Retrospective: Shadow World Master Atlas

My recent posts here and here concerning my Numenera campaign brought back memories of an old setting favorite of mine: Shadow World. Published by Iron Crown Enterprises (ICE) in boxed set format, it caught my attention at a time when I was being introduced to roleplaying games. Prior to 1990, I had only played the Dungeons & Dragons red box.

At the time, this boxed set was dual stated for Rolemaster and Hero System. I recall visiting my local game store with two friends. Each of us had decided to buy a different game so we could each take turns as GMs. I bought Middle Earth Roleplaying (MERP), another bought Shadowrun (1st edition) and the third bought the Hero System plus Fantasy Hero. He also bought Shadow World. This was my first contact with the setting, although I never had a chance to be a player in it. Instead, my friend decided that being a GM was too much work and I borrowed his books.

I played a lot of MERP in those days before finally getting my hands on a copy of Call of Cthulhu. My gaming priorities shifted from fantasy to horror. Even though I occasionally tried other systems (the occasional AD&D one-shot or a few sessions of Warhammer Fantasy Roleplay), my heart was set in Call of Cthulhu and I never looked back.

However, I read the Shadow World boxed set. I even managed to pull myself from Call of Cthulhu for a week or two to try and create characters with my players (one was a centaur, as I remember) but, alas, it never came to pass. And yet, I enjoyed the setting a lot. It was a typical ICE product with a lot of emphasis on minutia such as flora, fauna and weather patterns. I was used to such information from the MERP books, although in retrospective much of that is unnecessary to create a good campaign and useless to all but the most detailed-obsessed readers. The layout was two blocky columns with a minuscule font filled with page after page of stats. Taking a cue from AD&D's Monster Manual, it even had stats for the deities, although I suspect (my memory is a bit hazy) that those were more super-beings than divine beings.

Shadow World was a typical high fantasy world where magic coexisted with psionics and divine spells so it could make full use of the Spell Law book from Rolemaster with its three schools of magic: Mentalism (psionics), Essence (magic) and Channeling (divine). Most of the standard fantasy races such as elves, dwarves and hobbits were also present as well as the more commonly known fantasy creatures, such as trolls, orcs and dragons.

In retrospect, what fascinated me most about it were the science-fiction elements. They were subdued, of course, but they were there. Kulthea (the main planet) had been colonized by beings from a galactic empire in the distant past, some of who were still alive working in the shadows. Technology from that empire could still be found in remote place and deep in underground dungeons. Unlike my present game, Numenera, the system made no distinction between these technological artifacts and magic items, but the very notion of them being there was enough to pull me into the world. I could envision fantastic underground structures with sleek corridors and technical panels, forgotten tombs with mechanical guardians and all sorts of mysterious technologies. The moon of Orhan, where super-beings live, is described as possibly having been terraformed a long time ago.

In Numenera, the world is a fantastic place shaped visibly by impossibly advanced technologies. In Shadow World, the world feels more "natural" because the sci-fi elements are more subdued. They are there to be sure, but the setting never strays far from its fantasy roots, focusing on high fantasy rather than a melange of both genres. I can still find some inspiration there, as my recent posts attest, and I still find it a good setting to create adventures and even very adaptable to other systems (as was the original intent). It is one of my top five fantasy settings even if it's not one of the most original out there.

Trying a New System: GURPS

As I approach the end of the year, I review the last twelve months in game terms. The truth is I didn't play a whole lot. The first few months are a blur, then I started a Deadlands Reloaded campaign which didn't end well and then a short hiatus from September until now during which I ran a short Eclipse Phase one-shot. It was not a very productive year in terms of roleplaying games, which was worse than last year (at least, I completed a short Trail of Cthulhu campaign).

Between March 2011 and today I have played The Complete Masks of Nyarlathotep for Call of Cthulhu (which ended abruptly), Cthulhu Apocalypse for Trail of Cthulhu (successfully completed). Our group tried Primetime Adventures in a steampunk setting. The system didn't work for us. We also tried Strands of Fate and never made it past the first session. This year I returned to a more classic system with the aforementioned Deadlands Reloaded for Savage Worlds. We played around 6-7 sessions, before I pulled the plug.

Now, I find myself reading GURPS aka Generic Universal Roleplaying System. I think I've been trying too hard to find a game that suited my group's tastes. We never played more than a half a dozen sessions of a particular system, and I attribute that to the disconnect between us and the systems we have tested so far. It's not that my group is devoid of creativity and imagination. It's just that some systems are ill-suited to our playing style. The bottom line is: our group enjoys classic systems, you know, the ones where the game master really acts like a game master, by introducing scenes and directing the story (don't confuse this with railroading), and running the world with the players playing their characters and influencing the world through their actions.

Of all the systems we tried this past year and a half, only Savage Worlds and Call of Cthulhu fall into this category. And, in the former, I ended the campaign abruptly for reasons that have nothing to do with the system qualities and everything to do with the awful "railroadiness" of the published campaign we were playing (The Flood, if you must know) and, in the case of Call of Cthulhu, the campaign just fizzled when one of the players couldn't play anymore.

Instead of trying to find the perfect system to play (whatever that means), I tried to find the perfect system for us. And that system, ladies and gentlemen, is GURPS. Yes, the venerable and old generic system from Steve Jackson Games finally fell into my hands, I read it from cover to cover (actually, from covers to covers since the system is two books) and I really enjoyed it. In fact, I am running a fantasy one-shot called A Caravan to Ein Arris, which was included in 3rd edition, now made available for free in SJG site and the group is involved and having a lot of fun. I'm already planning a space opera campaign, a steampunk campaign stealing ideas from our PTA game and a cyberpunk campaign.

The main reason to use a generic system is one of practicality and convenience. Each time I want to play a new setting, I have to read a new system. Sometimes, this means reading a 300-page rulebook for a campaign that may or may not materialize. This way, even if we only play a one-shot or a small campaign, we can relax in knowing that the rules won't change and the players won't be forced to learn a new set of rules for our next campaign.

So, from now on, this blog won't be so focused on AD&D. You'll read a lot more about GURPS and my experiences with the system as I develop the campaign. But I also intend to cover many RPG topics as suit my tastes. Hopefully, our group will have fun once again playing and I can write here on a regular basis.

Strands of Fate and Other Things

The last entry of my blog was posted on May, 16th, more than a month ago. It was so little ago and so long ago. Much has changed since then. Life intruded for once, and the group changed for another. It is one of the vissicitudes of life. Nowadays, groups are less static than they were a few years ago, or at least mine is. The core group remains unchanged but others come and go. Either family, work or any other element forces a change. In other cases, I burn out of a particular game.

Let's face it, I was never a single-game player. I like to play things, I like to try out new things. Not everything suits me, but had I the time, and more money than I could shake a stick at so I wouldn't have to work, I would buy a lot more than I have gathering dust on my shelves. And I would play a lot more. Don't get me wrong. This is not a compulsive desire to have something that looses its appeal once I buy it. I genuinely enjoy reading new systems, to try out new things, to change genres, much like I never go see the same movie genre all the time.

Change is good, at least for me. It keeps me from burning out. And so, taking a break from out game of AD&D, we decided to try other things. I am a fan of wuxia (chinese martial arts fantasy), and I love the Chinese mythology and ancient culture. I have played Chinese-themed games in the past like Qin or Weapons of the Gods. One of my best campaigns was set in ancient china during the Warring States period, so when some of my players began pressuring me start a new wuxia campaign it was just a matter of finding out the best system to do it.

A few years ago, I became also a great fan of FATE, but none of the current iterations of the system were quite what I was looking for: Spirit of the Century is pulp in the 20s, Diaspora is hard sci-fi and the Dresden Files is urban fantasy. Only Legends of Anglerre with its fantasy tropes could fill the void, with enough changes and adaptation as it is more suited to any type of classic fantasy campaign. Then along came Strands of Fate, and I glimpsed immediately all sorts of potential genres that could be emulated by it. You see, Strands of Fate, or SoF for short, is FATE-based, highly changed generic system. I created several characters in several genres and I like the result. The players seemed curious enough to try it.

So, a new page turns. Gone are the days of warriors and wizards, of orcs and goblins, of fallen kingdoms and might realms, of worlds of dragons and dungeons. On a more specific note, I will expand the blog to talk about anything game related, not just AD&D. I love roleplaying games too much to limit myself to one specific topic. So, while I may be playing a particular game, in any given time, I will talk about anything that strikes my fancy. I also enjoy writing on this blog (more than I anticipated). That's one more reason to keep it going. I hope you continue enjoy reading it and enjoying it as much as I do writing it.

Megadungeon - First Maps

Detailing an entire megadungeon isn't an easy task, but it's a very enjoyable one. This weekend I was able to complete two maps: level 1 of both the crypts and the dungeons. I used A4 graph sheets for each level, much like the original modules. My reference is the Caverns of Thracia by Paul Jacquays which, in my opinion, has some beautifully drawn maps. I don't like cluttered maps, so I divided the upper levels in three distinct areas: the crypts, the dungeons and the magic sanctum (which I have yet to draw). Bear in mind that these maps are still drafts.
I haven't decided on how to connect them all, but for the time being they are three separate level 1 maps. The Crypts may be connected to the Dungeons by some side passage or sewers but I'll have to decide on that latter. The Magic Sanctum is most definitely sealed off and the only way in is by using a magic key (scattered about the other levels). We'll see how this plays out.

The Dragon Magazine - Up on a Soapbox

For my ultimate quest to create the best megadungeon I can possible create for my group, I returned to the roots of it all: Castle Greyhawk, the most famous of dungeons. Because it never saw the light of day outside Gary Gygax's and Rob Kuntz's game table, it acquired an almost mythical status. I've recently heard quite a bit about it and what I heard made me realize that it was exactly what a good megadungeon should be: not completely realistic, but whimsical, filled with fiendish traps and puzzles to entice the players AND the characters. To learn more, I tracked down several sources, some of which were easier to acces than others. One of these sources is the complete series of Dragon articles written by Gary Gygax: Up on a Soapbox.

The first article was published in issue 287 (September 2001) and the last one in issue 320 (June 2004). In them, Gary describes his experiences running and playing in the Greyhawk Campaign, mainly in Castle Greyhawk, a megadungeon than spanned several levels. These are uniformly excellent articles because they open a window to a past that most of us have almost forgotten, but also because they give us glimpses of a long-lost campaign that - to most of the old grognards - is a kind of Holy Grail, lost in a mythical time. Only elements of it have surfaced since then in different mediums. Now that Gary is deceased, these articles and a handful of other materials are the only link to the original Castle Greyhawk.

The articles themselves are not connected in any way. The author tells us about several situations that cropped up during his and Rob Kuntz's campaign. Thus, we have mainly independent accounts of various moments, involving different characters. One article describes a group's efforts to solve the riddle of "a towering block of carved stone" that radiated magic. In another, the adventures are befudled by the appearance of a mysterious man whose skin is gold encrusted with jewels (according to Gary, no group ever caught him, and it continues to be a mystery to this day). There are accounts of Robilar going solo, and how he was teleported to the other end of Oerth. One article even describes how pit traps evolved from simple pits, to pits with trapdoors and, finally, pits with spikes. Without exception, every one is a small diamond in the rough and a joy to read. I say diamond in the rough not in a derrogatory sense, but because these articles are an account filtered through the mind of the man who lived it and is trying, to the best of his abilities, to describe what was like to be a part of that game. We can only imagine how things were.

From Gary's writing, I have extrapolated several elements that I will incorporate in my own megadungeon. It is also implied that Gary and Rob played with several different groups in the same setting. Therefore, parts of the dungeon were explored by different groups. Most of the puzzles and traps were not designed in a manner consistent with real world logic or even, sometimes, any kind of logic, but prepared only to confuse the players (the aforementioned trapdoors that changed as the groups learned to bypass them and the infamous ring of contrariness). In this sense, there was a sort of duel of wits between the DM and the group, with the former creating increasingly fiendish traps and puzzles and the latter trying to "beat" the obstacles set before them. I like this sort of adversarial/collaborative duality. Let us not forget that these were different times, and gameplay has changed a lot in the interim.

Castle Greyhawk also evolved, as different groups left their marks. Creatures would be slain or move away, allowing the characters to set up camp inside. Some mysteries were never solved and the characters would move on or return to them again and again. In the end, Castle Greyhawk, like any megadungeon, was never intended to be complete cleared or solved. It was a work in progress that constantly tested the characters AND the players' wits and problem-solving capabilities.

Up on a Soapbox is highly recommended reading not only to those who are interested in the history of our hobby, and the origins of the first megadungeon, but also to those who seek inspiration for their own dungeons and settings, like me.

My Own Megadungeon

As I continue to run the Keep on the Borderlands, and I'm having a great deal of fun with it considering none of my players ever played AD&D 1st edition old-school style, I am missing something: a creation of my own. Enter the MEGADUNGEON. This is a term that was new to me, although, in retrospect, I had already read a few large dungeons even before considering playing AD&D. I own the super-module T1-4 The Temple of Elemental Evil and I have heard of others like Greyhawk Ruins, Ruins of Undermountain or the mythical original Castle Greyhawk. I read Joseph Bloch's definition of a Megadungeon on his blog and although I don't know if this is the universally accepted definition, it appeals to me.

I want a place that the group or several groups can return to time and again to explore, a place of such profound depths and complexity that it will take many adventures just to skim its surface, a place that will never be depleted of monsters, traps and puzzles to tantalize the players for months to come. To this end, I have decided to start my own megadungeon. I will start posting regularly about the creation of this new dungeon which I have yet to decide if it's set in Greyhawk or a world of my own creation. I have no title yet, only a vague notion that it should be a castle set on an island in the middle of a river (taking a cue from Gygax and his own Castle Greyhawk superimposed on a map of the U.S.A. I have decided to use a specific part of Portugal, inspired by a real castle).

Some notions about it:

• It will not have an overall plot. The plot will evolve naturally as the characters explore the dungeon and interact with its denizens. It will be whatever happens during the adventures. In other words, no preconceived results or storylines.
• It will have an overarching theme, and several parts of it will have their own thematic elements to make them distinct.
• It will have several factions living inside that will be enemies or foes depending on how the characters react to them.
• It must evolve with time. The characters' actions will impact on it and it will be a very different thing after many months of play than it was at first. However, it will never be depleted.
• It will have many levels and, using my Less Is More approach and my notions on how a dungeon should be, I will expand it little by little, with many new levels, new subareas, etc.

I think these will give me a solid basis to start this new project. I find it very exciting as it tickles my creative bone, a thing I sorely missed for a long time.

The Greyhawk Campaign - Sessions 1 & 2

Tomorrow I run the third session of our group's campaign set in Greyhawk. I had little time before to write about our first two sessions so I collect my thoughts on this post. We are playing the Keep on the Borderlands, set in Greyhawk, most specifically on the border of Ulek and Pomarj. The group was Edralas (half-elf fighter/magic-user), Areth (human ranger), Lyriel (elf thief), Eric (human cleric) and Shivar Vir (a human monk). I say was, because they players changed from the first to the second session, but I'm getting ahead of myself.

The group approached the gates of the Windark fort, a lonely keep, on the mountains that border Pomarj. The guards observed the group as they approached, crossbows at the ready. Someone demanded their identification and purpose. I always ask the players to introduce their characters by saying their names and describing what the others see. After introductions were made, the portcullis was slowly raised and the gate slowly lowered to bridge the gap between the road and the keep. Inside they were greeted by a rather gruff dwarf with a eye-patch and plate mail, called Gwyron, and a slim and tall human with a tunic and hood and white beard, the scribe Master Edwyn, who registered each of the character's names in a book. After handing over their weapons that are strictly forbidden inside, Gwyron warned the characters to keep on their toes as the guard wouldn't tolerate violence or crimes of any sort.

The group was directed to the local inn, The Black Rooster, owned by a cheerful fellow called Rolo. The characters were forced to accept lodgings in the common room as they were low on coins After that they explored the keep and the tavern, The Royal Retreat. Although it was a rather uncomfortable place with a low ceiling, the guards on leave were happily drinking away their hard earned pay. There were other costumers, among them a rather unsavory fellow who didn't like elves and tried to sell his sword to the group by trying to persuade them that they were better off without the Lyriel, and a merchant - Redoc - who had been attacked outside the keep by goblins. He had lost all his goods and hands, including his brother, and he was looking for people to rescue his brother. This seemed like work and the players decided to purchase equipment and explore the wilderness. Since this is a sandbox of sorts, I never once guided the players. They were free to roam however they wanted and do whatever they wanted within the confines of the area.

They picked up a few rumors on the keep, mainly about some caves of chaos where, some said, lived all manner of beasts (orcs, goblins, hobgoblins and kobolds). No one knew where the caves where as the region was too wild and the keep so undermanned that they didn't have enough men to do a thorough search. There was also a rumor of a beautiful maiden imprisoned in the caves.

The group started their exploration from the point where the caravan had been attacked, some distance away. Eventually, they entered the surrounding forests. The ranger player wanted to follow the goblin trail but no tracks were seen so the thief player had the idea of climbing a tree and checking their surroundings. They noticed a thin column of smoke rising from the northwest. They followed it and entered a clearing with a tall oak in the center. Someone was moving inside the oak and a mountain lion was lazily sleeping on a branch. An old, haggard man confronted them, rambling about lost crops and Mielikki (whom the characters recognized as goddess of the forest). Eventually he became violent, believing the group wanted to steal his treasure and food. We had our first taste of combat but the thief played it cagey (she has only 3 hp) and decided to search the inside of the tree. Perhaps she could barter with his treasure. She eventually stole his coins but decided to return them when the group finally subdued the old hermit and released him when he was calmer. He was so incoherent that they could not find anything about their surroundings or the goblins. They decided to walk to the east in the direction of some rock outcroppings.

At this point, the monk player left for personal reason so I ruled he had been killed during the combat by the hermit, but a human fighter - Sidimatus - joined them. He literally ran into them on his way to the fort. After some brief negotiations, they decided to join forces.

The group eventually left the woods and made camp in the rock outcroppings. Night was quickly falling. They took turns on watch. A wise decision as they were attacked by a group of wandering kobolds. I previously agreed with the players that whenever they would say something would happen, it would happen. For instance, when entering a dungeon, if no one says he's drawing his weapons, then when combat occurs, he still has to drawn them. In this case, the kobolds noticed the light campfire and weren't surprise. There was a quick combat that showed the players how deadly and gritty combat can be on the lower levels. Lyriel and Sidimatus fell to the creatures' blows. Fortunately, in AD&D one doesn't die when they reach 0 hit points, so the group's cleric stabilized them until he could study his Cure Light Wounds spells and cast them (he had previously spent them during the combat with the hermit).

The group returned to the keep where they were forced to rest for a full week. So, they spent this time interacting with the locals. Sidimatus, in particular, showed a great deal of interest in the local chapel dedicated to Obhalan, god of warriors, soldiers, explorers. The player is playing his character like a sort of barbarian-like fighter with an intense curiosity in other cultures. Redoc, the merchant, was none too happy that the group had to spend so much time recovering, so he decided to seek help elsewhere. The group also met Rogobar, a scholar, who was seeking artifacts from an ancient culture that supposedly occupied the entire Pomarj peninsula and parts of the wild coast. He had a small book of notes with ancient maps of the area that the group was interested in (perhaps they could pinpoint the location of the caves of chaos using old references). Lyriel pilfered the book but then Rogobard decided to show them his notes. When he found the book missing, hilarity ensued. The group denied having stolen the book, the guards were brough in. It all ended when Lyriel disposed of the book in a corner of the room and Rogobar found it. He was confused so he suspected the characters but he had no proof. On the other hand, he was rightly confused so he he wasn't sure if the book had been stolen or lost.

Finally, the group decided to enlist the help of some locals. They learned of a like-minded cleric who was staying at the inn with his acolytes. His name his Tivor and he showed a great deal of interest in the caves of chaos. He immediately asked to join the group with his two acolytes in fighting the creatures. Thus the session ended with the players happy with their new found ally.

The Dungeon Is Not Railroad

When I returned to the roots of our hobby, I made a conscious decision to focus on the dungeon as main environment of the game. This doesn't mean focusing entirely on the dungeon but it will play a bigger part than wilderness and city adventures. In fact, in the early days the dungeon was the basis of all adventures from Gygax's mythical Greyhawk Castle to Descent into the Depths of the Earth and all the modules in between. Books like TSR's T1 - Village of Hommlet or Judge Guild's City of the Invincible Overlord were exceptions. But I digress.

As I conceived my campaign, I came to understand the dungeon as one of the least railroading environments to game with. It's also a highly controlled environment, which can give the DM considerable freedom within its artificial boundaries. Some of the most ardent opponents of the dungeon as an adventure centerpiece will say that the dungeon will be, by its very nature of narrow corridors and rooms, highly railroading but they could not be farther from the truth. However, before I go any further, let me tell you that the following only applies to well-designed dungeons, which provide multiple choices to the players, not the random, "one way in, one way inside, and one way out" dungeons. The kind most of the players consider bad dungeons when they say "I don't play dungeons because we kick the door, kill everything inside, go into the next room, kill everything inside, and so on."

Why is then a well-designed dungeon one of the least railroading environments ever conceived? Consider this: railroading, by its very definition, forces the players to follow a path the DM created. Whatever the players try to do, it won't have any impact on the story or environment because the DM already predetermined what the outcome is. One of the best examples of this style is the Dragonlance series (DL1, DL2, etc.). Not only the players were forced to live a predetermined story, they were also forces to play the pre-generated characters provided and no matter what they rolled, certain events were already set in stone. Whatever qualities these adventures have, it's not what I want for my game. I want my players to impact the story; I want their choices to affect NPCs, events and even the dungeon.

The structure of a dungeon should provide plenty possibilities of multiple choice. The players should not feel they are forced to follow any given path. Consider a more story-oriented game. It is divided into scenes. In each scene, the players have multiple choices and those choices lead to other scenes. Their choices impacts on the scenes' outcome and how they interact with scenes further down the storyline. To give a more concrete example, let's assume that, in the first scene, the group is investigating the death of a city magistrate. They are in his house. At this point they have any number of choices: they could interview the staff, look for clues, examine the body, check the neighborhood, talk to the authorities, etc. Each of these options will, likewise, develop into a full scene and influence the story. If they find the magistrate was poisoned, they could trace the poison to a death cult which leads to another scene. Interviewing the staff reveals the magistrate was seeing a prostitute in a brothel, which leads to another scene. And so on.

If we apply this logic to the dungeon, we can consider each room a scene linked to other scenes by corridors, secret passages, doors, ramps, etc. Each room should have two or more different exits that lead to other rooms or places of interest. If we develop a fully fledged dungeon with this in mind, then the group is faced with multiple choices on where to go. Check any well-designed dungeon and you'll see that this is the logic applied toit. Each choice is not the correct or wrong one, but a choice like any other.

And what happens in each room (scene) should definitely impact later scenes. If in room A there's a bunch of goblins, and there's a fight and one of the goblins escapes, then later goblins should already be alerted to the presence of intruders and even actively hunting for them. If the players go to room B (on the left) and fight a carrion crawler, and lose weapons, hit points and spells then, when they return to room C (the one to the right of A) whatever they face there, they are already under the constraint of having lost some of their resources. The same will happen if they go the other way around: first to room C and then to room B. The structure will be more complex if each room has multiple ways, and some of them even take the players back to where they started. There is no constraint to explore the rooms (scenes) in any given order, which keeps the DM fully focused on everything that happens, and gives the group the maximum freedom.

Some of the best dungeons even provide several entrances to different areas. The players can choose to tackle the dungeon from any angle and even leave and take another entrance, if they choose to. Is there more freedom of choice? On top of this, each dungeon should provide any set of interesting places so the players interest won't flag ("Oh no, another 30x30 room with goblins"). That's why I think puzzles and traps play a big part on this, but that's material for another discussion.

Last, but not least, the dungeon is a highly controlled environment. The group moves within its artificial constrains. Unlike an open world, where the players are free to go wherever they want, inside the dungeon they are free to move wherever they want but cannot go outside the boundaries of the dungeons, unless they choose to leave. For all that it's worth, the dungeon is also a very demanding style of play that force the DM to create an almost complete environment prior to play, but within that environment the players are free to move wherever they go, at the pace they want, tacking the many rooms of the dungeon in any order they want. And that, ultimately, is the anthitesis of railroading.

Settings: Planescape

Of all the setting published by TSR, Planescape is my second most favorite setting, the other being Dark Sun. The main reason is that I always enjoyed quirky settings as opposed to the vanilla fantasy of Greyhawk or Forgotten Realms which provide a more traditional approach to fantasy. With Planescape, TSR effectively opened the door to many planes of existence and beyond, creating one of the most rich and beautiful settings.

This high quality box contained a 32-player's primer to the factions and planes, a DM guide to the planes and a guide to the city of Sigil and beyond. The city is assumed to be the "home base" of the characters, be they native to the planes or from any of the prime worlds (i.e. Greyhawk, Forgotten Realms, or a world of the DM's imagination). It also included several high quality maps.

What really stands out as I re-read these recently are Tony DiTerlizzi's illustrations. These are really very, very good and set the tone of the setting: grim, dark and more than a bit off-the-wall. TSR wisely used mostly of DiTerlizzi's imagery in all he Planescape products, thus maintaining a visual consistency unrivalled by any of the products of the same era.

What really captures my imagination, though, are the infinite possibilities for adventures. Each contained setting, such as Greyhawk or Dark Sun, offers a myriad of options for adventures, but each is limited in scope. The planes, however, open the door to a sweeping, epic universe that encompasses all the planes which are vast and some are infinite, and also the many worlds already published or otherwise. An ambitious DM could create a campaign with characters from Faerun, Flanaess, Dark Sun, Mystara, or whatever other fantasy world strikes his fancy, and let the characters wander the multitude of planes. Even though the setting Planescape assumes the planes as the centerpiece of the campaign, there is nothing to stop the DM from creating adventures in prime worlds. Think of the possibilities.

Another element that distinguishes Planescape from other settings is that the alignments shape beliefs. Whereas in more conventional AD&D settings, alignments are a mere indication of behavior, in Planescape, they are true philosophies and shape the mood of the setting as much as or more than anything else. Sigil is controlled, in a way, by factions whose alignments dictate not only how they should behave but their metaphysical beliefs on a grander scale. Each plane corresponds to a specific alignment whose beliefs often clash. Wars are fought for alignments. Some spells may or may not work based on alignment and where in the planeverse they are cast. In a way, they are a powerful reminder that this is a setting unlike any other.

The boxed set spawned a number of products that mostly maintained the high quality set by it. This is play on a grand scale, transcending one specific setting. It is a truly epic playground where the players can meet the very deities they worship and many doors lead to infinite places. It is also a very demanding setting with a very specific mood, but I love it all the more for it for it isn't your average vanilla fantasy world. For all its qualities, it remains one of my two favorite AD&D settings.