Mirror Mondays: The Witches of 1986. Teenage Witches and the Haunted Midwest

Last week, I examined the witch in AD&D. As a class and a monster in a game of spell lists, curses, familiars, old women living at the edge of villages, mysterious maps, and a host of others. Advanced Witches & Warlocks is a project that aims to give her proper due among the iconic elements of classic fantasy RPGs.

But there is another mirror.

If the Advanced Witches & Warlocks is interested in exploring the witch as an element of a fantasy game in 1986, then the Jackson, IL project is a consideration of how the witch would fit in the modern horror world of 1986.

By the "modern," I don't mean contemporary times. I mean an era of landlines, lockers, cassette tapes, libraries, horror movies at midnight, school rumors, and parents who believe they can keep secrets from teens

These are very different takes on witches.

In the world of AD&D, the witch is always on the edge of the village. By the old road, the swamp, the shrine in ruins, or the sinister forest. In the Jackson, IL setting, she is on the edge of town, near the cemetery, an abandoned structure, the stream, the college, a different neighborhood, or a lonely road.

The map is different, but the location itself is not.

Jackson, IL, is where my imagination has found its new home. This place isn't Salem, nor New Orleans, nor some gothic European village under the full moon, despite my affection for those locations. No, Jackson is in the Midwest. It is a small town in central Illinois. A town with brick school buildings, college halls, county roads, corn fields, old graveyards, tiny churches, pizza shops, book stores, hardware stores, Friday night football games, Friday night dances, and houses where three generations have kept the same secret.

In Jackson, the supernatural does not require thunderous declarations or Latin incantations to reveal itself. Instead, it is rather subtler.

Perhaps it is the teacher who hasn't aged since 1569. Perhaps a door in the library, locked for no apparent reason. Perhaps a statue at the cemetery changing directions at midnight. Perhaps the name of a creek that no one remembers where the name came from. Or perhaps it is the mirror reflecting something other than yourself.

This is the haunting of the Midwest. It is not empty. It is a place filled with ghosts.

Every town in the Midwest has its stories: the house that has never been sold, the road where headlights disappear, the creepy old lady that kids are told not to approach, the rail road tracks where strange things occur, the auditorium in the school where lights flicker even with the power shut off, and the place outside town known only by its ominous name of "the Bad Land."

These are stories that form the Jackson, IL environment. Not simply the background, but the actual foundation on which the Veil between what is "Real" and what is considered "Supernatural" is constructed.

Most people in the town interact with the supernatural indirectly, in fleeting moments. A shadow. A whisper. A dream. A cold sensation down the spine. A name spoken out of nowhere. And they explain it away, because that is what humans do. It is simpler to believe that everything is ordinary than to accept that ancient tales still speak truth.

Teenagers are not good at keeping their thoughts and opinions to themselves. That is why a teenager is perfect in a game about supernatural activity.

Adults follow routines, have reputations, jobs, mortgages, church groups, seats on the school board, and myriad reasons to preserve the "official" story. Teenagers care about other things. Why does that room stay locked? Why are they avoiding that particular teacher? Why did Mom go silent when I mentioned that name? Why does the school bell ring differently to me? And why do I see the woman in the black cloak and purple dress in the mirror?

Thus, the teenage witch belongs in this place.

Not only is she a character living between two worlds. At least partly, but not entirely. She is not a kid anymore, but she is not yet an adult. People look at her, underestimate her, boss her around, dismiss her, and correct her, all before she even knows who she truly is.

And then comes the magic.

She begins having dreams. Strange marks appear on her skin. She finds books at the library with strange titles. A stray cat starts following her wherever she goes and never leaves. Her reflection starts speaking to her. And perhaps she discovers that the story about the dead girl haunting the bathrooms at school was not just a story.

That is the importance of their first experiences.

Whereas in the world of AD&D, the witch appears with powers, spells, and a clear-cut purpose, here she is noticed. The world recognizes something in her, and she recognizes it back.

This can be terrifying, but also terribly tempting.

I played this scenario with Larina. There is a young girl named Larina. Some kids call her "Creepy." She has visions and talks to ghosts, but she tries to hide her magical abilities because she knows that using them attracts attention from things in the darkness.

This scenario is perfectly designed for Jackson, IL. But I also realized there was a lot more I could do with it. That starting with powers is one type of game, but developing them as the game progresses is something else. 

Being magical in the Jackson environment means revealing oneself. Every casting of a spell is an exposure to the darkness seeking light. Every magical act draws eyes. 

Jackson, IL, is still a modern reflection of the AD&D-inspired fantasy world in Advanced Witches & Warlocks. The witch concept remains the same, but the clothes are different.

The group of friends is the coven. After hours in school are the dungeons. Rumors around town turn into gossip in hallways. The wise woman standing at the edge of the village is now someone's aunt, a school teacher, a local shop owner, or someone who has waited patiently for the right girl to ask the right questions.

The familiar becomes a pet that manages to enter the school for reasons that no one understands. A notebook under the bed takes the place of the spell book. The place beyond the fence at the cemetery is the ruined shrine. An ancient deity is a name scrawled in pencil at the abandoned classroom.

But Jackson, IL, cannot merely be a simple adaptation of fantasy RPGs. 

Not only would it be uninteresting, but it would lack necessary depth. It would be uninspired. 

Modern horror has to have its own logic.

While in a fantasy game, the main heroes are expected to take up swords and bravely venture into the dungeons, their counterparts in the modern horror world still have homework to do.

They have to attend classes, deal with parents, curfews, training, work after school, live up to peer expectations, compete with rival schools, maintain reputations, deal with their younger brothers and sisters, and people who would certainly notice if they were gone for three days straight.

This makes a big difference.

A teenage witch cannot just leave town on adventures, and she has to find a way to come back, to cover the stains on her jacket, to explain why her homework was done in the library, why she is late for algebra after having seen something crawling out of the drain at night. And yet, this is not a restriction; it is the essence of the game.

The ordinary world, which is often a barrier in games of the supernatural, is, in fact, what makes them scary.

An isolated haunted school becomes frightening precisely because it is her school. A cursed road is terrifying precisely because her best friend lives on the other side of it. The monster at the cemetery terrifies her, because Grandma is buried there, while the witch's mark makes her fear going to gym class. The ordinary makes the scary parts scarier. 

This is where the theme of the Satanic Panic emerges as well, but in the background.

Not as a simple decoration, but as the very core of the game, because the town uses that panic as a vehicle to express existing fears that otherwise remain untapped. The odd girl has always been creepy, the abandoned house - terrifying, the mysterious books at the library – suspicious. While the rumor makes the witch, it provides a ready-made justification for the search. This is horror, not because of accusations, but because of the town's desperation to believe that it has reason.

Since the community is already scared of her dark clothes, her books, her music, her art, and the woods she loves, the Satanic Panic gives this fear permission. It transforms gossip into social concern, suspicion into righteousness, and parents into monstrous beings, not changing their appearances in the slightest.

Because this is Jackson, IL, the choice of setting is critical. Where in a grand gothic landscape, the supernatural would sprawl. Here it is concentrated in the small-town Midwest. Everyone knows someone; everyone is related to someone; there are always witnesses to secrets; and there are always connections between the town monster and this place, even if no one has figured them out yet.

The ghost is not just a ghost. She used to be someone's sister, student, patient, or an innocent victim of a horrible event. The hag is not a creature that came here to terrorize. She may be an aunt, a landlord, a neighbor at church, the one whose home everyone avoids because of some terrible sin, or the very reason that three generations of women in one family never drink tea after dark. Local legends are not just myths. They are a necessity. People share their tales with such inaccuracy because the truth demands too much action.

Here is the haunted Midwest I imagine for Jackson: the place familiar enough to evoke a sense of security, and unfamiliar enough to hint at inherent dangers.

It is the time that makes the adventure unique as well. 1986 is not chosen by coincidence, although the brand recognition factor cannot be denied. It represents not nostalgia, but distance in time. No smartphones, GPS systems, online investigations, instant messaging apps, or fast transportation are available for the characters. If something terrible happened at night, they needed a phone line, a bicycle, a car, a payphone, or the guts to go to see it.

Rumors spread quickly, but not evenly. Information is stored in filing cabinets, yearbooks, church hallways, newspaper archives, and the library collection.

Which means that all the investigations are hands-on. The characters have to move from place to place, talk to people, and expose themselves. Which is important because in Jackson, IL, knowledge is bound to a place. The public library is important not because it is there, but because it has archived newspapers. The occult shop is valuable not for supplies but for the chance of someone seeing a teenager there. The school is necessary because almost everyone in town once studied there and left something behind. And the cemetery is crucial, because names are inscribed in stone, but not necessarily in the right manner.

As you remember, the power of the witch in Advanced Witches & Warlocks is bound to fantasy conventions and expectations. It is associated with danger, complexity, and power. Magic comes at a price. It creates bonds and produces unexpected results. In Jackson, IL, everything is different because the flow of magical powers has changed. 

This is the reason why these two projects complement each other.

While the Advanced Witches & Warlocks focuses on how witches look in a classic AD&D fantasy world, Jackson explores how a sixteen-year-old witch attending a class on Tuesday morning realizes that her destiny is tied to something far older than the town.

I am not yet sure whether this second project will eventually lead to a full-fledged book. And it may take quite a bit of writing and effort, probably surpassing 80,000 words before I finally figure out the full vision, there is one thing that I am sure about.

Jackson, IL, is a perfect reflection. While the witch at the edge of the ancient village is the witch wearing the black cloak on the old road in Advanced Witches & Warlocks, the witch sitting quietly at the high school is the girl on the bus looking at the old road with fascination.

Because the fantasy witch and the teenage witch are not different.

They are reflections of one another through the glass.

Prof. Lars Nichols with his daughter, Larina

Mirror Shard: Larina, the New Girl Witch

Every good haunted school needs a new girl.

It is one of the staples in teen horror literature and movies, and yet it works so well because it is not a gimmick. From Buffy Summers arriving at Sunnydale High to start a new life to Sarah Bailey transferring to a new school to become the missing fourth link in a teenage coven. The new girl arrives in the adventure exactly when it is born in the audience member's mind. The new girl does not yet understand the rules of the game, so we get to learn with her.

This is important in a horror RPG.

The long-time local heroine already knows what is better to remain unsaid. She knows the forbidden hallways, the names of the families whose conversation must be cut abruptly, and the teachers whom one has to joke with and not argue. She was taught by experience. While she may not fully believe in the town tales, she knows what they are about or at least what to avoid.

The new girl doesn't know anything. Not yet, at least.

• She wants to know why the third-floor room is locked all the time.
• She is curious why no one ever swims in the creek downstream.
• She wonders why there is a gap in the school's trophy case.
• She would like to understand why the librarian keeps local histories in the drawers rather than on the shelves.
• She would like to know why people fall silent whenever someone mentions "Mauvaisterre" or "Blackthorne."

This makes her useful. This also makes her dangerous.

The character of Larina fits the concept perfectly because she is known and unknown. We know where she can evolve into. The Witch Queen. The occult historian. The redhead witch, who wears black and purple clothing and stands in the way of the bad things trying to get into our world. 

But this is not the case in Jackson, IL.

Larina might have just moved into town because of her father's transfer to the college. She might be a newcomer attempting to blend into normality, failing to do so by noon. She might already be aware that ghosts exist in her town, but she has yet to comprehend their meaning. The other students might consider her creepy before she even introduces herself.

This is useful at the table.

The role of Larina as a New Girl Witch is not to figure out the details for players but to expose the mysteries by noticing things that everyone else failed to see or has learned to ignore.

I use Larina here because she is a great character for me. She is a stand-in, though, for any character the players bring to the table. 

• She observes the reflection's weird movement.
• She listens to a ringing of the bell that no one else can hear.
• She realizes that a stray cat hanging around the school has come there with a specific purpose.
• She discovers that the dead girl haunting the school bathrooms knows her name.
• Her first lesson of magic is not about casting a spell.
• It is about revealing her to the supernatural world.
• The ghosts can see her.
• The entity residing beneath the railroad tracks sees her.
• The teacher who has not aged since 1769 sees her.
• So do students who needed reasons to regard her as creepy.

So use the New Girl Witch when you want to start your campaign with a supernatural revelation. She can be a player character, NPC, rival, friend, or a stranger whom the other characters need to trust or not.

And just like the PCs, she does not have to know everything.

She just has to know enough to be scared.

Mirror Mondays: The Witches of 1986. The Witch Was Already Waiting in AD&D

The main design idea behind Advanced Witches & Warlocks is simple.

The Witch was already a part of AD&D.

However, she had yet to receive an official class.

After all, she didn't really fall under the same category as other classes, such as the Magic-User, Cleric, Druid, Illusionist, Assassin, Monk, Ranger, or Paladin. But the Witch had a presence.

If you know how to find her, you will encounter her in the spells, in the monsters, in the implied setting, and even in Appendix N. She hides within the text itself. Like an occult figure.

AD&D already contained curses, charms, familiars, potions, polymorphs, magic circles, haunted mirrors, hags, night creatures, demons, devils, spirits, evil temples, forbidden books, and strange old women living on the fringes of the map.  Welcome to witch country.

All that was really left was to make the formal class.

That is why I don't think of my Advanced Witches & Warlocks as trying to force a modern witch concept into a retro-style game. AD&D has its own style, its own rules, and its own unique feel. If you drop a modern witch into AD&D's framework, it wouldn't work. The two things simply don't gel. 

Instead, the real question is: What sort of witch does AD&D want to nurture?

And that is why Appendix N plays such an essential role here.

While writing my Witches of Appendix N posts, I am doing far more than merely collecting witches in an inventory list. In reality, I am attempting to identify the essential concepts that were formed by early fantasy, weird fiction, horror stories, and sword-and-sorcery before D&D codified magic into game rules.

And once you start looking, the witches are everywhere.

Notably, not all witches will go by that name. They might be referred to as sorceresses, enchantresses, priestesses, hags, mothers, queens, oracles, temptresses, psychics, necromancers, or any other female with unusual powers. They are more than just distaff wizards; they have their own unique presence. 

Not all witches will be villains either. In fact, sometimes, they are the only ones capable of interpreting the strange events taking place. Whether that places them on the side of "good" or "evil" is often too simple of a question. 

That is important for gaming design purposes. 

The witch of AD&D doesn't have to be confined to folklore alone. She doesn't have to be a village healer, a wicked stepmother, a pagan priestess, an enchantress, or the mysterious old woman of the woods.

She is all these things combined.

Take, for example, the Satanic Witch featured in Poul Anderson's Three Hearts and Three Lions. The story takes place within a setting full of Christian, pagan, faerie, and infernal elements. The witch's magic is powerful because it has spiritual, moral, and social implications. Both the satanic witch and Morgan Le Fey of this tale stand apart AND stand between all these other groups. 

A witch doesn't simply cast a spell.  A witch makes contact with beings that want something from her. She makes social contacts.

Here is another vital lesson for our witch design in AD&D.

• Magic-Users learn the arcane.
• Clerics petition divine power.
• Druids follow the ancient rites.
• Witches make contact.

She makes contact with spirits, patrons, ancestors, elder gods, demons, the dead, the moon, the earth, and whatever else lies beyond naming.

Of course, this doesn't mean every witch is inherently evil. That would be sloppy game design and even worse, boring.

Here we see the magic of Fritz Leiber, where the main antagonist of one of the first Fafhrd & Gray Mouser stories isn't some evil mage, but Fafhrd's mother. Mor isn't just a boss in the dungeon, but family, power, culture, and control. She created that whole world for him, and escaping her is an accomplishment not unlike slaying monsters. Mor is not really evil. She is controlling; she is a matriarch after all, but she isn't harming Fafhrd; she is just not letting the youth run free. 

In Leiber's The Conjure Wife we see another witch, Tansy. She navigates her own "dungeon," only this time it is the challenges of a suburban housewife/witch facing other witches for dominance over their husbands' mundane careers at a University. Like Mor, Tansy is not about flashy magic; her magic is about something else.

That brings us to the third thing we learn:

The Witch is social.

She has family members, a coven, social and economic obligations, rivals, apprentices, enemies, taboos, and reputation. People know she exists before meeting her. People talk about her in hushed tones. People avoid her home, yet people end up visiting her.

• They visit when the child is ill.
• They visit when the cow stops giving milk.
• They visit when their husband takes a lover.
• They visit when their crops fail.
• They visit when the ghosts keep coming out.

These things aren't mere background flavor; they're solid adventure hooks.

The Witch should cause rumors. She should be a reason why villages need adventurers. She should affect villages in tangible ways.

Robert E. Howard brings up a fourth point. His worlds are full of the vestiges of lost ages, dark cults, serpent-haunted ruins, vanished civilizations, sinister rituals, and sorcerers whose power seems to predate even mankind itself. His witches and similar beings appear almost to carry within themselves the weight of lost history. Their magic is not theoretical; it is something that has been practiced long before modern civilization.

This matters. Well, at least to me and my view of how witches work.

An AD&D Witch is not simply an academic wizard with a new label slapped on. This character must embody knowledge of forgotten lore that remains effective. The old magic still works.

Sometimes that involves healing. Sometimes it involves cursing. Sometimes it involves making deals with powers better left unawakened.

And here we begin to see how the Witch becomes distinct from the usual AD&D Magic-User. Whereas the latter is kept aloof from the world through scholarship, the former is involved in the world and its dark undercurrents.

• She knows the trees that were once used to hang criminals.
• She knows why the church bell has a crack in it.
• She knows who among the midwives was secretly buried beyond the cemetery walls.
• She knows what the nameless thing in the well is.

Once again, this isn't just flavor. It is essential to what the class is.

A Witch PC knows more than just whether there is magic around. She knows the history of that magic. She knows who left it behind. She knows why.

• What spirit cursed the bridge?
• What drives the wolves away from the north road?
• Why does the old woman who lives near the outskirts to put out milk on dark nights?
• Why does the baron’s daughter cast no reflection?

That's why Advanced Witches & Warlocks doesn't reduce the Witch to simply having a spell list. She is not a wizard with a broom. She is not a cleric with a pointy hat.

The spell list is important, however. AD&D is a game of rules, levels, spells, limitations, saving throws, and consequences. A class has to have some sort of unique footprint.

But a class needs something else too.

It needs a role in the implied setting and world.

The Cleric implies temples, deities, undead, holy symbols, and orders.

The Magic-User implies spellbooks, towers, apprenticeships, lost libraries, and rival magic-users.

The Druid implies sacred groves, circles, mistletoe, ancient faiths, and harmony.

The Witch implies cottage homes, covens, familiars, curses, enchantments, rites of the full moon, hidden grimoires, local superstition, wizened crones, prodigious children, the fool of wisdom, and the dangerous generosity of one who understands your predicament and the price of its resolution.

This is not merely an addition for AD&D. This is part of what makes it AD&D.

Consider the monsters.

The hags; Night hags. Sea hags. Greenhags. Lamias. Medusae. Harpies. Vampires. Succubi. Lycanthropes. Demons and devils who tempt mortals with power. The undead whose restless souls seek redemption. The fey whose customs of hospitality and revenge dictate their actions.

These are not random monsters.

These are elements of a world in which magic is dangerous, intimate, and transactional.

This is the world of the Witch.

Consider the spells.

Charm Person. Detect Evil. ESP. Clairvoyance. Polymorph. Geas. Bestow/Remove Curse. Speak with Dead. Animate Dead. Reincarnation. Contact Other Plane. Magic Jar.

These spells all have their roots in esoteric practices that involve dealing with spirits, transformations, fates, and taboo acts.

These spells all contain elements of witchcraft.

One cannot simply mix and match bits of the Magic-User and the Cleric classes, add a cat, a broom, and a pointy hat. One cannot create the Witch in such a lazy manner. The Witch should not be merely a Magic-User with a familiar or a Cleric without armor nor a Druid with a different robe. 

A proper Witch demands her own mechanics and her own logic.

That logic for Advanced Witches & Warlocks is Occult Magic.

• Arcane magic is learned magic.
• Divine magic is authoritative magic.
• Occult magic is secretive magic.

The Witch recognizes magic as a complex tapestry, and one that might take notice if its strands are pulled apart.

And that's the other reason why Charisma remains my pick for the Witch's primary attribute. Not beauty, not popularity, but presence. Presence, as in the power of the self vis-à-vis others. Because the Witch must bargain, bind, curse, bless, threaten, pacify, command, and beckon across thresholds. 

It is equally obvious why this applies directly to Jackson, IL. Our young Witch may well be one of the smartest people in the room, but we don't need to assume it, and our young Witch will certainly never be the wisest. But our young Witch will have presence. Sometimes it may be subtle. Other times it may be awkward. And it will most likely manifest only under the cover of darkness, fog, mirrors, and whispers of her name. In the context of a school, Charisma becomes not simply popularity but social gravity. The ability to pull others into a secret, intimidate a bully, unsettle a teacher, console a frightened child, or even make that mysterious dead girl in the bathroom listen.

The reason why the Witch also works in Jackson, IL, just like in AD&D, is that she is powered by relationships. And there is perhaps no better place than high school for such power to operate.

Multi-faceted Non-Player Character Witches

That leads to yet another reason why this class is not too simplistic. Modern fantasy is often built around clear-cut heroes and villains, and both can do the job. However, AD&D requires something more nuanced.

The old-school Witch must be useful to the party, feared, necessary, and possibly suspicious.

She may be the party's best hope of countering the effects of a curse... while also being the very reason that curse exists.

She may heal a sick child in one town while being accused of causing a blight elsewhere. She may be neutral but remember that neutrality doesn't imply passivity but rather balance, debts, oaths, and repercussions.

She may be good yet be truly horrifying and evil, yet still cherished by someone she saved.

These are the roles that I want for my new class.

The Witch had to appear in Advanced Witches & Warlocks because of what AD&D represents.

• A dungeon door.
• A path through the woods.
• A forsaken altar.
• A burial site.
• A locked chamber.
• A mirror.
• An old and forgotten tome.

In all cases, the Witch understands that these are thresholds and must be named.

• She was there in Appendix N.
• She was there on the spell lists.
• She was there in the monster manuals.
• She was there in the rumors.

Advanced Witches & Warlocks does nothing more than greet her, provide her some rules, and give her a voice.

Shard: The Village Witch

She was in the game even before she became a class.

She was in the rumor table, though nobody called her by name. She was in the little cottage noted in the forest wilderness map. She was the old woman the people feared, and yet the one they visited under the cover of darkness. She was the stranger who knew the barrow’s true name, the seeress who told the party not to open the black door, the sole inhabitant of the town not showing any sign of surprise when the dead started walking.

There were always traces of her in the game. Her familiar lurking on top of a fencepost. The curse that no Cleric could lift, but she knew who placed it. Potion brewed from grave-moss, moonwater, and blood. Charm tied in red thread. Child born under an unlucky star. Ruined shrine where old rituals still work.

Introduce the village witch whenever the party arrives in a small town dealing with some problem they don’t want to face. She can be anywhere near the settlement – at the edge of the map, at the edge of the woods, marsh, ancient trail, ruin of the old temple, the last house in town before the fields become dark.

She is not automatically an enemy of the party. Nor is she always friendly towards everyone around her. She is not a monster, though the monster may fear her. She is not a Cleric, though the villagers seek her help whenever they get sick. She is not a Magic-User, though she casts spells that are unknown in academies. She is not a Druid, but uses all the old names for plants and trees.

She knows about what the villagers have done. She knows what the monster wants. She knows the secret the priest won’t talk about in public. She knows what the Magic-User failed to discover, because he was looking for written magic while ignoring oral magic. The magic that predates writing. 

Maybe she cured the reeve’s son once, though the reeve still considers her a wicked witch. Maybe her familiar has encountered the monster, and refuses to venture into the forest at night. Maybe she knows the old name of the hill ruins, but calling it brings her blood loss. Maybe she has written down her secret spells in some old tome that gets written by itself whenever it rains thunderously.

Perhaps the village priest consults her in secret for the reading of dreams. She may have buried something beneath her hearth long ago and never talked about it for two decades. She may recognize one of the party members' birthmarks as a witch-mark. She may ask to have the curse removed only after somebody confesses.

She may inform the party that the haunting isn’t actually caused by the undead, but rather it is the grief made manifest. She may recall times when the ruined temple had worshippers. She may remember which tomb is empty, and why people keep flowers on it. She may not venture over moving waters ever since the last witch-hunt came to the town.

It shouldn’t give away rumors and heal the party for free like an automaton. She has her needs, debts, limits, and enemies. She may request to have a piece of hair, offer to protect someone, make a pact under the moonlight, retrieve a missing charm, or identify the liar among the villagers.

Most of all, she must have a price.  Not gold, for sure. Rarely gold. 

Usually, something only the PCs can provide.

But in any case, the witch is out there. Waiting. 

Monstrous Mondays: MoChem the Morgan Chemical Monster

 Going back today to Jackson, IL, my current NIGHT SHIFT^® campaign and my all-consuming obsession. 

Today I have a monster that I have been trying to bring into a game for the better part of 47 years. Not that this guy is a hard monster to figure out, it's just that his history is so tied up in my hometown that he didn't really fit into any other game I have done before.

This particular monster was created by me one afternoon in the summer of 1979 when I was 10. I had been reading a lot of Daniel Cohen's "monster books" thanks to our town's well-stocked Carnegie grant library. 

I lamented that our town didn't have their own local monster (the word "cryptid" was not in my vocabulary yet) though this was way before the internet and before I discovered microfiche to discover my hometown did indeed have it's own history of monsters, ghosts, and other things. 

I figured my creation was as "real" as anything I had been reading (age 10 was the start of my real exploration into skepticism, which led me to the conclusion that the supernatural was all bullshit). While I still enjoyed reading it all, I thought it was as real as, say, "Star Wars."

So in a fit of childhood bravado and creativity that I subject you all too every day, I made a monster.

Outside of town was a chemical plant. Now, I am not sharing the name because my blog gets hit by bots I have found material I have written here for games passed off as "truth."  Details about the Hex Girls and Astral Spiders, just to name two. So there is no reason to drag a real company with real employees into something invented by a 10-year-old. But I am keeping the monster's name.

So let's switch over to the fictional Jackson, IL and it's resident mutant.

The Story of MoChem and the MoChem Monster

Just east of town, the Mauvaisterre splits into various creeks and smaller bodies of water. One of these runs by the now-closed Morgan Chemical plant. Morgan Chemical came to Jackson in the late 1800s, and was founded by Jacobi Morgan and Sons. Morgan Chemical produced fertilizer, pesticides, and other agricultural chemicals needed by the growing farming boom in Central Illinois post-Civil War economy. The plant was well-run, provided hundreds of jobs for locals, and brought money into the local economy. So successful was the plant that the road on which the plant was located was renamed Morgan Ave, and businesses began to pop up all along the east-west corridor. So much so that it eventually took businesses away from the North-South Main Street. 

Jacobi Mogan was very typical of many of the entrepreneurs who had settled in the area at the time. "Work Hard. Tend to Family. Fear God" was his motto. In all fairness, he was, for the time, a good boss. His employees did work hard, and he paid them a fair wage. The company grew on his solid Presbyterian-Protestant work ethic and the belief that anything is possible with faith and hard work. He was an early benefactor to MacAlister College and helped build one of Jackson's famous Gothic-revival style churches.

His sons, however, were not so charitably minded. When the sons took control of the company in the early 1900s, they saw ways to increase profits by cutting some safety standards. They also got involved in the Great War, providing "fuel additives," but it was well known they had taken a side contract in weapons research. When World War II came around, Morgan Chemical provided gas masks, and rumor says the chemicals the gas masks protected against. 

With each generation, the Morgan family motto (metaphorically speaking) lost another word until, in practice, only “Work Hard” remained. By the 1960s, under the fourth generation of Morgans, the plant had become notorious among workers for failing safety standards, careless disposal practices, and toxic leaks. Waste seeped into the groundwater and into the channels that fed the Mauvaisterre. Cattle downstream sickened or died. Children born to workers were whispered about in hushed voices. Whatever prosperity the company had once brought to Jackson now came at a terrible cost.

It was in this poisoned environment that MoChem first came to be known.

No one agrees on what MoChem truly is. Some claim it was born in the tainted water itself, shaped by chemical waste and bad earth. Others whisper that it was once a deformed child, discarded by frightened parents after the plant poisoned too many families. Another tale says it had been a worker who fell into a vat and came back wrong. The most popular story holds that MoChem was an undercover reporter from St. Louis or Chicago who came to expose Morgan Chemical, got too close to the truth, and was murdered and dumped in the waste.

What is known for certain is that in 1973 Morgan Chemical was fined, shuttered, and abandoned. Cleanup was promised. Very little was ever done.

Soon after that, sightings began.

MoChem (AD&D 1st Edition)

Frequency: Very rare
No. Appearing: 1 (Unique)
Armor Class: 5
Move: 9”
Hit Dice: 4+4
% in Lair: 55%
Treasure Type: Nil
No. of Attacks: 2 or 1
Damage/Attack: 1-6/1-6 or special
Special Attacks: Blood drain, engulf small prey
Special Defenses: Semi-liquid form, surprise
Magic Resistance: Standard
Intelligence: Low to Semi-
Alignment: Neutral (Evil)
Size: M
Psionic Ability: Nil
Attack/Defense Modes: Nil
Level/X.P. Value: IV / 240 + 5 per hit point

MoChem (NIGHT SHIFT)

No. Appearing: 1 (Unique)
DV: 6
Move: 45 ft.; may flow through narrow gaps at 30 ft.
Vitality Dice: 4
Attacks: 2 slams/claws
Damage: 1d6/1d6
Special: Semi-liquid form, blood drain, engulf, surprise, light sensitivity, sunlight damage, double damage from fire
XP Value: 140

MoChem is a malformed humanoid horror spawned from decades of illegal chemical dumping. Roughly man-sized but squat and thick-bodied, it has overlong arms, short, powerful legs, a single milky eye in its upper torso, and a flexible feeding maw below. Its body is coated in a red oily secretion often mistaken for blood.

Combat: MoChem attacks with two heavy slams or claws for 1-6 points of damage each. It may instead attempt to batter, grapple with, or press itself against prey to feed. It is cunning only in an animal way, preferring darkness, ambush, narrow spaces, and prey that are alone or already frightened.

Special Abilities

Blood Drain: Whenever MoChem scores a critical hit, it opens feeding pores or its maw against exposed flesh, draining 1-4 additional hit points of blood and vital fluids. This is in addition to normal damage. A drained victim may appear pale, weak, and chemically burned around the wound. This is not a vampiric or magical effect.

Semi-Liquid Form: MoChem may compress itself into a half-fluid shape, allowing it to pass through bars, storm drains, culverts, wide cracks, broken windows, pipe openings, or any aperture large enough for a cat or small dog. In this form, it cannot attack normally, but it may move through spaces inaccessible to most man-sized creatures. It may resume its full shape in the following round. Because of this ability, it cannot be held by ordinary ropes or manacles, and non-magical grappling attacks against it suffer a -2 penalty.

Engulf Small Prey: Creatures of small build, as well as animals the size of dogs or smaller, may be engulfed if MoChem successfully hits with both attacks in a single round. The victim must save vs. petrification or be pinned within its semi-fluid mass. Thereafter, the victim suffers 1-4 hit points of damage per round until freed or dead. Small animals may simply be swallowed whole at the DM’s discretion.

Surprise: In darkness, sewers, culverts, abandoned industrial works, or wet ground near polluted runoff, MoChem surprises on 1-4 on 1d6.

Light Aversion: Bright light causes MoChem pain and disorientation. A strong lantern beam, continual light spell, or similar bright illumination forces it to attack at -2. If trapped in such light for more than 3 consecutive rounds, it will retreat if possible. A light spell cast directly upon or very near it inflicts 1-4 hit points of damage.

Sunlight: Direct natural sunlight inflicts 1-6 hit points of damage per round and prevents use of its semi-liquid form. MoChem avoids daylit areas whenever possible.

Vulnerability to Fire: All fire-based attacks inflict double damage.

MoChem is not undead, nor is it a true elemental or demon. It is a pollution-born predator, a toxic life form awakened in bad ground and abandoned waste. It lairs in culverts, runoff tunnels, chemical pits, and flooded industrial ruins.

MoChem possesses a rudimentary intelligence. Enough to know it despises its own existence, but not enough to know how to end it. It fears light and the sun and avoids both at all costs. According to scholars on local BBS sites, if you could lure it into direct sunlight, it would dry up and die. Others speculate that such a death would not be permanent unless the creature was also burned.

--

I kinda wish 10-year-old me could see this!

Night Shift^® is a registered trademark of Elf Lair, LLC.

Mail Call Tuesday: Witch Edition

 Ok. So calling any of my mail calls "witch edition" narrows it down as much as calling it "Tuesday." But I did get some things I have been waiting on for a while.

First up is the framed painting "Advanced Witch" by Eugene Jaworski.  I need to find a good place on my walls for this one. 

Again, you can find his art here and on his Instagram account. 

In the mini department, I got a nice bonus from work, so I ordered a new mini from Hero Forge. 

Yes, that is my newest witch, Elowen. I am nothing if not obsessed. 

And finally, one I have been waiting for a while, Spell Bound. 

This book features the covers of many vintage paperbacks of the witchcraft popularity craze. And yeah, I own a few, and I remember most of them.  But the book is fantastic.

There is a lot of really great stuff here, and I'll really enjoy going through it all. I loved going through the book, comparing covers to the books I still I have on my shelves. Some of these covers are what got me interested in witches to begin with. 

 So yeah, a lot this week. But some of these have been a long time coming.  

Elowen Hale: Advanced Dungeons & Dragons

“Elowen walks like she knows where the puddles are going to be before the rain even starts. She never yells when things go wrong. She just smiles and says we’ll fix it. And then we do. I like going on adventures with her. The ghosts don’t bother her, and she always remembers to pack snacks.” - Doireann, Goblin witch

In many ways, this is the core Elowen, the one I think of when I talk about her.

Elowen died, but she returned changed. Animals respond to her in uncanny ways. Certain undead recoil. Divination spells sometimes yield contradictory results when cast upon her. Detect Evil finds nothing. Detect Magic sometimes flickers.

Among her coven sisters, she is treated with reverence and caution. The Old Religion teaches that death is a doorway. Elowen has stepped through it, and then turned around and stepped back. That doesn't happen, not without a good reason. 

Elowen has a Witch Mark. In this case, the Witch Mark of Sight. Her sight allows her to see ghosts, spirits, and any incorporeal undead, even when they are invisible.  The downside is that they can also always see her. 

Elowen Hale
1st-level Human Witch (High Order), Neutral Good

Secondary Skill: Initiate

S: 10
I: 16
W: 15
D: 12
C: 14
Ch: 17

Paralysis/Poison: 13
Petrify/Polymorph: 13
Rod, Staff, or Wand: 14
Breath Weapon: 16
Spells: 15

AC: 10
HP: 6
THAC0: 20

Weapon
Dagger 1d4/1d3

Familiar: Cat, "Mirepoix"

Spells
Cantrips: Detect Curse, Ghost Sound, Chill, Mend Minor Wounds
First level: Ghostly Slashing, Detect Spirits, Minor Curse

Witch Mark: Witch Sight (see spirits)

Theme song: Home (Prospertine)

This is Elowen at the very start of her adventures. She is currently traveling the world with Doireann and Aisling as they travel with the Free Elves. 

--

Witch Marks are something new I am working on. Elowen has the Witch Mark of Sight, and it allows her to see ghosts, spirits, and any incorporeal or invisible undead. It means they can also see her and know she has seen them. Aisling also has the Witch Mark of Sight, but hers allows her to see auras. The side effect is that Aislign is looking at someone with her witch sight, they know they are being watched, and it makes them uncomfortable. 

Elowen speaks Common, her Alignment Language, Elven, and Draconic. She still has three more languages she can learn. I am fairly sure that if she continues to hang out with Dori, she will learn Goblin. I am saving the other two to figure out later on.

I am also finally detailing where she is from. She is from one of the richer sections of East Haven, or maybe just outside of it. Her family is well off; I figure her father is some sort of import/export merchant. Not someone who sells things himself, but manages a lot of merchandise for others to sell. It would also explain why they knew of Larina, or at least the witches of West Haven. It also goes to show how much the people of East Haven try to avoid thinking about anything that might remind them of West Haven, given how little Elowen first knew about things. 

She wears a witch hat that looks like Larina's. Makes sense since it was a gift from her mentor for her adventures. 

Other Stats

• Tales of the Valiant
• Pathfinder 2nd Edition

Mail Call Tuesday: AD&D 1st Edition PoD

 Our Sunday game is doing great, 8 years running! We split it up now between the regular 5th Edition game AND this new game everyone wanted to play. AD&D 1st Edition! My oldest is the DM for the 1st Ed games.

So I picked up some AD&D 1st ed books from DriveThruRPG's Print-on-Demand.

Honestly I like these quite a bit. I grabbed a "players bundle" of the AD&D 1st Ed Player's Handbook and Unearthed Arcana. 

The binding is sturdy, and the paper is crisp white, so the text is very easy to read. We already had a PoD set, so I picked up enough for all the players that didn't have their own copies. 

These guys are all in their 20s, so they don't have nostalgia for the original covers like I do and my oldest does. So they are extremely thrilled with these. 

Witchcraft Wednesday: Character Challenge Wrap-up

 Another Character Creation Challenge is in the history books.  Thanks again to Carl Stark, The TARDIS Captain, from TardisCaptain's Blog of Holding.  

Some of the playtest characters

In all, I made 41 characters (with 14 more unfinished), all witches for AD&D 1st Edition and all playtests for my new Advanced Witches & Warlocks: Occult Adventures. All witches from level 1 to level 31.

It has been a lot of fun. Here are all the character sheets (and linked):

Follow Timothy's board 31 Day Character Creation Challenge on Pinterest.

And all of the "Theme Songs" in a playlist:

I hope you enjoyed this as much as I did!

Advanced Witches & Warlocks: Occult Adventures

 It's Imbolc. A time for renewal and new beginnings. And a great time to announce my newest project!

The art is from the great Eugene Jaworski. You can find his art here and on his Instagram account. 

Here is his fantastic art with my text messing it up. 

And yes, that is my cover girl, Larina, and her lazy familiar, Cotton Ball. 

This should not really be a surprise to any regular readers here. I have been going on about AD&D games and Occult D&D for a bit now. But that is not all this is.

This project began many years ago as my High Secret Order Witch Book. I am also pulling in material I had begun working on for an unannounced Sea Witch book and something I was calling "The Compleat Witch."  None of these ideas jelled the way I wanted, but there was still a lot of good material. Some of this material also comes from my exploration of the Witches of Appendix N.

I also have 500+ new spells. Some are going back to my original netbook, and others I have written along the way. Not sure how many will end up in this new book, other than to say "a lot."

There is also a lot of material I wrote that will not be included in this book. Once I started my editing, I saw that a) I had too much material and b) some of it was not really related to witches. So there will be a second "Occult Adventures" book out next year, and I have already approached Eugene Jaworski to do the cover as well.

There will not be a Kickstarter for this. I plan to get this all to you via DriveThruRPG. I have everything written, we have been playtesting in our Wednesday and Sunday games, I have art. I just need to edit and trim the fat. Though recent playtests have made me go back and forth on a couple of things. I am excited to see where it all ends up.

Looking forward to getting this out to you all.

Character Creation Challenge: Day 31, The Simbul Witch Queen of the High Witchcraft Tradition

There are only a few characters created by others in this game that I can say I absolutely adore. Feiya is one, so is Iggwilv. And The Simbul, aka Alassra Shentrantra Silverhand, is another. As I said before, Ed Greenwood's obvious love for this character in his writing pulled me into this character, and I love her. I love her power, her madness, and her obvious tragedy. She is great, and I could not wait to add her to my games. Of course, I had to put my own spin on her.

The Simbul is often misunderstood because people take her madness at face value. They see chaos, volatility, and emotional extremity and assume a lack of control. That is a mistake. The Simbul is not mad because she is weak. She is mad because she is too strong for the structures that attempt to contain her.

Unlike Iggwilv, who burns down identities and walks away, Alassra remains. She stays. She binds herself to place, to people, to purpose. Aglarond is not merely her realm; it is her anchor, her sanctuary. Her madness is the pressure of power that refuses to dissipate. Where other archmages retreat into towers, demiplanes, or abstraction, The Simbul holds the line in the world itself.

This is the essential difference between High Witchcraft and the more solitary or liminal traditions. High Witchcraft is not about secrecy or withdrawal. It is about standing openly in the storm of magic and daring the world to endure you. The Simbul does not hide her power, nor does she soften it for the comfort of others. She bleeds magic. She leaks prophecy. She burns bridges even as she protects them.

"Do NOT presume to lecture me, Larina Nix, envoy of Baba Yaga or not."

- Alassra Silverhand, The Simbul

Her relationship to the Seven Sisters is equally telling. They are reflections of Mystra’s will, but Alassra is the one who most visibly suffers for it. She is not the most restrained, nor the most diplomatic, nor the most serene. She is the one who feels everything. That emotional intensity is not incidental. It is the price she pays for channeling magic on a scale that would unmake lesser beings.

If Iggwilv represents the witch who refuses all masters, then The Simbul represents the witch who accepts a burden no one else can carry and survives it anyway.

Alassra Shentrantra Silverhand "The Simbul"
31st level Human Arch Witch/Witch Queen (21/10), Neutral
Tradition: High Witchcraft

Secondary Skill: Initiate

S: 14
I: 18
W: 15
D: 18
C: 16
Ch: 19

Paralysis/Poison: 2
Petrify/Polymorph: 2  
Rod, Staff, or Wand: 2
Breath Weapon: 4
Spells: 3

AC:  -2 (Bracers of Protection +3, Cord of Protection +2, Ring of Protection +3, Dex 18 -4)

HP: 78
THAC0: 8

Weapon
Dagger +1 1d4/1d3

Familiar: Familiar Spirit

Occult Powers
1st level: Familiar
7th level: Witch Vision (see magic, invisible) 

Archwitch Powers: Mastery of the Veil (gained at level 7), Arcane Communion (gained at level 9), Unbound by Circles (gained at level 11). 

Witch Queen Powers: Awesome Presence, Occult Eminece (Witch's Blessing), A Thousand Faces, Timeless Body, Ninth Level Spells (5)

Spells
Cantrips: Arcane Mark, Daze, Mote of Light, Object Reading, Open,
First level: Analgesia, Bar the Way, Burning Hands, Charm Person, Comprehend Languages, Eldritch Fire (Silverfire), Glamour, Mend Minor Wounds
Second level: Arcane Disruption, Agony, Alter Self, Continual Flame, Dweomerfire, ESP, Evil Eye, Web 
Third level: Bestow Curse, Clairsentience, Control Winds, Danger Sense, Dispel Magic, Fly, Lightning Bolt
Fourth level: Analyze Magic, Ball Lightning, Divination, Polymorph Others, Polymorph Self, Remove Curse
Fifth level: Break Enchantment, Maelstrom, Sending, Ward of Magic 
Sixth level: Analyze Dweomer, Greater Scry, Mislead, Rain of Fire
Seventh level: Astral Spell, Chain Lightning, Greater Teleport 
Eighth level: Eye of the Storm, I Am The Fire, Storm of Vengeance, 
Ninth level: Foresight, Imprisonment, Seal the Gate, Power Word Kill, Shapechange

Theme Song: Every Little Thing She Does is Magic

The Simbul occupies a rare and precarious position. She is both an Arch Witch and a Witch Queen, but she is not defined by conquest, hierarchy, or cult. Her authority is not derived from dominion over other witches, but from presence. When The Simbul acts, reality pays attention. When she speaks, even the gods listen carefully.

She is best used in a campaign not as a quest-giver or antagonist, but as a force of nature given human form. The Simbul does not maneuver behind the scenes. She erupts. She intervenes. She is not a gentle breeze; she is a storm, she is a hurricane. 

She makes decisions that reshape the magical landscape, then lives with the consequences, in full view of the world. Player characters who encounter her should feel small, not because she belittles them, but because she reminds them of the scale at which magic can truly operate.

Yet, for all her terrifying capability, there is a deep sadness at the heart of Alassra Shentrantra Silverhand. She has given up the possibility of an ordinary life, not for ambition, but for necessity. She endures so that others may not have to. That sacrifice is what elevates her from a powerful spellcaster to a Witch Queen in the truest sense.

I am not sure what I feel about her canonical death. While I do not pretend for a moment that any Witch Queen should live forever, her end feels strangely hollow to me. Yes, she died doing something entirely in character, but the framing feels uncomfortably refrigeratory, reducing a complex, volatile, deeply loved figure to a moment of narrative utility rather than culmination.

In my games, she sacrifices herself, yes, but not in that way. It is her magic and her sanity that are consumed, burned away to seal what could not otherwise be contained. Alassra lives, but she is vastly diminished. The storm has passed, and what remains is the woman who stood at its center.

I like to think that in this state, Elminster keeps her hidden and protected, not as a guardian of the realm, but as a dear and close friend who refuses to let her story end in silence. He works without rest to restore what was lost, knowing full well that success is uncertain. Whether she will ever return as the Simbul the world knew is unclear. But she is alive. 

And for a Witch Queen, that matters.

Where Iggwilv survives by changing, and others by ruling, The Simbul survives by being remembered, even when she can no longer remember herself.

And that's another 31 Day Character Challenge!

Character Creation Challenge: Day 30, Iggwilv Witch Queen of the Demonic Tradition

 I rather love Iggwilv. 

There is a quote attributed to her that I think is spot on. "I can't remember the number of times I have burned everything to the ground and started over." It captures her well I think. From the girl Natasha to Natasha the Dark, to Tasha, to Tashanna, to Hura, Iggwilv, and now? Zyblina. I see no contradictions here. Witches are fluid, liminal creatures, and witch queens more so. 

Iggwilv has never been a creature of stasis, either in her world or ours. She does not cling to names, crowns, or even worlds. She sheds them. Each incarnation is not a disguise so much as a molting, a deliberate abandonment of what no longer serves her. Where other archmages obsess over legacy and continuity, Iggwilv embraces rupture. Reinvention is not a failure state for her, it is a strategy.

This is what separates her from the traditional wizard archetype and places her squarely in the lineage of witch queens. Wizards accumulate. Witches transform. Iggwilv understands that power calcifies if it is not periodically broken down and reforged. When she burns everything to the ground, it is not an act of petulance or nihilism. It is pruning. It is alchemy. 

There is also a deeply witchy pragmatism to her infamous dealings with demons. Iggwilv is not a supplicant, nor is she a true believer. She does not worship, and she does not kneel. Demons are tools, dangers, lovers, rivals, and sometimes mirrors, but never masters. Her greatest victories over fiends were not won through brute force or righteous opposition, but through understanding their nature better than they understood themselves. 

The Demonic Tradition she embodies is not about corruption for its own sake, but about sovereignty. To bind a demon is to assert that no cosmic hierarchy is absolute, that even Hell has rules that can be learned, exploited, and rewritten. She is part of the Demonic Tradition because she knows demons, she can gain power from them, and not let it harm herself. Well. Most times.

If Baba Yaga is the archetypal Witch Mother, eternal and terrible, then Iggwilv is the Witch Daughter who refused to remain in her shadow. She learned everything she could, then walked away.

Iggwilv
30th level Human Arch Witch/Witch Queen (20/10), Chaotic Neutral (Evil)
Tradition: Demonic (formerly Daughters of Baba Yaga)

Secondary Skill: Scribe

S: 10
I: 20
W: 17
D: 21
C: 19
Ch: 22

Paralysis/Poison: 3
Petrify/Polymorph: 3  
Rod, Staff, or Wand: 4
Breath Weapon: 6
Spells: 5

AC: -10 (leather armor +4, Bracers of Defense +3, Ring of Protection +5, Dex 21 -4, Tastchti's Mark -2)
HP: 66
THAC0: 10

Weapon
Dagger +1 1d4/1d3

Familiar: Quasit, "Black Comet"

Occult Powers
1st level: Familiar
7th level: Touch of Evil

Archwitch Powers: Mastery of the Veil (gained at level 7), Arcane Communion (gained at level 9), Unbound by Circles (gained at level 11). 

Witch Queen Powers: Awesome Presence, Occult Eminece (Polymorph Other), A Thousand Faces, Timeless Body, Ninth Level Spells (5)

Spells
Cantrips: Alarm Ward, Arcane Mark, Chill, Daze, Ghost Sound, Summon Vermin
First level: Bad Luck, Cause Fear, Charm Person, Darkness, Fey Sight, Ghostly Slashing, Glamour, Protection from Spirits, Silver Tongue
Second level: Agony, Biting Blade, Discord, Enthrall, Evil Eye, Invisibility, Mind Obscure, Phantasmal Spirit, Tasha's Hideous Laughter (Ritual)
Third level: Astral Sense, Bestow Curse, Dispel Magic, Feral Spirit, Ghost Ward, Toad Mind, Witch Writing
Fourth level: Analyze Magic, Divination, Intangible Cloak of Shadows, Phantom Lacerations, Spiritual Dagger, Tears of the Banshee, Withering Touch
Fifth level:  Break Enchantment, Enslave, Greater Command, Magic Jar, Witch Box
Sixth level: Anchoring Rite, Anti-Magic Shell, Break the Spirit, Dismissal (Ritual)
Seventh level: Banishment, Draw Forth the Soul, Forbidding
Eighth level: Astral Projection, Gate, Trap the Soul
Ninth level: Bind Soul, Foresight, Imprisonment, Seal the Gate, Power Word Kill,

Theme Song: I Hate Myself for Loving You

What makes Iggwilv compelling is not that she is powerful, but that she is unfinished. Or more to the point, ever-changing and ever-growing. Even now, even under yet another name like Zybilna, she is still becoming. A Witch Queen is not a static end-state like lichdom or apotheosis. It is a road, and Iggwilv has walked it forward, backward, and sideways across multiple realities.

For a campaign, Iggwilv should never be a simple antagonist. She is an event. An inflection point. Crossing paths with her should permanently alter the trajectory of a story, even if swords are never drawn and spells are never exchanged. She might teach, betray, ignore, manipulate, or save the party, but she will never do so for their sake alone. There is always a larger calculus at work.

And yet, for all her monstrous reputation, there remains something profoundly mortal at her core. She still loves, still hates, still remembers. Her many names are not masks to hide emptiness, but scars that prove she has survived herself over and over again.

That may be her greatest magic of all.