Tis document is an amateur typographers best efort at a cursory

analysis of the typography and book design used in early TSR game
products. Te examples studied range from the little brown books
frst published in 1975 to the BECMI boxed editions. Tis range was
chosen as being most likely to be of interest and use to my particular
audience, and is not meant to imply that a particular set of products
is necessarily more authentic or better-designed than others in the
TSR product line.
THE PURPOSE OF THE STUDY
I performed this work for the sake of my own education. Like many
other gamers, I have a particular fondness for the artifacts of my own
gaming youth. Combined with a natural and professional interest
in typography, it seemed worthwhile to spend some time taking
apart early TSR books and seeing just how their designers put them
together in the frst place.
Not only would it give me a better acquaintance with the styles of
my youth, it would be an opportunity to polish my Adobe InDesign
skills. While I had no intention of perfectly replicating early TSR
layouts in my own work, creating styles and objects that exactly
matched these styles was a good working challenge to test my own
style-creation abilities.
Professional typographers and those with formal design training will
doubtless fnd a great deal to improve in the following observations.
My own expertise consists of nothing more exalted than a few years
of patient fumbling. Anyone with an interest in lifting the styles and
objects from this document is welcome to improve on them and bring
about a more accurate reproduction.
Tose with more experience in using InDesign will also doubtless
fnd ways to improve the included styles and objects. In most cases,
I elected to use the simplest brute-force solution to a given design
problem. While it may lack for elegance, these solutions should be
relatively transparent to readers at a similar level of expertise.
USING THIS DOCUMENT
Other gamers and publishers are welcome to use this document for
their own purposes, whether personal or commercial. Alongside this
PDF should also be an InDesign source document with the requi-
site styles and objects embeddded in the fle. Anyone with access to
InDesign through an Adobe Creative Cloud subscription should be
able to copy-paste these styles and objects for their own work.
Tis is not to say, of course, that they should use them unchanged. A
perfect replica brings up issues of trade dress duplication and iden-
tifes the creator as someone without the basic creativity necessary
to function as a competent book designer. Aside from that, many of
the products examined here werent necessarily using the best pos-
sible practices in the frst place. Many TSR modules, for example,
werent set to baseline grids. I was puzzled at this until I noticed how
the inclusion of boxed text made it very difcult to break blocks at
even line increments. In addition, the very limited space available in
modules and booklets pressed for a kind of compression of whitespace
that isnt to be encouraged, let alone replicated perfectly.
Instead, designers should use these styles as references and hints for
their own creativity. Te clean simplicity of the early modules, the
warmth of the B/X books, the compact density of the frst edition
core books these things are worth noticing and implementing in
your own ways, preferably with the benefts of hindsight.
CREDITS
Special credit is deserved by Aardy R. DeVarques page of TSR font
analysis hosted at the Acaeum, at http://www.acaeum.com/library/
tsrfonts.html and Torfn Taits Mystara Font FAQ at http://mystara.
thorf.co.uk/fontfaq.php. Both are excellent resources for a typogra-
pher interested in early TSR productions. Te bits of art used here
for design illustration are by Earl Geier and Luigi Castellani.
A Brief Study of TSR Book Design
BY KEVIN CRAWFORD (UNFINISHED BETA / 08.20.2014)
2
LBB ELEMENTS
The example elements here are drawn from Book 1, titled Men &
Magic. The physical dimensions of the booklet are 7.5 inches tall
and 5.25 inches wide. The text block on each page is single-column,
with half-inch margins on all sides but the top, where a quarter-inch
margin was used.
Spacing distinction was not always maintained between heads
and body text. In most cases there is properly larger amount of space
after the text that precedes a head than follows it. Other times there
remains only a single lines spacing both before and after a head,
making it less clear where the head belongs.
For the sake of accurate reproduction Ive left the head styles
as-is with only one line following. If you set the nal paragraph of
a passage in LBB Body Final style, however, an additional line of
blank space will be added after the paragarph.
Typefaces Used
Only two typefaces were used in the sample chosen one for the
body text, one for the game itself, and one for the title of the book
on the title page. Modulations of the body typeface were used to
provide subheads.
Body text is Futura, here represented by Futura PT, which is avail-
able through Typekit for subscribers to Adobe CC. Heads are done in
the same typeface in Heavy style, all-caps. Subheads are in Heavy
style at the same point size as the body text, with normal capitaliza-
tion for their text.
The Futura used in the booklets evidently did not have an italic.
Instead, underscoring was used wherever an italic would normally
have been employed. For more modern sensibility, avoid underlining.
The title of the game itself appears to have been Quentin EF or
some close relative. For highly decorative fonts such as this, avoid
using them at anything smaller than 60 points, and 72 is perhaps
better. Most decorative fonts lose their distinction at smaller sizes.
The title of the individual book was in Chisel D, which along with
its close equivalents appears to be unavailable for use in PDFs. The
Nauert used above is a marginal substitute and lacks both a clear
license and an ampersand symbol.
Table Design
Table text was slightly larger than body text and did not appear to
have been set to a baseline. Few of the tables had cell strokes of any
kind, relying on whitespace and centered content to keep the eye
oriented on the tables. A few elements did have light cell strokes along
the bottom of the column header cells when long lists were involved.
If the contents of a cell are numeric, they are centered in the cell.
If they are text, they are usually left-justied in the cell. Column heads
are justied in the same way as their contents. Most are Futura in
Heavy style, usually underscored, though some are Book style.
Try not to let a page end with a table, if its possible to avoid it.
Because the tables have no real footer to them, it can lend a page
foot an unnished look if it trails away in a tables whitespace.
MULTI-COLUMN TABLE TYPE A:
Column 1 Column 2 Column 3 Column 4
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
MULTI-COLUMN TABLE TYPE B:
Column 1 Column 2 Column 3 Column 4
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Title Here Multicolumn Table Type
Item 1 2
Item 1 2
Item 1 2
Item 1 2
Item 1 2
Item 1 2
Item 1 2
Item 1 2
Item 1 2
3
CLASS DETAILS:
Hooligan XP Needed Hit Dice Attack
Spells & Level
1 2 3 4 5 6
Mook 0 1d4 20 1 - - - - -
Thug 1,000 2d4 19 2 - - - - -
Brute 2,000 3d4 18 2 1 - - - -
Cad 4,000 4d4 17 3 1 - - - -
Savage 8,000 5d4 16 3 2 1 - - -
Riff-Raff 16,000 6d4 15 4 2 1 - - -
Rufan 32,000 7d4 14 4 3 2 1 - -
Goon 64,000 8d4 13 5 3 2 1 - -
Hooligan 128,000 9d4 12 5 4 3 2 1 -
Legbreaker 256,000 9d4+1 11 5 4 3 2 1 -
Revolutionary +128,000 9d4+2 10 5 5 4 3 2 1
SAVING THROWS:
Class & Level
Poison &
Death Spell
Polymorph,
Paralysis &
Wands Petrication
Breath
Weapon
Staves &
Spells
Hooligan 1-3 12 13 14 15 16
Hooligan 4-6 12 13 14 15 16
Hooligan 7-9 12 13 14 15 16
Hooligan 10+ 12 13 14 15 16
Nimrod 1-5 12 13 14 15 16
Nimrod 6-10 12 13 14 15 16
Nimrod 11+ 12 13 14 15 16
ATTACK MATRIX:
Armor
Class
Roll to Hit by Level
1-3 4-6 7-9 10-12 13-15 16+
9 11 9 7 5 3 2
8 12 10 8 6 5 3
7 13 11 9 7 6 4
6 14 12 10 8 7 5
5 15 13 11 9 8 6
4 16 14 12 10 9 7
3 17 15 13 11 10 8
2 18 16 14 12 11 9
4
DESIGNING THE PAGE:
Lines run the width of the page, which is acceptable on a booklet-sized page but
should be avoided for sizes larger than 6 x 9 inches. Initial paragraphs are ush left
with the margin, but following paragraphs are indented by two-thirds of an inch.
This paragraph is set in LBB Body Text, a style that automatically applies to
the next paragraph after an LBB Body Initial style. This style will continue until
you change a paragraph to something else.
To ensure the proper spacing for headers and other elements, set the nal
paragraph in LBB Body Final style to add an extra line of blank space, which
will combine with the space before header styles to give the right distance between
them and the prior text. If for some reason you dont want the extra space, leave
the nal paragraph in LBB Body Text style.
MONSTER ENTRIES: begin with all-caps underscored heavy monster names
terminated at the rst colon. The LBB Body Monster paragraph style automat-
ically applies this format to a paragraph. These entries always have one blank
line after them, with multiple entries thus stacking up with a line of blank space
between each. Because of this spacing, indents are not appropriate for them.
Spell and Magic Item Entries: use heavy, non-underscored body text that
also terminates at the rst colon in the paragraph, and like monster entries forgo
indentation in favor of line spacing after the entry.
EXAMPLE TABLE:
Column 1 Column 2 Column 3 Column 4
Item 1 2 3
Item 1 2 3
Item 1 2 3
Subheads Need Room
As you can see, the subheads should have 2 lines before and 1 line after. While
you could theoretically drop the heads directly on top of the text and leave just 1
line before it to save space, that would be inadvisable. White space is not your
enemy. It should be used to distinguish the elements on your page
4
EXAMPLE PAGES
5
AN ALTERNATE PAGE LAYOUT
This page demonstrates how you might use this set of styles on a
conventional 8.5 x 11 inch US Letter-sized page. The most obvious
difference is the presence of two columns of text. As soon as your
page gets bigger than 6 x 9 inches you should start employing multi-
ple columns in your design. Its too burdensome to the reader to make
them scan a line of text almost eight inches long. By the time they get to
the right-hand edge of the text block, they lose their place on the left.
You also need to add more whitespace. Solid, relentless blocks of
10 point text are very hard on the reader, even if you break them up
into multiple columns. Using a spaced paragraph style adds a little
breathing room for the readers eyes.
Using a larger page does give you more room for tables and art
elements, but try not to go overboard with very large tables. Because
the table styles used here dont have strokes or lls to help discipline
the readers attention, its easy to lose your place in the table if you
cant easily see all of it at once.
Youll note that these paragraphs are set in LBB Body Columned, a
style intended for use in multiple columns of text. The paragraphs are
not indented. Instead, a line of blank space is provided after each
one. As always, indents and paragraph spacing are a choose one
sort of choice. If you have one, you cant use the other.
If you decide to use these styles with a full letter-sized page, youll
also want to adjust the LBB Header and LBB Subhead styles so that
their next style setting is set to LBB Body Columned instead of LBB
Body Initial, the better to save yourself time when setting text.
LBB Design Strengths
While the design of the Little Brown Books is utterly lacking in the
ash and color of more modern efforts, there are a number of very
creditable qualities about it. Futura is a good typeface, and the way
the LBBs use different weights and styles of it to provide for all the
books needs ensures that their fonts will always be in harmony. You
dont really need multiple typefaces for your book, if you can weight
and style the same face in sufciently distinct ways.
This trick doesnt work for every typeface, however. If the one youre
using for your body text only comes in one avor, dont try to force it
into serviceability by changing its size or applying software-based
alterations to it. Look for another font in the same family.
The choice of a slightly larger font for table text is also a good move
because there are no cell strokes or typeface differences to visually
cue the reader to the tables presence. The larger body text immedi-
ately alerts the reader that theyre looking at a table.
With these styles, however, youre going to have to be careful to
be extremely disciplined about their usage. If you use a particular
weight and style to indicate a particular type of element, like all-caps
underlined heavy for monster entries, dont use it for anything else.
The styles are all you have to cue the reader, so dont blur them.
REASONS FOR ZOMBIE JUBILATION
d00 Reason Reason Reason
01-05 Brains Brains Brains
06-10 Brains Brains Brains
11-15 Brains Brains Brains
16-20 Brains Brains Brains
21-25 Brains Brains Brains
26-30 Brains Brains Brains
31-35 Brains Brains Brains
36-40 Brains Brains Brains
41-45 Brains Brains Brains
46-50 Brains Brains Brains
51-55 Brains Brains Brains
56-60 Brains Brains Brains
61-65 Brains Brains Brains
66-70 Brains Brains Brains
71-75 Brains Brains Brains
76-80 Brains Brains Brains
81-85 Brains Brains Brains
86-90 Brains Brains Brains
91-95 Brains Brains Brains
96-00 Brains Brains Brains
6
Early Module Elements
The example elements here are largely drawn from
dungeon module B1, In Search of the Unknown, frst
published in 1978, though some elements are taken
from A1, Slave Pits of the Undercity published in 1980.
Module styles were largely consistent within that time
frame, albeit a few style tweaks distinguish them.
The largest difference between the two modules is
the use of boxed text in A1 for the room descriptions,
while B1 simply describes the room inline with the rest
of the body text. The boxed text innovation appears
frst around 1980. Earlier modules, such as the GDQ
series, T1, B1-B2, and X1 all use inline text. While om-
nibus modules that appear later use this inline text
when reproducing these modules, new content from
some point in 1980 onward relies on boxed room text.
TYPEFACES USED
Almost without exception, only two different typefaces
were used in the early modules. For the earliest, in-
cluding B1, Avant Garde Bold was used for title and
heads while lighter weights were used for body text.
Later modules such as the G123 omnibus used Hel-
vetica Bold for the titles, though they also relied on
Avant Garde for the interior body text, even though
Avant Garde is really only meant for display uses.
Text for early modules appears to have been mostly
set to a baseline grid, though this appears to have
been sacrifced regularly for modules using boxed
text. Heads sit very close to their following text, but usu-
ally have at least two lines of space before them.
The head styles given here follow that pattern and are
not set to sit on a baseline grid. If you want a more
tidy pair of columns youll want to turn that on and be
careful about your inclusion of tables, boxed text, or
other material that doesnt ft neatly onto a grid.
TABLE DESIGN
Table design largely follows the pattern laid down in
the LBBs. Each column is without strokes or flls, with
numbers centered and text left-justifed. Column
heads use the same justifcation as their contents,
and are usually normal bold text. A few have under-
lined column labels, and a few more use centered all-
caps titles replicated by the EM Section Head style
given here.
Unlike the LBBs, however, table text is at the same font
size as body text. This makes it all the more important
to be generous with whitespace when setting these
tables, as theres little else to visually distinguish them.
Table Title Column 2 Column 3
Item 1 2
Item 1 2
Item 1 2
Item 1 2
Table Title Column 2 Column 3
Item 1 2
Item 1 2
Item 1 2
Item 1 2
SHINY TREASURES
1) A scroll of magic missile done in glitter
2) A suit of leather armor +1 sized for gnomes
3) A 500 gp faience chamberpot
4) A chromed sword +1
HAPLESS HENCHMEN
1. Phront the Misaligned
Str 10, Int 10, Wis 10, Con 11, Dex 11, Cha 12
2. Yorblad the Questionable
Str 4, Int 12, Wis 18, Con 5, Dex 11, Cha 9
3. Glinby Frume
Str 13, Int 8, Wis 4, Con 11, Dex 13, Cha 17
4. Lamentable Frimp
Str 10, Int 10, Wis 13, Con 5, Dex 15, Cha 13
The henchmen entries in the table above use the EM
Body Henchmen First Line style, which automatically
shifts to an indented style for the following stat line.
Thieves Knaves
1. Zorlon
2. Frintwort
3. Lorm
4. Wizlont
5. Hobbleby
1. Zod
2. Raffnit
3. Glern
This faux two column style uses a table to get the
same distinction, along with the EM Body Text Num-
bered styles to automatically number a list of items.
By default, however. all numbering is continuous. To re-
start the count at 1 for the second column, right-click
before Zod and choose Restart Numbering.
7
POST-1980 SECTION HEADING
Room entry styles changed notably post-1980.
4. DUNGEON ROOM:
This style is found chiefy in late 1980-era mod-
ules and later products. The boxed text gener-
ally includes whatever details might be obvious
to the PCs at frst glance. Use of boxed text can
make it very challenging to set your text to a
baseline grid, however. To simplify inline setting
the boxed text is put into a single-cell table with
a .75 stroke.
Further details relevant to the DM go after the
boxed text, along with monster statistics. In mod-
ules of this era, monsters received very little call-
out in the text itself, appearing in a regular face.
For example, the room might refer to two doom
wombats (AC 5, MV 9, HD 4+1, hp 16, 8 #AT 1, D
1-4 + breath weapon). Individual NPCs of conse-
quence sometimes receive boldface as a call-
out, such as the mention of Yorg the Hermit (AC
9, MV 12, HD 1, hp 8, #AT 1, D 1-8).
Magical items also appear in boldface, as do
spell names. When other rooms are cited in a
room description they take the same heavy bold
face as appears in the room entry. Thus, mention
of this room would be as DUNGEON ROOM.
Areas with a single heading and multiple loca-
tions of importance are presented with a number
for the main entry and lowercase letters for the
sub-elements. The passage below is an example,
though youll note that the room title is in the EM
Body Indented Spaced style, to provide a haf-line
of following space so as not to crowd the areas.
This space is undesirable for normal room headers
as it pushes the boxed text too far away from the
header. A full lines space is also undesirable,as it
leaves the room title too far from the area title.
5. WOMBAT BATHS:
a. Caldarium:
Numerous wombats are scalded here.
Room details go here. such as they might be for
such a location.
b. Frigidarium:
Numerous wombats are frosted here.
Room details go here. such as they might be for
such a location.
PRE-1980 SECTION HEADING
These modules used text fush with the left margin.
Text unrelated to specifc dungeon rooms is set fush,
though inset matter is indented by a quarter-inch or
so, such as with lists like this:
1 suit of plate mail
7 wooden bandyclefs
Matter that deserves a subheading gets an all-caps
heavy left-justifed subhead like the one below.
ROOM ENTRY STYLES
Note that the subhead is assumed to come after body
text, and thus have a line of space already before it
due to the termination of the prior style. By default, it
also provides a half-line space following the subhead.
If you plant the subhead after an element which does
not have at least a line of following space, youll need
to clone the subhead style and then give the new
style whatever spacing you need.
4. B1 STYLE ROOM. In module B1, rooms were set
fush with the left margin, with the room number fol-
lowed by a period, then a roughly 1/3 inch tab, then
the room name in normal caps terminated by a pe-
riod. This EM Room Title Flush paragraph style auto-
matically sets that style for text set in it.
5. B2 STYLE ROOM: In B2, however, rooms moved to a
hanging indent style, with the room number fush
with the left margin and the rest of the paragraph
indented by about a quarter-inch. The EM Room
Title Indented B2 style automatically applies this
style, shifting to EM Body Indented as the next style
after a paragraph break.
Monsters are given only a name and a basic stat-
line, such as mentioning an orc (AC 9, MV 12, HD
1, hp 8, #AT 1, D 1-6). Important fgures sometimes
receive all-caps normal text for their name, such
as the CASTELLAN.
SPELL LIST STYLE
One element sometimes needed is a list of spells pre-
pared by a given NPC. These appear in simple out-
dented form, with the outdent equal to the length of
the spell level text. The easiest way to reproduce this is
with a three-column table, resizing the frst column to
provide whatever indent spacing is needed.
First level: Magic Missile, Sleep
Charm Person, Detect Magic
8
Early Module Example Pages
The following few pages contain examples
of each early module style in use. The text
is taken from my adventure The House of
Bone and Amber for Spears of the Dawn,
tweaked slightly to show the features of
each design.
The frst page replicates the styles used in
B1, in particular the fush-left room descrip-
tions and normal all-caps room titles. As
with B1 itself the text is not set to a baseline
grid. A designer who wanted to nod at this
style might be well-served to change that.
The absence of boxed text spares the de-
signer from having to deal with objects
that dont break along convenient line in-
crements. The EM Section Head style used
for the column header is sized in 14 point
with 6 points of following space, allowing
for an even two grid lines of 10 point text.
The second page sets the same text in
B2 style, in the standard format used until
some time in 1980. Again, this text is not
set to a baseline grid, but in the absence
of unevenly-sized page elements theres
no reason you couldnt fx that in your own
work. The heavy bold room names are the
same 10 points as the body text, so they
wont interfere with a clean grid setting.
The third page sets the text in A1 style, the
major difference being the inclusion of
boxed text for the GM to read to the play-
ers. The value of the text to the GM is a de-
bate for a different time. What is not debat-
able is that it presents a number of new
challenges for the person setting the text.
The boxed text cant be broken over col-
umns, and it is highly undesirable to have
the box text at the foot of one column
and the following body text starting at the
head of the next. At least a paragraphs
worth of text should stick with the box.
These limits cause each room to have a much larg-
er minimum footprint in a column than the B1 or B2
styles. While putting only four or fve lines of a room
in one column and wrapping the rest into the next
may not be wonderful typesetting, its at least tolera-
ble. Boxed text makes that impossible you need to ft
the boxed text plus at least two or three lines of the
following body text before you can reasonably wrap it.
The fnal page in the sequence is a hybrid style that
takes its basic feel from B2, but sets it to a baseline
grid and introduces a monster stat block callout. Ta-
bles do present something of a challenge to this style,
because the additional cell padding causes tables
to occupy an uneven amount of vertical space. The
easiest way to deal with this is to just click-drag the ta-
bles height until it flls an even grid increment. Art slots
also need to be adjusted carefully to ft the increment
of the baseline.
9
THE TOMBS OF THE FAITHFUL
The Old Lord favored his most loyal living servants with
the serenity of true death. Their remains were lodged
here in tunnels dedicated to their memory.
1. CHAMBER OF UNENDING LONGING. The air of this
chamber is flled with a haze of dust-fne powdered
bone, a thick layer resting on every fat surface. At the
far wall, four withered, mummifed Nebeti (AC 7, MV
12, HD 1, hp 3,3,4,5, #AT 1, D 1-6) are clawing at the
stone wall with feshless arms. Shackled by Akhens
curses in death and forbidden to leave by the tombs
entrance, their only thought was to return to their fam-
ilies. Their efforts have dug the room out of the bed-
rock; as their bones are slowly ground to powder, the
magic that animates them restores the broken limbs
from the dust. They will ignore intruders unless some
effort is made to stop them. Even if destroyed, they
will eventually reanimate until their remains are taken
from the House.
2. AMBER MUMMIFICATION ROOM. A complex array
of vats, cauldrons, pipes, and furnaces fll this room,
and the smell of sweet pine still lingers in the air. The
Old Lord experimented extensively with amber en-
casement as a technique for staving off the wither-
ing of Eternal fesh, and his fnal experiment involved
a recently-discarded Eternal concubine. The young
Nebeti girl stands against the far wall, the perfect fow-
ering of her beauty glazed in an inch-thick layer of
gleaming amber. The girl has been alive in the fash-
ion of the Eternal and conscious for forty years, and
nothing remains of her self-awareness but a burning
desire to see the Old Lord destroyed. If the amber is
touched, a last heroic convulsion on her part will al-
low her to crack the amber shell, screaming of the
key in the yellow skull in the Deshrite tongue, referring
to the key she hid to the Old Lords private sanctum.
Once cracked, the shell will collapse into powder and
shards. Her long-entombed body will soon follow after,
the vigor of her own motions breaking her into a pow-
der indistinguishable from the amber.
3. DEFLESHING ROOM. Four smooth-glazed clay
tanks dominate this chamber, each one the size of
a large sarcophagus and covered by a marble lid.
Within three of the tanks, the desiccated husks of
ancient fesh-eating beetles lie in heaps around the
yellowed bones they were meant to clean. Within the
northeast tank, the beetles died after feasting upon
the corpse of a witch, and the sorcerers hateful spirit
has animated the husks. They will swarm out of the
tank as soon as the lid is slid aside (AC 5, MV 9, HD
3, hp 15, #AT 1, D 1-6). The beetle swarm is immune
to common weapons, while any behavior that would
logically destroy a great many beetles will infict 1d8
damage on it. Magic, torches, or burning oil will do
double damage.
4. OSSUARY. The bones of faithful minions were im-
mured here in the ossuary, stacked high along the
walls in patterns fxed by mortar and keystone-skulls.
A shrine to one of the serpent-headed Gods Below is
erected against the far wall, a few ancient offerings
left before the fanged face.
Incense wortth 50 silver ingots.
A black glass dagger +1.
A green glass bottle flled with a brownish crust
of long-dried blood.
A cup of beaten gold worth 100 silver ingots.
Taking any of the offerings will infict a curse on the
profaner, forcing them to fail their next saving throw.
5. FRESCO ROOM. A Nebeti painter was command-
ed to decorate this room with wall frescoes celebrat-
ing the glorious deeds of the Old Lord and his faith-
ful servants. The conquest of Paraku is depicted in
bloody fashion, with the undying legions of the Eternal
swarming over the wall and Old Lord Akhen at their
head. Foul banquets of human fesh and festivities of
more horrid variety still are shown interspersed with
scenes of torment and grinding labor inficted upon
the wretched inhabitants of the city. In particular, the
Old Lord is shown threatening the Nebeti with a green
bowl, a thing that seems to induce a special terror.
The foor of the chamber is parquetry of rotting wood.
A faint cloud of black mold puffs upward at each step.
6. NICHED HALL. The walls of this chamber are lined
with small niches for the bones of the dead, each one
labeled with a carving in small Deshrite glyphs. Most
of them are Nebeti names, though some seem to be
the bones of Lokossan collaborators.
Art Slot. Stretch it to get an even page foot.
10
THE TOMBS OF THE FAITHFUL
The Old Lord favored his most loyal living servants with
the serenity of true death. Their remains were lodged
here in tunnels dedicated to their memory.
1. CHAMBER OF UNENDING LONGING: The air of this
chamber is flled with a haze of dust-fne powdered
bone, a thick layer resting on every fat surface. At
the far wall, four withered, mummifed Nebeti (AC
7, MV 12, HD 1, hp 3,3,4,5, #AT 1, D 1-6) are clawing
at the stone wall with feshless arms. Shackled by
Akhens curses in death and forbidden to leave
by the tombs entrance, their only thought was to
return to their families. Their efforts have dug the
room out of the bedrock; as their bones are slowly
ground to powder, the magic that animates them
restores the broken limbs from the dust. They will
ignore intruders unless some effort is made to stop
them. Even if destroyed, they will eventually reani-
mate until their remains are taken from the House.
2. AMBER MUMMIFICATION ROOM: A complex array
of vats, cauldrons, pipes, and furnaces fll this room,
and the smell of sweet pine still lingers in the air.
The Old Lord experimented extensively with am-
ber encasement as a technique for staving off the
withering of Eternal fesh, and his fnal experiment
involved a recently-discarded Eternal concubine.
The young Nebeti girl stands against the far wall,
the perfect fowering of her beauty glazed in an
inch-thick layer of gleaming amber. The girl has
been alive in the fashion of the Eternal and con-
scious for forty years, and nothing remains of her
self-awareness but a burning desire to see the Old
Lord destroyed. If the amber is touched, a last he-
roic convulsion on her part will allow her to crack
the amber shell, screaming of the key in the yellow
skull in the Deshrite tongue, referring to the key
she hid to the Old Lords private sanctum. Once
cracked, the shell will collapse into powder and
shards. Her long-entombed body will soon follow
after, the vigor of her own motions breaking her into
a powder indistinguishable from the amber.
3. DEFLESHING ROOM: Four smooth-glazed clay tanks
dominate this chamber, each one the size of a
large sarcophagus and covered by a marble lid.
Within three of the tanks, the desiccated husks of
ancient fesh-eating beetles lie in heaps around the
yellowed bones they were meant to clean. Within
the northeast tank, the beetles died after feasting
upon the corpse of a witch, and the sorcerers hate-
ful spirit has animated the husks. They will swarm
out of the tank as soon as the lid is slid aside (AC 5,
MV 9, HD 3, hp 15, #AT 1, D 1-6). The beetle swarm
is immune to common weapons. Magic, torches,
or burning oil will do double damage.
4. OSSUARY: The bones of faithful minions were im-
mured here in the ossuary, stacked high along the
walls in patterns fxed by mortar and keystone-skulls.
A shrine to one of the serpent-headed Gods Below
is erected against the far wall, a few ancient offer-
ings left before the fanged face.
Incense wortth 50 silver ingots.
A black glass dagger +1.
A green glass bottle flled with a brownish
crust of long-dried blood.
A cup of beaten gold worth 100 silver ingots.
Taking any of the offerings will infict a curse on
the profaner, forcing them to fail the next saving
throw they attempt.
5. FRESCO ROOM: A Nebeti painter was commanded
to decorate this room with wall frescoes celebrating
the glorious deeds of the Old Lord and his faith-
ful servants. The conquest of Paraku is depicted
in bloody fashion, with the undying legions of the
Eternal swarming over the wall and Old Lord Akhen
at their head. Foul banquets of human fesh and
festivities of more horrid variety still are shown inter-
spersed with scenes of torment and grinding labor
inficted upon the wretched inhabitants of the city.
In particular, the Old Lord is shown threatening the
Nebeti with a green bowl, a thing that seems to
induce a special terror. The foor of the chamber
is parquetry of rotting wood. A faint cloud of black
mold puffs upward at each step.
6. NICHED HALL: The walls of this chamber are lined
with small niches for the bones of the dead, each
one labeled with a carving in small Deshrite glyphs.
Most of them are Nebeti names, though some
seem to be the bones of Lokossan collaborators.
Art Slot. Stretch it to get an even page foot.
11
THE TOMBS OF THE FAITHFUL
The Old Lord favored his most loyal living servants with
the serenity of true death. Their remains were lodged
here in tunnels dedicated to their memory.
1. CHAMBER OF UNENDING LONGING:
The air of this chamber is flled with a haze of
dust-fne powdered bone, a thick layer resting
on every fat surface. Four withered human
shapes are clawing desperately at the gouged
stone wall on the far side of the room.
At the far wall, four withered, mummifed Nebeti (AC
7, MV 12, HD 1, hp 3,3,4,5, #AT 1, D 1-6) are clawing
at the stone wall with feshless arms. Shackled by
Akhens curses in death and forbidden to leave
by the tombs entrance, their only thought was to
return to their families. Their efforts have dug the
room out of the bedrock; as their bones are slowly
ground to powder, the magic that animates them
restores the broken limbs from the dust. They will
ignore intruders unless some effort is made to stop
them. Even if destroyed, they will eventually reani-
mate until their remains are taken from the House.
2. AMBER MUMMIFICATION ROOM:
A complex array of vats, cauldrons, pipes, and
furnaces fll this room, and the smell of sweet
pine still lingers in the air. Against the far wall,
a huge slab of amber encases the body of a
beautiful young woman.
The Old Lord experimented extensively with am-
ber encasement as a technique for staving off the
withering of Eternal fesh, and his fnal experiment
involved a recently-discarded Eternal concubine.
The girl has been alive in the fashion of the Eternal
and conscious for forty years, and nothing remains
of her self-awareness but a burning desire to see
the Old Lord destroyed. If the amber is touched, a
last heroic convulsion on her part will allow her to
crack the amber shell, screaming of the key in the
yellow skull in the Deshrite tongue, referring to the
key she hid to the Old Lords private sanctum. Once
cracked, the shell will collapse into powder and
shards. Her long-entombed body will soon follow
after, the vigor of her own motions breaking her into
powder indistinguishable from the amber.
3. DEFLESHING ROOM:
Four smooth-glazed clay tanks dominate this
chamber, each one the size of a large sarcoph-
agus and covered by a marble lid.
Within three of the tanks, the desiccated husks of
ancient fesh-eating beetles lie in heaps around the
yellowed bones they were meant to clean. Within
the northeast tank, the beetles died after feasting
upon the corpse of a witch, and the sorcerers hate-
ful spirit has animated the husks. They will swarm
out of the tank as soon as the lid is slid aside (AC 5,
MV 9, HD 3, hp 15, #AT 1, D 1-6). The beetle swarm
is immune to common weapons. Magic, torches,
or burning oil will do double damage.
4. OSSUARY:
Countless bones pile high along the walls in
patterns fxed by mortar and keystone-skulls.
A shrine to one of the serpent-headed Gods
Below is erected against the far wall, a few an-
cient offerings left before the fanged face.
The bones of faithful minions were immured here
in the ossuary. The offerings are largely worthless,
but a few still have some value.
Incense wortth 50 silver ingots.
A black glass dagger +1.
A green glass bottle flled with a brownish
crust of long-dried blood.
A cup of beaten gold worth 100 silver ingots.
Taking any of the offerings will infict a curse on
the profaner, forcing them to fail the next saving
throw they attempt.
5. FRESCO ROOM:
Wall frescoes celebrate the glorious deeds of
the Old Lord and his faithful servants. The con-
quest of Paraku is depicted in bloody fashion,
with the undying legions of the Eternal swarm-
ing over the wall and Old Lord Akhen at their
head. Foul banquets of human fesh and festiv-
ities of more horrid variety still are shown inter-
spersed with scenes of torment and grinding
labor inficted upon the wretched inhabitants
of the city. In particular, the Old Lord is shown
threatening the Nebeti with a green bowl, a
thing that seems to induce a special terror.
The foor of the chamber is parquetry of rotting
wood, and a faint cloud of black mold puffs up-
ward at each step you take.
A Nebeti painter was commanded to decorate this
room with celebratory frescoes.
Art slot for footer spot art to even the page.
12
THE TOMBS OF THE FAITHFUL
The Old Lord favored his most loyal living servants with
the serenity of true death. Their remains were lodged
here in tunnels dedicated to their memory.
1. CHAMBER OF UNENDING LONGING: The air of this
chamber is flled with a haze of dust-fne powdered
bone, a thick layer resting on every fat surface.
At the far wall, four withered, mummifed Nebeti
are clawing at the stone wall with feshless arms.
Shackled by Akhens curses in death and forbidden
to leave by the tombs entrance, their only thought
was to return to their families. Their efforts have dug
the room out of the bedrock; as their bones are
slowly ground to powder, the magic that animates
them restores the broken limbs from the dust. They
will ignore intruders unless some effort is made to
stop them. Even if destroyed, they will eventually
reanimate if their remains lie within the House.
Nebeti (4): AC 7, MV 12, HD 1, hp 3, 3, 4, 5, #AT 1,
D 1-6
2. AMBER MUMMIFICATION ROOM: A complex array
of vats, cauldrons, pipes, and furnaces fll this room,
and the smell of sweet pine still lingers in the air.
The Old Lord experimented extensively with am-
ber encasement as a technique for staving off the
withering of Eternal fesh, and his fnal experiment
involved a recently-discarded Eternal concubine.
The young Nebeti girl stands against the far wall,
the perfect fowering of her beauty glazed in an
inch-thick layer of gleaming amber.
The girl has been alive in the fashion of the Eter-
nal and conscious for forty years, and nothing
remains of her self-awareness but a burning de-
sire to see the Old Lord destroyed. If the amber is
touched, a last heroic convulsion on her part will
allow her to crack the amber shell, screaming of
the key in the yellow skull in the Deshrite tongue,
referring to the key she hid to the Old Lords private
sanctum. Once cracked, the shell will collapse
into powder and shards. Her long-entombed body
will soon follow after, the vigor of her own motions
breaking her into a powder indistinguishable from
the amber.
3. DEFLESHING ROOM: Four smooth-glazed clay tanks
dominate this chamber, each one the size of a
large sarcophagus and covered by a marble lid.
Within three of the tanks, the desiccated husks of
ancient fesh-eating beetles lie in heaps around the
yellowed bones they were meant to clean. Within
the northeast tank, the beetles died after feasting
upon the corpse of a witch, and the sorcerers hate-
ful spirit has animated the husks. They will swarm out
of the tank as soon as the lid is slid aside. The beetle
swarm is immune to common weapons. Magic,
torches, or burning oil will do double damage.
Beetle Swarm: AC 5, MV 9, HD 3, hp 15, #AT 1, D 1-6
4. OSSUARY: The bones of faithful minions were im-
mured here in the ossuary, stacked high along the
walls in patterns fxed by mortar and keystone-skulls.
A shrine to one of the serpent-headed Gods Below
is erected against the far wall, a few ancient offer-
ings left before the fanged face.
Incense wortth 50 silver ingots.
A black glass dagger +1.
A green glass bottle flled with a brownish
crust of long-dried blood.
A cup of beaten gold worth 100 silver ingots.
Taking any of the offerings will infict a curse on the
profaner, forcing them to fail the next saving throw
they attempt to make.
5. FRESCO ROOM: A Nebeti painter was commanded
to decorate this room with wall frescoes celebrating
the glorious deeds of the Old Lord and his faith-
ful servants. The conquest of Paraku is depicted
in bloody fashion, with the undying legions of the
Eternal swarming over the wall and Old Lord Akhen
at their head. Foul banquets of human fesh and
festivities of more horrid variety still are shown inter-
spersed with scenes of torment and grinding labor
inficted upon the wretched inhabitants of the city.
In particular, the Old Lord is shown threatening the
Nebeti with a green bowl, a thing that seems to
induce a special terror. The foor of the chamber
is parquetry of rotting wood. A faint cloud of black
mold puffs upward at each step.
Art Slot. Stretch it to get an even page foot.
13
1E CORE BOOK ELEMENTS
The observations here are drawn from the WotC reproductions of the
Players Handbook, Dungeon Masters Guide, and Monster Manual.
I havent bothered to dig my originals out of storage as the reproduc-
tions were fashioned to be as faithful as was practical.
Unsurprisingly, most of the styles used in these books were very similar
to those used in the later LBBs. Italic Futura was available and used in
lieu of underlining. Also, importantly, the text appears to have been
set to a grid, and so the 1e styles in this document have been set
accordingly. Because of this grid, head leading is much more regular.
Each head gets two blank lines above and one line after.
Also noteworthy is the shift from the LBBs indented paragraphs to
spaced paragraphs, with one line of whitespace separating individual
paragraphs in a column. The larger page size of these core books
makes for a greater need for whitespace.
There are a number of noticeable aws in the setting, most notably
the presence of widows and orphans in more than a few columns.
The PHBs page 30 is one such example, with a decapitated list of
monk thief skills. Runt lines are also fairly common, with the nal line
of a paragraph consisting of only one or two words. This same setting
aw is visible in the modules set during the same era, especially B1.
One quality also worth noting is the extremely stingy margin space
allowed to these books, with individual margins no more than a third
of an inch or so on the upper, lower, and outer sides and probably
no more than a half-inch on the spineward margin. This can cause
readability issues, as its very easy for the text to end up crawling
into the spine due to the stingy inside margin.
If youre setting your own books in a style inspired by these volumes,
you would be well-advised to change this margin choice. Most black-
and-white POD print processes require at least a half-inch margin on
every side, to say nothing of the issue of where a reader is supposed
to be putting their thumbs when reading the books.
Running Heads
The 1e core books had an interesting type of double running head
on each page, with all-caps oblique Times New Roman in about a
12-point weight. Each head labeled the main topic of the column
beneath it. InDesign can be easily set up to provide section labeling
in running heads, as is shown later in the B/X page setup, but theres
no simple way to automate this kind of acute micro-labeling.
The master page spread for this section of the document is set to
automatically apply default running heads to each column. If you
want to mimic this element of the design, youre going to need to
manually override each pages master page elements and just type
in an appropriate running head. Do this after nishing the set.
Typefaces Used
The 1e core books continued to use the Quentin EF and Chisel D for
the game title used in the LBBs, along with Futura for the interior texts.
An italicized font for Futura was evidently obtained, as underlining
gave way to italics for those terms in need of emphasis. Times New
Roman oblique or possibly Condensed oblique, was used for the
running heads and for the book title itself on the title page.
Table Design
Many tables were not set to a grid, and the table styles here reect
that. You may need to manually drag the tables taller or shorter to
make sure the surrounding text hits the page in a graceful way. The
example tables here have also had their cell styles changed so that
the left-hand cell padding has been removed, so that left-justied
table text hits the margin at the same place as the body text.
The 1e core books introduce the use of table lls. Most of the lls are
about 20% density and go in a 3 lled/3 empty pattern, though
this isnt always maintained. Table strokes are almost nonexistent,
with the one of the few examples I noticed appearing in the monster
lists in the Dungeon Masters Guide, where a stroke separates each
individual monster line from its peers.
ATTRIBUTE TABLE I.
Ability
Score General Information
3 Bonuses and penalties go here.
4-5 Bonuses and penalties go here.
6-8 Bonuses and penalties go here.
9-12 Bonuses and penalties go here.
13-15 Bonuses and penalties go here.
16-17 Bonuses and penalties go here.
18 Bonuses and penalties go here.
19 Bonuses and penalties go here.
20 Bonuses and penalties go here.
21 Bonuses and penalties go here.
22 Bonuses and penalties go here.
23 Bonuses and penalties go here.
24 Bonuses and penalties go here.
25 Bonuses and penalties go here.
28 Bonuses and penalties go here.
27 Bonuses and penalties go here.
14
RUNNING HEAD RUNNING HEAD
CLASSIC CLASS TABLE
Experience
Points
Experience
Level
10-Sided
Dice for
Accumulated
Hit Points
Level
Title
02,000 1 1 Swordguy
2,0014,000 2 2 Swordguy
4,0018,000 3 3 Swordguy
4,0018,000 4 4 Swordguy
4,0018,000 5 5 Swordguy
4,0018,000 6 6 Swordguy
4,0018,000 7 7 Swordguy
4,0018,000 8 8 Swordguy
4,0018,000 9 9 Swordguy
4,0018,000 10 9+3 Swordguy
4,0018,000 11 9+6 Swordguy
As can be seen to the left, the classic class table tried to cram a great
deal of text into its column headers. The style below is more compact.
ALTERNATE CLASS TABLE
XP Level Hit Dice Level Title
02,000 1 1d10 Swordguy
2,0014,000 2 2d10 Swordguy
4,0018,000 3 3d10 Swordguy
4,0018,000 4 4d10 Swordguy
4,0018,000 5 5d10 Swordguy
4,0018,000 6 6d10 Swordguy
4,0018,000 7 7d10 Swordguy
4,0018,000 8 8d10 Swordguy
4,0018,000 9 9d10 Swordguy
4,0018,000 10 9d10+3 Swordguy
4,0018,000 11 9d10+6 Swordguy
SPELLS USABLE BY CLASS AND LEVEL MAGIC-USERS
Magic-User Magic-User Spell Level
Level 1 2 3 4 5 6 7 8 9
1 1 - - - - - - - -
2 2 - - - - - - - -
3 2 1 - - - - - - -
4 3 2 - - - - - - -
5 4 2 1 - - - - - -
6 4 2 2 - - - - - -
7 4 3 2 1 - - - - -
8 4 3 3 2 - - - - -
9 4 3 3 2 1 - - - -
10 4 4 3 2 2 - - - -
11 4 4 4 3 3 - - - -
12 4 4 4 4 4 1 - - -
13 5 5 5 4 4 2 - - -
14 5 5 5 4 4 2 1 - -
15 5 5 5 5 5 2 1 - -
16 5 5 5 5 5 3 2 1 -
17 5 5 5 5 5 3 3 2 -
18 5 5 5 5 5 3 3 2 1
The table above examples one of the standard class spell tables from
the PHB. Youll note the somewhat intricate division of the header rows
so as to ensure that the class name and the class spell level labels
are even on the lines. For classes with fewer spell levels than 9, the
excess levels can just be lopped off the right.
Some tables in the books are done without lls, particularly in the
equipment section. The tables below are examples of the style. Note
the empty gutter column in the middle of the rst table to separate
the right-justied prices from the left-justied items in the next column.
Also note how the subsections are created by merging columns and
leaving blank rows above them to provide spacing.
UNFILLED TABLE STYLE
Armor
Leather 5 g.p. Gummi 77 g.p.
Wombat 60 g.p. Neutronium 100 g.p.
Tinfoil 12 g.p. Optimism 0 g.p.
Weapons
Bandyclef 6 g.p. Weasel 4 g.p.
Harsh Words 0 g.p. Bardiche 7 g.p.
Photon Torpedo 588 g.p. Spam 2 g.p.
INSET LIST TABLE
Class
Known
Weapons
Non-Prof.
Penalty
Prof.
Gained
CLERIC 2 -3 1/4 levels
Reformed 1 -4 1/4 levels
Orthodox 3 -2 1/3 levels
FIGHTER 4 -2 1/3 levels
Lover 0 -8 None
15
RUNNING HEAD RUNNING HEAD
Summon Wombat (Conjuration/Summoning)
Level: 1 Components: V, S, M
Range: 1 Casting Time: 5 segments
Duration: 1 turn Saving Throw: None
Area of Effect: One wombat
The 1e Spell Table Line style used above sets the text in Futura book
up until the rst colon, after which the rest of the line is set oblique.
The spells title is set in 1e Spell Table Title, which automatically sets
it in 12-point heavy up until the rst parenthesis, after which it uses
12-point book. The only alignment is on the table labels. The revised
version below uses the table to align the spell details.
Summon Wombat (Conjuration/Summoning)
Level: 1 Components: V, S, M
Range: 1 Casting Time: 5 segments
Duration: 1 turn Saving Throw: None
Area of Effect: One wombat
WOMBAT, Giant
FREQUENCY: Common
NO. APPEARING: 2-20
ARMOR CLASS: -5
MOVE: 9/24
HIT DICE: 44
% IN LAIR: 100%
TREASURE TYPE: E, R, V
NO. OF ATTACKS: 1 bite
DAMAGE/ATTACK: 2-12 + poison
SPECIAL ATTACKS: See below
SPECIAL DEFENSES: +6 or better weapon to hit
MAGIC RESISTANCE: 85%
INTELLIGENCE: Genius
ALIGNMENT: Lawful Evil
SIZE: L (12 tall)
PSIONIC ABILITY: 313
ATTACK/DEFENSE MODES: All/all
This style of monster stat block was used in the Monster Manual, but
it seems that the main reason for using it was so that it could t in a
small monster illustration directly to the right of it, in the same column.
Many of the stat blocks are cramped into only half the column in
order to t in the illustration.
You may notice the difference in spacing between this tables bottom
and the following text and that of the table next to it. This is because
the table body text is not set to the grid. You may need to manually
drag table cells taller in order to get clean, even sets below them.
WOMBATS
Giant Dire
FREQUENCY: Common Rare
NO. APPEARING: 2-20 2-20
ARMOR CLASS: -5 -5
MOVE: 9/24 9/24
HIT DICE: 44 44
% IN LAIR: 100% 100%
TREASURE TYPE: E, R, V E, R, V
NO. OF ATTACKS: 1 bite 1 bite
DAMAGE/ATTACK: 2-12 + poison 2-12 + poison
SPECIAL ATTACKS: See below See below
SPECIAL DEFENSES: +6 weapon to hit +6 weapon to hit
MAGIC RESISTANCE: 85% 85%
INTELLIGENCE: Genius Genius
ALIGNMENT: Lawful Evil Lawful Evil
SIZE: L (12 tall) L (12 tall)
PSIONIC ABILITY: 313 313
AT./DEF. MODES: All/all All/all
This alternate style ts two monster variants into the same single col-
umn, at the cost of leaving no room for an illustration. It also moves
the statistics into their own column, away from the label. If you prefer
to use this style for single monster types, you can strike the subtype
header line and the excess column. You can also stretch it to cover
multiple columns if you need to t in three or more monster types.
WOMBAT, Giant
FREQ: Common INT: Genius
NO. APP. 2-20 MAGIC RES: 85%
AC: -5 ALIGN: Lawful Evil
MOVE: 9/24 SIZE: L (12 tall)
HIT DICE: 44 # ATTACKS: 1 bite
% IN LAIR: 100% DMG/ATK: 2-12 + poison
TREASURE: E, R, V SPECIAL ATK.: See below
PSIONICS: See below SPECIAL DEF: +6 weapon to hit
This is an shorter, tighter version of the monster stat blocks below.
If you have several different kinds of monsters to present in a short
space, it can be serviceable, though limited space in the columns
means that psionics and other complications will have to be covered
in the text block description for the beast. The all-caps labels are
derived from the source, though you might nd it more appealing to
use normal characters and rely on the oblique setting of the statistics
to hint the readers eye.
16
B/X Elements
The styles used in this section were drawn largely from the
Moldvay Basic and Cook Expert books and the short run
of modules that shared their basic design sensibilities X1
through X5 and the two Basic modules B3 and B4.
B/X styles relied on two-column pages set almost exclusively
in various weights of Souvenir. As with earlier products, the
text was not set to a baseline grid and the spacing between
paragraphs and headers was often varied to ensure that the
columns hit an even foot. Most pages use a running head
about a quarter-inch from the top of the page, the master
pages here automatically using the pages section name.
Modules for B/X largely adopted the boxed text format that
was standard for TSR at the time, though X1 was produced
before this format change and used a heavy room name run-
in not unlike that used in B2.
Typefaces Used
Quentin EF makes an apperance on the covers of Moldvay
Basic and Cook Expert, but the rest of these books are set
entirely in two different weights of Souvenir. The strong visu-
al character of Souvenir tends to make these products stand
out noticeably from earlier TSR products.
This is not necessarily a good thing. Souvenir was something
close to the Comic Sans of the 70s, and it does not have a
good reputation among typographers. If you do decide to
use Souvenir for your own products, you may fnd it best to
use it as a visual reference to B/X, and not for the sake of its
own dubious charms.
A free version of Souvenir called Soutane can be found
here and there on the net, but actual provenance and licens-
ing terms are very unclear for it, and all versions Ive seen
have been locked against embedding it in a document, mak-
ing it largely useless for a designers purposes.
If you choose to use Souvenir for your text, you should
keep in mind that it is a substantially wider typeface than
the Avant Garde used in earlier products. If you set a page
in Souvenir and then decide to swap to a different typeface,
you shouldnt be surprised if the resulting set suddenly takes
up signifcantly less space.
Table Design
Table design continues to use the unstroked, unflled styles
used in the LBBs, albeit with Souvenir as the base typeface.
Table font sizes are the same as body text sizes. Column
headers are sometimes underlined to provide some visual
distinction and are usually set heavier than the table text.
Unlike the LBBs, table titles are usually centered.
Multi-Column Table Type A
Column 1 Column 2 Column 3 Column 4
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
MULTI-COLUMN TABLE TYPE B
Column 1 Column 2 Column 3 Column 4
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Untitled Table Column 3 Column 4
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
Item 1 2 3
17
B/X STYLES
CLASS STYLE A
Level Title
Exp.
Points Hit Dice Spells
1 Example 0 1d6 1 frst level
2 Example 1,500 2d6 2 frst level
3 Example 3.000 3d6 1 frst level
+ 1 second
4 Example 6,000 4d6 Etc.
5 Example 12.000 5d6 Etc.
6 Example 24,000 6d6 Etc.
7 Example 48,000 7d6 Etc.
8 Example 96,000 8d6 Etc.
9+ Example 200,000 9d6 Etc.
To get a partially-underlined header like that for Exp. Points,
newline after the Exp. to create two paragraphs, then set
them in different styles. To stretch an underline beyond the
word itself, you can fake it with spaces. If your entry is mul-
tiline, as with Spells for level 3, make sure all your cells are
vertically justifed toward the top, to ensure that the text for
each level entry lines up correctly.
Below you can see two optional wide formats for the same
class information. The Thief Abilities entries could be re-
placed by saving throw totals, a lengthy special ability sum-
mary for each level, or anything else that requires signifcant
real estate. A boldface font could also be used for column
headers, but such use would cramp the thief skill titles and
can be problematic when horizontal space is at a premium.
Be careful when resizing tables horizontally. Its easy to over-
stretch columns like Level that should be narrow.
CLASS STYLE B
Level Title
Exp.
Points
Hit
Dice
Spells
1 2 3 4 5 6
1 Example 0 1d6 1 - - - - -
2 Example 1,500 2d6 2 - - - - -
3 Example 3.000 3d6 2 1 - - - -
4 Example 6,000 4d6 2 2 - - - -
5 Example 12.000 5d6 2 2 1 - - -
6 Example 24,000 6d6 3 2 2 - - -
7 Example 48,000 7d6 3 2 2 1 - -
8 Example 96,000 8d6 3 3 2 2 - -
9+ Example 200,000 9d6 3 3 3 2 1 -
Six columns for spells are about all you can ft into this for-
mat, and even that comes at the cost of room for level titles.
You can get some real estate back by using Lvl as a level
abbreviation, and HD in place of Hit Dice, but youll have
to drop the Title column entirely if you want to take it out to
the classic nine spell levels. Optionally, break out the spell
progression entirely as below, adding rows as needed.
CHARLATAN SPELL PROGRESSION
Level 1 2 3 4 5 6 7 8 9
1 1 - - - - - - - -
2 2 - - - - - - - -
3 2 1 - - - - - - -
4 2 2 - - - - - - -
5 3 2 1 - - - - - -
CLASS STYLE WIDE A
Level Title
Exp.
Points
Hit
Dice
Spells
1 2 3 4 5 6 7 8 9
1 Example 0 1d6 1 - - - - - - - -
2 Example 1,500 2d6 2 - - - - - - - -
3 Example 3.000 3d6 2 1 - - - - - - -
4 Example 6.000 4d6 2 2 - - - - - - -
CLASS STYLE WIDE B
Level Title
Exp.
Points
Hit
Dice
Thief Abilities
Open
Locks
Remove
Traps
Pick
Pockets
Move
Silently
Climb Sheer
Surfaces
Hide in
Shadows
Hear
Noise
1 Example 0 1d6 10% 10% 10% 10% 10% 10% 1-2
2 Example 1,500 2d6 10% 10% 10% 10% 10% 10% 1-2
3 Example 200,000 3d6 10% 10% 10% 10% 10% 10% 1-3
4 Example 400,000 4d6 20% 20% 20% 20% 20% 20% 1-4
18
B/X STYLES
First Level Spells
1. Magic Missile 7. Magic Missile
2, Magic Missile 8. Magic Missile
3. Magic Missile 9. Magic Missile
4. Magic Missile 10. Magic Missile
5. Magic Missile 11. Magic Missile
6. Magic Missile 12. Magic Missile
CHARLATAN SPELLS
First Level Second Level Third Level Fourth Level Fifth Level
1 Lengthy Spell Name Lengthy Spell Name Lengthy Spell Name Lengthy Spell Name Lengthy Spell Name
2 Lengthy Spell Name Lengthy Spell Name Lengthy Spell Name Lengthy Spell Name Lengthy Spell Name
3 Lengthy Spell Name Lengthy Spell Name Lengthy Spell Name Lengthy Spell Name Lengthy Spell Name
Spell entries can be tricky due to the lengthy spell names and the diffculty of packing them in horizontally. The brief sum-
mary table below can be used between lists of spell entries, but its still usually necessary to have a full list of spells in a single
place somewhere in the chapter. The wide table below can work for this, but its rarely possible to ft more that fve levels
of spells horizontally at a time. If necessary, just repeat the table for levels 6-9 and stretch it horizontally so it hits the same
margins. Make sure the numbering column on the left isnt allowed to expand, however.
Fribnels Dire Wombat Range: 50
Duration: 1 hour/level
This spell entry style is simple and compact, for those sys-
tems that dont have many distinguishing elements to track
for a given spell. Note that as usual, the text description of
a spell does not go into a table cell. Sometimes a spells
description has to break over a column or page despite the
designers best efforts, and a cell cant break. Also note the
left-hand cell padding on the spell names cell is removed to
allow for it to hit the description texts left margin.
CATEGORIZED INDENT TABLE
Item Cost
Gubbins
Item 1
Item 6
Item 3
Thingamajigs
Item 10
Item 12
Whatchamacallits
Item 4
Used occasionally for equipment lists and other vertical lists
that need some kind of subcategorization, you can repro-
duce this effect with a simple table trick. To reproduce the
above, frst create a three-column table. Merge all the header
row cells. Merge the leftmost two subhead cells. Then for
each subcategory row, merge the leftmost two cells and put
the cell contents in a column header style. The unmerged
cells of the frst row will provide an even indent you can shift
as needed.
You can also get the same effect with styles- just create a
new Table Subcategory style that segues into an indented
Table Entry style. Tables are more easily resized, though.
Magic item entries in B/X usually start with a bold normal
run-in that terminates at the frst colon. The style given be-
low shows an example of such an entry. The entries in the
books are compressed, with no following space between
items, and so this style has no following set. Also note that
magic item names referenced in B/X products are always
rendered in boldface. The B/X Item Entry Text style reca-
pitulates this style.
Horn of Uselessness: While appearing magical to those
with suitably refned powers of arcane perception, the
Horn of Useleness obstinately refuses to reveal any
ability that might not be natural to a horn of its type.
Other passages call out specifc sub-sections with an all caps
run-in. These sub-sections are used sparingly but usually
have the normal following after each paragraph. The B/X
Subsection Run-In style emulates this format. Note that you
might want to trade out the colon delimiter for a period, as
the Souvenir colon is out of scale for the all-caps run-in.
DIRE PORTENTS: Upon noticing a Dire Portent, the par-
tys henchmen will be so paralyzed with fear as to refuse to
move from the spot for 1d6 days unless plied with 50 g.p.
each in inducements.
This subsection style does not have an indent.
19
B/X STYLES
Monster Tall Block
Armor Class: 9
Hit Dice: 1
Move: 120
Attacks: 1 weapon
Damage: by weapon
No. Appearing: 1d10 (2d20)
Save As: Fighter 1
Morale: 8
Treasure Type: Q
Alignment: Neutral
The tall block monster stat style almost never appears on
its own. Usually, several monster variants are slotted vertical-
ly as exampled to the right. If theres insuffcient horizontal
space in one column, the table can be stretched to span
columns. Otherwise, this example is only likely to be useful
if you have a slightly-wider-than-one-column illo you want to
put alongside it.
Monster Wide Block
Type A Type B Type C
Armor Class: 9 9 9
Hit Dice: 1 1 1
Move: 120 120 120
Attacks: 1 weapon 1 weapon 1 weapon
Damage: by weapon by weapon by weapon
No. Appearing: 1d10 (2d20) 1d10 (2d20) 1d10 (2d20)
Save As: Fighter 1 Fighter 1 Fighter 1
Morale: 8 8 8
Treasure Type: Q Q Q
Alignment: Neutral Neutral Neutral
Monster Short Block
Armor Class: 9 No. Appearing: 1d10 (2d20)
Hit Dice: 1 Save As: Fighter 1
Move: 120 Morale: 8
Attacks: 1 weapon
+ 1 claw
Treasure Type: Q
Damage: by weapon
+ 1d6 claw
Alignment: Neutral
The short block is by far the most common monster stat
block, being more compact and easier to set than the taller
blocks. The narrow cells do sometimes force multiline en-
tries, so each cell is vertically justifed to the top, to ensure
that the lines read cleanly straight across.
20
BECMI Elements
The BECMI series of books is particularly
interesting for its reliance on a three-col-
umn layout and an extremely expansive
header. Almost all TSR books of this era
relied on a two-column layout, but the
BECMI series used three columns for a
number of purposes.
BECMI text is very dense. The default
body text uses a fush initial paragraph
with following paragraphs relying on a
1/8th inch indent. The body text size is
eight points, unlike the 10-point Futura
preferred in earlier AD&D products.
Perhaps the most immediately striking
characteristic of the BECMI rulebooks is
the enormous top margin. The running
head used here is actually far closer to the
top of the page than in the actual BECMI
books, which set the line on which the run-
ning header rests about an inch and a half
down from the top of the page.
To give comparisons, the bottom mar-
gin is only a half-inch wide from text block
to page bottom, and about a quarter-inch
from the bottom of the page number to
the edge of the page. The outer margin is
a half-inch and the inner margin is about
5/8ths of an inch.
I confess that I have no idea why they
set such a huge top margin. The usual can-
ons of page design insist on a large bottom
margin to give the page a sound footing
and help give the reader someplace to put
their thumbs while reading.
The running heads were designed in
two formats. For the opening spread of a
section the running head was grounded on
one thin line and one thick line, as you see
on this page and its opposite. The follow-
ing pages of that section had only a single
thin line, as you see on the next spread.
This head style appears to have been
carried through at least some of the BEC-
MI-era modules, though not all of them.
An interesting variation can be seen in
CM6, Where Chaos Reigns, where the
empty header space is ofen flled with a
spot illustration matching the text. B10,
Nights Dark Terror dispatches it entire-
ly, using instead a repeated bit of spot art
along the top of the page. Yet in B11 and
B12 it once again makes its appearance.
From my examination of the modules,
it looks as if the UK modules such as B10,
CM6, X8, and O2 ofen replaced the empty
header with spot art, ofen to very good
efect given the artists involved.
One other habit of the designers was to
break through the running head with illus-
trations that sometimes went right to the
upper edge of the page. Luigi Castellanis
illustration opposite is an example of this
design element.
Its not a perfect example, however,
because the illustrations and other page
elements in the BECMI books almost in-
variably ft exactly into the column layout.
Illustrations were one, two, or
three columns wide, with almost
no variation.
It seems a puzzling choice on
the whole. The BECMI layout
is so extremely dense and with
such small type that it seems fair-
ly inexplicable that the designers
should give up so much space at
the top of the page to no visible
purpose, particularly when the
bottom margin is so ungenerous.
This three-column style per-
sists in the BECMI modules of
this era as well as the rulebooks.
It appears to be fairly universal
for BECMI products until the era
of the Rules Cyclopedia. Interest-
ingly enough, while the RC uses
the three-column layout, the module se-
ries published afer late 1990 such as the
Thunder Rif series and the Hollow World
module series revert to a two-column lay-
out though even then they ofen retain
the huge top margin.
The BECMI books and especially the
modules made heavy use of boxed text.
Perhaps as a consequence, the body text
was not set to a grid. Many pages appear
to be so set, but it seems to be simply an
artifact of chance, as those pages lack the
tables or boxed text that would push a col-
umn out of perfect alignment.
Subheads apper in two forms. A major
subhead appears to be done in 10-point
Baskerville bold, while minor subheads
appear in 8-point bold. Running heads
seem to be around 13 or 14-point bold.
Subheads have an equal amount of
whitespace before and afer them, about
one lines worth. Other designers are ad-
vised to change this, as its generally best
to keep a head closer to its following text
than to the text before it. The additional
whitespace is also something that is per-
haps for the best in a design as dense as
that used for BECMI products.
Typefaces Used
The interior text for BECMI books is al-
most entirely diferent weights of Basker-
ville. This example is set in the free Libre
Baskerville font, though readers are ad-
vised to make sure theyve got the .TTF
TrueType fles rather than the .OTF Open-
Type fles. InDesign does not like the latter
fles and renders them terribly.
The front cover of BECMI uses a custom
tweak of Quentin TF for the Dungeons &
Dragons text, while other title page text
is done in Korinna. Later modules made
use of Feinen for maps and running heads,
though the Baldur font by Mad Irishman
Productions seems to be the only available
clone of the font.
Table Design
BECMI tables make heavy use of very
thick, dark strokes at head and foot, usually
with a lighter stroke afer the tables title.
This stroke pattern is repeated in multiple
places, even on text elements that arent
actually tables. The order of combat se-
quence on page 58 of the Basic players
book is stroked in this way. The table text
itself is identical to the body text, with
column and row labels only sometimes
in bold. Table titles are all-caps bold.
Some text is called out in a flled gray
box, usually as a chunk of example text or
player instructions. Rather than inserting
an entire sidebar object, it can be easiest to
just use a flled table cell with the appro-
priate padding. The default fll appears to
be fairly dense, and so changing it to 20%
at most is perhaps advisable.
EXAMPLE: This is such an example
callout. Remember that adding el-
ements like this makes it that much
harder to set text to a grid, unless the
table just happens to ft exactly into the
grid lines.
Another point to keep in mind with
BECMI tables is the very restricted hori-
zontal space imposed by a three-column
layout. The designer clearly was averse to
having a partial intrusion of a table into a
column, so if what you have to set is too
wide to ft one column , the table should
be precisely two columns wide, or three
columns if you need to claim more space.
Table designers are also advised to use
a lot of whitespace. Because the BECMI
table defaults use only normal body text,
theres no immediate clue to a readers eye
that theyre looking at a table line. Keep-
ing a healthy amount of breathing room
around a table and its individual entries
will make it easier for a reader to cope
with the otherwise densely-set text that
flls BECMI pages.
21
BECMI Elements
THUG EXPERIENCE TABLE
Level Title XP
1 Hooligan 0-1,500
2 Hooligan 1,501-3,000
3 Hooligan 1,501-3,000
4 Hooligan 1,501-3,000
5 Hooligan 1,501-3,000
6 Hooligan 1,501-3,000
7 Hooligan 1,501-3,000
8 Hooligan 1,501-3,000
9 Hooligan 1,501-3,000
10 Hooligan 1,501-3,000
THUG SAVING THROWS
Level: 1-3 4-6 7-9 10
Death Ray
or Poison 12 8 4 2
Magic
Wands 13 10 7 4
Paralysis
or Turn to
Stone 13 10 7 4
Dragon
Breath 15 11 7 3
Rod, Staf
or Spell 15 11 7 3
The tables here provide example tem-
plates for some of the more important
BECMI character generation tables. Like
most tables in this era, there are only three
strokes. All tables begin with a roughly
3-point stroke across the top of the title
cell, then a 1-point stroke beneath the
bottom of the column labels, and then a
1-point stroke at the bottom of the table.
When a table has multiple title lines, such
as below with the magic thug experience
table and the Spell Levels label, there is
sometimes another one-point stroke be-
tween the major and minor table titles.
THUG ABILITIES TABLE
Level
Open
Locks
Find
Traps
Remove
Traps
Pick
Pockets
Move
Silently
Climb Sheer
Surfaces
Hide in
Shadows
Hear
Noise
1 15% 15% 15% 15% 15% 15% 15% 15%
2 15% 15% 15% 15% 15% 15% 15% 15%
3 15% 15% 15% 15% 15% 15% 15% 15%
4 15% 15% 15% 15% 15% 15% 15% 15%
5 15% 15% 15% 15% 15% 15% 15% 15%
6 15% 15% 15% 15% 15% 15% 15% 15%
7 15% 15% 15% 15% 15% 15% 15% 15%
8 15% 15% 15% 15% 15% 15% 15% 15%
9 15% 15% 15% 15% 15% 15% 15% 15%
10 15% 15% 15% 15% 15% 15% 15% 15%
11 15% 15% 15% 15% 15% 15% 15% 15%
12 15% 15% 15% 15% 15% 15% 15% 15%
13+ 15% 15% 15% 15% 15% 15% 15% 15%
MAGIC THUG EXPERIENCE TABLE
Level Title XP
Spell Levels
1 2 3 4 5 6
1 Hooligan 0-1,500 1 - - - - -
2 Hooligan 1,501-3,000 2 - - - - -
3 Hooligan 1,501-3,000 2 1 - - - -
4 Hooligan 1,501-3,000 2 2 - - - -
5 Hooligan 1,501-3,000 3 2 1 - - -
6 Hooligan 1,501-3,000 3 2 2 - - -
7 Hooligan 1,501-3,000 3 2 2 1 - -
8 Hooligan 1,501-3,000 3 3 2 2 - -
9 Hooligan 1,501-3,000 3 3 2 2 1 -
10 Hooligan 1,501-3,000 3 3 3 2 2 -
22
BECMI Elements
BECMI Spell Entry
Range: 0 (Caster only)
Duration: A long lunch
Efect: The caster calls forth a fan.
This BECMI spell block is simple, but this
editions spells rarely needed anything
more than this. The table has been adjust-
ed to have no lef cell padding so that the
text is fush with the following description.
A little additional space has been added
afer the table as well, as theres otherwise
little distinction between the Efect line of
the table and the descriptive text. The top
cell has been padded vertically a little, to
give the bolded title more focus, and the
padding on the three lower lines has been
reduced to add cohesiveness.
Magic Item Descriptions
Rather than the outdent used in B/X,
BECMI magic item lists ofen prefer to
indent the frst line. As with B/X, there is
no whitespace between items. An alternate
format found in Mentzer Basic instead
uses a fush paragraph with a bold run-in
and whitespace before and afer.
Trumpet of Dolor: This trumpet emits
only the very worst song, ofen accompa-
nied by the ugliest guitar.
Monster Stat Blocks
BECMI modules commonly used a simple
text block callout for the monster statistics
of an adventure, usually set inline with the
area description. In some cases, such as
with CM7, the monster statistics were gath-
ered together in a single table. All text was
set in regular type, with no bolding or oth-
er weight changes. One line of whitespace
lead and followed the block, as given in the
style used below.
Wombat: AC 0; HD 12***; hp 60; AT 3; D
3-18 (x2)/2-16; MV 180(60)/360(120);
Save F24; AL N; THAC0 9; SA clerical
spell use.
The example above is outdented, though
some modules set the block fush lef.
Spell List Format
Spells appear in an outdented format, with
normal level labels and italic spells.
First level: cause light wounds, darkness,
detect magic, cause fear
Second level: fnd traps, hold person, know
alignment, silence 15 radius
FIRST LEVEL CLASS SPELLS
1. Glower
2. Glower
3. Glower
4. Glower
5. Glower
6. Glower
7. Glower
8. Glower
9. Glower
10. Glower
11. Glower
12. Glower
Class spell lists usually stick to the column
format, with however many tables as are
necessary to cover all the spell levels. The
example table provided above has had the
cell padding reduced below the title cell in
order to tighten up the list.
Monster Wide Block
Variant Type A Variant Type B Variant Type C
Armor Class: 5 5 5
Hit Dice: 3* 3* 3*
Move: 90 (30) 90 (30) 90 (30)
Attacks: 1 1 1
Damage: Energy Drain Energy Drain Energy Drain
No. Appearing: 1-6 (1-8) 1-6 (1-8) 1-6 (1-8)
Save As: Fighter: 3 Fighter: 3 Fighter: 3
Morale: 12 12 12
Treasure Type: B B B
Alignment: Chaotic Chaotic Chaotic
XP Value: 50 50 50
While the variant stats of the wide block
are spread evenly over the available col-
umns, the text that goes with the mon-
ster descriptions remains in the column
format. The typographer clearly had a
difcult job ftting the monster lists into
the available space, and some of the deci-
sions appear to be owed to the necessity
of cramming in as much text as possible
into the available space.
Designers who wish to nod to the BEC-
MI design style might be advised to open
up the layout, particularly when it comes
to monster lists or similar large informa-
tion dumps. Many of the compromises
that the typographer made in ftting all the
monsters into the space provided could
be alleviated by simply giving the text
more pages and allowing larger chunks
of whitespace in the design.
Monster Tall Block
Armor Class: 5
Hit Dice: 3*
Move: 90 (30)
Attacks: 1
Damage: Energy Drain
No. Appearing: 1-6 (1-8)
Save As: Fighter: 3
Morale: 12
Treasure Type: B
Alignment: Chaotic
XP Value: 50
Monster descriptions usually appear in this
tall block format. In cases where multiple
monster variations are needed, the block is
split over multiple columns as below, with
strokes beneath the variant column labels.
Note also that the cell padding has been
adjusted on the rows to tighten the block
and make it more cohesive. The block title
has been given extra padding as well.
23
Example BECMI Module Page
The Tombs of the Faithful
The Old Lord favored his most loyal living
servants with the serenity of true death.
Their remains were lodged here in tunnels
dedicated to their memory.
1. CHAMBER OF UNENDING
LONGING
The air of this chamber is flled with a
haze of dust-fne powdered bone, a thick
layer resting on every fat surface. Four
withered human shapes are clawing des-
perately at the gouged stone wall on the
far side of the room.
At the far wall, four withered, mummifed
Nebeti are clawing at the stone wall with
feshless arms. Shackled by Akhens curs-
es in death and forbidden to leave by the
tombs entrance, their only thought was
to return to their families. Their eforts
have dug the room out of the bedrock; as
their bones are slowly ground to powder,
the magic that animates them restores the
broken limbs from the dust. They will ig-
nore intruders unless some efort is made
to stop them. Even if destroyed, they will
eventually reanimate until their remains
are taken from the House.
Nebeti: AC 7, HD 1, hp 3, 3, 4, 5, #AT 1, D
1-6, MV 12, Save F1, AL N, THAC0 20
2. AMBER MUMMIFICATION ROOM
A complex array of vats, cauldrons,
pipes, and furnaces fll this room, and
the smell of sweet pine still lingers in
the air. Against the far wall, a huge slab
of amber encases the body of a beautiful
young woman.
The Old Lord experimented extensively
with amber encasement as a technique
for staving of the withering of Eternal
fesh, and his fnal experiment involved
a recently-discarded Eternal concubine.
The girl has been alive in the fashion of
the Eternal and conscious for forty years,
and nothing remains of her self-awareness
but a burning desire to see the Old Lord
destroyed. If the amber is touched, a last
heroic convulsion on her part will allow
her to crack the amber shell, screaming
of the key in the yellow skull in the De-
shrite tongue, referring to the key she hid
to the Old Lords private sanctum. Once
cracked, the shell will collapse into pow-
der and shards. Her long-entombed body
will soon follow afer, the vigor of her own
motions breaking her into powder indis-
tinguishable from the amber.
3. DEFLESHING ROOM
Four smooth-glazed clay tanks domi-
nate this chamber, each one the size of
a large sarcophagus and covered by a
marble lid.
Within three of the tanks, the desiccated
husks of ancient fesh-eating beetles lie
in heaps around the yellowed bones they
were meant to clean. Within the northeast
tank, the beetles died afer feasting upon
the corpse of a witch, and the sorcerers
hateful spirit has animated the husks. They
will swarm out of the tank as soon as the lid
is slid aside. The beetle swarm is immune
to common weapons. Magic, torches, or
burning oil will do double damage.
Undead Beetle Swarm: AC 7, HD 1, hp 3,
3, 4, 5, #AT 1, D 1-6, MV 12, Save F1,
AL N, THAC0 20
4. OSSUARY
Countless bones pile high along the
walls in patterns fxed by mortar and
keystone-skulls. A shrine to one of the
serpent-headed Gods Below is erected
against the far wall, a few ancient ofer-
ings lef before the fanged face.
The bones of faithful minions were im-
mured here in the ossuary. The oferings
are largely worthless, but a few still have
some value.
Incense wortth 50 silver ingots.
A black glass dagger +1.
A green glass bottle flled with a brown-
ish crust of long-dried blood.
A cup of beaten gold worth 100 silver
ingots.
Taking any of the oferings will infict a
curse on the profaner, forcing them to fail
the next saving throw they attempt.
5. FRESCO ROOM:
Wall frescoes celebrate the glorious
deeds of the Old Lord and his faith-
ful servants. The conquest of Paraku
is depicted in bloody fashion, with the
undying legions of the Eternal swarm-
ing over the wall and Old Lord Akhen
at their head. Foul banquets of human
fesh and festivities of more horrid va-
riety still are shown interspersed with
scenes of torment and grinding labor
inficted upon the wretched inhabitants
of the city. In particular, the Old Lord
is shown threatening the Nebeti with a
green bowl, a thing that seems to induce
a special terror. The foor of the cham-
ber is parquetry of rotting wood, and a
faint cloud of black mold pufs upward
at each step you take.
A Nebeti painter was commanded to dec-
orate this room with celebratory frescoes.
Art slot. Stretch to even the rooms.
Comments on the Design
Even a brief comparison with the AD&D
and B/X module pages earlier in this
document will show how much more
densely the average BECMI module
page was set. The eight-point type and
aversion to whitespace more than com-
pensated for the huge top margin.
In my own opinion, its not worth
following this lead in modern module
designs. The rigid 32-page or 20-page
module footprint of the early hobby is
no longer applicable with modern POD
processes, and the cost of an extra fve
or six pages to let a layout breathe adds
only pennies to the print cost.
Speaking only of my own tastes, Id
start by shrinking the top margin, put-
ting the running head a half-inch from
the top. Then give some of that space to
the bottom margin for a better footing.
Then boost the font size to ten points.
The average age of OSR fans suggests
that good eyes are not to be assumed.
In company with the text size in-
crease, shif to a two-column layout.
The three-column layout can work for
text with a lot of small items like spell
descriptions, but its very hard on read-
ers when long text blocks are involved.
For module setting, Id dump the text
boxes and try to set to a grid, using more
whitespace for diferentiation. I might
even abandon Baskerville.