SPECIAL ATTRACTION

OTHER FEATURES

DEPARTMENTS

C O V E R

2 MARCH 1989

1 3 View from the Top:After you create a world, you have to run it.

1 4 . . . And Nobody Knows But You � Russell DroullardWhat do the characters know about their world, anyway?

2 2 Out of the Textbook, Into the Game � Eileen LucasSuppose the American Civil War had been fought with dwarves andelves. . . .

2 8 Telling It Like It Is � Thomas KaneA DM can make or break an adventure from the moment he opens hismouth.

3 6 The Highs and Lows of Fantasy � Paul HancockWhich is better: the gold or the glory? You need the answer, and soon.

4 6 To Be Continued . . . � Thomas KaneComing soon to a dungeon near you � an adventure of epic proportions.

5 2 The Other Option � fiction by Dylan BrodyHe said he would even fight a gryphon to win his love. Too bad everyonebelieved him.

6 0 Through the Looking Glass � Robert BigelowWith the right tools, you can even build a dragon in flight.

6 6 The Marvel®-Phile � David Edward MartinA trio of turncoats, the last of the Redeemers�.

7 0 Role-playing Reviews � Jim BambraHow far is the world of Greyhawk from Talislanta?

7 6 The Role of Computers � Hartley, Patricia, and Kirk LesserTake a high dive into SSI�s Pool of Radiance.

8 4 The Role of Books � John C. BunnellThe brave new worlds of fantasy, and welcome to them.

3 Letters 52 TSR Previews 96 Dragonmirth4 Forum 88 Gamers Guide 100 SnarfQuest

10 Sage Advice 90 Convention Calendar

With the right DM in the cockpit, your fantasy campaign can go anywhere � as DenisBeauvais shows us in his cover painting for this issue: �Firepower.� The cockpit, by theway, is that of an F-18, as accurate as we�re allowed to show.

What did you think of this issue? Do you have Dear Dragon:a question about an article or have an idea for anew feature you�d like to see? In the United

I have two questions regarding the metalmas-

States and Canada, write to: Letters, DRAGON®ter monster in �The Dragon�s Bestiary� (issue

Magazine, P.O. Box 111, Lake Geneva WI 53147,#139). First, when the creature is attractingmetal, what is the chance of an armored charac-

U.S.A. In Europe, write to: Letters, DRAGONMagazine, TSR Ltd., 120 Church End, CherryHinton, Cambridge CB1 3LD, United Kingdom.

ter being pulled into its �blade barrier� of orbit-ing metal? Second, if the barrier only orbitsaround the metalmaster, can overhead attacksbe made without penalty?

Fixing the errers Paul WestWoodstock VT

Dear Dragon: Judging from the text, the metalmaster willI was reading Dougal Demokopoliss�s article avoid drawing metal-armored opponents

on spectators [issue #139] when I discovered an toward it, to keep it safe from attacks. Instead,error. If a spectator was summoned and was, it repels such characters as described on pagesay, 950 years old, and agreed to guard a trea- 72. If the metalmaster wanted to pull a charac-sure, it would die before the end of its servi- ter closer, the DM should use the rules fortude. Wouldn�t a spectator between 900 and 999 repulsion and simply reverse the effects. Inyears old be immune to the monster summon- other words, an attracted character could noting V spell? resist the magnetic effects of the metalmaster

Rob West unless the character made a strength checkLexington OH each round on 1d20; failure means the charac-

ter is pulled 5-10� closer to the monster, depend-Given the intent of the article, it appears that ing on how much metal the character has on his

spectators that are about to die (and thereby person.reproduce) are immune to the effects of the If a character attacked the metalmaster fromsummoning spell. Thus, spectators that are above, reduce the damage suffered from flying1-898 years old are the only ones that can be metallic debris by half (i.e., 2d6 hp damage, orsummoned, since they can serve for 101 years 1d6 hp damage if a dexterity check is made onand still have a year left to rest before �the 1d20 at +4 on the die roll). Some debris will stillchange� comes at 1,000 years. pass above the creature on wild orbits.

Dear Dragon:I found what I think are two errors in issue

#139. The first is in the article �Lords andLegends,� page 17. At the beginning of thedescription of Eelix, it says that �Eelix the Wiz-ard was born Felix Furley.� Did he change hisname? The second mistake is on page 33. It says[regarding the spell change form], �The acid willcause no damage to the recipient of the spell,unless he successfully makes his saving throw.�Why make the recipient of the spell have apunishment for making his save?

Dear Dragon:In issue #141, on pages 16-17 [in �The

Dragon�s Bestiary�], you mismatched the mon-ster names with the pictures. As far as I canmake out, the �caiveh� is really a jor, the �jor� isa diurge, and the �diurge� is a caiveh.

Conrad SchnakenbergEast Moriches NY

Many readers pointed out this error, but youwere the first.

Darin WoolpertWalnut Creek CA Dear Dragon:

In issue #141, on page 39, in Table 3, you haveEelix did indeed change his name, according the maximum strength [of kobold and xvart

the author�s original manuscript. The second characters] as 15. How can this be the maximumproblem you referenced is on page 34, and yes, when you roll 3d6 and subtract 1? Shouldn�t thisthe recipient does take damage only if he makes figure be 17?his saving throw. In order for the spell to func- Brian Earlytion and change the recipient into another Oak Ridge TNcreature, a vial of acid with powdered gem-stones is broken upon the recipient. If the spell If the strength score for such a character isfunctions normally (i.e., if the recipient fails his greater than 15 after subtracting 1 from the 3d6saving throw against it), the acid does no dam- roll, the score should be reduced to 15. Theage to him. Considering that this spell could be a subtraction of 1 from the die roll simply lowersvery effective (if slow-acting) attack spell � for the average strength of the characters createdexample, permanently turning a 9th-level pala- by this system. If a 3d6 roll of 3 is made, thedin into a ½-HD kobold � then the damage score remains 3.suffered by making the saving throw and suf-fering the effects of the acid (which cannot nowbe used in the spell) are minor, indeed.

S c u m(but good scum)

We've received a number of lettersfor "Forum" lately on the topic ofevil player characters. You eitherlike them or hate them, and thereisn't a lot of middle ground on thistopic. Some gamers who like to playevil PCs mention me by name, point-ing out that I wrote an article onhow to run an evil-PC campaignsome years ago (DRAGON® issue#45, pages 60-61: "How to have agood time being evil").

So, am I in favor of evil PCs?Well, yes and no. I am in favor of

playing evil PCs if the gamersinvolved like to do it and they enjoythemselves without hurting any-thing. I am not in favor of it if thegamers use their characters' align-ments to justify disrupting the gameand destroying the pleasure thatothers take in playing it.

The usual way in which evil PCs(and many neutral and good PCs)are used to ruin a game is by killingoff other people's player characters.This tactic makes people drop out ofthe game at blinding speed. Whatfun is it to drive over to a friend'shouse just to be frustrated for anevening? It was for this reason thatassassin characters were cut out ofthe AD&D® 2nd Edition rules tobegin with (issue #121, page 13).People who like bumping off otherpeople's characters have a maturityproblem. (I've done it myself, once,and I should know.)

As "How to have a good time beingevil" pointed out: "Everyone needsto be aware that unless some kind oftrust can be formed among theplayers in AD&D or any other role-playing game, the game quickly fallsapart. Who wants to get involved ifyou keep getting stabbed in the backall the time? . . . If you plan oncounting on your fellow adventurersin a crunch, regardless of youralignment, you'll have to treat themwith respect."

In short, even evil characters haveto stick together. Such characterscan have their own plots and coun-terplots, but these are best kept to anonlethal level that does not disruptthe game. I recall some entertainingadventures in which PC halflingthieves happily stole the rest of thegroup (and each other) blind. EvilPCs should find similar ways tochannel their rivalries into activities

Continued on page 98

DRAGON 3

“Forum” welcomes your comments and opinionson role-playing games. In the United States andCanada, write to: Forum, DRAGON® Magazine,P.O. Box 111, Lake Geneva WI 53147, U.S.A. InEurope, write to: Forum, DRAGON Magazine,TSR Ltd, 120 Church End, Cherry Hinton,Cambridge CB1 3LB, United Kingdom. We askthat material submitted to “Forum” be eitherneatly written by hand or typed with a freshribbon and clean keys so we can read andunderstand your comments.

Adventurers can be attacked by groups ofidentical archers, with each arrow hit doing 1d6damage. Often the groups are large, and rollingdice for each arrow gets boring. Here is a wayto quickly approximate the damage from volleysof arrows. Figure the number of arrowsdirected toward a character and calculate the1d20 roll needed to hit that character. Then rollonce to hit, modifying �to hit� and damage rollson this table.

Minimum �To hit� andrequired damage roll

to hit adjustments20 + 1 per 6 arrows19 + 1 per 3 arrows18 + 1 per 2 arrows17 +2 per 3 arrows

16-12 + 1 per arrow13-11 +3 per 2 arrows10-8 +2 per arrow7-6 +5 per 2 arrows5-3 +3 per arrow2-1 + 7 per 2 arrows

Obviously, a separate calculation will berequired before rolling for each individualcharacter. At the referee�s discretion, rolling anatural 1 for the archers means that no arrowhit. The approximations in the table are derivedusing grammar-school arithmetic. This kind oftable is also applicable to a variety of othergaming situations.

Ed FriedlanderKansas City KS

I have been an avid D&D® game player for alittle over five years now, and I am concernedabout the future of the D&D game. No, not theAD&D game, the original game. Even thoughplayers of the AD&D game number more thanthe players of the D&D game, there is still awide audience. I have heard remarks like �D&Dis for babies.� Unfortunately, most players arenot willing to give the D&D game a chance.Granted, it is much simpler than the AD&Dgame, but it is still an excellent system. ManyDMs play a mixture of the two; this is fine (I dothis myself), but they don�t recognize the D&Dgame as a separate system. Right now, I�d like toadd some points which I think make the D&Dgame better.

First, the combat system is a heck of a loteasier. It doesn�t have weapon speed factors,weights which affect the swing, and so on. Youjust use the normal combat system without all

4 MARCH 1989

the added extras. Next are the characters. [TheD&D game has] all the basic classes, but there isno dual-class rule; you are one class and oneclass only. Fantasy heroes didn�t train half theirlives as fighters and then become magic-users; itwas just impossible. The spell system is exactlythe same, except that there aren�t as many spellsto choose from. Finally, there is the role-playingaspect of the game; there is a whole set of ruleson running a large-scale campaign in the Com-panion Set. The mechanics of the game aresimple, so the emphasis is on role-playing.

I hope that I have made it clear that the D&Dgame is worth your while to play. It is a startlingdifference for both DMs and players alike. Ihope that, you give the D&D game a try

Bob TarantinoEtobicoke, Ontario

I very much enjoyed �The Long Arm of theLaw� by Dan Howard (issue #136). This articleexcels in showing how law enforcement can bereadily handled in a role-playing situation.However, the author did not include the effectsthat magic can have on such situations, particu-larly ESP and detect lie spells (or their equiva-lent magical devices: crystal ball of ESP ortelepathy, helm of telepathy medallion of ESP,mirror of mental prowess, ring of truth, etc.).This brief note examines the impact of magic onthe four phases of a criminal justice system:detection, apprehension, trial, and punishment.

Generally, detection does not require the useof magic. Missing property, smashed taverns,and dead bodies all are indications of a crime.Yet certain crimes are not so easy to detect, likemissing persons, embezzlement, and treason. Inthe case of missing persons, family, friends, andacquaintances are generally questioned. ESPand detect lie would determine the veracity oftheir statements. These two spells would alsoallow business and governments to periodicallyensure the honesty and loyalty of all persons inpositions of trust.

Apprehension of suspected criminals andreluctant witnesses may be aided by any type ofcrystal ball, if the viewer has some knowledgeof the person sought. ESP and detect lie couldbe used on anyone who might have knowledgeof the suspect�s whereabouts. For major crimes,commune and contact other planes might beemployed.

The trial phase is where magic makes thegreatest change in the criminal justice system.Without magic, a judge or justice must weighthe evidence of the various witnesses to deter-mine guilt or innocence. With ESP and detectlie, the veracity of all evidence is known. Thepurpose of the trial is to determine motivationand what, if any, punishment is appropriate.

From the information gained at the trial, thepunishment can be made more appropriate toboth the crime and the motivation. The use ofthe geas spell (and possibly the quest spell) canallow for very creative punishments. �The courtfinds that Robert the Bold accidentally killedJohn the Smith. Robert the Bold is geased to

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support the family of John the Smith for fiveyears or die.� Let the punishment fit the crime.

Once before in �Forum� (issue #98), I wrote asimilar note on the importance of including thereality of magic in the discussion of any AD&Dgame society. My final words then apply equallywell now: �Magic makes things different.�

Thomas W. GossardDavis CA

[Mr. Howard replies:]Upon looking back, I could almost kick myself.

[Mr. Gossard is] quite right about the influenceof magic on law enforcement. However, magic-use in law enforcement has limited applicationdue to certain legal complications, [the main onebeing that] the unlawful use of magic is a crimein itself. Without the consent of the recipient orthe proper legal authorization, a magic-user canbe arrested and charged with assault. Magicalassault is on a par with physical assault; magic-users cannot be allowed to enspell people on awhim. Hence, the authorities in a society mustbe prudent in their use of magic to avoidcharges of unusual force or violation of rights.

The second complication is rights. In everygood-aligned society, a citizen has a right to befree from magical influence. Law enforcementoffices cannot sprinkle healthy doses of detectlie spells on all their witnesses without someonegetting angry. In addition; people do not enjoybeing the recipients of spells, especially if theyare witnesses trying to help, and as a result,they may decide not to cooperate with localauthorities for personal reasons. In this way, theuse of magic may hinder rather than helpinvestigations.

These revelations inhibit the use of magic inthe detection phase. To use an ESP or detect liespell, the government must have some sort of�probable cause!� Basically, there must be areason to suspect a person in order to warrantan ESP spell. Simply being in a position of trustis not enough justification for a governmentmagic-user to enspell you.

In the apprehension phase, magic can assistthe location of the criminal through the use ofscrying devices. Of course, these devices are notinfallible, and there is a chance of not locatingthe person (see the Dungeon Masters Guide,page 141, �Crystal Ball�). In addition, the loca-tion might not be identified by examining itthrough most devices; it is simply seen. Spellshave similar chances for failure.

And who said magic-users were reliableanyway? Magic-users, as government employ-ees, are still susceptible to political power playsand manipulations. The value of the evidencecollected by a magic-user is only as trustworthyas the magic-user himself. An unscrupulousmagic-user can cast spells that masquerade asother spells, creating false results. One goodillusionist could break the scales of justice in acity for years to come.

In the trial phase, magical evidence (if legal)should be weighed by the court just as otherevidence is. To send a person to jail merely onthe results of a few magical tests would sendevery barrister in the city into a fury. Amodern-day comparison: How would you like tobe sent to jail for something you said under theinfluence of sodium pentathol?

As for sentencing, the punishment is ulti-mately up to the DM. Most crimes are consid-ered to be crimes against the state anyway. Theresponsibility for enforcing the law ultimatelyfalls on the society. Nothing is cut-and-dried.

Daniel W. HowardManhattan Beach CA

6 MARCH 1989

Although I agree with Mr. McNeill�s comments(issue #134) that harpies could come frommeteorites or trees, his argument fails in at leasttwo points. The first is his linking the AD&Dgame world to primitive societies. The second ishis assumption that an electron microscope isneeded for a knowledge of genetics.

Certainly most societies in the AD&D gameare less advanced technologically than themajority of societies in this world. This does notmake them primitive. Most campaigns focus onsocieties comparable to those in medievalEurope, with some extending as far forward asrenaissance Europe and others extending backto the ancient civilizations of Egypt, Greece, andRome. Few center around the hunter-gatherercultures, which are referred to as primitivesocieties. Even these societies stick to this forag-ing pattern not because they are ignorant, butbecause there is no need to change; food isabundant and there is plenty of leisure time.The cultures of Egypt, Greece, and Rome werehighly advanced, with impressive achievementsin agriculture, architecture, mathematics, sci-ence, and philosophy.

The ancient Greeks� scientific achievementswere hindered not so much by the lack ofelectron microscopes as by their penchant fortheorizing without regard for testing their manyhypotheses: This had more to do with theircultural background than their technologicallevel. The medieval Europeans (who had adifferent cultural heritage) were able to maketremendous technological advances using thesame basic ideas and concepts of the ancients.The difference was not in their intelligence butin their mindset. As for primitive societies notknowing �anything about reproduction,� this isridiculous. Hunter-gatherer societies have atleast a basic understanding of both plant andanimal reproduction. To suggest that the �moreadvanced� agricultural societies have no knowl-edge of reproduction is even more absurd.Further, an understanding of genetics does notrequire a microscope of any sort, much less anelectron microscope. Mendelian genetics wasdeveloped simply by observing and conductingbreeding experiments with garden peas, experi-ments that required no tool more advancedthan a pair of scissors.

Even though microscopes were not needed,this does not mean that they were not available,nor that AD&D game sages must limit them-selves to magnifying glasses. While the electronmicroscope was not invented until the 1930s,compound microscopes were in use by the late16th century and lenses were developed by the14th century. Moreover, fantasy sages have theadvantage of magic. Any society that is capableof creating eyes of minute seeing or of develop-ing myriad information-gathering and detectionspells should surely be able to unravel themysteries of where harpies come from, Evendisregarding information-gathering spells,enough magical items and spells exist for plane-traveling that a sage could come to this worldand gain �an awful lot of modern knowledge�even if an electron microscope would not func-tion in the AD&D game universe.

Timothy KonevalNormal IL

I am writing concerning the topic of align-ments in the AD&D game. I feel that not onlyare evil characters going to lose status in theAD&D 2nd Edition game, but that they arealready inferior. Sure, there are assassins,poisons, and reversed clerical spells, but thereare paladins, healing, and magical items of holypower. How many +5 un holy avengers do you

know of? A party with any evil character isprobably not going to be favored by any goodor even neutral cleric, and a party cannot liveon potions of healing alone. (This brings up therole of the cleric as a battle medic, but that isanother matter altogether.) The characterclasses open to evil characters are also limitedby the exclusion of rangers, druids, and pala-dins; level for level, they are as powerful (if notmoreso) than any assassin I know of.

Next, the complaint that most of the monstersin the game are evil makes no sense whatsoever.This is so for a very simple reason, and that isthat evil monsters are by far the most versatile.If you have a party of good or even neutralcharacters, it is going to fight evil by virtue ofalignment. However, if you have an evil party, itwill fight your monsters because of the natureof evil. If you were to have a majority of goodmonsters, good parties would be out of luck,and you might as well call it the �Friend Folio�instead of FIEND FOLIO® tome.

K. B. LaBawRidgecrest CA

In issue #138, Sean Jump complains that therules favor good-aligned PCs over those with anevil alignment. As the AD&D game and RPGs ingeneral have grown from relative obscurity byserving the merest fringes of society, blossominginto the recreational giants they now are, theyhave drawn a lot of fire from many differentgroups. TSR, Inc., in an effort to stem some ofthe criticism aimed at it (as the producer of themost widely played RPG) has made certainchanges in the wording and balancing of theAD&D game rules. One such change was thebalancing of the scales against evil-alignedcharacters.

I have been a player for quite a few yearsnow in a campaign that we simply refer to as�the evils,� because all of the player charactersare of one evil alignment or another. I play anevil paladin who suffers none of the penaltiesdescribed in the AD&D game volumes, and letme assure you, he�s no pansy! I created thischaracter with the campaign�s DM by changingthe rules to allow greater excitement and a typeof fun that this sort of game variant allows. Ithas certainly been no cakewalk for my antipala-din, but it sure has been a barrel of laughs!Granted, I would never dream of bringing thisplayer into another DM�s campaign or to atournament, but then again, who cares? I canalways start a new character! So Sean, if youreally want to play an evil character, my adviceis to go ahead, but some of the most powerfulcreatures in gaming will be out to turn youfrom your evil ways, one way or another.

John C. TiedemannBaldwin NY

I chose this time to write to �Forum� becauseof the letter by Sean Jump in issue #138. Hemade a few good points as to why playersshould be allowed to have evil characters. Iwould like to expand upon his work.

As a DM, my adventures are very demandingon the intellect of the player. I have long sincediscarded the hack-and-slash element of play tomake room for more problem solving andrefined killing. After seven or eight hours ofplay, half of my party has headaches and theother half have drawn their swords and arekilling each other to reduce actual stress. Hence,I created the evil characters.

Every four or five games, I get out the note-book full of evil PCs, of all classes, and let thiefplayers have a breather from having to be good.Soon enough, the band of deadly foes marches

upon some defenseless town to lay waste toanother society. I am forever providing the foeswith opportune times to destroy and do gener-ally nasty things.

These evil adventures are a source of releasefrom all the strain of being good. It allows theplayers to partake of the spoils that they usuallysee their archfoes lounging in. None of myfriends are evil, but yet they find elation in notalways having to be heroic and daring. Theelement of fantasy provides them with a placeto channel real-world frustrations as well.

Christopher E. BroganNorth Andover MA

For those DMs looking for a new twist, afriend of mine once suggested what he called�Reversal AD&D.� That is, the players handtheir characters to the DM and each is allowed achoice of monster of appropriate level (with theDM�s general discretion) to name, develop abackground on, and present in a dungeon. Yourexperienced characters are somewhere in thedungeon, and your group of monsters willeither have to work together or make allianceswith other creatures to work against yourcharacters. It�s important that the DM doesn�tharm the actual characters � just the copies ofthe PCs� statistics.

Darren HennesseyTampa FL

Concerning Sean Jump�s letter in issue #138, Iam also from Corbin, Kent., and it is true thatmany people down here seem to prefer evilcharacters.

Originally, there was one main role-playinggroup in Corbin, which in its prime had over200 regularly playing members (quite large for atown of 8,000). There were at least a dozenGMs, myself included, and a plethora of gamesbeing played, ranging from the AD&D game toHero Games� CHAMPIONS� and FGU�s SPACEOPERA� games. Everything was going well; wehad even developed a measure of acceptance inthe community (which is very hard to do in aconservative, semirural setting). Thingschanged, however. It started with a few newmembers of the club who wished to play evilcharacters. It went all right for a while, the evilcharacters doing their best to conceal theiralignments from their fellow party members.Such is part of the fun of role-playing.

Suddenly, though, their attitudes changed.The good and neutral-aligned characters begandropping like flies in a sealed jar. Almost all ofthe nonevil characters (and their players) disap-peared from the campaigns, followed soonthereafter by the DMs. They tried to play othergames, but the �evils� followed, due to a rule inthe group�s charter that a GM could not excludea player due to the player�s actions in a differentcampaign or under another GM. If these (literal)character assassinations had been a part ofnormal game play, maybe it wouldn�t have beenso bad; however, the majority of the killing wasto �get even� for real or imagined (mostly imag-ined) slights by other players. Things got worse.

Soon the group dropped from 200 membersinto two groups of about 20 each. The first wasprimarily good-aligned but was mostly made upof GMs. The second was made up of the playerswho only played evil PCs. The first group col-lapsed as there were not enough players to goaround between the GMs (there were twoplayers per GM). The latter group fragmentedfurther due to the back-stabbing that went on inthose campaigns. The Hobby Center, the onlygaming store for 50 miles, went out of businessfrom lack of support. This finally put the good-

8 MARCH 1989

aligned group down for the count because thestore had been the sole provider of regulargaming space in town, as the GMs (who weremostly adults) lived too far apart to have thegames at their residences. All that was left wasthe occasional surviving evil campaign (whosemembership changed weekly) and my owngroup, three persons strong. Soon, my grouptoo went by the wayside for a while, due tocollege.

The moral of my story is simple: All evilcharacters do for a campaign or group is lead tothe game�s destruction. Tracy Hickman andMargaret Weis weren�t just whistling Dixiewhen they said in the DRAGONLANCE® booksthat �evil turns in upon itself.� Read the �Sor-ceror�s Scroll� columns by Gary Gygax,reprinted in The Best of DRAGON Magazine,vol. II. The AD&D and D&D games were origi-nally created as a battlefield of Good vs. Evil,with the opposition to the players being Evil!

The evil-character rules were at first mostlyguidelines for creating evenly matched foes forgood and neutral characters. The reason thatcreatures such as Orcus don�t have champions isbecause the champion (by his alignment�snature) would eventually try to supplant hismaster. Evil clerics, by nature, are usually tooselfish to use healing spells on others, anyway.Any person even slightly familiar with theAD&D game�s alignment system should beaware of that!

Finally, it is the people who run and play inevil campaigns who have given role-playinggames (especially AD&D games) their bad repu-tation. Five years ago, people thought thatanyone who played D&D games was a devilworshiper. Three years ago, we had almosteliminated that myth. Now it is back to the wayit was five years ago. In my experience as a 21-year-old with four years of college and DMingunder my belt, the only thing evil PCs do isdestroy what all players have strived for foryears � public acceptance.

Stanley BundyCorbin KY

There has been much debate over a spell-bonus system for magic-users. Instead of extraspells for the magic-user, similar to the cleric�sbonus for high wisdom, I suggest giving magic-users with high intelligence more memory. Thisallows the magic-user to memorize more spellsthan he can cast each day. For example, a 1stlevel magic-user can cast one spell, but if he hasa high intelligence, he can memorize one or twoextra spells. The magic-user may memorizesleep, charm person, and magic missile, butcould only cast one of them [each day]. Thismakes the magic-user more useful, but will notunbalance the game like a spell-point systemwould.

I agree and disagree with Jason Greff (issue#133) on the issue of memorization. He is rightthat removing the memorization rules would bedrastic, but Raistlin from the DRAGONLANCEsaga is a poor example. Those books were basedon the AD&D game rules. Raistlin forgot hisspells because the rules say so. I do think thememorization rules are a little strict, so I sug-gest that a magic-user should only have to goover his spells each morning. Committing spellsto memory every morning should not berequired. Magic-users do, as Steve Shewchukpointed out in issue #128, become too tiredafter their last spell to cast another.

I agree with Tim Lieberg�s suggestion (issue#134) to start magic-users at 2nd level. After all,experience should not be given out for monsterslaying and treasure finding only. For magic-

users, it also comes from researching and, as EdKruse pointed out in issue #134, casting spellsusefully. To balance this, I suggest giving outonly half experience to magic-users for killingmonsters, unless they use spells to do so.

Lastly, I would like to share my opinion ofmulticlasses involving magic-users. I do notallow magic-user multiclasses above 4th level.My reasoning is that they must devote theirtime to studying the higher arts. The onlypossible exception would be the magic-user/thiefclass, and that mix would have to be limited inmaximum level, thieving abilities, and spell-casting abilities.

Eric SonnestuhlOlympia WA

Recently, readers have been sending in letterstrying to change the magic-user character. Somewish to make it better in combat situations byallowing the use of armor, more diverse weap-onry, spell bonuses, etc. Each letter has its ownmerits, which I won�t debate here.

The one thing few realize or suggest changingis the minimum/maximum number of spellsknown per spell level due to intelligence. Cur-rently, there are 40 official spells of 1st levelalone. Magic-users with maximum normalintelligence are restricted to a maximum of 18of these spells. Meanwhile, clerics and druids ofthe lowest minimum wisdom are able to receiveany of their spells with no restrictions whatso-ever. I suggest dropping the minimum/maximumvalues altogether. Is game balance really upset ifa magic-user can learn all spells of his class? Heis still restricted to casting X number per daydue to his level.

In my own campaign, following an examplefound in FR4 The Magister, I have divided allmagic-user spells into three different categories:common-knowledge spells, rare spells, andunique spells.

Common-knowledge spells are ones that areeither not overly powerful for their levels, orhave been around so long that every mageknows of them. These are the easiest spells tofind and learn, and consequently are cheapereconomically.

Rare spells are the �named� spells (variousBigby�s hand spells, etc.), which also includesome common spells that have different castingresults than normal due to some obscure wiz-ard�s research. Though many of these spells�effects are well known, few mages will giveaway the secrets of casting these spells unlessoffered a hefty price, usually involving thetrading of magical items and more spells.

Unique spells are primarily those that I havepersonally decided should or would not be inthe hands of ordinary mages. They can only befound in certain books, tomes, scrolls, etc., andare very hard to find (and thus are not wellknown).

Using a system like this, it sometimes costs thecharacter more than it�s worth to gain the useof rare or unique spells. The characters willgenerally find it less costly to invent their ownspells. The character can then make himselfrich by selling the knowledge to other mages, ordefend himself from those who seek to steal theknowledge.

Incidentally, in my campaign, there are closeto 900 magic-user spells, ranging from lowlycantrips to ninth-level spells. These spells comefrom the various hardcover books, as well asfrom magazine articles, descriptions of my own,and the inventions of others.

Wendell WorksTruro, Nova Scotia

by Skip Williams

If you have any questions on thegames produced by TSR, Inc., �SageAdvice� will answer them. In the Unit-ed States and Canada, write to: SageAdvice, DRAGON® Magazine, P.O. Box111, Lake Geneva WI 53147, U.S.A. InEurope, write to: Sage Advice,DRAGON Magazine, TSR Ltd., 120Church End, Cherry Hinton, CambridgeCB1 3LD, United Kingdom.

This month, �Sage Advice� visitsKrynn, the world of the AD&D® game�sDRAGONLANCE® saga. The abbrevia-tion DLA stands for the AD&D® game�sDRAGONLANCE Adventures tome.

10 MARCH 1989

Where can I get the addresses ofMargaret Weis and Tracy Hickman?

You can write to Margaret Weis andTracy Hickman c/o TSR, Inc., P.O. Box 756,Lake Geneva WI 53147. We will forwardyour letters to them.

When will DRAGONLANCE Tales IIhe coming out?

To my knowledge, there will be no bookseries called DRAGONLANCE Tales II. Thesecond and third DRAGONLANCE Talesvolumes (Kender, Gully Dwarves, andGnomes and Love and War) are alreadyout, as are three DRAGONLANCE Heroesnovels (The Legend of Huma, Stormblade,and Weasel�s Luck).

How do you pronounce Raistlin?Raistlin is pronounced RAIST-lin. The

first syllable rhymes with �waist� and thesecond with �bin.�

How many DRAGONLANCE mod-ules are there, and how many moreare planned?

There are currently 16 DRAGONLANCEmodules in the original series in print (DL1through DL16). A new module series isscheduled for release in 1989 (DLE1through DLE3), with a boxed set calledTime of the Dragon (about the side ofKrynn opposite Ansalon) planned as well.

How many provinces are there inSolamnia? Several maps publishedin the various DRAGONLANCEproducts differ on this point.

The Atlas of the DRAGONLANCE Worldby Karen Wynn Fonstad (TSR product#8448, $15.95) shows six provinces onpages 94-95: Solamnia, the Plains of Solam-nia, Southlund (which includes the city ofCaergoth), Coastlund, Throt, and anunnamed province containing the city ofLemish and the Southern Darkwoods.

How could Tanis, a half-elvenfighter, attain 12th level? The DLAsays half-elven fighters can onlyreach 9th level.

Ninth level is normally the limit for half-elven fighters on Krynn. But, since Krynnis an AD&D game world, single-classeddemi-humans can exceed their class levellimit by two (Unearthed Arcana, page 8).Where Tanis got his extra level is any-body�s guess, but the fact that he attained12th level is not surprising considering hispivotal role in the War of the Lance andthe time he spent in the presence of Pala-dine himself (in the guise of Fizban).

When will the DRAGONLANCEtrilogies come out in hardback?How much will they cost?

Hardcover collector�s editions of theDRAGONLANCE Chronicles are availablenow (TSR product #8320). This editioncontains all three books in the trilogy andcosts $16.95 (£9.95 in the U.K.).

Can Dargonesti elves be PCs?No. This race almost never ventures out

of the ocean depths.

How can such races as Dimernestielves, irda, and mountain dwarvesbecome paladins when the PlayersHandbook clearly states that onlyhumans may?

The Players Handbook does not considerwhat is possible on Krynn. Undoubtedly, ifsuch characters were to leave Krynn, theywould revert to being cavaliers or fighters,depending on their races.

Can a cleric from the Holy Ordersof the Stars cast both clerical anddruidical spells, or does each deityhave both clerics and druids?

Krynn has no druids (except heathens).A cleric of the Holy Orders of the Starscan cast any spell within his deity�s sphere(DLA, pages 41-42 and 120-125).

Can a PC on Krynn opt to becomean illusionist? Can a Wizard of HighSorcery cast both illusionist andmagic-user spells?

All illusionists on Krynn are renegades(DLA, pages 13 and 36). A Wizard of HighSorcery can cast spells from any sphere ofmagic allowed to his order (DLA, pages 35-36 and 126-127), illusions included.

Why can�t wizards of the BlackRobes cast evocation spells such asfireball and lightning bolt? Weren�tthese spells included in the AD&Dgame to compensate for the magic-user�s lack of melee ability?

The order of the Black Robes simplydoes not teach evocation spells. To com-pensate for this, wizards of the BlackRobes advance faster than the otherorders. Also, do not sell the Black Robesshort � their spell selection, though notflashy, includes some potent magic.

How could Raistlin, a wizard ofthe Black Robes, cast lightning bolt,an evocation spell?

Raistlin was a wizard who broke allsorts of rules and retained his position inthe Black Robes only through sheer power.He was intentionally created to not con-form to all of the AD&D rules on magic-users � only most of them.

How do DMs play the effects ofRaistlin�s vision? Are there specificgame effects? Is he, for example,unable to determine if a log or stoolis safe to sit on because he seeseverything in a state of decay?

Raistlin�s vision has no specific gameeffects. Raistlin sees the effects of time onliving things; this accounts for his cyni-cism. Logs and stools are not alive, soRaistlin�s perceptions of them are unaffect-ed. Raistlin�s perceptions of anything long-lived, such as elves or trees, are hardlyaffected.

I have been trying to locateDRAGONLANCE game material forsome time. I have visited severalstores whose owners claim that it isno longer to be had.

All DRAGONLANCE products are still inprint. If your local hobby or book storedoes not carry them, you can get themfrom the TSR Mail Order Hobby Shop inthe U.S. or from TSR Ltd in the U.K. Justwrite for your free catalog. The addressesto use are on the first page of �Forum� inthe publisher�s column.

Where can I get the officialDRAGONLANCE miniature figures?

TSR, Inc. once produced officialDRAGONLANCE miniature figures, but

12 MARCH 1989

now Ral Partha Enterprises, Inc. has thelicense for them (see �Through the Look-ing Glass� in this issue). For more informa-tion, write to: Ral Partha Enterprises, Inc.,5938 Carthage Court, Cincinnati OH45212; or call: (800) 543-0272 toll-free.

Wizards who change orders losetwo levels of experience. If a wizardof 4th level or less opts to changeorders, he will become a studentwizard. In such cases, does the wiz-ard have to undergo a new Test ofHigh Sorcery, or is he automaticallyaccepted by his new order? Whatabout wizards who are reducedbelow 3rd level by energy-drainingundead?

Since Tests of High Sorcery are grueling,life-threatening affairs, it is reasonable toassume that no wizard who has provedhimself once will be asked to undergo anew test, the matter in which he lost hisexperience level not withstanding.

I have just finished reading thetwo DRAGONLANCE trilogies. I can-not find the Staff of Magius in theDungeon Masters Guide or Unearth-ed Arcana. Also, how does the time-travel spell work?

The Staff of Magius appears in DLA,page 97. The proper name for the time-travel spell is timereaver. It is described onpage 38 of DLA.

What is the range of an Orb ofDragonkind? Module DL8 says it cancall evil dragons in a radius of 111miles, but DL6 says the radius is 10-40 miles.

An Orb of Dragonkind calls evil dragonswithin 1d4 × 10 miles.

Since death knights are a form oflich, is Lord Soth immune to normalweapons as liches are? Can LordSoth summon demons as noted inthe FIEND FOLIO® tome?

Death knights, including Lord Soth, areaffected by normal weapons. Lord Sothhas never been known to summondemons. Perhaps his ability to controlSoth�s Legions (see module DL8) replacesthis ability, or perhaps Soth simply dis-dains the use of demonic aid.

In the BATTLESYSTEM� game por-tion of DL8 Dragons of War, eachcavalry unit in the unit roster isgiven a two-part movement rate.What do these numbers mean? Thedamage listings for most of the evilarmy are shown as �Spec�; is the DMfree to assign weapons to theseunits?

The number before the slash is thecavalry unit�s base move. The numberafter the slash is the unit�s charge move.The draconian units do damage accordingto the type of draconian concerned; seeDL8, page 27. The human cavalry units

(and their leaders) are armed with longswords. The human archer units arearmed with long bows and long swords,

Is Paladine Bahamut? Is TakhisisTiamat?

Yes and no. Paladine and Takhisis are theavatars or incarnations of Bahamut andTiamat in the Krynn universe. They eachhave special powers within this setting.Slaying Bahamut or Tiamat in anotheruniverse will not affect Paladine or Takhi-sis, and vice versa.

In DRAGON issue #98, �Thedragons of Krynn� said that Takhisisfled to the Abyss, but not the onewhich is home to all demonkind.Which part of the Abyss did Takhisisflee to? Where do the other gods ofKrynn live?

This is a difficult question to answer,since Krynn�s exact position in the planesis unclear. According to TSR�s Jeff Grubb,the term Abyss, when used on Krynn,refers to the lower outer planes in gen-eral. Thus, Takhisis could have gone justabout anywhere. If you are using a planarset-up similar to the one detailed in theManual of the Planes, the first layer of Hellis the obvious choice for Takhisis since sheis an incarnation of Tiamat. Paladine�sDome of Creation is located on the DeepEthereal (Manual of the Planes, page 11).Being a powerful lawful-good deity, Pala-dine probably also maintains a residencesomewhere in the Seven Heavens and,being an incarnation of Bahamut, probablyhas a residence in the elemental plane ofAir. Other Krynn deities probably maintainresidences on the outer planes that matchtheir alignments, with additional resi-dences on planes that match their spheresof influence. Gilean, for example, probablyhas residences on the Concordant Opposi-tion, the Deep Ethereal (the Hidden Vale),and the Astral planes.

The rules say Silvanesti elves canbe paladins but not cavaliers. Surelythis is an error.

No error. The Silvanesti, as a people, areextremists. No Silvanesti with an inclina-tion to become a cavalier would be any-thing but a paladin.

In module DL2 Dragons of Flame,the party begins the adventure atthe spot marked �X� � but there isno such mark on the area map. Also,where is chamber #30 on the Sla-Mori map?

The party begins the adventure in themountains on the east edge of the map,due east of Que-Kiri. Chamber #30 is theunnumbered chamber just north of loca-tion #28 on the Sla-Mori map.

In encounter #93 in module DL3Dragons of Hope, part of the trea-sure is a map showing the routeContinued on page 98

Imagine that an alien from a distantplanet is visiting with you for a month.Although it speaks perfect English andunderstands the basic laws of Westerncivilization, it knows next to nothing aboutthose tiny bits of knowledge you haveacquired in your lifetime. Everything youtake for granted, from the side of the roadon which you drive to cordial ways ofaddressing people, must be taught to thisbeing. The alien is a rapid learner, though,and listens as you quickly point out manyitems of interest: Rainbows are reflectionsof raindrops in the sunlight; diamonds, thehardest and most precious stone known toman, can cut glass; chirpings heard atnight are from crickets scraping theirwings together; and four-leaf clovers areassociated with good luck. As the dayspass, you�re astonished at how muchknowledge exists. By the time the monthends, you realize you�ve hardly scratchedthe surface of what you know.

This example illustrates an aspect offantasy role-playing hardly touched uponby most gamers. In most FRPG campaigns,the player characters are the aliens, theoutsiders visiting a new world � theirown! Here they will discover untold newraces, cultures, religions, languages, flora,fauna, and uncountable items that appearmuch like those of our world, yet are sodifferent. Unfortunately, most DungeonMasters abandon such rich detail and failto realize how unique their worlds are.

Just as we know so much about our ownplanet, so do the inhabitants of your realmunderstand the natural laws and socialconformities of their world. Farmers rec-ognize tell-tale signs in clouds and animalreactions for weather predictions, elvesknow which wild berries are safe to eat,and fighters remember the best prices intown for armor. The most importantknowledge, however, is that possessed bythe PCs. In your world of dragons andknights, these characters are the onlyfootholds your players have in under-standing the myriad natural laws you havedevised or assumed exist. Some charactersmay know about legends or survival skills,others the herbal ingredients to makehealing elixirs. However you as a DMdecide to create and distribute suchknowledge, each character is sure to haveunique knowledge of the world.

The result of using this specialized char-acter knowledge is the creation of a PCthat is suddenly better defined, and morelifelike in your campaign. Given the pres-ence of such knowledge, the PC is giftedwith far more personality than one com-posed entirely of numbers and abilities.Unless you decide otherwise, no two char-acters will possess the same knowledge,further enhancing each one�s individuality.With their own storehouses of informa-tion, each character becomes all the morereal in the player�s mind.

Specialized character knowledge alsostrengthens your campaigns with realism.Having already handed out information

sheets to the players, imagine this scene inyour adventure: A low-level party finds acave on the side of a shrub-covered hill.From inside the dark cavern, slobberingand crunching noises are heard. Thinkingit to be a wild animal, the PCs prepare toattack when the druid in the party stopsthem. Pointing to a nondescript bush, heexplains that such bushes are normallyblooming with poisonous red berries. Thisone is stripped bare. As the playersexchange worried glances, the druid con-tinues with his exclusive character knowl-edge. Only trolls can stomach such deadlyberries, and a stripped bloodberry bush isa sure sign that a troll is nearby. With that,the nervous party unanimously agrees toexplore elsewhere.

Though no combat was joined, thisscene can be just as exciting as any meleeencounter. As in real life, the players mustremember what information they possessand when to share it. Passing a privatenote to the druids player with the sameinformation moments before finding thecave would have spoiled the purpose ofthe encounter. The troll cave was designedto be avoided by the weak party and todisplay the importance of specializedknowledge. It will become apparent to theplayers quite soon just how vital the infor-mation you have supplied them can be.

Character-knowledge sheetsBefore you write out lists of knowledge

for the PCs, you must at least know theraces and classes that make up the party.These two factors are the prime influ-ences over what knowledge any characterpossesses. Elves certainly know moreabout nature and forests than dwarveswho live beneath the stony earth, whilethieves understand knot-making betterthan rune-reading magic-users. Whenpossible, copy down as much informationabout the characters as possible, evengoing so far as to photocopy all the charac-ter sheets. The more facts and statisticsyou have, the more refined and custom-ized each page of information becomes.

The first portion of a character-knowl-edge page should include a brief history ofthe character, as developed by the player(with your approval) or by you (with theplayer�s approval), with a sentence or twoabout the PC�s parents. Establish his socialstanding (lower, middle, or upper class)and any lineage important to your cam-paign. For example, if the warriors of yourcivilized nations proudly proclaim theirfather�s and father�s father�s deeds, thenbestow a couple of memorable names onthe lineage of the PC if he is a fighter.Continue with a few notes describing thecharacter�s life, even going so far as toexplain why he chose his particular class.Don�t become engrossed in a long-windedhistory, however, as you�ll be wasting yourtime and boring the player when he readsit. A simple paragraph or two is perfect, asthis creates roots for the character andgives him purpose and reason.

Follow with notes on the character�smentor, an important NPC all too oftenignored in role-playing. A mentor is bothfriend and teacher, and should bedescribed with a spark of personality toaccent the character. I often describe aspecial bond between instructor and stu-dent, telling about the extra attention thatthe mentor paid to the character and, inturn, the disciplined study displayed bythe character. Occasionally, I pass on amentor�s experienced knowledge, such asthe recollection that the only mithralarmor in the realm lies far to the north ina dragon�s lair, or that the city guards of acertain city are corrupt and easily bribed.Childhood friends and family are rarely, ifever, used in role-playing, but a mentor issomeone that a PC may return to over andover again. Give him the same respect andindividuality you would give to any ofyour own characters.

The final part is the essence of thesecharacter-information sheets. Here you listall those bits of knowledge you think thischaracter would know if he was a realperson. Write about his knowledge ofsailing or stargazing, rune-reading ormetal-crafting. A character may know afantastic legend about a mountain of trea-sure in a fiery volcano, or that a terriblesea serpent lives in a deceptively tranquillake. Cover all those aspects that makeyour world unique: art, languages, herbs,legends, magic, religion, culture, andsuperstitions, to name only a few. As youdevelop and create these bits of informa-tion, you�ll not only see the charactersdeepen with personality, you�ll watch yourown world grow with new details andrealism.

The following sections detail how racesand character classes influence characterknowledge. Each is based on my owninterpretation of the race or class from thevarious rule books, and serves as a foun-dation on which knowledge sheets arebased. These descriptions are only stockoutlines, and each DM should customizethem to his own campaign.

Racial knowledgeDwarves: Because of their inbred love

for mountains and hills, dwarves are aptto know not only the region where theygrew up like the backs of their hands, butalso the surrounding countryside with fairaccuracy. Dwarves are rugged individuals,and some have the ability to detect thereliability of weapons and other goods inaddition to their skills at undergroundobservation. Some have skills in black-smithing, others in surviving in barrenmountains and hills (finding fresh water,edible roots, etc.). Of course, all dwarvesknow the importance of their beards andspend a good part of each morning groom-ing and trimming these symbols of prideand honor.

Elves: Most elves are lithe creaturesliving in secluded regions across the land.The sylvan elves are sure to know survival

DRAGON 15

16 MARCH 1989

skills in the forest as well as how to iden-tify many plants and animals. They mayimitate bird calls to signal other elves orleave constructed signs (such as crossedtwigs) for other elves to read. Because oftheir long lives and love of nature, elvesunderstand the basics of weather forecast-ing and long-term weather cycles, such asseasonal storms, changing tides, or tem-perature fluctuations every few years.However, although elves live hundreds ofyears, they are a secluded people andknow little of civilized human history.

Gnomes: Although physically similar todwarves, surface gnomes rarely liveunderground, finding otherwise uninhab-ited wooded hills to serve as homes fortheir clans. Often possessing great sensesof humor, gnomes may have slightly ridic-ulous names or partake in silly traditions.Many know practical jokes and how togather irritating dyes and powders fromplants and animals. Gnomes also love gemsand crystals, and possess-either the skillsto cut gems or estimate their worth.

Half-elves: Whether these beings areaccepted or shunned in your campaign,half-elves are a rare stock of character dueto the vast differences in life stylesbetween humans and elves. For those half-elves in your party, decide in which racialculture the character was raised andassign knowledge accordingly. Chancesare, however, prejudice will result in acharacter not as well rounded in knowl-edge as others of either the elven orhuman race.

Humans: Because of humanity�s ability tolive in nearly every climate and geographi-cal region, it is impossible to list all thevarious skills humans can have. Even asimple analysis of our own world shouldsuggest many ideas. Tropical inhabitantsknow skills in fishing, sailing, and ropeworking; those in colder climates under-stand ways to utilize every piece of huntedanimal for food, weapons, or art. Thosewho live in cities know the best shops tobuy various goods, while country folkknow many of nature�s ways. Peasantsprobably live lives centered on family ties,simple cooking, traditions, and hard work.Wealthy people usually center on worldlygoods, entertainment, fine food, and poli-tics. Common sense is the best determi-nant for detailing human knowledge.

Halflings: A quiet race, halflings havemany skills centered on the betterment oftheir own lifestyles. Cooking, art, litera-ture, craftsmanship � halflings sharemany skills with those most talented of theother races. Although they do not possessthe survival skills of elves and dwarves,halflings do have a knack for fine weaponcrafting, object identification, and toolconstruction. The halfling lifestyle is open-ended, and many of their skills are deter-mined by the campaign�s nature.

Character-class knowledgeCavaliers and paladins: Holy fighters,

these pious individuals operate under

strict codes of chivalry. (A complete Euro-pean chivalric code is outlined in Unearth-ed Arcana, though any of it can bemodified for your campaign.) Cavaliersand paladins are heroic figures to theirrespective kingdoms and may often becalled upon by kings or mentors to fulfillgreat tasks. They are celebrity-like figuresin the public eye, especially when theyreach higher levels, and even a tiny loss ofhonor is greatly damaging to their reputa-tions and self-respect. As for adventuringskills, these holy warriors have little. Theyknow well the politics and codes of theirsocieties and what their proper places arein protecting their kings, but they gener-ally know little about the wilderness.

Clerics: The skills of a cleric are morelikely to center on the magical side thanon the fighting side. Clerics know the bestplaces to find spell components and ingre-dients (either in nature or shops) andknow which wild herbs or fruits curewounds or poisons. Because clerics havesuch strong bonds with their deities, theyrecognize subtle omens in answer to theirprayers or feel the evil in opposing tem-ples before anyone else does. As magicianswho can heal, the skills of a cleric are sureto enhance his life-preserving abilities.

Druids: Druids are well attuned tonature and all of its manifestations. Theyare sure to know simple weather predic-tion, the identification of plants (as edible,poisonous, spell ingredients, etc.), identifynonmagical animals, and perhaps survivein the wilderness without difficulty. How-ever, as great as their outdoor skills are,they should be deficient indoors andunderground. They have no understand-ing of crafted items and are of little help incities and towns. Druids have skills involv-ing the earth, sky, plants, and animals, butlittle else.

Fighters, barbarians, and rangers: Fight-ers possess great ability and knowledgeconcerning weapons and armor. Some canfashion crude weapons from stone,branches, and rope, while others canrepair their own equipment with theproper tools. Fighters may also know rope-knotting, trap-laying, and how to recog-nize the craftsmanship of tools. Barbariansshare these same skills, as well as havingsurvival skills of their own. Rangers alsoshare these fighter skills, though to alesser degree, but should also have abili-ties that enhance their unique trackingabilities. They may recognize animal foot-prints; bird feathers, and other naturalmarkings. Some rangers make use ofevery part of a killed animal, while othersknow efficient, practical ways of hunting.

Magic-users and illusionists: Thoughdifferent in spell abilities, magic-users andillusionists share much in common incharacter knowledge. Both understand theimportance of fresh spell components andknow where (and sometimes when) to findthe best places for their ingredients. Dueto their high intelligence, magic-users andillusionists are sure to know great lore

concerning magical items, ruined castles,enchanted tombs, and other points ofinterest. Because they are the weakest inmelee, some of these magicians may knowevasive tactics or bargaining techniques toescape from foes � tidbits such as: orcsdespise cold water, or ogres love freshdeer meat. As a rare bit of knowledge,some magic-users may know certain,special spells that kill particular monstersinstantly. Provide this knowledge withplenty of forethought, however.

Thieves, thief-acrobats, and assassins:These unscrupulous individuals are sureto have knowledge in some of the morecontemptible occupational areas. Theyhave a great understanding of their cities�layouts, including roof tops, allies, shops,sewers, and guard posts, along withknowledge of typical crowd activities,which gangs and powerful characterscontrol certain �turfs,� and where to buyand sell stolen goods. Some PCs may haveexclusive knowledge in the behind-the-scenes politics of a kingdom, while otherscan manipulate ropes, needles, and othertools to perform unusual and useful acts.These characters have few, if any, wilder-ness survival skills, but their street wis-dom makes them vital in any cityadventure.

Monks: One of the rarer character class-es, monks are well-disciplined individuals.Much like the monks of our own history,they have some knowledge of botany,astronomy, chemistry, and other earthysciences. In return for their studiousknowledge, however, monks live withoutworldly possessions and luxuries. Theyseek inner peace and harmony that cannotbe reached from wealth and status.

Bards: As entertainers who double asadventurers, bards are sure to be skillfulat delighting audiences. Bards know sim-ple magic tricks with cards, coins, andhandkerchiefs, various recipes for mixingdrinks, funny songs and riotous jokes, andimportant ballads and myths. However,because bards are created after attaininglevels as fighters and thieves, they are notspontaneously enlightened with this char-acter knowledge. They pick up these abili-

ties only when they actually become world, and fill your mind with experiencebards, either through watching crowd- and knowledge. He does not expect yourpleasers or through private instruction. return for another five years.

Integrating knowledgeOther factors shape the knowledge of

characters. Wealth allows rich people tofocus on life�s luxuries and arts; lack ofwealth forces poor people to concentrateon life�s necessities. Generally, nonhumanraces are more immune to the socialeffects of wealth within their own clans ortribes, but caste systems, prejudices, andpoor living conditions have the sameeffect. Typically, males dominate the rul-ing classes and have more opportunitiesthan females with regard to gaining powerand position in society (especially humansociety), but there is no reason why youcannot turn the tables and create a societygoverned by women, or one with equalrights for both sexes.

The following is a character-knowledgesheet created for an elven magic-user PC:

Lithadean MooncloudFemale elven magic-user

History: You were born and raised inthe Sealden Forest, the largest strongholdof Forest Elves on the continent. Yourparents, both fine artists, encouraged youto enter their profession, but you resisted.The arcane lore of magic-use enticed youinto a profession commonly dominated bymales. Although you received jests andridicule from your fellow students, youprospered in your training and study, andgraduated at the top of your class. Shortlythereafter, you became an assistant underthe wizard Ediana who had just returnedto Sealdin after years of adventuring. Thetwo of you developed a bond of greatfriendship, and he taught you everythinghe knew about the art of sorcery. It soonbecame obvious that you held knowledgesuperior to that of your peers, but asEdiana always said, �Wise ones don�tpreach; they listen.� You held your tongueduring boasting sessions and, as you real-ize in retrospect, became a better andmore respected person because of it. NowEdiana has instructed you to explore the

1 8 M A R C H 1 9 8 9

Character knowledge: (The followingis known only to this character.) Edianataught you the ancient magic-user scriptFelveron. It is no longer used today, but inages past it was the hidden code of allgreat magic-users, inscribed on books,tombs, and chests.

As an elf, you can create a special mark-er (such as torn leaves or piled stones) thatconveys a simple message to other elves.Signs for danger, safety and help are allcommon messages. These markers, basedon the amount of time you have to makethem, are nearly indistinguishable fromtheir surroundings.

When the moon is new and the stars arehidden by clouds, the eerie white lightseen in some marshes comes from magicalspider moss. When eaten shortly afterbeing picked, spider moss cures woundsand restores health.

Legends say that the Hall of Elven Kings,a grand tomb now far beneath the oceanwaves, has locked within its walls the onlystaff of the magi known to exist. One canonly guess the magicks that guard such apowerful treasure.

Of course, such a compilation of knowl-edge could go on forever. You could easilywrite pages of lore about the PC�s culture,commonly known legends, and reportedmagical properties of plants, but confineyourself to just a few points of interest.The purpose of these sheets is to establishthe realism of that PC and your campaign,not to bury your player with trivia.

Putting knowledge to useAs you design these knowledge sheets,

remember that they are useless unlessyou, as the Dungeon Master, make aneffort to utilize them in your campaign.The adventures you make (or modify frompackaged modules) should incorporate theinformation you are giving the players. Ifyou provide one player with knowledgethat deer with silver antlers can sniff outmagical items from great distances, or thatroses growing in the shade of holy templescure poison, then let such marvels befound. The best way to integrate informa-tion like this is to determine the basics ofyour next adventure, deciding primarilyon its purpose and location (forest, city,etc.). Now list on the knowledge sheetsitems that would help characters in thisadventure to cross over obstacles or gaininsight into completing the quest. Forexample, you decide to have the partystumble upon a strange temple andexplore the edifice. Give one characterknowledge of this legendary temple �withblood-red gates and grinning statues thathowl when the wind passes by them.�Inside, another character deftly fashions arope, bridge to cross a dank pit, as a thirdcharacter mentions that the crystal shards

around the chamber are caused by thetouch of a rare breed of rust monster.Later, a fourth character provides a bit ofhistory about an enigmatic glyph on thesanctuary alter, while another warnsabout the beautiful but poisonous flowersin the temple�s courtyard.

Designing character knowledge sheetsand adventures together involves consid-erably more planning than the averagedungeon requires. But the results are wellworth the effort. When characters canenlighten or warn the rest of the partywithout any cues from the Dungeon Mas-ter, the whole role-playing environment issuddenly enhanced and given the depth ofrealism that no other element can give.

Not only is it a good idea to photocopyyour players� character sheets, but copytheir information sheets, too. This allowsyou to customize adventures to the PCs�classes, races, levels, and knowledge.Occasionally collect the original knowledgesheets and add more items, writing someinformation on �up-and-coming� adven-tures and �general knowledge� that can beapplied at any time. Also add bits of infor-mation that serve no immediate purpose;this keeps the players from thinking thatevery time you update their sheets, theyshould expect to use all of their newknowledge in the next adventure. If needbe, these �red herrings� can easily beincorporated into future adventures, but it

will have depth, purpose, intelligence, anduniqueness. They will pay more attentionto details and, most importantly, betterrole-play their characters as they shareand interact with the knowledge. Soonyour campaign will take on a whole newdimension of realism as you spread knowl-edge and motivation to your players.

never hurts to have a couple bits of knowl-edge that never seem to get used.

As you distribute these knowledgesheets to your players for the first time,gently encourage them not to share all oftheir information with each other. You canprovide �common knowledge� during thegame for everyone on knowledge that allcharacters would have. Of course, thisdoesn�t mean character knowledge shouldnever be shared, either! Rather, playersshould share their knowledge when and ifthe time is appropriate. If a player choosesnot to divulge knowledge at an appropri-ate time, fine. If the party suffers becauseof that player�s selfishness, he must sufferthe wrath of the other players � a terriblefate indeed!

Depending on the knowledge you pro-vide, some players may find a long-termgoal to strive for. For instance, the elfoutlined earlier was told about the staff ofthe magi in an underwater tomb. She maydecide she wants that staff, and during thecourse of her adventuring she decides togather information and clues from NPCsand other sources about this tomb, allunbeknownst to the rest of the party. It iseasy to see how you can motivate yourplayers with far-reaching goals for theirhigher levels.

The result of your creative effort inthese knowledge sheets will be instantlynoticed. Suddenly your player�s characters

1989Gaming Catalog!The 1989 edition of the MailOrder Hobby Shop Catalog isnow available— for FREE! Justsend a postcard or letter to orderone! In the United States andCanada , wr i t e to : TSR Ma i lOrder Hobby Shop, c/o TSR,Inc., P.O. Box 756, Lake GenevaW I 53147, U.S.A. In Europe,write to: TSR Mail Order Cata-logue, TSR Ltd., 120 ChurchEnd, Cherry Hinton, CambridgeCB1 3LB , Un i t ed K ingdom.Write for your catalog now!

DRAGON 19

by Eileen Lucas

Out of the

Textbook,Into the GameBuilding yourcampaign on the

lessons of real

his tory

People, places, and events: The DM is constant-ly being challenged to come up with new andexciting entries in all three of these categories.When the DM�s imagination begins to run dry,centuries full of possibilities are as readily availa-ble as the nearest historical reference, whether itbe a history text, an encyclopedia, or a historicalnovel. All you need to do is take what you knowabout a particular person or event in history andemploy it to create believable and exciting charac-ters and settings in your campaign. NPCs comealive as fantasy recreations of historical figures,and background information provided for adven-turers becomes more logical if based on detailgathered from historical research.

Using history doesn�t mean being a slave to it.Historical settings can be used as jumping-off plac-es which you can tailor and embellish as you seefit. After all, this is fantasy role-playing we�re talk-ing about, not historical simulation.

The most obvious period of historicalinterest to AD&D® game players is, ofcourse, the Middle Ages, since that is theera upon which most campaigns arebased. Study of that time can providemany interesting details to broaden a role-playing game. The Crusades, the BlackDeath, and the Hundred Years War are afew examples of events which can provideideas for campaigns.

But you are not limited to the people andevents of Medieval Europe when creatingyour game world. Many historical situa-tions such as revolution and civil war canbe treated as generic concepts. Thecauses, characters, emotions, and effectsof such conflicts can easily be integratedby a historical-minded DM into any timeframe.

For example, perhaps you know a lotabout the American Civil War. At firstglance, it might not seem an appropriatesetting for a D&D® or AD&D game event,but a closer look reveals an infinite num-ber of possibilities. Instead of bringingyour characters to 19th-century Virginia,you can bring much of that setting to yourcampaign world. Suppose you have akingdom in which the seeds of civil disor-der have been sown. By extracting theuseful information from what you�velearned about the American Civil War,such as the political, social, and economicdivisions within the society, you can fleshout your campaign background with inter-esting and realistic details. Take yourfavorite politicians and generals and createNPCs inspired by some of their moreoutstanding characteristics.

And what about running a revolution?Might not a kingdom in your campaign beripe for an overthrow of its present gov-ernment? The French Revolution providesan excellent historical example of a revoltof peasantry against the ruling class.

This article takes these two historicalevents � the American Civil War and theFrench Revolution � and shows how theycan be tailored to fit into an AD&D cam-paign. If these two particular events don�tinterest you, consult the list at the end ofthis article for other ideas on how to usehistory to enrich your role-playing or tosimply draw upon the historical people,places, and events in which you are mostinterested.

The American Civil WarA civil war occurs when one part of a

country decides to do battle with the restof the nation. That part of the countrymay be struggling with another for con-trol of the whole or (as in the case of theAmerican Civil War) that part may want tosecede and become a nation of its own.There may be natural or evolved differ-ences between the inhabitants of the origi-nal state and the rebellious part whichmake peaceful coexistence between themdifficult or impossible. Differences inspecies are examples of natural differ-ences; differences in ways of making a

living or religious beliefs are examples ofevolved differences.

The causes of war are generally complexand interconnected, and the AmericanCivil War was no exception. The areas ofdifference which led the North and Southinto armed conflict included: nationalisticsentiments vs. localism and states� rights;emancipation vs. slavery; the needs of anindustrial economy vs. those of an agrari-an economy; and an urban, diverse cul-ture vs. a rural, conservative culture.

These differences could appear betweentwo areas of your campaign world as well.For example, suppose you have a kingdomwhich is largely mountainous to the northand has heavily forested plains to the south.Most of the population to the north is madeup of dwarves, with scattered settlementsof humans, halflings, and gnomes. Themajor northern occupations are mining andcraftsmanship, with many good-size townsand population centers there. The southernpart of the kingdom, on the other hand, ismostly settled by elves who live in smallbands in the forests.

Now, let�s say that valuable ore is discov-ered underground in the southern part ofthe kingdom. The dwarves want to seethis ore mined so that the kingdom willprosper. But this would mean cuttingdown large sections of forest, somethingthe elves are dead set against. The elvesdecide to secede, to make a separate king-

dom out of their part of the present king-dom, so that their forests can be protect-ed. The dwarves refuse to let this potentialwealth slip from their hands. Both sidesrealize that only by force can they achievetheir conflicting aims.

Thus the stage is set for civil war. Youcan see that this example has taken someliberties with history. I�ve used what Iknow about a civil war which actuallyoccurred to create a fantasy situation forcivil war in my campaign world. Whateverthe grounds for dissension, the riftsbetween the two sections will grow untilthe one feeling the most threatened eithertries to secede or attacks the other.

In the case of the American Civil War,hindsight reveals some specific events thatled to the outbreak of war, such as thewords and actions of extremists on bothsides, the election of Abraham Lincoln in1860, and finally the firing on Fort Sumter.Continuing with our example, the DMcould arrange such dramatic events toraise the tension in our fantasy kingdom.Suppose a community of dwarves in thefoothills between the two territories chopsdown all the trees in its vicinity, an actthat also involves the �accidental� death ofan elf. Then a king comes to power whosesympathies tend toward the dwarves. Indesperation, the scattered communities ofelves band together, preparing to fight tokeep their trees � and the war begins.

24 MARCH 1989

Ulysses StoneblasterMilitary Leader of the Dwarves of theNorth

AC 1; MV 6�; F10; hp 54; #AT 1; Dmgby weapon type; S 17, I 14, W 17, D 14,C 14, Ch 15; AL LN; chain mail +4,short sword +3, hand axe +2.

Stoneblaster is a veteran of manybattles, with a highly successful fieldrecord and the ability to learn frommistakes, both his own and others�. Heis a wily, crafty maneuverer. Althoughsomewhat crotchety in nature, he ismuch respected by those who serveunder him. His fondness for powerfulspirits is well known, but so are hiscourage and sense of duty.

Rolwynn LeafsongMilitary Leader of the Elves of theSouth

AC -2; MV 9�; Cav8; hp 60; #AT 1;Dmg by weapon type; S 15, I 16, W 16,D 17,C 17, Ch 18, AL LG; field plate+1, long sword +4, long bow +2.

Leafsong comes from a long line ofnoble elves. He has served his people asa statesman and champion of justice,and now as a military leader. He ismuch beloved for his kindness andgentle ways, but he can also bedynamic and courageous in the face ofthe enemy.

It is beyond the scope of this article togo into all the leaders and battles of theCivil War in depth. There is a great deal ofdocumentation on this subject, however,and you can study it and use what you canin your campaign. Have fun and be crea-tive. The boxed section herein describestwo possible leaders of our fantasy civilwar, each obviously modeled after actualhistorical figures.

In 1865, the South more or less acceptedits defeat, and the American Civil War wasover. In your fantasy setting, things couldturn out differently. A provisional govern-ment might try to rule the south fromhiding, with elven commando raids mak-ing the activities of the dwarven victorsdifficult or impossible in that area.

In the disarmed and vanquished South,desperate economic conditions prevailedas a natural consequence of war andbecause of Reconstructionist policies. Theprocess of picking up the pieces in a war-torn land is difficult indeed and presentsmany possibilities for good role-playing.Evil elves could arise to dominate sectionsof our previously good-controlled south;barbarians, perhaps having been hired asmercenaries by one side or the other,might refuse to put down their arms andend the fight; widespread looting andraiding could occur; and so on.

And what�s to stop the now well-trained

and well-armed victors from looking fornew territory to conquer? Many observerswere surprised that the victorious UnionArmy was so quickly and thoroughlydisbanded after the American Civil War.Perhaps your victor will be more empire-conscious. Once again, the lessons of histo-ry are there to guide you, but don�t beafraid to ask yourself: �What if?�

The French RevolutionA revolution, as opposed to a civil war,

occurs when one faction within a kingdomtries to overthrow the present ruling bodywith the aim of taking control of thatkingdom itself. The causes of revolutionare many but often involve a struggleagainst injustice and inequalities, and ayearning for freedom or a better way oflife. Revolutions don�t start overnight.They build up over time, with their causesgradually working into a vicious circle thatleads more certainly to conflict the longerthe circle builds. For example: The testingof old, oppressive laws leads to harsherenforcement of those laws, which pro-duces victims (now martyrs for the cause),which leads to increased sympathy for thecause, which leads to paranoia on the partof those in control and even harsher meth-ods of enforcement, which all eventuallyleads to armed conflict.

You could study either the American orthe Russian Revolution and come up withentirely different sets of circumstancesand personalities to incorporate into yourcampaign. But for a revolution whichstruggles against the bonds of feudalism,the French Revolution of 1789 is a goodplace to start.

The beginning of the end for the Frenchkings arose in the form of absolute monar-chy, which superseded many of the tenetsof feudalism. In feudalism, the ruler owedas much to his subjects and vassals as theyto him. Under the absolutism of Louis XIV,the monarch was the God King and owednothing to anyone.

Then the democratic philosophies camealong, asking questions like �Why should afew men be allowed to rule a great multi-tude?� and �Why should the mass of man-kind lead lives full of labor and sorrow?�The answers to these questions called fordoing away with the old ways. Philoso-phers and statesmen spoke out and wrotebooks to poke holes in the theories of theso-called �natural order� which held thesystem of absolute monarchy in place.This questioning of royalty, the church,and the aristocracy spread among moreand more people until the whole archaicsystem was struck down.

This would provide a good role-playingopportunity for any characters in yourcampaign. Have them promote a question-ing attitude which will be noticed by boththe ruling class and the common folk. Ifthe powers that be harass the PCs, takefull advantage of this for �the martyrsyndrome.� In any event, more and morepeople may take heed of the characters�

2 6 M A R C H 1 9 8 9

words, and more followers to the causecan be gathered.

But it takes more than questions andspeeches to start a revolution. In 18th-century France, as in most other revolu-tionary situations, a combination of factorscoincided to produce rebellion. There wasa political crisis (the near-bankruptcy ofthe state) occurring simultaneously withan economic crisis (poor agricultural out-put in relation to population). This combi-nation produced a poverty-strickenpopulace that took to the streets hungryand poorly clothed, and a government thatwas unwilling and unable to help them. Inthe face of such a situation, coupled withinept leadership on the part of the govern-ment, revolution became almost an inevita-ble response.

Using history as a guide, here are thepersonality profiles of some of the majorparticipants in a fantasy-world revolution(you can choose the races and statistics asappropriate to your campaign):

The King: Although he feels a sense ofresponsibility toward his people, the weak-willed and awkward king is unable to stickto a decision and is easily swayed byadvice, both good and bad.

The Queen: Gracious and regal in man-ner, the queen�s policy of favoritism makesher highly popular with some factions andequally unpopular with others. The peopledespise her for her extravagant spendingon frivolous luxuries and gambling, andthey blame her for the kingdom�s sorryeconomic state and for their own poverty.

Leader of the Nobles: A good man ofaristocratic background, this leader is verywell educated and cultured. A bit of aphilosopher, he tries hard to convince theking that it would be better to acquiesce tosome of the demands of the nobles than toface the wrath of the people.

Leader of the People: An uneducatedpeasant, either male or female, this personhas a simple, direct manner of speakingthat can incite the emotions of hugecrowds. With nothing to lose but lives ofmisery, the people are encouraged by himto overthrow all in authority and set up anew regime controlled by the commoners.

The French Revolution went throughmany stages as it attempted to reconcilethe conflicting needs of the citizenry, bothupper and lower classes, with the needs ofthe state. While the nobles merely wantedto make the king more accountable tothem, the leaders of the common manenvisioned a new political structure alto-gether, one more democratic in nature.Thus you have a revolution which movedfrom an attempt at constitutional monar-chy (as opposed to the absolute monarchyof previous kings), to the Jacobin Reign ofTerror (mob rule), to the Empire of Napo-leon. Again, it is beyond the scope of thisarticle to give a complete history of theevents of the French Revolution, but thereare many good books on the subject whichprovide the historical-minded DM withideas for running such a revolution in his

campaign.

Other ideasThese are just two examples of how

history provides ideas for fantasy cam-paigns. Many more possibilities suggestthemselves as well. For example, if youwant to develop a situation ripe for amilitary coup, study the events whichoccurred in Grenada, Haiti, and Centraland South America in this decade alone.For an example of an emperor with world-conquering ambitions, look up Alexanderthe Great or Napoleon Bonaparte. For astrong and effective queen model, checkout Elizabeth I of England or Catherine theGreat of Russia. The possibilities are asendless as the pages of history.

BibliographyBeals, Carleton. The Nature of Revolu-

tion. New York: Thomas Y. Crowell Co.,1970.

Bradford, Ned, ed. Rattles and Leadersof the Civil War. New York: Appleton-Century-Crofts, Inc., 1956.

Ferrero, Guglielmo. The Two FrenchRevolutions. New York: Basic Books, Inc.,1968.

Griffin, Bulkey S., ed. Offbeat History.The World Publishing Co., 1967.

Leckie, Robert. The Wars of America.New York: Harper & Row, 1968.

Loomis, Stanley. Paris in the Terror. NewYork: J. B. Lippincott Co., 1964.

Lowell, Edward J. The Eve of the FrenchRevolution. Boston: Houghton, Mifflin &co., 1892.

Morison, Samuel Eliot. The Oxford Histo-ry of the American People. New York:Oxford University Press, 1965.

Smith, Gene. Lee and Grant. New York:McGraw Hill, 1984.

Williams, T. Harry. The History of Ameri-can Wars. New York: Alfred A. Knopf,1981.

by Thomas Kane

Keeping your campaign believable and thrilling

hat do players want? Players want to be challenged and

stirred to heroism. Players want to be thrilled by scenes

of might and beauty. Players want to feel love and grief,

triumph and terror � at a comfortable distance, of course. One

person �you, the game master � must plan and present an

adventure that produces all these effects. To do this, you will find

the advice of writers, playwrights, actors, orators, and storytellers

indispensable.

Adventure structureAncient Greek playwrights listed the

elements of drama as: action, plot, charac-ter, thought, diction, spectacle, and music.In a role-playing adventure, action is themost important of these features. Actiondoes not always mean combat; it meansthat both players and their charactershave things to say and do. Simply rollingdice or choosing between two doors is notenough � the PCs need to make informeddecisions. As the GM, you cultivate actionusing the plot of your adventure. Like anystoryteller, you should plan a plot in fourstages: opening, development, climax, anddenouement.

The excitement should start as soon asplay begins. PCs should not arrive untilthe dramatic parts of an adventure begin� have NPCs �set the stage� first. Use aslittle introduction as possible: Simplyexplain what the party needs to do andthen start the game. If an adventure needsa detailed background, the backgroundcan be explained in early encounters.Players seldom listen to a spoken para-graph of data, but they become highlyinquisitive when talking with NPCs or

28 MARCH 1989

snooping through documents. Adventuresshould always open with .a specific quest.Defining this goal at the start spares thePCs a period of aimless wandering whileplayers try to read your mind. (Of course,PCs might decide to follow completely newgoals halfway through the adventure.)

Several obstacles should separate thePCs from their major opponents. Anyminor adventures should remain unifiedand consistent, but unique and challeng-ing, too. Most PCs are easily distracted, soalmost everything that happens shouldpertain to the adventure. A variety ofencounters that require different solutionsis best. The encounters should mix famil-iar, realistic situations with wildly excitingones, so players can empathize with theircharacters and use that empathy to experi-ence the adventure. You should also baseencounters on previous events in thecampaign, to insure that everything thePCs do has appropriate rewards or punish-ments. When things happen randomly, theplayers have no incentive to plan or torole-play.

During the adventure�s development,several outbursts of combat or other fast-paced activity are needed. PCs will proba-bly learn secrets, punish enemies, make

discoveries, and be surprised by the unex-pected. Most developmental encounterscontain hints about future events. If youplan to have something particularly unbe-lievable occur later on, prepare the PCsfor it with early encounters. The longer anadventure lasts, the more earthshaking itsconflicts need to be. As tension rises, youcan create suspense by refusing to revealsome vital piece of information that wouldaffect everything the PCs do � if they onlyknew about it.

Then comes the climax. The PCs havepassed lesser encounters and finally con-front the object of their quest. Here theyresolve the adventure and either succeedor fail in reaching their goals. In the cli-max, PCs learn the nature of the foe theyhave been struggling against. The foe andthe danger produced by him should begreater than the PCs had formerlyassumed.

The adventure ends with a short periodof denouement that ties up any substoriescreated during development and lets PCsreassess themselves. You can also intro-duce the background for the next adven-ture at this point.

When PCs invent a workable new strat-egy, they should be rewarded. Plots should

contain enough alternatives so that inde-pendent thinking cannot ruin the adven-ture. You can control an adventure byusing natural restriction � if there is onlyone tunnel into a lair, PCs will meet what-ever is at the end of it.

P eople-making

The elements of drama support eachother. Just as plot creates action, so docharacters generate plot, and so doesthought produce characters. NPCs shouldhave their own adventures, which justhappen to coincide with the PCs� adven-tures. Remember that PCs do not usuallyspend enough time with any one NPC tolearn much about him. You should empha-size one trait in each NPC so that the play-ers can see what makes that characterdifferent from all others. Try to pick thesetraits from real people, not other charac-ters; this helps you avoid a series of wisewizards and brave fighters (with onecoward for variety). Also, choose personal-ities that affect the game. For example,nobody cares what an NPC�s favorite coloris, but if a gate guard despises bribery, itmatters.

T elling the players

Since few GMs use music, both finalelements of drama depend entirely onyour public performance. You generatediction by speaking for NPCs, and youcreate spectacle by stimulating the players�imaginations. To make players listen, givethem some minor signal that the game isbeginning, perhaps rolling a die or arrang-ing miniatures. Do not shout or use otherviolent means of getting attention, becausethis makes players concentrate on you, noton the adventure. It also helps to startwith a stirring introductory sentence,ideally one that will provoke action,describe the scenario�s theme, and relatesomehow to previous adventures, thuscreating the illusion of ongoing life.

Your voice creates an entire world forplayers, so effective speech is worth work-ing on. The game should be played in aquiet area where your words will have fulleffect and quell extraneous conversations.Speak in short, direct statements with alogical sequence, and emphasize theimportant word in each sentence. One caneasily pick out quotations and slogans in aclear speech. Pronounce each part of aword without dividing it into subwords,and project your voice forcefully. Somepeople�s voices tend to rise or drop awayduring long sentences; if you do this, markyour module�s text, noting places to cor-rect faltering speech. Never give players achance to stop listening. Change gameevents, sentence lengths, and the tone ofyour voice frequently. If describing some-thing complex, begin with a preview, then

explain your subject, and end by summa-rizing it, so the players hear everythingseveral times in different contexts.

You can develop a pleasant voice byimproving your resonance and pitch. Totest your resonance, pronounce a long�ahhh,� and pinch your nostrils shut nearthe bottom of your nose. This should notmodify the sound, and you should not feelvibrations. After this, say �mmmmm.�When you close your nostrils now, thesound should stop. To find the ideal pitchfor your voice, plug your ears and humthe musical scale. The pitch that soundsthe loudest denotes the level at whichyour voice will be the most clear.

Most speakers talk at a rate of 130-150words per minute. This speed is usuallyeasy to listen to, and it can be used to plana length for your delivery. When you takea breath, make sure that your pausebuilds interest, not interrupts it. A dramat-ic pause says something in itself; it comeswhen the audience knows (or dreads)what you would have said, had you notpaused.

D escribe it!

Describing something as a GM is likeselling model kits; you want to give playersmaterials, not a finished scene. Let theplayers imagine things the way they wantthem to look. Do not plod through longanalyses of everything the PCs see. Toparaphrase Josh Billings: It�s good to talk alot so long as you don�t use many words.Another trap to avoid is affected, over-dramatic voice tones. Describe things inexplicit, direct sentences, and substituteaction for adjectives whenever possible.Have things happen which illustrate whatyou are saying. For example, instead ofsaying, �The monster has sharp claws,�show the monster tearing raw meat withthose claws. Not only does this make astronger impression, but it lets you giveother hints simultaneously � if the mon-ster has raw meat, it must have killedsomething. . . .

As Sherlock Holmes said, �To see is notenough.� Everybody knows that a dragonis big. You need to say things that theplayers do not know, things that might beobvious only to somebody who has actu-ally seen a dragon. Even if you have neverseen a dragon yourself, study dragonlikethings, such as lizards and furnaces. Writedown many more bits of information thanyou actually plan to use, then pick themost vivid ones during play.

When you want to give out trivial detailsfor atmosphere, mix them with vital facts.If the PCs suspect a guardsman shovingthrough a riot is really a disguised pick-pocket at work, they will listen carefullyto your description of that NPC, taking inminor as well as major details. The GMalso needs to consider which realisticdetails improve the game and which ones

DRAGON 31

do not. In a heroic duel, the players wantto see flashing blades, not writhing vic-tims. However, if PCs insist on attackinginnocent people, their players should notescape the anguish caused.

Players need to trust what the GM tellsthem if the campaign world is to becomereal to them. Describe things accurately.Even when you want to mislead PCs, tellthe truth � but in a way that allows thedata to be misinterpreted. Also rememberthat it is much easier for players to believein a consistent campaign world if theworld obeys its own laws. Try to choosenames and details that fit your setting,possibly modeling them on actual culturesand places. If one NPC is named Jacques,you need a logical reason to call his fatherMoonlight-Bearclaw. Avoid jarring changesin genre too, such as having flying saucersvisit an otherwise naturalistic medievalworld. If your campaign is founded onhard science fiction, make that clear fromthe beginning. For the same reason, do notuse �canned� jokes in your modules.Humor needs a reason for existence (likeeverything else).

Time your descriptions carefully. Uselong sentences and slow, calm tones toimply serenity, then talk in rapid shortsentences when things become exciting. Toproduce terror, speak slowly, with longdescriptions of everyday events. Thenshift to rapid action � �It SPRINGS!� In

times of extreme excitement, talk fasterand faster, and just as the tension reachesa peak, pause � then deliver the coup degrace.

A GM can use props to make a scenemore graphic, to help PCs remember it, orto clarify a complex description. Most GMshave experimented with maps, drawing,written treasure lists, etc. You might alsocreate sound effects, either playing themwith a tape recorder or producing thembehind your screen. For examples, clap-ping coconut shells sound like a gallopinghorse, dried peas rattling in a pan simulatehail, and cellophane crackles like a fieryinferno. The important thing to avoid withaudiovisual devices is making them moreinteresting than your adventure. Useprops after you describe things verbally,and don�t let them delay combat or othergame events.

B eing someone else

One sentence from an NPC can replaceparagraphs of description. Not only doNPCs purposely tell things to PCs, butcharacters� moods and appearances canreveal histories, emotions, and strugglesamong people. NPCs should reveal thesethings through tone, physical behavior,pauses, and words with hidden meanings�not Shakespearean speeches. Have your

32 MARCH 1989

NPCs talk in concise, pointed sentences. Acharacter can communicate almost any-thing with voice tone. Consider the impli-cations of the following sentences:

�She is dead!��She is? . . . Dead?��She is dead!��She is dead?��She . . . is dead.�Some actors can use vocal tones to

engage in complex conversations � whilereciting the alphabet.

An NPC responds to PCs in three stages:sensation (noticing something), perception(making plans), and attack (reacting).When playing an NPC, consider how youwould notice, plan, and react if you werethat person. Also remember how the NPCthinks. People from different cultures(especially nonhumans) might have com-pletely foreign attitudes about things wetake for granted. For example, in ancientByzantium, people considered the maim-ing of criminals to be an act of mercybecause it gave the criminals both achance and a reason to repent.

NPCs will certainly talk naturally, andyou can easily simulate this by using con-tractions and reasonably modern speech.However, NPCs should not speak slangwhich clearly comes from a differentworld, like saying �Hot jets!� in a fantasycampaign. Imaginative GMs can easilyinvent their own cliches for fantasy envi-ronments. When you imitate emotionalNPCs, be careful not to portray a stereo-type � try to actually feel what yourcharacter does and let the tones comenaturally. Actors empathize with charac-ters by reading poetry or imagining sceneswhich evoke appropriate emotions. Youcan also try making appropriate faces;according to the James-Lange psychologi-cal theory, moods are partially created byfacial expressions.

GMs should make their own observa-tions about portraying characters. Trysome of these actors� tricks. If an NPC isunder some sort of strain, you might lift aheavy book or merely tense your muscleswhile playing that role. High-pitched voic-es indicate fury or wild emotion, whiledeep sounds convey complex feelings. Toportray strength, talk with a deep, reso-nant voice, and have weak charactersspeak in squeaky, sharp tones. A charac-ter�s age can be indicated by vocal flexibili-ty; younger people quickly move from onetone to another, while old characterssound more stable. When an NPC talks ina foreign language, you might simulatethat with an accent, if the PCs can stillunderstand the NPC.

O rganization

Almost nobody can create all the ele-ments of an exciting adventure withouthelp. However, preprogrammed scriptsbore everyone. Run modules without ascript; know what you want to say but

3 4 M A R C H 1 9 8 9

choose the exact words as you go along.As GM, you should always carefully read amodule before playing in it, until youunderstand what is happening and howyou plan to convey that to the players.Short script outlines, organized on a seriesof index cards, can help you rememberpoints you want to make. You can also picka few key words which sum up thedescriptions you want to give, such as�Ruined Castle: crumbling brick, ivy, rust-ed gate.� Mark any effects you want toproduce, noting pauses, voice tone, etc.When you must read a long piece of textaloud, listen to yourself and try to formgroups of words with appropriate pauses,bringing out a rhythm.

M aking players play

A GM is not only a writer, actor, orator,and so forth; a GM is a police officer. Youmust keep the players listening to you, atpeace with one another, and having fun,too. It is easiest to keep control when theplayers also want things to run smoothly.Make it obvious that you plan to have fun.Never apologize for minor imperfections;give titillating hints to make players anx-ious to play. People will look at you if theysee you looking at them, so maintain eyecontact. Do not constantly stare at oneperson; shift your gaze from player to

player. Since most distractions developduring delays, start playing as soon aspossible, end when the adventure is over,and try not to waste time searching forobscure rules. You can copy importantdata into the module�s text.

It is as important for a GM to listen wellas it is to speak effectively. Think aboutwhat the players tell you their charactersare doing and consider how these actionsaffect your adventure�s plot. Since youcannot respond to everything the playerssay, attempt to pick out the most impor-tant parts. Make it clear which player youare listening to, and do not let anybodyinterrupt. Even if someone wants to dosomething completely impractical, avoidembarrassing the player � but never do aPC favors, either. Respond to nonverbalsuggestions, too. When players enjoysomething, prolong it. If they are bored,hurry to the next encounter. Fidgetingseldom means that people dislike youradventure � it usually indicates that onecertain player needs attention.

Almost every adventuring party suffersinternal disputes. When one player isclearly right, you might offer friendlysupport, but do not join fights yourself.Unless characters actually kill each other,you do not usually need to settle disputesbetween PCs, as opposed to players. GMscan even use friendly conflicts to buildintrigue by having NPCs support one rivalPC or the other. When the two playerscarry some personal grievance into thegame, you can either ignore it or ask themto stop. It is almost impossible to mediatereal disputes by inserting allegories intoyour fictional game, so don�t even try.

F inally. . .

Do not let any guidelines, even these,obstruct your game. Use only those guide-lines that help you. The most importanttask for a GM is to have fun. This is morethan a platitude. The players can tell if youenjoy something, and if the GM dislikes anadventure, they will too. Pick an adven-ture you wish your character would have,and run it with zest.

The AD&D® game has had many imita-tors, but it is still one of the only fantasyrole-playing games (FRPGs) on the marketthat deserves to be called a "heroic fanta-say" game. Consider the combat system, forexample. It is unique in that it is abstract,designed to complement your imaginationbut not replace it. There are no hit-location tables or critical hits as in otherFRPG systems. Furthermore, the meleeround is a full minute long and includesdozens of swings, feints, and maneuvers.Not surprisingly, players often complainthat this isn't realistic, but they havemissed the point. The AD&D game is notmeant to be realistic at all; it is meant tobe heroic. That the fundamental philoso-phy behind the game�the spirit andintent of the rules. What's more, realismand heroism are often directly opposed toeach other.

As Gary Gygax points out in theDungeon Master's Guide, page 9: "As arealistic simulation of things from therealm of make-believe . . . [the AD&Dgame] can be deemed only a dismal fail-ure." He then adds: "Those who desire tocreate and populate imaginary worldswith larger-than-life heroes and villainswill hopefully find this system to theirtaste." This philosophy differentiates theAD&D game from most other FRPGs andis one of the reasons for its continuingpopularity.

For years, there has been a trend

toward realism in the AD&D game. In this people want to be larger-than-life heroes especially in a game that's supposed tomagazine and others, most of the articles when they start playing. When they find provide us with escapist entertainment.attempt to make the AD&D game more out this is not allowed, they quit in disgust. For example, who needs a scientificallyrealistic. Two recent additions to the offi- accurate system to calculate falling dam-cial rules, Dungeoneer's Survival Guide age? A hero is protected by magic powerand Wilderness Survival Guide, are High fantasy in the form of hit points. If he falls 100'attempts at realistic simulation. and lives, so be it�it just proves he's a

Does this mean that the realists are But at the last the King hero. We can't compare a hero to a normalviolating the spirit of the rules? Of course grew weary, and Morgoth human being. Besides, is there any reasonnot. The AD&D game is constantly evolv- why the laws of reality must apply in aing. It now seems that there are tow very

bore down his shield uponworld of fantasy? To a great extent, scien-

different styles of play: the heroic style, him. . . . [The King] stumbled tific realism is out of place in high fantasyoften called "high fantasy," and the realistic and fell backward before the because it leaves no room for the fantasticstyle, often called "low fantasy." In playing feet of Morgoth; and Morgoth and incredible deeds a hero must accom-the AD&D game, the DM must interpret set his left foot upon his plish if he is to be heroic.the rules in different ways depending on In high fantasy, the game world need notthe style he uses. Using the example of the neck. . . . Yet with his last and make sense in our terms. In fact, there areabstract combat system, it is often useful desperate stroke Fingolfin some things which should not make sense.in low-fantasy campaigns to more fully hewed the foot with Ringil, Magic, for instance, is by nature mysteri-develop the rules in this aspect, adding ous; otherwise, it's just another humdruminitiative modifiers, hit locations, etc. This and the blood gushed forth aspect of science. High fantasy musthas been done in many campaigns. In high black and smoking and filled appeal to our sense of wonder, not to ourfantasy, of course, such additions would common sense.be unnecessary and even harmful.

the pits of Grond.More than any other form of role-

It is not sacrilegious to change some of Thus died Fingolfin, High playing, high fantasy takes us completelythe rules. The important thing is the spirit King of the Noldor, most away from the mundane world. Anythingof the rules, which depends entirely on proud and valiant of the that reminds us of the gritty details ofwhat style of play you and your players everyday life is best avoided. Thus, inter-prefer. This style of play determines how a Elven-kings of old. nal consistency must take a back seat togame world is developed and what goals The Si lmari l l ion atmosphere. This does not mean that athe characters have. These days, there is J. R. R. Tolkien high-fantasy setting must be two-an overwhelming emphasis on low fanta- dimensional. It means the DM must besy; many new players and DMs are led to The key to high fantasy is its unusual sure not to destroy the mythical, mysteri-believe this is the only way to play the and dramatic nature; it makes no attempt ous quality of the setting with needless,game. This is a shame, because a lot of to copy real life. Realism isn't everything, boring detail.

We all have a sense of wonder some-where within us. Why else are we playingFRPGs? Like any other skill, this is devel-oped by practice. The greatest challenge inhigh fantasy is maintaining a suspension ofdisbelief. As we get older, we tend tobecome more skeptical, more willing tomake up elaborate explanations for all thecampaign�s mysteries. This is not a goodidea in a high-fantasy campaign, in whichwe must feel more than think.

Are you suited for high fantasy? If theordinary details of everyday life in yourgame world do not interest you, if youdream of doing glorious, dramatic, andperilous deeds, and if you enjoy lettingyour imagination run wild (to the extentthat you sometimes go beyond the boundsof common sense), then this gaming styleis for you.

If you want to create a high-fantasycampaign, you might consider the sugges-tions given below. They are only generalguidelines, and you may alter them orignore them entirely, as long as you arecareful to maintain game balance. Remem-ber: In high fantasy, you should neverhesitate to bend a rule if it helps youobtain a dramatic effect.

Campaign goals: The basis of any suc-cessful campaign is a clearly defined pur-pose; otherwise, the players wanderaround aimlessly, bored and confused. Inboth high and low fantasy, the greatestgoal (besides having fun) is to accumulateexperience points, thereby rising in level.It should be obvious that bow one arrivesat this goal is as important as the goalitself. This is where high and low fantasydiffer. While low fantasy is essentiallymoney-oriented, high fantasy stressesglorious, heroic deeds. Paradoxically, theAD&D game rules, which were originallyintended to reflect the high-fantasy style,place an overwhelming value on money.Practically all experience points are gainedin this manner, and you have to raise hugesums of money to advance in level. It�s nosmall wonder that most characters areprimarily interested in treasure and not inheroic deeds. There�s little to gain in fight-ing a huge dragon single-handedly, there-by rescuing your comrades, if the rulesdon�t reward that kind of thing.

To allow the characters to be more hero-ic, it is advisable to lower experience-pointawards for treasure (perhaps ½ xp pergold piece) and raise awards for slayingmonsters proportionately. Especially hero-ic deeds should be rewarded as well. Forexample, holding off a dragon under des-perate circumstances might merit up toone-half the experience points normallygained by killing the thing. Remember thatbeing heroic isn�t being stupid; neverhesitate to penalize a player who doesn�tbother to think, no matter how dramatiche is. The line between bravery and stu-pidity is a fine one � something only theDM can decide.

To further limit the value of money,lower or eliminate the monetary cost of

gaining experience levels. It is very likelythat heroes will teach themselves for nocost. They are, after all, among thehighest-level mortals in their worlds, sothey aren�t likely to find a suitable teacheranyway. Alternatively, you might allowthem to find some sort of instructor, butinsist that they pay by performing somequest or other service.

In all cases, players should understandthat some products or services worthhaving cannot be bought for any price;they must be won through great andperilous deeds. As a DM, you must placethe emphasis on the means, not the end. Ahero rescues maidens and slays dragonsnot for any material reward, but for thesheer glory of his actions and the prestigewhich follows. As his fame and reputationspread, he will be greeted with awe bynormal mortals. Songs will be sung in hishonor, and epic poems will be composedabout his exploits. He will literally becomea legend in his own time. Not surprisingly,this is quite an ego boost for the averageplayer. As a result, it can be a more desir-able goal than piles of coins could ever be.

Dominant conflicts: Heroic deeds neces-sitate stupendous dangers. It is difficult tosustain interest in a high-fantasy campaignwhen the characters do not have a suit-ably grand purpose on which to focus.This can be as simple as a fundamentalconflict between Good and Evil or Lawand Chaos (this is already built into thegame to a certain extent), or as complex asdesperate war with malevolent forces thatthreaten to engulf civilization. Quests areideally suited for heroic characters.Depending on the campaign, even the godsthemselves may be actively involved �something which would soon unbalance alow-fantasy campaign.

Fate plays an important role in highfantasy. Heroes are often channeled downpredetermined paths, and while they havethe responsibility to determine the out-comes of individual encounters, the over-all scheme of things is set beforehand.This might be undesirable in low fantasy,where free will (or the illusion thereof) isimportant. In high fantasy, however, thecharacters are often the earthly represent-atives of some higher power. As such, theyhave grave responsibilities and are notfree to determine their own destinies. Inthe long run, a hero has a sense of impor-tance and purpose that a more conven-tional character doesn�t have.

High-level heroes: A high-fantasy cam-paign is suited for small numbers of play-ers. Heroes don�t want to share their glorywith others, and single combat obviouslylends itself to heroism. Because of theirtendency to be solitary and because oftheir heroic (i.e., unusual) nature, thesecharacters must have a high experiencelevel in order to survive. In fact, it is oftenwise to start new characters at high level,say 10th level or so. By definition, heroicdeeds are fantastic and incredible, andlow-level characters just aren�t equipped

DRAGON 39

to do something of this nature withoutgetting killed.

Tragic flaws: Let�s face it � perfect char-acters or situations are boring. A hero isassumed to be better than most mortals,and he should have high ability scores toreflect that fact. Nevertheless, a flaw ortwo will invariably make a character moreinteresting. Perhaps, like Moorcock�s Elric,the character is sickly and weak withoutthe magical healing effects of his sword.Perhaps he committed some terrible deedin the past and is tormented by his con-science. Perhaps, like Conan, he knows hisfate but is powerless to avoid it. The possi-bilities are endless.

Alignment adherence: Heroes aren�tknown for their moral and ethical flexibili-ty. Typically, they are pure and single-minded with regard to their alignments.Thus, characters that have extreme align-ments are especially suited for high fanta-sy. The paladin, for example, makes agreat hero in high fantasy, though hetends to be too pure and righteous for alow-fantasy campaign. Alignments mustalso reflect the central conflict of thecampaign. In a setting where there is astruggle between good and evil, a lawful-neutral character would be ineffectualexcept as a mediator � and where�s theglory in that? Whatever the character�salignment, he should stick to it at all times,and the DM should be strict when graph-ing alignments.

It has been pointed out by some that thealignment system is unrealistic, and someDMs have dropped it entirely from theirgames. However, heroes are not supposedto represent real people. In a way, theyare simply manifestations of an ethos � afundamental, primal force. Heroes are thecreation of the mind. As such, they repre-sent ideals that no mere mortal couldpossibly live up to. Part of the fun of highfantasy is leaving your mortality behind.

Heroic atmosphere: High fantasy isessentially dramatic; it deals with theincredible and fantastic, not the common-place. In order to convey the wonder anddrama of the campaign, the DM mustcounter the players� natural skepticism.This suspension of disbelief may be pro-duced in a number of ways.

Heroism implies something exceptionalor unusual. If players become too accus-tomed to something, it ceases to be excep-tional or unusual, thus defeating thepurpose of high fantasy. The DM mustexercise moderation when giving theplayers things which they consider impor-tant and valuable. For example, manysuccessful adventures culminate with thediscovery of a great treasure � a dragon�shoard or such. In high fantasy, this trea-sure is not just valuable because it willmaterially aid the characters, but becauseit is impressive and awe-inspiring, thuscontributing to the heroic atmosphere ofthe game. But something�s value is directlyrelated to its scarcity. If you regularlythrow mounds of treasure in the charac-

ters� direction, they begin to take it forgranted � and that�s not conducive toheroism. Keep the characters unaccus-tomed to large sums of money; only whenthey are habituated to the simple lives ofaverage heroes will they be impressed bywagonloads of gold and jewels. In thewords of Gary Gygax (DMG, page 93):�What is gotten cheaply is often held incontempt.�

What happens to all this money once thecharacters have it? The rules attempt toget rid of excess money by imposing hugecosts on training for level advancement.This is not a good approach in high fanta-sy because it creates an overwhelmingdemand for treasure that is soon the char-acter�s sole aim in life. Instead, the impor-tance of treasure should be limited, exceptperhaps as a way to get experience points.How one gets rid of excess treasure large-ly depends on the character�s situation. Ifhe belongs to an organization (a temple,for example), he will probably donate mostof his wealth to that organization. If he isthe king of some great nation, the moneywill be swallowed up by the royal trea-sury, perhaps to be spent on the raising ofan army to further the character�s goals.In the case of most dragon hoards, thetreasure may rightfully belong to someother deserving group and should bereturned to them (except, perhaps, for afew choice items). In each of these cases,

the money is well spent. Not only are thecharacters increasing their fame and repu-tations, but they are actively furtheringtheir goals in regard to the dominantconflict of the campaign.

Heroes usually fight against overwhelm-ing odds. Often at the brink of doom, theyseem to escape at the last instant. This, ofcourse, is simulated in the AD&D game byusing saving throws. Saving throws, how-ever, do not apply in every situation. Forexample, suppose there is a hero whofights an epic battle with a huge dragon.He acquits himself admirably, but the tideof battle goes against him and he is forcedback into a corner, with no escape fromthe great wyrm�s fiery breath. Facingcertain death, the hero mutters a prayerto his patron deity and hurls his sword atthe dragon�s breast with all his might. Theprojectile whistles through the air, turningend over end. . . . Does the blade fly trueand bury itself in the monster�s blackheart? If the character tried this tacticbefore, of course not � he is doomed. Onthe other hand, let us say it was a trulyinspired act; why shouldn�t it work?

The fact is heroes are frequently capableof actions that are outside the scope of therules. Most heroic deeds are once-onlyevents; no character could make a careerof killing dragons with lobbed swords. Theessence of heroism is that it is unusual,inspired, and unexpected. Still, heroism

DRAGON 41

should not be used to justify thoughtless,unnecessary risk. If the character does notdeserve a heroic escape, the DM shouldallow him to meet his doom � dramatical-ly, of course.

Alternatively, characters can use devicessuch as luck points (described in theConan (CB) series of AD&D game modules)or hero points (see DRAGON® issue #118,�A Hero�s Reward�). Each character has acertain number of such points. Every timethe character states he is using a luckpoint, for example, he can automaticallymake a saving throw or perform anotherdramatic action. Of course, if he usesthese points up, his luck runs out and hesuffers the consequences the next time heis in a life-threatening situation.

In high fantasy, atmosphere is moreimportant than substance. Heroism isunusual and fantastic; the DM must milkevery situation for dramatic effect. In highfantasy, we can put ourselves in the shoesof Odysseus, Perseus, Cu Chulainn,Beowulf, King Arthur, Elric, Conan, andsundry other heroes of myth and litera-ture, doing glorious and noble deeds in themidst of great conflict and tragedy. Highfantasy is the stuff of which legends aremade!

Low fantasy

tent with modest gains, Jubalcontinued to amass his for-tune with fanatic intensity. Hehad learned a dear lessonwhile glaring through hate-slitted eyes at the crowds

Where others might be con-

who cheered his gory pit vic-tories. . . . Money-and Power,not skill and courage, werewhat determined one�s stand-ing in the social order of men.

�The Price of Doing Business�Robert Lynn Asprin

For most players, the AD&D game is no

ters like paladins can be allowed to be

longer a game of heroic fantasy In manyways, a low-fantasy campaign is not so

more morally flexible � just as the right-

much an escape from reality as it is anextension of it. If you accept a few basic

eous knights of the Middle Ages were

things like magic, the world makes perfect

flexible in their interpretation of good and

sense; it could exist. The DM strives togive the setting depth and consistencythrough the development of economics,

evil. This is not to say that characters are

ecology, politics, climate, and a host ofother details. Depending on the campaign,

more cynical or self-centered than normal.

even the minute details of life can be simu-lated. For example, a character might

There is plenty of room in low fantasy for

spend a considerable proportion of his

courage and noble deeds. The characters

playing time just buying things � provi-sions, equipment, weapons, and such �and haggling with an endless series ofmerchants, usurers, fences, collectors ofmagical and rare items, and many others.This may seem trivial compared to theheroic deeds of high fantasy. However,part of the fun of low fantasy is the con-tinued interaction of the characters withnormal people. Everything may be on aless-ambitious scale than high fantasy, butthat does not mean that low fantasy is anyless fun. Many players prefer low fantasybecause it is more down-to-earth and lesscut-and-dried than high fantasy.

In low fantasy, the characters are essen-tially human beings (or demihumanbeings), with all their attendant faults andweaknesses. In a world where there is noabsolute distinction between right andwrong, the DM should allow some leewaywith regard to alignments. Even charac-

are merely more human than high-fantasyheroes � and are thus more believable.

Because this campaign requires depthand internal consistency to make it believ-able, the DM must be prepared to put in aconsiderable amount of work. If you enjoycreating campaign material for its ownsake � just for the satisfaction of seeing

4 2 M A R C H 1 9 8 9

your world come alive as your playersinteract with it � and you add details tothe campaign that few players would everbe likely to know or even care about, thenyou are probably a low-fantasy DM. As aplayer, if you are a practical sort of personand you prefer the devious and uncertainchallenges of real life to the more straight-forward world of heroic fantasy, then youare probably suited for low fantasy. Thefollowing guidelines will help you set up alow-fantasy campaign.

Campaign goals: In low fantasy, thecharacters measure their successes mainlyby how much treasure they amass. Themoney earned helps pay for their trainingwhen they gain experience levels, andmagical treasures make them more power-ful. Thus, every adventure should havesome material reward. However, so thatthe characters do not become overly richand powerful, one must carefully limit theamount of treasure in each adventure.Monstrous dragon hoards with wagon-loads of gold and gems might be the stuffof high fantasy, but it will send low-fantasycampaigns down the proverbial tubes. Theplayers� interests will be held only as longas they remain hungry for more moneyand power. There is an abundance of goodadvice on how to avoid the Monty Haultrap, and it is not the intent of this articleto further belabor the point.

Low-level characters: As characters risetoward high experience levels, there inevi-tably comes a point where they are sopowerful that the conventional goals ofthe campaign become meaningless. Asbeginning characters, everything theywanted was connected in some way withmoney and power � that is, the charac-ters never had enough money to buyeverything they wanted and were notpowerful enough to take it by force. Theirprime objective then was to rise in wealthand power so they could obtain the thingsthey wanted. At high levels, though, theycan buy or take just about anything theyplease. Consequently, these early goalsbecome meaningless.

Part of the fun of low fantasy is theextensive interaction of normal NPCs withthe player characters. But there is noreason to bargain with a merchant if youcan buy his entire store, and it isn�t neces-sary to bribe a guard to let you into acastle if you can smash a hole through thewall and march right in. At high levels,you can lay waste to the carefully bal-anced setting and leave all the DM�s workand care in smoking ruins. In these cases,there�s no challenge to everyday life any-more � and everyday life is an importantaspect of low fantasy.

High-fantasy heroes can handle theirutter superiority to normal people; theyhave greater goals to consider. In lowfantasy, however, characters are integralparts of an intricate, extensive design.They may become powerful, but never tothe extent that the world revolves aroundthem. When the characters rise past mid-

level, a choice must be made: Either beginagain with new characters, or changestyles to accommodate high fantasy gam-ing (a process described later).

Realistic atmosphere: While the virtue ofhigh fantasy is its simplicity, a low-fantasycampaign must be less abstract. In somecampaigns, for example, a more compli-cated combat system is helpful. Heroesmay fight by the round, but many charac-ters, especially assassins and thieves, oftendon�t have that long; realistic combat isoften quick and deadly. There are otherelements of the AD&D game which areperfect for the high-fantasy style but areinadequate for low fantasy. Luckily, mostof these have been developed more fullyin articles in this and other magazines.

Realism can be taken too far; it shouldnever interfere with playability. Playersgenerally find it easier in low fantasy toidentify with the world and with theirown characters if they find the campaignis based on the laws of reality. They willnot be impressed if the campaign is sorealistic that the DM must spend minutesof valuable game time trying to resolve themost straightforward actions. As manyhave observed, if we aren�t careful, theAD&D game will drown in its own rules.

Flexible alignments: Thieves, assassins,and other characters who are known fortheir flexibility in regard to morals andethics are perfect for low fantasy. On the

other hand, characters with extremealignments might have problems if theyare forced to stick to rigid codes of behav-ior. Alignment works well in high fantasy,where we assume that Good, Evil, Law,and Chaos exist in an absolute sense. Inlow fantasy, this might seem contrived andunrealistic. The DM should interpret align-ments as general tendencies, not as tangi-ble forces. It might be possible, in fact, todo away with alignments completely (asPaul Suttie suggested in �For king andcountry,� back in DRAGON issue #101).

W h i c h i s b e t t e r ?It would be unreasonable to believe that

low fantasy is necessarily better than highfantasy because it is more realistic. Manypeople like to leave the world completelybehind them when they play a fantasyrole-playing game. For these people, so-called realism actually detracts from theirenjoyment of the game.

It is possible to have a campaign whichstarts as low fantasy and, as the charac-ters rise in level, changes to high fantasy.In my own experience, this is not a goodidea because most DMs and players preferonly one style of play. That�s not to say itisn�t possible, however.

Of course, some people are of a morepractical temperament and prefer a low-fantasy campaign. In any case, it should beclear by now that there is no one way toplay the AD&D game. Both approaches areperfectly satisfactory. A DM�s style of playshould follow the natural inclinations ofthe DM and the majority of his players.Too many campaigns fail because they tryto be all things to all people.

As the characters rise through the mid-levels (7th to 11th, depending on the cam-paign), the conventional low-fantasy goalsbecome meaningless; buying things is noproblem and the characters get the ideathat the world revolves around them. Atthis point, they start becoming bored �after all, they are rich, powerful, and haverisen to name level. What more is there?

At this point, the DM must change thecharacters� goals. Follow the suggestionsexplained under the �High fantasy� sub-heading. If you don�t have a dominantconflict, get one so the characters have anew clearly defined goal. Also, changeyour emphasis from materialism (what thePCs get) to action (what they do and howthey do it). The players may at first com-plain about the scarcity of treasure, but itis no longer necessary for them to havemoney to go up levels. Also, when they doget a choice item of treasure, it will begreatly appreciated. Make the charactersfeel special. After all, by now they�re prob-ably famous (or infamous) in the adventur-ing area.

However you decide to approach thegame, there are certain things you shouldalways keep in mind:

Don�t overdo it: Game balance is all-important. Whatever the players are after,don�t give it away � make them work for

it. As long as the players have a worth-while goal, they will be interested in thecampaign. By the same token, don�t be toostingy either.

Don�t be bullied: Many experiencedgamers tend to look down on unrealisticcampaigns, which they feel will sooner orlater degenerate into Monty Haul games.This is not always true. If you enjoy highfantasy, stick with it; it can be just as excit-ing, challenging, and playable as low fanta-sy. The AD&D game is a game of theimagination, and no one can tell you howto use your imagination. Of course, if lowfantasy is your thing and you are willingto put in a little time and work, that�s finetoo. Choose the style that appeals to youand most of your players. Doing so willgive you a good head start to an enjoyableand exciting campaign.

Every rule has its exception: If some-thing fits into your campaign even thoughsomeone says it shouldn�t belong in thatstyle, that�s all well and good. Your cam-paign is your own; it should have its ownspecial flavor.

As a final note, you may want to readliterature or explore role-playing aidswhich reflect the style of play in whichyou are interested. This may help youwith ideas for adventures or serve tostimulate your imagination. A brief listfollows, classified by style.

High fantasy: The Conan series, byRobert E. Howard; the Elric of Melnibone,Hawkmoon, and Erekose series, byMichael Moorcock; The Silmarillion, by J.R. R. Tolkien; Dilvish the Damned, byRoger Zelazny; and the Conan (CB) seriesof AD&D game modules.

Low fantasy: The Thieves� World series,edited by Robert Lynn Asprin; Saga of OldCity, by E. Gary Gygax; the Harn fantasyworld (Columbia Games), by N. RobinCrossby; and the Fafhrd and the GreyMouser series, by Fritz Leiber.

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44 MARCH 1989

In tales that reallymattered . . . folkseem to have justlanded in them �their paths werelaid that way.

The Two Towers, J. R. R. Tolkien

In AD&D® games, the DM must be surethat the PCs� paths are �laid that way.�Campaigns need a theme, a saga thatdemands continuing heroics. You canbegin the game with such a plot or elsebring one into an existing campaign. Thereare many times of daring and excitementin history from which a DM might borrowwhile creating a campaign.

Getting startedAll campaigns need a conflict to keep the

PCs struggling. The conflict should affectvast portions of society so that the PCscannot simply get what they want and endthe game. Each adventure needs a specificgoal, but the greater struggle must go on.AD&D campaigns should occur amidinexorable social changes, situations whichforce the PCs to resist historical trends orexploit them. One period in history whichmight make a fertile campaign is the fall ofthe Middle Ages� feudal system.

Feudalism depended on two socialgroups: the nobility and the peasants.There were a few merchants, shop-keepers, and yeoman farmers, but theywere insignificant. Almost all people in afeudal society were peasants who ownedno land and worked on a noble�s farm.The landlords were usually legal rulers,but even when some other governmentadministered justice, lords had absolutepower over their serfs because lordsowned the land. Most of what a peasantgrew went to the landowner, and thelords word was law.

Nobles were not like modern dictators.A baron lived by the code of chivalry,obeying a duty to support his peasants.People believed that everybody had astation in life, and all places were equallyworthy. Nobles were not always rich, andthey did not usually feel superior to theirpeasants. Landlords considered them-selves above crass greed. A prosperousnoble might cast a throne of gold, but hewould not invest his money for profit. Therole of a lord was to govern his subjects,and the role of a peasant was to feed hislord. Neither could exist without the other.The fact that serfs lived in poverty, com-pletely controlled by the nobles they fed,

was ignored.In 1349, the Black Death devastated

Europe [see �The End of the World,� inDRAGON® issue #138]. This ruin madeliving people valuable. Nobles lost theirserfs; artisans could no longer hire work-ers; generals found their armies gone; andthe church needed new priests. Workerscould now demand high wages. Serfs on afiefdom toiled constantly, and their cropswere taxed away, but elsewhere they werefree and could earn amazing sums ofmoney as laborers. Peasants could notlegally abandon their lord, yet many fleddespite dreadful punishments.

Nobles could no longer farm their landexcept with hired workers who had fledfrom some other lord. To pay these labor-ers, the nobles needed money and so hadto rent their property for cash. Business-men, many of whom had recently beenserfs, were glad to lease farmland, butthey did not grow food crops whichrequired many expensive workers andsold for low prices. They wanted some-thing they could sell for a profit � wool.One shepherd could tend hundreds ofsheep; therefore, merchants converted themanors to pastures.

�These are the days when sheep eatmen,� lamented a writer in that time.Sheep merchants evicted the peasants whohad remained with their barons. The fewworkers who had invested in wool becamerich; the rest starved. As the years afterthe plague went by, wool became morevaluable and labor less so. The masses ofworkers, who owned no land and servedno noble, wandered the roads looking forwork. They were not wanted in cities, andthe Church could not support them.

The wandering poor lost contact withsociety. On a noble�s estate, people had alasting culture; what someone did one daywas remembered the next. There was alsothe lords baliff, and in cities, there wereguards and watchmen. But on the high-ways there was no law, and there was noway to survive except by stealing.

If this had happened in a role-playinggame, the PCs could not simply kill someevil perpetrator and restore things tonormal. To rescue the old manors or findoccupations for the hordes of dispos-sessed, PCs would have to conduct a longseries of projects � a campaign. Of course,some parties might like these changes.They might raise sheep or recruit home-less serfs for some project of their own.An economic crisis can create businesseslike thieves� guilds and adventuring serv-ices. If the DM wants a mercenary atmos-phere of dungeon-looting and hired killers,social upheavals make a believable back-ground and could be introduced into acampaign that has already been started.Perhaps the PCs themselves caused theproblem. In an isolated area, evicting evena few peasants might upset the socialorder.

The DM can make adventures morespontaneous by picking PCs that have aninterest in the campaign�s conflict. If thefall of feudalism is the setting, the PCs

could be serfs who begin adventuringwhen they are thrust from their land. Ortheir first quest might be to escape themanor and become high-paid laborers. Orthe PCs might be the children of noblesand must find money to keep their ances-tral lands. In none of these cases does theDM need to have NPCs hire the PCs asadventurers, but he still knows whatquests they will undertake. This allows theDM to carefully plan each adventure whileletting the PCs think that they make all thedecisions.

The PCs should come from a group thatsuffers or benefits strongly from whateveris happening in the DM�s world. Whathistorical or fictional figures would havebeen fun to play as PCs? What made themdo what they did? In the era of decayingfeudalism, Henry VIII and Cardinal Wolseywould both have been interesting PCs.Wolsey�s parents came from the lowerclasses, but by taking advantage of socialconfusion, he became a priest, then aCardinal, and finally a powerful advisor tothe King of England. By taking Wolsey�sadvice) Henry also rose in society, increas-ing the power of his crown over weak-ened barons. However, the King could notproduce a male heir to carry on theseprojects. The rest is history. By giving PCsbackgrounds and desires, the DM hasthem write the history of their world.

The DM should work with the players toinvent motivations for PCs and decide whythey are working together. This mightsimply be because the characters needeach other�s help to achieve their goals.They also might be appointed to their jobs;perhaps they are all the children of thesame noble family or have been hired asscouts for an army. Most players prefer to�roll up� their own characters. The DMshould let them do that, but he can colorthe characters with suggestions abouttheir preadventuring lives and goals.Almost all players enjoy getting back-grounds that place their characters in theDM�s world, especially if the historiesinclude useful information, friendships, orheirlooms.

There are two mistakes to avoid whentrying to give PCs natural reasons toadventure. One: Never make decisions fora player�s character. People play role-playing games so they can have adven-tures, not so the DM can. Start adventuresby warning the PCs about impendingevents which should inspire an adventure,but let the party decide what to do. NPCsmight give PCs advice, but do not give theadvice to players as the DM. If the PCs failto take action, they must endure the con-sequences, which should also make anexciting adventure. Two: Avoid basing awhole campaign on one particular charac-ter. If that person dies, it could ruin thegame. The victim will have to return some-how � and that makes everyone feardeath less. It also ruins a chance for dra-matic role-playing, where survivors grieveover a lost companion. Instead, give all thePCs a reason to lead adventures. If onecharacter dies, someone will take his

DRAGON 47

place. The player of the dead charactercan roll up a new PC.

One thing leads to . . .Each time the characters complete an

adventure, they change the campaign, andevery change should inspire future adven-tures. When a DM picks a campaign set-ting, he should make general plans for themilieu’s future so that it is always in tur-moil. As the campaign becomes morecomplex, each character will mature, too,gaining regrets, memories, hopes, anddreams.

Wars make stirring campaigns. They letPCs lead hosts into battle, make daringstrikes deep in enemy territory, or evenyearn for peace. Best of all, wars canspawn complications which last for centu-ries. Many fantasy battles are fought todestroy some vast, evil menace, but thereal adventuring might come after a DarkLord has fallen. If several forces haveunited to defeat this enemy, how will theydivide the foe’s lands? What will they do toprevent future wars? Will their alliancesbreak down or strengthen? The victorsmay not trust their old allies. Examine thepeace settlements after the NapoleonicWars or either World War to see how thisprocess can spark future conflicts. Anaxiom of diplomacy says, “It is better to bestrong after a war than before it.”

The Thirty Years War would have madean excellent fantasy campaign. It lasted forroughly the duration of an adventurer’scareer, and its repercussions still affect usalmost 400 years later. In the Middle Ages,wars were limited. Nobles believed thatthey ruled by the gift of God and thatevery fiefdom was holy. Lords “never over-threw other nobles, as this would questiontheir own right to rule. Rulers might quar-rel over territory; children might fightover inheritance; but no lord woulddestroy his enemy.

Patriotism did not exist in the MiddleAges. Peasants were as happy to have oneruler as another, and nobles needed everyserf to farm. It would be foolish to draftpeasants into armies — such an armywould starve. Only nobles and warriors

fought, and except for those within thewar zone, common people were unaffect-ed by combat. They barely knew who wonand who lost. A spirit of honor and chival-ry ruled the military.

In 1618, a new form of war emerged.Common people would fight for religion,and in the 1600s, Protestantism grewconstantly though the Catholic Churchviewed it as heresy. Homeless serfs werestill numerous from the ravages of thesheep merchants. They sought a cause,and their numbers could form vast armies.At this time, nearly 1,000 fiefdoms madeup the area of modern-day Germany, andthey allied themselves with larger empiresin their struggles against one another.Catholic lords joined with the AustrianHapsburgs, the Italians, the Dutch, and theSpanish. Protestant nobles allied withEngland, Denmark, France (which was notProtestant), and Sweden. Europe splititself into two great factions, each contain-ing hundreds of tiny members and severalgreat ones. Religious quarrels inspired thesoldiers; every citizen took arms. The fusewas lit when Ferdinand, Prince of theAustrian Hapsburgs, sent emissaries to anobleman in Prague with an unwelcomemessage. The noble hurled Ferdinand’sambassador into a heap of manure.

This incited the Thirty Years War. Oneout of every four Europeans was killed.Foes were impaled on poles and carried asbattle standards. People were burned aliveen masse. Alliances shifted and broke.Countries were invaded by one force afteranother. Peasants were forcibly convertedto one doctrine, then back again. No stablearrangement could be found. When oneside began to win, some of its allies woulddefect to the loser. The minuscule GermanStates did not dare let an alliance seizeEurope, because such a power could crushthem all. While the petty dukedoms exist-ed, war could not end.

In 1649, alliance leaders forged the Peaceof Westphalia. The Peace eliminated 600German manors, which meant that therewere fewer allies to switch sides. Thistreaty went further and ended the entiresystem of sovereign lords. The generals of

the Thirty Years War divided Europe intogigantic nation-states: Brandenburg-Prussia,France, Belgium, England, the Netherlands,Russia, and so on. Before then, a landednoble was completely independent, owingfeudal obligations to a king, but controllinghis own army and justice. Now lords werebut citizens, subject to the law like anypeasant.

In a fantasy game, a campaign couldbegin with the PCs in a purely feudalworld. They might serve a lord or migratefrom estate to estate, participating inminor squabbles. As the characters growmore powerful, their world becomesdangerous. With nine alignments, racialstruggles between elves and orcs, andseveral hundred deities in Legends &Lore, many causes could galvanize anAD&D game world. The PCs must choosea side or retreat to less civilized areas (buteven the most remote lands may join thewar). For years the PCs will fight or try toescape fighting. Then, later in the game,the world changes. The characters havereached a level where many PCs buildtheir own castles and become rulers, butthe familiar manors have vanished. PCswho own land have not become all-powerful — rather, they face new respon-sibilities as servants of a great nation-state.A fantasy equivalent of the Peace ofWestphalia can preserve game balance.

An age of discoveryExploring the unknown moves many

campaigns. Most fantasy worlds containmagnificent tracts of unclaimed land, andother planes offer yet more territory toexplore. An Underdark, as described inthe Dungeoneer’s Survival Guide, mightserve as the New World for PCs. On theother hand, fell creatures could emergefrom the Underdark to explore surfacelands, perhaps conquering the surfaceonly to emerge and rule at night, butfleeing before daybreak.

Columbus’s well-known voyages caninspire a milieu. When people realizedthat Columbus had found a new continentinstead of reaching Asia, Spain claimed theentire hemisphere. This terrified othernations. Many of the intrigues surround-ing Henry VIII began as attempts to neu-tralize Spain’s new influence. At this time,the last Moors fled Spain, and an Inquisi-tion raged across Iberia. Then a new dis-ease came to Europe — syphilis. Herbswhich were reputed to cure it becamepriceless; but they were imported fromthe East. Merchants were forced to passfirst through Spain’s Catholic Inquisition,then through Moslem nations that furi-ously opposed all Christianity, and finallyacross great deserts, all in search of theprecious herbs.

In a fantasy world based on Columbus’sSpain, the PCs might begin as explorer-adventurers, driving enemies from theirhomelands. When the PCs have someexperience and all the enemies are defeat-ed, their conquests lead them to a New

48 MARCH 1989

World. This thrusts the party into politics.Now the characters must pacify othernations that are jealous of their new con-quests, and they have to deal with theinquisitions at home. Perhaps PCs zealous-ly hunt for victims, or maybe the party�sfoes accuse them of heresy. Finally, a newdisease strikes. Now the PCs return totheir old roles as wandering swashbuck-lers and smuggle precious herbs and medi-cines from Oriental lands.

Many AD&D game worlds are based onViking mythology. The Norsemen alsodiscovered the new world of America,which they called Vinland. Archeologistsspeculate that a religious ritual broughtthe Norsemen to the New World. Vikingsailors threw wooden statues of deitiesinto the water and followed wherever thestatues washed. Some statues may havegone to the Americas by floating along theWest Greenland Drift. Most Viking colo-nists were convicts. Under Norse justice, acriminal could be declared an outlaw andcast out of his homeland. An outlaw hadno legal protection, so if he was robbed orkilled, the assailant would not be pun-ished. These outlaws often fled to the NewWorld, and a few exiles or would-be kingscame with them. Then the climatechanged, and the Little Ice Age settled onthe northern sea. No Viking settlementssurvived as the frigid summers starved thesettlers. In AD&D games, PCs might be

driven to the New World or else pursueold enemies there. Or they might be theequivalent of American Indians, meetingstrangers from an unknown continent.Perhaps the PCs are the only survivors ofan ice age, trapped by ice on a vast, unset-tled hemisphere.

Often, a �New World� is somebody else�s�Old World.� European colonists seizedAfrica, both Americas, and the PacificIslands, but Western civilization was notalways the aggressor. Barbarian tribesconquered Europe after the fall of Rome.It is worth noting that some of these samebarbarians � the Mongols � were a griev-ous threat to China, then Asia�s mostadvanced power. PCs might explore a newdominion or face enslavement by ruthlesscolonists. Imaginative DMs will think ofmany responses of the locals to theinvaders. For example, when Westernersbegan to meddle with China, the ImperialSon of Heaven invited more to come. Hefelt that Chinese society was so superior toanything the barbarians knew that theircolonists would leave, ashamed. �Manyhave conquered the Middle Kingdom,� hesaid, �and none have left unchanged.�

A milieu might be inspired by some newtechnological or magical invention. Mili-tary innovations might change everythingin a fantasy world. In our actual MiddleAges, Charlemagne invented the entirefeudal system to support his armored

cavalry. Later, the use of pike formationsand long bows helped destroy knights �and their society. A rapidly firing magicalweapon could pin armies into trenches,prolonging a war for years, the way themachine-gun did in World War I. Inven-tions like the printing press or some sortof magical traveling device might havedramatic effects on philosophy and moresin a fantasy world. Another impetus foradventures might be a natural disaster.What if the PCs� homelands slowly flood,become volcanic, or dry into a desert?Useful land becomes scarce, people fightover what remains, and eventually theentire culture changes.

Politics might keep PCs adventuring. TheGreek city-states and Caesar�s overthrowof the Senate can inspire some DMs. If aking dies without an heir, his land will bethrown into chaos. Actions by deities alsocan start campaigns, causing prophecies,holy wars, or long quests for purity. Whatif the official priesthood has become cor-rupt, and PC clerics or paladins receive aquest to restore the church? The idea ofan inquisition was mentioned earlier, andit fits into many campaigns. Such purgesneed not involve religion, since racialpogroms and searches for political radicalswork in a similar way. The number ofpossible themes for campaigns, like thenumber of possible AD&D adventures, isinfinite.

50 MARCH 1989

Someone else�s babyAlmost every DM uses some prewritten

adventures. Few of us have time to write anew module every time we play a game,and an occasional change keeps adven-tures from becoming predictable. As youhave certainly heard before, prewrittenmodules need to be adapted for eachspecific world. When using a module, youshould look through it for encounters toconnect, exorbitant treasures to eliminate,and so on. Then you can decide where toset it in your campaign world and whyyour PCs should care. Usually, introduc-tions to adventures need the most revi-sion. You should find a reason for yourPCs to undertake the adventure. Examineprevious events in the campaign and find away to make the PCs want to adventure.Change the endangered kingdom to theone where your characters live. Make theNPCs into people that your PCs love orhate.

Writing the campaignInventing a campaign world is quite

similar to writing an individual adventure.First, you should pick a conflict and agroup of potential PCs that would beforced to adventure in that struggle.Almost any important event can start acampaign. Many campaigns involve at leastsome of the following factors: socialchanges, politics, economics, natural disas-ters, discoveries, religious events, andwars. After you have picked a theme,draw a map of the area where the cam-paign will occur and develop any specialideas you have; such as new artifacts orspecial monster alliances. The WildernessSurvival Guide explains how to design acontinent. Finally, you should make arough outline of major events that willoccur during the PCs� lives. Feel free torevise this future history at any time ifsomething becomes inappropriate or ifyou have better ideas. Nothing needs to betrue until you tell the players. Your bestideas will probably come long after thecampaign has begun.

When you are planning your world�sfuture, consider how the PCs will develop.First, the players need to decide whattheir characters are like and need to learnabout their world. Their early adventuresshould introduce them to important NPCsand give each character some ties to thecampaign world. Some PCs might findspecial magical items; one could fall in lovewith the baron�s daughter. The earlyadventures are a way to explain yourcampaign to PCs without boring lectures.They should also show the players whatsort of campaign you plan to run. If youwant a campaign of heroic battles, givethem someone to fight. If you want PCs tomake clever plots and intrigues, start thecampaign with a mystery. These earlyquests are like teaching people to swim:You want them to get wet but not drown.

After the PCs understand their plight,focus on one part of your theme. Your

campaign will probably develop severalmega-adventures, each one composed ofmany quests. Each one should climax witha mighty adventure that resolves someimportant dispute. The PCs will try tosolve various problems, only to learn thatthose issues are merely part of a greaterstruggle.

These mega-adventures should graduallycome closer and closer to the campaign�sreal conflicts. Finally, just as each mega-adventure had a climax, you can have onemagnificent scenario which involves eve-rything in the whole campaign. This willprobably resolve the main conflict of yourworld. Then you must start a new milieuwith a new crisis. If you wish, you cankeep the same world and PCs. Simplyinvent a new theme, preferably based onthe old conflict.

Great solutions often lay seeds for new-er conflicts. If there had been no FrenchRevolution, Napoleon could never haveconquered Europe; without the Napoleon-ic Wars, none of the revolution and reac-tion of Victorian Europe would haveoccurred. Sometimes, a period withoutmajor conflicts cannot be avoided � ormay actually be desirable as a reward toPCs for quelling their world�s flux. Youshould rush through these periods, ignor-ing rolls for random events and otherdistractions.

DMs who base fantasy campaigns onhistory can find an almost endless supplyof background material. For example, thedetails in this article on the end of feudal-ism came from volume one of Naked toMine Enemies, by Charles W. Ferguson.Anton DePorte�s Europe Between theSuperpowers describes the politicsbetween the Soviet Union and UnitedStates after World War II. You can find aperfect model for PCs in Columbus� timeby reading James Street�s novel, The VelvetDoublet. If you are interested in a broadview of world history, you might try TheWorld, An Illustrated History, edited byGeoffrey Parker.

The DM does not have to make up eve-rything in a campaign, as the PCs will helptoo. The five D&D® game sets show howmost campaigns develop. As Basic charac-ters, PCs are buffeted by every force, butonce they reach Expert level, they candefend themselves. Companion-level char-acters are strong, masters of their ownfates, and when PCs reach the Master�sset, they can influence the world. Immor-tals make history with their every move,but even they must go adventuring. AChinese curse says, �May you live in inter-esting times.� All PCs should be socursed.

DRAGON 51

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DLE1 In Search of DragonsAD&D® DRAGONLANCE® moduleby Rick SwanWhy are the good dragons dying? You need to

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52 MARCH 1989

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THE HUNT FOR RED OCTOBER ™ & ©1988 United StatesNaval Institute. All Rights Reserved.

RED STORM RISING is a trademark owned by and used underlicense from Jack Ryan Enterprises Ltd. and Larry Bond.©1989 Jack Ryan Enterprises Ltd. and Larry Bond. All RightsReserved.

54 MARCH 1989

The OtherOption

by Dylan Brody

broached the subject at last, feelingsafe, as she had just read my latestpoem and smiled and cried and lovedit.

�I,� she said, and a tiny pause toldme there was something she decidednot to say, �would love to. I love you.

But you�ll have to speak with my father before I mayaccept.�

This struck me as odd. Sashanna had never relied muchon her father, nor had she respected his opinion on manythings. I did not respect his opinion on any subject.

The next morning brought me a messenger with anappointment to meet Valmadda. I acknowledged, tippedthe messenger, and dressed.

A sparrow chirped with trepidation. I whistled agree-ment. It came to my windowsill to examine me. I chirpeda greeting. It whistled delight and flew.

Valmadda met me in the gardens behind the temple. Heshook my hand high up on the wrist in the manly way ofwarriors and hunters. I tried to offer an acceptably firmgrip in response.

A slight turn of his head as he released me told me Ihad not succeeded.

I tried to remember the perfect and eloquent wording Ihad found in which to couch my request. I had been uphalf the night composing the phrases, and I was quitepleased with them. My hesitation, though brief, was toolong.

�Sashanna told me of your proposal,� Valmadda said.�I wish to tell you openly that I have no objection to thisthing at a personal level. She tells me she loves you, andfrom what is said in town I have come to believe that youlove her as well. I think a marriage between you couldprove lasting and blessed.�

I paused now, my timing thrown. Valmadda had him-self spoken eloquently. Disarmingly so for one of his ilk.And while he had said nothing dissuasive or contrary, Icould feel that there was something yet to come. Nor was Imistaken.

�However, Lloran, there is a Glymm family traditionthat must be upheld. One for which I am afraid you willnot qualify without a trial.�

�A trial?� I asked before I�d framed the thought. �Forwhat?�

�A trial of courage and strength.� He blew air betweenhis teeth slowly, as if to relieve some inner pressure. �Atrial of battle.�

He allowed a moment for his words to resound withinme. Then he went on.

�Every man who marries into our tree must first provehimself a man of heroic nature. As you know, I served inthe Troll Wars under my father�s command. My grand-father once single-handedly defended this town againstthree profiteering giants. And the tradition goes back forat least ten generations beyond that.

�Before Meerlam was allowed to marry my sisterDelongia, he was put through a trial. Also my UnclePreylah before he married Hale. Do you understand?�

I understood his words. The implications astoundedme. Illustrations by George Barr

DRAGON 55

This family had always been known for its heroics. Ihad known that and had thought about the sorts of dis-comfort this might cause me in joining it. Ultimately, Ihad decided that, to spend the remainder of my life in thecompany and the arms of the woman I loved, it would beworth the small inconvenience of becoming related topeople I could never view as equals and who could neverview me as one in return.

But to realize that the family�s reputation had beenmaintained through deliberate and meticulous effortaltered my whole view.

Moreso, the fact that I was being asked to become oneof them in deed before I could become one of them intitle.

I was angry. I was shocked. I was disillusioned. I wasdeeply offended. I was in love with Sashanna.

I asked, �Whom do I have to fight?��Whatever we can round up in time,� he replied.

�When would you like to be tried?��Tomorrow,� I stated.�Tomorrow?�I nodded.�Won�t you want to get in shape first? Train? Meet

with some hunters? Some slayers? Learn something of thecrafts you�ll need?�

�Tomorrow.�He nodded.My thinking was as follows: Valmadda had said �what-

ever� rather than �whomever.� This meant he would beputting me up against one of the great beasts. I alsoremembered something about Meerlam having been adragon slayer, which suggested that the dragon had beenhis trial. I hoped that by setting so near a deadline I couldmaximize my chances of drawing a feeble opponent. Per-haps in only one day, the best they would be able to findwould be a winged rodent, overgrown to look vaguely likea dragon. Or perhaps a little manticore, easy to catchbefore it reached aggressive adulthood.

My thinking by the time I was alone with Sashanna hadchanged considerably.

�We can run away,� I pled with her. �Tonight. Forgetthe tradition. We�ll start a new family. Come away withme.�

�My Aunt Delongia warned me you would say this.��And?��She said I must be strong. Help you through your

fear. Not agree to run. Not let you run.��Why? Come on. It won�t be running away. It�ll be

running toward something. A new life.��I can�t do that, Lloran. You know that.��I know I could be killed tomorrow.�She said nothing.�Wouldn�t that mean anything to you?��It would mean that you had not earned the right to

wed me.�I felt anger rise in me and thought to walk away then.

But working against the impulse was the memory of hersoftness against me. The smell of her hair drifted to me,and the twin stars that danced within her eyes remindedme that she had read my words and understood my work.

�The poetry means nothing?� I cursed myself for the

5 6 M A R C H 1 9 8 9

near crack in my voice. �Only killing an animal meanssomething?�

There was pain in her eyes as she looked at me now,and I knew she believed her next words to be truth. �Itwill make us both stronger. I know you�re frightened. Iam too. There�s a great deal we are both to learn fromthis. I can feel it.�

I remembered a night slightly warmer than this one. Ihad promised always to trust her feelings as much as myown, or as nearly so as I could manage. She had scoldedme for this last as a disclaimer. I defended it, saying that Iwould never promise her that which I could not hope tofulfill. Then she had kissed me.

And she kissed me now. Then said, �I know you can doit,� and she walked me back to the main road before wewent our ways.

As the sun was rising, I was surprised to find myself stillin town, awake in time, and walking toward the site of myupcoming trial.

I had not known that the arena could be used for pri-vate functions, but it was known that the Glymm familyhad connections with the provincial lord as well as certainother lords in nearby areas.

I entered the arena and found that Sashanna�s familyhad already gathered on the green. It had not occurred tome to invite my family. I was glad.

I walked to Valmadda as boldly as I could and initiateda warrior�s shake. I got it wrong, but his correctionseemed to be an approval. That bothered me somehow.

In addition to the family, I discovered the town recorderpresent, as well as a few other minor officials. I supposedthey were there to verify the feat, though it is possible theyhad just come to watch.

One of the many distant cousins, a man with a woollybeard and a scarlet face, offered me some strong wine.Taking the flask, I drew frowns from other family mem-bers and approval from a few. I quaffed.

After a quick explanation of the procedure, the townrecorder led the entire group into the stands. Once all theonlookers were safe and settled, the recorder shouted forthe release of the beast.

Two of the town guards � there were always townguards around the arena � cranked open a chute gate atthe far end of the green.

Once it was open, there was a pause. Then some move-ment in the shadows beyond the gate. The beast emerged.

My chest constricted. My legs trembled.Oddly, I wondered if my fear was apparent from the

stands. I decided the beast was pulling too much focus foranyone to notice.

The eagle�s head looked angry in the sharp crest of itsbeak. When it spread its wings, the span was at leastthrice my height. Rippling under golden fur, the musclesof a cow-sized lion bunched nervously.

I backed away a few steps as it emerged.I didn�t even notice its claws, then. It was really the

beak that terrified me.I had climbed the northern mountains in my youth. I

had seen the eagles there. I had learned their ways andtheir various calls. I had seen them prey on small animals.They used their beaks powerfully: rending, tearing,

piercing.My vision locked on that beak and would not break

free.It took a feline step toward me, the cat�s tail twitching,

the eagle�s eyes gleaming.I realized that I had not yet drawn the battle sword with

which Valmadda had supplied me. I was vaguely dis-tressed to realize that my hand and arm were conspiratori-ally refusing to do so now.

The frozen terror of nightmare gripped me waking. Itook in the size of the beast before me like a scientist:estimating its mass in numb horror, pacing the rate of itsmassive approach against the steady rhythm of my over-pounding heart.

A voice spoke within me. �Men have done this,� it toldme. �The gryphon can be killed,� it said. A brief image ofspurting blood weakened my knees. I pushed the thoughtfrom my mind. I decided to take one thing at a time. Iforced my hand to move toward the sword.

I knew that I was within range if it chose to swat at mewith its paws. My hand was beginning to move.

The creature tensed its muscly haunches.My hand was almost past my belt buckle.Rearing back, towering on its hind legs, the beast

showed me its underbelly. This was my opportunity, but Icould not snap into action. Only swiftness conquers size,and I was without swiftness, without feeling, detachednow even from my own intellect.

My inner voice was without words of reassurance. Thismonster would pierce and tear and rend me, and then itwould eat me because I was a poet and had no place doingbattle with it.

The voice within me found new words. Useless words.My own mind, filled with self-hatred and resentment, wascomposing the words of my epitaph.

The gryphon threw back its head and screamed, andfear left me.

I knew the scream. It was an eagle�s head. It had aneagle�s mind. It was an eagle�s scream. Louder, yes, butone I knew well. It was not a scream of anger. It was not ascream of hunger.

The gryphon screamed in confusion and despair. Thiswas the scream of an eagle trapped. Or falling from battle,broken, knowing its wings will not save it.

I abandoned the effort to draw my sword. My backstraightened. My right arm rose gently. The crowd watch-ing grew tense.

I opened my throat as I offered my palm. I spread myarms and called in the tones of a mother eagle comfortingher frightened nestlings.

The gryphon screamed again.I called to it again.It cocked its head and cawed questioningly.I cried out. The volume was painful to my human

throat. I screamed mother�s comfort, catching at myopponent�s heart, calming its terror.

Cooing, the gryphon bent its neck and pecked at theground. I moved toward it, shrieking a promise that wewould find food. That there was some nearby.

It raised its head and looked at me. I slowly movedtoward it, screeching compassion the while.

When I drew near, it shied away, but I cooed at it, andat last the gryphon pressed its huge feathered head againstmy chest. The force of its affection nearly knocked mefrom my feet.

For a few moments I scratched the beast cooing in itstickly ears. Then, grabbing a handful of feathers and com-forting it continuously, I led the gryphon over to thestands where the observers were.

I expected cheers. I had accomplished the impossible. Ihad passed the test.

Sashanna�s family traded uncomfortable glances.Valmadda whispered with the town recorder. Then therecorder spoke to me, loud enough for the crowd to hear.

�While we are not accustomed to the methodsemployed, it is merely the deed that is required by thetraditional contract.�

For a moment I was filled with joy. Sashanna was to bemy bride. All was to be well.

He went on. �All that remains, Lloran, suitor toSashanna Glymm, is that you slay the beast you havetamed.�

I shuddered at the words. �I cannot!� I shouted back.The gryphon became nervous at the sound of my voicespeaking the human tongue. I cooed at it again, and thegryphon calmed at once.

�It should be easy now,� the recorder told me. �Youhave its trust.�

I looked to Sashanna and caught her bright eyes,excited by the scene, urging me on.

Valmadda offered only a tight nod.I turned and faced the gryphon, my newfound friend.

The beast turned its head to center me in one of its coalblack eyes.

I patted it once on the leonine shoulder, then leaptastride its broad golden back.

I screamed the eagle�s scream of open skies. Heresponded at once to the suggestion.

Powerful wings jolted us into the air with a giganticpush. Two more beats and we were well away, above thetown and gliding free in bonded camaraderie.

As we passed over Valmadda�s home, I dropped thesword he�d given me, deeply hoping it might break some-thing he treasured.

DRAGON 57

Through theLooking

GlassA good workman

never blames his tools

©1989 by Robert Bigelow60 MARCH 1989

This months column picks up the proc-ess of cleaning, tooling, and painting min-iatures started in DRAGON® issue #138.After selecting the area in which you wishto work on miniatures and preparing it foruse (see issue #140), you are ready to go tothe next steps: gathering tools and prepar-ing the model or figure for painting.

Tools come in a variety of differentshapes and types, each having its ownunique use. This seems like a basic state-ment, but its true import isn�t apparentuntil you find that you don�t have the toolyou need and you attempt to improvise.Depending on your wisdom and dexterity,you may get away with doing thingswrong, but all too often you end up ruin-ing your miniature.

Let�s go through a list of tools and dis-cuss prices so you can budget your pur-chases. The following list is arranged inorder of the importance of the tools need-ed for miniatures work.

Wood or other thick working surface:This is by far the most important of any ofthe tools you will need for doing minia-tures. Wherever you work, there arebound to be occasional accidents. A sepa-rate workspace saves you from ruining avaluable piece of furniture (such as a deskor table) and incurring the wrath of aparent or spouse.

A good recommendation is to use a pieceof wood about ½�-1� thick by 12� wideby 18� long. Find wood with one smoothlysanded side, or you may wind up gettingsplinters every time you work. On therough side of the wood, apply a layer offelt or some other thick cloth, using whiteglue to hold the piece securely. Don�t satu-rate the cloth with the glue, as it will makethe cloth surface hard. Let the wood piecedry for 48 hours before using it. The feltwill prevent the work board from scratch-ing tables. If you have access to a router,you can put several small indentationsabout ½� wide by 7� long on the far rightor left edge of the board (depending onwhether you are right or left handed) andat the boards top for holding tools whileyou work.

This board should cost well under $10 tomake and will save hours of trouble. Scrapwood can be purchased cheaply fromlumber yards, and felt or heavy cloth isavailable from most fabric shops.

Knives or knife set: Knives are the mostversatile tool in the miniatures inventory,especially for the enthusiast working on atight budget. Proper care and handling ofa knife allows you to remove a miniaturefrom its molding sprue (the metal extrud-ing from the miniature which is invariablyleft by the molding process) and trim lightflash (mold overflow) from the small holesand angles on a figure. Having a variety ofshaped blades allows you to modify figures by making cuts in crucial places.These modifications might include taking asmall notch from the inside of an elbow orknee, to allow you to bend a miniature�slimb. Knives are also used to widen theslots in plastic bases so that figures using

them may stand more firmly. You can evenuse the tip of a #11 blade to make verysmall holes in a figure.

When working with knives, it is impor-tant to remember several things. First,always use a knife that feels comfortablein your hand. In most cases, a trip to thehobby shop will enable you to find a knifethat fits well. You should never, for anyreason, cut toward a part of your body(either your trunk, your hand, or what-ever); knives can slip. Always cover yourknives when they are not in use, and putthem away when you are through usingthem. Pets, brothers, sisters, parents, orspouses can cut themselves easily onuncovered knives. Even those of us whoshould know better sometimes need toremind ourselves of this. Make cuts orremove metal in small, even strokes; don�tslash. If an action with a knife is difficultto perform, then don�t do it! If such anaction is that difficult, it�s probably thewrong thing to do in the first place.

As a shopper and a store owner, I cantell you that knives are often cheaper insets. Individual handles run from $4 to$12 each, and sets usually run from $7 to$50, but sets usually include more thanone handle and blade. At least try to get a#2 handle and #11 blades.

File sets: Although file sets rate high indegree of importance, they are also someof the most expensive tools on any list.When you purchase a file set, make sure itis a set of �needle� or small hobby files.Some hardware stores will try to sell youfull-sized files; these only hinder ratherthan help you. Swiss needle files usuallycome in sets of three or more, and theyinclude a flat file (flat on both sides), ahalf-round file, and either a round or atriangular file. These files come with orwithout handles, but I recommend thatyou purchase the handle, as the file endstend to be sharp and rough on the hands.Always tell the clerk at the store that youare purchasing sets to use with metal.Some hobby files are meant to be used onwood only; these quickly become uselesswhen used on lead.

Once again, care should be taken whenusing a file. Files usually work on theoutward cut only (check with your hobbystore to see which way specific files work).Running a file back and forth will dull thefile unless it is designed to be used in bothdirections. Files usually have sharp ends,so all work should be made in motionsaway from the body. Rules for coveringand storing knives apply here as well. Oneshould always have a stiff piece of scrapcloth or a file cleaner to clean metal filingsoff the file after each use.

Files perform many of the functions thatthe knife does; most often, a file is the toolof choice in place of the knife. You canneatly flatten or remove detail without theworry-of incorrectly cutting the miniatureor yourself, flash can be removed quicklybut carefully, and expert modelers can usea file to change facial expressions (and

even hairstyles in some cases). As you cansee, files are very valuable tools to own.

Clipper or side-cutting pliers: Althoughthis tool has limited usage, it can save youfrom cuts, bruises, and hours spent usinga file. Clippers are primarily used to sepa-rate figures from the molding sprue. Forexample, clippers are particularly handyin working with Games Workshop�s SpaceMarines figures, in which each of thecomponent parts is held by a moldingsprue. By placing a pair of side-cuttingpliers next to the part to be separated, amodeler can gently remove it, therebyleaving a small nub which can be clearedup by using a file or knife. These smallpliers range in price from $7 to $11 athobby stores, but they may be purchasedat many hardware stores for less. Be sureto test the set at hardware stores; makesure the clipper works smoothly, and besure the cutting edge is made of hardmetal and isn�t just plated.

Pin vise or drill-chuck adaptor and bits:This handy tool set has one importantpurpose in life: It makes holes. Holes playa part in constructing larger models suchas dragons and giants. In these cases, asmall hole can be drilled in each half of adivided miniature, and the two halves canthen be connected by a small piece ofheavy wire stock or a very small nail. Thisprovides added strength to the bond andfrequently makes the difference betweena display model and a figure used only forgaming. The extra rods so used strengthendroopy wings and necks, and act as support to allow movement and handling.

Drills can be used with files on characterhands or fists to allow weapon changes tofit a store-bought character. For example,to change a figure�s handheld weaponfrom a sword to a bow, cut off the weap-on at the top and bottom of the fist, usingside-cutting pliers. Use the twist drill tocarefully drill out the previous weapon�sremains until you have a small hole drilledcompletely through the fist. Use a smallround file to clean out the hole, leavingenough metal for suitable detail on thehand. Insert the new weapon, glue it inplace, and let it dry.

If you are starting out, it may be best tojust get the pin vise or the drill-chuckadaptor. The minidrills are nice, but untilyou know more about what you are doing,you can ruin a model quickly with them.Pin vises are slower, but they allow moreexactness in handling and don�t break drillbits frequently. Besides, at between $4 and$8, pin vises are much cheaper than drills,which cost from $8 to $20.

Drill bits are sized by number, with thelarger numbers indicating smaller bits.Generally, bit sets come in groups of 9 to20 per package, all in different sizes.Replacement bits are available on a single-size basis. My recommendation is to pickup a drill-stand set, which has a markedholder and 20 bits in the .61 to .80 range,then purchase another set in the .45 to .60range. These two sets will run from $36 to

$40 but give you the range needed to fitany of your modeling needs.

The major virtue required with thesebits is patience. If you attempt to drill tooquickly or if you flex the bit while drilling,there is a good chance you will break thebit. Doing the job slowly not only saveswear and tear on the bits, but enhancesyour chance of doing the job correctly.

Magnifiers: Many modelers argue thatmagnifiers are a waste of time and money,as objects on a normal figure can be seeneasily. Today, however, miniatures com-panies are in serious competition to pro-duce figures with large amounts ofobvious and not-so-obvious detail. Thecareful painting of these exquisite detailsis what makes the difference between agood model and a showpiece.

Magnifiers allow you to clearly see eventhe smallest detail, thereby allowing you topaint around that detail or highlight it asdesired. Magnifiers can enlarge an imageby up to four times its normal size and letyou see places that you�ve missed. Most ofall, using a magnifier saves wear and tearon your eyes and helps prevent headachesdue to squinting or concentrating on verysmall objects.

Magnifiers come in many forms, includ-ing those that can be worn on your heador over your glasses. Magnifying lensescome with self-standing platforms or smalllights that can be held in-your hand. Oneof the most useful magnifiers is a position-al magnifying glass with one or two mov-able clamps (alligator clips). These clampshold the figure steady, leaving your handsfree to work on the miniature. There areno safety concerns with magnifiers, exceptfor an awareness of the possibility �ofbreaking the glass.

Miniatures holders or clamps: Fingershave a habit of getting in the way whenworking with miniatures. When you leastexpect it, fingers slip or brush against wetpaint and damage the work you�ve done.Much of this potential damage can beavoided by using a clamp or hemostat.These aids allow you to hold objects withsteady pressure and to control movementwithout handling the miniature. Theseclamps may be purchased at your localhobby or surgical supply store.

By far, the best miniature holder is theExtra-Hands. This holder may be adjustedwhile you work but still provides a solid,steady surface. The holder sits on thetable, allowing you to move about andthereby eliminating many problems due toshaky hands. When used with the magnifi-ers and a small brush, this tool allows youto paint the tiniest of details.

As you can see, tools play an importantpart in working with miniatures. As eachof us strives to produce the perfect paintjob; it becomes common sense to use allthe resources available. If you have ques-tions on how to do things or on what toolsto use, talk to your local hobby-store own-er. In most cases, he will take the time tohelp you make the right choices.

DRAGON 61

Reviews

Miniature-figure ratings

***************

PoorBelow average

AverageAbove average

Excellent

Ral Partha Enterprises, Inc. �5938 Carthage CourtCincinnati OH 45212

Red Dragon of KrynnRal Partha 10-500

62 MARCH 1989

****

One of the most popular and widelyread fantasy series is the DRAGONLANCE®series. Its success and the interest of itsreaders led to a huge following for themodules and assorted accessories, as peo-ple attempted to bring their charactersinto the world of Krynn and recreate theroles of the heroes. The books, the atlas,and the heroic figures are all available, butsomething has always been missing � thebad guys.

Enter the first of the DRAGONLANCEsaga�s bad guys. The Red Dragon of Krynnis an awesomely detailed dragon. The boxart primes you for the model; on the cov-er, the dragon swoops down in attackmode with its rider using a deadly lance.When you open the box, the materials

provide the same sense of awe and plea-sure. The leathery wings of this modelmeasure 5� from shoulder joint to wingtip, and the body is about 8½� from thenose to the tail (which is one of the sepa-rate parts). Scale detail is excellent, withspinal ridges just jagged enough to bebelievable. There is a single saddle on thedragon, with a hole drilled to accommo-date the rider�s lance. The rider�s detail isconsistent and blends in perfectly.

Assembly for this miniature is welldescribed in simple, easy-to-understandpicture instructions. Detailed writteninstructions are on the reverse side of thepage, along with recommended andrequired tools for assembly.

The keys to finishing this model arepractice and a close and careful adherenceto the directions. Failure to cut the pegs asinstructed will give your model a disjoint-ed and sloppy appearance. You must takeyour time with this figure. Each assemblystep should be completely dry before yougo on to the next step. I attempted, aftertrimming the parts, to assemble thedragon quickly for a photo session. Thefigure fell apart even after using gluewhich normally works well under theseconditions. This is not a design fault, butrather one of weight applied across smallsurface areas at the connecting points.These small surfaces are necessary, how-ever, for the miniature to maintain itsproper proportions.

The only problem I can find with thisminiature concerns Ral Partha�s instruc-tions to assemble it as a flying model. Thesecond time I assembled the model, I tookmy time and followed the directions to a T.The dragon remained airborne overnight.When I returned to reopen my store,however, the wire used to suspend themodel had broken and the dragon hadfallen. To allow for the weight of thismodel, I recommend drilling the hole forthe wire slightly bigger and deeper, and Isuggest using a thick wire.

I highly recommend this miniature. RalPartha has once again lived up to its repu-tation for quality miniatures and has pre-sented an excellent example of its highstandards. It also deserves a hearty �welldone� for including the free quick-paintingprimer for those people who haven�t paint-ed before. This figure is $15.

C h e s s e x541 Washington Avenue 16A3rd FloorPhoenixville PA 19460

Large Figure Cases2580, Regular Figure Cut-Outs2581, Large Figure Cut-Outs

***

Are figures staring at you from everyflat surface? Do you damage half the fig-ures you bring to use in a game? If you�relike most gamers, you�ve tried everythingfrom a jumble of boxes to multidrawercabinets to haul your hallowed lead. These

large figure cases are presented as analternative.

These large figure cases from Chessexmeasure 17¼� long × 7½� wide × 2½�tall. They are made of polypropylene, ahard, impact-resistant plastic with a fairamount of flexibility. The case is made ofsimulated leather or vinyl with a soughfinish that makes it easy to hold. There is aflat surface on the lid especially made forlabels.

The box is hinged by two pieces of mold-ed flex-plastic that connect the lid to thebox proper. This could be the one weakspot in an otherwise good product, as Ihave seen these types of joints rip afterextended use. The case is held closed by apair of latches with a built-in childproofhook that is almost adultproof as well,leaving you with the idea that you don�thave to worry about the case opening onits own.

Both cases have two levels of thick foam,with a thin level of foam to cover them.The cases differ only in the number andsizes of compartments (cut-outs) available.Case #2580 has room for 80 standard25mm figures, with spaces big enough in acouple of spots to fit horses or mules. Case#2581 has 54 spots made to fit large fanta-sy game monsters (giant-size and smaller)or BATTLETECH® game figures. There isroom in this case for all your figures.

Although I highly recommend thesefigure cases, I have a couple of suggestionswhich may make using them even easier.If you live in a cold climate and you leaveone of these cases outside overnight (guesswho did), let the case warm up before youtry to open it, or else you will crack thecase. Another suggestion is to keep thesquare foam pieces that come out of thefigure spaces. By cutting these pieces, youcan mold them around your figures andgive the figures better support, thus pro-tecting swords, wings, etc. One more thingyou can do is to glue the foam piece withthe cut-outs to the thin piece of foambelow it. This prevents figures from slid-ing to one end of the case if the case tipsover. These cases list for $20.

Greenfield Garrisons2814 InmanFerndale MI 48220

GG 2435 Walled Outpost ****Greenfield Garrisons�s latest introduction

to the hobby audience is its new 25mmWalled Outpost. This outpost can be usedin either a fantasy or a historical setting asa road guardpost, frontier station, or aconvenient place to gather a party.

The model is made of the same light-weight, injection-molded foam material asGreenfield Garrisons� large castle reviewedin issue #140, pages 68-70. This materialdeserves further mention because you canpaint it with regular water-based or oil-based paints without having the materialdissolve, as does styrofoam. The outpostmeasures 6� × 6½� × 1½� tall at the

6 4 M A R C H 1 9 8 9

surrounding wall. The construction ismolded to show a brick or formed-stonewall with a stucco or mud covering.Cracks are molded throughout the outerfinish to simulate that broken coveringgiving way to aged brick. The coveringalso shows the swirls and finishes thatwould be present from applying the cover-ing to the surface.

Entry to the outpost is through a moldeddoor (unfortunately closed). The door ishigh enough to allow a 25mm figure toenter, or a 25mm horse (provided it has norider). There is a building to the right ofthe gate, with outside stairs leading to theroof (a fighting platform) or to a doorwhich leads to the watchtower that comeswith the kit.

Constructing this piece is easy for almostanyone. There is some mold flash, butmost of it can be easily removed with lighttools. The dowels that support the watch-tower roof came cut in my review version,but they are uncut in both kits present inthe shop. The picture instructions includ-ed with the kit are simple to understand,and the only complaint I have is that theydon�t specify the length of dowel used inthe roof support. To resolve this, carefullymeasure all eight supports before youbegin cutting.

I would hate to be assigned to this post,as there is little protection (except in thetower) and the walls are, in scale, only8½� + tall. Some friends and I have madealterations to this outpost so it can be usedas either a 15mm or 25mm structure.

I recommend buying this structure; Ithink you�ll have fun with it in games ofalmost any type or era. Greenfield Garri-sons�s Walled Outpost has great potential.This kit is $15.

Geo-Hex528 NE Hancock StreetPortland OR 97222

Geo-Hex Terrain ****Basic, Small Hill, and Large Hill Sets

The terrain and land features of an areaare a vital part of fantasy and historicalgames Caves, trees, streams, roads, and soforth are difficult to visualize in yourmind, but most gamers are reluctant touse or build the props needed to illustratethese important points. In the past, it hasbeen necessary to spend large amounts oftime, money, and patience to build sceneryto bring an area to life, but many gamersnever use the same scenery again. Specificconfrontations often require a one-use-only board that is frequently thrown awayor played on again and again until no onecan stand it any more.

Now comes Geo-Hex. Geo-Hex Terrain isa variable scenery system designed toallow the average player to model almostany battlefield or area they wish. Piecesavailable range from sheer cliff sides togently sloping terrain., Each piece is two-sided; one side has either a 1� - or 2� -wideroad, and the other side has unbroken

color. Hex-shaped pieces are 12� × 13½�wide, while the smaller pieces vary greatlyto accommodate different designs.

The material is made of lightweightstyrofoam and is available in either greenor desert finishes. The finish on the grasspieces looks like Woodland Scenics� grass,but uses a good adhesive that makes thegrass finish difficult to rub off. Roads aretextured in appearance and vary frompiece to piece.

Unfortunately, while this material isextremely light, it also does not wear wellwith heavy usage. The Basic Set, whichcovers a 4� × 8� table, comes in three verybulky boxes. The material also stains per-manently when exposed to fluid spills.

Even with these disadvantages, I stillrecommend this product in the strongestterms possible. I have bought largeamounts of it. Geo-Hex donated some ofthis product for the miniatures gamingdemonstrations at the 1988 GEN CON®/ORIGINS� games fair, and I purchasedmore to expand the gaming area to 6� ×16�. Starting with this month, you mayalso see it as a background for some of thereview shots, with trees in scale so youcan compare the size relationships.

This is a product with good potential forconvention gaming. The terrain contrib-utes greatly to any game, and the finishlends a professional look. The price rangeis $34 and up.

TAG Industries316 Main StreetCastalia OH 44824

Children of the NileNL 109, Sphinxes with Serpent and

Human Head ***½NL 114, Egyptian Gods: Ra and Bast ****

TAG Industries has released anotherseries of miniatures based on a particularhistorical culture. This section coversEgyptian mythology and includes the godsheld sacred by the �Children of the Nile.�

The two packs used in this review arerepresentative of the different types ofcharacters available to the miniatureenthusiast. The Egyptian gods are cast inaction poses and are accoutered with thesymbols and dress of that place and era.The fierce scowl and open beak of TAGIndustries�s hawk-headed Ra correspondsto most interpretations of this unrelentingand unforgiving Egyptian deity. Similarly,Bast is cast with the head of a cat, whichsignifies the religious belief that felineswere sacred; the rest of her body ishumanoid. Sphinxes of ancient Egypt wereportrayed as having different combina-tions of bodies and heads, and this packcontains two frequently mentioned types.

The body detail on the sphinxes is a bitplain, but it depicts the lines and graceful-ness accurately. The scales on the cobrahead are sharp, as is the overall headdetail (though it is slightly exaggerated).The details on both sphinxes give theimpression of muscular activity and great

strength.The detail on the clothing of the gods is

also very good. Unlike the Norse godsdescribed in issue #140�s column, thesegods wear beautiful and intricatelydesigned clothes and gowns, ornamentedwith jewelry and breastplates. Likewise,their hair is worn in a fashion specific tothat era. These figures show those detailswell, though not as well as I would like.

Another contributing factor to the highrecommendation given to this series is thenumber of items available in the line. Withsome doubling of packs and a few modifi-cations to figures (such as guards andmerchants), you could fill an entire cam-paign or have figures to play the AD&D®game�s Desert of Desolation modules (I3-5).You can even use a chariot, as one is avail-able with this line.

Open your frontiers and play off-country campaigns. This is one of thosefigure series that is made to encouragecampaign use. Prices for these figures are$2.50 and up.

Games Workshop U.S.1220 Key HighwayBaltimore MD 21230

Games Workshop U.K.Chewton StreetEastwood, NottinghamUnited Kingdom, NG16 3HY

Realms of ChaosGWS 3201, Warriors of ChaosGWS 3203, Champions of Chaos

****

Games Workshop increases its line ofevil characters for both the WARHAM-MER� and WARHAMMER 40,000 gameswith the release of its new Realms ofChaos figures. These figures are meant tobe used with its new book, Realms ofChaos, but the figures make temptingtargets even without the book statistics.

The samples for review were splitbetween figures suitable for WAR-HAMMER Fantasy and those for WAR-HAMMER 40,000 games. Pack 3201 isbasically a WARHAMMER 40,000 packwith what looks like two cyborgs and agentleman in space armor carrying a verylarge blaster. Both cyborgs have chainsawseither built into or held by their lefthands. Both carry blasters, but it is herethat the similarity ends. One cyborg wearsonly half a suit of armor and shows obvi-ous signs of grafting. The other cyborgappears to wear full armor and has leeringskulls on its shoulders. All three figures inthis pack have good to excellent detail anda minimum of flash. All three look believ-able as space nasties.

In Pack 3202, Champions of Chaos, thefigures are armed with a wide variety ofmedieval and primitive weapons. Thesefive troops bear strong resemblances towell-known nasties. The variety of weap-ons they hold stretch from a mace to anear scimitar. This gang has the same good

TAG Industries’ Children of the Nile: Two of many gods.

Games Workshop’s Warriors of Chaos: Born to be bad.

detail as the other figures, but they have abit more flash. The figures did have to betrimmed (particularly in the bent parts ofthe arms) before they could be primed.This might have been a prerelease batch,as the other group of Realms of Chaosfigures at my store exhibit none of theseproblems.

My only worry about the last group offigures is their resemblance to demons intheir classic, pictured sense. The fivefigures have cloven hooves, and several

have either a goat�s head, a bare skull, orSkaven (rat-man) appearance. Carefully gothrough the packs and find fighters notresembling demons if you wish to avoidproblems with relatives who might objectto them.

In all, these are well-detailed sets, andthe figures are of the highest quality. If myreservations regarding the appearance ofthese figures do not bother you, thenenjoy them. Prices for Realms of Chaosfigures range from $3.50 to $5.95.

DRAGON 65

by David Edward Martin

Marvel®-PhileThe

Back from Earth-S: the Redeemers� (Part 2)

This month, we return to Earth-S (whichwe last visited in issue #141) and examinethree other members of the supergroup thatfought the Squadron Supreme for the fate oftheir world These three freedom-fightershad less-than-heroic beginnings, however, andwere once troublesome villains in their ownright. Once the Squadron Supreme began itsprogram of brainwashing criminals, thesethree fled to an alternate Earth � the MarvelUniverse Earth � but were soon recruited bythe leader of the Redeemers, Nighthawk, inthe coming battle against Nighthawk�s formerallies in the Squadron. Fight they did � butonly two of the three survived.

MINK�Claws: Mink originally wore large metallicbracelets on each wrist. When she jerked

Real name unrevealed her hand downward in a specific manner,three large steel claws (Remarkable mate-

F EX (20) Health: 66 rial strength; Excellent edged damage)A RM (30) popped out. The claws retracted with aS TY (6) Karma: 36 different hand movement. The braceletsE GD (10) were later incorporated directly into herR GD (10) Resources: GD (10) Mink-Stink cannisters.I EX (20)P TY (6) Popularity: 2 Mink-Stink: Cannisters around Minks

forearms contain a nauseating perfume ofPOWERS: None. Excellent potency. When she jerks her

hand upward in a specific manner, the gasEQUIPMENT: Minks normal costume jets out over two areas to form an ochreconsists of calf-high boots, a leotard, and a cloud. Victims within this zone must makemink tunic. The tunic is slightly padded to an Endurance FEAT or suffer incapacitat-give her Poor protection from physical ing nausea. A successful FEAT enables theattacks. The tunic also gives her torso victim to fight at - 1CS. The ochre colorPoor protection from the cold, but her temporarily blinds a victim for two turnsbare legs and low-cut costume otherwise (Fighting reduced by - 3CS). The cannis-negate this protection. ters provide Excellent protection against

66 MARCH 1989

any attacks aimed at her arms. Mink isimmune to the nauseating effects of herMink-Stink.

SKILLS: Mink is a peerless cat-burglar. Shehas Amazing criminal skills, as well as Excel-lent acrobatic, acting, and disguise skills. Shehas a Remarkable knowledge of gemologyand can accurately appraise the value of anygem or jewelry. She has an Excellent knowl-edge of chemistry, a skill she uses to modifyher chemical weaponry.

HISTORY: Mink was one of Nighthawksoldest and most glamorous adversaries.Originally a spoiled rich girl, she was anheiress who turned to crime because shecraved excitement. Crime also fueled herconsiderable ego; she felt naturally superi-or to those she so easily preyed upon.

Mink was primarily a jewel thief and catburglar. Although her claws give her dead-ly combat skills, she preferred not to killbut rather to maim (after all, how can adead man remember the Mink defeatedhim?). She maintains her preference forthe finer things in life, especially jewelry,and still mingles with the well-to-do. Shecan often be found in expensive restau-rants and haunts of the very rich, whichremind her of her past (she was also ableto scout out targets for future heists).

When the Squadron Supreme announcedits Utopia Program, Mink realized her proba-ble fate was eventual capture and repro-gramming by the Behavior ModificationMachine. She joined forces with two otherlongtime foes of Nighthawk (Remnant andPinball), then sought out Master Menace (see�The Marvel-Phile,� issue #141). They weresent to the Marvel Earth where, coinciden-tally, Nighthawk had come seeking help.After a brief battle for old-times� sake, Minkagreed to join Nighthawk. During the sixmonths she worked alongside Nighthawk,her attitude toward him changed. She felt�real� and felt that she was finally accom-plishing something meaningful. Then, too,even when they were foes, Mink was physi-cally attracted to Nighthawk. By the time ofthe Redeemers� battle with the SquadronSupreme, they were well on the way tobecoming lovers. But during the final battlewith the Squadron Supreme, Foxfire killedNighthawk. Enraged over his death, Minkbroke her normal aversion to killing andgored Foxfire, who died shortly thereafter.

FUTURE ADVENTURES: Minks futureactions are unclear. Because of Night-hawks effect on her, it is unlikely shewould return to her previous lifestyle asan elegant burglar. She may adopt a crime-fighting life in Nighthawk�s memory. Quitepossibly she might combine the two pathsand become an apparent outlaw secretlyworking on the side of the law.

During her brief foray on Marvel Earth,she encountered Captain America (Steve

Rogers) and felt she could trust him. Shealso thought he was attractive. If Minkshould travel to Marvel Earth, she mayseek out whoever wears the CaptainAmerica uniform. Should Steve Rogersdiscover her presence, he may come look-ing for her, if for no other reason than tofind out what happened duping the crisison Earth-S.

PINBALL�Real name unrevealed

F TY (6) Health: 32A GD (10)S TY (6) Karma: 56E GD (10)R EX (20) Resources: PR (4)I TY (6)P RM (30) Popularity: 0

POWERS: None.

EQUIPMENT

Inflatable suit: By pulling a neck cord,Pinball could inflate his suit to become ahuman pinball 7� in diameter. Partial infla-tion took two seconds; in this form, he

resembled an incredibly obese man withstumpy arms and legs. He was normallyable to move at a slow waddling speed andhad Good Body Armor at this point. Fullinflation took five seconds; in this form,his arms and legs withdrew completelyinto the sphere, his head was locked inplace, and he gained full use of the suit�sabilities. Deflation occurred automaticallyif the suit was punctured. He could volun-tarily vent the suit completely in 10rounds. Capsules stored within the suitprovided the volatile, nonflammable gasfor inflation; Pinballs suit had room for sixcapsules. A pocket held a patch kit torepair punctures or leaks. Repairs took 10minutes for each leak.

Within the fully inflated sphere, Pinballwas able to shift his weight enough torotate the sphere and travel at Poor speed(30 MPH). He accelerated at 2 MPH perturn. Steering was difficult at best; hecould shift only 10o per turn. Reboundingagainst an immovable object automaticallychanged his direction. A Green AgilityFEAT enabled him to choose a specificdirection; otherwise he simply vectoredoff in an uncontrolled flight. When rollingagainst a human target, Pinball did Excel-lent stunning damage to anyone who

failed an Agility FEAT.While inflated, his suit provided him

with Good protection against physicalattacks. Special padding could deflectnormal police ammunition. He could sur-vive falls of up to five stories by bouncing.Subsequent rebounds each decreased hisspeed by 5 MPH. Unfortunately, Pinballcould not control the direction of theserebounds and he was in danger of receiv-ing a head injury unless he could make aYellow Agility FEAT with each bounce. Hissuit would bounce 1-6 times per storyfallen, with one bounce per turn, evenafter his speed was reduced to zero.

SKILLS: Pinball was naturally resistant tovertigo and dizziness. He had Good Reasonin the field of inflation devices and hadExcellent acrobatic skills, although thesetalents applied only to his control of hisinflatable suit.

HISTORY: Pinball was one of Nighthawksmore bizarre foes. He was an obese manwho was frequently mocked because ofhis ball-like body (�We don�t want you toplay, we just wanna use you for a ball!�).An inspired bit of inflatable engineeringgave him the means to avenge himself

DRAGON 67

against society (�No more will I be mockedas a �rubber ball.� Instead, I shall wreakterror as . . . THE PINBALL!�). Unfortu-nately, Pinball was still a jerk whose careerwas limited by his single gimmick. He wasrejected by the Institute of Evil and was innear-retirement when the SquadronSupreme took over Earth-S. Pinball soughtout his only friend, Remnant, another ofNighthawks foes. When Nighthawkrecruited Remnant for the Redeemers,Pinball went along because he knew hewas no match for the Squadron.

During the final battle with the Squad-ron Supreme, Pinball was knocked out bythe Whizzer. The blow also inflated hissuit. When Blue Eagle�s wings were ren-dered powerless by Lamprey, Blue Eaglespotted Pinball and thought that the inflat-able suit might cushion his fall. He waswrong. The crash proved fatal to bothcharacters; Pinball died without regainingconsciousness.

FUTURE ADVENTURES: Pinball is d-e-a-dand is thus unlikely to have any more adven-tures, unless someone is tacky enough tomake him into a zombie. Pinball was proba-bly buried in his costume, but other copiesof the suit may exist. As Pinballs only friend,Remnant may know of such duplicates�locations. Duplicates may be hidden in theRedeemers� lair as well. Should a duplicateinflatable suit be found, a new adventurermay take on the fearsome identity of . . .the Pinball!

REMNANT�Real name unrevealed

F TY (6) Health: 24A TY (6)S TY (6) Karma: 36E TY (6)R GD (10) Resources: TY (6)I TY (6)P EX (20) Popularity: 0

POWERS: Remnant has no obvious natu-ral powers, but he may have unconsciousmagical or super powers. If magical, con-sider his powers to be forms of Enchant-ment specifically oriented towardmanipulating cloth. If treated as superpowers, consider them forms of MatterControl and Power Creation, again specifi-cally directed toward manipulating hisspecial cloth.

EQUIPMENT

Magical fabric: This multipurpose fabric isthe key to Remnant�s powers. It is amaroon cloth of possibly infinite supply.The fabric has the potential to develop oneof a variety of powers. By choosing alength of fabric, then cutting and sewing itinto shape, Remnant can cause that pieceto have a specific power. Evidently thecloth responds to Remnant�s mental com-

68 MARCH 1989

mands (see �Powers�). It is not known howwide a variety of effects Remnant can gainwith his cloth, but he is extremely ingen-ious. Past examples of his special clothinclude:

* Flying carpets � These are variousrugs able to carry different passengerloads. A one-passenger rug flies at Poorairspeed (60 MPH). Two- to four-passengerrugs travel at Feeble airspeed (30 MPH).Larger rugs travel at proportionally slow-er speeds. The rugs are controlled byRemnant�s mental commands.

* Concussion grenades — These arenapkin-size swatches thrown a maximumof one area. They do Good stunning dam-age to everyone within a 10� radius (orwithin one area).

* Incendiaries � These are napkin-sizeswatches thrown up to one area and doingGood fire damage.

* Bindings — Each binding is a 20� stripof cloth that ensnares a target with Excel-lent Strength.

* Cages � These are nonflying rugs thatcan surround 1-4 victims in a bundle ofExcellent material strength.

* Punchers� These are napkin-sizeswatches thrown up to one area. Eachdoes the equivalent of an Excellent blow toa single target.* Whips � These are 6� strips that areused like normal whips. They strike forPoor damage. If they strike a target, anAgility FEAT twists them around the targetfor one turn. This permits Remnant to pullpeople over to him, yank weapons fromopponents, and so on.

Players may create additional clothweapons by means of Power Stunts.

Bottomless pocket: This is a pocket dimen-sion sewn into the left leg of Remnant�scostume. The exact size of the pocket isunknown. Remnant can store his supply ofmagic fabric here, as well as previouslysewn items and more mundane materials.Searching the pocket and removing thedesired item takes 1-4 turns. The bottom-less pocket may in some way be similar toShaman�s medicine pouch. If so, turninghis pocket inside-out may have disastrousconsequences.

HISTORY: Remnant was a longtime foe ofNighthawk. He is an eccentric man with abizarre appearance, and considers himselfan amiable, society-mocking lunatic. Hedisliked the newer, more savage super vil-lains of the now-disbanded Institute of Eviland prefers the company of established,�gentler� villains like Pinball and Mink. Howhe came by his magic cloth and bottomlesspocket remains a mystery; they may bemagical or scientific in nature. Regardless,Remnant used his tools to maintain a profit-able, albeit illegal, lifestyle.

Remnant was bright enough to realizethat society was turning against him in avery serious way when the Utopia Pro-gram began. He almost welcomed Night-

hawks offer to join the Redeemers;besides, he didn�t really have any otheroption. Remnant was a valuable memberof the Redeemers, especially when provid-ing resources like transportation andcostumes (Redstone�s suit, for example, ismade from magical fabric).

Note that Remnant has a preference forplaces and targets whose names ornatures are somehow related to cloth. Forexample: The Magic Carpet disco might behis hangout; a rare Persian rug possiblebooty; or banker Steven Tweed a kidnapvictim.

FUTURE ADVENTURES: Remnant�sfuture plans could go in any direction.With the disbanding of the SquadronSupreme, he could reenter his moderatelycriminal lifestyle. On the other hand, hisdisgust at the more violent super villainslike Lamprey might well turn him towardsuperheroics of his own unique style. Insuch a case, he might possibly ally himselfwith Mink. Like Mink, Remnant met Cap-tain America (Rogers) during his briefsojourn on Marvel Earth. If seeking help,he would look for whomever was in theCaptain America uniform.

Marvel, Marvel Universe, Marvel Supercharacter names and likenesses areEntertainment Group, Inc.©1989 Marvel Entertainment Group, Inc.

Heroes, and alltrademarks of

MarvelMarvel

All Rights Reserved.

If you decideto write to usat DRAGON®M a g a z i n e ,p l e a s e l a b e lthe outside ofyour envelope to show what

your letter contains � a letterto the editor, �Forum� sub-mission, request for guide-lines, gaming article, shortstory, artwork, cartoons, orsubscription problem. Thisensures that the letter yousend gets to the right person.In the United States or Cana-da, write to: DRAGON Maga-z i n e , P . O . B o x 1 1 1 , L a k eGeneva WI 53147, U.S.A. InEurope, write to: DRAGONM a g a z i n e , T S R L t d , 1 2 0Church End, Cherry Hinton,Cambridge CB1, 3LB, UnitedKingdom.

DRAGON is a trademark of TSR, Inc.©1989 TSR, Inc. All Rights Reserved.

GREYHAWK® AdventuresAD&D® hardcover rule bookTSR, Inc.Design: James M. Ward

$15.00

Additional design: Daniel Salas, Skip Wil-liams, Nigel D. Findley, Thomas Kane,Stephen Innis, Len Carpenter, and EricOppen

Editing and coordination: Warren SpectorEditing: Anne Browne, Karen Boomgar-

den, Steve Winter, Mike Breault, ScottHaring, and Jon Pickens

Special developmental work: Jon PickensCover illustration: Jeff Easley

To place GREYHAWK Adventures inperspective, a quick look at the history ofthe WORLD OF GREYHAWK® fantasysetting is in order. The WORLD OFGREYHAWK setting had already been inexistence for quite a few years before itfirst saw publication in 1980. As the housecampaign setting developed by Gary Gygax(the designer of the AD&D game), it wasthe place where many of the rules for theAD&D game were first conceived and putinto practice. Snippets of this setting hadalready appeared in such classic adven-tures as the G1-3 Giants series, the D1-3Drow series, and Q1 Queen of theDemonweb Pits module. These briefinsights made the setting an eagerly await-ed addition to the AD&D game. Yet whenit finally arrived, the first edition of theWORLD OF GREYHAWK set was disap-pointing. Consisting of a 32-page booklet,two large color maps, and a folder depic-ting the coats-of-arms of the major states,this edition was a little thin (there is onlyso much information you can cram into a32-page booklet, particularly when cover-ing such a large area).

Make no mistake, the WORLD OFGREYHAWK setting is big. The land masscovered in the first edition is less than aquarter of the landmass of Oerth, the truename of Greyhawk�s world. Rather thandetailing the entire world, this settingconcentrates on the eastern part of thecontinent of Oerik, but this is a large areain itself, containing approximately 60states and a wide diversity of geographicalconditions. With so much area to cover, itwas no surprise that the product gaveonly the most basic descriptions of eachstate. In fact, DMs were expected to elabo-rate on these areas in order to make theman integral part of their own individualcampaigns. Also, numerous projects wereplanned to add further depth and detail tothe setting but, for various reasons, manyof these projects never appeared. Instead,1983 saw the publication of the secondedition of the WORLD OF GREYHAWK set.

The second edition was much largerthan the first and addressed itself to mak-ing the WORLD OF GREYHAWK setting amore detailed and vibrant place. Consis-ting of two large color maps and twobooklets with a combined page count of128, the second edition included first-edition material on Oerth�s history, com-

mon languages, calendars, political divi-sions, and geographical features. In addi-tion, it contained essays on the majorreligions and details on the worshipersand clerics of the deities, a detailedweather-generation system, and informa-tion on racial characteristics, economics,encounter tables, adventure outlines, andsome very powerful NPCs. Some of thisinformation had originally appeared in thepages of DRAGON Magazine, but now itwas all in one place.

The lands of Greyhawk had finallyarrived. Yet instead of becoming the set-ting for all AD&D adventures and supple-ments published by TSR, the WORLD OFGREYHAWK setting became reserved forthe personal use of Gary Gygax � a situa-tion which led to only sporadic releases ofmodules in the WG series. Gamers werepromised lots of things; a supplement onthe City of Greyhawk was one of them,but six years later it still hasn�t appeared.Who knows? With the departure of GaryGygax from TSR, this long-awaited citymay yet see the light of day. [It is sched-uled for release this July as a boxed set.]

While the WORLD OF GREYHAWK set-ting languished, TSR�s adventure modulesbecame generic for a time. The UK, N, andI series of modules contained sufficientbackground to run the adventures butlacked cohesive world settings. The suc-cess of the DRAGONLANCE® series ofmodules and books also pushed aside theWORLD OF GREYHAWK setting as TSRconcentrated on expanding and definingthe world of Krynn. But all was not quieton the Greyhawk front. In 1985, six yearsafter the release of T1 The Village of Homm-let, the epic module T1-4 The Temple ofElemental Evil was published. In 1986, thiswas followed by two revised-format collec-tions of earlier WORLD OF GREYHAWKmodules: A1-4 Scourge of the Slavelordsand GDQ1-7 Queen of the Spiders. Togeth-er, the T1-4, A1-4, and GDQ1-7 adventuresformed an epic campaign which kept theWORLD OF GREYHAWK alive and well.The release of GREYHAWK® novels, thefirst two written by Gary Gygax and therest by Rose Estes, further added to thesupply of Greyhawk material. The WORLDOF GREYHAWK setting is now experienc-ing a role-playing rebirth.

WG7 Castle Greyhawk appeared inJanuary last year (see �Short and sweet� in�Role-playing Reviews,� DRAGON® issue#136) and, in response to requests fromGreyhawk fans, TSR has releasedGREYHAWK Adventures. With the historyof this long-running campaign setting outof the way, it�s time to examineGREYHAWK Adventures.

Presentation: GREYHAWK Adventuresis a 128-page hardcover book, the thir-teenth one to date for the AD&D game. AsGREYHAWK Adventures has beendesigned to be compatible with the AD&D2nd Edition game, it has the distinction ofbeing the book most likely to survivewhen the new edition of the AD&D game

arrives later this year.As a sourcebook which further elabo-

rates on an existing world, GREYHAWKAdventures is a collection of independentsections with little in the way of crossoverbetween each one. The writing stylereflects the large number of contributorsinvolved, with the tone varying from livelyand evocative to dry and rules-orientated,with the emphasis on mechanics.

While it is aimed primarily at WORLDOF GREYHAWK setting fans, players ofAD&D game campaigns set in otherworlds will find much to interest them inGREYHAWK Adventures. New spells, magi-cal items, and monsters are all usable inother campaign settings. The descriptionsof NPCs and of Greyhawk�s deities andclerics can easily act as templates forsimilar deities and characters in othercampaigns. The adventures and the sec-tion on zero-level characters are fairlyuniversal.

Less likely to be of interest to non-Greyhawk campaign players are the essaysdescribing the geography of Oerth, buthere again these can serve as a source ofinspiration. GREYHAWK Adventures hassomething in it for everyone, but its widediversity of topics tends to dilute its over-all impact and usefulness.

Deities and clerics: The religions ofthe WORLD OF GREYHAWK setting wereone of the second edition�s greateststrengths, and in GREYHAWK Adventuresthey receive further useful elaboration.We are first introduced to the concept ofavatars � low-powered physical manifes-tations of the various deities. These super-natural beings can be encounteredwandering in such places as the streets ofthe City of Greyhawk. After a run-in withan avatar, any hack-and-slash party is sureto think twice before attacking a lone NPC;that harmless old man may not be all heappears. Each avatar receives a portion ofa deity�s power and is sent to the PrimeMaterial plane to carry out the deity�swishes. The descriptions of the avatars�forms vary from colorful to little morethan notes on the avatar�s clothing andweapons. This section is useful as far as itgoes, but it would have benefited bydescribing the things that avatars do andproviding motivations for why a particulardeity would send an avatar to Oerth in thefirst place.

The second edition of this setting madevarious special powers available to clericsdepending on the deity worshiped. Thesepowers helped to differentiate clerics andgave them distinct flavors. Certain deitieseven granted the use of edged weapons totheir clerics, and the process of makingclerics more individualized is continued inGREYHAWK Adventures. Clerics are nowdefined by their alignments, the color andtype of their robes and ceremonial gear,and by the extra experience points theyrequire (if any) for the use of specialpowers granted by their deities. Detailsare given on the types of weapons they

DRAGON 71

must use, including compulsory weaponproficiencies for 1st-level clerics. Thetypes of spells a cleric may employ (anoptional rule in the AD&D 2nd Editiongame) are indicated together with anyspecial powers or spells. Most of this infor-mation is readily accessible, but the ruleson spheres are not very clear and will onlycome to light when the AD&D 2nd Editiongame arrives.

While the descriptions do a good job ofdefining clerics in game terms, they arevery loose when it comes to detailingclerics� religious beliefs. Personally, Iwould like to have seen more informationon how clerics should conduct themselvesin the pursuit of their deities� aims andmore information detailing the myths andlegends associated with the deities. Never-theless, this section does a good job ofdifferentiating clerics by providing themwith individual powers.

Monsters: Fans of new monsters willfind some useful critters here. Again, weget an insight into how the AD&D 2ndEdition game is likely to be presented.Each monster is classified as in the existingMonster Manuals, but with additionalinformation provided on its habitat terraintype (city, hills, swamp, desert, etc), orga-nization (tribal, solitary, pack, etc.), activetimes (night, day, any, etc.), diet, reactionmodifier (used for determining a monster�sinitial reaction), THAC0, and morale. Thenew morale rules are a great improvementon the old, involved, and often convolutedsystem. Morale is rated from 1-20, as isdone in the BATTLESYSTEM� supplement,and is checked by rolling 2d10.

The �Monsters of Greyhawk� section isneatly laid out with all the essential infor-mation presented in a tabulated form.When you�re looking for a particular mon-ster for an adventure, a quick glance atthe entry will tell you whether it�s likely tofit the bill. If it does, then you can readthrough the text to find its appearance,combat tactics and abilities, habitat/society,and its niche in the food chain.

Hall of heroes: Here are detaileddescriptions of some of the key non-playercharacters active in the world of Oerth.Some of the most powerful and influentialcharacters of the setting are put under thespotlight, including the City of Greyhawk�sLord Mayor, Constable of the City, Captain-General of the Watch, and the heads of theThieves and Assassins Guilds. We are alsointroduced to the mysterious Jaran Kri-meeah, the Mage of the Vale; Jaran�s hen-chwoman, Tysiln San; two members of theScarlet Brotherhood of evil monks; and afew other champions and mages fromelsewhere on Oerth. The descriptions arewell presented, with each character�smotivations and outlook being clearlygiven along with a physical descriptionand combat. abilities. These NPCs are use-ful as foes and patrons.

Magical spells and items: Anyonelooking for new magical goodies will enjoy

7 2 M A R C H 1 9 8 9

this part of GREYHAWK Adventures. Onehundred and six new spells drawn fromthe spell books of such notables as Bigby,Mordenkainen, Nystul, Tenser, and Raryare presented here. You�ll find valuableadditions to each mage�s specialty: lots ofnew spells concerning hands, fists, anddigits from Bigby; new ways to improvememory and spell-casting abilities fromRary; and spells to enhance any fighter�scombat abilities, courtesy of Tenser.

A fair bit of thought has gone intodesigning the magical items so that theyare more than just a bunch of magicaleffects contained in devices. Each onecomes with a background that neatly tiesit into the campaign setting. DMs will findgood material here for starting quests, andeach player will appreciate his PC�s magi-cal items more if he knows where they�vebeen and who killed whom to get them. Awand isn�t just a wand; instead, PCs canlay their hands on such famous items asthe dark wand of the Sulhaut Mountainsor the wand of the Suloise � names toconjure with (ahem) and items with ahistory. Think about it: Wouldn�t you rath-er wield the Equalizer of Gran March thanjust another sword +1?

Geography of Oerth: There�s farmore valuable material here than justbland descriptions of various geographicallocations. What you get is a number ofadventure outlines which show the kind ofencounters that PCs entering differentgeographical areas are likely to experi-ence. The information on each area acts asa spur to the imagination and comes com-plete with notes for DMs to show how thefeatured locations can be turned intovibrant adventure settings.

The adventures: Six adventures areprovided here, but they are little morethan outlines for DMs to fill in. No mapsare provided, though they would havebeen very useful. A wide range of topics iscovered. Two are for zero-level charactersstruggling to work up to 1st level (see�Zero-level characters�). The other adven-tures include a dive to a sunken ship torecover treasure, entry into the Valley ofthe Mage, a rescue mission set in a house,and an evening�s entertainment in a gam-bling house.

The adventures are only connected toeach other in as much as they take placein the WORLD OF GREYHAWK setting,and they are basically short one-offswhich could be set almost anywhere. Ican�t help feeling that this section wouldhave been put to better use if it had con-tained adventures with a more epic flavoror even acted as leads into such epics.Adventures in which PCs become caughtup in great events which determine thefuture of Oerth would have made farbetter use of the campaign backgroundand would have stamped the adventureswith a distinctive flavor. Even so, as asource of ideas, the included adventuresare fine as far as they go. It�s a pity that

they don�t go even further.Zero-level characters: Hey! Tired of

high-level types running riot across yourworld? Then maybe you need zero-levelcharacters! This system for fledgling char-acters allows PCs to grow into theircharacter-class roles and gives them spe-cial abilities not normally associated with acharacter class.

While the idea is appealing, I found theamount of record keeping and numbercrunching off-putting. It is also not a sys-tem that lends itself to gaming groups whoenjoy lots of combat. Zero-level adventuresare more suited to role-playing encountersand problem-solving. For those willing toput up with the paperwork, zero-level PCsare certainly intriguing as they let playershave a greater influence on how theircharacters turn out than is available usingany random-generation method.

Evaluation: GREYHAWK Adventuresattempts to be many things to many peo-ple. Assuming this is its aim, it succeedsadmirably, for everyone who looks at itwill find something of interest. However,considered as a whole, it is less successful.Even hardened fans of the WORLD OFGREYHAWK fantasy setting may be disap-pointed as GREYHAWK Adventures addslittle to the background of Oerth, insteadproviding useful add-ons and enhance-ments. More in-depth looks at the individ-ual countries of Oerth and more epic-styleadventures would have made GREYHAWKAdventures more vibrant and exciting.

Don�t get me wrong — GREYHAWKAdventures includes some very good mate-rial, and it�s a useful purchase for those ofyou looking for new spells, magical items,ways to make clerics more interesting, andfor inspiration in the adventure depart-ment. It�s just that I cannot shake thefeeling that GREYHAWK Adventures hasspread itself too thin.

The Chronicles of TalislantaBard Games $12.00Design: Stephen Michael SechiIllustrations: P. D. Breeding-Black116-page perfect-bound book

The Talislantan HandbookBard Games $9.95Design: Stephen Michael SechiIllustrations: P. D. Breeding-Black88-page perfect-bound book

A Naturalist�s Guide To TalislantaBard Games $12.00Design: Stephen Michael SechiIllustrations: P.D. Breeding-Black118-page perfect-bound book

Talislanta Sorcerer�s GuideBard Games $12.00Design: Stephen Michael SechiCover illustration: P. D. Breeding-BlackIllustrations: P. D. Breeding-Black and Patty

Sechi104-page perfect-bound book

The vast majority of fantasy settingsborrow liberally from the works of J. R. R.Tolkien; dwarves, elves, hobbits, and orcscan all usually be found in the pages offantasy role-playing games. Indeed, mostfantasy worlds bear more than a passingresemblance to Tolkien�s Middle-earth.After all, Tolkien�s masterly descriptions inThe Lord of the Rings helped to define thelifestyles and cultures of the races thatpopulate our fantasy gaming worlds. Butnot all campaign worlds look to Tolkien fortheir ideas. One world which is distinctlydifferent is Talislanta.

The world of Talislanta is the creation ofStephen Michael Sechi, who chose to drawhis inspiration from the works of Hugo- andNebula-award winning fantasy and science-fiction author Jack Vance. Even thoughVance�s works had a great influence on thedesign of Talislanta, Stephen Sechi has notsimply set out to recreate the settings ofVance�s novels. He has instead capturedVance�s tone and used it to good effect increating a world which is strange, exotic,and quirky. This is not the first time thatJack Vance has provided inspiration forgame designers; Gary Gygax used Vance�smagic system (as presented in the DyingEarth novel series) to good effect in theD&D® and AD&D games. But Talislanta isnot so much based on Vance�s rationales forhis worlds but on his descriptions of strangeand alien societies.

Vance is not the only writer to havemade his mark upon Talislanta. H. P. Love-craft�s �Dreamquest of Unknown Kadath,�Marco Polo�s �Travels," and Sir RichardBurton�s collection of the �Arabian Nights�have all been cited by Stephen Sechi ashaving played their part in inspiring thecreation of Talislanta. With sources likethese, you can expect something out of theordinary, and Talislanta is certainly that.

Presentation: Talislanta game materialis currently available in four perfect-bound books: The Chronicles of Talislanta,The Talislantan Handbook, A Naturalist�sGuide Talislanta, and the TalislantaSorcerer�s Guide. The books are impres-sively illustrated by P. D. Breeding-Black(joined by Patty Sechi for the Sorcerer�sGuide). The art is visually appealing anddoes an excellent job of conveying theatmosphere, places, and peoples ofTalislanta. A flick through any of the fourbooks reveals that Talislanta is special.

The Chronicles: In this book, wefollow the wizard Tamerlin as he journeysthrough the world of Talislanta.

. . . Through a veil of blue mist did I firstbehold Talislanta: dreamlike and surreal, asif suffused in amberglow. At once it becamemy goal to investigate and explore thisradiant new world, to unearth its ancientmysteries, to marvel at its myriad colors.And so I embarked upon a journey thatwould take me through many lands andacross thousands of miles. All manner ofstrange sights did I encounter along the way:Seas of ice, firefalls, lakes like polished greenglass, and mountains of black basalt.

The lands of Talislanta are home to allmanner of strange and intriguing culturesand races: the Phantasians, who distill theessence of dreams and sell it to those richenough to afford it; the crystal-gazingXanadasian Savants, who are the self-appointed chroniclers of Talislantan histo-ry; the amphibious Imrian slave traders;the Mirin of L�Haan, who dwell in crystal-line ice castles and are renowned as greatartificers. Talislanta contains many othercultures ranging from the highly civilizedand decadent to the savage and brutal.

Tamerlin�s account of his travels is livelyand informative. We get to see how heinteracted with the various peoples, andhow, using his cunning and skill, heescaped more than one dreadful fate andavoided others by sheer luck. The Chroni-cles of Talislanta is not a collection ofentries to be dutifully plowed through inorder to learn about this fabulous land.Instead, it�s fun to read and very colorful.Written as a guidebook rather than as arulebook, it�s usable with any fantasysystem.

The Talislantan Handbook: WhereasThe Chronicles of Talislanta introduces usto the world of Talislanta, The TalislantanHandbook is concerned with presentingthe Talislantan game system and providingrole-playing information for players andGMs. The Talislantan system is verystreamlined and easy to use. You�ll find no

detailed charts for combat, critical hits, or� for that matter � any other compli-cated rules. All game mechanics are han-dled by rolling 1d20, adding any applicablemodifiers, and comparing your score tothe Action Table. The Action Table consistsof three columns: Combat, Magic, and onecombining Skill and Attribute tests. Ifyou�re engaged in combat, you roll on theCombat column; when you�re casting aspell, you roll on the Magic column; and soforth. The results vary from mishaps tosuperior successes, with normal failuresand successes lying in between.

When using the tables, you tell the GMwhat you hope to achieve. He theninforms you of any modifiers you need totake into account, then you roll. It�s quick,easy, and quite elegant in its simplicity.And, as it covers everything you are likelyto attempt in a game session, you have noneed to keep track of any complicatedrules. In short, it lets you get on with therole-playing with a minimum of fuss. Asthe system is very simple, the GM isrequired to respond by providing dramaticaccounts of your actions. Anyone with anyexperience of role-playing games will notfind this a problem, as the results caneasily be extrapolated from the type ofaction attempted.

Character creation is also very simple.There are over 80 different charactertypes, each one defined by race, national-

DRAGON 73

ity, skills, special abilities, equipment, andbackground. Simply pick which type ofcharacter you want to play, then custom-ize it by increasing one attribute by threepoints, decreasing one attribute by onepoint, and by choosing an additional skillfor your character. How does this actuallywork in practice?

Say I�m going to be a ThaecianEnchanter. Looking at the description, Isee that my character is between 6� and6�6� tall, weighs 100-160 lbs., and hassilvery skin, deep blue hair, distinctivefeatures, and a slender physique. Hisattributes are listed as Intelligence +3,Charisma +3, and Perception +3. Hisother attributes are rated at zero. Thismeans that whenever he checks againsthis Int, Chr, or Per, I roll 1d20 and add 3;and if he uses any skill based on theseabilities, he receives a bonus as well.

I decide that he�s going to be smart, so Iadd 3 to his Intelligence, making it +6. I�vealso got to deduct 1 point, so he�ll be slight-ly weaker than normal ( -1 to Strength).He starts with some skills which are deter-mined by whether he has a city, village,wilderness, or nomadic background. As aThaecian Enchanter, he also has a varietyof magical skills. I take the gambling skillas his additional skill, and he�s almostready to enter play. The character descrip-tion tells me what equipment and wealthhe starts with, and also gives a briefdescription of his personality: �Thaeciansare devout pleasure seekers who shunhard work in favor of more pleasant pas-times. They are enamored of magic, andare partial to Thaecian nectar, a drinknoted for its exotic favor and exhilaratingproperties.� To find out more about hisculture, I need only check out the entry inThe Chronicles of Talislanta. Now I�ve got awell-detailed character and enough back-ground information to make playing thepart of a Thaecian Enchanter fun.

Skills: Skills are divided into thesegeneral types: common abilities, combat,magical/alchemical, performing, scholarly,thieving, trades and crafts, wilderness,and special abilities. Initially each skill israted at +1, plus or minus any bonuses orpenalties for relevant attribute ratings.Characters can improve existing skills andlearn new skills by spending experiencepoints. Experience points are also used toincrease a character�s level of ability, withrises in level bringing additional hit pointsand improving a character�s skill ratings.Experience points are awarded in smallamounts, and as most characters needonly 25 points, there is very little book-keeping required.

The remainder of the handbook con-cerns itself with providing weapon andarmor statistics, and basic equipmentprices and weights. It also provides somenifty tables for determining a character�spast history, contacts, and enemies. TheTalislantan calendar, a glossary of Talislan-tan terms, a weather-generation system,

74 MARCH 1989

an adventure, and some very brief adven-ture ideas round out the book.

There is lot crammed into this book, butit is also fairly complete, providing youhave access to A Naturalist�s Guide and toThe Chronicles of Talislanta to put it all inperspective and provide monsters for thePCs to deal with. The simple rule systemmeans that large numbers of pages do notneed to be dedicated to explaining andclarifying rules. The only real drawback isthe burden the system places on the GM indetermining modifiers and situations.More help and examples would have madethe game system easier to use for GMs notused to improvision. Help and exampleswould also have shown how to build colorand atmosphere into a gaming session.

A Naturalist�s Guide: This is effective-ly a Monster Manual for Talislanta, withbrief descriptions of the deities worshipedby its various cultures and races. All of thecreatures and plants discussed are accom-panied by illustrations which add greatlyto the atmosphere of the work. This bookwill also be of interest to anyone lookingfor new creatures to use in other gamesystems.

Sorcerer�s Guide: This work elabo-rates on the magic system presented inThe Talslantan Handbook by describingnew spells, ancient and powerful books ofmagic, and enchanted items, with entrieson magical and alchemical research. Ifyour PC is serious about magic, he shouldenroll at the Lyceum Arcanum, the fore-most institute of magic in Talislanta. Therehe can choose from a wide range of cours-es, from Basic Alchemical Techniques allthe way up to such advanced studies asSorceries of the Forgotten Age.

The Sorcerer�s Guide also looks atTalislanta�s magical races, the Omni-verse (the dimensions of which Talislantaforms only one part), and the beingswhich dwell in the Omniverse. To providean insight into what life for a Talislantanwizard would be like, a short story hasbeen included. The story moves along at agood pace and makes good reading.

The Sorcerer�s Guide is a useful additionto the Talislanta series, but it is not essen-tial as magic is adequately covered in TheTalislantan Handbook. However, it is avaluable sourcebook to anyone interestedin studying the magic of Talislanta and itsassociated planes of existence.

Evaluation: If you�re looking for some-thing out of the ordinary in your fantasygaming, then Talislanta is definitely wortha look. Travel the skies in a Phantasianwindship, or simply lose yourself in hoursof enjoyable role-playing exploringTalislanta�s myriad cultures. Some mayfind the Talislantan game system thin onrules and mechanics, but it does an admi-rable job of handling all kinds of testswithout-interrupting the flow of the game.With only a few rules to learn, you canconcentrate on role-playing rather thanrule-playing. Don�t overlook Talislanta just

because you�re don�t want to abandonyour existing game system, as its back-ground is easily convertible to othergames.

Short and sweetMEKTON II game, by Mike Pond-

smith. R. Talsorian Games Inc., $12.00.Danger, romance, and giant robot combat?You�re sure all these fit together? Yep.From the designer of the TEENAGERSFROM OUTER SPACE� game comes theMEKTON II game. Based on Japanesecartoon shows, the MEKTON II game caststhe player characters as pilots of huge,awe-inspiring metal constructs. But this ismore than just an exercise in massdestruction; true to the genre, the playercharacters have mysterious pasts, families,and loved ones to protect. The gameemploys a neat rule system and easy-to-generate player character backgroundswhich make the heroes more than just theoperators of killing machines. Power upthe mecha and roll, but don�t forget �you�ve got a date tonight.

GAZ7 The Northern Reaches, by KenRolston. TSR Inc., $8.95. On the easternseaboard of the D&D game�s KnownWorld lie the Viking kingdoms of Soderf-jord, Vestland, and Ostland. This 96-pagepack introduces these cultures in a highlyentertaining and informative manner. Joinyour guides Helfdan Halftroll, OnundTolundmire, Saru the Serpent, and Dwa-linn the Dwarf as they take you on a tourof the Northern Reaches. The NorthernReaches is packed with adventure ideas,an epic campaign outline, details of thenonhuman races who share these wildViking lands, and a look at a new systemof clerical magic: runes. It even includes acomplete 3-D card village which can be-assembled and used as the setting for twoof the detailed adventures. With its solidrole-playing excitement and easy to digestbackground, this Gazetteer belongs inevery D&D game collection.

THE WILLOW GAME, by Greg Costi-kyan. Tor Books, $19.95. In this boardgame for six players, the four good playersmust keep the baby, Elora Danan, out ofthe clutches of the two evil players. It hasbeen foretold that Elora Danan will oneday destroy the evil Queen Bavmordaunless the baby is found and brought toNockmaar Castle. The evil players have toaccomplish their aims quickly or else theforces of good will grow too powerful forthem to defeat easily. Beautifully illus-trated and great fun to play, this game isbased on the Lucasfilm production of thesame name. The only drawback with thegame is that it is not really suited to beingplayed by less than six players; it�s possi-ble, but players then have to handle multi-ple characters. For maximum enjoyment,grab another five players before spendinga few hours in the world of Willow.

©1989 by Hartley,Patricia, and Kirk Lesser

Phlan-tastic adventures at the Pool of RadianceIn an unusual step, this month we fea-

ture the review of only one adventuregame. We feel the first true AD&D® gamefor computer gamers requires thiscolumn�s full attention.

Strategic Simulations, Inc.(distributed by Electronic Arts)1046 North Rengstorff AvenueMountain View CA 94043-1716(415) 964-1353

me. They discuss basic information, hints,warnings, and enlightenments that may

Pool of Radiance

provide that extra bit of data needed to

* * * * ½

Commodore 64/128 version

conclude a successful adventure. I have

$39.95MS-DOS (Tandy 4000) version

experienced the terrors of numerous

$49.95The following is taken from the journals

of Aessopp, a human magic-user:�These writings are for those who follow

nately, it appears that the slums go on

adventure programs � some worthy ofthat genre, others not. But never before

forever.

has such an environment existed as thisone: a world based upon the authenticADVANCED DUNGEONS & DRAGONS®

�It may sound as though we have been

game rules.

unsuccessful, but we haven�t. Our party

�Enough chat. Our last battle with alarge force of hobgoblins and orcs has leftme bereft of spells. I need several hours �

consists of Lord Hart, Ironsmyth (our

perhaps days � of rest. There are spellmemorizations I must accomplish, and Ineed to inscribe new spells into my spellbook before our party can once againattempt to clear the slums. The woundswe have received and the death of a com-rade will seem less severe when we gainthe 500-gp reward offered by the CityClerk for this accomplishment. Unfortu-

Pool of RadianceThe first true AD&D®

computer gamefrom SSI.

Most product namesmentioned in this columnare trademarks owned or licensedby the companies that producethose products. Use of the nameof any product without mention oftrademark status should not beconstrued as a challenge to such status.

dwarven fighter), Footsore (our halflingthief), Lady Patricia (our cleric), Ellwylly(our jack-of-all-trades), and myself. Wehave already managed to clear Sokol Keepon Thorn Island. Fortunately, we hadamassed a small fortune in gold and plati-num pieces prior to taking the boat to theisland. This money enabled us to purchasethe silver weaponry we needed to defeatthe gangs of undead that inhabited thatdread place.

�There are many places of note withinPhlan. When characters have earnedenough gold to purchase training to theirnext levels, they must visit the trainingareas. Characters of each class take adifferent door into the area; once throughthe portal, each character is examined andadvanced if 1,000 gp are in hand.

�There are also three temples withinPhlan, each possessing the restorativepower so hungrily sought by those whoare wounded, poisoned, or afflicted insome manner. The temples even have thepower to fully restore deceased comrades!The price of this restoration is high, butwhat value can one place on the life of afriend? The temples are dedicated to avariety of gods. Not surprisingly, one canfind shopkeepers within Phlan who mightsell specific holy items for each temple�sworshipers � items that can be worn byadventurers. These sales are worth yourinvestigation.

�Other businesses include a jewelry shopthat sells some surprising items, and sev-eral retailers who can provide all mannerof things, from the most basic arms andarmor to advanced weaponry. The loca-tions of all shops should be recorded, forsales of your treasures to these retailers.will enhance your fortunes.

�You�ll soon locate the gateway to theslums, the nesting place of the evil crea-tures that the City Council wishes eradi-cated. A city park and several taverns arealso present, as well as the latter�s attend-ant rumors. Parties with little experiencemight wish to avoid these drinking halls,as fights among patrons are common, andfew patrons are as lowly in stature as a

beginning party.�Pay close attention to the warrants

offered by the City Clerk. Read well theproclamations found fastened to the hallswithin the City Hall. Each offers an inter-esting bit of information that can aid yourparty in its cause. These coded clues aredeciphered by using the Adventurer�sJournal included in the game. Listen toeach NPC encounter. Several citizens ofPhlan (and those from beyond) offer valu-able items of knowledge, ranging frominformation on a sudden invasion ofundead to details on places where gemsare rumored to be hidden. You should alsouse your own mapping skills during everyturn within the adventure to keep track ofyour current location.

�What lies ahead for our group?Through the deciphering of rumors, map-ping, and other skills, we have learned

76 MARCH 1989

that beyond the slums lie areas thatinclude Podol Plaza, Valjevo Castle, Kuto�sWell, and more. Certainly, if we survive tocollect the reward for clearing the slums,there are hundreds of exhausting hours ofadventure ahead.

�The two NPCs we hired at the duelinggrounds have signaled they are ready tomove onward. My spells, as well as LadyPatricia�s and Ellwylly�s, have been memo-rized. Ironsmyth has readied his heavycrossbow, and Lord Hart has spent mostof the evening sharpening his two-handedsword. We�re off for a final assault on theslums. We can only hope our reward willbe the continuation of life itself!�

Aessopp and his companions have beenour software adventure testers for nearlya decade, through a variety of softwareentertainment offerings. This group hasbeen deeply involved in both the MS-DOSand C64/128 versions of Pool of Radiance,a computerized FORGOTTEN REALMS�adventure. The scenario was written byTSR designers and coded by the crackprogrammers at Strategic Simulations, Inc.Pool of Radiance falls into the must-buycategory for avid AD&D game players, asit is the first offering that truly followsAD&D game rules.

You create your own save-game disks,assuring character continuation no matterwhat might happen to your PCs during thegame. If you have an MS-DOS machine(such as our Tandy 4000), you can copythe game to your hard-disk drive. Whenyou save a game, simply select a storagearea from Game A to Game J, and wait forthe program to save your current gamestatus. One warning: When using theinstallation program included for MS-DOSmachines, you must have the patience ofJob. SSI has packed so much code ontothree disks that the program had to becompressed. Uncompressing the code tooknearly 30 minutes. However, we can hap-pily say that the final product is more thanworth this timely effort. If you are gamingon a C64/128 computer, you must have aseparate save-game disk.

What a great fantasy role-playing gamePool of Radiance is! It plays truer to theAD&D game rules than any softwareadventure we have yet experienced. Onlya few minor differences exist in the crea-tion of your characters, which is normallyaccomplished by using multisided dice. InPool of Radiance, you tell the programwhether or not you want a charactercreated for you, and you decide whetheror not to keep the statistics that the com-puter generates.

Our testing on the C64/128 versionrequired 207 such rolls to create anacceptable human fighter with an 18strength. (Granted, there were manyopportunities for a character to possess17s as its primary characteristic, but wewanted to see how many rolls would berequired for an �optimum� character). Oursecond fighter, a dwarf, needed only six

Pool of Radiance:Lizardmen hissthreats in MS-DOS.

Pool of Radiance:Goblins make poorconversationalists.

Pool of Radiance:An adventure

begins on theC64/128.

DRAGON 77

Mars Saga: Journeyacross the redprison planet.

Modem Wars: Anelectronic arsenal.

rolls to get an 18 as its primary character-istic; our halfling thief required 110; themagic-user required 50; the clericrequired 73; and a cleric/magic-user/fighter with acceptable attributes in allprime requisites required 350. The num-ber of rolls required with the MS-DOSversion were about half these numbers.

We required strong characters rightaway in order to enter the game andquickly build up experience points and hitpoints, allowing us to investigate as manyareas as possible. Missing during charactercreation are your rolls for the initial num-ber of gold pieces owned and languagesknown. The gold-piece figure is automati-cally assigned by the computer to yourcharacter, and it appears as though lan-guage does not become much of a problemas long as your intelligence is above medi-an range. So far, we haven�t run into anyone or anything that didn�t understand thecommon, orc, hobgoblin, dwarven, orelven tongue.

Encounters seem to be based on theencounter tables in TSR�s AD&D gamemanuals. Even the countenances of thosethat confronted our party looked asthough they had jumped from the pages ofthe Monster Manual.

Phlan is quite a settlement, having risenfrom the ashes, so to speak. Located onthe northern shore of Moonsea (knownearlier as the Dragon Sea) within the For-gotten Realms, Phlan is situated between

78 MARCH 1989

Zhentil Keep and Melvaunt. The civilizedarea of the city possesses just about everysort of shop needed to outfit a party ofstalwart characters. Don�t worry aboutshopping around � prices are constantfrom one shop to another within Phlan.Two quests immediately available to newadventuring parties require the clearing ofspecific geographic locations (known asblocks) that lie beyond the city�s civilizedarea. One of the blocks is in the slums ofPhlan; the other is in Sokol Keep. Thesequests are designed to allow starting par-ties to build up experience points, but notwithout plans of action. You�ll lose severalparties before you realize exactly what isneeded to clear each area.

Successful combat earns your charactersthe right to search captives, the lame, andthe dead for whatever they might possess(as in a regular AD&D game). Our PCstook everything they could get their handson. Items such as weapons and armorwere then sold at the stores in Phlan sothat enough gold and platinum piecescould be accumulated to buy the silverweaponry and armor required for ourassault on Sokol Keep. With the turningability of our cleric and a keen edge to oursilver weapons, the undead there meltedaway like butter on hot toast. Gettingenough money to purchase these specialitems is not easy, though. It takes manyone-encounter forays into the slums tobuild up the contents of your purses.

The only negative aspect of the C64/128version of Pool Of Radiance is the technol-ogy of the computer itself. The C64/128 isnotoriously slow. Due to the large numberof disk accesses required for the variousscenes and activities throughout the game,and due to the agonizingly slow diskreads, the game tends to bog down, espe-cially during lengthy combats where thecomputer must manage numerous ene-mies. Casting a spell can also lead one toprolonged yawning while waiting forvarious screens to appear; the screensallow you to decide who will cast whatspell on whom. Strategic Simulations doeshave a software-based fastloader utilityintegrated into the game; without this aid,the game would become nearly unplay-able. The MS-DOS version, certainly ourfavorite format, is extremely fast � somuch so that in order to catch on-screenmessages, we had to slow the game opera-tion down. We enjoyed the EnhancedGraphics Adapter (EGA) graphics modeand found ourselves playing at twice thespeed of the C64/126 version.

We advise you to rush out to your localdealer and buy Pool Of Radiance! We alsorecommend you buy the FORGOTTENREALMS campaign set and FR4 The Magis-ter (a FORGOTTEN REALMS accessorysold by TSR) to further your enjoyment ofthis world of enchantment and adventure.All AD&D game players will appreciatePool of Radiance�s attention to detail, itsforthrightness in adhering to all applicableAD&D game rules, and the hundreds ofhours of game play incorporated into thedifferent scenarios within the ForgottenRealms. You will receive enormous valuefor your dollar, for the Forgotten Realmsstretches far beyond Phlan. Adventure,excitement, advanced programming, ani-mated graphics, puzzles � all can befound in Pool Of Radiance. This is trulyStrategic Simulation�s flagship product andwill undoubtedly bring thousands of com-puter enthusiasts into the adventure-filledworlds of TSR.

News and new products

Antic Software544 Second StreetSan Francisco CA 94107(415) 957-0886

Antic has launched several new enter-tainment offerings. The first is Star Quake,an arcade-style adventure game for theAtari ST that takes place in deep space andoffers 500 action-packed screens, 30 on-screen colors, beautiful animation, andfast play. The player�s mission is to repairthe very fabric of the universe by replac-ing the nine core elements inside a rogueplanet that has gone out of control. Pyra-mids, space locks, antigravity lifts, andsecret passages are encountered as theplayer travels through a maze of cavernsto make or break the mission. The pricefor this game is $29.95.

A new game for the Amiga is Pioneer

Plague, in which the player�s mission is tostop an out-of-control, self-replicating,terraforming robotic spaceship frominvading and destroying other planets as itheads toward Earth. The price is $39.95.

Two other entertainment-related offer-ings include STOS, the ultimate game-writing machine, and STAC, a newgraphic-illustration adventure creator. Theformer is the ideal game-writing programfor the Atari ST, having an easy-to-useinterface and 320 commands that suit anyuser level. Three games, Zoltar, BulletTrain, and Orbit, are included, plus asprite editor, room designer, character setand icon editor, music editor, a screencompactor, and STOS Basic. The price is$59.95. The latter product, STAC, featuresa quick-start file, a demo adventure, char-acter fonts, STAC, and a complete 150Kadventure and slide show of sampleadventure screens. With STAC, gamers areable to produce professionally illustrated,top quality, graphic-adventure games. Theprice is $69.95.

Electronic Arts1820 Gateway DriveSan Mateo CA 94404(415) 571-7171

Dan Bunten�s Modem Wars is the firstgame designed specifically for modems.This is an action-packed grudge matchbetween two opponents, either human orcomputer, that tests players� strategic skillsat seven different levels of battle. It takesthe concentration of a speed-chess gameand combines the unpredictable actionsituations of Milton Bradley�s BATTLESHIPboard game. Players see only their unitsand the enemy units they�ve �spotted onthe horizon. Players set their troops andartillery prior to battle, but once the con-frontation begins, the unexpected shouldbe expected, as enemy Riders come out ofnowhere, Grunts are on blitz orders, and aSpy may spot your ComCent and promptlyblow it away. Dan Bunten designedM.U.L.E. and Seven Cities Of Gold. Theprice for Modem Wars is $34.95.

The third new offering is Mars Saga, ascience-fiction role-playing game. The timeis 2055 A.D. Earth has sent its worst con-victs to Mars to mine the planet�s mineralwealth. The environment is cold and hos-tile, and the weather is even worse. Youmust learn to survive on this prison plan-et, and you�d better learn quick. You cre-ate and control characters to explore theplanet, increasing their abilities, wealth,and intelligence along the way. The goal isto find out what happened to the city ofProscenium, which has fallen as silent asthe Martian desert sands. Success dependson savvy, combat tactics, strategy, andusing your character�s skills to your bestadvantage. The price is $34.95.

A newly released Arcadia arcade game isSidewinder, the home-computer version ofthe popular coin-operated shoot-�em-up.The action begins after the Federation andLeviathan galactic empires face one

80 MARCH 1989

another in a standoff. Suddenly, a mon-strous enemy ship appears out ofnowhere. You�ve volunteered to guideyour ship to the alien space cruiser anddestroy it. There are six scenarios andthree-dimensional scrolling graphics. Theprice is $39.99 for MS-DOS machines.

Epyx, Inc.600 Galveston DriveP.O. Box 8020Redwood City CA 94063(415) 366-0606

Epyx introduces The Legend Of Black-silver, the new adventure title in the com-pany�s Masters Collection line of softwarefor the advanced game player. Blacksilver,a sinister substance capable of emptyingoceans and cracking the very surface ofthe Earth, has been discovered by treach-erous Baron Taragas. Corrupted by themalevolent mineral, the Baron seeks torule the world by submerging the land ofThalen and raising another continent,which he intends to populate with crea-tures created from his own vile mind. TheBaron has kidnapped the King and is hold-ing him hostage. Princess Aylea needs onewarrior to do what many have failed toaccomplish: rescue the King and saveThalen and its persecuted people. Heroesare up against terrifying odds and journeyto ancient castles to acquire importantclues and useful items. Vast wealth can befound, but only at great cost.

There are 16 different towns in thisgame. As a player�s rank increases, he canadd advanced magic spells. This game ispresented from the first-person perspec-tive, and three-dimensional effects putgamers right in the heart of Thalen. Thegame comes with a full-color map andposition stickers. Currently, The Legend ofBlacksilver has been released for the C64/128 at a price of $39.95. The Apple II andIBM versions will be released later thisyear. The latter system offerings will bepriced at $49.95:

Interplay Productions1575 Corporate DriveCosta Mesa CA 92626(714) 549-2411

Interplay Productions has been awardedthe Best Computer Adventure Award byVideo Games and Computer Entertainmentmagazine. The prize-winning game, Neuro-mancer, is based on the award-winningcyperpunk novel by William Gibson.Neuromancer combines adventure,intrigue, intellect, and acquired skills thatyou use to hack your way through thefuture. Neuromancer places you in therun-down world of Chiba City, which youmust explore in order to meet up withhackers like yourself. As a cowboy, youcan tap your consciousness into a data-base. This electronic universe, known asCyberspace, ties together all other com-puter networks. Each computer systemhas different defenses; your task is tobreak their Intrusive Countermeasure

Electronics (ICE) systems. The game iscurrently released for the Apple II familyand the C64/128; versions for the Commo-dore Amiga and MS-DOS machines arecoming.

Konami, Inc.815 Mittel DriveWood Dale IL 60191(312) 595-1443

Konami has released several new videogames. The first is Castlevania II � Simon�sQuest. Count Dracula remains powerfuleven beyond the grave, and his cursehaunts this adventure. To restore peace,your only hope is to discover and destroythe Count�s body, piece by piece. Thisgruesome quest takes the player back toTransylvania to the Count�s eerie castle.Your search for clues to the whereaboutsof the Count�s hidden remains takes youthrough a maze of mansions, graveyards,and dark, haunted forests.

Also from Konami is Defender of theCrown, a game that takes players into aworld of chivalry, gallantry, and fantasy.It�s a time of war as you, a brave Saxonknight, prepare to battle the evil Normanforces and save Britain. But all warsrequire careful planning. Before you wageyour first battle, you must test your witsto raise the money, gather the weapons,and build the armies necessary to over-power your foes. The game will bereleased this spring.

Mindscape Inc.3444 Dundee RoadNorthbrook IL 60062(312) 480-7667

Mindscape introduces Deja Vu II: Lost inLas Vegas, the newest interactive graphic-adventure game from the creators of DejaVu, Uninvited, and Shadowgate. The noto-rious mobster Tony Malone is after you. Ifyou don�t come up with $100,000 in thenext seven days, you may be trying on apair of cement shoes. The odds are defin-itely against the player. For the AppleMacintosh, the price is $49.95. Otherversions are expected for the Atari ST,Commodore Amiga, Apple IIGS, and MS- DOS machines at the same price.

Paragon Software Corp.(distributed by MicroProse)600 Rugh Street, Suite AGreensburg PA 15601(412) 838-1166

Paragon has signed an exclusive agree-ment with Marvel Comics to create aseries of games featuring some of thegreatest comic-book characters of all time.The first release in the Marvel Comicsseries will be an exciting, fast-paced, inter-active comic and arcade adventure entitledSpider-Man and Captain America in Dr.Doom�s Revenge. The background plot,conveyed through a comic book, has Dr.Doom mastermind the theft of a U.S.nuclear missile in a twisted revengeagainst all those who ended his evil

designs years earlier. This game will ini-tially be released for the C64/128 and MS-DOS micros. Future projects will revolvearound the X-Men and the Punisher.

Newly released is Guardians of Infinity:To Save Kennedy, a highly advanced strate-gic text adventure for MS-DOS machines.Two years in development, this gamefeatures a new, natural language parserthat allows communication as if the playerwere holding real conversations. This is anadventure that challenges the mind. Theyear is 2087, and the time continuum isunraveling by the hour, threatening todestroy the planet Earth. Only one mancan save time: temporal physicist AdamCooper. Cooper and his partner trace thecause of the time crisis to the events ofNovember 22, 1963: the assassination of

should never have occurred in the normalPresident John F. Kennedy, a tragedy that

course of history. The player assumes theidentity of Adam Cooper and journeysback to 1963 to prevent the assassination.

Psygnosis LimitedFirst FloorPort of Liverpool BuildingLiverpool L3 1BYUnited KingdomIntl.: 44-51-236-8818

Psygnosis has released a simultaneous,two-player, collaborative arcade gameentitled Captain Fizz Meets the Blaster-Trons. This game was allegedly so addic-tive that the company had to banemployees from playing it at the office inorder to make the offering�s release dead-line. You simply cannot win this gamewithout planning a strategy, watchingyour partner�s back, and even (when thechips are down) sacrificing your own lifeso that your fellow player may go on toserve the noble cause. If the attitude istaken that it�s every player for himself, theBlaster-Trons will finish you off in no time.The game is available for the CommodoreAmiga and the Atari ST.

SEGA of America, Inc.(distributed by Tonka Corporation)573 Forbes BoulevardSouth San Francisco CA 94080(800) USA-SEGA (toll free, outside Calif.)(415) 742-9300 (within Calif.)

Headlining this year�s schedule is AlteredBeast. The player assumes the role of acenturion warrior called up from thegrave to rescue the daughter of Zeus. Bydefeating enemies, the player gets power-up atoms which gives him the ability totransform into a wolf man, dragon, bearman, and tiger man. Each shape has spe-cial, supernatural powers. Another newSEGA game is R-Type, a licensed title witha deep-space, science-fiction theme. Thecompany claims that this game has phe-nomenal graphics, sound, and playability.

Sierra On-Line, Inc.P.O. Box 485Coarsegold CA 93614

82 MARCH 1989

(209) 683-4468This company has introduced a radically

different science-fiction adventure,ManHunter: New York. Features are pro-vided that have never before been foundin a Sierra 3-D animated adventure: win-dowing effects, split-screens, close-ups,and new programming that enables you tosee more screens without changing disks.A new interface for ManHunter allows theplayer to view the action from first- andthird-person viewpoints, and it requiresvirtually no typed commands to play.There are over 250 scenes, includingrealistic on-screen maps of New York City.ManHunter combines horror and humorin the tradition of Stephen King. You areplaced in New York two years after analien invasion and subsequent worldtakeover. As a detective (or manhunter),your goal is to track and monitor subver-sive human agitators. Currently for IBMmicros, other versions are being devel-oped for Atari ST, Apple IIGS, Macintosh,Apple II family, and Amiga. The price forthe IBM version is $49.95.

Sir-Tech Software, Inc.P.O. Box 245Charlestown Ogdensburg MallOgdensburg NY 13669(315) 393-6633

The fifth Wizardry scenario has beenreleased in formats for Apple II and MS-DOS computers. Wizardry V: Heart of theMaelstrom has been released after 23months of development work. Several newfeatures are included in this scenario,which is not dependent upon any of theprevious four Wizardry scenarios forgame play. There are dozens of new spells,an asymmetrical maze, new graphics,interactive talking encounters, pools,hidden items, locked maze doors, �andlarger-than-life monster pictures. Theprice is $49.95.

Also for Apple II and MS-DOS machinesis another new adventure from Sir-Techentitled The Usurper: Mines of Qyntarr.This is a lighthearted, text-based romp intomagic and illusion, but with a seriouspurpose. The adventurer must overcomeobstacles and uncover the concealed routeto the long-lost Orb of Qyntarr. The Orb issaid to hold the power needed to accom-plish the adventurer�s ultimate goal: top-pling the evil King Aken to free thepeoples of Qyntarr. The price is $29.95.

Titus Software Corporation20432 Corisco StreetChatsworth CA 91311(818) 709-3692

Just in from Titus Software is GalacticConqueror. Located in the center of thegalaxy is Gallion, the supreme headquar-ters of a stellar league that protects man-kind. In a remote corner of the galaxy, thesurveillance units of Gallion have detectedwhat appears to be a small enemy inva-sion. Nobody knows how dangerous thisinvasion could be, but in order to protect

mankind, a defense must be launchedimmediately. As a Betadroid KAL, you arethe only one to handle the last space fight-er created by the stellar league: ThunderCloud II. You must stop the invasion. Thegame is available for the CommodoreAmiga, Atari ST, and MS-DOS machines for$44.95.

Before we present our game hints, wewould like to make note of a letter wereceived from Thomas Zuchowski ofClemmons, North Carolina. Tom publishesa small newsletter dedicated to the Eamongaming environment. Eamon is a publicdomain role-playing system for the AppleII computer; it has been around for atleast seven years. Some of the games areboring, but perhaps 50 or so of at least165 adventure scenarios rival commercial-ly produced text-adventure games.

The Eamon system has been through anumber of major revisions over the pastfew years; the latest version is fast andpowerful. Eamon adventures may beobtained from almost any Apple public-domain software distributor for only afew dollars per disk. This makes Eamon aworthwhile bargain. However, probablythe best news about Eamon is that a com-plete set of tools is readily available to helpgamers write their own adventures.

The Eamon Adventurer�s Guild is a non-profit organization dedicated-to promotingEamon and selling the public-domainEamon disks. If you are interested in con-tacting Tom or in subscribing to hisinformative newsletter, you can write tothe following address:

Tom Zuchowski7625 Hawkhaven DriveClemmons NC 27012

Clue corner

Bard�s Tale I (Interplay)By following these simple steps, your

characters can gain hit and spell points, aswell as ability scores, quite easily. Youmust either have a specter mace or a magewith the 4th-level magician spell calledSpecter Touch. Step 1: Go to the ReviewBoard and make certain everyone is train-ed to their highest levels. Step 2: If youhave Specter Touch, go to the Party Attackoption and cast the spell on a party mem-ber. If you do not have the spell but havethe mace, attack a party member with it.In either case, make certain the screenstates that you have drained a level fromthe attacked person. Step 3: Go back to theReview Board and train the drained char-acter. Repeat these steps until you havethe desired amount of HP, SP and Ability.Just be sure you don�t damage your char-acter below zero points!

Bruce NormanKingston, Ontario

The Legend of Blacksilver (Epyx)

There are some awfully stout doorsthat�ll succumb to the wave of a feather.Search for the etherium for additionalmagical training. The island caverns con-tain a special ring. Don�t speak to pris-oners unless you pay the guard first.Prices differ in the various towns, butalways go for the Superb weapons. Sneak-ing can sometimes access the singing crys-tal. The Eagle Temple lies to the northeast.Look for Beaverton on a spit. Make certainyou are prepared for travel to Maelbane!

Hartley, Patricia, and Kirk Lesser

Pool of Radiance (SSI)About halfway through your search of

the slums, you�ll come upon one particu-larly nasty assortment of goblins that arerather accurate with their bows! Allowthem some rest before taking them totask. All may not be well near the Well.Until good old Norris has been dumped,ambush is the name of the game near asecret door. When you are making yourway to the Nomad Camp, try to find a waythrough the trip wire quickly. If not,expect no aid in fighting off the koboldattack. As is true in life, respect for one�selders is worth a stand at the keep wherethe lizard folk reside. However, to get intotheir good graces, perhaps you shouldhave set free a particular group of liketypes on Sorcerer�s Island! An importantword should have been given to you to getinto the chieftain�s good graces. In thenorthwest corner of Valjevo Castle, shouldyou make entry during daylight, the giantsmay be lying down on the job.

Hartley, Patricia, and Kirk Lesser

Ultima V (Origin)It seems that Mr. Hogan�s letter in

DRAGON® issue #140 drew at least twoletters to our attention. They are fromDavid Beals of Westport, Mass., and AdamFields (no address). These hardcoregamers state that the best way to handlethe Shadowlord and Shard destruction isto combine the operation by throwing theShard into the flames when the Shadow-lord stands upon it. A massive explosionfollows, destroying both the Shard and theShadowlord. This is a worthwhile tip, tobe sure. Adam adds, �There is a free magicaxe in Jhelom. Just search everything,making sure you don�t �leave anythingout.� David ends his letter: �To save LordBritish from his unusual prison at thebottom of Doom, you must have the san-dalwood box hidden in Lord British�schambers at his castle. The box is hiddenbehind a secret door that can only beopened by playing the song �Stones� by Ioloon the harpsichord in the room.�

Wishbringer (Infocom)Put the blanket on the baby grue so he

won�t wake up. To get the platypus out ofthe hole, put the branch in the hole andpull the branch up. Dig in the �X� andblow it immediately. The gold coin is coun-terfeit; flip the second switch off. Get the

Guardians of Infinity:a desperate meeting in 2087.

Guardians of Infinity:November 22, 1963— you are there.

Guardians of Infinity:They had better befriendly.

broom, and leave the cat alone. Also, lookbehind the painting to get out of the cas-tle. Be certain to read Corky�s note afterhe leaves! Free the princess, too. Answer�yes� to all the questions in the library.

Chris CarmenOxford, Ohio

That�s all for this issue. We would like tothank everyone for their letters. We alsowant to remind all that the 1989 BeastieAwards for best games of the year are

now in progress. The voting will end withthe July issue (147) of DRAGON Maga-zine. If you�d like to vote for your favoritesoftware game, please print your name,address, and the system version on a cardor in a letter. Mail your ballot to us at thefollowing address:

Hartley, Patricia, and Kirk Lesser179 Pebble PlaceSan Ramon CA 94583

Until next month, game on!

DRAGON 83

©1989 by John C. Bunnell curiously obscure. Perhaps its most promi-nent feature is a unique richness of lan-guage � or more properly, of linguistics.Williams takes remarkable care withnames and phrases, drawing on old rootsfrom Saxon, Nordic, and Celtic tongues(and likely others I don�t recognize). If theresult isn�t quite up to par with Tolkien�sinvention of an entire elvish language, it isThe Role ofat least a respectable second.

B O O K SA similar aura of authenticity, or at least

depth, shows in the books sense of histo-ry. While Williams avoids long lecturesand expository dialogue, he nonethelessprovides extensive background on theworld of Osten Ard. The data comes in

THE DRAGONBONE CHAIRTad Williams

DAW 0 - 8 0 9 9 - 0 0 0 3 - 3 $ 1 9 . 9 5The Dragonbone Chair is large and

intimidating. Its style is formal and liter-ary. And it is the first volume of a trilogyostentatiously labeled �Memory, Sorrowand Thorn." Authors who set out to write

84 MARCH 1989

chips and shards, as characters explicitlyand implicitly refer to the historical peopleand events that have shaped their social,political, and religious destinies. (Forinstance, the Christ-like figure of Usires isoften mentioned, but we don�t stop to readchapters from a Usirian Bible.)

Not surprisingly, Williams� principalcharacters emerge from all this as well-rounded, complex personalities. Simon,the scullery boy whose explorations of thevast Hayholt wander into arcane intriguesand counterplots, is the key example,initially wide-eyed but eventually compel-ling and compelled. His two closestfriends, the scholar Dr. Morgenes and thesly traveler Binabik, display similar philos-ophies yet differ in approach. And theexiled Prince Josua is a revolutionary whois both driven and doubting.

The Dragonbone Chair is clearly meantto be compared to Tolkien�s Lord of theRings � there are too many parallelsbetween the works for the echoes not tobe deliberate. It�s at just that point,though, that the analysis begins to fail.Williams� extraordinary craftsmanship isnot in question; what is uncertain is hisartistic vision, and this time, �it�s too earlyto tell� isn�t a satisfying hedge. Futurevolumes of this epic could turn all tooeasily into Important Books.

The one safe prediction is that thesequence will succeed or fail on a grandscale. It may even do both � in which caseopposing camps of readers will argueabout it for years to come. And as yet, Ireally don�t know which side I�m on.

THE LABYRINTH GATEAlis A. Rasmussen

B a e n 0 - 6 7 1 - 6 9 7 9 3 - 6 $ 3 . 5 0Alis Rasmussen�s first novel has an eclec-

tic literary heritage. There are exploitedchildren out of Charles Dickens, aresearch expedition in the Jules Vernetradition, a host of romances borrowedlargely from 18th century English theater,beings and encounters inspired by Celticmyth, and a villainess worthy of the Broth-ers Grimm. The blend may sound far toostrange to be appealing, but in fact, TheLabyrinth Gate is a highly enjoyable talewith a remarkably coherent atmosphere.

Newlyweds Sanjay and Chryse Mukerji(his roots are in India; hers seem to be

New worlds without number

self-capitalized Important Books usuallycreate sleep-inducing paperweightsinstead, but Tad Williams has managedsomething else in this venture.

A comprehensive description of that�something else� is elusive. Several ele-ments of Williams� sculpture are identifi-able enough, but the overall design is

Native American) arrive in Rasmussen�srealm of Anglia via the unusual tarot decksomeone has left as a wedding gift. Butone card vanishes somewhere in transit,and without it, they can�t get home. Lucki-ly, local nobility comes to their aid in theform of Julian Haldane and his household,where the couple takes up residence asthey adjust to their surroundings.

Two more major plots emerge as theadventure unfolds. One involves Anglia�sreigning Regent, who secretly plans todispose of the child Queen and take overthe throne, while the other traces theeccentric Professor Farr and his daughtersas Farr searches for a legendary lost citywhere mysterious treasure is said to rest.The treasure�s supposed mystic powersattract the Regent and the Wizard Earl ofElen; it is also another sage�s price forSanjay�s and Chryse�s safe return home,and the professor wants it for its historicalvalue.

A few strands are looser than others; anobscure plot point requires Chryse�s res-cue of several children from a factory thatdrains their life energy, but Rasmussenmakes little use of the youngsters thereaf-ter. And though the tarot deck at the tale�sheart is apparently an important magicaldevice, little time is spent exploring itsuses and powers.

But if bits of plot sometimes slip fromRasmussen�s grasp, it�s because her fingersrest firmly on her characters� pulses, Thevarious couples (some of whom are clev-erly masked) treat the business ofromance with refreshing diversity; Chryseand Sanjay especially unsettle Angliansociety by having married for love. Theforbidding Earl of Elen has several star-tling yet logical secrets. And even minorcharacters such as Aunt Laetitia and Prin-cess Georgianna receive at least a fewmoments in the spotlight.

An appendix provides extensive notes onRasmussen�s imaginary tarot deck, whichdraws on Celtic symbols and forms atsome variance with the more familiarpatterns. But while gamers may find thedeck of Gates an intriguing artifact anddivining tool for characters to explore, thereal merit of The Labyrinth Gate lies in itsorigins. Rasmussen is a refreshing writer,one who has clearly read a wide variety ofliterature and built her own unique visionon its foundations. That�s a claim too fewauthors can make, and one to which moreshould aspire.

THE WILL OF THE WANDERERMargaret Weis & Tracy Hickman

Bantam Spectra 0-553-27638-7 $4.50I wanted to like The Will of the Wander-

er; an Arabian Nights adventure told byskilled writers Margaret Weis and TracyHickman is powerfully attractive. Butdespite a striking concept and the team�susual solid characterization, this firstvolume of their fourth trilogy is seriouslyand frustratingly flawed.

That�s especially disappointing for gam-

ing audiences, since only gamers will fullyappreciate the premise that the universe isshaped like a twenty-sided die. Each pointof the die represents a particular virtue �Good, Evil, Patience, Intolerance, Reality,etc. � and each of the twenty sides repre-sents the sphere of a God tied to three ofthe twelve nexus points. The system iswell-defined and clever, leading logically tothe crisis which arises when two Godsdestroy each other. (One apparent copy-editing glitch: Both the God Promenthasand the Goddess Evren are described asdeities of Goodness, Charity and Faith.)

Equally well-defined are the mortals andimmortals drawn unknowingly intoanother deity�s scheme to displace theremaining seventeen gods. Among themare Khardan and Zohra, offspring ofopposing desert chieftains who are unwill-ingly joined in a marriage that may bemore than political; Sond and Fedj, thechieftains� djinni and agents of yet anothergod; Mathew, a castaway sorcerer forcedto masquerade as a woman in order toavoid execution; and Meryem, agent of arival sultan sent to seduce Khardan intobetraying both tribes.

The abundant cast and multileveled plotstructure combine to create the novelsflaw. Weis and Hickman have handledeach situation before, but not both atonce. The first DRAGONLANCE® trilogysuccessfully balanced a large group ofheroes by binding them all in the samequest, while the Darksword novels fea-tured a wide-ranging plot with a singlecharacter as its linchpin.

This time, several stories develop atonce. Three or four mortal wars are brew-ing, the djinni have intrigues on their ownplanes, and something else may be tran-spiring among the Gods themselves. Fewof the protagonists truly interact until latein the book, and even then no two charac-ters have quite the same agenda. Readerscan�t effectively choose sides � there aretoo many sides, most of which seem�right� to some degree.

Weis and Hickman are also victims ofbad timing, as The Will of the Wanderer isa late arrival in a sudden surge of ArabianNights sagas. That lessens its distinctive-ness and may prompt readers to view itmore critically than they otherwise might.In the long run, that�s good � it producessharper readers and more skillful writers� but the present volume may suffereconomically in the process.

EURYALEKara Dalkey

Ace 0-441-22336-2 $3 .50DRAGON Magazine�s �ecology� series of

monster-related articles has become moreand more sophisticated over time, suchthat the SF trade journal Locus occasional-ly reports them as short fiction. KaraDalkey�s latest novel is the next logicalextension of that trend: a full-length tale of�the ecology of the medusa.�

First, some definitions. In Greek myth,

DRAGON 85

Medusa was a gorgon slain by the heroPerseus; her description corresponds tothe AD&D® game�s medusa. Dalkey�s Eury-ale is Medusa�s sister, another gorgon, whohas migrated to imperial Rome in quest ofa cure for her petrifying gaze. Neither isrelated to the AD&D game�s gorgon, whichis another creature entirely.

As she searches, Euryale encounters theRoman senator Gnaeus Cornelius ScipioHispallus, the Chaldean philosopher-wizard Archidemus, and the Marsi witchSimaetha, and learns that Roman politicsand obscure magic can be a dangerousmixture. Before the tale is done, Euryale�scurse has touched all four lives and forcedher to leave Rome.

The quietly written, moving narrativeincorporates substantial quantities ofvaluable lore for gamers with interest inclassical campaign settings. Besides exten-sive information on Euryale herself, read-ers will find a pragmatic, senator's-eyeview of the city�s politics neatly twinedwith descriptions of Roman religious prac-tices (orthodox and otherwise). Hack-and-slash enthusiasts will find little excitement,but there is emotional intrigue in plenty.

A final aside: All three of Kara Dalkey�snovels (The Curse of Sagamore, The Night-ingale, and Euryale) have been discussedin this space. That surprised me when Inoticed it, but what surprised me morewas the diversity of the three books: a

I f you want to write articlesfor us, get a copy of our writ-

ers’ guidelines first. If you live inthe United States or Canada,just send a self-addressed,stamped envelope to: Writers’Guidelines, DRAGON® Maga-zine, P.O. Box 111, Lake GenevaWI 53147, U.S.A. In Europe,send a self-addressed, stampedenvelope to: Writers’ Guide-lines, DRAGON Magazine, TSRLtd, 120 Church End, CherryHinton, Cambridge CB1 3LB,United Kingdom. Our guidelinesare free. Don’t start your type-writer without them.

DRAGON is a trademark of TSR, Inc.©1989 TSR, Inc. All Rights Reserved.

86 MARCH 1989

comic adventure, a complex Japanese tale,and a quiet legend of imperial Rome. In anage of series and specialization, Dalkey is awriter of unusual strength and versatility.That�s rare enough to be worth encourag-ing all by itself.

THE HORSEGIRLConstance Ash

A c e 0 - 4 4 1 - 3 4 2 7 5 - 2 $ 3 . 5 0Constance Ash creates a strange world

in her first novel. The strongly feudalsocial and political structure suggests amedieval setting, but flintlock rifles andcompeting religious systems convey deepechoes of England�s 17th-century Puritanera. Appropriately, The Horsegirl is astrange novel; while the writing is verygood, the story�s events and ideas aremore unsettling than appealing.

There�s no doubt that Ash is firmly incontrol of her story and language. Thenarrative captures readers quickly, skill-fully using action and image to createatmosphere and propel the plot. Titlecharacter Glennys� transformation frompeasant girl to horsemistress underwealthy Baron Fulk, and her struggleagainst diverse emotional and societalpressures, are told with power and style.

Despite her skill with language, how-ever, Ash sends conflicting signals con-cerning a troubling yet critical plot point.The expertly stage-managed twist willstartle readers, but should have been nosurprise to Glennys. (Warning: Discussingthe problem requires revealing the twist.)

The Horsegirl appears at first to be astraightforward coming-of-age tale. In fact,Ash�s novel has enough complex psycho-logical baggage to keep a closetful ofFreudians busy for years. Its heart is aclassic Oedipus triangle: Glennys, herpeasant mother, and Baron Fulk, who isGlennys� mentor, lover, and father. Single-minded Reverend Tuescher adds anotherdimension, fueling a strong but underex-plained religious conflict. But though Ashcreates enormous subliminal tension, shefirmly dodges the questions she raises andminimizes their impact.

Stranger still, the book�s conclusionpromises a sequel focused on �a world ofglamour and intrigue.� Ash may be a tal-ented word-spinner, but she seems deter-mined to write stories with splitpersonalities. Until she can effectivelyfocus her literary vision, gamers are bestadvised to look elsewhere for campaignideas.

SPELL SINGERSAlan Bard Newcomer, editor

DAW 0 - 8 8 6 7 7 - 3 1 4 - 8 $ 3 . 5 0This was a small project that grew. The

growth itself isn�t surprising, given theauthors involved. Marion Zimmer Bradleyis an institution, and though Ru Emerson,Mercedes Lackey, and Jennifer Robersonare newcomers by comparison, each hasgained a respectable following. Editor AlanBard Newcomer�s intent in assembling

their works was to showcase the work ofhis namesakes � bards and storytellers �and his collection aptly fulfills its goal.

In particular, Bradley�s two stories (whichconcern the mage Lythande, once a travelerin Robert Asprin�s Thieves� World series)carry a richly descriptive narrative rhythm,and Ru Emerson�s contribution is logicallyless ornamental in style than her Nedaonovels. By contrast, Lackey�s two linked talesare almost too casually written and distantof viewpoint to convey the mood Newcomerseeks. All, though, are solidly plotted sword-and-sorcery adventures.

These adventures are mostly of novellaor novelette length, allowing Newcomer�swriters greater freedom than short fictiongenerally offers. Each handles the chal-lenge differently: Lackey presents a pair oftales which combine to form a whole,while Roberson and Emerson choose plotsthat skillfully balance short-story compact-ness with a novel�s richer detail. Bradley�stwo stories are the book�s shortest, a factlikely dictated by the magazine markets inwhich they first appeared.

Editor Newcomer has chosen thesestories well, and readers should be awarethat this volume originally appeared,under the title Bardic Voices One, as ahandsome limited-edition book from hisown Hypatia Press imprint. Inquiries toHypatia Press (86501 Central Rd., EugeneOR 97402, U.S.A.) should reveal if copiesare still available; the quality craftsman-ship and popular group of writers makethe anthology a worthwhile collector�sitem, independent of the enjoymentgamers can derive from the reading.

FOOL ON THE HILLMatt Ruff

Atlantic Monthly Press0 - 8 7 1 1 3 - 2 4 3 - 5 $ 1 9 . 9 5

There are no fantasy gamers in Fool onthe Hill, though you might expect them ina novel set on a university campus. AtMatt Ruff�s shadow version of CornellUniversity, they�d be redundant � thewhole campus borders Faerie, and is pop-ulated by Shakespearean sprites, caninephilosophers, ring-wielding Tolkien lovers,benign crusaders for various causes, and astoryteller in search of love.

Instead, there are stories within storieswithin stories. Some of them areromances: Aurora Smith�s father hopes tofind her an unconventional husband; a co-president of the reclusive and wondrousTolkien House offers membership to aband of nonconformists in trade for anintroduction to one of them; and star-crossed sprites rebuild a relationshiptarnished after an unfortunate incident ina library display case.

Greek mythic elements, including acosmic Storyteller (with a capital S), alsohave a place. So do tidbits of fairy tale,epic, and Shakespeare, as well as a host ofother subtly acknowledged literary influ-ences. At least half the major and minorplots operate on more than one level,

some quite openly and others very subtlyindeed. And Ruff gets away with the dan-gerous plot device of giving his charactersSignificant Names, because the names areinvariably, perfect matches for the charac-ters� personalities.

The overall atmosphere is one of wryhumor and benign good will, but the fre-quently light tone can be deceptive; Ruffhas an equally good eye for drama anddanger, and he can conjure fear at appro-priate moments. At its heart, though, Foolon the Hill is a novel about the power ofdreams and the spirit, and about storiesthat aren�t recorded on paper.

In that light, it�s a book for every gamerwho has ever fudged a die roll in a goodcause, about a world that might very wellbe our own if we believe in it stronglyenough. If Ruff, a 22-year-old first novelist,never publishes anything else, Fool on theHill will undoubtedly become a cult favor-ite. If he keeps writing this well foranother six or seven books, it may windup as an out-and-out classic.

Recurring rolesAn unexpected sequel highlights the lists

this month. House of Shards (Tor, $3.95), isWalter Jon Williams� second tale of DrakeMaijstral, interstellar Allowed Burglarextraordinaire. This time, he�s in competi-tion with a rival both for ratings pointsand for the priceless Eltdown Shard, in aspace-station setting updated from the oldEnglish country house. Williams, asbefore, provides a stylish adventure full ofdouble reverses and debonair repartee.(Perhaps someone will buy the movierights to this!)

Also a minor surprise is Stairway toForever (Baen, $3.50), beginning a newfantasy series by Robert Adams. This onemay have possibilities despite a very slowstart and a viewpoint some readers willundoubtedly consider chauvinistic. Theplot concerns a passage to another worldhidden beneath a Florida hillside, and thepossibility that hero �Fitz� Fitzgilbert wasborn there, not here. Unlike Adams� Casta-ways in Time series, this one holds at leastthe promise of a solid ongoing plot.

No surprise at all is the latest anthologyset in the City of Luck. Liavek: Spells ofBinding (Ace, $3.50) is notable both forseveral strong individual stories and forthe threads crossing between them. Athree-way collaboration draws severalwriters� characters together for a majorclimax, and two more authors describe thesame play from different perspectives.Editors Will Shetterly and Emma Bullcontinue to put Liavek at the top of theshared-world lists, but may need newcharacters to populate future volumes.

In the middle volume department, DavidEddings� Demon Lord of Karanda con-tinues what is becoming an incredibly longchase sequence in his Malloreon series.The writing remains solid if traditional,and a new character emerges as a foil andlove interest for master trickster Silk.

Elsewhere, The Crystal Keep finds SheilaGilluly gathering strength; the intimate airof her previous Greenbriar Queenremains, improved this time by bettercharacter definition and a more distinctivevillain.

Finally, good news is out for devotees ofKrynn and the Forgotten Realms.Stormblade (TSR, $3.95) is Nancy VarianBerberick�s skillfully told chapter ofDRAGONLANCE history, populated with asolid cast of dwarves, a memorable min-strel, and a surprisingly distinctive kender.Jeff Grubb and Kate Novak, meanwhile,make Azure Bonds (TSR, $3.95) an intri-cately plotted adventure set in theFORGOTTEN REALMS� setting. Notable inthe cast are an inspiringly nasty reddragon, a lizardman who isn�t a lizardman,and enough villains to staff a minor war.Yet the tale is focused strongly on Alias, aswordswoman with a missing past and avery peculiar tattoo. Both are excellenttales from comparatively new writers.Where does TSR find these people?

Readers� rolesMany thanks to the readers (and writers)

who have written in recent months; Iappreciate the feedback and am familiarwith many of the books mentioned. Keepthe cards and letters coming!

Meanwhile, some general responses.First, reviews of older titles are unlikely,

even if well deserved, given the crowd ofnew material being published. Don�t stopsuggesting them, though; perhaps theeditor would publish a short article focus-ing on �classic� works and readers� favor-ites, and you may alert me to watch fornewer works by the same writers. Pleaseremember to sign your note (and printyour name also; I may mention some let-ters in this space, and I want to spell cor-respondents� names correctly). And while�alternate� forms of storytelling, such asTV programs and videotapes, appearrarely in this space at best, they may againpop up in �extra� articles from time totime.

DRAGON 87

Convention Calendar Policies

This column is a service to our readersworldwide. Anyone may place a free listingfor a game convention here, but the follow-ing guidelines must be observed.

In order to ensure that all conventionlistings contain accurate and timely infor-mation, all material should be either typeddouble-spaced or printed legibly on stand-ard manuscript paper. The contents ofeach listing must be short, succinct, andunder 150 words long.

The information given in the listing mustinclude the following, in this order:

1. Convention title and dates held;2. Site and location;3. Guests of honor (if applicable);4. Special events offered;5. Registration fees or attendance

requirements; and,6. Address(es) and telephone number(s)

where additional information and confirma-tion can be obtained.

Convention flyers, newsletters, and othermass-mailed announcements will not beconsidered for use in this column; weprefer to see a cover letter with theannouncement as well. No call-in listingsare accepted. Unless stated otherwise, alldollar values given for U.S. and Canadianconventions are in U.S. currency.

WARNING: We are not responsible forincorrect information sent to us by conven-tion staff members. Please check yourconvention listing carefully! Our widecirculation ensures that over a quarter of amillion readers worldwide see each issue.Accurate information is your responsibility.

Copy deadlines are the last Monday ofeach month, two months prior to the on-sale date of an issue. Thus, the copy dead-line for the August issue is the last Mondayof June. Announcements for North Ameri-can and Pacific conventions must bemailed to: Convention Calendar,DRAGON® Magazine, P.O. Box 111, LakeGeneva WI 53147, U.S.A. Announcementsfor Europe must be posted an additionalmonth before the deadline to: ConventionCalendar, DRAGON® Magazine, TSRLimited, 120 Church End, Cherry Hinton,Cambridge CB1 3LB, United Kingdom.

If a convention listing must be changedbecause the convention has been can-celled, the dates have changed, or incor-rect information has been printed, pleasecontact us immediately. Most questions orchanges should be directed to either RobinJenkins or Roger E. Moore at TSR, Inc.,(414) 248-3625 (U.S.A.). Questions orchanges concerning European conventionsshould be directed to TSR Limited, (0223)212517 (U.K.).

90 MARCH 1989

❖ indicates an Australian convention.❉ indicates a Canadian convention.

* indicates a product produced by a company other than TSR,Inc. Most product names are trademarks owned by thecompanies publishing those products. The use of the name ofany product without mention of its trademark status should notbe construed as a challenge to such status.

BASHCON �89, March 3-5BASHCON �89 is the seventh gaming convention

held by the University of Toledo�s BenevolentAdventures Strategic Headquarters (UT-BASH).This event features an auction, a miniatures con-test, movies, game exhibitors and dealers, anRPGA� Network AD&D® tournament, and morethan 130 role-playing, miniatures, and board-gaming events. The convention will be located inthe Student Union, third floor, at the University ofToledo�s Main Campus. The special guest of honorwill be Poul Anderson. Send an SASE to: StudentActivities Office, UT-BASH (BASHCON �89), 2801West Bancroft Street, Toledo OH 43606-3390; orcall: (419) 537-4654.

SIMCON XI: The New BeginningMarch 3-5

This convention will be held on the Universityof Rochester�s River Campus in the WilsonCommons. Events will include role-playingtournaments, war gaming, miniatures, movies,demos, and a dealers� room for war-gaming,role-playing, miniatures, comics, and science-fiction fans. Registration fees are $10. Write to:SIMCON X, P.O. Box 29142 River Station, Roches-ter NY 14627; or call: (716) 275-6186.

TOTAL CONFUSION, March 3-5TOTAL CONFUSION will be held at the Shera-

ton Worcester Hotel and Convention Center. Itwill feature RPGA� Network AD&D® tourna-ments, an RPGA� Network GURPS* event, andother role-playing and board-gaming events. Acostume competition and several seminars havebeen added to this year�s schedule. Guests ofhonor include Verne Wetherholt, John Astell,and Brent Nosworthy. A dealers� room, aminiatures-painting contest, and benefit eventsare also planned. Costs are $8 per day. Hotelconvention rates are available. Write to: TOTALCONFUSION, PO. Box 306, Northbridge MA01534-1302.

WOLFCON, March 3-5 ❉Atlantic Canada�s only science-fiction and

fantasy convention in 1989 is taking over AcadiaUniversity�s Beveridge Arts Centre for a three-day, multimedia extravaganza. All genres fromJapanimation to horror and from cyberpunk tohigh fantasy will be covered. There will becompetitions in AD&D®, STAR FLEET BATTLES*, GURPS*, and other games, with shortstories, films, costumes, and a live game. Eventsinclude medieval fighting, Kenny Syinide�sHouse of Horror, lectures, workshops, a FantasyField Trip scenario playtesting, an art auction,lots of role-playing, board, and strategy games,and a host of other activities. Tickets are $10(Canadian) for the weekend, or $5 (Canadian)

for a day pass. Send an SASE (or internationalreply coupon) to: WOLFCON, c/o Acadia Stu-dents Union, Wolfville, N.S., CANADA, B0P 1X0;or call Brian McGee at: (902) 542-7133.

GAME MASTER TOURNAMENT DAY,March 4

The Game Master presents this single-dayevent of role-playing and war-gaming competi-tions, open gaming, and miniatures contests.Events will be held in the Village Mall Audito-rium, located in the lower level of the BergenMall Shopping Center in Paramus, N.J. Featuredactivities will include a single-round RPGA�Network AD&D® tournament. Gaming willbegin at 10 A.M. and will conclude at 6 P.M. Writeto: The Game. Master, Bergen Mall, Paramus NJ07652; or phone: (201) 843-3308.

CALCON IV, March 10-12 ❉ This gaming convention will be held at the

Sandman Inn in Calgary, Alberta. Events willfeature a large variety of games, including anAD&D® tournament miniatures contests, guestspeakers, and more. Send an SASE to: CALCONIV, P.O. Box 204, Station M, Calgary, Alberta,CANADA, T2P 2H6.

BATTLEDAY, March 11Cosponsored by the Cincinnati Adventure

Gamers and Wanna Play? The Game Store, thisone-day affair will be held at Saints Peter andPaul Hall in Norwood (Cincinnati), Ohio. Eventswill include all-day gaming, a BATTLETECH*event, AD&D® games, miniatures events, andmore. Write to: Wanna Play? The Game Store,1555 Cedar Avenue, Cincinnati OH 45224; orcall: (513) 542-3449.

METROMEET 3, March 11This role-playing and war-gaming meet will be

held in the Student Union I Building on GeorgeMason University in Fairfax, Va. Sponsored bythe Gamesmasters, the featured events willinclude AD&D® game BATTLETECH* tourna-ments. CHAMPIONS*, CAR WARS*, and otheropen gaming events will be featured. There willalso be a dealers� room and a room for Japani-mation. The event will take place from 10 A.M. to10 P.M. Registration will be $3 before March 1and $5 at the door. Write to: Gamesmasters,Student Organizations, George Mason Univer-sity, 4400 University Drive, Fairfax VA 22030-4444; or call Ahsan Khan at: (703) 670-8539.

COAST CON XII, March 17-19This science-fiction and fantasy convention

will be held at the Gulf Coast Coliseum Conven-tion Center in Biloxi, Miss., with accommoda-tions at the Howard Johnson�s (call (601)388-6310 or (800) 654-2000 for reservations).Guest of honor is Joel Rosenberg, author of theGuardians of the Flame series. Other guestsinclude: Steven Sechi, designer of Talislanta andAtlantis; P. D. Breeding-Black artist for Talislan-ta; and John Levene (Sgt. Benton on Dr. Who.)Events include an RPGA� Network tournament,

video rooms, a meet-the-guests party, a costumecontest, filk singing, a charity auction, an artexhibit and auction, and a dealers� room. Regis-tration is $20. Write to: COAST CON, Inc., P.O.Box 1423, Biloxi MS 39533.

NEO-VENTION VIII, March 17-19NEO-VENTION VIII will be held at the

Gardner Student Center at the University ofAkron in Akron, Ohio. Featured events includeRPGA� Network and miniatures events, a gamesauction, and more. Write to: UGS, University ofAkron Gardner Student Center, Office #6,Akron OH 44325. Send a 25-cent stamp or SASE.

OWLCON X, March 17-19Rice University�s WARP and RSFAFA will hold

this gaming convention at Rice University.Registration will take place in Sewall Hall.Events include RUNEQUEST*, PARANOIA*, CARWARS*, TRAVELLER*, DIPLOMACY*, ILLUMI-NAT I*, CIVILIZATION*, BATTLETECH*, STARFLEET BATTLES*, ADVANCED SQUAD LEAD-ER*, and AD&D® tournaments, with opengaming and with prizes awarded in someevents. Admission fees are $10 for all three daysbefore March 3, or $12 at the door. One-daypasses are $4 for Friday or Sunday, and $5 forSaturday. To preregister, send a check payableto RSFAFA. Write to: OWLCON Preregistration,P.O. Box 1892, Houston TX 77251.

ABBYTHON 7, March 18-19The Abbyville Community Center in

Abbyville, Kans., becomes a Guild Hall onceagain as the Abbython Adventure Guild hosts itsseventh-annual 24-hour role-playing gamesmarathon. New members are welcome. Bestplayers will be awarded prizes for their efforts.Preregistration is $6; admission is $7 at the door.Send an SASE to: ABBYTHON, P.O. Box 96,Abbyville KS 67510.

GAME-A-THON 1989, March 24-26The Sante Fe Springs Gamers Association will

again sponsor this annual gaming convention inthe Town Center Hall, 11711 Telegraph Road,Santa Fe Springs, Calif. The festivities com-mence at 5 P.M. on Friday and don�t stop until 9P.M. on Saturday. Events will include AD&D® andother role-playing games, board-game tourna-ments, fantasy and military miniatures battles,seminars, demonstrations, continuous movies,and a dealers� room. Preregistration is $4 untilMarch 17, or $6 at the door. There are noseparate event fees. Write to: The Santa FeSprings Gamers Association, ATTN: GAME-A-THON 1989, P.O. Box 2434, Santa Fe Springs CA90670; or call Callahan at: (213) 863-7893.

GAMES 89, March 24-27 ❖This major Australian games convention will

offer role-playing, war, computer, and othergame events on a massive scale. Nongamingevents include a formal dinner Saturday night(followed by other social events, such as cocktailparties, Easter egg hunts, etc.), show bags, films,lectures, and more. Convention fees are $16(Australian) for the weekend, or $5 (Australian)per day. Write to: GAMES 89, P.O. Box 242,Lilydale, Victoria, 3140, AUSTRALIA; or call:(03) 726-7525.

BRUNTOURN, March 31-April 2 ❉This gaming convention will be held in the

ballroom of the Student Union Building of theUniversity of New Brunswick in Fredricton,N.B., Canada. Special guest for this tournamentwill be Field Marshal Duhr, representingSupremacy Games, Inc. Scheduled events

9 2 M A R C H 1 9 8 9

include AD&D®, TALISMAN*, ROLEMASTER*,SQUAD LEADER*, STAR FLEET BATTLES*, andBATTLETECH* tournaments. Other eventsinclude ROLLOUT*, SUPREMACY*, WAR-HAMMER*, THIRD REICH*, DIPLOMACY*, andPRIVATEERS & GENTLEMEN games. Preregis-tration is $7 (Canadian), or $8 (Canadian) at thedoor. Prizes will be awarded in several gamecategories. One-day memberships may be pur-chased at the door for $4. Special events includea miniatures-painting contest, demonstrationsby the Society for Creative Anachronism, Inc.,as well as various seminars. Send an SASE to: ACollector�s Dream, ATTN: Bob Tait, 51 YorkStreet, 2nd Floor, Fredricton, New Brunswick,CANADA, E3B 3N4.

I-CON VIII, March 31-April 2Held at the State University of New York at

Stony Brook, Long Island, I-CON (Island Conven-tion, not Iowa Convention) will have guests ofhonor including Frederik Pohl and E. GaryGygax. Other guests include Joe Haldeman,Barry Longyear, Julius Schwartz, and the cur-rent Dr. Who, Sylvester McCoy. Gaming guestsinclude Martin Wixted and Greg Costikyan.More guests are confirmed daily, and a StarTrek actor-guest is in the works. Featuredevents include speakers, movies, autographsessions, and AD&D®, CHAMPIONS*, STARWARS*, and DIPLOMACY* games. Game mas-ters are welcome. Advance tickets are $16 untilMarch 17, or $18 at the door. One-day passesare also available. Send an SASE to: I-CON VIII, P.O. Box 550, Stony Brook NY 11790.

MARCH FANTASY REVELMarch 31-April 2

Come to the fourth-annual MARCH FANTASYREVEL at the Harborside Holiday Inn inKenosha, Wis. Activities will include a war-gaming area, a silent used-game auction, adealers� area, and role-playing events. FeaturedRPGA� Network events include an AD&D®Grand Masters, AD&D® Masters, AD&D® Fea-ture, TOP SECRET/S.I.� Feature, and MARVELSUPER HEROES® Feature tournaments. Otheractivities include workshops, a gamers� banquet(please make reservations early), and an RPGA�Network members� meeting. Special guestsinclude Harold Johnson, Jean Rabe, and SkipWilliams. Fees are $10 a day, or $20 for theweekend. RPGA� Network members receive a$2 discount on registration, Write to: KeithPolster, 2432 Park Avenue, Apt. 6, West Bend WI53095; or call: (414) 338-8498. Gamers may alsocontact: Janice Ours, P.O. Box 840, Silver LakeWI 53170; or call her at: (414) 889-8346.

STELLARCON XIV, March 31-April 2This science-fiction, fantasy, and gaming

convention will be held at the Elliott UniversityCenter on the University of North Carolina atGreensboro campus. This year�s conventionfeatures authors Jean Lorrah and Allen Wold,and game designer Steve Jackson. Guests willconduct panels, lectures, and readings fromnew or soon-to-be-released works. In addition,there will be an RPGA� Network AD&D® tour-nament, a CAR WARS* event, other game tour-naments, a trivia contest, a costume contest, andan art contest with entries from conventionpatrons (no charge), and a dealers� room; filmswill also be shown. Preregistration runs untilMarch 1. Admission prices until then are $12for the weekend, $8 for two days, or $5 for oneday. After March 1, admission prices at the doorare $15 for the weekend, $10 for two days, and$8 for one day. Write to: SF3, Box 4, EUC, UNCGreensboro, Greensboro NC 27412.

TECHNICON 6, March 31-April 2Sponsored by the Virginia Tech Science-Fiction

and Fantasy Club (VTSFFC), this sixth-annualscience-fiction, fantasy, and gaming conventionwill be held in the Donaldson Brown Center onthe Virginia Tech campus in Blacksburg, Va.Guest of honor is John M. Ford, author of twoStar Trek books and the PARANOIA* gamemodule Yellow Clearance Black Box Blues (win-ner of the 1984 World Fantasy Award and theCharles Roberts award for best role-playingmodule). Fan guest of honor is Chip Livingston.Convention activities include three 24-hourvideo rooms, three tracks of continuous gaming,a dealers� room, panels, the TECHNICON play,computer gaming, a masquerade, science-fictionJeopardy, a dance, parties, and more. Preregis-tration is $12 for students and $15 for others, ifpaid in advance. Otherwise, fees are $15 forstudents and $18 for others paying at the door.Write to: TECHNICON, P.O. Box 256, BlacksburgVA 24063-0256.

CHIMERACON 89 (LA CONVENTION DE LACHIMERE 89) April 1-2 ❉

The Knights of the Imaginary bring you thisgaming convention, which will be held at theUniversity of Quebec in Trois-Rivieres. Amongthe activities planned for this fantastic weekendare: a video room, a costume party (with prizesfor best costumes), computer games, real-lifearmored combat, a dealers� room, the Battle ofthe Three Rivers of Time, workshops, numer-ous contests, lectures, a royal fest, open gaming,and lots more. The costs for the weekend are $4for members of the Knights of the Imaginaryand $10 for nonmembers. Preregistration fornonmembers is $6 if received before March 10.Write to: Daniel Gelinas, 5565 Roland #1, Trois-Rivieres-Ouest, Quebec, CANADA, G8Z 4E7; orcall Daniel at: (819) 378-9279. There are still afew tables left in the dealers� room; interestedparties should contact Daniel Gelinas.

CONNCON, April 1-2Held at the Quality Inn in Danbury, Conn., this

convention features role-playing, board-gaming,and miniatures events. Two RPGA� Networktournaments will be held, one open to all play.ers and one for members only. A benefit eventwill be held; proceeds will go to the AmericanHeart Association. Preregistration is $10 for theweekend, if paid in advance. Registration paid atthe door is $15. Write to: Hobby Center, 366Main Street, Danbury CT 06810.

DU PAGE GAME CON, April 1Come join the April Fool�s Day festivities, to be

held once again in the SRC Building at theCollege of Du Page on 22nd and Lambert inGlen Ellyn, Ill. Various role-playing, board, andminiatures game events are planned, includingAD&D®, BATTLETECH*, ARENA OF DEATH*,CIVILIZATION*, SQUAD LEADER*, Napoleonics,and other games. Other attractions include adealers� area, a silent auction, and prizes to beawarded in all events. Admission for the day is$5; event tickets cost $2 each. Send an SASE to:DU PAGE GAME CON, 6636 West 23rd Street,Basement Apt., Berwyn IL 60402; or call: (312)749-1597.

GAME FAIRE �89, April 7-9The 10th-annual GAME FAIRE convention will

beheld at the Spokane Falls Community Collegein Spokane, Wash. Events will run from Fridaynight through Sunday afternoon, and includegame tournaments, microarmor and historicalminiatures, a video room, dealers� tables, role-

playing games, board games, family games, agames auction, and a demonstration by the localSCA. Registration for GAME FAIR �89 is $10prepaid or $12 at the door. One-day member-ships are available at $5 for Friday or Sunday,or $6 for Saturday. All profits go to the WishingStar Foundation, a charity dedicated to helpingchildren. Write to: Merlyn�s, W 201 Riverside,Spokane WA 99201; or call: (509) 624-0957.

ROUNDCON IV, April 7-9The Round Table Gaming Society will hold this

gaming convention at the Russell House StudentUnion on the University of South Carolinacampus. Events will include multiple-roundAD&D® and CHAMPIONS* tournaments, single-event role-playing games of all types, miniaturesevents, a video room, a miniatures-paintingcontest, board games, and rooms for opengaming, with awards and door prizes. Preregis-tration is $3 if postmarked before March 15; forconfirmation of preregistration, please send anSASE. Write to: ROUNDCON IV USC Box 80018,Columbia SC 29225; or call: (803) 254-2601 or(803) 772-4784.

MOUNTAINTOP �89, April 8-9This gaming convention will be held at Lehigh

University in Bethlehem, Pa. Events include anAD&D® tournament, a games auction, and aswap meet. Board, role-playing, and computergames will also be played. Preregistration is $8before March 15; thereafter, registration is $10.Send an SASE to: Earl Kinsley, U.C. Box 276,Lehigh University, Bethlehem PA 18015.

SCRYCON �89, April 8Able adventurers are needed to regain lost

shards of the Famous Crystal Monolith at SCRY-CON �89, the seventh-annual one-day tourna-ment sponsored by the seekers of the CrystalMonolith Gaming Club. This year�s conventionwill be held at the Red Hook Methodist Churchin Red Hook, N.Y. (approximately 60 miles southof Albany on Route 9). The tournament willconsist of AD&D® tournaments, alternategames, miniatures-painting contests, and ourpopular used-game flea market. Admission is $5for the whole day. Send an SASE to: SCYRON�89, P.O. Box 896, Pleasant Valley NY 12569.

VALLEYCON II, April 8-9Sponsored by the Northeast Wisconsin Game

Players Association (GPA), this gaming conven-tion will be held at the University of Wisconsin-Green Bay. All forms of gaming will bepresented, including a 40� × 39� miniaturesbattle of the Assault on Hoth, strategic minia-tures and board-game battles, and role-playingevents ranging from the D&D® and AD&D®games to science-fiction games. Other eventsinclude a miniatures-painting contest, doorprizes, and more. Ticket prices for game mas-ters are $3 plus $2 per event entered in theconvention for one day, or $4.50 plus $2 perevent entered in the convention for two days.To preregister, send your name, address, tele-phone number, game system you wish to run,and the admission and entry fee (check ormoney order only) to: VALLEYCON Headquar-ters, 1211 Morris Avenue, Green Bay WI 54304.Game-master packets. and schedules are at theconvention. Send an SASE to the address above,or call: Brian Severa at (414) 494-7313.

BAMACON III, April 14-16This science-fiction, fantasy, and gaming

convention will be held at the Econo-Lodge(formerly the Stagecoach Inn), located at 4810Skyland Boulevard East in Tuscaloosa, Ala.

Special guests include Hal Clement, NancySpringer, Brad Strickland, Phil Foglio, MaryHanson-Roberts, Allen Hammack, Dr. MaureenKendrick, and many others. Featured eventsinclude author and artist panels, an art showand auction, a Friday night ice cream reception,an AD&D® game team tournament with $210 incash prizes, many other tournaments withprizes, filksinging, author readings, a Saturdaynight costume contest (with cash prizes), amasquerade ball (right after the contest), and anall-you-can-eat banquet ($6, scheduled for Sun-day at 10 A.M.). Preregistration is $20, or $25 atthe door. Dealers� tables are $40 (includes onefree membership). Hotel rates are $29.38 forone to four people (mention BAMACON III).Write to: BAMACON III, University of Alabama,P.O. Box 6542, Tuscaloosa AL 35486; or call:(205) 758-4577 or (205) 758-2186.

LEPRECON 15, April 14-16LEPRECON is an art-oriented science-fiction

and fantasy convention with a strong gamingfocus. Events will be held at the Phoenix HyattRegency in sunny, downtown Phoenix, Ariz.Guests of honor are author Chelsea QuinnYarbro and artist Richard Hescox. Gamingevents include AD&D® (Monster Mash andmorel, BATTLETECH*, microarmor, WAR-HAMMER* FANTASY BATTLE, GURPS*, STARWARS*, and EMPIRE BUILDER* games. Otherevents include special workshops and panels, aminiatures-painting contest, a used-gamesauction, open gaming, plenty of check-outgames, and more. Regular convention activitiesinclude an art show, a dealers� room, movies,Japanimation, computers, panels, parties, andother great stuff. Registration is $25. Write to:LEPRECON, P.O. Box 26665, Tempe AZ 85282;for gaming information, write to: Don Har-rington, 3505 East Campbell #14, Phoenix AZ85018; or call: (602) 956-1344 (before 10 P.M.

MST, please).

DEF-CON I, April 15-16Sponsored by THE CLUB, this gaming conven-

tion will be held at the Howard Johnson�s inPortage, Ind. (intersection of Route 20 and U.S.249). Special events include group vs. grouprole-playing, and RPGA� Network and computertournaments. Other events include AD&D®,MARVEL SUPER HEROES®, CHILL*, TWILIGHT:2000*, and BOOT HILL® games. Fees are $3preregistered, or $5 at the door. Prices are fromfree to $3 per game. Write to: David Machin,719 Juniper Road, Valparaiso IN 46383; or call:(219) 759-2530.

GAMEMASTER �89, April 15Boise, Idaho�s favorite gaming convention will

again be held in the Student Union Building ofBoise State University. Featured games willinclude AD&D® games, MEGATRAVELLER*,CAR WARS*, WARHAMMER*, BATTLETECH*,GURPS*, STAR TREK*: The Role-Playing Game,STARFLEET BATTLES*, MARVEL SUPERHEROES®, and Zomax*. We will also have opengaming, miniatures contests, and an auction.Our guest of honor, Gary Thomas, will explainhow to get your role-playing modules published.We will also have a Star Trek trivia competition.Registration will be $5 at the door or $4 if yourpreregistration is received before April 8. Topreregister, or to obtain more information,write to: The Gamemaster�s Guild, 4948 Koote-nai, Suite 204, Boise ID 83705; or call the Game-master�s Guild at: (208) 338-1410.

PLATTECON BETA, April 15-16Sponsored by the Platteville Gaming Associa-

tion, this two-day convention will be held at theStudent Center of the University of Wisconsin-Platteville. Gaming events will begin at 9 A.M.and run until 9 P.M. on Saturday and will beginat 9 A.M. and run until 5 P.M. on Sunday. Ourfeatured guest will be E. Gary Gygax. Specialevents include a LASER TAG* competition, aminiatures contest, and an RPGA� NetworkAD&D® game tournament. Other game eventswill be announced at the door. Admission forboth days is $7 at the door, or $5 if paid inadvance. Send an SASE to: Platteville GamingAssociation, P.O. Box 109, Platteville WI 53818.

AMIGOCON 4, April 21-23This science-fiction, fantasy, and gaming

convention will be held at the Holiday InnSunland Park in El Paso, Tex. Melinda Snodgrassis author guest of honor, and Frank Kelly Freasis artist guest of honor. Other guests includeWalter Jon Williams, Rick and Pati Cook, Jenni-fer Robertson, Mel White, and George AlecEffinger. Advance membership fees are $12.Registrations purchased at the door are $15 forall three days, or $7.50 for one day. Write to:AMIGOCON 4, P.O. Box 3177, El Paso TX 79923.

CHATTANOOGA COMICS, CARDS, &COLLECTABLES SHOW, April 21-23

This semiannual collector�s show will be heldat the Eastgate Mall on Brainerd Road, just off I-75, in Chattanooga, Tenn. Show hours are 9 A.M.to 9 P.M. Friday and Saturday, and 11 A.M. to 6 P.M.Sunday. Guests will include representativesfrom Marvel Comics. Events will include: anAD&D® tournament (which begins Friday, withwinners announced Sunday); an ongoingDRAGONLANCE® board game; video showingsof Star Trek Bloopers, The X-Men, and more; anauction hosted by our own Freddy Krueger; anda costume contest Saturday night. Admission isfree! The entire mall is the showroom area; itwill include comic books, baseball cards, StarTrek and Dr.Who memorabilia, Japanese anima-tion, gaming, and more. Dealer tables are $100each, or $150 for two. Tables are 8� long. Writeto: Amazing World of Fantasy, 2518-C ShorterAvenue, Rome GA 30161; or call: Dana Pinkard(show chairperson) at (404) 235-2179, or PatrickSwinford at (404)234-5309.

GALACTIC TREKFEST, April 21-23This science-fiction and gaming convention

will be held at the Henry VIII Hotel in St. Louis,Mo. Guests of honor include Richard Hatch,Merritt Butrick, Bill Mumy, and others. Specialevents include a banquet, open gaming, con-tests, costuming, regional science-fiction meet-ings, convention rooms, and dealers� tables.Weekend passes by preregistration are $20;other passes are available by inquiry or may bepurchased at the door. Over 33 events in all willbe sponsored at this convention, including anacting class by Richard Hatch, all-night videosand gaming, and more. Write to: GALACTICTREKFEST, 640 White Street, Belleville IL 62221;or call (618) 233-2404.

SALUTE �89, April 21-23 ❉This gaming convention will be held at the

Best Western King�s Inn, 5411 Kingsway, Burna-by, B.C., Canada. Featured events will includetable-top miniatures, board gaming, and fantasyrole-playing. In addition, 7th-edition 15mmAncients, SQUAD LEADER*, and D&D® gametournaments and a miniatures-painting contestwill be held, along with trade stands and a swapmeet. Write to: Barry Kemp, Convention Direc-tor, SALUTE �89, 5850 Rumble Street, Burnaby,B.C., CANADA V5J 2C4; or call: (604) 526-4463or (604) 437-3038.

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Sage Advice

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from Skullcap to Thorbardin, but no suchmap is included with the module. Similarinformation is given in DL4, but Thorbard-in�s location is not given. Where is Thor-bardin in relation to Skullcap?

Thorbardin is about 10 miles (as thecrow flies) south of Skullcap, in the moun-tains directly south of Skullcap�s swamp.

I am having difficulty understand-ing the roles of the Primary PCs andDreamshadow PCs in DL10 Dragonsof Dreams. How many Dreamsha-dow PCs are there? Which tracks dothey follow? Who controls theDreamshadow PCs?

Each Primary PC follows a differenttrack from every other Primary PC,accompanied by Dreamshadow replicas ofhis companions. Each player controls hisPrimary PC and all its Dreamshadow rep-licas in all tracks. The DM should not tellthe players who is the Primary PC in eachtrack.

In the spell summary on pages 126and 127 of DLA, spells are listed bysphere. Some spheres are listed ascombinations, such as Conjuration/Summoning. Does a wizard have tobe able to use spells from bothspheres in order to cast spells fromsuch a combination sphere?

No. A wizard can cast the spell as long asat least one of the spheres is open to him.However, some spells are limited to onesphere of the combination. For example,the armor spell is strictly a conjuration;only a wizard who has the conjurationsphere open to him can cast an armorspell.

Does the user of an Orb of Drag-onkind have to make a save eachround he uses the Orb?

A save vs. charm spell is required eachtime a power is used, not merely once perround.

Do Solamnic knights have cavalierabilities?

Knights of Solamnia are cavaliers but donot gain the cavalier�s weapon of choicebonuses until they become Knights of theRose.

Are the abilities of each order ofknights cumulative?

Yes. A Crown Knight retains his weaponspecialization ability when he becomes aSword Knight, and a Sword Knight keepsany spell earned when he becomes a RoseKnight (but he does earn more spells as aRose Knight).

What exactly are the special profi-

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ciencies in weapons and combatgained by a Rose Knight?

Rose Knights gain the cavalier�s weaponof choice bonuses in addition to the CrownKnight�s weapon specializations and SwordKnight�s spells.

where were they?There were once five towers. Their

locations were: Palanthus, Wayreth, Istar,Daltigoth, and the Ruins (DLA, page 29).

Why are PCs on Krynn limited to18th level?

What happens when a Crown Krynn�s deities remove characters fromKnight of, say, 8th level opts to Krynn when the characters exceed 18thbecome a Sword Knight? level (DLA, page 13).

The Knight in question must petition aKnightly Council and complete therequired quest, just as any other candi-date. When he completes the quest, hereceives three weapon and two non-weapon proficiencies, just as any othernew Sword Knight. From this point on, heis treated just as any other 3rd-level SwordKnight, although he keeps his current hitpoints, saving throws, and combat ability.As he accumulates experience as a SwordKnight, he does not gain additional hitpoints or weapon proficiencies until heexceeds his Crown-Knight level, but hedoes begin getting spells when he reaches6th level.

There seems to be some confusionover the range of ability scores forthe tinker gnome in DLA. The ruleson page 21 do not agree with thetables on page 117, and the tables onpage 117 do not agree with eachother.

A tinker gnome�s ability scores must fallwithin the following ranges:

AbilityStrengthIntelligenceWisdomDexterityConstitutionCharisma

Min/Max6/none10/none*none/1212/none8/nonenone/none

* Tinker gnomes with an intelligence of 15or greater gain 10% on earned experience.

Are the demi-humans of Krynnallowed to become multiclassedcharacters?

Yes; see �Arcana update, part 1,� inDRAGON issue #103, for the multiclassedcombinations allowed. Be sure to excludecombinations using classes prohibited bythe racial descriptions in DLA.

The DRAGONLANCE rules say thatgold has no value on Krynn, and saythat steel replaces gold. What doesthis mean, and what is Krynn�s mon-etary system?

For purposes of conversion, one Krynnsteel piece (usually called an Emas) equals2.2 AD&D game gold pieces. Krynn�s twomonetary systems are explained in detailon page 29 of module DL1 Dragons ofDespair.

Exactly how many Towers of HighSorcery were there originally, and

Do Solinari, Nuitari, and Lunitarihave clerics?

These deities are not part of the HolyOrders of the Stars and have no clerics.

EditorialContinued from page 2

that keep the game going. (SomeRPGs are constructed so that thePCs, evil or not, do not stick togeth-er; West End Games� PARANOIA�game comes to mind. It uses clonesto overcome the high turnoveramong PCs.)

The PARANOIA game and therecently released D&D® campaignpack GAZ10 The Orcs of Thar pointout another way to keep evil-PCcampaigns alive � run them ascomic campaigns. The module �Mon-sterquest� from DUNGEON® issue#10 makes use of several evil buthilariously stupid characters. Whocares if you are evil, if you are beingcompletely silly?

Those who want serious evil char-acters can still have a good cam-paign if they play with honor. It isimportant to avoid tastelessness andto promote a certain sense of repu-tation and integrity among the badguys. The movie The Wild Bunchdepicted a band of outlaws whostood up for one another eventhough it meant facing death (it alsohelped that they fought bandits whoin some ways were far worse thanthey were).

Running an evil-PC game is atricky affair, and not everyone isable to play by the special rules itinvolves. It can be nice not to begood all the time, as my articlenoted. But even when you�re bad,being good about it helps.

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