Showing posts with label witch. Show all posts
Showing posts with label witch. Show all posts

Thursday, July 9, 2026

This Old Dragon Retrospective: The Road to the Witch

 Larina is a Dragon Magazine witch. But not in the way that you might initially think. 

My witch class and Larina went through many design phases and had many influences, as I have talked about here, but the truth of the matter is her genesis and my witch class's evolution owe a lot to the pages of Dragon Magazine, all long before Dragon #114 landed on the store shelves and ultimately my gaming table. 

Select Dragons from the Brannan collection

So for today's "This Old Dragon," I am not going to do a deep dive into one issue, but rather the issues between Dragon #85 and Dragon #114, 1984 to 1986, not just some of my prime AD&D playing years, but when I did the most work on my various classes.

Since this is also a bit of an "In Search Of..." post in tone and flavor, I'll explain why this search is important to me.

Now, keep in mind, I did not read every Dragon when I got them and think, "What can I add to my witch?" I *DID*, however, read each new one and thought, "What can I add to my game?" As it turns out, I found the articles on magic, clerics, and new monsters the most useful. 

Now I did go back when I got my Dragon CD-ROM archive and look specifically for witch-related and witch-adjacent material. But that was in the 2000s. It helped inform my Basic Witch, but a lot of those concepts were already present in my earlier works. It was, however, a wonderful bit of archaeology. 

Class is in Session

To refresh everyone's memory and to set the stage from 1983 to 1987, I was in high school in Jacksonville, IL (no, not Jackson...exactly). During this time, I played in a regular group where I took turns on DM duties, usually about half-and-half. I had been working on a few new classes: The Healer, The Sun-Priest, the Necromancer, and The Witch. I saw each as related classes where clerical and wizard magic were blended. The Healer never really manifested the way I wanted, though I have played a few healers from the Werper family. The Sun-Priest eventually found life as an AD&D 2nd Edition Kit, and, using the rules as written, I have played some Sun-Priest-like characters in both D&D 4th edition and D&D 5th edition. Again, usually members of the Werper family, often sister-and-brother healer-and-Sun-Priest teams. The Necromancer finally found some life as the Profane Necromancer in my Monster Mash book. 

The witch, however, has been my runaway success. When I got the above classes into a playable state, each had what we would call today an iconic character. There was Celene the Healer, younger sister of Johan II the Sun-Priest and Paladin. The Necromancer was Magnus, and, really, the most unassuming of them all was Larina the witch. Of the four, she went on to true immortality here.  I suppose, though, the writing was all there. Luna Mondgott, Johan's and Celene's mother, was played as a witch using Cleric rules, and Johan's wife, Cara, was played as a witch using Illusionist rules. The witch was more or less inevitable for me.  

But the form it took was not. 

So let's look at one factor that shaped the class, and the character: the pages of Dragon Magazine.

Dragon #85 -May 1984

Why am I starting with this one? Good question. This is the first Dragon I ever owned and used regularly. It was in the pages of Dragon that I saw additions and changes to rules. They were not set in stone; they could be changed. I had already created many new monsters by this time, and the idea of new classes seemed not just reasonable, but actually required.

Dragon 85 was where I saw this. This issue gave me the highly valued Cleric Collection. Clerics were my main class of choice, and I played them less like holy men and more like occult scholars. So, less fighting, holy man, and more Van Helsing. 

This is also the first time I saw an ad for the Witch Hunt game.

Dragon #86 - June 1984

Gods of the Suel Pantheon and the Dragon Deities helped me rethink what gods could be in D&D terms. This issue also gave me new familiars to consider and the idea that they were not just a special pet. The article wasn't perfect, but it was a good start. The Ecology of articles were always great because it made me feel like there were "monster naturalists" in the various worlds studying these creatures.

Dragon #87 - July 1984

The big one here is the Ecology of the Dryad. I know this was a catalyst and one of the reasons why Cara and Larina are both redheads; Red hair = magic. The review for Stalking the Night Fantastic and the ads for Chill made me realize that horror in RPGs was a good option.

Wee Jas
Dragon #88 - August 1984

This is another important one. We got Wee Jas ("Wee Yas" or "Ouija") as the Witch Queen, Goddess of Witches and magic. Plus she looked great. THAT was Larina's look for a long time. How could I have not fallen in love with her? And she is Lawful Neutral. The same alignment Larina is to this very day. I may not have known all my witches yet, but I knew who their goddess was. 

Dragon #89 - September 1984

Very helpful article in Many Types of Magic since it shows already that many types of magic are already baked into the system; it is just a matter of finding a spot for witchcraft. The ads for the Time-LIFE Enchanted World prominently feature their first book, Witches and Wizards, which gives witches legitimacy in the pages of Dragon. 

Dragon #90 - October 1984

This features the witch-coded Incantatrix. The name is related to Enchantress, and her ability to steal spells gives her a witch-like feel in a world already filled with wizards. I tried Cara out as an incantatrix for a bit, but didn't care for it for her, and she went back to being just an illusionist. Dragon is certainly circling around a witch-shaped center of gravity for me. Speaking of charm, this issue also has the definitive list of creatures that can be subject to the Charm Person spell. 

Dragon #91 - November 1984

We go darker here with a new demon from Gygax and more devils from Greenwood. Certainly material for masters of the occult.

Dragon #92 - December 1984

Double hit again from the Gygax/Greenwood tag team. Gary has more to say about clerics and I am all ears. This helps me figure out things for my clerics and paladins and ultimately my healer and witch classes. On the other end of the magic spectrum, Ed gives us more spells and has the audacity to introduce me to the Witch The Simbul without explaining anything else about her! 

Dragon #93 - January 1985

Real-world witch hunts come to D&D as told in Gary's “Thinking for Yourself.”  In fake worlds, “The Making of a Milieu” gave me strong advice about building a world where witches would live. This article, along with the two organization articles for Top Secret and Gamma World, gave me something I could build for Chill right away. Which in turn gave me more for D&D and witches. 

Dragon #94 - February 1985
Dragon #94 - February 1985

The fiction section featuring Baba Yaga is a great addition to my witch mythos. Not a lot ton of information, but enough. The Ranger revisions also show me that classes don't have to be a static concept.  

Dragon #95 - March 1985

This one is useful as a perspective issue. Tolkien, Forgotten Realms material, non-combat experience, magic-item creation, and the religious response to RPGs in the form of DragonRaid, all feed the broader question of what fantasy gaming is allowed to be. The Denis Beauvais art for the fiction, Desperate Acts, gave me a character who was a contemporary of Larina and part of the same adventuring group. 

Dragon #96 - April 1985

I have to say, I never had much use for Dragon’s April Fools issue each year. This one was no exception; there was little in it of interest to me for the witch class, or to Larina in particular. The only thing that stands out is the FASA Star Trek vessel Ginny’s Delight. Which I low-key loved. It may not have a direct bearing on the witch, but then again, my reading and gaming habits were not so easily compartmentalized. Whether it was fantasy, horror, the occult or superheroes, I did not see them as distinct categories. The starship is part of the same milieu as all the other science fiction, and the like I was into back then.

Dragon #97 - May 1985

Another Pages from the Mages article. The implication here is that wizards are dynamic; they research, they record their work. And spell books are treasure, maybe worth more than gold by weight. 

Dragon #98 - June 1985

If nothing else, this issue reminds me that we are not, and certainly were not, bound by books. There is a lot of talk of playing RAW and rules orthodoxy these days; back then, that is not at all how we did it. There was a lot of experimentation. The “Creative Magic Items” article reminds us of this. 

Dragon #99 - July 1985

This issue covers Unearthed Arcana, and how it will change AD&D. This is a sign to me that AD&D IS a game that can evolve. The Neutral point of view helped me figure out how to play a Lawful Neutral witch when, say, a chaotic Neutral one would have been easier.  

Dragon #100 - August 1985
Dragon #100 - August 1985

Classes are on Gary's and Frank Mentzer's mind with the Druid-Ranger, which seemingly breaks the rules. Well, if it is good enough for these two, who am I to argue? The Forum reminds me, though, that there are still people who refer to additions and changes to rules as "illegal."  

"City Beyond the Gate" showed me something I already knew in theory, but this was great in practice; that AD&D is not confined to the quasi-medieval world. Now I remember playing this adventure; I remember many of the characters in it: Johan II, Nigel, and I know Larina was not there.  Too bad; she would have loved it. Marvel-phile gave a strong write-up in Dr. Strange and was a good model on what I wanted for my witches. The variant magic system was also quite fascinating. 

Dragon #101 - September 1985

The biggest draw for me here is the Creature Catalog III with some witch-adjacent monsters. "Sorry, Wrong Dimension" from Mike Manolakes covers alternate realities, a feature that would be important to Larina's many futures. 

Dragon #102 - October 1985

I have not done this one for a "This Old Dragon" because I don't have a copy anymore. This one does have some items that I considered important, but not in the typical manner. Ads for The Complete Spellcaster and Elvira/Chill had my attention. The "Valley of the Earth Mother" was good, but not one I ever ran.

Dragon #103 - November 1985

A look into the future here. Gygax discusses future editions of AD&D and the game's evolution. The article on the saurians catches my interest, but not for the witch. 

Dragon #104 - December 1985

The articles on the thief class are interesting and showcase the class beyond the charts and numbers. I will use similar logic to pull the witch further away from her "magic-user" roots. 

Dragon #105 - January 1986

Our first issue of 1986. I mention here that I recall January 1986 starting out really cold. I recently taken these memories to help form a new Jackson, IL adventure featuring my frozen misanthrope The Refrigerator, but more on that later.  "Seeing is Believing" by Geoffrey Meissner covers different types of invisibility. While this had immediate uses for my witch class, it served my DM and his Riddlemaster/Adept psychic classes even more. The magic in our worlds stopped being a monolith and became multiple expressions. 

Fraser Sherman's "A world of difference: The parallel concept expands gaming horizons" was the right thing at the right time for me, as I was really exploring the idea of parallel worlds at the time. This was the height of DC's "Crisis on Infinite Earths," so we really made extensive use of these ideas. Larina would later be in contact with some of her alternates via her Mirror, or "Shards," as I now call them. 

Dragon #106 - February 1986

Issue #106 matters to me because of "A Plethora of Paladins." That article showed that the paladin need not exist only as a single lawful-good archetype with an evil mirror image. There could be variations. There could be holy warriors shaped by alignment, ethos, patronage, and worldview. For someone building new classes, that is an important lesson. It says the game's iconic roles can be opened up, examined, and rebuilt.

That matters to the witch because the witch was never just meant to be the "distaff magic-user" or the "evil cleric" or the "NPC spellcaster from a fairy tale." She needed her own space and reasons to grow. Sure, I never used a lot of these paladins; I was pretty happy sticking to the Lawful Good ones and my single Anti-Paladin NPC, but I was thrilled to see them. 

"The Laws of Magic" and "Casting Spells for Cash" both feed into the idea of magic as something with rules, culture, economics, and social consequences. That connects nicely to Larina's earliest personality: a witch pretending to be a wizard-in-training. She is not merely learning spells. She is learning how magical society works, what it expects, what it permits, and how to pass inside it while being something slightly different.

Dragon #107 - March 1986
Dragon #107 - March 1986

I have not reviewed this one yet, but it is sitting here next to me. I will get into it in detail in a future This Old Dragon, but the artifact from this one is a reference to Laurana from Dragonlance. That matters because Larina’s name almost certainly owes something to Laurana. Did I get the name from this issue? Probably not. It is much more likely that it came from reading the Dragonlance novels themselves years before. But #107 shows the name, or close enough to it, was in the air at exactly the right time.

This is one of those small pieces of character archaeology that I can't prove, but that's too interesting to ignore. Larina was not named Laurana, but the resemblance is obvious, and the timing is right. Somewhere between Dragonlance, Dragon Magazine, and my own teenage need to make the character mine, Laurana became Larina. In truth, Sinéad owes her overall look and part of her history to Laurana. 

Dragon #108 - April 1986

I would not call Issue #108 a major witch issue, though "Cantrips for Clerics" is an entry worth a mention. I had come to view divine and semi-divine spellcasters with more variety in mind than the run-of-the-mill cleric; one could see that same design impulse at work in the healer, the sun priest, the necromancer and the witch.

Clerical cantrips suggested that even minor magic could help define a caster’s identity. There is no need for every effect to be a miracle or some purpose for the dungeon or the battlefield. A few well-placed blessings, charms, and practical bits of magic speak volumes about how a character stands in relation to the supernatural.

This applies to witches as well. It is not enough for a witch to be judged by her top-tier spells; she must have that quality in her minor workings, too. Hedge witches need recognition as well and need to work into my systems of magic.

Dragon #109 - May 1986

While I can easily point to Dragon #114 as a major issue for the witch, issue #109 might have been more influential. While I had a fairly good grasp of the math behind XP per level values, Paul Montgomery Crabaugh’s "Customized Classes" becomes the article where I can test my ideas. It was a pivot point in my home games. I created the witch, healer, and sun-priest XP values that spring. My DM Grenda used it to create his various Riddlemaster/Adept classes. That summer was spent playing and playtesting a lot of new classes. This article showed me not just that I could build a witch, but I could build a good one. 

The Barbarian Cleric by Thomas Kane even gave us a shaman-like class. Great for my ideas on what a primitive witch could be. 

Dragon #110 - June 1986

The Cult of the Dragon was a HUGE influence on the development of cults and heresies in my game. In fact, my very first notes on what would become my Scaled Sisterhood Witchcraft tradition were written down here. Ed also gives us some more background on Elminster himself and some spells.

The Norse Myth articles gave me Angur-boda, Grid, and Gullveig. All described as witches and all of whom have played some role in my writings and development. 

Dragon #111 - July 1986

The magic focusing items grabbed my attention right away, and certainly West Haven owes a little bit to the magical city Malachi. 

If DC was dominated by the Crisis on Infinite Earths at this time, Marvel had their Phoenix Cycle. Phoenix gets a write-up from Roger E. Moore and later on Supergirl gets one as well from Greg Gordon. Why are they important, well both are described as two of the most powerful beings in their respective universes and both to a degree had impacts on my later game writing in particular the work I did on Buffy the Vampire Slayer. 

Dragon #112 - August 1986

I just covered this one last week. The big thing for me was that this was the first issue that let me know there had been a witch class in the pages of Dragon, and I was not creating something that no one would want.  I would need to wait for Dragon #114 to see it, but that was only a couple of months away; it wouldn't be until I picked up Best of The Dragon (Volume 1) that I saw the witch from Issue #5. And it would be even longer before I got the Dragon Magazine CD-ROM collection and then saw the witches from issues #20 and #43.

By the time Larina appeared in my notebooks in July 1986, most of the ingredients were already there. Dragon #112 showed me the magazine had older witches in its own past, and Dragon #114 gave me the first Dragon witch class I actually had in my hands.

Dragon #113 - September 1986

The last issue before the witch. The cover alone was enough for me since the swordsman reminded me of my Johan III character.  "Clout for Clerics" is a good article for expanding the Cleric's role and giving them some followers.  James Yates gives us lesser clerics and man-at-arms followers for clerics and explains why, out of all the classes, they should have them. I expand on these ideas for covens. 

There is also a great article on Hades. 

Dragon #114 - October 1986
Dragon #114 - October 1986

And here she is. I have said so much about this particular issue that I am at a loss as to what more I need to add. So, here are some links to things I have already said, including Larina's involvement.

The Larry Elmore art of the "enchantress" became my stand-in art for Larina for decades. While this was the first Dragon Magazine witch I read about (like many others) it was not their first, nor as you can see from above, the first time witchy topics were discussed in the pages of Dragon.

In retrospect, there is an inevitability to Dragon #114. Not because TSR was always going to publish a witch class, but for over two years I had been reading in that direction. The magazine had put before me its share of god-bound clerics and odd familiars, goddesses of magic and spellbooks with a past, not to mention alternate and custom classes, the monsters of folklore, parallel worlds, magical cities and the sort of horror that lingers at the periphery of fantasy. Come October 1986, the pieces were all laid out on the table; I picked them all up and reassembled them into something more Larina-shaped. 

Larina's Character sheet from October 1986

Special Mentions

While these do not fit inside the publishing window for the most part, I would be remiss if I didn't bring up Best of Dragon vol. I, II, and IV.

Best of The Dragon

This first collection reprints the witch from The Dragon #5. Great little bit of archaeology and shows that the witch has been haunting the pages of Dragon (and D&D) since the very beginning.

Best of Dragon, Vol. II

This one gave me the Anti-Paladin and the Healer class. Not to mention two different ninjas. I learned that classes are not a static thing.

Best of Dragon, Vol. IV

This is where I first saw the Death Master NPC class and compared it to my own Necromancer. I liked the Death Master quite a bit, and I actually approached Len Lakofka about it later on. We stayed in regular communication until his death.

Not all of these shaped Larina in particular or even my witches in general, but they did contribute to the environment in which my witches could grow, and Larina could be created and grow. 

That is why I say Larina is a Dragon Magazine witch, but not because one article created her. Dragon gave me permission, examples, arguments, monsters, spellbooks, gods, and the idea that classes could be built, tested, changed, and made personal. Dragon #114 gave me a witch. The previous two years helped make sure that when I finally found her, I already knew what to do with her.

Monday, July 6, 2026

Mirror Mondays: The Witches of 1986. What I Learned from 40 Years of Larina

The Witch Queen and the Girl in Homeroom: What I Learned from Forty Years of One Character

Advanced Witches & Warlocks - Larina

I created Larina in July, 1986. 

That sentence feels simple enough, but it carries a lot of weight. It means she has been with me through six editions of D&D, most of high school, college games, new systems, abandoned campaigns, resurrected notebooks, lost files, new editions, new worlds, and more than a few versions of myself. She has been a magic-user, a witch, a sage, a horror heroine "last girl", a multiversal constant, and occasionally the person in the room who knows far more than she should.

I have known her longer than my kids have been alive, and I met her 15 months before I met the girl I would one day marry.

I wish I could remember the exact date, but failing that, and for reasons that make sense to me, I'll say it was 40 years ago today. July 6, 1986.

At some point, a character stops being just a character sheet. At some point, she becomes a mirror to what I am doing at the time. 

And Larina has always been a mirror.

Larina was not my first character. She was not even my first "witch" character. But over the years of playing her and using her in many games, she quickly became a favorite of mine.

If you like, you can read some more about her here on her own page and all the versions of her I have posted here over the years.

The Character You Start With Is Not the Character You Keep

That first version of Larina was nothing special at the time. Not really. She was a "witch" but only in the respect that she was a collection of ideas I had about witches. Some notes, some ideas, a rough draft. Her class at the time? Magic-user, 1st level. This was July 1986. I would use her a few times, but my main "wizard" was Phygora-Cronus. He was, and let's be honest here, my Doctor Who-ripoff character. A traveler who messed with the lives of others. Phygora did eventually become his own thing. But that very, very first version of Larina barely saw any adventures. Phygora even stopped traveling to be Larina's "advisor" at the magic school. 

Larina Character Sheets
Larina 1st Ed AD&D Character Sheets

Still, there was something that drew me back to her. She saw some play, but not a lot really. I am hard-pressed to remember any of her adventures between that summer and the Fall. 

Then came October 1986 and the release of Dragon Magazine #114 with its new take on the witch class. I really can't overstate how much that issue affected my ideas of how to play a witch. That put an end to her as a "fake-wizard". I made her into a 1st-level Magic-user/1st-level Witch right away with a brand-new sheet. I figured out that she had been to magic school, but the tuition was too much to keep up. Sound familiar? I was in the same boat with one school, so I took my second choice. Another mirror.

So I gave her a backstory to fit. She was working in the school library to make ends meet, and she picked up her witchcraft on the side. Libraries have always been where I study things on the edge of belief, so it was only natural. It was another mirror of my own situation.

That little bit of backstory did a lot more work than I realized at the time. It explained why she knew things she was not supposed to know. It explained why she had access to odd books, old languages, half-forgotten rituals, and dangerous scraps of lore. It made her something other than a spell list. She was not just a student of magic. She was a student of forbidden shelves, closing-time whispers, and books that should probably have been locked up better.

Looking back, that is where Larina really started to become Larina. Not by virtue of better hit points or power, but because she was the one who knew where to find the book. She was the one with the answers. 

This early Larina was hardly the best version of herself. Beginnings seldom are. But she had a spark. Her core was there.

Every Edition Reveals Something Different

I have done this with all of them. I currently have Vera Rook sitting on my desk, and I have six character sheets for her, maybe seven soon. I showed you all this as an experiment with Elowen Hale.  Vera began with a concept and then character options were used to support that concept. Elowen was built by looking at character options across the games and choosing the concept that fit them all. Every game and edition offers a chance to redefine a concept. With Elowen and Vera, it was a matter of deliberate design; with Larina, it has been a decades-long process.

Larina, 2nd Edition AD&D, the Witch Priestess
Larina, 2nd Edition AD&D, the Witch Priestess
I have some 75 versions of her in posts for various systems now, each one a test to see if I could make a proper witch. For example, in AD&D 2nd Edition, she took on more of a priestess role. I called it her Wiccan side (to put it in modern terms) as she found her faith. The mechanics were simply there to put it on paper. 

And in a way, it was another mirror: while she was getting deeper into the supernatural, I was embracing my atheism and skepticism. There is a contradiction in all this that I have always found amusing. The further I put distance between myself and belief, the more exacting I became with hers. She became the High Priestess of faith and belief, while I rejected such ideas for myself. 

Perhaps that was her utility. She let me get at faith, ritual, gods, spirits, and the like without having to put my own stock in them. Where I was skeptical she could be sincere, she could stand in the circle and invoke the Goddess in earnest while I was on the periphery with a notebook to put in a word: "Yes, but what are the game terms for that?"

If you want an honest appraisal of my witch writing, there it is. I don’t need to believe in a thing to see its power.

I will ask her different questions depending on the game. D&D wants to know what she can cast. A horror game will ask what she has endured to survive. Superhero games make you wonder how much power she truly has. Sci-fi asks what she knows of the universe. Modern horror asks what she does when the monsters are not locked in some dungeon but are down the street. And so on. Every answer tells me how to play her and how to bring her into whatever comes next.

Converting a character is never a mere numbers game for me. You can have your fun making sure a 7th-level spell translates to the equivalent power in another system, but that is not the work. The task is to determine what the game deems important. Some games are about combat or social standing, others about trauma or whether you can afford rent and still be at the ritual on time. When I convert Larina, I am not just changing her stats; I am letting the game have its say with her.

Forty years on, she still has something to say.

Long-Lived Characters Become Mythology

Larina has been with me long enough to take on a mythic quality in these worlds. My players and my kids’ players are familiar with her. I have minis and 3D prints of her in the game room, art on the wall, even a Monster High doll someone went to the trouble of modifying for me (people love this post). Here, you will hear her name in the same breath as "The Simbul," "Circe," or "Tasha/Iggwilv."

I won’t pretend she is on their level in the annals of game history or literature, but at my table, she occupies that space. She is one of the names the young witches talk about in hushed tones. She is the woman who has already had her bout with the thing you have just come across, the one whose notes you find in the margin. She may be of assistance, or she may decide you are not ready for the truth.

Tea with the Witch Queens by Brian Brinlee
Tea with the Witch Queens by Brian Brinlee

That is what mythology is. Not official canon or a publication record. It is what a name means when enough people at the table understand it.

It also means the little details start to matter more. Her red hair, the purple clothes, the dragon tooth necklace, the Triple Moon Goddess tattoo, and the scar below her left collarbone. Or the way she will tell you her birthday is Halloween when in fact it is the 25th of October. Things that were once just bits of color are now like relics. 

After a while, the details are no longer decoration; they are signs.

And because Larina has so many versions, those signs are what tell me she is still Larina. The stats can change. The edition can change. The cosmology can change. She can be in Mystoerth, Jackson, West Haven, WitchCraft, NIGHT SHIFT, Wasted Lands, or some far future starship-adjacent nonsense that probably started with me watching too much Doctor Who and WAY too much Star Trek. But if she is still the woman with the books, the questions, the occult knowledge, the stubborn compassion, the terrible habit of putting herself between people and the dark, and biting her nails, then she is still Larina.

Larina by Jeff Dee
Larina by Jeff Dee
She Taught Me What a Witch Is

Every Witch class I have ever written has Larina’s shadow somewhere in it. Sometimes obvious, sometimes hidden, but always there. Elowen is an "adopted daughter"; Vera is a dark shadow; Marrissia is the mother of hers that devours.  Even Sinéad, to a degree, is "what if Larina had been raised in the Forgotten Realms?" All these witches are part of what I call her extended coven. Which is more growth for her because from the start she was a solitary witch learning via books she borrowed from her library. 

My witch books don’t just appear out of a vacuum; they are born of a lived-in experience I have with her. One feeds the other. Another mirror.

Larina made it clear to me that a witch is more than a woman with magic, a druid who has taken to the indoors, a wizard with better jewelry, or a cleric with the wrong holy symbols.

A witch is a relationship.

That was a revelation when I first saw it. Which is odd since what I was looking at were my own notes and writings. But there it was. Was it my writing or hers? Sometimes it is hard to tell.

The witch is a relationship. With power and place and memory. With old gods, false ones, and things that were never gods. With a coven, be it made of ghosts, familiars, past lives, a very patient cat, and the odd book.

That informed my design. A witch needs magic, but she also requires the rituals, the pacts and taboos, the marks and the consequences. She needs to be able to heal, curse, bind, and banish. And most of all, to know. Intelligence is important. Wisdom informs. But it is Charisma that sets it all into motion. 

Larina was never at her finest when she was flinging the largest spell in the room. She was best when she could tell you what the monster was and where it came from, what book made a passing mention of it, and why you should have heeded the old woman at the start of the adventure. 

That is the witch I keep writing.

Larina Nichols of Jackson, IL and Larina Nix, Witch Queen of West Haven
The witch girl and the Witch Queen
A Good Character Can Outlive the Campaign

This is something of a big deal. Groups disband, people move on, editions are replaced, files go missing, and books get sold. Most campaigns have an end. Yet some characters endure.

Larina is my means of keeping old games from being set in amber. She is continuity, if sometimes of a confusing sort. I have four timelines for my main computer to make sense of what she has been up to since 1986, which is no small chore. In fact, trying to account for her "lost years" and sort out one of those timelines is what first put the notion of an updated Advanced Witches & Warlocks in my head. If you look at one of my playtest notebooks, you will find nothing but character sheets of her from various stages and reams of notes. What was she doing? What was she thinking? Why did she begin to embrace witchcraft as a practice and a religion more?

Will any of this make it to print? No, not all of it. Does it inform what does? You bet.

Those campaigns are history now. I am the only one left alive from some of them. But she has been here with me all along, my witness to the fact that it all happened. She was the chronicler of those long-lost campaigns. The people who were there are gone, but I have the notes I kept in her voice still tucked away in one of my 3-ring binders or stapled to a character sheet. It is strange when I read something like "Must talk to Killian" or "Find out what Morgan Highstar knows." Notes on Larina's sheet by her (by me for her) directed at characters who can no longer answer. Another mirror: Larina, when she is a GMPC or DMPC, often acts as the party's translator or chronicler. There is a certain sadness to it, and a comfort as well. Knowing that she is still bearing witness to deeds of glory.

Old campaigns are like ghosts. You hold on to the recollection of the character deaths and the lucky rolls, the big set pieces and the arguments over rules, not to mention the maps we were sure we would have for all time, only to mislay them. And the dumb jokes. But memory is no good at archiving; it will let go of what you once deemed important and hang on to the odd bits.

She reminds me that those games happened. Those people sat at those tables. That we cared very much about things written in pencil on loose-leaf paper. That we spent entire afternoons arguing over what a spell could do. For a little while, the world was bigger than the room we were sitting in, and the room we were sitting in was bigger than the world outside.

Larina is not the campaign itself, but you can smell it on her clothes.

The trick with an old character is not keeping her exactly the same. It is letting her change without letting her become someone else. Larina from 1986 is not the same character as Larina from 2026, because I am not the same either.

She has become something of a creative engine for me. What she needs is what my books need. It may sound mad, but then again, I once put in some time as a QMHP at an institution for schizophrenics, so perhaps it rubbed off. Or I just know this character well enough to tell the difference between what works and what I might want.

The WitchCraft RPG made clear to me the distinction between her magic and her psychic side, and I carried that over to Ghosts of Albion with its separate Magic and Faith abilities. From her I got the Wicca and the Witch Priestess for Advanced Witches & Warlocks, and the Witch Queen for Liber Mysterium and my 3rd Edition book. She was the six-year-old in my AD&D Complete Netbook of Witches & Warlocks. 

Which is the strangest thing of all: the adult Witch Queen and the girl in homeroom with glasses, wearing her watch on her right wrist, are one and the same. Not in any tidy, linear way, but in the manner of a dream or a myth, or an RPG you have been at for a while.

The child answers the call. The teenager comes across the book. The young witch puts up with the vampire. The adult who becomes the teacher. And the Witch Queen who becomes the warning. 

And somewhere in there is a guy (also with glasses) with a notebook, trying to figure out what all of that means in terms of saving throws, spell levels, and whether or not this really belongs in the next book.

Forty years on, and Larina is still around. 

I don’t hold on to her out of stubbornness (though there is a lot of that too); she has a way of showing me something new. Just when I think I have had my fill of her lessons, another one of her turns up. A stat block in a folder I have not opened in ages. A picture. Some class feature that is there only because, at some point, Larina did that at the table. A spell that is logical in a way only she could make it so.

Maybe that is the real lesson.

The best characters are not the ones who stay frozen on the page. They are the ones who follow us out of the dungeon, through the years, and into whatever strange country comes next.

For me, Larina has been a witch, a mirror, a witness, a test case, a mythology, and a creative engine.

Not bad for a little 1st-level magic-user girl from July of 1986.

Larina by Claudio Pozas
Larina by Claudio Pozas
The Mirror Shard: The Dark Anima

This one is a little bit different than other mirror shards. Those typically cover concepts I can use in both my Occult D&D campaign and my Jackson, IL campaign, even if they appear different in each. 

I have talked about this before, but it is worth bringing up again here because it is part of Larina’s genesis.

My first foray into psychology was in the mid-80s. I went the way of most people and began with Freud and then Jung. Freud had his Id, Ego, and Superego, all very serviceable concepts. Jung I found a bit more philosophical, or at any rate more to my liking as a writer and a gamer. From him I took the archetypes, the Shadow, synchronicity, the Animus, and the Anima. That was what resonated. 

The Anima, in Jungian terms, is the inner feminine image in a man’s psyche. The Animus is the inner masculine image in a woman’s psyche. Now, I am not going to pretend this is modern psychology, or even particularly good psychology by today’s standards. This is armchair Jung, filtered through a teenage gamer in the 1980s who was reading books he only partly understood and immediately turning the interesting bits into D&D characters.

In a way, that was all I really needed then.

But the notion of the Anima held me. Jung would have you believe it is the inner feminine in a man’s mind (the Animus being the woman’s inner masculine). I wanted to know what mine looked like, and not in the pedestrian sense of an ideal type of woman. I was after something darker and more symbolic. If the feminine side of my imagination were to step into a dungeon with a spellbook and some secret she wasn’t in a hurry to share, who would she be?

Larina was the answer. Or perhaps she was there first, and I put the question to her later. In college, I worked on my undergraduate, graduate, and doctoral degrees in Psychology. All the while, I had Larina by my side. Informing me, informed by me. I read Jung in highschool, I read it again in college and discussed him in History of Psychology classes I was in. Her first "publication" may have been a paper I wrote about the Anima with the Witch as archetype. That would have been at least 1989 or 1990. 

She is not simply “the girl character.” Sure, I like witches, and I have played a lot of women over the years, but that is not why she is here. She was curious and intuitive. She was compassion made into a weapon. She was the part of me still open to magic while the rest of me was being weaned off it. A useful tension.

As my Anima, Larina, is not merely soft and healing. She is dark. Not evil; there is a distinction. She is the witch standing at the periphery of the firelight; the one standing in the liminal space. The one who tells you there is more to it than you see. The librarian who will hand you a cursed tome because you need the lesson. The red-haired woman in purple who smiles when the monster misnames her.

Forget the seductress or the evil queen; they are too convenient and too cliché. The Dark Anima is your guide to the underworld. Think of Beatrice with a black cat, or Persephone once she has memorized the map of Hell. She won’t rescue you from the dark; she will show you how to navigate it. She is Innana and Ereshkigal. 

That is why she has a habit of appearing in my work as a sage, a mirror, or a teacher. She is the voice in my head that says the monster is a symbol, a wound, an old story in new clothes.

It also makes for good company with Nigel. He is my Id, all impulse and violence, the one who will put a blade to the problem and leave the philosophy for another day. Larina is his interpreter. She understands his danger and his necessity. Between them, I have Phygora as Animus, Johan as Super-ego, Retsam as Ego… a full psychological adventuring party in my head. It may not be entirely healthy, but it has given me my share of characters.

But Larina is the one who has stuck.

The Anima is no ordinary character. She is a mirror. She shows you desire and fear, and the things you put aside for being inconvenient. And as the person looking in the mirror changes, so does she. In a very literal sense, she has been my mirror, reflecting my turn away from religion, my skepticism, my fondness for libraries, my urge to codify the occult for a game, and my fascination with women who know more than they ought not to.

She is not me. But she is mine in a way my other characters are not. 

I suspect that is the reason for her forty-year run.

Friday, July 3, 2026

Urban Fantasy Friday: Slasher Flick Director's Cut

Slasher Flick: Director's Cut
At the start of the week, I posted about Horror Movie rules and the Final Girl. The topic of the Steven Jackson Games Magazine's Slasher Flick came up. I had never played that, but I did know about the RPG Slasher Flick: Director's Cut from Spectrum Games. 

I went back to Slasher Flick to see what it has that I can use to help flesh out my ideas for Jackson, IL. Obviously, Slasher Flick leans hard into the whole slasher sub-genre of horror, whereas Jackson is more supernatural horror. The list of movies is, of course, fantastic and a must-have. Reading the video recommendations is really one of the book's treats.

The obvious overlap is in structure. Jackson, IL is not a slasher setting in the strictest sense. There are slashers in it, certainly. There are masked killers, urban legends, haunted campuses, missing girls, old crimes that repeat, and all the usual things that make people in horror movies say, "I'll be right back," right before they absolutely do not come back.

But Jackson is not really about a killer with a knife. Jackson is about the thing under the town.

Slasher Flick is not just a game about killing off teenagers. It is a game about horror movie pacing. It understands that the first third of a horror movie is not really about death. It is about relationships. Who likes whom. Who is lying. Who is jealous. Who is scared. Who is trying to act brave. Who is going to make the wrong choice for exactly the right emotional reason. The book even notes that slasher films often focus on teenagers or college-aged characters, isolation, and the relationships and conflicts among them, especially in the first part of the movie. That is very useful for Jackson.

A Slasher Flick game asks, "Who is killing these kids?"

A Jackson game asks, "Why is this happening again?"

I'll talk more about this next week, but July 2026 marks 40 years since I first rolled up Larina as an AD&D character. So it seems fitting that I try her and her friends out. Compare and contrast their Jackson and Slasher Flick counterparts.

JACKSON, IL Coming July 10!

Larina "Nix" Nichols
Primary Character
Stereotype: Weird Bookish Witch Girl
Role: Smart Girl

Brawn: Poor
Physically Small / Not Built for This (-)

Finesse: Normal

Brains: Good
Occult Research (+), Perceptive (+), Knows the Library (+) 

Spirit: Good
Cool When Things Get Weird (+)

Special Ability: Psychic Power

Tidbits: Has a short temper. Has nightmares.

Items: Backpack, compact mirror, library card, Greek II notebook, flashlight, occult book, wristwatch


Stephanie Vale
Primary Character
Stereotype: Sweet Cheerleader
Role: Ms Popular

Brawn: Normal
Healthy (+)

Finesse: Good
Flexible (+)

Brains: Normal

Spirit: Good
Attractive (+), Annoyingly Perky (-)

Special Ability: Wholesome

Tidbits: Feels like she is the only one holding everything together.

Items: Car keys, cosmetics, mace/pepper spray, sunglasses, brush


Faye "Thornie" Thorne
Primary Character
Stereotype: Snarky Goth Girl
Role: Oddball

Brawn: Poor

Finesse: Good

Brains: Normal
Unconvential Thuinker (+) 

Spirit: Good
Bluff (+), Courageous (+), Witty Remarks (+), Overly Sarcastic (-)

Special Ability: Steel Yourself

Tidbits: Doesn't like to be touched, Loves hot peppers, encyclopedic knowledge of music

Items: Pentagram necklace, knife (in boot), knife (in pocket), knife (in jacket sleeve), leather jacket, cigarettes.


Candace "Candy" Mercer
Primary Character
Stereotype: Fun-loving Party Girl
Role: Smartass

Brawn: Normal

Finesse: Good
Breaking & Entering (+), Stealthy (+)

Brains: Normal
Resourceful (+) 

Spirit: Good
Seduction (+), Inappropriate Humor (-)

Special Ability: Dumb Luck

Tidbits: Shockingly good at First Aid. Uses inappropriate humor as a shield. Uses sex as a means of connection.

Items: First Aid kit, knife, baseball bat, lighter, cheap sweet strawberry wine/


Denise "Duchess" Carver
Primary Character
Stereotype: Party Girl with a heart of gold
Role: Rebel

Brawn: Normal
Street fighter (+)

Finesse: Good
Stealthy (+)

Brains: Normal

Spirit: Good
Bluff (+), Courageous (+), Untrusting (-)

Special Ability: Overcome

Tidbits: Knows where all the exits are. Doesn't trust anyone but Candy

Items: Crowbar, cigarettes, perfume, cosmetics, knife

--

Wow. I rather love these. I was thinking that these could be have been the girls in their next adventure, but this feels like early school year 1985. Maybe their second adventure and the first one with all five of them together.

Originally Candy and Denise were going to be Secondary Characters. But like how they evolved in NIGHT SHIFT, I couldn't help but make them Primary characters. These versions are likely the ones we see in Shadows of the Night.

Jackson and Slasher Flick Character Sheets

Slasher Flick Adventure: "Hey Mickey, You’re So Dead"

So I want a good "Slasher Flick"- style adventure that keeps all the characters involved. It's easy to keep Larina and Faye involved; they love spooky shit. Denise and Faye are always in trouble, but Stephanie. She was an issue in the beginning. She didn't have a lot of reason to stay with the others despite their magic connection. This helps me solve that. Granted. Your game will have different issues with different characters, but Steph is the stand-in for the Popular Guy/Girl who would normally not be hanging out with the High School weirdos. 

This adventure involves her.

Michele "Mickey" Wren was the head cheerleader in Jackson for the 1965/66 school year. A senior, popular, pretty, and hated by her rivals. So, while decorating for homecoming in the gym at the Old High School, the other cheerleaders and football players decide to prank her by taking away the ladder she was using. Mickey didn't see this and fell to her death.

20 years later, the pep-squad has convinced the school district to hold the Homecoming dance in the old High School Gym (the "new" gym is not ready yet). This wakes up Mickey's vengeful spirit, and she tries to kill the current roster of cheerleaders and football players. This includes Stephanie, Valentino, and Andy. Steph needs Faye, Larina, and strangely enough Candy and Denise to help.

I am including Candy and Denise, well, because I love them, but I also need someone to climb to where Mickey fell to her death, and frankly that screams Candy. She isn't afraid of heights. 

It starts when someone sees a girl in an older cheer uniform, but wearing a Crimson Cougar mask (Steph sees this first). Then killings start. The clues are in the library (old yearbooks, newspapers) the realization that someone has died in the school every year since there was a Jackson Public High School (Larina figures that out). Someone gets cut (allowing Candy to show off her first-aid skills), gets trapped under the old gym (allowing Denise to show them the way out), and, basically, I want everyone to have something to do. Faye is the one who figures out Mickey isn't mad because she died; she is mad because everyone forgot her. In the end, Steph decides that the Homecoming theme is 1965 and Mickey is remembered, so she doesn't come back to kill again. 

Mickey's Slasher Flick components would be:

Hard to Kill

She keeps coming back after being knocked down, drowned, electrocuted, or locked behind doors.

Linked Location: Jackson PHS Old Gym and Auditorium Wing

She is strongest in the old gym, locker rooms, stage, costume storage, catwalk, boiler access, and trophy hallway.

Signature Weapon: Sharpened Spirit Baton

The baton is part cheer prop, part ritual weapon, part murder implement.

Stalking the Prey

She appears in mirrors, trophy case glass, polished locker doors, and the dark windows of the gym before she attacks.

Tidy

Bodies vanish, blood is wiped away, and the school keeps looking normal until the final act. This lets adults doubt the girls. It also makes Steph trust the others because they believe her right away.

Episode Theme Song: Mickey, which Candy will hum when they are supposed to be sneaking around. 

Candy: (softly) "Oh Mickey, what a pity..."
Faye: "Could you not do that?"
Candy: "Sorry, inappropriate behavior is how I deal with stress."
Denise: "I thought random sex was how you dealt with stress."
Candy: "I have a lot of stress."

Yeah. I like this. I don't think I need NIGHT SHIFT stats for Mickey Wren, but if she comes back, I'll certainly do them. 

This should also be the episode where the players learn that someone has died in the school every year since 1936.

Wednesday, July 1, 2026

Witchcraft Wednesday: Étaín Moonshadow

Étaín Moonshadow
 I picked up a new Forgotten Realms game over the past weekend. Sorta. It is actually the same game I have been playing in, just with some new characters. In reality, I am worried less about the setting or background and more about the playtest. I am using this game to try out some more ideas from my Advanced Witches & Warlocks book. While I have the classes pretty much where I want them, I still want to "stress test" them a little more. 

Étaín Moonshadow

 I have half-jokingly referred to Étaín Moonshadow as my Margaret Murray of the Realms. She is a Moon Elf and was born in Evereska. She was an acolyte of Sehanine Moonbow and could have lived the quiet life of a priestess. That was until Sehanine came to her in a dream, telling her there was more to her faith than she knew. The dream, nearly half-forgotten, disturbed her at a fundamental level. She tried to forget it and ignore it, but the more she tried, the more it got to her. 

Her mother was a member of the clergy of Sehanine, and her father was an archivist. This gave her access to documents, scrolls, histories, and tales of the elven folk.  As she read, she remembered tales from her grandmother on how her own grandmother came from the Moonshae Isles, and her worship was different.  Much was the same, but other aspects seemed odd or incongruous at the time. Until she read more and discovered that some of the rituals were similar to those she had read about in Selûnite prayer texts. Liturgical texts lifted word-for-word from Sharan ones. At the start, she believed what any elf would, that humans had copied older elven texts. But as she read, she became less and less certain of that. She began to come to the conclusion that the worship of Sehanine Moonbow, Selûne, and Shar were all one and the same. Even more than the three goddesses were all but a face of a single Moon Goddess.

Étaín left Evereska to seek adventure, at least that is what she said. It was not uncommon for a young Moon Elf to do so. But what she didn't tell anyone was that is was not treasure she sought, but knowledge. Knowledge to support her idea of the Triple Moon Goddess.

--

So now I have this adventuring witch who is not looking for gold and glory, but for knowledge and divine truths.  She feels there is an ancient religion out there, and she just needs to reclaim it. She is also searching for others who share her beliefs. These will be members of the other classes from the book. Some will agree with her, others will challenge her. She will run into the orthodoxy of the Sehanine, Selûne, and Shar religions and she will have to deal with them as well.

Her interest in Selûne started out as an academic curiosity, until the dream of Sehanine. Then it became much more. 

This is also where she is less Margaret Murray and more Raymond Buckland. This ties back to my 1986 connections with his own "Buckland's Complete Book of Witchcraft" published that year. Étaín is not just searching; she is reconstructing this religion as she goes. "Moonshadow" then becomes the craft name she chooses for herself.

Calling Étaín the "Margaret Murray of the Realms" is only partly accurate. Like Murray, she is assembling scattered traditions into a larger theory. Unlike Murray, though, Étaín is willing to abandon her conclusions if better evidence appears. She is less interested in proving herself right than in following the evidence wherever it leads. In that sense, she also owes something to Raymond Buckland, who took fragments of older traditions and helped shape them into a living modern faith.

So she is a witch character to help me discover more about other witch characters.

Étaín Moonshadow
Étaín Moonshadow

Moon Elf
Witch level 6

Secondary Skill: Scribe

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

Paralysis/Poison: 11
Petrify/Polymorph: 11
Rod, Staff, or Wand: 12
Breath Weapon: 14
Spells: 13

AC: 10 (None)
HP: 22
THAC0: 18

Weapon
Dagger 1d4/1d3
Staff 1d6

Familiar: Snowy Owl "Nóta"

Spells 
First level: Charm Person, Glamour, Mend Light Wounds, Read Languages, Speak with Animals 
Second level: Augury, Detect Thoughts, ESP, Knock, Suggestion
Third level: Clairvoyance, Tongues

Theme Song: The Mystic's Dream - Loreena McKennitt

Eyes: Blue with flecks of silver
Hair: Black
Born: 1230 DR (age 128)

What excites me most about Étaín isn't whether she'll discover the truth about the Triple Moon Goddess. It is whether she'll change her mind along the way. If the evidence leads somewhere unexpected, then so will she. That's the sort of character I want to spend time playing, and exactly the sort of witch I want Advanced Witches & Warlocks to encourage.

Now I just need to play her some more.

One of the things I want to test with Advanced Witches & Warlocks is whether a witch can drive an entire campaign through curiosity rather than combat. D&D often assumes adventurers are motivated by gold, glory, or survival. Étaín is motivated by questions. If there is an old moon shrine, she wants to read the inscriptions. If there is a forgotten library, she wants to compare its texts. If there is a village with unusual customs, she wants to talk to the oldest grandmother she can find. Success for her isn't measured by magic items recovered, but by another page filled in one of her journals.

When the party enters a ruin, the fighter looks for enemies, the thief looks for traps, and Étaín looks for inscriptions. If someone says, "We found treasure," she'll smile and congratulate them. If someone says, "We found an old prayer carved into the wall," she is already halfway across the room.

Unlike some of my other witches, Étaín does not have a Jackson, IL counterpart. Étaín is too linked to the history and the mythology of the Forgotten Realms in my mind.

Wednesday, June 24, 2026

The Witches of Appendix N: A. Merritt

Burn, Witch, Burn! (1932) by A. Merritt
Abraham Grace Merritt, also known by his byline A. Merritt, was a new name to me when I was reading through Appendix N for the first time many, many years ago. Not a surprise, really. He was a contemporary of Howard and Lovecraft, publishing in the same magazines, but he was older (20 and 10 years or so respectively) than both. He was also more successful in terms of publishing and earnings. However, he lacked what made Howard and Lovecraft household names: strong, recognizable characters. He had them, but they were largely cut from the same cloth.

In Appendix N, Gygax mentions three of A. Merritt's tales: "Creep, Shadow!" "The Moon Pool," and "Dwellers in the Mirage". He even said in the DMG, "The most immediate influences upon AD&D were probably de Camp & Pratt, REH, Fritz Leiber, Jack Vance, HPL, and A. Merritt." That's a strong endorsement. 

In Merritt’s tales, you will find intrepid, but often normal, folk making their way out of the world they know and into territories subject to much older rules. Often "occult" in nature, with the "hidden" meaning of occult being the main focus. There are lost civilizations down in the earth, monsters that are holdovers from another time rather than simple beasts, ancient and forgotten religious practices, and a blurring of the line between sorcery and the super-science of antiquity. That same sort of imagination is at work in D&D’s underworlds and its odd ruins or cities that should not be there, right down to the dark domain of the drow and their queen. In a way, Merritt puts it into perspective: the dungeon is a threshold, not just a collection of rooms. 

Merritt was a collector of the odd, with an air about him that could have been plucked from one of his own tales. He would go traveling and come back with masks, carvings, weapons, and the like, or whatever unusual instrument he could find. At home, he put in order a private library of occult works that ran to several thousand volumes, and he even had a hand in growing plants with a history of poison, witchcraft, and visions.

I mention this because it goes some way to explaining the quality of his fiction. When Merritt put down a priestess or a lost god, he wasn’t working from the kind of thin pulp vocabulary you might expect. His head was full of folklore, botany, ritual, and the occasional nightmare, as well as his share of anthropology and occult theory. Read his best, and you get the sense of a room walled with forbidden books, each shelf suggesting a world far older and less human than we care to think. He was doing the same sort of research into writing his tales as I am doing into reading them.

For me, he feels like a go-to author for the ideas about "Occult D&D," a hidden world just behind the real world we all know. Even sometimes this hidden world is both metaphorically hidden, as in "Burn, Witch, Burn," and geographically hidden, as in "The Moon Pool." 

To explore this, I am going to go beyond the three tales Gygax mentions and into his other works; again, the focus here is not just on the contributions to AD&D/D&D but on how witches or witch-like characters appear in his stories.

Argosy Burn, Witch, Burn issue
Burn, Witch, Burn! (1932)

This is obviously an important one. 

In addtion to the titular witch(es) we get an idea that is very central to my notion of what occult magic needs to be in an AD&D game, namely an older form of magic. In "BWB" the witchcraft of the animated dolls is an older "Science" in Occult D&D witchcraft is an older magic. Both are occult in their nature. 

Based on his essays published at the time this story was heavily influenced by his own interest in witches, witchcraft and the plants used by witches. Madame Mandelip, the antagonist of the tale, gets her name from the Mandrake root used by witches and is also consequently seen as a miniature man. 

I was also impressed by his use of the nine-knot "witch's ladder" in the tale, a nice attention to detail. "Attention to detail" is key, Merritt's style includes a lot of detailed descriptions of what is happening and what things look like. 

The origin of the doll maker, Madame Mandelip, from Prague, reminds me of the tale of The Golem.

This story was also loosely adapted into the screenplay for the 1936 Tod Browning (Dracula, Freaks) movie, The Devil Doll

A. Merritt on Modern Witchcraft (1942)

Appearing later on in his career, this brief reflection deals with a case he witnessed of Pennsylvania Dutch Powwowing, or Witchcraft. Here, an anemic child was tied to a bloody sacrificed ewe and was "miraculously" healed. Honestly, it would have been as likely to kill the poor girl, too, but as Merritt points out, there might be some hitherto unknown science going on here. 

While the "hex doctor" here could have negative connotations ("hex" = "evil") this is obviously the case of healing sympathetic magic. The blood, or even the life force, of the ewe is being transferred to the little girl. 

I should note that Merritt's description of his participation here parallels that of many of his protagonists: a man of reason thrust into a world dominated by the supernatural. There is plenty of anecdotal evidence that such practices occurred in Pennsylvania Dutch, Appalachian, and European folk magic. Did Merritt actually see this happen? I have no idea, but I am willing to take him on his word.

The Doctor in both tales is named Dr. Lowell.

Special thanks to Chrisladams Bizarretales and the A. Merritt Fan Group on Facebook for helping track this article down. 

The Dwellers in the Mirage (1932)

Here we have a lost Alaskan valley, a cult that worships an octopoid godlike being, human sacrifice, and the whole notion of reincarnation. Then there is the modern hero who finds himself confused with, or drawn into, some mythic identity of yore. Here again is another lost world and one many have seen as the prelude to Lovecraft's "At the Mountains of Madness."

Khalk'ru certainly feels like another name for Cthulhu. You can almost squint and see that the names are related. 

There is a lot here that is foundational to D&D from an Appendix N perspective. 

Lur the witch woman is practically flirting with me. Strong, powerful, red hair, blue eyes. She is like Larina's distant ancestor. She is called the witch woman, but she doesn't do much that is really witchy, save for talking to wolves and stirring up memories in Leif/Dwayanu, though that could also have been just him or the past-life memories.  Or a "subconscious intracutaneous retro-fold memory loop" as Donna Noble would have called it. 

Lur has a witchy quality by virtue of being part of the threshold; she is of the hidden world and remains so until the hero gets his head around it. She is privy to the names and old identities, the cultic duties, the wolf-roads, and the emotional underpinnings of a place that ought not to be here any longer. You could call her a fine Appendix N witch for that, spell-casting or not. Put it in D&D parlance: she is the one who has an idea of what the dungeon is all about long before the party has found the stairs.

Certainly, the cover of this edition could have influenced the cover of the most witch-coded of the original D&D covers, Eldritch Wizardry.

Dwellers in the MirageEldritch Wizardry

Still quite an engaging tale.

The Moon Pool (1919)

I remember picking up "The Moon Pool" many years ago, reading it, thinking it was very good, and then never reading anything else of his after that.  Which is too bad, because he is quite good, and he sits at a nice intersection of fantasy and horror. 

There are many elements here similar to those of The Dwellers in the Mirage. Lost lands, lost races, powerful entities, the battle of good vs evil. 

Yolara, Priestess of the Shining One, plays the role of the tempter witch here...sort of. She uses her beauty as a weapon, but it is not her only one. She participates in rituals (called a Witches' Sabbath) and channels the power of the Shining Ones. She has glamours and even something like an evil eye. So even though her powers seem more like lost science than magic, she has more witch-coded powers than Lur the Witch Woman. She is even called an evil witch at one point.

For D&D, what appeals to me is that Yolara is more than just a "female magic-user." You have a priestess and a politician in her as much as a seductress or an occult technician. She has a firm grasp on the rules of her world and how to put them to work. That is exactly where Merritt is useful for Witches of Appendix N. His women of power are not always witches in the fairy-tale sense, but they often occupy the same role a witch occupies in myth and gaming. They are the ones who can stand in the presence of old power and know how to talk to it.

Ship of Ishtar by Virgil Finlay
Ship of Ishtar by Virgil Finlay

The Ship of Ishtar (1924)

Sharane, priestess of Ishtar, is another near-witch figure. She is the priestess of a lost and secretive religion. Sharane is a good example of the divine witch. She has witch-like magic and serves Ishtar in a supernatural environment. 

She is what I would call a Witch Priestess. 

Sharane is especially useful because she shows how close the witch and the priestess can be in Appendix N fantasy. To be sure, she is in service to a goddess, but you would not mistake her for some tidy D&D cleric in his mail armor with a cure spell on his lips and a holy symbol at hand. Her world is one of beauty and desire, of temple mystery and curse, of mythic time. She hails from a more ancient religious sensibility where the divine is as intimate as it is perilous, and love, magic and death are all facets of the same issue. Where you have Yolara the tempter or Lur the wild witch of the hidden valley, Sharane is the sacred witch; her authority is drawn from the goddess, from rite and old obligations.

We certainly get the Charm Person spell from here. Or at least one source of it.  

The Near Witches

These tales have women who are near witches. They are not witches per se, but live in a world where witches could live. 

The Women of the Wood (1926)

While not a witch per se, this tale offers another glimpse into the idea of a hidden world next to our own. In the French countryside, a man encounters a woman who is not what she appears to be and then is exactly what she appears to be. Also, if you are not playing your dryads like this, you are missing out. 

Seven Footprints to Satan (1927)

While not really Satan (or his he?), this tale treats the world of crime and its underground, akin to an occult underground. While there are no witches here, it is a great tale on how to possibly use a criminal organization. Again, here is Eve, who is not a witch, but she does have some occult, as in hidden, knowledge.

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You could say Merritt’s greatest gift to the concept of the Occult in D&D is his treatment of magic as an old science rather than a simple list of spells. He has put his stamp on it with the idea of an older order of powers just beneath the surface of what we know. You will find cults and priesthoods, forbidden things that have survived the ages, secret rites, odd plants, and ancient deities; modern folk may write them off as superstition because they can't think of anything better. A rational sort might come by this world, but he won’t find it easy to master. Case in point, nearly every Merritt hero. 

Then there are the Witches of Appendix N. Merritt presents the witch as one who stands at the threshold. Whether she is a villain or a queen, a living idol or a guide, she is the one who understands the world’s older rules ahead of the hero. Certainly, before the hero does. 

She might be Madame Mandilip in her shop with her murderous dolls, or Yolara, the priestess of the Shining One. Perhaps she is Lur, all red hair and danger in some forgotten Alaskan valley, or Sharane, Ishtar’s darling and victim to a divine curse you couldn’t put a date on. 

He didn’t hand D&D the witch class on a plate, but he has provided a shelf full of witch-shaped ideas for us. In my book, that is enough to work with.