tenfootpole.org

By???
Unbalanced Dice Games
OSR

The Old God has awoken. He feels the pain of being broken and wants to be free again. He has cursed the party to find his body and make him whole again. They must venture into the caves and face foes who will thwart their every move. If the party has the wits and the will they will succeed. The Old God demands success!

This is a 64-page adventure in some caves with about sixty rooms in it. There is some pretext about an old god and a new god and worshippers, etc, but it’s really a funhouse dungeon with a large number of mini-areas with almost no relation to each other. Charming, a product of madness, youth, or a fantasy education that stopped at age twelve without any hint of Tolkien or D&D. Fantasy as written by Tom Sawyer. Overly written, no effort at layout, unrelated encounters … and the type of pure simple imagination that I’m not sure anyone is capable of once exposed to “mainstream” D&D. Troll? Art project? Youth? I have no idea.

There’s no layout to speak of. It’s all single column with a large font. Room names are bolded. Monster stats indented. A few pieces of art in a simple, charming/amateur style. The hook? You dream, and are transported at fantastic speed over the sea past seas monsters and ship to find yourself on a rocky shore next to a village with a voice having said “Come and find me.” The starter village is a mess, with events mixed in to keyed locations in a small eight keyed location that takes four or five pages to get through. They worship a sun god the priest knows nothing about, there are bat themed (The New God) hints all over the place and the people grow hostile when the Old God is mentioned. This is all crazy … except the village god setup IS a good one. The kids play “bat and mouse.” There’s an old bat mask in the church. People get angry at the talk of the old god. Eventually a girl leaders the party to the caves. Inside they get a vision/voice telling them to find the old gods eight parts and join them together. It’s completely obvious with no attempt really at a serious pretext. The old god/new god thing isn’t really going to come up again, except in the form of a few cultists you fight.

There’s nothing from the books in this. No treasure. No monsters. All fresh content. It reminds me, in a way, of the writing style of Tracia, Dungeon of the Bear, and of my favorite adventure The Upper Caves from Fight On! Magazine #2. Treasure? How about a cup that burns water like it’s a torch. A little doll the size of finger. Held in the palm of the hand, it does a little dance that heals 1d4 hp once a day. A green gauntlet that causes plants to wither. A stale loaf of bread whose crumb feed you for a day. A stick that turns in to a shovel and back when you will it. What the fuck? For real? A fake eye that glows red … if you stick it in an empty socket you get infravision. Almost all of them are non-mechanical; describing effects instead of the mechanics they produce. +1? That’s boring. I’ll take the fucking stick shovel ANY day over a +1 sword. It preserves a sense of wonder and mystery. There’s cursed armor in Upper Caves/Fight On #2 that shouts “Here I am! Here I am!” when you get close to undetected enemies. No mechanics. Just a description of what it does in plain english, just like in this adventure. The treasure is MAGNIFICENT!

The encounters proper, have little reason to them. Two or three rooms at a time might be related, like a trap that deposits you in to a room, or the three rooms related to shadows: in one you pass through a weird wall that mucks with your perceptions, in the second you fight some shadow monsters, in the third you’re offered the chance to rid yourself of your shadow. Or a vampire hunter which you meet in one room, see a group of slaughtered bodies in another one, and an empty vampire coffin in the third. The relationship between the rooms and the pretext, the old god and new one, isn’t clear at all … if it’s there at all. I get the feeling this is more a funhouse dungeon. Not with puzzle rooms, per se, but with a series of rooms that exist BECAUSE. Why is there a piece of the old god in a bird cage hanging from the ceiling? Because that’s cool. That room, the cage shocks you. If you break it to get at the part inside then you lay 1-2 normal chicken eggs every 12 hours for a week. When the hell was the last time you saw a curse like THAT in an adventure?

Here’s a section of text from the tempt in the caves. There are fourteen sentences in three paragraphs and these are the middle three sentences: “The men attack with their knives while the large manunbat shouts orders at them. When half the men have been killed it will reveal its true nature. The arms and legs will fall away and it will become man sized. It will remove its head to reveal that it is a plant skeleton that was wearing a costume.” They attack with knives. It shoults orders. It’s plant skeleton in a bat-beast costume. It’s a simple on-forced style of imagination that’s going on. And room after room after room delivers this style of imagination. A board/plank bridge that breaks under weight, of course! A crazy guy with one arm and leg that fires blow darts from a ledge and hits you with his crutch. A bald hermit sitting in a chair in a glass globe. Vignettes in a cave … it reminds me of one of those lost childhood adventures, with Pirates of the Caribbean and so on.

Based on my standards and continually harping on usability at the table, this is hard to recommend. Ignoring the hook/village, the encounters can be arbitrar at times, with a plank on the bridge breaking and the character left hanging. Or an earthquake sealing the party in. It’s text heavy, and the encounters CAN be inconsistent with many working better than others, but they ALL are imaginative.

It’s $4.50. The preview on DriveThru shows the table of content and the last page shows the “dream” hook. I wish it had also shown one of the encounters, so you’d know more of what you are getting in to with it.https://www.drivethrurpg.com/product/138421/Broken-Gods-Pain-A-Low-Level-OSR-Adventure?affiliate_id=1892600

Go buy it, if for no other reason that I have someone to talk about it with!

By David Pigndolli
Daimon Games
OD&D
Level 1

It presents a classic adventure, with a mission assigned to the characters by the priest of a small village, and rumors of the coming awakening of the terrible Tall Witch.

This 26 page Pay What You Want “adventure” has five encounters, each with a witch, filling about twelves of its pages. The witches are interesting. The magic items are interesting. I just can’t get over the page count.This is wrong of me. It’s Pay WHat You Want.

Every 333 years a witch hatches fully grown from a giant egg near this certain village. The villagers then get terrorized. The time has come and the local priest has declared a big rock on the sea shore to be the egg. The party needs to go fuck it up. On the way there you either meet a young lady who’s mule is broken or a young lady drowning off the shore, if you approach by boat. You find the egg missing. On the way up the cliffs you meet three more young ladies, all witches.

The witches are fairly interesting. All dressed in strangely nice gowns … a tip off if ever there was one. The first pretending to be lost on the road, her mule having a broken leg nearby. SHe leads the party in to quicksand, the purple flower in her hair allowing her to walk on quicksand. The second pretends to be drowning near the shore, wearing a gown of sea algea. They come off as more sorceresses and have a fine OD&D feel; they’d fit in great in Isle of the Unknown with their weird powers and such. One, when she dies, leaves a pool of water that never dries up. Nice. Each witch encounter takes two to three pages to describe, with a generous margin, font, and random tables.

Treasure includes the aforementioned flower that lets you walk over quicksand, eggshell pieces that could allow you to teleport, and the bronze head of a child that talks to you and if you feed it blood can do more.

The location of the witches is the most confusing part. One on the road, one at the base of the cliff, and three more on the way up to the top of the cliff? This is more of a point-crawl/scene based adventure, but I found it impossible to visualize the witches in relation to each other. IN a 26 pages adventure you’d think that even a small ¼ page map could be included.

It’s hard to bitch too much about a PWYW. Yanking the witches and/or the village to dump in to something else would be nice; I do find the OD&D nature of the witches nice. Then again, this could easily be a 1-pager, or 1-page front & back, STILL be PWYW, and lose very little of its flavor

Is it your bag baby? Fuck it, It’s PWYW and I’ve paid a lot more for a lot less.
The preview on DriveThru is 26 pages long: the entire adventure. Page 7 has the “hook” with the village. Page 8 has the first witch and the first few paragraphs are worth looking over to get a feel for the “airiness” of the witches. The next page, none, gives a good example of the extra detail that bumps up the word count: tables for attack & disease.https://www.drivethrurpg.com/product/209714/The-Tall-Witch–OSR-adventure?affiliate_id=1892600

By Joseph D. Salvador
North Wind Adventures
AS&SH
Levels 5-7

More than a month ago, your party found itself in Port Zangerios, where you heard of an Esquimaux thief selling a treasure map. Low on wealth but high in courage, you sought him out. The man turned out to be a fearful ex-slave who had “acquired” the map from his Ixian master. The map is incomplete but shews the Isle of the Serpent in far-off Lemuria, where rests a fabulous treasure called the Feathered Crown of Nanasa (or so thought the Ixian). Pooling your money to purchase the unfinished map, you bought passage on an Amazonian trade ship. After passing through tempests and torrential rains that shimmered with auroral light, you have come to the great city of Jhaman Ket. Now you must seek out the location of the Isle of the Serpent.

This is a sixty page hexcrawl/lost temple adventure on a jungle island with dinosaurs. It has a short eight page section on Lemuria, ten pages of new monsters appendices, etc, and the main hex crawl and titular temple in thirty four pages. It follows an “expansive minimally keyed format”, falling in to some of the usual traps with expansive text. The snake temple map is interesting enough, looking like a “main hallway with room s off of it” design but offering multiple entrances and the “Conan hole” in the ceiling. It comes off as bland.

I won’t cover the Lemuria fluff. Fluff is fluff and you either like it or you don’t. It does an ok job describing the general region of Lemuria, politics, towns, etc. It tends to the historical and overly specific “Round shields of iron and bronze are both in use …” I like my fluff different, driving action and all full of mystery.

For the main adventure, comparisons to Isle of Dread are inevitable. Be they inspired by the same Appendix N texts or simply hitting on the same themes, Dread was the first hex crawl many saw, it was on a jungle island, and had a ruined temple. Combine those elements, as this adventure does, and Dread comparisons are inevitable. The island hex crawls are, essentially, the same. Dinos, jungle, etc. There’s no friendly villagers and the temple at the center of the island, on a plateau, is more organized and less abandoned. Otherwise, you hex crawl through the jungle, see dinos, and try to not die.

The wandering monsters are rolled once an hour on a d6, with a 1 indicating a monster. That’s four encounters a day, on average. Certainly not EVERYTHING is hostile, there are some herbivore dinos, for example, but the rate is high, it seems to me. The island IS only 3 miles across, with six hexes to the mile, so a party with their ass in gear should mitigate most of that. Camping is going to be a bitch though.

There are heat rules. I have an ancient enmity with environmental rules. They always sound great but they tend to be cumbersome in practice. In this, every two hours you need to make a CON text or be exhausted and rest an hour, if you are encumbered or wearing metal armor. That’s one way to get people out of their armor: tedium. I don’t disagree with the theming, just the tedium required to get to the end result. Which brings up an interesting point. Given the focus on the wanderers every hour, and the heat checks every two hours, it seems unusual that movement rates are not covered. Each hex being 275 yards, it seems natural that a movement rate chart would be included on, say, the island hex map. Movement, and what you can see from your hex, are key elements in a good hex crawl that are missing here.

I think we can all agree Dread was minimally keyed and tersely written, except perhaps for sections dealing the customs of the villagers. I think the adventure here is also minimally keyed, but in contrast to Dread it’s verbosely written. Common elements are expanded upon in at text style that emphasizes plain factual data. Some North Wind adventures have a very tortured writing style that feels forced. I’m a fan of esoteric words and larger vocabulary in adventures, but I’ve come to expect to see this implemented in a cumbersome way in the usual North Wind adventure. This one has the opposite problem. The descriptions are plain to the point of being a killjoy … but the text goes on forever. The wandering monster table is three and half pages long, each monster getting its own stat block and short description. “Weighing up to 500 pounds, these seven- foot-long chamæleonic amphibians catch prey with their sticky tongues and can swallow a full-grown man whole.” Uh huh. You mean exactly what’s included in the stat block below that description? Occasionally there is a bright point like “giant ticks drop from trees”, but it’s generally this kind of non-useful text. It doesn’t really drive the adventure anywhere.

Similarly, there is an emphasis, in places, on historic uses for rooms. “This room USED to be used for …” or “In antediluvian times there were runes here …” These don’t help. They instead obfuscate other words which MIGHT help run the adventure. Now. Right Now. What’s of use to a DM running a party in the room RIGHT. NOW. A room that says “Study: Sometimes Bob used to read books here.” is not useful. That’s what a study is, a place where you hang out and perform study-like activities. We know that from the room name.

The encounters can be LONG, to little effect. Room three of the temple is a normal guardroom. Nothing really special. Snake-man pictograms on the ceiling. The text is a column long. An intro paragraph telling us the room is 20×30 (which we know from the map) and it’s got a 15’ ceiling (irrelevant to the adventure and doesn’t really set a mood at all) and then three GIANT stat blocks that look like they came straight out of the bad old days of 3e and/or Pathfinder. It ends with another paragraph telling us where the exits lead to which, again, we already know from the map. A column of text. This sort of expansive use of text for “normal” things is perhaps the adventures greatest fault. The temple has interesting layout for what is, essentially, a linear hallway, but the emphasis is on the mundane instead of the unusual. There’s a giant jeweled idol in one area, the kind every adventurer dreams of prying the jeweled scales off of. We’re told that desecrating the idol should causes curses and misfortunes as the DM sees fit. But, THAT’S what the fuck we’re paying the designer for! We’re not paying to be told that a room is 30×20 feet. We can see that from the fucking map. We’re paying for the unusual, the interesting, the imaginative. A constructed world of interlocking parts. We’re not paying to be told to roll for our treasure or make out own snake-god themed curses. A cult village doesn’t need to have gonzo elements to be good. But it doesn’t need five pages, as this one does, if all you’re going to tell us is the mundane. Placing an emphasis on how the party will interact is where the effort should have been spent. Guards. Patrols. Things to thwart sneaking around. To get to the temple, and so on.

The preview, on DriveThru, is only four pages long. It doesn’t really show you anything of the text you’re likely to encounter in the adventure. That’s not a very effective preview. It does include the table of contents, which is helpful, such that it is.https://www.drivethrurpg.com/product/156193/Forgotten-Fane-of-the-Coiled-Goddess?affiliate_id=1892600

I’m disappointed with this adventure. Thus far, I’m pretty sure that the best AS&SH adventure I’ve seen has been the Crypts & Things adventure Blood of the Dragon. If you know of a better one then stick it in the comments. I don’t feel like anything I’ve seen so far lives up to the potential of AS&SH and I’d like to make sure I’m giving it a fair shake.

By Jeremy Reaban
Self Published
1E
Levels 5-7

Ilmarinen the Eternal Hammerer was once widely worshipped by primitive people, whom he taught how to work metal. But once they had his knowledge, his worship was largely forgotten and his temple declined and was of course overrun by monsters.

This sixteen page adventure in an old “smith god” complex has sixteen encounters spread out over four pages, with another for the map and the rest of the pages being appendix material in the rear: new monsters and magic items. It is mostly a hack with only a couple of exploratory items. Nice treasure and all new monsters make this smarter than your average bear. The text has a weird thing going on where it is both to the point and padded out … a seeming contradiction.

Too many magic swords? Come on down to Big Ilmarinen’s temple and we’ll take care of it for you! We’ll destroy two of your magic swords and channel the power in to a third! The +1 sword glut can be a common game problem for some. Combined with the lust over higher ‘pluses’, the existence of a place like this temple is almost a hook unto itself. It motivates the PLAYER rather than character … and those are the best hooks of all. The actual hooks are pretty shitty: stumble across it, hired to investigate, or hear a rumor about it. Ok, the second one isn’t that bad since its related to that quality of player power envy. Just dropping a rumor, or crafting some failed expedition or some such is a decent way of introducing the place. You’ll get little help from the adventure through; the entire introduction is a column. I love a terse introduction and this one has it. Three sentences on background, three on hooks, and a short section on general dungeon conditions before the adventure keys start at the top of the second column. Perfect for an adventure like this. I might have suggested tightening it up even more, cutting the lame hooks and hook intro paragraph, and using the space freed to add a bit of color to the “tavern rumor” hook. But, still, terse and doesn’t get in the way.

The encounters are almost all straightforward hacks. Enter a room. See a monster. It attacks. There’s a place for this, but the over reliance on it detracts from adventures. All but one of the non-trivial encounters is a hack. Had the rooms been layered a bit more it would have been much better. What I mean is having additional elements in a room. If the room has monster then maybe it also has trap. Or there’s something unrlated to the monster to investigate. Or the monster attacks WHEN you do something … like fucking with the hole its living in. There are skeletons on a table in this adventure. When you come in to the room the skeleton heads detach, flame on, and then attack. That sends the wrong message. If, instead, FUCKING with the skeletons caused their heads to fly off then you’re closer to room that works better. Better yet, if you put an obvious ruby in the skeletons mouth THEN you’ve got a great situation. The players want the ruby. EVERYONE knows what’s going to happen when they fuck with that ruby. They get to make the choice. A very tempting choice to push the shiny shiny red cherry button … Madcap plans are created. D&D happens.

The writing is also a bit weird. It’s pretty fact based, which is what I think I mean when I cite it as “straightforward.” But it’s also got a pretty loose writing style that I think detracts from the adventure. Room four notes that: (bolding mine)

“Along the eastern wall are a stack of twelve kegs, three rows of four each. The curious thing is that the kegs are made out of an unusual metal, not wood. Half of the kegs are empty. The others may be opened, and if so, out comes a very skunky beer, long past its prime.

Along the western wall are two crates, both made of wood. The southern crate is opened and inside is empty, save for some straw like material. The northern crate is unopened. If opened, it will reveal 8 smaller sealed cases, each containing 50 rolls of summer sausage (1 lb. each). Amazingly, it’s still edible.”

What this entry does is describe a typical storeroom. We all know what a typical storeroom looks like. There is no significance to the crates being on the western wall, or being made of wood. There is no significance to the southern crate being open. Looking at those first three sentences, if they were replaced with a different description, or did not exist at all, the adventure would be no different. I can make a halfway decent argument for the same being true of the first two sentences of the first paragraph. If the text were removed, and it has no impact on the adventure, then the text has no impact on the adventure and should not be there in the first place. Don’t get me wrong, there is ABSOLUTELY room for painting a vivid picture in the DM’s mind (in a terse way.) That’s a legit reason for text. But bare fact-based statements seldom accomplish that. I would argue that most of the room descriptions in the adventure fall in to that category.

I do want to note the treasure and monsters in this adventure. Both are excellent. Jeremy has created an all new slew of monsters, relying on nothing from the “normal” books. Long time readers will know I love this. I love it when a party encounters something that they have to struggle with. New monsters represent the unknown, mystery. The party doesn’t know what special attacks or defences they have. There is an element of fear. There’s a place for returning favorites, but almost nothing generates anxiety like meeting some beasty with unknown abilities. The treasure is also a cut above. Room one has a bag with a mitten, stained with blood, with a gold ring inside. A monocle with a crack in it. Green troll jerky wrapped in a dirty piece of cloth. These things tell a story; they make your mind tell a story. They make you want to know what happened. There’s an eye, ripped form a gnome, that you can use for true seeing. The amount of extra work to make something more interesting than “state: 100gp” or “sword+1” is pretty small and I wish more designers would add value that way.

There are a few other misses. Two statues grab people and go jump in to lava. Great encounter! But the text refers you to the magic pool room instead of the lava pit room. Not huge, but indicative of the need for a second read through.

It’s PWYW on DriveThru. The preview on DriveThru is a good one. You can see the treasure for room one at the top of page three. The storeroom text is on the same page. In fact, the entire adventure is available in the preview. https://www.drivethrurpg.com/product/209706/HS4-The-Forge-of-Ilmarinen?affiliate_id=1892600

By Gus L
Self Published
Swords & Wizardry
Level 2?

This free, 41 page dungeon adventure, with about 39 encounters, details four tomb-systems / lairs carved in to a huge mesa. It’s rife with factions, social play, weird shit, and has more than enough interesting stuff in it to keep a party busy for several sessions, including perhaps trips back at a later date, allies and so on. It reminds me much of B2 or Ironwood Gorge, a location to visit multiple times. The writing constructs a rich dreamlike tapestry of words in the various rooms in AS&SH style… and needs to be trimmed because it makes it impossible to find anything. It should be easy to drop in to almost any game. As long as you’ve got a printer and a highlighter.

The idea is that there’s a road out of the capitol, now seldom used, that has tombs all along it. There’s always been a bit of banditry, but things have picked up and the illegal folks in/near the city, running their craft through it, are feeling the pain. Rumors paint the center of the issue at The Red Mesa, a big tomb complex about a day away. The mesa is the center of the adventure. Carver all over with statues, tombs, etc, it houses four cave complexes, three of them connected in some way. There’s a small inn/waystop, a petty necromancers home, a sullen mythic tomb, and a group of hiding bandits. The innkeeps run a cannibal cult, the necromancer is dead of natural causes, the bandits only steal a little, unless threatened, and the one remaining ‘real’ tomb is mythic. In to this we chuck the party, probably acting as agents of the Matrons, a group of brothel owners who lair on the road near the city.

We learn almost all of this in the first page of the adventure. It delivers the background, the current situations, the factions and so on. It’s a great overview, full of flavor and supports the DM well in understanding the environment up front. It’s supported by three pages of rumors, one for talking to unsavory types, one for merchants, and one for the general populace. The rumors are excellent. Full of colorful characters and in-voice rumors. I often bitch about verbosity, and page bloat, in adventures (and will in this one also) but the rumors here are a good contra-example. Each rumor is almost a little mini-encounter, but it’s done in a way that organizes it easily and makes it easy to both run AND find. And that’s the key: usability by the DM. The goal is to support the DM and transfer data to them effectively during play. By placing the rumors in tables they can almost be eliminated from the word/page count of the adventure. Want a rumor? Here’s the table: run it. If this were integrated in to the text then you’d have to go digging. The organization/layout/presentation of the rumors supports the dm’s ability to run at the table.

The content itself is wonderful, and not just from the rumor table. A broken bureaucrat, ragged, his chains and badges ripped from his robes, tries to sell his worn sandals in an attempt to bribe his way back in to this job site. Strong stuff, flavor seeds laser delivered to your brain. A fallen titan, eternally sleeping ina cave-like chamber, awaiting a prayer to be said over him from the bloodline of forgotten emperors. An open pavilion on the top of mesa, surrounded by gold lettering, and the preserved naked body of a long dead general. The factions have notes on how they respond to intrusions, things they will try with the party, strong NPC personalities to use for the talking. And the talking isn’t just pretext; it’s real. There is real social interaction (probably) that makes this stuff useful and not just trivia. That could, through the party or the NPC’s, devolve in to combat, but it’s not the default. The rooms and encounters gets two or even three uses out of them. Friendly talk talk, the (probable) murder-hobo’ing, and then the exploration elements of tricks, traps, etc. It’s a well constructed and flavorful. Roads ‘debouch’ in to canals. It’s “… largely imperishable, with only mild crazing of its smooth bonewhite surface …” There’s an almost dreamlike quality to the language in places. It remind me some of the AS&SH use of language, except while I think Northwinds comes off cold I think this comes off dreamlike and mythic.

And, the language is also a problem. Or, rather, it’s one part of a problem with usability at the table. Taking a look at the (free) PDF, the first will become immediately obvious: the font. I don’t complain about this sort of thing much, except when it sticks out, and it sticks out here. Whatever font it is is a travesty in the eyes of readability. Old Man Lynch has trouble reading it and his eyes fight to easily make out the content. Not. Cool. Gus. Then we add in some formatting issues. Something has gone haywire in the formatting, or in my viewers display. Take for example the bottom of page 31. A normal 2 column layout somehow ‘breaks’ and the last two paragraphs, one in each column, belong “together” while the first column breaks above that last paragraph and continues on at the top of the second column. This whole section on page 31 & 32 seems out of whack. Finally there’s the writing proper. Gus’s dreamlike & mythic atmosphere is obtained, at times, by a writing style that degenerates in to walls of text in the various encounter rooms.

Room A1 of the feasthall, on page 12, is half a column long. The first paragraph is the front door. The second paragraph is the common room description. The third paragraph describes the employees, while the fourth details the sleeping & food arrangements. During play you’d be hunting for information, trying to figure out which information is where. Right off the bat, that last paragraph could have been a small table, or boxed off, instead of being in paragraph form. It’s reference data; pulling it out of “text form” doesn’t kill the vibe. Likewise the employee section. ‘Gear carried’ can be integrated in to NPC descriptions/stats and maybe employees boxed off or tabulated as well. These two changes make it 2 paragraphs to dig through instead of four. This is probably enough to get by. Another technique would be small section headings abiev the paragraphs, like Exterior, Interior, Employees, Prices. The technique isn’t important; the desire is to orient the DM to the text QUICKLY when they are scanning it during play.

Room C4, at the bottom right of page 28, is perhaps the best example of the strengths and weaknesses of the text in one place. “A chamber of torment for the souls of the one hundred and thirteen sorcerers slain by the ancient general, a testament to his power and alleged sainthood. The chamber is a cage of ancient wards and iron bars, containing a huge pile of petrified bones. One hundred and thirteen skulls hang from the ceiling in baskets of chain beyond the bars. A plinth, molded from the stone of the floor stands before the cage and proclaims “Look upon the bones of the fallen and ask how the great, the dread, the mighty and the powerful have come so low. I am the answer to that question, for my wrath carries all before it.” No signature is inscribed below this statement.” The first and last sentence are filler. Yes, they absolutely help work to strengthen the vibe … but only incrementally more than the core text of “113 skulls hanging from the ceiling in baskets of chains.” I note that there are two more paragraphs beyond this one.

There are some logic gaps in places that stand out a little more than the ones in B2 do. The necromancer has been dead awhile, people think he might be dead, but no one has gone over to his cave to look for him. Likewise the mythic tomb, and top of the mesa, are largely unexplored in spite of them being on a major road. The bandits are at least a little friendly with the necro, but haven’t walked round the corner to talk to him. Then again, the Caves of Chaos are two miles from the keep with a road going to them, so, you know …

The NPC descriptions are fully formed. These are fleshed out people in about three sentences each: descriptions, personality, history. I could quibble with some of the choices made, prefer the personalities up front instead of descriptions and bitch a bit about a sentence for character history, or things like The Boy hanging near Bruno but Bruno not saying The Boy is always near him … things that impact play.

The content of this adventure is good. It has strong imagery and imaginative encounters without the usual set-piece nonsense that modern adventures resort to. The one-pager about the road and the culture around it is great. The set ups are great … and probably a challenge for the party. I really like what’s going on. Its presentation, to the DM, is the major issue. The formatting, the extra language and that FUCKING FONT all work to help obfuscate. What’s that old saying about an artist knowing when to stop painting?

This is free, at Gus’ Dungeon Of Signs blog:
http://dungeonofsigns.blogspot.com/p/pdfs-to-download.html