Scott Kirkwood (order #29396123)

Issue 2
TABLE OF CONTENTS
Trollszine is a Trollbridge production
Trolls Talk To - by Dan Prentice Page 1
The Trollgod’s Judgement - by Ken St Andre Page 2
The Hoargaunt - by Eric Olson Page 3
The Jarma-Loh - by Nicholas Cloister Page 5
The Red River Hippo - by Martin Layzell Page 7
Maertazz - by Tom Grimshaw Page 8
Vatarios Drathan - by Tori Bergquist Page 10
Unexpected Adventures - Randy Whitley Page 12
The Hunt: a mini GM adventure - by Salvatore Macri Page 16
On Becoming - by W. Scott Grant Page 19
Dark Rising: a solo - by Tom Grimshaw Page 32
I know Kung Fu: combat techniques for T&T- by Dan Prentice Page 47
Flight to New Khazan- by Tom K.Loney Page 52
Level and Attribute Advancement - by Dan Hembree Page 55
Delverton: The Inn - by Lee Reynoldson Page 59
Grumlahk’s Cartoons - by Jeff Freels Page 62
Spelling Mistakes - by Tom Grimshaw Page 63
Rings of Power and Sorcerers Scrolls - by Salvatore Macri Page 70
A Computer Generated Dungeon: Review- by W. Scott Grant Page 76
How to write a Solo Adventure: Part 1 - by Simon Rafe Page 79
Aeulungs Tale: Chapter 2 - by Tom Grimshaw Page 83
Contributors Page 85
Troll Links Page 88

TROLLSZINE
Scott Kirkwood (order #29396123)
 CREDITS
Tunnels and Trolls(TM) is a trademark of Flying Buffalo Inc, and is used with permission.
For more information on Tunnels and Trolls™ products visit
www.flyingbuffalo.com.
The second edition of this magazine published by Dan Prentice and Kevin Bracey in
May 2010.
All rights reserved. 2010 © Trollbridge.
All visual and textual content has been contributed by the individual authors and artists
credited in this publication. The copyrights for the contents of the magazine are the
property of the individual contributors, who have given permission for their work to be
published within TrollsZine on a not-for-profit basis.

The contents of this publication cannot be reproduced elsewhere without the express
consent of the respective copyright holders; however, you may freely print the contents
of this publication for your personal enjoyment—we hope you do!

Editing credits
Dan Prentice – Editor, Compilation and copy editing
Kevin Bracey – Layout and Design
Stephen Dove – Copy editing ‘The Hunt’, ‘Things Wondrous and Strange’, ‘Unexpected
Adventures’, ‘Dark Rising’, ‘The Computer Generated Dungeon, a review’
ME Volmar - Copy editing ‘On Becoming’
Mike Hill – Copy editing ‘I know Kung Fu!’

Art Credits
Celina Bené: 20, 61, 71, 74, 79. Nicholas Cloister: 6.
Alex Cook: 17, 23, 83. Ida Enbrant: 26, 49, 50, 56.
Jeff Freels: 2, 10, 11, 34, 36, 40, 43, 44, 58, 88. Scott Grant: Photographs 76, 77.
Mike Hill: 1, 32, 87. Jay Hughes: 12.
Jojo Smith: 42. Tenniel : 51.
Chad Thorson: 47, 70. Simon Tranter: 53.
David Ullery: 4, 13, 14, 57, 63, 64, 65, 67, 78.
Kevin Bracey: Cover. Pages: 3, 5, 8, 33, 37, 54, 95 inches of Chains,
Arrow, Credits and Trollhalla Banner.

Other game systems may be

mentioned in this zine, and their
titles are trademarks belonging to
other companies. Use of these
trademarks is not meant to be a challenge
to the trademark or its ownership.

ISSUE 2
Scott Kirkwood (order #29396123)
 TROLLS TALK TO
One another. Some at least have been talking about the first TrollsZine. I am very
pleased both with the reception for this venture and the number of new contributors to
the issue you are holding (or browsing) now. I am particularly grateful to Rick Loomis for
agreeing to showcase TrollsZine as a Flying Buffalo product on RPG Drive Thru. This has
resulted in far higher visibility for the magazine than we would otherwise have had.
As Liz Danforth said recently on RPG Net, “Flying Buffalo is the little engine that could”.
The longest standing independent role-playing publisher in the world.
I am also delighted with Ken St Andre’s continued involvement and support for the
magazine and in particular for his key role in judging the competition from TrollsZine
issue 1. Congratulations to the worthy winner Eric Olson for his chilling Hoargaunt. The
standard was very high and I look forward to sharing all of the entries with readers in
future issues.
I would also like to thank Kevin Bracey for the tremendous job of laying out Issues 1 and
2. Without you, it just would not have happened Kevin.
Finally I would like to ask our readers to help us make this magazine the best it can be.
Please fill out our questionnaire so we know what is working and what isn’t. http://
freeonlinesurveys.com/rendersurvey.asp?sid=i8ag0mny5sq7223725607
If you feel like contributing, come on down to the Trollbridge, we would love to meet
you.

Dan Prentice

Page 1 TROLLSZINE
Scott Kirkwood (order #29396123)
 THE TROLLGODS JUDGEMENT
Greetings, O Elite Ones!
As you know the editors of TrollsZine have asked me to judge a monster creation
competition. I agreed, and I came up with the following criteria for judgment of each
monster type.
The entrants were judged on:
Originality 10 pts.
Description 10 pts.
Humor 10 pts.
Grammar 10 pts.
(how well written was the entry)
Specials 10 pts.
(attacks, defenses, talents, etc.)
Design Weaknesses: 0 to -4.

Each entrant was given a numerical score.

I do not know who created which creature. I
simply evaluated all 6 points for each one. Based
on that evaluation, the winners are:

1. The Hoargaunt with 37 points.

2. The Jarma Loh with 35 points.
3. Red River Hippos, Maertaezz , Vatarios Drathan, all with 33 points each.
The one area in which the contestants all came up short was in humor. I looked hard for
things that could be considered humorous about these creations, and didn't find much
anywhere. Nobody got more than 2 out of 10 points for humor.
In general, I found the writing very good, and may Crom protect all player characters
from ever meeting these foes.
H'aaarrrggghhh!
Khenn Arrth
(These were the creations that the Trollgod judged to be the best, and I readily concur.
There were ten entries in all, of a very high standard in this humble editor’s opinion, and
all of them will be shared with you in future issues. For now, enjoy the top five - Ed)

http://www.trollhalla.com

ISSUE 2 Page 2
Scott Kirkwood (order #29396123)
 THE HOARGAUNT
By Eric Olson
I had heard the tales in my youth, from old hunters who had tracked the herds as they
moved north of the crumbling towers of the Fortress Wall. The hunters told of creatures,
formerly men, who were cursed to follow the snows, seeking life and warmth but never
finding it. They would steal your breath away and freeze your blood. I’ve never been
scared of anything I could kill with a good blade, but their stories haunted my sleep and I
can still remember one of them as if I just heard it.
“It was early spring and the herds of elk had started to move north. At least a half a
dozen hunting parties braved the wastes hoping to bring back enough meat to feed the
clan until the early harvests. We were on the third day of the hunt when we came
across the bodies of one of the other hunting parties. There were five hunters scattered
around a fire that had long gone cold. The bodies were stark white and covered in frost,
as if they had lain in the snows for weeks. They had died in terror, with weapons in their
hands. Even though the skies had been clear since the hunt started, the entire camp was
covered in frost. The fire was cold, though the wood looked like it had been barely
touched by flame.”
The hunters knew that the Men of Ice, the Hoargaunts, were near. The hunt was
abandoned and they fled south below the snow line. I know this isn’t just a story told by
old men to frighten the children. I’ve heard from other clans that the Hoargaunts have
moved south as the cold spreads from the wastes into our lands. There are some who
believe that the Men of Ice have followed the orc tribes south and prey on them as
much or more then they do the clans.
I can see that you don’t believe me. You think I’m a frightened old man, but take my
words to heart. When you are north of the snow line, keep watch on both the weather
and your fires. A sudden drop in temperature with no wind is the first sign. Next is your
fire. The flames will shrink, the color will darken, and the heat will seem to leach away
bare inches from the flame. If you haven’t already; run, because they are near. If your fire
goes out, it’s too late, you’re dead.
As the torchlight flickers and dies, a pale shape emerges from the darkness. Covered in
frost, it may have once been a man, but now all that remains is a feral hunger with razor
sharp, ice encrusted claws.
Hoargaunts are the cursed descendants of a long forgotten clan, the Bartols. As the
Shadow’s hordes were broken at the start of the Second Age, there was widespread
suffering amongst the clans. The Bartols had been spared from the worst of the fighting
and had hoarded food and fuel. When refugees came seeking sanctuary and aid, they
were driven away or killed outright. Outraged, the Winter King, drove the Bartol clan into
the wastes and cursed them to never know warmth again. No longer human, the
Hoargaunts are forced to travel the lands of snow and ice.

Page 3 TROLLSZINE
Scott Kirkwood (order #29396123)
 MR: 50 (6 dice +25 adds)
Armor: Hide protects for 4 points
Special Attacks : 2/Steal Warmth - victim loses 1 point of Dex and St
(temporary , recovers at 1/10 minutes rest) as well as taking 1 Con damage
due to the intense cold. The Hoargaunt regenerates 2 MR. 3/Grab - the victim
is held in the Hoargaunts grasp and will fight at half normal value until they
can break free (L2 ST SR or L3 Dex or Spd SR to do so)
Special Defences: Immune to fire damage
Special Vulnerability :Cold, the Hoargaunt takes 50% extra damage from cold
attacks.

ISSUE 2 Page 4
Scott Kirkwood (order #29396123)
 THE JARMA-LOH
By Nicholas Cloister
The Jarma-Loh have no culture or civilization of their own. If there was once such a
thing as Jarma-Loh societies they are now gone, and the race is scattered. Most live by
themselves, while others group together in families or small clans.
The creatures have a human level intelligence and a corresponding emotional life. What
differentiates them from human beings is that they are quite happy by themselves, and
don’t mind being scattered as a race. Nor do they react nearly as strongly to mockery,
harassment or even persecution, which they are quite used to. The Jarma-Loh are hardy
survivors that never miss an opportunity, and most of them do well in life.
Secondarily they differ from humans in their strong desire for treasure and riches. Few
Jarma-Loh have any other goal in life than wealth. Gems especially draw their attention,
and with their ability to sniff out every kind of mineral, they usually find them. This
obsession with treasure draws many Jarma-Loh into thievery, and they make excellent
thieves. Their short stature and agile bodies are perfect when sneaking through the
darkness of night. Most Jarma-Loh also have a natural nose for business and are quick
at picking up social codes and etiquette. There have been more than a couple Jarma-
Loh serving as Royal advisors and agents.
Perhaps it is the lack of a culture of their own that make the Jarma-Loh so keen on
achievement and wealth. Whatever the cause, few beings are so well equipped for
personal gain as the Jarma-Loh. The strange look of these creatures is and has been a
burden for them - another cause for the way of the rogue – but unless they are
banished as a race from a country, they tend to stay, survive, and accomplish what they
aim for.
The Jarma-Loh live to be about 50 years old. They don’t respond very well to liquor
(they tend to turn aggressive), and heavier drugs are not common among them. The
females carry their young for three months only, so if they had been more inclined to
make families, they could have plenty of offspring. They have little understanding of
music, and eating the meat raw instead of cooked makes little difference to them. This
doesn’t stop them from distinguishing a good musical performance from a bad one, and
they are not unhappy when presented with a fine meal. It is just that the Jarma-Loh
prefer fine clothing, jewellery, luxurious tapestries, and over-adorned furniture. They
would rather eat raw potatoes with silver cutlery than a fine steak on a pewter plate.
They love any kind of adventure, just as long as there is a promise of wealth at the end
of it. They simply cannot get rich enough.
These creatures are mostly found in cities and larger townships, where opportunities are
many, and wealth more common. If successful the Jarma-Loh might withdraw to a
countryside castle when older, since their social life is mainly a means to obtain their
personal wealth. However, just like human beings, all Jarma-Loh are different, and some
differ more than others from the norm. If a player chooses to play a Jarma-Loh
character, it may of course stray from typical race behavior, if that is desirable. A normal
Jarma-Loh will be rather fearless of most situations, except when its valuables are at risk.

Page 5 TROLLSZINE
Scott Kirkwood (order #29396123)
 Jarma-Loh Attributes
Strength x 0.75, Dexterity x 1.5, Constitution x 1.25, Intelligence x 1.25, Luck
x1.25, Wizardry x 0.5 Height x 0.75, Weight x 0.75 .All other attributes x1.
Special Abilities – Fur and horns provide a natural 2 points of armor protection.
Their antlers and hooves grant them 2 dice in combat when fighting unarmed.
The Jarma-Loh have two semi magical abilities – they can scent minerals and
gems within 200 yards and they have a supernatural ability to sense meaning,
even when they do not understand the language. If they hear speech they can
make a Saving Roll on Intelligence to get at least the gist of what is being said.

ISSUE 2 Page 6
Scott Kirkwood (order #29396123)
 RED RIVER HIPPOS
By Martin Layzell
Hippopotami of any description are dangerous river beasts and fisher folk everywhere
have long learned to steer clear of these deceptively sedate-looking mud-bathers. The
Red River Hippopotami however, have earned a local reputation for aggression, and
according to some tavern-tales, even going so far as to set ambushes for prey. The
reason for this aggressive behavior is that the Red River Hippos have become blood-
feeders. The cause of this change is unclear; maybe its a response to a reduction in their
normal food stock, maybe its an adaptation to the aggressive behavior of other
predators on this dangerous river, perhaps it is a magical mutation brought about by
some sort of curse.
What is clear is that the Red River Hippos have both physical and behavioral changes
that make them different to normal. They are large, clumsy looking beasts but they
possess enormous strength, and are surprisingly fast and agile swimmers and can
submerge for several minutes. They also possess a fearsome set of tusks - these are
hollowed bone and allow the hippo to puncture its prey and start leeching blood direct
into its own bloodstream.
They are naturally a dark tan color that helps them blend into the mud or dark waters of
the Red River. The Red River Hippos are territorial and live in small groups of 4-6 adults.
They spend most of their days wallowing in mud or floating in the river to keep cool.
Their normal method of hunting is to wait upstream of any animal crossing the river or
stopping to drink at the waters edge, using the rivers flow to hide them and bring them
close to their prey before making a short, powerful lunge, plunging their tusks deep into
their prey before overwhelming them with their bulk. The Hungry Hippos, as they are
known locally, are also very aggressive with passing river traffic and will submerge under
a passing raft or fishing skiff before rising in order to capsize the vessel. Victims
swimming in the river are then quickly bitten and dragged down into the river to drown.
Local fishermen have taken to bringing long spears with them to fend off the beasts,
and keep a wary eye out for animal husks beside the river that indicate recent hippo
kills.

Monster Rating: 90
Tough Hide provides 6 points of armor protection
Special Attack: Charge – the Hippo gets a bonus 2d6 to its attack roll if it can
charge into combat.
Special attack: 3/Blood Drain , target is drained of blood through a tusk, they
take 1d6 Con and 1d6 ST damage. The Hungry Hippo recovers a matching
amount of damage.
Special attack: 4/Drag Down, only usable in water, the Hippo has managed to
pull the target below the surface and they will start drowning. L3 ST SR to
break free.
Special abilities : Red River Hippos are at no penalty when fighting in water.

Page 7 TROLLSZINE
Scott Kirkwood (order #29396123)
 MAERTAEZZ
By Tom Grimshaw.
Background:
Maertaezz is a mysterious figure and somewhat of an unknown commodity in the
Trollworld, which is as much by intention as it is by guile. By choice he lives the life of a
traveller, journeying from one large city to another where he can blend in as a faceless
member of the crowd aided by his unremarkable dress and great intelligence. Wearing a
common quilted cotton shirt and trousers offset by a studded leather belt holding a
sheathed long knife he bears a likeness to any other townsman in larger, well to do
cities. This free reign has allowed him to become the most prolific and successful serial
killer that the land has ever known. Descriptions vary from city to city but he is noted as
a young muscular man with a completely bald head ,fair of skin with a dark well kept
beard.

Motivations:
Maertaezz victims share no common ground other than being in the wrong place at
the wrong time. He is a cold-blooded killer who simply commits his acts of violence for
the sadistic glee that it brings him and, he will happily kill men, women and children alike.
Quirkily though he offers all people who cross his path a good chance of survival by
drawing them a card from a deck that he never allows to leave his side. Ever cold and
stone faced the victims have no idea that he is deciding their fate as he calmly shuffles
and then draws, unless it is the Ace of Spades that he produces.
This is his kill card and after drawing it he will shuffle it back into the deck and placing
the cards into a pocket secreted in his shirt and, begins to plot the kill. Due to the nature
of his method of selection in busy crowds many people may be given a free pass whilst
he focuses on someone that piques his interest. Maertaezz will only ever focus on one
victim at a time, giving them his complete and undivided attention.

Tactics:
Maertaezz has a set routine that is almost ritualistic in how he slays his victims. He will
start by stalking them, taking note of the daily movements and looking for a
vulnerability in the victims’ life, such as a reliance on alcohol or someone who depends
on them. Taking this information he will seize the prime opportunity to attack and
always aims to dispatch his victim in one swift strike.
If for any reason the first strike is unsuccessful he will break off the assault and fly into a
vile rage. In this state of mind he will go out of his way to ruin the life of his would be
victim. This may take the form of torturing and killing those nearest and dearest to the
survivor, framing them for murders and other crimes, destroying any business they try to
conduct and, any other method he has at his disposal.

ISSUE 2 Page 8
Scott Kirkwood (order #29396123)
 Attributes and Equipment:
Kindred: Human Type: Warrior Level 3
STR: 23 INT: 32 LK: 18 CON: 22 DEX: 35 CHR: 16 SPD: 19 WIZ: 10
Personal Adds: 47 Missile Adds: 70
Talents: Disguise (CHR 22), Lying (CHR 22), Ambush (DEX 41)
Weapons: Long Knife (2+2)
Armour: Quilted Cotton (3 Hits, doubled to 6 for Type)
Languages: Common Magic: None
Other: Deck of Cards

Sample Encounter:
Being more than able to handle himself in a fight, Maertaezz prefers to frequent the
seedier back street bars that form in the larger cities with clearer class divides. In
particular dock side bars as the sea offers him another route of escape once he has
committed the deed. Naturally places like these also attract adventurous types (as in Sea
of Mystery) and, these are the kind of people he finds of interest.
Maertaezz will perch himself with a mug of ale in a booth that overlooks the door as he
shuffles his cards, dealing one out on to the table for each person entering the bar that
catches his eye. Each character that enters the bar should make a L1SR on LK or
become the next target. If more than one character misses the roll, it is the one that
misses the roll by the largest amount that has become the next would be victim and,
Maertaezz will begin his work.
The first thing that he is most likely to do is strike up a conversation with the person he
intends to kill in order to get a better idea of their strengths and weaknesses. This will
often come in the form of offering them a drink as they order at the bar where he will
introduce himself, using an assumed name. He may even attempt to join the delvers if
there are only a small number of them in the group in order to keep an eye on his mark.
If they refuse he will invent a tale whereby he needs the help of the party on some
daring task with a great reward but he must accompany them in order for the quest to
be successful. The most common of these tales is one that he learned from a prior
victim and, it revolves around a family heirloom buried in a long forgotten crypt.
Although the crypt and heirloom were real Maertaezz has long since plundered this for
himself and squandered the riches he found. If the party agree however he will attempt
to trap them in the tomb as he kills his victim and leaves the others for dead, sealing the
entrance behind him. Any adventure the GM has prepared that revolves around a crypt
will suffice for this and the original adventure can also be played out.
If the players do not buy into his story he will leave quietly but, stalk the victim until he
has enough information to attack in accordance with his tactics (See above).

Page 9 TROLLSZINE
Scott Kirkwood (order #29396123)
 VATARIOS DRATHAN
By Tori Bergquist
HUMAN WARLORD OF HYRKANIA A HERO OF LINGUSIA
Level 6 Warrior
Male, 6’4”, 225 lbs. age 34
ST DX CN LK IN WZ CH SP ADDS
61 19 30 24 16 21 19 10 +68
Class Bonus: double armor hits, warrior
weapon bonus
Talents: Swordsmanship ST+5
Horsemanship DX+4
Military Tactics IN+6
Diplomacy CH+3
Intimidating CH+6
Magic Resistance WZ+4
Languages: Middle Tongue, Northron,
Argosean, orcish, dwarvish
Weapons, Armor and Gear:
Vorpal Greatsword (6 dice base x2 vorpal;
total: 6d6 x2+74)
Heavy Plate (20 hits x2 =40 hits total)
Amulet of regeneration (costs 10 WZ; will
regenerate 1 Con/minute for 10 minutes)
550 gold crowns (5500 gp value)
Vatarios Drathan is a notorious rogue knight who
once belonged to the Solarian Order, dedicated to
the service of the Emperor of Hyrkania and the sun
god Naril. He was recruited as a bastard orphan in
the township of Eladoras, along the northern coast
of Hyrkania, after an attack by Hettanar raiders
devastated the town and left his family dead or
enslaved. Vatarios was found in the rubble by the
dedicated older knight Dannik Kalgornin, a paladin
and Solarian knight of the temple of Naril, who
took him under his wing as a squire.

ISSUE 2 Page 10
Scott Kirkwood (order #29396123)
 Vatarios grew up with a strong hatred for the Hettanar and their ilk. At age seventeen,
just before his initiation in to the ranks of the Solarian knights he was invited by the
emerald knight Arden Dusk to strike against a lone outpost believed to be held by
bandits. In the slaughter Vatarios discovered, too late, that the outpost was not managed
by bandits but was instead run by a peaceful order of rangers from the Niras Woods
who had offended Lord Dusk’s family. Vatarios was shamed at his actions and his
impulsive desire for revenge against the bandits, and confessed his actions before his
initiation. He was cast from the order, and for a time wandered as a knight errant, with
no purpose and no order to his name.
Vatarios eventually took up arms as a mercenary in the border wars with Southern
Hyrkania, and was even present during the rather famous siege of Malas after it had
been taken by the Persedonians. In the siege he ended up commanding a troop of
soldiers that managed to scale the walls in the dead of night along the seaside defenses,
penetrating in to the inner keep where they took the Persedonian governor hostage,
forcing the end of the battle. Vatarios so impressed the general leading the assault that
he was presented to Emperor himself and was knighted in to the Emerald Order. He
now serves on the frontlines of war against the encroaching Persedonian threat in the
south, as well as the dangers from the chaos city of Trog, seeking new recruits to train
for his cause.

Page 11 TROLLSZINE
Scott Kirkwood (order #29396123)
 UNEXPECTED ADVENTURES
OR "TIRED OF MYSTERIOUS OLD MEN AT THE INN"
By Randy Whitley
As older gamers with commitments to family, work and other pursuits, my gaming
group doesn't get to meet as often as we would like-and when we do, we want to cut
straight to the fun. Also, we've done all the old clichés to death; you know the ones:
The Wizard sends you on a dangerous mission that he is just ‘Too Darn Busy’ to
accomplish with a wave of his staff...
His Majesty commands/entices you to brave ‘Great Dangers’ because he won't send his
own men to certain death...
The Mysterious Old Man with the fabulous ‘Treasure Map’ that he will sell ONLY to
you...
There's nothing wrong with a good cliché done right, but all groups get a bit jaded now
and then. So in the interest of preventing boredom (the bane of all RPGs) I thought I’d
present a few quick adventure intros my gang and I thought memorable enough to
write down. Some grew organically from previous adventures; others began ‘In
Media Res’ (our group likes to get straight to the fun).
But enough delay with these introductions! The Dungeon Entrance/Exciting
New Adventure/Journey to Certain Doom begins thusly:
A choking black mist generated by a (Wizard/Witch/Shaman/Cursed
magic item) which then clears to reveal...
A slight shimmer of air between two oddly carved
stones (possibly hidden by brush or sand)...
A faint peal of bells and an odd smell,
followed by a falling sensation and an odd
color to the sky...
A dozen ticked-off Leprechauns muttering
under their breath, then all giggle as they
seem to disappear, and then you realize
nothing looks familiar anymore...
A raging forest fire that drives the party to run
blindly until they are safe at...
As you cross near an overgrown cottage
the grass-enshrouded well cover
splinters beneath your feet and you fall
into...

ISSUE 2 Page 12
Scott Kirkwood (order #29396123)
 A strange, man-high blue box is sitting in the middle of the field, a welcome shade from
the hot summer sun. Strangely, it seems bigger on the inside and then you find...
After a meal of the tastiest wild mushrooms you have ever eaten, the party dreams the
same dream of strange, multi-colored towers in an unknown land, and when they
wake...
An alleyway is blocked the next morning by a building which wasn't there before.
Having heard of such wondrous shops in stories, your party knocks at the elegant
mahogany door and...
On a moonless night you encounter the Dark Man
of the Crossroads. He may offer you riches beyond
compare in exchange for your service in the
Afterlife, make wagers for anything and everything,
ask for or offer food and drink, or regale the party
with campfire stories (complete with a hidden
moral)… it all depends on the Dark Man's mood.
Regardless of the above, when the sun rises you find
that the roads are now utterly unfamiliar! Choosing a
path you find...
Catching the Cultists in the midst of their horrible
rituals (and interrupting same) several magic circles
get (scuffed/bloodied/erased/marred). Amid the
screams of dying cultists and bright unholy lights
you briefly lose both vision and hearing. Once the
unnatural magical backlash has faded you find
yourselves at...
An odd-looking temple of metal provides shelter
from the night winds. The temple has strange
crystalline chimes in various locations and is lit by a
board of brightly-shining colored stones on a stone
table. If (the chimes are rung or broken/a convenient
lightning storm occurs/some idiot plays Parcheesi
with the glowing rocks) the next morning finds the
party gazing upon...
The giant Flaming Wicker Man beats your Party's
Combat Totals with ease. It grabs you and your
companions one by one and forces you into its
hinged chest to suffocate and roast alive. Once you
rise to your feet however, you realize that instead of
the fiery doom you were expecting, you and
several other would-be sacrifices are in a tunnel,
dimly-lit with wriggling phosphorescent maggots.
Following the tunnel to its end you find...
You fight valiantly against the undead, but their
numbers seem endless and the mud is thick and
slippery. Flabby cold fists fail to penetrate even the
lightest of your armors, but their weight forces you
deeper and deeper into the cold wet earth until

Page 13 TROLLSZINE
Scott Kirkwood (order #29396123)
 your breath leaves you entirely. Just before you suffocate you fall suddenly, clay-covered
and gasping, into a bright, stone chamber, lit by flaming Runes upon the raised dais
before you. The cold dead retreat from the light either in pain or reverence, and as you
advance you see...
Having chased your enemy and (his/her/its) hostage these long days, you follow (him/
her/it) into a long abandoned temple to some unfamiliar Deity. Once inside the worn
building you can find no trace of the villain, until one of you spots the only un-
vandalized treasure in the temple-a massive, glittering stained-glass window, upon which
a tiny insect crawls.Upon further inspection you see that the 'insect' is your quarry,
somehow INSIDE the glass scenery. A decision is reached, and as you touch the glass
gently you are translated into the window only to find...
Your luck at cards does not change the entire night. In the end, the ‘King of All Cats’
owns your equipment, your money, your memories, your personalities and, at long last,
your Names. You and your companions are Nothing and No-One. “A pity", yawns the
King. "I truly have no use for these winnings, save as stakes for my next game. I can,
however use such resolute heroes as you once were, and can become again. I propose
therefore, to return all I have won from you for a Fortnight in my employ. Furthermore, I
will not stint on rewards should you serve me well. What say you shades?"
There is literally nothing left of you to lose, and you agree. At the King's request you
join hands. All he has taken is returned to you so that, should you die in his service you
will die as True Kin. In addition, you have been bequeathed 500 AP as a token of things
to come. The King of Cats adds his talons to your linked hands. “Leap!" he commands,
and as you jump in unison the world around you blurs. When you gently touch ground
again you see...

ISSUE 2 Page 14
Scott Kirkwood (order #29396123)
 You and your boon companions vow to never, EVER offer to go shopping for the Mad
Wizard Reyeave again as the tapestry writhes, twists and takes to the sky like some
gargantuan eagle. The massive tapestry bucks and swoops as you hang on helplessly.
Eventually, fatigue sets in for both Party and Furnishing, and an exhausted tapestry sinks
to the ground in some remote valley. Breathing a sigh of relief you rise to your feet to
find...
"It's hopeless", admits the Warden on the Seventh day of the Siege. “Even if I had
another hundred souls the equal of you and your companions we would be doomed,
so follow me. What I need”, the Warden continues, “is a way to contact the Baron and
his retinue of Guild Wizards. There is a passage beneath the city, leading to catacombs
and the Old Necropolis. If you can orient yourselves and this map is accurate, you can
reach the Baron's forces in a single day's time. The way is dangerous but to stay would
be certain death regardless" .Deep beneath the Bailey a triple-bound bronze-shod door
is opened and as you gaze inside you see...
On holiday at your Party's favorite inn, you, your companions and half the village are
celebrating the Harvest. Ale flows freely, food is consumed, and when supplies run low
three stout men roll out a barrel of brined beef large enough to hold an ox. With a
flourish of the crowbar, the hobbit Hostelman broaches the cask, then loses his balance
and falls in as the spectators laugh. But there is no briny splash and embarrassed sputter,
only a long, drawn out scream as if a child had fallen down a deep well. Laughter
ceases, to be replaced by dread, and as you peer over the lip of the great cask you
see...
"We had to turn to someone", explains the Librarian," and you and your companions
have some experience with things like these. We purchased the storehouse next to us in
order to expand of course, and as you can see we've walled in the alley to join the two.
But when we broached the outer wall into the alley...well, it,it wasn't an ALLEY any more!
Two of our laborers disappeared, and I've been hearing these, these DRUMS behind the
wall, and, well, See for yourself” the Librarian moans, removing a loose brick. You gaze
through the crevice and see...
You burst from your cocoons naked as the day of your birth, in the peak of health, with
old wounds healed, old scars gone and 500 AP richer. So it wasn't just a shared dream,
you mutter amongst yourselves as you look for clothing. In the next room, amidst the
stink of harsh chemicals and copper-sheathed walls, you find your equipment, and your
clothes. And your bodies, organs scooped out and in labeled clay pots. The one missing
its eyes has your face, complete with old dueling scar and week's growth of hair. One
by one, your companions find similar revelations... Time to get some answers. You open
the red-lacquered door to your left and confront...
Best of luck with your adventures! And the next time a ‘Mysterious Old Man’ accosts
you while you're trying to have a quiet drink, 'accidentally' knock his pack to the floor
and see how many of those 'Secret Treasure Maps' roll out...

Page 15 TROLLSZINE
Scott Kirkwood (order #29396123)
 THE HUNT
A QUICK-PLAY ADVENTURE
by Salvatore Macri
A simple boar hunt in Mistywood sees the heroes go from hunters to prey.

The Hunting Party

You've agreed to join Sir Rudrigg; a nobleman, as part of his retinue on a boar hunt into
the Mistywood. The Mistywood Hunt is a yearly event held amongst the minor nobles
and merchant-lords of the region. The object of the hunt is to fell the largest boar
before day's end. The winner of the hunt receives 500 pieces of gold, with another 500
to be divided amongst his retinue. Sir Rudrigg has equipped you with boar spears (Dice
+Adds 4+2, STR/DEX 13/8, 2H) and loaned you fleet-footed steeds to aid you in your
trek through Mistywood.

Horse
MR: 30
Combat Dice: 4d6 +15
Special Damage: 1/1 - normal spite damage
Special Abilities: SPD 26
Load: 2100
In the chill of the early autumn morning, you set off with Sir Rudrigg and the other
noblemen towards the woods, along with their respective retinues.

Rudrigg’s Secret
Unbeknownst to the players, Sir Rudrigg hides a dreadful secret. During last year's hunt,
the knight became separated from his retinue whilst chasing down a particularly large
boar. In a small clearing in the woods, the nobleman and the boar clashed. Sir Rudrigg
sustained near fatal wounds from the huge boar's tusks, yet managed to escape back to
his keep. Unfortunately for Sir Rudrigg, the beast he faced in the clearing in the woods
was no mundane boar, but a lycanthrope named Derius. Derius managed to infect
Rudrigg with lycanthropy, turning the nobleman into a wereboar.
Now, Derius and Rudrigg wish to use this year's hunt to infect more humans, thus
increasing their numbers. In the coming years, Derius hopes to use the resulting
lycanthropic retinues, noblemen, and merchant lords of the region, to covertly take the
area and establish it as a wereboar bastion.
Derius' plan calls for Rudrigg to lead the players into the clearing in the woods.
There, Derius and Rudrigg will attack the delvers, hoping to infect them with the Disease,
using summoned boars to kill any party member that proves resistant to the
lycanthropic infection.

ISSUE 2 Page 16
Scott Kirkwood (order #29396123)
 The Clearing
The afternoon drags on and still Rudrigg and his party have spotted no prey, when all of
a sudden the nobleman lets out a cry of excitement. Pointing westwards, he urges his
retinue to follow, as he dashes madly through the trees. In a few short moments though,
it will quickly become apparent to the players that the nobleman has greatly
outdistanced them.
Trying to track the nobleman at first reveals a westerly route yet soon apprehension will
set in as the players discover Rudrigg's steed, with the nobleman nowhere to be found.
Trekking further westwards reveals additional discarded objects which belong to the
nobleman (tabard, spears, chain shirt). Following these items will eventually lead the
players into a clearing, at the center of which they find Rudrigg's clothing.
Suddenly, two huge (Rudrigg and Derius) and two smaller boars spring from the
encircling trees. The smaller boars move to attack the horses first, with the two larger
boars concentrating their assault on the adventurers.

The Aftermath
If Rudrigg and Derius manage to seriously wound (50% or more of each players' max
CON) most of the party, they will retreat back into the forest and
let the Disease run its course (seeAntagonists, below). If the
infection is successful, only a Healing Feeling spell will
cure the lycanthropy.
If the players manage to slay the boars, they will
be surprised by the strange transformation
that overcomes the two large beasts. In
death, both shed their "animal" forms and
assume their human appearances.
Although one of the shape-shifting
beasts is unknown to the players
(Derius), the second large boar's
human form is none other than that
of Sir Rudrigg’s.

Antagonists
Derius (boar shape)
MR: 68
Combat Dice: 7d6 +34
Special Damage: 2/3 – Gore.
Every two 6s rolled inflicts 3
points of spite damage.
Special Abilities: Impervious to
normal weapons - May only be
harmed by magic (items or
spells), or silver weapons.

Page 17 TROLLSZINE
Scott Kirkwood (order #29396123)
 Sir Rudrigg (boar shape)
MR: 50
Combat Dice: 6d6 +25
Special Damage: 2/3 – Gore. Every two 6s rolled inflicts 3 points of spite
damage.
Special Abilities: Impervious to normal weapons - May only be harmed by
magic (items or spells), or silver weapons.
The Disease - When a wereboar inflicts enough damage to bring the victim
down to 50% CON, the victim becomes infected with lycanthropy. The infected
person now becomes slave to the wereboar's will (see Spirit Mastery, T&T7.5 p.
141).
In 1d6 days, the infection will force the victim to change his form to that of a
giant boar. This effect is dictated by the phases of the moon for 16 months,
after which, the victim gains control over when the transformation occurs.
Only a Healing Feeling spell or the death of the lycanthrope that infected the
victim will cure the infection.
Boars (2)
MR: 40
Combat Dice: 5d6 +20
Special Damage: 2/3 – Gore. Every two 6s rolled inflicts 3 points of spite
damage.
Spoils of Victory
Amongst Rudrigg's discarded items, the players will find a Potion of Healing (10 doses;
each dose heals 1 CON), as well as a magic boar spear (Cost: 500 gp. Spell: Vorpal
Blade. Type: enchanted . WIZ cost 5. Weapon's damage is doubled for 1 combat turn).
These two items may be found wherever the GM wishes; between the time the player
find Rudrigg's riderless horse, up until they happen upon his discarded clothes within the
clearing. Should the players think of checking Rudrigg's steed, they may discover the
following item;
Horseshoes of Speed (Cost: 10,000 gp. Spell: Little Feets.
Type: magical - WIZ cost 0).
Description: these enchanted horseshoes double a steed's speed for 5 combat rounds
allowing 2 actions each combat round.
If the players return to Larm and relate their adventure to the proper authorities, they will
still receive the 500 gp they were promised and will be entitled to keep Rudrigg's loaned
steeds.

ISSUE 2 Page 18
Scott Kirkwood (order #29396123)
 ON BECOMING
By W. Scott Grant (AKA Sligo) © 2009
Introduction
When a character becomes so powerful that not even the best and most creative
Game Master can provide him or her with a challenge, often the only choice we have
as players is to retire the character and start over with a new one. We consider that this
character has “won” the game, and it’s just time for us to start anew.
But what of that character? What exactly is retirement? What of all those great stories of
adventure–successes and failures, epic journeys, triumphs and tribulations? This is the
stuff of legends!
Of all the choices for retirement a character has, there is only one that not only ensures
his or her own immortality but also nearly guarantees his or her reputation and memory
stay in the hearts and minds of mortal believers for generations upon generations.
And that is becoming a deity.
In this article, I will outline the steps necessary to ascend to and remain in that vaunted
and venerable echelon of divinity. I answer questions such as what are the qualifications,
what are the requirements, what does the character have to do once he or she gets
there, what do he or she have to do to stay there, and what happens if he or she
doesn’t.

The Basics
In a sense, this section lists the qualifications of ascension. When a character decides to
follow this path, the things that matter are as follows:

Reputation
We have to at least start with what is considered a mega-character. I’m not going to list
specific attributes, combat adds, or level requirements because these details aren’t
particularly important. What is important is the character’s reputation, which is judged on
two levels: Mortal and Immortal.
Mortal Level: The character has to be well known–this doesn’t mean liked or disliked,
but just widely known. A character that has lived the life of a hermit and has always
adventured solo will find it harder to ascend than one who leads the ticker-tape parade
after defeating the elder dragon lord that has been terrorizing the continent for a
generation.
Immortal Level: The character has to have had interaction with other deities in such a
way that his or her name is known and respected. This has nothing to do with good or
evil, but just awareness.

Epic
The next thing that is important is that the character must have successfully completed
an epic adventure or series of quests. Whether these were born of wanderlust or
performed as quest services for others is not important. Spanning over the course of
many years, these adventures must have been filled with meaningful challenges.

Page 19 TROLLSZINE
Scott Kirkwood (order #29396123)
 The nature of the adventures matters little in and of itself as long as the adventures
generated good stories to tell. It is even better when the stories of the adventures, as
retold by countless bards, are exaggerated over time so that their feats seem more and
more legendary.

Good and Evil

Among deities, the concepts of good and evil aren’t necessarily as clearly defined as
priests and clerics would have us believe. Though consistency isn’t a hard-and-fast
requirement, it is a factor. The key is that those who will eventually worship this
character as a god or goddess require a consistent foundation in order to establish their
own tenants of faith.
A character that is known to be “good” must have, over the course of his or her
adventures, clearly triumphed over that which is thought evil. Good god- and goddess-
characters will also have rallied others–perhaps even armies–to their cause. Challenges
of faith, dealing with temptation, and strong evidence of personal growth all make for
good stories and contribute to the
character’s elevation to the pantheon. To
a good character, life is sacrosanct. He or
she must be willing to self-sacrifice for the
greater good.
“Evil” characters must clearly be evil.
Though they may appear to be good,
their actions should always be recognized
as a means to an end. They don’t have to
be leaders of men or monsters, nor do
they have to experience temptation or
growth–except growth in power and
control. Selfishness and deviousness are
hallmarks of evil deities, along with the
willingness to align themselves with dire
villains, spirits, and entities if it means
achieving their own long-term goals. To
them, individual life is meaningless, and
mortals are only tools to be used in
achieving their goals. They will never
willingly sacrifice themselves, but will
always spin the story so their own actions
seem noble and justified.
This isn’t to say that a character must be
aligned with good or evil, order or chaos,
or any combination thereof. What is
important is that the character must have
definable traits. These traits can then be
translated into deified concepts that their
worshipping mortals can understand–
concepts like luck, fortune, balance, or
neutrality, for example. The essence of
this is predictability. Even a god or
goddess that represents luck is still
predictable.

ISSUE 2 Page 20
Scott Kirkwood (order #29396123)
 Polytheism vs. Monotheism
Though it is possible for a group of characters to work together in an effort to achieve
divinity, this article focuses on an individual’s path. The worlds in which the characters live
are generally considered to be polytheistic in nature, but there’s nothing preventing a
character from declaring that he or she is the one and only true god or goddess.
Since we are dealing with a polytheistic environment, there are basically three paths a
character can follow:
1. Join an existing pantheon.
2. Conquer an existing pantheon.
3. Establish his or her own pantheon.
Each of these paths presents a different set of challenges and opportunities, which are
explained below.

Join an Existing Pantheon

This can both be the easiest and hardest method. It’s easy because the infrastructure of
belief and worship is already in place; it’s hard because the character has to earn the
acceptance of the leaders of that pantheon, and in most cases, pantheons are an
inclusive group not willing to allow outsiders to join their ranks.
Start with a pantheon that is established and current in the world where the character
lives. Trying to join the Norse or Egyptian pantheon when these groups are not
represented anywhere on the character’s world is impossible. Likewise, one would not
be able to join the Greek pantheon here on Earth if the time frame is the Middle Ages,
when the Greek gods were no longer relevant.
To join an existing pantheon, there are several important factors to consider:
Recognition: The character must be known favorably by the other deities in this
pantheon. Though a character may have interacted with deities of other pantheons, it
should be clear to the ones in the petitioned group that his or her focus is joining them.
Niche: In order for an existing pantheon to consider an outsider into their group, the
character must fill some niche or need within that group. Though sometimes this may be
blatantly obvious, most of the time the character must convince the leadership of the
pantheon that he or she completes or adds value to them as a whole. In some cases, it
may be a matter of besting and replacing one of the deities already there.
Trials: The leadership of the pantheon will very likely impose a specific quest or a series
of trials for the character to perform, which returns us to the epic adventure concept,
but is actually beyond that. The character has already proven to be worthy to stand
before the great leader of the deities to plead his or her case, now he or she must take
the next step and prove not only his or her loyalty to the pantheon, but his or her ability
to complete the assigned tasks.
Depending upon the pantheon and the nature of the deities that form it, these factors
can be either loosely defined or clearly delineated. The main thing to remember is the
personalities of the deities involved, and whether or not they’d be willing to expand their
exclusive group with some new blood.

Page 21 TROLLSZINE
Scott Kirkwood (order #29396123)
 Conquest
This method involves challenging an existing deity or pantheon. Instead of converting
their believers one heart at a time, this is where a character seeks to convert all
believers simultaneously (or as close to simultaneously as possible) by kicking out their
existing deity or deities and replacing them with himself or herself.
There are two approaches here: one via direct conflict of good and evil (a good
character challenges an evil deity or evil pantheon, or vice versa), and the other via
niche replacement (replacing one nature-based deity with another, for example). Either
way, building support isn’t necessary so much as just having a few dedicated individuals
who would rather believe in the character as their god or goddess than whomever it is
they currently follow.
Once the character’s foot is in the door, so to speak, he or she lays down the gauntlet
of challenge, where the terms are straightforward. The character wins, he or she gets
the goodies. The character loses, he or she not only dies, but his or her soul is so
permanently destroyed that there is no hope whatsoever for recovery. Of course, if the
character is able to negotiate a better deal, such as being chained to a rock to be fed
upon by vultures for eternity, or eternal slavery, that’s cool because then he or she can
try again in the future.
Now, don’t expect those in power to fight fairly. Cheating is commonplace, even among
those who would be considered good and just. In order to keep his or her power, a
good deity might be willing to employ the services of an evil rival just to keep your
character in his or her place. In return, the good deity might have to give up some of his
or her own power, so long as the evil deity remembers who his or her benefactor is.

Start a New Pantheon

Achieving divinity on one’s own is neither impossible nor unheard of. It’s just very, very
hard. Not only is the character building a believer base on his or her own, but he or she
also faces a wide array of existing deities who have little or no desire to see him or her
succeed. Creating the necessary critical mass of support not only takes time, but also
requires persistence and a few miracles.
When establishing a new pantheon, the character must lay the groundwork and build
the infrastructure that will eventually support him or her. This will be covered in more
detail in the section on Worshippers, but the point here is that this foundation must be in
place in order for ascension to occur.
Doing this, however, presents the key challenge of achieving divinity by following this
route. As will be detailed later on, the power the character has as a deity is based on
the number of believers and their level of devotion. In order to increase the number of
believers, the character has to sway them away from whomever they currently believe
in. Convincing atheists and agnostics is one thing, but the real danger comes when the
character converts believers of an existing deity or pantheon to his or her belief system.
A deity whose power base is shrinking will do whatever he or she can to prevent this
from happening. So the challenge comes into play when your character must face the
other deity, and the slings and arrows he or she throws at your character while trying to
hold onto his or her believers and keep them from converting over.

ISSUE 2 Page 22
Scott Kirkwood (order #29396123)
 Some deities may actually welcome this, as they have tired of their immortality and are
willing to step down from their golden thrones. However, most will guard their power
and do whatever it takes to keep it–or increase it should the opportunity arise.

The Path of Ascension

No matter which route is taken, it will be full of challenges. Those in power will not be
willing to give it up or share it with anyone else they aren’t already sharing it with. The
status quo is always preferable to the new world order.
The following sections deal specifically with the third path–a character becoming a
deity on his or her own. When a character either joins or conquers an existing
pantheon, the mortal infrastructure–temples, priests, and millions of devoted followers–is
already in place. The process of building the infrastructure is already over. In this case,
the character just needs to know how to maintain his or her position, and what happens
when he or she gets bored of dictating the lives of mere mortals.

Page 23 TROLLSZINE
Scott Kirkwood (order #29396123)
 The Legends
Becoming a god or goddess is the stuff of legends, and as such, the path your character
follows in becoming a deity must be legendary. Becoming a god or goddess simply
cannot be easy, or everyone would be doing it.
The adventures the character goes on during his or her quest for divinity must have
world-sweeping effects. The character’s actions must be felt by large populations, and
their lasting effects be remembered for generations. The character must show unusual
amounts of bravery and/or cunning in order to achieve his or her goals. These can’t be
your run-of-the-mill adventures: save the princess or capture the gold from a dragon’s
hoard. These need to be adventures that affect the very lives of people in either a
positive or a negative way. Killing one dragon that terrorizes a village makes little
difference in the overall scheme of things, but exterminating all the dragons in the world
does.
Another point to consider is the use of magic and enchantments. The character needs
to be able to succeed without relying on supernatural aids. Though controlling powerful
magic is useful, it really has little bearing on a character’s ascension process. On the
other hand, if the character is able to take control of a truly unique, powerful, and
recognizable item, then this item can be used as a symbol.

The Stories
Stories, songs, poems, and plays must be written about your character and his or her
adventures. These stories must be told and retold many times, over many, many years,
and despite the allowable exaggerations, must remain somewhat intact and
recognizable. The character must be uniquely recognizable as the hero or heroine
through all iterations.
This is where the groundwork is laid in starting your character’s path toward divinity. He
or she has completed the quests, succeeded in the adventures, led the armies to victory,
or whatever. Now people just need to know about him or her. In a world where there is
no internet or television, the only way to spread stories is in the taverns, bars, inns, and
concert halls. The tunes must be catchy, the poems easy to remember, and the stories
epic. The hero or heroine of the stories–your character–must be real to the listeners.
Those who hear these stories must understand that it was, from their perspective, a real
person who did these things, someone they can feel a connection to.
As the stories spread, they will change and mutate, so there must be a concerted effort
to ensure consistency and accuracy. They way to limit inaccuracy is through the written
word. Your character’s own writings and the writings of those who know him or her
personally will help to keep the stories mostly accurate. On the other hand, there needs
to be a certain amount of disconnect between your character and the ones spreading
his or her stories–even if they are working from manuscripts your character wrote with
his or her own hand, it cannot appear as though he or she is purposefully dictating the
tales.
The stories must be accessible and relatable. It is understood that the average citizen
would never aspire to do the things that your character has done, but the stories need
to present him or her as someone who started humbly and grew into the role he or she
now has. Average citizens need to be able to understand your character’s motivations
and sympathize with him or her–even if he or she is evil. In short, your character must
be able to connect with people he or she will never, ever meet, and in such a way that
those people know your character by reputation.

ISSUE 2 Page 24
Scott Kirkwood (order #29396123)
 Artifacts
This doesn’t refer to the artifacts your character finds during his or her adventures, but to
those things that become artifacts because your character interacted with them during
his or her path to divinity. Anything your character writes, owns, touches, or so much as
breathes upon, will eventually be considered by someone, somewhere, as sacred.
This can work both for and against your character, so be very careful. Your character
wants people to worship him or her, not objects. However, some things your character
will want to protect. Original manuscripts (stuff he or she wrote, for example) are worth
preserving. Locations where he or she stood and taught, preached, visited, or fought
battles may become sacred grounds. Items he or she owned will be considered holy.
If your character plans to use artifacts, especially non-magical ones, they need to be
recognizable. Otherwise, fabrications will be made which will dilute his or her legacy.

Myth and Reality

When dealing with deities, the line between myth and reality is not clearly drawn. What
is important is believability. If your character slew the grand elder dragon singlehandedly,
the question is how he or she did it. Did he or she have an enchanted arrow that always
found its target? Did he or she call forth the power of the ocean and channel it through
his or her staff into a single, mega-powerful Take That, You Fiend spell? However he or
she ended up doing it, it has to be believable, and it can’t be something the average
mortal can do.
When your character’s stories start to mutate, and they will, when they drift into the
absurd or unbelievable, your character’s path to divinity will become derailed.
The influence of the existing deities must also be considered. When your character is on
the path to becoming a deity, he or she must be careful about how to interact with
existing deities and pantheons. Depending upon how these interactions are viewed, they
can either help or hinder your character’s path.
Your character’s “human” side is the anchor to which the myths and legends are tied. If
your character loses this anchor, his or her ability to achieve divinity is severely
hampered. Without it, he or she ends up relying solely on works and miracles, and not
on his or her personhood. Without personhood, your character won’t attract believers.
Without believers, he or she has no power as a deity, which leads us to the most
important part of becoming a deity in the first place.

Worshippers
Being a deity is all about having devoted worshippers and believers. Without these
people who willingly give their spiritual lives in service to your character, there is no basis
in which to form your character’s power.
Fear and Love
Worship comes in two basic forms: Fear and Love. Though “fear” can be misconstrued
to be “love” by way of “respect,” in the course of this discussion, I want to refer to
“fear” in its most native form: fear of what would happen if you don’t believe.
Through stories and ballads, your character’s reputation will grow. However, these alone
will not make your character a deity. People knowing who your character is and what
he or she did is only part of the equation. They must get something in return for

Page 25 TROLLSZINE
Scott Kirkwood (order #29396123)
 knowing your character, some kind of promise, which is where Love and Fear come into
play.
Promises
As a “good” deity, your character wants to give some kind of promise that people who
choose to believe in him or her as a deity will receive something of esoteric value–
peace in their hearts, reincarnation to a better place, comfort during times of trouble, a
favorable outcome of events, and so on. Your character wants people to come to
know him or her through love and respect, and wants it so that when he or she asks
people to do things through his or
her teachings and directives, they
will be willing to do so without
question.
An “evil” deity will promise
penalties when people choose to
not believe–slavery in hell, the
promise of cataclysm or
catastrophe, and so on. Of course,
he or she will also make “positive”
promises–an afterlife full of carnal
pleasures, untold riches, and so on.
In this situation, your character
wants people to come to fear him
or her because of the power he or
she has over their lives, both
directly and indirectly. Your
character wants people to do
what he or she demands because
the consequences of not doing
those things are far worse.
It is through these promises that
the citizenry of your character’s
home world will come to love and
fear him or her as a deity. This is a
case where the cart truly does
come before the horse. In order to
become a deity, your character
has to have people who already
believe that he or she is a deity–
unless his or her path to divinity is
through joining or conquering an existing pantheon.
Worshippers and Power
Your character’s power as a god or goddess is directly proportional to the believers and
worshippers he or she has. The more believers and worshippers, the more power your
character has in comparison to other gods. This means, quite simply, that as your
character’s power grows when new believers are converted to his or her faith, the
power of the other gods shrinks. What will ultimately happen is that your character and
the other gods will be in a constant, eternal epic struggle over the hearts and minds of
mortal believers. It is theoretically possible for your character to create a god-monopoly

ISSUE 2 Page 26
Scott Kirkwood (order #29396123)
 in his or her world, but be warned: there is always the possibility of some upstart
adventurer following in the same path your character followed.
This source power fuels your character’s immortality as well. Once he or she has
crossed the threshold into divinity, he or she will remain there, and be immortal, as long
as he or she has believers in the mortal realm. Not even another deity (or divinity
seeker) can truly kill you.
But wait, didn’t we say that one way to become a deity is by challenging and defeating
an existing one? Getting defeated by a challenger is a surefire and quick way to lose
believers. Just because your character is a powerful deity, it doesn’t mean some
courageous challenger doesn’t have some angle he or she hasn’t thought of. Every
Goliath has his David. Even if your character offers less as a new deity than the old one,
defeating the god will quickly win their believers over as news of your victory spreads
throughout the lands.
Temples and Priests
Gaining believers through promises gets your character almost there. The final step, the
one that puts him or her over the top, is when temples are built in his or her name, and
priests (clerics, pastors, vicars, rabbis, whatever) are anointed in your character’s faith. This
final step sounds easy, but can truly be the hardest part of the process. Why? Your
character cannot do this directly.
If your character were to lay the brick and mortar, call his or her friends together, and tell
them that he or she is their new deity and that they are his or her priests, they are more
likely to laugh in your character’s face than they are to follow him or her into this new
faith. Even so, if these people build churches and proclaim themselves as priests in your
character’s name, he or she still hasn’t achieved divinity. It is when someone who your
character doesn’t know and has never met takes the leap of faith and does these things
that your character is actually elevated to the level of deity.
The core of any belief system is faith in that which cannot be seen or verified. When
someone establishes a temple in your character’s name, is anointed as a faithful follower
and servant, and attracts believers who choose to follow the faith, all the while never
having known your character personally, your character has officially been elevated to
the level of deity. This is when your character is most vulnerable. Other deities know this
to be his or her weakest point and will take this opportunity to attack. They will sack
and burn his or her church, execute the believers, and destroy his or her artifacts.

Page 27 TROLLSZINE
Scott Kirkwood (order #29396123)
 On the other hand, this can be a huge opportunity for your character: martyrs are
always highly revered, and as long as knowledge of him or her survives, all hope is not
lost. Those who escape the persecutions and persist in founding churches and
converting new believers will keep him or her in power and, over time, help his or her
powerbase grow.

I’m a God . . . Now What?

Your character has beaten the odds, survived the challenges, and now has temples full
of faithful giving up their life savings in the hope of winning favor. Your character is now
a god or goddess. The other gods have challenged the new God, persecuted and
martyred their evangelists, all to no avail. At last, they grudgingly accept the new Deity
as one of their own and agree, for appearances sake at least, to let your character be.
Now what?
Your character has a position to maintain as a Divine being. There are things he or she
must do–no kicking back on their golden crystal throne and watch the dancing girls (or
boys). Your character has work to do!

Appearances
Once your character’s churches have been established and the adoring crowds are on
their knees worshipping his or her name, he or she has the opportunity to actually visit
the people. This is your character’s opportunity to fine-tune what is being taught by his
or her priests, offer new lessons, give promises and warnings, and so on. The danger is
that these visits can backfire.
Following are some examples of appearance types. This is by no means a limited list,
but should cover the basics.
Physical Visits
This is when your character physically visits people in the mortal realm. He or she walks
among them, allowing them to openly honor and worship him or her. These
opportunities are positive in that your character is visible, reachable, and knowable. But
they can backfire if he or she screws up: if he or she says or does something
inconsistent with what the people believe of him or her, there is a risk of losing them as
believers.
Physical visits also give other deities an opportunity to attack your character indirectly.
Just be careful.
Random Connections
These include things like finding your character’s face imprinted on a rock, or his or her
symbol etched in a seashell. If there is a lake that your character was known to
frequent, and someone experiences a miracle (healing, whatnot) while swimming in the
lake, it can be attributed to your character.
Your character can take advantage of these opportunities, or actually influence nature
to cause these to happen, and they will usually work towards increasing fanaticism in his
or her favor. Again, there are drawbacks. There will be those who claim such events as
random freaks of nature, fabricated by the fanatical believers, or contrived. It all makes
for good drama and helps to separate true believers from casual participants.

ISSUE 2 Page 28
Scott Kirkwood (order #29396123)
 Speaking to Crowds (Mass Visitations)
Your character’s voice booms from the clouds, proclaiming the coming of some
cataclysmic event, and spelling out warnings to unbelievers and to those who do not
follow the true path of enlightenment . . . yada, yada, yada.
Used sparingly, and done properly, it can be hugely effective in rallying your character’s
believers, converting those who are on the fence, and opening the hearts of the
unbelievers. Overuse it and they become used to it, expect it, and if your character ever
misses an appointment, he or she will lose more than was ever gained.
Cryptic, obtuse, and confusing messages are always fun, but be wary: your character’s
words will be misinterpreted or taken out of context and used against him or her. Pretty
much everything your character does will polarize his or her allies and enemies.
Speaking to Individuals (Prophets, Sages, and Enlightened Ones)
There are always prophets, sages, and enlightened ones. Your character will always have
to deal with fakers, liars, and charlatans, but these can usually be discounted and
forgotten pretty easily.
On the other hand, finding and nursing good prophets can go a long way towards
increasing your character’s power for the long term, especially when these prophets are
martyred in his or her cause. Here are some ways your character can use prophets:
1. Refining Your Character’s Message–your character can communicate with prophets
to get his or her message clarified when society has drifted from the path he or she
wants them to follow.
2. Explaining Past Events–prophets can rewrite history, especially if the original records
have been destroyed.
3. Foretelling Future Events–short-term and long-term predictions make for great
prophetic literature, especially when those events actually happen.
4. Reinterpreting Old Prophecy–a combination of explaining past events and foretelling.
If an older prophet’s predictions turned out to be inaccurate, a subsequent prophet can
pick out the details of what went wrong and why, and usually blame it on the people
who turned away from the true path.

The Powers of Being a Deity

Deities have powers that mere mortals can barely understand. However, the powers
your character has as a deity are exactly what powers his or her followers believe he or
she has. If they believe he or she has the power to cause earthquakes, then your
character can do so. If they believe he or she can shoot lightening from his or her
fingertips . . .
What is most important is your character’s ability to get people to believe what he or
she wants them to believe; otherwise, your character is nothing more than a mere
mortal with epic-level stats, cool enchantments, and a lot of nice stuff. That’s why your
character is able to challenge other deities: because they are the same as he or she is.
Let’s talk about some of the powers your character wants people to believe he or she
has.

Page 29 TROLLSZINE
Scott Kirkwood (order #29396123)
 Master of the Physical World
Your character wants his or her people to believe he or she can directly influence nature
and natural events, to think he or she can cause earthquakes, tornados, hurricanes, and
so on. What is especially useful is when those who don’t worship your character also
believe he or she has these powers, because then they can be used on these people.
Heaven and Hell
Part of being a deity is the promise of what happens when the believers die. What’s
cool is that, in general terms, your character doesn’t actually have to deliver on those
promises! The important aspect here is that if your character doesn’t deliver on the
promise, the dead never get a chance to report back to the living. The power of the
eternal promise, tied to hope and fear, is at the core of any power your character has as
a deity.
New Worlds
If your character really does want to have his or her own version of heaven and hell, he
or she can do that as a deity. One of the powers of being a deity is the ability to create
your own worlds, planes of existence, parallel universes, or whatever you want to call
them. If your character’s people believe that he or she has the ability to create new
realities, then your character can truly create them.
Do whatever your character wants–the laws of physics, magic, and whatever else, are
his or hers to mold as he or she chooses. Your character can truly create the paradise of
heaven or the fiery pits of hell, and as people die, he or she can decide into which of
these multiple realities to send their souls.
Your character is not limited to populating these worlds with the souls of his or her
believers; he or she can populate them with whatever life forms he or she wants. Be
cautioned, however; if the denizens of these worlds are self-aware sentient beings who
develop rudimentary language, form societal groups, and discover self-determination (i.e.,
free will), they could very well create their own deities and kick you out.
The Ultimate Power
The ultimate power possessed by any deity, when relating to the mortal minions, is the
con that he or she truly is ultimately powerful. If your character’s believers believe he or
she can do something, then, by extension, he or she can do it–collectively, they grant

‘The Hobgoblin’s Tavern - Over 30 free GM adventures for Tunnels &

Trolls to download in PDF and many original solo adventures to buy.
Drop in soon and sample the Tavern’s finest wares!
http://web.ukonline.co.uk/angora’

ISSUE 2 Page 30
Scott Kirkwood (order #29396123)
 him or her power. So the onus is on your character to find ways to get them to believe
he or she can do whatever it is your character wants them to believe he or she can do.
Of course, other gods are wise to this, so your character’s divine powers generally don’t
work on them–it’s the inside secret, in a manner of speaking.

Maintaining the Reputation

Being a deity can become tiresome when you consider the immensity of eternity. Your
character will have to deal with the prayer-requests of his or her believers, maintain
appearances, monitor prophets, and deal with the everlasting flow of souls from the
mortal worlds into the eternal worlds he or she has created.
As long as your character is willing to do this, and as long as there are no serious
challengers to his or her position, he or she should be able to maintain his or her position
and power for upwards of five to ten thousand years. However, during the course of this
time, your character’s believers will most certainly seek out new ways of thinking, look
to newer (or older) deities to worship, or just choose to not believe in anything at all. This
creates a constant ebb and flow of relevance and power.
Also, of greater concern, are those who, while believing in your character, split off into
sub-factions that view him or her in different ways. These split factions will eventually
war against each other, greatly affecting your character’s power base. It’s hard to imagine
what happens to your character in these situations. Is a new version of him or her
created? Or does he or she manifest in multiple personalities? Ultimately, it’s up to him or
her, but in these situations, personal visitations can actually do more harm than good.

Fall from Grace

Eventually, people simply quit believing in your character. Your character’s powers wane
and challengers step up to face him or her. When it comes clear that your character’s
time as an immortal is done, and he or she is ready to give it up, there are choices:
1. True Death–he or she is dead and that’s that. Nothing else to say.
2. Retirement in His or Her Birth World–your character resumes his or her mortal life on
the world where he or she was born. If this results as the fulfillment of a promise, he or
she can set up as a ruler and live out his or her days in luxury. Or, if chosen, your
character can just live out his or her life in obscurity.
3. Retirement in His or Her Created World–there’s no real accounting for what happens
to worlds created by a deity. It makes sense that they just continue onto whatever
destiny they find for themselves. Retiring your character to his or her own world is
certainly an option if chosen, but it means that however your character designed that
world (good, bad, sensible, or just plain crazy), he or she is stuck there.

Conclusion
For an epic-level character, the ascension to divinity is certainly a worthy goal despite
the challenges involved. It’s not an easy path to take, nor is it necessarily a cakewalk
once he or she gets there. However, it does give those mega-characters one last
achievement to strive for.

Page 31 TROLLSZINE
Scott Kirkwood (order #29396123)
 DARK RISING
By Tom Grimshaw.
Dedicated to Amber, my muse, who made this adventure possible.
This short solo adventure for Tunnels and Trolls is suitable for a character of levels 2-4
with no more than 50 adds. There is no magic matrix, so spellcasters will have to
adjudicate the effects of their spells for themselves.

Introduction
Several hundred years ago, the houses of Furrier and Slavin were united as the house of
Saxon. This ancestral house was rich and bountiful and its masters were lords of the
land they now farm as mere peasants. Stories tell of a great darkness that fell upon the
Saxons, unseating its lords from their positions of power and laying ruin to all that they
once held dear. Although this evil was finally defeated, the cost was heavy for the Saxon
bloodline which was split into two warring factions. A recent settling of old feuds
between the estranged bloodlines has been marred by rumours of an old foe re-
awakened…...
Once again the villagers of Saxon are
seeking a saviour and they have called
upon you for aid. They are concerned by
strange lights, seen hovering in the night
sky, above the ruins of the old Saxon
manor. Knowing that any search will
only be successful after dark, the
villagers arrange for a farm hand to
escort you to the base of the hill
upon which the ruined building lies.
You arrive at dusk and your
guide is only too eager to leave
for fear of what you may
find. As consolation for his
cowardice he offers you his
lantern and enough food to
last you a day. As he leaves,
you look up at the steep climb
that awaits you. The bank of the
hill is heavily wooded for as far as
you can see and you will have to
work hard to make the summit before
dark. Making out a hack path through the
undergrowth you begin your climb, go to 12.

1 You arrive at a junction in the corridor. The water is still waist-high here. Exits lead off
in three directions.
If you wish to travel north, go to 49.
If you wish to travel, southwest, go to 17.
If you wish to travel, southeast, go to 30.

ISSUE 2 Page 32
Scott Kirkwood (order #29396123)
 2 You are in a corridor that slopes upwards, on a shallow incline, with exits to both the
north and south.
If you wish to travel north, go to 53.
If you wish to travel south, go to 44.

3 Small rats scuttle around this cave but they run for cover as you enter, crawling into
small holes that they have worked into the stone walls. Piercing red eyes glare at you
from these refuges, as they wait for you to pass. Looking around you, large stones hang
from the roof and jut from the ground but a quick search of the area turns up nothing.
The only exits from this cave are to the north and south.
If you wish to travel north, go to 21.
If you wish to travel south, go to 10.
4 Travelling west, the corridor takes a gentle turn to the left after 20 feet, and evens
out into a corridor that has been shaped with some care. There are intricate carvings
depicting a great battle between men and some otherworldly creatures that are vaguely
disquieting. The finish is flawless and clearly the work of a master craftsman. The
corridor it ends in a fork and to the south west you can hear the sounds of low moans;
to the south east you can hear rhythmic chanting. Your light will not penetrate far
enough to see the source of the sounds that echo through the empty corridor.
If you wish to investigate the south-western corridor, go to 51.
If you wish to investigate the south-eastern corridor, go to 55.

5 Cautiously you root through the remains but find nothing of any value. You decide
not to desecrate this place any further. You leave the cavern and return to the junction;
go to 47.

6 The path carries on for a short distance before becoming much rockier. Eventually
you find that you are walking along worn cobblestones that have been smoothed and
polished to a fine finish. Within minutes you can see the ruins at the summit of the hill
along the horizon and, spurred on by this, you pick up the pace. After 10 minutes of
travel you find yourself at the remains of a
great stone bridge that traverses a fast
flowing stream. Heavy rubble from the
bridge has settled on the bed of the stream,
forming makeshift stepping-stones. The
water crashes against these stones before
lapping over the edge of a steep stone cliff
in the hillside.
You will have to hop across the stones to
reach the other side of the water and reach
the summit. Make a L2SR on DEX. If you
make the SR, go to 22. If you miss the SR,
go to 28.

7 Choosing to leave the cave before

anything else happens to hamper your progress, you return to the junction; go to 1.

Page 33 TROLLSZINE
Scott Kirkwood (order #29396123)
 8 The corridor is bare and rough-cut. Your foot occasionally catches a pile of loose
stones and sends them forward through the air. The sound seems to resonate forever.
After 30 feet the corridor takes a sharp turn to your left before tapering slightly back to
the right again and ending in a large cavern. Your lantern catches a stir in the darkness
that is too large to be a rat or bug. Ever vigilant you ready your weapon as you cast
your light upon the source. Two humanoid creatures are shambling toward you with
arms outstretched and empty expressions upon their faces.
If you would like to attack the creatures, go to 15.
If you would rather return to the entrance and choose another tunnel, go to 53.

9 Make a L2SR on LK. If you make the SR, go to 25. If you miss the SR, go to 14.
10 You are at a curve in the corridor. To the north you can hear the sounds of
movement along the stone floor but without further investigation, you cannot determine
the source.
If you wish to travel north, go to 40.
If you would rather travel east, go to 44.

11 Turning to face you, the figure pulls back his cowl, revealing the face of a bald
man of considerable age. “So, you have finally arrived. The villagers are as predictable as
ever; sending a saviour to absolve them of their fears…Still, you shall offer me some
entertainment and that is a rare pleasure these days”. The man then produces a dagger
from his belt and lunges at you.

Cultist: MR 25
1 / 1 Spite damage.
If you defeat the cultist, go to
54.

ISSUE 2 Page 34
Scott Kirkwood (order #29396123)
 12 After a short walk up the steep incline you notice a small clearing in the wooded
area to your right. A rough dirt trail leads onward and then turns off to your left.
If you wish to investigate the clearing, go to 23.
If you would rather carry on along the path, go to 29.

13 Make a L2SR on LK. If you make the SR, go to 5. If you miss the SR, go to 18.
14 As you emerge from the pond you discover several leeches have latched on to
you in the dirty water and are happily gorging themselves on your flesh. Already
exhausted from the trudge through the bog, you sense that you can ill-afford to lose the
blood to these parasites. You resolve to remove them immediately, even though
detaching a feeding leech is always painful. Gritting your teeth you let out a low growl
as you tear them off, one by one. Take 1D6 spite damage for the blood loss and pain
and then go to 25.

15 Weapon in hand you lunge at the zombies and engage them in combat.
2 Zombies: MR 18 each
2 / Zombie Plague: Make a L1SR on CON or you become infected. You lose 1
CON with each new paragraph you enter whilst infected (or each combat round
fought) until magically cured. If you die of the plague you become a zombie
with a MR equal to your STR.
Make a note on an index card of this creature and the paragraph you were defeated at.
The next player to enter that paragraph will encounter this zombie.
If you defeat the zombies, go to 24.

16 Wiping the thick, foul smelling blood of the beast away off your weapon and onto
a clump of grass, you take a look over at your fallen enemy. A strange sight confronts
you. It troubles you that even without the wounds you inflicted, the creature looks as if it
has been dead for many months. Deciding that you don’t want to wait to see what
other horrors are lurking in the trees, you carry on along the dirt path. You are happy to
find yourself back in the warming dusk light at the other side of the small wood, go to 6.

17 You are in a corridor that curves in a u-shape around a loose bend.

If you wish to take the north-western exit, go to 44.
If you wish to take the north-eastern exit, go to 1.

18 As you search through the bodies, several carrion flies rest upon your skin and
begin to feed. Tiny, needle-like mouthparts pierce into your skin as they suckle at your
blood causing you to yelp as you swat them away. Make a L2SR on CON. If you miss
the SR you have been infected with carrion rot.
Carrion Rot: Make a L2SR on CON each day. If you miss the SR reduce your CHR
permanently by one for wounds that weep thick white pus. If you make the SR three
days in a row you have overcome the illness. This illness can also be magically cured. If

Page 35 TROLLSZINE
Scott Kirkwood (order #29396123)
 your CHR reaches zero you will be considered an outcast from society and may only
socially interact with those that have similar illnesses.
Either way, return along the corridor to the junction, go to 47.

19 As you enter the cave some figures begin to lurch toward you from the shadows.
Readying your weapon, you wait for them to enter your lantern light. As shamble in
closer you catch sight of two gaunt and rotted faces. Their teeth are yellowed with age
and the clothes they wear are ill fitting and torn, hanging off them like the loose flesh
on their bones. You must fight them.

2 Zombies: MR 18 each
2 / Zombie Plague: Make a L1SR on CON or you become infected. You lose 1
CON with each new paragraph you
enter whilst infected (or each
combat round fought) until
magically cured. If you die of the
plague you become a zombie with a
MR equal to your STR.
Make a note on an index card of this
creature and the paragraph you were
defeated at. The next player to enter that
paragraph will encounter this zombie.
If you defeat the zombies you may leave
the cavern either through the exit in the
north, go to 21 or, you may leave through
the southern corridor, go to 10.

20 Deciding to try your luck with the

other path, you pull back the
undergrowth and reeds and make your
way carefully along the unbeaten path. It
is not long before you realise why
people choose not to travel along this
route when you find yourself wading
through bog-land that slows your
progress to a crawl. You are just about to
turn back when you see a small patch of
solid earth ahead of you. It is by the
bank of the pond that must have flooded
this part of the hill. After a few minutes
of struggling you find the earth become
firm at your feet and not long after, you
are back on solid ground beside the
pond, go to 9.

ISSUE 2 Page 36
Scott Kirkwood (order #29396123)
 21 You are in a corridor that runs both north and south. To the south you can hear
footsteps.
If you wish to go north, go to 47.
If you wish to go south, go to 40.

22 With three great leaps you cross the stones with little difficulty and land gracefully
on the bank at the other side of the stream. The cobbled path continues on into the
distance, leading toward the ruined building that you were sent here to investigate. The
last of the daylight seeps below the horizon. Sensing that nightfall cannot be far away,
you continue on your journey and after only a short time you find yourself before the
remains of the great house of Saxon. A river flows to the west toward the broken
bridge that you crossed earlier. It drives a waterwheel that has seen better days,
squeaking loudly with every rotation. The house itself is little more than a pile of large
stones around smashed pillars. These pillars must once have stood over 25 feet tall, but
nature has reclaimed them with green tangle of moss and vine.
Approaching the splintered and rotted timber that was once the door, you pause at the
sound of a heavy metal clunk. The sound becomes louder and from inside the ruins you
see two armoured figures approach. They wear tabards that look knightly but are from
no order you recognise, and their cloaks, of a rich purple hue, are tattered and torn. The
night’s-breeze sends their cloaks billowing up into the air as they stalk wordlessly toward
you; their heavy plating crashing on the stone path. Drawing closer, they unsheathe their
large swords and you answer by baring your own blade. Battle is joined!

2 Undead Knights: Con 25 each.

Each Knight fights with a Hand and a Half Sword doing 5 dice and has 13 adds.
Their armour protects them from 7 hits each round. Concentrate your attack
and any damage on one of them until he falls. They both attack
you each round until they are destroyed.
If you defeat the Knights, award yourself 200AP and go to 34.

23 Upon entering the clearing, you notice that it is eerily quiet.

There is no bird song and the air is still, but a foul smell catches
your nostrils and makes you retch. It is then that you set eyes
upon the remains of what you guess is a deer. It is hard to be
certain however, as the remains have been so badly
mutilated. Suddenly a sound breaks the calm. It is the
hoarse caw of a crow, closely followed by another,
and another, until the air is alive with squawks
resounding across the glade. A serenade of flapping
wings soon follows as a murder of crows come
crashing from the trees towards you. You must
defend yourself.

Crows: MR 35.
Special Rules: The crows are swift and hard to hit. For every combat round you
win you must make a L1 SR on DEX or they receive no damage.
When you have reduced the crows MR to 15 or less, go to 33.
Page 37 TROLLSZINE
Scott Kirkwood (order #29396123)
 24 Wiping the blood and pus away from your weapon, you make a search of the
cave. There are no exits other than the way you entered but among the debris you find
a small copper ring in a rough wool pouch. The ring is inscribed with the image of a
skull inlaid with black ink and has been highly polished. This ring is a ‘Ward against
Undead’. Whilst worn, the MR of any undead creature you face is halved. The ring
weighs 1WU and has a value of 750GP. With your lucky find in hand you return to the
entrance to choose another path, go to 53.

25 Shaking off the muck from the bog, you take stock of your new surroundings.
Water cascades down a rock face to the north, and into a good sized pond. The water
shimmers with gold as the last of the daylight spangles its surface. The grass here is
much greener than that further down the hill and you suspect that this place is not often
visited.
If you would like to rest here before carrying on, go to 43.
If you would rather carry on without resting, go to 31.

26 Movement in the water is difficult and slow, and chills you to the bone. Pushing on
you raise your lantern above the water and discover an exit in the south wall of the
large flooded cavern. The water flows through this opening and shows no sign of
relenting. Dry land beckons to you from the north.
If you wish to continue along in the water to southern cavern, go to 49.
If you would rather head north toward dry land, go to 53.

27 After travelling for 20 feet you hear a rustling in the leaves above, that catches you
off-guard and startles you. Up until this point, the wood had been unnaturally calm, and
so you drag your sword hurriedly from its sheath and stand waiting to see what will
happen next. Aberrations bound from the trees around you, confirming that the noise
you heard was anything but the wind. In a blur, oddly warped creatures crash through
the underbrush. One misshapen creature leaps to within an inch of your face, and you
spring back violently as it swings a paw through empty air occupied by your throat a
split second ago. The thing is unlike anything you have ever seen; loose stitching holds
the arms of a bear and the legs of a deer on to what was once a man’s body. The fur is
matted with blood and the smell of rot is heavy in the air. As the creature crouches to
pounce once again, you seize the opportunity to counter-attack.

Mutant Man-bear: MR 40
3 / Bear Hug: The creature grasps you in its powerful arms and bites down
upon your neck as it claws at your back. Make a L2SR on STR to break free or
take 2 points of spite damage. You may not attack the creature again until you
break free.
Special Rules: The Mutant Man-bear leaps and bounds with great speed. For
every combat round you win you must make a L2SR on DEX or it dodges your
blow and receives no damage.
If you defeat the Mutant Man-bear, award yourself an additional 100 AP and, go to 16.

ISSUE 2 Page 38
Scott Kirkwood (order #29396123)
 28 If you have been sent to this paragraph before, go to 38. If not please read on.
Mustering all of your agility, you nimbly leap to the first stone with no difficulty, but as
you lurch for the second, you misjudge the distance and land badly. Teetering on the
edge of a fall, you fight to keep your balance. A second later you plunge into the icy
water and are carried down-stream and over the cliff edge, at great speed.
As you slam against the stony rock-face, you gash a deep cut into the flesh of your arm.
Take 3 points of damage. Luckily however, your fall is broken by the plunge-pool at the
base of the rock face and, bleeding profusely, you begin your swim to shore. Just feet
from the bank you feel a tug at your leg, as something wraps around your limb. This is
soon followed by some sort of cord, snaking around your other leg. Trying to pull
yourself free, you turn to find that you are caught in the tentacles of a small but
menacing looking squid that is slowly pulling you toward its beak-like maw. Drawing
your weapon, you prepare to fight for your life.

Squid: MR 30
1 / Tentacle: The squid has wrapped another of its tentacles around you. Halve
your personal adds for the rest of this fight. The squid may do this up to four
times and the effect is cumulative.
Special Rules: Unless you are fighting with a dagger or spear, the resistance of
the water reduces your hit point total by half each combat round.
If you defeat the Squid, award yourself an additional 75AP and, go to 46.

29 A little further along the path, you catch sight of an overgrown trail to your right.
Reeds and underbrush grow thickly here in the shadow of the trees but the trail appears
to lead directly up the spine of the hill.
If you would like to carry on along the path you are on, go to 42.
If you would like to take the other path to your right, go to 20.

30 The short corridor bends to the left and after a few feet, ends in a small chamber
with no exits other than the one through which you entered. Looking around with the
aid of your lantern, you can see nothing striking or special about this dusty room.
If you wish to search the cave, go to 41.
If you would rather return to the junction, go to 1.

31 North of clearing you find another trail that winds up and around the hill offering a
gentle and easy climb: go to 6.

32 With your only source of light gone, it is not long before you are lost in the
complex cave system beneath the hill. Accepting the inevitable, you draw your weapon
and ready to sell your life dearly. It is not long before grasping hands drag you off your
perch, knocking your blade from your hands bringing your adventure to a premature
and sticky end.
The End.

Page 39 TROLLSZINE
Scott Kirkwood (order #29396123)
 33 Just as quickly as they had arrived, the
remaining crows disperse into the air noisily,
leaving you to take stock of the scene around
you. You are surprised and sickened to see that
the bodies of the dead birds are already writhing
with maggots, as if they had been dead for days
and not minutes. Finding nothing of interest in the
clearing, you decide to move on up the hill, go to
29.

34 The knights fight well until the bitter end,

but one by one they fall to your superior martial
skills, bursting with a cloud of dust as they hit the
ground. After the battle you regain your
composure and are surprised by what you find
when you inspect your fallen enemies. The
weapons that had been keen and deadly
throughout your battle are now no more than
rusted pieces of old iron. Upon lifting the visors
on their equally worn helms, you find nothing
more inside than dust and ash, just like that which
filled the air when you slew them. Finding nothing
of value amongst the remains, you continue on
your way and enter the ruins. After a quick
search you uncover a hole that has been freshly
burrowed, leading into a cave below. Strange
sounds emanate from the depths, and so you
lower yourself down the makeshift wooden
ladder lashed to the side of the pit, reasoning that
the source of the lights must be somewhere in
the darkness at your feet; go to 53.

35 You are able to scale the hillside with no

difficulty, using the rocks as both hand and foot
holds to aid your climb. When you reach the top,
you pull yourself up over the edge of the cliff and find that the trail continues on, into a
densely wooded area. The canopy of the trees offers very poor visibility. The shadows
beneath the branches are broken up by rare beams of sunlight illuminating patches of
moist earth glistening with dew.
If you wish to continue into the wooded area, go to 27.
If you wish to return back to the other path and take that one instead, go to 20.

36 Your fight to break free disturbs more of the rocks that formed a makeshift seal
over the sinkhole and in the panic you drop your lantern, which is promptly swept away.
Pulling away, you throw yourself to the cave wall.
If you have another source of light, go to 7.
If not, go to 32.

ISSUE 2 Page 40
Scott Kirkwood (order #29396123)
 37 The further you travel along the corridor, the stronger the smell of decay becomes,
until it is almost choking you. Holding a hand over your nose and mouth, you continue
on to the end of the corridor that opens out into a small cave. There, a grisly sight greets
your eyes. A mix of limbs and carcasses litter the floor nestling amongst a scattering of
old bones. Some of the remains look decidedly humanoid and carrion flies swarm this
place.
If you wish to search the cavern, go to 13.
If not you may return to the junction, go to 47.

38 Slipping upon the same stone again you go crashing into the stream and are swept
over the edge of the cliff toward the plunge-pool below. Pushing yourself clear of the
rock face you manage to avoid any further injury from the jagged surface and land with
a degree of grace in the water before swimming back to the bank
Guessing that the only way forward is over those stones, you drain the excess water
from your clothes and return to the broken bridge to try again, go to 6.

39 After a few feet the tunnel winds around to the left and begins to dip until you are
making your way carefully down a steep slope. Footing is difficult but you manage to
maintain your balance as you accidentally kick the occasional stone, sending it hurtling
into the gloom below at great speed, ending in a dull plop. After 30 feet the slope ends
in a pool of water and beyond that a flooded corridor. Wading in, you find that the
water is only waist high and there is a cavern ahead of you.
If you wish to return to the entrance and choose another direction, go to 53.
If you wish to carry on into the flooded cavern, go to 26.

40 Roll 1D6.
If you roll a 1, go to 3.
If you roll a 2 or 3, go to 19.
If you roll a 4, 5 or, 6 go to 45.

41 Your search of the cave turns up nothing of interest and so you decide to return
to the junction to continue with your quest. As you are exiting you feel a tug beneath
the water followed by a powerful suction that threatens to pull you under. By a freak
accident you have kicked aside a rock that was keeping a sinkhole stable.
Make a L1SR on LK. If you make the SR, go to 7. If you miss the SR, go to 36.

42 Continuing along the path, you soon find yourself at a rocky incline that you
cannot see beyond. The rocks that jut from the hillside have been worn to a smooth
surface and are firmly rooted into the solid earth.
If you would like to continue along the path and climb the hill face, go to 35.
If you would rather turn back and carry on along the other path you found, go to 20.

Page 41 TROLLSZINE
Scott Kirkwood (order #29396123)
 43 Settling down on the grass you take the weight off your feet and break out the
food that your guide had given you earlier in the day. Feasting upon the bread and
cheese you feel rested. Recover up to 4 lost points of CON. After half an hour you
decide that you had better carry on with your journey if you are to make the summit in
good time, go to 31.

44 The cavern you have entered boasts a shallow depression in the centre and a
small pool of water has collected here. Around the pool small lizards lounge
uninterested in your presence. Vines hang limply from tree roots that have pierced
through the stone roof and moist earth covers the floor. There are three exits leading
from this chamber.
If you wish to take the northern exit, go to 2.
If you take the southern exit, go to 17.
If you take the exit to the west, go to 10.

45 As you enter this cavern, there is an ominous rattle, followed by a hollow thud, that
reveals the flickering shadow of something man-like cast by your lantern on to the cave
wall. As the shape moves, a tell-tale scraping rasps through the dust-laden air and the
shadow draws a weapon. You ready yours in answer and a fleshless skeleton lurches
into your lantern0light, its bony feet scraping on the cold stone floor. You must fight the
skeleton.

Skeleton: MR 18
Special Rules: Bladed and pointed weapons other than axes cause only half
damage to skeletons. The skeleton fights with a gladius instead of its claws,
always rolling 3 dice and giving it an additional 2 adds.
If you win the battle award yourself an additional 20AP and, you may leave either to the
north, go to 21 or, to the south, go to 10.

ISSUE 2 Page 42
Scott Kirkwood (order #29396123)
 46 Head reeling from the stink of the squid, you pull yourself up out of the dank
pond. Behind you, you leave a cloud of green blood spreads across the surface of the
water; all that remains of your monstrous foe. Resting for a moment to catch your
breath you realise that the only way that you are going to reach the summit and the
ruins are if you manage to cross the stream. Ringing water from your clothing you head
north toward the broken bridge again, go to 6.

47 You walk down a passage that turns gently to the right, before ending in a
junction. From here you can see three separate passages leading in various directions,
though the smell of rot hangs in the air, stealing your breath. Steeling yourself, you listen
carefully and hear the faint sound of movements from the southern passage and,
sniffing the air you determine that the foul smell is emanating from the south-eastern
tunnel. Footprints in the dust lead west-wards revealing some recent activity but it is
hard to say when the tracks were made, or by whom.
If you wish to return north, go to 1.
If you wish to travel west, go to 4.
If you wish to travel south, go to 21.
If you wish to travel down the south eastern corridor, go to 37.

48 With your enemies slain, you eagerly search through the piles of coins, jewels and
items to determine what you would like take with you, for there is far too much to carry
it all. In the cave you find the following:
639 Gold coins
520 Silver coins
1002 Copper coins
1 Mithril Ingot (1000GP, 10WU)
A Pouch of Small Jewels (100GP, 5WU)
125 Gold Rings (5GP, 2WU each)
57 Silver Rings (2GP, 2WU each)
Herbal Elixir (500GP, 5WU, Restores all lost CON and removes any effects from illness)
Ring of Strength (100GP, 2WU, +1 STR whilst worn)
Once you have chosen what you would like to take, you decide to investigate the other
fork in an attempt to resolve the mystery of the chanting and hopefully uncover the
source of the lights that have been sighted over the ruins, go to 55.

49 A small thermal vent at the edge of this cavern lends some

warmth to the water, but the smell of sulphur nauseates you. The
cave itself is otherwise unremarkable and there is an exit in both
the north and south walls. Suddenly something darts past your legs
faster than your eyes can follow, and it is not alone. The
movements gather in pace and frequency until they are swarming
you. Beneath the surface you catch sight of several small fish with
golden scales. One of them nips at you but does not draw blood. It
is then you realise that you have wandered into a pool of snapping
piranhas! You must fight them or be eaten alive.

Page 43 TROLLSZINE
Scott Kirkwood (order #29396123)
 Piranhas: MR 1D6*5
Special Rules: Unless you are fighting with a dagger or spear the resistance of
the water reduces your hit point total by half each combat round. The swarm is
also hard to hit, for every combat round you win you must make a L1 SR on
DEX or they receive no damage.
If you win the fight award yourself an additional 10AP for each 5 MR the piranhas had at
the start of combat and then choose either to go north, go to 26 or, south, go to 1.

50 Your last blow thunders down on the skull of the foul creature, cracking it open.
As it falls to the ground, it is quite clear that it is truly defeated. To be sure you prod it but
its lifeless body stirs no more. You then set your sights on the altar and search carefully
through the various ritual implements. It is the work of a moment to find a piece of
parchment with a broken wax seal. Reading it reveals that this man was instructed to
set the lights at night, though by whom and for what purpose cannot be divined from
this scrap of parchment. You thrust the letter into a pocket and trudge back toward the
village to tell them of your findings.
Reward yourself 250AP for completing your adventure and an additional 100AP for
defeating the necrolite.
The End.
51 The craftsmanship of the corridor is far worse than the one that lead you here. It is
rough and supported poorly by timber beams that show signs of damp and decay.
Pushing at them to test their strength you are satisfied that they are not completely
rotten and you continue on till you arrive at the entrance to a small cavern. Your eyes
light up as you cast your lantern beam inside. The small cave is loaded from wall to wall
with riches and treasures beyond the dreams of avarice So taken are you by your find
that you do not immediately notice the four corpses that stir amongst the gold. Pulling
themselves up to their feet they approach you, already salivating at
the thought of your flesh. If you want the loot, you will have to
fight off these undead guards.

4 Zombies: MR 18 each.
2 / Zombie Plague: Make a L1SR on CON or you become
infected. You lose 1 CON with each new paragraph you
enter whilst infected (or each combat round fought) until
magically cured. If you die of the plague you become a
zombie with a MR equal to your STR.
Make a note on an index card of this creature and the paragraph
you were defeated at. The next player to enter that paragraph will
encounter this zombie.
If you defeat the zombies, go to 48 and collect your reward.

ISSUE 2 Page 44
Scott Kirkwood (order #29396123)
 52 The next adventurer to reach the cultist will instead have to fight your zombie
before fighting the necrolite. The zombie will have a MR equal to your strength. If this is
zero due to your battle with the necrolite there will be no zombie and they should fight
the necrolite immediately. If more than one adventurer has fallen here the number of
zombies encountered is cumulative. All zombies also have the following special ability:
2 / Zombie Plague: Make a L1SR on CON or you become infected. You lose 1 CON
with each new paragraph you enter whilst infected (or each combat round fought) until
magically cured. If you die of the plague you become a zombie with a MR equal to
your STR. Make a note on an index card of this creature and the paragraph you were
defeated at. The next player to enter that paragraph will encounter this zombie.
The End.
53 As your feet meet the ground, you waste no time in lighting your lantern to
examine what is at the heart of the pit you have entered. As you cast the light around it
catches upon small beetles, causing them to scuttle back into the shadows. More
disturbing still, are the cobwebbed bones and rotten remains among the rubble and dust
of the cold stone floor. Four tunnels lead away from this chamber but there seems
nothing to guide your choice, as they all look equally unwelcoming.
If you take the corridor to the west, go to 8.
If you take the corridor to the southwest, go to 39.
If you take the corridor to the southeast, go to 47.
If you take the corridor to the east, go to 2.

54 Coughing up blood the man keels over on to the floor. “Thank you my friend, you
were the last piece in the masters’ puzzle and, now… You have served… Your…
Purpose…” With a last gasp of breath the man falls silent and the room begins to shake.
The flesh on his limp bones begins to bulge and ripple, expanding till it is ripping through
his clothing in great undulations. Laughing with the pain the man pulls himself to his feet
and once again as his skin greys and his eyes become hollow and black. His hands
lengthen into razor sharp claws and he sets once more towards you as wings sprout
from his back and slick black oil sheens from his open wounds.

Necrolite: MR 60.
Special Attacks
2 / TTYF! The necrolite casts a Take That You Fiend! spell causing 15 damage
and reducing its MR by the same amount. It attacks with a WIZ of half its MR.
3 / Necrosis: The necrolite’s dark powers feed off of your soul to replenish its
own life force. Reduce all attributes by 1 permanently and restore up to that
much lost MR from the necrolite.
If you defeat the necrolite, go to 50.
If you are defeated by the necrolite, go to 52.

Page 45 TROLLSZINE
Scott Kirkwood (order #29396123)
 55 As you get closer the words of the chant becomes audible, although you are
unsure of the language. Stepping carefully along the loose stones, so as to not to alert
those ahead, you sneak along the corridor. As you reach the entrance to a large well
chamber you are amazed to see a small sanctum in all its grandeur. Embers glow with a
low light at either side of a polished altar space that has been covered with fine red silk
embroidered with gold braiding. Kneeling before the altar, a lone figure in a cowl chants,
raising its hands in the air as it swings back and forth in the throes of a ritual trance.
Seizing the opportunity you draw your weapon and approach but before you can
close, you are spotted, go to 11.

ISSUE 2 Page 46
Scott Kirkwood (order #29396123)
 I KNOW KUNG FU!
OR SECRET WEAPON TECHNIQUES FOR WARRIORS.
By Dan Prentice.
Kung Fu is the Chinese term that westerners use to mean Oriental martial arts.
In fact it means ‘hard work’ or ‘accomplishment’. I have a mental picture of a westerner
going to China in the 19th Century, and being permitted to watch some amazing display
of Wu Shu. He asks, transfixed by the spectacle, ‘What was that?’ ‘Hard work!’ replies
the perspiring practitioner.
The Chinese usually use the term Wu Shu, meaning arts of war. These arts of war use
weapons as much as they do unarmed combat. Anyone interested in studying this
further is recommended to read ‘Comprehensive Asian Fighting Arts’ by Donn Draegar.
One source of writing, speculation and myth about Kung Fu is the use of secret
techniques; devastating moves that break the normal rules to destroy the opponent –
nerve strikes, bone breaks, delayed death touch, and so on.
Now, Warriors have always seemed slightly short changed to me by the Tunnels & Trolls
system. They have great armour use, and in the seventh edition of the rules, more adds,
but they don’t have the spells that all those magicians and dilettante rogues have. This
also means that unless there is access to Ye Olde Magick Shoppe, they don’t have much
to spend their money on either!
I propose an option for Warriors (and if you are ever lucky enough to roll up such a
Paragon, Warrior – Wizards) that they be able to learn secret weapon techniques from
masters of the art.
This is not designed to supplant combat stunts, but instead to give warriors special
attacks, much like monsters have.
The special attacks are triggered by rolling ‘Spite’,
i.e. a number of 6’s on an attack dice roll. The
effect of the secret technique takes the place of
spite damage. Only one secret technique may be
used each combat turn.
Each secret weapon technique learned applies to
one type of weapon – Swords, Hafted Weapons,
Pole Arms, Daggers, Spears, Projectile Weapons,
Unarmed Combat and Shields. You can learn the
same type of technique for more than one
weapon type: for example Vicious Strike with
Swords and Daggers. Each time a technique is
learned for a different class of weapons, it counts
as a new technique learned. Certain secret
techniques can only be used by a particular type
of weapon – you cannot Bash with a rapier for
example.

Page 47 TROLLSZINE
Scott Kirkwood (order #29396123)
 Each secret technique learned makes the next one harder and more expensive to learn.
Instructors do not like to give out their lessons to potential rivals, and once a specialism
has been learned, it is necessary to unlearn certain habits in order to learn the next one.
Solo study and experimentation is a possible way of learning a secret technique, but it is
just as expensive and takes longer than learning from a master.
Only one technique can be learned for each level the Warrior has.
The cost of learning a technique is (1000gp x minimum spite) + (2000gp x techniques
already known).
So a fighter learning Vicious Strike as his first technique for use with Swords will pay just
1000gp. An experienced veteran learning Vorpal Blow as his sixth technique will pay
16,000gp. That is 6000gp for the difficulty of the technique, 10,000gp for the cost of
additional mastery.
It takes about a week of tuition from a master of the technique, or a month of
experimenting (in which case the cost represents research) to learn the technique.
Costs are doubled for Warrior – Wizards and Paragons. Nobody likes a show off, and
they are distracted by the body of knowledge they have already acquired.
Secret technique scrolls may be found which provide this knowledge as well, and will
require study and exercise to learn as described in the scroll.

Massive Monsters and Size limited techniques.

Some techniques may not be able to affect very large monsters such as Giants and
Dragons. If a technique is indicated as ‘Size limited’ it will only work if the Games Master
adjudicates it is appropriate for the circumstances. If the GM rules against a technique
working, the Warrior is free to employ a different secret technique.

Secret Techniques
Vicious Strike
Type: Any weapon.
Cost: 1 spite
Each point of spite rolled does 2 points of damage. The weapon is turned cruelly in the
wound or targeted for a vulnerable spot. Multiple points of spite may be doubled by the
use of this technique.
Armour Breaker
Type: Hafted Weapons, Pole arms.
Cost: 1 spite
Each point of spite degrades the opponents armour by one point in Addition to doing 1
point of damage. It represents a smashing or hammering blow which breaks the
protection value of the armour until repairs can be made. Multiple points of spite may
be affected by the use of this technique.

ISSUE 2 Page 48
Scott Kirkwood (order #29396123)
 Nerve Strike
Type: Unarmed*
Cost: 1 spite
When a 6 is rolled, the practitioner of the nerve point strike may roll an additional d6 for
unarmed damage and add it to the previous total. They may continue until they do not
roll a 6. This may be combined with another secret weapon technique – unarmed if
enough spite is rolled in this way. Creatures with no functioning nervous system (undead,
slimes, statues etc) are immune to the Nerve Strike.
Shield Block
Type: Shields**
Cost: 1 spite
Each point of spite blocks 2 points of damage instead of inflicting 1. It still cannot stop
spite. This may be used to protect other characters.
Multiple points of spite may be used in this way
Disarm
Type: Swords, Daggers, Unarmed*
Cost: 2 spite
This cunning manoeuvre removes a weapon from an opponent’s hand.
They fight as unarmed until they can retrieve their weapon.
Cutting Blow
Type: Swords, Daggers, Spears, Projectile Weapons.
Cost: 3 spite
The blow causes an enemy to start bleeding profusely.
They take d6 damage every round until they can
staunch the wound. The Games Master will
determine whether circumstances allow the wound
to be staunched. Magical healing will probably
work.
Stunning Blow
Type: Hafted Weapons, Pole Arms,
Unarmed*
Cost: 3 spite
This powerful blow causes an
enemy to be stunned. They
will halve their combat
total for the next round.
This is a size limited
technique.

Page 49 TROLLSZINE
Scott Kirkwood (order #29396123)
 Sundering Strike
Type: Swords, Hafted Weapons, Unarmed*
Cost: 3 spite
This blow breaks the enemy’s weapon. Magic weapons may only be broken by other
magic weapons. The enemy is left with a stub of a weapon that may have some use as
the Games Master’s discretion.
This is a size limited technique (giants mauls are tough to break!)
Vital Point Strike
Type: Swords, Daggers, Spears, Projectile weapon, Unarmed*
Cost: 3 spite
This accurately placed strike finds a weak point and ignores all armour the
enemy has that round.
Bash
Type: Hafted Weapons, Pole arms, Shields**
Cost: 4 spite
This thunderous smash pushes the opponent backwards and drops
them to their knees. Their combat total will be halved next round.
If they would be bashed into a comrade, or a wall, pit or fire, they
will take additional damage as the Games Master adjudicates.
This is a size limited technique.
Impaling Blow
Type: Swords, Daggers, Spears, Projectile Weapons
Cost: 5 spite
The blow goes right the way through an enemy’s limb of the
characters choice. It causes agonizing pain. They drop anything
held in an arm and fall to the ground if impaled through a leg. Their
adds will be halved to the end of the combat. They take an
additional d6 damage for each level the warrior has. This is a size
limited technique.
Boneshaker
Type: Any crushing weapon, Unarmed*
Cost: 5 spite
The blow creates massive shockwaves through an opponent’s
body. Any armour is smashed, taking damage equal to the spite
total. The opponent is stunned, halving their combat total next
turn. They take massive shock damage, equal to the STR of the
warrior inflicting the blow. Their adds are also reduced by the
warriors level to the end of the combat. This is a size limited
technique.
ISSUE 2 Page 50
Scott Kirkwood (order #29396123)
 Vorpal Blow
Type: Any 2 handed cutting weapon
Cost: 6 spite
The blow removes an enemy limb. If all the weapon dice were 6 (and at least 6 dice
were rolled) the blow removes an enemies head. The weapon damage rolled (not
adds)is done directly to the targets CON or MR. The enemy will produce no combat
total on the next turn (especially if they lost their head) and their combat total will be
halved until they can replace their limb in some fashion. They will receive any other
penalties that seem logical for the situation. This is a size limited technique.

Notes
*Unarmed techniques can only be used when the character has no weapons or shield
in hand. However if his body has unusual features (such as the Diamond Fist from the
Deathtrap Equaliser Dungeon) that enables the warrior to roll more than one dice, they
may still be used with Unarmed techniques.
**Shield techniques may be used in conjunction with other weapons, and use the dice
from the other weapon (and any shield weapon dice)
to generate a special combat result.

Design Notes
I appreciate many players of Tunnels
and Trolls will not find this kind of
detail to their taste, smacking of
unwieldy ‘other games’. However, for
those who like an element of
customisation, and ‘cool powers’ this
may be an option they would like to
try.
I wish to emphasise that the aim is
not to replace the stunts of T&T
combat, but to give Warriors
recognition of their supremely
honed skills. Anyone can try and
disarm their opponent, but it is the
skilled master who seizes the
opportunity presented in a fraction
of a second to flick the weapon
from their opponents grasp.
In fact I can see a lot of stunts and
manoeuvring taking place in order
to get extra dice to roll so a secret
technique may be brought to play.
Besides which, if it’s good enough
for the monsters…

Page 51 TROLLSZINE
Scott Kirkwood (order #29396123)
 Flight to New Khazan
By Tom K.Loney
Does it happen to you? Do the trappings of fantasy often become entwined with
elements of science fiction? Instead of floating castles, are there very nearby moons just
reachable by a couple of spells and a floating skiff? And are warriors’ true hearts
expressed in the color of their glowing swords, which look a lot like sabers with blades
made up of photons? Yeah, I know the feeling.
Unconsciously, my early T&T campaigns (from 1982 until 1988) took on the look and feel
of Dune novels, at least the John Schoenherr–illustrated ones. My cave trolls became
akin to Green Martians, but with multiple heads as well as more than two arms. Warrior-
Wizards were more akin to Jedi and Sith samurai than to albino princes with soul-
drinking swords. Dwarves played a role similar to that of Larry Niven’s Pak Protectors in
Ringworld. My world, called “The World,” was a place very similar to the planet Mars
on 45% of its surface, just beyond the rolling hills and lush forests of the grassy fair lands
where everyone wanted to dwell.
While many of my later campaigns have been much more traditional, I have never
gotten over the space fantasy bug.

Part One: The Road to New Khazan

New Khazan is one of the ongoing quests of my creative life come to fruition. It
combines the elements of Tunnels & Trolls and space fantasy, which I prefer to call
Sphere Fantasy, into a pretty expansive setting. I am drawn to rather nontraditional
fantasy settings in roleplaying, probably because, back in the formative years of my
growing up, my first influences were the John Carter, Warlord of Mars and Tarzan
novels and C.S. Forester’s Horatio Hornblower, as well as The Hobbit. Not until a few
years later, in 1981, would I learn about AD&D and start reading The Lord of the Rings.
So what most consider the staple of FRPGs, I saw as very particular strain of escapism.
When I came across the fairly straight–science fiction RPGs (well, Traveller), I was also
discovering Star Trek. Between you and me, I always pretty much saw a lot of Horatio
Hornblower in both of these works. Then Ken St. Andre caught my notice with a copy
of Starfaring in his newsletter entitled “TnT.” And this struck a chord in me. I was already
a fan of T&T, and his essaying into the logistics of space exploration was light-years
ahead of that of anybody else, including the deep thinkers at SPI who produced
Universe and Starforce: Alpha Centauri. Still, ’faring’s premise of high level T&T
adventurers boldly going where no one else had delved before was missing something.
Nevertheless, St. Andre’s rain had fallen on the seed of Edgar Rice Burroughs in the soil
of my mind.
Then came the 1990s and I got busy, like any character in a Dickens or Joseph Conrad
novel, going off to the wars, learning a living, and raising a family. All the while I kept my
ear to ground for developments in RPGs, looking for that special Sphere Fantasy setting.

ISSUE 2 Page 52
Scott Kirkwood (order #29396123)
 And while Spelljammers got close,
T&T fans’ Trolls in Space got closer.
So, in 1998, I started work on a little
something called “New Khazan.”
Fast forward through the Big
Naught and the Yahtzee decade
(2000 through the present, well,
2012 really). Outlaw Press finally
published my article “New Khazan”
in 2008. According to OP’s
publisher, reaction to the setting
was wild and positive. That said,
and with a little help from some of
the big brains in that shop, it was
time to get to work on the setting
again. This time in earnest, like for
real. You know, with a color cover
by Simon Tranter along with interior
art by Kevin Bracey and Michael
Hartlieb, and everything else.

Part Two: The Paths on

the Map
When it comes to Sphere Fantasy,
the nuts-and-bolts approach to
things is used in various degrees
depending on the work. One can
go from the pure fantasy aspect,
where the technology is essentially
sorcery (say in a work like the
movie Krull), to the fairly medieval, in which engineering terms are used (as in Lord
Valentine’s Castle).
And then there is the look and feel of the work, which ranges from the highly polished,
unbelievable space fantasy of Star Trek to the gritty, realistic, but wholly illogical Star
Wars. By the way, the “unbelievable” and “wholly illogical” aspects are what define the
term “space fantasy” to aficionados. It is along these two axes (as in axis, not dwarves’)
that the milieu is going to come together in writers’ minds. I step out a bit to say that the
more coherent the application of the principles, the better the product for its audience.
My Sphere Fantasy uses the solid foundations of the Tunnels & Trolls rules and its
accompanying jargon to help make things come together. When I use the term
“Hellbomb Harpoon,” the experienced T&T delver is going to have an idea as to how
much damage this particular weapon is going to cause. The term might even provide an
inkling as to what sort of mechanics will be used. For the reader who has never read
anything T&T (is there such a thing?), the same phrase should imply volumes about the
nitty-gritty of the New Khazan universe. Hopefully, something like the below:
“Hold on,” says John Q. Newbie. “There is a spaceship on the cover, and they’re talking
about harpoons? Wow, that’s kind of steam-space-punk. And they have trolls? Oh, now
that is rather weird and wonderful.”
Page 53 TROLLSZINE
Scott Kirkwood (order #29396123)
 With any luck, when I bring up the Blow-Me-To Drive it will elicit even more T&T rules–
driven technobabble. We could have the next Scotty or Duncan Idaho hanging out in
the 9,000 Worlds.

Part Three: On the Sands of New Khazan

So now we’ve stepped off the Fly-Me Raft and are looking around the cosmos of
space opera and science fantasy spreading before us. It’s going to be a little
overwhelming for a while. Not only are there New Khazan and the city of Hub to
explore, but also the whole of the 9,000 Worlds (“9KW” in common parlance).
One thing I learned at some Star Trek conventions in my time: world building is a waste
of time and characters are what sell. Luckily I’ve had both time to waste and profit
incentive. I am working on about a dozen worlds to explore, and double that in NPC’s
to be met. That and as many ships from all corners of the cosmos to be encountered as
well.
Around this little planetoid, New Khazan, there is a whole bunch of universe in which, it
is said, the travelers from far-off Trollworld first landed in the Middle Worlds. While I am
writing ample numbers of places for one to explore, of course there are yet more to be
discovered. And this is where I hope some other GMs will buy bulk cargo rates’–worth
of the publication for reference on where to begin their own adventures of T&T in
space. I am sure that my own pitiful efforts to propel the game and rules of T&T into the
realms of outer space and far ether, leading to further realms and exploration, are
incomplete at best. Some of you others—younger and more vibrant sorts—will draw
your Vorpal Blades in the face of the vast unknown and make great.

ISSUE 2 Page 54
Scott Kirkwood (order #29396123)
 LEVEL AND ATTRIBUTE
ADVANCEMENT
By Dan Hembree
The topic of level and attribute advancement has generated a lot of discussion recently
primarily due to the differences in these mechanics between the 5th, 7th, and 7.5 edition
rules. As written in the rules, characters in 5th edition gain experience which eventually
increases their level. The benefit of this advancement is that one or two attributes are
increased. In the 7th and 7.5 editions, gaining experience allows characters to directly
increase their attributes. As a side effect, this increases the character's level once a level
attribute reaches a certain number (10, 20, 30, etc.). In both cases, levels and attributes
are directly related. In 7th edition, however, advancing in levels offers some additional
bonuses.
Here are some of the possible rewards of increasing an attribute (same for 5th and 7th
editions):
Increased saving roll success (all stats)
Increased combat adds (STR, DEX, LK, SPD)
Wield better weapons (STR, DEX)
Cast more complex spells (IQ, DEX)
Cast more spells (ST or WIZ)
Survive more punishment (CON)
Here are the additional benefits of an increase in level in 7th edition:
+ Level # to saving rolls (all types)
+ 1 new talent (all types)
+ Level # to combat adds (warriors)
- Level # cost to lower level spells (wizards - also present in 5th edition)
Of course, some of these level benefits have been added as house rules to 5th edition
over the years, but this fact just points to the value of these mechanics. Increasing your
level should provide some benefit other than simply improving your attributes. Ideally,
some of these benefits should be unique to your type.
I see attributes and levels as functionally separate. Level is a measure of your character's
skill in her or her profession, while attributes are a measure of his or her physical and
mental capabilities. This separation is made mechanically feasible with separate level
benefits other than just increasing attributes. Whereas increasing levels had no real
advantage in 5th edition with the exception of lowering spell cost (as written), 7th

Page 55 TROLLSZINE
Scott Kirkwood (order #29396123)
 edition introduced several benefits to increasing level. I liked these benefits because they
made levels mean something on their own. Unfortunately, level advancement currently
offers no special advantage to rogues.
To illustrate the difference between levels and attributes, first consider Strength. You can
increase your strength to make yourself generally better at hand-to-hand fighting (hitting
harder, wielding heavier weapons, tiring less quickly), but it does not necessarily make
you a better 'warrior.' A wizard or rogue can also increase their strength for similar
results. Your skill as a 'warrior' is gauged by your level and the resulting increase in bonus
combat adds. Level is also an indication of your experience in dealing with dangerous
situations and complex problems. This is reflected by the added bonus to saving rolls. Of
course your additional world experience also results in gaining new talents which may
reflect actions performed by the character in previous adventures.
My house rule for level and attribute advancement makes advancement in these two
areas completely separate. Adventure points are used to increase either a character's
level or attributes depending on how they were earned. As stated in the T&T rules,
adventure points are earned from daring, combat, saving rolls, casting magic, or other
actions at the GMs discretion. These categories can be divided between different
attribute AP pools and a level AP pool.

Earning APs Toward Attributes

1. Adventure points earned from saving rolls would go toward the attribute against
which the roll was made. If the SR was against an average of multiple attributes, divide
the APs between them.
2. Adventure points for casting spells would go toward the WIZ attribute.
Attributes can be increased by 1 point when you accumulate 10x the current attribute
value in APs.

ISSUE 2 Page 56
Scott Kirkwood (order #29396123)
 Earning APs Toward Level
Combat
Daring (completing dungeon level or a mission or performing heroic deeds)
Other (GM discretion)
A character's level increases by 1 when you accumulate enough APs as per the 5th
edition rules. An increase in level does not increase your attributes; instead it provides
the following bonuses:
+ Level # to Saving Rolls (all types)
+ 1 new talent
+ Level # Combat Adds (warriors)
- Level # Spell Cost (wizards)
+ Level # Roguery Talent
Advantages of this system
Levels and attributes are unique measures of your
character's capabilities.
Adventure points are spread out to avoid
attribute inflation. Bonus APs earned at the
end of an adventure, often amounting to
100-500 APs, do not count toward
attributes.
When an attribute is
increased, it is a direct
reflection of the use of that
attribute rather than arbitrarily
raising whatever attribute is
low or may generate the most
new combat adds (like Luck in 5th edition).
This means that if a player wants to improve
some aspect of his or her character, then
those attributes must be used. If you want a
stronger wizard, you had better try
bending some bars or kicking open a
door. If you want a smarter warrior, try
reading that book on the shelf or
figuring out how that spike trap works.
Level will not be affected by changes
in attributes due to combat or magic
as is possible in the7th edition rules.
This is a major problem I have with
tying attributes and levels together.
If a character drinks one of the
potions in the 7.5 treasure table that
Page 57 TROLLSZINE
Scott Kirkwood (order #29396123)
 increases an attributes by 1d6 thereby increasing one of his level attributes to 20, 30, or
40, then suddenly he is a new level. The character didn't gain any new experience that
made him a more effective warrior or wizard, he just drank a potion. It might make him
stronger or more dexterous, but not more proficient in his profession.

Final Thoughts
This system does require some kind of special bonus for Rogues. My suggestion (given
above) is an increase of 1 per level on their Roguery talent. Some players may find this
system a little too complex. It does require more bookkeeping to keep track of APs in
various pools. I have been using this system for my solo adventuring, however, and I am
quite happy with the way it works. The bookkeeping is not that bad. You do need to
add an AP column next to each attribute. These APs should not be awarded until the
end of the adventure, so you just need to keep a running log of what saving rolls you
have made, what attribute they were against, and how many APs you earned. When the
adventure is over, you add up the APs for each attribute and record the value.

Here is an example:
Phineas Red decided to start off his adventuring career by raiding the Temple of the
Timeless Serpent in search of the infamous Eye of the Serpent. In the course of the
adventure Phineas slew a temple guard (20 AP), three serpent priests (24 AP each), and
a giant snake (100 AP). He also overcame many obstacles amounting to seven L1-SRs
on LK (95 AP), one L1-SR on DEX (9 AP), two L1-SRs on the average of DEX and SPD (15
AP), and six L1-SRs on the average of DEX, LK, and SPD (64 AP). In the end, Phineas stole
the Eye of the Serpent as well as a
small fortune in other treasure and
escaped with his life earning another
100 AP.
Using this system, Phineas earned 296
AP toward his next level, 38 AP toward
DEX, 116 AP toward LK, and 29 AP
toward SPD. Phineas has made a good
start in his career as a warrior; two
more such feats and he'll be 2nd level.
With a starting LK of 14, Phineas is also
well on his way to increasing that
attribute. Given how much his Luck
was tested in the burglary of the
snake temple that is to be expected.
Phineas exercised no great feats of
Strength, Intelligence, Constitution,
Wizardry, or Charisma, so these
abilities were not improved. In straight
7.5 edition rules, Phineas would have
earned 479 APs to spend on improving
his abilities. He could then raise his STR
of 14 to 16 and still have 19 AP to spare.
That's just after one short adventure
and he never performed any great
feats of strength.

ISSUE 2 Page 58
Scott Kirkwood (order #29396123)
 DELVERTON
PART 2: SIT DOWN, HAVE A DRINK, TELL US A TALE
OR TWO!
by Lee Reynoldson
One of the most important parts of any home base for Delvers has to be the tavern. A
source of sustenance, rumours, and good old fashioned brawls. The place where shady
hooded figures hand you maps, or purses of gold in exchange for deeds done. A place
to collapse into a pool of stale ale after being slapped by a serving wench.
There are a few Taverns in Delverton, but the first, and friendliest is . . .

The Troll in The Tunnel

The Troll in the Tunnel, or 'the Troll' as it is known by regulars is Delverton's oldest tavern.
Large, by the standards of a country tavern, the Troll is a single story wooden building.
Inside the décor is homely and functional if somewhat worn. The main entrance is via
the front (southern door) that leads into a single open plan space. Tables and chairs
surround a square bar area in the centre of the tavern. In the north wall there is a door
that leads out to walled, but roofless midden pits.
The Troll's owner, and most affable of hosts, is Helmund Hellermann, a jovial, balding,
thin fellow who always has a warm welcome, especially for Delvers. His four sons man
the bar with him, and his wife and daughter run the kitchen.
In 'the Troll' there is no table service; drinkers must go to the bar. Wooden and pewter
mugs, and a few fine crystal glasses are stored under the bar; as is the cash box. There
are also steps down to the kitchen which is small, basic, and clean. There is one oven
and a fire pit where Mrs Hellermann and her daughter prepare a range of simple, but
tasty fare. Another set of steps leads down from the kitchen to the beer cellar, which as
you'd imagine is full of beer barrels, bottles of wine, and kegs of spirits. This is also where
Hellermann keeps his Vortex Mirror.
In the early days of Delverton it is likely that the player characters will be the only
customers. As Delverton expands most of the locals come to frequent the Troll as it
quickly becomes a favourite haunt of the tradesmen and shopkeepers.
As a host Hellermann is most accommodating, and has a soft spot for Delvers to
whom, much to his wife's displeasure, he is always willing to stand a round and a bowl
of stew in exchange for a good 'delving tale'. He is also prepared to let ‘down-on-their-
luck’ Delvers sleep on the tavern floor for free.
Hellermann is also a great source of rumours and seems to know plenty about
dungeons, both local and far afield. He also, despite protestations that he is no gossip,
seems to know an awful lot about Delverton's other residents. Of course, as with all
gossip, most of what he knows is exaggerated at best, and invented at worst. Once he
has got to know a group of Delvers, and feels he can trust them, he'll offer to let them
use his Vortex Mirror and Vortex Rings.

Page 59 TROLLSZINE
Scott Kirkwood (order #29396123)
 Vortex Mirror
The Vortex Mirror and Vortex Rings, like Delverton itself, are a conceit designed to make
life easier for a GM running a dungeon delving campaign. The Vortex Mirror is a large (8'
by 5') free standing mirror with an ornate Onyx frame. The rings are simple Onyx rings
and Hellermann has twelve of them. Anyone wearing one of the rings can step through
the mirror and into the Vortex.
Once your players have exhausted the adventure potential of whichever local dungeon
you plopped Delverton down next to, or are simply looking to go somewhere else and
do something else, you can use the Vortex Mirror as a means of quickly getting them to
another adventure. It can also be used to cut out the overland travel, and get straight
from Delverton to dungeon, and back.
The best thing about the Vortex Mirror, and its rings, is the ability to keep players in the
adventure even if their character dies on the lower levels of the dungeon. If a character
dies mid delve, rather than the player have to sit it out, or the whole party make their
way back to civilisation, the Vortex Ring their character was wearing will warp back to
Hellermann. He will send another willing adventurer (in other words a back up
character) so the player who lost his character can get straight back into the game.

The Hellermanns
On the surface the Hellermanns appear to be a normal hardworking family, but they are
actually demons. Anyone who uses detect magic will know they are not ordinary
humans. They're a benign type of Feeder Demon who feed off their customers’ sense
of happiness, satisfaction, and fulfilment. This is why they run a tavern.
Demon or not, it would be hard to imagine a more easygoing, and welcoming family,
but should they be attacked they will of course defend themselves, as will the locals and
the regulars of the Troll, who are all very fond of Hellermann and his family.
Their human bodies are mere shells, made of wax and ensorcelled to look human, and
are very delicate. In their human form they are unarmed, untrained, and fight with
improvised weapons from the bar and kitchen.

Human Hellermanns: MR 10 (each)

Once their wax bodies are destroyed, their real Demonic form is revealed, each
of them appears as a swirling Vortex cloud. In this form they may only be
harmed by magic or magical weapons.
Demon Hellermanns: MR 66 (each).
On the first round someone is engaged in combat with a Demonic Hellermann
they must make a L1 SR on CHR. If they fail, the amount they missed by is
subtracted from their CHR as the Demon feeds from them. Each additional
round they must make successively higher saving rolls, L2 on round 2 and so
on. If they cease their attack and apologise, their CHR will be restored,
otherwise all losses are permanent.

ISSUE 2 Page 60
Scott Kirkwood (order #29396123)
 The Troll in the Tunnel's Bill of Fare
Alderman Ale - 1 Copper.
Fine, but weak.

Old Fennywig's Northern Squint– 1 Silver.

A refreshing pale ale. However, anyone who fails a L1 SR on CON spends the evening
squinting.

Maxwell's Magic Mead – 1 Gold.

Roll 1d6 per cup . . .
1: A Will-o-wisp on the end of the drinker's nose.
2: Hidey Hole, makes the drinker's head invisible.
3: Little Feets spell that makes the drinker dance like an uncle at a wedding.
4: A Mirage of the drinker that mimics and mocks him.
5: A Fly Me that floats the drinker up to the roof.
6: Wink-wing that keeps zapping the drinker all over the tavern.
These effects are cumulative, and
last until the drinker sobers up, or
an hour after they leave the tavern.

Ælfwine – 25 Gold
A rich red wine that adds 2d6 to the drinker's CHR
and also doubles their CHR as far as Elves are
concerned. Lasts for one night only.

Dwarven Draught – 50 Gold.

Anyone who fails a L3 SR on CON will
immediately collapse in a drunken stupor.
On the plus side 2d6 worth of CON
damage will be restored when they
awake. If they make the SR they don't
collapse, but neither do they heal.

Platter of Wild Boar – 1 Gold

A huge platter of the finest cuts of
wild pig roasted to perfection.

Fresh River Trout – 5 Silver

A whole Trout poached in dry
white wine.

Venison Pie - 3 Silver

Diced venison stewed in a red
wine gravy and encased in rich
flaky pastry.

Page 61 TROLLSZINE
Scott Kirkwood (order #29396123)
 Wild Boar Sausages - 2 Silver
A plate of spiced pork sausages and rich onion gravy.

Delvers Lunch - 1 Silver

A plate of cheeses, pickles, cold cuts of meats, and fresh bread.

Alderman's Broth – 1 Copper

Lentils, barley, root vegetables, and off cuts of meat in a rich gravy. Served with a wedge
of bread.

The Troll in the Tunnel Plot Hooks

1: There are seven sinister dwarves who have started to frequent the Troll. They arrive,
order one drink each, sit in silence for an hour then leave without touching their drinks.
Hellermann thinks they're up to no good and asks the party to investigate.
2: Several customers have disappeared when visiting the midden pits. It's a dirty job but
Hellermann will pay well for someone to look into it.
3: Three different visitors have tried to steal the same table from the tavern. As far as
Hellermann knows it is just an ordinary small round table. Even as Hellerman is explaining
this to the party, six goblins burst in. Three with crossbows, cover everyone, the other
three grab the table.

Uncle Cucuy's Wonder Emporium

www.jfreels.com

ISSUE 2 Page 62
Scott Kirkwood (order #29396123)
 SPELLING MISTAKES
By Tom Grimshaw.
Deep within the bowels of the great and grand wizard’s guild of Khazan it is said that
you can find some of the most potent magic known to man. This however, is not a
collection of such items. There is a far greater secret that lurks in the cobwebbed
shadows of the musty basement, the reject bin. Spells that were never meant to be,
born of a mix of boredom, insanity and naïve humour. As useless as they all may seem,
they serve an (often limited) purpose and best of all, they are cheap! So sift through the
bargain bin of magic and see if anything takes your fancy.

Level 1 Spells (DEX 10, INT 10, 125gp each)

Name: Call Names.
Cost: 1
Range: Within earshot.
Duration: Instant.
Power Up: Yes, doubles the cost and effect.
Description: The casters next words spoken
are insults in the native tongue of the target.
The target must make a L1SR or attack the
caster; monsters instantly attack because
they don’t take well to being insulted.
Doubling the cost increases the
severity of the insult and doubles
the level of the SR.

Name: Detect Keys.

Cost: 1
Range: 10 feet per caster level.
Duration: Until keys are found.
Power Up: No
Description: This spell causes the keys
that the caster are looking for to
emit a low beep every few
seconds until they are found. This
spell only works if the caster knows that he is looking for keys.

Name: Dummies Guide to Dumb Spells

Cost: See text.
Range: Touch.
Duration: Instant.
Power Up: No.
Description: This spell conjures up a book that contains all the first level spells in this list.
You may make a L2SR on INT to learn any of the spells at no cost. The casting cost of
this spell is the cost of the spell that you are attempting to learn. Upon learning or failing
to learn a spell the book disappears in a flash of light and a magical poof of smoke.

Page 63 TROLLSZINE
Scott Kirkwood (order #29396123)
 Name: Flock Flock
Cost: 6
Range: 10 feet.
Duration: 1 turn.
Power Up: Yes, double cost and double duration.
Description: Calls upon all the local bird life to rain poop upon a target of the casters
choosing. This spell can only be cast whilst outside in an area that has bird life.

Name: Hocus Croak-us.

Cost: 5
Range: Self
Duration: Instant.
Power Up: No.
Description: Turns the caster into a frog for as long as they desire. As a frog the caster
has a MR of 1 and all the abilities you expect of a frog. Each turn the caster must make
a L1SR on CHR or lose the will to reverse the spell and remain as a frog until kissed by a
prince / princess.

Name: Oh, Sod off!

Cost: 5
Range: 50 feet.
Duration: 1 turn.
Power Up: No.
Description: Throws muddy sods of turf at the target in an attempt to make them go
away. Total your CHR and LK; if they are greater than your opponents CHR and INT
then they will not attack you for the difference in turns whilst they clean themselves off
unless attacked by you. If they are not greater than your opponents combined total
then they attack you for the difference in turns at the exclusion of all other targets for
getting their clothes all muddy. If you agree to pay their dry cleaning bill in this time
(equal to 10gp) they will agree to beat up your comrades also instead of just you. How
nice.

Name: Ooh! Shiny!

Cost: 1
Range: Touch.
Duration: Permanent.
Power Up: No.
Description: Cleans up metal objects instantly but, doesn’t remove rust.

ISSUE 2 Page 64
Scott Kirkwood (order #29396123)
 Name: Shadow Puppets.
Cost: 4.
Range: Touch.
Duration: Until the caster needs to use there hands.
Power Up: No.
Description: This spell projects a small spotlight against a wall for as long as the caster
makes shadow puppets of bunnies, birdies or, doggies. If the caster stops making
puppets at any point the spell effects end.

Name: Stop! Hammer Time.

Cost: 8
Range: Touch.
Duration: 1 turn per caster level.
Power Up: No.
Description: Causes the target to perform crazy hip-hop moves uncontrollably, ignoring
everything else around them unless attacked. This spell only takes effect if the target is
touched lightly with a hammer on casting.

Level 2 Spells (DEX 12, INT 12, 250gp each)

Name: Defective Duplicate.
Cost: 10
Range: 10 feet.
Duration: 1 turn per caster level.
Power Up: No.
Description: Conjures up an illusionary double of the caster
that looks nothing like them (too tall, too
short, too fat, too thin, wrong race, wrong
gender etc). The GM determines just how
defective the illusion is.

Name: Fantasy Noir.

Cost: 8
Range: Touch.
Duration: 1 turn per caster level.
Power Up: Yes, doubles the cost and doubles the
duration.
Description: Causes the target to speak in a style
reminiscent of films in the noir genre. The target also
sees the world in black and white, believing
everyone male to be wearing trench coats and
fedoras and everyone female to be a vamp. No,
not undead.

Page 65 TROLLSZINE
Scott Kirkwood (order #29396123)
 Name: Feline Feeling.
Cost: 3
Range: Touch.
Duration: 1 turn per caster level.
Power Up: Yes, double cost and double duration.
Description: The caster takes on the properties of a cat (sees well in low light conditions,
always lands on their feet, can’t resist playing with balls of yarn).

Name: Flu You.

Cost: 10
Range: Touch.
Duration: 1 week (or 3 days with bed rest).
Power Up: No.
Description: Magically inflicts a severe cold upon the target that takes an hour to
manifest. Whilst infected the target has all adds halved and sneezes once every 1D6
turns. When they sneeze, all those within 5 feet must make a L1SR on CON or catch the
same cold.

Name: Holey Hide.

Cost: 18
Range: 10 feet.
Duration: Instant.
Power Up: Yes, doubles the cost and doubles the dice rolled.
Description: The target is blasted by an invisible blunderbuss in the behind and suffers
1D6-1 damage, which can be reduced by armour.

Name: Summon Really Tiny Undead Things.

Cost: 2
Range: 10 feet per caster level.
Duration: 1 combat round per caster level.
Power Up: Yes, double cost and double duration.
Description: This spell summons up squashed bugs, small rodents and occasionally dead
pond life as zombies that perform the bidding of the caster to the best of their ability. A
creature summoned by this spell has a MR of 1 and when the spell ends melts into
mushy goo that cannot have this spell cast upon it again.

Level 3 Spells (DEX 15, INT 15, 500gp each)

Name: Alche-mess
Cost: 14
Range: Touch.
Duration: 1 turn per caster level.
Power Up: Yes, doubles cost and doubles duration.
Description: Any gold touched by the target of this spell turns to lead, lead turns to
stone and, stone turns to dust. Magical items lose all enchantments and, non-magical
items rust. Food rots and water spoils. Generally the target of this spell should refrain
from touching anything.

ISSUE 2 Page 66
Scott Kirkwood (order #29396123)
 Name: And The Kitchen Sink Too.
Cost: 8
Range: 5 feet.
Duration: Permanent.
Power Up: No.
Description: Conjures a kitchen sink, complete with magically working taps (both hot
and cold).

Name: Ass-id Burn.

Cost: 17
Range: 10 feet.
Duration: 1 turn per caster level.
Power Up: Yes, doubles the cost and damage.
Description: Stinging acid clings to the behind of the target reducing the hits taken by
any armour there by 1 a turn. If the target has no rear guard then the damage is dealt
directly to CON.

Name: Beetlejuice!
Cost: 12
Range: 5 feet.
Duration: 1 turn per caster level.
Power Up: Yes, double the cost and
duration.
Description: Turns all liquids within
range of the spell into creepy
crawlies when cast. This can really
annoy a bar full of people and,
particularly the landlord if the Elven
hygiene people are about.

Name: Fake Fake

Cost: 12
Range: Touch.
Duration: 1 turn per caster level.
Power Up: Yes, doubles cost and
doubles duration.
Description: Creates an illusion of an
object that is an obvious fake of
something of the casters choosing.
For example this spell could create an
illusion of the Mona Lisa (well, the
Trollworld equivalent) where the lady
in the picture is actually a guy, poorly
disguised as a woman.

Page 67 TROLLSZINE
Scott Kirkwood (order #29396123)
 Name: Feather Fail.
Cost: 15.
Range: 5 feet.
Duration: 1 turn.
Power Up: No.
Description: The target of the spell falls at twice the normal speed and suffers double
the damage on impact. This spell can only be cast on a target that is falling.

Name: Goth Mode.

Cost: 13 (Unlucky for some)
Range: Touch
Duration: Permanent.
Power Up: No.
Description: All clothes worn by the caster become black. Just black. From head to toe
black and, the casters face is painted white… With black eyeliner. Black lipstick. Loads
more black. This spell is reversed by a change of clothes but why would you want to?

Name: Mixed Blessing.

Cost: 28
Range: Touch.
Duration: Permanent.
Power Up: No.
Description: The target removes 5 points from any stat and adds 1 point to any other.
This spell may only be cast on willing participants.

Name: It’s Morphing Time!

Cost: 10
Range: Touch.
Duration: Permanent.
Power Up: Yes, double the cost for each additional target.
Description: Transforms the clothes you are wearing into a tight spandex suit (choice of
black, blue, green, pink, red, yellow and, white) and, you also gain an ill designed
dinosaur themed helmet. The spell is reversed if you change your clothes for any reason.

Name: Summon Lint Elemental

Cost: See text.
Range: 10 feet.
Duration: Instant.
Power Up: No.
Description: Summons up a creature made purely of belly button fluff and pocket lint.
The creature has a MR equal to the cost of the spell. Lint elementals are destroyed
instantly by fire or washing machines.

Name: Unfamiliar Familiar.

Cost: 15
Range: 5 feet.

ISSUE 2 Page 68
Scott Kirkwood (order #29396123)
 Duration: Permanent.
Power Up: No.
Description: Summons a familiar of a species of that the PC has never met (GM’s choice
but with a MR no greater than 10). The familiar will not speak any language the caster
does but if the caster can find a means of communication the familiar will obey the
commands of the caster to the best of its abilities.

Level 6 Spells (DEX 30, INT 30, 1500gp each)

Name: Grrr-zebo.
Cost: 20
Range: 20 feet.
Duration: 5 turns.
Power Up: Yes, double the cost and double the duration.
Description: Summons a gazebo from the depths of Hades. Anyone but the caster that
sees the gazebo must make a L1SR on INT or attack the gazebo.

Level 7 Spells (DEX 37, INT 37, 1750gp each)

Name: Word Of Power, YOINK!
Cost: 30
Range: Sight.
Duration: Instant.
Power Up: No.
Description: Takes any item held or carried by anybody and places it in the casters hand.

Level 8 Spells (DEX 37, INT 37, 2000gp each)

Name: Summon Generic Shop.
Cost: 50
Range: 10 feet.
Duration: 1 turn per caster level.
Power Up: No.
Description: Conjures a shop selling all the items in the rulebook at those prices plus
10% and buying at half the listed price in the book. This spell requires a 10 by 10 area at
the very least to be cast without crushing the caster Wizard of Oz style.

Level 13 Spells (DEX 87, INT 87, 3250gp)

Name: God Mode.
Cost: See text.
Range: Touch.
Duration: 1 turn per caster level.
Power Up: No.
Description: Turns the caster into a god / goddess for a time. Whilst this spell is in effect
the caster cannot be killed, harmed or, wounded in any way, shape or, form. Each PC
can cast this spell only once in a lifetime and it drains all WIZ to do so. Whilst under the
effects of this spell the PC must answer all prayers directed to them to the best of their
ability.

Page 69 TROLLSZINE
Scott Kirkwood (order #29396123)
 RINGS OF POWER AND
SORCERERS SCROLLS
By Salvatore Macri
Magic Items for Use with T&T 7E/7.5E
“Rather than fill the book with long lists, I've provided some short lists and the principles
of how to make longer ones yourself.” T&T7E Monsters & Magic Book p.20 Ken St
Andre.
This article was inspired by the quote above. The items found in this resource were
created using the formula presented in the T&T7E Monsters & Magic Book. This
describes 4 types of magical items. The ones used in this article are set out below.
Bespelled - The item has a one shot magical spell that can be triggered by the owner.
Once used the magic leaves the item.
Enchanted – The item allows the wielder to trigger a spell, even if they do not know the
spell, or are not usually capable of magic. However they must pay the WIZ cost. There
is no reduction for being a specialist or using a focus with an enchanted item.
Magical – The item pays for the spell to be used whenever required, in fact the spell
operates continuously if that is appropriate.
All the items are listed in the following manner;
Name of the Item: Displayed in bold.
Cost: The cost of the item does not include the actual cost of the item being
enchanted, only the cost of the magic itself. That
way, a GM may take the cost of, for example, a
Keen Edged Vorpal Blade and apply it to any
weapon by adding the cost of the weapon itself
to the cost of the enchantment already given.
Also, not having the cost of the actual item
factored in lets the GM vary the prices according
to quality (a brass Far Sight Ring will cost less
than a gold, jewel encrusted version of the same
ring).
Type: Notes the type of magic item, Scroll,
Potion, Bespelled, Bespelled with trigger,
Enchanted, or Magical (see T&T Monsters &
Magic Book).
WIZ Cost: The cost in Wizardry associated with
using certain items.
Description: A short and very minimal description
of what the item does.

ISSUE 2 Page 70
Scott Kirkwood (order #29396123)
 The following lists of magic items were created and intended to be used as a GMs aid.
The GM can use the list to quickly pick an item and insert it into his dungeon, or add
one of the items to a monsters treasure. The item described below may also be used to
populate a magic shop. This is by no means a substitute for your own creativity, but
hopefully it might come in handy. I hope to bring you further items in future issues,
describing Rods, Potions, Armor and Weaponry. For the moment enjoy sorcerous scrolls,
and rings of power.

Scrolls
Typical Scrolls
Typical Magic Scrolls act as bespelled items with an activation trigger (the activation
trigger being that the scroll in question must be read completely). Scrolls, much like
potions, are "one use" items. After the scroll's magic is triggered and released the scroll
becomes useless and will not produce further magic. Typical Magic Scrolls contain 1
spell which is chosen from any spells known to the Wizards Guild and the scroll's
creator. Power Ups and variables such as duration are set at the scroll's creation. Casting
a spell from a scroll does not require a SR vs INT to cast, but the one casting from the
scroll must be able to read the scroll (enough illumination/light) and must be able to read
the language the scroll is written in. The cost of a Typical Magic Scroll is the same as
any other bespelled item (see T&T 7E Monsters & Magic Book p.20).

Scrolls with Multiple Effects

Some scrolls are designed to cast two (or more) spells simultaneously. Such scrolls are
extremely rare and are more often found in ancient forgotten locale than in wizards'
shops. Should such a scroll turn up in a magic shop or sold by the Guild, its cost will be
much higher than purchasing the two spells as two individual scrolls. The cost of such
scrolls is 350 gp x Spell Level for each individual spell the scroll contains.
Although each of the spells on a Multiple Effects Scroll are considered to go off
simultaneously (all in the same round), they actually take
effect one after the other, with the first spell on the
scroll taking effect first, followed by the second, etc.
A Multiple Effects Scroll with the spells Blow me
to... and Smog will allow the scrolls reader to
teleport away from a scene just as the toxic
smog rolls in.

Rings
Anti-Poison Ring
Cost: 2,000 gp. Spell: Too-Bad Toxin. Type:
enchanted - WIZ cost 7.
Description: Purges all poison from the
wearer.

Band of Fortuitousness
Cost: 12,000 gp. Spell: Double-Double.
Type: magical -WIZ cost 0).
Description: This ring permanently doubles the
wearer's LK.

Page 71 TROLLSZINE
Scott Kirkwood (order #29396123)
 Far-Sight Ring
Cost: 3,000 gp. Spell: Mystic Visions. Type: enchanted - WIZ cost 15.
Description: This ring allows the wearer to see what is happening anywhere, regardless
of distance.

Growth Ring
Cost: 5,500 gp. Spell: Bigger is Better. Type: enchanted - WIZ cost 75.
Description: Allows the wearer to increase his normal height and weight.

Infernal Ring
Cost: 6,000 gp. Spell: Summon. Type: enchanted WIZ cost See spell description.
Description: This ring holds within it a bound demon which may be summoned to do
the wearer's bidding.

Magic-Shielding Ring
Cost: 1,500 gp. Spell: Shield Me. Type: enchanted WIZ cost 13.
Description: This ring allows the wearer to nullify magical attacks for 10 minutes.

Polymorph Ring
Cost: 4,000 gp. Spell: Imafrawg. Type: enchanted WIZ cost 40.
Description: This ring allows the wearer to assume any shape desired for 1 hour.

Resurrection Ring
Cost: 3,350 gp. Spell: Born Again. Type: bespelled/trigger - WIZ cost 0.
Description: Seconds before dying, the power of this ring is triggered. The wearer of this
ring is resurrected and appears hale within the closest Wizards' Guild.

Ring of Blasting
Cost: 500 gp. Spell: TTYF. Type: enchanted -WIZ cost 6.
Description: This ring of brass allows the user to harness his will, focusing it into a
blasting ray of gold. The ray inflicts INT worth of damage.

Ring of Blasting Might

Cost: 1,000 gp. Spell: TTYF. Type: enchanted - WIZ cost 12.
Description: This ring of gold allows the user to harness his will, focusing it into a
destructive ray of gold. The ray inflicts 2 X INT worth of damage.

Ring of Charming
Cost: 1,000 gp. Spell: Spirit Mastery. Type: enchanted - WIZ cost 8.
Description: This much reviled and greatly feared tarnished steel ring enslaves a person
to the wearers will.

ISSUE 2 Page 72
Scott Kirkwood (order #29396123)
 Ring of ESP
Cost: 2,500 gp. Spell: ESP. Type: enchanted - WIZ cost 20.
Description: Allows the wearer to read others minds.

Ring of Fiendish Aid

Cost: 6,000 gp. Spell: Invisible Fiend. Type: enchanted - WIZ cost See spell description.
Description: This ring holds within it a bound fiend which may be summoned to do the
wearer's bidding.

Ring of Flight
Cost: 1,500 gp. Spell: Fly Me. Type: enchanted - WIZ cost 7.
Description: This ring grants the wearer the ability of flight for 10 minutes (at the drinker's
SPD).

Ring of Gracefulness
Cost: 12,000 gp. Spell: Double Double. Type: magical - WIZ cost 0.
Description: Permanently doubles the wearers DEX attribute.

Ring of Invisibility
Cost: 2,000 gp. Spell: Hidey Hole. Type: enchanted WIZ cost 30.
Description: A simple ring made of worked crystal, this item allows the wearer to turn
invisible for 20 combat turns. The ring's invisibility effect will cease should the Ring’s
wearer take any damage.

Ring of Invisibility, Mass

Cost: 2,000 gp. Spell: Hidey Hole. Type: enchanted WIZ cost 30.
Description: A thick ring made of glass, this item allows the wearer, as well as everyone
within a 20' radius of the wearer, to turn invisible for 5 combat turns. Should any one
under the ring's effect suffer even 1 HIT, the ring's effect is disrupted and everyone will
become visible.

Ring of Invisibility, Minor

Cost: 1,000 gp. Spell: Hidey Hole. Type: enchanted WIZ cost 10.
Description: A simple ring made of glass, this item allows the wearer to turn invisible for
5 combat turns. The ring's invisibility effect will cease should the ring's wearer take any
damage.

Ring of Magic Resistance

Cost: 2,500 gp. Spell: Resist Magic. Type: enchanted - WIZ cost 10.
Description: Allows the wearer to resist 1 spell.

Ring of Regeneration
Cost: 1,000 gp. Spell: Poor Baby. Type: enchanted WIZ cost variable
Description: this ring of ivory is used to heal injuries and wounds. For every 2 points of
WIZ spent by the wearer, 1 point of lost CON may be healed.

Page 73 TROLLSZINE
Scott Kirkwood (order #29396123)
 Ring of Greater Regeneration
Cost: 10,000 gp. Spell: Poor Baby. Type: magical WIZ cost 0.
Description: This ring of ivory is used to heal injuries and wounds. Unlike its more
common counterpart, the simple Ring of Regeneration, the Greater version Costs the
user no Wizardry. Instead 1 point of Con damage is healed every combat round (2
minutes)

Ring of Slumber
Cost: 1,500 gp. Spell: Rock-a-Bye. Type: enchanted WIZ cost 11.
Description: This band forces the ring-wearer's target to fall into a magic-induced
slumber.

Ring of Telekinesis
Cost: 2,000 gp. Spell: Upsadaisy. Type: enchanted WIZ cost 9.
Description: The Ring of Telekinesis holds the power to levitate things with a weight of
no more than the ring-wearer's own. The ring's power may be maintained for up to 10
minutes.

Ring of Undead Control

Cost: 2,500 gp. Spell: Dem Bones Gonna Rise. Type: enchanted - WIZ cost 50.
Description: This skull shaped ring of tarnished silver allows one to call forth 8 skeletons
(MR = caster's STR + CON) which will obey the caster for 8 rounds. The spell will only
its effect if cast in the proper surroundings.

Shrink Ring
Cost: 5,000 gp. Spell: Smaller is Smarter. Type: enchanted - WIZ cost 50.
Description: Allows the wearer to diminish his normal height and weight.

Teleportation Band
Cost: 5,000 gp. Spell: Blow Me To... . Type: enchanted - WIZ cost 28.
Description: This ring allows the wearer to teleport himself (+2000 lbs.) to any location
the ring wearer has seen.

Teleportation Band, Ultimate

Cost: 18,000 gp. Spell: Blow Me To.... Type: magical WIZ cost 0.
Description: This ring allows the wearer to teleport himself
to any location the ring wearer has seen, at will.

Toxic Save
Cost: 1,000 gp. Spell: Too-Bad Toxin. Type: bespelled/
trigger - WIZ cost 0.
Description: This ring negates the effects of ingested or
applied poisons and toxins. The ring is a one-use
(bespelled) item equipped with a trigger which activates
the ring's magic when poison is ingested.

ISSUE 2 Page 74
Scott Kirkwood (order #29396123)
 Wizardly Ring
Cost: 2,000 gp. Spell: Double-Double. Type: enchanted - WIZ cost 18.
Description: This band doubles the wearers WIZ for 5 combat turns, after which the
attribute is halved for the same amount of time.

“You have one final test to

complete your education,” your
instructor tells you. “All those
who train in Cormacʼs School
of Wizardry, also known as the
Cedar Coral Wizards Guild,
must learn to use their training
in a very real way. We donʼt
just send you out in the world
with a pat on the backside and
hope for the best; we want you
to be truly prepared.”

Itʼs been a long fifteen years

drilling and training. You know
how to channel the magical
force known as “kremm,” to
manipulate it to your will, and
to use it to change the world
around you. Itʼs time to move
on with your life. Itʼs time to
prove to the world that you are
worthy of the title, “Wizard.”

But before you step foot

outside the great halls of the
Wizards Guild, you must pass
the Final Exam.

“I survived this dungeon

myself, many years ago,” your
teacher continues. “Though it
has seen many changes, it is
still very challenging - and very
deadly. You will need more
than just your magic; you will
need to be smart, clever, and lucky. Less than half of our students ever make it out.”

Are you willing to risk your life and put your training to the test?

Final Exam is a Tunnels & Trolls Solitaire Dungeon designed specifically for T&T 7.5e,
including the additional spells in the Incantatum Codex.

Written by: W. Scott Grant

Illustrated by: Mark Tothill, Mike Hill, Jeff Freels, Al Cook

Look for it at the Trollbridge Lulu Storefront: http://stores.lulu.com/store.php?fGroupID=5740

Page 75 TROLLSZINE
Scott Kirkwood (order #29396123)
 A COMPUTER GENERATED
DUNGEON
A RETROSPECTIVE REVIEW
by W. Scott Grant
Years ago, I found a new solitaire dungeon in a local store that sold Tunnels and Trolls
stuff. “Back in the day” solitaire dungeons were being released by Flying Buffalo
somewhat infrequently, so anything new was received with excitement.
This new product, ‘A Computer Generated Dungeon’ was quite the novelty. Computers
were still new back in those days. I still fondly remember learning to program BASIC on
a borrowed TRS-80, and later on the TI-99/4A that our family owned. The idea of a
computer generated dungeon was not only cool, but the affect was further heightened
by the fact the pages were printed on genuine computer paper, complete with the
tractor-feed holes along the edges.
The premise behind this was that Flying Buffalo could set their computer to compile and
print virtually hundreds of solitaire dungeons and each would be unique. An avid fan
could buy several copies and in essence, get several different dungeons! It was a brilliant
money-making scheme that obviously didn’t work for them like they had hoped. I’m
curious what Rick Loomis might say about the project now. Maybe I’ll ask him if I see
him at GenCon this year.
I can tell you why the project didn’t do so well. Other than the novelty, there was very
little redeeming value in the adventure itself.

ISSUE 2 Page 76
Scott Kirkwood (order #29396123)
 Let’s start with a physical description. There are 21 pages of adventure, starting with page
3 going through page 23. All of these are dot-matrix, ALL-CAPS printed pages. The
paragraph labels are along the right edge of the page, at the end of a page-wide row of
dashed equal signs. The print is somewhat faded – not just because it’s over thirty years
old, but because the print ribbon wasn’t fresh when my copy was printed.
There is an introduction page which appears to be the same offset print stock as all the
other solitaire dungeon pages of the period – same type face. This page explains how
to go through the dungeon with no back-story or context, only that it is a teleport-style
dungeon in the same tradition as Deathtrap Equalizer and Beyond the Silvered Pane. It
gives the obligatory copyright statement and advertisement for ordering additional stuff
from Flying Buffalo, including buying more Computer Generated Dungeons with a
person’s name printed along the bottom of each page.
The front and back covers are a heavier stock paper. Only the front cover contains
artwork, a rather clever picture by Rob Carver (1977) depicting a dwarven warrior
fighting two werewolf-like creatures outside of a building made to look like a computer
(with a reel-to-reel tape-drive at the top). The computer has the name “HAL 1” on it, and
the entrance to the computer/building looks like an iron-bound wooden doorway. On
top of the structure is a gnome wizard watching the battle below. This is the only
artwork found in the entire book.
The book itself was stapled together. Somewhere along the line I lost the middle and
bottom staples. The top staple is barely holding on. This book was not bound using the
plastic comb style binding used on the other publications of the era.
But I haven’t explained what I don’t like about this. In a word, it’s the writing. Compared
to most of the other work produced by Flying Buffalo during the late 70’s, the writing is
sub-par. Okay – if you remember the original Overkill dungeon (a friend of mine had a
copy, but I never owned it), then this might rank a little
higher

Page 77 TROLLSZINE
Scott Kirkwood (order #29396123)
 than that atrocity – but not much.
There are 15 “rooms”, 3 through 18. The introductory paragraph (the A paragraph on the
given page) describes the room very briefly. There is very little flavor in the descriptions.
Four of the rooms feature the character “Cpt. Queeg,” which seems to be a running
joke among at least one of the authors of dungeon. Okay, I’ve never read The Caine
Mutiny, but the idea of using the character here is beyond me. If Cpt Queeg isn’t an MR
50 opponent to fight, it is an illusion hiding a weakling conjuror or something.
All of the rooms are very short, most of
them comprising of ten or fewer
paragraphs. The few rooms that consist of more
than ten generally are “pick one of the many
choices to get a result” where you go to the
indicated paragraph and you’re done. One such
example is the room that contains a computer with 12
buttons you can press. (What is a computer doing in a
fantasy adventure anyway?)
There is no logical theme to the dungeon, and in a lot of
cases, the options lead to illogical results. Several of the
rooms allow you to go back to the start as a choice in
the initial description. The difficulty level of the dungeon
is inconsistent, as are the available rewards. For example,
a room that offers a 10,000 gp reward requires very little
challenge other than a saving roll or making the right
guess amongst several choices, whereas another room
where you have to fight up to 4 monsters with 50 MR
offers no treasure at all.
A final complaint is the arrangement of paragraphs.
There are multiple instances where two or more
choices in a given paragraph lead to different
paragraphs on the same page. This is something
that is avoided when manually writing solitaire
dungeons. This tells me that the logic used
in compiling the dungeon was rather
unsophisticated. Several pages have skips
in the paragraphs (Page 4 and 5 have no
paragraph B, for example.) On the positive
side, there are no recursive or missing
links, which is a one of the common
errors found in manually written solitaires.
If you want a relic from the early days of computing, and an early product produced by
Flying Buffalo, ‘The Computer Generated Dungeon’ fits the bill. It was a clever idea that
had potential, but in application, fell far short of most reasonable expectations. I can’t
say that the $3.00(US) I spent on it back when I was a teenager was totally wasted,
since I might be able to sell it for more than what I spent, adjusted for inflation. But will I
ever actually play the dungeon again, after having read this article? Not a chance. There
are far better solitaire dungeons worth spending my time playing. (Sorry – My copy is
not for sale… not right now, anyway)

ISSUE 2 Page 78
Scott Kirkwood (order #29396123)
 HOW TO WRITE A SOLO
ADVENTURE
PART 1
By Simon Rafe
So, you've decided you are the next Mike Stackpole or Ken St. Andre and want to write
a solo adventure. Congratulations! Simply by reading these very words, you are already
better suited than most of the people who try it.
Why? Because this article (and the rest of the series) contains advice about writing solo
adventures – and most people embark on something without ever having sought
advice about the thing in question. You don't have to take the advice, but it is always a
good idea to seek at least some.
You might be wondering just who I am to offer such advice – am I like unto Mike
Stackpole? Well, not in scope and scale, but perhaps in persuasion. I am a writer
(professional and amateur) and I have at least one solid, well-received solo adventure
under my belt. So, I have done this before, people say I am decent at it, and I think I
know the common mistakes and how to avoid them.
So – you wanna write a solo, do ya? Well, before you write those dreaded words “turn
to section 1 to begin your adventure!” there are several things you need to consider.
Hopefully this article will help you consider them.

The Initial Idea

Writing any sort of story – and that is what a solo adventure is; a
multi-branched, interactive story – requires inspiration.
Now, it can be very small, a mere seed ,maybe you want to write
a story which features a cool monster you designed, or maybe
you have a vision of a fantastic realm you want to depict. Perhaps
the story idea is well-fleshed out. Do you want to write a solo
where your character can be the hero in a long, involved epic
you've had in your head since you were eight?
It is important to have a clear idea of where the
story is going – in traditional writing, we might
call this the “plot” or “narrative”, but in a solo
adventure the narrative has to be flexible to
allow the player scope to actually play.
Similarly, the idea a story must have a
beginning, a middle, and an end
needs to be set aside – a solo
adventure needs an introduction,
interactions, and a series of
conclusions. In essence, you need to
decide what the hero is trying to do,

Page 79 TROLLSZINE
Scott Kirkwood (order #29396123)
 how he can do it, and when and where he does it. These things are the objectives,
methods, and setting.
All of these should flow from the initial inspiration and idea, and should fit in with each
other and the genre of the overall setting. If the initial inspiration is Wagner's Ring Cycle,
then the overall setting should be Nordic in flavor, the objective is kill the dragon and
steal the treasure, and the method is “with a magic sword won in a riddling contest”.
Side-quests and incidental characters should be jotuns and dwarfs, and beautiful
Valkyrie maidens. It would not make sense to put centaurs or djinn in there, and
certainly not laser guns or spaceships!
Give some careful thought to the overall setting, tone, objectives, genre and storyline of
your solo. You don't have to map it all out in exhausting detail (that is what writing the
solo itself is for!) but you should have a handle on what you are going to do. The most
important thing to go for is consistency in tone, setting, objectives and the story itself.
Putting everything in a grab bag of random rooms might be wacky fun, but such stories
lack narrative cohesion. They can end up appearing silly and humorous at best, and
downright ridiculous at worst. Humor can be a good thing in any story, but comedy is
not achieved by idiocy; it is achieved by incongruity (more on that in a later article).
A good inspirational idea or concept for the solo adventure is vital; literally everything
else in the adventure will be related to that – the mechanics, the writing, the structure,
the characters, the monsters, the objectives, everything. Get it clear in your head, jot
down some notes, and get some pictures, whatever you need to do.

The Writing
You are writing a solo adventure – and it begins with an idea.
Now, can you actually write?
By this, I don't mean can you put words on paper (or in a word processor program) but
can you write well?
What is writing well? Many things, depending on the type of writing being talked about.
Unfortunately (or perhaps fortunately) when writing a solo adventure most (if not all) of
the requirements for writing well must be fulfilled for your writing to be good.
Writing well can mean writing concisely – can you convey your ideas quickly and with
the minimum words? This is an important skill when you are writing a story which has
several possible paths to take through the adventure; a tendency towards wordiness
really adds to the length of the piece, which makes it harder to publish and read.
Writing well can mean writing clearly – can you convey your ideas? This is vital when
writing a solo adventure, not only do you have to tell the reader what is happening, but
also tell him the mechanics of the game. There is no GM in a solo adventure to appeal
to; your instructions must have as little ambiguity as possible, while not being a treatise
on gaming!
Writing well can mean writing dramatically – do people enjoy reading your work? Do
they find it exciting, descriptive, and evocative of the mood and setting you are trying
to create? RPGs (including solo adventures) are designed to draw the players into a
shared make-believe world sustained by their imagination acting on descriptions

ISSUE 2 Page 80
Scott Kirkwood (order #29396123)
 provided by the GM (or book). Without dramatic, evocative text, a solo adventure is
simply an exercise in prudential judgment, dice rolling, and mathematical certainties.
These things might be fun (and are certainly a challenge) but they are not a roleplaying
game.
Writing well also always means writing correctly – do you obey the rules of spelling,
punctuation and grammar? These things are important. Do not listen to anyone who tells
you such things don't matter “provided it's clear what is meant”. This is simply not the
case. Firstly, it is not always clear what is meant if the spelling and grammar are bad
enough. Secondly, it indicates a lack of care and attention – why should the reader
think your solo is any good (and worth his time and perhaps money) if you can't even
spell correctly? Thirdly, if you cannot even spell, punctuate and use grammar correctly,
you are not going to be able to write concisely, clearly, or dramatically!
So, be honest with yourself – can you write well? You don't need to be the next
Shakespeare, but you have to be able to convey your ideas in a manner which people
want to read and can easily and quickly grasp, process and understand. If you think you
cannot do this, then do not panic! People are not born good writers. The best way to
learn is to read, understand what you have read, write, re-read it, get feedback, re-write
and write again. In other words, practice! There are plenty of sites on the internet where
you can post stories, essays, poems, anything and get feedback and advice. There are
many writing courses available, whole books full of hints and tips.
The initial idea behind a solo is often thought of as the primary determiner of quality – is
it a dramatic, unique, exciting, brilliant idea? - but that is often not really the case. There
are hundreds (if not thousands) of successful stories which have very derivative ideas at
their core, but they succeed because the writing is good and makes the reader want to
read more.
Writing a solo adventure is perhaps the hardest kind of creative writing there is; don't
step into it unless you are confident you are at least competent with a pen.

Who is your audience?

Okay, you have a brilliant idea and concept, and you are sure you can put words on
paper in a manner which will make people want to read on rather than strangle you for
crimes against the English language. Good job! But, unless you really want this to be a
SOLO adventure, you need to think about who you are writing this for; who is your
audience?
The intended audience makes a big difference to a piece of art; both Vogue and
Playboy feature photographs of beautiful women alongside articles, but they are
intended for different audiences wanting different things and so are very different.
Although solo adventures might not differ as much as Vogue and Playboy, the audience
is important. Here are some things to consider and decide before picking up a pen and
starting writing;
Is this an “in-crowd” solo or something wider? Are you just writing it for you and your
chums, or do you intend it to be accessible to a wider audience? An in-crowd solo has a
narrower appeal, but can appeal more deeply (with in-jokes, specific references, being
set in a shared world) to that group. It can also use house rules or rulings without having
to explain them. Conversely, a solo intended for a wider audience has a wider appeal,

Page 81 TROLLSZINE
Scott Kirkwood (order #29396123)
 but will have to be more generic, with limited in-jokes, references etc. It also will have to
use “standard” rules as much as possible.
Is it intended for experienced players, or newbies? A solo for experienced players might
be larger, more expansive, with more complex rules. The players will also be aware (for
example) to not trust pretty girls chained up in dungeons – you might have to come up
with different challenges for them which are not so obvious! A solo for newbies might
be smaller and use less complex rules – which might make it less exciting for veterans.
How tough should the characters be? If the adventure is intended for newly rolled up
characters, the challenges and monsters will be weaker than in a dungeon for
experienced characters with magical weapons, astronomical stats and so forth. Similarly,
the question of what sort of characters is relevant here – will you allow monsters, or
just humanoids?
Warriors only, or can magic users play too? Restricted by gender or race? All of these
decisions will be strongly influenced by the solo's concept – if the adventure is one
where you hunt dwarfs, disallowing dwarfish characters might be a good idea.
How much adult content are you going to put it? T&T was the first RPG to allow sexual
liaisons in the solo adventures. Will your adventure contain such things? If there are, how
explicit are you going to be? Will there be graphic depictions of violence? Swearing?
Adult concepts such as rape, drug use, abortion, pregnancy and so forth? A word of
warning; while it might seem “cool” to have adult concepts in a story, make sure you
have them there for a reason. “Adult” elements will offend or repulse some readers.
Unless it is necessary for the story, do not put in explicitly adult material. Also, if you do
put in adult content, it is only fair to warn future readers!
All of these questions concerning audience can be answered by many methods – but
perhaps the easiest is “Who am I?” Remember, you have to write this thing. You will
probably spend longer with it than any player. So you should enjoy it, first and foremost.
Write a story you want to read and you want to play.
Other than that, consider who your potential audience is – friends, gaming buddies,
people you know on sites like Trollbridge and Trollhalla. What do people seem to want
to play?
“I think I have a handle on this . . .”
Alright – you have an idea. You have the means to turn it into writing. And you know
who you are writing it for. Are you now ready to start writing?
Yes, indeedie – but not the adventure itself! Oh, no – you are ready to begin where the
player will begin and where they will decide whether or not to continue; at the
introduction. And that is what we will talk about next time.

ISSUE 2 Page 82
Scott Kirkwood (order #29396123)
 AEULUNGS
TALE /t"r,

i!:

THE SECOND
CHAPTER
By Tom Grimshaw
Aeulung’s eyes fixed upon the figure
q \\
of the mummy looming over him as :.I ): .i}li

'.q*,
it gnashed its teeth and reached
down toward his throat. He
stretched out an arm in panic as the I',

undead fiend raised its maul.

Aeulung clawed into the dirty stone
finding only moss and mud, his blade
had skidded away from him with his -.,!'
! ,.. ,!\'

4,
.d
\r.

fall. The heavy figure drew closer, T'hilil '1.;

.

reached a boned claw covered in we-w|fl_g

rotted flesh to his throat and leaned
DHI,VtrR,
in for the kill. Spotting his chance
Aeulung gave a mighty kick, striking
at the knee of the vulnerable creature. There was a great explosion of dust as the leg
shattered, and sent the monstrosity crashing toward him. Acting fast, Aeulung rolled
himself out of the path of descent in one deft motion, sending the mummy face first
into the earth. Now only inches from his discarded weapon Aeulung wasted no time in
driving home his advantage over the stricken guardian and cleaved into his neck,
severing it from the body in one strong swipe.
Truly lifeless now, the mummy slumped forward and a deathly silence fell upon the
room, broken only by the burble of the fountain.
The Dead Newt tavern was now in uproar. The room was a hive of conversation over
the adventure so far and, many registered disgust at the fight they had just witnessed.
“What kind of punishment is that? A blind goblin with his arm tied behind his back could
have won that fight. We want blood. We want Aeulung's blood!”
A chant resonated around the room that unsettled the hosts, “BLOOD! BLOOD!
BLOOD!” Far away, the shade that had lured Aeulung with the promise of freedom
observed the outrage of the crowds through a portal of darkened water within a cold
stone basin. Pulling a shadowy claw to where its jaw would be it pondered upon the
cunning and resourcefulness of his prey.
“Well my friend, I had thought you little more than light entertainment but, you are more
resilient than I expected. Perhaps we should make things more interesting.”
With a flick of his finger it gestured beyond into the dark depths behind its dark throne
to an unseen party.

Page 83 TROLLSZINE
Scott Kirkwood (order #29396123)
 “Send in Kris. I have a plan... And instruct the taverns that it's free ale till I say otherwise.
Can’t have my patrons upset can I?”
Back in the castle, Aeulung advanced with caution beyond the door the mummy had
sprung from, the hilt of his weapon firmly within his grip and, his eyes watching for even
the slightest of motions. The dimly lit passage ended in yet another door. Pressing an ear
to the timber and steadying himself on the frame he could hear nothing beyond the
strong oak. With care he twisted the brass knob, opening the door to reveal the room
beyond. From the safety of the corridor Aeulung cast a careful eye of the room but
nothing jumped out at him. The room was certainly an odd find for a castle though. The
cobblestones that made up the floor of this room had fallen far beyond repair and
sparsely covered the moist earthen floor. Even more unusual was the collection of tree
roots that had burst through the ceiling. Aeulung couldn't recall traveling deeper
underground, so was there some garden or courtyard in the room above him?
Setting his questions aside Aeulung entered the chamber with his weapon ready. As his
sight adjusted to the low light and thick air a sparkle of something buried in the earth
caught his eye. He scraped away the loose mud around it and levered it from the
ground with his katar. Aeulung began to wipe away the excess muck when a blow
struck him from behind that sent him flying into the far wall. Hitting the stone with a
painful crunch Aeulung let out a low groan as cheers and roars erupted in the taverns
throughout the land. Only momentarily stunned by the surprise attack he pulled himself
to his feet to find that one of the roots that decorated the ceiling had worked its way
free and was very much alive. Alive and angry. Looking up, Aeulung noticed that the
other roots were also working themselves free. The one that had attacked him now
blocked his escape, writhing like a serpent in front of the only exit to this room.
His blade in hand, Aeulung launched a flurry of swipes and slashes at the obstructing
root with a berserk rage akin to that of the north men that frequent the icy
wildernesses. With every strike the root swam through the air like an eel avoiding
Aeulungs best swings in a dance that seemed to mock his best efforts. As the battle
raged on, Aeulung found himself surrounded by a swarm of the angry vines. They
lashed at him with an un-natural precision that whipped his body and broke his skin.
Seeing the futility of trying to break free from the room, Aeulung fell back into the
chamber, knowing that he could move about in this environment with a great deal more
ease than his foe. As they moved to close a single slash from his Katar fell several of
them.
As he jumped back from another rain of roots he was surprised to see that they began
to retreat back into the ceiling. The peace was only momentary as a singular, much
larger root wrapped itself around his torso, grabbing him from behind and tipping him
forward. With great speed it pulled him up into the air and crashed through the loose
earth that formed the ceiling. Gasping for air Aeulung found himself catapulted from the
ground up in to air of another chamber, before landing heavily on its firm packed earth
floor. Lying upon his side winded, Aeulung opened an eye to see a large animated tree
before him. Upon its trunk was carved a grotesque face with eyes that glowed with an
otherworldly blood red light. The mouth of the tree was filled with jagged splinters and
shards. Many branches waved through the air like tentacles as Aeulung was dragged
deeper into its lair…

ISSUE 2 Page 84
Scott Kirkwood (order #29396123)
 TROLLSZINE 2
Contributors and bylines
Ken St. Andre, sarcastically known as the Trollgod, reinvented fantasy role-playing in 1975
because he couldn't understand the logic of Gygax and Arneson in the original
Dungeons and Dragons. Never one to take the easy road, he has supported and
enlarged his Tunnels and Trolls game ever since, the latest incarnation being T & T 7.5
from Fiery Dragon. The game is still fast and easy to learn, funny and fun to play.
Dan Prentice is 43 years old and has played role playing games since 1979. He is gratified
by the reception to the first TrollsZine and continues to hone his T&T skills with his wife
Sue, his stepson Kevin, his daughter in law Katy and his friends Justin, Mark and Martin.
He looks forward to the day when his granddaughter rolls up her first character.
Kevin Bracey is known as Quogmyre, the southern most Troll.
Salvatore Macri is a 36 year old RPG fanatic hailing from the great northern kingdom of
Montreal. Fan of "old school" RPGs, namely Basic/Expert D&D, Sal (or Skathros as he is
known in certain Out of Print/Old-School RPG circles) was a late-comer to T&T,
discovering the game with the release of v.7E. From there, Skathros moved his way back
to older editions of the game, and thus his fate was sealed. Some RPG related works to
his credit include critters for the Swords & Wizardry monster book, articles in
Knockspell, and some supplemental material for both S&W and Labyrinth Lord.
Salvatore's current focus is to see Ken's wonderful T&T flourish, grow, and gain the
recognition this great RPG deserves.
M. E. Volmar has been contributing artwork and editorial services for Tunnels & Trolls
publications since she joined Trollhalla a handful of years ago. You can find many
samples of her artwork at Simari (www.simari.co.uk), the design and illustration company
she created with fellow Tunnels & Trolls veteran artist, Simon Lee Tranter.
Jeff Freels is an artist well known for his work on T&T products. He is known for his
Grumlahk cartoons, and a wide variety of his work can be found at www.JFreels.com.
Tom Grimshaw is a 25 year old living in central England that has long had a passion for
fantasy fiction, picking up his first book, 'Planet of Terror' on his first visit to the library.
From there he read through many of the Fighting Fantasy, Lone wolf and, other solo
gamebooks before discovering 'Tunnels and Trolls' in 2003. Whilst hooked on the T & T
Tom has continued to collect various other systems and one-shots and, has recently
begun writing his own fiction and solo's for Trollszine.
By day Mike Hill writes training material for a bank in deepest Western Australia; by
night he toils over new adventures for his hapless group of delvers. Mike has been role-
playing since 1981 when a friend introduced him to Traveller. He found Tunnels & Trolls all
by himself.
Chad Thorson is an illustrator known for his work on the retro roleplaying game Swords
& Wizardry and rejoices in the title of Sonofthor at the Trollbridge site. He is currently in
negotiations with the Trollgod on a special secret project.

Page 85 TROLLSZINE
Scott Kirkwood (order #29396123)
 Alex Cook is 36 years old and began playing roleplaying games at the age of 10 or 11
when he was introduced to the ol' basic red box by a friend. It wasn't until much later
in life that Al discovered Tunnels & Trolls. He now solo's happily now in the comfort of
his home. Al can be found on Vin's Troll Bridge under the tag of "welikelasers". He is
happily married to his gorgeous wife Yaasmeen and the two have a beautiful baby
gremlin named Grace. The family has two cats and a huge lion eating dog named Holly.
Lee Reynoldson started playing Tunnels & Trolls in 1981, it was his first RPG and still one
of his favourites. As well as spending his spare time writing RPG material, he likes to
write fantasy fiction, something he blogs about at http://
newadventuresinfantasyfiction.blogspot.com/
Tom K. Loney is the biggest fan of T&T ever, Flunky-In-Chief of Peryton Publishing.com.
He has been Bringing six-sided adventure gaming to the Ohio River basin and the great
Lakes since 1997.
Ida Enbrant is a comic artist from Sweden. When she's not harassing her environment by
drawing silly comics she likes obsessing over martial arts - Baguazhang in particular. Like
all rpg nerds she's keen to draw a lot of fantasy art, and some of it is here for you to
enjoy!
Dan Hembree has been playing role playing games since 1984 and started playing T&T
in 1988. The large number of solo adventures available for T&T immediately grabbed his
interest and he was soon sending warriors to their doom. Dan has written a few solo
adventures of his own and published his first in 2009. Dan spends some of his time at
the Trollbridge under the guise of danhem He also walks the corridors of Trollhalla taking
the role of his trollish alter ego Dannnherrrm. Dan recently started a blog on T&T solo
gaming called The Lone Delver, which can be found at http://
danhemsgamingblog.blogspot.com. Dan lives in Ohio in the USA.
Tori Bergquist is a long time gamer, archaeologist and professional accountant in the
New Mexico desert. His lifestyle as a gamer began in 1980 and he published his first
gaming fanzine in 1984.
Steve Dove is a lecturer and researcher at a major UK University and has been playing
RPGs for 25 years. He enjoys medieval sword-fighting and horse-riding across the
Mongolian steppe and also finds time to edit the Ordo Draconis fanzine, devoted to
Dragon Warriors and Pathfinder RPGs. Steve lives with his Wife and daughter in leafy
Birmingham.
W Scott Grant (a.k.a. Sligo) is an avid gamer who enjoys nearly all table-top games,
from cards, to board games, to RPGs. His first RPG was Tunnels & Trolls way back in the
mid-seventies when he in Junior High School. Professionally, he’s a programmer and
quality management analyst. He plays ice hockey once a week, and is a budding game
developer and author. You can contact him through TrollBridge, Trollhalla,
BoardGameGeek, and UtterAccess.
Celina Bené is comic artist who enjoys drawing fantasy art. Dragons and elves are her
favorite creatures, and she will ALWAYS cheer on the dragon, even if it is the bad guy...
Besides anything in the fantasy genre, she enjoys videogames, reading books, paper and
pen roleplaying games and loads of coffee.

ISSUE 2 Page 86
Scott Kirkwood (order #29396123)
 David A. Ullery was born and raised in South Bend, Indiana (go Notre Dame!) and has
been playing Tunnels and Trolls since the 1970's. David is a freelance writer, illustrator and
video maker with a BA degree in Film Production from Brigham Young University. He
has worked for two TV NEWS stations as a videographer and editor, and more notably
has published a book called "The Tarzan Novels of Edgar Rice Burroughs: An Illustrated
Readers Guide". But despite all that, to pay the bills, David does custom woodworking
full-time. David currently lives in Payson, Utah with his lovely wife, and
four adventuresome boys who are finally of the age (mostly) to play T&T with their
father.
Jojo Smith is a 23 year old artist from Birmingham with a Distinction in Fine Art Degree
and an extensive portfolio of artwork and photography. Her styles include manga,
western comics, fantasy/sci-fi and digital art. Her influences include Tim Sale, Tetsuya
Nomura, Yoshitaka Amano, H.R. Giger and Jamie Hewlett
Randy Whitley discovered the Internet in 2002 and has never looked back since. Single
and prone to both prodigious mirths and great poverties, he allows himself the single
luxury of the gourmet coffees which provide him with bursts of paranoid energy. Randy
also enjoys the company of good friends over a game of T&T, a pastime far less
expensive than his coffee – both were discovered around 1986 or so and enjoyed ever
since.
Nicholas Cloister hails from the far northland of Sweden and has his own site where he
displays his wondrous creations for all to enjoy. Admire them at http://rpg-
creatures.blogspot.com/
Simon Rafe is a television professional working in Detroit,. He has been playing RPGs
and Tunnels & Trolls for over twenty years. He writes on many subjects, has had books
published and contributes to several websites, but the thing he created which you might
be most interested in is Castle Dracula, his online Tunnels & Trolls solo adventure. http://
www.batcave.co.uk/tandt/castledracula/ He is a practicing Catholic, and hopes one day
to get it right.

Page 87 TROLLSZINE
Scott Kirkwood (order #29396123)
 TROLL LINKS 2
Vin Ahrr Vins Trollbridge: http://trollbridge.proboards.com/index.cgi
Trollgod's Trollhalla: http://www.trollhalla.com
Flying Buffalo: http://www.flyingbuffalo.com/tandt.htm
Fiery Dragon: http://fierydragon.com/dragonsbreath/
Trollszine 1 : http://www.rpgnow.com/product_info.php?products_id=79185
Hobgoblin's Tavern: http://web.ukonline.co.uk/angora/
Ken St. Andre's blog: http://atroll.wordpress.com/
Listen to Ken talk about T&T : http://miragearcana.podbean.com/
Quogmyres T&T page: http://web.me.com/kevinbracey/Southern_Realm
Mike Hills T&T page: http://sites.google.com/site/hogtunnels/
Jeff Freels Artwork: http://www.JFreels.com
Mari Volmar & Simon Tranter Art & design: http://www.simari.co.uk/
Peryton Publishing: http://www.perytonpublishing.com/
Gristlegrim: http://www.gristlegrim.com
Blue Frog Tavern: http://games.groups.yahoo.com/group/bluefrogtavern/
Eposic: http://eposic.org
Aramis T&T page: http://aramis.hostman.us/tandt/
Trollbridges lulu page: http://stores.lulu.com/store.php?fGroupID=5740
Jongjungbus T&T site: http://www.jongjungbu.com/
Lone Delver blog on T&T solos: http://danhemsgamingblog.blogspot.com/
Radio Free Trollworld: http://games.groups.yahoo.com/group/RadioFreeTrollworld/join
The Omnipotent Eye: http://theomnipotenteye.blogspot.com/
Castle Dracula: http://www.batcave.co.uk/tandt/castledracula/
Tori Bergquists site: http://www.angelfire.com/rpg2/ancientworlds
Nicholas Cloisters Monster site: http://rpg-creatures.blogspot.com/
Ken St Andres novel, Rose of Stormgaard: http://www.erbzine.com/mag31/3180.html
TrollsZine 1 Feedback Questionnaire:
http://freeonlinesurveys.com/rendersurvey.asp?sid=lxiwpp05qhjd3nf718663
TrollsZine 2 Feedback Questionnaire: http://freeonlinesurveys.com/rendersurvey.asp?
sid=i8ag0mny5sq7223725607

ISSUE 2 Page 88

Scott Kirkwood (order #29396123)