Sunday, September 13, 2026

Lovecraftian entities and demon lords

I've said many times over many years that Lovecraftian entities are basically equivalent, in D&D, to Demon Lords or other similar archfiends. But especially demon lords. Several months ago, I asked ChatGPT to generate some unique Lovecraftian entities for me so that I didn't feel the need to always just focus on Cthulhu, Tsathoggua, Shub-Niggurath, etc. I had no idea if it was going to be any good or not, but I did it, and I had some results that weren't terrible, after I ignored a bunch of the results. They're not necessarily great either, but I had at least a few usable entities. 

More recently, I asked it to create demon lords for me, and the results were similar. In fact, they were so similar, that I'm honestly kind of hard pressed to see where one list begins and the other ends, honestly.

Let me document both lists here. I'm also using an AI rendering of an old Wayne Reynolds image of a famine spirit to represent one of the consumptive demon lords, even though it was described slightly differently in the text.

🜏 THE COSMIC AND PRIMAL ENTITIES — The Iron Idols

NameEpithet / AspectSummary
KholgorathThe Beast Beyond the MountainsPrimal earth-force, embodiment of strength, fertility, and slumbering hunger beneath mountains.
UrzathoonThe Devourer of SunsVast cosmic fire that consumes light and creation; analog of destructive solar energy.
VelkraithLord of the Red ObeliskTitan of war and stone; represents violence fossilized into monuments.
ThunorakSerpent of the Hollow EarthWyrm of the deep earth and gold veins; symbol of buried greed and endless burrowing.
YraggulWolf Without ShadowPredator-void of darkness; cycles of winter and death.
ZaltharionBlack Crowned KingGod of dominion and necrotic kingship; lord of rulership through decay.
Mornath-GulHorned FlameLiving fire of transformation, renewal through destruction.

☿ THE EARTHBOUND EMANATIONS — The Ashen Circle of Veyrholm Vale

NameEpithet / AspectParent IdolSummary
OrridathisThe Watcher Beneath ClayZaltharionGuardian of memory and death; buried awareness beneath soil.
ElythagarThe Brine That WalksUrzathoonCold inverse of solar fire; sea-born hunger and tidal rot.
VoruzethisThe Feast in DustVelkraithEndless consumption of decay and war’s remnants.
KhaltheronThe Smoldering VeilMornath-GulSmoke-spirit of ruin; the ghost left behind after fire.
DrovanythThe Crooked RootThunorakSerpentine hunger turned vegetal; corruption within the soil.
SeryvokathThe Ashen HostYraggulThe wolf’s breath dispersed into a swarm of moths; silent consumption.
GhorthalyxThe Carrion CrownZaltharionManifestation of death’s kingship; rot enthroned.
ZhulgrithanThe Mire That BreathesKholgorathLiving bog, respiration of the earth.
ThrozkivarThe Ember-WombMornath-GulCreation through destruction; new fire birthed from ashes.
VraggonithThe Horn in Hollow HillsVelkraithSound of petrified war echoing through caverns.
Khar-GhorynThe Silt That DevoursUrzathoonDevouring darkness of rivers and estuaries; light drowned.
Vruz-KathorThe Ashen MawKholgorathSubterranean hunger that persists after death of flesh.
Zhar-KhunethThe Mourning MireThunorakThe sorrow of the earth; decay felt as grief.


Original Demon Lords of the Abyss

1. XAL'GOROTH, THE KING IN THE LAST MIRROR

Demon Lord of Shadow, False Selves, Identity, and the Darkness Between

The mirror imagery has long since been abandoned. Xal'goroth is a tall, imposing humanoid figure formed entirely from absolute blackness—not black flesh, smoke, or stone, but something resembling solidified shadow and anti-light. His body seems to swallow illumination rather than merely block it, and the eye instinctively struggles to determine exactly where his form ends.

His entire body is bound in heavy, ancient chains, wrapped around his torso, arms, legs, and throat in layer upon layer. Some chains disappear into his shadowy flesh and emerge somewhere else, as though ordinary physical space does not quite apply to them.

Two enormous glowing red eyes burn from his otherwise featureless face. There are no visible pupils.

A jagged crown of black iron rests upon his head.

The longer one looks at Xal'goroth, the more difficult it becomes to remember what one's own face looks like.

Symbol: A pair of glowing red eyes surrounded by blackness and crossed chains.

Realm: The Shattered Dark, a lightless realm of enormous black monoliths, bottomless chasms, and impossible shadows that sometimes move independently of the objects casting them.


2. MORVATH, THE CROWN OF WORMS

Demon Lord of Parasites, Rot, Infestation, and Consumption

Morvath is an enormous, bloated humanoid corpse with gray-green flesh stretched tightly over his swollen body. His abdomen has split open into a deep cavity, within which countless pale worms writhe.

His face is vaguely human but horribly distended, with sunken yellow eyes, a flattened nose, and a mouth filled with small, irregular teeth. His scalp is completely hairless, except for thin pale worms that emerge from the skin like living hair.

A corroded golden crown has grown through his skull.

His body constantly produces parasites that crawl across him and disappear beneath his skin. Occasionally, one seems to emerge from a place where no opening exists.

Morvath does not represent death. He represents the refusal of living matter to remain properly dead.

Symbol: A worm coiled beneath a corroded crown.

Realm: The Feast Eternal, an immense swamp filled with rotting forests, drowned cities, fossilized bones, and stagnant waters beneath which enormous things occasionally move.


3. THE VELVET MAW

Demon Lord of Addiction, Obsession, Pleasure, and Hunger

The Velvet Maw is a gigantic, grotesquely corpulent humanoid demon seated upon an extravagant throne of gold, bone, and accumulated treasures.

Its body is enormous, but its head is strangely small and almost delicate by comparison. Six jeweled eyes stare from its pale, hairless face.

Its defining feature is the enormous vertical mouth running down the front of its torso, stretching from its lower abdomen almost to its throat. Thick crimson lips surround several rows of narrow teeth, while the interior disappears into an apparently bottomless darkness.

It has only two arms, both long and elegant, ending in delicate hands. It uses them to offer food, jewels, beautiful objects, intoxicants, and other temptations.

It wears magnificent crimson and purple velvet robes, though portions of the garment disappear into the darkness of its great mouth.

Those who spend too long in its presence begin to experience a disturbing certainty that the mouth is looking at them, even when its eyes are facing elsewhere.

Symbol: A crimson vertical mouth.

Realm: The Palace of Every Desire, a vast and beautiful city where every conceivable pleasure can be obtained, yet nothing ever satisfies its inhabitants for long.


4. KHARZUN, THE ASHEN GENERAL

Demon Lord of Conquest, War, Military Glory, and Betrayal

Kharzun is an immense, powerfully built humanoid demon with six arms, an exception to the otherwise predominantly humanoid anatomy of the Demon Lords.

His skin is dark charcoal gray, cracked like cooled volcanic stone. His head resembles a stern, elongated human skull covered in blackened flesh, with six swept-back horns forming a crown around his head.

He wears the armor of countless defeated civilizations, each piece bearing unfamiliar heraldry. Some symbols are recognizable as the insignia of kingdoms that never existed in the mortal world.

Each of his six hands carries a different weapon: spear, sword, axe, mace, whip, and a black war-banner mounted on a lance.

Kharzun does not fight like a beast. He fights like a perfect general, studying the movements of his enemies with an unsettling patience.

Sometimes, his six weapons move before he has consciously decided to strike.

Symbol: Six crossed weapons beneath a burning crown.

Realm: The Thousand Battlefields, an endless continent where armies of demons, mortals, and stranger things wage wars whose causes have been forgotten for ages.


5. ULMOG, THE SLEEPING MOUNTAIN

Demon Lord of Earthquakes, Collapse, Ruins, and Buried Things

Ulmog is a colossal humanoid demon whose body is composed of black volcanic stone.

He is so enormous that mountains rise from his shoulders and back. Rivers of molten rock flow through cracks in his body. Ancient ruins are buried within his flesh.

His enormous head rests among the mountains. His face is broad and primitive, almost resembling a weathered statue of some forgotten god.

At the center of his forehead is one colossal closed eye.

It has never been seen open.

Or, at least, no surviving mortal remembers seeing it open.

Entire civilizations have unknowingly built temples and cities upon his sleeping body.

Symbol: A closed eye beneath a mountain.

Realm: The Fallen Deep, a subterranean world of collapsed civilizations, buried temples, shifting mountains, and enormous fossilized bones whose owners are unknown.


6. SYRAXIS, THE WIDOW OF STARS

Demon Lord of Darkness, Isolation, Lost Travelers, and Cosmic Terror

Syraxis is a towering, skeletal humanoid woman with jet-black bones and unnaturally elongated limbs.

Her rib cage is enormous, and within it floats a tiny but complete galaxy, slowly rotating inside her chest.

Her skull is smooth and almost featureless except for two brilliant white stars burning within its eye sockets.

Behind her hangs a vast cloak resembling a spiderweb woven from darkness and silver threads. Eight long, skeletal spider limbs emerge from beneath it.

Syraxis hunts the lost—not simply those who have lost their way, but those who have become separated from reality itself.

Her victims sometimes see familiar stars in her realm.

They are always in the wrong places.

Symbol: A black star caught in a silver web.

Realm: The Lightless Expanse, an infinite darkness scattered with drifting ruins, dead worlds, wrecked vessels, and enormous shapes moving far beyond the visible stars.


7. GRINN, THE LAUGHING PLAGUE

Demon Lord of Madness, Cruelty, Mockery, and Maniacal Laughter

Grinn is a tall, lean humanoid with an unnerving combination of human and alien characteristics.

His skin is a strange blue-violet coloration, mottled with patches of pale gray. Beneath it, faint luminous patterns occasionally pulse like bioluminescent organs.

His limbs and proportions are mostly human, although his fingers are slightly too long and his joints bend just a little farther than they should.

His face is unmistakably humanoid but grotesquely exaggerated.

His mouth is far too wide, extending almost to his ears, and contains numerous rows of thin, sharp teeth.

His eyes are large, yellow-green, and slightly too far apart.

He is almost always smiling.

He is almost always laughing.

And he finds absolutely everything funny.

Grinn's laughter is contagious, but the true horror is psychological: people exposed to him gradually lose the ability to distinguish something being funny from something being horrible.

Symbol: A wide, tooth-filled smile.

Realm: The House of Laughter, an immense, decaying city where every building contains theaters, banquet halls, and chambers filled with people laughing at things that happened long ago.


8. VORGATHA, THE IRON MOTHER

Demon Lord of Tyranny, Slavery, Oppression, and Obedience

Vorgatha is a colossal female humanoid demon clad in heavy black iron.

Her body remains fundamentally humanoid, though her lower legs gradually become tangled masses of living chains that trail behind her.

Her face is severe and almost beautiful, but her eyes are narrow vertical openings glowing with white furnace-light.

Long iron chains emerge from her scalp and hang around her shoulders like hair.

Her abdomen contains a visible furnace-like cavity, glowing with an intense white heat.

She wears no crown.

She needs none.

Those who serve her eventually begin to find themselves instinctively kneeling whenever they hear her approaching footsteps.

Symbol: An iron fist wrapped in chains.

Realm: The Iron Dominion, an endless landscape of fortresses, mines, prisons, and enormous industrial structures whose architecture seems designed according to geometries that are uncomfortable for the human eye.


9. THAUMRAX, THE EATER OF MAGIC

Demon Lord of Arcane Hunger, Forbidden Knowledge, Magical Corruption, and the Destruction of Magic

Thaumrax is an enormous serpentine humanoid, roughly twenty feet tall when fully reared.

His lower body is a powerful serpent's tail, while his upper body is muscular and humanoid.

His skin is matte black with subtle iridescent blue and violet highlights, as though it absorbs the colors around him.

His elongated humanoid face has four glowing violet eyes, with two smaller eyes positioned above the primary pair.

Six enormous horns grow backward from his skull. They resemble blackened, petrified magical crystals, with faint violet light moving through cracks within them.

His mouth appears normal when closed.

When he opens it, however, there is no tongue, throat, or anatomy inside. There is only an endless starless void.

He wears the tattered robes of an impossibly ancient sorcerer, covered with arcane writing in languages both forgotten and unknown.

Thaumrax consumes spells.

He does not merely dispel them. He feeds upon the magic itself.

Symbol: A black serpent coiled around a blank spellbook.

Realm: The Library That Devours, an endless labyrinth of forbidden books, impossible manuscripts, and libraries built within the fossilized remains of creatures larger than mountains.


10. NEMETHRA, THE BRIDE OF THE GALLOWS

Demon Lord of Murder, Execution, Betrayal, and Ritual Death

Nemethra is a towering, corpse-pale humanoid woman wearing a once-beautiful white wedding gown that has become ancient, filthy, and severely tattered.

The gown hangs from her body in shredded layers.

Her head is covered by a stark white executioner's hood, weathered and stained, with dark openings through which two faintly glowing eyes can be seen.

Her arms are long and unnaturally elegant, ending in enormous hands tipped with elongated black claws.

She carries a gigantic headsman's axe, its broad blade almost absurdly large even for her imposing stature.

Her neck is visibly broken, permanently twisted at an unnatural angle.

Behind her head floats a rusted iron halo shaped like a gallows.

Nemethra considers execution a sacred ceremony. To her, murder without ritual is merely wasteful.

Symbol: A noose arranged like a wedding ring.

Realm: The Hanging Gardens, beautiful gardens of pale flowers growing among endless forests of gallows and ruined wedding chapels.


11. BUL-KARAK, THE GOD BELOW THE SKIN

Demon Lord of Mutation, Transformation, Alien Flesh, and Bodily Horror

Bul-Karak is a massive, vaguely humanoid creature with an extraordinarily muscular body.

His skin is almost entirely absent, exposing dark red and violet musculature beneath.

His anatomy is disturbingly incomplete. Bones occasionally shift visibly beneath his muscles, and organs appear to move into different positions while he stands.

His head is vaguely human but elongated, with a completely exposed brain visible beneath a translucent membrane.

Several additional eyes have grown irregularly along his shoulders and chest.

None of them blink at the same time.

His hands remain humanoid, but his fingers can lengthen, divide, and rejoin.

Bul-Karak does not simply mutate living things.

He believes that the human body is itself an unfinished mistake.

Symbol: A hand emerging from beneath stretched skin.

Realm: The Living Crucible, where forests grow from bone, mountains pulse like organs, and the landscape continually changes its anatomy.


12. NIVARAK, THE PALE HUNGER

Demon Lord of Starvation, Winter, Famine, and Cannibalism

Nivarak is a gigantic, skeletal humanoid covered in tightly stretched white skin.

His body is gaunt almost beyond comprehension, yet he possesses enormous physical strength.

His ribs protrude from his chest, while his abdomen is a hollow cavity containing a small blue-white flame.

His head is essentially human in shape but stretched and narrow, crowned by enormous antlers made from translucent ice.

His jaw can split into four sections when he feeds.

He wears the remnants of ancient fur garments and carries no weapon.

He does not need one.

The cold follows him.

Symbol: A skeletal mouth containing a snowflake.

Realm: The White Silence, an endless frozen wilderness where nothing grows and distant shapes sometimes move beneath the ice.


13. KETHRIEL, THE THIEF OF TOMORROW

Demon Lord of Stolen Futures, Ruined Destiny, and Broken Prophecy

Kethriel is a tall, elegant humanoid demon with pale bronze skin covered in faint patterns resembling cracks in ancient marble.

His face is almost beautiful but completely expressionless.

He has no eyes.

Instead, two narrow vertical black slits occupy the places where his eyes should be.

Six enormous ivory horns grow from the back of his skull, curving around his head like a broken halo.

Kethriel has two arms, each ending in long, elegant claws.

From his hands trail countless strands of luminous golden thread.

Each thread represents a possible future.

Some are beautiful.

Some are terrible.

Some end abruptly.

Kethriel carries a long ceremonial blade with which he cuts futures away from living creatures.

Behind him hangs an enormous, ghostly tapestry depicting possible histories that never occurred.

Symbol: A golden thread severed by a black blade.

Realm: The Unhappened, a landscape filled with cities that were never built, graves of people who were never born, and ruins belonging to civilizations that exist only as possibilities.


14. DRAKAROS, THE BLACK ADMIRAL

Demon Lord of Piracy, Shipwrecks, Mutiny, and Drowned Treasure

Drakaros is a gigantic humanoid demon with the lower body of an enormous squid.

His upper body resembles that of an immensely powerful, weather-beaten pirate captain.

His skin is dark blue-gray and covered in scars and barnacles.

His head has a long, predatory shape, somewhere between human and shark.

He has rows of sharp teeth, one glowing green eye resembling a lantern, and one completely black eye.

A battered black admiral's coat hangs from his shoulders.

A cracked crown is incorporated into his old black tricorn hat.

His tentacles coil around an enormous rusted anchor.

Sometimes, sailors hear bells ringing from beneath the water before Drakaros appears.

There are no bells in his ships.

Symbol: A black anchor beneath a broken crown.

Realm: The Drowned Fleet, an endless black ocean filled with wrecked ships, drowned cities, and vast shapes moving beneath the waves.


15. YSSARAK, THE CRAWLING TYRANT

Demon Lord of Civilization, Urban Corruption, Decay, Greed, and Collective Horror

Yssarak is a gigantic humanoid rat demon, approximately fifteen feet tall.

He has a massively muscular humanoid body covered in mangy charcoal-gray and black fur.

His face is distinctly rat-like, with a long muzzle, enormous pointed ears, black whiskers, glowing yellow-orange eyes, and huge rodent incisors.

Two twisted horns curve backward from his skull.

His hands end in long black claws, and his long hairless tail drags behind him.

He wears heavy, scavenged armor assembled from rusted iron, broken gates, chains, pieces of weapons, and fragments of ceremonial objects stolen from conquered civilizations.

Upon his head rests a massive, crooked iron crown, decorated with tiny representations of towers and gates.

Yssarak represents civilization at its ugliest: greed, overcrowding, disease, corruption, violence, and the endless hunger of cities that consume everything around them.

Symbol: A horned rat beneath a crooked iron crown.

Realm: The Crawling Metropolis, an enormous Abyssal landscape of filthy streets, leaning towers, ruined districts, overflowing sewers, and labyrinthine structures whose inhabitants have forgotten who built them.

Friday, September 11, 2026

Tarzan cover art (Friday Art Attack)

I've been looking in to some of the brands and trade dress and cover artists who were popular in the field when I was a kid and teenager, really getting in to fantasy and science fiction (but especially fantasy. Although keep in mind that through the 80s, they were not actually branded as two different things yet.) The traditional publishing industry has become incredibly cancerous; it can't seem to publish anything that I really want to save its life--literally; the industry is dying on the vine--but in the 80s that was not true. Not only was it publishing a lot of stuff that I liked, but in the used book market, I was still finding stuff that had been published in the 60s and 70s. Not to mention the fact that some of what I bought in the 80s were second (or more) printings of what has originally came out in the 70s. Some of my favorites:

TSR was a surprisingly prolific, or at least it was surprising to me, of fantasy novels in the 80s, and some of their novels, like the original Icewind Dale trilogy by R. A. Salvatore and the original Dragonlance trilogy by Weis and Hickman, were genuine best-sellers. Because of this, the TSR in house artists became very well-known in the fantasy world; Larry Elmore did the Dragonlance covers, as well as the first Icewind Dale book, although Clyde Caldwell and Jeff Easley did the third. Elmore did all of the Dragonlance books.

Tor Books published the Conan pastiches during the 80s, including by many of them written by Robert Jordan. Jordan later turned Tor into a real fantasy powerhouse, of course, in the 90s with his Wheel of Time series. Wheel of Time, of course, had the Darrell K. Sweet covers. He was one of the most important fantasy cover artists of the 70s and 80s, and you could hardly pick up a random half dozen or so fantasy books during those decades without getting a Sweet cover or two. He was so prolific, that estimates of how many of his pieces ended up in print are over 1,000 and up to nearly 3,000. Not only these, but he did the 80s versions of Lord of the Rings, Thomas Covenant, and many more; some of the most popular and well-known works in print. The only cover artist who may challenge him for recognizability is Michael Whelan, but even then, I think Sweet was more easily recognizable and iconic, and the books he did were bigger than ones Whelan did. Not that that's a slight on Whelan; he did the 80s prints of the John Carter books, which I love, for instance, and he did the Pern books, which while kind of forgotten today (it seems) were extremely popular in the 80s.

Ballantine Books, which was owned by Random House but operated as a more or less independent brand since the early 70s, published a lot of my favorite books in the 80s. They also developed the Del Rey brand specifically for genre works, but not everything I have was Del Rey. Lord of the Rings was, at least the version that I grew up with. But the Tarzan books were notably published by Ballantine.

That's what I'm warming up to, actually; The black label Tarzan reprints by Ballantine, which started in the mid to late 70s and remained in print throughout the 80s are some of my favorite "fantasy" covers, and I absolutely love them. I don't have the full set, but I have many of them. Neal Adams was originally contracted to do all twenty-four Tarzan covers, but it became clear that the deadlines were too aggressive, so they split the series, and Adams ended up doing twelve and Boris Vallejo--another very prolific 80s artist--did the other twelve. Today, I'm going to post all twelve Adams covers as a Friday Art Attack. Wow, these were just great. I miss the trade dress and branding of the 80s. I don't feel like modern books really sell their content with the same gusto. Which I wouldn't do either if I were trying to sell that kind of woke slop that is much of what's getting published. I find that I'm honestly more interested in chasing older books in older printings most of the time. The time where publishers, cover artists, and to some degree even authors are strong brands in their own right seems to be over, and it's all a sea of sludge nowadays. 













Thursday, September 10, 2026

Add-on to Out of the Abyss

I just read the add-on to Out of the Abyss that was about Orcus. It essentially acts as if it were a "missing" chapter of the campaign, featuring a mind-flayer lair, and an undead Elder Brain controlled by Orcus himself. You sneak in, kill mind-flayers and their thralls, role-play with a few characters, kill the Elder Brain and then face Orcus. You don't actually have to fight Orcus; because when you kill the undead Elder Brain, the rest of the mind-flayers are freed of his influence and immediately teleport in to fight him themselves, and you're told that even if you sit it out they'll eventually win. Of course, if you don't fight Orcus, the the mind-flayers will almost certainly turn on you next, and even if you do, you can't really trust the things, of course. 


It's not a bad little supplement. It's only 14 pages, two pages of which are front and back cover respectively, so like I said, you essentially treat it as if it's a missing late chapter in the original campaign. It is, however, significantly sillier, even though it claims that it's dark and it even has a super gay content warning, just in case the product somehow ends up in the hands of some total pussies, or liberals. Or Millennials, I suppose. For instance, one room has a Squidward clarinet. Another has a blue suit and tie with a child's drawing in crayon of a family, labeled mom, dad and a kid, and the dad is a mind-flayer wearing the suit. It's certainly not worth reviewing as a separate product, but I thought I'd make a little mini-post noting that I read it, and found it OK, I guess.

I also finished the James Silke (and Frank Frazetta, although that's more of an honorary credit than a real one) book Prisoner of the Horned Helmet. I had been kind of struggling with the last third of it for a while, and I just sat down and read it today; about 80-90 some odd pages or so. As I recall, the second book is considerably better (although the cover art for the first is the best in the series), and I've never read the third or fourth. In fact, the reason that I'm finally reading them is that I finally got my hands on the fourth one, which had been unavailable at any kind of reasonable price (if at all) on the used book market for years. I may not turn around and read that one literally next, though. I've got some other stuff on my list to finish, including some that I feel duty bound to finish, and some that I want to read, and honestly, I'm not quite as jazzed about James Silke as I was when I started it. I remember liking this book better than I actually did this time around.

I also finished reading "Lord of the Iron Fortress" and after I read one more 3e adventure, "Bastion of Broken Souls" I'll finish the first original pseudo-adventure path series. There are still plenty more official 3e or 3.5 modules to read, including big campaign-length ones like "Return to the Temple of Elemental Evil" or "Expedition to Castle Ravenloft" and more. I'm actually planning on putting off my Curse of Strahd read-through until I'm at the point where I can also read Expedition to Castle Ravenloft at the same time, so I can kind of compare and contrast. 

I feel like with some of these trawls, I need to free myself up just a bit, and not be so strict. Plus, I need to bounce around a bit more between different trawls. So I'm next going to read one of the Age of Cthulhu scenarios (number 2, which takes place in London) and then the next SPCM Saga before before actually reading a totally different third party campaign like Empire of Ghouls or something; plus, I want to read Silver Marches and Five Nations to keep my FR and Eberron trawls moving. These are all bigger books than some of the somewhat slim modules that I've been reading, so it'll take me more time to get through them, obviously. After I knock these out, we're back to Paizo and the next adventure path as well as the final bunch of 3.5 compatible stand-alone modules. In physical books, I've been on the Pathfinder Campaign Setting for a little while, which I need to finish off so I can Gods and Magic which is next (in pdf) and then move on to the next two physical game books, which are also in the Pathfinder Chronicles/Setting line; Into the Darklands and after a couple more titles, Dark Markets: A Guide to Katapesh. Obviously the former of those I'm behind on, because it's associated with the Second Darkness Adventure Path which I've already finished, and the latter is associated with Legacy of Fire which I want to start soon. It's maybe a bit much to juggle four Paizo series trawls, and try to keep them chronologically more or less aligned. But hey, I could be doing five instead of four and trying to keep the core rules trawl moving on the same timing, so it could be worse, lol.

So, anyway. Juggling lots of stuff that I'm reading. Looking to finish two rather large physical books soon; my Pathfinder Chronicles Campaign Setting and my much delayed Celtic Myths & Tales. I still also have a Norse version of that series, but I'm not going to read that right away. In fact, I think it's past time that I picked up some of the books my daughter bought me that I haven't read, so after Celtic is finished, I'm going to read my nice copy of Dracula... which technically comes with other novels included, but I'm going to skip those. Then I'm going to read the copy she gave me of Vol. 1 of Saints. And then I'm going to read whatever is next on my paperback novels list. Which might or might not be the next Death Dealer novel, but The Mad King, Tarnsman of Gor and Thieves World are all contenders, as is the first book in the Timothy Zahn post Star Wars novels that kind of kickstarted the Star Wars Expanded Universe of novels. I've had copies of that whole series for a couple of years too and meant to read them. Sigh. So many books. So little time. And so many other things to spend it on too, for that matter. I feel like Burgess Meredith's character in that one old episode of The Twilight Zone; y'know, the antisocial librarian who finally has all the time in the world to read after the nuclear bomb goes off and kills everyone else, but then be breaks his glasses and can't read? I've always identified somewhat with that poor guy, even if the ironic drama was super contrived. 

Anyway, conclusions on what I finished reading recently?

Prisoner of the Horned Helmet: not as good as I remember. I wouldn't go out of my way to track down a copy if I didn't already have one.

"Lord of the Iron Fortress" - I don't actually like any of the 3e adventures very much except maybe "Speaker in Dreams." 

Out of the Abyss: OK, but not really what I would have hoped for it to be.

"Out of the Abyss: The Fall of Cyrog": If you do Out of the Abyss, sure, get it. Otherwise, pass.

Wednesday, September 09, 2026

5e Meme

I don't like to just post AI generated images, but sometimes they can be useful as a kind of meme. 

Top image is what I want my fantasy gaming to look like. 

Below that it what 5e offers.


That, more than anything, adequately, I think, explains my biggest dissatisfaction with 5e and D&D in general. 5.5 was absolutely a bridge too far, although they'd already gone many bridges too far honestly before that even happened. But with 5e, I know for sure that I'll never have any interest in D&D again, except reluctantly because I'm playing with other people who were already playing D&D.

It's just gotten silly. And no, Dark Sun isn't going to win me back. Having it have ridiculous, over-the-top violence like Fist of the North Star where girlbosses punch straight white males in the face and cause them to explode, curated by sensitivity readers to make sure that it's Lindsay Clancy friendly and still hews to the dying Diversity, Inc. trend is literally the opposite message of what I want from D&D. 

Tuesday, September 08, 2026

Out of the Abyss

It took me longer than I expected, as it was a busier and more stressful weekend than I expected, but before going to bed last night, I finished Out of the Abyss, an early 5e campaign that has a mixed reputation: it's considered a good narrative, a good campaign, but not really a very well organized book, and one that requires more work than one would expect to actually run. I read at least some of the book; maybe all of it, although I don't remember now, about eight years ago, although it wasn't even new then having first been published eleven years ago next week, I think. By this point, most of those earlier 5e campaigns are sadly out of print, and can only be picked up digitally. This is especially difficult for ones like Ghosts of Saltmarsh which you simply cannot find in physical book copy at a reasonable price anywhere, if you can find it at all. Out of the Abyss you can at least buy at about the same price as the cover price. After the last campaign, Princes of the Apocalypse was a reworking of a classic adventure from the 80s ("Temple of Elemental Evil") it was nice to see this one being an original. But, I kind of agree that as much as the gist of the campaign was a pretty cool idea, there are a number of things that I didn't like about it. I know it's easier to focus on the negative, and maybe that's a personality flaw of mine anyway, but let me, before I dive into all that, try and caveat this as saying that I rather liked the book, more so than Tyranny of Dragons or Princes of the Apocalypse, but I'm focusing on specifically things that I would change.

First, I think certain elements of the organization of the campaign is legitimate to complain about. The main conflict is the arrival of the demon lords (some of them anyway) in the Underdark, but we don't even get a solid understanding as a GM of what's going on until halfway through the book. Lacking some kind of introductory chapter, or at least a few pages where the campaign is summarized for the GM up front made for somewhat difficult reading, and I can see exactly why people suggest that it's difficult to run, and difficult to prepare for, and GMs need to read it at least twice just to understand how to run it, because you're given very little clarity on what's going on until it resolves. The kick-off event that starts the whole thing was published in a novel and if you didn't read it (which I did not) then it gives you nothing until more than halfway through the book to explain what the context is of anything at all that's happening. That's fine for players, but kind of rough for GM.

Another structural complaint which I think it definitely legit is that there are way too many NPCs who are sidekicks to the party, and actually keeping them straight, coming up with a unique enough roleplaying voice for them that they have some personality, and even just managing them mechanically is a huge headache. The NPCs don't have enough detail given to them to have much personality as written, so GMs will need to provide most of that on their own, which is fine, but its a bit onerous when there are so many. You'll inevitably focus on a few and leave the rest to be unremarkable and probably forgotten. And many times, the "hook" for an NPC is just mechanical. "What if there were a gelatinous cube that were sentient and wanted to tag along with the PCs?" Well... what if there was? What if there's a myconid "kid brother" who tagged along with the PCs? What if there were a quaggoth who were crazy and thought he was a curse elf prince? OK, the last one is actually something workable, but curiously, he's an easily forgettable NPC in terms of actually reading the campaign. In fact, I forgot about most of the NPCs most of the time except in the first chapter where they were introduced in about half of a column each, at most, or when they had a reason to be mentioned specifically again, like the pacificist kuo-toa monk being mentioned when you get to the kuo-toa village. Frankly, ideas like a "pacifist kuo-toa monk, deep gnome twins who are were-rats, and a sentient gelatinous cube" were more novelty value than deep more meaningful anyway.

Which brings me to my second problem; clashes and inconsistency with tone. Unlike most iterations of demons in D&D, the demons here, or even their presence kinda sorta nearby causes madness. This is a very Lovecraftian idea, that exposure to the demons like Cthulhu or even Elder Things causes you to make a Sanity check, and many NPCs nearby to fail it and become weird and crazy, and while I don't want to suggest that it is exactly like playing a Call of Cthulhu game in that respect, it does have some echoes of it, and the madness system, simplified and easy as it is creates much of that same ambience. Both the PCs and their NPC entourage are at pretty constant risk of going at least temporarily insane, requiring the use of either lots of restoration spells, or dealing with the consequences of a failed "sanity check", at least for a few rounds or two, which can be a big deal in combat. Chris Perkins, who was the lead editor, called Out of the Abyss "D&D on hard mode". So far so good, right? That's a solid bit of theming, and one that's right up my alley.

Prince of Demons, on his home layer of the Abyss

But Chris Perkins also thought that the Underdark was like Alice in Wonderland, and was very proud of noticing that, mentioning it several times in interviews, and even in a brief forward to the book. References to Lewis Carroll were scattered all throughout the book, including a "white rabbit" character that you were supposed to chase, who said something to the effect of "I'm late! I'm late! For a very important date!" as you did, mushrooms that made you bigger or smaller, lots of explicit references to "The Jabberwocky". This stuff took the Lovecraftian horror and added to it a strong dose of whimsy and silliness that is really baked right in to the game. Almost the entirety of the time spent with the oddly friendly myconids has them giving off Alice in Wonderland vibes; they're weird for the sake of being weird, but also whimsical and the only threat there is that the demon lord (lady?) of mushrooms wants to "marry" a gigantic sentient fungus, and you can actually meet her working on her mushroom wedding dress. When you come back later in the game, it's somewhat more serious, but this mismatch of horror alongside silliness and whimsy characterizes the whole adventure. Maybe that's not a problem per se, but it's not something that I particularly liked, and I thought that leaning in to the Underdark being "Wonderland" where normal little girls like Alice just get annoyed by crazy characters who act silly rather than sensible was not a direction that I cared to lean in to. Perkins said in another interview that he actually talked to R. A. Salvatore in preparation for this multimedia tie-in event (Salvatore wrote the novel that kicked it off, as mentioned above) and asked him if he had deliberately leaned in to those themes when he created the modern interpretation of the Underdark in the Dark Elf trilogy, the prequel trilogy to the Icewind Dale trilogy. He said no, but he could see the appeal of making the comparison. So that's all Perkins pushing that, not Salvatore, nor anyone else who created the predecessors to what Salvatore did. (I'm actually quite pleased that I recently read the Dark Elf trilogy again less than a year ago. Good timing!) More to the point, although not well described at the time, Gygax probably came up with the idea of the Underdark more directly from Lovecraft, specifically the underground parts of "The DreamQuest of Unknown Kadath" and the story that he ghost-wrote for Zealia Bishop, "The Mound." That's the vibe that the Underdark was "supposed" to have. And frankly, the Underdark of the Dark Elf Trilogy isn't nearly as Wonderland-like as Chris Perkins is making it out to be. 

As an aside, resist the urge to reorder books. You can buy omnibus versions of a lot of Salvatore's series; I bought the omnibus version myself of the Dark Elf trilogy, and would have bought the Omnibus version of the Icewind Dale trilogy if I didn't still have pretty solid paperback copies that bought back in the late 80s or early 90s when they were pretty new. But just because it takes place chronologically before the Icewind Dale trilogy, it doesn't make sense to read them in that order. That was a prequel, and without the context of having already read the original trilogy, the prequel trilogy doesn't make as much sense. I think people forget what prequel actually means. It's been around long enough that people forget that it's a "clever" neologism; taking the word sequel which means of course a subsequent work that follows an earlier work, but changing the first couple of letters to indicate that it takes place earlier. It was published later of course, and reading books in publication order, unless they've been heavily edited to facilitate reading the in the new order. Reject the new ordering. The Dark Elf trilogy is not the first three books of the Driz'zt saga. It's the second three books. 

To add to the tone challenges, the art, while often quite good, is sometimes also very cartoonish, especially of the NPCs. I'm not going to include any of it, because it's readily viewable online, but I really like some of it, and I really dislike some of it... or rather, I think that it encourages the whimsical silliness when it needs to be leaning more into the cosmic horror. NPCs who look like cartoons next to demon lords who look... well, more savage and alien then they have ever looked previously, is a weird juxtaposition, and once again, there's a kind of mismatch between the tone that the demonic incursion is meant to invoke vs the tone that the Underdark normally invokes. But the Underdark was literally pioneered by H. P. Lovecraft, most especially in "The Mound" where K'n-yan, the upper level, is most like the land of the drow and the Underdark as its usually known, Yoth below that was once the abode of the now extinct Serpent-men, and N'kai below that is pitch black, and apparently where Tsathoggua-worshipping shoggoths now roam, sealed off in panic by the K'nyanians. In "The DreamQuest of Unknown Kadath" the first layer is the Twilight Realm of the Gugs, with gigantic Cyclopean architecture, including the Tower of Koth, which is a staircase leading to the surface in the Enchanted Wood. Below that is the Abyss of the Ghasts and the Kingdom of the Ghouls. The darker, savage tone of the demon lords absolutely applies to the Underdark too, or at least it should.

The Underdark was probably invented as a D&D concept in the Against the Giants series by Gary Gygax himself, when after fighting giants for a while you find out the drow are secretly the mastermind villains of the adventures. The D-series trilogy was much more explicitly set in the proto-Underdark, and kind of late 1e AD&D's Dungeoneer's Survival Guide is the first really explicit source, and coined the name Underdark. 2e AD&D had some source material, including a modular campaign, Night Below, a number of drow products, and of course the Driz'zt Dark Elf trilogy, which largely spawned the D&D sourcebooks. 

3e had a book called Underdark, although it was part of the Forgotten Realms line specifically, but it also had Drow of the Underdark which was mostly campaign neutral, but implicitly was a Greyhawk setting, and instead of Menzoberranzan we had Erelhei-Cinlu and the Vault of the Drow. 4e's Underdark was explicitly part of the Nentir Vale setting, although the very late Menzoberranzan: City of Intrigue book was specifically Forgotten Realms. 5e, of course, has mostly pretended like Forgotten Realms is just D&D, and done relatively little to support, or even admit that other settings exist, until very recently. I know that that's an exaggeration, but don't argue with me on that; I like looking at high level patterns and generalities, and pedantic nit-picking does not impress me. 

Anyway, I think the older Underdark is a tone that works much better for me, but there you have it.

Finally, at least in terms of things to "complain" about, the finale where you are basically spectators to the Rumble in the Underdark between the demon lords and then you fight a weakened Demogorgon was pretty weak-sauce, especially considering that you fight an unweakened (well, sorta) Demogorgon at the finale of Savage Tide. There's a lot of potential weirdness; Juiblex and Zuggtmoy might have already had their rumble together, and you only had to fight a weakened Juiblex afterwards, and Yeenoghu and Baphomet might have had their rumble together previously too. And, of course, Orcus shows up out of nowhere, and other than one off-hand reference from some mind flayer, you might not have ever suspected that he's supposed to be here in the Underdark at all. Chris Perkins calls this a "plot seed"; I call that gas-lighting. They either never developed it, or cut it for space. There's art for it, but it was in a totally different book that didn't even reference it... except in that piece of art. In general, I feel like the finale was altogether kind of confused, chaotic (not in a good way... I know, demons) and a little bit underwhelming.

UPDATE: There is a small mini-adventure published by a 3pp that fleshes this out in about 15 pages or so. I ran down a copy; I'll read it too in a little bit and see if I think it better fleshes out the narrative or not.


Ultimately, the bigger questions are would I use this material, and can I combine it with other Underdark material that I have, like the recently read Second Darkness adventure path? (And I should point out that Second Darkness was significantly less Underdark focused than I would have liked.)

I think actually that I'd need to combine them, and maybe with some other Underdark material too. Second Darkness really only has two modules (of six) that take place in the Underdark, and one of those is one that is hard to adapt, because you're posing as servants in a drow household. Out of the Abyss has too much of the wrong tone; funky and friendly cartoon-like mushroom people, deep gnomes, and whatnot. When I check out stuff related to Paizo's 1e Darklands stuff, it feels much more like what I want, but there simply aren't enough adventures that feature it.  (That video is quite long, by the way. Don't click on it unless you want to spend a good hour and a half going through it.) Ultimately, if I do a massive Underworld campaign in some kind of Old Night version of the Underworld or the Underdark, or the Darklands, or whatever you want to call it, I can borrow a few elements from these two works, but I can't do it as is. I'll need more material. 

Given that, I'm not going to move on to the next 5e campaign (Curse of Strahd) anytime too soon. I'm going to focus on some third party campaigns, including Kobold Press's Empire of Ghouls, the next Sandy Petersen Cthulhu Mythos Saga, and... well, we'll see from there. While I do have, and have had for some time now, the aspiration to create a campaign 5x5 Front focused on the Underworld, or whatever you want to call a more generic version of "the Underdark"—but ultimately, I'll probably have to create most of it myself. Despite the Underdark being such an iconic D&D setting, there's not much going on there that I feel that I can use. Out of the Abyss shows how it could be done, but then kinda goes the wrong direction with it.

Saturday, September 05, 2026

"Photorealistic" AI renditions of WAR's vampires

It's Saturday, not Friday, but I spent some time asking Grok to convert some WAR images that I had to photorealistic versions of themselves. It kinda sorta did so. In any case, I'm happy with the results, so I'm going to call this a slightly belated Friday Art Attack; a series that I haven't done regularly in years, but which I should continue to do...






I called them vampires, but one of the images is of a nest of ghouls, of course, taking the corpse into the well. Given that I've said ghouls are like proto-vampires, though, I don't care. The one below is a ghost.

And below, is the demon lord of slime as shown by Paizo... which in Paizo's version is Jubilex, not Juiblex. I'm not sure where the deliberate slight mispelling came from, but the Tome of Horrors has Jubilex, so maybe that's the one that's open content.


Friday, September 04, 2026

Session 2

I ran session 2 of my modified "Curse of the Brine Witch" which could be attached to my greater Cult of Undeath campaign. We'll see. It's a 5e game, and I've only been semi-serious about it, because it's meant to be a short-term mini-campaign while waiting for this group to get back in the swing of things. HOWEVER, as I've said before, there's substantial risk (to the group) that their old DM who was running a big 1-20 level campaign based on the Mad Mage campaign from WotC, and they're about halfway through, that it doesn't really come together. The DM just moved out of state and two time zones further west, and while everyone is talking a good talk about continuing the campaign online, I think realistically, it's always dubious exactly how well that scenario will work out. So, I'm thinking that I'll finish this first chapter, and then we'll see what's going on. If the answer is "still nothing" I can let the characters level up to level 2 and do the next chapter. Although if we do that, I'm going to have to insist on some backstory or something from these characters. They were really just meant to be short term scabs, so to speak, but there's a possibility of them pulling away into being more. 

I also was reminded of one of my weaknesses as a GM; I tend to focus on what's coming next, and rush through what I'm doing a bit. Now, this isn't necessary too bad of a weakness, and I think many GMs would benefit from keeping things moving. But I did notice that I felt rushed in retrospect, had relatively little NPC interaction, and spent more time on just making sure that they found clues, that they had combats, and that they moved on to what was next. I was especially doing badly at NPC dialogue and having interesting interactions. Which probably isn't really my strongest suit to begin with, but when I get too rushed, it gets even worse. 

To be fair to me, I was exhausted. I was stressed. I hadn't had time to prepare as much as I'd have liked. I'm rusty. I can do it better. But I didn't. I need to pay attention and be a little more on my A-game here.

So anyway, yeah; got some clues. The PCs did my whole asylum thing, where they fought cultists, hyenas, and pirates. That was the big "set piece" of the night. 

There's obviously at least one more session, but possibly two before I finish this chapter 1. Honestly, I'd like to slow down and make sure that it is two sessions. If I slow down enough, it might even be three. But we'll see. Like I said, if I'm going to propose that we continue playing this, even as a "side piece" campaign, I need to make sure that I'm a little more on the ball and giving them a better experience. Right now I'm giving them a good enough experience, but I even I can feel the rushed, haphazard nature of how it's going. 

So, it's good to pay attention to how things are going and make some good faith efforts to improve them.

Actually, they were at the asylum in the early afternoon, too. I like this more traditional spooky image, though.

Thursday, September 03, 2026

What am I reading, and what will I read shortly?

Although I like tracking my reading, I do find that sometimes it causes unexpected stress if I'm not making sufficient progress. I thought I'd do an extremely self-indulgent post for now, and talk about what's on my docket or in process, and what I'd like to add. My pdf reader is Sumatra (I'm gradually trying to de-colonize my computer from Microsoft and other invasive corporations; my next one will probably be a Linux machine) and it will hold up to ten pdfs in the recents window. It actually will hold more, but it won't show them, but I've noticed that if I remove some from the recent list and I have more than ten, then it will populate with hidden ones. In any case, I keep ten files open either because I'm reading them or because they're on the docket to read. I also have two physical game books in my backpack, and a novel.

  • Karzoug, according to AI
    I just finished the Second Darkness adventure path, so Legacy of Fire is next. I've already got it queued up, but I'm thinking that I want to read a bit of something else before I jump right in.
  • I have a physical "pocket sized" (not really accurate; it's a chonky trade paperback) Pathfinder 1e core rules book, but I also bought the pdf way back when it was pretty new, so I'm gradually reading that, one chapter at a time. I thought the physical copy would be fun, but I find that it's really too small, and it was getting a little bit beat up in my backpack for whatever reason. I'm reading the paperback. I'm due to start the Combat chapter next. It's a long, long book, and not exactly super fun reading, but I think I really want to get through it, at least once. Come to think of it, I'm pretty sure I only read the 3e core books once too. Except the Monster Manual, which I've read more than once. I still skim the tables and some of the mechanics, though. 
  • I'm also currently reading Out of the Abyss, and that's the main focus of my digital reading until it's done.
  • I also started reading Bluffside, and old 3e city sourcebook (3pp) that I bought a copy of a few months ago. It's been slow going. I'm actually thinking of putting it back into hibernation and not reading it right now, honestly. It's been a harder slog than I thought, and with a lot of other stuff on my docket, I don't need to force myself to read it right now if I don't really want to, and I don't think that I do. 
  • I'm interspersing my adventure path module read-throughs with stand-alone module read-throughs, and I'm all set to end the 3.5 era of Pathfinder products on both at the same time. That said, there are other Pathfinder products that are 3.5 that I'm not going to finish on this same schedule. Although for the setting stuff and whatnot, it doesn't matter quite as much. Actually, it doesn't really matter that much anyway, since Pathfinder 1e was such an obvious derivative of 3.5 that unless you really look closely at the mechanics, you probably wouldn't even notice that they're not the same. I'd like to do a round-up of the modules that I've read once I finish the 3.5 ones, and talk about which ones I liked enough to consider.
  • That said, I am reading a lot of the early Golarion stuff. I'm in the midst of the Pathfinder Chronicles Campaign Setting, which was kind of an unfortunate title, really, but it's a pretty good book. I had not (until rather recently) read the gazetteer, and it's clear in retrospect that this was just a fluffed out version of the gazetteer; not much new except more added details. But still. I always liked that book, and I've always liked Golarion as a setting. It's the only really D&D-like setting that I like, given that I tend to pull away from D&Disms in general. I think if you discount the map folios, I've got seven more Pathfinder Chronicles books to read before I run out the clock no 3.5. Meanwhile, on the Pathfinder Player Companion series, I've already crossed over that line. Speaking of which, I'm carrying around the Cheliax book in my backpack. I guess I probably should put it back for a little while and focus on getting caught up to the same point in the Chronicles/Setting line instead. I know, I know... there's relatively low value in hitting the 3.5 to PFRPG changeover on all four series all at more or less the same time, but then again, it's also pretty easy to do, so why not? All I have to do is put Cheliax back on the shelf until I've read a few other books first.
  • I've also been very slowly reading Prisoner of the Horned Helmet for some time, the novel that I'm reading. I don't know why I've been so stuck on it. It's not a bad novel, and this is the third time (since about 1988 or 1989, to be fair) that I've read it. But for some reason, I forget to pick it up and keep reading it. It's the first of four, and I've only recently come into the last two after searching for them at a reasonable price for many, many years. I really need to just sit down for a couple of hours and power through it. It's not that big; maybe a little over 300 pages, and I'm at least halfway done already. I should have finished it weeks ago. But, again, I have so many things that I'm juggling to read that it just kind of gets short shrift, I guess. 
  • I'm also reading the original 3e series of modules, and I've read most of the original eight or so of the pseudo-adventure path modules that include "The Sunless Citadel" etc. These aren't super interesting to read, but I've found that at least one of them ("Speaker in Dreams") is a module that I could enjoy running. 
  • I have three other trawls that I haven't touched in a while, and I'd like to read one more of them before getting back into the adventure paths; the SPCM Sagas (I really enjoyed the second one; third is on the docket), and the 3e Eberron and Forgotten Realms books; Five Nations and Silver Marches respectively. None of those are short, quick reads, but when I've got this much that I want to read as part of these trawls, that's the way that it goes.
  • I've also got some 4e stuff open, but I think I'm going to remove it from SumatraPDF too, because I don't have any immediate plans to read it, honestly. If I take that and Bluffside off the list that opens up two slots. Which is good, because sometimes I need to open a file just to look at something, rather than because I want to add it to my reading list; it'd be nice to have a few slots free for that.
  • Finally, I started by reading a lot of my 3e books, and I've still got plenty of those. Once I get caught up on the Pathfinder 3.5 material, I think I'll pick up the next Monster Manual (III) and put that in my backpack.
There, see? Self-indulgent, and I probably won't even read this post myself, but I feel good getting it out there. I use this blog, as often as not, as a dear diary kind of thing too, and just writing this out and thinking about it real time while writing is useful.

Wednesday, September 02, 2026

Rise of the Runelords and Curse of the Crimson Throne Adventure Paths

I liked the format of what I did for Second Darkness, and thought I ought to go back to do the first two adventure paths of that format before I forget too much about them (way too late for Shackled City, Age of Worms and Savage Tide... although maybe with a good summary of each adventure I could still pull it off...)

Rise of the Runelords was Paizo's first adventure path after being cut loose from Dungeon Magazine and having to go on their own. Maybe for that reason, they went with pretty classic stuff, which is both good and bad. Runelords is generally considered by most to be one of the better adventure paths, and one of the ones remembered most fondly by fans. But, of course, being really "classic" means that sometimes it's not really very interesting, and it does predictable things. But not too badly. It really is a good adventure path, and honestly, I think Paizo stumbled across the right format when they made their own publication. The Dungeon Magazine ones were honestly too long. Savage Tide and Age of Worms, for instance, were 12 modules long and went from 1st to over 20th level. That might have been true for Shackled City, but then again, one or two of those chapters might have been added later when it was compiled into a single volume. I can't remember now. Six chapters, from levels 1-15 or so with each chapter being, admittedly, a bit longer than a Dungeon Magazine module, was the right format. 

In fact, I'd have gone even further, and had it be four chapters of two slightly slower levels each, but that's probably just me. I think most D&D players aspire to higher level, even if they don't actually play it much. I've done it and the experience has taught me that I don't really want to do it again.

Here's a slightly different take on Karzoug, the iconic runelord who iconically rises. I would have actually done another pass at him, but I'm out of images for the day on ChatGPT, and I like this take. I would just have changed the pattern of the gems on his forehead, and said that his topknot is coming out of a mohawk with shaved sides to his head, and his hair isn't that white; more salt and pepper. 

Anyway, what do I think of the various chapters of this AP?

Burnt Offerings: I've actually used the first act of this, combined with another Paizo stand-alone module, for a one-shot. I'm admittedly less interested in the final act; an "assault" on a goblin lair. I admit that it feels very iconically D&D, but not in a good way. It feels tired to me. That said, Sandpoint itself is a great setting, and the first two (of three) acts here are quite good. 

The Skinsaw Murders: This is one of my favorite modules period. I really, really like it, although I admit that I'm a bit less interested in the final act of it too, where you go to town and face a boss beyond the one in the haunted house. Naturally, adapting it to fit into another context other than what they intended you to use it for means that some of it won't make sense, and cutting much of the final act has been my solution. But it's just a great module. 

The Hook Mountain Massacre: This one is OK. Parts of it, again, are pretty good, while the hillbilly ogres kind of rubbed me the wrong way a little bit. The stuff up by the lake and the occupied ranger fort were pretty good for that kind of thing. There are elements of it I'd borrow, but it started veering into territory that I had less interest in, with more traditional D&D feels at times.

Fortress of the Stone Giants: I don't want to say that I kind of checked out on Runelords by this chapter, but I kind of did. By the time they're talking about how characters can travel via fly or teleport, I don't feel like I understand the game anymore, nor is it in the same genre that I really, really enjoyed in the earlier levels. The attack on the town by giants, and how the PCs can handle that was reasonably well done, I suppose, but it wasn't something that I was as interested in anymore, and the attack that the PCs make on the giants' own fortress just felt like a dungeon-crawl.

Sins of the Saviors: This one felt like a place filler; stuff that you needed to do, mostly in a dungeon, to get to high enough level to do the last module. Very little in this one interested me.

Spires of Xin-Shalast: Here, I'm kind of torn. The high altitude mountain survival stuff is really interesting, as is the Lovecraftian stuff at the destroyed city, which sometimes has the feel of a Mountains of Madness city lite. But it's also a relatively high level D&D adventure and dungeon-crawl, with factions in the dungeons to interact with, and a pretty predictable BBEG at the end. I enjoyed reading it well enough; I don't know how much I'd enjoy playing it, and I know I wouldn't enjoy running it. I did play partially through this campaign once years ago, but the GM got burned out and quit near the end of chapter III, so we didn't get to the final chapters. That was the same GM who ran us through all 22-23 levels, or however many it ended up being exactly, of Age of Worms. 

I think that I have certain patterns when it comes to the adventure paths: 1) I don't enjoy higher level play, so I tend to think that the last few chapters require special pleading to be interesting to me. 2) They're still too long, and should probably be cut by at least a third, with slower leveling. Ideally (obviously) I'd have preferred them to be compatible with E6, but I'm not shocked that they're not. 3) Usually around chapter III, IV or V the campaign takes a weird turn, probably on purpose to give it some variety, but it makes the whole section feel a little disjointed and out of place. Making the campaigns smaller would also make them more focused, because there would have been less perceived need to do this. 4) I've long been on record as not really liking dungeon-crawls, and Paizo does tend to include them. Those are usually the parts that I'm most likely to look at trimming out of the campaign.

And those obvious biases impact how I view these adventure paths. Without those biases, Runelords is even better, but for me, it does too many things that I'm less interested in and wish that it didn't. I tend to like the first third or so... maybe almost half of it, and some elements of the finale, and don't care about the big middle section in between them.

The second adventure path, Curse of the Crimson Throne is another very well-regarded one, and considered by many to be one of the best examples of a primarily urban-themed campaign (although not entirely.)

I actually didn't ask ChatGPT to give me all that cleavage. I guess it just assumed that that's what most people want. Which, honestly, is probably true. Otherwise, this is really close to how Paizo also described Queen Ileosa, one of the more complicated and interesting villains. Much more so than Karzoug or Allevrah—or, in most respects, than the even earlier forays with Adimarchus, a Demon Lord of madness (who's sadly not foreshadowed enough), Kyuss, the weird undead demigod or whatever he is, and Demogorgon, the Prince of Demons. Sure, sure, those are iconic villains. But Ileosa is someone you actually see and interact with from the very beginning, and her villainy is perhaps less cosmic and more villainous because of it. None of the adventure paths are perfect, of course, but Crimson Throne is considered one of the best ones for a reason. It was updated to the Pathfinder RPG itself (1e) in a hardback compilation, it was released as an audio drama, an adventure card game, and was even adapted to Savage Pathfinder (although Runelords was all of those things too.) Overall, this one comes highly recommended by me, and I'm actually thinking of how to adapt the whole thing, or at least use it as the backbone of an adaptation, much like how I did with Carrion Crown to Cult of Undeath.

Let's go through it's chapters then, shall we?

Edge of Anarchy: This first adventure is entirely urban, and while it starts off rather small and personal, it gradually gets you involved with the succession crisis and the intrigues and plots of kings and queens and the like. 

Seven Days to the Grave: Now firmly (well, I don't know about firmly) on the throne, Queen Ileosa must deal with her first crises, riots, plague and more! But all is not quite as it seems, and there's lots of skullduggery and intrigue to be had. 

Escape from Old Korvosa: Now, the Queen is clamping down and proving to be a very bad ruler indeed, and the people, represented by the PCs, can't help but notice that something is very wrong, and getting involved in it. These first three adventures are about as good as these kinds of adventures tend to get. They're well-written, thematically very consistent, and just very well done. The crime lord dungeon-crawl is the only part that I'd lose, but otherwise, I feel like this doesn't need a very strong editing hand to just be a good half campaign. Of course, that's when it decides to go do it's weird mid-point tone shift, which most of the adventure paths seem to have to do.

A History of Ashes: Escaping from the city, you have to essentially join a barbarian tribe to get more information from them. While not a bad idea; this is supposed to be an urban campaign, and this and the next chapters feel a little out of place. If you were to cut back on the length of the campaign overall, the information that you find out here could easily just be told to the PCs by someone in town, skipping the need for this adventure entirely.

Skeletons of Scarwall: Now, you have to go do a totally disconnected dungeon-crawl in yet another remote wilderness location so you can get the special MacGuffin sword needed to defeat Ileosa. Again, this could have been somewhere at the end of Old Korvosa, and you could skip this one entirely too.

Crown of Fangs: Now back in town, you find that things have gotten worse, and the the whole city is rising up against the intolerable rule of Ileosa. Not only is there this exciting uprising to manage, but the assault on the Queen herself, while admittedly kind of an exotic dungeon-crawl, is less intolerable than most, and actually kind of interesting. Somehow the whole finale is the most exciting of them I've read so far, because instead of relying on cheap thrills of doing fantasy stuff that's impossible, you do (mostly) things that are believable and grounded, but certainly in a high fantasy setting against an evil queen who's managed to get her ambitious hands on power that is well above her pay grade. 

Now, obviously, I still haven't read most of the adventure paths, but I really like Crimson Throne and suspect that in the end I'll have found it to be one of my favorites.