A Taxonomy of Old-School D&D

As a hobby for nerds, there's a strong appetite among D&D fans to make lists and categorize things, and this extends not just to elements within the game but to meta-level discussion about the game itself. The most obvious breaking point is TSR-D&D (1974-97) and Wizards of the Coast/Hasbro D&D (1998-present), with the 1998-99 period (after Wizards took over but before D&D 3.0 was released) as a transition period.  The next most obvious is the various editions: Original (1974-77*), 1st Edition Advanced (1978-88), 2nd Edition Advanced (1989-99), 3rd (2000-2007), 4th (2008-2013), and 5th (2014-present) editions. Neither of those really work for me, because my interests D&D-wise are sufficiently narrow that finer distinctions are warranted in order to pinpoint what I consider to be "the good stuff" vs the other junk.

One common taxonomy, as proposed by James Maliszewski at Grognardia (the influential, long-dormant but possibly newly revived "OSR" blog), divides the TSR/1st Edition era into a Golden Age (1974-83) and a Silver Age (1984-89), a distinction largely based on trade dress (but also perceived attitude changes that occurred in conjunction with the slicker and more professional upgrade in production values). The other common one differentiates between the Gary Gygax era (1974-85) and the post-Gygax or Lorraine Williams era (1986-97). I definitely buy into the latter, but even that is not a granular enough distinction for me, because it glosses over the difference between what Gary was doing himself and what the design department at TSR, the group originally led by Lawrence Schick and Tom Moldvay (who had been friends and collaborators before coming to work for TSR) that starting in 1980 reported to Brian Blume instead of to Gary, were doing at the same time. And that's not even to mention TSR-UK, which was a mostly-independent subdivision with their own writers, artists, and a subtly distinctive voice and style that's now commonly referred to as B-OSR and seems to have more kinship with what other UK game publishers were doing than what TSR in the US was.   

And it gets even more complicated because Gary himself did a "soft reboot" on his approach to D&D c. 1975 when he handed the core of Greyhawk Castle over to Rob Kuntz and effectively started over with the Hommlet/Temple of Elemental Evil campaign.  So even "Gygaxian" means different things at different times. I've seen a an explanation attributed to Gary that because Greyhawk Castle had been used for so much intensive play testing with a deliberately "anything goes" approach that it had become too sprawling and inconsistent and Gary wanted to separate that element (and the veteran players who were accustomed to that style) and keep the sub-campaign more grounded and structured and "pure" - developing what we eventually saw in AD&D, the modules, and the World of Greyhawk not just as an outgrowth from but in some sense also a repudiation of the earlier, more freewheeling and gonzo, Greyhawk Castle paradigm. 

Take all of this together and by 1983-84 (the time that's most interesting to me because it's when I first discovered and got into the game) you've got a half dozen different takes on D&D with some degree of official support (not even counting all the other ways third party publishers and players out in the wild were drifting and modifying the game to their own ends):

1. Original Greyhawk Castle "we made up some shit we thought would be fun" style (also includes Blackmoor, Tunnels & Trolls, Arduin, Grimtooth's Traps, and most early Judges Guild)

2. Post-reboot "structured campaign" Gygax style (AD&D, World of Greyhawk, B1-2, D1-3, EX1-2, G1-3, L1-2, S1, S3-4, T1-4, WG4-6; IMO the Jennel Jaquays Judges Guild stuff (Dark Tower, Caverns of Thracia, etc.) also fits pretty solidly within this category)

3. Moldvay-Schick "customer-facing" style (less sandboxy and wargamery than #2; more focus on set-pieces and less on behind the scenes depth; more consumer-oriented as stuff to pull off the shelf and play through rather than stuff to add to your world - the B/X sets, Deities & Demigods, B3-4, X1-2, A1-4, C1-2, I1, O1, Q1, R1-4, S2)

4. TSR-UK "almost satirical" style (broadly similar to #3 but with its own distinct voice and aesthetic feel - White Dwarf magazine, Fiend Folio, U and UK series, O2, X8, Fighting Fantasy books, Citadel minis)

5. Tracy Hickman/Douglas Niles "I'm working on my novel" style (B5-7, X3-5, I2-6, N1, DL series, Ed Greenwood's articles in Dragon magazine)

6. Shovelware "going through the motions/paint-by-numbers crap" style (AC1-5, B8-9, X6-7 & 9, BSOLO, XSOLO, XL1, M1-2, CB1-2, MV1, N2) 

#1 was pretty much forgotten by the time the 70s rolled into the 80s (and as an accident of fate is better represented and was preserved longer by third-party publishers, because TSR had already mostly repudiated this style by the time they ramped up production in the late 70s) so it felt like a genuine rediscovery when people found and embraced this stuff ~15 years ago, but I feel like that has since morphed into fetishization and groupthink, and refusal to acknowledge that this approach eventually grows stale.

#2 is my favorite and IMO the one worth preserving and emulating. It's what I've been talking about here for the last 3 years and in other places online for the 15 years prior.

#3 and 4 are what seems to be the most popular, both at the time and among the "grognards" at Dragonsfoot.org, in "1E" oriented Facebook groups, etc. This is probably because this style a little more accessible (and also a little bit easier - as in more carefully balanced and less deadly) than the #2 stuff. However, these fans either don't recognize (or do, but don't care) that it's also shallower and more limited than the #2 stuff - it's not as expandable, doesn't exist in a larger context, doesn't feel like something that might exist in the game-world whether or not the PCs are interacting with it, and so on. 

#5 and 6 are, of course, what TSR fully embraced from 1986 until Wizards of the Coast took over and brought back a little bit of flavor from #2, a little more flavor and structure from #3 (i.e. a "story" built of strung-together but individually free-standing set-piece encounters), and a whole lot of deckbuilding and "rules mastery" mind-poison.

"Era-based" taxonomies (like Grognardia's) never really distinguish between #2-4 because they were all roughly synchronous with each other in the so-called "Electrum Age" of transition between the Golden and Silver Ages. Most fans even within this "old-school" niche-within-a-niche seem to engage only with the surface and are blind to anything but trade dress, cover artist, and logo. Module S4 obviously (at least to me) has much more stylistically and game-design-wise in common with G1, EX2, and WG6 (fellow "category 2" products with different trade dress) than it does with A4, B3, or X2 even though the latter all have the same yellow corner-flag trade dress, "face" logo, and Erol Otus covers. But if you try to bring this up to most fans, you're almost invariably going to get back something along the lines of "all I know is we had a great time playing through A4 - [insert favorite set-piece: the myconids/the cave fisher/the final battle on the docks] was awesome!"

Like everybody else who started playing D&D in the 80s I owned and played stuff from all of these groups (except #1, which I only discovered later) side-by-side and although I instinctively turned up my nose at the group 5 and 6 stuff even then, it was only long after the fact, looking back on all of it from a different perspective, that I also perceived the difference between #2 and #3/4, and realized that my interest and sympathies were really only with the former, and that that position puts me outside of the "mainstream" of even old-school/retro/OSR/grognard/whatever D&D fandom pretty much everyplace except The Knights & Knaves Alehouse, the seemingly one-and-only active online refuge of the hardcore Group #2 Gygaxians. But hey, at least I've got my tribe, small as it may be.

*of course some version of original or "classic" D&D remained in print through 1996, the D&D Basic Sets of 1977, 1981, and 1983 were, by all accounts, TSR's all-time best-selling products, and the 1991 D&D Rules Cyclopedia is Wizards of the Coast's current pdf/print-on-demand bestseller at DriveThruRPG, so defining the "Original D&D era" as ending in 1977 is unfair and not technically accurate. Nevertheless, from the time of its release AD&D always received the lion's share of attention both from TSR and the public and the non-Advanced version was mostly an afterthought, something mostly targeted at kids and beginners who were expected to "graduate up" to AD&D in fairly short order. There's a reason why 5th Edition is numbered that way - it's effectively the 5th version of AD&D. The widespread embrace of the "classic" version of the game and the way it's come to eclipse the popularity of AD&D even among "old-schoolers" is entirely a phenomenon of the 21st century - people who played AD&D (1E or 2E) as kids looking back and realizing that they now prefer the version they dismissed as "kid stuff" the first time around.

[D&D] The Teeth of Barkash Nour

Going into some deeply obscure Gygaxiana: back in 2006 The Believer magazine published a long profile on Gary Gygax. The whole thing is worth reading. The most interesting part to me was always this section, near the end:

THE TEETH OF
BARKASH-NOUR

Wayne and I took Gygax to lunch at an Italian restaurant on the outskirts of Lake Geneva: an expensive place, Gygax warned us. Our sandwiches cost six or seven dollars each. After lunch, we returned to his house to play some Dungeons & Dragons. Wayne and I felt curiously listless; it had already been a long day of talking; Wayne wasn’t sure he remembered how to play; I would have been happy to go back to our motel room and sleep. This happens to me often: I decide that I want something; I work and work at it; and just as the object of my quest comes into view, it suddenly comes to seem less valuable, not valuable at all. I can find no compelling reason to seize it and often I don’t. (This has never been the case, curiously, in role-playing games, where my excitement increases in a normal way as the end of the adventure approaches. Which is probably another reason why I like the games more than the life that goes on around them, and between them.) I wonder if we would have turned back, if Gygax hadn’t already gone into the house and come back with his purple velvet dice bag and a black binder, a module he wrote for a tournament in 1975. This was before the Tolkien estate threatened to sue TSR, and halflings were still called hobbits. So I got to play a hobbit thief and a magic-user and Wayne played a cleric and a fighter, and for four and a half hours we struggled through a wilderness adventure in a looking-glass world of carnivorous plants, invisible terrain, breathable water, and so on. All of which Gygax presented with a minimum of fuss. The author of Dungeons & Dragons doesn’t much care for role-playing: “If I want to do that,” he said, “I’ll join an amateur theater group.” In fact, D&D, as DM’ed by E. Gary Gygax, is not unlike a miniatures combat game. We spent a lot of time just moving around, looking for the fabled Teeth of Barkash-Nour, which were supposed to lie in a direction indicated by the “tail of the Great Bear’s pointing.” Our confusion at first was pitiable, almost Beckettian.

GYGAX: You run down northeast along the ridge, and you can see the river to your north and to your northeast. So which way do you want to go?

PAUL: The river is flowing south.

WAYNE: Which is the direction we ultimately want to go, right?

PAUL: We have to wend in the direction of the tail of the…

PAUL, WAYNE: “Great Bear’s pointing.”

PAUL: But we have no idea which way that is.

WAYNE: Tail of the Great Bear’s pointing. Maybe we should go north.

The sky clouds over; raindrops fall; the clouds part and the light turns rich yellow. The screen porch smells of cigar smoke. I want to go outside, to walk by Lake Geneva in early May, to follow the beautiful woman Wayne and I saw walking by the shore, to meet a stranger, to live. But I can’t get up. I roll the dice. I’m not tired anymore; I’m not worried about making a fool of myself in front of Gygax, who obviously couldn’t care less. And something strange is happening: Wayne and I are starting to play well. We climb a cliff by means of a magic carpet; we bargain with invisible creatures in an invisible lake. We steal eggs from a hippogriff’s nest; we chase away giant crabs by threatening them with the illusion of a giant, angry lobster.[41] The scenario was designed for a group of six or eight characters, but by dint of cooperation and sound tactics (basically, we avoid fighting any monster that isn’t directly in our path) we make it through, from one page of Gygax’s black binder to the next. So we come to the final foe, the Slimy Horror, which turns our two spellcasters into vegetables; my hobbit thief and Wayne’s fighter don’t stand a chance against it. “That was pretty good,” Gygax says. He lets us read through the scenario, noting all the monsters we didn’t kill, all the treasure that was never ours. The Teeth of Barkash-Nour are very powerful: one of them increases your character’s strength permanently; another transports you to a different plane of existence. We were so close! So close, Wayne and I tell each other. We did better than we ever expected to; in fact, we almost won.

What we're seeing here is, in fact, a fairly detailed description of a long-lost, unpublished D&D adventure by Gary Gygax, The Teeth of Barkash Nour. Those who've read the AD&D Dungeon Masters Guide will undoubtedly be aware of the Teeth of Dahlver-Nahr in the artifacts section. Presumably they're the same thing (not sure why the name was changed). I've always been intrigued by this description, because the adventure sounds really cool and weird, and not really like any of the D&D adventures TSR published, and like something that would've made a great addition to the canon.

A sad twist to what would otherwise just been an intriguing bit of trivia is that this adventure actually was supposed to be published. Around the same time the Believer profile was published, D&D superfan The Dungeon Delver was actually contracted by Gary to expand Gary's notes from the 70s into a full adventure, which was to have been published as part of the "Castle Zagyg" series - it got cover art and everything. Alas, it was never released, and after Gary's passing his widow canceled the entire Castle Zagyg series and the whole thing has been in limbo ever since, which doesn't appear likely to change anytime soon, if ever.

Dungeon Delver is an online buddy of mine, and I've occasionally pestered him for details about this adventure over the years, and he's obligingly provided a few. Yes, the Teeth of Barkash Nour in this adventure are the same thing as the Teeth of Dahlver-Nahr in the AD&D DMG. The adventure is set on a strange demiplane, accessed through a Gate of Horn deep within Greyhawk Castle (very similar to both The Isle of the Ape and Dungeonland). The encounters are as mentioned in the article, plus a few more equally-weird and colorful ones that I'm not at liberty to describe. And the manuscript was complete and handed over to Troll Lord Games (Gary's publisher at the time) for final production and release well before the line was canceled. Alas, that never happened, because, as 'Delver tells it (in a story I'd heard privately a while ago, but which he has only just made public) he was submarined by Frank Mentzer, who convinced Gary to halt publication on specious legal grounds in order, apparently, to set himself up as the savior and take credit for "fixing" a product he had nothing to do with the creation of. Sleazy underhanded stuff, and doubly unfortunate since the delay caused by Frank's interference, coming as it did shortly prior to Gary's passing, ended up dooming publication altogether.

There are a lot of intriguing and agonizing could-have-beens in Gary Gygax's career. Heck, I compiled a whole book out of my takes on some of them. But the Teeth of Barkash Nour are a particularly tantalizing and frustrating example, because this isn't just something Gary talked about maybe writing someday, or some set of minimal, barely-legible notes, or something rumored that may or may not have ever existed in the first place, this is an actual honest-to-goodness complete D&D module that was all-but-ready to go to press, and which is presumably still sitting around somewhere as a complete manuscript. Just like the guys in the article, we came so close to having this thing in our hands.

Maybe it's unrealistic of me, but I still hope that someday maybe Gail Gygax will change her mind and we might still be allowed to see it. But I'm not holding my breath...

[D&D] Down the rabbit hole

The post on The Abduction of Good King Despot got me thinking about Gary Gygax's other venture into "wackiness," the divisive EX1: Dungeonland and EX2: The Land Beyond the Magic Mirror. For anyone out there who doesn't already know, both of these modules were released by TSR in 1983, both of them are adapted from "special" levels within Gary's legendary, unpublished Greyhawk Castle dungeons (the World of Greyhawk boxed set refers to them by the module codes GC1 and GC2, while an article in Dragon #71 refers to EX2 even more intriguingly as "module GC S8/X2"), both of them were used frequently by Gary in convention one-off and demonstration games (he mentions that Dr. Joyce Brothers played through them), and, where the controversial element comes in, both of them are direct adaptations of Lewis Carroll's stories, EX1 corresponding to Alice in Wonderland and EX2 to Through the Looking Glass.

We know now that these sorts of whimsical areas and adaptations of third-party content were common in Greyhawk Castle. In addition to the Wonderland level(s), there were also gates to King Kong's island (later published by TSR as module WG6), Jack Vance's "World of Adventure" and Dying Earth, Michael Moorcock's Melnibone, the Land of Oz, Asgard, Olympus, the strange land of "carnivorous plants, invisible terrain, breathable water, and so on" described in the Believer magazine article about Gary Gygax (for which an expanded version was prepared and nearly published near the end of Gary's life, before - as with so many other things - getting caught up in legal wrangling), and surely many others I don't know about. And even discounting the gates to other realms, the dungeon itself included such whimsical elements as a bowling alley for giants, a "Living Room" filled with animated furniture (a "reimagined" version of which was later published by Gary's Greyhawk Castle co-DM Rob Kuntz), and the infamous "Machine Level" (the gist of which was later adapted into AD&D module S3: Expedition to the Barrier Peaks).

Gary had a large and very active group of players c. 1973-75, so he was under constant pressure both to provide new challenges and to provide enough variety to keep them from growing bored. The rulebooks describe "standard" dungeons consisting of a many-leveled complex of mazelike hallways and caverns filled with doors (some obvious, some secret) and stairwells, pit traps and shifting walls, mysterious fountains, statues, and archways with assorted strange and magical effects, and of course an enormous variety of horrid monsters guarding an equally extensive array of fabulous treasures. Greyhawk Castle had all of those things, in great abundance (in both its original 13-level conception and the later, expanded version that eventually had 40+ different levels), but in order to keep things from becoming predictable and stale for a group of several dozen players, some of whom were playing multiple times a week, it also eventually had all of those other things as well. Gary (later Gary and Rob) were struggling to stay a step or two ahead of their ravenous pack of players, throwing out whatever they thought would make for a fun and challenging game. "Setting verisimilitude" and thematic or tonal consistency were surely very low on their list of concerns (if they were concerned about such things at all), and were only applied retroactively, when Gary began looking back at this material for purposes of commercial publication.

We know all of this now, but I didn't know any of it in the spring or early summer of 1985 when I naively bought module EX1. In those days modules came shrinkwrapped, so unless we had a friend who already owned a copy (and was willing to share - at least in my circle there was a lot of territoriality over modules, and it was understood to be "bad form" to buy a module that someone else already owned and had expressed their intent to run) we generally only had a few things to go on when purchasing new adventures - the title, the cover illustration, the cover blurb, and (pretty much only in the case of modules written by Gary Gygax) the author's name. Given all of that, Dungeonland seemed like a safe purchase. Here's the cover-blurb:

As adventurers you may think you have seen everything: certainly your skills have brought you through unimaginable dangers. But now you suddenly find yourself in a place unlike any through which you have traveled: astounding, dangerous, and even amusing things confront you as you journey, both indoors and outdoors, through the unique and wondrous realm of Dungeonland.

This module was first conceived by E. Gary Gygax as part of the Greyhawk Castle dungeon complex and has been the source of challenge and fun for many skilled players of Advanced Dungeons & Dragons game. It is finally available to all players and can be added to your existing campaign with ease.

Dungeonland is also designed so that it may be used with its soon-to-be-released companion scenario, Dungeon Module EX2, The Land Beyond the Magic Mirror. Still, Dungeonland may easily be played on its own, and should offer hours of excitement in its strange landscape.  

Understandably, I was very excited to dig into this module. Greyhawk Castle! This was before Temple of Elemental Evil came out, so I was very curious what a "big dungeon" from Gary Gygax would look like, and thought that's what this was going to be, at least in part. While there are hints that an astute reader might pick up on, there's no direct reference to Lewis Carroll's works here (intentionally - in his introduction to the adventure Gary stresses keeping its gimmick a secret from the players for as long as possible, on the belief that it will make it more enjoyable for them if they figure it out during play rather than knowing it up-front), and at age 10 I certainly wasn't sharp enough to pick up on it until I'd already put down my cash, rushed home, and torn off the shrinkwrap.

To say I was disappointed by the result would be a massive understatement. It not only didn't match my expectations, it didn't seem like anything I could (or would have any desire to) run. I hadn't read Alice in Wonderland at the time, but I'd seen movies and knew the story more-or-less through cultural osmosis, and considered it something for kids. The idea of an Alice-themed D&D adventure seemed very lame and cheesy to me and I knew it would feel exactly the same way to my players - that they would hate it and resent it and blame me for subjecting them to it. I didn't "get" the adventure, and felt like I'd been misled and cheated.

Part of it was definitely a disconnect between how the game was conceived and played in the early 70s vs. how it was perceived by its audience in the mid 80s, which is to say that in the former period there was an implicit understanding that the whole thing was fundamentally kind of a joke and not to be taken too seriously, which was almost totally obscured in the 80s-era material. Even with these modules it's hidden pretty deeply - the tone is still serious, and Gary urges the DM to run the adventure "strictly" in order to keep players off-guard. He also emphasizes that the original level from Greyhawk Castle was a "change of pace" from the usual activity of the campaign, which I'm not sure was actually all that true, but suggests that had Gary gotten around to publishing the rest of Greyhawk Castle as he had intended to its tone likely would have been more serious than these levels.

The end result is that this module offered pretty much exactly the opposite of what I wanted - it was a "change of pace" exception to the usual mode of adventures, when that usual mode of adventures is precisely what I was craving (and didn't realize until, really, decades later that I was already getting indirectly - that much of Greyhawk Castle was just a generic monster-filled maze no different than what you could get using the random charts in the books (or something like TSR's Dungeon Geomorphs and Monster & Treasure Assortments) and that a lot of the interesting and unique areas had already been secretly recycled into Gary's other products - S3, S4, WG5, and likely even more that we don't yet know about since we haven't seen Gary's unpublished Castle Greyhawk manuscripts - it's certainly possible (likely even) that there are sections of S1, B2, the G series, and the D series that were lifted more-or-less whole out of Greyhawk Castle.

So I filed this one away as a bad/mistaken purchase - alongside a lot of other stuff, mostly from the B and X series - and didn't look at it again until many years later. By then my perspective had changed - I was in my twenties, had read the Lewis Carroll books, had played D&D with Gary Gygax, and through reading and running The Abduction of Good King Despot had more of an understanding of the tone and pace Gary was going for with these adventures (since that is the other adventure that's probably most similar to this one in style and tone). I understood better how these adventures could be fun in play, why they were popular with the players and Gary liked to run them, and felt it was a good idea to publish them. It also helped that I had EX2 at this time, which I didn't as a kid - it seems more straightforward and action-oriented than EX1, with fewer vaguely-detailed (if you haven't read the books) roleplaying scenes such as "[The Mad Hatter's] conversation will be strange indeed—asking riddles that have no answer, making inappropriate statements, asserting perverse logic, twisting questions, and so on—all interspersed with inquiries about tea, demands to move down the table to a fresh place, and interruptions to speak with the March Hare or to devil the Dormouse." No wonder that at age 10 I had no idea what to make of that!

I have a much higher opinion of these adventures now than I did as a kid, and place both of them squarely within  the canon. They remind me of playing with Gary - his emphasis on fast-paced action and really difficult challenges (and, make no mistake, a lot of the encounters in these two modules are very difficult!) leavened with banter and humor and an understanding that it's still just a game and shouldn't really be taken too seriously. I also value that they are (along with WG6) the most direct glimpses we ever got of Greyhawk Castle - that although the material was surely expanded and polished and modified for publication, its bones are presumably still pretty similar to what players in Gary's basement experienced c. 1974. And, being familiar with the source material, I have much more appreciation for how cleverly Gary adapted it to the AD&D paradigm in a way that both supports and subverts pre-existing expectations and highlights the ways in which AD&D is both close to and different than traditional pre-swords & sorcery fantasy and fairy tales. I understand why Gary liked to run this adventure for adults new to D&D. As a kid I didn't, because it seemed strange and dumb to me that he would use an adventure that's so unlike the standard game, but I see now that that's actually one of the strengths of the thing (assuming the audience is familiar with Carroll's books): they come in with some familiarity with the setting, subject matter, and plot, and by experiencing the differences between the story they know and the game they're playing, they come away with an understanding of "what D&D is all about" in a way that sending them into the Caves of Chaos probably wouldn't get across.

Which isn't to say the adventures are perfect. I like the way that both of them start out as open-ended "sandboxy" explorations where the players can move about the area having encounters at their own pace in their own order, but find it mildly frustrating the way that both of them eventually narrow into a linear, scripted finale that too-closely tries to track the action of the books. While it's easy to second-guess things after the fact - without the pressures of production deadlines and a firmly-mandated 32 page maximum - I feel that both modules would have been stronger if they'd stayed more open-ended and allowed more possibility for the players to employ different approaches and maybe establish more of a long-term presence in the area.

The thing I still hate the most is the scripted chase at the end of EX1 with the "Potemkin dungeon map" that shows hallways and doors but says nothing of what lies behind them. This was the first module where I recall seeing something like this and I immediately hated it. Alas, it became much more common in later years - by the time I stopped buying rpg adventures in the early 90s actual complete maps had disappeared almost completely, and the genesis of the trend can be laid right here at Gary Gygax's feet. I don't know if it was Gary who came up with this, or if it was suggested by Frank Mentzer (whose adventures - mostly created as RPGA tournaments - were always much more linear in this manner), or someone else at TSR, but whoever is to blame, I find it annoying to this day. A map of the entire dungeon level needn't have taken up any more space (since the partial map gets a mostly-blank page to itself) and even if it was entirely unkeyed except for the chase-route that still would have made it seem less forced and railroady, and (at least for me) would have been inspirational - like the mostly-unkeyed underworld map in D1-3, this would have been a ready-made place for expansion and customization. I still like these modules, but this is without a doubt an error and a missed opportunity.

A few more random notes and observations about these modules:

1) Their covers are reversed: the cover of EX1 depicts an encounter from EX2 (the roc in Area E), while the cover of EX2 depicts an encounter from EX1 (the hangman tree in Part 3, Area I). Oops!

2) In addition to several monsters from Fiend Folio (clubnek, bullywug, kuo toa, lamia noble), the "new" monster types introduced in the modules (hangman tree, executioner's hood, giant bee, giant dragonfly, eblis, lightning quasi-elemental, oliphant), and several unique "nonesuch" monsters (the jub-jub bird, jabberwocky, bandersnatch, etc.) two monsters from module S4: The Lost Caverns of Tsojcanth also appear: a behir and a marid. The latter includes a note referring the reader back to module S4 for further info, but the former does not. In the few months between publication of these modules and the Monster Manual II I wonder if that confused or annoyed anybody.

3) A full write-up for Murlynd was published in Dragon magazine #71 (later reprinted in the World of Greyhawk boxed set) which doesn't match the details given for him in EX2: in the latter he's an 18th level magic-user with 77 hit points, in the former he's a level 12/12/12 magic-user/illusionist/paladin with 135 hit points and psionic powers, as well as different stats and equipment (though both versions are armed with techno-magical pistols). While I believe the Dragon version was published first, its text suggests the EX2 version was written first, and the Dragon version represents a revision/expansion of the concept.

4) The outdoor maps in the two modules have different printed scales (50 feet per hex in EX1, 100 feet per hex in EX2) and as far as I'm able to determine, both of them are wrong. The scale of the EX1 map is definitely supposed to be 50 yards per hex (comparing to the scale of the other maps - the palace, manse, and woods of trees and giant fungi - makes this clear). I don't see any reason why the EX2 map should have a different scale (though there's no textual proof that it's incorrect the way there is for EX1).

5) The modules include some tidbits from Unearthed Arcana, a reminder that the material in that book was mostly written several years before the book was published: (a) the numbered soldiers in EX1 are all stated to be "broadsword specialists" and have corresponding increased # of attacks and "to hit" and damage bonuses; (b) two NPC thieves (the Jack of Hearts in EX1 and the King's Messenger in EX2) are both stated to be wearing elfin chain mail (though it doesn't reduce any of their thieving abilities the way it does in UA - suggesting perhaps that nuance was something added by the developers of the book (Jeff Grubb and Frank Mentzer) rather than Gary?).