Issue #218Vol. XX, No. 1

June 1995

PublisherTSR, Inc.

Associate PublisherBrian Thomsen

EditorWolfgang Baur

Associate editorDavid Gross

Fiction editorBarbara G. Young

Art directorLarry W. Smith

Editorial assistantMichelle Vuckovich

Production staffTracey Isler

SubscriptionsJanet L. Winters

U.S. advertisingCindy Rick

U.K. correspondentand U.K. advertising

Carolyn Wildman

SPECIAL ATTRACTIONS

Printed in the U.S.A.

2 JUNE 1995

10 Tarazin the Gray � L. Richard Baker IIIAfter a few thousand years, this dragon has learned afew tricks.

16 Dragon Intrigues � Gregory DetwilerIf you thought dragons were tough in combat, waituntil they work against you behind the scenes.

2 4 Dragon Dweomers � Robert S. MullinDragons claws, fangs, and breath weapons are potentweapons �and these new spells help make themmore potent still. You have been warned.

FICTION

91 The Time of Leaving � Ron CollinsWhen does an apprentice become a master?

REVIEWS59 Eye of the Monitor � David �Zeb� Cook and Paul Murphy

Astounding Oriental adventures and a dud raven.

8 2 Role-playing Reviews � Rick SwanUndaunted, Rick dives into the card game maelstrom.

112 From the Forge � Ken CarpenterFantasy creatures great and small.

DRAGON® Magazine (ISSN 1062-2101) is publishedmonthly by TSR, Inc., 201 Sheridan Springs Road,Lake Geneva WI 53147, United States of America. Thepostal address for all materials from the United Statesof America and Canada except subscription orders is:DRAGON® Magazine, 201 Sheridan Springs Road,Lake Geneva WI 53147, U.S.A.; telephone (414) 248-3625; fax (414) 248-0389. The postal address for allmaterials from Europe is: DRAGON Magazine, TSRLtd., 120 Church End, Cherry Hinton, Cambridge CB13LB, United Kingdom; telephone: (0223) 212517 (U.K.),44-223-212517 (international); telex: 818761; fax (0223)248066 (U.K.), 44-223-248066 (international).

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FEATURESFirst Quest � Ed GreenwoodWherein lies the first sentence ever written about theRealms.

The Spice of Life � Thomas KaneMultiple plots add variety to any campaign�and giveplayers more freedom.

The Game Wizards � Steven SchendPresenting a checklist for the first BLOOD WARS�expansion, and a sample deck to help you conquerthe City of Doors.

The ORIGINS� Ballot � The staffVote for the world�s best games of 1994.

Magic Resistance, Step by Step � Skip WilliamsHow to resolve the thorny knot of resistance�withoutlosing friends.

The Nature of Evil � Michael T. KuciakWhat does it take to make a truly despicable villain?

Rumblings � Michelle VuckovichCatch up on all the latest news and gaming industrygossip.

COVERThis issue's cover painting by Stephen

King shows another side of dragons�afoul dracolich in flight over a barrenwasteland. the issue is our annualtribute to our namesake�everyone'sfavorite engines of destruction�dragons.Ecology of the Bird Maiden � Paul Culotta

Truth and treachery intertwine in this tale from the desert.

Sage Advice � Skip WilliamsAnswering the thorniest and most tangled game questions.

DEPARTMENTS4 Letters 103 Libram X6 Editorial 106 Dragonmirth

43 Convention Calendar 108 Gamers Guide46 Forum 124 TSR Previews

each subscriber’s copy of the magazine. Changes ofaddress for the delivery of subscription copies must bereceived at least six weeks prior to the effective date ofthe change in order to assure uninterrupted delivery.

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Submissions: All material published in DRAGONMagazine becomes the exclusive property of thepublisher, unless special arrangements to the contraryare made prior to publication. DRAGON Magazinewelcomes unsolicited submissions of written materialand artwork; however, no responsibility for such sub-missions can be assumed by the publisher in anyevent. Any submission accompanied by a self-addressed, stamped envelope of sufficient size will bereturned if it cannot be published. We strongly recom-mend that prospective authors write for our writers’guidelines before sending an article to us. In theUnited States and Canada, send a self-addressed,stamped envelope (9½” long preferred) to: Writers’

Guidelines, c/o DRAGON Magazine, as per the aboveaddress; include sufficient American postage orInternational Reply Coupons with the return envelope.In Europe, write to: Writers’ Guidelines, c/o DRAGONMagazine, TSR Ltd; include sufficient return postageor IRCs with your SASE.

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DRAGON is a registered trademark of TSR, Inc.Registration applied for in the United Kingdom. All

rights to the contents of this publication are reserved,and nothing may be reproduced from it in whole or inpart without first obtaining permission in writing fromthe publisher. Material published in DRAGON® Maga-zine does not necessarily reflect the opinions of TSR,Inc. Therefore, TSR will not be held accountable foropinions or mis-information contained in such material.

® designates registered trademarks owned by TSR,Inc. ™ designates trademarks owned by TSR, inc. Mostother product names are trademarks owned by thecompanies publishing those products. Use of the nameof any product without mention of trademark statusshould not be construed as a challenge to such status.

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DRAGON 3

What did you think of this issue? Do you havea question about an article or have an idea for anew feature you�d like to see? In the UnitedStates and Canada, write to: Letters, DRAGON®Magazine, 201 Sheridan Springs Rd., LakeGeneva WI 53147, U.S.A. In Europe, write to:Letters, DRAGON Magazine, TSR Ltd., 120Church End, Cherry Hinton, Cambridge CB13LB, United Kingdom. If you want your letter tobe published, you must sign it; we will notpublish anonymous letters. We will withholdyour name if you request it.

Critical Hits 1 Critical Hits 2Dear Dragon,

I thought that the new critical hit chart pub-lished in issue #216 was very good, but I havejust one small problem with it. I don�t like thefact that a human with a long sword cannotpossibly decapitate another human. That reallymakes no sense to me.

If this rule cannot be changed before publica-tion I have suggestion. Perhaps the playerscould add all their �to hit� bonuses to their chartroll. This would allow them to reach the �decap-itation� result normally reserved for largerweapons and creatures.

Mortarsevia e-mail

You�re always free to change the rules to suityour preferences. That said, I�d like to passalong the designer, Rick Baker�s, reasoning forthis decision. Decapitation is a magical power ofvorpal weapons; it detracts from their magic tosay that any medium-size weapon can decapi-tate an opponent. In the critical hit system,doing so requires a two-handed sword, halberd,or other large-size weapon capable of overcom-ing armor and other protection. Being able tostrike a two-handed blow is another factor; agenerous DM might allow a bastard swordbeing used two-handed to inflict critical hitsnormally reserved for larger weapons.

We�re CalmerNowDear Dragon,

Has anyone but myself noticed that the M:tGcraze seems to have died out some? I mean, inour gaming group, until recently, you were hardpressed to find someone who would appreciatea good role-playing session. It seemed thateveryone there was up to their fanny-packs inblack-border this, and such-and-such land!

4 JUNE 1995

Well, recently the craze seems to have ebbed;not died out entirely, just sort of receded. It hasnow been relegated to a before/after the RPGpasttime instead of one that takes the place of it.This is greatly to my liking, I have to admit. Andjust as we have our board/war game nights, wealso have our Magic/Jyhad nights. Again, greatlyto my liking.

Goodness, I may even think about picking upa deck�but don�t tell my friends I said that!

J.D. Carriker, Jr.926847@utb.edu

Dear Dragon,I just got issue #216, and want to make a few

remarks to Michelle Vuckovich. You have mycomplete support�what you said was wellbalanced, well phrased, and not strident orextreme in the slightest. I say this because Isuspect some people will write in and claim justthat.

I like �Paths of Power� but am confused byone point. On page 44, Table A: Number ofPaths/Level gives low-level characters a highernumber of paths than they can have 1st-levelspells. Why?

While I�m glad to see TSR finally allowingAD&D® to have critical hits, I am saddened to seeit so badly botched. The method for determin-ing if a critical hit has occurred is good, butSystem I is too simplistic to be much fun, andthe System II lists are horribly over-complicated.It almost makes me wonder if TSR�s aversion tocriticals has led you to design an unworkablesystem.

In the same issue, the blurb on the cover ofthe Kill Zone box says there are two sets ofbrand new figures, but Ken Carpenter says thathalf the figures are new: which is right?

Christopher DavidSnoqualmie, Wa

In answer to your question, low-level wizardshave access to several paths to give them arange of spells to choose from when selectingtheir memorized spells each day. Similarly,under the original spell system, wizards beginwith more spells in their spell book than theycan actually use, for just the same reason.

While the official core rules still don�t allowcritical hits, the optional system is a labor oflove by a designer who enjoys criticals morethan any other TSR staff designer Rich BakerRest assured, it has undergone rigorous play-testing. As for the complicated tables, well,we�re confident that gamers can handle it.Certainly the system is no more complicatedthan any other critical hit system, though somemight contend that�s not saying much.

The figures are all new at the time of thegame�s release; five are exclusive to the box, theother five are available separately in blisterpacks.

Cthulhu by the BayDear Dragon,

In issue #210, you reviewed an �Investigator�sCompanion� for the CALL OF CTHULHU* game.It is published by Chaosium, Inc. I would appre-ciate the address for this company.

Matthew KingInverurie, Scotland

Chaosium is the company responsible for theELRIC*, NEPHILIM*, and PENDRAGON* role-playing games as well as the CALL OFCTHULHU game. They can be reached atChaosium, Inc., 950-A 56th Street, Oakland, CA,94608-3129, USA.

Critical Hits 3Dear Dragon,

A comment about issue #216�s article aboutcritical hits. What is meant on the Bludgeoningvs. Humanoids table (as well as elsewhere) whena 13 + is rolled? A 12 is �skull crushed, immedi-ate death.� A 13 + is �as 12 above with tripleddamage dice.� What is the use of the 13 +? Thepoor sap is already dead with most of his brainsoozing out!

Ed OgdenZephyrhills, FL

So, basically, what you are asking is, �Howdead is he?� Surprisingly the victim of a 13 +might not be slain at all. The victim is entitled toa saving throw against all the special effectscaused by a critical hit (such as �skull crushed�);if this saving throw is successful, he suffers onlythe additional damage. In the case of a 12, that�sdouble damage; for a 13 +, it�s triple normaldamage.

In the past few months, many editorialsin DRAGON® Magazine have been devotedto the topic of change.

It�s probably time to put things intoperspective . . . but first, a little side trip.

Change can be good.Change is evolution.The dinosaurs did not evolve in the same

way mammals did; they didn�t survive.Change can be bad.Change can be capricious, even disas-

trous.�So why don�t we take the most popular

soft drink in America and make it tastemore like the competition? After all, �new�is where it�s at.�

�What we really need is a new (insertname of your favorite superhero)! Let�s killhim and replace him with a new guy! Howcan we lose?�

To answer the previous question: �Withgreat ease and speed.�

I remember a magazine called Argosy. Itwas one of the pulps catering to adventurefiction, cliffhangers, and heroes of the DocSavage ilk. The covers were slightly morelurid than those of its science fictioncounterparts, even though the racinesswithin was, at the best, slightly suggestive.

It disappeared with most of the otherpulps but was resurrected in the sixties asa men�s magazine catering to high adven-ture, tales of the unknown, and othermanly stuff. It was moderately successful,appealing to the Playboy and Esquirecrowds, with a bit of True Adventure andOne Step Beyond thrown in. Other maga-zines jumped on the band wagon, and themarket soon became crowded. Somepowers that be somewhere determinedthat Argosy must change in order to as-sure a bigger market share, sort of like theone enjoyed by Sports Illustrated, but forthe participant rather than for the specta-

6 JUNE 1995

Perspective Time

tor. Thus, fiction and factual adventurefeatures were cut back in favor of cata-maraning and skiing. The new focus of themagazine would allow many more adver-tising opportunities with big-name ac-counts, thus assuring a healthy profit forall concerned. Unfortunately its reader-ship declined. Long-time Argosy readersmissed the healthy dose of fiction and far-off adventure and weren�t interested indune-buggying and windsurfing. Theactive sports crowd already had maga-zines that catered to their interests andsaw no need to add another one to thepile. (After all, who had time to read maga-zines when one was busy jet-settingaround the slopes and surfing offAustralia?)

Argosy died, a victim of nonproductivechange. It had turned its back on its coreaudience in favor of one it perceived asmore profitable.

All of this is a roundabout way of sayingthat it is not our intention to mutate thenew and improved DRAGON Magazineinto something radically different from itsTSR and AD&D game roots. DRAGONMagazine is not Starlog, nor should it

become Starlog or PC Gamer. Starlog is awonderful magazine of science fiction andfantasy entertainment, while PC Gamerdoes an admirable job of covering thebooming electronic market, but neitheraddresses the concerns covered in DRAG-ON Magazine. Likewise, Wizards of theCoast and White Wolf and their respectivepublications do not reflect TSR . . . norshould they.

DRAGON Magazine has been and alwayswill be the magazine of fantasy role-playing, AD&D, and TSR. To change intosome other �soft drink� is to meet thesame bitter aftertaste as experienced bythe drink that was heralded as �the New.�

Of course, there is always room forimprovement. New graphics and design,new topics, new focuses, all will be takeninto consideration as we design the newand improved magazine, but such altera-tions will not clog the lifeblood that hasalways been the magazine�material youwant to read and material you want toplay.

The new editor at the helm is WolfgangBaur. Wolf is an accomplished designerand editor with credits too numerous tomention, and most importantly has a pas-sion for the magazine only possiblyequalled by his predecessor in the job, theinestimable Roger Moore.

Assisting Wolf (and helming the editoriallaurels of DUNGEON® Adventures) will beDave Gross, whose years of service to theRPGA®. Network and POLYHEDRON® New-zine have more than trained him for thedemanding tasks that lie ahead.

Veteran role-players both, they willtransfuse new blood into both publica-tions.

Brian Thomsen

FIRST QUEST is the title of TSR, Inc.’sAudio CD Introduction to Role-playing Game.This series is a feature where veterans ofrole-playing describe their first experiencesin the hobby.

by Ed Greenwood

Play with Me, She BreathedThe lamps were low as Elminster put

me into the armor. �Ouch,� I remarked

�Belt up,� he ordered gruffly. �If yeintelligently.

weren�t crazed enough to spend entiredays writing fancies about my world forthose TSR folk, �keyboard spread� wouldn�tafflict ye quite so prominently and yejust might still fit into this

Recalling what befell the last time I lastgot into a suit of armor, took sword inhand, and sallied forth to battle in theSCA, an inability to get into armor mightnot be a bad thing.

Whenever I think of getting into armor,my mind always leaps to that moment in asun-dappled ravine in Don Mills, Ontario,on a fern-strewn, sandy bank of WilketCreek. My friends and I were wont to takeour original, big-board DIPLOMACY* andKINGMAKER* games, and our modelsoldiers and Donald Featherstone rules towhile away glorious weekend afternoons.We discussed Middle-earth and the worksof Lord Dunsany, Clark Ashton Smith,Jack Vance, William Morris, and FritzLeiber. We argued �what if this happened,�and what hadn�t we been told about whatlay there, and longed to know more aboutthings in Tolkien�s Middle-earth, Love-craft�s Kadath, and many other fantasyworlds�longings that led, eventually, tothe Realms. Later we discussed RogerZelazny as one Amber novel after anothercame out and each was devoured. Wedreamed of seeing his hard-to-find Dilvishstories published in a collection�and of allthe other classics of fantasy, and, well, ofgirls. (More about that in a moment.)

Lin Carter at Ballantine was bringing allthe great English-language fantasies backinto print, culminating in the splendid guidecalled Imaginary Worlds (Ballantine, 1973),still required reading for anyone whowants to know what�s what in fantasy.These, plus a steady diet of Conan andFANTASTIC* magazine (later amalgamatedwith its sister publication, AMAZING®Stories) kept us wallowing in worlds full ofswords, spells, dragons, beautiful prin-cesses, crumbling castles, and fell wizards�

8 JUNE 1995

and also kept us (despite re-readingeverything several score times) always

I�d been a reader and writer from myhungry for more.

earliest days, growing up on A. Merritt�stales, Edgar Rice Burroughs, the ScarletPimpernel, and the like, and had eventried my hand (in 1967) at writing jauntyThree Musketeers/Fafhrd & Grey Mouser-style yarns wherein swordsmen exchangewitty repartee as they carve up endlessbad guys in the proto-Realms. The firstsentence in which the Realms came to life?�Now in all the lands �twixt bustling Water-deep and the sparkling waves of The Seaof Fallen Stars, no men were more loved�and feared�than the stoic swordsmanDurnan, the blustering old rogue Mirt, andthe all-wise, ancient wizard Elminster.� Apretty good summation of the heart of theRealms even today, and not bad for aneight-year-old, eh? Once Carter publishedNew Worlds For Old, I was hooked.

Things might have gone along just fine ifit hadn�t been for Gary Gygax�and forSeptember.

Oh, I bought Chainmail, adding monstersto our knights-and-castles wargames�already, thanks to Featherstone, linkedinto an ongoing battle-by-battle history ofseveral imaginary kingdoms. And I boughtthe original D&D® books, and played agame or two (in 1975, for those keepingscore), but although we thought the ruleswere a great, nay, fascinating idea, theywere still just sitting around togethertelling a fantasy story, which is what we�dalready been doing, without rules.

Then the original Monster Manual cameout . . . and September came to us. Onreflection, the quality of this book (quanti-fying one mythological monster afteranother, and adding a lot of neat new onesto boot) and the brilliant Vanceian magic ofthe Player�s Handbook (explaining pre-cisely what spells do) were what made mechange the Realms from a nebulous placeof pretty maps into an AD&D® gameworld. But what really got me hooked onthe game was September.

She came to town to attend university,

and she was quite the most beautiful beingI�d ever laid eyes on. She loved fantasy andlaughed heartily at the ungainly nerds shefound fencing clumsily with homemadeswords around the SF bookstores, quotingmore fantasy writers than she�d ever read.September also saw in them someone toplay her latest passion with: games ofAD&D. And one of those nerds was me.

Three of us promised her a �great placeto play� and loaded up a romantic cargo ofpop, potato chips, and homemade dip (atradition that continues to this day) beforemeeting her at the bus and taking her to(of course) our special spot in the woods.She loved it at first glance.

And we loved her. She stepped off thebus dragging a huge dunny bag and wear-ing swashbuckling boots and a cloak, andthe moment we were in the woods, sheannounced that the trip had been long andthat she had to go off by herself for amoment. Gallantly, we showed her thedensest bushes, and a few minutes laterwe learned what had been in that bag.

September reappeared in splendid half-armor, cloak thrown back, leather gaunt-lets on her wrists. A real longswordgleamed in her hand.

�Come, play with me,� she breathedhuskily, reaching out her hand. All threeof us stout lads fell over each other (andour steamed-up glasses) trying to kneeland kiss it.

Needless to say, she was the greatestDungeon Master we�ve ever known, beforeor since. September believed in acting out allthe NPCs, complete with funny voices, man-nerisms, the works. Tears ran down her facewhen things grew sad, and she leapedaround the clearing in glee when we triedwitty repartee and clever battle-tricks�andended up with slapstick accidents, just like thetales. Best of all, she believed in ending playsessions when we were still hungry for more,and she let us excitedly discuss plans andwhat might lie ahead (and thereby learnedwhat we hoped for, so she could give it to usnext time). She also allowed me to blossomslowly into our �idea man,� shaping the

Continued on page 54

Meet the eldest dragon of Ceriliaby Rich Baker

Illustration by Stephen Daniele

powers of good destroyed Azrai, god ofdarkness and corruption, and werethemselves destroyed). If this date isaccurate, Tarazin is somewhere near3,000 years of age.

suffered greatly at the hands of thehuman armies, and the scholarly elfsought Tarazin�s aid to turn back thetide of woodsmen and warriors mov-

the settlements and camps of the Elin,

Tarazin�s fame begins with the warsof elves and humans for control ofCerilia�s forests, in the centuries imme-diately following the arrival of thefirst settlers on Cerilia�s shores.Ghaelfyd�s friends and family had

ing into the western reaches of theSielwode. Tarazin agreed and attacked

DRAGON 11

The dragons of Cerilia, the setting ofthe BIRTHRIGHT� campaign, are adying race. Once their kind filled theskies above Cerilia, but for milleniatheir numbers have declined. Today,2,000 years after the coming of hu-mankind to the continent, only sixdragons are known to exist. No hatch-lings have appeared in more than 500years, and as the remaining dragonsgrow older they spend more and moreof their time dreaming the days awayin a deep slumber. More than 20 yearshave passed since the last time adragon woke and flew.

Cerilia�s dragons are not divided bydifferences of coloration or size�theyare all members of the same species.The few that remain have withdrawnto the wildest and most desolate lands,the stark and forbidding Drachenaurmountains. Once their strongholdsand meeting places could be foundthroughout these great peaks, butnow the places of dragons are emptyand abandoned. Very few people caneven guess at the location of the re-maining dragons� lairs.

While Cerilian dragons may be of

any alignment, even the most destruc-tive and malevolent of the greatwyrms is still a creature of near-infinite patience and deliberation. Alldragons are extremely intelligent�they were the first speaking creaturesin all the world, after all�and possessa great store of racial knowledge andlore that shames even the elvenscholars. This body of dragon lore isone of the very few reasons thatlesser mortals might ever seek out adragon; from time to time, the adviceor aid of a dragon has helped a herotriumph over seemingly invinciblefoes or accomplish impossible tasks.However, as they say in the pragmaticlands of Brechtür: �Only a fool seeks adragon�s favor.� The minds of dragonswork differently from those of hu-mans, elves, or dwarves, and as a racethey seem capricious and inscrutable.

Of the two or three dozen dragonswhose names are recorded in Cerilianhistory, Tarazin the Gray is perhaps themost famous. He is known as �the Eld-est,� and he is the greatest and mostpowerful of Cerilia�s wyrms. Tarazinpredates the human occupation of

Cerilia by centuries, and his exact agecan only be guessed at. As a youngdragon, Tarazin befriended the elvenscholar Ghaelfyd of the Sielwode somecenturies before the human exodus,when refugees fled north from the evilof Azrai and his followers. Ghaelfydlater placed the date of their first meet- ing as more than 1,200 years beforethe battle of Deismaar (the definingbattle of Cerilia�s history, in which the

the eighth house of the invading hu-mans. Over a period of a century orso, Tarazin made dozens of raids intohuman lands, causing great loss of lifeand property.

It�s interesting to note that Tarazin

wasn�t the only dragon to take part inthis conflict. Several others allowedthemselves to be drawn in on one sideor the other, but most were eitherbribed or simply curious. Tarazinseems to have been the only dragon

Tarazin

ALIGNMENT:ARMOR CLASS:MOVEMENT:HIT DICE:THAC0:NO. ATTACKS:DAMAGE:SPECIAL ATTACKS:SPECIAL DEFENSES:MAGIC RESISTANCE:SIZE:MORALE:XP VALUE:

Neutral- 49, Fl 30 (C)23 (161 hp)13 + special1d10 + 12/1d10 + 12/2d12 + 12Breath weapon, spells, diveFear aura, gaze, spells60%G (80� body, 120� wingspan)Fearless (19)30,000

S: 25 D: 9 C: 22 I: 20 W: 17 Ch: 15

Tarazin�s scales are a dark, rusty gray in color, but age has faded the color along hissnout, back, and wings. His belly is protected by thick folds of leathery hide, and hiscoat of iron-hard scales makes him nearly impervious to harm. Tarazin can attack withhis claws and bite, or he can execute one of the special attacks described in the �Drag-on� entry of the Monstrous Manual,� such as a dive, snatch, wing buffet, or tail lash.

Tarazin�s breath weapon is a foul liquid combining the worst properties of acid andfire; its corrosive power can destroy the finest tempered steel, or even solid stone.Tarazin can use his vitriolic breath once every six rounds; it affects a line 60� long and5� wide, inflicting 20d6 +20 hp damage to anyone unfortunate enough to be caught inits area of effect. Objects caught in the deadly burning acid must make an item savingthrow versus either magical fire or acid, whichever is worse.

Despite his great power in melee, Tarazin views claw and fang combat as a last re-sort, and he unleashes his breath weapon only if he believes that his life is in immedi-ate danger. He has many more subtle weapons at his disposal.

Tarazin radiates an aura of fear in a 50-yard radius, just as described in the MM, witha -4 penalty to the saving throw because of his status as a great wyrm. If a creatureshould meet Tarazin�s gaze, it must save vs. spells at a -4 penalty or be paralyzed withterror for 2d4 turns. If Tarazin spends an entire round exerting his will against thevictim, he can use the powers of geas, suggestion, or feeblemind on the victim with nosaving throw. The dragon�s golden eyes can capture lesser beings with ease. This is oneof Tarazin�s favorite tactics for dealing with heroes or creatures he doesn�t want tobother with; a moment�s thought is all it takes to send the most offensive creaturesaway in a blank daze.

Like most Cerilian dragons, Tarazin is a spellcaster of immense power. He memorizesand casts the full complement of spells commanded by a 17th-level wizard, includingpolymorph self, power words, and death fog, among many others. In addition, dragonmagic includes a number of spells and abilities unknown to human sorcery, and theelder wyrms often experiment with new combinations of spells and effects. As a result,Tarazin knows a number of unique spells that a PC spellcaster would not know (Seethis issue�s �Dragon Dweomers� feature for details). Tarazin relies on his command ofmagic as his second line of defense against challengers, since he considers magic amore elegant weapon than crass physical attacks. Draconic magic allows use of spellsonly from the schools of abjuration, alteration, conjuration/summoning, and divination.Victims of Tarazin�s magic suffer a -4 penalty to their saving throws due to the greatwyrm�s skill and power.

Role-playing notes: Tarazin is an extremely intelligent and well-educated opponentwho has seen every trick in the book in his day. He is not a malicious or spiteful crea-ture, but he is very proud and views no other creature in Cerilia as his equal. While heprefers to avoid confrontations altogether, he generally enters an encounter with agenuine desire to resolve the matter with the minimum amount of force possible. De-spite this respect for lesser creatures� lives, Tarazin is not a fool�if it becomes appar-ent that death is the only argument a hero will understand, the great wyrm will deal itas quickly and efficiently as possible. He may be slow to anger, but once blood has beenshed, Tarazin can become an engine of destruction whose equal does not exist in all ofCerilia.

who took part out of loyalty; hisfriendship with Ghaelfyd led him toidentify closely with the elven cause.

Despite Tarazin�s efforts, the hu-mans continued their inexorable ad-vance, and the dragon tired ofattacking homesteads and farmlands.His friend Ghaelfyd became angry andembittered, since most of his familyhad fallen to human warriors in theendless wars on the elven borders.Eventually, the former scholar joinedthe Gheallie Sidhe, the Hunt of theElves, and engaged in a ruthless cam-paign of raiding and murdering hu-mans wherever he encountered them.The noble and compassionate friendof Tarazin�s youth became a cold-hearted killer. Weary of conflict, thedragon chose to retreat to his fastnessand answer Ghaelfyd�s call no more.For 200 years before the great battleof Deismaar, nothing more was re-corded of Tarazin�s deeds.

The awful confrontation of goodand evil at Mount Deismaar markedthe next appearance of Tarazin, alongwith more than a dozen of his fellows.Dragons fought on both sides of thegreat battle. Like the elves, some drag-ons were ensnared by Azrai�s falsepromises and joined the side of dark-ness; others chose to help the folk ofCerilia resist the Azrai�s armies thatthreatened the land. Ghaelfyd calledon Tarazin before the battle, and thedragon agreed to aid the elf one lasttime for the sake of their ancientfriendship. The dragon and elf stoodwith Azrai�s legions when the day ofbattle dawned, and Tarazin marchedwith the elven host at Deismaar tofight against the defenders of Cerilia.Deismaar marked the last time thatdragons took the field in battle, andnine were destroyed that day. Tarazinhimself killed a much older wyrmknown as Azakadazar, who was de-fending the dwarven host of KhurinAzur. Although he was gravely injuredby the older dragon in turn, Tarazinwent on to slay hundreds of dwarvenwarriors with his fearsome breath. Tothis day, the folk of Khurin Azur singof the dragon�s fury.

At the height of the battle, Ghaelfydand most of the elven host changedsides and turned on the forces ofdarkness. This surprised Tarazin, andhe withdrew from the thick of thefight while considering whom to at-tack. Ghaelfyd stood and fought, anddied on an ogre�s spear. Tarazin�s re-treat cost the life of his friend, but itprobably saved the dragon from de-

12 JUNE 1995

struction, for shortly after the elves�change of heart, the great confronta-tion between Azrai and his divinebrethren took place. The mountain-side was levelled by the unimaginableenergies of a pantheon�s death. Likethe other surviving dragons, Tarazinwas completely immune to the divineexplosion that created bloodlines ofpower among humans and other sur-vivors. Dazed, wounded, stunned bythe death of his elven friend, Tarazinretreated to his cavern home and didnot surface again for more than 100years.

While Deismaar�s effects on thehuman, demihuman, and humanoidcultures of Cerilia are well docu-mented elsewhere, very few peoplerealized what Deismaar signified forCerilia�s dragons. Ages ago, dragonshad fiercely contended with eachother for power, wealth, and court-ship, but in more recent times therace had become wiser and slower toanger. The ancient contention amongdragons had resurfaced at Deismaar,and the ghastly loss to the race�morethan a third of all dragons living at thetime�reignited the ancient draconicrivalries. The natural draconic tenden-

cies toward paranoia, pride, and thememory of almost-forgotten feudsnow poisoned the relations betweenthe surviving dragons. Within twocenturies of Deismaar, dragon societyceased to exist, and they became arace of recluses who desired no con-tact with each other. This more thananything led to the race�s long decline.

Tarazin himself was particularlyostracized by his fellows, since it waswell-known that he had personallykilled another dragon, and an olderand more important one at that. Thisdid not concern him for many centu-ries, since he was content to rest fromhis immense exertions and recoverfrom the injuries he had sustained.During this time, he emerged from hiscaverns infrequently to feed. Mean-while, the remaining dragons died offone by one. Several destroyed eachother in the aftermath of Deismaar orin various schemes and plots. At leasttwo fell victim to rising power ofthose warped by the magical explosionat Deismaar; it�s said that PrinceRaesene, the Gorgon, slew the wyrmRaizhadik to claim the dragon�s strong-hold of Kal-Saitharak. And mortalheroes slew a handful of the ancient

wyrms, lured by legends of dragon-gold and magic. By the time Tarazinwas prepared to resume his role indraconic society, less than a dozen ofhis race remained.

About 800 years after Deismaar, or750 years ago (HC 813), Tarazin againentered recorded history when hemet the Brecht warlord Eldracht Hoff-stugart. Eldracht was a prince ofGrevesmühl, one of the few Brechtnations not under the domination ofthe Anuirean Empire. He dreamed ofcreating an empire to rival Anuire,uniting the free Brecht states and thenwaging a war of liberation to freewestern Brechtür from Anuire. By allaccounts, Eldracht was a man of im-mense energy, magnetism, and vision;in fact, he had already overthrown theAnuirean viceroy of Müden by thetime he met Tarazin. Eldracht hadscored his successes in the late fall of813, and as the winter of 814 ap-proached, he gained a brief reprievefrom the wrath of Anuire as the greatKrakennauricht bay froze and heavysnow blocked the passes of theKiergard provinces that connectAnuire and Brechtür. Eldracht knewthat the spring would bring the return

DRAGON 13

of the Imperial fleets to Brecht watersand fresh armies reinforcing the Anui-rean hold on western Brechtür. Sincehe saw no way to stop this counter-blow, Eldracht turned to a dragon foraid.

Prince Eldracht led a small expedi-tion into the Drachenaur Mountains inthe heart of winter, seeking Tarazin�scavern. Tarazin was one of the oldersurviving dragons, and Eldracht prob-ably decided that nothing short of themost powerful ally imaginable wouldsuffice. By the use of powerful divina-tions, the prince discovered Tarazin�slair and led his men into the dragon�sden. Regrettably, Eldracht angeredTarazin in the course of their discus-sions, and the dragon killed the princeand his party. Only a handful ofsquires�those who had remainedoutside watching the party�s horses�escaped to carry the tale back toGrevesmühl. Had he lived, Eldrachtmight have been able to achieve somegreat successes against Anuire, whichwas dealing with the resurgence ofother conquered peoples at the time.Eldracht�s heirs carried on a feudagainst the dragon for over 70 years,and Tarazin was challenged no lessthan 11 times by various noblemen ofGrevesmühl who sought to avengetheir fallen prince. The last of these, astealthy rogue named Witt, seriouslyinjured the dragon by luring him intoa nearby gorge and triggering a greatrockfall that came within a hands-breadth of crushing Tarazin. However,Witt met his end when he came downto gloat over his stunned foe, thinkinghim dead.

Following this last obnoxious intru-sion, Tarazin relocated his lair to theextreme northern reaches of the Dra-chenaurs, choosing an icebound peakin the region now called Dra-chenward. After concealing it with themost powerful spells he knew, thewyrm left Cerilia entirely for 30 years.He crossed the Sea of Dragons insearch of the ancestral home of alldragons, the legendary isles at the endof the world. No human knows wherethey lie or what secrets they hold, butTarazin later revealed that he hadvisited the elders of his race and stud-ied under them. When he returned,Tarazin sought out the other survivingdragons one by one, traveling to theirlairs and strongholds to hold counselwith them. He advised a truce and anend to the rivalries that had dividedCerilia�s dragons, and he also encour-aged the other dragons to distance

14 JUNE 1995

themselves from human affairs. Sincehe was now one of the oldest dragonsin Cerilia, Tarazin�s words were takenvery seriously, and his persistent ef-forts helped to restore a cool truceamong the dragons of Cerilia (al-though many had let their feuds lapsethrough sheer weight of years longbefore Tarazin�s return). Regrettably,the wyrm Infyrna saw Tarazin�s trav-els as an opportunity to ambush himand settle an old score; over the plainsof Merasaf, the two fought a spectacu-lar duel that ended in Infyrna�s death.

On returning to his new stronghold,Tarazin entered a long dormancy thatlasted until only 100 years ago. Heawoke to find that some human ofextraordinary daring and skill hadentered his cave and removed variousarticles of Tarazin�s treasure, includingunique scrolls and magical items olderthan mankind. Nothing is more insult-ing to a dragon than stealing from hislair while he is actually there, andTarazin�s years of wisdom and pa-tience disappeared in a storm of rage.The great wyrm embarked on a wildrampage throughout northern Ceriliathat lasted for months before calmingdown enough to consider the situationrationally. When he recovered hiswits, Tarazin returned to his cavernand made preparations to track downand catch the thief. Most notably, heused sorcery to alter his shape, takingon a human form to walk the citiesand nations of Cerilia in search of hisenemy.

Tarazin�s travels lasted for severalyears, and at first he had great diffi-culty in maintaining his cover. (Basichuman behavior and courtesy tooksome time to learn.) Eventually, hetracked down a powerful mage namedBeruile in the City of Anuire and de-termined that the wizard had indeedpilfered his hoard. Tarazin destroyedthe wizard with draconic magics nev-er before seen in Anuire, but he re-covered only a handful of the stolentreasures�Beruile�s companions hadscattered to the four winds, carryingthe dragon�s treasures with them.Tarazin never tracked them all down,and he still occasionally searches forword of his lost baubles or the thieves�descendants.

By now, the reader has undoubtedlynoticed that Tarazin�s career is de-tailed to a remarkable degree for adragon. No others are as well knownas he. This is because of the efforts ofa bard named Crisoebyr, a half-elvenminstrel who set out to record Tara-

zin�s story 10 years ago. She discov-ered the dragon�s cave and piqued thedragon�s interest by returning a ruby-bladed dagger that was part of hismissing treasure. In exchange, shehumbly requested one week of con-versation with the great wyrm. Tara-zin saw in her an image of the beauty,wit, and grace he had loved in theelves of old, and within a few dayswas completely charmed by her com-pany. Most of the details of this ac-count come from the works Crisoebyrcomposed after this meeting.

Unfortunately, the songstress van-ished two years ago and has not beenseen since. It has been suggested thatTarazin suddenly decided to silenceher, that he took her away to his caveand imprisoned her to sing at his com-mand, and also that the dragon tookhuman form again to travel with her.Until someone else braves the dragon�sden, the truth of the matter will re-main unknown.

Using Tarazinin a BIRTHRIGHT� Campaign

Tarazin is a unique source of an-cient lore and hidden knowledgewho could come into play as theobject of a great quest. Dragons re-member much that has beenforgotten by humankind, and a greathero may seek out Tarazin to humblybeg his assistance in such matters.Naturally, Tarazin is resentful of anyintrusions, and the price he sets onhis information could be quite high.For example, he might demand thata hero locate and return one of hismissing treasures as the price of hishelp, or he might send a hero tobring him some unusual or valuabletreasure before answering any ques-tions.

Tarazin is not omnipotent or omni-scient, but he is extremely powerful.Any PC party that decides to make aname for itself by taking on the great-est dragon in Cerilia should be pre-pared to face spells, traps, and deceitof diabolical cleverness before comingwithin sword�s reach of Tarazin. Thegreat dragon is fully aware of justhow dangerous humans and theirkind can be, and he rarely underesti-mates an opponent. Most heroes willget only one shot at Tarazin; if he feelsseriously threatened, he�ll use his mag-ic to escape and live to fight anotherday. From that point on, those charac-ters who forced his retreat will haveto watch their backs for a long, longtime.

Adding Craftiness to Power by Gregory W. Detwiler

Artwork by Steve Schwartz

In the AD&D® game, as in all otherfantasy games, the dragon is a figureof direct attack and overwhelmingpower. It is a souped-up dinosaur,whose intelligence�when the DMchooses to display it�is restricted toclever battle tactics and the elaborateguarding and trapping of its lair. Butdragons in all cultures and most fanta-sy tales are described as exceedinglyclever; such creatures would not onlydefend their nests wisely upon discov-ery, but would take steps to eliminatepotential threats even before anyoneknew of its existence. I hope to dem-onstrate here that a sneaky dragoncan be a versatile and dangerousthreat to any party, and certainlymore entertaining than the old, stereo-typical reptile that only reacts whenthe party barges into its lair.

Dragon StealthGiven their natural and magical

powers, dragons have a wide varietyof attacks at their disposal, some ofwhich may be employed without any-one even realizing that there is a drag-on within 100 miles of them. Atraditional power of the dragon of

folklore and of a few game systems isthe ability to poison water suppliesand wither the landscape by its verypresence. Now, among the AD&Ddragons, only black dragons gain themagical power to corrupt water onreaching the adult age category. How-ever, other dragon types can certainlyfoul water supplies by shoving in gar-bage, soil, and poisonous plants. If thedragon finds a deposit of arsenic in hiscave, he can really go to work!

The reader is no doubt consideringthe possibility of the dragon leaving apool of poisoned water near its lair asa trap for would-be dragonslayers.Well, the dragon can do this, but I hadsomething more elaborate and long-term in mind. All dragons prefer pri-vacy, particularly if they have lots oftreasure to protect. Suppose a dragonlives in a wild area upstream from theonly human or demihuman settle-ments in the area; wouldn�t it betempted to poison the river or streamat a point below its lair (and watersupply), forcing those pesky two-leggers to pull out for good? Thiswould considerably reduce the threatof anyone stumbling onto its lair�and

hoard�by accident. In a totally wildregion, it might do so at the first signof colonization.

If the water in the local stream goesbad, the typical party of adventurerswill probably regard it as a petty an-noyance and move to another town.They would certainly consider anobvious sanitation problem beneaththeir dignity, unless they are doing sopoorly at the adventuring game thatthey are literally starving. Even a land-owning player character might nottake much notice at first, especially ifthe PC is a haughty lord. �The waterin the stream�s bad? Dig a deep welland stop bothering me, you filthypeasant!� (The sound of a mailedgauntlet connecting with a grimy chincan be heard at the end of the �con-versation.�) When even the wells gobad, however, he will have to takeaction.

Depending on what powers thedragon has, it may not be obvious thatsabotage is taking place. After all, amudslide into the river seems inno-cent enough, particularly after aheavy rain, and corrupt water in thewells leaves no clues. If the dragon

DRAGON 17

starts a physical mudslide, it mighteven avoid leaving any traces of itspresence behind. Perhaps it can hoverwhile starting the slide, leaving notracks on the ground. If the riverbanks are heavily wooded, a greendragon at wyrm stage can pass with-out trace three times a day. All matureoriental dragons can turn invisible atwill, and nonoriental dragons with theappropriate spell or magical item cando the same. Dragons with weather-control abilities are also prime candi-dates for this tactic.

Some of the gem dragons (the ame-thyst, sapphire, and topaz) have thepsionic power telekinesis; perfect forhands-off manipulation of the environ-ment. Juvenile or older sapphire drag-ons can cast stone shape three times aday, useful for starting avalanches,and emerald dragons of venerable agecan do the same with animate rock. Inaddition, the sonic breath weapons ofthe emerald and sapphire dragons andthe exploding breath weapon of theamethyst dragon could start rockslidesor mudslides.

If the dragon can take human form,possibly with the aid of a magical item,he can stroll right into the town

square at night and dump manmadepoisons in. Even if someone sees himfleeing the area, how many people willsuspect a dragon as the culprit? If adragon is known to live nearby, thenthe villagers may assume that thepoisoner is an evil or charmed agent,not the dragon itself. If the villain iscornered in human form, the townguard might even try to arrest thesuspect.

Eventually, somebody will go up-stream to find out just what is goingon. If the initial investigators includeone or more NPCs, the PC lord willwait forever for them to come backand report. A squad of low-level men-at-arms may follow eventually, withthe same result. Finally, with a reluc-tant sigh, the noble PC fighter tempo-rarily shelves his plans for a punitiveexpedition into the Abyss and crankilyheads upstream himself. (�If you wantsomething done right, you�ve gotta doit yourself. Just can�t get good helpanymore.�) Surprise! The climacticbattle of the adventure may be foughtnow, though it is just as likely he willbe taken by surprise, falling back tore-equip and regroup (and summonreinforcements) for the final conflict.

Assume the enemy is a black drag-on, lairing in a dismal marsh orswamp. With its aquatic powers, thedragon can wage a guerrilla waragainst any party that dares invade itsrealm. This is true all the time, ofcourse, but what makes things reallysticky in this case is that the PCs won�teven realize that they are up against adragon until it is too late. Assumingthe dragon has been using corruptwater, it must be at least of adult level,with bonus Hit Dice, greater size, andAC protection, a more potent breathweapon, and a greater radius of effectfor its fear aura. Unlike the standarddragon hunt, your players won�t evenknow they will be fighting a dragonuntil the very last minute. The advan-tage of surprise can weigh heavily inthis case.

If the dragon can control other mon-sters, it can destroy or turn backweaker groups of adventurers whilestill maintaining its anonymity. Theblack dragon, for instance, can sum-mon insects and charm reptiles as itgets older, and most oriental dragonshave the scaly command power. If thedragon turns the local water supplyinto a stagnant pool, mosquitos and

18 JUNE 1995

similar insects may swarm the area.Crocodiles will expand into any near-by swamp, so even their attacks won�tnecessarily tip off the players that thisis anything but a natural disaster.

In the above example, the PC lordwas lucky even to have his fortressbuilt in the first place�building acastle could be much more compli-cated if a dragon opposes the project.Assume the king has just granted a PCfighter a large fiefdom on the frontier,a gloomy area with perpetually over-cast skies to settle and guard. Thenewly-landed lord chooses to build histower on a small hill with a command-ing view of the surrounding area,contemptuously ignoring the supersti-tious tales that the hilltop is eithercursed or sacred to some lightninggod like Thor, who will punish anydefilers with a bolt from the blue.

What�s Really Happening: A bluedragon (or a dragon with the lightningbolt spell) frequently patrols the areafor any signs that someone is planningto settle down. When an enterprisingPC settler starts building on the hill(the only natural defensive position inthe area), the dragon takes advantageof the perpetual cloud cover andbreathes away, quite invisible. Light-ning without thunder; how eerie!Attempts to transport materials aremet with sandstorms: blue dragonsgain dust devil and control windspowers as they get older. Cursing his�bad luck� with the, weather, the PCsettler gives up in disgust, particularlyif he has a hard time convincing su-perstitious peasants to settle in thearea.

Red dragons (or other fire-breathingmonsters with the brains to think ofthis tactic) who are not adverse toburning down an entire forest to driveout or destroy a party might try the�careless camper� approach. When theparty leaves its campsite to continueits travels, the dragon sets that part ofthe woods on fire. With any luck, thePCs may think the fire was their fault,because they didn�t take enough carein putting out their campfire. If noanimals witnessed the dragon�sperfidy�and dragons are very good ateliminating witnesses�the localdruids, unicorns, dryads, and otherforest folk might well think the samething.

A green dragon with the burninghands spell could pull this stunt as aform of revenge on its neighbors;framing the party would just be abonus. Other fire-producing spells or

magical items could easily be substi-tuted. If it has no magical spells oritems, the dragon might dig up the oldcampfire site (assuming the partycovered it with soil) in the hope offinding at least one still-glowing coal.And if the party really is lax in makingsure its campfires are out, maybe thedragon will have someone to share theblame with.

Weather & WildlifeSome would argue that dragons are

themselves a form of natural disaster,but elder dragons can conjure upweather that even a great druid wouldhave trouble taming. Most orientaldragons have some degree of weathercontrol, as does the silver dragon,while the bronze dragon can useweather summoning when it gets oldenough. (Good dragons, of course,would only use these tactics againstevil communities and parties.) Theblue, brass, and silver dragons cancontrol winds at a certain age, whilethe white dragon can use gust ofwind. The white dragon�s freezing fogcan also seem natural, as does the wallof fog used by it and the silver,bronze, and sea dragons (the last be-ing the oriental lung wang). The lilung (earth dragon) has the earth-quake power, while both the chianglung and tun mi lung (river and ty-phoon dragons, respectively) can cre-ate a tsunami. Hit the PCs with badweather, and they�ll never knowwhether they�re under attack or not.

Dragons can wreak havoc with thelocal wildlife. I�ve already mentionedthe black dragon�s powers over insectsand reptiles. The scaly command abili-ty of most oriental dragons can give aparty endless grief. Since dragonsnaturally scare all wildlife out of anarea, one lurking just out of sight ofan adventuring band could frighten alarge group of herd animals into stam-peding in the party�s direction�orover a farming community�s fields. Abig enough herd could stomp any butthe most fantastically powerful partiesflat, and peasants living a hand-to-mouth existence in the time-honoredtradition might have to pull out or dieafter a single season of ruined crops.A dirty shame those animals just hap-pened to choose that direction inwhich to stampede, isn�t it?

Clever dragons can force predatoryanimals and lesser monsters to roaman area, even without commandingthem. Anyone who takes a look at thestatistics of AD&D game dragons soon

realizes that a dragon can move inanywhere it likes, forcing the previousinhabitants to flee or die. Predatorsand monsters wandering about insearch of food and shelter are more ofa threat than usual, and they will beblamed for their actions. If someonebothers to talk to a monster prisoner,using a speak with animals or speakwith monsters spell, they may find outthe truth behind the sudden influx ofdangerous creatures, unless, ofcourse, the local druid fell victim to anarranged �accident� beforehand.

What works on land works at sea aswell. Suppose a sea dragon sees theparty gradually working its waythrough the area in an underwateradventure. After waiting for them toenter an undersea cave (which canhouse anything from a sahuagan tribeto a mottled worm), the dragon cankill one or more big fish and depositthem outside the cave mouth, lettingthe fresh blood draw every shark formiles around. Note that the lungWang�s scaly command power workson fish as well as reptiles. When theparty leaves the cavern, weakenedand bloody after a hard fight, possiblywith victorious foes in hot pursuit,they will blunder right into the middleof a feeding frenzy: the end of a per-fect day.

Clever dragons may enter symbioticrelationships with other monsters oranimals. For a real-life example, asmall fish known as the clownfish isimmune to the poison of sea anemo-nes, and so lives among their deadlytentacles. When larger fish go after it,the anemone simultaneously defendsits �boarder� and catches a meal foritself at the same time (the clownfishgets some of the anemone�s scraps). Itdoesn�t take too much imagination tocome up with scenarios where lessermonsters live with the dragon as delib-erate decoys to lure weak parties intoan ambush, since both monsters bene-fit from the ensuing meal. Since drag-ons can eat virtually anything,perhaps his �agent� would get theparties� flesh, while the dragon con-tents itself with their gems, money,and magical items.

Imagine a black dragon or lungwang coming to such an arrangementwith an evil nereid or a kelpie. Thesesiren-style monsters can lure lone meninto their clutches, perfectly fittinginto the dragon�s plan to pick off theparty members one at a time. To pro-vide the men with a further spur toaction, both the dragon and its femi-

DRAGON 19

nine aide could appear at the surfacetogether, with the dragon clutchingher with one claw as if dragging heraway. This could well prompt even themost cautious characters to attempt arescue. An evil and embittered mer-man or triton who was exiled from histribe might do equally well, thoughthe exile�s own kind would be prefer-red prey over humans. And all this isin addition to the tactic of capturing atruly innocent victim and holding herhostage as bait for heroes.

Wilderness adventures have a ten-dency to devolve into simple survivalscenarios, with none of the paranoia-inducement of their urban or dungeoncounterparts. After the party has beenhit by one or more dragons who fightprimarily with �acts of nature,� theywill never feel secure in the howlingwilderness again.

Human AgentsAll clever dragons will charm, bribe,

or threaten human agents into theirservice. Even worse are the dragonsthat can assume human form.

The �human agent� threat usuallytakes the form of somebody spying onthe neighborhood, letting the dragonknow when dragonslayers are on itstrail. Said agent may betray both out-siders and locals into the dragon�sclutches. This works, but it doesn�teven begin to cover the potential adragon has for manipulating humansociety for its own ends.

First, consider an extension of thebribery business. Many nobles andwould-be conquerors need financialbacking, and a dragon with a massivetreasure hoard certainly fits the billnicely. In return for services ren-dered, the traitor does everything inhis power to discourage exploration ofany sort in the dragon�s territory.�Don�t waste our time and moneyroaming out there in the wilderness,young man. We�ve got plenty of prob-lems to keep us occupied here in theshire.� If more than one stretch ofwilderness borders the civilized area,the noble could also actively push forexploration in some other direction,effectively steering all adventuringparties clear of the dragon�s realm. Ifthe dragon leaves everyone alone(perhaps it raids the people in a near-by area), the would-be adventurersmay never overcome the local �iner-tia� sufficiently to mount an expedi-tion in the right (or wrong) direction.

Suppose the dragon is at odds with anearby tribe or kingdom of human-

oids; not all evil creatures work to-gether in harmony, after all. Ourbought nobleman could agitate for acampaign to �eliminate this threat toour borders,� simultaneously removinga thorn from his patron�s side. In fact,as the main goblin army marches outto confront the invaders, the dragoncould attack the goblins� lair whilethey�re gone and thoroughly plunderit. Of course, this means the invaderswon�t get much loot, but�after all�they were marching out primarily toeliminate a threat; doing a good job isa reward in itself. So, although themercenaries may stand aroundscratching their heads, wonderinghow those puny little humanoid wom-en and children could have draggedoff and hidden the one-ton, jewel-encrusted gold statue of their chiefdeity before committing mass suicide(�They burned themselves en masseinside the cavern complex? How per-fectly dreadful!�), no one in a positionof authority is going to do anythingabout it.

Of course, since the mercenary lifeis so lucrative in fantasy games thatthe dragon itself could sell its servicesto the highest bidder. A canny dragonthat secretly despises its neighborscould play off one side against theother, taking massive bribes from bothsides. It could even show up too late,or not at all, at the final battle, lettingthe rivals exterminate each other, orat least weaken themselves so severelythat neither can withstand the drag-on�s subsequent attacks. A dragonwho does this had better be thoroughin eliminating survivors, so that worddoes not get around.

Better yet, the dragon could use itsconsiderable sabotage abilities to in-duce two mutually suspiciouscommunities�dwarves and elves, forexample�into war. One side wouldthink the other was launching an in-sidious sabotage campaign, the otherwould think they were facing an un-provoked attack. Again, the dragonsimply mops up any survivors andtakes all their treasure.

Now imagine the fun a dragon inhuman form can have. Rather thanmerely relying on an agent�s second-hand reports, the dragon can strikeup an acquaintance with the membersof the party himself and get to knowall their strengths, weaknesses, andquirks of personality firsthand. It mayalso discover what magical items theyhave (or at least make some shrewdguesses). The dragon may even sell its

20 JUNE 1995

services to the party as a guide, lead-ing them directly into one death trapafter another. If the �guide� lets him-self get separated from the party foreven a minute, he can take dragonform in secret and fly off, leavingbehind an agonized human screamthat will make the PCs think theirtrusty guide has just become one moredragon victim that they must avenge.If the battle starts going against thedragon later, the �guide� might showup after a miraculous escape�andlead the party astray once more.

A spellcasting dragon can maintainhis cover a little longer even if theparty is suspicious and attacks him.After all, an old red dragon can castspells like fireball and lightning bolt inhuman form, and thus can easily de-fend against the party�s attack whileposing as a wizard. If he has the ap-propriate wand as part of his trea-sure, he�ll do even better. He might notbe able to weild a wand made forhumans in his talons, but he couldeasily use such a wand while in hu-man form. If the bloody, bruised, andbattered party survives the magicalbarrage, imagine their dismay as thespy turns into an ancient red dragonright before their eyes!

For that matter, a malicious (ormerely mischievous) dragon couldinfiltrate society in human form, thenterrify everyone by suddenly takinghis natural shape again, just for thefun of it? Even a good dragon mightfeel like having a bit of fun now andthen; how many DMs who create holi-days for their specific worlds includea counterpart for April Fools� Day? Anevil dragon would enjoy seeing peoplecrushed to death in the panic resultingfrom the initial shock and the dragon�sfear aura. Swarms of fleeing peopleand animals could trample the PCs asthey try to get at the dragon, damag-ing them even before they engage it incombat.

For that matter, think of the greatdamage a dragon who can take humanform can inflict against a city. It canslip in among crowds of visitors,change its form in an open square ormarket, and play Godzilla among theflimsy homes of the citizens after infil-trating past the fortifications. Howmany designers of fantasy fortressestake that contingency seriously? Sincethe troops and artillery are stationedon the walls looking out, they will beout of position to attack a threat with-in the walls. On the streets, the townguard mainly deals with low-level

criminals and rowdy adventurers�they certainly aren�t ready to face adragon. Many commoners in ancientand medieval times were totally un-armed, able to wield only a club,knife, or agricultural implement in anemergency: not something to take ona dragon with. When the dragon hashelped itself to the choicest mer-chants� goods, it takes its leave byflying over the walls.

The �aliens among us� scenario iscommon in science fiction, but not ascommon in fantasy, dopplegangersand the like notwithstanding. Thedragon in the marketplace is the ulti-mate �alien infiltrator� scenario, com-bining the plots of Godzilla andInvasion of the Body Snatchers. Havefun!

Sample Adventures

1) The Naughty NereidThe party is hired by a lakeside

fishing village for a job of middlingdifficulty. It seems that several of thetown�s men have been disappearingwhen alone by the shore. A number ofwitnesses reported some time ago thata nereid haunts the shoreline, so it is afair bet that she has enticed the menaway, possibly to their doom. If theparty is composed mostly of femaleadventurers, they shouldn�t be antici-pating too many problems.

What the party doesn�t know is this:A black dragon recently moved intothe area and proposed an alliance withthe nereid. The nereid in question isof neutral alignment: selfish and vain,but not maliciously evil. She refusedthe dragon, who does not accept �No!�for an answer. Unfortunately, the cavemouth to her home is too small for thedragon to enter, and there are nodangerous aquatic reptiles in the areafor it to send after her. Anxious aboutguarding its hoard, the dragon can�tlie in wait outside her lair for her toemerge�the nereid has a good idea ofwhat�s going to happen the minute shesteps outside, and she is staying put.Now the dragon is picking off straymen and pinning the blame for theirdisappearance on her.

When the PCs arrive at her under-water cave lair, they notice the skullsof the missing men, which the dragonthoughtfully arranged around thecave mouth in a decorative design.Since not even evil nereids commonlydisplay trophies, this might make thePCs suspicious. Further cause forsuspicion might comes from the fact

DRAGON 21

that the entrance to her otherwisepristine lair is melted and scarred as iffrom acid (the dragon tried to kill thenereid with his breath weapon, buthis acid didn�t reach nearly farenough). The party must ask someclever questions to figure out what�sgoing on, and the courage to act onwhat they uncover. After all, whowould you rather take on, a lone ne-reid (assuming you can avoid hercharm), or a clever black dragon? Ithought so.

2) The Cranky KoboldsA large underground colony of ko-

bolds is both a nuisance and a securitythreat to a neighboring blue dragon(and his treasure), so he has takensteps to eliminate them. The colony isdug in near a river running throughmountainous terrain, and the dragonhas used his strength and breathweapon to create rockslides that damup the river, diverting its flow to floodthe kobolds� burrows. Banished fromtheir own homes, the kobolds are nowpushing into human-controlled territo-ry, looking for a new home and com-ing into conflict with the locals. ThePCs are part of an expedition sent

against the kobolds, and must fight atleast one battle with the creatures. Ifthe PCs take any prisoners, interroga-tion reveals the true cause of the inva-sion and eventually leads the party toa confrontation with the dragon, whois quite adept at hit-and-run attacks.Any treasure the kobolds salvagedwas stolen by the dragon, who �justhappened along� as the humanoidswere fleeing from the apparently un-related flood.

3) Evil Is Its Own RewardA group of players believes that a

party of evil PCs is a viable gaminggroup (they may even have written to�The Forum� about it), and have cre-ated one. This particular group takesadvantage of the Oriental Adventuresgame setting and is out to pillage theirway to fame and profit. In particular,they have heard that a nearby valley isthe site of a wealthy landowner, andso they begin traveling to the moun-tains, plundering as they go. As wordof their impending arrival spreads, thelocals flee into the hills, taking theirtreasure with them.

Frustrated and angry, the PCs leapat the opportunity offered when a

ragged peasant shows up, offering tobetray his fellows for a share of theloot. The group agrees, secretly plan-ning to kill him later on. Their �guide�leads them right into an ambush, andas the characters turn on the treach-erous fellow, before their eyes hetransforms into a pan lung (coileddragon). The ambushers are the drag-on�s charmed servants and minions;whether any ambushers are localpeasants depends on how well-armedthe locals are. In any case, the coileddragon�s own servants are sufficientlywell-equipped to provide a stiff fight.With the dragon itself launching asimultaneous surprise attack from therear, the party may not even live longenough to see the error of its ways.

Dragon deviousness is an excellentmeans to bring new challenge and lifeto your adventures. Combining thegreat strength of a dinosaur-sizedopponent with the intelligence of ahuman foe makes for a deadly enemyindeed, one who is underestimatedonly at your peril. Tales tell us thatdragons should be feared; craftinessguarantees that they will be.

22 JUNE 1995

24 JUNE 1995

The Magic of Scale and Claw

In the past, DRAGON® Magazine hasfeatured several articles that discussedthe subject of dragon magic (see �Clos-ing Words� for a list). FOR1 The Dra-conomicon expanded on the basics ofdragon magic by introducing a hand-ful of new and unique wizard spellsdevised by dragons and for dragons.

This article describes original wizardspells to use in conjunction with thosedetailed in The Draconomicon. Like thespells in that work, the wizard spellsthat follow are assumed to have beencreated by and for dragons. A few com-ments on the nature and theory of drag-on magic are also included, since someaspects of these draconic spells (forinstance, the heavy reliance on verbalcomponents) indicate that some of thebasic principles of dragon magic differ

by Robert S. Mullin

Artwork by Scott Rosema

from the magic of humans and demi-human spellcasters.

Aerial acceleration (Alteration)Level: 2 Components: VRange: Touch CT: 2Dur.: 1 turn + 1/lvl Save: NoneArea of Effect: One creature

This spell reduces air friction, in-creasing a dragon�s flying MovementRate by 50%. Thus, a dragon with aMovement Rate of 24 can fly at 36 forthe spell�s duration. While flying atthis increased speed, however, thedragon�s Maneuverability Class dropsone step, and special aerial maneuvers(e.g., snatch) are impossible. However,the dragon is not required to move at

the increased rate, and may slow to afamiliar speed to overcome the spell�sdrawbacks.

Although developed by dragons,aerial acceleration affects any singleflying creature touched by the castingdragon (either natural or empoweredby magic). However, since dragons eator scare off most visitors, this spell isusually reserved for the dragon.

At the DM�s discretion, dragons whoemploy this spell regularly could beconsidered expert flyers, even at theincreased rate, and thus may retaintheir normal Maneuverability Classand special aerial tactics. This shouldbe the exception, however, and notthe rule.

Aerial acceleration cannot be can-celled by the caster�s (or recipient�s)

DRAGON 25

wishes, but a successful dispel magic,or a more powerful spell, can force itto end prematurely.

Dragons typically use this spell be-fore an aerial battle to increase theirodds of catching opponents by sur-prise or, if things go awry, as a way tooutdistance pursuers. Of course, in-ventive dragons may find other usesfor the spell.

Nondragon spellcasters may haveconverted aerial acceleration to a non-dragon format, and versions unrelatedto dragon magic have been devisedindependently by several wizards.These spells are of higher level, forthe draconic version of aerial accelera-tion depends heavily on a dragon�sinnate ability to visualize flight pat-terns and air currents.

Aura of terror (Illusion/Phantasm)Level: 2 Components: VRange: 0 CT: 2Dur.: 1 turn/lvl Save: SpecialArea of Effect: Caster

By using this spell, a dragon en-hances its ability to strike terror increatures subject to its fear aura. Seethe �Dragon, General� entry of theMonstrous Manual� for an overviewof the details of dragon fear.

When the spell is cast, the dragonweaves an illusion that enhances itsimage of rage and battle experience:multiple battle scars, altered or disfig-ured features, longer spine-spikes,fangs, and talons, and so on. All thismakes the dragon seem even moremenacing than usual. The illusioncannot change the dragon�s size orspecies, but the spell does make thedragon seem older.

Once the spell is cast, the dragongains two age categories for purposesof determining the range, savingthrow, and effect of its fear aura.Young and juvenile dragons gain a fearaura that they would normally not beentitled to; older dragons gain a morepowerful aura. Because of the shift ineffective age category, saving throwsagainst the fear aura of dragons of�young adult� age and older suffer a-2 penalty. Thus, the usually unmodi-fied saving throw for a dragon of oldage becomes a saving throw with a- 2 penalty, a wyrm dragon�s aurainflicts a -5 penalty, and so forth.

Furthermore, the enhanced powerof the aura allows the dragon to strikepanic into creatures of up to 2 HitDice and fear into creatures thatwould normally be unaffected (i.e.,

26 JUNE 1995

those with up to two more levels orHit Dice than the dragon).

The dragon need not concentrate tomaintain an aura of terror, and thecaster may engage in other actions asdesired (e.g., combat, using its breathweapon, or casting additional spells).The dragon can end the spell at will.

Creatures attempting to disbelievethe illusion gain a saving throw vs.spells to negate the aura of terrorEven if this is successful, however,normal saving throws against thedragon�s regular fear aura still apply.Detect magic can indicate the pres-ence of an aura of terror, and a suc-cessful dispel magic can remove it.

This spell is popular among younger,weaker dragons, though dragons of allages and types have been known touse it. While nondragon versions ofthis spell have yet to surface, otherspellcasting creatures who produce afear aura (e.g., liches) have showninterest in the aura of terror spell.

Blast jewel (Evocation, Alteration)Level: 3 Components: V,MRange: Touch CT: 1 roundDur.: Special Save: SpecialArea of Effect: Special

By means of this spell, a dragontraces an invisible glyph on a prizedgemstone worth at least 500 gp. Thegemstone used as the material compo-nent must be an individual, loosestone; it cannot be set into a piece ofjewelry or embedded into a weapon.The symbol can only be seen by thedragon who traced it, though a detectmagic will indicate a faint magicalaura on the affected stone, and detectinvisibility, true seeing, or similar mag-ic will reveal the sigil to the viewer. Asuccessful dispel magic negates therune before its effects can be acti-vated, without harming the jewel it-self. Otherwise, the spell remainsdormant until the casting dragon de-cides to activate it.

At the mental command of the drag-on, the affected gemstone will explodewith great force, showering a 20�radius spherical area with a hail ofshrapnel. All creatures within the areasuffer 5d4 hp damage, half that if asaving throw vs. breath weapon suc-ceeds. If the jewel is held or carriedby a creature when the explosionoccurs, no saving throw is allowed.However, if the stone was carriedwithin a chest, metal box, or a similarrigid and sturdy container, the explo-sion is contained, and no damage is

inflicted on any creature, though ob-jects inside the container (and thecontainer itself) must save vs. crushingblow or be destroyed. If the blastjewel was inside a bag of holding,portable hole, or similar magical itemwhen the explosion took place, thecontainer is automatically destroyed(but further damage is prevented), andall other items within it are ejectedinto the Astral plane, if not destroyedthemselves. The explosion is not fire-related, but its magical force is suffi-cient to shred pouches, sacks,backpacks, saddlebags, and so forth,even if such items are made of leatheror other durable fabric.

The dragon can trigger the explo-sion from any distance, even if thou-sands of miles separate the dragonand the gem. If the jewel and thedragon are separated by a planarboundary, or the dragon is slain, how-ever, the spell is immediately canceled,and the dragon cannot command thegem to explode.

The material component is the jewelitself, which is completely destroyed inthe explosion. Any remaining shards orfragments are consumed by the magicwithin one round following the explo-sion; nothing but dust remains,

Dragons use this spell as the prover-bial �last laugh� against thieves. Whenthe dragon notices that one of its blastjewels is missing, it simply activatesthe magic, thus destroying the gemand sending a message to the creaturethat had the audacity to take it.

The exact origins of this spell areunknown, for most believe that allspellcasting races employ versions ofthis spell. In fact, many variants of thisspell exist among dragonkind alone.

Focus fear (Alteration) ReversibleLevel: 4 Components: VRange: 0 CT: 4Dur.: 1 rnd/lvl Save: SpecialArea of Effect: Special

Similar in function to the aura ofterror spell (q.v.), focus fear increasesthe potency of the dragon�s panic andfear auras. It is useful for all dragonsof adult age or older, and it can beused in conjunction with an aura ofterror.

By means of this spell, the dragonreduces the radius of its fear aura,which in turn, focuses the power ofthat fear. For every 5 yards the drag-on reduces its aura, the saving throwmodifier against the dragon fear gainsan additional - 1. However, a dragon

cannot reduce its fear aura to a radiusof less than 15 yards in any case. Anadult dragon, with a normal fear radi-us of 20 yards and a saving throwmodifier of +2, can reduce its fearradius to 15 yards and change themodifier to +1. Likewise, a greatwyrm could condense its fear radiusto 15 yards from 50 yards, changingits usual -4 save modifier to -11!

The reverse of this spell, extendfear, allows the dragon to enlarge itsfear radius to a maximum of 50 yards.An extended aura weakens whenmade larger, with saving throw modi-fiers changing in an opposite manneras that of focus fear The reverse canbe used by young adult dragons (ifthey possess the required spellcastingability), but is useless to a great wyrm.

Both versions of this spell allow thedragon such fine control of the fearradius that it can alter the dimensionsof its fear radius on a round-by-roundbasis. Of course, the aura can only bealtered within the parameters of theversion employed (i.e., any radiusbetween the dragon�s normal radiusand the limits of the appropriate ver-sion of the spell). To change the radiuswhile the spell is in effect, the dragon

must stop what it is doing and concen-trate; it may not engage in other activ-ities in that round. Otherwise, thedragon is free to cast spells, fight, fly,use its breath weapon, and so on, asthe spell requires no concentration tobe maintained. The dragon may cancelthe spell at any time.

A dispel magic has no effect on eitherversion of this spell, though spells suchas wish, limited wish, and the like canend the dweomer immediately.

Both versions of this spell are fairlycommon among dragons capable ofcasting a spell of this level.

Hoardguard (Evocation, Abjuration)Level: 4 Components: VRange: 0 CT: 1 roundDur.: 1 hour/lvl Save: NoneArea of Effect: Special

By means of this spell, a dragon canprotect its hoard in such a way as tomake theft virtually impossible.

When the spell is cast, the dragon�sbreath weapon temporarily changes.Instead of the usual fire, lightning,acid, and so on, the breath weaponbecomes pure magical energy, whichmust be released by the dragon within

1 round following the spell�s casting,or the magic is wasted. The dragonbreathes this energy (which conformsto the dimensions of the dragon�s usu-al breath weapon) over its hoard, at-tempting to encompass as much of thehoard as possible within the area ofeffect.

This energy bonds whatever partsof the hoard it touches into a solidmass. The spell does not harm thehoard in any way, nor does it alter itsappearance or position; the itemswithin the hoard remain loose andseparate. Instead, the hoardguardmagic fills in the spaces between theindividual coins, gems, weapons,chests, ingots, and so forth, and holdsthem together as a solid mound ofwealth. This invisible bond preventsthe hoard from being sorted, sepa-rated for transport, scattered, orotherwise moved or manipulated asseparate items. Because it has essen-tially become one single mass, liftingthe hoard as a whole is impossible byany single creature, except throughpowerful magic.

Dispel magic has no effect on ahoard protected by the spell, and ananti-magic shell frees only as much

DRAGON 27

treasure as fits within its area of ef-fect. (If freed treasure is not removedfrom the hoard, the hoardguard magicreasserts itself as soon as the shellexpires or moves away.) A limitedwish negates a hoardguard for onehour (and if the treasure is not sepa-rated in that time, the hoardguard willreturn as above), though a full wishdestroys the spell permanently.

In addition, a hoard so protectedcannot be harmed by physical or mag-ical attacks without first removing thehoardguard. Therefore, it is impos-sible for intruders to break off piecesor sections of the hoard and carrythem away.

Treasure added to a hoard alreadyprotected by this spell does not gainthe spell�s benefits. New treasure re-quires a hoardguard of its own,though the dragon may include thenew treasure after the firsthoardguard�s duration expires and anew hoardguard is cast.

This spell only affects the dragon�shoard. It does not function againstcreatures or the items they possess,unless the dragon acquires the itemsand adds them to its hoard.

This spell typically protects thedragon�s treasure while it is out hunt-ing for food or seeking treasure. Somedragons arrange their hoards so thatthe entire amount can be warded witha single hoardguard spell. Othersmake several smaller piles, to use upan invader�s magical powers in repeat-edly negating the spell, and thus mini-mizing the overall treasure loss.

Many dragons cannot use this spelldue to its level, but all dragons whoknow of it seek magical items that canduplicate its effects.

Nondragons who somehow casthoardguard (or a derivative thereof)instantly contract a form of insanitythat combines paranoia with intensegreed, for which there is no knowncure, short of exceptionally powerfulmagic.

Pseudodragon (Conj./Summoning)Level: 3 Components: VRange: 30 yards CT: 3Dur.: 2 rnds + 1/lvl Save: NoneArea of Effect: Special

This spell is a draconic version ofthe various monster summoningspells, but rather than calling randommonsters to aid the dragon, the spellsummons 2-8 pseudodragons within1-4 rounds.

The summoned pseudodragons dif-

28 JUNE 1995

fer slightly from those usually encoun-tered. Instead of resembling miniaturered dragons, the summoned pseudo-dragons are tiny replicas of the sum-moner; that is, a green dragonconjures green pseudodragons, a bluedragon summons blue ones, and soforth. In addition, the pseudodragonsshare the alignment of the dragonwho cast the spell. Regardless of align-ment, however, the pseudodragonsserve their summoner with completeloyalty (even evil pseudodragons can-not be forced to serve another crea-ture, nor can they have their loyaltyswayed by bribes or promises). Other-wise, these pseudodragons conform tothe abilities and characteristics notedin the Monstrous Manual.

Once the pseudodragons arrive,they fight on the summoner�s behalfuntil they are slain, until the dragoncommands them to stop fighting, oruntil the spell�s duration expires. If allopponents are slain, the summonermust grant the pseudodragons a por-tion of the kill.

If no opponents are available, thedragon can assign the pseudodragonsother tasks (assuming communication ispossible, and they are physically capableof performing such tasks). In return, thedragon must give each pseudodragon agemstone (before aid is rendered) worthat least 50 gp. If no gems are forthcom-ing, the summoned dragons immedi-ately return from whence they came.Similarly, the dragon must give eachsurviving pseudodragon a 50-gp gem-stone after a battle with the dragon�senemies. (If a dragon makes a habit ofkilling or refusing to pay the pseudodra-gons, the pseudodragons summoned bysubsequent castings may refuse to assistor may simply refuse to answer thesummons.)

Dispel magic has no effect on thepseudodragons called by this spell, butprotection from evil functions normal-ly against the summoned creatures.

Because all known specimens ofpseudodragons look like miniature reddragons and are of neutral (good)alignment, most sages familiar withthis spell believe that it either sum-mons pseudodragons of variant colorsand alignments from an as-yet-undiscovered draconic world, or thespell temporarily alters the nature ofnormal pseudodragons before trans-porting them to the summoner. Somesages even think that the spell simplycreates the pseudodragons to ensurethat they conform to the color andalignment of the casting dragon. Of

these theories, the firstmost probable.

seems the

Razorfangs (Alteration)Level: 5 Components: VRange: 0 CT: 5Dur.: 1 rnd/lvl Save: SpecialArea of Effect: Special

This spell is a highly improved ver-sion of the sharptooth spell (see be-low), for both use the same principlesof operation. This version, of course,is a great deal more dangerous that itslesser cousin.

When a razorfangs spell is cast, thedragon�s teeth become exceptionallyhard, strong, and sharp. Due to thisalteration, any successful bite attackinflicts +2 hp damage/age category toeach damage roll. Furthermore, on anunmodified roll of 19 or 20, the bitesevers an opponent�s limb (or otherextremity, as appropriate), just as ifthe victim had been struck with amagical weapon of sharpness. If thevictim fails a saving throw vs. deathmagic, his head is severed as if by avorpal blade.

As with the sharptooth spell, razor-fangs is useless to nondragons.

Shadow Scry (Divination)Level: 1 Components: VRange: Special CT: 1Dur.: 10 rnd. + 1/lvl Save: NoneArea of Effect: Special

By casting this spell, a dragon canuse a shadow within its lair as a formof scrying device. The chosen shadowmust be in the dragon�s line of sight,no more than 10 yards distant.

Once the spell is cast, the dragonmay �contact� other shadows withinits lair (only shadows outside the laircannot be reached). DMs must usecommon sense when designating theextent of the dragon�s lair. For exam-ple, a dragon may claim an entireforest as its territory (and may wellcontrol such a large amount of ter-rain), but its lair should be regardedas the area where the dragon sleeps,keeps its treasure, and generally feelsmost comfortable and powerful. Usingthis spell, the dragon can see out ofthe contacted shadows as if the drag-on were actually standing within thecontacted shadow, regardless of thesize or shape of the shadow, or theboundaries of the dragon�s lair. Thedragon can see everything withinsight of the contacted shadow, includ-ing the passage of invisible creatures�

DRAGON 29

all of the dragon�s normal visualcapabilities function normally throughthe shadow scry spell.

As long as the spell remains in ef-fect, the dragon can switch shadowsto inspect different areas, or view thesame area from separate shadows togain a different vantage point. How-ever, only one shadow can be contact-ed at a time. Switching from oneshadow to another occurs instantane-ously at the mental command of thecasting dragon (switching shadowsrefers to the contacted shadow, notthe shadow used as the shadow scrycatalyst). While complete concentra-tion is not required to maintain thisspell, a small amount of attention isneeded. If the dragon casts anotherspell, moves more than 10 yards awayfrom the scry shadow, or no longerwishes to use the spell, the spell imme-diately ends.

Like normal scrying magic, shadowscry is revealed by a detect scryingspell. The contacted shadow radiates afaint dweomer, and, once detected,spells such as dispel magic or screencan be used against it (the former spellnegates the shadow scry if cast suc-cessfully). Detection and location ob-scuring magic impedes the spell�seffectiveness just as it impedes allother Divination magic. Eliminatingshadows with bright light or utterdarkness prevents the spell fromworking in the illuminated or dark-ened area, but the dragon caster couldstill view these area from a shadowjust outside such effects. The spelldoes not allow the dragon to cast oth-er spells through the link betweenshadows; it allows vision only.

Shadow scry was created by a shadowdragon that wanted to search its lair forintruders without risking a physicalsearch. Other dragons have come toenjoy this spell as well, for its uses inspying on parties of adventurers.

If a nondragon version of this spellexists, it has yet to surface, thoughsuch a spell would probably haveslightly different characteristics (sincemany spell-using creatures don�t havelairs). However, shadow scry uses thesame principles common to othertypes of scrying magic, and in theoryit could be mastered by a nondragoncaster.

Shadow Dragon (Alteration)Level: 5 Components: VRange: 0 CT: 1 roundDur.: 1 turn/lvl Save: NoneArea of Effect: Special

30 JUNE 1995

Used almost exclusively by shadowdragons, this spell allows a dragon totransform itself into pure �shadowmatter.� While so transformed, thedragon retains all of its powers andabilities, including spell-use, breathweapon, and so forth. In dim, shad-owy areas, a shadow dragon can hidein shadows with a 90% chance ofsuccess, and the dragon is totally invis-ible in utter darkness (either magicalor natural).

Once in this form (and during theone full round it takes for the dragonto transform), the dragon is impervi-ous to most attacks, though it is notentirely invulnerable. Attacks that canharm a shadow dragon include:

Light-based spells inflict 1d6 hpdamage per spell level for each rounda shadow dragon remains in their areaof effect. Thus, a light or a faerie firespell inflicts 1d6 hp damage per roundof exposure, a continual light inflicts3d6, and the light of a prismaticsphere inflicts 9d6 hp damage eachround a shadow dragon remains with-in its radiance. All other spells will notharm a shadow dragon unless specifi-cally designed to effect shadows orcreatures composed of shadow, ordragonkind in general. (While afireball and other fire-based spells doshed some light as a byproduct of theheat they produce, they are not con-sidered light-based for purposes ofthis spell.)

Normal weapons do not harm ashadow dragon unless augmentedwith a light-based spell, in which casedamage is inflicted as above, accordingto the spell used (the weapon itselfinflicts no damage, nor do bonusesfrom magic or high Strength scores).An augmented weapon implies the useof a light, continual light, or similarspell that has been placed directly onthe weapon.

Magical weapons inflict damage equalto their magical bonus. If augmentedwith a light-based spell, the light damageand the magical damage are combined.Strength bonuses and normal weapondamage are still excluded. Magicalweapons that normally shed light inflictdamage as an augmented weapon, asdescribed above.

Full sunlight, either magical or natu-ral, immediately negates the spell andforces the dragon back into its trueform. The change occurs in a singleround, during which time the dragonis helpless and can do nothing otherthan suffer through the forced trans-formation. Opponents gain a free

round of attacks. While the transfor-mation takes place, the light-basedattacks noted above have no effect,but other attack forms may be usednormally.

As mentioned earlier, this spell isused almost exclusively by shadowdragons, and if used in conjunctionwith the create shadows spell-likeability available to powerful shadowdragons, the combination can be quiteeffective, and no doubt, lethal whenused against opponents.

Some sages believe that shadowdragons came into being due to theextended use of this spell by otherdragon types. This theory is not wide-ly accepted. However, some scholarsspeculate that if this spell is cast by anondragon, the caster might very wellbe transformed into a variant type ofshadow permanently.

Sharptooth (Alteration)Level: 1 Components: VRange: 0 CT: 1Dur.: 1 rnd/lvl Save: NoneArea of Effect: Special

This simple spell is a favorite amongdragons who enjoy sinking their teethinto combat. The spell alters the drag-on�s fangs, making them harder andsharper. In melee, this adds + 1/agecategory to each damage roll on anysuccessful bite attack, for as long asthe spell lasts.

Dragons also employ sharptoothwhen gnawing apart a tasty but toughmeal, such as orcs, armored dwarves,or knights in plate armor. Other spell-users have not sought to learn thespell simply because most spellcasterslack dragons� teeth.

Closing WordsDMs interested in reading more

about dragon magic should refer toFOR1 The Draconomicon and theDRAGON Magazine articles, �DragonMagic� (issue #15), �Dragons and TheirDeities� (issue #86), �The Cult of theDragon� (issue #110), �Give Dragons aFighting Chance� (issue #134), and�Serpents & Sorcery� (also in issue#134). Several general articles aboutmagic could apply to dragon magic,but those listed here are the best ex-amples (in this author�s opinion) re-garding the subject. Perhaps thesereferences will inspire creative DMs todevise a few of their own dragondweomers.

In a classical Chinese mystery story, atIn a classical Chinese mystery story, atleast two or three plots unfold at once. Asleast two or three plots unfold at once. Asthe story goes on, the hero continues tothe story goes on, the hero continues toinvestigate new crimes, and althoughinvestigate new crimes, and althoughoccasionally two incidents prove to be theoccasionally two incidents prove to be thework of the same villain, others have nowork of the same villain, others have noconnection at all, forcing the detective toconnection at all, forcing the detective topursue first one case and then another.pursue first one case and then another.The authors of these mysteries reasonedThe authors of these mysteries reasonedthat no real-life detective had the luxury ofthat no real-life detective had the luxury ofdealing with only one criminal at a time.dealing with only one criminal at a time.This technique of telling several stories atThis technique of telling several stories atonce is a perfect model for a role-playingonce is a perfect model for a role-playingcampaign.campaign.

Like a Chinese mystery, a fantasy worldLike a Chinese mystery, a fantasy worldthat develops more than one story at athat develops more than one story at atime offers numerous advantages. First,time offers numerous advantages. First,multiple plotlines add to the scope andmultiple plotlines add to the scope andrealism of the campaign world, helpingrealism of the campaign world, helpingPCs see their place in a complete world, aPCs see their place in a complete world, aworld that does not exist merely for themworld that does not exist merely for themto adventure in it. Second, multipleto adventure in it. Second, multipleplotlines add exciting variety to a game.plotlines add exciting variety to a game.Finally and most importantly, multipleFinally and most importantly, multipleplotlines expand the players� chances toplotlines expand the players� chances toparticipate in the drama of the game.participate in the drama of the game.

But first, a definition. In a multi-plotBut first, a definition. In a multi-plotgame, the PCs may always choose betweengame, the PCs may always choose betweenseveral challenges that potentially lead toseveral challenges that potentially lead toadventures. Usually, this means that theadventures. Usually, this means that theparty meets a number of villains and ad-party meets a number of villains and ad-venture patrons, each of them with theirventure patrons, each of them with theirown plans and lives. The stories of theseown plans and lives. The stories of thesecharacters may collide, friendships andcharacters may collide, friendships andrivalries may develop between both PCsrivalries may develop between both PCsand NPCs, but no single theme dominatesand NPCs, but no single theme dominatesthe whole campaign. As the PCs growthe whole campaign. As the PCs growstronger, they may become as important tostronger, they may become as important tothe story as the prominent NPCs. In time,the story as the prominent NPCs. In time,the PCs may sponsor younger adventurersthe PCs may sponsor younger adventurersthemselves.themselves.

When I mention NPCs, I mean any char-When I mention NPCs, I mean any char-acter able to affect the campaign�s plot.acter able to affect the campaign�s plot.This includes kings, party henchmen,This includes kings, party henchmen,innkeepers and people the party meetsinnkeepers and people the party meetsduring adventures. It also includes mon-during adventures. It also includes mon-sters, and, in some games, deities. It doessters, and, in some games, deities. It doesnot include cannon fodder, window-not include cannon fodder, window-dressing NPCs, or the innocent bystandersdressing NPCs, or the innocent bystanderswho may be dragged into the PCs�who may be dragged into the PCs�schemes, since these characters rarely, ifschemes, since these characters rarely, ifever, alter the course of the story.ever, alter the course of the story.

Making ChoicesMaking ChoicesExcluding Chinese detective stories, ofExcluding Chinese detective stories, of

course, most fiction follows a single plot.course, most fiction follows a single plot.The characters face a central challenge,The characters face a central challenge,and�though it may take them an entirenovel to reach a conclusion�most majorplot elements lead to the final scene whenplot elements lead to the final scene whenthe characters confront this problem. DMsthe characters confront this problem. DMsand game designers often intend cam-and game designers often intend cam-paigns to work the same way. This is not apaigns to work the same way. This is not amistake. A game needs direction, andmistake. A game needs direction, andplayers need to know who their enemy is.players need to know who their enemy is.However, the DM should not fall into theHowever, the DM should not fall into thetrap of planning a game�s plot in advancetrap of planning a game�s plot in advanceor thinking that one challenge will last foror thinking that one challenge will last forthe entire campaign.the entire campaign.

Players are simply not patient aboutPlayers are simply not patient aboutwaiting for a plot to unfold. A large part ofwaiting for a plot to unfold. A large part ofgaming lies in planning ways to overcomegaming lies in planning ways to overcome

obstacles. Therefore, when players find achallenge, they begin devising schemes toovercome it. If the opposition is clearly toostrong for them, they quite sensibly at-tempt to retreat, avoiding the situationaltogether. Nobody can deny that these arethe most intelligent responses to a danger-ous situation. However, when a DM hasnot planned for these responses, he mayfeel that the PCs are �short-circuiting� theadventure.

Some DMs respond by disrupting thePC�s plans, so that it takes the party adven-ture after adventure after adventure toovercome their opposition. This strategyworks, but most players find it very frus-trating, because it denies them the chanceto make decisions and get results. Gamesare far more satisfying for everybodywhen the DM allows PCs to accomplishtheir goals relatively quickly and thenproceed to new ones.

Plot ProblemsMulti-plot scenarios have hazards. When

the DM introduces too many plots too quick-ly, the party can become confused, andconfusion kills a game. PCs must alwayshave a goal and know what it is. Withoutsuch a goal, players have nothing to plan,and therefore characters have nothing to do.(All gamers must remember adventureswhere the party was deep in a dungeon orenemy king�s castle when someone looked atthe DM and asked, �What was our questsupposed to be anyway?�)

To keep multiple plots from being con-fusing, the DM should allow the party toconcentrate on one story thread at a time.Whether the game is multi-plot or single-plot, adventures should begin with some-one, be it a PC or NPC, choosing someproject for the PCs to attempt. As long asthe party wishes to continue this effort,the DM should introduce other plotlinesonly when they affect the main story.However, when PCs talk with their NPCacquaintances, they may hear news ofthings that may not seem important at themoment, but that could blossom into fu-ture adventures. Furthermore, PCs shouldalways have the option to switch theirfocus from one plot to another.

In an ideal game, individual adventuresfollow a single-plot format, while the over-all campaign follows many storylines. Thisway, players usually know what they aredoing in a particular game session, buttheir characters are not trapped in a seriesof quests programmed by the DM. PCsalways have the option of shifting theirfocus, changing the type of adventuresthey undertake and the type of problemsthey solve.

During a multi-plot campaign, PCs canalways choose what adventures they willattempt. Naturally, not all their choiceswill be equally attractive. For example, ifone of the DM�s plot lines involves aninvasion of orcs about to overrun the PCs�homeland, the party will almost certainlychoose to address this threat. If they do

not, they must face the consequences ofthat choice. However, the mark of a multi-plot game is that in such a situation, theplayers and their characters will have arange of possible decisions and options.Depending on their style, the PCs might:l attempt to rally an army against the

invaders.l personally raid the orc camp.l pack their belongings and flee the

area.l ally themselves with the orcs.

Again, some of these choices might pro-duce better results than others, but in amulti-plot game, the DM should not punishany of them simply for being contrary tothe adventure. The choices are all validdevelopments in the story.

Multiple plotlines keep the campaignlively by offering changes in mood andpace. They also give the PCs interestingchoices about what sort of adventure topursue. A party of thieves, for instance,may choose to pursue city intrigues wherethey feel most at home, while warriorspreferring open battle might seek outbandits in the countryside. Sophisticatedrole-players, of course, may base thesedecisions on far more subtle reasons,relating to the campaign background, thecharacters� personalities and the charac-ters� relationship to other people in thegame. In all cases, multiple plots let play-ers pick adventures that appeal to themand also lets them develop character per-sonalities by deciding what sort of activitytheir PCs would prefer.

Campaign DesignDesigning a multi-plot campaign could

require an enormous amount of work, ifthe DM took the time to prepare each andevery storyline as if it were the wholecampaign. However, a DM need not ex-pend this much effort. Why prepare mate-rial unless the PCs will encounter it inplay? Even in a multi-plot game, the PCscan still pursue just one adventure at atime.

Dungeon masters in a multi-plot gameneed two things. First, they require fulldetails on the opposition that the PCs musttackle on any particular game night. Hemust prepare the game statistics of ene-mies, maps for important areas, role-playing notes for major NPCs, and theNPCs� courses of action. Second, the DMmust have a feeling for the setting. Thisincludes knowing the game-world�s cultureand environment, details of everyday life,and sensory details of what characters seeand smell and think. It also includessketching out the plots of the multi-plotgame are. When the PCs act, the DM mustbe ready to describe how NPCs respond,and when the PCs meet NPCs, the DMmust know what stories the party hasstumbled across.

In fact, a multi-plot game requires lesspreparation than a more linear campaignbecause it shifts many story decisions tothe PCs. This lifts a great burden from the

DRAGON 33

DM�s shoulders because the DM no longerneeds to script the entire game. The play-ers choose turning points in the storyline,and they often choose the adventure ob-jectives as well. This is not to say that theDM must relinquish all control. NPCs canhave just as much influence over theaction as the PCs do, and outside eventslike wars and natural disasters may com-pletely change the course of the campaign.However, the DM need not plan all theseevents in an artificial way. When he un-derstands his NPCs and their motivations,he can choose their actions spontaneously,in the same way players role-play theircharacters.

The DM still needs to plan. When PCsactually fight NPCs, the DM should writedown the enemy�s capabilities in advance.This increases the PCs� sense of accom-plishment, and it can save the DM a lot oftime and headaches during play�no moresplit-second decisions about how thegenius-intelligence lich reacts when con-fronted by hostile PCs. As long as the DMhas a general idea of what forces NPCs canmuster, he need only plan out the PCs�opposition for a particular evening. Whenthe players decide to switch opponents, itwill almost always take them at least onegame session to extricate themselves fromtheir previous operations and make plansfor their new adventure goal. A smart DMwill use the time between game sessions toprepare the details of the new adventure.

Steps To EstablishMultiple Plots

The following system works well fordesigning a multi-plot game. First, gener-ate the setting where the game will takeplace and the major events that will domi-nate the storyline. When using a publishedcampaign world, choose a region of themap to play in; in a home-brewed cam-paign, develop an idea of the local climateand culture. Second, pick the NPCs likelyto become major villains and adventurepatrons. Decide what the NPC�s goals are,what general resources they command,and what they want from the PCs.

Give all the NPCs backgrounds and moti-vations of their own; this is where themultiple plotlines appear. Each faction hasits own ideas about how the adventurersfit into its plans�or how they must beeliminated for its plans to succeed. SomeNPCs may be openly hostile. At least oneNPC should have a reason to send the PCson adventures so that an unmotived partyhas something concrete to do while itforms its own plans. The other NPCs maybegin as neutral figures with their ownambitions. If the party interferes withtheir plans, they become enemies, but ifthe adventurers assist them, the neutralgroups may become allies or patrons.

NPCs do not exist in a vacuum. All ofthem should have relationships with theothers. The NPCs may be allies, rivals,friends, relatives, lovers, former lovers,bitter enemies, or wary neutrals. These

34 JUNE 1995

relationships, of course, affect the party. Ifrelationships, of course, affect the party. Ifthe party�s patron has an enemy, the ad-the party�s patron has an enemy, the ad-venturers probably share that enemy aswell, even if they have no other reason towell, even if they have no other reason toquarrel with that foe. As the campaignquarrel with that foe. As the campaigndevelops, the party will become aware ofdevelops, the party will become aware ofthese relationships and the reasons behindthem. Eventually, the PCs must decide howthem. Eventually, the PCs must decide howthey fit into the game�s many stories. Ad-venturers may cling fast to their originalventurers may cling fast to their originalloyalties, or they may break old connec-loyalties, or they may break old connec-tions, ally themselves with former enemiestions, ally themselves with former enemiesand try to re-shape their role in the world.This is where serious role-playing begins.

Finally, pick one or two NPCs to start thePCs on their first adventure. Lavish atten-PCs on their first adventure. Lavish atten-tion on this opening game, which intro-tion on this opening game, which intro-duces the PCs to the world and allow PCsduces the PCs to the world and allow PCsto determine where they fit in. The firstto determine where they fit in. The firstadventures also help the DM decide whichadventures also help the DM decide whichparts of the campaign to develop, as theparts of the campaign to develop, as theplayers express their preferences. Adven-players express their preferences. Adven-turers will cleave to some NPCs and de-turers will cleave to some NPCs and de-velop rivalries with others, growvelop rivalries with others, growfascinated with some mysteries and by-fascinated with some mysteries and by-pass others. The DM can then develop thepass others. The DM can then develop theparts that generated the most interest,parts that generated the most interest,saving other plots for the future.saving other plots for the future.

Naturally, DMs should not reveal allNaturally, DMs should not reveal alltheir secrets at once. If players wish tounderstand the world the DM has created,understand the world the DM has created,they must look for information. They maygain a great deal of information simply bygain a great deal of information simply bytalking with the right NPCs; other secretstalking with the right NPCs; other secretsmay require entire adventures to uncover.may require entire adventures to uncover.Uncovering this information makes forexciting play. As the party gathers it, theexciting play. As the party gathers it, thePCs grow more able to make informedPCs grow more able to make informeddecisions about their future.decisions about their future.

A Sample CampaignA Sample CampaignAs an example of how a multi-plot gameAs an example of how a multi-plot game

develops, consider the following campaign.develops, consider the following campaign.The DM wants to develop a campaignThe DM wants to develop a campaign

around Blackbriarton, a castle village setin a fertile river valley in his campaignin a fertile river valley in his campaignworld. He envisions the village as a townworld. He envisions the village as a townof relatively prosperous peasants and freeof relatively prosperous peasants and freefarmers, used to living under the feudalfarmers, used to living under the feudalrule of the House McAllister. Blackbriartonrule of the House McAllister. Blackbriartonlies on the edge of the Trollfell Wastes, andlies on the edge of the Trollfell Wastes, andraiders from those wild hills present a farraiders from those wild hills present a farmore serious threat than the politics of themore serious threat than the politics of thecapital far away. However, in the rest ofcapital far away. However, in the rest ofthe kingdom, minor nobles such as thethe kingdom, minor nobles such as theMcAllisters are losing their influence toMcAllisters are losing their influence tothe High King and to the powerful mer-the High King and to the powerful mer-chant guilds.chant guilds.

Having developed this overall campaignHaving developed this overall campaignconcept, the DM considers the sort ofconcept, the DM considers the sort ofadventure he wants the PCs to undertake.adventure he wants the PCs to undertake.The Trollfell Wastes offer an obvious at-traction to bold folk such as the PCs.Therefore, as a first challenge for theparty, the DM develops a band of ogresparty, the DM develops a band of ogreswho raid the farms on the outskirts ofwho raid the farms on the outskirts ofBlackbriarton. The DM designs an NPC toBlackbriarton. The DM designs an NPC tosend the party against these ogres. Hesend the party against these ogres. Hecreates Lorna Gow, a stocky and outspok-creates Lorna Gow, a stocky and outspok-en peasant who has single-handedlyen peasant who has single-handedlyorganized the farmers of Blackbriarton toorganized the farmers of Blackbriarton todefend themselves against the attackers.defend themselves against the attackers.

To entice the adventurers further, the DMdecides that Lorna has also collected re-ward money.

The DM puts most of his effort intodesigning the farms on the outskirts ofBlackbriarton and the ogres who raidthem. The ogre clan has a hill giant leaderand few bands of orcish scouts, not tomention wolves, a shaman beast-tamer,and so on. The party finds the ogrestougher than expected and spends a num-ber of game sessions fighting them. Alongthe way, the PCs take a liking to LornaGow, and, having taken substantial bootyfrom the ogres, decide to refuse theirreward money.

Meanwhile, the DM develops otherelements of the campaign. The HouseMcAllister falls from power. Angus McAl-lister, a sorcerer and patriarch of thefamily, dies after a long illness reportedlybrought on by traffic with dark spirits.The PCs hear rumors that Angus rosefrom his deathbed in undead form andconsumed the McAllister household, turn-ing them into undead abominations likehimself. Whatever the truth of these mat-ters, the High King orders the McAllister�scastle sealed, so that none may enter orleave. The merchants� guild appoints agovernor to rule the town in the McAllis-ters� stead.

Once the players have heard some of therumors, the DM introduces an importantNPC into the game. Robert McAllister, therightful heir to the barony, escaped themassacre in the castle with some of hispersonal guards. The horrors Robert saw inthe castle shook his mind, but that isn�t theworst of what he has suffered: His treat-ment after his escape drove him even fur-ther from the sheltered life he had led. Themerchant-governor, an unscrupulous politi-cian named Vincennes, saw the McAllistersas an obstacle to guild power and arrangedfor Robert to die in an accident. Robert fledto the woods, taking his loyal followers withhim. He now lives as a bandit, seeking re-venge on those who wronged him. Robert isnot yet evil or insane, but he could easilylapse into madness.

At this point, the PCs must make achoice between the three options beforethem. The decision they make will affectthe course of the adventure and theirreward.l The McAllister�s castle lies empty of

human inhabitants, with all the noblefamily�s possessions still inside. The partycontains several thieves who relish thechance to loot it. In this adventure, thePCs discover the nobles and their house-hold are now ghouls and ghasts, withAngus himself as a spectre. If the playersdo not think of exploring the castle them-selves, the DM may suggest the ideathrough an NPC.

� The PCs could work for Vincennes,since nobody knows of his assassinationattempt against Robert. Although fewpeople like the unctuous merchant lord,no one considers it dishonorable to work

for him. At the moment, Vincennes needscompetent people to deal with Robert�sbandits. He admires the PCs� work againstthe ogres, and he offers them a substantialsum of money to work for him.l Finally, the party may talk with Robert

and learn his side of the story. In this case,they could become bandits themselves,harrying the merchant-lord and his forces.This could be a mistake, because the Mer-chants� Guild can send powerful reinforce-ments to Blackbriarton. However, if thePCs are subtle enough to gain proof ofVincennes� assassination attempt, theycould charge him with the crime beforethe High King. The King might then sen-tence Vincennes to death and restoreRobert to his place over the town.

At this point, the DM has not fully de-tailed all the forces of the spectre Angus,Vincennes, or Robert. He will wait untilthe party decides its next move.

The PCs make no attempt to contactRobert. The party, however, falls into along argument about whether to investi-gate McAllister Keep or to accept Vin-cennes� offer of a bounty. Everyone in theparty dislikes Vincennes already. However,the mage in the party is convinced thatAngus McAllister has become a lich, whichmakes the rest of the PCs understandablywary about entering the castle.

The party eventually decides to make anexploratory probe into McAllister Keep.Between game sessions, the DM preparesdetails on its interior and inhabitants.Among other things, he decides that Ro-bert McAllister keeps a watch on his fami-ly fortress. In the next game session, theparty goes in prepared for the worst imag-inable danger and finds the going fareasier than it expected. The PCs returnbearing most of House McAllister�s heir-looms, including the family silverware,jewels, and signet ring.

At this point, the DM considers how theNPCs would respond. Robert McAllisterdoes not know exactly what the PCsbrought out of the castle, but his scoutshave seen them enter and leave the for-tress. Robert suspects they may havestolen property that rightfully belongs tohim. However, he also wants to knowexactly what the PCs met inside, andwhether they destroyed the spectre An-gus. Therefore, Robert sends a messengerto fire an arrow into the PCs� camp, re-questing a parley. Meanwhile, the DM putstogether statistics for Robert�s band, incase the PCs end up fighting it.

The party agrees to meet Robert. Duringthe conversation, Brian, one of the party�sthieves, steps forward and takes charge ofthe discussion. He does not deny that hewent to the castle hoping for loot, but hesmoothly assures Robert that the partyfailed to acquire anything of value. On thesubject of Angus, he quite truthfully tellsRobert that the adventurers failed to de-stroy the undead being. Robert, in turn,tells the party the full story of how Vin-cennes tried to kill him.

Robert asks Brian for help against themerchant-lord. The thief agrees to con-sider the matter and departs. As soon asthe party reaches a safe place for discus-sion, another long debate begins. Themore quixotic PCs now wish to attackVincennes. Brian and the more roguishadventurers, however, feel no particularlove for Robert or the McAllisters.

Here, the thief confers with his friends inthe party, and�to emphasize his point�hestands up and delivers a speech. Brian as-serts that the only NPCs who have reallyearned his trust or respect are the peasantswho followed Lorna Gow. Furthermore, thefarmers are the true lifeblood of the land,and the people most suited to govern it.Brian proposes that the party fight againstboth Robert and Vincennes to establish afreehold for the local common folk. Brianadds that they can finance their revolutionwith funds from the McAllister castle.

The rest of the party agrees, and thecampaign enters a new epoch, as the partycarries on a guerilla war to seize control ofBlackbriarton. First, the DM must decidehow Lorna Gow, who never intended to bea rebel, responds. The DM must also decidewhat forces Vincennes has in the area, andwhat he and Robert will do when the partyattacks. As time passes, outside forces mayintervene, and the DM may introduce moreconflicting interests (and adventure opportu-nities) from the larger world: the King�s men,rival guilds, a sorcerer seeking Angus�ssecret spellbooks, and others. If the partyestablishes its freehold, it must then decidehow to govern and administer it, whilekeeping all the outside forces encounteredearlier at bay.

ConclusionA campaign based on a single quest tells

a simple tale of a challenge and how theparty overcame it; a campaign based onmultiple plots tells a tale as complex as theplayers care to make it. The storylineprogresses in phases, each one dominatedby a different story, a different peril, andoften a different PC. The transitions be-tween these phases often feature dramaticrole-playing, in which the PCs discover anew fact about their world, and make thedifficult decision to change their loyaltiesand their goals. The characters progress.Changing times bring out facets of a char-acters� personality that even the player didnot know existed, as the characters takeon the roles forced on them by circum-stances. The storyline becomes a complex,multi-layered saga, which each PC mayremember a different way.

Those actually interested in Chinesemystery stories should track down TheChinese Gold Murders, by Hans Gulick(published by Harper and Row of NewYork, NY in 1961).

36 JUNE 1995

It�s been two months since the release ofthe BLOOD WARS� card game, and thebattles are growing fast and furious. But anew beachhead has opened up with thesecond Escalation Pack: the Blood War hasinvaded the City of Doors itself! Given thehidden plot of the card game, the BloodWars have expanded well beyond theoriginal five planes that contained it; soon-er or later, we�d knew it would enter Sigil.The heart of the PLANESCAPE� multi-verse is poised on the point of a gelugon�sspear!Escalation Pack II : Factols & Factionsrecruits the Factols, leaders of Sigil�s fac-tions, into the BLOOD WARS card game asits newest Warlords. They work like stand-ard Warlords, but they also can gatherLegions of any alignments into their BattleHands that belong to their factions. Includ-ed with the new Warlords are 40 Legion-Acolytes that are designated as factionmembers. These Acolytes can stack asnormal Legions (by alignment), but theycan also create a six-Legion Battle Handwhen they are all of the same faction.

Other surprises within the Factols &Factions escalation pack include Portalcards (Fate-Spells) that lead from thewards of Sigil to random planes andrealms, the Battlefields of Sigil (includingall the headquarters of the factions), Fate-Acolyte cards that allow Legions from theinitial set to join the factions of Sigil, andmuch, much more.

Sigil enters the Blood War

by Steven E. Schend

Portents of WarThe future holds much turmoil for theBLOOD WARS card game; the gods arrivein August�Zeus, Lolth, Bast, Ilsensine, andover 40 other gods will join the ranks ofthe Warlords of the conflict infernal! Pow-erful Fates and mighty Legions also jointhe fray, bringing the proxies of the godsinto game play. All this and more awaits inlate summer, so watch for it!

Once again, though, I�m asking allBLOOD WARS fans and players to let usknow what they think about the game. Tellus what you like and don�t like about thegame. Clue us in about what you�d like tosee in further Escalation Packs. What doesthe game need, in your esteemed opinion?Write to me care of TSR and let me knowwhat�s on your mind. Even though I de-signed the game and its first three supple-ments, it�s just as much your game as it ismine, and I�d like to ensure that it�s fun foreveryone.

Oh, one last thing, you didn�t think I�dset up this column without a deck sugges-tion and a card list, did you?

Assault on The Lady�s Ward!This 50-card deck, compiled with cardstaken from the Duel-Decks and the firsttwo Escalation Packs, is a �theme� deckbased on its composition and the infor-mation in the text boxes (and thePLANESCAPE RPG setting). In a nutshell,this deck suggests the following theme:The Xaositects and a number of tanar�ribattalions have joined forces to conquerThe Lady�s Ward of Sigil and removeSigil�s ruler from power!

Battlefields (9): Streets of Sigil*, Azza-grat, The Lady�s Ward*, Torremor, Armoryof Sigil*, The City Barracks*, The CityCourts*, The Hive*, The Prison*.

Warlords (6): Factol Karan*, Graz�zt,Lord Tenarrus, Marilith Colonel, MolydeusMagistrate, Pazrael.

DRAGON 39

Legions (25): Armanite* (x2), Dretch(x6), Foxwoman* (x3), Glabrezu (x2),Hezrou Desecrater* (x2), Hieracosphinx*(x3), Mane* (x5), Vrock (x2)

Fates (10): Chaosmen Mark* (x3),Diplomatic Treachery*, Lower PlanarConscription (x2), Monster Summons(x2), Powers of Evil Intervene, SpiritedTroops.

Cards marked with an asterisk (*) arefrom Escalation Pack II. All others arefrom the original set of cards listed inDRAGON® Magazine #215.

The �Assault� deck is only one of thenew types of decks you can construct withthe new Escalation Pack for the BLOODWARS card game. With future expansionsplanned for the gods and other powersamong the planes, the fun�and thebloodshed�will never end!

BLOOD WARS� Card Game Factions & Factols Card Distribution

The set contains a total of 134 cards; 15 cards per pack.

Frequency = Common (C); Uncommon (UC); Rare (R); Ultra-Rare (UR); Chase (Ch).

Card Artists = Jeff Butler (JB); Ned Dameron (ND); Tony DiTerlizzi (TD); Newton Ewell (NE); Paul Jaquays (PJ); Dana Knutson (DK); RobLazzeretti (RL); Robh Ruppel (RR); Peter Venters (PV)

Battlefields Legions FatesAbbreviations: P = plane; Rm = Realm, New abbreviation: Ac = Acolyte; all of Abbreviations: Ac = Acolyte*, Imi =

S = site. these Acolytes are Faction cards. Item, Magical Item*, Ia = Item, Artifact*,O = Orders*, Sp = Spell*, St = Support.

Name TypeFreq.Artist Name TypeFreq.ArtistArmory of Sigil S UC DK Agathyn Anarchist Ac C PJ Name TypeFreq.ArtistBogles� Glen S Ch TD Amazon Guardian Ch TD Anarchist Mark Ac Ch TDThe City Barracks S UC RL Apothean Archer Ac C TD Astral Searcher St UC TDThe City Courts S R NE Aquallorian Sensate Ac C TD Barber Shop Portal S p R N DThe Civic Festhall S R NE Armanite Ch TD Bladeswirl Portal Sp R PVClerk�s Ward Rm UC RL The Aspirant Ac C PJ Bleaker Mark Ac R TDThe Dragon Bar S R DK Beholder Ac C TD Cipher Mark Ac Ch TDThe Gatehouse S UC RL Bleak Battalion Ac C PJ Chandlers� Portal Sp Ch PVThe Great Foundry S UC RL The Cynical Wizard Ac C PJ Chaosmen Mark AC Ch TDThe Great Gymnasium S UC RL Dabus Ch TD Dagger�s Throw Portal Sp R PVThe Greengage S R TD The Defiant Ones Ac C PJ Dead Mark Ac R TDGuildhall & Market Ward Rm UC RL Doppelganger Ac C TD Defier Mark Ac R TDThe Hall of Records S R NE Emerald Dragon Diplomatic Treachery Sp Ch NEThe Hall of Speakers S UC NE Hatchling Ac R PJ Doomguard Mark Ac R TDHarbinger House S R NE The Entropy League Ac C TD Equipment Disintegration Sp Ch PJThe Hive S UC DK Foxwoman Ac C TD Erosion of Faith Sp Ch PJHive Ward Rm UC TD Gladiator of Sigil Ac C TD Factol�s Favor St UC TDThe Lady�s Ward Rm UC TD The Glee-Bashers Ac C PJ Foecircle Portal Sp Ch PVLower Ward Rm UC RL Godsman Warrior Ac C PJ Godsmen Mark Ac R TDThe Mortuary S UC ND Guvner Bailiff Ac C TD Golden Web Portal Sp Ch PVThe Prison S UC RL Halfling Cleric Ac C TD Great Blade of Tasup Ia R PJThe Screaming Falls S Ch TD Hardhead Dwarves Ac C PJ Guvner Mark Ac Ch TDThe Shattered Temple S UC RL Hezrou Ch TD Hard Head Mark Ac Ch TDStreets of Sigil P R TD Hieracosphinx Ac R PJ Harp of Stars Ia R PJTemple of the Abyss S R DK Hill Giant Ac C PJ Heartless Mark Ac Ch TD

Hin Archer Ac C TD Hidden Treasure S P Ch TDWarlords Hobgoblin Deader Ac C TD Hope Incarnate St UC TDNew abbreviation: Fl = Factol. Inquisitive Kender Ac R PJ Indep Mark Ac Ch TD

Judge Arcane Ac C TD Inkwell Portal Sp R PVName TypeFreq.Artist Larvae Ch TD The Key of Pain Ia Ch/UR PJArtus R PJ Lizard Man Ac C TD The Mazes SP Ch TDFactol Ambar Fl UC TD Mane Ac C TD Mediator St UC TDFactol Darius Fl UC TD Minor Magistrate Ac C TD Mimir Imi Ch RRFactol Erin Darkflame Fl R TD Moon Dog Ac C JB Moon�s Rose Portal SP Ch TDFactol Hashkar Fl UC TD Ogre Mage Ac C TD Notice of Secundus St UC TDFactol Karan Fl UC PJ Paladin Ac R PJ Portal of Pain Sp Ch PVFactol Lhar Fl UC TD The Perished Ac C PJ Quick Escape Sp R PVFactol Mallin Fl UC TD Rogue Modron Merchant Ac C PJ Ratatosk Glider St UC TDFactol Pentar Fl UC TD Sigil�s Sentries Ac UC PJ Red Death Mark AC Ch TDFactol Rhys Fl UC TD Tiefling Mage-Thief Ac C TD Rest & Relaxation O Ch TDFactol Rowan Darkwood Fl R TD Treant Ac C TD The Scratcher Sp Ch PJFactol Sarin Fl UC TD Valhalla�s Finest Ac R NE Sensate Mark Ac Ch TDFactol Skall Fl UC TD Vorkehan Guard Ac C TD Servant Li�s Request Sp Ch TDFactol Terrance Fl UC TD Wemic Shaman Ac R PJ Signer Mark Ac Ch TDGamakar the Studious R TD Wererat Indep Ac C TD Swords� Breath Portal Sp R PVOrryx R TD Wererats of Sigil Ch TD Undead Horde Sp Ch NEPerigon R TD Weretiger Ac C TD Under Arrest O UC TD

40 JUNE 1995

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 and succinct.

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 re-

quirements; and,6. Address(es) where additional informa-

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To ensure that your convention listingmakes it into our files, enclose a self-addressed stamped postcard with your firstconvention notice; we will return the card toshow that your notice was received. You alsomight send a second notice one week aftermailing the first. Mail your listing as early aspossible, and always keep us informed ofany changes. Please avoid sending conven-tion notices by fax, as this method has notproved to be reliable.

CONMAN 003, June 2-4 NHThis convention will be held at the Center of

New Hampshire Holiday Inn in Manchester, NH.Events include role-playing, board, card, andminiatures games. Registration: $18 preregis-tered; $23 on site. Prices vary for individualdays. Write to: Jonathan McCosh, 59 OnwayLake Rd., Raymond NH 03077.

MOBI-CON �95, June 9-11 ALThis convention will be held at the Holiday

Inn Downtown in Mobile, Ala. Guests includeMargaret Weis, Don Perrin, and Douglas Niles.Events include role-playing, card, board, andminiatures games. Other activities includetournaments, costume contest, art show, auc-tion, and dealers. Write to: MOBI-CON, P.O. Box161257, Mobile AL 36616.

STAFFCON �95, June 11 ❁This convention will be held at Stafford Uni-

versity in Stafford, England. Events include role-playing, board, and miniatures games. Otheractivities include tournaments. Write to: ChrisGrice, C/O SU Office, Stafford University,Beaconside Site, Stafford England ST16 0AD.

CONFIGURATION VI, June 16-18 OKThis convention will be held at the Tulsa Days

Inn in Tulsa, Okla. Events include role-playing,board, and miniatures games. Other activitiesinclude RPGA® events and tournaments. Regis-tration: $15. Write to: CONFIGURATION VI, 215-A OMU Box 304, 900 Asp Avenue, Norman OK73019.

MAGIC: THE GATHERING* TOURNAMENT,June 17 OH

This tournament will be held at the OhioArmy National Guard Armory in Wooster Ohio.Registration: $4 per event preregistered; $5 onsite. Write to: MAGIC TOURNAMENT, 453College Avenue, Wooster OH 44691-3326.

BEN CON �95, June 22-25 COThis convention will be held at the Sheraton

Hotel in Lakewood, Colorado. Guests includeMargaret Weis. Events include role-playing,board, and miniatures games. Other activitiesinclude dealers, an art show and a blood drive.Write to: RMBGA, P.O. Box 19232, Boulder CO80308.

D-DAY, June 22-25 CAThis convention will be held at Game Towne

in Carlsbad, Calif. This is the 2nd Annual SanDiego County Board Game Championships.Events include tournaments, miniatures gaming,painting contests, and prizes. Write to: D-DAY,Game Towne, 2933 Roosevelt, Carlsbad CA92008.

ARCHON 19, June 23-25 ILThis convention will be held at the Collinsville

Gateway Center and Collinsville Holiday Inn,Collinsville, Ill. Guests include Jack Williamson,Doug Chaffee, Sam Moskowitz, First Fandom,and A.E. Van Vogt. Events include role-playing,card, board, and miniatures games. Otheractivities include tournaments. Registration:$25. Write to: ARCHON 19, P.O. Box 483, Ches-terfield MO 63006.

Q-CON II, June 23-25 ❁This convention will be held at the Queen�s

University Common Rooms, Queen�s University,Belfast, Northern Ireland. Events include role-playing, board, and miniatures games. Otheractivities include tournaments and a raffle.Write to: The Registration Secretary, StevenRushe, 3 Ulsterville Gardens, Belfast, Co. An-trium, Northern Ireland BT9 7BA.

KULCON III, June 30-July 2 KSThis convention will be held at the Topeka

Ramada Inn in Topeka Kan. Guests include SteveJackson, Bruce Nesmith, Tom Dowd, DaveGross, and others. Events include role-playing,board, and miniatures games. Other activitiesinclude RPGA® events, Japanese animation,computer gaming, and a charity raffle. Write to:KULCON, 400 Kansas Union, Lawrence KS66045.

MICHICON GAMEFEST �95, June 30-July2 MI

This convention will be held at Van Dyke ParkSuites Convention Hotel in Warren, Mich. Eventsinclude role-playing, board, and miniaturesgames. Write to: MICHICON GAMEFEST, P.O.Box 656, Wyandotte MI 48192.

VI-KHAN �95, July 7-9 COThis convention will be held at the Holiday

Inn North in Colorado Springs, Colo. Specialguest is Connie Willis. Events include role-playing, board, card, and miniatures games.Other activities include dealers, an art show,auction, banquet, a miniatures painting contest,and a yacht race in the hotel pool (using milkcartons). Registration: $15 preregistered beforeJune 30, $20 thereafter. Write to: VI-KHAN,1025 Garner St. #10B, Colorado Springs CO 80905.

DRAGON 43

DRAGON CON �95, July 13-16 GAThis convention will be held at the Westin

Peachtree Plaza Hotel, Atlanta Civic Center,Atlanta, Georgia. Over 200 special guests includ-ing Kevin Anderson, Ben Bova, Harlan Ellison,Margaret Weis, and Timothy Zahn. Eventsinclude role-playing, board, card, computer, andminiatures games. Other activities includeworkshops, tournaments, dealers, a costumecontest, live music and dancing. Registration:$55 before June 15. Write to: DRAGON CON �95,P.O. Box 47696, Atlanta GA 30362.

MAGNUM OPUS CON-10, July 13-16 GAThis convention will be held at the Callaway

Gardens Resort in Pine Mountain, Geog. Guestsinclude: Roger Zelazny, Chelsea Quinn Yarbro,and Bruce Boxleitner. Events include role-playing, board, and miniatures games. Otheractivities include casino night, a masqueradeball, tournaments, and a banquet. Registration:$40 before June 1, $25 for a day pass. Write to:MOC-10, P.O. Box 6585, Athens GA 30604.

WAR �95, July 13-16 GAThis convention is part of the MAGNUM OPUS

CON-10. Events include a MAGIC: THE GATHER-ING* card game tournament. Registration: $50in addition to the registration fee for the hostconvention. Write to: National Association ofProfessional Gamers, P.O. Box 6585, Athens GA30604.

ORIGINS �95, July 13-16 PAThis convention will be held at the Pennsylva-

nia Convention Center in Philadelphia, Penn.Guests include Margaret Weis, James Lowder,and Scott Douglas. Events include role-playing,board, and miniatures games. Other activitiesinclude RPGA® events and an auction. Registra-tion: $34.95 preregistered. Write to: AndonUnlimited, P.O. Box 1740, Renton WA 98057; ore-mail: andon@aol.com.

GRAND GAME CON �95, July 15-16 MIThis convention will be held at the Godfrey

Lee Middle School in Grand Rapids, Mich.Events include role-playing, board, and minia-tures games. Registration: $8 for one day or $15for both days. Write to: Leon Gibbons, 13910Olin Lakes Road, Sparta MI 49345.

QUINCON X �95, July 21-23 ILThis convention will be held at the Signature

Room in Franklin Square in Quincy, Ill. Specialguest is Timothy Bradstreet. Events include role-playing, board, and card games. Other activitiesinclude an auction. Registration: $12/ weekend.Single day rates vary. Write to: Greg Stille, 1818Hilltop Drive, Quincy IL 62301.

CON-DOME �95, July 28-30 ❁This convention will be held at Dtu-lyngby,

Denmark. Events include role-playing, board,and miniatures games. Other activities includedealers and workshops. Write to: HenningJorgensen, Stenas 20, DK 2670 Greve, Denmark.

CONTINUUM IV, July 28-30 ILThis convention will be held at the Ramada

Hotel in Mt. Vernon, Ill. Guests include John deLancie, Troy Denning, Todd Hamilton, and PhilFarrand. Events include role-playing, board, andminiatures games. Other activities includedealers, an auction, art show, contests, and adance. Registration: $35 until June 28, $40thereafter. Gaming only registration available.Write to: CONTINUUM IV, 1617 Lyndhurst,Cape Girardeau MO 63701.

44 JUNE 1995

CORPSE CON II, August 4-6 TXThis convention will be held at the Howard

Johnson Shoreline in Corpus Christi, Tex. Eventsinclude role-playing, board, and miniaturesgames. Other activities include dealers, Japani-mation, and an auction. Registration: $5 on site.Write to: GLCC, 5757 S. Staples #2802, CorpusChristi TX 78413.

DALLAS GAME EXPO, August 4-6 TXThis convention will be held at the Ramada

Hotel Market Center, Dallas Tex. Events includerole-playing, board, and miniatures games.Other activities include an auction and a dealersroom. Registration: $10 preregistered; $7/day onsite. Write to: Dallas Game Expo, P.O. Box824662, Dallas TX 75382-4662.

TOLCON XIII, August 5-6 OHThis convention will be held at the Scott Park

Campus at the University of Toledo, Ohio.Events include role-playing, board, and minia-tures games. Other activities include dealers,movies, an auction, and a painting contest.Registration: $8 for the weekend, $5/day. Writeto: TOLCON XIII, c/o Mind Games, 2115 N.Reynolds, Toledo OH 43615.

GAMEFEST XVI, August 9-13 CAThis convention will be held in the historic

Old Towne in San Diego, Calif. Events includerole-playing, board, and miniatures games.Other activities include trivia, and figure paint-ing. Registration: $20 preregistered until July31, $30 on site. Write to: GAMEFEST XVI, 3954Harney St., San Diego CA 92110.

BUBONICON 27, August 11-13 NMThis convention will be held at the Howard

Johnson East in Albuquerque, New Mex. Guestsinclude Harry Turtledove and Simon Hawke.Events include role-playing, board, and minia-tures games. Other activities include dealers, anart show, an auction, a dance, a costume con-test, and a genre cereal taste-off. Registration:$21 preregistered until July 21, $25 on site.Write to: BUBONICON 27, New Mexico SF Con-ference, P.O. Box 37257, Albuquerque NM87176-7257.

MIGSCON XVI, August 18-20 ❉This convention will be held at The Hamilton

Ramada Hotel in Hamilton, Ontario, Canada.Events include role-playing, board, and minia-tures games. Other activities include a dealersroom. Write to: MIGSCON XVI, P.O. 37013,Barton Postal Outlet, Hamilton, Ontario, Canada,L8L 8E9.

RAILCON �95, August 25-27 COThis convention will be held at the Sherton

Hotel West in Lakewood, Col. Activities includea Puffing Billy tournament. Registration: $30.Write to: Train Gamers Association, P.O. Box461072, Aurora CO 80046-1072.

DRAGONFLIGHT �95, August 25-27 WAThis convention will be held at the Bellarmine

Hall on the Seattle University campus in Seattle,Wash. Events include computer, role-playing,board, card, and miniatures games. Otheractivities include seminars, an auction, anddealers. Registration prices vary. Write to:DRAGONFLIGHT �95, P.O. Box 417, Seattle WA98111-0417.

On the opposite page you�ll find the finalballot for the ORIGINS� Awards for gam-ing products published in 1994, the gam-ing industry�s highest honor. The vote isopen to all gamers everywhere. The staffof DRAGON® Magazine suggests you makea photocopy of the ballot, vote for yourfavorite games, accessories, supplements,figures, computer games, board games,and so on from 1994, and mail the ballotby the deadline, June 20. There are evenspaces for write-in votes if your favorite1994 product didn�t make the final ballot.Congratulations and good luck to all thecompanies with nominated releases. Theawards will be announced at the ORIGINSGame Convention this summer. May thebest games win!

ORIGINS is aAssociation.

trademark of the Game Manufacturers

DRAGON 45

�Forum� welcomes your comments andopinions on role-playing games. In theUnited States and Canada, write to:Forum, DRAGON® Magazine, 201 SheridanSprings Rd., Lake Geneva WI 53147 U.S.A.In Europe, write to: Forum, DRAGONMagaz ine , TSR L td , 120 Church End ,Cherry Hinton, Cambridge CB1 3LB, Unit-ed Kingdom. We ask that material submit-ted to �Forum� be either neatly written byhand or typed with a fresh r ibbon andclean keys so we can read and understandyour comments. You must give us yourname and full mailing address if you ex-pect your letter to be printed (we will notconsider a letter submitted anonymously),but we will withhold your name if you askus to do so. We will print your completeaddress if you request it.

I just felt I had to respond to LarrySonders� letter in issue #215; it struck achord (I almost choked on my breakfastwhen I started laughing). As my girlfriendremarked when I read the first paragraphto her, �He�s better off without that player.�A person who quits the campaign as aresult of the DM�s ruling is unnecessarybaggage. He sounds like an egotistical andself-centered player, more suited to sologames where he cannot impair the enjoy-ment of others.

I�m sure that the incident was simplifiedfor the sake of the letter, but precisely howdoes any mage teleport above a ship andthen levitate safely to the deck? By my inter-pretation, only one spell may be cast perround. Casting levitate immediately afterarriving at the other end of a teleport spelllooks pretty dodgy. This cocky mage wouldstill have been casting his levitate when hemade an abrupt and intimate acquaintancewith the deck�you can fall a long waybetween spells! Furthermore, the magewould have had to teleport onto the vesselsince the spell description states: �a wizardcannot teleport into an area of emptyspace�a substantial surface must be there.�Whichever way you look at it, our mageshouldn�t have been in this situation in thefirst place!

Just how many people in a serious fanta-sy would go around with �I am 11th level�tattooed on their forehead or �1st levelarrow-fodder� emblazoned across theirchest? From the pirate captain�s point ofview, anyone could landed in the midst ofhis crew, courtesy of a magical item,claiming to be a Wizard of Might. Howdoes he know how powerful the supposedmage was? It seems perfectly logical forhim to call this arrogant fool�s bluff, risk-

4 6 J U N E 1 9 9 5

ing two dispensable crew members indoing so. Pirates aren�t exactly known forbeing squeamish when it comes to riskingthe lives of their underlings. A seasonedscourge of the high seas is more thanlikely to test a visitor�s mettle than to sur-render his vessel without a fight.

We are not dealing with a superstitioustribe that have never seen anything moreimpressive than a shaman�s trances or hislimited repertoire of tricks. Pirates willhave faced many dangers far more im-pressive than a blustering buffoon stupidenough to drop in on them without firstdisplaying some proof of his prowess.Fighting boarding actions, facing the Impe-rial Navy�s bolt-throwers, or riding outfierce storms at sea will have hardened apirate crew to the point where a levitatingmage is a laughable threat. Being struckdumb with awe might be applicable if thecrew were simply unable to believe thenerve of the fellow!

Sheer weight of numbers would be on thepirates� side. When you have 40 companionsand a tough captain, mob rule, peer-pressure, and fear of your leader�s retribu-tion are powerful motivators. Some robedcharacter who has dropped onto your deckand told you to �surrender or else� comes apoor second. Without any evidence of hisability to kill and maim in ghastly ways,what does a pirate do: obey orders or facekeel-hauling? Perhaps when a dozen com-rades have been frazzled or turned intoparrots, the crew members will reconsidertheir position on the matter.

Finally, does the world in question havea background that emphasizes the powerof mages? Are they rare and powerfulenough to inspire awe? Do tales recounthorrific fates that befell those who defiedthe wielders of magic? Or are mages two-a-penny�a threat which a pirate crewmight expect to face from time-to-time? Itis almost unfortunate that most fantasycampaigns fall into the latter category. Asa result, players lose any sense of wonderwhen magic is used, taking it for granted,even becoming blase in the face of en-chantments. �Oh, it�s another cloud castle,let�s jump on our brooms of flying andsack the place!� It�s as if the player be-longed to the former category (magic is arare thing to be feared) and suddenlyfound himself in a campaign world wherecasting spells is widely accepted.

To answer Mr. Sonders� last paragraph:no rule, written or otherwise, says thatlow-level PCs should always fear high-levelones, or that a high-level PC need not fearlow-level characters. High-level groups

have been overrun by large groups ofkobolds, or experienced severe setbacksby disciplined hobgoblin crossbow troops.Even competent adventurers can loseconfidence if their main fighting strengthis lost to some unfortunate chain ofevents. Just takes a little luck (good orbad), an error of judgement, or a flash ofbrilliance can turn any encounter on itshead. No PC or DM can go into a situationcertain of its outcome.

On the other hand, a sufficiently notori-ous individual could instill just the reactionour mage desired. But in this example, didthe pirates know about the mage before-hand? Had they heard tales of his daringexploits and terrible power? If they had,the player might be justified in expectingthe pirates to surrender. This is true re-gardless of whether we are dealing with apowerful mage or a renowned warrior. Ifthe coastal ports abound with rumors of afearless adventurer, dressed just so, armedin a particular way, who has personallybrought pirate crews to justice, then anycrew might be nervous when someoneanswering his description turns up in theirmidst! On the other hand, a relatively low-level crew of 50 pirates might hope tomake a name for itself which would, inturn, instill fear in its potential victims!

Larry ironically asks at the end of hisletter whether incompetence, cowardice,and stupidity are the exclusive province oflow-level folk. There should always be afair share of fools to provide humor, butthey don�t all have to be low-level�justlook at the real world to see how manyhigh-powered idiots there are! At the sametime, high-level heroes and villains all haveto start somewhere�the next pirate deck-hand you meet could be a Blackbeardwaiting to happen! Nigel Espley

West Midlands, UK

This letter is in response to DonaldHaverson�s remarks in issue #216 regard-ing the AD&D® magic system.

I�ve been playing RPGs for 10 years now.In that time span I have played fantasygames that use spell-point or fatigue-basedmagic. I even created an alternativespellcasting system for the AD&D game,which I abandoned shortly thereafter. It ismy firm belief that in their abundantwisdom, the designers of AD&D createdthe best system. Here�s why:

First off, with the AD&D system youknow what spells you have and how manytimes you can cast them. When they aregone, they are gone until your wizard getsthe necessary sleep. Simple. With a

fatigue-based system, wizards must keeptrack of time to regain lost Strength orfatigue points, which to me is monoto-nous, and must calculate out modifiers forreduced Strength or fatigue. A point orfatigue system is alluring to some gamers,because a wizard can cast many spells perday, as long as he doesn�t become fatiguedor drained. In the games I�ve played, thisled to wizards with ridiculously highStrength or Constitution scores, who coulddish out or take large amounts of damagewhile simultaneously blasting away withspells. As a player, that�s fun for a minute.As a DM, it�s no fun at all.

The AD&D system forces a wizard tochoose spells for the day wisely, and to usethem wisely. What fun is it to have yourwizard knock open every locked door theparty runs into, with minimal cost tofatigue? What about the thieves and fight-ers in the group�they like to open lockeddoors as well! A wizard able to cast anyspell in his repertoire at will diminishesother PCs� interactions in trying situations.There is nothing more challenging to aserious role-player than a wizard with�useless� spells in a dire situation. In thosesituations, all the wizard�s cunning andguile shine brightly, and the most memora-ble things occur.

Robert MelvinPO Box 29

Represa, CA 95671

Kudos to �Paths of Power� by WolfgangBaur and Steve Kurtz in issue #216! This isjust the sort of thing to add mystery andvariety to the wizard class in the AD&Dgame, because it means that not every PCand NPC mage will have the same magicalpowers available. More than ever before,research will be necessary to get a goodhandle on one�s enemy.

Speaking of research and information-gathering, it seems that users of pathmagic who concentrate on illusions (suchas the Path of Deception and the Path ofShadows) have the most to lose if theirprecise powers are known. After all, if theenemy knows that a certain wizard can�treally cast fireball or lightning bolt, orsummon animals, monsters, elementals,undead, etc., then any such illusions thathe casts will be automatic failures. Theparty would also be more cautious aboutpicking its way through his stronghold,seeing illusion-concealed booby traps onevery stretch of floor (of course, this couldslow them down enough to give the wiz-ard a chance to get away or rally his garri-son). Leaking information to theadventuring public that he knows illusionmagic at least could be to his advantage.And if he can cast lethal spells like fireball,and leaks information to the effect that hecan�t, then parties may stand in the openwithout taking cover from his magic,secure in the (mistaken) belief that �there�snothing there.�

Gregory W. DetwilerWilliamsburg, PA

I am writing in response to Gary Wilson�sletter in issue #216. I have also been play-ing AD&D games for about four years.Because the paladin is one of my favoriteclasses, I have faced the same questionsduring my years of playing and DMing.

I read your letter and I think I might beable to help. You said that the paladin istoo generic, but it�s not when you reallythink about it. They don�t just represent ageneric �good,� but rather the specificideals of Lawful Good. In fact, the paladinshould be the epitome of Lawful Good.

If you look at it this way then it mighthelp to explain your other questions. Al-though a paladin is usually allied with agovernment (whether it be a theocracy ornot) and may worship a deity, the paladin isrestricted by a higher meaning. The paladinshould be considered a power of LawfulGood. He should not be forced to serve thevanities of one authority, even if that au-thority is divine in nature. Her beliefs inLawful Goodness should transcend suchties. Instead, she should be a protector andenforcer of all the of the Lawful Goodalignment. Therefore, a Paladin could neverbe chaotic good because chaotic actions andeven chaotic thoughts go against the natureof a paladin.

I also think it�s important to point outthat paladins are alignment extremists.That�s why it�s important for a paladinnever to do chaotic acts or stray even alittle bit from the ideals of lawful good.That�s why only the most dedicated canplay paladins properly. If the paladin doesstray from the ideals of lawful good, heimmediately loses all paladin privilegesand abilities until he atones for his miscon-duct.

You might argue that since the lawfulgood alignment has elite warriors, whyshouldn�t the other alignments have them.Well, you�ve come to the right place, be-cause DRAGON Magazine printed an arti-cle on paladins (�A Plethora of Paladins� byChristopher Wood, issue #106). It featureda paladin class for each alignment. Forexample, the Lyan class was the paladin ofthe lawful neutral alignment. It had com-pletely different abilities, such as using a1d12 for HD, casting magical or clericalspells, and bonuses when fighting chaoticcreatures. Each different alignment had apaladin class with abilities and hindrancescorresponding with the alignment. Al-though DRAGON Magazine recommendedthem for NPCs only, with some small pre-cautions to maintain campaign balance,these paladins can easily be incorporatedinto almost any campaign.

Alex PlockiNew Kensington, PA

I was glad to read the �Paths of Power�article and have incorporated it in mycampaign, but it suffers from one majoromission: what about bards? I suggest thefollowing progression for bards, as anaddition to table A.

Level of Bard Max # Paths for Bard1 12 23 24 35 36 47 48 59 5

10 611 712 813 914 1015 1116 1217 1318 1419 1520 16

Bards pick up a lot of information intheir travels, and so learn many paths. Abard may cast from an extraordinarilyhigh number of paths each day in relationto the number of paths they know becauseof their generalist natures (they use wiz-ard�s Table C).

In addition to this table, bards wouldmake the following adjustments to the�basic� rules. 1). Bards cannot skip steps ina path (their understanding of magic isn�tas developed as a wizard�s). 2). Bardic�colleges� teach special Bardic paths whichassure that paths exist that a bard may�master.� These paths all end with 6th levelspells and may contain spells not knownoutside of bardic circles. Only �retired�bards ever engage in any kind of spellresearch; active bard characters neverwaste their precious time on such endeav-ors. Elven minstrel/mages or mages whoare sympathetic to bards might well de-velop bard spells. 3). Bards may also studywith wizards or wizard guilds to learnpaths from them. 4). Bards may still learn�rogue� spells, spells which are not tied toa path that they know (if they happenupon one in a book or scroll) . . . however,this spell must be memorized when usedand is not a part of any path, nor forkscan be taken from it, it cannot beforgotten. It counts against the number ofspells a bard may know, and cast a day. Ifa bard later learns a path in which thatspell is included, it is treated as a pathspell.

Bards otherwise follow all rules as setout for wizards. Two sample paths just forbards follow, using spells from The Com-p l e t e B a r d � s H a n d b o o k ( P H B R 8 ) .

The True Path of the Bard: alterinstrument (1, PHBR8), charm person (1),sleep (1), magic mouth (2), Tasha�s uncon-trol lable hideous laughter (2), improvedmagic mouth (3, PHBR8), tongues (3), wallof sound (3, PHBR8), shout (4), emotion (4),Leomund�s lamentable belaborment (5),

DRAGON 49

d r e a m (5 ) , m a s s s u g g e s t i o n ( 6 )The Performer�s Path: alter instru-

ment (1, PHBR8), ventriloquism (1), hypno-tism (1), sound bubble (1, PHBR8), magicmouth (2), rope trick (2), alter self (2),levitate (2), pyrotechnics (2), water breath-ing (3), minor creation (3), instant audience(3, PHBR8), conjure cabinet (4, PHBR8),advanced illusion (5), legend lore (6)

Note that bard paths tend to be spellheavy, containing several spells of eachlevel. Bard colleges know that their stu-dents will not have the same access tospells afforded wizards (�What!� the mas-ter mage cried, �I don�t have time to wasteon teaching you dabblers . . .�), and thecolleges also want to prepare their stu-dents with enough magic to fork intoother paths as often as they desire, asbefits a true �jack of all trades�. Manycolleges exist which provide paths whichare suitable for the different bard kits.

Stevevia e-mail

Some friends and I began playing theAD&D game way back in 1980, and haveenjoyed countless hours of adventure, allset in my own game world. The AD&Dgame is a wonderful diversion and a mostsplendid way to pass the time. But as aveteran DM (and a lover of clerics), I feelcompelled to respond to Melody Alder�scomments in issue #210.

I must agree with Adam Bickford�s as-tute evaluation of the cleric. Apart fromthe statistical standpoint, there are otherimportant points to make about the hid-den strengths of this superior class.

Regardless of alignment, the cleric is themost capable of dictating the goals andpurposes of his faith, especially at higherlevel. He can foresee the future of hisreligion in whatever realm she chooses toadventure in. Indeed, I feel he also mustdo his best to influence the actions ofother player characters and NPCs.

A well-played cleric can shape the eventsof his world to a degree that is almostbeyond fantasy. For example, consider alawful evil high priestess: the next timethose soldier boys line up for their dose ofhealing, ask of them, �What have you donefor me lately?� I�m not talking about mere-ly relieving the warriors of excess cash,either. A sword-slinger on death�s doormight well be forced to accept a quest inchange for healing.

On the other hand, a lawful good highpriestess may be able to stop a war andpersuade the powers-that-be to supporther temple in return. Even in battle,priests are formidable, especially with thenifty chant and prayer spells. I think evenungrateful PCs will sit up and take noticeif they can more easily hit an opponent.

During 15 years of gaming, our clerichas shone brilliantly as a mover andshaker. At high level, even one withheldcure spell can change the world forever!What�s the sense of risking your neck ifunwise, short-sighted PCs don�t under-

50 JUNE 1995

stand their position in the �granderscheme of things�? Only a cleric can un-derstand this, and it is always his duty tomake certain these roughnecks see thingshis way. Give these clods faith, and theywill serve you (and your god). Prove tothem who really does the healing.

As a character class, I see little, if any,need for expansion, for the class is com-plete as is. There is no substitute for goodrole-playing when you feel the stats aren�twith you. That�s the beauty of this won-derful game system: stats and dice do nota character make! Most of all, keep thefaith.

Floyd Adams IIIP.O. Box 579

Elmer NJ 08318

I was talking with a couple of role-playing friends, and I would like to shareone question with other players. Everyoneknows about the 10% bonus experiencefor having a 16 or higher in his primerequis i t e . W h y ? W h a t i s t h e p o i n t ?

Why does a fighter with a 16 strengthget 10% more experience than one with a15? Don�t you think it is easier to kill anopponent with an attack bonus or a dam-age bonus? I think you should get bonusesfor having a lower prime requisite, be-cause it is harder to kill a monster, pick apocket, learn spells, or get bonus spells.Many thanks if you can answer this.

CLS InnisCollinsville, IL

There�s been a lot of talk lately about�dark games� or �mature games,� in thegaming industry. It seems that people arecomparing apples and oranges when theyare throwing these two expressionsaround, as if they meant one and the samething. I don�t think they do. Let me defineboth terms in the context of role-playinggames.

To me, darkness in an RPG refers to thegame�s setting. Consider some of the RPGsthat have used the word �dark� in theirtitles or descriptions: the entire subgenreof �dark future� RPGs (the various cyber-punk games are still the best examples),Hero Games� DARK CHAMPIONS* setting,and GDW�s DARK CONSPIRACY* game,among others. The newest of these, theDARK CHAMPIONS setting, was releasedin 1993. (As you can see, dark isn�t exactlya new concept.) All these games share agrim, often desperate situation, world, orcampaign environment. However, theactions that the PCs take, the kind of mis-sions they accept, and the variety of deedsthey perform are all quite similar to theactions, missions, and deeds that PCs inother, �lighter� RPGs take. You can call themission �a corporate extraction� in a darkfuture game, but how are the missiongoals (and the actions the PCs take toachieve those goals) different from thegoal of rescuing the princess in the evilwizard�s tower in a light RPG? All that�sdifferent is the setting. Dark doesn�t have

to do with what the PCs are doing, onlywhere they�re doing it.

To further my definition, let�s look at thefantasy genre. Of the available campaignsettings for the AD&D game, I considerboth the DARK SUN® setting (there�s thatword again) and the RAVENLOFT® cam-paigns dark. They are both bleak, sombersettings. Neither would be on my list oftop 10 vacation spots. But are they dark?

A good synonym for darkness in fantasyis �low fantasy.� Low fantasy is grim, gritty,and action-oriented. Low fantasy fictionincludes Fritz Leiber�s Fafhrd & The GrayMouser stories, the Thieves� World anthol-ogies, and Robert E. Howard�s Conan tales.(Some people would consider some of theabove examples sword & sorcery fiction,but that�s splitting hairs.)

Most horror RPGs are dark�it�s almostpart of the definition. In fact, Chaosium�sCALL OF CTHULHU* game, can be consid-ered one of the industry�s first dark role-playing games.

On the other hand, a mature game hasadventures dealing with complex subjectssuch as crime and corruption, adult themessuch as sex or violence, and even socialissues such as abortion or conservation. Inmature games, these themes permeateevery aspect of the campaign�s stories,including the characters themselves, ratherthan being stuck in the background. Ma-ture games are defined by their plots. Theactions PCs take are based on the decisionsthe players make for their characters. In amature game, the decisions are much morecomplex than in other RPGs. The world isnot black and white, but filled with aninfinite number of shades of gray�just asin real life. Mature games carry stories thatcontain multiple choices, each with multipleoutcomes. Each option carries with it con-sequences that the PCs must deal with�nowanton looting and pillaging allowed here.(What I�m not talking about when referringto mature subject matter is hack-�n�-slashgaming. Whether you�re playing a berserkhuman warrior, an undead being in a bloodfrenzy, or a psychotic killer hopped up ongoofballs, don�t think that you�re playing amature game just because there are graph-ic levels of violence or sex in your cam-paign. I�m talking about role-playing here,not indulging in a festival of lust and goreand calling that �mature.�) Simply put, ma-ture games require complex decision-making by the game�s players.

Mature RPGs available now are the Story-teller series from White Wolf, andChaosium�s CALL OF CTHULHU, the NEPHI-LIM* game, and Atlas Games� OVER THEEDGE* RPG. Of these, the Storyteller gamesmerit further discussion. Not only do theydeal with mature themes, they also arewritten for an older audience. The languageor artwork in Storyteller game productshave occasionally ignited some controversy.While I�m not sure such language belongs inany RPG product, it�s not my decision. I�mnot trying to slam these games; I currentlyplay in a VAMPIRE campaign, in fact. What

I�m saying is that these games may not befor everybody.

On the other hand, mature themes canbe dealt with in a more traditional man-ner. For example, the AL-QADIM®,PLANESCAPE, DARK SUN, andRAVENLOFT campaign settings all dealwith mature issues (we just don�t swear).Hey, you�re thinking, didn�t he say that theDARK SUN and RAVENLOFT campaigns(and the CALL OF CTHULHU game, forthat matter) were dark settings? Yes, I did.Can a game be both dark and mature? Yes.In fact, RPGs that incorporate maturedecision making in a dark setting can leadto the most intense role-playing possible,and these settings and RPGs are among themost successful in the industry. (Whatdoes that say about us?)

It is possible to play a mature game in animmature fashion (looting and pillaging, asmentioned above), just as it�s possible torun a mature campaign using almost anyrules system (with the possible exceptionof humorous RPGs). It�s up to you andyour group, really. I don�t intend to preachabout how you should play RPGs. Play thegame that�s fun for you; it is your cam-paign, after all.

Stephen CarterCleveland OH

I would like to tell all you AD&D gameexperts out there about something that isgiving me trouble. You see, I am a player,and have been for about three years (I�monly a teen). I fell in love with the gamethe second I started (as a 1st-level wizardwith a 13 intelligence). Then my parentskicked me off Prodigy (where I playedover the modem) because I was runningup a huge phone bill. I despaired for abouta year until I started reading some of thesemagazines and saw that you didn�t have toplay over the modem. Unfortunately,when I walked into school and askedaround for a gaming group (or club) Ifound that no one in Wading River hadeven heard of the game. Once again Idespaired until I asked some friends ifthey knew anyone who played. Theydidn�t, but after I coerced them into play-ing a quick made-up game with me, theystarted to play themselves. I became theDM (I was the only one who knew any-thing about the game) and we started toplay. Or maybe I should say, tried to play.

Since I had played on the modem I hadno idea of what I should do. I went outand bought the Players� Handbook andDUNGEON MASTER® Guide. They helpedgreatly, but now I see that they are justnot enough. I have the The Tome of Magic,the MONSTROUS MANUAL� tome, theFORGOTTEN REALMS® campaign settingand the FORGOTTEN REALMS Atlas andPlayer�s Guide. I have PHBR 1, 2, 4, and 5. Iam now trying desperately to start a cam-paign in this setting. Unfortunately, I amjust not a DM (yet). I have a little creativity,but not enough to get the players to likethe game enough to really want to play. I

5 2 J U N E 1 9 9 5

almost drag them along with my pure lovefor this game.

Well, now that you know my life story,let me get down to my problem. I waswondering if anyone can give me tips onhow a DM becomes a DM. I have played inone adventure in my entire life (onProdigy, with no access to any rulebooks)and now I am supposed to become a DM. Iam sending out a plea to anyone who hasany idea of what it is like to be a DM.What are your favorite house rules, howyou do you make it fun for the players,how do you make sure that in the THAC0system they can�t figure out magical itempluses just by rolling the dice to hit amonster? How do you make dungeonscreep and crawl? How do you make citiesbustle? And most importantly, how do youteach players how to roleplay their charac-t e r s ? !

Usually my players are just too embar-rassed to do anything but say, �My charac-ter walks up to the man and says, �Hi,where�s the temple?�� Then I respond with,�Well, it�s up about two street turns.� Theyreach the temple and heal (by just saying,�Are we healed yet?�) and then walk backto the inn. I give them a description of theinn with it�s patrons and the like, butinstead of role-playing and buying a drinkthey just say that they get the point.

DMs who play the FORGOTTENREALMS campaign: I would especially liketo know your house rules since they mighthave to do with the actual Realms cam-paign. Thanks in advance for giving meyour insights on my problem.

Mike ClairWoodchuck Hollow Lane

Wading River, NY

When starting a new campaign,players�especially new and inexperiencedplayers�are often disoriented by theircharacters� hometown, a place they havesupposedly lived in for 16 to 18 years!Even with a briefing and packets of infor-mation (as suggested by Eric Noah in hisarticle �Right from the Start,� issue #208)the players often aren�t confident whenmoving around town.

To ease them into the process theirhometown can be loosely modeled on theplayers� own world. If the players are over18 (21 for American readers), they proba-bly frequent a pub. This pub can easily beconverted to a low-beamed tavern, withsuitable changes such as the doormanbecoming a retired fighter. The barmaidbecomes a good-natured halfling andregulars become the usual assortment ofhumans and demihumans, each withquirks that make them familiar yet suffi-ciently distinct. PCs would also have abetter idea about who to approach forinformation since they already have aninsight into each NPC�s personality andfields of expertise, just as if the PCs hadknown them for years.

Other pubs can be involved, those with areputation for richer clients may become

the �regular� for the Mayor, merchants,and snobby fighters, such as the cavaliersor the royal bodyguard, who wouldn�twant to be seen with the �great un-washed�. On the other hand, pubs with aseedier reputation could become the localthieves� den, a place to find contacts withthe criminal underworld or to hire thugsand assassins.

Local buildings could also feature. Thetownhall becomes the local seat of powerfor the mayor or, if the PCs live in awealthy city, the court of a baron or eventhe king. Most towns also have a centralchurch. This becomes the basis for a tem-ple dedicated to the area�s major deity.Other, less central, churches are trans-formed into the site of more specializedtemples, for example, the temple may bedeemed to be in the elf quarter and there-fore it would be dedicated to a god suit-able to the surrounding populace.

Lastly, unusual constructions can beincorporated. A nearby ruin can becomepart of the locale�s history, as well as apossible site for ghosts that must be laid torest by adventuring clerics. Clock towersare perfect for a wizard�s residence (justreplace the clock face with a large tele-scope that points to the heavens). Maybe asociety has its own meeting hall; in BritainMasonic lodges are relatively common andare easily changed into the base of a secretsociety, either benevolent or malign, thatneeds to be investigated at the request of amysterious stranger. The commonplacecan be adapted to fit into a fantasy con-text, and with a little further thought yourtown can be changed to fit a science fic-tion setting. Even elements from the play-ers� favorite films can be incorporated,Watt Dabney from Jabberwocky or InigoMontoya from The Princess Bride haveboth appeared in recent adventures in mycampaign, as have characters from High-l a n d e r .

All these things make a town seem famil-iar and help the players� integration torole-playing seem less of a shock. As aresult, players can concentrate more ondeveloping their inter-character relation-ships, and they can advance in the cam-paign with an idea of where to go for help.

Philip CrawleyDarlington, England

I play a FORGOTTEN REALMS campaign,and my problem is that my players aresimply invincible. This is partially myfault, since I handed out a 1d100 hp dam-age sword and some 50% magic resistancearmor to the party�s fighter. This was nottoo much of a problem, as I simply invent-ed very strong monsters and later simplytook these amazing artifacts away. But theproblem is that the players have found away around almost every situation and Ihave no logical reason to disallow thesethings.

For example, the paladin has acquired apowerful mage, whom he has paid vastamounts of money to make potions to

DRAGON 53

raise all his ability scores to 18. The wiz-ard is having a field day with his wishspell. When his Strength gets low hewishes to be as strong as a titan (Strength25) and after aging he wishes to be youn-ger. He has simply wished to ignore thenegative effects of magical spells anditems, so he can ignore the wishes spell�sdownsides entirely. And death is hardlymeaningful for a party with a cleric who isresurrecting people every day, with wish-es on hand for those who fail survivalchecks.

Play With Me

I would like to know if other DMs haveadvice or suffer from this themselves. TheMC monsters are simply too weak for PCsable to deal out 32d8 hp damage with asingle Abi-Dalzim�s horrid wilting or tostand firm against monsters such asgreater mummies casting out creepingdooms and death knights weilding swordsof life-stealing.

I would also like to know if a DM ismeant to design his own items and arti-facts, as I cannot find anything in the rulebooks about this subject. After a few falsestarts (the infamous 1d100 sword), I havedesigned many spells, items, and monstersthat have given us all a good session, andwas wondering if this was, in fact, anintended practice!

Joe WalkerUnited Kingdom

Continued from page 8

worlds we played in by probing and asking.None of us knew that September would

be dead little more than a year later, thecancer that killed her already eating awayat her, inside. Like all first loves, she�ll liveforever, laughing, in memory.

I still try to DM the way she did, allthese years later, though I�ve accepted thefact that I�ll never have September�s looks.I�ve tried to hold on to what we had,though: love, honor, and friendship.

Love is what the Realms has always beenabout; not just grand romantic passion, butsimple, decent folk doing kind and noblethings for others, up to and including layingdown their lives for their friends.

As for honor, I still feel�project afterproject�that it�s an honor to share �my�world and dreams with gamers every-where. I am, and will always be, gratefulto TSR for doing so, from the pages ofDRAGON® Magazine #30 onward.

And that leaves us with friendship. Themost precious thing the Realms have givenme are good and true friends, from Dave,Ken, and Tim to Victor, Andrew, John (thesplendid roleplayer), Ian (the first Lore Lordof the Realms), Jim, Anita, and Cathy of mystalwart players; to creative folks who�veshaped the Realms with me: Jeff Grubb, SteveSchend, Rob King, Karen Boomgraden, and

Julia Martin (among many, many folks atTSR), and fellow scribes Bob Salvatore andElaine Cunningham; to the gaming friends I�vemet and made all over the world, from �Un-cle� Wes, Grant, Leslie, Craig, and Nicole inAustralia (and hello to all at Mack Campbell�sBookshop in Toowoomba!), to Chris and Leoin Sweden, to Chris and Lisa in Dallas, toSteve and Jenny in Peterborough, to Mikeand Roxy in Pennsylvania, to Erica in Co-bourg, to Terry, Steve, Helen, Lori and Dougin Houston, to Alex, Cheryl, and Merle inToronto. The list can go on for pages. Youhave all made my life brighter, and you arewhy I keep on writing instead of being the(richer) doctor or lawyer my folks wanted meto be.

Besides, for me, it�s become a duty:someone has to be Elminster . . . and I�vemastered the bawdy banter.

And if I sometimes get tears in my eyeswhen I�m running yet another Realmsplaysession, it�s because something has sent meback to that sun-dappled fern bower un-der the trees, and September�s clear voicecalling, �Swords bright!� in farewell, as shestarted her walk back to the bus.

I�ll never see her again, but in theRealms, I can meet her every day. Fare-well, September�and well met!

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

54 JUNE 1995

Cutting Through the Confusion

Magic Resistance, Step by Step

by Skip Williams

If you�re having trouble deciding howmagic resistance ought to work, don�tworry, you�re in good company. Magicresistance is widely misunderstood, andhas been giving DMs fits since it was intro-duced back in the original D&D® game.

The first version of the game was a setof three slim booklets in a nondescriptbrown box. One of the monsters includedin the set was the balrog, which had a 75%chance to resist spells cast at it. At thetime, no other monster in the game hadthat ability and DMs didn�t quite knowwhat to do with it. Most people treated thebalrog�s magic resistance as a special sav-ing throw, rolling 1d100 instead of 1d20 tosee if a spell cast at a balrog worked ornot. Of course, this meant that a balrogthat successfully resisted a fireball stillsuffered half damage from the blast. Even-tually, however, word got out that magicresistance was something that a creatureenjoyed in addition to a saving throw, andthat successful resistance made the crea-ture immune to the spell.

These days, the sheer diversity of magicin the AD&D® game makes adjudicatingmagic resistance something of an art, butit�s an art anyone can master.

The StepsNo matter what the circumstances, youcan decide how magic resistance works byfollowing three basic steps:

Step One: Decide if the magical effectcan be subject to magic resistance at all.Only spells and spell-like abilities fromcreatures and magical devices are subjectto magic resistance. Breath weapons, gazeweapons, special attacks (such as disease,energy drain, or paralysis), magical com-bat bonuses, and psionics are not. A feareffect from rod of lordly might is subjectto magic resistance, because it is a spell-like effect. The rods combat bonuses (suchas the +2 bonus from the rod�s maceform) are not.

Step Two: Decide if magic affects theresistant creature directly. Magic resist-ance has no effect unless the energy cre-ated or released by the magic actually goesto work on the resistant creature. If themagic acts on anything else (the air, theground, the room�s light) and the creatureis affected as a consequence, there is no

56 JUNE 1995

magic resistance roll.Creatures can be harmed by a spell

without being directly affected. For exam-ple, a continual lightspell, harms a drow elf because drow are

sensitive to light and suffer considerablepenalties when exposed it. Continual light,however, usually is cast on the area con-taining the drow, making it bright, not onthe drow itself. So, the effect is indirect.

Step Three: Decide what happens to themagic if a magic resistance roll is calledfor and it succeeds. The result of a suc-cessful roll depends on the type of magicinvolved. For purposes of magic resist-ance, we�ll split magic into just four types.(See Chapter 9 of the Players Handbookfor details):

Individually targeted spells, which arecompletely negated if the resistance rollsucceeds.

Area-effect spells, which have no effecton the resistant creature if the resistanceroll succeeds, but are not negated. Othercreatures and objects within the area ofeffect are still subject to the spell.

In-place spells, which collapse and ceaseto exist if the resistance roll succeeds.

Permanent spells, which have no effecton the resistant creature if the resistanceroll succeeds, but are not negated. Thepermanent spell continues to function andother creatures within the area of effectremain subject to the spell.

There, now you know everything youneed to know about magic resistance.

TroubleshootingHaving problems? Here are the difficultiesmost commonly encountered at each step:

Step One: The most frequent problemhere is deciding what is a spell or spell-likeeffect and what isn�t. All spells are poten-tially subject to magic resistance. If theuser memorizes it and casts it, it�s a spell.Beyond that, anything that works like aspell is also subject to magic resistance.Use your common sense. Does the effectin question seem spell-like? If so, it proba-bly is. (Sometimes it pays to get literal. If amonster�s description contains a list ofspell-like abilities, then everything in thelist is spell-like.)

A creature can have some abilities thatare subject to magic resistance and some

that are not. For example, an andros-phinx�s priest spells are subject to magicresistance, but its roar is not (it�s more likea breath weapon than a spell). An aboleth�senslavement power is subject to magicresistance, but its mucous cloud is not (thecloud is produced in the aboleth�s body). Acleric�s spells are subject to magic resist-ance, but the character�s undead turningability is not (unlike a spell, undead turn-ing works only under certain specificconditions).

Step Two: The chief difficulty here usu-ally is deciding whether the effect in ques-tion actually works directly on the target.Many effects are not subject to magicresistance because they are indirect. Theeasiest way to decide if an effect is director indirect is to consider the school ofmagic involved.

Evocations: These spells are almostalways subject to magic resistance. If anevocation spell inflicts damage, it is eitheran individually targeted spell or an areaeffect like ice storm, depending on the spell.

Wall spells are in-place effects. They aresubject to magic resistance if they inflictdamage, entrap, or restrict movement.

Enchantments/Charms: These are almostalways subject to magic resistance and aretreated as individually targeted effectsunless the spell enchants an object that isthen employed against a creature�theseare indirect spells. An enchanted weaponspell, for example, is never subject tomagic resistance. Enchantment/charmsthat effect several creatures simultane-ously are treated as individually targetedeffects, but only the portion targeted at aresistant creature can be negated.

Conjurations/Summonings: These arealmost never subject to magic resistanceunless the spell conjures some form orenergy, such as a power word, stun or aprismatic spray. The former is an individu-ally targeted effect, the latter is an areaeffect. Spells that summon creatures arenever subject to magic resistance. A fewconjurations fall into a gray area. Evard�sblack tentacles, for example, can be treat-ed as a summoned creature (and thereforenot subject to magic resistance) or as anin-place effect. Pick one and then stickwith your choice.

Abjurations: These are sometimes sub-ject to magic resistance. The target crea-

ture must be harmed, changed, orrestricted in some manner. Perceptionchanges, such as non-detection, don�tcount.

Illusions: These spells are almost neversubject to magic resistance. Illusions thatinflict a direct attack, such as phantasmalkiller or blindness,are exceptions.

Alterations: These usually are subject tomagic resistance, especially if they trans-form the target creature. Alteration spellsare not subject to magic resistance if theyare targeted on a point in space instead ofa creature. Transmute rock to mud andwizard eye change a creature�s surround-ings, not the creature itself, and are neversubject to magic resistance.

Divinations: These do not affect crea-tures directly and are not subject to magicresistance, even though what they revealabout a creature might be very damaging.

Necromancy: Most of these spells alterthe target creature�s life force and aresubject to magic resistance. Necromancyspells that summon creatures, such assummon shadow, or detect creatures,such as detect undead, are not subject tomagic resistance.

Step Three: This step usually doesn�tgive people much trouble, but beware ofindividually targeted effects masqueradingas area effects. Spells such as magic mis-sile, hold person, hold monster, and slowaffect several creatures within a limitedarea. Nevertheless, they are individuallytargeted spells, though a successful resist-ance roll still applies only to the portion ofthe spell directed at the resistant creature.

Area effects are not negated by a suc-cessful resistance roll. A baatezu caught ina lightning bolt while crossing a bridgeover a bottomless pit can avoid the spell�seffects, but the bridge can�t.

Wall spells are in-place effects (unlessthey are permanent); if a resistance rollsucceeds against a nonpermanent wall, thewhole wall collapses. This can be quiteterrifying for a mage who thought he wassafe and sound.

Miscellaneous NotesA magic-resistant creature�s own abilities,spells, and magical items always worknormally; magic resistance never inter-feres with magic that comes from theresistant creature. Also, magic resistanceextends to a creature�s items. If its resist-

ance succeeds, the creature�s items areprotected, too. Magic resistance can bevoluntarily lowered whenever the resist-ant creature wishes. Doing so takes someconcentration, and cannot be done whilethe creature takes any action other thanmoving at half normal speed. Once resist-ance is lowered, every spell directed at thecreature that round works normally.

Magic resistance works in addition to asaving throw, if the resistance roll fails,the creature is entitled to a saving throw(if one applies). A creature that has volun-tarily lowered its resistance fails its resist-ance roll automatically, but it still gainsany saving throw it normally would beentitled to.

A special note about wall spells: If (likeme) you�re uncomfortable with thethought of magic resistant creatures run-ning around collapsing wall spells, I sug-gest that you treat all wall spells aspermanent effects. Magic resistant crea-tures can walk through them if their re-sistance rolls succeed, but the wall doesnot collapse. If the resistance roll fails, thecreature cannot try to penetrate the wallagain that day.

DRAGON 57

Second-Class Citizen

This month we�re going to look at a pair ofMac games�you know that other com-puter platform. Of course, as Crusty OldKen Rolston (who looks at everything on aMac) knows, the Mac is a perfectly fineplatform that is vastly under-appreciatedby the general masses of humanity. Ofcourse, Ken would say this but he�s onvacation this month, so that just leavesPaul and Zeb to be crusty this time. (Allright, this is a feeble attempt to prove thatwe really are broad-minded and liberaland not just oppressive PC snobs.)

However, the sad fact for those Mac fansin the world, is that there just aren�t asmany games for their machines. Doing alittle investigative reporting, I (Zeb) turnedand asked Paul, and a bunch o� other folks(who know more about Macs than humanbeings with real lives ever want to know)just why there are so few Mac gamescompared to PC games. Here�s what theysaid.

PCs are evil. There are lots more ofthem in the world and therefore lots ofpeople available to sell games to.

PCs are evil. IBM chose to have an �openarchitecture� which allowed lots of peopleto monkey around with everything insidethe box, and in the code, and create cus-tomized widgets to make their games justso, which is why it�s impossible to load thesame game your friend has on your ma-chine without a degree from PC Univer-sity.

PCs are evil. PCs use DOS. DOS is clunky,dumb, and not real complicated. DOS iseasier to learn and manipulate than Sys-tem Whatever, which the Apple peopledon�t want you monkeying with anywaybecause it�s a �closed architecture.�

Enough of this. On with the reviews.

Jump RavenA Review by Paul Murphyfor MacintoshA Paramount Interactive CD-ROMRequirements: Color monitor, CD-ROMdrive, 8 MB RAM (6 MB free)

ApologyLet me just say that I�m in a bad mood. Ithappens, even to the best of us. Whenyou�re in a bad mood, you probably dostuff you regret later, like drive too fast onthe highway, or say something you don�tmean to a co-worker. When I�m in a badmood, I tear apart a game I�m reviewing.

So, I�d like to apologize, right now, to thecreators of Jump Raven. I�m in a bad moodand I�m gonna savage your game. I�m sureI�ll feel bad about it tomorrow, if that�s any

consolation.

Cosmology of Kyoto (Yanoelectric)

OverviewJump Raven is an SF game set in New YorkCity, sometime in the next century. You area mercenary. You ride around in a cool,high-tech hovercraft, armed with a varietyof neat weaponry. You and your co-pilotwander the city, blowing the heck out ofevil skinhead eco-terrorists, rescuing podscontaining an arkload of genetic material.Sounds interesting, eh?

It should be. The premise has everythingyou might want in a fun, violent game:greasy punk villains, a politically-correctcause, a fast car (hover-car, that is), and

loads and loads of firepower. When Iopened this baby up, I was really lookingforward to murdering hordes of mohawk-topped bad-guys. The opening sequencewas up to specs, too.

Opening SequenceLet�s get one thing straight, right up front:despite everything you might have heard, Iam not automatically against five-minute-plus opening sequences to simple arcadegames, complete with complex story-lines,loads of extraneous characters, and really,really expensive animation and special-

DRAGON 59

effects. If done right, they can add a lot tothe game.

Jump Raven�s opening sequence wasdone right. We get to fly around a cool-looking Manhattan, see really crassadvertisements�for Bazooka Hut andMucus-Off, among others�and generallyhave a good time. The music is cool, theanimation impressive, and the credits areno more than usually offensive.

My one objection to the opening se-quence is that we�re not told right up fronthow to skip it. You can pound on the Es-cape, Delete or Enter keys all you like,click the mouse-button till you�re blue inthe face, and nothing happens. Later on,you learn that you can hit Ctrl-. (controland period simultaneously) to get throughany annoying sequences, but by thenyou�ve irretrievably lost five minutes ofyour life reading slow-roiling credits.

By the time the game started, I was in abad mood already.

BriefingOnce you�ve survived the credits, you getto enjoy the briefing. A lovable old charac-ter with some kind of pet rodent on hisneck tells you what�s up, helps you pick aco-pilot, and introduces you to the Weap-ons Lady.

It�s not too bad, really. Once again, theanimation�s pretty good (in the faces, onlythe eyes and mouth are animated whilethe rest of the head and torso are still,harking back to the old, innocent days ofcheap TV animation). The writers hadsome fun with this stuff: the charactersare fairly neat, and the conversations arefun as well. It all took just a little too longfor me�but maybe that�s just �cuz I wasalready in a bad mood.

In any case, you�ll eventually get throughthe briefing, clamber aboard your ma-chine, and head off into the Bronx (sorry!)on your first mission.

How it LooksJump Raven has a kinda neat-lookinginterface.

The center of the screen is the pseudo-three-dimensional display. Your hovercraftis in the foreground. It is surrounded by afuturistic Bronx (sorry!), complete withtall, good-looking buildings, roads laid outin a rigid grid pattern, and no garbage atall. Not as accurate as you might like, butstill functional and attractive.

The top left corner of the screen con-tains a video monitor, where your co-pilotand some other characters tell you stuff.Below that is a panel with three buttons:Navigation, Hover, and Weapons. Here youassign your co-pilot control over one ormore systems.

The bottom edge of the screen is theweapons display, showing your variousweapon-systems: laser, rocket, missile,bombs, etc. You click on a picture to acti-vate that system.

The right side of the screen displays a

60 JUNE 1995

bunch of other info: an ammo statusboard and a directional display for findingenemies, pods, repair docks, fuel trucks,and so forth.

As I said above, this display is basicallypretty and functional. Kudos to the screen-design guys.

How it WorksOkay, you�re sitting there in the Bronx,right? Now what? First, you assign yourco-pilot a job or two: weapons (firing theguns), navigation (steering the vehicle),and/or hover (hovering).

So naturally, right at the start, you�reteed-off: the game hasn�t even started yetand you�ve got to give up control of animportant system to an NPC. Why? Poorgame design is why. The designerscouldn�t be bothered to design a vehiclesimple enough for you to control in itsentirety: to fly the damn Raven, you re-quire the assistance of somebody else.How irritating.

Anyway, you look over the choices to seewhat you�re gonna give to the co-pilot. Younaturally decide to hold onto weaponsbecause blowing up stuff is what you�rehere for; similarly, you want to hold on tonavigation, because driving is fun. So theco-pilot gets hover.

Now you�re ready for combat. You clickon the lasers icon, because it�s all the wayto the right and you have no idea whatany of the weapons do anyway, and it�s afine place to start. Eventually, little redblobs appear on your directional finder,announcing the impending arrival of badguys. You zoom toward them, using yourkeyboard to turn left and right and goforward. Soon little sprites appear in frontof you. You put your cursor on �em andwhen you click the mouse-button, greenlaser-rays shoot out from your craft.

Blowing Up StuffImagine this: You put the cursor on astationary sprite ahead of your craft andpress the button. And you miss. Hmmm,you think. Wonder why I missed? So youpress the button two or three dozen moretimes, keeping the cursor firmly on-target.And you still miss. This is unfortunate. Yousay a couple of bad words.

Eventually, through trial and error, youdiscover that, in order to hit something,you must place your cursor above thetarget! Always�even if you�re not movingand your target�s not moving. It�s just likeRobocop after he�s shot up by the entireDetroit police force: your targeting systemis always off!

Naturally, you respond by hurling theCD across the room, through a waitingopen window. Then, remembering thatyou�re on deadline with this stupid review,you go outside, brush off the CD, andrestart.

Meanwhile, all sorts of baddies are am-bling around the screen, moving towardyou, shooting you, moving away in a sort

of Brownian motion. You get bored withthe laser, and switch to other weaponsystems. They all seem to do something,you�re not sure exactly what. The rocketsmake a nice �Spang� noise when they hit;the missiles seem to blow up stuff realgood, but have virtually zero accuracy�that is, I haven�t yet figured out where toput the cursor to make them hit.

Then there are these jeep-like things,see? They stay on the ground, and shoot atyou with machine-guns or something. Youshoot back at them with your laser, andfind to your chagrin that you can�t hitthem at all, no matter where you aim. Soyou switch to rockets, missiles, etc. . . .nothing works.

Finally, you remember that the weapons-system all the way to the right, the bombs,is specifically designed for ground targets!Phew! So you switch to the bombs to takeout the pesky jeeps. And you can�t hit �emfor beans. Ever. You blow up dozens ofbombs, and the jeeps stay there, grinningevilly at you. Frustrated some more, youleave the area and go blow up more flyingguys.

Eventually, you zoom around the city,rescuing some pods and blowing up someflying things, both of which give you anice cash bonus. But, at the same time,you�re taking damage. Weapons systemsgo out, you run out of fuel and ammo, andso on. A variety of repair-replenishmentvehicles show up, you dock with �em, andget fixed and stuff�if you can afford it.

Sooner or later, though, you�ll run out ofmoney before clearing the Bronx of vil-lains and rescuing all the pods. Then thegame is over. If you�re on deadline, yourestart and try again. If you�re a consumer,you take it back to your software storeand demand a refund.

Other StuffReward Screens: How the heck should I

know? I played this game for two bloodydays and was never able to clear theBronx! Maybe the reward screens arereally cool; you�ll have to ask someoneelse. (Incidentally, this is another graphicgame-design failure: you should alwaysgive the customer an easy early victory.This sucks him into the game, and trickshim into putting up with future bad designdecisions . . .)

Music: Very well done indeed. You�regiven four different rock styles to choosefrom (excellent decision!); each is good.Well done.

Installation and Stuff (Remembering thatI�m working from the Mac here): Not bad.You�re given three versions of the operat-ing system, each of which requires a dif-ferent amount of RAM. Thus, you can loadthe version that�ll work best on your ma-chine. Cool.

Help: This robot guy gives you assistancewhen you click on the help button. He�scool, and he fully explains all of the but-tons and screen areas and stuff. He doesn�t

provide strategic or tactical assistance,though, so don�t ask him.

ConclusionJump Raven just ticks me off, see? As agrizzled veteran crusty old game-designer,I�m fully aware of how much time, trou-ble, blood, sweat, toil and tears went intothis game. Dozens of highly-skilled folks�programmers, animators, artists, design-ers, musicians, etc.�busted their butts formonths and months to make it. Yet it�s afailure. Once again, a computer CD-ROMgame fails, because the producers forgotthat the most important part of a game isgame-play.

I don�t care how good a game looks orsounds, how cool the animation andspecial-effects are, how easy it is to load orsave: if it isn�t any fun to play, it�s a failure.So there.

Now, if you�ll excuse me, I�m going to gotake a couple of aspirin and lie down withan icepack on my head until the nextreview. See you.

Cosmology of KyotoReviewed by David �Zeb� CookSupervised by Dr. Kazuhiko Komatsu,

associate professor of anthropology,Osaka University for Macintosh

Requirements: System 6.07 or later, Quick-time 1.5 or later, 4 MB RAM, 13" colormonitor, CD-ROM, KanjiTalk (optional)

In the ancient days of Japan, the worldwas more than just the world of night andday or work and rest. It wasn�t enough fora peasant to rise with the sun and work allday or a nobleman to remember all thecorrect forms of etiquette needed survivein the court. These simple rituals were notenough. Safety and success required anintimate understanding of the traditionsand taboos of the other world�the worldof the spirits . . .

Wait a minute! What is this? Does DRAG-ON magazine share office space with theJournal of Asian Studies? Did somebodyswitch the manuscripts? Is some baffledprofessor about to lecture his ComparativeReligions of the Pacific Rim class in �101Ways to Make a Better NPC�? Wouldn�t youlike to be there when he did?

Well, sorry, no such luck. Cosmology ofKyoto is a Mac title from Japan. Part game,part history lesson, and part software toy,Cosmology of Kyoto is a unique gamingexperience. Those looking for an adven-ture game unlike any they�ve ever seenmight want to take a look at this CD-ROM,because Cosmology of Kyoto is unlikeanything else out there.

Consider the typical adventure game: Inthe Typical Adventure Game�, the stand-ard by which all others are measured,your goal is to go out there defeat every-thing in sight and not get killed. In Cosmol-ogy your goal is to get killed�over andover and over again. In the typical adven-

62 JUNE 1995

Cosmology of Kyoto (Yanoelectric)

ture game, you have encounters withhideous monsters and vile wizards. InCosmology you learn Buddhist rituals,tryst with secret lovers, and avoid shape-changing foxes. In other adventure gamesyou�re an apprentice wizard, a brave hero,or an exceptional person put to the test. InCosmology you�re just an ordinaryperson�in fact you don�t even have aname or a bag of special skills. Otheradventure games boast of their variedlocales, creative worlds, full animations,and rich graphics. Cosmology�s stories,taken from history and folklore, are toldthrough cartoon-like characters broughtto life with the same realism as the anima-tions in a Monty Python episode.

In fact, there�s a lot not to like aboutCosmology. The interaction is limited. It�shard to know just what you�re supposed todo to �win� the game. Worst of all, the CD-ROM load times are appallingly long(though this is in part the fault of themachine). In the time it takes to changescreens, you could sometimes brew a cupof coffee.

So what makes this game so appealing?Clear and away, it�s the basic concept.Cosmology of Kyoto is both a game and acultural lesson all at once. Now, as thedesigner of Oriental Adventures for theAD&D® system, I�ll admit a certain fascina-tion with the Far East, but what othergame says that winning is to attain thePure Land of Buddhist belief�a place youcan only reach by dying? Of course, if youdie with too much karma, you�re just aslikely to be reappear in one of the Hellsor�my favorite�be reborn as a dog. (Thescreen goes to black and white and aboutthe only thing you hear is yourself whim-pering.)

The encounters you have are equallyfascinating. There�s not much of a story tofollow, so you don�t spend a lot of timerunning from place to place collecting thiscookie to give to that monster. However,you meet a lot of people and see a lot ofstrange things and they�re all true! Well,sort of. All the encounters are taken fromthe history, folklore, and legend of Kyotoin 1,000 AD. At the time, Kyoto was thecapital city of Japan, home of the emperorand his court. Life in Kyoto ranged fromthe pinnacle of refined culture to themeanest beggars in the streets. Still, as theslim booklet makes abundantly clear, amajor concern of life in Kyoto was dealingnot just with your next-door neighbor, butalso with the immense collection of spirits,ghosts, goblins, and demons that wantedto inflict harm on the city, its people, orthe emperor. Many of the encountersretell familiar tales from Japanese folklore,and it�s fascinating to match your ownknowledge against the discoveries youmake. Many of the encounters are com-pletely cryptic: What can you make of thetea-kettle spirit that suddenly runs into thecenter of the road and buries itself beforeyour eyes? Or the swath of demon foot-prints that just as suddenly appear out ofnowhere? Or�and this is truly choice�thebeautiful woman who lures you into thewoods only to change into a fox and sprayyou with its . . . well, the screen goesyellow at that point.

Fortunately, you�re not left adrift. Theother part of Cosmology is the Encyclope-dia. Every encounter, every building youcan enter, even every street you can walkdown has place in the Encyclopedia. Foreach entry, a snippet of the history, story,or culture relates to the game, and pro-

Cosmology of Kyoto (Yanoelectric)

vides a picture and links to other topics.Wondering about the story behind thosefootprints that just appeared? Look it up ifyou�re curious. If you are sent to the Hellof Hungry Ghosts, you can switch to theEncyclopedia and find out just what tor-tures await you (which you�ll get to see on-screen later) and what kinds of sinnersmade their way there. From there youcould learn about the other hells or theconcept of reincarnation. Or you could goback to the game. In fact, the Encyclopediacan be used entirely by itself, without everopening the game. The CD-ROM can evenbe used for aspiring speakers of Japanese,since all the encounters have digitizedspeech, all in Japanese. For the rest of us,Cosmology shows English translations ofeverything that is said.

Cosmology of Kyoto is frustrating,flawed, and fascinating. The play is slowand deliberate, sometimes outright plod-ding. Through large parts of the game,players may feel lost and aimless. Interac-tion is often limited to watching littlestories unfold. Accessing screens isn�talways logical or easy. Throughout it all,though, the wonder of the setting and itsapproach outweighs these irritations.There are too many fascinating things todiscover, from haunted houses tobackgammon-playing demons.

Ultimately, Cosmology of Kyoto is bestviewed as less a game and more a soft-ware toy, one of those things you plug inand fiddle with. Once you forget aboutwinning and indulge your curiosity, theCD-ROM�s strength truly shines. There aretoo many little discoveries to make. Youcould even use it as a resource for yourown role-playing game, borrowing en-

64 JUNE 1995

counters and background. Indeed, theultimate would be to set a campaign inKyoto using the CD-ROM as your gameworld. Almost all the material is there�the box even includes a street map ofancient Kyoto.

So look, forget about winning and ex-plore. What�s the worst that could happento your character? You die? Reincarnationdoes give you a certain freedom after all.

Quick NotesMarathon: First there was DOOM* and

it was good. And it was for the PC only.And there was much sadness. Then therewas MARATHON* and it was for the Mac.And there was much joy. MARATHON isDOOM for the Mac. Pretty much. Oh, it�sgot goofy-looking aliens, and hostages torescue, and takes place on something thatlooks like a space station, but the sameidea is there. Played solo, it just ain�tDOOM, but MARATHON can network upto eight players. And we all know howeasy it is to link Macs together, right?

Unless otherwise noted: ® and ™ denote trademarksowned by TSR, Inc. ©1995 TSR, Inc. All RightsReserved.* indicates a product produced by a company otherthan TSR, Inc.

What’s your opinion?

What is the future direction of role-playing games? What problems do youhave with your role-playing campaign?Turn to this issue’s “Forum” and seewhat others think—then tell us whatyou think!

HowTo

MakeVillainsReallyMean

Morgan and his band of adventurersstrode into the throne room and kneltbefore the wizened king.

�We have come in answer to your call,milord,� Morgan said. �What is this blightyour messenger spoke of, and who isbehind it?�

The king raised his head and lookedMorgan in the eye.

�An evil wizard has thrown a curseupon the land . . .� he intoned.

�Oh, great, another one,� Morgangroaned, rolling his eyes. �What a sur-prise. Oh, well, what�s this one�s name?�

One of the biggest keys to great adven-ture is a really nasty villain, one that play-ers will go out of their way to confrontand, with any luck, defeat. In too manygames and adventures, however, the vil-lain is nothing but a grocery list of powersand minions, a cardboard cut-out that theplayers fight because there is nothingbetter to do with their time.

To fire the players� interest andimagination, a good villain is in order. Thisvillain must be vile enough that the play-ers will want to throw a wrench in hisplans even if their characters are notgetting paid to do so. But how does one goabout making an archvillain that the gam-ing group will love to hate?

The two key tools for making a genu-inely despicable antagonist are fear andhate. As a species, we hate what we fear,and we fear what we hate. If you can

create a character the group is afraid of,but despises so much they will still goafter him, then you have succeeded inmaking an outstanding villain.

FearFear is a good thing. Fear keeps the

players on their toes, makes them wringtheir hands and worry. Real fear helpsplayers suspend their disbelief and iden-tify with their characters. Fear makes forgood roleplay.

But fear is elusive in role-playing games.It is very hard to instill fear in playerssitting around a table with their friends ina well-lit room. Getting players to screamand jump is nice, but that is just a part offear�s potential. Fear is getting players toworry about what will happen to thecharacters they value so much, to wonderhow they will ever beat their adversary, orto fret when they cannot seem to get outof a sticky situation.

Here are some things villains can do tomake your players afraid:

Invulnerability. A good GM makesopponents challenging, but not so toughthat the players cannot defeat them. Indes-tructable villains lead to bored and frus-trated players. Every once in a while,though, the group should meet an adver-sary who is very tough to beat, or whomay be stopped only in a certain way. Thecharacters may run like rabbits at first,but just watch them sit down and fiend-ishly plot their opponent�s demise as soon

as they catch their breath.For instance, I ran a CHAMPIONS* cam-

paign with a group of malicious heroesknown as the Wrecking Crew. They hadsome tough fights, but they alwaysstomped the bad guys in the end. It be-came a pattern, and anything predictableis in danger of going stale.

One day the heroes ran into a group ofvillains called Anselum Defilus. AnselumDefilus had fewer members than theWrecking Crew, and the villains were onlymarginally more powerful. However,through complementary powers and team-work, Anselum Defilus smoked the heroeslike a cheap cigar. Twice. My players hatedthese villains more than anyone else,mostly because they were afraid of beingbeaten again. The Wrecking Crew eventu-ally managed to beat Anselum Defilus bytracking down the individual membersand pounding them when their friendsweren�t around to help.

Even in the case of nearly invulnerableopponents, the villain must have someflaw or secret vulnerability that allows theheroes to beat the villain; if the villain istruly indestructible, there is no point toplaying. Even Smaug, the great dragon inThe Hobbit, had a chink in his armor.

High Intelligence and Cleverness.How many times have you seen a monsteror master villain described as a �genius,�even though all he does is sit in a tower ordungeon, waiting for the PCs to come andsmash the place up?

DRAGON 67

I�ve seen this happen much too often,and it is entirely preventable. How is theaverage GM supposed to run a characterwho is more intelligent than he is? Simple.Assume that a genius can figure out al-most exactly what his opponents (the PCs)are doing at any given time.

What made Grand Admiral Thrawn ofTimothy Zahn�s Star Wars trilogy such adeadly opponent? An uncanny ability topredict and act on the plans of othersthrough infallible logic and study of theart of his opponents� culture. Zahn wroteThrawn as a genius so he didn�t have toresort to goofy plots and overly-complicated plans.

High intelligence can make a partyjumpy and jittery, always wondering if themaster vampire has yet again been able toguess their plans and lay a trap. Just likeinvulnerability, though, a genius villain canbecome frustrating if taken too far. Whenthe players are just about to give up, letthe villain make a mistake. Even geniusesslip up. If the PCs are quick to exploit themistake, their final plan may succeed.

Phobias. If the players are afraid ofsomething in real life, use that fear to youradvantage. By this I don�t mean lockingpeople in dark rooms or dumping livespiders on the gaming table. However,villains who embody or play on your play-ers� personal fears will strike a chord.

Maybe one of your players has a fear of

snakes (�Snakes. Why did it have to besnakes?�). Send the party up against thesnake cult from Conan the Barbarian, orthe Children of Yig in Call of Cthulhu. Ifthe PCs are captured, drop them all into apit full of venomous snakes, then describethe experience in excruciating detail. Iguarantee your herpephobic player won�thate any villain more than rotten snakeworshippers.

Another way to play on phobias is tointroduce a villain with the ability to readminds and generate illusions. Severalexamples exist in super hero and fantasygames, but the fear these villains engenderis often expressed as �temporary damagedue to system shock� or some other rules-heavy cop-out. One would imagine that anopponent with this power would befeared, but most players laugh at thembecause they are not played correctly.These villains can customize the fear forevery member of the party and spread thehate around evenly. By really getting intothe role and exploiting the players� real-lifeinsecurities and phobias, you achievemaximum gaming impact. Play it to thehilt.

Remember to keep it tasteful, though.Some people have such strong phobiasthat even role-playing against the objectsof their fear is too much. If you know orfind out one of your players has such astrong phobia, be mature and leave it

alone.Insanity. Many people are afraid of

insanity, and for good reason. The insaneare not predictable and don�t always meshwith our expectations. They live in aworld of their own and play by thatworld�s rules. In fact, it has become acliche for villains to be described as in-sane.

Almost all of Batman�s enemies are in-sane; that�s why they go to Arkham Asy-lum instead of jail. They are dark andfrightening because their thoughts andactions are unpredictable. Why are theMalkavian Kindred of White Wolf�sVAMPIRE* game and the Black SpiralDancers of the same company�s WERE-WOLF* game so shunned and feared?Because they are one and all off theirrockers.

Homicidal and sadistic impulses areevidence of insanity, not the disease itself.Take your players� crazy opponents to theouter extremes of the wild, the bizarre,the nonsensical, and the frightening. Re-member, the insane follow logic just likeanybody else, but it is a twisted, privatelogic. If the PCs can figure out what thepattern of their madness is, insanity canbe a useful tool to defeating the villain.

Friends and Power. George Orwell�snovels Animal Farm and 1984 are two ofthe most frightening books I have everread. Political power can, in many ways,

68 JUNE 1995

Artwork by Max M. Leon

be more deadly than magical or physicalpower.

Let�s say the PCs are part of the speciallaw-and-order task force of a fantasy city.They find out Abdeluh the wizard hascommitted murder and plotted against theking of the city-state. The PCs get theirgear together, wander out to the wizard�ssecret tower where she lives by herself inthe middle of nowhere, and fix Abdeluh�swagon. A nice, clean-cut, black and whitescenario. Whether they win or lose, thepowers of goodness are on their side.

Now, let�s just say that instead of Abde-luh living alone in the middle of the desertwith only her familiar to keep her compa-ny, she lives right in the middle of the citythat the players are trying to protect. Infact, Abdeluh is the court wizard, and hasdone many things to make her popularwith the royalty and city as a whole. Be-sides that, she wields huge political power.

Without casting any spells, Abdeluh candefeat the PCs. She can get them fired,destroy their reputations, send the king�sown guards or assassins to arrest or poi-son them, confiscate their possessions,imprison their loved ones, and generallymake them miserable.

Why is this frightening? Because as aGM, you have made it absolutely clearwhat will happen to the PCs if Abdeluhfinds out they know her plans, much lessare plotting to act against her. The party

will have to skulk in shadows and walk oneggs the whole time they are rushing tosave king and country. One wrong moveand the jig is up.

Perhaps the party is fighting against thenew, totalitarian regime. Or they muststop a very popular political or religiousfigure, a la George Stillwell of StephenKing�s Dead Zone.

With politically powerful opponents, thestakes are always high. If the party doesnot succeed against conventional villains,they can always track the bad buys downagain later for a rematch. With popular,high-ranked villains, the PCs get one shot.If they miss, the villain can crush them bypicking up the phone. Now that is fear.

Paranoia. When the PCs have no oneto trust and nowhere to hide, they havemuch to fear. They will be afraid when theenemy has them surrounded and controlsthe situation. The players will fear theircharacter�s well-being when they doubtthe most trustworthy of NPCs.

Why would the PCs fear everybody theymeet? Plenty of reasons. The villain mayhave mind control powers. There may bea fat reward for the party, and everyonewants to cash in. They may be wronglyaccused of a heinous crime, as in TheFugitive. The town, country, or world hasbeen invaded by aliens like those inInvasion of the Body Snatchers, or by theRAVENLOFT® realm�s doppleganger plants.

The villains may be numerous and able toshape-change: for instance, the PCs mayface a plague of vampires or werewolves.

Whip Up fear through the players� para-noia. Burn them again and again andagain. Hound them and surround them.Have the party�s best-laid plans turn intodeadly traps as their closest friends (or thepeople they thought were their friends)turn them in. Let the master villain repeatverbatim, things the PCs said in private.Rattle the cage, and keep rattling.

The Technocracy of White Wolf�s MAGE:THE ASCENSION* game is a powerful andterrible foe because they can replaceanyone with a genetically or cyberneticallyconstructed spy. The PCs, literally, have noone they can trust except each other, andeven then maybe not.

While they are fighting, the party shouldhate and fear everyone around them.When the party finally beats the villains,the players should feel the weight of para-noia lift from their chests.

Horror Show. Most people know fearfrom the usual horror books and movies:dark nights, strange noises, supernaturalcreatures, and so on. In certain sessionswhen everyone is in the right mood, thosetired standbys can actually work, and boy,is it a lot of fun.

Just like phobias, use whatever frightensthe players the most. If your players arebig fans of Clive Barker, throw in bizarre,

grotesque villains to your heart�s content.Let them hunt vampires, Great Cthulhu, orghosts. Put the party in haunted houses,awaken the dead, trot out the psychokillers, juggle severed heads. Do whateverfloats your boat and has even a slightchance of actually scaring your players atiny bit. Go to town and have a blast. Inhorror, it pays to go overboard with de-scription.

All of these things are useful in regulargames, but really to scare your players, itwon�t do to sit around a table in a well-litroom with the TV on in the next room.Dim the lights, light some candles, play inthe basement or the attic. Softly play dis-quieting music. Do whatever you want,but try not to ruin the mood by getting toocorny. A little bit of props and stage-dressing can go a long way.

HateHate is a strong word, and such a strong

emotion can bring people to the furthest,most harmful extremes of behavior. Hatemay be a nasty thing, but it can sure makerole-playing games a ton of fun.

As a GM, you must do everything inyour power to convince the players tohate your villains. Ideally, they shoulddespise even the most powerful of villainsso much that the PCs will travel to theends of the earth to thwart him. Make theplayers hate this villain so much they talkbadly about him even when you are notplaying, so much they draw pictures ofhim and throw darts at it. They must feelstrongly enough to be willing to use up allof their character�s powers, items, favors,connections, and blood just to bloody thevillain�s nose once.

When a truly hated villain is finallydefeated, the players feel an incrediblesense of satisfaction. They jump out oftheir chairs, yell, and high-five. The play-ers know for a fact they have done them-selves and the gaming world a greatservice by defeating this villain. How manyevil wizards and orc kings can you say thesame about?

Here�s how to convince the players toloathe a villain:

Loved Ones. Watch the PCs getsteamed when the villain threatens theirfavorite NPCs. Let the bad guy kidnaptheir children, kill their best friends, en-slave their grandparents, or possess themind of dear, old uncle Joe.

To get the players riled up, though, youhave to play the NPCs as real people whoeverybody genuinely likes or admires. Youcannot just say, �Bob, your character has avery sweet, old aunt, and Strahd vonZarovich just kidnapped her,� and expectanybody to really care. Play out sceneswhere the PCs talk with these people andget to know and like them. Have the NPCsdo consistently nice things for the party,and help them out in times of trouble.Work up some actual good feelings aboutthese imaginary people. Then kill them.G�wan, it�s fun.

70 JUNE 1995

Heinous Crimes. Villains, as a group,are people who are expected to do verynasty, despicable things. Things no onewould even think of doing. Things thatmake villains less than human, that makethem a blight on society.

A few times I have played in gameswhere the villains did nothing terriblywrong. Every once in a while I run acrossan adventure where the main bad guy is abandit chief or something. Now, whatplayer is going to get angry about a guywho steals from merchants?

Make your villains memorable as themeanest of mean, the lowest of low. Thebad guys should torture peasants, burncrops, spread lies, ruin reputations, re-lease plagues, and steal candy from babies.Because role-playing is a game, it takesmore to upset the players than it wouldtake in real life. A villain must do some-thing very, very bad for the players tocare whether he gets his just desserts ornot.

Bring it Home. Try naming a playerwho truly, honestly gets upset when anevil wizard curses the land, or steals aking�s powerful magical item. Go ahead,try.

Now, name a player who gets upsetwhen the wizard casts a curse on theircharacters, or steals their most powerfulmagical items. A PC who would not blinkan eye to watch an entire city burn downmight gnash his teeth at the sight of hisown house on fire.

Unless your players are all excellentrole-players and the whole group is anorder of paladins, no one cares when thevillain does mean stuff to other people. Itjust gives the PCs an excuse to beat himup. When the villain�s guns turn to thegaming group, however, watch the tem-peratures rise. If the villain does some-thing vile to the PCs and they still don�tcare, let him keep stealing, bullying, andharassing them until they do. Be maliciousuntil the group is riled up, then keepgoing.

When the party treks off into the wilder-ness or flies off into space after the badguy, they will have a personal reason forseeing the villain brought to justice.

Personal Hatreds. Always keep in mindwhat upsets the players in real life, andcarve your villains to fit that hated image. Ifyour players are concerned about the envi-ronment and ecological destruction, dust offthe Giant Evil Corporation from any of thecyberpunk games or Pentex from WERE-WOLF: THE APOCALYPSE.

Give your villains the exact qualities thatyou know your players hate in other peo-ple. Arrogance, racism, sexism, closed-mindedness, lying, bullying, selfishness,greed, immaturity, or stupidity can allmake the PCs really want to get theirhands on that bad guy. Perhaps while theircharacters are beating up the villain, theplayers are imagining someone from reallife getting their due. If so, you are doingyour job as a fiendish GM. That is what

escapist entertainment is all about.Again, be tasteful and mature about

playing on your players� emotions. If aplayer is upset, hold back on the villainy abit. There�s no point in losing friends bydriving players away.

Betrayal. There is one, sure-fire, biggun way to get your gaming group to hatesomebody�pull out all stops and betraythem in the most heinous manner possi-ble.

If the party rescues the damsel in dis-tress, watch their reaction when she impli-cates them in crimes, blames them fordeaths or failure, or accuses them of beingpart of a larger plot all along. If the heroessave a reporter from certain death, let theweaselly reporter promptly turn aroundand expose their secret identities for aneasy Pulitzer. Make them find out thattheir mentor is evil and manipulative, andhas been playing them for fools since thebeginning of the campaign.

There is nothing, nothing, nothing at allthat makes players� blood boil than anicely-crafted betrayal. They will stop atnothing to give what they got, to even thescore, to serve up a plate of revenge.

Hate and fear are best used in conjunc-tion. A single trait to make the playershate or fear the story�s villain will worknicely. Blend two or three together with astrong character and you will have a mem-orably despicable villain. Let�s look at someexamples.

Why are Nazis such great villains? Be-cause they controlled a totalitarian statewith a nearly unbeatable military forceand committed unspeakable atrocities inthe name of a racist and insane leader. Asyou can see, the traits mix well.

Try mixing and matching fear and hateideas. Greed, arrogance, and insanity?Sounds like Batman�s arch-enemy theJoker.

Bram Stoker�s Dracula is another stand-out villain. Dracula was not just a Walla-chian knight, he was a cruel and despoticruler who put both his worst enemies andmost loyal followers to the stake by thethousands and dined to the sounds of theirtortured screams. Four hundred yearslater, he traveled to London to kill andpossess the women closest to Harker andcompany. When they struck back, Draculadodged and tricked them every step of theway, all the while arrogantly flaunting hisincredible undead power. As icing on thecake, the whole story drips with the besthorror show conventions. Wow, what avillain!

Bring out the best in your bad guys bygiving them a style and character all theirown. Make each adversary distinctive,sinister and easily recognizable, so the PCsreact strongly whenever the villain or hisminions show up. A word, a phrase, animage, a modus operandi � these will bringflesh and blood to that cardboard cutout,and make your next NPC a full-bodied,three-dimensional, monstrously evil villainyour players will love to hate.

You can send us news, press releases,and announcements using the Internet atTSR.mags@genie.geis.com. We welcomeyour comments at Rumblings, DRAGON®Magazine, 201 Sheridan Springs Rd., LakeGeneva WI, 53147, U.S.A.

Hear Us Roar!

The July issue of DRAGON® Magazinewill contain a special 60-minute audio CDfilled with sound effects and music toenhance game play. Included are sampletracks from four new TSR releases: Markof Amber, Savage Baronies, A Player�sPrimer to the Outlands, and A Light in theBelfry. This special edition goes on sale inlate June; the CD will also be sent to allsubscribers.

A conspiracy is afoot to make the X-Filessee the light of day as a collectible cardgame, supposedly backed by the big-money boys at Topps trading cards. De-velopment is underway (probably at a top-secret lab). No word on a release date;obviously, the government is coveringsomething up.

Heartbreaker Hobbies and GamesInc., in conjunction with Target Gamesin Sweden will be developing a new col-lectible card game based on last year�s hitfilm The Crow sometime this summer.They�re also working on a game based onthe new James Bond film Goldeneye, dueto be released simultaneously with thefilm�s premiere this fall. It�s probably just amatter of time until we see the Barneycard game, folks.

Heartbreaker is also working with Buc-caneer Games on a new collectible cardgame of intergalactic expansion and con-quest, tentatively titled Super Nova*. Itwill be released this summer.

In more card news, Mag Force 7 will

72 JUNE 1995

release a collectible card game based onthe best-selling CD-ROM computer gameWing Commander III, Heart of theTiger* (which featured Mark Hamill,among others). Designed by Don Perrin,the man behind the Star of the Guard-ians* card game, and former TSR design-er Jeff Grubb, the game cards featurephoto-realistic paintings of the computergame�s Hollywood stars. The game will besold in a single-deck format and will beavailable this summer. Rumor has it thatMark Hamill will be Mag Force�s guest atthis year�s GENCON Game Fair.

Acclaim Comics will publish two newcomics this summer. The first is a M:tG*comic called Fallen Empires*. Thecomic, written by Jeff Gomez and KevinMaples, incorporates the M:tG* gamesystem into the storyline and focuses onthe foreshadowing of events found in theFallen Empires *expansion set.

Jeff Gomez is also writing The CityKnights*, a comic series set in the heartof New York City�s 1970�s punk scene. TheCity Knights is penciled by Val Mayerikand will feature covers by game industryveteran Timothy Bradstreet.

Andrew Greenberg, developer andcreative engine guiding White Wolfs VAM-PIRE: THE MASQUERADE* RPG, an-nounced he is leaving White Wolf to joinHDI, an Atlanta computer game company.HDI is best known for the games Hammero f t h e G o d s * a n d M e r c h a n t P r i n c e * .

White Wolf will release the fifth andfinal volume of the Storyteller series early,unlike previous Storyteller games, all ofwhich premiered at the GEN CON® GameFair. The Changeling: TheDreaming* RPG is due out in June, withgamebooks and a novel to follow later in

the year. The game uses Cantrip Cards as asupplemental magic system and featureartwork from Brian LeBlanc and TonyDiTerlizzi.

Board Enterprises will finally releaseThe Book Of Wishes, a long delayedsupplement for the Legend Quest* gamesystem. This is one of the largest spellbooks ever released for a role-playinggame; it adds four new spell classes to thegame and contains information on thenature of magic and how it works. Thebook will be available in July.

Spectrum Holobyte announced thattheir Star Trek: The Next Generation�A Final Unity� computer game for PC CD-ROM will be available sometime this sum-mer. The game incorporates full 3-Dsimulation, five major worlds with eightstars, and approximately 15,000 lines ofdialogue spoken by actors, including eightprincipals from the TV series.

Gold Rush Games has hired ChrisAvellone, sometime DRAGON Magazineauthor, as an assistant editor. Chris will beworking on The Gamer�s Connection*, aquarterly gaming magazine, and will alsobe involved with game design and bookediting. Good luck, Chris!

In more magazine news, Steve Jack-son Games has named Scott Haring asmanaging editor. Scott will continue to editPyramid* magazine and supervise theeditorial and production staff at the com-pany. Scott announced that beginning withthe May/June issue, Pyramid will expandto 96 pages and add more color. The newissue will also feature two preview cardsfrom WotC�s newest M:tG* supplement,Ice Age*. Games Magazine is enteringthe world of fantasy game conventions ina big way at ORIGINS �95 convention inPhiladelphia on July 13-16. Games will bejoining forces with the Live/Wire Con-ductor Corps, the group that puts onthe Safe House and Star Trek interac-tive game events at the GEN CON GameFair, to debut The Maze of Games. Thisevent will turn the entire ORIGINS conven-tion hall into a giant maze of complexpuzzles and fantasy characters. Playerswill search through a multi-level maze tofind an evil wizard�s treasure.

Wizards of the Coast�s Alter Ego De-sign Group hopes to redefine roleplayingwith a new game system called EVER-WAY*. The game promises to introducesome new concepts to gaming, includingthe use of images to guide game play.

EVERWAY* is set in the mythical worldsof legend and fairy tales. Players use �Ri-mage� cards to create characters whilegamemasters use them as springboardsfrom which to launch adventures. In addi-tion to the Rimage cards, the game alsouses a Fortune Deck, rather than dice, todetermine the fate of the characters. Thegame is due out this summer.

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

h, but it was warm, andMufti eagerly looked forwardto reaching the oasis. It

was there that he would replenish hiswaterskins, refresh himself, and waterMandrake. The sturdy war camel hadbeen pushed hard during this chase. Giventhe freshness of the trail, it seemed likelythat it would end soon with finding thewoman and child in the oasis. And it wasthere that Mufti would have to defeat thegenie who had stolen the two females; itseemed unlikely in this heat that theywould travel during the day.

As Mandrake kept up his steady pace,Mufti pondered the character of his foe.Some genies were known to be cruel anduncaring, but one who stole a noble mer-chant�s wife and child through enchant-ment was certainly to be despised. Andthe fact that this magical opponent couldnot be seen meant that it would have to bedealt with carefully. But the most gratingaspect was the genie�s blatant pride. Toleave a note to the husband bragging ofthe theft had to be the height of vanity.Did not the Loregiver teach that the intol-erant who mock those beneath them shallchoke on their own self-righteousness?This genie apparently felt no guilt aboutviolating Her teachings, and that, above allelse, was a threat not only to the family inthis matter, but to all inhabitants of theland. Yes, Mufti concluded, this geniewould have to be destroyed.

Which was why the merchant Sulemanhad sent for a faris, one who would notonly undertake the mission without fear,but one who would destroy the magicalthief and return Afta and her daughterwithout any thought of despoilment. Muftihad volunteered readily along with severalothers of his class, but Suleman had cho-sen him�due, no doubt, to Mufti�s greateraccomplishments and his carefully culti-vated reputation for purity of heart.

Just on the horizon the warrior spottedthe dim outline of the oasis. He stopped,mopped the sweat from his brow with thesleeve of his aba, and concentrated. Yes, itwas the oasis, not a mirage. No doubt thegenie could see him by now as well, andbattle would soon be joined. There was noopportunity or need for approachingsubtly. While surprise would have been anadvantage, in the end either Mufti�s skillsat fighting blindly would prevail or theywould not. Fate would decree the result.

Yet one should not tempt Fate sorely, thewarrior reflected, and he commandedMandrake to kneel. After dismounting, hekept his eyes shifting about for any telltalesigns of an approaching unseen enemy. Hedrained what was left in one of his lastwaterskins and kept looking. But therewas nothing that gave any indication of aninvisible enemy anywhere. No suddensifting of the sands, no break in the heatwaves, no sound, nothing. Well, oh magical

Mufti�s Two Masters

by Paul Culotta

Artwork by Karl Waller

Level Bird form A C M V HD THAC0 # A T Dmg2 Parakeet 9 1, Fl 24 1/2 20 1 13 Swallow 8 1, Fl 30 1-1 20 1 14 Parrot 6 1, Fl 30 1+1 19 1 2-45 Falcon 5 1, F1 36 1-1 20 3 1/1/16 Owl 5 1, F1 27 1 19 3 1-2/1-2/17 Eagle, Wild 6 1, F1 30 1+3 18 3 1/2/1-2/l8 Eagle, Giant 7 3, F1 48 4 15 3 1-6/1-6/2-12

one, you want me fully clad, eh? So be it. All along Mufti had worried about beingMy thirst for water is now quenched. Now ambushed by his invisible opponent, butmy hunger for justice must be satisfied.

Mufti reached among the bundles se-the genie now giving him the opportunityto get fully protected and armed was

creted on Mandrake and unlimbered acarefully wrapped heavy package. Untyingthe knots, he took out a shirt of fine steelchain mail and, after a few quick glancesall around, he put it on, suspecting thatnow would be a prime time for the genieto strike. But nothing happened, a little tohis disappointment. Had the genie sudden-ly rushed in, it would have discovered thatMufti had grasped a sharp dagger con-cealed within the armor and had kept it inhis hand the entire time, ready for instantuse. The warrior sighed. Ah well, thegenie apparently wanted him to come tothe oasis. He pondered the matter somemore. Since the wife and child probablywould not remember the details of thefight once the enchantment was lifted,there was no sense in taking a chance. Hereached into one of Mandrake�s bags andpulled out a finely crafted bandolier thathe slid over his chest and tightened. In itwere three finely honed daggers, each onehaving a sunburst nicely etched into itsblade, and they were joined by the fourththat had been hidden in the chain shirt.

unsettling. All during this chase, it had notmade the slightest appearance�no obser-vations, no tracks, nothing. To be sure,everyone Mufti had questioned had seenthe woman and child, and their trackswere quite visible once he had pickedthem up. But no one had seen anyone (orthing) with them. Perhaps the genie couldfly and be invisible, an uncomfortablethought that caused him to scan the sky aswell as the ground.

There�up above was a bird of somesort lazily circling. Peering intensely, Muftifinally recognized it, a desert owl up look-ing for a desert rat or snake for a mid-afternoon feast.1 Hmm . . . could it be thegenie in disguise? Mufti rebuckled hisweapons belt nonchalantly, keeping hishead turned just enough to keep the owlin sight, but it made no move toward him.Perhaps it lived in the oasis and felt dis-turbed by the genie�s presence?

Certainly the owl would not have beenuncomfortable with Suleman�s wife, Afta.From everything he had heard from thefarmers in the river valley, she was a

DRAGON 75

kindly lady, a kahina who had stoppedalong the way to cure a diseased oxen,share her water with an overheatedfarmer, and set the broken leg of a boywho had fallen from an apple tree. Shehad even spent an entire day with a vil-lage, instructing them how to better irri-gate their fields.2 So strange that the geniewould have allowed her to do so, or per-haps it was that magical being�s way ofsneering at any pursuit by allowing such aclear trail. The latter was the more proba-ble reason�otherwise it could have justtaken the wife and daughter in its armsand spirited them all away, Mufti mused.

But Suleman�s words of warning stillremained with the faris. Afta was power-ful in her own right and the magical gar-ment the genie had placed on her, a veil ofsome sort, could make her a dangerousopponent as well. The upset husband hadbeen most insistent: above all Mufti mustremove the veil and bring it back alongwith wife and daughter.3 He had given thewarrior a potion, one that he said wouldput the kahina and her daughter in a deepstupor. It was necessary, he said, becausethere was no telling what would happenor what the desert priestess would sayonce the veil was removed. Better to drugthem. Mufti had suggested to Suleman thathe simply destroy the veil on the premisethat destruction of the enchanting itemwould negate the charm, but the fat mer-chant had replied quickly, �No, just bring itback. I would give it to the College ofWizardry for their research and use.4

Mufti unpacked his steel helmet fromanother bag and strapped it in place, thenuntied the shield carefully secured toMandrake�s saddle. His final steps were topull out the carefully slung lance, thenremount his camel. A few nudges in theside got the beast up and trotting towardthe oasis. Time to get this done and overwith. At least the sun was to his back. Stillthere was no sign of the genie; even theowl had flown away. Mufti entered theoasis unopposed.

It was a fine place with a clear pool ofsparkling water surrounded by numerousdate and palm trees, and most of theground was covered by a nice mat ofgreen grass. There were several piles ofrocks and boulders here and there. Muftihad been to this haven three times beforein his travels, and it looked as normal andas peaceful as before.

Except for the girl who sat by the pool.She was dressed in a fine aba and satcooling her feet in the water, her sandalsbeside her. Laying a few feet away was aspear, another aba, a wooden case with ahandle, and another, slightly larger pair ofsandals.5 The girl looked at Mufti as hetrotted up, and he was taken aback�thedark eyes behind the veil showed no sur-prise, relief, or fear�only a penetratingcuriosity. It must be the daughter, Fatira,he decided�her body was far too un-shaped and young (about ten years old) tobe that of the mother. But where was the

mother? And, above all, where was thegenie? Mufti kept one suspicious eye onthe pool. The girl just stared at him.

�Little one, where is your mother?� hefinally asked.

�Off,� was her only reply.�Off? Off where? And where is your

abductor?�The girl cocked her head, her eyes look-

ing confused, then asked in return, �Ourab-duc�our what?�

�The one who took you and your motheraway. Come, you can trust me, I am hereto take you back to your father,� the war-rior replied, looking all around for anysign of danger. But all he saw was the owlagain, fifty paces away sitting upon aboulder, busily tearing something apartand eating its fill.

The girl got to her feet, put her handson her hips, and gave him a piercing lookand a surprising scornful rebuke: �Youmean to take me and Mother back? To mywonderful, loving father, who only talksabout how he can�t wait for a few moreyears until he sells me? If I were you, Iwould leave before Mother comes back,mercenary! She promised me we wouldnever return! Now you just better go awaybefore she gets back!� With that, shepicked up the spear and pointed it threat-eningly.

The large war camel snorted andgrumbled�it was not smart to make sucha display to his master�but Mufti kept atight rein and muttered some words ofrestraint. Well, the daughter was enchant-ed as well, just as Suleman had suspected,and it seemed to be a powerful charmsince Fatira did not have the dim farawaylook in her eyes that he had witnessed inthose who had fallen prey to unscrupuloussorcerers, priests, and genies. Perhaps thegenie had used two veils, one for themother, and the other for this child?

Suddenly the girl screamed in terror,dropped her spear, and ran.

Mufti�s reflexes, developed from years oftraining, immediately kicked in. In onefluid motion, he jerked Mandrake about,dropped his lance, and pulled one of thedaggers from the bandolier. With uncannyspeed, the dagger went sizzling throughthe air and buried itself in the wide openmouth of a large, toothsome, spotted ca-nine. It staggered back, choking and gasp-ing, and fell, rolling spastically in thegrass.

Five more of the creatures were runningquickly toward the warrior, shrieking ahigh-pitched racking laughter that re-sounded throughout the oasis.

�Run!� Mufti yelled over his shoulder,then added, �Climb a tree!� Then a seconddagger found its mark, buried to the hiltin the chest of another of the monsters.The beast stopped, looked down helplesslyat the dagger, and collapsed.

Cursedly powerful genie, Mufti thought.There was no time for another throw asthe beasts were upon him, and he pulledthe scimitar from its scabbard. Mandrake

responded to the quick nudges from hismaster and charged left, trampling an-other of the howling, devilish beasts underhis large hooves. As Mandrake turned,Mufti slashed at the one that was jumpingup to pull him from the saddle. It fell back,headless. But there were too many. One ofthe last two jumped up and caught Man-drake�s neck in its jaws. And the last onevaulted up the back of the camel andknocked Mufti from his saddle. He hit thegrass of the oasis with a thud, and therewas an incredible burst of pain in hisankle, and the scimitar fell from his hand.

Instinctively, he rolled and slashed side-ways with another dagger, but it onlynicked the snout of his assailant, whichjumped back with a shriek. Then Muftitried to stand, but it was impossible. Some-thing was wrong with his leg, and he wasforced to fight on one knee. Breathinghard, the desert knight quickly surveyedthe scene. The one who had knocked himfrom Mandrake was bleeding from thesnout, but was approaching menacingly,no longer laughing but growling. A fewfeet away was the beast that Mandrakehad trampled, but amazingly it was up,apparently unhurt. It shook itself, andthen moved toward Mufti as well. Thirtypaces away his prized war camel wasthrashing about with the beast�s jawsfirmly clamped on its neck, and a sicken-ing flow of blood was staining the grass. Itwas not a good shot but Mufti had to dosomething, so he threw his blade and justas quickly pulled out his last dagger. Themonster on Mandrake was hit in its thigh,and the blow was enough to make it barkin pain, which unlocked its jaws. Man-drake staggered away, but collapsed just afew feet later. Mufti could see that it was ahorrible bite, and knew that his camelwould not last long. But the hyena left himalone, and loped over toward Mufti.

Mufti wondered whether he wouldsurvive this fight. Three angry hyenas (alittle bigger than normal, he noted) facedhim, and he had not even faced the genieyet! Mufti unsnapped the holder for hisceremonial hatchet and got it in his lefthand. Then he quickly faked a throw withthe dagger and scrambled on all fours fora tree as the beasts scattered momentarily.It was enough for him to get there and puthis back to the tree, but the movementcaused pain beyond words in his ankle.

The three hyenas recovered from theruse, and approached slowly, laughinghellishly, and Mufti did not know whetherit was in respect for his ploy or just tounnerve him. Not that it would take muchat this point, he thought. One quick rushen masse would take him out.

As if they had been reading histhoughts, the largest gave a quick yelp andall three lunged toward the crippled faris.At the same time, Mufti heard a singing (awoman�s beautiful voice, he thought),6 andhe raised his last knife to throw. But thedagger never left his hands. Instead thetwo palm trees at his back suddenly came

DRAGON 77

to life like writhing snakes, and his armwas knocked aside. Then the warriorfound himself wrapped tightly by a thicktrunk, which wound around his body andover his face. What in the name of Kor�but he thought no more as the breath wassqueezed out of him and he blacked out.The last thing he heard was the hyenasshrieking in panic. They were laughing nolonger.

�Are you all right?�Mufti shook his head slowly, groaned,

and opened his eyes.Kneeling over him was a woman in a

plain tan aba, her nose and mouth coveredwith the strangest veil he had ever seen. Itseemed to be made of light brown featherstightly woven together. Her eyes weredark and curious just like the girl�s hadbeen, and Mufti suspected that if the veilwere removed, the face would be beauti-ful. Her hands, elegant but strong looking,offered a cup.

He grunted his assent and sat up todrink�only to be reminded of his ankle bya blinding flash of pain. Despite his train-ing he gasped and nearly fainted.

�Here, drink this, it will help the pain,�she said. �It is all I can do until I regain myspells.�

Breathing shallowly (his chest hurt too!),Mufti sipped, then gulped from the cup. Asweet taste, far better than he expected.

�My thanks,� he croaked, �but why wasteyour potion, lady? Certainly the genie willkill me for slaying his beasts?�

She looked at him curiously, and startedto answer, but then saw there was noneed. The potion had done its work as thewarrior slumped to the ground unconscious.7

Suleman al Fataq stretched, yawned, andbelched loudly. One of the harem girlswoke up, wrinkled her nose, and closedher eyes again, pretending to be asleep.The other one was not as smart: she turn-ed over to see what was making bullfrognoises, and Suleman saw her.

�Do you have something to say, desertblossom?� asked the merchant, grinningwidely, exposing his crooked teeth frombehind his thick lips.

The woman shook her head vigorously.No woman in her right mind ever didanything to annoy the mountain of flabthat was master of this house. His jollyappearance could quickly become a terrorto whoever offended him, and in thesecircumstances it was best to say nothing.

And this morning she was lucky, be-cause Suleman was in a good mood. Heroared with laughter as he smacked thebuttocks of the lady who was trying toappear asleep, and howled hysterically asshe bounded out of bed with a cry of pain.

�Go, both of you, and get Mustafa toprepare my morning meal and coffee!� hechuckled. �And tell Hassan to make surethe house is clean! Today your mistressreturns, and I want the place to look pre-sentable? He snickered nastily as the two

78 JUNE 1995

women quickly gathered their nightclothes, bowed, and left.

Ah, what a great day this was going tobe, thought Suleman. His chubby, ringedfingers reached into the box of sweet-meats that was always at his bedside, andhe plopped a few into his mouth. Chewingthoughtfully, he considered himself lucky.The story had worked, and the faris wasreturning with Fatira and Afta in chains,no less! Oh, how sweet his vengeancewould be. Licking his fingers clean, themerchant poked his other hand into thebox, grabbed another fistful of snacks, andthen lumbered off to the eating room. Mayas well start with a good breakfast, hethought. Then we will receive the faris,get the veil, and pay him off. And finally,to top the day off, we will have some realprivate quality time underground with hisbeloved (he smiled as his mind lingered onthat description) wife. The rivers ofZakhara would turn to ice before she evergot close to her veil again.

As his spies had said, the faris arrived afew hours later, with wife and daughterchained securely, their veils removed, andlooking quite drugged. They were escort-ed into the courtyard where Suleman wasenjoying his midmorning snack of glazedduck, honeyed artichoke hearts, andsweetened coffee.

�Ah, Mufti al Kaban, exalted faris of theland, I welcome you!� cried the merchant,not bothering to get up from his comfort-able, pillowed lair, where he was beingfanned by an attractive, lithe, dark-hairedgirl. �Come, sit, and enjoy a few delicaciesI�ve saved for such an occasion. We mustshare salt and celebrate your success!�

�My thanks, Suleman,� replied Mufti,�but I must get to my next mission quickly,and I would just as soon receive my re-ward and be on my way.�

�Of course, of course,� cried the mer-chant enthusiastically, gnawing the lastmorsel of meat from a duck leg, �but re-ally, first let me hear of your success! Didyou destroy the genie? Where did you findthem?�

Mufti sighed. This was not going to beeasy. �Very well, you deserve to hear thestory, but first I should like to be paid,�insisted the faris.

Suleman chuckled, then choked brieflyon an artichoke heart. Coughing andlaughing, he said, �Really, Mufti, yousound more like a beggar from the bazaarthan a holy warrior! But you deserve it asmuch as I deserve to hear about the story.Oh, where is the veil?�

The faris produced the feathered gar-ment and handed it over, and Sulemantook it, stuck it in a pouch, and rubbed hishands with glee as his eyes gleamed trium-phantly. Then he pulled a jingling sackfrom behind a pillow and tossed it to Muf-ti. Finally, he cleared his mouth with aswallow of coffee and spit it out over hisshoulder. It splattered right on the feet ofthe girl with the fan, and she did notflinch.

Mufti looked inside the sack, but did notbother to count the dinars. It did not mat-ter. The contract was completed. And nowhe could deal with this pig.

He sat down cross-legged in front ofSuleman and stated dryly, �I don�t knowwhy you are inquiring about a genie.There was none.�

�Hah! I knew it!� the merchant ex-claimed. �Once the genie saw you, Mufti alKaban, renowned faris warrior, comingafter him, I knew he would flee! Lucky forhim, too. But oh yes, there was a genie,don�t you recall it left a note?� the mer-chant added.

Mufti�s voice was cold: �The only luckinvolved was that your wife saved my lifefrom a pack of hyena-men who happenedto come to the same oasis where I caughtup with her.�

Suleman stopped eating, and looked atthe faris carefully. �Truly? Well, perhapsshe did so to defend herself and the child.Hmmm. Well, no matter, I am glad you aresafe, and that you captured her. I see youdrugged her as I instructed, and that isgood, too. Well, uh, I am sure the genie leftonce it saw you. Perhaps Afta will remem-ber something once the potion wears offand will let me know. Here, let me giveyou this as a bonus for your trouble andlet you be on your way,� he said, taking ajeweled ring off one of his fingers.

�No, that�s quite all right, Suleman,�Mufti said, holding up his hand, signalingrefusal. �In a way, I am already on my nextmission.�

�What?� asked the merchant stupidly.�After she saved me, Afta told me the

most incredible story. She indicated thatshe was a slave to her husband who hadpower over her by keeping her veil, theone I have just given back to you. She alsosaid that as long as the veil was partedfrom her, the holder became her master.And she said that her current master, you,Suleman, inflicted atrocities upon her andher daughter too unmentionable to name.�

�That is none of your business, faris!�roared Suleman, waddling from the couch,and shaking his finger. �You agreed to thismission and swore your word to accom-plish it! Nothing can change that! Now, getout!�

�That is exactly what I told her, Sul-eman,� replied Mufti soothingly, holdinghis hands open while remaining seated.�Even though she had saved my life, eventhough she nursed me and my woundedmount back to health, and regardless ofthe fact that her husband might be crueland inhumane, I advised her that I couldnot be broken from my oath.�

Suleman relaxed a little, and nodded.�Good. Then we are agreed that whathappens in a man�s house is his own busi-ness. Well, you may be on your way.�

�Well, if you please, remain,� the warriorstated flatly. �You insisted on hearing thestory so I shall finish it. I did not believeher until I put the pieces together. Therewas no genie, there never was. The note

was a hoax, similar to the tricks you per-form on your competitors, and I remem-ber you had me dine with you when wefirst talked. It is apparent to me now thatyou probably put something into my drinkor my food to get me to believe such anincredible tale. Once I had agreed to themission and given my word to complete it,you knew that something like this couldhappen. Thus, you gave me a potion tokeep her and her daughter drugged.�

�Yes,� grinned Suleman, �but she is mywife, and an oath is an oath, whether bycontract or by marriage. We have no fur-ther need for your services, faris, so if youplease?� and he pointed toward the backdoor that led to the alley.

�Of course,� Mufti stated, and he got upto leave, but then added, �but I did makean oath to her as well that you need toknow about. I promised her that uponcompletion of my contract to you that Iwould ask that you release her from thevows of the marriage you have forcedupon her by possession of this veil, and Ido so now. You know that she is not only acreature of the wild, but a caring personwho ministers to the land and its people.Her knowledge is great, and her ability torender assistance is considerable. Whykeep her in this gilded cage when herknowledge and learning could be sharedwith the people? Please, Suleman, go tothe qadi with her and declare that thismarriage should be dissolved. She willagree readily and it will be done. You willhave done a great service to her, yourself,and the Land. She will want none of yourproperty. What say you?�

Suleman laughed heartily and long. Hefell back on his pillowed couch and itcreaked dangerously. Tears came to hiseyes and he slapped his fat knees. Then hesat up and cried, �You self-righteous don-key! She is mine, I captured her fairly, Imarried her legally, and that is that! Youhave kept her promise to her. You askedme to release her, I refused, and that is theend of that! Now get out before I summonthe mamluks to remove you from thecity!�

�That is your final answer?� asked Muftigently. �There is nothing I can say or do tochange your mind?�

�No, now go!� shrieked Suleman.�Very well,� shrugged the faris, and he

took the bag of money, and turned toleave, leaving the helplessly drugged wifeand daughter standing there.

And as he did so, his hand slipped insidehis aba and removed a dagger from abandolier. A moment later, he whirledaround, and a dagger with a sunburst onthe blade hissed through the air of thecourtyard.

�Tell me, grandson, do you think thiswas all really worth it?�

�Yes, grandfather,� replied Mufti. �Youwill find this document in order. It deedsthe household and all of the goods ofSuleman al Fataq from his widow to our

80 JUNE 1995

servant, Anwar. What we have gained faroutweighs the loss. We have needed such aplace for some time.�

The old man brushed aside the docu-ment, then asked, �But, grandson, what ofthe woman and her child? Were theyreally drugged?�

�Yes, grandfather, they were. It was hardto convince her to allow it, but by the timewe had left the oasis, we were firmlyagreed that she had to have her freedomand that I had to fulfill my oath. It was theonly way to accomplish our goals withoutboth of us losing our honor. I trusted herfully, and once I convinced her that I wasa holy warrior and told her of my training,she gave me her trust. Without druggingher, we might have been discovered by asorcerer or hakima hired by the fat one.�

�And where did the mother and childgo?� asked the old man.

�Off to the mountains,�8 replied Mufti.�She said that she had to take her daugh-ter to receive training in the ways of herkind. I offered to accompany and guardthem on their journey, but she refused, asI knew she would. Ah, what a wonderfullyindependent creature!�

�Independence!� snorted the grandfa-ther. �If Kor could reveal total knowledgeto me, I suspect the Old One would tell methat my grandson�s lust for independence,especially being freed from keeping thegarb of a faris, was the real motivationbehind this incident!�

Mufti smiled. �Oh exalted one, I believeKor speaks through your lips as he has formany years. Yes, being a faris was gettingtiresome. Please tell me that I do not haveto continue.�

�Hah! You made your own wish cometrue, did you not? The city is still in anuproar over the killing of the fat toad andhis six guards by a faris! How could youpose as one now? Mufti al Kaban will besearched for by mercenaries and bountyhunters all the way to the Isle of theElephant.�

�Ah, you are wise, grandfather,� cooedMufti.

�And you are impudent! But,� he addedwith softness in his voice, �you are one ofour best, and it is indeed time for achange. I think you should learn to cuthair and trim beards. There are certainpeople in Huzuz we want to keep track of,those who seem to be, well, unfriendly tothe scholars of Kor�s mosque for reasonsyet to be divined. Are you interested?�

�Exalted one, I am yours to command,�replied Mufti, bowing.

�Very well, go out and talk to Latifa. Shewill teach you the ways of the barber andbrief you on your new background andmission. May the knowledge of the OldOne protect you on this, your new life.�

�Yes, grandfather,� replied Mufti, bowingagain, and he left the tent.

The old man laid back on the pillows inhis tent and looked at the deed again.Justice had been done and there wouldprobably be a day when the bird maiden

could be called upon to return a favor.And what a wonderful home Mufti hadprocured. Posing as a faris for five longyears, he had brought in much usefulinformation. It would be interesting to seehow well he would do in the Grand Bazaarof Huzuz posing as a enterprising barber.As a faris, Mufti had to rely on his brawnand fighting skills. This new role wouldrequire a lot more wits. If he did well, itwould probably be time to consider evengreater things for him among the Wrath ofthe Old. Yes, with followers such as Mufti,the future of the Order always would bebright with the blood of those who op-posed it.

The Grandfather of Assassins smiledhappily, looked at the deed again, andreached for a pear.

Notes1. The bird maiden is a creature unique

to Zakhara, the Land of Fate. It is alwaysfemale, just like the swanmay living in thenorthern lands of Toril, and in some re-spects quite similar to that creature.Like a swanmay, a bird maiden may

shapechange to bird form. While the form-er can transform only into a swan, thebird maiden can change into a variety ofbird forms, depending upon her level.

It is important to note that as the birdmaiden rises in level, she may elect to takethe form for that level or any form of alesser level. For example, a 6th-level birdmaiden could shapechange into an owl orany bird form allowed for a 2nd- through5th-level bird maiden.

There are other differences betweenswanmays and bird maidens. A swanmayis a ranger while in human form, while abird maiden is a kahina, with all of thepowers of that class (See Arabian Adven-tures). Another important difference isthat swanmays are always good-aligned,while a bird maiden may be of any align-ment. Most bird maidens (80%) are ofneutral alignment, while 10% are goodand 10% are evil. Whatever the alignment,it always has a neutral tendency (i.e.,neutral good, true neutral, or neutral evil).It is rumored that evil bird maidens areable to shapechange into ravens, bloodhawks, and giant vultures.

2. Good and neutral bird maidens seethemselves as protectors of living thingsand guard against those who would de-spoil the land. Hence, they have a tenden-cy to help and teach those who respect theland. Their protection applies to sentientbeings as well, in line with the toleranceextended to all by the teachings of theLoregiver. Hence, a bird maiden wouldteach irrigation to farmers to help theircrops grow, but she would ensure that thesystem would not harm the lake or riverlife being used as a water source.

3. The power of a bird maiden resides ina shawl, veil, or other significant object ofclothing that is made of feathers. This

Continued on page 94

©1995 by Rick Swan

Deal me in: A look at collectible card games

Role-playing games' ratings

Not recommended

Poor, but may be useful

Fair

Good

Excellent

The best

82 JUNE 1995

If you haven�t noticed the rise of collect-ible card games . . . well, how are thingson Mars, anyway? In the wake of theMAGIC: THE GATHERING* game, cardgames have been multiplying like promisesin a Presidential campaign. A few anxiousreaders have wondered if the popularityof card games foretells the death of role-playing, since, after all, gamers have onlyso much money to spend, and they seemto be squandering it all on booster packs.And they wonder if maybe they should beinvesting a few more dollars themselves,considering the skyrocketing prices ofhard-to-get-cards.

Well, relax. Role-playing is here to stay. Ifyou need convincing, try counting heads atthe next GEN CON® game fair. Card gamespose no more threat to RPGs than videogames or computer games or dart boards.It�s a big hobby, and there�s room for every-one. And if you plan to get rich from therare MAGIC cards you�ve stashed away in ashoe box, you�d probably be better off withmutual funds. Collectibles whose scarcity isdetermined by the manufacturers ratherthan the passage of time have a way oflosing their value pretty fast. Just ask collec-tors of 1980s comic books.

As to the play value of card games, thereare a few gems and a lot of junk�in otherwords, they�re no different from RPGs. If Iwere reviewing MAGIC (as Allen Varneydid in DRAGON® issue #201), I�d give itmaybe five pips, good but not spectacular.Though the trading card concept qualifiesas a stroke of genius, the rules themselvesare serviceable but hardly revolutionary,indebted not only to games likeDUNGEONS & DRAGONS®, but also to theCOSMIC ENCOUNTER* and RUNEQUEST*games. Then again, it�s easy to pick onpioneers. Someday, I bet the current ver-sion of MAGIC will look as crude as theD&D did in its first incarnation. (Anyoneremember those cheesy little pamphlets?)

If you�re ODed on MAGIC, consider thealternatives discussed below. All are asengaging as MAGIC and just as easy tolearn. Best of all, they won�t bankrupt you.A couple of starter decks and a fewbooster packs�an investment of $20 orso�will give you all the cards you need toget your feet wet.

Two caveats:First, while reading the reviews, keep in

mind that your mix of cards might not bethe same as mine. Just because I grumbleabout the lack of Enterprise crewmen inmy STAR TREK: THE NEXT GENERATION*game deck doesn�t mean you�ll have thesame experience. You might find CaptainPicard in your first booster. (Don�t counton it.)

Second, though I appreciate a good-looking deck, I have next to no interest incards as collector�s items. I�m aware, ofcourse, that some players invest vast sumsof money for so-called �killer decks� toenhance their chances of victory. I like towin as much as the next guy, but the day Ishell out a hundred bucks for a Black

Lotus card for my MAGIC set will coincidewith the day I sprout wings and fly to themoon. Besides, I�ve got better things tospend my money on�like role-playingsupplements.

STAR TREK: THE NEXT GENERATION*gameStarter deck: 60 cards, rules bookletBooster pack: 15 cardsDecipher, Inc. $9.50 (starter), $3 (booster)Design: Tom Braunlich and Rollie TeshG r a p h i c d e s i g n : Don BurnsProduct management: Ross Campbell andWarren Holland

I am not now, nor have I ever been a fanof the Star Trek: the Next Generation TVshow. Though I liked the Shatner/Nimoyoriginal, the sequel struck me as a drearyrehash, burdened by recycled plots anddust-dry characters (you know you�re introuble when the android has more per-sonality than the humans). My enthusiasmfor the game, then, has nothing to do witha series that means about as much to mea s I D r e a m o f J e a n n i e .

My wife, on the other hand, is a die-hardTrek- ster, who inexplicably prefers Pi-card�s shiny dome to her own husband�sluxurious locks. She spent the better partof an afternoon ogling the 300-plus cardsacquired for this review, ooh-ing and ahh-ing over the scenes from her favoriteepisodes. Not me�I barely know Mr. Rikerfrom Mr. Rogers.

But I know a good-looking deck when Isee it, and this one�s terrific. In addition toa crisp image, each card features a para-graph of description, a summary of thepertinent rules, a set of statistical icons,and an eye-pleasing color field to indicatethe affiliation (blue for the Federation,green for the Romulans, and red for theKlingons). A typical starter deck provides agood mix of all categories�including Per-sonnel, Outpost, Mission, Ship, andEquipment�though in four starters Ifound only a single familiar face from theEnterprise (Deanna Troi). That�s not a bigdeal in the context of the game, but ifyou�re a die-hard like Mrs. Swan, you maybe disappointed.

Each player begins by selecting six Mis-sion cards from a deck of 60 cards. SomeMissions involve problems on planets (amedical emergency on Beta Lankal, ascoutship rescue on Galorndon Core),others describe assignments in deep space(an investigation of a plasma streamer, astudy of a time distortion in the TyphoneExpanse). After the players arrange theMission cards side by side to create a 12-card Spaceline, they conceal Dilemmacards (a ship-munching Microbiotic Colo-ny, a radioactive relic from the Methar-Promellian war) under the Missions theythink their opponents are most likely toinvestigate.

By deploying cards from his hand, aplayer assembles crews, chooses weapons,and launches starships. He then moves a

Ship card along the Spaceline until it ar-rives at a Mission he wishes to undertake.He flips over the first Dilemma, dispensingwith it if he has right mix of Personnel andEquipment. If he fails, he can try againlater with a different Ship or a new groupof Personnel. When he resolves all theDilemmas associated with a particularMission, he earns a fixed number ofpoints. Players continue launching Shipsand attempting Missions until one accumu-lates 100 points and wins the game.

What distinguishes STAR TREK isn�t justits streamlined game system, but its re-markable simulation of the elements of agood SF adventure. Say, for instance, theFederation player hears rumors of anancient civilization site on Barradas III(represented by the Plunder Site Missioncard). He deploys the U.S.S. Excelsior anda crew of five officers (by playing thecorresponding cards from his hand). Oncethe ship is orbiting the planet, he beamsdown an away team of three officers,keeping two officers on board in case of aRomulan attack (a Romulan ship lurks on aMission card two spaces away). Alas, theofficers are attacked by a Minotan bow-man (the first Dilemma card). Fortunately,the away team includes the medical andsecurity officers needed to deal with thebowman (and dispatch the Dilemma).Then, representatives of a matriarchalsociety appear (Dilemma #2) and refuse tocooperate with the male officers; theFederation team must return to theiroutpost to pick up more females (newPersonnel cards). En route, however, they-�re attacked by the Romulans . . .

Interrupt and Event cards, functioningas subplots, add further complications.Events are played as part of a normalturn. Interrupts may be played at anytime, even in the middle of an enemyaction. Both types of cards translate inci-dents from the TV series into rule modifi-cations. In the series, for instance,somebody called Masaka �attempted totransform the U.S.S. Enterprise into anancient temple and grounds by rearrang-ing its matter.� In the game, the MasakaTransformations card requires the oppo-nent to discard his entire hand and draw anew one. If a Klingon dies in an away teambattle, the Klingon Right of Vengeancecard doubles the strength of the survivors.Events and Interrupts move the gamealong at a breathtaking pace: A male offi-cer is suddenly whisked away for a ren-dezvous with his girlfriend, the end of aMission leads to an enemy confrontation,an unexpected encounter sends a shipcareening to the other end of the galaxy.

Though the rules contain no seriousflaws, Mr. Spock might raise an eyebrowat the lapses in logic. Some of the Missionsmust be undertaken by specificaffiliations�why can�t the Federationassist with the fever outbreak on Nahmi IVand why can�t the Romulans hunt forartifacts on Barradas III? The basic rulesallow opposing sides to use the same Per-

sonnel cards, meaning that Lt. Worf mighthave to battle himself. Combat involveslittle more than a comparison of weaponand shield ratings: straightforward but notparticularly dramatic. And the starshipsseem to be made of Kleenex; if a ship losestwo battles in the same turn, it�s gone.

But these shortcomings are easy to over-look, considering the loving attentiongiven to virtually every aspect of the Trekuniverse. Romulan and Klingon ships mayuse cloaking devices to move unseen.Tricorder cards boost the science aptitudeof Engineers. Archvillain Q might pop upto erect a force field grid. And chicken-hearted captains may substitute holo-graphic characters for flesh-and-bloodcrew members, handy in an environmentwith belligerent natives.

Evaluation: Ingenious, gorgeous, andaddictive, STAR TREK has screwed up myfamily. Attracted by the nifty graphics, mythree-year-old daughter confiscated theStatic Warp Bubble card and refuses togive it back. At the local game shop, Icaught my wife�a college instructor, apillar of the community�elbowing aside12-year-olds to get her hands on the latestshipment of boosters. As for me, I�m stay-ing up late to catch reruns of the series�how can I sleep when I don�t know whatthat Masaka thing�s all about? (Uh, anyonehave a Picard they wanna trade?) (Infor-mation: Deciper Inc., PO Box 56, Norfolk,VA 23501).

STAR OF THE GUARDIANS* gameStarter deck: 60 cards, rules folderBooster pack: 15 cardsMag Force 7, Inc. $9 (starter), $3 (booster)Concept: Margaret WeisDesign: Don PerrinArt direction: Margaret Weis

Long-time role-players will rememberMargaret Weis as the co-author (withTracy Hickman) of the first sixDRAGONLANCE® novels and one of thechief architects of Krynn. She�s also pro-duced a shelf-full of books, including theStar of the Guardians series, from whichthis game derives. Unlike the novels,which feature a host of imaginative char-acters and doo-dads, the game concen-trates almost exclusively on combat, Thatmay be a letdown for fans of the novels,but war garners�especially those dissatis-fied with the simplistic space battles ofSTAR TREK�should be delighted.

Though few of the cards are suitable forframing, they�re attractive and user-friendly. Each consists of a colorful illus-tration, a block of text, and a some simpleicons (stars stand for Bombing Factors,humanoid silhouettes for PersonalityPoints). The color field indicates the cate-gory (gray for Fate, light blue for Crew).Each starter deck features a good mix ofcards, including about 20 Ships, a half-dozen Weapons, and an adequate assort-ment of everything else. Booster packs add

DRAGON 83

weird, optional stuff like the Space Rota-tion Bomb (an Artifact card that forces anopponent to lose half his ships) and theDark Matter Creatures (a Fate card thatabsorbs damage from the Space RotationBomb). No one can accuse Weis of lackinga sense of humor; one of the Personalitycards bears a striking resemblance to aformer editor of this magazine.

Nor can she be accused of verbosity.Most cards contain only a line or two ofrules, some have no text at all. WhereSTAR TREK informs us that the ZibalianClass Transport is a merchant vessel usedby traders like Kivas Fajo, STAR OF THEGUARDIANS tells us that the DestroyerEscort belongs to the Frey Class, and that�sit (total words: four). The System cards,representing various planets and outposts,aren�t identified at all (total words percard: one�and that word is �system.�). Butthe generic approach detracts less thanone might think. The absence of descrip-tive text serves�inadvertently perhaps�tofocus attention on tactics. In a sense, STAROF THE GUARDIANS is the card gameequivalent of chess, substituting gatlinglasers and destroyer escorts for pawnsand bishops.

Taking the roles of rival warlords, play-ers compete for galactic dominance bycrushing enemy armadas. Each side startswith 25 Power Points, representing politi-cal strength. Certain cards generate Influ-ence and Personality Points, spent topower special effects. Beginning with sixcards drawn from their decks, playersdeploy System cards (to gain PowerPoints), then place as many Ship cards asthey like in any of five columns (calledlanes). Crew, Weapon, Fate, and Damagecards boost the combat effectiveness ofShips. When maneuvered into the properpositions in the various lanes, Ships mayattack squadrons, fleets, and Systems, withsuccessful attacks reducing the enemy�sPower Points. When a player reduces hisrival�s Power Points to zero, he wins.

Despite a couple of fuzzy mechanics (ittook me two games to figure out how tolaunch squadrons from planetary bases)and an occasional fudging of physical law(with only three ships per lane, this is anawfully small cosmos), the simple rulesmake for an intense contest. Resourcemanagement is a constant challenge; aplayer can never hold more than six cards,and most actions require spending pointsfrom a chronically short supply. Nervyplayers may try special tactics, such asRunning the Flank (which gives a combatbonus to a ship in an outer lane) andWeapon Conduit (allowing all friendlyships in the same lane to combine attackstrengths). With careful planning, a playermight be able to pull off a Mind Link,allowing friendly characters to communi-cate telepathically. Though a typical gameeats up the better part of an hour, theoutcome usually remains uncertain untilthe last few minutes�presuming, ofcourse, you�re not playing with a wise guy

84 JUNE 1995

who�s loaded his deck with killer Artifacts.Evaluation: The high rating reflects my

bias for fast, frill-free combat games. Don�texpect a rich universe, a lot of whistlesand bells, or personalities you can get toknow (most of the characters don�t evenhave names). But if your idea of a goodtime is wiping out war machines, welcometo paradise. These starships wither liketoy soldiers in a microwave oven, makingSTAR OF THE GUARDIANS king of thestellar shoot-�em-ups. (Information: MagForce 7, Inc., PO Box 1106, Williams Bay,WI 53191.)

GALACTIC EMPIRES* gameStarter deck: 55 cards, rules bookletBooster pack: 15 cardsCompanion Games $9 (starter), $2.45(booster)Concept, layout, and design: C. HenrySchulteWriting: John M. Hammer and C. HenrySchulteArt direction: Richard J. Rausch andEdward P. Beard Jr.

It�s the gas men vs. the crab people forcontrol of the universe!

Star Wars meets Alice in Wonderland inthis science-fiction extravaganza featuringsome of the wildest aliens this side of adrive-in movie. The premise: two factionsrepresenting a United Nations� worth ofraces fight to annihilate each other withstarships, monsters, and natural catastro-phes. Though the permutations areendless�and I�ve got the boosters to proveit�you can play a credible game with asingle deck. GALACTIC EMPIRES ain�t justloopy�it�s cheap, too!

The stylish cards�a bit better-lookingthan STAR OF THE GUARDIANS, a bitworse than STAR TREK�are less notablefor their graphics than for their staggeringvariety. Along with the expected Ship,Crew, and Equipment cards, we also getAbility, Hazard, Occurrence, Luck, Reac-tion, Monster, Base, and Terrain cards. TheEmpire cards alone represent more than ahalf-dozen races, including the Mechad(electromagnetic technologists), Vektreans(space pirates), Argonians (the gas men),Krebiz (the crab people), and Dragons (biglizards with sharp teeth). My starter deckalso included a Warp Funnel, MeteorShower, and Phaser Eel. Thanks to thejudicious use of color, the cards are easy toidentify. A field of mottled blue, for in-stance, designates Argonian vessels, whileKrebiz fleets are a dusty beige. The rule-book explains the mechanics in detail, anda lengthy Q&A section addresses most ofthe ambiguities. Still, the editor could�vebenefited from a few more journalismclasses, if only to spare us from sentenceslike: �Any additional rules, or rules whichchange when playing a Standard Game orone of the other playing structures de-fined later are noted within the specificrules for that playing structure.�

EMPIRES involves both the prudent

deployment of assets and the managementof a rather complicated hierarchy ofpoints. Beginning with nine cards, drawnat random, players lay down as muchTerrain as they can, which generates theEconomy, Supply, Energy, Ammunition,Research, and Repair points needed topower other units and trigger variousactions. Ships, for example, require Supplypoints to operate. Heavy weapons needAmmunition points, Repair points negateShip damage, Research points destroymonsters. With the right cards (and theright points), players may arm weaponsand launch combat fleets. Reaction cards,similar to STAR TREK�s Interrupt cards,may be played at any time to transport acrew from a wrecked Ship or prevent anenemy doctor from curing wounded allies.If a player maneuvers past his opponent�sdefenses, he may assault the enemy SectorHeadquarters; whoever has the last intactHeadquarters wins.

Once you get a handle on which pointsaffect which cards�I had a hard timeremembering that Research points get ridof monsters�play flows smoothly. Thebarrage of decisions (do I spend my Econ-omy points to activate the Clipper Frigate,or use them to patch the hole in the ScoutCapsule?) keeps both sides focused. Therelationship between power and terrain isreminiscent of the best features of MAGIC:THE GATHERING. Special rules, such asthe Victory Celebration earned when aplayer blows up an enemy Headquarters,add an appealing irreverence.

But EMPIRES has a drawback, and it�s abig one. Bookkeeping is a royal pain, notso much because of the amount (thoughit�s excessive) but because of the method.Nearly every variable must be trackedwith dice. You don�t roll the dice; you usethem as markers. If a Fleet Freighter suf-fers two points of damage, a die with itsfour-pip face showing is placed on thecard. If the Freighter�s shield suffers dam-age (instead of the vessel itself), the resultmust be noted with a different die. Dicealso are used to keep track of Researchpoints, the strength of Mechad electromag-netic fields, and permanent damage (asopposed to temporary damage). We�retalking a lot of dice here, and none comewith the game.

Evaluation: This one�s a tough call. It�srecommended only if (1) you�re willing toput up with chunks of clunky writing, (2)you don�t mind keeping track of all thepoints, and (3) you�ve got one or two bagsof dice handy. With the freewheelingmythology and dizzying variety of options,you can easily lose yourself in GALACTICEMPIRES� goofy pleasures�it�s like divinginto a swimming pool of jelly beans. Thereseem to be no serious problems with themechanics, nor any clear paths to victory.After a week�s worth of games, I still haveno idea which empire has the edge. ButI�ve got my money on the crab people.(Information: Companion Games, PO Box392, Stamford, NY 12167.)

ILLUMINATI:NEW WORLD ORDER* gameStarter deck: 55 cards, rules bookletBooster pack: 15 cardsSteve Jackson Games $10 (starter), $2.25(booster)Design: Steve JacksonGraphic design: Derek Pearcy, Jeff Koke,and Monica Stephens

(Nancy Reagan; Elvis), places (Vatican City,

The game that won�t go away, ILLUMI-NATI arrived in 1982 as a deck of low-budget cards, then spawned a couple of

Silicon Valley), and entities (Big Media, Inter-

expansion sets, mutated into an on-linegame, and inspired a GURPS* game sup-plement (an award-winner, no less). Now itreturns as a collectible card game. Some-body�s determined to keep it alive�theSons of Cthulhu, maybe?

The Sons, along with the Discordian Socie-ty and the Gnomes of Zurich, are among thesecret conspiracies who, according to ILLU-MINATI, run the world. Everyone fromHillary Clinton to Dan Quayle to you and meare pocket change for these power-mad bigshots, not an unreasonable premise if you�veever been jerked around by a personneloffice or the IRS.

The cards, twice the size of their 1982counterparts and infinitely more attractive,come in three basic flavors. Group cards,colored red, represent prey: personalities

national Community Conspiracy.) Groups arealso assigned alignments, such as Liberal,Conservative, Violent, and Weird, to indicatetheir friends and foes. Liberal Hillary, forinstance, is the natural enemy of Conserva-tive Nancy. Resource cards, colored violet,include weapons (Hammer of Thor, OrbitalMind Lasers) and allies (Mercenaries, LochNess Monster). Blue Plot cards representdisasters (Car Bomb, Rain of Frogs) andevents (Martial Law, Liberal Agenda). Plotsand Resources modify actions of the Groups;the Hammer of Thor boosts the power ofany Violent Group, the Liberal Agenda in-creases Hillary�s chance of clobbering Nancy.Witty writing makes the cards fun to read,and a dose of cynicism makes �em bite;anyone who kills Bjorne, the purple Vikingdinosaur, earns an extra Plot card �as thethanks of a grateful world.�

objectives of a special Goal card.Groups generate action tokens (repre-

A player starts by choosing a conspiracy(like the Sons or the Gnomes) and placingthe corresponding card on the table. Hedraws nine cards from his deck to form hishand, then begins building his Power Struc-ture, a web of Groups and Resources con-trolled by his primary conspiracy. As thePower Structure grows, so does its strength;the stronger the Structure, the more formi-dable its attacks. A player wins by eliminat-ing all enemy Illuminati, controlling aspecified number of Groups, or meeting the

sented by buttons, coins, or glass stones,not included with the game) that allow thecontrolling player to attack, use specialabilities, or draw additional Plot cards. Anattack may be attempted to either controlor destroy a Group. To destroy a group,the initiator announces the target, thename of the attacking agent, and which-ever of the attacking agent�s associates areeligible to lend a hand. The initiator rollstwo six-sided dice (not included); if theresult is equal to or less than the differ-ence between the Power rating of theattackers and the Power of the defender,the attempt succeeds and the target headsfor the cemetery. An attack to controlfollows a similar procedure, except the rollmust be equal to or less than the differ-ence between the attacker�s Power and thedefender�s Resistance. If the attack tocontrol succeeds, the Group becomes partof the winner�s Power Structure.

Incoming and outgoing arrows printedon the Group cards show their allegiancewithin the power structure. When a play-er takes control of a new Group, he linesup one of its incoming arrows with anoutgoing arrow of its new master. Bizarreorganizational chains are not only possiblebut likely. Prince Charles and SaddamHussein might become lackeys of thephone company. The Moral Minority mayrecruit Hillary.

Modifiers, alignments, and Plots makethe outcomes of attacks uncertain at best.If one of your cards duplicates a Groupcontrolled by an opposing player, theduplicate acts as a �hidden agent,� grantinga + 10 attack bonus. Linked Groups withidentical alignments improve their attackstrengths by 4. If Bjorne stays healthy, hegenerates an extra action token for everyMedia Group under his command.

Ever-shifting alliances present endlessopportunities for treachery. An Assassina-tion card enables the owner to incinerateany personality on the table. Groups re-quiring too much effort to maintain can bebumped off by their own allies. Californiagiving you trouble? Try a Terrorist Nukeor a Meteor Strike. Better yet, send inBigfoot.

Evaluation: With its pointed satire andsubtle tactics, INWO aims squarely atsophisticates; those who find STAR TREKtoo demanding need not apply. And owingto the unconventional mechanics, evenexperienced gamers may have trouble atfirst. (More examples of play, or a Q & Asection like the one from GALACTIC EM-PIRES, would�ve helped.) But resoluteplayers who scrutinize the rules and grindtheir way through a few practice roundswill discover why ILLUMINATI has beenso durable. Not only is it an inspired con-cept, it�s an enlightening treatise on thefine art of backstabbing. What more couldyou ask from a deck of cards?

Short and sweetEncyclopedia Cthulhiana, by Daniel

Harms. Chaosium, Inc., $11. Encyclopedia

86 JUNE 1995

Magica, compiled and developed by Slade(R/T), Henson. TSR, Inc., $25 per volume.

These reference books share a diligenceon the part of the researchers that bor-ders on the superhuman. The EncylopediaCthuliana, the more scholarly of the two,contains an alphabetized listing of nearlyevery entity, cult, and scrap of arcane lorepertaining to H.P. Lovecraft�s CthulhuMythos published in the past century.Source material includes the fiction ofRamsey Campbell, Robert Bloch, andStephen King, as well as sceanrios fromthe CALL OF CTHULHU* game. Inclusionof the latter may offend purists, but ascompiler Daniel Harms notes, �nothing inthe game is antithetical to the spirit ofLovecraft�s work.� The entries cover every-thing from the origin of the Shining Trape-zohedron to the lineage ofHziulquoigmnzhah, capped by a year-by-year chronology of the history of theNecronomicon .

The Encyclopedia Magica, no less ambi-tious, lists all of the AD&D magical itemsfrom two decades of TSR products�everyboxed set, accessory, and magazine article.The entries span three volumes, availableindividually. I�m looking at volume two,decoy dust to phylactery of righteousness(misspelled on the title page), marveling atthe diversity. Pick your favorite: hat ofstupidity, gloves of the octopus, fountainof dysentery (yikes!). A must for DungeonMasters who want to spruce up theircampaigns, and for every TSR contributorwho longs to see his masterpiece immor-talized in an upscale format.

Fianna Tribebook, by Harry Heckel withFallon Doherty and John Bridges. WhiteWolf Game Studio, $10.

Of all the tribes in the WEREWOLF: THEAPOCALYPSE* game, the Fianna areamong the most intriguing. Lycanthropicbards, they communicate with songs andhave even been known to crack jokes. Thisplayer�s reference, number four in theTribebook series, presents a thoroughhistory of the Fianna and a nice selectionof new gifts (like warp spasm) but down-plays the culture. Where�s the music?Where�s the details about their oral tradi-tions and compositional styles? (Any Fian-na symphonies?) And the first-personapproach makes for some awkward pas-sages (�. . . we�re a moody lot. Our pas-sions burn hotter than those of othertribes. Be careful of them, or else they�llgovern you and strip you of your senses.�).Still, designer Harry Heckel keeps theenergy level of the text so intense (�Thereis no greater glory than covering yourclaws with their accursed blood�), I half-expected the book to jump out of my lapand chase the cat around the room.

The Deva Spark, by Bill Slavicsek andJ.M. Salsbury. TSR, Inc., $10.

Nothing aggravates me more than anRPG adventure with a flabby climax; after

88 JUNE 1995

slogging through a books worth of fight update on the Small Press Association, anscenes and dungeon crawls, I want to be essay titled �Marriage and Gaming,� adazzled. So bravo to The Deva Spark, a 32- generic time travel scenario, and a meticu-page scenario for the PLANESCAPE� lously thorough convention list (nearly 80setting. The final chapter is a knock-out, a entries). If you miss the glory days ofsensational blend of surreal characters Space Gamer magazine, or if DRAGONand obstacles, building to a climax of sur- Magazine doesn�t come out often enoughprising impact. The rest of the trip�s noth- to suit your tastes, consider a subscription.ing to sneeze at either, though if I see one At two bucks an issue, it�s a steal. (Infor-more AD&D adventure that starts in a mation: Gold Rush Games, PO Box 2531,tavern . . . Elk Grove, CA 95759.)

Dangerous Prey, by Nigel Findley, Wil-liam Spencer-Hale, Kevin Hassall, AaronLoeb, Andrew Lucas, Geoff McMartin,Bryan Nystul, Mike Nystul, and ChrisPramas. Pariah Press, $15.

TERROR T.R.A.X.� game: Track of theWerewo l f and T r a c k o f t h e V a m p i r e , byFlint Dille and Buzz Dixon. TSR, Inc., $15each.

This solid collection of creeps for theWHISPERING VAULT* game would beright at home in CALL OF CTHULHU orthe drearier realms of the PLANESCAPE�multiverse. So vivid is the writing, thepages practically ooze slime: �Upon enter-ing the Flesh, the [Mitel et Abrean]�s fluidform acquires a muddy viscosity, turning itinto a thick puddle that moves with terri-ble deliberation.� Also looking for troubleare the corpse-like Locust, whose presencecauses meat to rot, and the U�Glann, athree-armed werewolf with an appetitefor entrails. The book also provides com-plete statistics and a chapter of helpfulreferee tips (�A bloody death is nasty, buta slow lingering wasting is nastier�).What�s WHISPERING VAULT, you ask?Only one of the smartest, spookiest horrorRPGs that ever clawed its way from acrypt. (Information: Pariah Press Inc.,5744 W. Irving Park Road, Chicago, IL60634.)

The audio equivalent of chose-your-own-adventure paperbacks, these CDs cast thelistener as a hard-boiled private eye on thetrail of supernatural bad guys. A DirtyHarry clone handles the narrative, soundeffects and mood music set up the en-counters, and a sweet-voiced computersidekick lays out your options. For in-stance, after stumbling into a den of lycan-thropes in Pack o f t h e Werewo l f , thesidekick says that you may �flee the shack(go to track 5)� or �fight the werewolves(track 8)�. Half the fun comes from theover-the-top performances; at one point,we hear a victim on the phone screeching,�You�ve got to help me! I�m changing! I�mgoing to rip hearts and lungs open!� Be-cause both discs feature the same produc-tion team, and more or less the same typeof adventure, you can satisfy your curiosi-ty by buying either. I lean towards Were-wolf, the one with the lung-ripper. Butthat might be because of my performancein Vampire, which the sidekick matter-of-factly evaluated as �pathetic.�

Through the Cracks, by Greg Farshtey,Matt Forbeck, Shane Lacy Hensley, RonSeiden, Ed Stark, and John Terra. WestEnd Games, $15.

I�m not the world�s biggest fan of theSHATTERZONE* game, but I know a goodSF adventure when it totters by. ShaneLacy Hensley�s slam-bang �Kipling�s Drift�sends the PCs to a remote asteroid for arendezvous with virus-infected scavvies.John Terra�s �Corona Incident� involvesthe investigation of a derelict ship, repletewith twitching corpses and disgustingaliens. Though the remaining scenarios inthis anthology aren�t as memorable,they�re well-written and easy to run.

A f o r m e r n e w s p a p e r p u b l i s h e r , r o c kmusician, and medical student, Rick Swanh a s d e s i g n e d a n d e d i t e d n e a r l y 5 0 r o l e -playing products. You can write to him at2620 30th Street, Des Moines, IA 50310.Enclose a self-addressed envelope if you�dl i k e a r e p l y .

* indicates a productthan TSR, Inc.

produced by a company other

The Gamer�s Connection, edited by MarkArsenault. Gold Rush Games, $8 for a four-issue subscription, $2 for a sample copy.Published quarterly.

Too many small press publications serveas repositories for whiny editorials and

Voice your opinion andmake it count!

amateur hour fiction that wouldn�t passmuster in an eighth grade English class,

What issues are most important to the

which i s why The Gamer � s Connec t i onrole-playing hobby? What solutions

comes as a pleasant surprise. The 16-pagehave you found for problems in your fa-

tabloid is packed with news, features, andvorite game? Turn to this issue’s “Fo-

reviews, intelligently written and edited.rum” and see what others think—then

The latest issue, number 22, contains antell us what you think!

stood quietly in the doorway, awaitingmy time. My master sat on the coldbalcony in the chill wind and lookedacross the way, staring with unfocusedeyes at the canyon walls. �Davrin?� Ifinally said.

He turned slowly, pulling his blan-ket higher over his shoulder, his fast-graying beard andthe few wisps of thin hair at the sides of his head blowingfaintly in sharp currents of the winter air. His eyes latchedonto mine like iron talons, and the corners of his lipstwitched slightly upward.

�What is it, Garrett?��You have a visitor,� I replied.He turned back. The canyon�s walls were blood red this

time of day, stained so by the last dying rays of the sun asit set behind the castle. For a moment I thought he wasgoing to ignore my comment. But finally, he spoke. �Howlong have you been apprenticed to me?�

I answered, knowing he was fully aware of the span.�Fifteen years.�

�You are no longer a boy.�I cleared my throat. �I am twenty-two, no longer

young.��And your magic is now stronger than mine.��Yes, Davrin. What is your point?��Why have you not left to search out your own fortune

like the rest of my apprentices?�I looked at him and considered my answer. The contour

of his face stood out above the depth of the canyon. Thelines chiseled in his cheeks were suddenly deep, like theshadowed crevasses that ran down the cliffs. How do I tellhim that I am afraid, that I cannot rely on magic alone?How do I tell him that his strongest student cannot trusthimself, that my nerves run unchecked when I think ofleaving this castle? �There is more I can learn from you.�

�What further lessons do you think I have to give?�Bitter wind whistled over the exposed balcony, filling

the momentary silence. �I will know when my time ofleaving comes.�

�My sons are already raised, Garrett. I cannot be yourfather.�

�I do not expect that.�He nodded slowly but said nothing.�Your visitor waits.��I�m tired. You handle it.� Using only his middle finger

and forefinger, he waved me away.�I think it would be best if you were to look after this

caller yourself.�He breathed the mountain air deeply and released the

breath through his thin nostrils. �Then, by all means, letus go.� Davrin rose from his chair, leaning upon a gnarledstaff that stood half a head�s height above his bony pate.

I took his arm and guided him as we walked throughthe tower room and down the stairs.

The Timeof Leaving

By Ron Collins

I was never apprenticed in the formal manner. That isto say, my parents did not sell me or send me away tolearn at the feet of a master of this particular trade. No. Infact, I would not know my parents if they were to an-nounce themselves to my face. They left me to die in the

Illustrations by Dave Kooharian

DRAGON 91

streets well before I was old enough to earn my keep,while I was still merely a mouth to feed rather than anitem with value for barter. Davrin took me in. He sparedmy life when I was tired and starving, when I weighed lessthan a well-fed dog and wore dirt and lice as my primarycoverings. He was my savior.

He brought me home to his family, and they acceptedme as one of them. Averett and Kile became my brothers.And Lorien, Davrin�s wife, became my mother. Due tothem, I never again knew the bitter ache of a stomachdried up in hunger. Thanks to them, I never spent an-other night huddled in an alleyway, shivering in the rain.

But life changes. Averett and Kile grew up and movedonward. And Lorien, too, moved onward, leaving the faceof this earth to take residence in holier castles. After Lo-rien�s passing, Davrin took to spending much of his timeon the balcony, silently staring into the vastness of theopen canyon, and withering slowly away. I felt his sorrowand I felt the emptiness to his life that she left behind.

Perhaps I remained with him for this reason. Perhaps Iowed him something that I could not repay. But I knewbetter than to think this highly of myself. I remained becauseI was not ready. It was that simple, and that complex.

I would have considered my intentions further, but thevisitor who awaited downstairs concerned me.

He was a slight man, this visitor. His hands were thin,his fingers sticking out of the overlarge sleeves of his tight-ly woven riding cloak at awkward angles, like cattailsjutting out of a stagnant pond. I dare say that even a smallman, such as I, could manage him well in a bare-handedfight. Yet, despite his frame, he carried himself in the wayof a man familiar with power�upright and sure. Hismovements were bold and efficient, his language direct.And, most unsettling of all, there was something coldabout the way his black eyes lit upon me as he spoke thatdrew my breath away, something that brought a tingle tomy spine and bade me call my master to handle this case.

I wanted to tell Davrin about him. I wanted to warnhim, to make sure he didn�t underestimate this man whoawaited our arrival. But Davrin preferred to draw his ownconclusions. I would not give him these concerns until heasked for them �and his lips remained closed throughoutour walk.

The visitor rose from the wicker chair as we entered thereceiving room. It was a small chamber, dimly lit byglobes of mage-light at each corner. Three chairs and awaist-high table filled the floor space. Shelves lined twowalls, one set holding rows of leather-bound books, theother containing multicolored powders, rodent parts, andother spell catalysts.

�Good evening,� Davrin said. His voice was strongerthan it seemed a few minutes before. �I am sorry to havekept you waiting for so long. I am an old man, and mybody does not move as fast as it once did.�

�The wait was not overly long for someone who hasalready traveled two days.�

�Any wait is too long for a visitor of mine. I did notcatch your name. What may I call you?�

�Kenderick. Just call me Kenderick,� our visitorreplied.

92 JUNE 1995

Davrin�s lips closed into a thin line as he moved tostand in front of Kenderick. He analyzed our visitor as hewalked; I noted the subtle changes in Davrin�s expressionas he scanned Kenderick�s clothing, deciphered his bodylanguage, and listened to his tone of voice. Kenderickwore a brown riding cloak and highly polished leatherboots. His hands were clean and unmarked, and the hintof a golden belt buckle shone from where his cloak wasunbuttoned. I could tell Davrin came to the same conclu-sion that I had. This man was of noble birth. And if hisfurther study revealed the same answer as mine, Davrinwould understand why I called for him.

�What do you want of me?� Davrin said.�I have recently had a death in the family.� Kenderick�s

voice was sharp, a razor�s edge that made my nervestwinge as he spoke the word �death.�

�That is always terrible to hear. You have my condo-lences,� Davrin replied.

Kenderick nodded his head in return. �As a result, Ihave inherited an item that I�m told has some mysticpower. But I can find no records that discuss what thispower might be.�

�Ah.�When Davrin went no further, Kenderick continued. �I

want you to determine this item�s magic and inform me ofhow to use it.�

�Let me see the item.�Kenderick reached into a pocket and withdrew a small

velvet pouch cinched by a leather drawstring. He untiedthe pouch and let a small stone tumble out onto his hand.The stone was dull in the mage-light, an opaque blueseveral shades darker than a robin�s egg. I couldn�t tellfrom my angle, but I thought one side of the stone hadbeen carved.

Davrin looked at it in silence for several seconds andgrunted. Then he shook his head. �No,� he said. And heturned to walk toward the door.

�Pardon me?� Kenderick said.�I won�t reveal the magic on your stone. I�m old, Ken-

derick, and tired, too. I don�t have the strength to sparefor the magic you request . . .�

I was shocked at this. Davrin had never turned a cus-tomer away. And this reason was ludicrous. Searching anobject for the presence of magic was a simple spell thatrequired little effort.

�. . . but my apprentice is my equal in talent. Perhapsyou can convince him to help you.�

The room was quiet for a moment. I looked at Ken-derick and he at me. His eyebrows knit together and heraised his chin slightly, peering down his nose at me.

�Are you as good as your master says you are?�I gave a sidelong glance at Davrin. What was he up to,

I wondered? Why was he putting me in this position? Itwas a challenge, obviously. But what was this test�s pass-ing mark? �I can manage.�

�Then will you take the task?��It is difficult magic,� I said, using Davrin�s charade to

buy time.�I have gold enough to make it worth your while.�I walked around the small table, putting it between

Kenderick and myself, and turned to face him. There it

was, the uneasy hood to his eyes that made me summonDavrin to this case in the first place, the sharp stare thatburned my cheeks and made me want to turn away.Whatever this man�s story, one thing was sure: If Ken-derick had inherited the stone, his relative�s death was notaccidental. I glanced at Davrin and saw that his eyes hadnarrowed and the lines in his face had deepened.

�Bring me the stone,� I said. �I will perform yourspell.�

Kenderick walked to the table, never removing his gazefrom mine. The stone clicked against the polished wood ashe laid it down. There, I could see its carving�a frontalview of an eyeball thinly etched in the surface.

I picked the stone up and rolled it between my finger-tips. It was smooth, even in the area of the etching.

I placed it back on the table and went to the shelves,searching for three items. I pulled a small jar of powderedowl beak from the top shelf, and another of dried bat eyes.I dropped a pinch of the powder and two of the bat eyesinto the third item, a shallow clay bowl painted in quad-rants depicting each elemental power.

Returning to the table, I fished a woven mat out of thedrawer and rolled it out. It made a good setting for thebowl, large enough to catch spillage, but small and plainenough to ensure the bowl a prominent status. Using bothhands, I smoothed wrinkles from the cloth.

I could hear Kenderick breathing as I picked up thestone and held it over the bowl. He bent closer as Idropped the stone into the mix. He smelled of his travels,and his closeness was bothersome, making me edgy andreluctant to continue.

Davrin, too, seemed to loom closer. He stood at theperimeter of my sight, watching like a mother birdperched on a nearby tree limb.

I splayed my fingers over the edge of the bowl and fo-cused my thoughts. The bowl�s coarseness seemed to growinto me, making my fingers take on a ceramic brittleness.Then my fingers became the powder, slipping into thewrinkles of the pair of hollowed bat eyes before findingtheir way to the stone. It was smooth and cold, perfectlyformed.

I spoke a word of magic.Heat rose through my arm. Green light flared through

my fingers, casting sudden shadows across the room, pass-ing through the flesh of my hand to reveal an eerie view ofbones and ligaments, cartilage and tendons. I drew a slowbreath to calm my nerves. This was the light of power, thelight of magic. But it was a light that only sorcerers suchas Davrin and I could see. I struggled to avoid an outwardreaction, and returned my efforts to the magic at hand. Asheat traveled up my arm and crossed my chest, the fullpower of the stone was unveiled to me. It was intense,almost more than I could bear.

Raising my gaze, I stared at Kenderick and saw theblack, malignant root of darkness that he held inside him.It festered there, twisting and churning, glistening like amass of maggots scavenging a corpse. Kenderick�s soulopened to me, and I knew his most profound desires. Hisdreams raged through my mind. Kenderick was a baron,soon to rule a fiefdom. I saw his anger. I saw his distastefor the truth, his preference for quick resolution over in-

convenient justice. I saw the way common people wouldfollow him, and the bloody results if they didn�t.

These visions were the stone�s doing. And I was afraid.Now that I had seen the man, could I bring myself to

give Kenderick the stone�s power over others? Could Iallow him to see into other�s lives, to steal their dreamsand turn those dreams to his favor? Could I live withmyself if I did? I knew the answers to these questions as Iasked them, but these answers only brought a sharperedge to my anxiety. This was the fear that had brought meto call Davrin here in the first place, I realized. He shouldbe making this decision, not me. He would know how tocomport himself; I did not. He would handle this tension;I could not.

I fought the power of these thoughts, and the grotesqueform that Kenderick held within. I fought for my self-control, to avoid giving Kenderick a clue to my findings.As I withdrew from the stone, the images trickled away,and I concentrated on regular breathing. I moved throughthe powder and the bowl, quieting my heartbeat andstruggling to overcome the nervous energy that came withknowing I would soon have to confront my fears.

Finally, I returned to my normal self, and the spell�senergy faded. I looked at Kenderick. Even without thestone�s magic, I could see the writhing darkness in hispupils.

�Well?� he said.I swallowed and shook my head, wondering if my voice

would waver. �There is no magic on this stone.�Kenderick paused for a moment. �None?��None,� I lied again.A sigh of resignation escaped Kenderick�s lips. I

glanced at my master and saw a thin smile on his face anda glimmer in his eye.

I stood quietly in the doorway, awaiting my time.Davrin sat on the cold balcony in the chill wind and

looked across the way, staring with unfocused eyes at thecanyon walls. Those walls were dull brown this time of themorning, waiting for the sun to rise over the highestcrests.

I didn�t know how to proceed. I was here to tell Davrinthat I was prepared to leave, that his work was complete.But despite his earlier prodding and my eagerness to makemy leaving, I suddenly found the words difficult.

�Davrin?� I finally said.�We lived here because Lorien loved these cliffs,� he

said before I could say more.�They are beautiful,� I replied. �Almost as breath-

taking as she was.�He turned and looked at me. His frail body and his

shrunken face seemed almost hollow, lifeless. But his eyesflared with a passion sparked by the mention of Lorien�sbeauty.

�She was my life,� he said.He turned back to the canyon walls. For a moment I

thought he had forgotten about me.Thoughts tumbled through my mind, colliding with

each other and mixing themselves up. My heart poundedagainst my breast. My throat choked. I wanted to talk tohim. I wanted to tell him what his guidance had meant to

DRAGON 93

me, to thank him for giving me a life. There was so muchI wanted to say.

But as these words stuck in my throat, a memorywedged its way in. I remembered my youthful anticipa-tion as I would wait in the castle for his return from dis-tant lands, the warm look on his face as he burst throughthe doorway, and the smell of the woods on his hands andclothes when he greeted me with hugs of the same fervoras those he had for Averett and Kile.

What would my life have been without Davrin? Wherewould I have been without Lorien?

I gazed at him. His head shook with more than thecold. His lips were dry and creased, showing no signs ofhaving been treated with the oils that Lorien would havemade him apply. His hair blew about his uncovered head.

A new thought managed to struggle through my ownselfish concerns. One so disturbing that it caught mybreath and drew me harshly back into reality.

Davrin had never been alone before.

�When are you leaving?� he asked.I swallowed and cleared my throat. There was only one

answer to this question. My time of leaving would comewhen Davrin�s came, and this was not it. �I am not readyyet.�

He grimaced. �I have nothing more for you, Garrett.You should go and live your life. Leave an old man inpeace.�

�No, I disagree. There is much more I can learn fromyou.�

Davrin pursed his lips.I walked to his chair and knelt beside him, warming his

cold hand in mine. �I�ll make our breakfast in a moment.But first, tell me about when you first met Lorien.�

He sat in silence for a moment, staring at the cliffs.Then he began to speak. As he described their first meet-ing, the sun crested the far ridge of the canyon. I raisedmy free hand and shielded my eyes, squinting into thelight of a new day.

Bird MaidenContinued from page 80

object is given to her at the end of herinitial training. If she ever loses it, sheloses all her powers as kahina and shape-changer until she recovers it. Unscrupu-lous men have been known to come intothe possession of a bird maiden�s feath-ered garment, and with the creature help-less, have forced her into marriage.

4. Destruction of the feathered token ofthe bird maiden always results in thecreature�s death with no hope whatsoeverof resurrection.

5. When shapechanged, only a birdmaiden�s feathered garment and her body

94 JUNE 1995

transform. All other worldly goods mustbe taken off and guarded by someone else.

6. Just as mystics dance, bird maidenkahinas sing, and the verbal componentsof their spells are always sung in a sweet,warbling voice. They have major access tothe spheres of All, Animal, Divination,Elemental, Healing, Plant, and Weather.They have minor access to the spheres ofCreation, Protection, and Sun.

7. While bird maidens always have thenonweapon proficiency options allowed tokahinas, one proficiency they alwayspossess is herbalism due to its connectionwith the land they are sworn to protect.

8. The place of training for bird maidensis said to be a place called the Crown of AllFeathers. It is supposedly a great woodenfortress concealed among the clouds inhigh hills or mountains. There aarakocrateach the rituals, duties, and abilities ofthe bird maidens. It is rumored that a veryspecial genie of enormous power guardsthis place and uses powerful illusions tokeep it safe from the curious and unsa-vory. All bird maidens know where thisplace is, but no sort of magical compulsionor physical abuse can pry the locationfrom them.

by Skip Williams

If you have any questions on the gamesproduced by TSR, Inc., �Sage Advice� willanswer them. In the United States andCanada, write to: Sage Advice, DRAGON®Magazine, 201 Sheridan Springs Rd., LakeGeneva WI 53147, U.S.A. In Europe, writeto: Sage Advice, DRAGON Magazine, TSRLtd., 120 Church End, Cherry Hinton,Cambridge CB1 3LB, United Kingdom. Weare no longer able to make personal re-plies: please send no SASEs with yourquestions (SASEs are being returned withwriter�s guidelines for the magazine).

This month, �Sage Advice� looks at op-tional expansions to the AD&D® game andconsiders a few other questions from themailbag.

Wizards using the ghul lord kitfrom the Complete Sha�ir�s Handbookhave an ability called manipulation,which inflicts temporary damage onthe user. What is temporary damage?Also, there is a reference to a processcalled �leaching� that allows the char-acter to use magical items to avoidthe hit point loss, but leaching is nev-er explained.

The damage a ghul lord suffers from amanipulation comes from the negative en-ergy the character uses to power the manip-ulation. It is temporary only insofar as it canbe healed by rest or spells�the characterdoes not lose hit points permanently.

Leaching is a complete mystery to me,but here�s a suggestion: Defensive items,such as r ings o f p ro t e c t i on , c l o ak s o rpro t e c t i on , and brac e r s o f d e f ens e , c a nblock the damage. Each of an item�s plus-ses stops one point of damage; bracers ofdefense have one effective plus for eachpoint of armor class improvement theybestow beyond armor class 10, so, forexample, bracers of defense AC 4 count as+6 items. A ghul lord carrying severaldefensive items can choose which one toleach during any particular manipulation.If the manipulation is particularly power-ful, the ghul lord can leach multiple itemsto block all the damage. A leached magicalitem becomes nonmagical for 1d4 meleerounds no matter how much damage itblocked. Each time an item is leached, itmust save vs. magical fire or be destroyedin a wave of negative energy.

Are the weavings used by mage-weavers, also from the CSH, like

scrolls or like spellbooks? That is,are they consumed when used orare they just another sort ofspellbook?

A mageweaver�s spell weavings are likescrolls in that they can be used only once.Unlike scrolls, a spell weaving can be usedonly by the mageweaver who originallywove it. If the mageweaver loses a spellweaving, he loses the spell it represents. Amageweaver�s spellbook is a huge tapestry(or set of tapestries) that contains all thespell patterns that the character knows.

Exactly how does a wizard usingthe Mystic of Nog kit (from the CSH)sacrifice spell levels when maintain-ing the hands of stone power? Iunderstand that the character mustdevote one spell level to the powereach time he advances a level, butthe kit description says that spellshave to be expended in whole spellunits, you can�t spend part of a 3rd-level spell to get a power that costsonly one or two spell levels. So,only a 1st level spell slot can beused to maintain hands of stone.What happens to a Mystic of Nogwhen he gains a level and does notalso gain a 1st-level spell slot? Also,the kit description mentions that anability score can be raised higherthan 18 temporarily. How long doesthe temporary increase last andhow does the character pay for it?

If a Mystic of Nog character doesn�t havea 1st-level spell slot available to spend onmaintaining the hands of stone power, hecan�t maintain the power and suffers theconsequences (1d6 points of damage to thecharacter every time he uses hands ofstone). Players who choose this power fortheir characters should plan ahead andmake sure that sufficient 1st level spellslots are available. If the DM is feelingkind, the PC may use the power at a lowerlevel if the maintenance cost can�t be paid.For example, an 8th-level Mystic of Noginflicts 1d4 +4 hp damage with hands ofstone (1d4 + half the character�s level,rounded up). If the character advances to9th level, he could inflict 1d4 + 5 hp dam-age. If the character cannot maintain thepower, the DM might allow him to inflict1d4 + 4 hp damage with no damage tohimself. If the DM was feeling really kind,he might allow the character to delay the

maintenance cost for several levels andmake up the deficit with a higher levelspell slot. For instance, the character fromthe previous example might not pay anymaintenance for his hands of stone poweruntil he reaches, say, 11th level. Under thesuggested rule, his hands of stone powerstill would inflict 1d4 +4 hp damage, but ifhe sacrificed a 3rd-level spell slot uponreaching 11th level the ability would beproperly maintained and would inflict1d4 + 6 hp damage.

I recommend that temporarily increas-ing an ability score above 18 cost five spelllevels per point of increase. The spelllevels should be taken from the slots thecharacter normally has available for cast-ing spells and are not lost permanently.The increase lasts one day or until thecharacter rests and studies spells again.

The movement rates for a clock-work mage�s mechanical devices(from the CSH) seem to be a littleshort. Why would anyone botherwith a device that only moves acouple of inches each round?

In this case, the term �inches� is anerroneous reference to the original AD&Dgame, which used scale inches to measureranges and movement rates. Just substi-tute �points of movement� for �inches� andeverything will be fine. For example, for acost of 50 gp, a mechanical can be giventhe ability to walk at a rate of 2. If theclockwork mage wants a mechanical thatwalks at a rate of 12, the cost is 300 gp.

Are the two language proficien-cies (languages, modern and lan-guages, ancient) affected by thecharacter�s Intelligence score?How do you use the Number ofLanguages column from Table 4 inthe PHB, and how does that affectthe language proficiencies?

Most proficiencies require a checkagainst a relevant ability score if the DMdecides there is a chance of failure. Speak-ing a language can require a check againstthe PC�s unmodified Intelligence score (seePHB, Table 37). Deciding whether a profi-ciency requires a success roll always is ajudgment call on the DM�s part. In the caseof a language, no check is required whennative speakers are conversing. If thecircumstances are difficult, such as whena non-native speaker first hears an unfa-

DRAGON 97

miliar dialect or a character has to dosome fast talking in a non-native language,the DM might call for a success roll todetermine whether the speaker stumblesover a phrase or otherwise misspeaks. Asuccess roll might also be required when anon-native speaker tries to get vital infor-mation out of a native speaker who isexcited or distracted (did he say run to theback or the runt is back?).

The Number of Languages column fromTable 4 indicates how many differentlanguages a character can learn. For exam-ple, a character with a 12 Intelligencecannot learn more than three differentlanguages.

According to The Book of Artifacts(page 124), a wizard needs a perma-nency spell and an enchant an itemspell to create a permanent magicalitem. Because the permanency spellis 8th level, a wizard with an Intelli-gence score of 15 or less cannotlearn it (see PHB, Table 4) and can-not make permanent magical items.Is that right? Also, if the wizardwere a half-elf, the character wouldhave to have a 19 Intelligence or hecould not reach 16th level, which isthe first level in which a wizard canlearn an 8th level spell. Right? Fi-nally, if the wizard is an abjurer,invoker, or necromancer, the char-acter cannot make permanent magi-cal items because one of the tworequired spells falls in the charac-ter�s opposition schools. (Abjurerscannot learn permanency, an altera-tion; and invokers and necroman-cers cannot learn enchant an item,an enchantment/charm.)

You are almost right on all three counts.Yes, a wizard needs both an enchant an

item and a permanency spell to create apermanent magical item.

Yes, a wizard must be at least 16th levelto learn and cast permanency, which is an8th-level spell available only to wizardswith Intelligence scores of 16 or higherand access to the alteration school. (En-chant an item is a 6th-level enchantment/charm spell, which requires a 12th-levelcaster with an Intelligence score of 12 ormore.)

Yes, a half-elf wizard needs an Intelli-gence score of 19 or more to reach 16thlevel (if the campaign is using the Exceed-ing Level Limits optional rule).

But no rule says a character who iscreating a magical item has to cast all therequired spells himself. The character canget another character to cast the spells forhim, read the spells from scrolls, or use awish to duplicate a spell�s effects. Remem-ber that any wizard can read wizard spellsfrom scrolls, even spells from a specialist�sopposition schools. (This a special propertyof magical scrolls and an important excep-tion to the general rule that preventsspecialists from employing magical itemsthat produce effects from their opposition

schools.) Also, �Sage Advice� suggested lastmonth that it�s okay to add enchant anitem to the evocation/invocation school.You can use the same logic to put perma-nency into the evocation/invocation school,too, but that�s beginning to stretch things abit.

One of my players has recentlydiscovered the svirfneblin from theComplete Book of Gnomes and Half-lings. The svirfneblin can be accu-rately described as havingincredible powers and virtually nolimitations. Is it reasonable to im-pose the same sort of light penaltieson svirfneblin as drow get?

Sure it is. You might want to givesvirfneblin some form of agoraphobia (fearof open spaces) instead. If they don�t have asubstantial roof over their heads, they suffera -2 penalty to Dexterity scores and attackrolls, and opponents get a +2 bonus tosaving throws when resisting spells cast bythe afflicted drow). The PLAYER�S OPTION�:Skills & Powers book offers a more limitedselection of powers for svirfneblin playercharacters (who have let their wanderlustand thirst for adventure interfere with theirracial abilities).

Where can I find basic game statis-tics for the various weapons andarmor described in EncyclopediaMagica?

Check out the Arms and EquipmentGuide (TSR Product #2123) or thePLAYER�S OPTION: Combat & Tactics book(TSR Product #2149).

In a campaign where individualexperience point awards are used,can a character get an award forusing an spell-like racial ability,such as the drow�s dancing lightseffect? What about psionic wildtalents? Can a character get an indi-vidual award for using those?

If you�re talking about experience grant-ed from DMG Table 33: Common Individ-ual Awards, the answer is yes. If theplayer is clever, it makes no differenceexactly what the character did, the charac-ter gets the award. For example, if a play-er with a drow character uses the drow�sdancing lights ability to convince a groupof monsters that reinforcements are com-ing, thus making the monsters flee from asituation where the party was in direperil, then the player is entitled to a re-ward in the form of a few extra experi-ence points for his character.

If you�re talking about experience grant-ed from DMG Table 34: Individual ClassAwards, the answer is no. The charactermust use a class-specific ability to get theextra experience, not a magical item, profi-ciency, or racial ability.

Does the 6th-level wizard spellinvulnerability to magical weapons(from the Complete Wizard�s Hand-

98 JUNE 1995

book) also grant immunity to non-magical weapons (like the 5th-levelinvulnerability to normal weaponsspell in the same book)?

No, but a wizard can have both spellsrunning at the same time.

Why have the names of some ofthe planes of existence changed?

They haven�t. What has happened is thatthe PLANESCAPE� setting has revealedwhat beings who actually live on eachplanes call their planes. The AD&D gamehas adopted these �true� names in mostcases. For example, the plane that peoplewho live on the Prime Material Plane callthe Plane of Concordant Opposition isactually called The Outlands by the peoplewho live there. The plane always has beencalled The Outlands, but until recentlyvery few people on the Prime Materialknew that.

What�s the chant, berk? I havecompiled a list of about three dozencreatures that are listed on page 128of the PLANESCAPE� MC Appendixbut that I can�t find anywhere.

Okay, here�s your list with the TSRproduct numbers in which they appear:

Abyss Ant 2145Abyss Bat 2603Achaierai 2607Adamantite Dragon 2118Astral Dragon 2105Astral Dreadnought 2613Azer 2145Chronolily 9294Diakk 2016Fetch 2105Fire Minion 1050Fire Shadow 2105Fire Tail 2125Flame Spirit 2116Gingwatzim 9292Gk�lok-lok 9294Hollyphant 2613Khargha 2132Kodragon 2105Mortai 2118Noctral 2118Phantom Stalker 2132Retriever 2132Shocker 2132Simpathetic 2125Terithran 2132Tshala 2125Vaporighu 2118Wind Walker 2145Xag-Ya 2016Xeg-Yi 2016Zoveri 2607

Here are the titles that go with the num-bers: 1050 Time of the Dragon, 2016 Mon-ster Manual II, 2105 DRAGONLANCE® MCAppendix, 2116 Kara-Tur MC Appendix,2118 Outer Planes MC Appendix, 2125FORGOTTEN REALMS® MC Appendix,2132 FIEND FOLIO® MC Appendix, 2145MONSTROUS COMPENDIUM® Annual

DRAGON 99

Volume One, 2603 Planes of Chaos, 2607Planes of Law, 2613 PIANESCAPE MCAppendix II, 9292 GREYHAWK® Ruins,9294 Dragon�s Rest. Some creatures areincluded in more than one product; inthese cases I have included only the mostrecent listing.

How many hit dice does a lich have?I find the hit dice listings for the vari-ous types of liches in theRAVENLOFT� setting very confusing.

If the lich was a spellcaster in life, it has11 hit dice, plus one point for each charac-ter level it has beyond 11th. For example,an 18th level lich has 11 + 7 hit dice. If thelich was a psionicist, it has 9 hit dice, plusone point for each level beyond 9.

The item description for a vorpalblade says the sword can sever thehead of a larger-than-man-sized oppo-nent on a modified roll of 21-23. Now,in the MONSTROUS MANUAL� tomethere is a size category for creaturescalled �larger than man-sized,� cover-ing creatures 7�-12� tall. The playersin my game were very annoyed whenI ruled that their vorpal blade couldnot sever the heads of huge or gar-gantuan opponents such as dragons.My players argue that the sword cansever any creature�s head, and thatthe number to sever the head of any

creature larger than a man is 21-23. Icontend that the sword can�t severthe heads of creatures more than 12�tall. I don�t think that a 3� swordought to be able to slice the head off acreature with a neck 10� thick.

Technically, your players are right. Thephrase �larger than man-sized� in the itemdescription refers to any creature biggerthan a normal human, not just size Largecreatures. This kind of usage is commonthroughout the game. For example, mostweapons have two damage ratings, one forsmall or man-sized opponents and one forlarger opponents. In this case, �small orman-sized� refers to size Tiny, Small, andMan-sized creatures; �larger� refers to sizeLarge, Huge, and Gargantuan creatures.

Nevertheless, you are free to employwhatever house rules you think are rea-sonable. For example, if one reads therules literally, a character armed with avorpal blade and standing in a pit couldbehead a storm giant standing on the flooroutside the pit�even if all the charactercould reach was the giant�s big toe. Doesthat seem silly or illogical? I think so. Onthe other hand, magic does not have to bereasonable or logical.

Magic is fantastic and can bring about allkinds of effects without any logical physi-cal causes�a spell that can turn a griffoninto a goldfish isn�t at all logical. It may bethat when a vorpal blade severs a neck

there is a brilliant magical flash and acloud of smoke. When the smoke clears,there�s the opponent�s head lying on theground; the sword might not even bebloodstained. And there�s nothing wrongwith that if that is the kind of game youwant to run.

I suggest, however, that you allow vorpalblades to sever any opponent�s neck onlywhen there is a reasonable chance that ablow from the sword could touch theopponent�s neck at some time during themelee round. For example, if a characterhacks at the tip of a sleeping dragon�s tail,the creature�s head is many feet away, andthere is no chance to sever its neck. Onthe other hand, if the dragon is trying tobite the character wielding the vorpalblade its neck is within reach at least someof the time. Remember that combat in theAD&D game is abstract; a vorpal bladedoesn�t necessarily cleave off a creature�shead in a single blow. The character mightstrike the target�s neck several times dur-ing the course of the round. Or perhapsthe sword does strike off a head with asingle swipe�there�s nothing that says thata vorpal blade can�t temporarily grow toan enormous length to get the job done orthat it can�t emit a plane of magical forcethat does the really heavy duty cutting.

100 JUNE 1995

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110 JUNE 1995

Beasts of the Imagination

©1995 by Ken Carpenter

Photography by Don WitmerPainting by Ken Carpenter, Alexander Bond, and Mickey Leach

Thunderbolt MountainMiniatures656 E. McMillanCincinnati, OH 45206-1991Voice: (800) 235-3908 Fax: (800) 235-3908Mail Order: Yes Catalog: S.A.S.E. (2

stamps)

#1039 Empty NestVignette seriesSculptor: Tom MeierScale: 25mm Cost: $11.95Technical: 9 Artistic: 10 Value: 9

Possibly the cutest figure of all time, thispiece was among the fastest moving fig-ures premiered at last year�s GEN CONGame Fair! (Though my wife was twistingmy arm behind my back as I wrote theopening sentence, that doesn�t make it anyless true.)

fairly leap off the stand.Cast in three pieces, slight traces of theold lines remain along the legs. Assembly

is quick and easy, though a small amountof putty is recommended. you might alsowant to adjust the positioning of the

There�s a minute parting line along the wings, to emphasize the figure�s motion.colt�s right side and a little flash between The greatest detail is in the wings, whichthe mother�s rear legs, but if you can find have incredibly well-rendered feathers.another technical flaw, you�ve got a better The mane and tail of the legendary mountmicroscope than mine. The pieces fit very are also full and flowing. Proportions arewell; the only problem is where to position very good, and the figure�s muscle defini-the pair. The photo on the back of the tion gives great painting results. The baseblister shows you where Thunderbolt put is blank, allowing you to add your ownthem, but you can place them nearly any- embellishments or remove the animalwhere around the nest, with a little work. from the base for addition to a diorama.

Explanation of Ratings6 Good, definitely worth your perusal1 Slag, a good doorstop

2 Poor, for die-hards only 7 Great, have you seen this yet?3 Well below average, needs work 8 Excellent, you have to see this!4 Below average, but salvageable 9 Incredible, where can I get one?5 Standard, average quality 10 No mortal hands produced this!

As you can see, this vignette depicts amother Pegasus pushing her young childout of the nest for its first flight. Being nofool, the colt is resisting. Think of thevertigo you�d get from the view from apegasi�s nest! Detail is incredible, fromnest to wings. The proportions of thepegasi are near perfect, with slim limbsand the head of an Arabian horse.

Again, �cute� is the key word here. Havea wife or girlfriend? Even many of usgamers have mothers! Any of them wouldtreasure this piece, as will most collectorsand painters. If you haven�t picked thisone up, you may be jeopardizing yourrelationship with the women in your life!(Ouch! Yes dear, you can have it when I�mfinished painting!).

Grenadier Models, Inc.P.O. Box 305Springfield, PA 19064Voice: (800) 843-2015 Fax: (610) 623-5780Mail Order: Yes Catalog: $3.00

#3146 PegacornFANTASY LEGENDS* lineSculptor: Sandra L. GarrityScale: 25mm Cost: $4.00Technical: 8 Artistic: 8 Value: 9

A wonderful combination of two mytho-logical creatures, the pegacorn (unisus?)displays a lot of life and action, making it

112 JUNE 1995

Lance & Laser Models, Inc.P.O. Box 14491Columbus, OH 43214Voice: (614) 291-3703 Fax: (614) 294-5424Mail Order: Yes Catalog: $1.00

#P-010 Griffin#5-002 GnashingsPENDRAGON/FIFTH CYCLE* linesSculptors: S. Lortz/S.L. GarrityScale: 25mm Cost: $7.50/$5.50Technical: 8 Artistic: 8 Value: 7

Part of L&L�s licensed PENDRAGON*line, the griffin is a masterpiece. Thoughsimpler, the gnashings from the FIFTHCYCLE* role-playing game are also won-derfully done.

With hardly a parting line to note, bothblisters are very well cast. Bare traces canbe found on the gnashings and even lesson the griffin. Attaching the wings to thegriffin requires putty, and you might wantto play with the position of the wings a bit,but the fit is pretty good.

Crisp detail and excellent proportionsare the griffin�s eye catchers. Thoughthere isn�t much life to the pose, thesculpting is impeccable. Its wings areunbelievable, from shoulder to wing tip.

The gnashings, in three poses, have a lotof action in their stances. The detail issimpler than the griffin, but is well doneand will contribute to a great paint job.Accents, such as belts, pouches, head-bands, and additional weapons are presentin profusion.

Grendel Productions Ltd.80 Jane StreetEdinburgh EH6 5HGDistributed in the U.S. byHeartbreaker Hobbies &Games1260 E. Woodland Ave.Springfield, PA 19064Voice: (610) 544-9052 Fax: (610) 544-9052Mail Order: Yes Catalog: Free

#F0033 Black Orc Warbeasts (2)Grendel* importedSculptor: Kev AdamsScale: 25mm Cost: $24.95Technical: 7 Artistic: 8 Value: 6

As a showpiece, the centerpiece in adiorama or on the table top, the black orcwarbeasts will impress and entertain.Though the warbeast lacks rules for fanta-sy miniatures games, creating stats andrules for such a creature can be quiteentertaining in itself.

Each box contains two of these critters(one shown). Cast in resin, each warbeastcomes in three pieces. A bit of excessmaterial will need to be trimmed awayfrom the rider. Other preparation workincludes sanding and washing in warm,soapy water, but the fit is very good. Littleepoxy is required, but you may want topin the pieces for added strength.

Despite their obviously ominous mien,the best word to describe these brutes is�cute.� There, I said it. The beasts look likeescapees from the gone-but-not-forgottenTV show Dinosaurs (�I�m the baby, gottalove me!�). Does that disqualify it for table-top use? No way! Most miniatures playersenjoy, or even require, that their armiesinclude pieces built for entertainment andvisual impact over optical nastiness. Cer-tainly role-players don�t mind the person-ality built into a figure like this.

The detail is crisp and omnipresent,from the rough, craggy hide to the snarl-ing black orc rider to the skull danglinghowdah. The price is pretty reasonable forsuch huge, finely crafted pieces. They areeven a better deal in Europe, where therearen�t as many middlemen.

DRAGON 113

RAFM Company, Inc.20 Parkhill Road E.Cambridge, Ont. Canada N1R 1P2Voice: (519) 623-4832 Fax: (519) 623-2795Mail Order: Yes Catalog: $4.00

#2015 Elemental Dragons,Earth and AirSculptor: Bob MurchScale: 25mm Cost: $23.50Technical: 6 Artistic: 8 Value: 7

When you think you�ve seen just aboutevery possible variation of a dragon, youneed to take a look at this RAFM boxed set,

From the deepest fathoms of Bob Murch�simagination come elemental dragons.

The dragons, both technically superior,have negligible parting lines. Unfortu-nately, both of the humanoids in the set,the air dragon rider and the earth dragonsummoner, have noticeable mold shifts.Both can be corrected, however, with timeand patience (files wouldn�t hurt, either).Assembly is required, as are pins andepoxy.

The earth dragon is a wonder of rough,rocky, spined skin. This chunky, flightlesscreation has long forelegs and short hind

legs, making for what would be an inter-esting gait. The relatively smooth bellyarmor, while cracked and lined, is in starkcontrast to the heavy, earthen hide of thebeast. The dragon�s summoner is a workerof natural magic, wearing only a loin cloth,cloak, and hat. He wields a wand to sup-plement his magical arts.

Smooth, flowing grace is the main char-acteristic of the air dragon. An apparitionof wind and mist, this dragon curls upfrom its base element and stands poisedfor attack. The detail is very good, and thesharply sectioned wings add something tothe foreign appeal of the figure. The airdragon�s rider is a thin-limbed creaturewith batlike ears and a polearm, andmounting him will require some work.

This fine set provides another view ofone of man�s favorite magical creatures.The listed price is for no-lead alloy.

#3609 Armored CyclopsSculptor: Stephen KooScale: 25mm Cost: $6.50Technical: 6 Artistic: 8 Value: 6

Standing twice as tall as a typical human-oid figure, this fantastic brute is bound todraw more than a casual glance from yourfriends and players.

The cyclops has slight mold lines thatwill clean away with some careful filework.

Strange as mythology made the cyclops,this guy is stranger still. With rugged,angular features, thick musculature, andheavy, spiked armor, Mr. Monovision isn�tthe fur-clad, club-wielding barbarian thatwe�ve come to expect. That�s right, thisguy carries a sword. Detail is very good,and he should paint up well. Price is forno-lead alloy.

114 JUNE 1995

Grim Reaper CastingClifton Industrial CenterMill Rd. & N. Sycamore Ave.Clifton Heights, PA 19018Voice: (610) 544-9052 Fax: (610) 544-9052Mail Order: Yes

#1070 WyvernNasteez* line

Catalog: Free

three pieces, the wyvern requires glue and

piece. Price is for lead alloy, pewter will be

epoxy for assembly.The wyvern has one foot perched on a

rock and has spread its wings, as if issuing

slightly higher.

a challenge. With one push of its mightyleg, it could leap to the air and take wing.Head and facial detail are very good, as isthe back. The inside of the wings and thebelly of the beast are simple but will paintup well with some shading.

The detail of the figure is good, and itwill make a great gaming or collecting

Sculptor: Cliff Linton

specialty, has produced a figure that re-quires few strokes of the file. Coming in

Scale: 25mm Cost: $5.25Technical: 8 Artistic: 7 Value: 6

Nearly flawless casting, Grim Reaper�s

Alternative ArmiesUnit 6, Parkway CourtGlaisdale ParkwayNottingham, England NG8 4GNVoice: (0602) 287809 Fax: (0602) 287480Distributed in the U.S. byThe Armory1101 Greenwood RoadBaltimore, MD 21208Voice: (410) 602-8000 Fax: (410) 602-8140Mail Order: Yes Catalog: $5.00

#DW3 Spined WyvernSculptor: StaffScale: 25mm Cost: $13.99Technical: 5 Artistic: 8 Value: 5

Alternative Armies� version of the mythi-cal wyvern, the sinister cousin to thedragon, will rattle the nerves of a charac-ter or two. This nasty comes in five pieces.

The parting lines along the front andback of the piece are noticeable, thoughnot major. However, the lines do gothrough detail on the belly and legs. Also,some flash mars the webbed spines of hisback. Be careful not to mistake thewebbed spine itself for flash or you�ll takea great look off the figure. None of theseproblems will be difficult to correct,though it will require an investment oftime. Assembly will require putty to fill ina couple of small gaps.

The wings and head of this wyvern arewhat really caught my eye. The wings areuncharacteristically detailed and the headis so evil and insidious, it�s frightening (Ithink I had her for 10th-grade English).The only minus on the artistic end was theungainly stance; the rest was suitablyimpressive.

116 JUNE 1995

Ral Partha Enterprises, Inc.5938 Carthage CourtCincinnati, OH 45212-1197Voice: (800) 543-0272 Fax: (513) 631-0028Mail Order: Yes Catalog: $4.00

#11-494 Wemic#11-495 KirinAD&D® seriesSculptors: J. Johnson/R. KerrScale: 25mm Cost: $6.50/$4.95Technical: 8 Artistic: 9 Value: 7

You�ve used these creatures from TSR�scompendiums before, now you can finally

put them on the table in metal. An incredi-ble line to date, these figures certainlycontinue that tradition.

The kirin is near perfect, with only atrace of parting line between the legs. Thewemic had more noticeable parting lines,and even then only between the legs andalong the arms.

The wemic, a race that�s been aroundsince Monster Manual II, are a tribal raceof lion centaur nomads. These figures doan excellent job of capturing the race: itscat-like grace, the feline proportions in thelower body, and a humanoid torso withfaces mixing human and lion features.

Detail is very good, and there is a lot of lifein their pose.

Kirin, goody-goods that they are, are ahappy and powerful lot. This figure is ascapricious as they come. Romping happily,the Kirin bears a huge grin. Detail is phe-nomenal, including its scaled sides, furredhead, and flowing mane and tail. Thedetail makes this a painter�s trial by fire, soget out your golds, whites, and grays, andlet�s see what you can do.

As always, you can write with yourcomments and suggestions to: From the Forge,P.O. Box 9, Murrieta, CA 92562.

118 JUNE 1995

NEW PRODUCTS FOR JUNE

Encyclopedia Magica� Volume IIIAn AD&D® game accessoryby Dale �slade� HensonThe third volume in the series that details

every magical item ever created for the AD&D®game. This 416-page volume is a must-buy forall magic aficionados!$25.00 U.S./$32.00 CAN./£15.99 U.K.TSR Product No.: 2157ISBN: 0-7869-02892

A Light in the BelfryA RAVENLOFT® audio CD adventureby William W. Connors & Dori HeinWelcome to Tegeron House, the home of the

wicked lord Morgoroth, where only the heroescan shatter the house�s curse. The first interac-tive audio CD adventure for the RAVENLOFT®setting combines a chilling plot with shrieks,screams, and sounds to curdle your blood.$15.00 U.S./$22.00 CAN./£11.99 U.K.TSR Product No.: 9494ISBN: 0-7869-01330

NEW PRODUCTS FOR JULY

Player�s Option� Rulebook:Combat & Tactics

An AD&D® game fundamental referenceby L. Richard Baker III & Skip WilliamsAll the optional combat rules any gamer could

want are collected in this hardbound 192-pagebook. Inside you�ll find supplemental rules, animproved tactical combat system, extensive infor-mation on armor and weapons, and alternate rulesfor unarmed martial arts, monster tactics, terraineffects, fighting vehicles, and combat-style options.$20.00 U.S./$26.00 CAN./£11.99 U.K.TSR Product No.: 2149ISBN: 0-7869-00962

Thief�s Challenge IIAn AD&D® game adventureby Terry AmthorJust two people can play this adventure spe-

cifically designed for one thief player and theDM. With minor adjustments, it can also beused for groups of 2-3 players. In this adven-ture, your thief wakes up on a ship full of deadmen, and has no idea how he got there. Thingscan only get worse when the ship hits the rocks!$6.95 U.S./$8.95 CAN./£4.50 U.K.TSR Product No.: 9478ISBN: 0-7869-01357

Castle SitesAn AD&D® game accessoryby Sam Witt & Kevin MelkaThis 96-page accessory offers detailed castle

120 JUNE 1995

floorplans, showing their exteriors, purposes,and inhabitants. Several adventure hooks areincluded for each castle.$12.95 U.S./$16.95 CAN./£7.99 U.K.TSR Product No.: 9479ISBN: 0-7869-01454

Thay and Rashemen, and touches on the Simbul�snation of Aglarond. Within are detailed maps andthree booklets of never-before-released informa-tion on the Red Wizards and other rulers.$25.00 U.S./$32.00 CAN./£15.99 U.K.TSR Product No.: 1121ISBN: 0-7869-0139X

BlRTHRIGHT� Boxed SetAn AD&D game campaign settingby Baker & McCombExperience the thrill of playing rulers of legend,

commanding mighty armies, and wielding thepower of entire kingdoms! TSR�s newest campaignworld lets you play warriors, priests, and roguesdescended from royal bloodlines. But be preparedto battle enemies who are just as powerful, andmillenia-old Abominations that will stop at nothingto steal your kingly power. Contains three books,two poster-sized maps, and much more!$30.00 U.S./$42.00 CAN./£21.50 U.K.TSR Product No.: 3100ISBN: 0-7869-01438

Blood Enemies: Abominations of CeriliaA BIRTHRIGHT� accessoryby slade with Steven SchendA guide to the most dangerous creatures on

the face of Cerilia: the awnsheghlien! With 128pages of monstrous dictators and wanderingnightmares, this appendix should strike fearinto the hearts of all blooded rulers from theSea of Storms to the Isle of the Serpent!$18.00 U.S./$23.00 CAN./£10.99 U.K.TSR Product No.: 3101ISBN: 0-7869-02841

The Endier Domain PackA BIRTHRIGHT� accessoryby Colin McCombThe land of Endier is yours to mold and shape as

you will! Inside you�ll find everything you need toknow about Endier, including maps, a completedescription of the land and its history, the work-ings of the government, and information on itspeople.$6.95 U.S./$8.95 CAN./£4.50 U.K.TSR Product No.: 3105ISBN: 0-7869-02868

The Roesone Domain PackA BIRTHRIGHT� accessoryby L. Richard Baker IIIHere lies the barony of Roesone, a growing

kingdom on the southern coast of Anuire in theland of Cerilia. It�s up to you, as the ruler ofRoesone, to keep this land intact against enemieswho wish to claim your lands. Through yourguidance and command, Roesone will become apower in Cerilia . . . or fall to adversaries!$6.95 U.S./$8.95 CAN./£4.50 U.K.TSR Product No.: 3104ISBN: 0-7869-02841

Spellbound:Thay, Rashemen, and Aglarond

A FORGOTTEN REALMS campaignexpansionby Anthony PryorThis campaign expansion sheds new light on

The Factol�s ManifestoA PLANESCAPE� accessoryby Beach, Hein, Salsbury, and othersA must-have guide to all 15 factions charac-

ters can join, presented firsthand by the factionleaders themselves! Includes guidelines onfaction interaction, proficiencies, magic, equip-ment, and more.$20.00 U.S./$26.00 CAN./£11.99 U.K.TSR Product No.: 2611ISBN: 0-7869-01411

Mark of AmberA MYSTARA� audio CD adventureby Jeff Grubb & Aaron AllstonThe Amberville family of eccentric wizards and

their sinister castle await you, in the first interac-tive audio CD adventure set in Glantri. The digital-ly recorded audio CD comes with a 64-pagebooklet, playing aid, and poster-size map.$18.00 U.S./$26.00 CAN./£12.99 U.K.TSR Product No.: 2513ISBN: 0-7869-01403

Beyond the Prisim PentadA DARK SUN® accessory and adventureby Bill SlavicsekGathered here are extensive details on all the

events and characters revealed in the PrismPentad novels that altered Athasian history. This32-page accessory helps players and DMs incor-porate the changes into their campaign.$6.95 U.S./$8.95 CAN./£4.50 U.K.TSR Product No.: 2441ISBN: 0-7869-03082

The IrdaA DRAGONLANCE® novelby Linda P. BakerVolume Two in the Lost Histories Series is the

story of the high ogres, forerunners of the highogre race. For the first time we learn how alegendary race fell from the grace of their gods.$4.95 U.S./$5.95 CAN./£4.99 U.K.TSR Product No.: 8364ISBN: 0-7869-01381

Cloak of Shadowsby Ed GreenwoodThe Time of Troubles continues and Elmin-

ster�s role in the Avatar crisis is further re-vealed. As the Shadowmasters slaughter andmanipulate their way to prominence in Faerun,it�s up to the heroes to stop them.$4.95 U.S./$5.95 CAN./£4.99 U.K.TSR Product No.: 8559ISBN: 0-7869-03015

Unless otherwise noted:® designates registered trademarks owned by TSR, Inc.™ designates trademarks owned by TSR, Inc.©1995 TSR, Inc. All Rights Reserved.