EGG Anecdotes/Remembrances Of (selected from my Memoirs)

Copyright 2009. Robert J. Kuntz. All Rights Reserved.

"'Rob, I could give two pieces of coon shit what people think of me."-- EGG in an email to me circa 2003.

... This nature was so true of EGG. But it also true that this did not suggest a lack of caring attitude or warmth, for which he was noted to have in great abundance. His detractors, mainly in my estimation jealous piss-ants found at various fora on the internet, were very vocal, but also very cowardly as they seldom if ever, unlike in the days of honored exchange in magazines or by post, ever had the gumption to say anything to the man's face or to direct their enmity towards him in personal exchange; and of course this example betrayed the very nature of the acts and the people behind them. Gary was a heated debater. His letters to the editor in Panzerfaust magazine, the International Wargamer or in The Courier, often developed into slugfests, with a notable one carrying on for many pages and issues between Jerry Pournelle (before the latter's rise to fame as a SF author) ...'"

EGG's Love Affair With Fairy

If it wasn't evident enough in all of his works, here's some more "origin" stories about 4 magic items that appear in D&D, all from the tale, Jack the Giant Killer.

I had read this as a child, of course, but EGG was always fond of retelling it, and did love to repeat the "Fee, Fie, Fo, Fum" on occasion and when you were suitably trapped in the game by a giant. He loved giants. He totally befuddled his son with a giant encounter wherein Tenser bargained for what was in the giant's bag (nothing but old clothes and such); and he certainly did them justice with the G-Series of modules, some of his best adventure crafting, in fact.

Note the extract from the downloadable PDF file, below, for the magic, of which I am sure EGG has commented upon in part or whole, elsewhere; but it is here presented in full. Note that I include the "cap" under what was to become the Helm of Understanding Magic and Languages (i.e., knowledge).

And do note that my humble creation, the Bean Bag (as included in Greyhawk: Supplement #1 to D&D, and then in later editions), was inspired by a related tale, Jack in the Beanstalk. You might say EGG and I "sprouted" from the same garden...

Movie Time at Gary's House

As a young chap I was part of the Gygax family, virtually adopted at one point, and always in attendance at their house on a daily basis. I ate, drank. and sometimes slept there, gamed (of course) helped with the garden, adopted their religion, and most definitely watched movies there!

That I was influenced by EGG's tastes is to say the least. He would later comment upon several that held deep fascination for him and inspired him in writing many of D&D's spells, particularly, 7 Faces of Dr. Lao; and of course, The Raven, a Roger Corman film.

What we have derived from these films are:

7 Faces of Dr. Lao: Stone to flesh spell (cast by Merlin): "After Medusa turns the disbelieving shrew to stone, Lao calls an end to the proceedings and Merlin restores the now-reformed woman."

The Raven: "Craven and Scarabus then seat facing each other and engage in a magic duel. After a lengthy performance of narrow escapes..."

These scenes are of particular importance, for therein are revealed many future spells, such as shield, magic missile, fireball, meteor swarm and several others, like levitate, polymorph any object and perhaps even animate object which could have had ties to Disney's The Sorcerer's Apprentice from Fantasia, as well. I do not include polymorph (of Lorrie's character into the raven), as that proceeds the matter in many myths, particularly as noted in the Grecian myths that EGG was of course familiar with. One can stretch here or there, of course, but when Vincent Price's character, Dr. Craven, does a quick hand movement and creates a transparent, circular shield that stops Dr. Scarabus' (Karloff's) missiles, well, you just have to appreciate it all in afterthought.

I highly recommend both of these movies, the latter which features a very young Jack Nicholson to boot.

UP ON A TREE STUMP #2: Humor in the Original Campaign

Up on a Tree Stump™
(or) All I Know about D&D™ I Learned From Life

©2009 Robert J. Kuntz

#2: Humor in the Original Campaign

Alastair Clarke explains: "The theory is an evolutionary and cognitive explanation of how and why any individual finds anything funny. Effectively, it explains that humour occurs when the brain recognizes a pattern that surprises it, and that recognition of this sort is rewarded with the experience of the humorous response, an element of which is broadcast as laughter." The theory further identifies the importance of pattern recognition in human evolution: "An ability to recognize patterns instantly and unconsciously has proved a fundamental weapon in the cognitive arsenal of human beings. The humorous reward has encouraged the development of such faculties, leading to the unique perceptual and intellectual abilities of our species."

Humor in the Original Campaign was rife; and quite honestly if it hadn't been, the experiences would not have been as rich as they were, and thus not as memorable as they now truly are. Gary did not pretend that he was not humorous, quite the contrary. Very early on in our friendship he pushed book after book into my hands, urging me to "read them." One such gem was Jack Vance's The Eyes of the Overworld. I will forgo describing it and let those who have not graced themselves with Vance's penetrating wit, and indeed, biting sense of irony and drama that interweaves throughout it all, partake of it, and I do highly recommend doing so.

What is revealed here might seem a dichotomy. Humor, however, never equated as some may assume, to actual ridiculousness. Gary's approach was simply wherever he found humor, he expressed it. This is only indicative of his quick mind, as a quick wit does not otherwise rise above that potential but only equals it. There were too many instances of humor in the Original Campaign to really conclude that all was non-serious, for the stories and other data available point to the contrary even if we side with a "fun and games" view as EGG might have himself expressed. He has been quoted many times as expressing such an ideal, but ultimately this becomes his distilled afterthought and his poignant sense of it all, for the adventuring milieu he spawned so early on was a mix of terror, high adventure, horror; and within that he sprinkled, just as the very best dramas have done, slices of humor.

But, one may then ask, what was the purpose of all this humor? We can go many directions with this and even adopt the point that Mr. Clarke exposes above, that "An ability to recognize patterns instantly and unconsciously has proved a fundamental weapon in the cognitive arsenal of human beings."

Facet One, Disarming the Opponent: One must remember that EGG's grounding was in table-top and miniature wargames. Imagine a gathering of us nere-do-wells in his basement, squared off against each other on separate sides of a 6 x 10 sand table. Now imagine the interchanges as we, the generals of one side of the table, quipped with the other side's commanders. Provocation? Most definitely! It may well have been the same thing that the Scots and Edwardian Englishmen could have traded squared off as they were, awaiting the outcome of an upcoming battle. A summoning of courage? Most certainly! The superior force responds on all levels of emotional output, and this was no different in our games, whether staged or instinctual, or where-ever such "harmless" chiding bore from. As the battle wore on, as the field changed hands, and as the final victory was in view, the other side crushed and in rout, well, you can imagine that we didn't just sit there wringing our hands and noting it in a perfunctory manner. And although some were calmer in their expressions, EGG was most expressive in victory (especially if it had been a very hard-fought battle hinging on last minute shifts and on the fly changes), so it is not to say that he didn't sound like a Confederate soldier on occasion, perhaps imagining himself pursuing the blue-bellies amidst howls and hoots after the Union's rout at the First Battle of Bull Run!

Now transfer this particular part of his mindset into the D&D game with him as DM. His opponents were the players, we all knew that, and he did too. There wasn't an ordering of political correctness and a false cloud of pretentiousness which I've seen portrayed in modern RPGs. This was a game of strategy and tactics, and that meant, on both sides, that outwitting the opponents involved was now at hand...

Facet Two, Never Reveal Your Hand: EGG was constantly bluffing and had a poker face. I reminded Eric Shook the other day of a tactic EGG and I both used when DMing, in this instance when parties hit a down slant, elevator room or transporter, which secretly moved their PCs (without their in/out-of-game knowledge) to another dungeon level. Well, inevitably at those times EGG and I would create an out-of-game distraction, and I indeed learned this from him while Co-DMing with him on so many occasions, such as: getting up to go to the restroom. Well, this took the focus off of us as DMs, and the party usually took this opportunity to discuss matters of planning and approach and other details in game context. I'd return to such a scene and they'd still be at it, so as I sat down, that is when I'd turn the page to the level they'd been recently transported to, and without them noticing. This tactic merges with DM-craftiness and keeps the upper hand of information in proper control of course; and this was also accomplished through us telling a humorous aside (a joke)--to which the players responded by laughing--and during the uproarious interlude is when we effected our "changes", the level-shifts, etc. DMs have to be magicians, you know.

The poker face comes in handy especially when applying these types of nuanced forms, and certainly helps retain a balanced (neutral) side to the affair, which is indeed the DM's goal to begin with and thus, in our cases, were just part and parcel of the suggested outcome. Styles may differ in attaining these most singular points, of course.

Facet Three, Dispelling Tension: Humor was also used in dispelling tension and thus in informing players in a round-about manner, and thus intuitively, that we may have been in a good mood that day as the DMs. More often this tactic was used with newcomers who we were not going to handle too roughly... at first. This tactic merged with "Disarming the Opponent." When used up front on veteran players they often, if not always, took it as a warning sign instead, and with good reason, as it more often meant to them that we were about to test a new situation or thing upon them, the guinea pigs; and so the more intuitive of the bunch would react with a more guided approach and careful manner, especially if there were veterans mixed with newcomers, the latter having no idea of the "fun and games" ahead. The best players in this regard were Ernie Gygax and my brother, Terry. Ernie especially would pick up on this charade of ours, having for many years understood his father's humor and mind and thus, by transference, my own. Keenly perceptive and eyes rooted to ours, he was always searching for clues in our manner, but more often than not only got in return shrugs and a poker face, accentuated at times by wry smiles...

So, when you hear that humor has no place in a "serious" game, think back. Are the tales of Nehwon at a loss for it? Do L. Sprague DeCamp's or Fletcher Pratt's stories fall to the side and not embrace such? Does Jack Vance not include it in many of his tales? Then too, does the dark side of this in C. A. Smith's tales not rise time and time again to relish it? Where else can we find this form, this dramatic mixing which works so well in a game merged with the fantastic? If certainly within some tale as recounted by Shakespeare, then I have no qualms at all for being included in such company! Humor can thus be offset, and rightly so, from joking around. This is a serious business outwitting an opponent in a game; and this is made even more notable if you can do it with a smile...

Tidbits: "Little Roots" in the First Fantasy RPG

"Consequently, Little Wars influenced my development of the Chainmail miniature rules and the Dungeons & Dragons fantasy roleplaying game. For example, it established the concept of a burst radius for cannon rounds, an idea that was translated both into the Chainmail catapult missile diameters and the areas of effect for Fireballs in D&D. ..."

"...Well's treatment of subterranean humans in the Time Machine certainly reinforced my concepts of underground adventure areas other than dungeons (as did Jules Verne's Journey to the Center of the Earth...)"

--Excerpted from E. Gary Gygax's foreword to H. G. Well's "Little Wars," 2004, Skirmisher Publishing.

Wells also influenced David L. Arneson with his City of the Gods and without a doubt myself and Gary on yet another level with Expedition to the Barrier Peaks.

Verne was a favorite of mine, and I was always enthralled by the movie adaptation of Journey to the Center of the Earth starring James Mason and Pat Boone. One can almost feel being underground and project themself into those twisting caves and passages. The favorite maps that I've drawn over the years involve large, complex cavernous areas, and I am sure I was influenced by that movie to a great degree.

The D-series by EGG: This has roots in Burrough's (and later Holme's treatments) of Pellucidar (and Mars), and certainly we can draw parallels to pieces written by HPL (At the Mountains of Madness, et al) and of course A. Merritt (Face in the Abyss, et al), and most certainly more of Verne's "A Journey..."

I have admitted to REH's influence upon my creating the terrible iron golem and more recently to Poes's influence from Fall of the House of Usher and the movie Forbidden Planet, both of which contributed different aspects to the Maure Castle family and adventure information as conceptualized for Dunegon Magazine (#112, #124 and #139), such as the ID Core.

My upcoming project, Dream Land is part OZ, part Matrix, part Alice in Wonderland, with a sprinkling of Lovecraft's The Dream-Quest of Unknown Kadath.

I have admitted elsewhere over the years that Tharizdun (EGG's take on the 1 1/2 pages I wrote for the dark god Tharzduun©) was influenced by C. A. Smith's Lord of the Seven Hells, Thasaidon.

"Lord of the sultry, red parterres
And orchards sunned by hell's unsetting flame!
Amid thy garden blooms the Tree which bears
Unnumbered heads of demons for its fruit;
And, like a slithering serpeat, runs the root
That is called Baaras;
And there the forky, pale mandragoras,
Self-torn from out the soil, go to and fro,
Calling upon thy name:
Till man new-damned will deem that devils pass,
Crying in wrathful frenzy and strange woe."
-Ludar's Litany to Thasaidon

My work Dark Chateau has some solid and related roots pointing back to one or more of the authors as noted above, and if anyone here can correctly guess these, I will send them a special certificate of "Roots Detectivity," signed by C. Auguste Dupin himself! E-mail me at rjk@pied-piper-publishing.com with your deductions.

There are certainly more roots that others have "unearthed" in their quest to discover these, and I will add this encouragement to those quests, as I love a mystery myself: Be looking for more to come from this author's pen!

Magic and Artifacts in the Original Campaign

This became today's article due to Endymion's fine questions and examinations posted at our forums.

(Endymion): D&A is the first I've gone through (ERKAT and Stalk soon to follow) and I had some questions and comments. They all display Rob's usual fertile imagination and really bring home the uniqueness of the original campaign(s). I was startled, though, at the power of many of them -- most of these seem more like artifacts than magic items. How common were these types of things in your campaign? Did you ever encounter game balance problems? Also, many of the items seem to have random, unexpected or layered abilities. How common was it for players to actually explore and discover all aspects of these items? Reading these over almost rewrites my sense of magic in the AD&D campaign -- you look at the DMG, see all those lists of "standard" items, and you almost can't help but feel magic is assembly line stuff. Reading over these items, you almost feel as though each magic item is like a loaded gun that could blow up in our hand: you never know what these things are going to do and when they're going to do more harm than good. I like that, but it's a real alteration in my perception of AD&D magic.

(In response): I will go out on a limb here (and let Eric do so later for his items in ERKAT) and say that EGG was very impressed with my ability to create items of unique abilities and multi-layered powers and dimensions, etc. Recall that players played a lot in the campaign, some almost daily, and due to that their levels increased proportionately; and that was the way, whether right or wrong, or needed or not, that it had to progress anyway, as the rules were being play-tested at the time and this perforce meant that all of the areas in them had to be fully examined, included higher ranges of campaign play. That is not to say that we forced the issue and let folks run over the rules as then existing and as they expanded, it just happened that they did a lot of playing, and that was that.

This led to me crafting a plethora of higher-level items to challenge them in the later stages. The idea of "artifacts," is rather artificial for a division sought between mundane and named items in OD&D Supplement #3, and should be considered in light of existing fact: all magic is ultimately unique, all magic has an originator (an artificer) and can thus be named. This is the generic side of things which D&D embraced on so many levels colliding with the reality of merging with the real facts, just as spells did with those named and those generic. For who indeed created the first "light" spell, and so forth?--the extenuation of this creative thrust, so apparent to EGG, found little expression in D&D's front end design as all was coming to fruition then, and thereafter found room for expression through named items as such matter was revisited with time permitting (Aladdin's Lamp, Vance's many named spells, and sundry items named and apparent throughout folklore, legend and fantasy ultimately influencing this addition).

As for artifacts being dangerous, that is an in the box statement and again, IMO, worthy of examination: The ring of contrariness, and other cursed items, were dangerous, too. The wand of wonder could certainly be dangerous through self use, as could the deck of many things, etc. There are so many it is hard to list, but then the incorrect casting of a fireball was more lethal than any artifact I ever saw employed in the game. This gains the point, really. These things were only as dangerous as players made them. There was ample warning, ample proofs, but in the end, I will guarantee that the players "touched it," just like in that closing scene of Time Bandits ("Don't touch it. It's Evil!").

EGG's assigning of curses to these powerful items (which in reflection rarely had more depth than rapid fire guns, as these for the most part were lists of spell powers that were usable and already known to players) were meant to "balance" the power of it all--real fast work-around, and in some cases rather in keeping with his ideas, I guess, that magic was volatile in the wrong hands (other than immortals who had crafted these, or had had mortals craft these for them, etc). I found these ultimately boring, really, and rarely sought the things as a player or used that design concept as a DM or designer; and was always straining to add more dimension to regular items and thereby name as many as possible, making them truly unique, and not by virtue of their relation to the DMG's concept of "artifacts". In Tolkien, for example, we have unique swords (Glamdring, for example), but in D&D these things become generic, which was useful in many ways (i.e., campaign tweaking by DMs). I sided with the strange and unique, adding history and thus extending the adventuring factor outwards. Not that artifacts in the DMG didn't do that on some level, I just took larger strides towards making magic other than as cookie cutter repeats disguised in different trappings.

So in reality, there are 2 different design sets that manifested in the original campaign game about the same idea, EGG's and my own, and we both appreciated our conceptual ranges on different levels. In fact, EGG loved my magic and was bent on finding it en total at times (i.e., Rings of Wizardry, as noted in his UoaSoapbox article of same); and I was indeed spellbound with his ring of spell turning. But as far as artifacts go, I guess I see it much differently, and as ENS would say these days, "more organically."

The First "Living" Campaign

I have read with great interest several articles around the net describing the start of Living Campaigns. The idea is that these started with a certain edition of the D&D rules proceeding the original brown box version. I am now casting my two pennies into the mix, not just because I can, but because that's the only way to get rid of copper pieces these days. ;)

First, the term "Living" strikes me as a misnomer, really, but for clarity sake I'll use it here, as the idea of campaign play seems less understandable within its multi-tierd meaning.

When EGG created the one map for City of Greyhawk and the first Castle Greyhawk (12 levels), we had the start of the first campaign in Lake Geneva, 1972. As noted in EGG's introduction to my adventure, Mordenkainen's Fantastic Adventure (WG5), Gary played in a castle/area that I had designed, (N.B., but I had designed no supporting town or city as he had). That was about a month into him starting Greyhawk. So this is the second campaign created in Lake Geneva (late 1972 to early 1973). Both of us were using the Outdoor Survival game map for outdoor adventures then as there was no area map for either of our imagined locations. Gary in fact started in the "mists" when rolling his first PC, Yrag. Later, he was to adventure with other rolled PCs, Mordenkainen, etc., as EGG was very much taken with building his own clan based around what he later named the Circle of Eight in my mileu, which we located on the same OSMap. Note that EGG had two main PCs as I allowed for him to have an additional one as I was for the most part running him solo (but do read hereafter). Then there came a rash of his NPCs as noted in his Up on a Soapbox stories of his adventures within my "campaign" structure and as appearing in The Dragon magazine, a goodly run of 30 stories, in fact. Note an extract from one hereafter (bold emphasis mine):

...#11. Roleplaying for the Dungeon Master: Virtue brings more than its own reward.

Back in those early halcyon days of D&D, all of my time was not spent developing the Greyhawk campaign environment and then serving as Dungeon Master for the ever-growing throng of players. Indeed, after only a few weeks time there were plenty of others working to create campaign settings like that I was doing. So I was offered many opportunities to play, and I did so in about a dozen different settings with as many different DMs. Thus came into being my first PC, Yrag. Now it so happened that the most eager of these other fledgling DMs was Rob Kuntz. Because he took to the new game like the proverbial duck to water, playing in his campaign was a lot of fun, and I did that wherever I could, side by side with many of the regulars from my own campaign. It was in one such adventure that Rob introduced a new cursed magic item, the ring of contrariness. Likely because I was a very intense player myself, Rob made sure that Yrag ended up with the item. The doughty fighter being a risk taker, Yrag immediately put the ring on his ringer. At that point, I was taken aside, and the properties of the ring were explained to me. Laughing silently to myself, I returned to the group.

... someone asked. “What does the ring do?” To that Yrag replied, “None of your business!” As the adventure was just beginning, another player said the matter could be set aside until later, as his character said. “Let’s go” and moved away. The other PCs followed. Yrag sat down. “Come on,” someone urged him. “No, I am staying here.” Being a close-knit band, the others then came back, saying they too would stay. “In that case, I am leaving,” muttered Yrag, as he stalked off. ... After about 10 minutes of this it became apparent to the other players that I was roleplaying, that Yrag was under some malign magical influence that made him uncooperative. Of course I played it to the hilt. For example: “You can’t take the ring off, can you?” Terik tried, to which Yrag responded, “Yes I can, but that’s what you want, so I won’t.” Then, “Yrag, pummel yourself!” suggested Murlynd. “No, I won’t do that, but I’ll smite you!” roared the fighter now in a growing rage. ... Finally, they came up with a means of defeating the contrariness curse ...

So Murlynd (Don Kaye) and Terik (Terry Kuntz) had started as PCs in Greyhawk and easily moved between that area and my own. Also note that EGG refers to that area as an "environment," which is indeed a better descriptive, as there was no defined area, per se, just a relative image in our minds due to the position that each castle and environment maintained on the Outdoor Survival map in relation to the City of Greyhawk.

And so here we note that, indeed, this is the start of the first true "Living Campaign," which was to go on to merge as one with me becoming the co-DM of Greyhawk and thereby transferring my creations, such as levels, gods, magic items and sundry ideas into that combined campaign structure. After that time there was only one campaign, really, as EGG and I had never thought otherwise about such divisions, and the process seemed a natural outgrowth of play. However, when we realized that this could ultimately mean an over abundance of sharing across many campaigns then starting (Ernie Gygax's, Terry Kuntz's, Don Kaye's, et al), then EGG & I instated a firm rule that PCs adventuring in our campaign would thereafter have to obtain permission to do so in others, and this was not usually forthcoming, especially if the DMs were known to be of the lax sort who gave away too much bounty.

Adventures With 1st Edition Lethalness

I have always thought that the summaries here of Maure Castle's/Mordenkainen's Fantastic Adventure contained excellent examples of 1st Edition AD&D (and before) lethalness.
The person's summaries of his group's experiences actually make me less enamored for having been mentioned as the "author" but somewhat more proud, instead, as a DM having always embraced a concept I was so often faced with as Robilar, who was constantly challenged across the gaming table by EGG's DM contrivances. Greyhawk Castle and Castle El Raja Key could be very lethal, and in many ways. Not that they were party killers (PK), but there were always chances that this might happen if the players did not think, of course. It is noteworthy that the above summary hits on many levels, as in "How" one dies that makes a legend, etc. It does bring back memories of the beginnings of D&D adventuring where all you could do in death was to become a legend; and by escaping same you became that same legend, a veteran, who was well respected by others in the party for having smarts, or at least luck. It was really refreshing reading that summary.

Can any of our other astute and informed members list other adventure modules that are in their experience as lethal or at least point towards being so? The systems are not important, but a nod towards 1st/2nd/OD&D would be nice (not including Tomb of Horrors, which is mentioned in the above summary).

EGG & the Prisoners of the Maze Introduction

As we approach a full year since Gary's passing on March 4th I am sure a lot of us have been reflecting upon his enormous contributions to FRPG and what far-ranging impact that has had on each singular life that this has positively influenced.

I have been giving much thought to my past association with EGG, from family friend when I was a precocious lad who was considered a family member by the Gygax "Clan" (ah, but the Swiss are so like that with their cantons) to the many times and projects and laughs and, yes, arguments we shared over the years. But as his childhood friend and co-founder of TSR Rules, Don Kaye, once said to me about such disagreements he had himself had with EGG: "Rob, don't let it bother you. I've argued with him for years, not because I was right, but just to keep him honest," which we both laughed at.

One of the many things EGG and I agreed on during his time was the direction of the Greyhawk Project 1979 onward, and one of its component parts, The MAZE OF XAENE, which I had been crafting. Gary was very excited about this as it was central to the ideas of what both of us had been writing about in the DRAGON and the route that we were taking the campaign, of course.
But many folks do not know to date that EGG himself wote the introduction for the first adventure in the series, Prisoners of the Maze, which I append hereafter (warning, pretty long).

For some reason I've always immensely appreciated this introduction. Others have criticized his writing, but look here, again, to see some very excellent exposition and meaningful dialog.
Though the project ended up not going to print at TSR with all of the infighting and politics of the time, it still remained a work to me that epitomized the direction that we were both in accord on with the setting's direction as we saw it then. The next project in line for us was the complete
publication of the our Original Castle Levels, and whcih EN Shook (now PPP's VP) was faithfully re-rendering then.

Note that I've bolded the word, moons, below. And I suppose Grodog or someone will tell me what I already know as to the reason why that was written by EGG...



INTRODUCTION
The secret league has voted. The council has met in secret discussion. A verdict has been reached. They, the representatives of the hoped for re-ascendancy of the Kingdom, would put an end to the reign of Ovar the Crazed. These plotters would have the King assassinated and an ordered and glorious kingdom reestablished once again. These savants of power would bring __________ (fill in your Kingdom) to the fore, with its riches and splendor, its influence and might again supreme, and with their number rightfully directing the kingdom. It is your duty to be the embodiments of action!

You and your council brothers have been directed to come before the assembled members. As you enter the draped chamber and sit in a chair next to a long intricately carved table made of priceless teak, your blood races with excitement, then chills. These cloaked figures represent unknown embodiments of power and strength. Even the air of this underground hall exudes an undefinable weirdness. To dare such an undertaking requires either madness or power or both. A cowled head turns towards where you sit; from it comes a rasping voice:

"You are to be the babes who uproot the rotten and impure tree. Be merciless! In its destruction you create a new foundation, one that will be the answer to the peoples' hopes. In its place a greater tree will grow, one whose top will embrace the sun, whose limbs will touch the moons, and cause our former tormentors to wither away!"

An arm points towards an area where the curtains are drawn back to reveal a small door. You and your brothers bow, and then back from the chamber, each filled with his own inner purpose.

It is exhilarating business to serve as executioners of someone not fit to command a rabble of southern savages; and it is quite a different task to stand long before the council's combined gaze: THAT makes one's blood congeal!

You converse in whispers as your party moves steadily and silently through seemingly endless corridors and passageways. Eventually, the floor changes from coarse stone and brick to polished black marble. Torches, lanterns and cressets light the hallways now. In moments you will be standing before the platinum worked portals of the King's lesser throng room. Where you've been in the gargantuan tower none of you know; but where you are bound is certain: At one stroke you will seal the future of the Kingdom and avenge the lives and blood of the thousands who have died in Ovar's mines, torture rooms and slave pens.

A pair of gigantic guards, covered with black mail and with skull like helms stand to either side of the doorway. At your approach, each guard slams the adamantine butt of his long halberd on the floor; and with the sound echoing down the corridor, grasps the gold ring on the door by which he stands, and heaves. The large portals swing open without noise. As you enter, the opulence of the throne room nearly causes you to falter in your steady and purposeful approach to destiny.

All of you draw a deep breath when the great valves shut behind you. You have done it! You are before the crazed tyrant Ovar! He has seen no threat to your entreat for a private audience. He has allowed you to come before him to discover the "new plants" you have supposedly discovered on an alleged voyage to the Horse Lords: miniature flowers, only fractions of an inch tall, and with their miniature insect life as well!

There sits the despot, patiently awaiting you on one of his thrones of obsidian and silver. Ovar smiles upon seeing the cloth draped coffer you bear, for he thinks it contains the tiny flowers he intends to be the culminating pieces in his collection of flora and fauna. You kneel hands touching the lustrous marble floor. Ovar bids you rise and approach to where the sumptuous rugs of red silk and silver thread are spread. As you near the throne you are elated. NOW! Each of you attacks by bounding with drawn weapon or by quickly motioning in spell casting. Just as suddenly Ovar disappears from his throne!

Confusion! Terror! Have you been betrayed? How was Ovar aware of the plan? How could he have escaped so easily and swiftly? You turn to flee, but know that your escape chances are slight indeed, but any chance is better than none. First, the trollish guards no doubt waiting outside; then a sprint to lose pursuit in the labyrinthian passages of the tower. At this moment you see HIM! It is the most powerful of mages, the dreaded Zayene.

Each of you tries to confront the court wizard, but all of your actions seem weak slow, and disjointed. The dreaded mage smiles evilly as he watches you. With laughter on his cruel lips, and an unnatural light glowing from his eyes, Zayene draws a handful of tiny orbs from the breast of his robe and hurls them at you in a single motion quicker than the strike of a giant snake! As the orbs reach positions over the heads of each of your fellows, they stop abruptly and hang suspended. From each floating orb pours a luminous cascade of strange colors: yellow gold; leaf green; glowing brown; translucent white. Your associates' figures become pale and insubstantial; and then your own arm is transparent! The room fades, but the leering face of Zayene seems to grow larger and brighter, filling the whole universe. Then . . . blackness! Thus begins MOZ Part 1, PRISONERS OF THE MAZE.