Friday Encounter: The Hall of Winds

This isn't just your regularly scheduled Friday Encounter - this is also an entry in the Late Summer Blog Competition over at Monsters and Manuals. In the RPG community, noisms might well be one of my biggest influences. I fondly remember following his thread on rpg.net, back when rpg.net was cool, going through the entire 2e Monstrous Manual and discussing the potential worldbuilding implications for every single entry, and when he started his blog, it was one of the first OSR blogs I ever discovered. I've been following his work ever since. Needless to say, I'm a big fan of his - his terrible opinions on cloakers aside - and when he announced the competition, I was just as intrigued as he was by an interesting mosaic he found on a vacation. The thoughts kept flowing from there, and they turned into the next Friday Encounter!

The Hall of Winds

Due to the spatial implications of this encounter, it is best suited for a dungeon. The dungeon can be as big or as complex as you like, but there should be a few features you want to make sure you include. There should be a room somewhere in the dungeon where a series of hallways lead off in each of the eight cardinal directions, and each of those hallways should terminate in a room where a large brazen lion's head with gaping jaws is mounted on the wall opposite the entrance. Additionally, there should be another room elsewhere in the dungeon where a large circular mosaic is set into the floor. The mosaic depicts a compass rose in the shape of a sun, with the image of a sailing ship in the center, and on the wall behind it is another lion's head.

The section of floor the mosaic is on rotates and can be pushed - doing so causes it to turn slowly with a loud sound of stone grinding against stone that can be heard from any adjacent room. When the mosaic is lined up so that one of the points of the compass rose points toward the lion head on the wall, a strong gust of wind billows from out of the mouth of the lion head at the end of the hallway corresponding to that direction. The gust of wind is daunting and unstoppable, and can be felt all the way to the nexus of the eight hallways. It cannot be walked against easily. Any ranged attack made perpendicular to the direction of the wind is made with Disadvantage, and any ranged attack made against the direction of the wind will be turned backward toward the creature that made the attack instead of its intended target. The wind only stops if the mosaic is turned again.

This is a feature with plenty of open-ended applications. The wind could put out torches or other fires. It could spread a fire into another room. It could be used to guide an arrow across a chasm to a target on the other end that would ordinarily be out of reach. It could be used to blow an enemy into a pit. It could uncover a secret passage placed behind a tapestry. I'm sure you can think of plenty of ways this effect could be exploited, and I encourage you to think about how you can incorporate it into how you design dungeons and puzzles. I'm sure your players can think of plenty of ways to exploit it, too; don't be afraid to reward thinking outside the box!

The Keep on the Ukian March

Art by Anders H

Way back when, I posted a list of published modules, adventures, and locations I had placed somewhere in my setting, embracing the spirit of modular content that could be dropped into an existing game world. I don't think there's any official product that shows this spirit any more than The Keep on the Borderlands. It's designed to be a dungeon (or group of dungeons), a village, and the surrounding areas between the two, ready to drop into any setting, or indeed for a setting to be developed around it. I can only imagine how many settings the humble Keep has seen itself embedded into, and even though it was later retconned into being a part of the Known World of Mystara, it was written with the intent of being free for the DM to customize to suit their needs, to the point where, famously, the NPCs don't even have names - you're supposed to do that yourself. When I placed the Keep in my setting, I did so in the Ukian March of Vardessy, placing it on the...well, borderlands between the Empire and the rugged lands of Ukiah. As we focus in on Ukiah for the Year of the Gazetteer, it's only natural that I explore how I would customize The Keep on the Borderlands to fit the Lunar Lands.

The Keep

The Keep described in the module is Snowhall Keep, an outpost of the Empire of Vardessy, and the political center of their portion of the Ukian March. It was established as a garrison against further incursions by Ukians, as well as the orcs and goblins that also call Ukiah their home. In addition, it is a place where those expeditions going deeper into the March to hold the line against the forces of the Khan can rest and resupply. To that end, there are many soldiers and mercenaries that pass through here, but also caravans from further afield looking to trade with Ukiah. Though the Keep has grown into a self-sufficient settlement of its own, it still wears its history as a fortification on its sleeve, with the people living a regimented life and experiencing few of the comforts that might be better known to those within the imperial core.

• The corporal of the watch is Wulfram Nohl, a sellsword who pledged his service to the Margrave and was eventually appointed to his position when he was impressed with his service. He was a wanted outlaw in Vardessy, but fled to Ukiah knowing he would be pardoned there. His reputation is known by the guards, who regard him with suspicion, but aren't willing to test his patience.
• The bailiff is Sir Tycho von Beckenbau, one of the Margrave's knights. He is rather paranoid about security, and takes great pains to ensure the Keep's defenses are not compromised; to this end, he holds his men-at-arms to exacting standards. His coat of arms is a pattern of blue and white wavy horizontal lines, recalling waves.
• The jewel merchant is Mikhail Otten, a wealthy trader from Halvardy who is here to do business with the nobles of the Keep. He hopes to expand his enterprises into the Ukian lands and do business with the clans, but finds the tension between Vardessy and the Ukian clans an unseemly obstacle to his plans, and is frustrated that the peoples aren't on better terms. His wife, Sylvia, is less pleased with the more spartan conditions of the Keep and would wish to return to the comfort of home as soon as possible.
• The priest is Hadrien du Romaine, and he and his acolytes are members of the Rightful Order of Lescatie - those that hold the opinion that Wilmarina I is a pretender to the position of Matriarch. He had fled to Ukiah in the face of persecution in his native land. He is not a spy for the Caves of Chaos; however, he is a coward who will sell out his loyalties to their denizens in exchange for safety when he feels himself threatened.
• The smith is Karl Warner, a vassal of Sir Beckenbau who accompanied him to the Keep to lend his services. He is a loyal man, sworn to the service of his liege. His two apprentices are Inga Salzwedel, a patient, obedient, and clever girl, and Johanne Seiker, a boy with dreams of something bigger who has been known to be a troublemaker.
• The provisioner is Rudolf Hummel, a merchant who chose to stay in the Keep to do business with the mercenaries who pass through. He is a proud member of the Margrave's militia and fancies himself a great fighter, though his wife, Cornelia, feels that his training is little more than a formality and that he shouldn't make such claims.
• The trader is Wendelin von Langenburg, and was once a soldier in the first Ukian Wars against Jahken Khan. Though he has settled down since, he is still a member of the militia, as are his sons, Andre and Pepin. In his stint in the military, he did much business with fur traders among the Ukians - and became quite aware of how brutally cold the winters could be.
• The banker is Sigmar Lehr, a former mercenary who settled down in the Keep after being hired to repel raids by the hobgoblins years ago. He regards the hired guard, Diedrich Jansen, as a protege of his and has helped him train in the fighting arts, though Diedrich is loyal only to money and only sees Sigmar as a paying client. The clerk is Greta Falke, an old woman with a sharp tongue and a few magical tricks up her sleeve.
• The captain of the watch is Sir Werner von Bram, a knight in service to the Margrave. His coat of arms shows a goat's head in silver on a red field, with two silver spurs in the chief. He is a firm believer in the ideals of chivalry and judges those who do not abide by him as beneath him.
• The innkeeper is a stout man by the name of Taln, who lives with his wife Nina and their son Paul, and the inn is called the Emperor's Arms. He is a modest but honest man who only wants to sustain his family, though he is reluctant to get involved with trouble, even if things get rowdy in the inn.
• The barkeep is Dmitriy Sieger, a Kvessian man with Northman blood in his veins, and his tavern is called the Stumbling Reindeer. He is a jolly soul and will often strike up conversations with his patrons, and offers toasts to great heroes frequently.
• The guild master is Kurt Hofer, an emissary of the League of Three Crowns - a prominent association of merchant guilds primarily operating on the Sea of Bartel. Although Ukiah is far from their sphere of influence, he hopes to expand its reach into the March, and his exacting standards are in the aim of securing dominance over trade routes in the area.
• The curate is Gerhard Bader, the Archbishop of Ukiah, and an official in the Cult of Voltan. He is a loyalist to the Matriarch, though he has never been to Lescatie in person. All Voltanite cults in the Marches report to him, though in other lands, he is regarded as something of a backwater hooligan, with his diocese being on the far edge of civilized lands. Like many important officials in the Cult, he is a monk and has devoted his life to the study of theology, philosophy, and magic.
• The captain of the guard is Sir Matthias of Leistadt, a knight in the service of the Margrave. His coat of arms is a white swan on a green field. The sergeant of the guard is Sir Alwin Fulchard, a close friend of his even if they don't see eye to eye on Alwin's rowdier ways. His coat of arms shows three boar's heads in gold on a black field, with a gold chevron in the middle.
• The two corporals of the guard are Borislav Ruslanov, a Kvessian mercenary, and Josefine Mainz, an outlaw who fled to Ukiah seeking shelter. Both view each other as boorish louts and thugs of ill respute, and they have a fierce rivalry over the favor of Sir Matthias.
• The scribe is Sir Jacob Hasse, an official of the Keep and a warrior-priest of Mimir. He has pledged his service to the Margrave, though he finds his current position to be far less interesting than what he was promised. His coat of arms is a white book on a blue field.
• The advisor is Lamminkyla, an elder of one of the elven tribes that dwell in the forests of the March. He came to live in the Keep as an ambassador to the Margrave, though he came to enjoy the comforts of his new home and has eschewed the more rustic ways of his ancestors.
• The castellan is Margrave Godebert Sturm, the official in charge of the Ukian March, and the feudal lord of all Vardessian nobility therein (though there are not many beyond the Keep). His coat of arms shows a gold raven perched on a white wall, against a purple background.

Adventures Outside the Keep

This section can go largely unchanged. The one difference is that the denizens of the raider camp in area 3 are not merely bandits, but a party of Ukian warriors in the service of Kostten Khan, led by a fierce fighter by the name of Jaaggar. They are here to spy on the Keep for their master, and have evaded detection thus far by posing as a group of traders. In addition to the treasure listed in the book, they travel with their horses, a small herd of sheep, and a yurt that they have pitched not far from their camp.

The Caves of Chaos

Rather than a singular ravine, I would likely break the Caves up into a number of separate mini-dungeons spread over the map as proposed here. Most of these are simply the settlements of different tribes of orcs, goblins, and other races, and are not necessarily allied to one another.

• The merchant in area 24 is Steffen Bunchoten, a member of the League of Three Crowns whose caravan was ambushed. His wife, Anja, is an enchantress and made her dagger herself.
• The Shrine of Evil Chaos is now Broken Skull Canyon, a cavern that once belonged to the gnolls in area J, but that has now been taken over by a cult of necromancers. The gnolls avoid the cavern, as they can smell the stench of death on the air. The cult worships Bune, the Mighty Great Duke of Hell - a demon who has taught them in the arts of necromancy. It is led by Sir Hans van Russem, the evil priest; he was once a paladin of Torvald, but was corrupted by the very demons he swore to oppose, and went mad with power. For now, he is content with gathering his followers and waiting for further directions from his master, but how long will that last?

Midwinter

Of all the holidays in the Lunar Lands, those of the Wheel of the Year - the four solstices and equinoxes, and the four Cross-Quarter Days at the midpoint between each - are the most prominent, celebrated by just about every region. Due to their association with the changing of the seasons and the waxing and waning of daylight, these dates are important markers of the calendar that farmers make their plans by. But of all the holidays, perhaps the most favored of all is Midwinter, the winter solstice.

As I understand, it's the rarest dish in all the land.

For practical reasons, the longest night of the year makes for a time of celebration - when it's cold and dark, and the ground outside is hard, barren, and covered in snow, there is little work to be done, and the hearts and minds of many turn to hearth and home, finding company in family. Many Midwinter traditions sprung up to give people something to do over the long night, and in turn, the closeness the occasion brings to family and friends has led to Midwinter becoming known as a time to celebrate kinship and unity. Many hold feasts and gatherings, which may be as modest as gathering the family under one roof to partake in their company over a warm meal or as lavish as a grand banquet, often times held by feudal lords and open to all of their vassals (at these feasts, a boar's head is the traditional centerpiece). During this time, songs may be sung, games may be played, and gifts may be exchanged to give thanks for love and loyalty.

However, as the longest of the nights, Midwinter also marks the division between one year and the next in the calendar of the Lunar Lands. While the years are commonly numbered by the Vardessian Emperor in power at the time, a new year officially starts at midnight on Midwinter. Due to the use of a lunar calendar, and due to the fact that the solstice does not always match up with the twelth new moon, this often gives rise to an intercalary period which, in some places, sees the festivities continue for up to a full week.

In the cults of various gods - and in other faiths entirely - Midwinter marks the occasion of many important rites to ensure prosperity in the coming year. The high priests of all the major cults oversee grand sacrifices on this date, often accompanied by the local monarch (if applicable) to emphasize the importance of their rule. Of course, many local temples bring offerings of their own, as do homes and families across the land, and Midwinter feasts often include a portion of the main course set aside for the gods (either burnt separately or merely in the form of a dedication). These feasts and sacrifices are often the occasion on which oaths are sworn, with vassals affirming their loyalty to their liege in the next year, and those who intend to make great quests or journeys pledging to do so at this time. So too, Midwinter is a popular time for divination, with many seeking out oracles and soothsayers to predict what the next year will bring in their lives.

Of course, the boundaries between this year and the next are not only important to mortals. The liminal nature of Midwinter means that it is one occasion on which the boundaries between this world and others are weaker, and thus, magic is stronger - but not quite as reliable or predictable as on Samhain or Beltane. It also means that otherworldly beings are free to roam the world at this time, which has inspired many folk customs...and can be a danger to the unwary.

Evergreen plants, like pine trees, holly, and mistletoe, are associated with Midwinter for their ability to thrive through the cold, with many hoping their own fortunes will similarly last the winter. It is common to see both settlements and individuals lay garlands of evergreen and erect trees, which may be decorated for the occasion with candles and ornaments. So too, Midwinter, like Samhain, often sees people going wassailing from house to house singing songs and sharing in food and drink with the inhabitants. However, there are all sorts of local traditions revolving around Midwinter, and just about every region has their own customs.

Special Rules

Midwinter takes place on the winter solstice, typically either the Twenty-First or Twenty-Second of Oakmoon (analogous to December 21st-22nd, or the twenty-first or twenty-second day after the twelth new moon of the world's lunar calendar). From this date to the next new moon, the spirit of peace and harmony pervades the air. If you are using a reaction table, add or subtract 1 from all reaction rolls during this time (whichever makes positive reactions more likely).

Local Midwinter Traditions (d20)

All of these are real Christmas traditions.

1. In this region, people catch or buy a live carp several days before Midwinter and raise it in their bathtub before eating it on Midwinter's Eve.

2. In this town, two rival guilds both erect a massive straw goat in the leadup to Midwinter, competing to see who can make the largest. A separate, though illegal, tradition has arisen of trying to burn down one or both goats before Midwinter.

3. People in this region observe a peculiar form of wassailing, covering themselves in a sheet and holding a puppet made from a horse skull as they go from door to door engaging the residents of each home in a duel of rhymes. If the guisers win, they must be given food and drink.

4. In this region, people burn a log in their hearth continuously through Midwinter so that demons cannot enter the home through the chimney.

5. In this region, people place offerings of food on their doorsteps through the night on Midwinter's Eve so that spirits passing through can eat them (and hopefully be appeased so they will not bring misfortune).

6. In this village, people hide a vulgar figurine somewhere in town on Midwinter's Eve. Whoever can find the figure the next day will have good luck in the coming year. Local clergy find the practice disgusting, but the locals refuse to change.

7. In this region, two men in the garb of a bishop and a Swordbrother (more on these guys in another post - think Landsknechts) walk the streets on the night of Midwinter's Eve, asking any children they find if they pray. If they do, the bishop gives them toys and candies; if they don't, the Swordbrother whips them with a stick.

8. The arrival of Midwinter in this region is announced by the blowing of a large wooden horn at the stroke of midnight.

9. In this town, elaborate public plays are performed in the town square on Midwinter, with no expenses spared in spectacle or costume.

10. One of the streets in this town is set aside as a marketplace in the days leading up to Midwinter, with many stalls selling gifts, candies, and mulled wine.

11. In this region, it is customary for the local lord to switch places with a slave or servant for one day on Midwinter.

12. In this region, on the night of Midwinter's Eve, a mock battle is staged between two groups of citizens, one of them dressed as demons with the other group beating them with sticks, to represent the expulsion of ill fortune for the new year.

13. In this region, nobles appoint a randomly-chosen villager to preside over the Midwinter feast. They are encouraged to promote drunkenness and disruptive behavior.

14. In this region, the night of Midwinter's Eve marks a parade in which the townspeople don grotesque masks and walk the streets to scare off evil spirits. 

15. In this region, a loaf of bread is baked for Midwinter dinner in which the dough is slashed open and the seeds of various crops are inserted. Whichever seeds rise the highest when the bread bakes, those crops will see the most bountiful harvest next year.

16. In this town, a tree branch is thrown on a bonfire on Midwinter and the townspeople take turns poking it with sticks. The more embers are produced when the branch is poked, the more luck that person will receive in the new year.

17. In this village, the townspeople place a number of candles in their windows equal to the number of children in the household on the nights leading up to Midwinter so that generous spirits will know how many gifts to bring. More practically, this also helps light the way for miners who must head to work before sunrise.

18. In this village, on Midwinter, a procession goes through the town square leading a large basilisk puppet, which then performs a speech announcing the sins of all the townspeople.

19. In this town, on Midwinter, the local lord is brought to the town square and seated on a throne, where an official appointed by the townspeople as the Abbot of the People addresses them on the concerns of the common folk.

20. The Midwinter feast in this region includes a dish (such as a loaf of bread, cake, or soup) that contains a single coin or nut. Whoever's portion has the trinket will have good luck in the coming year.

And Now For Something Completely Different: Why Madoka Magica is OSR

I swear I haven't lost my mind! Come back!

I don't just post about learned and erudite things like history and medieval folklore on this blog, you know. Yes, I watch anime. Call me cringe all you want, but let's not deny that at the end of the day, the world of RPGs owes just as much to pop culture as it does to "serious" literary tradition. Anything can be a font of inspiration to make our games, and our lives, a little richer. And today, I'd like to explore one such example.

Besides, if you were really paying attention, you'd know I already dropped a few in-jokes to the subject of today's post back in one of my first posts on this blog. Purely because it referenced the same Germanic traditions I did. That's just what I do. Like some sort of enigmatic trickster god, my players never know if I'm referencing some obscure 13th century epic poem or some internet meme. You might not know either.

Anyway, today I'm going to talk about the anime series Puella Magi Madoka Magica. What makes the series notable for me is that it was the first anime - really, one of the first TV series in general - that I actively followed as it was being released (as it was being released in Japan, no less). It debuted in early 2011, while I was in high school, and I happened to become aware of it when it was freshly three episodes in (if you were there, you know). I proceeded to follow new episodes as they released week to week, and that was a kind of experience I had never really had before. Or, really, since, given the changing landscape of streaming and whole series dropping at once.

Rewatching it a few years back, I don't think Madoka Magica is a perfect series. I wouldn't even call it a great series. It settles for being merely good, but not without its flaws, and they only grow more apparent with age. The pace vacillates between being agonizingly slow and breakneck fast, but rarely settles on a comfortable middle ground. So many characters are frustratingly underdeveloped, and I've come to see the effective protagonist - one of the few who isn't - as the kind of person I would probably punch in the face if we were locked in a room together for long enough. The Watsonian lore and the Doylist themes of the show both raise all kinds of fascinating ideas and implications that feel like something could be done with them, but they never are. The individualist philosophy the series takes on the question of self-sacrifice never sat well with my utilitarian socialist self, and in light of the sequel movie (which split the fanbase in two - I'm solidly on the "it sucked" side of that rift), there's an unpleasant undertone of Objectivism that I can't help but pick up on whether intentional or otherwise. But there's something that makes the series hold a place in my heart.

And I suspect that something may just be how the setting seems to resonate so well with the ideas of a tabletop RPG - particularly one of the Old School ethos.

In the rest of this post, I'm going to give a rundown of Madoka Magica lore with a focus as to what aspects of it are gameable, and summarize how they abide by OSR principles. If you're already familiar with the series, you can probably skip this next part (though I recommend you at least give it a look because there's some things that never actually happen in the series but are totally missed opportunities, and you may not even know about them). If you aren't, please be aware that this discussion will contain spoilers if that matters at all to you - but for what it's worth, I wouldn't have gotten into the series at all if I didn't have it spoiled for me back then.

More under the cut.

Random Encounters From Your Miniature Drawer

I've always had somewhat of an off-and-on passion when it comes to miniatures. I've never really used them for my games - collecting and painting miniatures is an awful lot of setup, especially when you factor terrain and scenery into the equation, and (to riff on my last post) I fear that visual representations on the gaming table can influence the imaginations of my players more than I would like. Couple that with the fact that my regular gaming group is spread over multiple states and I handle everything over Skype chats anyway, I find it easier and more streamlined to just go with the theater of the mind.

At the same time, I've always liked the little bastards. Just to have them, and paint them, and to look at them for their own sake. Maybe even play a skirmish wargame once in a while. They aren't (or at least shouldn't be) necessary, but minis are fun.

Since moving into my new house, I've been getting everything unpacked and reassessing what I have. That includes going through my old, mostly unpainted collection of minis I've had for years, always hoping to do something with but never really getting there. I've been looking more into games like Planet 28 lately, so I figured it wouldn't hurt to sort through my collection and see what I could make of them.

What immediately struck me was that, when I was at my peak of miniature collecting, I was very much the kind of person who collected things I thought were cool, rather than trying to build a certain army.

There's a lot of Reaper fantasy monsters, mixed in with some Warhammer Fantasy monstrous types, and even a few packs of the old Chainmail range from when Wizards of the Coast briefly wanted to get into the metal miniature business. An ogre, a dire boar, plenty of lizardmen (of various sizes), a bunch of orcs, quite a few skeletons and ghosts, a handful of Skaven, some barbarians...

Wait a minute. I'm sensing a pattern here. Maybe I can't make a cohesive army, but I do have a pretty decent random encounter table. Let's throw some of those things together, and see if I can write a dungeon around it.

1d20:

1. Dire boar

2. 1d8 orcs 

3. 1d8 kobolds

4. Ogre

5. 1d2 myconids

6. 1d2 Rat Men 

7. 1d8 goblins

8. 1d6 mummies

9. 2d8 spiders

10. 1d4-1 (minimum 1) lizardmen

11. 1d8 skeletons

12. 1d4 specters

13. Vampire

14. 1d4 wolves

15. Werewolf

16. 1d4 berserkers

17. Dragon (I haven't painted it yet. Let's say a red one)

18. 1d2 trolls

19. Death knight

20. Earth elemental 

I also think the reason I like the myconids in Dark Souls so much
is because they remind me of these old Reaper ones.

Yeah, it probably looks pretty funhouse-ish right now, doesn't it? And quite unbalanced, but remember: not all random encounters need to lead to immediate combat. But that's where we start thinking about how we could make everything fit. And as we do, the seed of an entire dungeon starts to emerge.

Right now, there's two big themes I'm starting to realize with the monsters we're using. There's a lot of undead, and a lot of reptilian creatures (with the dragon, lizardmen, and kobolds). These could easily be grouped into their own factions. The vampire and the dragon sound like natural leaders for the two groups (the death knight could be a second in command to the vampire, or vice versa), and that raises the question of what they're doing in the same dungeon.

Maybe the vampire has set up a lair for his necromantic experiments, and it just so happened to be in a cavern already inhabited by the dragon. Perhaps he's trying to manipulate the dragon and his lizardman servants to his own ends, and to serve as extra muscle to keep out those pesky intruders who are getting suspicious as to who's taking all the dead bodies. Maybe he has some magic artifact or other precious treasure that he's bribing the dragon with, knowing the creature's greed. This way, smart players could exploit the factions by pitting them against each other - maybe they'll need to steal the treasure from the vampire to sway the dragon to their side! After all, those lizardmen could be useful allies, to say nothing of the dragon himself!

There's some other entries we could group into smaller factions too. The orcs, goblins, and maybe the ogre all seem like they could be allies. Maybe it's an independent tribe of Trollkin, or maybe it's more hired muscle being used by the vampire (which could make them jealous of the lizardmen if they feel they're being replaced - something that the players could win their allegiance over if they don't side with the dragon, since they probably will have a harder time doing that with skeletons). The dire boar could be a pet of the orcs, or just an independent monster. The myconids, spiders, Rat Men, trolls, and earth elemental would all most likely be random denizens of the dungeon. As for the berserkers, wolves, and werewolf, they could be independent too - but what sounds more fun to me is the thought that maybe this is a clan of wolf-worshiping barbarians, led by a werewolf! Maybe they're visiting a shrine somewhere in the dungeon, or raiding it for its riches or as a sort of initation ritual!

As you can see, there's a ton of ways that this seemingly random collection of creatures and characters can be made into something more cohesive. And like many instances of working within constraints, it can get the creative juices flowing to be given a set of incoherent, mismatched elements and to be forced to make them work. Already, I have the start of a dungeon that could last me plenty of sessions to come. And if I was the kind of person to use minis, I wouldn't even need to buy anything new for it!

I'd love to see other people try this exercise out. It's a great way to come up with dungeons and other scenarios that you might never have considered otherwise. Do you have a bunch of random miniatures laying around? Try making a random encounter table out of them, and let me know what you come up with!

Good Artists Borrow...

This is somewhat of a follow-up to my previous post about the role of "canon lore" as it pertains to TRPGs, and how I care for it (answer: not very much). One thing I admire about the OSR community is their commitment to the open-ended freedom of the hobby - they're not ones to concern themselves with how things "should" be, and they take pride in mixing and matching content from different sources.

You'll often see published adventures being referred to as "modules," and even though that parlance isn't in official use over at Wizards of the Coast, people still use the term to refer to their 5e adventures. This reflects a conception of the purpose of published adventures as being, well, modular - the idea is that they would be quests, encounters, and locations you could drop into an ongoing campaign so you wouldn't have to draw out a bunch of maps in advance. Over time, this gave way to adventures being entire pre-built campaigns expected to be played from start to finish, and with it, some of the do-it-yourself nature of campaign worlds has been lost. But it's definitely not lost in the OSR scene, and often you'll find DMs discussing how they work different modules into their settings.

I use the Lunar Lands to run almost all of my games. This includes campaigns I've run from modules - and I've made use of modules that originally came from a number of different settings and even systems (as Dave Hargrave put it, the numbers don't matter, only the ideas). As a result, my campaign map is a patchwork of original content and stuff taken from various writers. Yes, this does often result in me needing to tweak material to fit my setting - changing NPC names, scaling back the level of magic, and so forth - but I find that can be just as engaging as writing original material. It's like putting pieces of a puzzle together and seeing how well they can fit, and I hope to create something that's more than the sum of its parts.

To put things in perspective, here's a list of the different locations I've used from different modules, and where I placed them in the Lunar Lands. Some of these are locations I've used; others are locations I placed on the map should I need them in any of my sandbox campaigns. I should warn anyone now, this post is not safe for canon purists!

And a big shout-out to Bryce of Ten Foot Pole, who picks up the burden of reviewing more modules than you could expect one man to do so and stay sane. Without him, I wouldn't have known about some of these.

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Classic Modules

• I've seen it written once that every old-school D&D setting should have the Keep on the Borderlands and the Village of Hommlett in them somewhere, and this is no exception. I placed Hommlett in the territory of Redwald, while the Keep (named Snowhall Keep) is on the border between the Vardessian imperial core and the Ukian March, across from the Caves of Chaos (now named Broken Skull Cavern).
• Although I haven't read as much of the original Clark Ashton Smith stories as I perhaps should, I do find the hex map of Averoigne included in Castle Amber to be a nifty little mini-setting inspired by medieval history and folklore, which of course I can't get enough of. It's been dropped in as the City-State of Vyonnes.
• As an avowed follower of the British Old-School, I have a special soft spot for the modules put out by TSR UK, before they were Games Workshop. I've run The Sinister Secret of Saltmarsh in my setting, even before Ghosts of Saltmarsh was released, and the town of Saltmarsh is in the Vardessian province of Gundarsland. Yes, I'm aware it should be Salzsumpf, but my players still called it Saltmarsh and I got used to it.
• As part of a sandbox campaign, I had plans to throw in the Fell Pass from The Dragon issue 32 on the border between Taldameer and Golnir as an obstacle for my players to get past as part of an overland journey to Quel'Ahma. The campaign didn't last that long, unfortunately, but it's still there on the map.
• Little-known fact: during the 2e era, TSR put out a few sourcebooks on gaming in different historical eras. One of them, Charlemagne's Paladins, was based on the early Holy Roman Empire, so naturally I was going to crib from that for Vardessy. The villages of Eigenmacht and Fabelhaft come from one of the modules included - and yes, their names are different German expressions amounting to "not real." Nice try, TSR, but future generations have Google Translate on their side.
• And finally, yes, I did put the Tomb of Horrors in Quel'Ahma. Just in case.

Other Games

• It's no secret that Warhammer Fantasy Roleplay has been a big influence on my setting, and the game put out some very nice city guides and adventures, so of course I would integrate some of those in my setting. Both the town of Bogenhaufen from Shadow Over Bogenhaufen and the city of Middenheim (renamed Torvaldshaupt to fit with its new status as the center of the cult of the god Torvald) from City of Chaos are included in Vardessy. Similarly, the city of Rolanfels is an adaptation of the very good fan-made guide to Bergsburg you can find here.
• The castle of Corteaguila in Taldameer is based on an old module on Weathertop from Middle-Earth Roleplaying, and is the result of me throwing a landmark on the road for my players on the spot when I didn't have anything prepared. MERP has a number of very handy fortress modules with detailed and realistic maps, so they're helpful for this purpose.
• The city of Sirka in Kvesland is an adaptation of Dave Morris's city of Brymstone for Dragon Warriors. I owe more to Dave than I do to perhaps any other individual creator in the TRPG world, so in terms of if his creations would show up in my setting it was only a matter of "when."

Newer Stuff

• Among one of the campaigns I've run that's been most dear to my heart was a run of 5e's Curse of Strahd, moving the setting of Barovia to a backwater barony in Togarmah. No impenetrable mists here - I don't believe in trapping my players if they're truly not invested, and many stories can attest to how that's more likely to burn players out than make them want to escape, so I just made it part of the material plane. However, I would later discover that Curse of Strahd only details the northern half of the Barovia that was established in previous editions. In order to make use of those materials as well, the southern part - including Immol, Mount Sawtooth, and the village of Krofberg from the 3.5e setting guide - was made into a Vardessian-controlled subdivision of the Togarman March known as Neiderbaroven. On the border is where I set the excellent fan expansion to Curse of Strahd, The Beast of Graenseskov.
• As part of a later campaign taking advantage of the release of Van Richten's Guide to Ravenloft (one that was actually run by one of my players from the aforementioned campaign), a few other Domains made it into my setting, including Dementlieu being in the City-States and the valley of Tepest, including the village of Viktal, being in Halvardy. It was a great time, and I'm happy to make it canon.
• There's a funny story behind Porto Libre, the capital of Valossa. Green Ronin's Freeport: City of Adventure book(s) is one that hews closely to the old-school ethos of publications being setting-neutral and able to be dropped into any world, and I saw fit to place the city into the Lunar Lands. The only problem...I grew up in Freeport, Maine, and I am incapable of seeing it as a city of adventure. My solution was to rename it and make everything feel slightly Spanish - and, when I already had a Spain stand-in in Taldameer, it eventually evolved into being the capital of an entire fantastic Mexico analogue.
• Similarly, another setting-neutral city - Bard's Gate by Frog God Games - was adapted into the city of Pylithopon in Golnir.
• And, yes, I have something from 4e on here. Horror of horrors! Don't worry, I dislike the system as much as anyone else, but remember what I said about numbers not mattering, only ideas? Reavers of Harkenwold is an interesting module, seeing the PCs gathering allies and waging a guerilla war on a barony taken over by bandits. It's one I hope to run (in 5e) some time, so Harkenwold is here on the map, in Vardessy - the Holy Roman-inspired empire seems like the perfect place for petty coups and robber barons.

The OSR

• I'm eagerly awaiting the release of Dolmenwood - the folkloric, low-fantasy setting is the kind of stuff I want to inject directly into my veins. Naturally, the Duchy of Brackenwold is in the setting as one of the many fiefs of Vardessy. And yes, I do intend to put both Winter's Daughter and Barrowmaze in there too.
• If there's one thing I love, it's modules that present a regional sandbox with a number of areas and sidequests to explore. Curse of Strahd is one - and Dungeon Crawl Classics' The Chained Coffin is another I've had the pleasure to run. The Shudder Mountains has been placed in Vardessy under the name of the Schaderbergen, with the Appalachian influences reskinned to a more ancient Germanic vibe (and a little bit of Pennsylvania Dutch). As for the town of Dondern, that's a special case - although I was inspired by the town of Thundercrack described in The Almanac of the Shudder Mountains included in the boxed set, the description of a town built on platforms over water brought Lake-Town from The Hobbit to mind, and I have the MERP module on it saved up in case I need to represent the town.
• The ruined dwarven hold of Amudid (Thunder Rock) is an adaptation of Sanjikar from the excellent OSR module Mines, Claws, and Princesses - another one I hope to run some time.
• The island of Al-Awali off the coast of Quel'Ahma is based on Kalmatta from The Treasure Vaults of Zadabad - I had to change the name because I kept thinking of olives.
• And you'd better believe that Yoon-Suin and Qelong exist over the sea to the east.

Altogether, it's a diverse bunch - but it's brought us many hours of fun, and I like to think I make it all work. What about you? What modules have you integrated into your game worlds? I'd be interested in seeing what others have made!