend to be the last word ingiants, as it concentrates on the mythosintroduced in Troy Denning�s TwilightGiants novel trilogy. If you�re looking forgiants other than those f rom theFORGOTTEN REALMS® setting, you�ll have tokeep looking. There�s not much here forthe DRAGONLANCE®, AL-QADIM®, or REDSTEEL® campaigns; for that matter, there�snot much generic material, either. Andthe designers� penchant for hoppingfrom topic to topic weakens the book�simpact; instead of a cohesive whole, itreads like a collection of magazine arti-cles. Within its narrow focus, Giantcraftdelivers the goods. But as an all-inclusive

guide to AD&D�s tallest inhabitants, itfalls a bit, er, short.

GURPS Fantasy FolkGURPS* game supplement144-page softcover book c _ Steve Jackson Games $19Design: Chris W. McCubbin and Sean

Punch, with Loyd Blankenship andSteve Jackson

Editing: Lillian ButlerIllustrations: Shea Ryan and Dan SmithCover: Ken Kelley

Giants also lurk between the covers ofSecond Edition GURPS Fantasy Folk, asdo elves, centaurs, leprechauns, and 20other nonhuman races. It�s undeniablyambitious; the races can be used aseither PCs or NPCs, making it the GURPSequivalent of TSR�s Complete Book ofHumanoids or MONSTROUS COMPENDIUM

book. Alas, it promises more than it deliv-ers. Fantasy Folk claims to treat nonhu-man races as �unique cultures made upof individuals, not as sketchily-definedmonsters.� But that�s not quite true.

Part of the problem is the rigid format,which allows only four or five pages foreach race. Consequently, major races likeelves and halflings receive the sameamount of space as minor leaguers likegargoyles and fauns. That in itself isn�tnecessarily bad � the MONSTROUS

COMPENDIUM format is just as tight � butthe writing feels cramped, too, sufferingfrom an abundance of generalities and ashortage of specifics. The elves entry tellsus that elves �behave with elegance andstyle� but offers no examples of thealleged behavior. We�re informed thatthe elves once waged a great war againstthe dwarves, but we learn nothing aboutwhere the war occurred, what was atstake, or how it was resolved. Giants�have few customs and little culture.� Ohreally? Not according to Giantcraft. Ogreslove to fight, centaurs are nomadichunters, halflings prefer country life, andif you think maybe you�ve heard thisbefore, well, if you�ve been role-playingfor any length of time, you probablyhave.

The oddball races fare better than theconventional ones. Fantasy Folk permitsplayers to assume the roles of exaltedhorses ( s ta l l ions and mares withenhanced senses), bales (blood-drinkingmadmen), and great eagles (magicalbirds). Informative sidebars provide inter-esting adventure hooks and astute role-playing advice. But the superficialdescriptions provide only enough infor-

mation to get the characters off theground; there�s not enough material tosustain them through a long campaign.I�d be up for a GURPS Great Eagles toexplain exactly how these weirdos liveand work.

Fantasy Folk would be just anothercompetent but unremarkable supple-ment were it not for its race generationrules, one of the most elegant systemsfor creating original characters I�ve everseen. Introduced in GURPS Aliens, the sys-tem allows players to build charactersfrom an allotment of points, spent onadvantages, disadvantages, and skills.Racial modifiers determine attributescores; the higher the modifier, the betterthe attribute. By expending the requirednumber of points, players can buy spines,extra limbs, and spells. The resultingcharacters are not only functional andreasonably balanced, but a lot of fun toplay; I whipped up a two-headed goatman that I�m itching to unleash in theMad Lands (the official GURPS fantasysetting, desscribed in the GURPS FantasyIIsupplement).

Evaluation: If you�re a GURPS fanatictoo lazy to cook up your own statisticsfor dwarves and kobolds, Fantasy Folkmight be worth the investment. If youown the first edition, you can probablyskip the upgrade; the new edition fiddleswith the point costs and rewrites a fewabilities, but adds nothing essential. Ifyou�re not a GURPS player, there�s littleof interest here. Still, even if you decideto pass, I�d sneak a peek at the chapteron race generation � it�s pretty terrific.

The Complete Ninja�s HandbookADVANCED DUNGEONS & DRAGONS®

game supplement128-page softcover book

DRAGON #226 93

TSR, Inc. $18Design: Aaron AllstonEditing: Barbara G. YoungIllustrations: Jim Holloway, Clyde Caldwell,

Fred Fields, and Les Dorscheid

Aaron Allston wrote the book on mar-tial arts � literally. His Ninja Hero � a sup-plement for the Hero System* game, pub-lished in 1990 � remains the definitiveguide to Oriental role-playing. TheComplete Ninja�s Handbook is no NinjaHero, but its close, a masterful set ofdirections for transforming run-of-the-mill PCs into exotic spies and assassins.

Drawing on ideas from Ninja Hero, TheComplete Fighter�s Handbook, and TSR�slate, lamented Oriental Adventures game,Allston recasts ninja characters as part ofthe rogue class. Ninja share the sameexperience levels, hit dice, and proficien-cy slots as rogues, along with theirweapon options and talent for backstab-bing. They�re burdened, however, withmore stringent ability requirements (13 inDexterity, 10 in Intelligence) and reducedthieving skills (a base score of 0% in PickPockets, Open Locks, and Find/RemoveTraps). To compensate, ninja have accessto a form of nonverbal communicationcalled �clan signing,� as well as a host ofnew proficiencies, like Water Walking,Escape, and Giant Kite Flying. Players cancustomize their ninja by selecting fromthe dozen-plus character kits; among thechoices: Pathfinder (a skilled tracker andwoodsman), Shadow Warrior (a weaponsexpert), and Intruder (an oriental JamesBond). The extensive equipment sectiondescribes a warehouse full of merchan-dise, including samurai swords, eggshellgrenades, and, of course, giant kites.

The Complete Ninja�s Handbook ismore than just a bunch of numbers andgizmos. Allston gives his ninja threedimensions by emphasizing their familiarties and obsession with secrecy. Everyninja belongs to a clan, which not onlydetermines his alignment, but designateshis status, role, and resources. Further,clans impose taboos (no marriage out-side the clan, no unauthorized expendi-tures) and edicts (destroy a rival clan, pro-mote the worship of a particular god),forcing players to sharpen their PCs� per-sonalities and work toward clear goals.Most clans insist that their members con-ceal their true identities, even from theircomrades. To that end, Allston providesclever suggestions for maintaining secre-cy within the campaign, ranging fromfalse character sheets to �paranoianotes,� where the DM passes written

messages to the ninja players containinginformation the other players don�t needto know. And throughout the book,Allston scores with imaginative flourish-es: a ninja wizard who uses finger-wig-gles as spell components, a magical dustthat causes floors to squeak, a metallicsmoking pipe that doubles as a club.

The book describes two martial artssystems, one for beginners, one foradvanced students. In the basic system, acharacter with the martial arts skillmakes a normal attack roll, then, if theattack succeeds, makes a second roll onthe Martial Arts Results (MAR) Table. TheMAR Table indicates a maneuver and theamount of inflicted damage. For instance,a roll of 13 indicates a Vitals Punch, goodfor two points of damage. If the characterexpends a proficiency slot to specialize inmartial arts, he receives a +1 bonus tohis attack and damage rolls, as well as tohis rolls on the MAR Table (the higher theMAR roll, the deadlier the maneuver).

The advanced system encouragesplayers to select fighting styles, such astae kwon do or karate. A style consists ofa principal attack form (hands, feet, legs),a set of weapon options (fencing blades,clubs, chain weapons), and a list of spe-cial maneuvers (Circle Kick, StunningTouch, Arrow Parry). When employing hisstyle in a combat encounter, the playermakes an attack roll and consults thedescr ipt ion of the maneuver he�sattempting to execute. The Circle Kickdescription, for example, requires thecharacter to spin in a complete circle andland a kick on the targets upper body; ifsuccessful, the maneuver adds 1-2 hpdamage to the character�s normal martialarts damage. Most maneuvers penalizethe attacker for failure; if he blows aCircle Kick, he loses his balance, whichlowers his Armor Class by two points anddeprives him of his attack in the nextround. The system is complicated andcostly � complete mastery of a stylerequires the character to expend hisentire allotment of proficiency slots � butthe maneuvers make it worth the effort.My favorite: Steel Cloth, which enables aninja to eviscerate an opponent with ahandkerchief.

Evaluation: Problems? Nothing major.The spell list doesn�t amount to much,comprising a set of so-so effects like less-er distraction (the victim hears a faintnoise or sees something indistinct) anddetect the living (the opposite of detectundead). The kits could�ve used moredevelopment; the Pathfinder and ShadowWarrior fill less than half a page each.

Basic combat consists of a few modifiers,and few damage bonuses, and that�sabout it � call it Martial Arts Lite. (Thosewanting more detail should refer to TheUltimate Martial Artists, the sequel to NinjaHero, reviewed in DRAGON® Magazine issue#221. The Ultimate Martial Artist includesconversion notes for �level-based� sys-tems � in other words, AD&D.) That said,The Complete Ninja�s Handbook stands afirst-rate resource, another notch in thebelt for one of the industry�s top design-ers. With his effortless affinity for allthings oriental, Aaron Allston is role-playing�s answer to Bruce Lee.

FaeriesArs Magica* game supplement144-page softcover bookWizards of the Coast $17Design: John Snead and Sarah LinkEditing: Bob KrugerIllustrations: Amy Weber, Anson Madocks,

Bryon Wackwitz, Chris Rush, DougShuler, Eric David Anderson, JeffMenges, John T. Snyder, John Ueland,Julie Baroh, Mark Tedin, RosemaryRoach, and Susan Van Camp

Cover: David O. Miller and Maria Cabardo

Campaign in the doldrums? Maybeyou need a few faeries. I�m not talkingabout the human mosquitoes that flitteraround Disneyland. I�m talking about theimmortal, godlike spell-casters ofmedieval European legend, broughtvividly to life in this off-the-wall source-book. This, by the way, is the second ver-sion of Faeries, though it doesn�t say soon the front cover. White Wolf publishedthe first one a few years back, beforeWizards of the Coast acquired the rightsto Ars Magica. If you own Version One,dump it; Version two improves on theoriginal in every way.

That�s not to say Faeries is for every-one, since the format is as eccentric asthe subject matter. Half the book consistsof a series of first-person anecdotes, withtitles like �A Troubadour�s Tale� and �AGuide to Our Order by Rebecca, ChiefLibrarian of Harco.� Some anecdotes fill acolumn or two, others consume severalpages. Throughout, the reader is referredto footnotes and sidebars explaining var-ious faerie facts. For example, in the trou-badour�s tale of a house beset by thesounds of breaking glass, a footnotereveals that such sounds indicate thestrengthening of a faerie aura. In RedcapArcadia�s story of a mystical realm calledArcadia, she recounts an encounter witha stubborn faerie who demanded a flask

94 FEBRUARY 1996

of beer; a footnote explains that faeriesoften bargain for beer in exchange forinformation. You might find this tedious,especially if all you want are hard facts touse in a role-playing adventure. I found itcharming, a welcome respite from thehumdrum approach employed in mostRPG supplements. Yes, as a referencebook, Faeries makes a good doorstop.And yes, the writing could�ve beenstronger, evidenced by awkward pas-sages like, �I live by my wits and growwild, and one man�s land is a place Inever stay in long.� But overall, it�s a suc-cessful experiment, carried off withinsight and humor.

The rules section, comprising the sec-ond half of the book, is less successful. Iliked the bestiary, a Who�s Who offaeries from around the world (thehunchback koutsodaimonas lives inGreece; the padfoot, who resembles agreen dog, hails from Germany). And therole-playing chapter does a good job ofdelineating the pros and cons of faeriecharacters. But too many ideas are sabo-taged by a lack of development. Therules for interdimensional travel involvea confused tangle of aura ratings, powerrealms, and ability rolls. The charactercreation chapter explains that faerieshave an aversion to iron (�Coming intocontact with [iron] is like coming intocontact with a decaying dead animal�).But how does this aversion operate in acampaign? Does a faerie flee when hesees an iron door? Or does he just holdhis nose? Faeries, it says here, can speakwith animals. Fine. But which animals?Insects? Earthworms? And can the ani-mals speak back?

Evaluation: If you�re not an Ars Magicaplayer, don�t let that scare you away. ArsMagica is barely mentioned in the firsthalf of the book. As for the second half,anyone with a calculator and a couple ofnights to kill ought to be able to translatethe statistics to the system of his choice.I�m not crazy about fiction in role-playingsupplements; most game designers areabout as good at writing fiction as rockmusicians are at composing symphonies.But here, it�s engaging and cute. And ifyou flinched at the word �cute,� considerspending your money elsewhere.

Short and sweetThe Evil Eye, by Steve Kurtz. TSR, Inc.,$10.

As he demonstrated in The CompleteBook of Necromancers, Steve Kurtz knowshis way around a corpse. This set of

exquisitely creepy scenarios for theRAVENLOFT® setting pits a group of mid-level adventurers against the mysteriousVistani and their ghostly allies. Kurtz�sstylish writing yanks the players fromshudder to shudder at a rippling pace.Want to get hooked? Try this: �And whenthe handsome gentlemen disrobed, shethought it hardly unusual to see a pair ofblack, bat-like wings unfolding into acanopy of darkness. Gabrielle welcomedthe incubus into her embrace.� Yikes!

Star Wars Miniatures Battles Starter Set*game, by Stephen Crane and PaulMurphy. West End Games, $35.Striker II* game, by Frank Chadwick withDavid Nilsen. GDW, Inc., $20.

Lets be honest. � miniature simula-tions are a lot of work. First, you have tomaster a set of complicated rules; theseare, after all, war games, and war gamedesigners are notorious for their obses-sion with detail. Then, you have to roundup all the figures, and they don�t comecheap; an army of miniatures can set youback a hundred dollars, easy, and that�snot counting the brushes and paint.Those with the time and the money,however, will find these two products tobe excellent examples of an underappre-ciated genre. Both address tacticalground combat in the distant future, andboth derive from popular RPGs.

The Star Wars Miniatures BattlesStarter Set boxes the revised rules manu-al (originally published in 1993) with adozen metal miniatures and a handful ofsix-sided dice. As in the Star Wars* role-playing game, the Starter Set focuses onskirmishes between the Rebels and theImperial thugs. Employing clear explana-tions and plenty of examples, the bookshows how to design soldiers, executemaneuvers, and recruit womp rats andkrayt dragons to augment the troops.Combat involves skill tests and opposedrolls, concepts imported from the StarWars RPG. It�s fast, tense, and, for aminiatures game, surprisingly easy tolearn.

Striker II, spawned from the Traveller:The New Era* role-playing game (by wayof the Command Decision* game, anoth-er military simulation), is more demand-ing but much richer. Players issue ordersto their subordinates by laying downcommand chits (included with the book);orders include Cautious Advance,Disengage, and Regroup. Units move andfire in accordance to their orders, withoutcomes determined by die-rolls anddifficulty modifiers. What makes the

game so absorbing is the mind-bogglingnumber of options; players can attemptorbital bombardments, tinker with psion-ics, even deploy veterinarians to lookafter a battalion�s animals. VeteranTraveller fans will appreciate the atten-tion to continuity; the Zhodani units, forinstance, are drawn from back issues ofthe Journal of the Travellers� Aid Society andTravellers� Digest. Not for beginners,Striker II is science-fiction warfare at itssophisticated best.

Crossroads* game, by Jason Andrew andTina Andrew. Xanadu Games, $15.

This far-reaching fantasy RPG simu-lates a cosmic struggle for the essence ofhumanity. (And you thought you hadyour hands full clearing orcs out of dun-geons.) Players take the roles of Sentinels(good guys sworn to protect innocentmortals) or Defilers (bad guys represent-ing humanity�s vilest tendencies). To cre-ate your good guy or vile guy, you dis-tribute 40 character points among eightattributes (including Strength, Dexterity,and Perception), then assign another 40points to a list of skills (Leadership,Anthropology, Military Tactics). Toresolve an action, the referee determinesa difficulty level, the player rolls a fewdice, and the result is compared to therelevant skill or attribute score. Typicaladventures involve confrontations withDream Lords and Death Knights .Characters engage in metaphysical bat-tles as well as physical ones; the refereeawards Power Points to any PC who ful-fills his Psyche (essentially, his life�s goal)and penalizes a bungler by fiddling withhis Essence (similar, sort of, to alignmentin AD&D). There�s a lot going on here,much of it baffling; I had a hard time fig-uring out how to satisfy my Essence, andI wouldn�t recognize my Psyche if itwalked up and shook hands. More back-ground notes would�ve helped, too. Still,this a game with a brain, and one worthrevisiting � I mean, if I don�t straightenout the cosmos, who will?

Information: Xanadu Games, PO Box28065, Spokane, WA 99218.

Sorcerer �s Crib Sheet , by SanfordBerenberg and Bill Olmesdahl with GregFarshtey. West End Games, $15.

Here�s a grimoire with attitude, a col-lection of spells for the Bloodshadows*game that�s both goofy and grim. Thugfrom beyond transforms a human skullinto a cadaverous bodyguard. Wingdingcauses the victim to experience one emo-tional extreme after another: first despair,

DRAGON #226 95

then boredom, then lust. To activate cre-ate cult elder, the caster must dissolve avampire�s brain in an herbal soup, thenadd a severed head. A few spells are oldhat (increase strength, poison), some arejust plain dumb (writing pen, neon sign).But the keepers outnumber the duds by aconsiderable margin.

Cybertechnology, by Tom Dowd, withCarl Sargent, Diane Piron-Gelman, andMichael Mulvihill. FASA Corporation, $15.Hardware/Software, by Elaine Hinman-Sweeney and Brain Sean Perry, withShaun Horner, Randal W. Horobik, MikeRoberts, and Stephen Smoogen. WestEnd Games, $18.

Hardcore Shadowrun* game players,Cybertechnology is right up your alley:its a catalog of high-tech gadgetry forturning human bodies into killingmachines. You can buy dart guns foryour eyeballs, artificial fingertips contain-ing poison needles, and cranial bombsthat shower passers-by with skull frag-ments. Between shopping sprees, youcan amuse yourself with the adventuresof Meat Boy � if you have to ask, thisisn�t the book for you. Hardware/

Software, a collection of cyberware forthe Shatterzone* game, covers much ofthe same ground. But with its emphasison the mundane � robots, cloned limbs,skill chips � it seems tame compared toCybertechnology. Nevertheless, Cyber-technology wastes a lot of space on lamecommentary, like this observation fromColonel Cobra: �So anybody with all thisstuff is pretty much a walking tank.�Cybertechnology may be the better read,but Hardware/Software is the bettervalue.

Thief�s Challenge II: Beacon Point, byTerry Amthor. TSR, Inc., $7.

The enjoyable One-on-One series �AD&D® adventures for a single playercharacter and a single Dungeon Master �continues with this brisk, easy-to-runthief scenario. The action takes place onthe pirate-infested island of BeaconPoint, where the PC must navigatetreacherous terrain, investigate anenchanted lighthouse, and elude theclutches of a giant crab. The encountersare well-staged, the villains are familiarbut fun. Though the cover claims theadventure is suited for a thief of level

4-6, that�s wishful thinking. I�d say 6-8 ismore like it. A low-level thief will have tobe very smart or very lucky to survive theshowdown with the fish monsters.

Sorcerer�s Crib Sheet, by SanfordBerenberg and Bill Olmesdahl with GregFarshtey. West End Games, $15.

Here�s a grimoire with attitude, a col-lection of spells for the Bloodshadows*game that�s both goofy and grim. Thugfrom beyond transforms a human skullinto a cadaverous bodyguard. Wingdingcauses the victim to experience one emo-tional extreme after another: first despair,then boredom, then lust. To activate cre-ate cult elder, the caster must dissolve avampire�s brain in an herbal soup, thenadd a severed head. A few spells are oldhat (increase strength, poison), some arejust plain dumb (writing pen, neon sign).But the keepers outnumber the duds by aconsiderable margin.

DUNGEON MASTER® Screen & Master Index,by Jim Butler. TSR. Inc., $10.

To coax consumers into buying regula-tion game screens instead of making theirown, publishers have taken to bundlingtheir screens with all sort of doo-dads:adventures, character sheets, posters,book covers, even window stickers. Thedoo-dad accompanying the latest TSRscreen is a pretty good one: a 32-pageindex to AD&D�s seven core rule books.Looking for a list of altar requirements?Check page 100 of The Book of Artifacts.How do you compute a monster�s knock-down chance? Page 32 of PLAYER�sOPTION�: Combat & Tactics has the answer.As for the six-panel screen, it contains theexpected combat charts and morale mod-ifiers, along with some unusual stuff likecritical hit tables (from Combat & Tactics)and a diagram of the outer planes. Unlessyou�re a collector or a numbers junkie,you can probably struggle along withoutthis. But if you�ve got 10 bucks to spare...oh, what the heck.

A former medical student, rock musician,and newspaper editor (in that order), RickSwan is the author of The Complete Guide toRole-Playing Games (St. Martin’s Press). Youcan write to him at 2620 30th Street DesMoines, IA 50310. Enclose an SASE if you’dlike a reply.

* indicates a product produced by a company otherthan TSR, Inc. Most product names are trademarksowned by the companies publishing those products. Theuse of the name of any product without mention of itstrademark status should not be construed as a challengeto such status.

96 FEBRUARY 1996

Convention CalendarPolicies

This column is a service to our readersworldwide. Anyone may place a freelisting for a game convention here, butthe following guidelines must beobserved.

In order to ensure that all conventionlistings contain accurate and timelyinformation, all material should beeither typed double-spaced or printedlegibly on standard manuscript paper.The contents of each listing must beshort and succinct.

The information given in the listingmust include the following, in thisorder:1. Convention title and dates held2. Site and location3. Guests of honor (if applicable)4. Special events offered5. Registration fees or attendance

requirements, and,6. Address(es) where additional infor-

mation and confirmation can beobtained.

Convention flyers, newsletters, andother mass-mailed announcements willnot be considered for use in this col-umn; we prefer to see a cover letter withthe announcement as well. No call-inlistings are accepted. Unless statedotherwise, all dollar values given forU.S. and Canadian conventions are inU.S. currency.

WARNING: We are not responsi-ble for incorrect information sent to usby convention staff members. Pleasecheck your convention listing carefully!Our wide circulation ensures that over aquarter of a million readers worldwidesee each issue. Accurate information isyour responsibility.

Copy deadlines are the first Mondayof each month, four months prior to theon sale date of an issue. Thus, the copydeadline for the December issue is thefirst Monday of September. Announce-ments for North American and Pacificconventions must be mailed to:Convention Calendar, DRAGON®Magazine, 201 Sheridan Springs Rd.,Lake Geneva WI 53147, U.S.A.Announcements for Europe must beposted an additional month before thedeadline to: Convention Calendar,DRAGON Magazine, TSR Limited, 120Church End, Cherry Hinton, CambridgeCB1 3LB, United Kingdom.

If a convention listing must bechanged because the convention hasbeen canceled, the dates have changed,or incorrect information has beenprinted, please contact us immediately.Most questions or changes should bedirected to the magazine editors at TSR,Inc . , (414) 248-3625 (U.S.A. ) .Questions or changes concerningEuropean conventions should be direct-ed to TSR Limited, (0223) 212517(U.K.).

Cremecon 2Feb. 2-4, WI

Manchester East Hotel &Suites, Glendale. Guests: SueWeinlein, Lawrence Wyatt-Evans,C.H. Burnett, and Richard Russell.Events: role-playing, card, board,and miniatures games. Otheractivities: dealers, an art show, amasquerade ball. and work-shops. Registration: $30 on site,single-day rates available.Cremecon 2, P.O. Box 37986,Milwaukee, WI 53237, or e-mail:cremecon@aol.com.

Winter War XXIIIFeb. 2-4 IL

Chancellor Hotel, Champaign.Events: role-playing, card, board,and miniatures games. Otheractivities: dealers, an auction,and a miniatures painting con-test. Registration: $6 preregis-tered, $8 on site. DonaldMcKinney, 986 Pomona Drive,Champaign, IL 61821.

CIubcon VFeb. 3-4 OH

Richfield Holiday Inn-Holidome, Richfield. Events: role-playing, card, board, and minia-tures games. Other activities:tournaments, workshops, andfilms. Registration: $14.95. TheClub, P.O. Box 3575, Kent, OH4 4 2 4 0 .

Magnum Opus Con--10AFeb. 15-18 CA

Adam’s Mark Hotel, Charlotte.Events: role-playing, card, board,and miniatures games. Otheractivities: dealers: panels, anauction, etc. MOC-10A P.O. Box

6585, Athens GA 30604, or e-mail: moc@ix.netcom.com.

PrezconFeb. 15-18 VA

Best Western Mount VernonHotel, Charlottesville. Events:role-playing, card, board, andminiatures games. Other activi-t ies: tournaments. Registration:$20 on site. Justin Thompson,P.O. Box 4661, Charlottesville, VA2 2 9 0 5 .

War '96Feb. 15-18 NC

Adam’s Mark Hotel, Charlotte.Events: role-playing, card, board,and miniatures games. Otheractivit ies: tournaments andprizes. Registration: $25 for theCon and $50 per game entered.National Association forProfessional Gamers, P.O. Box6585, Athens, GA 30604, or e-mail: moc@ix.netcom.com.

Dundracon XXFeb. 16-19 C A

San Ramon Marriott Hotel,San Ramon. Events: role-playing,card, board, and miniaturesgames. Other activit ies: tourna-ments, dealers, and a flea mar-ket. Registration: $35 on site.Dundracon, 1145 Talbot St.,Albany, CA 94706.

Orccon 19Feb. 16-19 CA

LA Airport Wyndham Hotel,Los Angeles. Events: role-playing,card, board, and miniaturesgames. Other activities: a fleamarket, dealers, and an auction.Registration: $30 on site.

❖ Australian convention❊ Canadian convention❁ European convention

* indicates a product produced by a com-pany other than TSR. Inc. Most productnames are trademarks owned by the com-panies publishing those products. The useof the name of any product without men-tion of its trademark status should not beconstrued as a challenge to such status.

Strategicon, 333 N. SanFernando Blvd., Los Angeles, CA91502.

Total Confusion X '96Feb. 22-25 MA

Best Western Royal PlazaHotel, Marlboro. Events: role-playing, card, board, and minia-tures games. Other activities:miniatures painting contest.Registration: $12/day on site.Total Confusion, P.O. Box 604,North Oxford, MA 01537.

Jaxcon '96Feb. 23-25 FL

Ramada Inn ConferenceCenter, Jacksonville. Events: role-playing, card, board, and minia-tures games. Other activities:tournaments, dealers, a paintingcontest, and a flea market.Registration: $22/weekend, dailyrates available. Jaxcon, P.O. Box14218, Jacksonville, FL 32238, oremail: jaxcon@ aol.com.

Bashcon '96Feb. 23-25 O H

University of Toledo StudentUnion, Toledo. Events: role-play-ing, card, board, and miniaturesgames. Other activities: an artshow, f i lms, and workshops.Registration: $6 on site or$2.50/day. UT-BASH, 2801 WestBancroft St., Toledo, OH 43606.

HurriconFeb. 23-25 FL

Ramada Inn, Panama CityBeach. Guests: Clive Barker,Philip Jose Farmer, BrianLeBlanc. Events: role-playing,card, board, and miniatures

DRAGON® Magazine does not publish phone numbers for conventions. Be cer-Important:

tain that any address you send us is complete and correct.To ensure that your convention listing makes it into our files, enclose a self-

addressed stamped postcard with your first convention notice; we will return thecard to show that it was received. You also might send a second notice one weekafter mailing the first. Mail our listing as early as possible, and always keep usinformed of any changes. Please do not send convention notices by fax, as thismethod has not proven reliable.

DRAGON #226 97

games. Other activities: tourna-ments, charity auction to benefitthe Red Cross Hurricane ReliefFund. Registra-tion: $35,Hurricon, 328 N. Eglin Pkwy., Ft.Walton Beach, FL 32547

Johncon �6Mar. 1-3 MD

Johns Hopkins University,

card, board, and miniaturesgames. Other activities: tourna-ments and interactive gaming.Registration: $14 Can. WesternGaming Society, Room 340, UCCUniversity of Western Ontario,London Ontario, Canada, N6A3K7, or e-mail: gaming@mustang.uwo.ca.

Baltimore. Events: role-playing,card, board, and miniaturesgames. Other activities: semi-nars, dealers, an art show, andauction. Registration: $30 pre-registered, $40 on site. JohnHopkins University, JonCon, c/oOffice of Student Activities, 122Merryman HII, 3400 Charles St.,Baltimore, MD 21218.

Coastcon XIXMar. 22-24

Mississippi Gulf CoastMS

Con of the NorthMar. 8-10 MN

Landmark Center, St. Paul.Events: role-playing, card, board,and miniatures games. Otheractivities: tournaments. Registra-tion: $15. Con of the North, P.O.Box 18096, Minneapolis, MN55418.

Coliseum & Convention Center,West Beach Blvd., Biloxi. Guests:Elizabeth Moon, Tim Beach,Michael Stackpole, and TomDupre. Events: role-playing, card,board, and miniatures games.Other activities: tournaments,dealers, costume contest, artshow, auction, and talent show.Registration: $25 before 3/l/96,$30 thereafter. Coastcon XIX,P.O. Box 1423, Biloxi, MS 39533,or e-mail: coastcon@aol.com.

Coscon �96Mar. 22-24 PA

Days Inn Conference Center,

Katsucon TwoMar. 8-10 VA

Holiday Inn Executive Center,Virginia Beach. Devoted to animeand manga. Special guests: SteveBennett, John Ott, Bruce Lewis,Tim Eldred, Michael Ling, andRichard Kim. Registration: $35preregistered, $40 on site. KatsuProductions, P.O. Box 11582,Blacksburg, VA 24060, or e-mail:katsucon@vtserf.cc.vt.edu.

Butler. Events: role-playing, card,board, and miniatures games.Other activities: tournaments,dealers, and an auction. Regis-tration: $15 before 3/l/96, $20thereafter. Circle of Swords, P.O.Box 2126, Butler, PA 16003.

Neovention XVMar. 22-24 OH

Gardner Student Center at the

CCC Game AutionMar. 9 CT

Comfort Inn of Darien,Darien. CGC, P.O. Box 403,Fairfield, CT 06430.

University of Akron, Akron.Events: role-playing, card, board,and miniatures games. Registra-tion: $15/weekend or $6/day.University Gaming Society,Gardner Student Center #6,University of Akron, Akron, OH44325.

Nova 21Mar. 16-17 MI

Oakland Center on theOakland University Campus,Rochester. Events: role-playing,card, board, and miniaturesgames. Other activities: tourna-ments, anime, and dealers.Registra-tion: $8 preregistered,$10 on site. Order of Leibowitz,Oakland University, 49 OaklandCenter, Rochester, Ml 48309, ore-mail: jjputman@oakland.edu.

Midsouthcon 15Mar. 22-24 TN

Brownstone Hotel, Memphis.Events: role-playing, card, board,and miniatures games. Otheractivities: guests, dealers, and anart show and auction. Registra-tion: $25 before 3/l/96, $25thereafter. Midsouthcon, P.O. Box11446, Memphis, TN 38111.

Technicon 13Mar. 22-24 VA

Best Western Red Lion Inn,Contamination Blacksburg. Events: role-playing,Mar. 22-24 ❊ card, board, and miniatures

Raddison Hotel, London games. Other activities: a dance,Ontario. Events: role-playing, an art show and auction, deal-

ers, and films. Registration: $20.Technicon 13, c/o VTSFFC, P.O.Box 256, Balcksburg, VA 24063.

Egyptian Campaign �96Mar. 29-31 IL

Southern Illinois University�sStudent Center, Carbondale.Events: role-playing, card, board,and miniatures games. Otheractivities: an auction and apainting contest. Registration:$10 preregistered, $12 on site.Egyptian Campaign, c/o StrategicGames Society, Office of StudentDevelopment, 3rd. Floor StudentCenter, Carbondale, IL 62901, ore-mail: ECGamCon96@.

Norman Conquest VI IIMar. 29-31 OK

Dale Hall, The University ofOklahoma Campus, Norman.Events: role-playing, card, board,and miniatures games. Otheractivities: tournaments. Registra-tion: $9. Norman Conquest VIII,215-A OMU P.O. Box 304, 900Asp Avenue, Norman, OK 73019.

Spring Offensive VIMar. 29-31

Illinois Central College,IL

Peoria. Events: role-playing, card,board, and miniatures games.The Game Room, 1293 PeoriaSt., Washington, IL 61571.

East Coast Hobby Show �96Mar. 30-Apr. 1 PE

Ft. Washington Expo Center,Philadelphia. East Coast HobbyShow, 4400 N. Federal Highway,Suite 210, Boca Raton, FL 33431.

Conquest �96Apr. 5-8 ❖

Melbourne University HighSchool, Melbourne. Events: role-playing, card, board, and minia-tures games. Other activities:demos and dealers. Conquest,40 Glenlyon Rd., Brunswick,Victoria 3056, Australia, or e-

mail: puche@ariel.ucs.unimelb.edu.au.

OeontaconApr. 12-14 NY

Morris Complex on the SUNY,College at Oneonta, Oneonta.Events: role-playing, card, board,and miniatures games. Otheractivities: a masquerade ball anda dinner. Registration: $11/week-end, or $5/day. Kelly Loucks, 47East St., Apt. #2, Oneonta, NY13820.Madison Games ConApr. 20-21 WI

Downtown Arts and ActivitiesCenter, Madison. Events: role-playing, card, board, and minia-tures games. Other activities: anauction and a RPGA® Networktournament. Registration: $8.Pegasus Games, 341 State St.,Madison, WI 53703.

O-Con �96Apr. 21-23 NY

Morris Convention Center,Oneonta. Events: role-playing,card, board, and miniaturesgames. Other activities: work-shops, demos, contests, anddealers. Registration: $10 prereg-istered, $12 on site. BuranDoyon, 5 Valleyview St.,Oneonta, NY 13820, or e-mail:doyoir96@snyoneva.cc.oneor-r-ta.edu.

Noah Con �96Apr. 27-28 OH

Aqua Marine Resort, AvonLake. Events: role-playing, card,board, and miniatures games.Other activities: tournaments,demos, a miniatures paintingcontest, and an auction. Regis-tration: $3/day. Matrix Games &Diversions, 5384 East LakeRoad, Sheffield Lake, OH 44054.

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Binsada Domain SourcebookA BIRTHRIGHT accessoryby Allen VarneyBinsada�s cavalry is one of the finest

known, but they must fight daily to sur-vive against the Abominations that plotagainst them. Be the one to lead theKhinasi to victory!

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Sword of RoeleA BIRTHRIGHT adventureby Wolfgang BaurChimaeron is a domain of brigands

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Theros lronfeldA DRAGONLANCE® novelby Don PerrinDiscover Theros Ironfeld’s pre-War life

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Winged MagicA TSR novelby Mary H. HerbertKelene and Gabrina are abducted by

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Unless otherwise noted:® designates registered trademarks ownedby TSR, Inc.™ designates trademarks ownedby TSR, Inc.© 1996 TSR, Inc. All Rights Reserved

DRAGON #226 117

ClackContinued on page 7

Zeb Cook returnsto the Outer Planes

Interplay Productions (Irvine, CA) hashired David �Zeb� Cook, creator of thePLANESCAPE� campaign setting for TSR�sAD&D® game, as senior designer for thecompany�s licensed line of PLANESCAPE

computer games. Interplay, publisher ofDescent, Stonekeep, Castles, and manyother computer games, has created aninternal division of over 50 people top r o d u c e g a m e s b a s e d o n T S R � sPLANESCAPE and FORGOTTEN REALMS® set-tings, as well as a computer version ofthe DRAGON DICE� game.

Zeb is reputed to be �older than dirt�.In his many years as a staff designer atTSR, Cook wrote scores of products andseveral novels, and was the mastermindfor the AD&D 2nd Edition project. ThePLANESCAPE box was almost his last workbefore he left the company in early 1995t o w o r k a t M a g n e t i c S o f t w a r e(Washington, D.C.).

FASA licensee goes AWOLFASA Corporation (Chicago) has post-

ed a reminder that AWOL Productions,Missouri administrator of the KA-GE andMechForce North America fan clubs, nolonger has rights to the clubs. FASApulled the license in March after numer-ous complaints from subscribers. Someolder FASA products contain ads forAWOL Productions, and checks sent tothe company since March have beencashed. However, no services have beenprovided, and the company has appar-ently abandoned its post office box, leav-ing an outstanding debt.

FASA�s Louis Prosperi advises, �If youfind that your check has been cashedand you have not received services,please contact the Missouri ConsumerProtection office at (314) 751-3321. Leaveyour name and number, and they willsend you a complaint form. The morecomplaints they receive, the soonerthey�ll take action.�

FASA is now handling MechForce NorthAmerica, the Battletech* game organiza-t ion. For an appl icat ion, wri te toMechForce NA, 1100 West Cermak SuiteB305, Chicago, IL 60608 (or e-mail:fasamna@aol.com).

Send news to Allen Varney at a.var-ney1@genie.com.

FASA has licensed Sword of the KnightPublications, publisher of the increasing-ly fine Earthdawn Journal, to produce a

Shadowrun* game magazine calledShadowland. For subscription informationwrite to Shadowland Magazine, 2820Sunset Lane #116, Henderson, KY 42420(e-mail: swrdknght@aol.com).

Notes from around the fieldGDW (Chicago) has ceased publica-

tion of Challenge magazine. The publisherof the Traveller* and Twilight: 2000*RPGs has closed its offices, reduced itsfull-time staff to three, and is concentrat-ing on its core product lines.

The In Nomine* RPG, announced bySteve Jackson Games (Austin, TX) overtwo years ago but never published, isbeing wholly rewritten to reflect a newfocus. SJG managing editor Scott Haringmakes an analogy to the film business:�It�s like a producer saying, �I want toremake Gone With the Wind, but let�s set itin France, and make Scarlett O�Hara theadventurous rogue, and they�re all dogs.�This isn�t quite �and they�re all dogs,� justa refocusing of existing concepts.� Nopublication date has been set.

Gaming companye-mail addresses

Here are Internet addresses for somegaming companies. This list continues infuture columns. An international list ofrole-playing company addresses is main-tained on the World Wide Web atwww.cgs.washington.edu/~surge/gaming/companies.

Atlas Games: atlas@io.comAvalon Hill: AHRPG@aol.comChameleon Eclectic: cee@bev.netChaosium: chaosium@aol.comDaedalus Games: jgarcia@io.orgFASA: FASAMike@aol.comCDW: gdwgames@aol.comHero Games: hero.games@genie.comICE: vaice@aol.comMayfair Games: mayfair@aol.comMetropolis, Ltd.: seraphim@io.comR. Talsorian: talsorian@aol.comSteve Jackson Games:

sjgames@io.comTSR, Inc.: tsrinc@aol.comWizards of the Coast:

questions@wizards.com

* indicates a product produced by a companyother than TSR, Inc.

DRAGON #226 119

©1996 Allen Varney

Shakeout at Wizardsof the Coast

On Dec. 5, 1995, Wizards of the Coast(Seattle, WA), publisher of the Magic: TheGathering* trading card game, abruptlylaid off 30 employees and cancelledmost of its product lines.

The company continues to supportthe Magic*, Vampire*, and Netrunner*trading card game lines and The Duelistmagazine. WotC will keep selling theGreat Dalmuti* and Roborally* games,reprinting them if demand warrants, butwill not produce new expansions. WotCcancelled all other lines, including theArs Magica* role-playing game (10 daysbefore its fourth edition was to go to theprinter), the Everway*, Primal Order*, andSLA Industries* games, the projectedMagic RPG, and the entire book publish-ing division. WotC retains its events divi-sion (in charge of tournaments and con-ventions) and Customer Service depart-ment.

Employees laid off received threedays� notice and a month�s severancepay. About half a dozen of those laid offwere expected to take new positionswithin WotC, working on the survivingproduct lines. Before the layoffs, the five-year-old company employed about 275people.

Some cancelled game lines may besold or spun off into smaller companies.Dave Allsop, designer of the SLAIndustries game, was laid off fromWotC�s United Kingdom division; he willcontinue SLA under the reborn NightfallGame, SLA�s previous publisher (whichWotC purchased in 1994). Atlas Games(Northfield, MN) expressed interest inacquiring the Ars Magica game. Atlas�sfirst products were licensed supplementsfor ArM when it was published by WhiteWolf Game Studio (Atlanta, GA).

Record earningsThe cancellations were announced in

a press release that began with a reportof record sales and profits for 1995. �Byconcentrating on its Deckmaster* games,related competitive events, internationalexpansion and new opportunities inelectronic and computer-based gamingin 1996, the company expects to contin-ue to grow and maintain its position ofleadership in the industry.�

�To do this effectively,� said WotCfounder and president Peter Adkison,�we need to focus our energy andresources in the Deckmaster line andnew product areas.� In a follow-up letterposted on the Internet, he said, �Oursales are at an all-time high. [The Magicgame] is doing better than ever. Salesand profits this year have doubled overlast year, and we are expecting furthergrowth in the future. . . . Unfortunately,not all of our current lines of business areas promising.

�I have come to the conclusion that ifanyone is going to do something greatand innovative with RPCs, it�ll probablybe someone else. I bow from the field. . . .I do not look at this as a disservice toRPGs. I think we were doing a disserviceto RPGs by not giving them adequatesupport. We simply do not seem to beable to do a great job in the RPG busi-ness. We have never admited this before,but we have lost money on every singleRPG product we�ve published.�

As for book publishing, �While we�vebuilt an excellent team for publishingbooks, we think we can better supportour game lines by working with majorbook publishing companies that focuson this business and understand it betterthan we do.�

Adkison said WotC will probablyresume publishing table games such asthe Roborally game in the future.

Reasons and reactionsThe layoff appears to be part of a

straightforward restructuring of the fast-growing company. �There wasn�t a whiff

of desperation about this move,� saysWolfgang Baur, former DRAGON® Magazineeditor and leader of the cancelled MagicRPG project. �It was more like, �We�regoing to do what works, and stop doingwhat doesn�t work.��

According to sources within the com-pany, the decision to cancel was madeless than 24 hours before the announce-ment.

WotC has made many unprofitableexpenditures: the purchase of NightfallGames, which published three productsin a year; a �Theatre Alchemy� group thatproduced promotional videotapes; theMagic game World Championship inAugust, when WotC flew competitorsfrom 19 countries to Seattle and coveredthe proceedings on closed-circuit TV;having 150 workers at the 1995 GENCON®Game Fair in Milwaukee; a $2 millionremodeling of a new office building,huge company parties, and so on. Fourdays before the layoffs, WotC announceda �Pro Tour� series of five professionalMagic game tournaments, beginning inFebruary in New York City. The 256-play-er Seniors tournament offers cash prizestotalling $30,000, and a 128-playerJuniors match offers scholarships ofequal value. WotC is flying in the topeight finishers from the World Champion-ships for the tournament.

WotC employees expressed shock atthe sudden layoffs. The reaction of JannaSilverstein, head of the book depart-ment, was typical: �I�m deeply disap-pointed, slightly bewildered, and tryingto figure out what to do next.� ArsMagica line developer Wade Racine said,�I was told they were going to supportmy line, and they did for a time. Then ita l l came crashing down on BlackWednesday.�

O n t h e F r i d a y f o l l o w i n g t h eannouncement, employees gathered inthe landscaped courtyard of WotC�s newbuilding to hold a formal wake, completewith bagpipe, candles, and expressionsof grief.

Continued on page 119

120 FEBRUARY 1996