Polyhedron: Issue #15

Could the cover of issue #15 of Polyhedron (December 1983) by Keith Parkinson be any more 1980s if it tried? Like most recent issues, the illustration depicts a character from the "Encounters" feature, in this case an 8th-level Dungeons & Dragons fighter named Edrie Solo. Edrie is the player character of Randy Solo (no relation), who was the second-place winner of the RPGA membership drive announced all the way back in issue #3. His prize included an illustration of his character by his favorite artist (Parkinson), as well as a brief scenario involving her, written by James M. Ward. My teenage self thought that was a pretty cool prize – and it is.

The issue marks the department of Kim Eastland as publisher of Polyhedron, a role he took over from Frank Mentzer about a year and a half prior. Eastland is, for me anyway, one of the more mysterious members of TSR's staff. I remember his name, but, until I started re-reading Polyhedron, I don't think I could have told you what he did at the company. Looking back over his credits, he wrote or contributed to a number of modules for TSR RPGs throughout the '80s, though, as I said, until I made the effort, I don't think I could have recalled any of them. That probably says more about my aging memory than it does about him.

Issue #15 also marks the end of the RPGA catalog as part of Polyhedron. Apparently, like me, many readers felt that it took up too many pages that could have been more profitably used for gaming content. From this point on, all RPGA merchandise was sold exclusively through the Dungeon Hobby Shop in Wisconsin. I remember this shift, because I suddenly started receiving a copy of the DHS catalog in the mail a couple of times a year. I adored the catalog, because it included both gaming products I'd never heard of before and those I of which I had heard but never seen in the wild. I wish I still had my copies, because I suspect they'd be a treasure trove of information and nostalgia.

The letters page is mostly ephemera, but one letter and its response stood out:

While I don't doubt the sincerity of the response, I nevertheless find it odd, because, so far as I can recall, no other periodical, then or now, includes copyright or trademark symbols when printing the name of a product that's under legal copyright. As a practice, it's something I only ever recall seeing in TSR's '80s-era magazines and publications. I really can't fathom who advised TSR to undertake this approach, because it's absolutely obnoxious.

"Dispel Confusion," as always includes a wide variety of questions about all of TSR's roleplaying games. The only one that really caught my attention was the following, since it pertained to a favorite adventure of mine.

As I stated in my original retrospective post about Murder in Harmony, its central mystery is difficult to unravel, but it's far from impossible. I find it amusing that someone actually bothered to write into Polyhedron, hoping that author Mark Acres would confirm the identity of the murderer.

"The AD&D Game Exam" by Philip Meyers is a reprint of an article that originally appeared in issue #47 of Dragon. Polyhedron editor Mary Kirchoff mentioned earlier in this issue that she'd be reprinting articles from Dragon that would otherwise never seen reprinting in, say, The Best of Dragon anthologies, no doubt in order to find more material to fill the 'zine's pages now that the RPGA catalog had been removed. The exam presented in the article is pretty tough, bordering on the obsessive in my opinion. I consider myself pretty knowledgeable about AD&D, but many of the questions asked here are beyond my feeble intellect. 

"Do It Yourself" by Roger E. Moore tackles solo adventuring in AD&D. Like all of Moore's articles, this one is pretty good, touching on a lot of matters that are of relevance to its subject. Moore spends time discussing arena combat, dungeon delving, and wilderness adventures as options. In each case, he provides not only ideas for how to proceed but points the reader toward existing tools, like the random tables in the Dungeon Masters Guide, that would be of assistance. He also, wisely, I think, suggests that characters used in a solo campaign should not be integrated into a "regular" campaign, because of the differences in style and outcome. I suspect many solo characters acquired a much more impressive array of magic items, for example, than would be typical in a well-refereed multi-player campaign.

Moore returns with an installment of "Notes for the Dungeon Master" aimed at high-level adventures. Again, lots of solid and useful advice here. Though I rarely had the opportunity to make use of any of his suggestions, I nevertheless recall wishing I could have, because he made high-level adventures sound like fun. I also recall the article for its delightful accompanying illustration by Larry Elmore:

To this day, I make references to Sir Kay Mardt from time to time. No one else seems to know what I'm talking about.

"Mas Day in New Hope" is a bit of Christmas-themed nonsense for Gamma World by James M. Ward. The scenario involves an "X.M.A.S. Unit" – a robotic Santa Claus with a grav sled pulled by similarly robotic reindeer – that's been modified to act as a weapon of mass destruction attacking a peaceful village. As I said, it's nonsense but amusing enough, if you're in the right frame of mind. "House Rules In" by Mike Carr looks briefly at some Dawn Patrol rules variants that players might find useful. Carr notes that house rules are often the test bed for eventual rules changes, so there's nothing inherently wrong with them, so long as all the players are on board with them.

There are two Gangbusters articles in this issue, starting with "The Vesper Investigation" by Antonio O'Malley. This is a short, two-page scenario intended for one to three private investigator characters. Ostensibly an investigation into the disappearance of a young woman's uncle, the adventure turns into more than that – including, possibly, a ghost story. David Cook's "Casin' the Joint" looks at sources of literary inspiration for Gangbusters games, particularly pulp novels. Among those he suggests are the stories of Doc Savage and other globetrotting heroes, like the Shadow and the Spider. Taken together, the two articles point toward an alternate future where Gangbusters broadened its subject matter to include a wider range of interwar subject matter, not just cops and robbers.

"Cash & Carry for Cowboys" by Glenn Rahman is another reprint from Dragon, in this case issue #54. The article is a listing of historical prices for various items not listed in the equipment list for Boot Hill. I love articles of this sort, especially so back before the Internet made it possible to find this sort of information with relative ease. Finally, there's Merle Rasmussen's "College Courses and Vital Statistics," which presents a series of courses Top Secret agents can attend – and their costs and the time required to do so. These courses increase an agent's skills and abilities once completed. I've always liked the idea of characters undertaking training in-game to improve themselves, so this article had defnite appeal for me. I wish I'd had the chance to use it when I last played the game.

Polyhedron continues to transition into something. Based on various comments in this issue, it's clear that, like me, a lot of its readership wanted to see more gaming material in its pages rather than updates about conventions and other RPGA activities. At the same time, it's also clear that the 'zine's staff was not prepared for this shift in focus, hence the reprinting of Dragon articles to pad out its page count. As I recall, the staff eventually gets the balance right and Polyhedron became something quite good and distinctive. How long that process takes is something I'm keen to see, as I continue to re-read these issues from my youth.

Polyhedron: Issue #10

For reasons many and various, I've always had a soft spot for Gamma World, which was long one of my favorite roleplaying games, though I have not had the chance to play it at length for some time. Consequently, the Jeff Easley cover illustration to issue #10 of Polyhedron (February 1983) conjures up many fond memories of playing the game. It's also a good way to kick off what editor Mary Kirchoff dubs "the GAMMA WORLD® issue." That probably goes some way toward explaining why this particular issue of the 'zine sticks in my head after all these years.

The issue places its Letters page at the front this time rather than relegating it to the back, as was the case previously. I usually don't mention this feature, because the letters tend to focus on banal and/or ephemeral matters. This time, there's one letter I find intriguing. The writer takes issue with the oft-repeated statement that AD&D is "for adults." The writer explains that he doesn't "know one individual over 30 who enjoys AD&D or D&D®." He adds that he "wish[es] there would be more Dungeon loving Dads and Monster loving Moms." Kirchoff then addresses the "subject of getting adults involved" in roleplaying games. To this, Kirchoff replies:

My own early experiences of the hobby involved several adult players, including the father of one of my friends (who was a hex-and-chit wargamer), so it's an odd question for me. In fact, when I first started seriously playing D&D – this would have been early to mid-1980 – the impression I had at the time was that it was primarily an adult pastime, because I initially knew very few kids who played beyond those whom I'd personally introduced to the hobby. That started to change very quickly and, by the time this letter appeared, in early 1983, I suspect the demographics had skewed considerably toward younger players.

This issue's installment of Ron Shirtz's "The Knight-Error" comic hit home.

It's a much-needed reminder that, for all its connections to the fantasy literature that preceded it, Dungeons & Dragons doesn't really emulate any of them and is essentially it's own distinct genre.

"Tips for the Beginning GM" by Mike Price (author of Famine in Far-Go and co-author of The Cleansing War of Garik Blackhand) provides the first bit of Gamma World content for the issue. Like most such articles – especially short, one-page ones, like this one – it's advice is mostly very broad and equally applicable to any RPG. The main thing that Price suggests that I think is genuinely useful is his suggestion to photocopy a section of a present-day atlas to establish the locations of landmarks and ruins. Of course, this advice is tempered by the fact that Gamma World's apocalypse occurs centuries from now, making a 20th century map a shaky foundation on which to build a campaign map (but then this is a longstanding problem with the setting of the game).

"Dispel Confusion" presents questions and answers for most of TSR's RPGs from the time: AD&D, Boot Hill, Dawn Patrol, Gamma World, Star Frontiers, and Top Secret. The questions are the usual mix of genuinely unclear matters in the rules and obvious stuff that suggests the questioner has poor reading comprehension. My hat is off to the TSR employees given the job of answering these queries; they had greater patience than I could have mustered. The issue also includes another pun-filled "Reiga Nerd" story entitled "A Mad-Djinn-Airy Tale." I'm not a fan myself, but Gygax loved puns, so who am I to judge?

Frank Mentzer's "Mapping from Square One" is the first part of a three-part series focuses on, well, mapping. The intention behind the series is to win over "map-haters" to the joys – and benefits – of mapping in D&D and other RPGs. This seems a worthy goal, as I've often lamented the way that mapping has slowly declined in importance in D&D over the decades. The first part devotes itself primarily to establishing the basics of how to map, such as tools and terminology. Mentzer also suggests that it's the job of the referee to correct errors on the players' map if they're made due to error or inexperience. I think that's good advice, though it wasn't commonplace during my own early days in the hobby.

James M. Ward's "Encounters" presents a situation for Gamma World, in which a pure strain human is rescued from a band of mutant arks (dog men) by a member of a new mutant species, the flynns. The cover image above depicts the scene quite nicely. Frank Mentzer returns with another installment of "Notes for the Dungeon Master." This time he inveighs against treating the gods as high-level monsters that can be killed by appropriately powerful characters. It's perfectly sensible advice, of course, but it might seem to run counter to the approach of Deities & Demigods, which does include game stats for divine beings (though, to be fair, that book does indicate that no mortal being can slay a god permanently, even if he should somehow defeat one in combat). I remember lots of people back in the day whose campaigns include the defeat of deities by player characters.

"Basically Speaking" by Jon Pickens looks at (among several other topics) the vexed question of how the D&D and AD&D games differ from one another. Pickens claims that the difference lies in their "intended audiences." The gist of his explanation is as follows:

It's an interesting perspective and one I find much more congenial than Gygax's claim that D&D had become a "non-game." Mind you, I am biased: I much prefer the open-ended approach of D&D over the more cramped style of AD&D (even if I still adore many of its distinctive elements).

"Under Construction" is a new column that describes a room or location that can dropped into a referee's campaign. The premier example, by Mary Kirchoff, is a dungeon room cursed by a jealous goddess. The room, which has a rose theme, traps those who enter it unless they can puzzle out the meaning of a rhyme written on the floor. Though perhaps a bit overwritten in its description, the room is clever and very much in keeping with the kinds of chambers I remember in the dungeons of "killer DMs" of my acquaintance.

"Getting Started in Gangbusters Game" by Mark Acres offers up ten short tips for new referees, none of which are really unique to that game. It's filler content of no lasting value, alas. Even so, it's still more interesting than the two pages of "The Official RPGA™ Tournament Scoring System." I know Polyhedron is the RPGA 'zine, but come on! "Flight of Fancy" by Mike Carr is a brief Dawn Patrol scenario involving a zeppelin. Frank Mentzer returns (again) with another "Spelling Bee." His chosen topic is a good one: spell coordination. By this he means only that players of spellcasting characters should confer with one another before selecting spells, so that they might benefit from certain synergies. He provides several examples, which is certainly helpful. The remainder of the issue is devoted to another catalog of RPGA-only items.

Issue #10 is a very solid one and, as I said at the beginning of this post, a particular favorite of mine. I feel like the 'zine is now on much more solid footing, with a wider variety of content. That pleased me when I first received it, because I played multiple TSR games, not just Dungeons & Dragons. Looking back on it now, it pleases me even more.

Retrospective: Timemaster

That the history of the RPG industry is filled curiosities should come as no surprise. Then, as now, "the industry" largely consists of small operations big on passion but often lacking in the business sense necessary to channel that passion into a lasting enterprise. Pacesetter Ltd is a great example of this from my youth. Founded in 1984 by a number of ex-TSR staffers, the company lasted only two years before disappearing. However, during those two years of existence, Pacesetter managed to publish four different RPGs, three of them in the same year – Chill, Star Ace, and Timemaster. 

Though Chill was by far my favorite of the three games the company published in 1984, Timemaster was a close second. As a kid, I enjoyed watching reruns of the old Irwin Allen television show, The Time Tunnel. Even though it only ran for a single season, I remember thinking that it was a great premise for an ongoing TV show – like Star Trek, except that time, not space, was the final frontier. Consequently, Timemaster was an easy sell for me.

Like all Pacesetter RPGs, Timemaster came in a box, inside of which was a 64-page rulebook (Travelers' Manual), a 32-page Guide to the Continuum, which explained in greater depth of how time travel worked; and a 16-page adventure, Red Ace High, set during World War I. Also included were some cardboard counters and a hex map to use with the adventure, which dealt with the First Battle of Cambrai in 1917. It's a nice little package that very much appealed to my sensibilities as a TSR fanboy. I've long suspected that this was intentional on the part of Pacesetter, whose games always had a "TSR-but-not" vibe to them – no surprise, given that its staff included Mark Acres, Garry Spiegle, Carl Smith, Stephen D. Sullivan, and Michael Williams, all of whom had worked at TSR in the years prior. 

Mechanically, Timemaster is pretty similar to the other RPGs in Pacesetter's roster. It makes use of a color-coded action table of the sort I most strongly associate with Marvel Super Heroes but which would eventually be found in many other games during the mid-80s. Character ability scores are generated randomly, but the player can choose his character's skills and paranormal talent, a psionic power of limited utility, like telepathy. The design is nothing fancy but I recall it working without too much fuss in play, which is precisely what I've generally wanted out of RPG mechanics.

Where Timemaster really shined was in the execution of its basic premise. The game assumes that characters are members of the human Time Corps, a 72nd century organization tasked with protecting the integrity of "the Continuum" from those who would disrupt it for their own ends. The two primary sources of disruption are renegade humans and a race of shapeshifting aliens called the Demoreans. Adventures thus consist in efforts by the characters, as agents of the Time Corps, to ensure that disruption is, if not stopped completely, kept to a minimum.

What I found most intriguing about Timemaster was that the Continuum was more than just a linear progression of time. Instead, it encompasses a wide variety of parallel timelines, some of them very different from the timelines from which the characters come. This gave the game a much wider scope than just traveling up and down the timeline to visit famous historical events – though the game certainly supported and encouraged that. Characters could also visit odd parallel worlds where magic works or dinosaurs evolved to intelligence, for example, or even where literary characters like Sherlock Holmes or the Three Musketeers were real. 

It's all quite ridiculous, of course, but Timemaster made it work, in large part because the game clearly spells out the Laws of Time and then follows through with them in a way that makes game sense if not necessarily scientific sense (assuming such a thing is even possible when talking about time travel). This makes it easier for both the players and the referee (or Continuum Master) to get a solid handle on how the universe of the game works and that's essential. Otherwise, everyone can quickly get tied up in knots over questions of paradox and time loops and so on. Timemaster recognizes this and lays it all out in a way I found quite helpful. You might disagree with its take on certain aspects of time travel – I was never fond of the "literary" parallels, for example – but there's no question that it all hangs together decently, if you're willing to accept the game's premises.

Timemaster is one of those roleplaying games that I occasionally remember exists and then think, "I should play this again some time," because I had fun with it in the past. As I said, the game won't win any prizes for game design, let alone scientific "realism," but, like many of the best RPGs, it's a delightfully open-ended vehicle for exercising your imagination and that's no small thing.

Polyhedron: Issue #8

Issue #8 of Polyhedron (October 1982) occupies a special place in my heart for a couple of reasons. For one, this was the very first issue I ever owned, having joined the RPGA after seeing numerous advertisements for it in both Dragon and various TSR products. For another, the issue features a memorable Gangbusters-related cover illustration by the incomparable Jim Holloway. Gangbusters was a favorite RPG of my youth, as I've no doubt mentioned, so it was especially delightful to see it take center stage in Polyhedron. (One of these days I need to start up a large, sandbox-y GB campaign; it's been too long since I last played.)

Issue #8 also marks a significant turning point in the history of Polyhedron. Frank Mentzer, who had been the 'zine's founding editor, is now well and truly gone from its management. In his place are Kim Eastland, as managing editor, and Mary Kirchoff, as editor. Kirchoff had been in this position since issue #5, but this is the first issue where she's become a public presence. Her column, "ESP," replaces Mentzer's "Where I'm Coming From" as the editor's personal soapbox.

The second part of the interview with Mike Carr that began in the previous issue appears here. This part is much shorter than the first one, focusing on – unsurprisingly – Dawn Patrol, but also touching briefly upon Top Secret (whose acceptance by TSR Carr championed) and then shifting to the future of TSR. There's sadly not as much depth or insight in this installment. However, it does include a charming caricature of Carr as drawn by Holloway.

"Encounters" by James M. Ward is the premier article in a series I remember well from my days of reading Polyhedron. The idea behind the series was to present one-page encounter descriptions "that may be used by referees to interject something unusual into their games." I was a big fan of "Encounters," because it was yet another vehicle by which Polyhedron highlighted TSR games other than Dungeons & Dragons, which appealed to me. The inaugural article is devoted to Gangbusters and presents three gangsters – Big Bernie; his moll, Maria Kirchinetti; and Lefty O'Malley – as they face off against a beat cop, Tom O'Donahur. The cover depicts Big Bernie and company.

Frank Mentzer may be gone as editor-in-chief by he continues to contribute "Notes for the Dungeon Master." This issue's column talks a bit about strategy, specifically from the perspective of the monsters the characters encounter. Mentzer suggests that monsters shouldn't just wait in a room for the adventurers to arrive, but might instead defend themselves with cleverness. He then provides several examples of what he means, like the inventive use of fire or spells. I can't really complain anything Mentzer offers – it's broadly good advice – but I'd have appreciated more concrete examples rather than general principles.

"Figure Painting" by Michael Brunton offers more tips and advice on this topic. There's a single black and white photo of a nicely painted miniature to accompany it, which is nice. I'd have liked more, since seeing the finished product is the primary joy of articles of this sort for non-painters like myself (and why White Dwarf's minis articles were so good). "Nerd's Quest" is an uncredited little bit of fiction that's really just a lengthy pun-filled joke – an amusing diversion. "Run Scry" sees the return of Polyhedron's forays into ciphers. This time, the hidden message is written in the Theban script, which is probably best known for its appearance in Agrippa's De Occulta Philosophia. As a long-time fan of ciphers, I really enjoy articles like this.

"Spelling Bee," also by Frank Mentzer, talks about material components for AD&D spells. Mentzer states that "some of the most successful campaigns I've ever seen involve a close watch on components" because "the DM can create whole adventures for whole parties to go looking for the rarest items." That's certainly how I've long wanted material components to be used in my games, but it's quite uncommon for it to work that way in my experience. After a while, the whole thing tends to get bogged down in tedious bookkeeping, which is a shame. I very much like the idea of material components. Unlike Mentzer, though, I don't think I've ever seen them used effectively.

"Getting Started in the the Gangbusters™ Game" by Mark Acres is a short and fluffy article introducing the range of campaign structures in Gangbusters. It's fine for what it is, but not nearly as helpful as I would liked at the time I was first getting into the game. "Dispel Confusion," once more by Frank Mentzer – the guy sure does get around – answers more AD&D rules questions. The questions are the usual mix of stuff one typically encounters in columns of this sort. The one that stands out, though, is the statement that "Sage Advice" from Dragon does not provide "official" answers to rules questions; only "Dispel Confusion" in Polyhedron enjoys that distinction. "Another good reason for being an RPGA™ Network member." Indeed.

"Notes from HQ" by Kim Eastland is, unfortunately, a lengthy bit of self-congratulatory fluff, singing the praises of both TSR and the RPGA. Eastland once again addresses the question of whether the RPGA or Polyhedron will ever include non-TSR games. His answer is, of course, in the negative, just as Frank Mentzer's had been some issues previously. He elaborates on this in a rather silly way:

Yeesh.

As I had long predicted, Roger Raupp's "Nor" comic disappeared without a trace before its characters or plot could be developed. Replacing it is Ron Shirtz's "The Knight Error," which is a fun little, four-panel strip that wouldn't have been out of place in "Dragon Mirth" in TSR's other periodical. 

Issue #8 is nowhere near as good as I remembered its being. Even so, re-reading it after all these years was a pleasure, if only for the memories it evoked of my earliest days in the hobby. The issue is also clearly a step up in terms of production quality over its predecessors. Its graphic design, layout, and illustrations are all quite good. They point toward Polyhedron's becoming, if not quite as "professional" as Dragon, a more polished and attractive 'zine. That has its good points and its bad points, of course. For now, I'll simply say that, with this issue, Polyhedron has begun to take on the appearance of something I remember enjoying more often than not – and that makes me very happy. 

Retrospective: Tomb of the Lizard King

Depending on one's perspective, 1982 is either the penultimate year of D&D's Golden Age or close to the start of a transitional Electrum Age. These days, I incline more toward the latter interpretation and modules like 1982's Tomb of the Lizard King are part of the reason why. The module is written by Mark Acres, who's best known for his work on some of TSR's "lesser" RPG efforts (including my beloved Gangbusters). I was honestly surprised that Acres was its designer, as I hadn't recalled his ever writing anything for any edition of Dungeons & Dragons. I also think I had confused this module with Against the Cult of the Reptile God by Doug Niles, perhaps due to the presence of lizard men in both.

Before even looking at the contents of the module itself, the first thing that's obvious is that it makes use of the then-new trade dress for AD&D modules – the first module to do so, I believe, even though I more strongly associate it with Pharaoh, published the same year. Aside from the gold bar across the top – visually similar to the gold spines on books like Monster Manual II – another notable feature is the AD&D logo with its distinctive draconic ampersand. Finally, Tomb of the Lizard King is billed as a "fantasy adventure module" rather than a "dungeon module" as were all its predecessors. Taken together, these changes demonstrate, I think, that AD&D was in the midst of a shift, esthetically if nothing else, away from its earlier form.

The adventure is written for levels 5–7 and includes eight pre-generated characters, as so many modules of the era did. I enjoy examining pre-generated characters, with an eye toward the power level of player characters presumed by the designer. The pre-gens here are pretty much in line with those of the time, with middling ability scores and hit points and comparatively few magic items. I prefer characters of this sort, but it's clear that, as time went on, this approach fell out of favor and presumed PC power increased considerably – a shift we'll see strongly during the Silver Age proper.

The adventure takes place on the plain of the River Ardo in the County of Eor, which has recently been beset by bandits. If none of those place names sound familiar, you're not alone. Tomb of the Lizard King is a "generic" module in that it's not specifically keyed to the World of Greyhawk setting, as most AD&D modules were at the time, if only tangentially. This is another shift worth noting, as it's one that becomes much more widespread as the 1980s wear on. In any case, the characters are asked by the Count of Eor (with the rather mundane name of John Brunis) to find out first what happened to the men he sent to deal with these bandits and who never returned and, if they can, to deal with the bandits themselves. 

Of course, the bandits are no ordinary highwaymen but rather a coalition of evil men and monsters assembled by Sakatha, the titular lizard king. Sakatha, we learn, died more than two centuries ago, slain, like all his kind, by the ancestors of the people of Eor. Dying on the battlefield, he begged whatever powers that might hear him to have his revenge. Sakatha then rose from the dead as a vampire and has slowly been building up his power base so that he could avenge himself and his people upon Eor. (I feel like I should add that, in addition to being a vampire, Sakatha is also a 9th-level magic-user, so he's quite powerful.)

It's a good set-up for an adventure in my opinion and, for the most part, it doesn't disappoint. The encounters throughout, both in the obligatory wilderness section and in several underwound locales, are very challenging. In fact, I'm not really sure that they're suitable for 5th–7th level characters, not without a great deal of luck and planning on the part of the players. In that respect, I think Tomb of the Lizard King is in keeping with earlier AD&D adventures, which demanded attentive play and skill to survive. However much its presentation may differ from those of earlier modules, its level of difficulty still feels as if it were a product of previous years.

That said, the module does suffer from a lack of flavor. Yes, Sakatha is a compelling and well fleshed out antagonist and that's important. However, the Count of Eor, the realm he rules, and even the wilderness the characters explore while in his employ all feel bland and generic. There's none of the details or idiosyncratic flourishes one would find in Gygax's adventures, let alone the overwrought melodrama of Hickman's efforts. Instead, this is a fairly bare bones affair that's notable mostly for its clever villain and demanding encounters. Perhaps that is enough.