Do you want something other than linear combat adventure? Then Dungeons & Dragons is not for you. After wading through all of these Dungeon Magazines, the Internet shift to the OSR makes complete sense.
Why are you still reading these “Reviews”?
By Phillip Larwood
Ant dwarf hybrids are featured in this linear hack-fest. Linear maps. Rooms with nothing more than combat. Go from room to room, with no choice, and masturbate to your min-max’d characters tactics. This “adventure” is just a simple wargame, and not a very good one. The word count is padded to shit and back.
The Hall of Harsh Reflections
By Jason Bulmahn
Part blah blah blah of the Age of Worms adventure path. It’s hard to muster much enthusiasm for these. Gate guards abuse you, a couple of COMPLETELY telegraphed street encounters. A fight in a bar. Raid the doppelganger lair. Raid the mind flayers lair. “Oh no! The chimera in the parade has escaped!” Who cares. “Oh no! Combat in the bar!” Who cares. Some attempt is made, in the beginning to add a bit of variety. Wanderers include bandits, who flee when one of them is killed, and trolls, bitching about some adventurers that raided them. The corrupt gate guards exemplify things. They try to shake you down. They bake off if you insist on your innocence. What if you just kill the fuckers? Are you prepared to deal with that? I mean, the designer instigated the scenario and killing the asshats is certainly in the cards. Pages of text is used where a couple of sentences could suffice, especially for the shit that passes for “adventure” in this thing. The man behind the curtain is boring.
Blood of Malar
By Eric L. Boyd
Vampires of Waterdeep, part two. This is a 36 room dungeon with a decent looping map. It’s at its worst when it’s engaging in Forgotten Realms simulationist/historically accurate fetishism, with mountains of text and long ineffective read-aloud. Lots of opportunity for useless background data “A year ago a destrachan crawled up from the underdark and fought some adventurers and died, resulting in this rubble filled room.” Note the contrast between this “explaining why” and Curse of the Shrine Goddess, where stars disappear from the sky with no explanation of why. One concentrates on play and creates fun. The other concentrates on some historical novelization of the adventure, and sucks shit. There’s some flying finger/hand monsters. Those are nice. The whole plot thing is is garbage, but can be easily ignored, thank god. Not odious, just not good.
A man built a temple to a woman who died. It became a shrine for those who lost a spouse too soon. Later. Much later. A young couple came. Their tribes warred so they could only marry in death. It was poison. Which angered her. They walk the temple ever since, cursed by a shrine spirit. She has a hatred of suicide only dead widows can know.
Heads Up: This adventure went through my Critique Partner service.
This is an eight page PWYW exploration adventure in a shrine/tomb that kind of channels the backstory of the Taj Mahal. It’s got great imagery and lots of little scenes that lend this wonderful vibe of mourning and loss to the various areas. There’s some great construction in this, making things work together to an overall effect. It’s dreamy, haunting, frightening, and does it all through interaction with the characters, forcing nothing on them. It tempts.
Eight pages with twelve rooms makes this a pretty focused adventure. A title page, a map page, a rumor/mechanics page, and then four pages of keyed encounters and one more half page describing a couple of more mechanical pieces. The adventure describes Coral Castle, an old shrine and temple. What do we know about it? Well “the superstitious lot of local muck dwellers have this to say about it …” says the intro to the rumor table. I’d like to note that one intro sentence provides more gameable inspiration about the local village than dozens of the throw-away villages I’ve seen. “Muck dwellers” … maybe on stilts, on the edge of a bog, muck, literally? Oh yeah. The rumors, twelve, add to the fun. They are written in a kind of folk manner, embedding some part of the teller in to their wording. Reading rumor nine “We were a proud people once …” it starts out. And you get, through it, a detailed image of the speaker in your mind. A mournful kind of person, maybe a bit in their cups, knowing what kind of people they once were and how they’ve fallen to what they are now. To be clear: there’s nothing more of the local village presented beyond this rumor table. And this adventure does not, in any way, need it.
The imagery in this adventure is great. Rot swollen door. Cherry blossom leaves fall in slight wind. Sky blue splotches of color bleeding through the coral wall. A bowl of rot. A floor dirt soaked and hardened with animal blood. But that’s only the static descriptions. The Crypt of Widowed Virgins, underground, as some water on the floor. Skeletons in the lower alcoves crawl through the water, making no ripples, attempting to drag players in to the lower alcoves and drown them. Nice stuff! Short. Strong imagery. Great play opportunities. In an alter room skeletons in frilly pastel trousers playing pipes and carrying a litter with a skeletal bride and fight the party to get her to the altar to marry. Strong use of language compliments the more dynamic room elements, that are themselves well done, to bring about this excellent picture built up in the DMs head.
I tend to harp on terse and evocative writing. I do this because boring and lengthy writing is a common problem in most adventures and making it terse and evocative is an easy contrast that can’t be confused. There are Other Ways though. You can write sticky. You can create a little element that, while longer, only needs to be read once in your lifetime and it will remain with you. Old Bay, the hill giant in the crab-men caves from Fight On #3 (itself one of the best dungeon levels ever) is one of those characters. Once read you will never forget the old crab-leg loving guy. Likewise there are at least three things described in this adventure, a little longer than normal, that you will only need to read once, maybe just referring back to stat at some point but never needing to come back for their character. You grok them. There are two lovers trapped inside the shrine, cursed. There is a maze that can appear between doorways and a “minotaur” in the maze. All three are sticky in the same way as old bay. The woman, Alaesis is determined. Steely eyed obsession. She refuses to feel despair. Aturio is panicked and worried, desperate for help. Knows he is hunted. Has died 86 times and is a broken man. The minotaur is their child (not A&A, but the Taj Mahal builder dude and his dead love) that was never conceived. Perfect-looking, 20, Strong, beautiful, intelligent, kingly. Never fails morals. He could have been anything. He would have been great. There’s more text for all three, but I’ve given you some of the highlights. VERY strong characterization for the DM to work with and expand upon, without having to refer back to multiple paragraphs of text.
There’s a great element of the weird in this. You can steal gems from the night sky mural on the roof of one of the rooms. “Afterward, looted stars no longer show at night. Ever.” Nice! Or w window you can crawl out of, in to the void you see through it, to see the UNDERSIDE of the castle … and the secret is holds. There’s no real attempt to explain this, or the stars, or other details. And there doesn’t need to be. It doesn’t fall in to the trap of trying to explain the WHY of the weird in a game where elves shoot fireballs. And yet it’s not arbitrary. There’s a story that can unfold, through the various rooms, if the party pays attention. They can figure out some of the secrets hidden away
The adventure relies on temptation for a lot of its action. There’s loot laying around. Looting, in what is essentially a large memorial crypt, while the deceased is present in spirit form, leads EXACTLY where you would expect it to. When you loot, or do other things to piss of the dead lady, some of the room ‘activate.’ IE: the cherry blossom trees in the garden have their leaves fall and blow … acid leaves that burn the skin. That crypt of widowed virgins? They’ve mostly got valuable wedding rings on … I love it when a adventure puts this sort of temptation in front of the players. Everyone knows something bad will happen. The players are making a deliberate and informed choice (implicitly informed, sometimes) and tus THEY control the action. And if it were playing I’d gleefully loot the place like a cackling madman. Consequences be damned, they only add to the fun!
It’s a good adventure. My critiques are nitpicks. Maybe a little more formatting for certain sections to make the Treasure and Activated sections stand out a bit more than they already do. There’s a maze mechanic that you have to read a couple of times to get ahold of it. If I were doing it I’d probably devote a sentence or two to the approach, to try and generate a mythic underworld transition and/or enhance the otherworldly aspect; maybe put it up high on a cliff with a narrow coral path and lots of mists and sea spray or something like that.
This was a solid adventure and the revisions to it have really kicked it up a notch. I think it compares favorably to the adventures Gus L does at Dungeon of Signs. Short/terse. Evocative. Punchy. Memorable. Not forced but presenting opportunities.
The preview on DriveThru is a little TOO good. It’s eight pages long. And the adventure is eight pages. Not cool if you believe people are jerks, but WONDERFUL for a Pay What You Want adventure. You’ll know EXACTLY what you are getting. Check out the last page for the minotaur description or page four for the Aturio & Alaesis description. Or the second to last page for both the wedding altar and crypt of widowed virgins.
For generations, bards have enjoyed spinning the tale to honest folk and their children of the lost Nevermore Mines and the Master of Darkness that lies within them. They warn the children that if they misbehave, the Dark Master will come for them and take them away to be lost in the Mines forever. Most folk regard these stories as spirited attempts by bards to make some coin, but the town of Oakvale was just recently attacked by the nightmare from the tales. Will your group be brave enough to travel to the Nevermore Mines to discover and put to rest this great evil?
This 56 page adventure describes a two-level mine now being used as a lair by a devil, along with the wilderness environs around the lair. It’s a pretty classic environment, with an encounter mix that is a cut above the usual dreck. It’s also a classic “highlighter adventure”, being absolutely clogged with text. It’s clear a lot of effort went in to this, and unfortunate that its usability is hampered.
A devil possessed a miner long ago and is now trapped in the mine; warded from leaving. He’s accumulated some followers. There are a small selection of hooks to get the party in to the mine, most of which are the usual boring stuff. Our children are missing. Hired to go find something, and so on. But there’s also … you won the deed in a poker game! This, and the associated “found the deed” and “were granted the deed as a reward” are great examples of appealing to the players. “Well, I got this deed to a gold mine …” That’s the kind of very personal appeal to a player that I think makes a good adventure hook.
The wilderness area leading to the mine is about five miles long, with a couple of paths leading off of the main trail, and ten encounter areas scattered through the side trails. This is supported by a small wandering monster table that … is a little fun! An etting having an internal monologue that does not immediately attack, hobgoblins that don’t attack immediately … it’s amazing! A variety of encounter types from mundane, to mysterious, to social, to the usual monster attack. The variety is refreshing to see. Similarly, the wilderness encounters proper have a decent mix of variety to them. Several simple barrows to explore, an abandoned hut, a nice rock bridge to a werewolf lair, “the slime cave” (with weird mushrooms!) and a bog, complete with ghost children carving weird pumpkins to scare off the evil one and light the way for their parents to find them. Again, several non-violent encounters or encounters that let the party get themselves in to trouble (grave robbing the high priest? Ought oh …) The variety and mix is great, as well as the fact that there’s an actual REAL wilderness area offered .. even if it is a little simple, being paths through the mountains.
The main encounter location is a two-level mine with about twenty five rooms in total. The vibe inside is that of … surprise! a mine that has a devil inside! There’s a mix of natural type things (spiders, mine workings) with devil-like things such as heads hanging on hooks and so on. Generally each room has one encounter in it, and there’s some direction on how to respond to incursions … so more of a lair dungeon than an exploratory dungeon. That would usually mean that it skews heavily toward “this room has a guard monster that attacks you” but this adventure throws in a decent amount of encounters that don’t just feel like a slog. There are captives to rescue, dead children to find, a ghostly prisoner to “make friends with” … which is a banshee! It’s a nice little devil lair with a bunch of fucked-up monsters, not all of who like each other.
The primary sin is verbosity. The adventure confuses a long descriptions with a good description. Every single room/encounter gets two or three paragraphs of text. The text is a combination of fact based descriptions and history, neither of which I’m particularly fond of. The history is, generally, not needed in adventures and serves to only pad the adventure word count. Which makes it harder to find the information that you actually DO need to run the adventure. The “fact based description” ding sounds weird, I know. While not the worst, I think these sorts of fact-based descriptions come off, at best, flat and at worst trend to the “useless detail” end of the spectrum … which once again ends up clogging things up. The flatness comes from a communication style that is attempting to communicate too much. The designer needs to communicate a vibe, or feeling, to the DM, letting them fill in the rest. There’s a very long paragraph in one of the rooms of the slime caves. “A large hole in the ceiling on the east side of the chamber opens into the open sky above and light from the moon or sun is able to shine through the room.” I think we all get what the intent is. The designer clearly has a picture in their head and is trying to get that out to the DM. And yet “God rays stream in from a hole in the ceiling.” 10 words instead of 33 and, I think, a much better visual built up for the DM. I know it seems minor, but that first long paragraph has eight long sentences in it and it would be a BEAST to go through during play. Short. Punchy/Evocative. The last paragraph, of the same room, reads: “ Anyone entering the bubbling mud bath will find it very warm and comfortable. The basin is approximately four feet deep and three human sized characters can fit in it at once. Anyone spending an hour or more in the mud bath will heal twice the amount from their next resting for a full day.” Again, this could be shortened considerably, getting rid of useless wording and still delivering the intent, less prescriptively, in a more evocative manner.
The barrow mounds are good example. One of them has four of five “empty” rooms, all of which get relatively lengthy descriptions, about sixty words, to describe chambers that have nothing much going on in them. They are, at best, window dressing. A short, punchy description, would have communicated more for less and be easier to run during play.
There’s also this tendency to elaborate on the “why” of things. Backstory for monsters, usually. Tickles the evil clown (yes, I know. It’s ok, the entire adventure isn’t like that. A better word than “clown” should have been used.) has this buried in his backstory: “However, due to the Master’s experiments, Tickles can now regenerate like a troll and has special abilities.” You don’t need to explain WHY a monster can regen, unless you’re doing some kind of mythic thing. In fact, we probably don’t need Tickles backstory at all. He’s unlikely to engage in conversation the way the ghost children in the bog are (who DO talk to the party, and thus a little more can be justified.) Again, all of this is towards the singular end of making the room descriptions, the text the DM has to wade through to run the game at the table, useful AT THE TABLE. Hunting for information is a pain. Hence … a classic highlighter adventure. Flawed, but a highlighter helps a bit. If you have to use a highlighter then things could be better.
There are a few other nits as well. There are a few magic items worth paying attention to, but most are just book magic items or treasure with no attempt to make most of them more interesting. That’s too bad, because the ones that ARE new are pretty interesting. The maps are weird. A bright blue background was chosen for a couple of them, which seems really weird and I find distracting. But, there’s also some attempt to include more interesting detail on a few, like the slime cave. That map shows a nice blue river running through the cave and tries to communicate some information with more detail on the map. The whole thing is jammed with art .. of varying usefulness. Sometimes I like a good monster art piece, or room art piece, because they can communicate a vibe well. This one is hit and well. The pumpkin man comes across well, as a monster, as does the slime cave entrance on the same page. Quite a few of the others work less well. They come across as “generic imp” or “generic gargoyle.”
This is a decent little adventure that’s going to take a decent amount of highlighter work, and DM visualization and notes, to make work to the degree I expect.
You can find this on DriveThru. The last page of the preview shows a description for wilderness area #1. That’s a decent enough example of both good art (the standing stone picture does a good job communicating the vibe) and the verbose/fact-based descriptions.
Part three of Age of Worms adventure path. The pretext is escorting a wizard to see his friend at a keep. Getting there, it’s under attack by lizardmen. Breaking the siege you go to their lair and kill lizardmen, along with their minion harpies, kobolds, and anything else they could throw in. Coming back to the keep they find a creature in the basement is active, killing some of the remaining soldiers. The wandering table, on the way to the keep, is a cut above. Only one fight is prescribed … and even then maybe not forced. They focus too much on mechanics instead of evocative travellers, but, at least it’s something. There is an INSANE amount of text in this adventure, from the read-aloud to the DM notes. And EVERYTHING is all mixed up, with no rhyme or reason as to how information is organized in the DMs sections. The amount of crud you have to wade through in order to pull out data is truly amazing.
The Clockwork Fortress
By Wolfgang Baur
Clockwork dude contacts party to get them to clean out his mobile fortress, full of derro and chaos. It’s full of the usual “pad the word count by explaining things you don’t need to know” that makes wading through, and using, Dungeon adventures so hard. I’m reproducing one section at the end of the review as an example. There’s really not much to the adventure. Just rooms with monsters in it to fight, along with a few gear-based traps and obstacles. To its credit, there ARE a few things that are not hostile, in essence a second faction to the fortress. It’s too bad Baur stooped to something like this, I assume, to get paid.
Blood of Malar
By Eric L. Boyd
“Vampires of Waterdeep, Part One” is how this is touted … Vampire lady shows up in a bar and proclaims a young nobleman the target of “the hunt”. A bunch of patrons transform in to werewolves (who are themselves vampires) Noble runs away, werewolf vampire people give chase. The party, for some reason, gives a shit? There’s some subterfuge, and a hidden goal, but it’s all buried in some Forgotten Realms simulationist exposition that borders on fetishism. Full of names that only a fuckwit obsessed with the forgotten realms could love. “Headmistress Dhusarra yr Fadila el Abhuk”, “Lord Orlpar Husteem”, “Noreyth Harpell”,
By B. Matthew Conklin III
Some monsters (cockatrice, darkmantle, rust monster, etc) have escaped inside a shop. Four rooms, a different monster fight in each room, designed to be chaotic. Rust monsters in the dark of the mantle, cockatrice/chickens in a room full of shelves, etc.
Here is one paragraph from the text of the Clockwork Fortress/Baur adventure. Note the extreme use of explaining WHY and HOW that add nothing to the adventure.
Creatures: The waters of the moat that surround the Clockwork Fortress are surprisingly warm, heated by the inner workings of the fortress furnace. A dozen killer frogs (originally taken from Blackmoor) dwell in these waters. The frogs generally prey on wildlife in the surrounding region, and of late have caught more than a few derro as well. Rather than exterminate the frogs, the derro decided to give them a wide berth, figuring that they’d add a welcome layer of security to their operation. The frogs don’t attack anyone who crosses the drawbridge, but anyone who approaches within 5 feet of the moat’s edge (or enters the water) attracts the attention of 1d4 frogs. Killer frogs are pony-sized amphibians with long needle-like teeth that protrude from their jaws even when they’re closed. They also have long hook-like talons on their webbed hands and feet. Killer frogs (12): hp 34 each; see appendix.
Do we care why the water are warm or where the frogs came from of why they are there? No. The entire thing would be improved by simply stating (and remember, I’m a suck -ass writer!)
1d4 killer frogs attack any near/in the water, except people crossing the bridge. They have long needle-like teeth protruding from their jaws and long hook-like talons on their webbed hands & feet.
Clovis Harken, Lord of Highcliff Gard has but six months to live, at least if the family curse is anything to go by. His wife, Karlina is going frantic as he has forbidden any from investigating the curse. But he has gone on a hunting trip, and Karlina has sent word to the wayside Inn asking for investigators to explore a mysterious door hidden behind a mural in the oldest part of the manor. It’s easy money if it were but a simple coal store….
This thirty five page adventure details the dungeon behind a newly found secret door in the manor of a cursed lord. With twenty-one rooms over thirteen pages, the rooms are … expansivly encountered, with each rooms many features generally ALL having some sort of thing associated with them. It could use a hard organization overhaul to deal effectively with the organizational consequences of that dense content. It can also be a little bland in its treatment of treasure and goes overboard with DM advice and mixes setting data in through a repetition I found tedious. This adventure feels like … I don’t know. It feels like a good old-school basement adventure in which each room has a lot of stuff going on.
Every lord of the manor dies at forty, because of some curse you hear about from a bard. A summons to the manor from the lady reveals her husband is out hunting and will return in six hours. She wants you to explore a new secret door she found, thinking it may contain information on lifting the family curse. The house guards are loyal to her husband, who doesn’t want anyone poking around with the curse.
I described the rooms in the dungeon as expansive, or perhaps dense is a better word. The first room has maybe six different things going on. There are spiders in the ceiling joists, with big wiggling food sacks hanging. There’s a chest and a mound of burlap. There are banners under a sheet, and 7’ tall statue, along with a table and a rubbish/slurry pile near a locked door with an obvious key missing from the keyring next to the door. Don’t go poking in the rafters and the spiders keep to themselves, you may not even see them. Fuck with their food sacks and rats run out of the walls to investigate. The wet burlap has rats in it. The missing key is in the rubble at the foot of the door, along with some giant centipedes. And on and on it goes, to the tune of a page and a half. The writing is not exemplar in its use of terse & evocative language, but it’s not exactly full of garbage irrelevent history and backstory either. Well. Usually. It IS more verbose than I would prefer in places. “Inform the player that the spells are instantly readable by a magic user” is the advice when you find some scrolls in a chest. Or “A cleric, magic user or druid is able to identify the dried herbs as St. John’s Wort, a plant used as a ward against fae that can also be used as a bug repellent if burnt.” In the table description there’s “On the table are gauntlets and a battle axe with a leather cover.” and then “the battle axe is serviceable.” This sort of thing happens again and again. I’m not sure I would make the choices to include this information … but it’s also pretty hard to damn the product for it. Well, but for …
The density of the rooms, combined with the organizational style, makes the extraneous data stick out more than usual. There’s just SO MUCH that you start looking for ways to manage your way through it. More than the detail I think this is an impact of the style. The rooms almost always start off with a read-aloud. In the case of room one it’s two paragraphs long. It’s pretty fact based, which I generally rail against, but it also touches on nearly every thing in the room to investigate. If you believe that the DM should feed “follow up” hints to party, for them to inquire further about, then this is the read aloud for you! Here’s the read-aloud section for the spiders and cocoons: “The rafters, 10 feet above your head, are coated in cobwebs. There
are seven cocoons about two feet long at intervals dangling from the ceiling. They twitch erratically.” Other read-aloud bits mention the table, statue, sheet covering something, the doors, and so on. Actually, the cocoon read-aloud is not bad for evocative imagery, but the rest IS pretty fact based. The various sections are then bolded out in the text. IE: “The Table” is a bolded section heading, as is “The Banners” and “The Chest and Mound of Burlap” and “The Statue” and “The South Wall.” Note the disconnect between the section headings and the read-aloud. Banners? No banners mentioned in the read-aloud. They are under a sheet that IS mentioned. The South wall? That’s the door on the south wall. Then there’s an entire section of text after the read-aloud and before the first section heading which describe a pool of seeping water, a stairway, the wall symbols the walls are painted with, the cocoons and spiders. Then the monsters are bolded in the various section, in a slightly larger font. It really needs slightly better organization. Consistency in the section headings, the monsters maybe indented instead of bolding with larger font, and the section heading being consistent. I recall another product I just reviewed that had a kind of bullet point layout. That format, I think, would have worked wonders to help group and call out the content in this dungeon. None of which means it’s BAD, just that it could be better.
The whole thing FEELS like a classic dungeoncrawl, even if the map is really just a couple of rings of corridors/rooms. The content of the rooms leads to this exploratory vive that’s going on. You can interact with stuff. Search the garbage for a key. Peel back peeling paint to find a door. Fuck with the statue. It’s quite interactive and some rooms, like the first room, are bursting with interactivity. More than anything else it feels like those old 1e DMG example dungeon rooms, with the holes filled with wood, the trapdoor, and the stream with a skeleton and scroll case in it.
Loves of B2 will rejoice knowing that the manor gets a small write up also … along with its considerable treasure and magic items contents. Murder Hobos, Represent! The adventure does get a little heavy in places, especially prior to the dungeon proper, with setting data. It tells you about 200 times that demi-humans and humanoids are called Erle Folk, clerics are multi-religion, and MU’s can brew potions. Maybe it’s the repetition, but the setting info felt a little too much, even though it does have a kind of interesting Ars Magica/Harn-ish vibe to it. More fantasy than those two settings but still skewing more in that direction than most adventures do. The treasure is generally pretty good. The magic items skew towards the book variety but they do have some decent details, like a +1 dagger with an ivory handle with inlay in the form of a sinister faun. (Which fits in to the “alien fae” theming as well.)
The exploratory nature of the dungeon as well as the variety in non-standard encounters (floating skulls shooting magic missile! Trapped fae spirit!) makes this one of those rare cases where I think it’s worth pulling out the highlighter. My impossibly high standards do a disservice to these journeyman works. One day I should collect them all on a second page. In any event, this is good enough to make me want to see more from the publisher/designer. Expect to see some more in the near future.
You can find this on DriveThru, but we warned the preview is pretty useless in determining what’s up with the actual useful content. (Ha! A new area for me to bitch about! “The preview doesn’t show a useful page.”)
Welcome to Graven, a quiet and peaceful little hamlet. Or is it? The Baron hasn’t come down from his keep in three years. Bandits and worse have been stalking the road. People have been disappearing down by the river. The mine has become unsafe since a recent earthquake… And something has started killing villagers in the night. There is a need for brave adventurers…
This is a 52 page region in trouble with various little things to do scattered throughout, and interconnected. It’s not really enough to call it a regional sandbox; more of a description of the lands around a village. It needs a little more ‘going on’ for the DM to throw in and suffers from a word count issue … but mostly because the sheer size of the product. IE: It’s more of a usability issue than a wall of text issue. It’s ALMOST where it needs to be to be a good product.
The “adventure” is really just a description of various locales around a village. The village proper is described, along with a dungeon and a barons keep and three or four wilderness regions. Supporting this is an appendix with a name generator, rumors, bestiary, and a couple of pages that offer solutions to the various more open-ended mysteries found in the village … larger mysteries than the ones explored in the adventure proper.
The wilderness sections are presented in about two pages each. A short paragraph overview and then a couple of wandering tables. There are no “set” encounters in the wilderness areas; everything is on the wandering table, which is an interesting idea I can kind of groove on, given the minor significance of the the locales on the table. The wandering tables are generally something like: “If you’re in the road in the forest”, with day & night options, and then also “if you strike out off the road in the forest”, with day and night tables. This is followed, mostly, by the stats of the creatures encountered, with little no extra context text. EXCEPT when there is. And then it goes on a paragraph. These are generally NPC encounters or some kind of encounter related to the various little things going on. “The Red Lady” in the woods is a ghost, with a little data on her (mostly things important to the game at the table!) At the end there’s a little section on “Clearing” the region. If you do certain things then the region becomes safer, here’s an XP bonus, and here’s how the impact on the regional/village. It’s a nice touch. It’s also the case that clearing a region generally requires some exploration of one of the OTHER regions. IE: the ghosts body is somewhere else. These little things are the primary points of the adventure. Hmmm, no, that didn’t come out well. Each one of those little things (a few per region, maybe six regions total) end up as a kind of To Do list for the adventurers, and that To Do is the primary adventure in this product. Arg! I still don’t think I said that well. I’ll table it. More on that point later.
The three major non-wilderness areas are the village proper, the old mines, and the barons keep. The later are both primary adventure locales, with above average maps (but not exploratory-dungeon type maps) having some elevation changes and other non-generic features. The keep is full of bandits … and maybe a werewolf, while the mines have gnolls and undead. There can be some social interaction in both areas, and MAYBE even some allies/faction play a bit with some evil folk. There’s not a lot, really only a couple of words for two people, if memory serves me right, but it’s there. While I’m on the social, let me say that this play is CRAWLING with potential hirelings. The village, the wilderness areas, and the keep … you could have a small army of followers. That’s a nice non-traditional resource and/or reward for the players, and goes a long way to showing that their actions have an actual impact.
I feel like I could write about two dozen pages more on this adventure, both positively and negatively. The villagers refer to the primary monster as “The Beast that waits” (although I’d shorten it the the beast), which is much better than “a couple of trolls been giving up trouble.” The brigands are part of a gang, with a name. There are tips about things the party will want, like silver weapons. The villagers, like the little adventures, have a few interconnections to other villagers. The “boss fight” in the mines is fucking ROUGH! The treasure is abstracted in some places and the magic items boring book shit. The imagery is sometimes useful (in the mines in particular) and mostly not. There needs to be some quick villager quirks/events to liven things up and get them going. I think though, I’m going to expand on only two more issues, both negative.
First, the adventure is a little … oh, I’ll say verbose. The issue is that the NPC’s all have personalities, goals, and descriptions, over a couple of paragraphs each, and they are all at the locations they are usually found at. I think this is a cumbersome way to present information FOR ACTUAL PLAY. Either keep the current descriptions and provide a 1-page summary of all of the NPC’s (“Farmer Ted: Short, limp. Hates his father. Loves his mother like norman bates. Location C16”) OR reworks the descriptions in to something that MUCH easier to scan during play. I don’t mind a paragraph or two for an NPC (when it’s full of gameable data) but I HAVE to have something to use at the table, and text paragraphs of NPC’s don’t fit the bill. That means a highlighter, at best. And Fuck You, how about you, the designer, highlight for me since I’m paying you? Hmmm, that came off a little strong for the degree of sin, but, the point remains.
Second, there is a REAL lack of motivation for the party. To be fair, the designer points this out as being key. The party MUST be engaged in the village. But the hooks provided (the most mundane of hooks at that) just get the party TO the village. Why they would want to get involved in ANYTHING is not covered at all. “Because”, I guess? This lack of motivation (other than the usual do-gooding …) Makes things rough. You could strike up a love interest, I guess. But what’s really missing is what the designer correctly points out in the notes in the appendix: why the fuck does the party care? There’s nothing present in the adventure to help on that one crucial point. Marrying them to the locations, literally, or perhaps figuratively, would be what’s needed. Maybe the king appoints the lands to THEM, or they are rightful heir, or some such. That would give them a reason to clean up this one horse region.
This is a decent little regional area and reminds me of Scourge of the Demon Wolf … except without the motivation events that Demon Wolf had. I was not expecting much and was pleasantly surprised with what I ended up with. A second edition, solving the problems, or perhaps two pages of free errata/expansion, would serve this product quite well. A few more events, a few more colorful villagers, a reference sheet of NPC’s, some better mundane & magical treasure, a reason for the season … this could be a great little product.
This is on drivethru. Check out the last page of the preview for a look at the wilderness format.
There’s nothing to see here.
Save yourselves! Flee now!
The Three Faces of Evil
By Mike Mearls
Part 2 of the Age of Worms adventure path. Surprise! There’s a religious cult! They don’t believe in desecrating any of the elements with the dead. They can’t be buried or burned. They can’t be, cast out to sea. Oops. No. Sorry. That’s a song lyric. This is a boring hack-fest; a Temple of Elemental Evil, light. Go in to some mines. The main room has three exits. Each exit has an evil temple complex. Kill everyone (Because … D&D?) Then fight the big demon that arises because you’ve killed everyone. There’s an order of battle/reaction notes for the temple, but, the pretext here is SO light. The rooms are nothing but combat and the reasons for killing everything are essentially nonexistent. Someone who knows, please tell me: is this really representative of the best of Mearls?
Pit of the Fire Lord
By Andy Collins & James Wyatt
Part three, the final, of the Shards of Eberron arc. Fucking seriously? Five rooms of combat? I see that Dungeon has just given up trying. “Go fight through these five rooms. Because.” I am both excited and depressed at this new Dungeon style. Depressed at the lack of trying and excited because the “reviews” I provide are now much easier. But the reading of them is not …
Seekers of the Silver Forge
By Tim Hitchcock
Dear Lord, why? An underwater adventure. As I read it, you need to make a saving throw every minute or take 2d6 damage, from pressure, and a save every ten minutes or take 1d6 from the cold, even if you can breathe water. Gill-men gith, undead gith, and saughaun are the three “Factions” in this adventure. You can talk to the gill-men gith and to stop the undead menace in the seas you need to wipe out the saughuan. It’s just fighting underwater, and little more beyond that.
Out-of-Control automata have driven a wizard from his shop. He would like the PCs to solve the problem (without damaging his creations) while his rival will pay for evidence of the wizard’s dabbling in forbidden knowledge.
This is a 22 page adventure in a wizards tower with about nineteen rooms. It’s laid out quite well, using a bullet-point style, and has several great new monsters & magic items/treasure. The tower is in a city and there’s enough extra detail about the city to allow the DM to spice things up a bit before, during, and after the tower adventure. It’s a little one-note for me, being just “monsters in a guys house”, without the house itself adding much. It’s PWYW, so for a $1 it’s worth checking out the interesting format used.
The adventure is laid out in three sections. The last section is the appendices, with the bestiary, magic items, and the like. The middle section is JUST the wizards tower, and it’s laid out in landscape format, further delineating it from the first and third (last) portions of the text. The first section is all the introduction, lead-in, context, and follow-up to the keyed encounters. I find this quite interesting. It recognizes that the adventure is really in two parts: the dungeon and everything else. It’s a small point but I think it shows that the people behind this really thought about how to use the thing. In addition to this the monster stats are found on the map of the wizards tower (which has a front door, back door, and balcony entrance!), allowing for a quick reference kind of thing, and little mini-maps are scattered throughout the dungeon pages, on facing pages. Again, the way these features contribute to the actual usability of the adventure is quite nice.
Complementing that is the format used for the rooms. Each room has one sentence, which could be mistaken for read-aloud, that gives the vibe of room. FOllowing that are some sections headings like “Occupants”, “Exits” and then room features like “Shelves” or “Display Case.” Under each of those section headings are some bullet points, one per interesting thing, with some text. What this results in is a way to quickly at a glance scan the room to relay information as needed. It’s like heaven after all of the wall of text stuff I’ve seen!
Copy/Pasting a room wouldn’t do it justice. Here the “description” for the study: “Expertly staged salon for impressing clients with plentiful money but little sense.” That’s followed by several section headings. One for Exits, another for bookshelves, fireplace, and high-backed chair. Thus we now know, at a glance, that bookshelves, a fireplace, and chair are major features of the room. For the fireplace we get the following:
• Imposing stone replace occupying the entirety of the study’s western wall
• Stocked with Birtmin logs, which release a heady scent and blue ame when burned
Just the basics, expertly arranged for use in play.
This is all augmented with a nice little section at the beginning, about a third of a column, describing the city and major events going on, complemented by a couple of great tables that describe some random encounters, etc, tied in to city events. It’s a nice little additional that really supports the DM well in bringing THIS city to life. The adventure pretext provides, in very little space, five different ways to get the party involved in the adventure, all related. Two groups on the docs, some beggars, some children and some shop folk. Eventually one of these is going to catch the party’s eyes. It’s a great example of providing multiple opportunities to hook the party without it feeling forced. Those hooks are complemented by the nasty little guys who are interested in the party’s services. Academic, rivals, guild members, they don’t like each other, and thus you have the opportunity for backstabbing as well in some loose “outside the dungeon” factions/complications. (The preview on Drivethru shows most (all?) of this lead in to the dungeon proper. I’d check it out!) Scattered tips through the adventure are also pretty useful for running the game. It has a nice little “Playtest notes” kind of vibe to it. Finally, ALL of this is complimented by the art for the monsters. I don’t usually mention art; I think I have only a handful of times. The monster art is quite nice in evoking imagery, particularly the “Undying” piece in the bestiary. The treasure, both mundane and magical, is well done and a cut above the usual book items.
Clearly, I want to like this adventure, but it’s got a problem. It’s flat. Or maybe I mean One Note. The amount of interactivity is a little low. Other than the monsters roaming about, the rooms proper don’t have much going on. Oh, there are details. And things to look at. And things to search for loot. But, other than the combats … there’s not much else to interact with. It’s a bit like walking through an Ikea, except some rooms have a monster in them. You look around. You pick things up. You move on. Without the extra interactivity of the tower you’re left with the room descriptions being out of place. By this I mean that MOST of the descriptions are superfluous to the adventure. The fireplace, above, doesn’t actually have any impact on the adventure. It’s window dressing. As is almost everything else. An item or two serve to house some treasure but the rest just EXISTS, as if you’d succinctly described the major features of the rooms of your house. It’s not that I don’t like window dressing. I think it can do a good job helping a DM paint an evocative picture of a room. (Sometimes …) But in case it’s ALL window dressing. Or, close enough to “all” to be functionally the same. That same sort of thing DOES contribute to a more dynamic combat environment. Monsters climbing shelves, pulling the shelves down. Using an large armchair in combat, all of that is great detail for rooms in which combat might take place. I know this isn’t DCC, but a dynamic environment is still appreciated, and the rooms, with their descriptions, certainly do provide that. I might be a little unfair with this. I seem to be saying it’s not a classic exploration tower. And it’s not. The adventure is more of a “clean the spiders from the basement” variety. If that’s all you’re looking for then this does that and does it well.
It’s Pay What You Want on DriveThru, with the preview being most of the first third of the adventure. IE: everything that’s not an appendix or the dungeon proper. I think the preview is worth checking out, and the adventure proper, also, for the formatting/layout used, if nothing else.
Your heroes have come to the village of Nubonne on the borders of Domerre and Orde to help the villagers stop vicious attacks by giant wolves and local bandits. These contested borderlands have been unpatrolled and lawless in recent years and the people need brave adventurers to step up to the plate. Will your heroes help these kind folks who have lost children and friends in senseless attacks?
This 28 page adventure describes a ten-location village and a fifteen-ish room ruined fort with some brigands in it. It is laid out well but is just about as generic and bland as an adventure can be. It is magnificent in its ability to convey bland facts in an organized, yet wordy, manner. The adventure has exactly one bright point, at the end.
Some borderlands village is being attacked by a monster wolf, along with some men who claim to offer to protect the village form it. The party works for 100gp to go look in to things. Or they do it out of the goodness of their hearts. Or they have “bad dreams.” This is the first indication that something was up with this adventure. Three hooks, all generic and uninteresting. A hook to stir one’s soul?! No. You get paid 100gp. I note that the protection racket is charging 50gp A WEEK. If I were a player I’d take over the brigands work and optimize it, seeing a far more lucrative future in their work than in goody-goodying.
Anyway, the village presented is boring. The ten-ish keys are presented in about a column per key format. Sometimes they have QUITE lengthy read-alouds. On the order of three paragraphs, full of flowery “may the sun and moon bless us!” kinds of shit. The long area descriptions are supplemented by lengthy NPC stat blocks. And both provide NOTHING of interest to a DM. “Shaved head and well-kept beard. Wears brown robes.” That’s the priest description. His possessions are listed as “staff, holy book, robe, pouch.” This is the wal of all the NPC descriptions. They have no meat to them. All facts, and boring facts at that. There is absolutely nothing memorable in any description. The inn serves “fair quantity at a fair price” or something like that. The smith is a big man with a good heart. It’s like a magic white people village where everyone is that dude from the Lego Movie; so bland that they are immediately forgettable. There’s nothing here to hang your hat on. And yet they STILL go on for a column of text. A generic idyllic village in which there is absolutely NO drama, except for the wolf. This sort of stuff is not helpful to a DM running the game. A blacksmith who fits the stereotypical blacksmith mold needs no explanation. Likewise we do not need a in-depth description of what a bedroom looks like if its a normal bedroom. The designers role is to give the DM something to work with. To describe what’s different & interesting FROM A GAME ABILITY standpoint. Play focused. Otherwise it drifts, as this adventure does, in to the realm of description for the sake of description.
The ruined fort likewise suffers from the same fate. Descriptions of things that are not very meaningful. There’s nothing interesting going on. A bunk room. With a long description of a normal bunk room, with long descriptions of of the brigands that add nothing, Not even any mention of how the brigands react when invaded. The ONLY interesting thing in the entire adventure is that the boss commits suicide when you bust down the door to his room. (Because ofthe 6HD spectre haunting the room.) THAT’S interesting … but will leave the party bewildered, a mystery mired in a backstory that is independent of the party and only impacts them by being window dressing.
The simulationist mess extends to the wanderers table for the wilderness trip to the ruins. “You see a squirrel and it runs away”, along with a separate entry for a rabbit and fox and … a bird. What?!?! No mention of the fallen tree limb that stands its ground, unwilling to yield to the party’s approach?!?!?
One room skews THE OTHER direction. The jail cells read, in part “each cell has a 25% chance of loosing a ghost if opened. Even if unopened, any ghost spotted by a PC has a chance to Frighten the party. (Save vs spells.)” THAT is closer to gameable information than anything else in this adventure.
Part 1 of a promised 12-part Age of Worms adventure path. And a mixed bag. There’s dungeon where you meet a ghost that wants you to bury his bones with his family. In return he will open a door for you. Leaving you find his family graves looted, leading to a small necromancer tower and then back to the dungeon to finish up the exploration. It’s got some decent puzzles and traps and I like the “exit and return” sub-adventure. It feels like it’s been explored over time but it doesn’t feel forced in either that aspect or the dungeon reset component. This thing has a solid core. But … you can also tell it’s a plot dungeon. In fact, it feels like a video game dungeon. Go to the central core. Go to wing one. Go to wing two. Go get key for wing three. The ghost fetch quest also FEELS like a fetch quest. The pretext is just too obvious. The real problem is the text. Mona has done a terrible job in creating something usable by the DM without MOUNTAINS of work. Read-alouds can stretch to four paragraphs. Endless detail in both the read-aloud and DM text. (And the returns of column long stat blocks.) It’s all nonsense background and vague non-specific descriptions. This is another one of those things that needs a SERIOUS edit. Doing so would reveal a decent plot-based adventure.
Temple of the Scorpion God
By Andy Collins & James Wyatt
Part two of the Shards of Eberron adventure path. Six rooms, six monster fights. Calling this piece of shit an adventure is an insult to the word. And you know what? It makes PERFECT sense. The intro says these came from a D&D session at GenCon in … 2004. My experience with organized play/RPGA/DDAL have been UNIVERSALLY negative. Nothing more than min/max hack & slash fests. One time they took the character out of my wifes hand when she announced she only had a +1 to hit, stating “you must have built your character wrong.” This adventure is PERFECT for those kinds of ass hats. And before someone chimes in with “Different strokes for different folks.”let me come in a preemptive FUCK. YOU.
Chambers of Antiquities
By Robert J. Kuntz
This Maure Castle level is full of treasure vaults and studies. The Maurer levels in Dungeon are so frustrating. Rob has some good ideas and they are well implemented. And they hide behind mountains of useless text about history and background, making the damn things hard to use. There is an INTENT that comes through through, and his DM text, where mechanics are concerned, are pretty well done; understandable without droning on about mechanics. But then you have to wade through three paragraphs of garbage on backgrounds and history and old room uses in order to get there. I wish we could get these levels without all the garbage. Like some of the other levels, the stairs come down in an great open room. Like some of the other levels, the introduction read-aloud for THAT room is pretty great. Like the other levels, the read-aloud falls to simple facts after that, generally useless and uninspiring. And then there are exceptions. For every two well-done mechanics rooms there is one where the mechanics and effects go on for a page. It’s hard to not recommend a Maure Castle level. If you have any interest in the castle then you need this. And if you don’t, or are just intrigued, then start with the old TSR adventure Mordenkainen’s Fantastic Adventure. For it’s faults, its probably one of the closest things every published to the old Greyhawk-ish campaign dungeon style.
You will find with “The Sinister Tunnels of GREENFIELDS” a sorcerer, terrible rituals, forgotten dungeons …. and a little more than that.
This seventeen page “adventure” in a village is more of an adventure outline. Pretty maps abound, but it feels more like the outline for a short story then it does anything usable at the table. The keyed encounters are not actually keyed encounters, but merely mentioned in a long paragraph, while the NPCs and backgrounds get too much text. The hook and villain are, at least, more fresh than usual. I WANTED to run this adventure … but I don’t want to devote the mental effort to do so. I think this is French, translated to english.
There was a plague in a small village about fifteen years ago, followed by a famine since no one was there to work the fields. A merchant moved in and built a spinning mill, providing food & jobs ad place for the orphans in the village, and region, to work. I’m sure you can work out the major thrusts of the rest on your own. He’s evil, caused the plague, and has nefarious purposes. In this case he’s a (relatively) low-level evil wizard who is using the kids to remain young. (A classic! I love the classics!) He only hangs about for fifteen years and his self-imposed time limit in this village is almost up. Two of the three hooks are a bit fresh: you’re guard for a merchant going to visit him for normal spinning-wheel business. This is a decent pretext to put the party in the middle of the village while shit unfolds around them. The second is a lord who lost his entire family 30 years ago due to an epidemic identical to the one in this village, and hires the party to go look in to things. The idea of an ancient dying lord, hunting down with vengeance his family’s murders, but too old not to pursue it, is another trope I like because I think it appeals to players. The wizards low level nature, the classic theme of eternal youth, and his benefactor status in the village all VERY strongly appeal to me. These are things that a DM can work with pretty easily, I think.
In support of the DM there are some column-long descriptions of the village’s mayor (loyal to the villages benefactor), his loyal manservant, and an orphan-finder who roams the countryside seeking out new workers. All three are well done, but their descriptions go on much longer than they need to. A couple of sentences, or maybe a short paragraph is all that should be needed. More than this requires notes & highlighters.
You also get maps of the village (Harn-like … my favorite sort of village-area map) and three maps of underground areas/tunnels. The maps are beautiful, as one would expect from a French illustrator. Top notch (isometric?) cutaways of the areas showing a decent amount of detail. The maps are much more vertical than most, and have nice elevation elements present. There are multiple entrances, through various wells and so on. It is, essentially I think, a linear design with a couple of room hanging off of it. The vertical elements save it, and while it’s not an exploration dungeon-map it IS quite a bit better, quite a bit, than the usual plot-maps. Winches. Wooden platforms, ropes, tunnels in to the dark, ladders stairs, ruins, the maps do a great job of being evocative and providing the chaotic sort of environment that I think a good exploration map provides. Here’s a link to one of them:
There are some things going on to spice things up. He’s getting to ready to move. He’s about to/will sacrifice several children. That also creates ground tremors when he does it. There’s a monster under the water that appears when he sacrifices kids. There are goblins ready to invade the town. The mayor is a die-hard supporter. There is at least one visiting “merchant.” I’m not sure if any of this is faction-like, but it is enough going on to create the sort of chaos I like to see in an adventure … without it FEELING like it’s manufactured chaos (as it is in so many Dungeon Magazine adventures.)
Alas, I am now out of kind things to say. The adventure is only an outline. A seventeen page outline, but an outline nonetheless. No orphans presented (but for one “a mute girl”), no villagers presented but for the mayor. No encounter keys presented. WHAT?!?1 Yes, the entirety of the undergrounds 21 rooms are covered in about three paragraphs of free-text. Imagine if you will, at the end of a paragraph … “Several rooms dug around are used to store weapons and equipment to gear up a small troop of mercenaries and to accommodate it if necessary (16, 17, 20 and 21).” That is the extent of four room descriptions. All of the others are like that. Roughly in order, but skipping around abit, with text mixed freely.
Imagine you came upon a map and numbered it and minimally keyed it. “Storeroom”, “merc bedchambers” and so on. You also scrawled “kindly wizard disguised as merchant who actually sacrifices kids to stay young” along the top of the page. You would have this adventure. And you will again since you’re going to have to print out those map pages and take notes on it.
I’ve been accused of having a rather strict taxonomy on what an adventure is, and it’s because of product this like one. If you sent your husband out to the store to buy an adventure and he came home with this, for your game tonight, you’d probably sigh and pronounce it worthless. It’s not an adventure that one expects to get.
But I don’t think the product is bad if you accept that it’s not an adventure. If it were advertised as an adventure planner, or outline, or something like that then I think it’s an interesting product. As a reviewer you’re faced with a lot of the same and so products like this stand out. I can imagine something similar, for example, as a kind of outline for Scourge of the Demon Wolf. “Here’s the framework for an adventure. Go add the details.” Not an adventure. A framework that you need to work on to add to. Kind of a more expanded “Adventure Seeds” that clog up DriveThru/RPGNow. Something for which to inspire. In that vein, a few more villager details and intrigues, as well as orphans, would be called for, as least in outline.
This thing goes by Mines of Wexham and also by Mines of Wexcham. The adventure says Wexcham while most of the marketing/references not in the adventure refer to it as Wexham. I believe the designer has passed away since publishing, and I think I tend to grade on a curve when details like that pop up. Be Warned.
This is a nineteen page adventure in some old caves/mines with small wilderness portion. It has some of the charm and all of the problems that one would expect from an pre-1975 adventure. Minimal keyed in places, weird formatting & layout that do NOT contribute to usability, and, in places, the idiosyncratic encounters of imagination before rules. I’m not sure what the history of this is; it looks like a kickstarter add-on, but I THINK it’s a new adventure, not a find from pre-75.
You get a map that shows the supposed location of a legendary lost mine from an ancient empire. It’s three days by foot or a day and half by ship. EITHER you’re playing the pre-gens provided OR they are a rival NPC party (or, more specifically, YOU’RE the rival party to them!) Anyway, off to the mines you go. The mines are presented on three maps: the ground level, an old troll cave, and the underground mine map proper. The maps are basic but well done, by which I mean they provide the complexity required to run an exploration adventure. Loops, with all three maps connecting, and multiple entrances/exits from the maps lead to an element of mystery, with about 34 locations total across the three maps.
The encounters fall in to three types. First you have the traditional minimal keys. “6 giants rats” with stats, is the total of the encounter description. Two trolls. Four spiders. You get the idea. The second type is that of the “old room.” The old room has something old in it. Duh. Some old bones. Some bits of leather. And then when you touch something it disintegrates due to age. These almost always have some sort of clue or minor treasure associated with it. Finally, there are the Type III demons. These are the core rooms with something nontrivial in them. There’s really only one or two of these, and the clues and several minor treasures relate to it. There are ghostly soldiers in the mine (but … not actually undead that can be turned …) They attack those not associated with their old empire. You can find some objects, like armor with insignia, that let you pretend to be old empire soldiers also. Eventually you find a banner which will allow you to command them. The clear presumption is that you will use them to attack … the room with seventy orc warriors in it … Yeah. The last couple of rooms have masses of orcs in them.
The wilderness adventure is laid out on a day by day basis. One day one roll for wandering monsters twice. On day two rolls to hear a howl in the distance. On day three … and so on. If you instead choose to go by ship something similar ensues, except the DM gets to roll every other TURN for monsters … and if you roll a 6 you see a pack of sharks in the water … This is all mixed in with what I presume to be read-aloud, not set apart from the text, and the phrase “How do you wish to proceed.” It all a colossal mess. You can decipher it, but it’s VERY stream of consciousness. The “Wish to proceed”, being used as a section break, tapers off through the adventure, disappearing halfway through the mine room descriptions. To be fair, the nonsense settles down by the time you reach the mapped/keyed encounters with only the introductory pages and wilderness adventure being victim to the issues.
There’s a certain nostalgic charm to this adventure, that kind that comes from the early days. A clumsiness of format/layout combined with the sorts of minimal keying with the sort of embedded-adventure that one would find in B2/Borderlands. The kind that fights you all the way. A good DM can take this and run the hell out of it. But then again a good DM can do that with anything. It’s hard to suggest this, even to the nostalgic crowd. Other older products, like Dungeon of the Bear, conjure much of the same vibe.
It’s on DriveThru.
An adventure on a twelve-room wrecked ship, with vermin. Get to the hold, get a crate of loot that you’re paid 200gp for (containing a +5 cloak of protection and several figurines of wondrous power) and then exit the ship while it’s being sunk by a giant squid. The “vermin on a ship” angle is ok, and Mearls read-aloud in this is generally a cut-above the usual Dungeon fare (“Thick webbing coats this room. Bones, shriveled limbs of men and animals, and other gruesome remains dangle from the sticky tangles.”) Still, it has empty skill checks (“If the party doesn’t make the check a random sailor points the fact out.”) and it feels both … empty? And, in spite of the nice-but-not-overdone vermin theme, a little procedural. I really got the sense, in reading this, that it is just a generic adventure formula spiced up a bit. Hook. Slow explore with a couple of monsters. Bad Guy. Dangerous “hidden” area that’s the true location. And then a quick escape! It’s a generic formula and works sometimes, but when you can TELL it’s the generic formula .. .then it loses some luster. It feels constructed rather than imagined.
Crypt of Crimson Stars
By Andy Collins & James Wyatt
This looks like it could be the opening for another adventure path. You’re hired for 2000gp to go get a dragonshard from a crypt. Tribal halflings rising velociraptors guard the tomb and must be killed. Lip service is paid to bargaining with them, but you can’t actually get anything out of it except “we delay the combat until you come out of the crypt.” Then you get to “explore” a three room crypt. At least it’s only eight pages for three rooms?
The Amarantha Agenda
By Phillip Larwood
Nine pages for one encounter. An evil druid & her tree have taken over an elven outpost and destroyed a nearby city. You get sent to figure out why the outpost didn’t warn the city of the attack, and find/kill the evil druid.
By Anson Caralya
The world is ending and you need to stop it. I only hold back a *yawn* because at level 30 “the world is ending” seems like an ok thing to me. This is a dungeon crawl full of combats full of the usual “you can’t skip the encounter” movement/passwall/teleport gimps and ends with a potential 750hp combat with a god. It takes care of the “1 combat work day” thing by aging the party while they are inside “the hourglass”, forcing them to get their asses in gear or die of old age while they long rest. Some of the monsters in this are conceptually nice. “The sphere of Ruined Bodies” and giant undead heads. Otherwise it’s just combat tactics porn, room after room., with a decent little story behind it of a god committing suicide. Too bad that little story/epic premise was wasted in this hack-fest.
The…village is abandoned, and within one hour walks from the tomb. There is not much left: the wooden houses have rotten and collapsed, and only a few stone buildings still sort of stand. There’s nothing to loot, there’s no food, no tools, no riches. Centuries have passed since when the village was abandoned, and anything value has been already taken by others.
This is a sixteen room twenty-eight page tomb of a barbarian. It is, generally, a tomb full of traps with a couple of undead or statue encounters,and leans heavily to the “quiet exploration” side of the D&D adventure spectrum. It’s overly verbose writing style combined with a conversational organization style leads to difficulty in finding information.
There are lots of pages in this but the actual content is a bit light for a sixteen room tomb. A rumor table, a random villager table, and a brief wilderness monster table make up the first twelve pages, interspersed with a generous amount of public domain art. The rumor table is nothing special, and the random NPC table seems a bit out of place. The wilderness monster table has a few entries and each one has a bit more to it, by way of an extra sentence, than a pure listing of monster stats. The vampire tree holds the corpse of a old victim. The fairy demands gold coins and favors one PC. The lone wolf is lonely and scrawny. These extra little bits help, I think, a DM create a nice little scene around the monster with minimal effort. There’s also a ruined village provided, on a page, with no map. It’s basically a ruined tower next to a graveyard and some random dead show up at night. It’s long for what it is but it’s still a nice little encounter.
The tomb is based on a real map and is almost entirely of the trap/trick variety. There are a variety of classic tropes, including a balanced scale trick, the old spikes from the ceiling, creatures that follow you out of the tomb (if you loot) for revenge, and an exit tunnel that collapses if you loot the main tomb, forcing you to dig out. I like the encounters. Many are pretty classic tropes and those are always winners. In addition, it includes little map snippets on most pages to help orient the DM to nearby rooms/encounters. That’s nice … but probably a little unneeded for a dungeon this small … IE: the whole map fits on one page and is easy to follow.
The whole thing has a very slow feel to it. Imagine a slow and careful “real life” exploration of a tomb filled with traps and the like. That’s the vibe this adventure puts out, probably because of the lack of any pressure. There are not really any creatures around to pressure decisions or a slow careful exploration.
The dungeon has two key issues that make it hard to recommend. They are both related to the actual writing. It’s long. Quite long. There is quite a bit of conversation DM advice integrated in to the text. In addition, there’s a lot of very specific descriptions about how the traps and effects are meant to work. The “spikes from the ceiling” trap gets over a column of text to describe it. Triggering it, the pressure plate, and multiple technical facts about the trap. There are not enough spikes to prevent passage. The spikes don’t go all the way to the walls. One person walking slowly won’t trigger it. The spikes don’t return to the roof as long as there is pressure. Except the description provided is MUCH longer than my summary. The writing is, in effect, ONE dm’s description of how they interpreted a ‘spikes from the ceiling’ trap. Rather than giving a few guidelines and letting the running DM handle the details the details are instead spelled out. This significantly lengthens the text and, I think, makes it harder for a DM to run it since they must dig through all of the text. I’m not saying that the text should be “Spikes come from the ceiling” and nothing more. I’m instead saying that it is the role of the designer to provide JUST enough detail to get the flavor of the trap across to the DM … who can then fill in the rest. This sort of thing is not isolated and happens a lot.
Secondly, the conversational style of the adventure leads to a weird organization style. The details of each room tend to be spread out over multiple paragraphs. What do you see when you enter the room? I don’t know, let me dig through the next five paragraphs and find out … It likes the effects were placed before the cause. In one room the treasure chest and mural on the wall, the fact that they exist, is placed after two paragraphs of text that detail how to dig through the coins in the chest and how the coins get in to the chest. Not ideal for finding information as you run the game.
It’s a slow adventure. You could hire a team of villagers and just dig the place out from the roof (it’s a barrow type place under a small hill) and get all of the secrets, avoid most of the traps, and PROFIT!
Once, a designer told me: “More is better, right? I mean, better to have it and not need it!” Not, I reply, when it makes the design difficult to actually use.
It is an Inn, a tavern, and a universe unto itself—a place of powerful dweomers, secret doors, lost gods, hidden dimensions and dangerous artifacts. Behind the sand box experience is a back story & a mystery. Players never need solve this mystery, but it is the glue that holds the experience together.
You are warned: This is a difficult review of a difficult product.
This 190 page supplement, found on Lulu, describes an interdimensional inn. It can serve as a kind of “home base” for a party. Over time, as the inn reveals its secrets, it becomes both a tool for generating adventure seeds and, ultimately, maybe, the outline of a TRUE high-level AD&D adventure. One of the few, ever. And I don’t mean “Q1” hight level, I mean REALLY high level.
The inn is extra-dimensional and the entrances/exits are in several locations at once. Further, there are multiple exits to other planes. The rooms, both common and private, number about a hundred, and include about a twenty “other plane” areas, similar to what’s found behind the doors in Q1, but expanded a bit more. The rooms range from about a half page to around a page each and take up about a hundred pages of text, the rest being monsters, backgrounds, NPC’s, and explanations.
The inn can serve as a home base for adventurers, ven across campaigns from one to another. It’s a nice adventurers locale and place to take your hat off and engage in that carousing table, perhaps. But, it also is exotic enough to serve as a location to pick up hooks from other patrons in the inn. An overheard snippet of conversation, and so forth. But … it can also serve up hooks more explicitly. You can join the inns adventuring guild, which obligates you to performing some services for the inn. Why are you going on the adventure? Because it’s time for your two weeks a year of obligation, that’s why! In this way the inn is a decent home base for adventurers. The various rooms have enough quirks to keep the players a little interested, in a kind of Disney Adventurers Club kind of way. The rocking chairs on the porch continue to rock. The cigar box never empties, and so on. Of all of the extra-dimensional inns and home bases that I’ve seen/reviewed this is probably the best. (And I only say probably because I can’t remember them all!) It reminds me a bit of that Dave Bowman tavern/inn in the Darkness Beneath. The Deep Caves, maybe, was the level? But wait! There’s more!
And it’s the “more” that really sets this one apart from the est of the field. There’s this concept of Hidden Depth in dungeons/adventures. Theming of levels may be the most superficial hidden depth. After that might come slightly more complex hidden depth, in the form of a puzzle or some such to a different area. The NE corner has a statue that gives a clue to how to open a secret door in the SE corner of the dungeon, for example. At a step up form there is the infamous Kuntz hidden depth, which is how the term is usually used. A rose in one room has a dungeon on each of its petals that can only be accessed through some complex ritual, and so forth. And then, there’s something like happens in this adventure.
Paying attention pays rewards. As the characters use the inn they will inevitably discover more and more of its secrets. They will, perhaps, be drawn to the noise they hear coming from upstairs over the veranda and one day investigate. Or sneak in to the obviously open secret door behind the bar. There’s a LOT. Almost every single room has some sort of secret, and most have several. Some are simple. Some are clues to other areas. Some are devilishly complex. There is A LOT to explore … and a lot to get in to trouble with. The inn can kill, easily, even a high level character. Ultimately the most complex and in-depth of the secrets are related to the inns creation and its owner “The Master.” He’s lost something and most of the inn contains clues to finding it. Thus the ENTIRE thing is almost like an adventure outline. Various things within the inn may lead to other adventures. This entire section if both an outline and highlight specific. What you need to achieve is highly specific, particularly as it relates to things WITHIN the inn, but parts outside of the inn are more of a sketched outline of goals and objectives. And it can all be pursued, or not, pretty much at the leisure of the players. Thus the diversions and interesting little bits of the inn, a place to goof off between adventures, can become the main focus after a while … if the party is inclined to do so. As an inn, this is great. The party will visit time as again, as their home base, giving the various aspects the ability to stretch their legs over time and be integrated in to the game.
There is a lot of mystery and wonder to be found in the inn, both important to a location like this. Various aspects of it, the imagination behind it, feel very OD&D. That sense of the unknown and the non-standard is to be found in abundance in this. Wall panels that turn in to seven thousand vipers. A secret room that turns you in to a skeleton for a thousand years … which only a day for the other party members. The designer makes the imagination and the non-standard. It is this idiosyncratic nature that gives the inn a vibe of both a real place and a place thar the adventurers will want to return to.
And yet …
This is HOPELESSLY an AD&D adventure. While it does have that sense of imagination and wonder that is hallmark, I think, of the early OD&D days it also is quite purposefully presenting it as an AD&D adventure. Mechanically. The impacts and results and details are all VERY mechanically dense, in the 1E sense rather than the 3.5e sense. Mechanics are described. In detail. This is supplemented by a verbose writing style and a use of whitespace that I think sometimes works against readability. All of these, together, are the reason for the half page to full page room descriptions in the adventure. The third room, the coatroom, is 10×20 feet. It takes over a page to describe. This isn’t because of he read-aloud but rather because of the (loose) writing style and need to describe the rooms mechanics to the DM. This is, I think, because of the authorial vision. Not just a need to describe the mechanics but to get the intent of the author across. I get this. I think it’s interesting to know what the author intends. I also think that the verbosity that incurs from this makes the product hard to use.
The read-aloud is also a bit of a let down. For the aforementioned coatroom we get: “A dim hall set with two doors and an open archway has been fitted with numerous racks and hooks for coats, scarves and the like. There are two taxidermy umbrella stands made of elephant feet. They appear ghastly in the faint rays streaming from a small rose window in the south wall.” This is all very fact based. It’s also very straightforward without invoking the sense of wonder and awe that exist in many of these rooms. We know what a coat room looks like. The umbrella stands come off a bit flat. It’s not that it’s bad, but rather that it’s not very inspiring to the DM … for a location, the inn, that is very much mysterious and inspiring.
This is the sort of book that you need to use as a reference at the table, that you can mark up. Making notes in it, adventure after adventure, on what has happened and what the party has done inside. This is one of those products that you dream of finding. While at a con, digging through old boxes of adventures for $5 each, you come across this thing and know instantly you have found something special. A work of madness and genius. It just desperately needs a second edit pass. Given that major edit you would have something quite interesting indeed, from both content and usability. It’s maddening. It’s frustrating. It needs more NPC’s wandering through to dump in on return visits. I will also never give this adventure/supplement up. It can be the cornerstone and foundation of your game for years and years to come, providing your players something familiar and stable .. and yet filled with mystery … if you can exhume it form the density of words.
Also: Nice cover!
This is a strange kind of befuddled adventure. A lone adventurer died killing a mind flayer deep underground. The newly freed trogs slaves rever his body as a hero and want to give his body a hero’s sendoff: cremation. His kid wants you to go to the underdark and get his body to bury next to his dead wife. The 10 or so encounters to the trog cave are all rubble, shaft to negotiate and so on, which really only come in to play as set piece locations to use while the party is fleeing with the body. The cavern they live in is mostly empty, making a commando stealth raid mostly out of the question. It’s also all combat, with not even a word of advice to negotiation … just hack them down. There’s a weird faction in the trogs described, with chief and sub-chief, but there’s no opportunity to take advantage because of the HACK nature. And EVERYTHING is under a DC10 search check for a secret door … adventure blocks, even at DC10, are never a good thing. A more varied cavern, some roleplay with the trogs … that would have been much better.
By Tito Leati
A frustrating twelve room linear dungeoncrawl in three parts. You meet elves, some of who wish to avenge their dead father and want to come with the party to kill hobgoblins. There’s a nice “cursed wood” pretext to keep the elf warband from assisting en masse. This entire section of elves and forest is much longer than it needs to be, but it does present some interesting visuals with burning bodies and a gay elven camp after a battle. The dungeon has two parts: hobgoblin lair and then the sealed off portion with a few vampires … and the magic item from the adventure title. The dungeon presents some interesting scenes, particularly with a creature reaching up out of the well to drag a victim in to it. This “hiding in a hole” thing comes in three separate flavors, each with slight variations, and is a nice little addition. The dungeon, while linear, does have three separate entrances for clever players to find. It also places A LOT of the adventure behind choke point DC checks. To find the location of the wood from the hook, to be allowed to talk to the elves. To find the trap door in the ruins that hides the dungeon. These are (mostly) trivial … but choke point DC checks are NEVER a good thing, in spite of the advice to “get the players rolling dice.” The hobgoblin portion of the dungeon is better than the vampire portion, with more interesting things going on. If you can get past the linear nature then its not too bad …
Root of Evil
By Mike Mearls
A true piece of shit from Mearls. A giant tree grows in a city and destroys it. The party enters the tree and has six combat encounters. “Linear” doesn’t begin to describe this, the tree moves its internal passageways so the party MUST have all five encounters. While the tree moves the environment around to make the combats harder. Thus this “adventure” is nothing more than a D&D Miniatures ”campaign.” The destroyed city is given nothing, so it really is just the six encounters in the tree. It DOES offer up the Broodmother Skyfortress type destruction of a campaign city, and the plea for help from the Pelor cleric is nice, but the COMPLETE lack of pretext and bold-faced turning of D&D in to tactics porn and calling it an “adventure”? Fuck. You.
Labeled “mature”, this third installment of the Black Stairs megadungeon comes in at 28 pages for 128(!) rooms. It’s an art project, or madness, or some combination of the two that produces something greater than the whole. Linear. Minimally keyed. It relies more on concepts than anything else. And that works. Sometimes. There’s something charming about the high concept rooms mixed together to form this very classic feeling dungeon environment. Until you reach the drow city. Then it falls apart.
Thirs is the third installment in this series, and I’ve GOT to stop coming in during the middle of these series. “The Black Stairs” sounds familiar, but I don’t think I’ve reviewed either the first or second level. Anyway, this is all single column with a stark typeface and a writing style I KNOW I’ve seen before.
The adventure has some great room ideas. Ideas are presented starkly and left to the DM. One line from room six reads “The hallway ends with a Stone Face with Huge Jasper Jeweled Eyes worth …” and then the pit trap when the face is touched. A different room presents “A gigantic ruined gate blocks off the other side of the cavern. Glowing lichens on the ceiling above give a dim eerie light. It’s architecture and style is unknown and it is VERY OLD.” and then goes on detail two columns full of rats nests. All three of those are great brief concepts for things to build a room around. And everything is left for the DM, for better or worse. “The door is ornate and evil looking.” Well … ok. I would normally make a “show, don’t tell” statement about that. It’s all very stark and there’s something VERY charming about the randomness of finding a gate with glowing lichen in the middle of a cave room, deep underground. It FEELS mysterious and wondrous, because there is so much for the mind to fill in.
I can deal with the minimalism, for the most part, because of the high hit rate on concepts. But then it breaks down. Bad. The drow city, once reached through the caves (the city is about 35 rooms, I’d guess) is full on D3 mode. House Demon has 10 male drow and 13 female drow and a female drow cleric leading them. [treasure list] The iconic rooms stop and it devolves in to just facts without charm.
The treasure is quite weird. Long lists that look randomly rolled that go on forever. “… Statuette-10 gp, Necklace-300 gp, Anklet-50 gp, Ring-200 gp, Orb-1800 gp, Bracelet-40 gp, Brooch-900 gp, Chain-300 gp …” That’s about 10% of the treasure in one room listing. Generic and nonsensical. But then, early on, you get a Ring of Three Wishes, with details on recharging it and who wants it and complications and so on. It’s great!
And then there’s the map. While there are holes with ropes and different ways up and down on the maps to create a decently diverse dimensionality, they are, essentially, linear. Leave one room, go down a short hall, enter another room. The maps, handdrawn, are also quite difficult to read at times. I’m looking at you keys 2&3 and 9&10 on map 3a! Further, sometimes the numbers don’t actually appear in rooms. This is an issue in “corridor mazes” when you’re trying to figure out just what is a passage and what is a wall.
This is a stark vision. When it’s good then it’s terse and wonderful. And when it’s bad it’s very bad. In one product you can find both the best and the worst aspects of minimal design. I would steal like a mofo from it and stick it in to a better map.
You know what “Any Level” means, don’t you? PUZZLES! Well … kind of.
This twenty page digest adventure describes a small wizard’s tower with about nine rooms in it, in pointcrawl style, along with a couple of pages about a city you could locate it in. It does a decent job of describing a freaky wizard tower, although treasure is a little light.
This reminds me of Korgoth of Barbaria. The wizard is out of town, the party finds out and decides to raid his tower for loot. Or maybe, for the higher level party, they try to kill him. In both hooks the rooms are written in a way that combat is not INSTANT and is rather dependent on how far the party pushes their luck … for certain definitions of that phrase.
The room descriptions are, mechanically, an interesting choice. Each key element of the room is bolded and has its own paragraph. Functionally, this gives you a quick way to get the high-level objects in the room called out easily for you, the DM, and then the couple of extra sentences (the “paragraph” I mentioned) provides the details on those. The lab has 4 mannikins, an alchemy workbench, a tinkering workbench, and a dissection table. A couple f extra sentences describe each. For the dissection table it’s: “A thin white sheet covers an inert flesh golem with the top of its skull removed. There is a steel skullplate next to the body, and a pair of copper wires sticking out of the base of its skull and connecting it to a box with a (broken) switch on the wall.” It’s an interesting way to communicate the room and works fairly well. I think it breaks down a bit in that its very fact based descriptions rather than evocative impressions. Both can work well to create scenes in the DM’s head, but more descriptive words/less fact-based (grammar school noun/verb?) does a better job, IMO.
The actual contents of the rooms gives the party something to play with or talk to in almost every case. They are, true to description, pretty level-neutral. A couple of the puzzles rely on some external (player) knowledge (a knight chess puzzle, for example) but in general they are a nice combination of pretext and a difficulty that is enough to give a sense of accomplishment without being maddening. Also, there’s a built in clue system in the library where the book ladder can answer questions by directing folks to passages in certain volumes. It’s always a good thing when interesting play in the dungeon can lead to discovers and problem-solving in the dungeon.
Eventually the wizard returns. This is, I think, a problem. Or may be, anyway. There’s an escalation die mechanic (a great mechanic! And great use here!) that determines when the wizard returns. Every turn the die is rolled. It turns out the party is trapped in the tower and most of the tower needs to be explored (and a puzzle solved, I believe) in order to find the way out. Further, a major (only?) clue is in a room with a dragon that has a 25% chance of waking up every turn. Now, both the wizard and the dragon have a reaction table, so party destruction is not guaranteed, but it is pretty likely, to the point of “almost certain.” This is the weirdest part of the adventure. While most of the adventure is, in fact, pretty level neutra, the exit and/or wizard return are almost certain combats with very powerful opponents. Running would not be an option since the party is trapped in the tower. These two parts need a reworking, as well, perhaps, as some allusion to the wizard returning, which I don’t believe is ever socialized with the party. Treasure is also quite light, with only a few objects to loot. A few more integrated objects, such as perhaps making the vivisection table skull bolts platinum or some such, would have brought out that murder-hobo “unbolt it and take it” propensity.
These adventures are the most heartbreaking for me. This adventure does not suck. It is not bad. This is a decent adventure. It’s just not a great adventure. What’s holding it back is, mostly, the language and vividness of the scenes it paints. A reworking of the text would push it over the top. These sorts of journeyman works get a deal from my reviews. If all adventures were as good as this one then I wouldn’t be writing reviews.
This is a journey through a swamp and small 27 room ruined castle exploration. It’s a fetch quest, to retrieve a cloak. The wilderness portion is through a dreadful swamp-like environment, during a cold spell. Both it and the castle are more evocative than the usual Dungeon Magazine dreck. The ruined castle has weak walls & floors, flooded areas, some open/balcony areas, and a rival NPC party. This suffers from the usual “DM word bloat” but “ruined castle in a chilly swamp” is a pretty classic trope and executed ok in this one. The chilly elements could be brought out a little more, the read-aloud is a little dull (but generally short) and the DM text is way too long. But you do get some good imagery in this one. That’s not a recommendation, unless you’re desperate.
By Richard Pett
Meh. The party is hired to look in to a guy who was framed as being a serial killer. The trail leads to a warehouse, and then a water temple and water worship area. The adventure pays lip service to multiple motivations, allowing hooks for the party to be hired or be do-gooders, a nice nod to assisting the DM even if they are more than a little bland. Likewise it addresses burning down a warehouse, just as G1 addressed burning down the Steading … always a nice addition where PC parties are concerned. It tries to provide an atmospheric setting but it engages in telling instead of showing. The city quarter is depressing. Great. What’s that mean? Contrast that with Deep Carbon’s SHOWING you WHY the place is depressing. It also engages in the practice of mixing important clues/facts in to walls of text during the investigation portion, and makes the jump that the party will follow-up on the Tharizdun cult (parts three & four of the adventure) after fulfilling their hook obligations in parts one and two. The concepts here had potential but execution is WAY off.
Secrets of the Arch Wood
By Skip WIlliams
You’re hired to investigate an estate in the woods. The worst kind of dreck: tactics/mechanics porn. Reams and reams of Break DC’s and long-winded tactics passages for combats. I note that there’s a section on some Forgotten Realms spell that prevents teleportation and divination from working. Such shitty creativity that player gimping has been memorialized as official Forgotten Realms cannon!
In this adventure, the characters venture forth from the safety of the Isle of Hope, seeking to bring order to the Plains of Marrow. The adventure offers options for the characters to begin in various areas on the Isle of Hope, but regardless of the path taken, the party eventually makes their way to the haunted lands of the Plains of Marrow. After crossing the harrowing and chaotic lands (and fighting off some of the dark denizens) of the Plains of Marrow, the characters come across a small wooded area. A small stone fort with a lone watchtower stands in a clearing among the trees. Within this camp, the characters will find adventure, drama, and their first dharmachackra!
Another 24 page adventure that should be a page. Whatever vision was trying to be communicated didn’t make it. Sixteen pages of introduction and wandering monster tables, supplemented by six pages of appendix filler leaves us with two pages for the adventure proper. Which is one encounter. I like the cover, but for some reason it reminds me of FATAL.
This is an adventure for some new setting, Choe Pho, so I’m going to assume that the base setting book has the details that are missing from the adventure. You’re in this city and you’re travelling to the Plains of Marrow … “to bring order to it.” You can go North to get there, through the mountains, or south through the forests, east through the grasslands or west through the desert. And there you find a dharmachackra. None of that is described in this adventure and, frankly, I’m a little curious how you can go any direction and get the same place. At least I assume it’s a world feature and not a crutch. We’ll assume it’s all in the setting book.
The adventure consist of a wandering monster table for each of the cardinal directions. The direction descriptions are essentially all the same, with desert adjectives replaced with mountain or forest adjectives. Settlements, tribespeople. All generic. There’s a paragraph or two for each entry on the four wandering tables, which all reduce to “it’s a creature.” There’s not really anything interesting in any of them. The Plains of Marrow are covered in fog and all of the monsters on the table are undead. If you roll a certain encounter then you find the watchtower. Or, if two days pass you also find it. So … no maps in this one. Just an abstracted “encounter wandering monsters until you find the tower after a set time period.”
The watchtower is populated by a couple of furry goblinoid creatures. They are getting attacked by undead every two minutes. The chief wears a necklace that’s attracting the undead. There are little to no details on the titular watchtower.
There’s nothing in this adventure. Some wandering monster tables and an abstracted watchtower. Nothing remotely evocative or interesting to be found.