With October now upon us, it seems only right to turn this month’s Retrospective posts toward the spooky side of the hobby. The challenge, though, is finding something I haven’t already covered. After more than 400 entries in the series, the pickings are slimmer than I’d like. That’s why I’ve decided to start this Halloween mini-series with something a little unexpected and off the beaten path, namely, The Grey Knight for Chaosium’s Pendragon.Originally published in 1986, The Grey Knight is the first stand-alone adventure for game and, as such, would probably be well remembered regardless of its quality. Written by Larry DiTillio, who'd already penned the classic Call of Cthulhu campaign, Masks of Nyarlathotep, the scenario is, in fact, close to a masterpiece and remains one of the most highly regarded products ever released for Pendragon. Even after nearly four decades, it stands out as a model of what a Pendragon adventure can and should be: part tournament, part quest, part courtly drama and, unexpectedly, part ghost story.
That last element is worth dwelling on, especially at this time of year. Pendragon is not usually thought of as a scary game, yet The Grey Knight shows how easily Arthurian legend can slip into the uncanny. The Matter of Britain is already filled with magic, prophecy, and the otherworldly; DiTillio simply leans into those shadows. His creation, the Grey Knight, feels wholly at home in this tradition. He's a towering figure in blackened plate, with death’s head helm and a charnel aura, less a man than the embodiment of Vengeance itself. His first appearance at Camelot’s Easter tournament, heralded by lightning and an unnatural chill, sets a tone of dread that lingers throughout the adventure.
The tournament scene is only the beginning. When the mysterious Lady in Black accuses Arthur of past misdeeds and demands the king defend his honor by facing her own dark champion, Sir Gawaine immediately offers to stand in his liege's place. The duel is delayed for six weeks, giving Arthur’s knights, which is to say, the player characters their true task: to recover a legendary whetstone, one of the Thirteen Treasures of Britain, without which Gawaine cannot hope to triumph against the Grey Knight.
What follows is a masterful blend of the game’s strengths, from the thrill of jousts to the intrigue of courtly politics to the strangeness of myth-haunted locales. As in the finest Arthurian tales, the familiar and the fantastic are inseparably entwined. Beneath the story’s supernatural trappings lies a very human injustice, festering until it bursts forth in the shape of the Grey Knight, a wrong that will not stay buried.
This is what makes the scenario such an effective fusion of Pendragon’s themes with horror. The supernatural here is not mere ornamentation but the outward sign of a moral wound at the heart of Arthur’s reign. The Grey Knight is terrifying not simply because he cannot be easily defeated, but because he reveals how even Camelot’s highest ideals, like honor and justice, can be obscured by shadow. Still, The Grey Knight is more than a ghost story. It is also an exemplary showcase of Pendragon’s range as a roleplaying game. Every type of knight, from the pious to the glory-hungry, is given a chance to shine.
It is no surprise, then, that The Grey Knight has been reprinted and revised more than once. It set a standard for what a Pendragon adventure could be. At the same time, its central antagonist, the armored challenger rising from beyond the grave to demand satisfaction from Arthur’s court, is a reminder that the tales of Arthur and his Round Table have always been touched by darkness.
This October, as I try to find something new to say about horror in roleplaying, The Grey Knight is a great place to start. As an adventure, it proves that the supernatural need not be grotesque or Lovecraftian to unsettle and that even games as heroic and inspiring as Pendragon can still be used to unsettle and discomfit. Its horror lies in the intrusion of the uncanny into a world otherwise governed by honor, passion, and destiny. By showing how the fantastic can tilt into the eerie without ever leaving the chivalric frame, it opens a door to a different kind of horror, one that lingers precisely because it feels both out of place and inevitable.
