Review: Feast of Goblyns

 I am not going to review all of the Ravenloft adventures. I owned them all at one time, but somewhere between 1990 (when I was an undergrad) and 2000 (when I was married with a house and new baby) I sold a lot of them off. I don't really regret it since I have bought most of them back on PDF.  But a few I kept, this is one of them. Largely because there is a lot here that feels like it could have gone into the Boxed Set.

RA1 Feast of Goblyns

by Blake Mobley. Art by Clyde Caldwell, Stephen Fabian, Karen Wynn Fonstad, Roy E. Parker.

96 pages, plus maps.

For this review I am considering my original copy from 1990 and DriveThruRPG PDF. 

This is actually a rather great adventure for a number of good reasons.

First, it expands Ravenloft, the game, into new areas. It has the set dressing of Gothic Horror, but it is an AD&D MacGuffin adventure. Nothing at all wrong with that. It introduces a new type of vampire. Introduces a new idea for Goblins, or rather, Goblyns that works great with the horror elements. It also has a proper GM screen, some more monsters, and Ravenloft-themed character sheets.

Secondly, it expands Ravenloft, the setting, into new domains. That is to say, not everything has to be about Strahd and his drama.

The adventure itself is, like I said, a MacGuffin hunt. Find the Crown of Souls and keep it out of all the bad guys hands.  In the process, a new Domain can be created.  The adventure itself is actually pretty fun and a good one. The NPCs are quite memorable. 

Back in the 1990s RPGs were all about the Meta-plot. I blame Vampire: The Masquerade, but Ravenloft was not immune. While Feast of Goblyns was not originally part of a meta-plot it was later retconned in as the first part (of 6) of the Grand Conjunction.

This works out well to be honest. The Grand Conjunction showed that Ravenloft was a malleable place and the lands, rulers, and rules, could change anytime. This was not a fixed world. So I do find it odd when people complain that Ravenloft is different than it was then. Really? It changed between 1991 and 1997 and no one blinked an eye then.

I never ran the Grand Conjunction back then. I might go back and reread it to see if it is something I would do today. Maybe start out in "Classic Ravenloft" and then Grand Conjunction and then end up with a Ravenloft from the 5e version. I mean it is not beyond the scope of the lands really.

My physical copy is still in great shape, likely because it has been inside my Realms of Terror box for about 30 years.

The PDF is good, if a touch fuzzy. I do not have the PoD version.

One thing I was looking forward too with the PDF was the ability to print out the character sheets. The PDF, once printed is a bit fuzzy. My own scan is a bit better.

Again, I have a lot of great memories of this one. Running it and reading through it. The early 90s were a great time for Vampire games and media. Vampire the Masquerade was out, Bram Stoker's Dracula was out in 1992. So this was the right game at the right time.

The adventure is/was fun and a great addition, but I think most of its value comes showing what can actually be done for/in Ravenloft and of course all the play aids and DM tips.

I would certainly run this one again.

Advent-ure Dice: Day 5

  Day 5

Ah the green ones! These must be the witch's brew. Nice d20 too. They are a little larger than the dice I used to buying.

October Horror Movie Challenge: Them! (1954)

 There are a few movies that are perfect mix of the "Monster" movies my dad and I loved and D&D. This is one of them. 

There is no need to go into detail about this movie; it is 70 years old. Atomic tests. Nuclear fallout. Giant bugs. It is a tried and true formula that peaked in the post-Nuclear world following World War II. The biggest issue here is how Americans and the Japanese both handled such movies and how the monsters were treated.

American movies, almost always, had giant creature mutating from original stock, in the case of 1954's Them! it was giant ants.

Movies like this, and this one in particular, were the ones my dad and I would talk a lot about. Most importantly how horror, in any medium, is always what scared people at that time. This movie is a giant warning about nuclear power and nuclear weapons in particular. You don't need to be a psychologist to figure this one out.

I do want to point out that the person everyone is supposed to listen too is the scientist. So while science and technology might be the root of our terrors, it is also what we believe is the cure.  Compare this to Godzilla where the "cure" is largely getting out of the monsters' way. 

I saw this move a long time ago. And while the science is, well laughable now, it is still a good flick. 

Featured Monster: Giant Ants (and maybe Ankheg)

Though it could be argued that giant "anything" got their start here. I am not making the claim that Gygax etal. created the Giant Ant monster because of this movie, but I would find it hard to believe that they did not know about it.

I would also argue here that the Ankheg looks a lot like that poster above. Not saying anyone copied, far from it, but I am saying that the giant ants of Them are closer to how we played the Ankheg (in single numbers) than they are of the Giant Ants. They are certainly closer to the size of the ants in Them! than the MM Giant Ants are.

This is the start of a long tradition of taking an animal or insect and making them "Giant" or "Dire." It works because it is effective.

October Horror Movie Challenge 2024
Viewed: 4
First Time Views: 3

Dracula, The Hunters' Journals: 04 October; Harker's Journals and Van Helsing's Diary

Mina suggests that Van Helsing hypnotize her, Dracula is on the run.

Jonathan Harker’s Journal.

3-4 October, close to midnight.—I thought yesterday would never end. There was over me a yearning for sleep, in some sort of blind belief that to wake would be to find things changed, and that any change must now be for the better. Before we parted, we discussed what our next step was to be, but we could arrive at no result. All we knew was that one earth-box remained, and that the Count alone knew where it was. If he chooses to lie hidden, he may baffle us for years; and in the meantime!—the thought is too horrible, I dare not think of it even now. This I know: that if ever there was a woman who was all perfection, that one is my poor wronged darling. I love her a thousand times more for her sweet pity of last night, a pity that made my own hate of the monster seem despicable. Surely God will not permit the world to be the poorer by the loss of such a creature. This is hope to me. We are all drifting reefwards now, and faith is our only anchor. Thank God! Mina is sleeping, and sleeping without dreams. I fear what her dreams might be like, with such terrible memories to ground them in. She has not been so calm, within my seeing, since the sunset. Then, for a while, there came over her face a repose which was like spring after the blasts of March. I thought at the time that it was the softness of the red sunset on her face, but somehow now I think it has a deeper meaning. I am not sleepy myself, though I am weary—weary to death. However, I must try to sleep; for there is to-morrow to think of, and there is no rest for me until....

 

Later.—I must have fallen asleep, for I was awaked by Mina, who was sitting up in bed, with a startled look on her face. I could see easily, for we did not leave the room in darkness; she had placed a warning hand over my mouth, and now she whispered in my ear:—

“Hush! there is someone in the corridor!” I got up softly, and crossing the room, gently opened the door.

Just outside, stretched on a mattress, lay Mr. Morris, wide awake. He raised a warning hand for silence as he whispered to me:—

“Hush! go back to bed; it is all right. One of us will be here all night. We don’t mean to take any chances!”

His look and gesture forbade discussion, so I came back and told Mina. She sighed and positively a shadow of a smile stole over her poor, pale face as she put her arms round me and said softly:—

“Oh, thank God for good brave men!” With a sigh she sank back again to sleep. I write this now as I am not sleepy, though I must try again.

 

4 October, morning.—Once again during the night I was wakened by Mina. This time we had all had a good sleep, for the grey of the coming dawn was making the windows into sharp oblongs, and the gas flame was like a speck rather than a disc of light. She said to me hurriedly:—

“Go, call the Professor. I want to see him at once.”

“Why?” I asked.

“I have an idea. I suppose it must have come in the night, and matured without my knowing it. He must hypnotise me before the dawn, and then I shall be able to speak. Go quick, dearest; the time is getting close.” I went to the door. Dr. Seward was resting on the mattress, and, seeing me, he sprang to his feet.

“Is anything wrong?” he asked, in alarm.

“No,” I replied; “but Mina wants to see Dr. Van Helsing at once.”

“I will go,” he said, and hurried into the Professor’s room.

In two or three minutes later Van Helsing was in the room in his dressing-gown, and Mr. Morris and Lord Godalming were with Dr. Seward at the door asking questions. When the Professor saw Mina smile—a positive smile ousted the anxiety of his face; he rubbed his hands as he said:—

“Oh, my dear Madam Mina, this is indeed a change. See! friend Jonathan, we have got our dear Madam Mina, as of old, back to us to-day!” Then turning to her, he said, cheerfully: “And what am I do for you? For at this hour you do not want me for nothings.”

“I want you to hypnotise me!” she said. “Do it before the dawn, for I feel that then I can speak, and speak freely. Be quick, for the time is short!” Without a word he motioned her to sit up in bed.

Looking fixedly at her, he commenced to make passes in front of her, from over the top of her head downward, with each hand in turn. Mina gazed at him fixedly for a few minutes, during which my own heart beat like a trip hammer, for I felt that some crisis was at hand. Gradually her eyes closed, and she sat, stock still; only by the gentle heaving of her bosom could one know that she was alive. The Professor made a few more passes and then stopped, and I could see that his forehead was covered with great beads of perspiration. Mina opened her eyes; but she did not seem the same woman. There was a far-away look in her eyes, and her voice had a sad dreaminess which was new to me. Raising his hand to impose silence, the Professor motioned to me to bring the others in. They came on tip-toe, closing the door behind them, and stood at the foot of the bed, looking on. Mina appeared not to see them. The stillness was broken by Van Helsing’s voice speaking in a low level tone which would not break the current of her thoughts:—

“Where are you?” The answer came in a neutral way:—

“I do not know. Sleep has no place it can call its own.” For several minutes there was silence. Mina sat rigid, and the Professor stood staring at her fixedly; the rest of us hardly dared to breathe. The room was growing lighter; without taking his eyes from Mina’s face, Dr. Van Helsing motioned me to pull up the blind. I did so, and the day seemed just upon us. A red streak shot up, and a rosy light seemed to diffuse itself through the room. On the instant the Professor spoke again:—

“Where are you now?” The answer came dreamily, but with intention; it were as though she were interpreting something. I have heard her use the same tone when reading her shorthand notes.

“I do not know. It is all strange to me!”

“What do you see?”

“I can see nothing; it is all dark.”

“What do you hear?” I could detect the strain in the Professor’s patient voice.

“The lapping of water. It is gurgling by, and little waves leap. I can hear them on the outside.”

“Then you are on a ship?” We all looked at each other, trying to glean something each from the other. We were afraid to think. The answer came quick:—

“Oh, yes!”

“What else do you hear?”

“The sound of men stamping overhead as they run about. There is the creaking of a chain, and the loud tinkle as the check of the capstan falls into the rachet.”

“What are you doing?”

“I am still—oh, so still. It is like death!” The voice faded away into a deep breath as of one sleeping, and the open eyes closed again.

By this time the sun had risen, and we were all in the full light of day. Dr. Van Helsing placed his hands on Mina’s shoulders, and laid her head down softly on her pillow. She lay like a sleeping child for a few moments, and then, with a long sigh, awoke and stared in wonder to see us all around her. “Have I been talking in my sleep?” was all she said. She seemed, however, to know the situation without telling, though she was eager to know what she had told. The Professor repeated the conversation, and she said:—

“Then there is not a moment to lose: it may not be yet too late!” Mr. Morris and Lord Godalming started for the door but the Professor’s calm voice called them back:—

“Stay, my friends. That ship, wherever it was, was weighing anchor whilst she spoke. There are many ships weighing anchor at the moment in your so great Port of London. Which of them is it that you seek? God be thanked that we have once again a clue, though whither it may lead us we know not. We have been blind somewhat; blind after the manner of men, since when we can look back we see what we might have seen looking forward if we had been able to see what we might have seen! Alas, but that sentence is a puddle; is it not? We can know now what was in the Count’s mind, when he seize that money, though Jonathan’s so fierce knife put him in the danger that even he dread. He meant escape. Hear me, ESCAPE! He saw that with but one earth-box left, and a pack of men following like dogs after a fox, this London was no place for him. He have take his last earth-box on board a ship, and he leave the land. He think to escape, but no! we follow him. Tally Ho! as friend Arthur would say when he put on his red frock! Our old fox is wily; oh! so wily, and we must follow with wile. I, too, am wily and I think his mind in a little while. In meantime we may rest and in peace, for there are waters between us which he do not want to pass, and which he could not if he would—unless the ship were to touch the land, and then only at full or slack tide. See, and the sun is just rose, and all day to sunset is to us. Let us take bath, and dress, and have breakfast which we all need, and which we can eat comfortably since he be not in the same land with us.” Mina looked at him appealingly as she asked:—

“But why need we seek him further, when he is gone away from us?” He took her hand and patted it as he replied:—

“Ask me nothings as yet. When we have breakfast, then I answer all questions.” He would say no more, and we separated to dress.

After breakfast Mina repeated her question. He looked at her gravely for a minute and then said sorrowfully:—

“Because my dear, dear Madam Mina, now more than ever must we find him even if we have to follow him to the jaws of Hell!” She grew paler as she asked faintly:—

“Why?”

“Because,” he answered solemnly, “he can live for centuries, and you are but mortal woman. Time is now to be dreaded—since once he put that mark upon your throat.”

I was just in time to catch her as she fell forward in a faint.

CHAPTER XXIV

DR. SEWARD’S PHONOGRAPH DIARY, SPOKEN BY VAN HELSING

THIS to Jonathan Harker.

You are to stay with your dear Madam Mina. We shall go to make our search—if I can call it so, for it is not search but knowing, and we seek confirmation only. But do you stay and take care of her to-day. This is your best and most holiest office. This day nothing can find him here. Let me tell you that so you will know what we four know already, for I have tell them. He, our enemy, have gone away; he have gone back to his Castle in Transylvania. I know it so well, as if a great hand of fire wrote it on the wall. He have prepare for this in some way, and that last earth-box was ready to ship somewheres. For this he took the money; for this he hurry at the last, lest we catch him before the sun go down. It was his last hope, save that he might hide in the tomb that he think poor Miss Lucy, being as he thought like him, keep open to him. But there was not of time. When that fail he make straight for his last resource—his last earth-work I might say did I wish double entente. He is clever, oh, so clever! he know that his game here was finish; and so he decide he go back home. He find ship going by the route he came, and he go in it. We go off now to find what ship, and whither bound; when we have discover that, we come back and tell you all. Then we will comfort you and poor dear Madam Mina with new hope. For it will be hope when you think it over: that all is not lost. This very creature that we pursue, he take hundreds of years to get so far as London; and yet in one day, when we know of the disposal of him we drive him out. He is finite, though he is powerful to do much harm and suffers not as we do. But we are strong, each in our purpose; and we are all more strong together. Take heart afresh, dear husband of Madam Mina. This battle is but begun, and in the end we shall win—so sure as that God sits on high to watch over His children. Therefore be of much comfort till we return.

Van Helsing.

Jonathan Harker’s Journal.

4 October.—When I read to Mina, Van Helsing’s message in the phonograph, the poor girl brightened up considerably. Already the certainty that the Count is out of the country has given her comfort; and comfort is strength to her. For my own part, now that his horrible danger is not face to face with us, it seems almost impossible to believe in it. Even my own terrible experiences in Castle Dracula seem like a long-forgotten dream. Here in the crisp autumn air in the bright sunlight——

Alas! how can I disbelieve! In the midst of my thought my eye fell on the red scar on my poor darling’s white forehead. Whilst that lasts, there can be no disbelief. And afterwards the very memory of it will keep faith crystal clear. Mina and I fear to be idle, so we have been over all the diaries again and again. Somehow, although the reality seems greater each time, the pain and the fear seem less. There is something of a guiding purpose manifest throughout, which is comforting. Mina says that perhaps we are the instruments of ultimate good. It may be! I shall try to think as she does. We have never spoken to each other yet of the future. It is better to wait till we see the Professor and the others after their investigations.

The day is running by more quickly than I ever thought a day could run for me again. It is now three o’clock.

Notes: Moon Phase: Waxing Gibbous

While Jonathan is despairing, Mina gets the idea that Van Helsing should hypnotize her. This turns out to be a huge boon and one that our heroes will later again screw up under the misguided notion of protecting her. Again we see Mina sleeping soundly, I will take this as proof that Dracula is running away. Her hypnotism sessions bare this out since he is back on a ship to his home.

Our hunters now have a solid direction.

Review: Ravenloft Realms of Terror

 We move right away to AD&D Second Edition with the Realms of Terror boxed set.  For this review I am going to feature the original 1990 Boxed set, the PDF and Print on Demand options from DriveThruRPG

Ravenloft: Realm of Terror (1990)

Boxed set. 144-page rule book (B&W), 4 full color maps, 24 full color sheets featuring various families and castles of the Demi-plane.
by Bruce Nesmith with Andria Hayday. Art by Clyde Caldwell and Stephen Fabian.

PDF and PoD is a combined product; color and B&W art, 168 pages.

It is really hard to quantify exactly what this boxed set meant to me at the time of its release. This came out in June 1990. I was 21, living in my university town year round now, getting ready for grad school. I can remember sitting at my desk in my apartment reading over this set many times.

While even at the time I knew that trying to force-feed Gothic Horror into AD&D was a tall order, I still loved every bit of it.  It was the closest I had seen up to that point that captured the play style I really wanted. D&D + Horror was pretty much everything I was doing and this was a new frontier for me.

Ravenloft was a boxed set campaign world at the height of AD&D 2nd Edition's foray into boxed set campaign worlds. It was one of the game's great strengths and, ultimately, one of the reasons for TSR's undoing, but that is not our topic today.  

The Demi-plane of Ravenloft was a Twilight Zone-like place where the truly evil were captured and put off into a prison of their own with others, including what seems like many innocents. Something that dominated the RAVENLOFT-L lists back in the day. It was a horror anthology writ large. It was everything I wanted in a campaign world.

Realm of Terror Book

The Realm of Terror book is a 144-page guide to this new world. 

Chapter: From Gothic Roots

This covers what this book is trying to do with nods both to the original Ravenloft Adventures and to the Gothic Horror genre. A very quick introduction to Gothic Horror.

Chapter II: The Demiplane of Dread

Covers the basics. What is this demiplane, how did it come into being, what connection does it have to Strahd Von Zarovich. If reading this you think Twilight Zone, Hotel California or even the old Roach Motel, then you would be forgiven. 

Of note here, for me at least, is a timeline of the major events in the Demiplane.

The Mists of Ravenloft, a feature of the first module and brought back for the second, is all important here. They can be summoned and partially controlled by the Domains' Dark Lords. They can also reach into the Prime Material and seek out other souls. Even bringing in entire new Domains with it, or leaving traces in the Prime Material.

Chapter III: The Reshaping of Characters

The big assumption here is that characters would be coming from somewhere else. This allowed for the various "Weekend in Hell" scenarios that you could do with Ravenloft. Certainly the first two adventures felt like this as did X2 Castle Amber. Thus characters will have some alterations. Clerical abilities such as Turning Undead do not work as well as it used too. Magic is always a bit wonky. Demihumans are always looked at with suspicion. And evil acts will cause the character to make Dark Powers checks. If they fail they become more and more attached to the Demiplane and can never leave. 

Chapter IV: Fear and Horror Checks

Ok. I will be honest this is one of my favorites things about Ravenloft and a mechanic I ported back over to Vanilla D&D many times. It works best here though.

Lots of text is given over to how to invoke a fearful, spooky atmosphere. But lets be honest, D&D Characters AND D&D Players can be a bit of a jaded bunch. Compare the moves "Alien" and "Aliens" and see the difference horror has on the unaware and on seasoned warriors. The Fear and Horror checks help this mood along.

Chapter V: Werebeasts and Vampires

The MVPs of Gothic Horror (along with Ghosts), if characters get special hinderances, these guys get special bonuses.  Most importantly we get the Vampire Powers due to age a year before Vampire: The Masquerade did it. This is also something I ported back to D&D. Though I will admit, it does lessen the impact that this campaign setting has when I do that.

Chapter VI: Curses

An ancient cursed family? A scientist (er...Naturalist) cursed to discover a cure that might be worse than the aliment? Undead, Lycanthropes, the restless Vampire? What is Gothic Horror without curses. You would think with all this they would have given us some proper witches, but that comes later.

Chapter VII: Gypsies

Ok, you know that disclaimer on DriveThruRPG that many of the old guard whinge about? It is for things like this. Did the authors mean to disparage people of Romany descent? Of course not. They were using the common term as it was used when this printed. That doesn't mean the name is not offensive to some. We have to respect that. 

In newer versions of Ravenloft these have been replaced with Vistani. There are still some issues with that yes, but it is beyond the scope of this review to go into that.

What the chapter does cover are a people that seem to have some sort of special relationship to the land and to the Mists. 

Chapter VIII: Telling the Future

The I6: Ravenloft adventure casts a long shadow over this product. Fortune Telling is covered here. Typically with regular playing cards, but we used a Rider-Waite Tarot deck.

Chapter IX: Spells in Ravenloft and Chapter X: Magic Items in Ravenloft

We mentioned in Chapter III that characters have changes, well here are various spells and magic items from AD&D 2nd Edition and how they are changed. 

These characters, though while longer than the previous ones, could have been combined.

Chapter XI: Lands of the Core and Chapter XII: Islands of Terror

Ahh! Now we are getting to the world proper. This chapter describes the various lands/countries of teh Core Domain with Barovia as the beating, black heart. Each land is covered along with who their Darklord is, what the population is made up of and what characters can expect. Each land also has a section on how the Darklord can close their borders to keep people out or in. The Darklords themselves can never leave their lands. 

The Islands of Terror are largely disconnected from the Core, but can be reached via the Mists. 

Nearly* every AD&D 2nd Ed world is represented here, some more than once. 

(*I'll deal with this in another post.) 

These two chapters are the largest.

Chapter XIII: The Who's Doomed of Ravenloft

Were the chapters padded to make sure this one was Chapter 13? Maybe.

This covers the Darklords and important NPCs, both good and evil, you can encounter in Ravenloft. There are a lot of archetypical (some say stereotypical) villians of Gothic Horror. We get Dracula for example in both his human (Vlad Drakov) and vampire (Strahd) personas. Ghosts, Liches, were creatures, poisoners, the lot.

The Ravenloft adventure really sold the idea that the monster at the end, something later known as the "Big Bad," should really be a developed character. This takes that to logical next steps and makes all the Darklords detailed characters. This is a good thing really. 

Chapter XIV: Bloodlines

Covers the various family trees of the folks of Ravenloft. 

Chapter XV: Techniques of Terror (and Adventure Ideas)

More DM advice on how to run a horror game. 

The book ends with seven new AD&D Monstrous Compendium style monster pages.

The Boxed Set Contents

The boxed set also comes with 4 Poster sized maps; 1 of the Core, 1 of the Islands of Terror, and 2 of the various villages and towns. There is a clear plastic hex-grid to lay over the top.

There are 16 full color cards (8.5" x 11") of the various important castles and homes in Ravenloft.

Five cards of the various important families with details on the back.

And three with information usable by players and DMs.

The Print on Demand Copy

The Print on Demand copy is great, still quite clear. ALL of the material from the Boxed set is here. And by all I do mean all the maps and even the clear hex grid (no longer clear obviously). It does limit the utility of the maps, but since you can opt for the PDFs at the same time you can print out the maps and cards. 

I was very active in the Ravenloft fandom scene online back in the 1990s. I was a very active member of the RAVENLOFT-L email list back then and then later on the various Usenet groups.

Some of those people I still talk too today.

Ravenloft WAS 1990s AD&D for me. As long as I stayed in my dark little corner of the mists, I didn't care about what the other worlds did or didn't do. I still paid attention to Mystara and a little bit of Greyhawk, but the rest were so much noise to me. And my experiences were not unique.

I had pretty much given up on D&D, having moved on over to other games, but I had kept a lot of my Ravenloft stuff. Sadly, I did unload a huge bulk of it all in the early 2000s. I have since been able to buy it all back on PDF. Less space in my home, and less likely I'll decide to sell it all again.

I have a good example of this coming up next.

But I am going to say this, after so many decades away from the AD&D 2nd Ed version of Ravenloft, it is nice to be "home" once again. 

Advent-ure Dice: Day 4

 Day 4

Sparkly witch hats!

October Horror Movie Challenge: The Gorgon (1964)

 This movie might be one of the best convergence of movies from my youth, Greek Myth, and monsters from the Monster Manual. Tonight's feature is 1964's The Gorgon from Hammer Films.

The Gorgon (1964)

Ok what does this movie have? Well, Christopher Lee (as a good guy!), Peter Cushing (as a bad guy! sort of), the "Hammer Hamlet"" pre-Doctor Who Patrick Troughton, Barbara Shelley, an angry mob, a monster, basically it hits all the notes. But does it is hit them right?

The plot features a bunch of seemingly random murders. The odd thing is that the murder victims are all turned to stone. Peter Cushing is out local doctor covering up for the murders, but we don't see why till the very end. 

Lee is the friend of a family where one brother is blamed for the murders, his father is later turned to stone while investigating, and the last brother comes to investigate and falls in love with Barbara Shelley's Carla.

We learn through various sources that the spirit of "Megeara" one of the last Gorgon sisters haunts this small village in Germany. The three Gorgons were named Stheno, Euryale, and Medusa. Megeara must have sounded better to them.

Turns out Megeara's spirit is living on in Carla and every full moon she is released again on the world. 

Believe it or not, I have never seen this movie till tonight. 

There are a TON of liberties taken with the ancient Greek myth, but honestly that is fine. I am more annoyed they went with Megeara instead of Stheno or Euryale.

Featured Monster: Medusa

I think it is a bit obvious that the art in the Monster Manual was very inspired by this movie.

There is even some evidence that the Medusa of D&D is also based on this movie to a degree. Not the spirit or the coming out at the full moon, but the general behavior.

The great thing about this movie? It takes a classical mythology monster and gives it a solid horror feel to it in the special Hammer way. If you want a good working template on how to add horror to your games, this is a good place to start.

Of course, and this is an old gripe of mine, why is the monster called a Medusa and not a Gorgon? More to the point why is there also a bull-like creature called a Gorgon in the MM?

There is a "Gorgon" in a 1607 Bestiary by Edward Topsell titled "The Historie of Foure-Footed Beastes." Note, the link here is to the revised and combined Beasts, Insects, and Serpents and is over 1000 pages. 

That looks like our bull-Gorgon sure enough. I am sure that this is creature Gygax had in mind. And he said as much [1][2][3].

Two monsters for the price of one? No. I'll keep this one for the Medusa. 

October Horror Movie Challenge 2024
Viewed: 3
First Time Views: 3