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Showing posts sorted by date for query The Simbul. Sort by relevance 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.

Wednesday, May 27, 2026

The Witches of Appendix N: Jack Vance

Javanne at the Black Sabbath, on the first edition of The Dying Earth
 You simply cannot talk about magic and Appendix N without mentioning Jack Vance.

Vancian Magic, Ioun Stones, Vecna, the Most Excellent Prismatic Spray. All of these and more came to Gary while reading Jack Vance's Dying Earth books.  

For me, it has been Javanne the Red Witch, the Black Sabbath, the Witches of the Cobalt Mountains, and Llorio the Murthe.

So much of what is in AD&D now originally came from Vance. Or at least ideas influenced by Vance. So it does seem a little odd to me that the witches from the Dying Earth tales don't make it in. Stranger still when you consider it was Javanne at the Black Sabbath on the first edition of The Dying Earth. Though there is a moon in the image, we have been told there is no moon anymore.  Like "Red Lori" from Gardner Fox's Kothar series, she is another evil redheaded witch at the end of time. Maybe there is something to that.

Much like his Lyonesse books, there are a lot of witches here. Not all of them get detailed. Indeed, that is one of the charms of Vance's storytelling. He builds the Dying Earth not explicitly, but through the lens of his tales. The Witches of the Cobalt Mountains, including one with blue hair, are mentioned but not fully explained. We learn there is no moon in the sky anymore, but we never learn when it was gone or why.

Javanne the Red-Haired Witch

Our first named witch, and indeed our cover girl, is Javanne. She starts out appearing to be good, but it is quickly revealed that she is fairly evil. She steals the face of Etarr, her lover, and gives him the face of a demon. Etarr and the artificial girl T'sais track Javanne down at the Black Sabbath, where she is consorting with demons and other witches, including the aforementioned Witches of the Cobalt Mountains. She is able to summon up demons, cast charm spells, and even dominate others. So pretty typical witch magic. 

In truth, she is very much an archetypal witch. The idea that she (and by extension any witch) survives to these later days pretty much with their witchcraft intact is an interesting notion. Is Vance saying here that witchcraft is universal? And not just magic, but witches. This gets a deeper treatment in the later, post-Appendix-N books.

T’sain

T'sain is another artificial human and a twin to T'sais. She is not really a witch, but she does have some magic and spells. T'sais was created by the wizard Pandelume. T'sain was created by Turjan of Miir, though she dies freeing him from a rival wizard. 

Lith the Golden Witch

A different sort of witch. She pops up in the tale of Liane the Wayfarer. Lith is from the golden land of Ariventa. We don't learn a lot more about her, really. She can command 20 sword-like blades to do her bidding, and she is very attractive. Lith also appears good at first, but soon is revealed to be less so. In the mini scenario from White Dwarf #58, she is also called "Lith the Weaver."

Rhialto the Marvellous by Jack Vance
Llorio, the Murthe, the White Witch

Ok. So this one is also outside of scope, but I wanted to include it anyway since it covers my main theme. It is from the fourth book in the series, "Rhialto the Marvellous." Llorio, the Murthe, is depicted on the cover along with Rhialto the Marvellous. So at least two of the four main books in the Dying Earth series featured witches who were important to the stories. 

Witches seem to conform to some sort of color palette. Llorio is a "white witch" but not because of her goodwill, but because of her white hair, white skin, and white clothes. Llorio comes from an earlier age where witches and wizards battled in some sort of magical battle of the sexes in the 17th-18th æon (the current age is the 21st æon). She has come to the future to turn all the world's current male wizards into female witches. 

It is an interesting tale. The witches were poised to win this war until their leader, Llorio the Murthe, was sent to a distant star, to the planet Naos. She has now come back and has discovered that the remaining wizards are nothing more than a group of powerless (by her standards) misogynists. So she decides to turn them all into women. Not a terrible plan, really, and an appropriate one for a witch scorned. 

I won't spoil the ending for you all. But I will add this quote from Llorio that appears near the end of the tale. I think it sums up the whole feeling of the Dying Earth rather well. 

"Hope?" cried Llorio. "When the world is done and I have been thwarted? What remains? Nothing. Neither hope nor honour nor anguish nor pain! All is gone! Ashes blow across the desert. All has been lost, or forgotten; the best and the dearest are gone. Who are these creatures who stand here so foolishly? Ildefonse? Rhialto? Vapid ghosts, mowing with round mouths! Hope! Nothing remains. All is gone, all is done; even death is in the past."

Not only is Llorio powerful, she easily defeats most of the wizards of this time. She also has Ioun (IOUN) stones (something it appears only wizards, not witches, are supposed to use), again a Vance creation added to AD&D. Surely this would rank her as one of the great spellcasters. 

"The Murthe" appears to be a granted title. Akin to "The Simbul" or even "Witch Queen." She certainly has all the requisites to be a witch queen.

All three of Vance's witches seem morally ambiguous. Javanne and Lith start out appearing good, but certainly are not. Llorio starts out as a threat, but maybe she has a point. Also, our protagonists have a hard time justifying fighting against her. I think this gray area, or as I have described it so many times, a liminal space, is where witches do their best work. Wizards, at least in terms of how AD&D and the stories that influenced it and were influenced by it, are always either very good, or very evil. In the cases of Gary's own wizards, they are very neutral, i.e., preserving the balance. Witches are allowed a little more freedom. They can be good, neutral, or evil as they choose. They have their own moral directives.

The Lyonesse Trilogy

Jack Vance revisited the theme of magic decades later with his magnificent Lyonesse Trilogy, consisting of Suldrun’s Garden, The Green Pearl, and Madouc (1983-1989). While the books fall outside the chronological scope of this Appendix N series, they are not so far removed from the theme of witches and magic in fantasy as to pass over without comment. The books are set in the mythical land of the Elder Isles, which lies between Britain and France in a time before King Authr. While they are certainly a product of Vance’s later work, they revisit a great deal of the same ideas concerning ancient magic, mystic powers, and the uneasy relationship between human beings and older supernatural entities that pervade Vance’s earlier works. 

While not strictly within the chronological scope of this series, the Lyonesse books warrant a separate discussion of witches in the context of fantasy magic, so this theme will be revisited at a later date. Maybe for my planned "Beyond Appendix N" series. 

Closing Thoughts

Without the works of Jack Vance the Dungeons & Dragons we play today would look very different. While his Dying Earth is filled with wizards, we only get a few named witches. Largely I think this is due in-universe of the Wizard-Witch war of the 17th and 18th æons. It would have been interesting if Gygax had worked some of that into his design. Granted, the books that mention that war post-date the genesis of D&D and AD&D. But maybe there is something I can do similarly in my own games. Something to explain the obvious dominance of wizardry over witchcraft in the world.

In any case, it has been a lot of fun to revisit these tales. I probably should check out the Dying Earth RPGs at some point, as well.

Friday, May 8, 2026

Fantasy Fridays: FOR4 The Code of the Harpers

The Code of the Harpers
 I really need to get back to these. The obvious reason is I have not been playing much Forgotten Realms recently as Jackson, IL has taken up all available game time and mental processing. But seeing how I have spent the last few days trying to puzzle out something I just dropped on the players (the foreign exchange student from Finland, Renee Jäneläinen, just walked into Sylvia Velasco's El Espejo Oscuro and called Sylvia "Godmother." I have no idea how that is working out.) I thought maybe I let that stew a bit and check in on the Realms. No updates from the characters really, Sinéad, Nida, Arnell, Jaromir, and Rhiannon are still heading east. But I'll talk about their reactions to the Harpers as they happened (back in September? October?).

The Code of the Harpers

1993. Forgotten Realms Accessory FOR4. By Ed Greenwood. Cover art by Jeff Easley, interior art by Scott Rosema. For AD&D 2nd Edition. 128 pages.

Ok. Lets put two things out there right now. First, Ed Greenwood LOVES his Harpers. They are the secret -not-so-secret society of do-gooders in the Realms, and he has a very high opinion of what they do, who they are, and their place in the Realms. Naturally. I can't fault him for that at all. 

Secondly. I neve cared for them. Now, in my defense (such that it is) I think what I didn't care for was the attitude of various players about having their characters be part of the Harpers and what I thought the Harpers were. To me they seemed more like one of those Societies (capital S) that gets by on their name and the deeds of a handful of actually talented people that did good work once apon a time. As it turns out, there are plenty of groups like that in the Realms (the Flaming Fists, for example, could be like this), but this isn't who the Harpers were or are.

So, instead of going with my original preconceptions about who and what this group is, I am going to view them through Ed's eyes. This has served me well in the past and has given me a whole new appreciation for the Forgotten Realms. 

I picked this book up as a Print-on-Demand book and PDF from DriveThruRPG. I am reviewing both.

The Code of the Harpers

One thing seemed to jump out at me from the start. The Harpers are made up of a lot of Bards. I think this was true in Ed's original ideas for the Harpers with 1st Edition Bards. There is a lot here that makes me think that these roles are better served by someone with fighter, thief, and druid skills. Like the old 1st edition Bards. But this book is expanded enough to use the AD&D 2nd edition Bards and I also get the feeling that the AD&D 2nd Edition The Complete Bard's Handbook would be a good companion piece to this. 

This book is divided into roughly 19 sections. Not really chapters. 

The Prologue and Introduction provide some in-universe and real-world background on the Harpers and on what this book is about. 

The next dozen or so pages in The Code of the Harpers. This tells us who the Harpers are and what they do in the Realms. This chapter did a lot to alleviate my preconceived ideas about what the Harpers are. They seem less like a group of Shriners (only because they always keep popping up doing something [note the Shriners actually do things other than drive little cars]), and more like a rag-tag group of underfunded, underfed people trying to do good things. Though if the Harpers could drive little cars in parades to get money for sick kids, I think they would. In many ways, they remind me of S.A.V.E. from Chill. 

A couple of interesting bits here are the things expected of Harpers (a lot) and the symbols left behind by Harpers to warn others. Though I think after a while others have figured these out. 

The History of the Harpers is next, about 16 pages, and it is a fun read. Even at this point I only know enough of the Realms to be somewhat dangerous, there are a lot of dates and more people here. Am I supposed to know them all? I don't think I am. I think this is Ed's way of introducing someone and then filling in the gaps later. I think only Ed knows it all, and maybe not even then. So I guess I am not supposed too either. This flows right into The Harpers Today, with "today" as 1367 DR (which is still 10 years in my game's future).

What follows next are 30-some odd pages of NPCs that can be used: Master Harpers, Senior Harpers, Harper Heroes, and Some Selected Harpers. There are some names here I do recognize, but it has also given me some good NPCs to have on hand. I didn't count, but it looks like Chaotic Good is the alignment of choice among Harpers. Makes a lot of sense, really. 

Again, one thing is very obvious here. Ed loves his characters. Everyone from Elminster and The Simbul all the way down to Sheenra Duth seems to be equal in his eyes. Well...I think he might love The Simbul more (I know *I* do).

The High Heralds are akin to "elite Harpers," but they feel like something else. Special agents might be the better word. Each one seems a little different from the others.

Harper Allies is exactly that. People who help the Harpers but are not Harpers themselves. Three are presented here, The Simbul herself, Tamper Tencoin, and Beldara Larune who I am dying to use somewhere.

Harper Haunts covers about 15 pages and details various strongholds and hideouts of the Harpers. 

Harper Magic is divided into two sections: Spells and Magical Items. Spellsingers are mentioned, but not really detailed here. Spells, should really be called Spell, since there is only one. Lots of magic items though. 

Foes of the Harpers is an interesting one since it is really a "Foes of Good" sort of chapter. I mean yeah I could be a snarky little bitch and say there is a clear Black and White division here of all Harpers good, all that oppose them are bad. BUT I think that defeats the purpose of what this books is trying to present. All these foes are well funded, ingrained into their societies, and very powerful. The Harpers are a bunch of scrappy nobodies (for the most part) and certainly fighting an uphill battle that they will more than likely lose. But the battle is always fought. And I think that is important.

We get a couple of pages of Joining the Harpers. Some songs on Harper Ballads (no sheet music like Dragonlance), and finally a Monstrous Compendium page on a Spectral Harpist.

About the PDF and PoD

My PDF is rather clear, to be honest. The Print-on-Demand has the fuzziness common to scanned files, but it is not terrible and is still very readable. 

Code of the Hapers PoD

Sinéad, Nida, Arnell, Jaromir, and Rhiannon

My characters in the game I play in are headed East. I am sure they will run into some Harpers at some point, maybe they already have!

But for this I want to talk more about how the characters see the Harpers. Jaromir and Rhiannon are too involved with the idea of Rashemen to think about what the Harpers mean to them. Nida isn't really "good" (Alignment-wise) enough to join them and she has no desire to get killed for a lost cause.

That leaves Arnell and Sinéad. I can see Arnell wanting to join up, but as a cleric he would make a better ally than an operative.

The leaves my little half-elf bard/wizard Sinéad.

On paper, Sinéad would make for a great Harper. She is a bard, she plays the lute (ok, but there is no group out there called "The Luters"), and she has magic. I may have mentioned before that Sinéad is part of a long line of near-witch half-elf characters of mine who use music as the basis of their magic. Her spiritual "godmother," Heather, was built around the idea of what I thought a Harper or Spellsinger was. By all rights, Sinéad SHOULD be a Harper.

But I think here is where I exercise a bit of humility. 

Sinéad isn't going to be a Harper. She might have opinions about them, but like me, most of them are wrong.

Reading this book set me right on what the Harpers really are, not what I thought they were. 

Following the examples set out by the Harpers themselves, I can't, in good conscience, have one of my new favorite characters just up and join them because I've decided I now know better. 

Maybe the Harpers are watching her. Maybe they think she might be a good recruit, or not. Either way, she will move on east with her merry band of misfits and lost children, and the Harpers will keep their eye on them. Besides, if nothing else, the Harpers are seen as loners. Sinéad and her group are very much "found family," even if Arnell and Sinéad still don't really get along all that much. Their togetherness is their purpose.

The Harpers have likely already tagged my witch NPC, Moria (in the Realms game I run), as "potential problem, keep watch on her." (Note to self, could I port a version of Moria over to Jackson??)

I have read and reviewed many Realms books since starting this project. This one has been one of the nicer surprises. 

Saturday, January 31, 2026

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

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"
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.

Character Creation Challenge


And that's another 31 Day Character Challenge!

Monday, January 26, 2026

Character Creation Challenge: Day 26, Sagarassi Witch Queen of the Sea Witch Tradition

Today, I want to talk more about the Witch Queen Advanced Class. This updates my previous version

Tea with the Witch Queens by Brian Brinlee
Tea with the Witch Queens by Brian Brinlee
L-R Sagarassi, Iggwilv, The Simbul, Larina, Feiya

WITCH QUEEN / WITCH KING

Advanced Class for Witches

When a Witch has reached the height of mortal power, there yet remains one step further upon the Path, the ascension to the mantle of the Witch Queen (or Witch King). This being is the supreme vessel of a Patron’s will, the living nexus of a Tradition’s power, and the spiritual sovereign of all witches within her realm. Like the Hierophant Druid of the Old Faith, she is both pontiff and prophet, counselor and conduit, a figure whose very presence can bend the ley and alter the seasons' turning.

Whether crowned by fate, prophecy, deed, or divine lineage, this witch has ascended beyond the coven to become a legendary figure. 

Only one Witch Queen (or King) may reign for each Tradition at any given time, making them as rare as they are powerful.

Requirements

To become a Witch Queen (or Witch King), a character must:

  • Be a Witch (including Archwitch and Witch Priestess) of at least 18th level, but no more than 23rd level. Still thinking about this.
  • Possess Charisma 17 or higher. Additionally, the witch must have an Intelligence or Wisdom score of 15 or higher.
  • Be a member in good standing of a coven
  • Have been chosen through omen, divine sign, or a coven-wide rite as the next Queen or King

Restrictions

  • Only one Witch Queen or King may exist per Tradition at a time (GM’s discretion)
  • To become a Witch Queen or King, the previous sovereign must abandon or relinquish their rulership.  This is often upon the death of the previous sovereign, but not required. 
  • Occult Powers are gained differently (see below).

Spellcasting

  • The Witch Queen gains access to limited ninth-level spells.
  • Spell casting progression ends in favor of powers and ninth-level spells.
  • May forego the use of Material Components. 


Level Title XP hp Powers
20* Witch* 1,640,000 - 1,759,999 10d4+10
1 Spring Court Witch 0 - 199,999 +2 Ninth-level spell*
2 Summer Court Witch 200,000 - 399,999 +3 Awesome Presence
3 Autumn Court Witch 400,000 - 599,999 +4 Ninth-level spell
4 Winter Court Witch 600,000 - 799,999 +5 Occult Eminence
5 Baroness of Witches 800,000 - 999,999 +6 Ninth-level spell
6 Countess of Witches 1,000,000 - 1,199,999 +7 A Thousand Faces
7 Marquise of Witches 1,200,000 - 1,399,999 +8 Ninth-level spell
8 Duches of Witches 1,400,000 - 1,599,999 +9 Timeless Body
9 Princess of Witches 1,600,000 - 1,799,999 +10 Ninth-level spell
10 Queen of Witches 1,800,000 - 1,999,999 +11 Mantle of Sovereignty

Witch Queen Abilities

Ninth-level Spells: The Witch Queen gains a ninth-level spell at alternate levels. These spells are drawn from the Witch Queen Spell list.

Awesome Presence: Witches perceive the Witch Queen as a radiant beacon of power. Allies within 60 feet receive +1 to morale checks and saving throws vs. fear; enemies must save vs. spells or suffer -1 to morale. All witches instinctively recognize her status and will defer unless magically compelled otherwise.

Occult Eminence: The Witch Queen gains one chosen Occult Power of her Tradition.

A Thousand Faces: The Witch Queen may alter her appearance at will, as per the disguise self spell, though the effect is real, not illusory. This change does not affect clothing or equipment and may be maintained indefinitely.

Timeless Body: The Witch Queen ceases to age. She gains immunity to magical aging and no longer suffers ability penalties due to age. Natural bonuses to Intelligence and Wisdom still accrue. Her lifespan is extended to 120 years, and she will still die of old age unless further extended by other magical means. 

Mantle of Sovereignty: The Witch Queen may perform a rite, calling upon her Tradition’s power. Effects may include summoning a spirit host, causing omens to appear across the land, or sealing a region against extra-planar intrusion for 1d4 days.

Rulership and Influence

The Witch Queen or King is not merely a title, but a mantle of magical authority. All witches of her Tradition know of her. At the GM’s discretion, she may gain the right to command covens, invoke her Patron’s will across vast distances, or declare magical edicts that affect ley lines or seasonal flows. Along with this power and influence comes the wisdom and responsibility of how to use such power. 

Experience Progression and Saving Throws

Continues to use the Witch class tables for all attack and saving throw purposes.

Multi-Class and Dual-Class Use

Only single-classed Witches may become Witch Queens (Archwitches and Witch-Priestess are considered single-class witches). The transformation requires undivided devotion to the Patron and Tradition. Other characters may assist or serve such a queen, but may never claim her title.

The Witch Queen is both symbol and sovereign, oracle and enforcer. Her path is not taken lightly, for once crowned, her soul is forever marked by the gaze of the gods.

Witch Queen Spell list

Ninth Level Spells

  • Bind Soul
  • Command the Coven
  • Eternal Curse
  • Foresight
  • Imprisonment
  • Mass Polymorph
  • Power Word Kill
  • Raise the Barrow-Lord
  • Rewrite the Name
  • Seal the Gate
  • Shapechange
  • Sovereign Geas
  • Time Stop

--

Sagarassi Witch Queen of the Sea Witch Tradition
Sagarassi, The Sea Witch

My next Witch Queen is from the world of Krynn, home to the Dragonlance Saga.

Not much is known about Sagarassi.  So little, in fact, it has taken me a while to collect this information. But here is what I have pieced together. The best (ok only) primary source for my information is the AD&D 2nd Edition product Otherlands. The rest comes from the Dragonlance Fandom wiki. 

She was a Silvanesti Elf, but was changed into a sea creature by the Sea Goddess Zeboim, whom she worships.  Both Sagarassi and Zeboim are known as the "Sea Witch." Sagarassi also serves Takhisis, the mother of Zebiom. 

She is not fond of humans. Nor is she fond of her own sister, Daydra Stonecipher.  This relationship parallels that between Zebiom and her twin brother, Nuitarithe god of Evil Magic in Kyrnn. It is not much of a stretch of the imagination that Zebiom would want her magic-using disciple to go against the established rules of magic. Especially since Nuitari is regarded as Lawful Evil and Zebiom is Chaotic Evil. 

We know she is old. She waged a war undersea around 1320 PC (Prior to the Cataclysm), the Dragonlance books take place in 348 AC, making her over 1670 years old. Good thing she is an elf. 

She lives in an underwater tower called Khegar, also known as the Death Tower. It is in the seas near Taladas.

Sagarassi, Witch Queen of the Sea Witch Tradition
Sagarassi, Witch Queen of the Sea Witch Tradition
26th level Elf Witch, Neutral Evil
Tradition: Sea Witch

Secondary Skill: Alchemist

S: 13
I: 20
W: 18
D: 15
C: 17
Ch: 20

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

AC: 1 (ring AC 1)
HP: 75
THAC0: 10

Weapon
Narwhal horn +3 1d4/1d3

Familiar: Demonic eel

Sagarassi, Witch Queen of the Sea Witch Tradition
Occult Powers
1st level: Familiar (Demonic eel)
7th level: Speak to plants/animals
13th level: Goddess Blessing
19th level: Control Weather

Witch Queen Powers
Awesome Presence, Occult Eminece (Shape Change), A Thousand Faces, Ninth Level Spells (3)

Spells
Cantrips: Alarm Ward, Arcane Mark, Chill, Daze, Message
First level: Bad Luck, Cause Fear, Charm Person, Darkness, Endure Elements, Far Sight,  Moonstone, Minor Fighting Prowess 
Second level: Agony, Alter Self, Discord, Enthrall, Evil Eye, Hold Person, Mind Obscure, Suggestion
Third level: Bestow Curse, Dispel Magic, Feral Spirit, Lifeblood, Toad Mind, Tongues, Witch Wail
Fourth level: Analyze Magic, Animal Growth, Arcane Eye, Charm Monster, Phantom Lacerations, Polymorph
Fifth level: Death Curse, Dreadful Bloodletting, Greater Command, Waves of Fatigue
Sixth level: Anti-magic Shell, Break the Spirit, Mass Agony, Mass Suggestion
Seventh level: Death Aura, Greater Blindness, Wave of Mutilation
Eighth level: Damming Stare, Destroy Life, Pit
Ninth level: Imprisonment, Power Word Kill, Time Stop

Theme Song: Rime of the Ancient Mariner and Soul Cages

I am not sure where I am going level cap elves, but I am going to make an exception here like I did with Elvyra.

Sagarassi is one main Witch Queens I still use in my games. She has been great.

Character Creation Challenge