Below Gwarnath

It's funny how inspiration works. A few years ago, I was running two different 5e campaigns. One campaign, for my tabletop group of noob players, was a forest hexcrawl in a pretty classic, vanilla-fantasy setting. The other, for my online group of long-time players (35 years or so), was another hexcrawl, a re-imagining of B2 through the prism of the American Southwest. Both campaigns occurred in the same world, at the same time, but in different regions.

The former campaign ended successfully, and we moved on to playing Labyrinth Lord, then transitioned into AD&D/OSRIC where we are now. The latter campaign ended poorly, and I dissolved it with a bad taste in my mouth that sort of soured me on that campaign world. 

When I shifted my tabletop group to LL, I developed a kilodungeon based on a mashup of U1 The Sinister Secret of Saltmarsh and the Sample Dungeon from Holmes Basic. We used the Advanced LL rules, which was a good bridge from 5e. When they got to 3rd level or so, I began using OSRIC and they didn't really notice most of the rule changes. Technically, this kilodungeon exists in my 5e campaign world, and the girls are still gaming in it. I haven't returned to online play (as a DM).

Since rediscovering the simpler joys of the legacy rules, however, I've been considering a new campaign setting that better embodies classic adventure gaming. I want something less vanilla with more pulp elements. I want to inject some sci-fi and weirdness (but not gonzo-weird). And I want the players' activity to be mostly centered around a single megadungeon.

I've flirted with this concept over the years, and have accumulated multiple folders filled with various notes and ideas about what I could do. From my old King's Realm campaign from the 90s and 00s, I had the Lost City of Cwm Cannadr, a never-visited megadungeon within an ancient city that was swallowed by the mountains. From my 5e world, I had the Catacombs of Remedios, a magical, ever-changing labyrinth beneath the capital city, and Cragmoor, the multilevel, mountainside lair of an ancient red dragon. I have my abandoned Dungeon23 attempt: Tunnels Beneath the Earth, and its spiritual cousin in the unfinished Deep Vaults material. Most recently, I completed the 10-level Hurricane Dungeon, which I'll return to below. This is a lot of solid design work just sitting there, unused.

Though these dungeons are all different in background and scope, they share the same author (obviously), and certain stylistic and creative threads are all there as connective tissue. I just haven't hit on the right idea to tie everything together. The things I've come up with just haven't inspired or energized me to dive in to the work and start sewing the pieces into shape. I certainly don't mind tropes (in fact, I love them), but I just want the unifying creative idea to be a solid one.

So, last week, one of my long-time players from my 5e Badlands campaign expressed interest in learning about 1e. I agreed to walk him through the character creation process, and then run him through a little scenario (sometime in the near future; this hasn't happened yet). I'm finalizing two adventures to publish in the next few weeks or so, and I am at the stage of editing and layout that is boring and convenient to procrastinate on.

Needing a creative palate cleanser, I decided to work on the scenario for the playtest session. I had a blast developing the Hurricane Dungeon using the stocking tables, but I never used the random dungeon generation part for the map layout. This seemed like a fun excuse to try out those tools. Using the OSRIC tables, I drew the map in Roll20 as I rolled it out, with the default R20 grid size of 25x25 squares. At a 10' scale, this amounts to 62,500 sq. ft. of dungeon... a nice, contained little area to bang around in that wouldn't require a ton of work on my part. This is how the map ended up in Roll20...

Its a pretty low-res screenshot, but the basics are all there. I drew Room 1 and the stairs up as the entrance, then everything else was rolled out straight on the tables, including the stairs down. Unfortunately, there were no "Trick/Trap" results (bummer). I had to modify a few of the room dimensions and passage directions to fit the space, but that's to be expected. I also did the initial stocking rolls to determine the room contents, which you can see in small print (e.g., 'E' = Empty, "M+T" = Monster and Treasure, etc.) 

I rolled contents as soon as I completed drawing each room, which is different from how I handled the Hurricane Dungeon stocking. For that, I rolled a list of contents and then decided which rooms to place each piece of content in on the pre-existing maps. Here, once I knew the base contents of each room, I went back and rolled out the individual monsters and treasures. One thing I kept forgetting to do was roll passage width, which is why most hallways are only 10' wide, but in a limited space like this, I was fine with it.

I then took my monster and treasure lists and began outlining the dungeon key. That's when inspiration struck. At the top of my outline, I wrote the following stream-of-consciousness elevator pitch for the dungeon:

"The ancient city of Gwarnath lies in ruins atop the Plateau of Jjin. Hidden among the wreckage, numerous darkened portals, shafts, and broken stairs descend into its subterranean vaults. Tales of great riches and fabulous treasures abound, but the ruins are infested with monsters from the old world."

Not particularly original or groundbreaking, but something in those dashed-off lines sparked my imagination. Suddenly, I had a campaign concept that ties together all of my unused material in an unusual yet still-familiar setting. This "throw-away" adventure for a one-shot playtest will now form the cornerstone of the development of a megadungeon campaign that uses the previously-created material, stitched together by dungeon sections generated using the random tables and some of the custom methodology I used for the Hurricane Dungeon (a process which I've come to really enjoy... making creative sense out of random die rolling is a fun challenge).

I took the Roll20 map and applied my house style to come up with a new map, now with some branches leading off this 25x25 section into adjoining sections, to create a bigger level (eventually).

New ideas are flying, thoughts are being collected, and plans are developing, but this is the energy and motivation I've been missing for my home game. And its a setting I can use for both my tabletop group and online. I'll discuss the development of the outline and key in a near-future post.

The City of Sheval

From 1989-ish until 2010, I ran a campaign world called King's Realm, a pastiche of medieval Europe and Scandinavia, classical Mediterranean, and Biblical North Africa/Levant. Underlying it was a sweeping Arthurian-style mythology and world history that developed over those 20+ years into quite a lot of material. Many of the same players participated in the entire campaign and by the end were quite high-level and in charge of their own demenses. 

I used to hand-draw everything in the early days, before consumer graphic design software came on the scene, and this is a map of one of the realm's major cities. That campaign had a social rank table that new characters rolled on, and one player actually ended up being the son of the lord of this city. I always liked how this drawing came out, and the city played a recurring role the campaign, particularly in the early days.

FROM MY CAMPAIGN NOTES:

The flat, grassy horse-plains of the south-western realm slope steadily over many leagues to the ocean, before dropping off to a beach of fine white sand. Sheval, the second-largest city in the realm, sits on the shore of the Southern Sea, where the Westfork River from Lac Glimmere flows into the ocean.

The granite walls of the city shimmer in the bright southern sun. The buildings of whitewashed wood and bleached shingles reflect the many cultures that make Sheval their home. Two stout keeps and a series of smaller fortifications anchor the city’s defenses, and watch over the constant ship traffic that arrives and departs from its many piers.

The city’s chief landmarks—the duke’s expansive estate and the magnificent Cathedral of St. Just—lie at its heart. The shanties and warehouses of Lowtown, while certainly the rougher section of the city, are still well-built and orderly, hardly a slum. Still, soldiers watch the district vigilantly from the top of the Gaol Tower.

Just inside the main northern gate is Sheval’s famous open-air market faire—an elaborate and ever-changing city-within-a-city. The market’s innumerable tents, stalls, and carts are a hive of commerce, an intense barrage of colors, sights, smells, and sounds. Peddlers, hawkers, and mongers shout constantly for attention, and the persistent clinking of coins signifies the huge volume of trade. While not quite the equal of the market in Swordgate, Sheval’s faire is certainly the most impressive in the King’s Realm.

A full legion of troops is billeted in the city. One quarter of these troops consist of light and medium cavalry forces, Sheval’s legendary horse-warriors. Their mounted combat skills and the superb quality of their fast, powerful steeds are unmatched on the battlefield. Another third are “marines,” who spend part of their tour of duty at sea, protecting the merchant fleet from pirates and enemy forces. Finally, the city is the home of the Templar Order of St. Just, a cadre of heavily armored holy knights dedicated to upholding the law and meting out justice to the guilty.

Cultural Equivalent: French/Breton
Ruler: Duke Renard d’Argent
Patron Saint: St. Just the Lawgiver

The Hurricane Dungeon – The Curséd Caverns (Level 9)

With this map, the eighth of nine, we come to the finale of the Hurricane Dungeon. Out of all the levels, I fiddled with the content on this one the most as I wanted to both wrap up the threads that developed while writing, and come to some sort of conclusion at the bottom. This doesn't preclude expanding the levels and restocking the plundered areas, and there's a whole 'nother, even-higher level adventure to be designed for the Ivory Tower in the palace ruins, but the party can also call it a day if they conquer this level.

The original penultimate map is a more well-defined "location." I mean to say, it has a presence and implied function just by looking at it. It screams "evil temple" and seemed perfect for a conclusion-type area.

I like underground rivers, but even more than that, I love underground lakes. Gary really captured my imagination for natural underground spaces with the D-series of modules (and Tsojcanth, to a lesser extent). "The Sunless Sea" is just such an evocative name, and if the drow hadn't been co-opted by Forgotten Realms' "Underdreck" and turned into lame edgelords, I could have easily seen myself adapting Gary's source material into a full-on underground campaign.  I also relished accounts of the Black Reservoir level in Castle Greyhawk, so this level map is kind of my homage to all that.

A big lake in a cavern projects fear, creates a sense of vulnerability, implies unseen threats and alien danger... and, more importantly, suggests hidden treasure. Who knows what might be trapped in this cave beneath the black water? That scene in The Two Towers (the film) in which Gandalf fights the Balrog as they plummet down a chasm, then emerge into a vast space with their fires glimmering across the black water as they fall... I think it's my favorite scene in the entire trilogy. 

My first thought was to make this a drow temple-outpost, but as I said, I kind of hate the modern drow and wasn't sure I had a decent spin on the classic version, so in the course of writing the upper levels, I decided to make the inhabitants of the lowest level a mere cult of demon-worshipers. I made the decision earlier in the writing process, though I don't remember at which point (maybe as I was figuring out who the NPCs were for the Level 5 stocking roll), but the idea developed into a lot more than that by the time I got to writing the key for Level 9. Certainly, the decision gave me a generic creative goal to work toward that I (hopefully) make pay off at the end.

This level had a few more rooms than the previous two cave levels, and I added a few more just to provide extra living space for the cultists. I also added the new access from Level 8, plus some doors and other details like ledges and columns, and cleaned up a few incongruities and flaws in the map that were bugging me. After adding the title, scale, and shading, along with level key numbers, the map turned out like this:

I made my content stocking rolls for the original 26-room dungeon level and came up with the following initial results:

–Empty: 9 (34.5% / 35%)
–Monster:  8 (31% / 20%)
–Monster + Treasure: 6 (23% / 25%)
–Stairs: 0 (0% / 5%)
–Trick/Trap: 0 (0% / 5%)
–Treasure: 3 (11.5% / 5%)

The first % number is the percentage of the actual content rolls; the second % number is the typical expected percentage spread (per OSRIC guidelines). After adding 5 more keyed areas to the map, bringing the total to 31, I counted them all as "Empties," knowing I would have to fudge the final number in order to house the extra cultist encounters I intended to add to the temple. So, out of the now-31 rooms, the numbers looked like this:

 –Empty: 14 (45% / 35%)
–Monster:  8 (26% / 20%)
–Monster + Treasure: 6 (19% / 25%)
–Stairs: 0 (0% / 5%)
–Trick/Trap: 0 (0% / 5%)
–Treasure: 3 (10% / 5%)

As I filled out the key, added new enemies (and removed some), these percentages changed again, but I'll get into that further below.

The Hurricane Dungeon – The Curséd Caverns (Level 8)

Continuing down into the depths of the Hurricane Dungeon, Level 8's map was drawn on the fifth night without power. Like the previous cavern map for Level 7, there are only 21 encounter areas here, so about half the number as the "finished" levels.

I like underground rivers, so this map has a big one winding right through, with many side caves and tunnels filling out the level. A pair of waterfalls, various ledges, and a series of rapids provide some nice natural obstacles as well. There are no ways off the level other than the river channel, so I needed to add a few; specifically, the three tunnel connections from Level 8.

As for connecting this level down to Level 9, one major thing complicated the situation: Level 9 is not directly below Level 8. Rather, it is down one level but shifted completely to the right. On that map, the river channel enters the level in the top-left corner, directly connecting to the river outlet on this map. This means that the likeliest routes down to Level 9 would be in the upper-right portion of the Level 8 map.

I also rolled one "Stairs" results on the dungeon stocking rolls, so I added a single tunnel down to Level 9. This provides for only two routes off the level (including the river channel) which results in a bit of a bottleneck to further progress. The party will have to either master the river channel somehow, or locate the cave with the statue where the new tunnel leads down. Usually, you don't want bottlenecks like this in your dungeon, but it's not so bad in this case.

That's because the layout of this level makes it clear that the dungeon "rooms" lie along the river's descending path, so it should seem logical to the players to investigate the downstream area where the river leaves the map. If they do, they will find that the river dumps via waterfall into a huge cavernous reservoir overlooked by a ziggurat temple carved into the wall. At the top of the falls, another cave entrance leads into other areas of Level 9. How they reach this area is up to the players and their resources, but it will at least be obvious that more dungeon lies in this direction. Even if they can't manage to get further downstream here, the knowledge of this area should motivate them to search the E side of the level for another route in this direction, in which case they will quickly find the new tunnel in the cave with the statue.

For some reason, I labeled many of the natural features by writing on the original map, which I didn't do on the others. I took the opportunity to remove the extra words and clean up a few things while adding river fords in two obvious spots. One of the "Trick/Traps" I rolled was a collapsing bridge, so I drew a span over the river. I also drew a connecting tunnel between two previously-isolated caves to give the level a little more flow. After adding a key and shading, the map turned out like this:

My content stocking rolls (for a 21-room dungeon level) came up with the following results:

–Empty: 9 (43% / 35%)
–Monster: 6 (29% / 20%)
–Monster + Treasure: 3 (14% / 25%)
–Stairs: 1 (5% / 5%)
–Trick/Trap: 2 (10% / 5%)
–Treasure: 0 (0% / 5%)

The first % number is the percentage of the actual content rolls; the second % number is the typical expected percentage spread (per OSRIC guidelines). Another high-empty, low-treasure level unfortunately, but I'll have to make due.

The Hurricane Dungeon – The Curséd Caverns (Level 7)

With this level, we move into the lower third of the Hurricane Dungeon, a series of natural caves and tunnels I titled "The Curséd Caverns." (Yes, it's not a very original name, but that's sort of the point with this throwback adventure.) This was actually the map I drew on our fourth night without power, but I moved some of the maps out of creation order to put similar-looking maps together. I enjoy drawing natural cave networks and I was happy with how all three cavernous maps turned out.

This one is interesting because three tunnels lead off the map , enabling it to link it up with additional levels. It has plenty of loopy-doopiness which is essential for a good cave level, although the southern-most portion of the map is bottlenecked by a single passage.

A major negative issue with this level is the fact that it only has ~20 distinct "rooms," which is slightly less than half the average number of the other levels. I could have increased this number by treating some of the larger caverns as multiple spaces, but I didn't want to get into issues of dungeon logic. Having too many creatures and things crammed into directly adjacent spaces starts to strain believability (despite the fact that the format has pretty low thresholds already).

I seriously considered this option up until the time of writing, but once I started keying the level, I felt it ended up with the right density of encounters. I didn't design these maps with any purpose or even end-use in mind. Were I to create maps specifically for a megadungeon (rather than the reverse happening here), I would make sure that each level had a proper number of rooms (minimum of 30) and enough accessways between the levels.

Speaking of which, I had three staircases and three chutes from the upper levels to connect to this level. I also rolled one result of "Stairs Down 1 Level" in the stocking rolls, and I already had the three existing accessways leading off the map. In addition, one of the stairs from Level 6 continues down to Level 8. I built the various stairs from pieces of the other maps, and added a few extra details from the key like ledges, a bricked-up wall, a set of double doors, a pile of guano, and a pool of magic water. I also created a new tunnel to connect areas 14 and 19, just so that end of the dungeon didn't feel so isolated and linear. When completed, the map came out like this: 

My content stocking rolls (for a 20-room dungeon level) came up with the following results:

–Empty: 9 (45% / 35%)
–Monster: 4 (20% / 20%)
–Monster + Treasure: 4 (20% / 25%)
–Stairs: 1 (5% / 5%)
–Trick/Trap: 2 (10% / 5%)
–Treasure: 0 (0% / 5%)

The first % number is the percentage of the actual content rolls; the second % number is the typical expected percentage spread (per OSRIC guidelines). I was disappointed in the high number of empty spaces and low amounts of treasure on this level, but kept the results as rolled. 

Ophidian Temple (2025 Adventure Site Contest Submission)

Taking a brief break from writing up level 6 of The Hurricane Dungeon to talk about this year's Adventure Site Contest hosted by Coldlight Press. I'm not judging this year (I may have "overstayed my welcome" with such long and in-depth breakdowns of each submission), but I am definitely entering. My submission for the first contest, Etta Capp's Cottage, won a spot in the final publication. Last year's entry, Owlbear Hill, was a bit too ambitious and failed to make the cut.

I just turned in my submission for the third annual contest, though I actually finished it back in August (the contest didn't open until November 1). I've titled this one Ophidian Temple (not great, but precise... I just couldn't land on a better title that didn't sound dumb or trite). It's written for AD&D and intended for 4–6 player characters of 5th to 7th level. The elevator pitch for the adventure reads:

Drums in the jungle herald the return of the snake-men to their evil temple.
Blood sacrifices to their demon-god begin anew.
Who will stand against their evil plans?

The site began as a sketch map I doodled in one of my notebooks many years ago (probably early-2000s). Over the summer, I pulled my box of old, hand-written/drawn game materials out of the attic and scanned everything in: Unfinished adventures, house rules ideas, character sheets and sketches, etc. Forty years worth (sheesh!). This map was in that lot. It's pretty simple and has no liner notes or indications of what it was intended to be. I doubt it was anything more than a random scribble while I was working on something else. It had a pleasing shape though, so I decided to put it to use after many years. I love it that an idea from the past has found a home in the future.

The original map had a few problems I needed to address to make it an adventure worthy of a Classic Adventure Gaming title. For one, it's pretty linear despite the side branches; not very suitable for CAG-style exploration. The layout also creates several bottlenecks for both player characters and enemies that had the potential to make dungeon combat a series of hallway fights between opposing sides of 2–3 combatants. That happens frequently in D&D, and smart players know how to use bottlenecks to funnel large numbers of opponents into a manageable front line, but I wanted to open this one up a bit.

The layout and details I drew suggested a tomb structure of some kind, nestled in the back of a canyon or maybe a deep cave. There's also a throne room, which isn't necessarily out of place. Tombs are a bit limited in terms of monster selection, though, mostly undead, vermin, constructs like living statues and such. As I thought about what I would want to say with yet another tomb dungeon, I came up blank. More accurately, I couldn't find anything interesting to do with it that I (and others) haven't done a million times.

In my Keep on the Badlands sandbox campaign, I had a whole adventure area populated by yuan-ti: A hidden valley filled with crumbling temples, dinosaurs, a giant ape, and terraced gardens subsumed into the rain forest. Unfortunately, my players never quite got to the yuan-ti area and their temple went largely undeveloped (the players gave up two-thirds of the way into the valley).

The idea of the yuan-ti temple stuck with me, though. Yes, it's still trope-y as hell, but I've never done much with this type of setting other than when I ran my version of Dwellers of the Forbidden City back in the 80s. This, despite my love of Tarzan novels, movies about jungle exploration and lost cities, and tales of dinosaurs and other monstrous versions of real-world creatures. A formative influence was watching Land of the Lost on Saturday mornings as a kid. The world-building in that show is incredible and would make for a banging campaign area.

 

With a yuan-ti temple in mind, I dropped the original map scan into Photoshop, added a grid, and then sketched out the contours of the dungeon, fixing some of the issues to make the site more interesting. I also dropped in a few notes about the dungeon contents.

 

This is almost identical to the final version I used.

As I started reading through the monster descriptions to sort out how I would place and use each encounter, I really fell out of love with the yuan-ti for this site. I never much liked them to begin with; they're not terrible, but they have a high degree of specificity and a fair amount of complexity, which is not something you want in an adventure site with a hard page limit. I planned on using the ophidians from Monster Manual II as minions of the yuan-ti, but then I realized they work perfectly fine as the primary antagonists.

I never paid ophidians much attention before now. My previous 20+ year campaign was firmly rooted in a classic, Northern European/Scandinavian-style fantasy setting, so snake-men were far from my typical antagonists. My 5e Badlands campaign was set in a Southwestern US/Meso-American-style desert region with adjacent jungles, which was perfect for using monsters I'd never really employed before. Even then, I overlooked the ophidians.

I think this has a lot to do with two things: One, the MMII is not very good. There are some standout creatures for sure (though the best of these were introduced in earlier modules), but most are either meh or borderline stupid, or just variations on another monster (the Fiend Folio is full of this as well). The second problem is the artwork. It's boring.

There are four artists listed: Jim Holloway, Harry Quinn, Dave Sutherland, and Larry Elmore (who did the awful cover). I honestly don't like Elmore's art style, and the way that ogrish-looking creature wields his halberd is completely backward. I attribute Elmore's art with the decline of AD&D (contemporaneously, not causally) and so it triggers a certain revulsion in me, perhaps unfairly. Same with Harry Quinn. His stuff is just ugly and uninspiring. I didn't care much for DCS's art back in the day, although I pored over every inch of his illustrations, but now I have a great deal of respect for his giant-sized contribution to the look of the game (and modern fantasy, for that matter). His work in the MMII is not his best, however.

Jim Holloway accounts for maybe half of the illustrations. I love his character stuff and he has a great eye for setting up a (usually comedic) scene that still looks like classic D&D, ridiculous situations that you could see happening to player characters. His creature designs, on the other hand, leave a lot to be desired. They're not bad, per se; just bland and static, lacking any of the dyamism or creativity in his character illustrations. Behold: The Ophidian. *Yawn.*

He looks like he just got out of bed. Yeah, it's a snake with arms, big deal. It's so dull, your eyes sort of wander over it and then move on. He should be coiled upright, weapon and shield raised, baring his fangs dripping with poison, setting his beady, soulless eyes on his prey. Instead, we get this and it sucks. I imagine these guys were rushed by the production deadline, underpaid (or not paid), and just DGAF because the company was falling apart around them. Still, what might have been otherwise remains a tantalizing dream.

In any case, the ophidian! It's not bad at all. They're natural minions with 3–4 hit dice, so in the same upper class as creatures like jackalweres, wererats, and ogres. They have natural armor the equivalent of mail, and can use weapons and shields to boost their combat numbers. Their bite attack isn't that great, but an extra 1–3 damage attack is nothing to dismiss, either. Their venom inflicts a lycanthropy-type disease that slowly turns the victim into an ophidian over the course of 2–3 weeks. (It was this mutability that gave me the idea for the big boss: A snake-ape hybrid demon.) The disease is easily curable though, so unless it goes untreated, it's not too big a long-term threat (and a non-existent one if the adventure is played only as a one-shot). Still, it's a neat idea that could spin into all sorts of complications for the party in a long-form campaign.

That's basically it: Snakes with weapons. Perfectly simple for what I want to do here. Moving on, when I think of jungles, I always think of giant ants, so they're in as well. D&D giant ants are no joke. I talk about this in another blog post for the Hurricane Dungeon. The 3 HD giant soldier ants have a poison sting that is poorly written in the Monster Manual and completely mistranslated in OSRIC, but even the 2 HD workers can be nasty in numbers. An unfortunate wandering encounter of just two worker ants chewed through a 1st- and 2nd-level party in my Sinister Secret of Zenopus' Tower campaign, resulting in a near-TPK.

I also wanted a plant monster of some kind that wasn't a yellow musk creeper or shambling mound (both of which are present in the Hurricane Dungeon levels). There are the weird flowers and the wolf-in-sheep's-clothing from S3 in the MMII, but I remembered there being a couple of other plant creatures as well. While flipping through the book, I came across the mandragora (which I am committed to using somewhere as it's kinda neat) and the mantrap just below it, which turned out to be precisely what I wanted.

Using plant creatures in subterranean settings is always challenging for a designer without resorting to a hand-wavey magical solution. In this case, I created a collapse in the ceiling through which the jungle has entered the complex, allowing for an organic (and logical) scenario to unfold. Another recurring problem with plant monsters is their lack of mobility, making them easy targets for missile fire and spell casting, so I threw in a few giant boring beetles to make this encounter harder, tactically. Boring beetles are most certainly not boring, however; they are jaw-droppingly deadly with 5 HD, plate armor carapace, and a mandible attack that does frikkin 5–20 damage. One of these nearly demolished our party of 4th-to-6th-level characters in Prince's campaign.

They are also an anomaly. Of all the giant beetle species, they are the only ones that include any treasure type at all, and theirs is a doozy! A combined C, R, S, T on the treasure tables is comparable to a low-grade dragon's hoard, with mid-range chances for lots of gold, platinum, gems, jewelry, potions, and scrolls, and modest chances for copper, silver, and electrum coins and a couple of magic items to boot. Our group in Prince's campaign stumbled across a beetle in its lair and made out like bandits. The beetle's description doesn't say why this is, though it mentions a communal intelligence in some cases. My theory is that this is a misplaced treasure type, a publishing error that belongs somewhere else. The only creature with a similar type is the triton (C, R, S, T, X).

I picked two other monsters to reinforce the serpentine theme of the place. The necrophidius, or "death worm," is an interesting creature. It looks like a human skull with fangs on top of a skeletal snake's body, but it's not an undead; it's a golem-like construct created to serve as either assassins or guardians. I've used them on several occasions and, while they might not be that tough physically, they are quite deadly. They have a hypnotizing effect that renders victims who fail their save helpless. On top of that, their venomous bite paralyzes, which also renders victims helpless. It doesn't say this in the monster's text description, but I added a reminder in the adventure key that their bite against a helpless victim, according to the rules, would be equivalent to an assassination check on the assassin's table. This creature is perfectly capable of one-shot killing any of its victims. That's nasty.

The other choice was a couatl. I've always enjoyed putting little places within an adventure in which the party can get some sort of boost or helpful aid. I hid the couatl in a secret treasure vault and trapped it inside a "good" version of an iron flask. That seems like the sort of prisoner an evil snake-man cult would keep. If the party frees her, she can cast some healing/recovery spells for them. I left open the possibility that a Lawful Good character could persuade her to help their fight, but they would have to be of the Lawfully-goodest type and their current situation would need to be dire for me (the couatl) to intervene like that.

Finally, I created the main antagonists: A snake-man priestess, who is mostly just a human cleric with snake-like features including scaly skin (natural AC) and poison fangs, and the snake-ape demon "god" who isn't present unless the party dicks around and allows the priestess to complete her summoning ritual.

Speaking of that, I included several environmental effects in the temple as well. One of these is the ever-present sound of frantic drumming and droning chants by the cultists as they work to bring forth their demonic master. While the party is present, the pace and intensity of the drumming/chanting increases, signalling to the PCs that they better get a move on. The players won't know it exactly, but they have 24 turns (4 hours) to put an end to this or the snake-ape demon arrives in the main temple and will add to the difficulty of the final fight.

Another effect is that the temple is filled with clouds of herbal incense being burned in copious amounts in the summoning areas. It smells unpleasant but isn't harmful in the outer areas. As the party gets closer to the central chamber, however, the smoke's narcotic effects can overcome them after just ten minutes. This will require the party to either figure out a way to remove the smoke, or beat down the cultists in less than 10 rounds. Otherwise, poison saves to avoid falling unconscious are on the menu. Anyone who stays unconscious in the smoke will eventually die of an overdose. The smoke stimulates the snake-men but is not toxic to them.

A third effect is the pollen of the mantrap plant. It is so fragrant and pleasing that it nullifies the smell of incense in the chamber, and has a hypnotizing effect as well. Victims who fail their saves are compelled to approach the main plant, which then envelops and digests them in its leafy fronds. Lovely.

I placed several traps also: A spear trap in a central hallway and paralyzing darts from the walls in another chamber. Both traps are triggered by stepping on certain floor tiles, and the snake-men know which ones to avoid. The third trap is in the necrophidius' lair, and its a simple tripwire that closes and locks the entrance door, to split the party and allow the necrophidius to more easily kill its isolated prey.

I don't recall how I selected the treasure. After so many random stocking rolls made for the Hurricane Dungeon, it all kind of blends together. I'm certain I chose the Staff of the Python to reinforce the snake theme, and maybe gave the priestess the Cloak of Protection, but the others feel randomly rolled. Who knows? I was very generous with the money, however, though much of it is hidden and/or tricky to obtain.

Players who defeat all the monsters and find all the treasure can expect to net about 175–250,000 xp, depending on how much magic treasure they keep or sell. This is around 35–50k each for a party of 5 PCs, which is enough to go from 4th to 5th level, or 5th to 6th level, and a fair chunk of the way from 6th to 7th.

You can download the PDF here.

The Hurricane Dungeon – The Chambers of Woe (Level 5)

Continuing my series on creating this megadungeon, this is the seventh map I drew during the power outage, which became Level 5. Again, this is because I wanted to keep the "finished" levels and the cavern levels together (with the caves being the lowest levels). The original map feels a little uninspired compared to the others, though it is probably a more "classic" dungeon layout.

There are a few interesting features on closer look. Large rooms and long corridors, lots of loopey-doopiness, many secret doors and passageways, false doors marked with a 'T' for "traps," and hey, look at that...stairs to the levels above and below! It's not too bad, actually. The central, cross-shaped feature, includes directional arrows and four movement options. That's cool. (I was certain I cribbed this idea from somewhere, and sure enough, a similar feature is in the OD&D Sample Dungeon.) So, I felt pretty good about what I had to work with as I started fleshing out this level, even if it's a little Plain Jane.

I had already connected the staircase up to Level 4, and I lined up the stairs down to an area on the map I was using for Level 6. That map for Level 6 also contained a staircase up in a different location, so I had to figure out that connection as well. The stocking rolls for Level 4 had also indicated two stairs, a pit shaft, and a trap door and ladder leading to this level, but I had already placed those by the time I began work on Level 5. Finally, my stocking rolls for Level 5 included an additional two staircases and a chimney exiting down from here. Once I added those access routes, along with the room key numbers, a title, and shading, the level looks like this:

 My content stocking rolls (for a 35-room dungeon level) came up with the following results:

–Empty: 11 (31% / 35%)
–Monster: 4 (11.5% / 20%)
–Monster + Treasure: 11 (31% / 25%)
–Stairs: 3 (9% / 5%)
–Trick/Trap: 5 (14% / 5%)
–Treasure: 1 (3% / 5%)

The first % number is the percentage of the actual content rolls; the second % number is the typical expected percentage spread (per OSRIC guidelines).

The Hurricane Dungeon – The Chambers of Woe (Level 4)

The fourth level uses the sixth map I drew, this one on October 2, 2024. Maps 4 and 5 were both cave networks, but I wanted to keep all six "finished" dungeon levels together, with the three cavern levels being at the bottom so I moved the order around. This particular level had some interesting features: Large rooms, a chamber with a huge pool of some sort, and a massive central chamber with an altar and four columned wings projecting out from it. A few secret areas, lots of statues, and a second pool of water provided additional inspiration but, like the previous level map, this one included no access points, neither stairs nor passages leading off-map.

I knew from keying Level 3 that I had added three stair locations down to this level, and there was a fourth stair down from Level 2 as well. I also knew that the next map I was going to use for Level 5 had an access stair drawn on the original, so I would have to place that stairway down on this map. Finally, my stocking rolls came up with five (!) access points, more than twice the average statistical percentage for a level this size. I didn't end up using all of the stocking access points as rolled, which I'll get into further below. After adding all the access points, title, and location numbers, the map looks like this:

My content stocking rolls (for a 41-room dungeon level) came up with the following results:

–Empty: 11 (32% / 35%)
–Monster: 7 (14.5% / 20%)
–Monster + Treasure: 13 (29% / 25%)
–Stairs: 5 (12% / 5%)
–Trick/Trap: 2 (5% / 5%)
–Treasure: 3 (7% / 5%)

The first % number is the percentage of the actual content rolls; the second % number is the typical expected percentage spread (per OSRIC guidelines). Pretty close, statistically, with the "Stairs" result being the only real deviation.

The Hurricane Dungeon – The Upper Works (Level 3)

Level 3 was the third map I drew during the power outage. The direct correlation between creation date and level number ends with this one, however. The level has a few unique features to the other maps I'd drawn so far. For one: It has an entrance portico and an exterior area (bottom); two: It contains no routes (stairs, etc.) to other levels; and three: It has a teleporting passage similar to Level 1, but its destination is "off-screen."

Again, these maps were just unrelated doodles at the time I drew them so I wasn't concerned with logical structure or access points. This particular map's weird features (at least the first two) created some design challenges as I developed these maps into the mega-dungeon.

The problem posed by the front entrance/exterior comes when lining up the maps. I didn't want to "shift" any of the maps if I didn't have to. In this case, if you lay the first three maps on top of each other, the exterior cliff wall drawn on level 3 intersects with a few areas on levels 1 and 2 above it. It's a discrepancy that's fairly easy to hand-wave if you're not nitpickey. But I am, so I accounted for the exterior space in the key, describing it as a recessed area carved into the cliffside. This kinda deal: >>>

Not the greatest solution, but it works. Especially because shifting the dungeon would have complicated some of the level connections that I still needed to add to the map. There were already two stairs and an elevator to be added from Level 2, and my stocking rolls added another two stairs down to Level 4. Counting the main entrance and teleporting passage as additional routes, Level 3 has seven points of access – not bad at all. (I added an eighth access point in the stirges' room, and the dungeon's ventilation system adds even more, unquantified access points, but both require miniaturization of some sort so I'm not counting them in the total.)

After placing all the new stairs and marking the destination point of the elevator, and then adding a title and key, wall shading, and some incidental details (such as blockages and a pit trap), the map came out like this:

 My content stocking rolls (for a 37-room dungeon level) came up with the following results:

–Empty: 16 (43% / 35%)
–Monster: 3 (8% / 20%)
–Monster + Treasure: 14 (38% / 25%)
–Stairs: 2 (5% / 5%)
–Trick/Trap: 0 (0% / 5%)
–Treasure: 2 (5% / 5%)

The first % number is the percentage of the actual content rolls; the second % number is the typical expected percentage spread (per OSRIC guidelines).

The Hurricane Dungeon – The Upper Works (Level 2)

With the Level 1 key under my belt, writing the key for Level 2 was simply a matter of refining the format using the map I drew on our second night without power. Note that I did connect this map with the first map, via the stairway in the center-west portion of the map. I included only one other exit from the level to the east-southeast, hidden behind a secret door. 

There was also the nearby circular room with two levers and a floor circle, which I recall thinking of as some sort of elevator platform/shaft while drawing; but it, too, was concealed behind secret doors. Getting off this level would be a challenge, as providing those inter-level connections wasn't an objective at the time I was just doodling a map. I also wish I had drawn passages leading off the map, to expand the level horizontally. I mean, I still can with some Photoshop trickery, but I wish I'd thought to.

In designing Level 1 for this megadungeon, I added two stairs down to level 2, so I knew I had to add those connections to this map as well. My stocking rolls came up with two additional "Stair" results: one "Stair down 1 level" and one "Stair down 2 levels." The descending stair on the original map (near the "elevator" room) was proving difficult to sync up with the map for level 3, so I made that stair the one that went down two levels (to Level 4) and made both newly-rolled stairs a single-level drop to Level 3. The elevator platform ended up also descending one level to Level 3. 

After adding the new points of egress, keyed room numbers, a title, and shading, the map looked like this:

 My content stocking rolls (for a 40-room dungeon level) came up with the following results:

–Empty: 11 (27.5% / 35%)
–Monster: 10 (25% / 20%)
–Monster + Treasure: 13 (32.5% / 25%)
–Stairs: 2 (5% / 5%)
–Trick/Trap: 2 (5% / 5%)
–Treasure: 2 (5% / 5%)

The first % number is the percentage of the actual content rolls; the second % number is the typical expected percentage spread (per OSRIC guidelines).

The Hurricane Dungeon – The Upper Works (Level 1)

The first level of the megadungeon is, in fact, the first hurricane map I drew on the night of September 29. The storm rolled in around 3–4 in the morning, but when I'd gone to bed a few hours earlier, my area wasn't really expected to get much beyond some heavy rains and high winds. The hurricane took a big swing to the northwest and passed right over us on its way to some Biblical-level destruction less than 100 miles north. That area is still badly messed up 11 months later.

I woke up on my office couch around 4 AM because I could hear the roof creaking (never a good sign). You could feel the shifting air pressure. I got up and looked outside, but noped back inside when I realized how intense things had gotten. I'm originally from South Florida and went through many hurricanes as a kid, so I knew this was a big storm. I got in bed in my shorts and t-shirt, with my heavy boots in easy reach, and just lay there listening to the winds howling and the sheets of rain lashing the house.

I'd heard some trees going down at some distance away, and we lost our power around 5, but at 6 AM I heard the first tree(s) come down in my yard. A neighbor's mimosa fell across my backyard, taking a second tree (and part of his fence) with it. That was it! I got out of bed and started a vigil. I live in an older section of my city (my house was built in 1929) and have several hundred-year oaks within crushing distance (not to mention a few dozen smaller, but still-dangerous trees). 

So far, just the two trees had come down near me, but as I stood at my back door and watched, another 12 trees in my yard came down between 6 and 8 AM. My house sits on a moderate hill slope, and after the the torrential rains soaked the ground, the hurricane winds came up the slope, "against the grain" of the tree roots, and just toppled them, one after the other. Luckily, none of the oaks fell, but my neighborhood was now officially a disaster zone. My girlfriend slept through the whole thing. A crazy time and hard to believe it has already (only?) been a year.

The hand-drawn map came about while reading the DMG by candlelight that first night. I got tired of reading but felt some creative energy, so I just started doodling on a graphing pad. I began by rolling on the random dungeon design tables, but got bored with that so I started over drawing on my own, letting the rooms and corridors flow out of the pencil without any real design concept. I love creating maps and it usually doesn't take me long to start sorting out a good, logical floorplan. I ended up with this map:

Since this was only a drawing exercise I wasn't worrying about connections or routes between levels. As drawn, there is a staircase from "a" level above in the upper-left-center of the map that serves as the level "entrance." A second staircase to the left of that descends to "another" level below. There's also some teleporting halls with 4 entry/exit points, though there is an error, with only three letters (A–C) represented instead of four (A–D).

As I began developing this map into a connected dungeon complex, I realized I would need to create additional routes between the levels. I did not want to mark up the original hand-drawn maps (call me sentimental), so I used Photoshop to add some details to the digital image. Some of these details are copied from fragments of the existing map and repurposed elsewhere. Other details were hand-drawn on paper, scanned in, and converted into .pngs which I dropped into the map image.

I also created fonts for numbers and upper- and lower-case letters from my own handwriting, with the same pens I used to draw the map. After dropping in the room key numbers and a level title, fixing the issue with the mislabeled teleporting hall, placing a new grid, and adding shading to the solid walls of the dungeon, I ended up with this map:

Next, I settled on a methodology for stocking the dungeon, relying mostly on the AD&D/OSRIC tables to flesh out the level contents. My first set of rolls (over a total of 42 dungeon locations) came up with the following results:

–Empty: 19 (45% / 35%)
–Monster: 8 (19% / 20%)
–Monster + Treasure: 10 (24% / 25%)
–Stairs: 2 (5% / 5%)
–Trick/Trap: 0 (0% / 5%)
–Treasure: 3 (7% / 5%)

The first % number is the percentage of the actual content rolls; the second % number is the typical expected percentage spread (per OSRIC guidelines).

The Hurricane Dungeon – Surface Ruins (Level 0)

This post begins a series that will examine the process of turning my Hurricane Maps into a proper megadungeon, using the guidelines provided in the stocking tables found in the AD&D Dungeon Masters Guide and recreated in OSRIC. The methodology I'm using to create the dungeon levels sticks pretty close to these two sources, with a few modifications based on personal preference and a desire to expand the source of monsters across the three original books (favoring OSRIC stats over AD&D stats where the monster exists in both sources).

By the time I finished rolling up contents and writing keys for levels 1–3, I had built enough background connections into the material to warrant adding a surface ruin, to not only serve as an entrance area into the dungeon, but also provide a few clues as to what lies beneath. As a result, I'm starting this series with what is technically the fourth level I rolled out and keyed: The surface (level 0) of the dungeon.

Most of the interior dungeon levels have 35–45 chambers or obvious locations, so I was calculating the surface level as having half that many, or 20 potential areas. The surface ruins will have already been picked over, meaning little of obvious value should remain except natural lairs and a few secrets.

Since I intended the exterior space to have a larger map scale, I first placed the dimensions of the dungeon-scale (10' sq.) graph paper sheet in the (approximate) center of the larger-scale (20' sq.) graph paper sheet, then sketched out the map in pencil. Thus, each dungeon level map fits inside the boundary of the outer palace walls.

After a few corrections and retakes, I drew over the finished sketch with a Sharpie ultra fine-point and added more detail with an even finer-point Pilot Precise V5.

I finished off the map in Photoshop, adding shading and a key (this step was performed after making the content rolls and figuring out their locations). I considered drawing separate (10' scale) maps for the outer ruins and palace interior, but decided against it. I like the flexibility of uncertainty that makes it easier to add stuff later. Any interior encounter areas will be easy enough to sketch out on the battlemat, ad hoc.

I made all the content stocking rolls using the methodology I established. My results for the 20 estimated surface locations were:

–Empty: 9 (45% / 35%)
–Monster: 3 (15% / 20%)
–Monster + Treasure: 5 (25% / 25%)
–Stairs: 1 (5% / 5%)
–Trick/Trap: 1 (5% / 5%)
–Treasure: 1 (5% / 5%)

The first % number is the percentage of the actual content rolls; the second % number is the typical expected percentage spread (per OSRIC). They came out fairly close to the statistical percentages, leaving me with 11 locations to key (since I won't bother identifying or keying this level's empty spaces).

NEW PROJECT: The Hurricane Dungeon

My corner of the world got smacked by Hurricane Helene last September. While we were not hit as badly as some neighboring areas, the storm still did a tremendous amount of damage here. We lost power for nine days and internet service for nearly two weeks. Everywhere was trashed by high winds, fallen trees flattened many houses. It felt post-apocalyptic, but everyone stayed cool and we rode everything out as a community. I live in a decent-sized city experiencing rapid growth with lots of outsiders moving in,  but we didn't descend into Mad Max-style pillaging or fortified compound-building. That was reassuring, given my appetite for post-apoc/dystopian sci-fi. While walking through the debris-filled streets to scrounge up some food, I wondered how long that cooperation would last if we all weren't certain things would improve (and could see progress of it every day).

It put me in a D&D frame of mind. It's a given that the first editions of Dungeons & Dragons represented a post-apocalyptic fantasy world. Not Earth, but like Earth; enough that the same sorts of cultures, technologies, and gods had developed along nearly identical lines. The vague setting implied in the rules, and also suggested in Gary's tales of his own campaign, involved disparate feudal states clawing their civilizations back from the ruins of previous, more advanced societies. The players took on the roles of explorers setting out into the wild to recover incredible riches, lost knowledge, and forbidden arcane secrets from the ruins. All while the forces of darkness press ever inward on their fragile and isolated kingdoms. Great stuff, ripe for adventure! 

Fortunately, I'd just purchased a physical copy of the three AD&D hardcovers to replace the ones I stupidly sold back when I thought I was done with D&D forever. So, since I had no electricity and little to do at night but read by candlelight, I dove back into the 1e DMG for the first time in 30-ish years. I'd been reading a lot of online discussion about using the random tables to stock dungeons, and I was intrigued by descriptions of how the early dungeons were designed and played. I saw this as a great relearning experience.

My frame of reference for the game was minimal when I began playing Basic D&D in 1981. I'd seen some tantalizing advertisements for it in a few military modeling magazines, but there were no gameplay discussions or other players to teach me. It was just me and my buddy teaching ourselves how to play the game, and swapping DM/player roles to run entire parties through a few of the published adventures (B2, L1, X1, X2). 

When I started playing AD&D with a group of players in 1983, my DM's older brother and his friends had started with OD&D/Judges Guild/Arduin in the mid-late 70s. My DM learned to play at their tables and they passed down to him whatever Ur-knowledge of the game they possessed. I know some of those guys were early in the scene, and went to conventions and knew/had talked to many of the original players and TSR guys, including Gary, so I'm fairly confident they got the game's intent right. The mish-mash of house-rules and variant options they handed off to my DM and which we used, however, makes me certain that I never played "book-accurate" AD&D. The game I'm relearning now is very different from what we played back then.

Darconea's negative 7th level... very dangerous!

In any case, my DM had a mega-dungeon called Darconea, which was created and ruled over by an insane magic-user called The Wizard of Darconea (or WOD as we came to refer to him). It was a 20-level dungeon, with 10 "positive" layers up into Mount Darconea, and 10 "negative" layers below it. The maps were from the Dungeon Geomorph sets, hand-scrawled to modify the layout where needed. The dungeon rooms were keyed on single notecards and filed in multiple card boxes by dungeon level. Each room had something in it (monster, treasure, puzzle, trap, etc.), populated by the random DMG tables. When we cleared a room, he moved the card to the "Used" box and eventually created a new card to restock the room. 

Monsters were drawn from the Monster Manual but also from Chaosium's glorious All the World's Monsters books. Chamber walls, ceilings, and floors were painted with bright colors (rolled from the table in Appendix K), and there was a dungeon mini-game in which WOD awarded prizes to parties who could match colors in a single foray. The more matches, the better the prize. 

The dungeon was maintained by a crew of magical creatures called the Gnomes of Yipuuri (from All the World's Monsters - Vol III), who would appear post-combat, popping out of a hatch and lobbing canisters of scrubbing bubble monsters (also from ATWM) into the room to clean all the viscera and damage. You had to high-tail it out of the area or get scrubbed to death. There was an adventurer's town down on the negative 4th level with a magic item shoppe, and the negative 10th was said to contain a portal to Hell.

Who knows how many real-life hours we spent down in that dungeon, but it was a place we returned to time and again, all well-spent. It was a remarkable place that felt alive and active, dangerous but exhilarating, and oh-so tempting to keep pressing on. "Just a little further," we would cajole each other. So many fun memories and epic battle stories came out of it... stories we still laugh about 40 years later.

At the time, I was aware of all the dungeon tables in the DMG, but never once made actual use of them. As I read them now with fresh eyes (by candlelight, no less), I felt inspired to try my hand at creating a randomly-generated dungeon. Since I can rarely get to sleep before 1 AM, I had nothing else to do in the dark so I got a pencil and graph paper and started rolling some dice. After a few unsatisfactory attempts with the layout tables, I just started sketching free-hand, creating a series of nine maps—one per night—over the power outage period. I was pleased with how they turned out and now wanted to use the random stocking tables to populate the levels.

Once the power came back on, I got busy cleaning up debris and getting things back in order. Then the holidays came and went, and the maps and my intention to do something with them slid to the back burner. I kept thinking about them though, and I've finally decided to do work them up into a proper 9-level dungeon. 

My goal is to hew as closely as possible to the dungeon stocking tables, but not be a slave to them. The tables were only ever meant as guidelines to spur creativity. Gary wanted DMs to use the results as a springboard to riff their own stuff. The challenge I'm setting for myself is to roll on the tables, accept the results as rolled, and then try to fit all the incongruous pieces into some sort of "dungeon logic" that not only feels fantastical and thematic, but also "realistic" (by D&D standards). I want the end product to make sense as an adventuring locale. Forced limitations like these tend to stimulate my creativity in entirely different ways than when I'm just conceptualizing a dungeon theme and populating it accordingly. It's why I enjoy participating in projects like the annual Adventure Site Contest or Dungeon 23.

As of this writing, I have the first 5 levels completely rolled out, plus an exterior area above the dungeon which I added recently. I've written finished keys for the exterior and first 3 levels as well. I've really enjoyed this exercise so far and can't wait to see what the rolls come up with next. Level 4 gets batshit crazy.  I plan to post each of the nine levels (10 counting the exterior) to discuss how the tables rolled out and then drove my creative decisions. I'll also provide share links to download the maps and keys.

Methodology

For my purposes, I'm using the OSRIC tables to determine room contents because I like OSRIC's statistical spread a little more than the DMG's (for example, 60% of AD&D rooms are "Empty," whereas only 35% of OSRIC rooms have nothing in them). I want to use only official AD&D monsters, but from all three monster books, so I created a d12 table to determine which tables I would roll on for each creature: 1–6 = DMG (i.e., Monster Manual); 7–9 = Fiend Folio; 10–12 = Monster Manual II. For determining treasures, I roll 50/50 between OSRIC and DMG (often decided by which book I have open at the moment). OSRIC's tables are great for rolling up traps, tricks, and jewelry items, but I lean on the DMG for gem types and base values. 

As for whether treasures are hidden and/or "guarded" (i.e., trapped), I tweaked the guidance here. Both systems identify these features as optional, but the DMG explicitly makes it an either/or proposition with a single d20 roll: on 1–8, it's "guarded;" on 9–12, it's "hidden." Thus, AD&D treasure would not be both guarded and hidden using just the tables.

OSRIC provides for a 50% chance, but then instructs the DM to consult two tables to determine a treasure's guarding device (trap) AND its method of concealment. This "and" could be interpreted as an "or" in light of the optional nature of both tables. It's also possible to infer that OSRIC means a 50% chance on each table, which would allow for a treasure to be both hidden and trapped as well.

In either case, these features are only meant to be used "if desired" by the DM. I wanted to surrender that decision to a die roll so I simply determined that there was a 50% chance that a treasure was guarded and a 50% chance that it was hidden. This gives me four results: not guarded or hidden; guarded only; hidden only; or both guarded and hidden. It has resulted in a large number of traps which has me wondering about the original nature of dungeon traps versus treasure traps. The random tables only provide a 5% chance for a dungeon location to contain a trick or trap (independent of any treasure), indicating that they are meant to be rare and could even be non-existent on a dungeon level. I may dial the chances for traps or concealment down to 30% each to reduce the total number. (I don't want my players to get overly paranoid about everything being trapped... or do I?)

Same kind of situation with regard to magical treasures. Using OSRIC's spreads, there is a 35% chance for a room to contain a treasure. Of these, only about 6–7% will be magic items. Overwhelmingly, treasure will be items with gold piece value (i.e., experience points). That makes sense and is desirable, but I like doling out magic items, too—especially consumables like potions, scrolls, and wands. My initial rolls turned up very few items, and no magic weapons, even as the monster stocking tables were beginning to produce monsters requiring magic weapons to hit. Level 3 had no magic items on it at all. It felt paltry and disappointing, so I made an executive decision to add magic treasures to each level: three item rolls per dungeon level (so, six extra items on level 2, nine on level 3, etc.) Many of these items will be potions and scrolls, statistically, but I will likely cap this number going deeper, as a few of the extra items I've rolled thus far are pretty choice (especially for low levels).

I let the die results stand in most cases, only re-rolling a few results that made no sense (like a string of piercer results in a finished dungeon room), or that were too similar to another roll (like when I rolled 3 different tween rooms on the same level...I'm sorry, that's too many tweens). Some of those results have been wildly swingy (for example, the +4 Leather Armor on level 2), but I'm okay with that. Let's see what happens if the players manage to find it.

>>The Surface Ruins (Level 0) 

The Sinister Secret of Zenopus' Tower – Part 5: The Estate Grounds

Although this is Part 5, the following material is actually the third section of my dungeon notes. I had no real plan going into this series of posts so I didn't consider a logical order of information before diving in with the manor house in Part 1. In my writeup, section 1 is the Intro and Background, section 2 is the Village of Saltmarsh, section 3 is the Estate Grounds and Manor House, section 4 is the Dungeon level, section 5 is the Sea Caves level, section 6 is the Forgotten Caves level, and section 7 is the Naga Lair.

With the Estate Grounds, my intention was to create areas of interest in the property around the Manor House, mainly to provide a more organic entrance into the overall site and to facilitate multiple entrances into the various dungeon levels. The map of the grounds started as a "sketch" in my head that I transferred straight onto the battlemat during the opening session. (Ignore the compass rose in this image; I flipped the site's orientation after this point.)

Original Estate Map (scale = ~50' hexes)

The Sinister Secret of Zenopus' Tower – Part 4: The Forgotten Caves

Finally getting back to this series after reviewing thirty submissions for Ben Gibson's Adventure Site Contest 2, including my own submission. No winner(s) have been announced yet as the final reviews continue to trickle in, but I'll certainly post the big announcement when it happens (should be soon).

In Part 1, Part 2, and Part 3 of this series, I described several of the major pieces of a kilodungeon I smashed together from various old adventures: specifically the Manor House and Sea Caves from U1 Sinister Secret of Saltmarsh and the Sample Dungeon from the Holmes Basic Rulebook. Part of the Sea Caves level borrowed a few rooms from a third dungeon—Zach Howard's excellent Forgotten Smugglers' Caves. This post will cover the remainder of that dungeon, which is situated between the Zenopus Dungeon level and the Sea Caves.

Since Zach has already written up this entire thing on his own blog, I don't want to repeat too much here if I can help it. Instead, I have received the author's permission to reference his material so I'll simply cover the things I changed or added to suit my own purposes. I didn't change very much of the content, as the adventure is already well-designed; I simply reworked the map to fit the other levels, and integrated the material into my backstory of the site, tweaking a few things here and there to make it better fit the overall dungeon concept.

The original Forgotten Smugglers' Caves (FSC) is an add-on to Holmes' Sample Dungeon, taking the details of the smugglers' cave and imagining a whole hideout, abandoned long ago due to a curse perhaps laid upon the caves by Zenopus himself. The Sample Dungeon sits below the seaside village of Portown in the original writeup, and characters can find info about the FSC there.

Owlbear Hill — Adventure Site Contest 2 Post-Mortem

My reviews of submissions for the Adventure Site Contest 2 are complete, my scores are turned in, and I've spent some time reflecting on what I learned from the experience, both as judge and adventure site designer.

Thanks to the other judges: Ben Gibson, BX Blackrazor, Owen Edwards, and Grützi for their kind and fair words about this adventure, and for all the hard work they put in to conduct their contest reviews. I was honored to be asked to judge, and I hope I brought something helpful to the table. 

Also, congratulations to all the contest entrants. I've said before that it takes a lot of guts to write something and put it out there for other randos to critique. I have respect for every author and encourage everyone to keep writing, as all the entries had good, creative stuff in them.

Yes, my reviews were nit-picky, far more than I am in "real life," and yes, they were long-winded, but I believe it's more important for the author to hear what doesn't work than it is to hear what does. Criticism, not praise, is the entire point of the editorial (judging) process. And to make sure the criticism is sound, you have to dig into the details and tear things apart to get at them. 

I went through each submission with a fine-toothed comb and double-checked the rulebooks (where I could) to form my critical questions. Often, I found the answers; sometimes, I found new questions. I put everything out there in terms of what I noticed, even if it was nit-picky, off-base, or purely personal opinion. Everyone's tastes are different and I'm just some guy on the internet, so the stakes of my criticism are low. My only goal was to give an honest and thorough evaluation of each site, from the perspective of a DM preparing to run it in a few hours.

The most valuable lessons about professional writing I ever learned were from the experienced editors who were hardest on my work. Their lessons stay with you, help you recognize the same mistakes next time before you make them. I certainly carry them over into my own editorial duties, contest or otherwise, and I hope all the authors take my reviews in that spirit. 

In the spirit of accountability, on the other hand, I thought it would be fun to apply some of the same critical standards I used for the contest submissions to my own work. I won't be scoring the categories numerically, of course, because I already think my adventure is GREAT! 5 out of 5!! 

Kidding, of course. There are actually lots of flaws and things that bothered me about my entry, regrets big and small, and could-have-beens that I forced myself to live with to meet the contest guidelines. Instead of giving it a score, I'll discuss my personal satisfaction with the results. I'm also including some design notes and elaborating on the original writeup. Stuff that might help someone trying to run it better understand my intentions. 

Since the methods I use for judging are subjective, I'm going to apply some of the questions/criticisms from other judges to test my creative premises. This is for no other reason than to have something to bounce off as a discussion point, because it represents something in my writeup that probably needs clarification. I accept their critique as 100% valid and agree with most of it—and much of it was positive—but where I can provide an explanation for my creative choices, I will.

 Onward!