Boot Hill: Campaigns (Part II)

Boot Hill's section on campaigns continues with a brief aside about the maps included with the boxed set. Because I don't see anything especially worthy of comment in this section, I'm going to pass over it and move on to the much more relevant section devoted to "Campaign Time."

At the referee's discretion, campaign turns can be weekly or monthly or of any specified duration. Each turn, the players relate to the referee what their character's actions and undertakings will be, and the referee moderates the resultant occurrences. The gamemaster takes all actions into account, and relates the appropriate information on various happenings to the players as seen through the eyes of their characters.

When characters' actions are appropriate for moving the action to the tabletop, the time frame changes to the lower level, and the larger campaign's goings-on are suspended until the tabletop action is resolved. Once that is done, the rest of the whole moves on, with the results of the tabletop action reflected in the ongoing and ever-changing situation.

The mention of a "campaign turn" immediately caught my attention. From context, it would seem that the actions of such a turn are "high level" actions distinct from those capable of being adjudicated on the tabletop, like combat or movement. Unfortunately, there's no explicit discussion of the precise nature of these campaign actions, though one can somewhat intuit their nature from other discussions in this section. For example,

The roles and objectives assigned to the participants should be commensurate with the scope of the campaign. Thus, if the map covers a large area and the duration is expected to be several game years, players would represent major characters: large ranchers, outlaw leaders, sheriffs, Indian chiefs, cavalry commanders, and so on – each with many figures to operate or command. Objectives would likewise be broad. On the other hand, a campaign taking place in a small county with but a town or two would have participants cast in less grandiose roles and with smaller objectives – i.e., an outlaw's objectives might be to lead a gang of desperadoes into town, rob the bank, escape to a hideout, and lay low for a month before pulling another job.

Again, there are few specifics here and the specifics that are offered belong to the "small county" campaign and, even then, they strike me as the kind of thing that would be more likely to be played out on the tabletop than through a "campaign turn." 

The referee should keep copies of all starting statistics and changes made by all pertinent characters in the campaign, with special care taken for the player characters (who may also want to keep suitable records of their own). For example, the referee may inform each player at the start of the game as to his characters' cash on hand, equipment, animals, and possessions owned, hirelings/associates/friends, and so on. Thus, rancher Longhoop starts with $671 and a herd of 600 head of longhorns. During the course of the first couple of game months he hires three extra hands, makes a cattle drive which mysteriously picks up several hundred additional doggies along the way, and sells off the lot. At that point he could then have $9,004 and 325 head of cattle.

Orders for the actions of characters in each campaign turn can be given orally, but referees may wish to consider requiring written orders from each player to have a record of all desired undertakings.

I am absolutely awful when it comes to campaign record keeping. I frequently rely on my players to remind me of many details, which is why I think the idea of keeping written records of campaign actions is probably a good idea. I'm reminded once again of Diplomacy, whose play demands written orders from all the players each turn. Indeed, I continue to suspect that, for all the talk of the importance of Braunstein and its derivatives, Diplomacy may well be an equally important (and overlooked) component in understanding how early RPG campaigns were played. 

Boot Hill: Campaigns (Part I)

Boot Hill devotes several pages in the middle of its 32-page rulebook to campaigns.

The full flavor and scope of BOOT HILL comes out in campaign play, with numerous players vying, through the use of their game characters, for a wide assortment of goals and objectives. The interplay of personalities (on both sides of the law) can be fascinating and fun, and a well-run campaign with a competent gamemaster and a good assortment of players will be a satisfying endeavor for all. Campaigns should be tailored to suit the preferences of the players, but some general guidelines are here. All campaigns require an impartial referee. 

 None of this is new. The game's introduction already covered a lot of the same ground. Nevertheless, I personally find it gratifying to see yet another suggestion that roleplaying reaches its zenith in campaign play – and by "campaign play," the author means an open-ended and player-directed series of sessions with a shared continuity, overseen by "an impartial referee." There's no mention here of "story" or "plot," just "players vying ... for a wide assortment of goals and objectives." 

The person taking the role of gamemaster is a pivotal figure, for it is her or she that will shoulder the principal responsibility for all aspects of play. The referee should thus be a person who has a good working knowledge of the rules.

This is just common sense.

A referee should be impartial, and should moderate the action without interfering in the course if might take. The referee will be in charge of processing and revealing all information as the campaign goes on, and this "limited intelligence" aspect will greatly add interest, since not every character will be aware of all that is happening. 

This conception of the referee is clearly derived from miniatures wargaming, which only makes sense, as the entire hobby of roleplaying arose out of it. More interesting to me is the statement that the referee's primary job is not to direct the action of the campaign – that's the purview of the players – but to "moderate the action without interfering in the course it might take." That's very different than the way a referee, game master, or Dungeon Master is generally conceived of nowadays (and, if I'm honest, most of the time that I've been playing RPGs).

The gamemaster provides background for the players, and the scope of the campaign will be determined by the referee's judgment. The referee's decisions will be important in many instances, and the players must accept the judgments accordingly. 

The referee, then, establishes the status quo ante for the campaign, including its locale, major NPCs, conflicts, etc. Much of the rest is left to the players.

Two campaign scenarios are included in this booklet – one which is quasi-historical, and another which is completely fictional. These can provide the beginnings of a campaign in themselves, or an independent campaign can be started "from scratch," if desired. In any event, players can make up their own roles in such settings by rolling the dice to determine their character's abilities and then choosing a personal role or occupation. The objectives of each character can then be outlined by the referee, and these are the goals each will seek as the campaign goes on. 

The two campaign scenarios referenced above both take place in the fictional Promise City at different periods in history (1876 and 1890). The earlier of the two scenarios is "quasi-historical" in that it involves a gambling competition that attracts famous historical gamblers to the town, like Johnny Ringo and Bat Masterson. Otherwise, however, it's entirely fictional in nature, as is the later 1890 scenario. Notably, this paragraph seems to suggest that it's the referee rather than the players, who decides the objectives of each character. I suppose this might only apply in circumstances where the referee is working from a pre-generated scenario, such as those in the Boot Hill rules, but it's a bit unclear. Ultimately, though, what's most important is that campaign play proceeds according to the principle that characters have "goals" that they will seek and the bulk of the campaign's action derives from their attempting to do so.

Western Gunfighter

Grenadier Models produced a line of historical miniatures under the name "Western Gunfighter" that were approved for use with TSR's Boot Hill. 

I'm not certain when these miniatures were first released. I can find evidence online that they were at least advertised by Grenadier in 1978. Whether they were released in that year (or earlier), I can't say with any certainty. Even so, 1978 is prior to the release of Boot Hill's second edition in 1979, which is interesting. In addition to this large boxed set, there were also a number of smaller blister packs. 

I've never seen any of them in the flesh, only photographs, so there's not much more I can say about them. Did anyone reading this own or see them? 

Boot Hill Introduction (Part III)

The introduction to Boot Hill continues. 

A campaign could be run with as few as 4 players and a referee, although a referee is not strictly necessary in smaller games, since players as a group can decide any questionable situations and together can put a check on any actions which tend to disrupt the smooth flow of a game (shooting anything which moves, for instance, quickly brings the wrath of the other players and the law down upon the head of the offender). 

Once again, we see the distinction between a "game" and a "campaign." Equally interesting in my opinion is the suggestion that the players can not only handle certain aspects of play themselves without the need for a referee, but they can also be self-regulating in the sense of preventing one another from going against the spirit of the game. Nevertheless –

A referee is always preferable in any size campaign, and is a must for larger undertakings (which could easily encompass as many as 20 different roles). When the referee moderates the action, there is a secrecy aspect which the platers can work to advantage and which can greatly add to the interest of the campaign. Thus, the referee can relate information individually to each player depending upon the actions and position of his own character, and each character will have his own outlook on the game situation, since there will often be developments "behind the scenes" which will not be common knowledge to all. Likewise, secret plans can be made and related to the referee without the other players knowing of what transpires.

I've talked before about the need for large groups of players in our RPG campaigns, so I'm pleased to see that Boot Hill is yet another game that explicitly supports this kind of play. The discussion of secrecy is good, too. In my youth, I ran a short Top Secret campaign in which each of the three players was working for a different agency and all of them were tasked with adversarial goals. I also did something similar in my youthful Gangbusters campaign and that worked pretty well.

In a campaign situation, each player character will have his own identity and abilities (these are determined by dice rolling, with a slight advantage to allow player characters to be above the norm). If this character is killed, the player will have to take on another persona in the campaign (sometimes starting "from scratch" again in a similar character, or in a position which is completely unrelated to the former).

The idea that a player character should have "a slight advantage" so that he is "above the norm" is notable. Many post-D&D TSR roleplaying games included ability score generation schemes that were skewed in player character's favor. 

Note, however, that in a large game, a player could conceivably take on the role of two different characters if carefully arranged and monitored by the referee. In such an instance, the two roles would have to be completely independent and not subject to conflict or possible cooperation. For instance, a player could have one role as a major rancher who is seeking to expand his holdings and another character who is an outlaw specializing in stagecoach robberies. Obviously, these two characters would have little cause to cooperate or conflict with each other, so such an arrangement would provide two characters for the campaign (assuming the referee was agreeable) rather than only one. 

When I started playing RPGs, it was a widely accepted truth that no player should play more than one character in a session. However, most players had more than one character in the campaign and would often swap between them, based on interest and the context of the scenario on offer. That approach seems very similar to what's been suggested here.

Campaigns can be as small or as expansive as desired, centering on a single town or a large geographical area. Preparation can be minimal or as extensive as desired. While it is possible to structure rigid scenarios, free-form play will usually be more interesting and challenging. It is easy to set up a town, give a few background details, and allow the participants free rein thereafter. In no time at all lawmen will arrest troublemakers, gunfights will take place, and Wells Fargo will lose yet another payroll to masked outlaws. This game isn't named BOOT HILL without reason!

He makes it sound so easy!  

Fortunately, there's an entire section of the rulebook dedicated to the creation and running of a Boot Hill campaign. I'll be taking a closer look at it in another series of upcoming posts.

Rutskarn's Gambit

Serendipity is a real phenomenon. Just as I'm looking more closely into Boot Hill's discussion of campaigns, Dan and Paul over Wandering DMs interview Adam DeCamp, who refereed a political campaign using those rules several years ago and shared his perspective on the experience. DeCamp's got some genuinely interesting stuff to say and I found the episode was well worth my time.

Boot Hill Introduction (Part II)

The question of whether Boot Hill is actually a roleplaying game is an interesting one, especially since the introduction to the game addresses this:

Playing BOOT HILL is quite simple. Since it is a role-playing game, each player participating takes on the persona of an individual character and controls his actions. In some cases, henchmen or associates will also be under his direction. In any event, the player takes the role of his character for the time that that individual is involved in the game situation (death, for instance, or a long jail term could remove that character from the game). The player makes the same decisions his character would make in the conduct of affairs (either in the heat of a gunfight if such a game is being played out on the tabletop, or the day-to-day activities if it is a campaign situation), and the combined actions of the entire cast of players as a whole (plus actions by non-player characters_ make up an ever-changing game situation which is much like the unfolding story of a novel or movie script – except that no one knows exactly what might result or how the story might ultimately turn out!

While there's a lot to unpack in the quote above, I want to focus on only two portions of it. First, the introduction is quite clear that its author (Gary Gygax and/or Brian Blume) unambiguously sees Boot Hill as a roleplaying game and explains what he means by that. Second, and relatedly, the author seemingly makes a distinction between "tabletop" play and "campaign" play. The former he associates with gunfighting, while the latter he associates with "day-to-day activities," though he doesn't (yet) explain he means by that. I can't recall this distinction ever being made in any other RPG, so this caught my attention.

This unpredictability and open-ended nature is what makes any role-playing game enjoyable, and the often fast and furious action of BOOT HILL gives it an excitement all its own. Players should strive to take on the role of their game character and fully immerse themselves in the very enjoyable fantasy aspect of the game. If they do so, they will enjoy it even more ...

I very much agree with this, of course. 

Pre-arranged scenarios can be used for individual games (two such scenarios, THE GUNFIGHT AT THE OK CORRAL and THE BATTLE OF COFFEYVILLE, are included as appendices in this booklet) – and these games can be historically-based or constructed in any way desired. Setting up a bank robbery scenario, for instance, would be easy – splitting up the players as outlaws, citizens, sheriff, deputy, bank personnel, etc., arranging the location of buildings involved (using the town map provided or one drawn especially for the scenario), and handling any pursuit cross-country by using a hex map (which could be the fictional area map within the game). The abilities and rating of individual players are determined by dice rolling in the manner described in a following section (see SETTING UP GAME CHARACTERS), and once this is done, the starting location of each character is noted, and play begins. It is suggested that the first few games played be unrelated games of this type which (while enjoyable) will basically serve as training sessions.

Here, the author makes it clearer what he might mean by "game," namely a "pre-arranged scenario" with a very specific purpose, like a bank robbery or other gunfight. 

Once players are familiar with the game rules and mechanics, they will find that the most enjoyable games are those that are tied together as part of a larger campaign (see CAMPAIGNS). In such a situation, past events are reflected as closely as possible in successive games, and each player has a stake in the future as well as a place in the status quo. Since platers are in different positions with different objectives (as well as on both sides of the law), there will be enough conflict and contention to provide for plenty of interesting action (which will include the inevitable gunfights and shootouts which can be played as tabletop games). Some typical character roles (depending on the size of the campaign) would be: outlaws, lawmen (sheriff, deputy, Texas ranger, etc.), ranchers (cattlemen or sheep rancher), Indian chiefs, gamblers, bounty hunters, hired guns, drifters, and so on. 

Here, "game" would seem to be a synonym for a "session" of play, in contrast with a "campaign," which is a series of successive games linked by past events. In any case, it's worth noting that a Boot Hill campaign as envisaged here involves, as I pointed out in my earlier post, player conflict, since the interests of the characters will not always align. Furthermore, this conflict is intended to be one of the drivers of "interesting action" within the campaign, leading to, among other things, "inevitable gunfights and shootouts" – in short, a wargame-y "player versus player" frame.

My friends and I never played Boot Hill for very long and thus never had the chance to use it for a campaign. What we did do was run one-off scenarios in which players took on different roles that were often at odds with one another – outlaws versus lawmen, etc. – and played out their battles with the map and counters the boxed set included. We had fun with this, but we treated it not much differently than we did other tabletop battle games rather than as an adjunct to something more, as the introduction suggests.

We'll wrap up our look at the introduction in my next post, but there's still a lot more to examine about Boot Hill beyond that, as subsequent posts will show.

Retrospective: Ballots & Bullets

Since Boot Hill has unexpectedly caught my interest this month, I thought it might be interesting to take a look at one of its better adventure modules, Ballots & Bullets. Written by David James Ritchie – whose name I most strongly associate with the second edition of Gamma World, as well as some of the Blackmoor modules for D&D – this "special campaign module" first appeared in 1982, just as TSR was transitioning between one era in its history and another. That makes Ballots & Bullets notable on multiple levels and, therefore, a worthy subject of examination.

Like most TSR modules of its era, this one consists of a 32-page staple-bound booklet wrapped inside a cardstock cover. The inside of that cover contains a map of Promise City, Arizona in the year 1882. The map is designed to be used in conjunction with the foldout map included in the Boot Hill boxed set, which forms the central "hub" of Promise City. There are over 200 locales on the combined map and each is described in at least a couple of sentences in the module's booklet. 

Though he's not mentioned in the credits, Jim Holloway provides all the art for Ballots & Bullets, including its front and back covers. Though there aren't as many individual pieces in this module as there might be in most TSR modules of the era, what art there is plays to Holloway's strengths as an illustrator of dubious, unscrupulous, and faintly ridiculous roughnecks. In many ways, Holloway is the perfect artist to depict the Old West, especially as depicted in a roleplaying game. I feel compelled to point out that many of the characters in Holloway's pieces are based on TSR employees at the time, including Holloway himself. I suspect that's also true of rustler Mongo Bailly, who features on the module's back cover, but, if so, I'm not sure which staffer he's based upon. If anyone knows his identity, I'd be grateful.

Making off with the ballot box ...

Slightly more than half of the module – 18 pages – consists of the "Guide to Promise City" and "The People of Promise City." I alluded to the former earlier: it describes every locale on the map, from the Great Western Boarding House and Cafe to the County Assay Office to the Silverbell Mining Company and more. Some locales are detailed more extensively than others, but all provide information not just on the locale itself but also on the NPCs found there. "The People of Promise City" is an alphabetical listing of nearly all 250+ people who live there, along with their Boot Hill game statistics. Also listed is each person's associated faction within the town, how committed he is to that faction, and whether or not he is a registered voter (or candidate).

These factions are important and play a part in "The Election Campaign," which provides the backbone of the module. Promise City is preparing to hold its first election after its town charter was approved by the Territorial Governor of Arizona. The election is three months in the future and two factions face off against each other in the upcoming contest. The first is the Law and Order Faction, supported by merchants and land owners, who want an end to the lawlessness of Promise City. The second is the Cowboy faction, supported by miners and prospectors, who believe the Law and Order faction is just a front for Big Business. The player characters enter Promise City just as things are heating up.

The characters can become involved in a variety of ways, supporting – or undermining – one of the factions for their own purposes. There are discussions and guidelines for handling canvassing the town, putting up campaign posters, running rallies, heckling the opposition, and outright bribery, not to mention spreading rumors and hiring goons to intimidate the voters. The characters can likewise make use of newspapers, churches, and endorsements to advance their chosen cause. At the end of it, there's voting day itself, for which the module also provides rules to adjudicate. Whichever faction wins will impact the subsequent development of Promise City and the fortunes of its inhabitants.

I have never made use of this module, so I can't rightly say how well its contents work in play. I can only say that I found the scenario presented and the information provided to support it quite compelling. In some ways, it reminded me of Trouble Brewing for Gangbusters, a favorite module of mine from my youth and one I used extensively. Despite some surface level similarities, Ballots & Bullets is less a description of Promise City – though it is that – and more of an outline for an entire campaign set during a major event within the city. It's also a great example of the kind of thing that, according to the game's introduction, you're supposed to do with Boot Hill. I found it very compelling and wished I had the time and players to give it a proper whirl.

It's been a long time since I've read a module that made me feel that way. Make of that what you will.

Would you trust this man with the future of Promise City?

Now Available from Your Favorite Game Dealer

Since I'll be looking more closely at Boot Hill over the next couple of weeks, I thought it might be useful to share this advertisement for the game, which appeared in issue #28 of Dragon (August 1979). 

With luck, you can read the two paragraphs above, because they make no mention of campaign play and indeed suggest that Boot Hill is anything more than a roleplaying game as the term had come to be understood at the time. Even though my friends and I never did much with the game beyond run gunfights and similar mayhem, we nevertheless considered it an RPG little different from others available at the time (except perhaps that its rules were thinner). I doubt we were alone in this.

Boot Hill Introduction (Part I)

One of the (many) fascinating things about Boot Hill is that its presentation is quite different from TSR's other RPGs of similar vintage, like Dungeons & Dragons or Gamma World. Consider what the introduction to the 1979 second edition has to say on the matter:

BOOT HILL is designed to function as a game in two ways – as a set of rules for man-to-man gunfighting action, and as an outline guide for setting up quasi-historical or fictional role-playing campaigns for an ongoing series of events. Although in the first context alone BOOT HILL will provide many hours of exciting action, it is in the latter way that the game fully reveals all its enjoyable possibilities – as player characters pursue their individual goals and interact with each other in a continuing game situation. With a good mix of interesting players and a competent gamemaster/referee there will certainly be no lack of action – as sheep ranchers and cattlemen pursue outlaws and rustlers, unscrupulous businessmen expand their holdings, hostile Indians threaten and much more.

This is an important paragraph. The most immediate statement of note here is that Boot Hill is intended to be used in two ways, first as a traditional RPG focused on a small group of characters and second as a vehicle for campaign play in which characters and groups of characters contend with one another. Equally notable, in my opinion, is the statement that Boot Hill "fully reveals" itself through campaign play, which is a statement I fully endorse. 

The introduction continues:

Players will find that, once learned, the mechanics of play for BOOT HILL will be easily handled. This means that tabletop games can be played with a minimum of trouble and preparation, either with a referee or without.

Pay close attention to that last prepositional clause: either with a referee or without. If one is only familiar with the way RPGs are typically played today, that's got to be something of a shock.

The larger campaign games will require a gamemaster. This individual is not a player himself, but rather functions as a moderator of all the game activity – from devising the details of the setting and campaign situation and the player characters' part within it, to moderating and overseeing all game action (not only that which is to occur on the tabletop, but also the considerable pursuits and intrigues which go on "behind the scenes"). No more than an average knowledge of the "Old West" is needed, since the game is designed to be flexible and can be set up as desired with the information and suggestions given in this booklet. If the game is set up and conducted in a way which will be challenging and enjoyable to the players (as well as interesting to the referee), then it will be a success.

Reading this, I find myself reminded of Diplomacy, a game that was very popular with many early roleplayers, including Gary Gygax. An aspect of what makes Diplomacy unique is that there is a "roleplaying" element to it, in that each player acts as a diplomat for a European nation in the early 20th century and engages in public and secret negotiations with the other player diplomats with the goal of advancing his nation's interests and the expense of the others. Diplomacy is, to use contemporary parlance, a PVP game in which a player can only succeed at the expense of others. 

I won't go so far as to claim that Diplomacy is the hidden key to understanding how many campaigns were played in the early days of the hobby, but I nevertheless do believe that it's an oft-forgotten part of the context out of which roleplaying games evolved. As near as I can tell, early campaigns were freewheeling, chaotic affairs in which players often pitted themselves against one another and campaign events were just as likely to be the results of this player-versus-player struggle as referee-created situations. The early history of Gygax's Greyhawk campaign is instructive here, in which Rob Kuntz's fighter, Robilar, frequently acted in his own self-interest and against those of other player characters in the campaign. 

This seems to be the kind of play that the introduction to Boot Hill is advocating and that the game was designed to facilitate. In my next post, I'll take a closer look at a later section of the introduction, which provides additional detail about how campaign play of this sort was envisaged.

Boot Hill Credits

I've been re-reading the second edition of Boot Hill recently. There's a lot in it that I'd forgotten and that I think worthy of comment, but I'll save that for an upcoming post. For now, I simply want to draw attention to the game's credits. In addition to crediting the game's designers, editors, and artists, it also lists the names of its playtesters, along with the characters they played. For anyone interested in the history of the hobby, it's fascinating stuff:

Jim "Gatling Gun" Ward (Julio Diego Garcia)
Mike "Hellfire & Brimstone" Carr (Dwayne De Truthe, and the Douglas Gang)
Rob "Shoot 'Em Up" Kuntz (The Moonwaltz Kid)
"Dastardly Dave" Megarry (Dastardly Dave Slade)
Dave Arneson (Ben Cartwheel of The Ponderous Ranch)
Gary "I Own It All" Gygax (Mr. G)
Terry "Hotshot" Kuntz (Mason Dix)
Tim "Elect Me!" Kask (Tim McCall)
Ernie "Scatter Gun" Gygax (Ernie Sloan)
Brian "Buckshot" Blume (The Referee)

The list is a veritable who's who of the early days of TSR Hobbies, which I suppose shouldn't really be a surprise, since this edition was released in 1979. The player nicknames are quite amusing and I suspect they relate to events from the campaign. 

Appendix D of Boot Hill includes a list of fictional non-player characters, many of whose names match those listed in parentheses above, suggesting they're the names of player characters. This list includes not only these characters' names but also their game statistics and profession. For example, Mr. G, Gary Gygax's character, is described as a "rancher." That probably explains the "I Own It All" nickname above. Meanwhile, Mike Carr's character, Dwayne De Truthe, is a preacher and Tim Kask's Tim McCall is a saloon keeper and gamber (and presumably a would-be politician).

I absolutely adore lists like this. Frankly, I wish we knew more about the play of early RPG campaigns by people who'd eventually go on to make an impact on the hobby. I wish, for example, that I had a similar list for the Traveller campaigns played by the GDW crew. Perhaps I'll have to press Marc Miller about this when I see him at Gamehole Con this October.

Polyhedron: Issue #30

With issue #30 of Polyhedron (July 1986), we reach the final issue I ever owned or read. My subscription ended that summer and, with my final year of high school approaching, I was so preoccupied with other matters that I elected not to continue reading. To be fair, I let my subscription to Dragon lapse around the same time, but I'd still pick up stray copies of the magazine to keep abreast of the latest news about D&D and other RPGs. Consequently, this will be last post in which I do a recap of Polyhedron's contents. I'll do a summation of my feelings about the RPGA newszine next week before moving on to a new regular feature the following week.

As has often been the case, this month's cover is drawn by Roger Raupp. It depicts the six characters from Christopher S. Jones's "Nienna & Friends," the first installment in "The New Rogues Gallery," which is "a continuing feature ... through which members may share their most interesting characters and NPCs." In truth, this is just an outgrowth of the "Encounters" column that began all the way back in issue #8, which had already morphed into something akin to this. In any case, "Nienna & Friends" presents write-ups (including AD&D stats) for the half-Drow fighter/magic-user Nienna, her human cleric mother, Rhodara Larith, and their protector, the Grey Elf magic-user Zered Camaron. Zered's son, Elerion, along with Nienna's evil Drow father, Tray-Dor, and his drider companion, Day-Ron, complete the group. In general, I like articles like this, if only because they give me some sense of what happens in other people's campaigns. I know "let me tell you about my character" is supposed to be cringeworthy, but I genuinely do enjoy this sort of thing (and occasionally indulge in it myself).

"In Search of the 12th Level Mage" by Roger E. Moore is a good article on the much-vexed question of demographics in Dungeons & Dragons. Moore takes a look at the population information provided in the revised World of Greyhawk boxed set and plugs it into the information found in the AD&D Dungeon Masters Guide regarding the makeup of NPC adventuring parties to arrive at a possible answer. His conclusion is that high level characters of any class are quite rare, especially so for magic-users, who number only about 200 out of every 1000 people (who are themselves only one-tenth of every 10,000 people). Of those 200, only 1 is 8th-level, meaning that the mage of the title would be a special NPC created and placed by the referee. Of course, the question of how many NPCs have classes/levels is itself an interesting one without a definitive answer. Even so, speculations like this are fun and an important part of worldbuilding in my opinion.

Brian Leikam's "In Defense of the Lowly Fighter" is, as its title suggests, a look at the fighter class in Dungeons & Dragons and how to make it more appealing to players. I wrote a post about this article three and a half years ago, so I won't say much more here. However, I largely agree with Leikam that fighters should be more common and better appreciated in D&D, especially nowadays, where the human fighter has more or less become synonymous with "boring." 

"Ravager" is the first part of an AD&D adventure by Jeff Grubb. Though it doesn't mention it anywhere, I assume this was a RPGA tournament scenario at some point, since most of the adventures that appear in Polyhedron began life that way. Its premise is that a bandit-king, the eponymous Ravager, has arisen and, thanks to ancient magic, has made himself effectively immortal. The goal of the characters is to raid a tomb in the Grey Desert that might contain information on how to reverse this magic and render the Ravager mortal again. The tomb is small and filled with traps, tricks, and puzzles, in addition to monsters. I expect it would be a challenge to navigate it successfully. Included with the adventure are six pregenerated PCs whose names could well be Asterix characters: Necromantix, Logistix, Goldbrix, etc.

"The Treasure Chest" returns in limited form, offering just back issues of Polyhedron and four RPGA adventures written by Frank Mentzer, like To the Aid of Falx. There's also a similarly abbreviated "Fletcher's Corner" by Michael Przytarski, in which he muses about crossbreeds among the various D&D races, another much-vexed topic in gaming circles. Przytarski offers no new insights or answers here. Slightly more useful is Jeffrey A, Martin's "Beware the New Golems," which offers up four new golem types: copper, oak, brass, and shadow. The last one is notable, because it's a golem that can only be made by illusionists, something you don't see very often in AD&D, where the illusionist was, in my opinion, and underused and under-appreciated class.

Preston Shah's "Little Miss Sure Shot" was unexpected. It's not just a Boot Hill article, but a history lesson as well, providing historical details and game information on using Annie Oakley in your games. I like articles of this sort, but then I'm also a fan of historical gaming, so I'm probably not a good gauge of how well received articles like this would have been received. "New and Old" by James M. Ward is a one-page preview of some aspects of the upcoming new (third) edition of Gamma World. He also reiterates the oft-repeated promise that TSR planned to do a new edition of Metamorphosis Alpha to tie into it as well. That didn't happen, of course, but I don't doubt that it was planned. 

"Dispel Confusion" is reduced to one page and tackles only AD&D questions, nearly all of which are highly technical in nature. With hindsight, this is one of those aspects of the TSR era of D&D that seems baffling. At the time, though, a fair number of gamers, myself included, really did care about "official" answers to rules questions. Finally, there's Errol Farstad's review of Timemaster, which he thought had "potential to be very enjoyable," even though it still had a few "rough spots." That's a fair assessment, I think.

And that's all folks – the end of my re-reads of Polyhedron. Next week, as I stated at the beginning of this post, I'll share some final thoughts about the more than 20 issues I read during my time as a subscriber. There's frankly a lot to say on the subject and I think it's deserving of its own post.

Polyhedron: Issue #20

Issue #20 of Polyhedron (November 1984) is another with which I am very familiar. Regular readers should also remember it from another post I wrote almost a year ago. The cover, by Roger Raupp, depicting the events of this issue's "Encounters" article, is a big part of the reason why it made such an impression on me as a teenager. I'll have a little more to say about it shortly.

"Notes from HQ" is a good reminder that, whatever else it may have been, Polyhedron was supposed to be the official news organ of the RPGA. Consequently, the article focuses on the most recent GenCon and the events run there on behalf of the Role Playing Game Association. While most of the information it conveys is ephemera – "Due to a computer mixup, our events didn't make it into the pre-registration brochure ..." – I nevertheless found the titles of some of the RPGA events fascinating. For example, there was "Baron of San Andreas" for Boot Hill, "Seventh Seal" for Top Secret, and "Rapture of the Deep" (or "Face of the Anemone") for Gamma World. It's all quite evocative and makes me wish I knew more about them.

Speaking of Gamma World, there's another installment of James M. Ward's "Cryptic Alliance of the Bi-Month," this time devoted to the Healers. To date, most of the entries in this series have been, in my opinion, vague on details and generally limited in utility. Some, however, get by because the cryptic alliance covered is sufficiently interesting in its own right, like, say, the Knights of Genetic Purity, Sadly, the same cannot be said of the Healers, who come across as very generic peaceniks without much in the way of adventure hooks that might convince a referee to include them. Also, like too many of the cryptic alliances in this series, the Healers' own legends include too many sly jokes and references to 20th century pop culture ("Lue of the Sky" and "Bencassy"), but then that's a common problem with the presentation of Gamma World's setting and not unique to them.

Kim Eastland's "The Proton Beam" describes a new form of weapons technology for use with Star Frontiers, along with defenses against it. I've always had conflicted feelings about the fixation sci-fi games have with an ever-expanding equipment list, so I tend to greet articles like this with some skepticism. In this case, though, I appreciate that Eastland use the introduction of the proton beam into an existing Star Frontiers campaign as an occasion for adventure. He suggests several possible ways the new weapon could debut, each of which has the potential to send the campaign in different directions. To my mind, that's how new equipment/technology ought to be handled.

James M. Ward returns with "The Druid," a two-page article describing Thorn Greenwood, a druid NPC, in some detail. This is part of an irregular series begun back in issue #17, in which Ward presents an archetypal example of an AD&D character class as an aid/inspiration to players and referees alike. Accompanying the article is another page in which RPGA members have submitted their own shorter examples of members of the class. It's an interesting idea, but I'm not convinced it's quite as useful as Ward might have intended.

"The 384th Incarnation of Bigby's Tomb" is a very high-level (15–25) AD&D tournament adventure by Frank Mentzer. Despite its title, the scenario does not seem to have anything to do with either Gary Gygax's character Bigby nor with The World of Greyhawk. The titular Bigby would seem simply to be a generic archmage, though artist Roger Raupp seems to have taken some inspiration from Gygax's actual appearance in depicting him:

The premise of the adventure is that Bigby labors under a curse that makes him unable to employ potions of longevity and thereby extend his life. Rather than die, he placed himself in suspended animation within an artifact, where he would rest until brave adventures might find him, lift the curse, and deliver to him the desired potion. The dungeon surrounding the artifact is not really a tomb, since Bigby isn't dead, but it is a deadly place filled with lots of tricks, traps, and challenges, just as you'd expect of a good tournament dungeon.

"Encounters," yet another piece by James M. Ward, features the Aquabot for Gamma World, about which I've written before, as I noted above. In my youth, I remember finding the article somewhat jarring, because, up until this point, the setting of Gamma World had never included anything like this in any of its previous supplementary material and I didn't quite know what to make of it. Years later, I'm still not sure, but there's no denying that it made an impression on me, so I suppose it achieved its purpose.

The antepenultimate section of this issue is a doozy: Roger E. Moore's three-page essay on "Women in Role Playing." The article is a very well-intentioned and reasonably thoughtful attempt to broach a number of topics relating to the entry of more women into the overwhelmingly male dominated hobby of roleplaying. While I suspect that many readers today, male or female, might detect the occasional air of condescension in Moore's prose, I think that's probably the wrong lens through which to view this piece. TSR, to its credit, was always quite keen to expand the hobby beyond its traditional male fanbase and articles like this suggest, I think, that they were at least partially successful. 

Roger Moore returns with "Now That It's Over ...," another report on the most recent GenCon (17 for those who care). Unlike "Notes from HQ," Moore's article focuses not solely on RPGA matters but on the entire con. Consequently, there's some genuinely interesting bits of historical trivia, like the performance of a dramatic reading from the first Dragonlance novel that received "a standing ovation." He also highlights all the new RPGs that appeared that year, like Paranoia, Toon, Ringworld. and Chill, not to mention TSR's own additions, like Marvel Super Heroes and The Advenures of Indiana Jones – quite the banner year for new releases!

Finally, there's "Dispel Confusion," with answers to questions about D&D, AD&D, Gamma World, Gangbusters, Star Frontiers, and Top Secret. Only the AD&D questions have any lasting importance, largely because they're questions put directly to Gary Gygax himself at the latest GenCon. One concerns the appearance of the mythical module T2, whose manuscript Gygax says is now complete, though without committing to a release date. The second monsters that are "pretty useless" and that "are never seen in the modules." Oddly, Gygax replies that "work is being done to update and improve the Fiend Folio," even though the questioner, at least as reported, did not specifically mention that book of monsters. It's well known that Gygax didn't like the Fiend Folio and many of its entries, so perhaps he simply took this question as another opportunity to vent his spleen about it.

Polyhedron: Issue #18

Serendipity is a funny thing. No sooner did I mention my childhood affection for Spider-Man than I find that issue #18 of Polyhedron (July 1984) features everyone's favorite web-slinger facing off against the Scorpion on its cover. This only makes sense, of course, since TSR's Marvel Super Heroes debuted around this time and was a big hit for the company. In fairly short order, it seemed as if there were nearly as many adventures being released for MSH as there were for Dungeons & Dragons, though my memory might well be faulty.

Spidey and the Scorpion form the basis for this issue's "Encounters" article, written by none other than Jeff Grubb, the designer of Marvel Super Heroes. Like all previous "Encounters" articles, this one is brief, but Grubb nevertheless makes the most of the limited space, presenting a scenario in which Spider-Man must rescue J. Jonah Jameson from a subway car that's been commandeered by Scorpion. It's straightforward and simple but does a good job, I think, of presenting the kind of situation in which the Web-head often found himself.

James M. Ward's "Cryptic Alliance of the Bi-Month" focuses on the mutant mirror image of the Knights of Genetic Purity, the Iron Society. Also known as the Mutationists, the Iron Society seeks to rid the post-apocalyptic Earth of all non-mutated life, with pure strain humans being the primary target of their ire. Needless to say, this makes the Society an object of fear in Gamma World and I always felt that they'd be used primarily as antagonists in most campaigns. Compared to the Knights, who might excellent villains in my opinion, the Iron Society somehow feels a bit more one-note and the article does little to change my mind on this, alas.

"Remarkable, Incredible, Amazing" by Steve Winter. As you might guess from its title, it's an overview of the then-newly released Marvel Super Heroes RPG. It's basically an advertisement intended to entice gamers into buying TSR's latest product and, in that respect, it does a fair job. Much more interesting is Roger E. Moore's "Kobolds and Robots and Mutants with Wings." Over the course of three pages. Moore talks first about the joys of "hybrid" games that mix and match rules and setting elements, something that even the AD&D Dungeon Masters Guide discusses briefly. He then moves on to talk about various hybrid games he's run, such as when AD&D adventurers made use of a well of many worlds to travel to the universe of Bunnies & Burrows to fight rats in thrall with agents of the Cthulhu Mythos. Finally, he presents a lengthy discussion of kobalts – kobolds who traveled to Gamma World's setting, were mutated by radiation, and then bred true as a distinct species. Moore stats them up for both GW and AD&D and presents lots of information on how they could be used in both games. As I said, it's a very interesting article and a reminder of just how imaginative a writer Moore was.

"The Magic-User" by James M. Ward presents yet another "archetypical" [sic] example of a Dungeons & Dragons class, including her personality, skills, possessions, and holdings. In this case, that's Delsenora, an older woman who uses potions of longevity to retain her youth, who has a particular hatred for powerful undead, like vampires and liches. She also has a passion for flying through the use of magic. Consequently, she's built her castle high in the mountains, in a place otherwise inaccessible to those without flight. Appended to the end of Delsenora's description are two more magic-users, one by Ward (named Lidabmob – Bombadil spelled backwards) and another by Susan Lawson, presumably a RPGA member.

"Two Cents" by Joseph Wichman is a rambling opinion piece in which the author, another RPGA member, covers a number of vaguely related topics under the header of "roleplaying." He begins by arguing, contra the "Two Cents" column in issue #14, that roleplaying is not the same as acting and that any referee who expects his players to immerse themselves deeply in their roles is being unreasonable. He also touches on "troublesome" players, evil characters, and player vs character knowledge – all perennial topics in the gaming magazines of my youth. While I don't disagree with anything the author writes here, the article is somewhat frustrating to read, since it bounces around from one subject to the next.

"Layover at Lossend" by Russ Horn, yet another RPGA member, is a short Star Frontiers scenario set on the titular planet of Lossend. The format of the single-page scenario reminds me a bit of the "Encounters" feature, in that it includes of player characters to be used in conjunction with it. The adventure itself isn't particularly worthy of comment, since it's very short and sketchy, leaving most details to the referee to work out. What is interesting is that Horn refers to the referee – the official term for the Game Master in the game – as "the DM."  This is obviously just a small slip-up, both on the part of the writer and the Polyhedron editorial staff. However, I think points to the extent to which the terminology of Dungeons & Dragons had become the defaults in RPG discussions, even discussions about other games.

"Money Makes the World Go Round" by Art Dutra – again, an RPGA member – is a thoughtful little piece about the role of money and treasure in an ongoing D&D campaign. Dutra's focus is primarily from the side of the referee, highlighting the ways that money can be used to both motivate and impede player characters. He points out all the costs that PCs can incur during a campaign, especially those that are overlooked, like training and converting gems into coins, among many others. Dutra is absolutely correct, in my opinion, that referees often fail to take into account the, if you'll forgive the pun, value of money as a driver of a campaign. My only criticism is that focusing on taxes, exchanges rates, hidden costs, and other expenses can very quickly become tedious, or at least that's been my experience. Finding a way to keep money in mind without degenerating into an exercise in bookkeeping would be truly worthwhile topic for an article or essay.

Speaking of tedious, this issue's "Dispel Confusion" is largely filled with very persnickety rules questions of the sort that bore to tears. Whether because of laziness or a lack of intelligence, I've always been much more of a rulings guy rather than a rules guy, so this stuff frequently baffles me. I'm especially baffled by questions that begin "Can I ...?" as if the sender felt he needed TSR's permission to introduce something into his own campaign. I suppose these are the inevitable fruits of the company's attempts to maintain tight control over all of its games and to discourage its customers from buying or making use of "inferior" supplementary materials.

Issue #18 of Polyhedron shows the continued evolution of the 'zine. Perhaps the biggest change is the inclusion of many more articles submitted by RPGA members. That's a welcome change, though the quality of those submissions seems to vary quite a bit. Over time, I suspect that, too, will change, but, for the moment, it gives the issue a much more uneven feel than some of its immediate predecessors. Nevertheless, I look forward to seeing what future issues have in store. 

Polyhedron: Issue #17

Issue #17 of Polyhedron (May 1984) is immediately notable for its cover, which features an uncredited 19th century engraving rather than an illustration by one of TSR's staff artists. Nevertheless, the engraving is being used to illustrate one of this issue's articles, a long "Encounters" piece by Kim Eastland about which I'll speak shortly. Because of hos different this cover looks compared to its predecessors, it's one that I remember well, even if I didn't recall anything about the article to which it's connected.

The issue kicks off with a long letter in which a reader comments that he is "not a member of the RPGA Network in order to get a second helping of articles every month. DRAGON does a good job monthly." Instead, the reader wants to hear the opinions and ideas of RPGA members rather than "professional writers." It's a fair criticism, I think, though, as I noted last week, it's not one I shared. Editor Mary Kirchoff explains that the preponderance of articles by TSR staff members is due to a lack of submissions by RPGA members. Reading this now, I must admit to some surprise at this. I would have imagined that members would have jumped at the chance of writing for Polyhedron, but apparently not. (Of course, given that I never submitted anything during the time I was a subscriber means that I have no room to criticize.)

Kim Eastland's "Encounters" concerns a ruined temple that the characters came across while traveling elsewhere. Outside the ruin is the servant of an adventurer whose employer left him outside while he ventured within to investigate. That was more than a day ago and the adventurer has not returned since. What then follows is a three-page description of the temple, its contents, and denizens, accompanied by illustrations that (mostly) are in the same style as the cover. Though lacking a map, the temple is quite fascinating, since it includes a number of tricks and traps within it, as well as some valuable treasure. I think it'd make an intriguing side encounter for an ongoing campaign.

The Knights of Genetic Purity are James M. Ward's "Cryptic Alliance of the Bi-Month" for use with Gamma World. Pure strain human supremacists, the Knights fall squarely on the side of villains, at least in most of the GW campaigns with which I am familiar. The article thus devotes most of its two pages to details of the alliance's personnel and weaponry, so as to aid the referee in using them as adversaries. We also get a couple of legends associated with the cryptic alliance, such as "Pul Banyon," a seven foot-tall mutant slayer and a king named "Art" who was betrayed by his "human-looking mutant" wife. I remember liking this article more than is probably deserved upon re-reading it. I don't think it's bad so much as uninspired, which is a shame, because I think the Knights of Genetic Purity make great adversaries for a Gamma World campaign.

"Variants, House Rules, and Hybrids" by Roger E. Moore, on the other hand, is a terrific article. Over the course of three pages, Moore looks at the merits and flaws of introducing variant rules into your ongoing RPG campaign, as well as presenting examples of such variants (critical hits, new classes, etc.). What's most remarkable about this piece is not Moore's advice, which is indeed good, but the fact that it appears in the pages of Polyhedron at all. Moore acknowledges, at the start of his article, that TSR's policy is that "it's better to game with the rules as they are," but he nevertheless feels that "everyone has different ideas on what makes a game fun." From the vantage point of 2024, this might seem non-controversial, but, at the time, for people like myself, who hung on every word that proceeded from the mouth of Gygax, it was a Very Big Deal and I am grateful for it.

"The Fighter" by James M. Ward is the start of a new feature, intended to present an "archetypical [sic]" example of a Dungeons & Dragons character class "to give a general idea of what characteristics and/or quirks a superior, balanced character in a particular character class would have." Ward presents Ian McPherson as his example of the archetypal fighter, detailing his personality, skills, equipment, and holdings. It's notable that the article is light on game mechanics, which surprised me. I would have thought we'd at least get game statistics for Ian, but we do not. Instead, the following article, "Two New NPCs," presents two brief write-ups of unique fighters, one a dwarf and one a half-orc, written by Ward and Roger E. Moore respectively. These write-ups do include stats and are thus more immediately usable.

"Disguised Weapons" by Nicholas Moschovakis presents six hidden weapons for use with Top Secret. This is a no-nonsense "meat and potatoes" gaming article of the sort that used to fill gaming magazines at the time. Likewise, Kim Mohan's "Wishes Have Their Limits" also belongs to a hoary gaming magazine genre, namely, articles about how to constrain and otherwise rein in the power of magic wishes in D&D. Mohan attempts to present, over the course of three pages, a series four "laws" for adjudicating wishes. His laws are all fine, if you feel the need for such things, but, these days, I'm generally quite lenient with wishes and reality warping magics, because I see in them the opportunity to inject a little chaos into the status quo of a campaign. Maybe I'm weird.

"DM Talk" by Carl Smith looks at the various approaches to refereeing D&D, offering thoughtful insights and advice. Though obviously geared more toward novice DMs, I think he still says things of potential interest to more experienced ones. In particular, I like his division of RPG players into one of three "levels," each of growing sophistication, with Level 1 being "roll playing" and Level 3 being a high degree of immersion. He then tailors his advice for the referee based on the current level of the campaign and the needs of its players. It's not a world changing article, but it's solid and looks at the subject from a slightly different perspective, which I appreciate.

"Dispel Confusion" presents the usual assortment of questions and answers related to TSR's various RPGs. The most notable questions this time around are one concerning the fact that the monster Zargon from The Lost City is stated to be "no god" and yet his clerics have spells. How is this possible? According to the answer, "there is in fact a greater evil force behind Zargon" and it is this mysterious being who is granting spells to his cleric. I have to admit that's quite intriguing! Another question concerns whether there are female dwarves, which the questioner apparently doubted. Obviously, the answer is in the affirmative. Did anyone seriously doubt this?

Issue #17 also includes another mini-module, "The Incants of Ishcabeble," by Bob Blake. It picks up from the mini-module included in the last issue and takes the characters to the abandoned tower of the ancient wizard, Ishcabeble. I have an affection for abandoned towers of all sorts, so I'm naturally inclined to like this one, too, which features a good mix of puzzles, tricks, traps, and combat. 

The transformation of Polyhedron continues, though, as I theorized previously, not all of its readers are entirely happy with its new direction as Dragon Jr. Of course, Polyhedron was, to my recollection, always in a state of flux, never quite knowing its niche within the larger constellation of TSR gaming periodicals. As a result, each issue was, to some degree, an experiment to determine what worked and what didn't. This one is no different in this regard and, as we shall see in weeks to come, quite a lot didn't work, hence the regular need to launch new columns and features that soon disappear, only to be replaced by others. 

Polyhedron: Issue #16

Issue #16 of Polyhedron (February 1984) is the beginning of a couple of new features for the RPGA newszine. First and most notably, the issue includes an 8-page removable "mini-module" in its center. I'll have more to say about this shortly, because it was a fairly big deal at the time. Secondly, this issue marks the start of James M. Ward's "Cryptic Alliance of the Bi-Month" series for use with Gamma World. I was (and remain) very fond of this series, so I'll likewise have more to say about it later in this post.

In her "... from the editor" column, Mary Kirchoff explains that the RPGA has decided to stop producing exclusive merchandise, including exclusive AD&D adventure modules. Consequently, each issue will no longer include a catalog, freeing up about ten pages for additional gaming material. This month, that means the aforementioned mini-module. Kirchoff also mentions that, with the increase in space available for game material, she's looking for more submissions from readers. This call will bear some interesting fruit in future issues.

The issue proper begins with "Encounters" by Doug Behringer. This Top Secret scenario pits "NATO agent" – whatever that means – Dean Wiles versus two GRU operatives (Mike Duplie and Gregor Campleliski – I guess these are supposed to be Russian ...) as he attempts to help an East German laser scientist defect to the West. Other than the cool illustration by Roger Raupp depicting Wiles flying a gyrocopter, there's not much to recommend this article. I wish it were otherwise, as Top Secret was a game I greatly enjoyed in my youth.

Much better is "The Followers of the Voice" by James M. Ward, which details the titular cryptic alliance for Gamma World. Ward begins the article by explaining that "90% of all the adventure that goes on in the GAMMA WORLD game" is instigated by cryptic alliances, which gives some insight into how Ward views the play of the game. For that reason, each installment of the series will provide information about history, leadership, goals, geographic locations, and legends associated with each alliance. It's a solid format and one that I appreciated back in the day. The Followers of the Voice, who worship computers, were never my favorite alliance, however, and reading this article did little to change that. Even so, there's something amusingly quaint about seeing the alliance's symbol from the vantage point of 2024:

There's also a legend about a Follower named Jony who scatters seeds that grow into trees whose fruits are computer programs. As I said, it's all very quaint.

"The Shady Dragon Inn" by Carl Smith is an expansion of the Dungeons & Dragons product of the same name, providing additional details about the eponymous inn. "Hot Shots and Cold Water" by Roger E. Moore offers advice on handling "hot shot" players and their over-powered characters. This is precisely the sort of question that led Gary Gygax to create The Tomb of Horrors. For his part, Moore counsels not simply trying to humble boastful players by killing their characters but rather trying to find new and interesting ways to challenge them that don't involve combat or even game mechanics – social maneuvering, politics, religious strife, etc. He also suggests that referees consider the role their own practices may have played in creating hotshots with high-level PCs and course correcting so as to avoid the problem in the future. Like most Moore efforts, it's a good piece, filled with solid advice clearly born of years of experience.

Kim Eastland pens a pair of articles this issue. The first, "Boredom," focuses on those aspects of play that can lead to yawning during a session and how best to deal with them. He briefly covers eight sources of boredom: 

1. Impossible odds
2. Mont Haul worlds
3. Long-winded GMs
4. Unprepared GMs
5. Random encounters GMs
6. Map-crazed GMs or players
7. Overly creative GMs
8. The "stuck-in-a-rut" campaign

Some of these problems are fairly obvious, while others are less so. For example, by "overly creative," Eastland means simply a GM who is constantly inventing new and unusual game elements that make it impossible for players to properly judge how to approach them, leading to a "why bother trying?" attitude that kills enthusiasm. 

Eastland's other article, "Research is Not a Dirty Word," is a kind of alternate Appendix N, focusing primarily on non-fiction books that Eastland feels offer inspiration to harried referees. For example, the Osprey "Man-at-Arms" series is given an endorsement, as is The Dictionary of Imaginary Places. As you might expect, it's a very idiosyncratic list and regrettably short, but it's probably useful, especially to younger referees who haven't read as widely as have us oldtimers. "Photo Session," on the other hand, is just a filler article consisting of public domain NASA concept art of space platforms and lunar rovers. The accompanying text (with no listed author) attempts to connect the illustrations to Star Frontiers by offering cursory ideas of how to use them as inspiration. 

"Monty Haul and the German High Command" by James M. Ward is another reprint from Dragon. It is, however, a very fun article, recounting a game of the World War II miniatures game to which fantasy elements, such as magic. Though mostly played for laughs, I found the article fascinating in the way it casually depicts the introduction of ahistorical and indeed fantastical things into a WWII game. I remember reading about many such incidents in the early years of the hobby. I'm not sure it was ever a commonplace practice, but the fact that it happened at all intrigued me, particularly given my own hidebound prejudices at the time.

"Dispel Confusion" continues to grow in size, taking up three pages in this issue. As is often the case, the questions often seem to arise out of a failure at reading comprehension. I suppose one could be more charitable and suggest that the real problem is that many rules were poorly or unclearly phrased and that's fair. RPG rulebooks have never been paragons of clarity. Still, reading these now, I find myself shaking my head at the things players actually bothered to ask TSR for "official" clarification. But that's the kind of mindset the company encoureaged and one to which I was myself sometimes prone.

Finally, there's "The Riddle of Dolmen Moor" by Bob Blake. It's an AD&D scenario that was apparently first used as part of a series of connected scenarios for use in RPGA tournaments. As a stand-alone adventure, it doesn't offer much other than fighting undead among some barrow mounds on the titular Dolmen Moor. However, it's got an interesting pseudo-Celtic flavor to it that I found intriguing at the time. It's being part of a larger narrative about the prophesied return of an ancient king was similarly novel. Consequently, I have a strange fondness for this "mini-module" and its sequels. They'd eventually all be collected into two AD&D modules that were published in 1985.

Issue #16 of Polyhedron marks, as I wrote earlier, yet another step along the road toward the transformation of the newszine into something more akin to "Dragon Jr.," albeit with its own unique flavor. I welcomed this when I was a subscriber, precisely because I was never an active member of the RPGA and cared little for keeping up with the latest news and views about conventions. I rather suspect that TSR came to understand that many of their subscribers were like me and so began to tailor Polyhedron's content accordingly. I wonder how this might have been seen by RPGA members who actually did care about cons and tournaments.

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.