#i mean its not canon but i am calling them evil so

[wonderfulwitchwillow]

So like, when anyone thinks Ravenloft you probably think of Curse of Strahd. Or hell Curse of Strahd as a standalone thing. Like its one of the most popular modules of all time. But Curse of Strahd is an adaptation. One of many adaptations of 1st edition's I6: Ravenloft.

It got me wondering, how many people have actually taken time to look at this module who weren't playing in the 80s. I wasn't even alive in the 80s, and when this module came out my father was in high school playing D&D. So I doubt alot of people go back and really look at some of these older modules. And I happen to be a collector/lore nerd for all things Ravenloft. So what exactly is different? I have somewhat compiled my thoughts into a semi-cohesive analysis of I6 and Curse of Strahd.

Alot, and I do mean alot, of the module is similar to the opening and the castle in Curse of Strahd so this is your warning for spoilers for the module. I intend to talk about every major (and some minor) changes between 1st editions Ravenloft and 5th editions Curse of Strahd and give some of my commentary on what I have found, and some notes about random related facts. I am not going to discuss the overall narrative of I6 or Curse of Strahd since the only major narrative differences is in the Castle, which I do discuss in detail in that section of the post. I also know there are other adapations of I6 Ravenloft, 2nd edition has House of Ravenloft and 3rd edition has Expedition to Castle Ravenloft, but I am analyzing 1st edition and 5th edition's design choices; if I focused on all the editions, I would need more than just 1 super long post; plus Expedition to Castle Ravenloft really deserves its own post since its canon is separate from the greater ravenloft canon of second and third edition. Forgive me if my photos suck, I am using my phone and my shadows keep showing up. I have several things I want to say before I get started proper; I6 uses some derogatory words for the Vistani people, a ethnic group in Ravenloft not subtly based on the Romani people. These words may appear in some of my images but I am going to do my best to avoid showing them and the slurs will not appear in my text. I make mention of this because the Vistani are not refereed to as the Vistani in I6 but in all other versions of the module and the setting as a whole, they are called the Vistani. This is something that is an issue in second and third edition when it comes to the Ravenloft setting. It is at times, very racist. And I would not be doing justice to those who are harmed without mentioning the use of slurs or racial caricatures for a real ethnic group in this module. I am not going to talk more about them in the module since their presence outside of Madam Eva is small and racist; serving as minions of Strahd with a neutral evil alignment; which this alone is incredibly disgusting by making a real group of people evil. The harm started with this module and it is something that everyone who interacts with Ravenloft, regardless of canon, take caution and care with handling. I added IDs to each photo to help as well. I shall be discussing the module under the cut.

Part 0 - extra bits and forward

This post is incredibly long, I have tried to add mini-headers for each major subsection of this post because as I was working on it, it somewhat ballooned in scope and I want it to be fairly readable for those who are interested.

Onto the module discussion

Part 1 - Cover and maps

Forgive me for having a section just dedicated to the maps but as you would soon find out, its quite extensive in detail.

[ID]

A cardboard outer sleeve with the words Advanced Dungeons & Dragons Official Game Adventure Ravenloft. Below the title is a landscape image in a gothic horror art style.

The image is of the vampire count Strahd von Zarovich standing on his castle's walled balcony overlooking a misty cliff side. On the railing of the balcony sits two gargoyle statues. The castle itself is behind Strahd with a gateway being directly behind him. There are two castle spires, one in the foreground cut off by the artwork, one in the background with the spire's peak nearly visible. The castle's battlements are behind the right spire and go from the upper center of the artwork to the edge on the right. There is a lightning strike in the upper right corner along with bats flying out of the right spire into the night. Mist fills the lower right corner, obscuring the spire.

Below the artwork is a line of marketing text- "The master of Ravenloft is having guests for dinner - and you are invited. Ravenloft is an adventure for 6 to 8 players of levels 5 to 7." Below this is the TSR logo, which is an outline of the letters "T" "S" and "R". Below the logo is the copyright information "TSR, Inc. Products of your imagination. Advanced Dungeons & Dragons and Products of your imagination are trademarks of TSR. Inc."

[End ID]

I think I am not alone in saying but the first edition module covers are iconic. It is this generic fantasy style now but like that style is timeless to me. Its Strahd looking menacing over the chapel outlook's balcony. Its incredibly imposing. Its a different vibe and I don't think the other modules ever nail the vibe that Strahd is menacing on the cover art. He is waiting to strike or overlooking his lands. Though Curse of Strahd cover is probably my second favorite because he is less of a monster and more of a noble playing a game which is far closer to how he is played as a villian. Strahd always changing his appearance to fit in with what we consider "fantasy" for the era. I am fascinated with older editions of D&D so it makes sense why I would love this art so much. It is absolutely my taste and I am biased.

[ID]

The image contains two documents on a wooden table. The document on the left is the same document as the first image, cardboard outer sleeve On the top of the sleeve above this title is an orange header with "I6" on the left corner and "9075" on the right corner which wasn't visible in the first image.

The second document is a map folded in half showing only the right potion of the map. The map has a white margin surrounding the entire map as a a border. The top of the map has a repeating pattern lining the edge of the map invoking a gothic crown molding. The right edge of the map has a marble pillar going from the top to the bottom of the map, serving as a border. The map's legend is in the right corner. The contents of the legend are in a white box. The words Ravenloft stylized in bold font are above the rest of the legend. The Letters R and T in Ravenloft have gargoyle heads extending outwards to face the edges of the the legend. The legend is organized into 4 rows with 3 columns. The legend shows off several colors with associated elevations: Light green is associated with Elevation 0-49 feet", Dark Green is Elevation 50-99 feet. Blue Green is Elevation 100-999 feet. Purple is Elevation 1000-1499 FT. and is the end of the first column. At the start of the second column is the last color, a Reddish Purple is Elevation 1500+ feet. Continuing down the second column there are shapes to indicate map elements. Lines repeating next to each other vertically indicate a cliff wall, two parallel lines that complete indicate a road, and two parallel lines that are dashed indicate a trail. The third column shows more colors to represent buildings that are occupied: A brown rectangle indicates an occupied house. A light brown rectangle indicates an unoccupied house. A small light brown square indicates an unoccupied store. The last icon on the legend is a red rectangle indicating an Encounter Building. Bellow the columns and the width of the rows is text "Scale: 1 hex = 200 feet". Bellow the legend is a title. "Map 1. Lands of Barovia"

The map starts at the right and flows left following a white road. The maps elevation up to the city remains light green with the northern portion of the city, near a point labeled E7, becoming dark green. North and south of the road is a woods. The road starts near the letter A passing through what appears to be a gate labeled B Continuing we see two hexes with the letters C on the map on the left and right adjacent hexes. Following the road is the village of barovia, with houses indicating occupancy. There are several red houses each labeled with corresponding letters. The center has E1 and E2. South is E3, E5, and E4. North is E6 and E7. The road heads south west from the village, passing E and ending at a gate before the fold cuts off the map. Below the village is a river labeled D.

[End ID]

Moving to the actual contents for a moment - how many folks know that these sleeves/covers are not attached at all? I store my older books in comic book sleeves with backs. I don't know if this was a cost cutting measure or if comic book storage was the original intention since I could see the same communities overlapping in the 80s but like, if someone knows why, please let me know. I am so curious. I know they made comics that were released around the same time, made by DC in the 80s and 90s, so its not a stretch to say that it was expected to store modules like comic books.

[ID]

A folded out display of several maps for Castle Ravenloft as isometric cross sections. The sleeve contains Map 2. Walls of Ravenloft, Map 5. Rooms of weeping. Map 6, Map 7, Map 8, Map 9 and Map 10 all of which are associated with the Spires of Ravenloft. In the bottom left corner is a front facing image of the entire castle with size guide displaying the full height of the castle including the spire. The total height of the castle is 360 ft. The break points shown along the way up to the total height are associated with floor sizes for each of the associated maps. The maps 5 through 10 are stacked on top of each other such that 10 is at the top and 5 is at the bottom of the sleeve.

Map 5 contains a hallway with a stairwell leading down labeled K46, a bedroom labeled K42, additional rooms labeled K41, K43, K44, K45, K36, and K37 along with several corridors labeled K39, K38, and K40. There are additional stairways labeled K21, K18, and K20. Map 5 is 40 feet from floor to ceiling.

Map 6 contains roof tops labeled K53, a chimney labeled K52, 4 interconnected rooms labeled K51, K50, K49 and K47, the same stairways from Map 5 labeled K18, K20 and the top of K21 which ends in room K47, and a new stairway labeled K48 which is connected to room K47. Map 6 is 40 feet from floor to ceiling.

Map 7 contains the Straiways K20, K18, and K48. Three rooms are attached to each other. K55 is attached to both K54 and K56. K54 is attached to the stairwell K48. Map 7 is 40 feet from floor to ceiling.

Map 8 has the stairway K48 end as it reaches a spire's battlements, labeled K57. There is a stone bridge linking to the stairway K20 labeled K58. K20 continues to ascend to map 9 but depected on Map 8 is a heart. K18 continues to climb and will reach its peak in map 10. Map 8 is 20 feet higher than map 7.

Map 9 starts 50 feet from map 8 with a spire's battlements as the ending for the stairs. This room is labeled K60.

Map 10 is the peak for the stairs K18. It is spire with a pointed roof. The room is labeled 59 while the enter of the stairs is now accessible, a fall of 380 feet, labeled K18a.

Returning to the left side of the sleeve, above the front facing image is Map 2. This map is the courtyard of the castle along with some ground floor elements. The front yard entrance is labeled K1, the side gates to the back of courtyard are labeled K2, the carriage house is labeled K4, the chapel is k5 and the outlook is K6. The gate leading into the courtyard is labeled J

Above map 2 is a full 3d side view of the castle. It has the spires indicated in Map 8, 9, and 10 along with the rooftops from map 7. The walls are also clearly visible along with the chapel. The stable house is also visible but the outlook is just a flat floor.

[End ID]

Back to the sleeve, if we open it, its a map of Castle Ravenloft! Its isometric and how in the hell do you keep this hidden from your players if you ever need to refer to it while in session? You probably have to grab it out and review it as you draw on some kind of graphing paper and attach it with tape together or something or just draw it out before the game starts and come to your weekly game night with it all prepared, like how we do it now. Its also wild that this sleeve isn't attached in anyway. If you lose either this outer sleeve or inner sleeve with even more maps, you just lose all the maps. I did not grow up in the 80s or 90s when this was the way you would play, 5th edition was my first edition, so again, was this ever a problem? I could see it being a problem since cardboard is not sturdy at all and I am terrified in tearing it accidently. The pricing was also around $7 to $9 in the 80s which would be about $22 to $28, which is cheaper than modules are now but no where near cheap enough to justify the cardboard and the paper quality.

Anyway, the castle itself is 360 feet tall which is massive for an actual castle. Though most of the height is the main spire with the Heart of Sorrow like we all know all love, referred to as the Guardian of Sorrow in I6. If you did the math with all the heights for maps shown, it wouldn't be 360 ft. That is because the rest of the maps are on the inner sleeve, which is two sided. The other side has the map of Barovia, which you have gotten a sneak peak at. Lets finish up on the outer sleeve before moving to the inner sleeve with more maps.

[ID]

An outer cardboard sleeve with the following words: "Advanced Dungeons & Dragons" "Official Game Adventure" "Ravenloft" "by Tracey and Laura Hickman"

"Under raging stormclouds, a lone figure stands silhouetted against the ancient walls of castle Ravenloft. Count Strahd von Zarovich stares down a sheer cliff at the village below. A cold, bitter wind spins dead leave about him, billowing his cape in the darkness."

"Lightning splits the clouds overhead, casting stark white light across him. Strahd turns to the sky, revealing the angular muscles of his face and hands. He has a look of power - and of madness. His once-handsome face is contorted by a tragedy darker than the night itself."

"Rumbling thunder pounds the castle spires. The wind's howling increases as Strahd turns his gaze back to the village. Far below, yet not beyond his keen eyesight, a part of adventurers has just entered his domain. Strahd's face forms a twisted smile as his dark plan unfolds. He knew they were coming, and he knows why they came. All according to his plan. He, the master of Ravenloft, will attend to them."

"Another lightning flash rips through the darkness, its thunder echoing through the castle's towers. But Strahd is gone. Only the howling of the wind - or perhaps a lone wolf - fills the midnight air. The master of Ravenloft is having guests for dinner. And you are invited. "

"1983 TSR, Inc. All Rights Reserved. Printed in U.S.A"

"ISBN 0-88038-942-X" "394-53465-4TSR0600" Below this text is a logo for TSR. Beneith the logo is additional text: "TSR, Inc. Products of your Imagination" On the left margin of the sleeve is a barcode within a white box with the number 0 at the start of the barcode and the number 3 at the end. Beneath the barcode but within the white box is the following string of numbers "46363 09075"

[End ID]

On the reverse of the outer sleeve, its a bunch of information on the module itself. I'll use this time to talk a bit about the creators - though I'll admit I don't know as much as I should. Tracey and Laura Hickman are iconic authors and module designers for the early years of D&D and especially Dragonlance. They also created the second edition version of I6, House of Strahd, Ravenloft 2 House on Griffin Hill (A story for another day) and so many more works. If you see their names on something, its going to be good from my experience. Its also why Dragonlance is so interconnect to Ravenloft to an extent or that's what I think atleast. Though Ravenloft is interconnected to every major setting TSR had at the time (Greyhawk, Forgotten Realms, Dragonlance, and Dark Sun all have characters and dread domains from their universes). Anyway back to the Hickmans. Their works are considered what made D&D jump from just dungeon crawling to more narrative experiences and Ravenloft absolutely shows this. This culminated when Tracy pushed forward on his work in creating Dragonlance, which is one of the biggest settings for D&D. I am sadly not super knowledgably about Dragonlance but we can really feel this shift in module design moving from I6 onward. I6 has a lot of notable steps in module design, the biggest being the maps!

[ID] An image of a map. The map has a white margin surrounding the entire map as a a border. The top of the map has a repeating pattern lining the edge of the map invoking a gothic crown molding. The right and left edge of the map has a marble pillar going from the top to the bottom of the map, serving as the maps' border.

The map's legend is in the right corner. The contents of the legend are in a white box. The words Ravenloft stylized in bold font are above the rest of the legend. The Letters R and T in Ravenloft have gargoyle heads extending outwards to face the edges of the the legend. The legend is organized into 4 rows with 3 columns. The legend shows off several colors with associated elevations: Light green is associated with "Elevation 0-49 feet", Dark Green is Elevation 50-99 feet. Blue Green is Elevation 100-999 feet. Purple is Elevation 1000-1499 FT. and is the end of the first column. At the start of the second column is the last color, a Reddish Purple is Elevation 1500+ feet. Continuing down the second column there are shapes to indicate map elements. Lines repeating next to each other vertically indicate a cliff wall, two parallel lines that complete indicate a road, and two parallel lines that are dashed indicate a trail. The third column shows more colors to represent buildings that are occupied: A brown rectangle indicates an occupied house. A light brown rectangle indicates an unoccupied house. A small light brown square indicates an unoccupied store. The last icon on the legend is a red rectangle indicating an Encounter Building. Bellow the columns and the width of the rows is text "Scale: 1 hex = 200 feet". Bellow the legend is a title. "Map 1. Lands of Barovia"

The map starts at the right and flows left following a white road. The maps elevation up to the city remains light green with the northern portion of the city, near a point labeled E7, becoming dark green. North west of the village the color shifts to being blue green before shifting to purple and sections of redish purple representing mountain peaks. Continuing west, the map remains purple with reddish purple mount peaks scattered throughout.

North and south of the road is a woods. The road starts near the letter A passing through what appears to be a gate labeled B . Continuing we see two hexes we see the letters C on the map on the left and right adjacent hexes. Following the road is the village of barovia, with houses indicating occupancy. There are several red houses each labeled with a corresponding letters. The center has E1 and E2. South is E3, E5, and E4. North is E6 and E7. The road heads south west from the village, passing E continuing to a branching path marked by the letter F.

The northern branch flows north before becoming a trail passing landmarks G1 and G before meeting back up with the main road at a bridge. The southern branch flows around woods and turns north before bending south east around a mountain. The road continues to follow this mountain until the road bends north to meet a bridge, labeled H. The road flows around another mountain before going north and reaching a fork in the road, indicated by the letter I. The fork heading north is blocked by a gate, indicated by the letter B. The road continuing north and west off of the map. The fork flowing east winds through the mountains until it reaches a drawbridge gate indicated by the letter J. The road ends at a castle indicated by the letter K. Following the entire road is a river that flows through the first bridge, meeting up with the trail with G and G1, passing under bridge H, then continuing west before the river is off the map

[End ID]

There is an inner sleeve with more maps and the map of Barovia itself which is very familiar to those who know the map from 5th edition. It looks like you could just place it out and play right on it using a token to represent the players because its gorgeous and heavily colorized. Each color meaning different elevations since Barovia is so mountainous and hilly. The map only goes up to Castle Ravenloft, that is because Barovia would be expanded when Ravenloft itself gets expaded in second edition with its AD&D box set, modules, and lorebooks. The whole story we know with "I, Strahd" would be years later. The village of Barovia looks much larger than we would assume but the general town's make up and people don't change much on the way to 5th edition. WotC did a good job on preserving the setup for Curse of Strahd.

On the Reverse of this inner sleeve we see more maps of Castle Ravenloft and again, its very similar to what we know in 5e.

[ID]

A folded out display of several maps for Castle Ravenloft as isometric cross sections. The display contains the following maps: Map 4. Court of the Count, Map 3. Main Floor, Map 11. Larders of Ill Omen, and Map 12. Dungeon and Catacombs. Above Map 12 is a compass. In the bottom left of the display is the following text "1983 TSR, Inc. All Rights Reserved. 119-I-9075". Along the left of the maps is the height from floor to ceiling for each map. To the left of the maps is a key for the maps. This key is two columns and 21 rows. The first column uses flat 2d images; the second column represents the image from the first row in an isometric view, mirroring the maps.

The first row represents doors with a square and a thick line extending from the center of the left and right sides. The second row represents double doors with rectangle divided in half by a vertical line with a thick line extending from the center of the left and right sides. The third row represents secret and standard doors with a square missing one side, the letter S being placed inside this incomplete square, with a thick line extending from center of the left and right sides. The fourth row represents secret doors with the letter S with a thick line in the left and right side of the letter. The fifth row represents one way secret doors with the letter S with an arrow passing through the letter with a thick line on the top and bottom of the letter. The sixth row represents teleport traps using several small staggered inverted Vs. The seventh row represents trap doors in the floor using the letter T in a solid circle. The eight row represents trap doors in the ceiling with the letter T surrounded with a dashed circle. The ninth row represents windows with a white rectangle surrounded with a black rectangle while the isometric view shows a white trapezoid instead in the rectangle. The tenth row represents arrow slits using a black rectangle with a white triangle in the middle. The eleventh row represents bars and portcullises with sequential circles. The twelfth row represents brazier with a circle with an inner ring while the isometric view shows a brazier. The thirteenth row represents ladders with a ladder. The fourteenth row represents stairs with lines reducing in size making a shape of a triangle from left to right while the isometric depiction is a set of stairs. The fifteenth row represents spiral stairs with lines that reduce in size and curve inward while the isometric view is a spiral staircase. The sixteenth row represents a bed with a bed. The seventeenth row represents a chair and thrown with a top down cube with the isometric view is a chair. The eighteenth row represents railing with 4 black dots connected with a line, while the isometric view displays a railing. The nineteenth row represents a statue with a circle containing a black star. The twentieth row represents a curtain using a thick black squiggly line with 4 humps. Lastly, the twenty-first row represents water with repeating waves as rows while isometric view is a wavy layer on top of a white square with scattered dots. Below the key is the text: Scale: 1 Square = 10 feet.

Map 12, labeled Dungeon and Catacombs, is the largest of the maps in the image. K84 is the largest room in the map with several small one square rooms labeled 2 through 40. 1 represents a door connected to room K81. North and south of K84 are the rooms K85 and K86. Both of these rooms are mirrors of each other. East of K84 is a hallway labeled K87 with a room at the end labeled K88. Opposite of this hallway attached to K84 on the west is a stairwell labeled K18a and a stairway labeled K18. Continuing from K81 there is a trap on the floor that leads into K82, a slide that leads into K74. Across the trap is the hallway labeled K80. A staircase is attached K80 leading to the room K78. K78 has a brazier along with two statues. There are three staircases leading out of K78: the left most stairwell is K72 with the associated text "Up 70 feet to Map 11, K72", the center is K80, and the right stairwell is K83. The door out of K78 leads to room K77 which is divided by a Curtain with two chairs overlooking another room, labeled K76. K76 is flooded with water and to east is a hallway Labeled K73. K73 is also flooded which has two rooms branching north labeled K74 and south labeled K75. Both K74 and K75 are prisons with cells labeled A through H and are flooded. Attached at the end of the K73 is a staircase labeled K21. The height from floor to ceiling of map 12 is 50 ft

Map 11, labeled Larders of Ill Omen, has two stairwells that are not attached to the main map, both K18 and K831. K18A is a empty cylinder that the stairs of K18 wrap around. K18 has the following associated text "Up 30 feet to rubble blockage then 10 feet past rubble to map 3, K18". Starting in the top left corner of the map, the stairway K79 leads up to a secret door attached to K72. K72 leads into a the K70. K70 has two attached rooms, K71 to the east and K67 to the south. K71 features a stairway K20a with the following associated text: "Up 40 Feet to Map 3". K67 is a room with a double door leading to K62 to the east and K68 to the south. K68 is a hallway with the room K69 attached to the west and the stairway K64 to the south with the following associated text " Up 40 feet to map 3". K69 has 10 sections divided by walls, 5 on the north and south walls of the rooms. Room K62 has 4 rooms attached to the hallway, K66 to the north, K65 to the north but east of K66, a unnumbered room with the staircase K21, and K63 to the east behind bars. K62 has a stairway to the north, east of K65 with the following associated text "up 40 feet to map 3". In the room containing K21 there is a trapdoor between the staircase and the door to K62. The staircase K21 has the following associated text "Up 40 feet to Map 3". The height from floor to ceiling of map 11 is 40 ft.

Map 3, labeled Main Floor, contains a entry hall out to the courtyard of the castle, labeled K7. Next to K7, unattached to any of the rooms in Map 3, is the staircase K83. K7 is attached to one room, K8. K8 is attached three rooms, K14 to the east, K9 to the south, and K19 by a staircase to the north with the following text "Up 30 feet". K19 leads to another staircase with the text "Up 20 feet to map 4". K9 is connected to the staircase K21 to the east and the room K10 to the west. K21 leads up to Map 4. In the wall north of K21 is a hole labeled K31a. K10 is a large room with a secret door the the east, leading to K11. K11 leads to the a hallway, K13. K13 is attached to K11 with a northern hall and attached to the room K12 to the west. At the end of hall k13 is the staircase K64 with the following text "Up 50 feet Map 4, Down 40 feet to Map 11". K14 is a hall that leads into K15. K15 is a large room with two passages, K16 to the northwest and K17 to the southwest, which are attached to two separate stairways. K16 is attached to the stairwell K29. K17 is attached to the stairway K18 and the hollow cylinder K18a with the following text: "Down 10 feet to new wall down pas wall 80 feet to map 12". Unattached to the rest of the map and north of K14 is the room K20. K20 contains the stairway K20a and an unlabeled stairway with the associated text "Up 50 feet". A hallway labeled K13 leads into K20. At the west end of K13 is a round room labeled K12. The south end of K12 leads into a small room labeled K22. Connected to the outside and unconnected to the rest of map, east of K20, is the room K23. K23 has a staircase leading down with the associated text "Down 40 feet to map 11". The room to the north of K23 is K24. K24 has a stairway that leads up with the associated words "Up 30 feet to map 4". The height from floor to ceiling of map 3 is 50 ft.

Map 4, labeled Court of the Count, contains a throne room. This throne room, labeled K25, is located in the western half of the map and is connected to two stairwells which lead back to K19. There is a secret door in front of the throne on the south wall of K25 which leads into K13. The eastern end of K13 is a stairwell labeled K64 with the following associated text "Up 40 feet down 50 feet". To the north of K13 is the room K12. To east of K13 is the room K22. K25 has two additional rooms attached, K26 attached with a set of double doors, and K30, attached with a single door. K30 has a set of stairs labeled K21 with the following associated text "Up 40 feet down 50 feet". K26 is a small hallway with a secret door to the north that connects to the room K33 and a double door to the east that connects to K27. K33 connects to room K32 to the west and hallway K13 to the north with a secret door. Similar to the other hallway labeled as K13, to leads to two rooms and a stairwell. The room K12 is in the same location as the previous K12. K22 is to the south of K13. To the west of K13 is a large stairwell labeled K20. The stairwell K20 leads up and down and has a secret door that leads to a ladder with the following text: "Ladder up 20 feet from K34 to K20". The ladder leads to an additional secret door that that leads into the room K34. K34 has a staircase leading down off the map. K27 is a long hallway that leads to another set of double doors connected to K28. A secret door is in the middle of the southern wall connecting K27 to K31. K31 has a hole next to the small room labeled K31a. K28 has two chairs and a outcropping that overlooks the main floor over K15 that is 50 feet in the air. K28 has a stairwell that leads down to Map 3 labeled K29. To the south of K27, to the west of K28 and to the east of K31 is the stairwell K18 and the cylinder K18a. The height from floor to ceiling of map 4 is 40 ft.

[End ID]

I want to say before moving on to the module, that these maps are immaculate. Like now we are spoiled with battlemaps in modules and how they are designed but back in the 80s, they had black and white paper that feels like its a elementary workbook. Its fairly cheap feeling. Where I could describe modern books as more textbook in quality. So imagine then you had these black and white books to use for making maps. These sleeves are so much higher quality and the color is beautiful if you ask me. I can see how a dm could run this dungeon flawlessly. Even know the castle is massive and yet it always goes off without any issues. Its a testament to good dungeon design and displaying information to the dm and players. Its one of those tales that these maps are what made I6 Ravenloft popular; again I don't know any old school ttrpg fans who played this when it was new but I could absolutely see it. During my researching, this is one of the biggest factors in what made Ravenloft popular. That and of course our beloved Strahd von Zarovich.

Now onto the actual module. I am not going to have a photo of each section of the module since there is alot but I will be showing off all the images in the module plus anything of note. The layout of the module itself makes sense from a ease of access but compaired to modern module layouts, it a bit jumpy. First is Strahd's stat block and his personality. It makes sense to put this first since he is the villain and you will need to have ready access to it. Second is the fortune reading, called "Fortunes of Ravenloft". Then onto the actual setup for the module following the similar steps to what we have come to expect from Curse of Strahd: The lands of Barovia, Barovia Village, Tser pool encampment, and Castle Ravenloft. Then statblocks for the rest of the monsters. I am not going to go over the narrative of I6 since there isn't any major differences to Curse of Strahd! I6 is almost beat for beat the same as Curse of Strahd as long as we include only the portions in I6. This makes sense since Curse of Strahd is a remake after all. Now, onto Strahd's statblock!

Part 2: Strahd von Zarovich

[ID]

The image is a black and white page full of text with an image of Strahd von Zarovich in the bottom right corner. The documents text is positioned into two columns. The top of the document has a repeating border that is a shape that is a hollow rounded triangle with two curved arches on the left and right of the shape that meet in the middle under the bottom of the triangle. On the left and right of the triangle is abstract black shapes that meet up at a black thick line the top near of the page. Around these triangles are broken lines that outline the shape. A thin black line creates an outline from the bottom of the triangles around the document.

The image of Strahd von Zarovich in the bottom right corner is of a cloaked figure with a cowl. His hair is pulled back with a strong widow's peak. His eyes are white and luminous. His knows and ears are barely visible, with the rest of his face hidden in the darkness. His right arm appears to be extended but is hidden by his cloak. Behind Strahd is a full moon with three bats casting a shadow on the moon. In the bottom right of the image is the artist mark of Clyde Caldwel, A c like shape that flow into an n like shape with a dot beneath. At the center of the page is the page number, 3

The text of the document starting with the left column is as follows: "Count Strahd Von Zarovich, Vampire.

The entire adventure centers around the vampire. Always keep in mind the motives of the vampire, how he moves about, and what his cunning plot is. You must play Strahd in the same way players play their characters. Study this NPC as carefully as the players study their characters.

Count Strahd Von Zarovich (The First Vampyr) Frequency: Unique Number Appearing: 1 Armor Class: -1 Move: 12"/18" Hit Dice: 10 (55 hit points) % In Lair: 90% Treasure Type F Damage/Attack: 5-10 (1d6+4) Special Attacks: Energy Drain Special Defenses: +1 or better weapon to hit Magical Resistance: See below Intelligence: Genius Alighnment: CE Size: M Psionic Ability: Nil Attack/Defense Modes: Nil

Although Strahd can be encountered in many places, he is always encountered in the plaace indicated by your Fortunes of Ravenloft results (see p.4) unless he has been forced to his tomb. Strahd is slightly above-average vampire. He has the normal 18/76 strength and his blows drain 2 life levels from his opponents. Strahd has the usual vampire abilities. He can only be hit by magical weapons and can regenerate 3 hit points per round He can assume gaseous from at will or shape change into a large bat. He can charm person at will by gazing into a character's eyes, causing the character to make a saving throw vs. spells with a penalty of -2. Strahd is also a 10th level magic user. He learned his magic from studies during his life from subsequent studies over the centuries. His available spells are:

First level: comprehend languages, hold portal, protection from good, sleep. Second level: invisibility, locate objects, mirror image, ESP. Third level: fireball, gust of wind, suggestion Forth level: polymorph other, polymorph self Fifth level: animate dead, distance distortion"

The following text is the right column of the document: "Strahd has a variety of spies and servants. They report to him four times each day (at dawn, noon, dusk, and midnight). There is a 60% chance that Strahd knows the PC's location at these times. If Strahd knows their location, he attacks the OCs -wherever they are -within two hours. Strahd chooses the time and method of his attacks carefully.

Strahd can attack in each of the following ways once.

Strahd attacks a single PC for 5 melee rounds then leaves.

Strahd calls 10-15 Strahd zombies to attack the party. All of the zombies must attack at the same time in the same place.

Strahd calls 3-12 worg wolves to attack the party. All of the wolves must attack at the same time in the same place.

When playing Strahd, above all, keep these three things in mind.

Strahd chooses when he attacks. Strahd is supposed to be a genius, play him as one. Whenever he is aware of the PCs poisitions, he is allowed to make an attack how and where he wants. His attacks must be timed to be most advantageous to him. To do that, Strahd must move around during the adventure. However, he can always be found in the place determined in Fortunes of Ravenloft. It is your responsibility to see that the vampire uses his abilities to his greatest advantage.

Strahd knows when to withdraw. He knows when he is over his head. If he is losing a battle he becomes gaseous, polymorphs into a wolf or bat, and/or summons other creatures to guard his retreat.

Strahd's attacks depend upon his goals. There is a reason why Strahd lured the PCs into his little kingdom. This reason is determined in Fortunes of Ravenloft. Strahd's plans for achieving his goals are listed with his goals."

[End ID]

I don't know 1st edition but if I'm not mistaken (and I could be since my knowledge is based on the 1st/2nd edition dos games), is a roll under system unlike 5e's DC system. Its cool seeing spells remain at spell levels I know like invisibility being second level and fireball being obviously third level; though I feel its common knowledge that fireball was third level in 1st edition. If someone who is far more versed in 1st edition could tell me what his stat block actually means, I would appreciate it immensely.

Something awesome is that Strahd has different goals determined by the module's Fortunes of Ravenloft, something similar to the fortune reading in 5th edition. Strahd is also cunning and plays keepaway with the players, running away when he is losing and ambushing the players at any time. He even has a randomized set encounter location where the Fortunes of Ravenloft says, again just like 5e. The whole intent behind his creation and play style is that he is supposed to be this menacing calculating monster of a man, not a generic monster. This design has lasted to this day which is impressive. I may be spreading more internet nonsense from saying but the idea of the whole module to my knowledge cam from a playtest of a game with players fighting a vampire in a cave and it didn't make narrative sense.

What is also fascinating is his title, The First Vampyr. Was the intent was to set up the villain as well the first vampire in universe? I don't know when TSR started focusing on building out their universes, like Forgotten Realms, but this feels like this is something that would be kept in mind for the future. At the same time, this could just be throwaway flavor text as Strahd is referred to as a "slightly above average vampire". Which feels like they are downplaying his strength as a monster. But he also is a fairly formidable caster though I don't have the context of how formidable, I am just extrapolating using my experience with 5th edition; just 5th level spells feels like alot for any party. He is also immune to any damage not dealt by magical weapons, which would be an issue if the module didn't give the players magical weapons. But it does. We know it has the sunsword but as we will see, the module has other magical weapons as well, making this trait something the players could handle once they are in the castle.

Lastly, Strahd feels like he teleports around quite a bit given what the module is suggesting, that he should be reappearing and fighting the players before the castle. Curse of Strahd does solve this by giving him a teleportation room, a difference I highlight later, here he just has to run around using his powers. I think its fine to handwave this as Strahd can just move quickly due to his ability to polymorph since its so core to this module that he can just show up and scare the players.

Next, the Fortunes of Ravenloft

Part 3: The Fortunes of Ravenloft

[ID] The image is a black and white page full of text with three images of Cards on the top of the page, above the text "Fortunes of Ravenloft", with the first card partially behind the "R" in Ravenloft. The page itself is grey and splits text into two columns that flow similar to the previous document image. At the center of the bottom of the page is the number 4, indicating the page number. The three cards are similar with white playing card like border and an embroidery pattern filling an inner border with text in the center. At the top left of the page is the head of a gargoyle, with a line drawn down from the neck to the bottom of the page, passing behind the left playing card. Under the left most card's left side grouped together is the letter J and a heart written into the book in pen. Further down in pen are the words "Jack spades" crossed out. In text between the two handwritten texts is the text "Deal the top five cards face down". Below the right side of the left most card in pencil are the words "king of spades". Under the center card is the letter K and a diamond in pen. Under the right most card is the letter K and a heart in pen. The text outside of the cards is the following, starting from the left column and omitting slurs: "Fortunes of Ravenloft is an imitation ancient [slur] card reading. It does not resemble any real or mystical fortune telling process. Fortunes of Ravenloft determines Strahd's goals and the placement of important treasures. This card reading can add a great deal of flavor to your game and makes Ravenloft different when you play it again. You must run this card reading before playing the module. If, during the course of the adventure, the PCs have their fortunes read at the [slur] camp, run this card reading again, out loud. Substitute the new results for the old ones. Be sure to write down the results of your card reading, so you can have them when you need them. Find a regular 52-card deck of playing cards. Remove all 2, 4, 6, 8, 9, and joker cards from the deck. Now you have a set of four suits with eight cards in each suit. Shuffle the deck. If you don't have a regular deck of cards, you can get the same results by rolling 1d8 to determine the type of card and 1d4 to determine its suit. Roll again if you get the same card in any suit twice." The following text is a table that starts in the left column and continues on to the right. Around the bottom portion of the text in each row is an enclosed box. "Table 1. Fortunes of Ravenloft Places Card Place 3 Study (K37) It is in a place of tranquility, a harbor for the mighty and powerful. It is in a place of wisdom, warmth, and despair. Great secrets are there. The object is on the mantlepiece just under the portait of the women. If Strahd is there, he is sitting back in the overstuffed chair, staring into the blazing fire. 5 Treasure Room (K41) You should seek for a carefully hidden place of great worldly wealth. I see a blazing fire protecting the place. The object is set prominently atop the other treasures in the room. If Strahd is there, he is counting his ill-gotten gains. 7 Chapel of Ravenloft (K15) You may find this amid the ruins of a place of supplication. The object is on the altar, brightly illuminated by a shaft of light from the ceiling. If Strahd is there, he is standing in the center of the room-a dark shape in the vast hall. 10 High Tower Room (K60) This is a place of dizzying heights that all loathe to travel. The road winds ever upward and the rocks themselves live here! The object is in a locked iron chest. If Strahd is there he is at the window, looking over his lands. Jack Crypt of Sergei von Zarovich (K85) This lies with a fallen prince of old. The brother of dark is light and he rests in this place. The object is lying across Sergei's chest. If Strahd is there, he is lying across the marble slab, weeping. Queen Crypt of Ravenovia (K88) This is in the mother's place The object is lying on top of Ravenovia's coffin. If Strahd is there, he is in a frenzy of rage and despair"

The text in the left most card has a section in a box similar to the table. The box surrounds the middle portion of the card's text. The following is the text of the left most card: "First, determine where the Holy Symbol is (see Treasures and Tomes on Page 30 for a description of the holy symbol). Pick up the first card and read the following boxed text. This card is a symbol of great power. It tells of a powerful force for good and protection against the forces of darkness. To determine where the holy symbol is, find this card in Table 1. to determine the 'to hit' and armor class modifiers to use in that place, find this card's suit in Table 2.

The center card and right most cards' text is similarly laid out as the left most card. The center card's text follows: "Second, determine where the Tome of Strahd is (see Treasures and Tomes on p.31 for a description of the Tome of Strahd). Pick up the second card and read the following boxed text. This card tells of history. Knowledge of the ancient may help you understand a foe. To determine where the Tome is, find this card in Table 1. to determine the 'to hit' and armor class modifiers to use in that place, find this card's suit in Table 2."

The text of right most card follows: "Third, determine where Strahd von Zarovich himself can always be found. Pick up the third card and read the following boxed text This is the object of your search! Ah! I see darkness and evil behind this card! It is a powerful man whose enemy is light and whose powers are beyond mortality! To determine where Strahd can always be found, find this card in Table 1. to find the 'to hit' and armmor class modifiers to use in that place, find this card in Table 2." [End ID]

[ID] The image is a black and white document similar to the previous image. The background is the same color along with the layout of text. The page number is 5. Two cards are above the left column of text. On the right edge of the document is a face of a gargoyle mirroring the previous document. Under the left most card is two sets of text: "Jack" and a diamond are written in pencil and the number 5 and a club written in pen. Under the right most card is two sets of text similar to the left card. The text is the same, just written in pencil and pen: the number 3 and a heart. Under the The left column continues Table 1. The following is the remaining text:

"King Kings Audience Hall (K25) A king's throne is the place to find this The object is lying across the dais behind the throne. If Strahd is there, he is sitting on the throne. Ace Crypt of Strahd (K86) This is a very bad sign. This is in the very heart of darkness: his home, his source. It is his center and his life. It is the one place to which he must return. The object is in a corner of the room. If Strahd is here, he is within his coffin, ready to attack at the first sign of someone opening the lid" Continuing after Table 1 is Table 2. Table 2 is similar to Table 1; the only difference is the location of the box containing text. The box is below a section of text and is the second half of each row. Table 2 contains images of each card suit vertically aligned in the left column of the table. The suites descend in the following order: Heart, Diamond, Clubs, Spades. The suits are solid and are black. The following is the text of the table, including a text replacement of the suit to indicate its location: "Table 2. Fortunes of Ravenloft: Modifiers Suit 'To Hit and Armor Class Modifiers'

Heart The PCs gain a +1 bonus to hit and a -1 bonus to their AC.

There is a very good influence there. If you are there, the power of good will aid you.

Diamond The PCs gain a +1 bonus to hit, but suffer a +1 penalty to their AC.

The diamond blesses your skill there, but bodes poorly for your protection.

Clubs The PCs suffer a -1 penalty to hit, but gain a -1 bonus to their AC

The club sustains your strength here, but holds you from your victory, taking more time than it otherwise would.

Spades The PCs suffer a -1 penalty and a +1 penalty to their AC.

The spade is a dark shadows of evil cast over that place. You fight under its influence here." Table 3 is similar to Table 1, sharing the location of the box containing text in the table. Table 3 is the entirety of the right column. The following is the text of Table 3, ommiting slurs: "Table 3. Fortunes of Ravenloft: Strahd's Goals Card Strahd's Goal

3 or 5 Strahd seeks a new identity.

Not yet, but soon, one who appears to be your friend will become your enemy.

Strahd will try to be alone with a charmed PC. When he is alone with a charmed PC, Strahd casts a polymorph other spell on the PC, turning the PC into a vampire. The spell operates as detailed in the AD&D Players Handbook with the following clarifications. The PC takes the form of a vampire and radiates a magical aura, regardless of whether the PC survives a system shock check or not. A PC that survives a system shock check has all of the abilities of a vampire as detailed in the AD&D Monster Manual, regardless if whether that PC passes a mental check or not. Undead cannot drain levels from undead. Thus, if a polymorphed PC vampire retains his own mind, he and Strahd can fight, but neither can drain levels from the other. They can both, however, drain levels from non-undead. After turning the PC into a vampire, Strahd casts a polymorph self and turns into the likeness of the PC. Strahd puts the new vampire PC into his own coffin and attempts to join the party, masquerading as the PC. Strahd will try to persuade the party that he found a away out of Barovia. Strahd can, after all, open the gates. Strahd wants to move to another country using his new identity. The [slur] will carry dirt from his crypt to his new home.

7 or 10 Strahd wants to make a magical sphere of darkness.

This card tells of a tool of evil. Darkness surrounds and protects this tool, giving comfort to the black hearts and protection from good.

Strahd is trying to assemble a magical item that casts a continuous sphere of darkness. Such an item would greatly extend the range of his travels. Over the centuries he gather the pieces of the sphere one by one, until he is missing only one piece, a black opal. Strahd mistakenly believes that one of the PCs has black opal. Strahd mistakenly believes that one of the PCs has black opal stone. Strahd will use his natural charm person abilities to charm lone PCs. Stahd will send those Charmed Pcs back to the party asking, 'Do you have the black opal?' When Strahd discovers that none of the PCs have a back opal, he will attempt to destroy them.

Jack or Queen Strahd wants to win the love of Ireena Kolyana

The darkness lovesa light and desires it Great subtle plans are in motion about you; plans that the dead may find warmth from the living.

Strahd will attempt to charm all of the PCs, and make them attack Ireena. When they attack, Strahd will swoop down and save her from the PCs. Strahd hopes that the rescue will turn Ireena's heart to him. He wants Ireena to love him willingly rather than by force.

King or Ace Strahd wants the Sunsword.

Here is a high and noble card. One of you carries a weapon that is stronger than any other against the evil in this land. Only one part is missing from this weapon. That part is found in the evil one's lair.

See Treasures and Tomes on p.31 for details about the sunsword. Strahd wants to destroy the sunsword. He believes (correctly) that one of the PCs (a random fighter) has has been unknowingly carrying the sunsword for some time. If the sunsword hilt is found and reunited with the blade, Strahd could be in real trouble."

The text of the left card is the following:

"Fourth, determine where the sunsword hilt is (see Treasures and Tomes on p.31 for a description of the sunsword). Pick up the forth card and read the following boxed text.

This card is good for you. It is a card of power and strength , the victor's card. It tells of a weapon of light, a weapon of vengeance.

To determine where the sunsword is, find this card in table 1. To determine the 'to hit' and armor class modifiers to use in that place, find this card's suit in Table 2."

The text of the right card is the following:

"Last, determine Strahd's goal. Pick up the fifth, and last, card, and read the following boxed text.

And here is the root card. Out of darkness and chaos, this card find the reason and foundation for darkness and chaos. This card shows the purpose of all things. It is the key to life and death and else beyond.

To determine Strahd's goal, find this card on Table 3." [End ID]

My copy is used so it has some writing on it from past fortunes but I think its cute, since the fortunes are still done with playing cards, with the only difference being the reading in Curse of Strahd is far more complex. The objects are the exact same, the Sunsword, the Holy Symbol, and the Tome of Strahd. Similarly, the locations you find these items can also instead be the locations you fight Strahd: the study , his treasure room, the chapel, the top of the high tower, Sergei's crypt, Strahd's crypt, the audience hall with his throne, and Ravenovia's crypt (Strahd's Mother). Taking a step back here to talk about this decision as a whole, I have always loved the randomness. The fact that everyone's experience is always different and unique feels great. It leads to a different narrative expierence each time and gives us a reason to replay the module. I have played Curse of Strahd as a player on three separate occasions with three separate DMs and each experience as a player was unique. Other than each character having that DM's twist or personality, the items were never in the same place so my groups always prioritized different areas. I have also ran my own game of Curse of Strahd and I have felt similar as a DM. I prioritized different characters or locations to add depth to the world. This randomization leads to unique situations that could never be replicated. I think it is one of the most novel ideas that I6 presents and I am so glad all the other adaptations have kept this idea while expanding upon the whole experience.

Jumping back to I6's fortunes, what I found really interesting is that the cards drawn add modifiers to your parties AC and to hit modifier. It feels very odd to me, but also that is because this is something that we do not have an equivalent to in Curse of Strahd. The closest is the ally we get but even then, that is more impactful from a narrative lens than the modifiers. The modifiers feel like a twist that deepens or add to the feeling of struggling against the darkness. It is very mechanical and calls back to more of the dungeon diving elements of early D&D. I don't think that modifiers change the game enough to feel sad that they have disappeared. Then again, we do get something similar with Argyvost's skull in Curse of Strahd so atleast we get some kind of spiritual successor to the modifiers in the reading.

Now I mentioned above Strahd has a goal. He does, its why he grabs the players. In 5th edition, its to toy with them and have amusement more or less and then later he wants them for Ireena. In here he has 4 reasons potentially and I want to talk about each of them. One, to grab Ireena. How he plans this is wild. He will charm the players and make them attack Ireena and he will swoop in and save her since he wants Ireena to love him willingly rather than by force. This is absolutely wild to me that Strahd could play the valiant knight for Ireena. This feels the most vanilla but this is his goal moving forward into Curse of Strahd. I think its smart to make this the "core" goal since he does attack Ireena in the opening of the module and Tatyana is core to Strahd's descent into darkness. Given all the additional material that has come out focused on Strahd, Curse of Strahd made the correct call to make this his focus. I do like that he has other goals as well in Curse of Strahd, but it is a bit of a shame that he doesn't have any of the other goals he has in I6.

The second goal is to steal a player character's identity. He will charm someone, use a spell to turn them into a vampire, shove them in his coffin and then masquerade as the player character using magic. Absolutely amazing. I love this and its also so evil. Like more than most DMs would go evil. "How do you do my fellow player characters". Sadly, this also feels like its retconned with newer Ravenloft lore since Strahd can't actually escape Ravenloft and this ending if he succeeds in stealing someone's identity and convincing the party that he found a way out everyone just leaves Ravenloft. The player who gets turned into a vampire can make checks to be able to fight back and you get this vampire duel which is so cool. Vampires in older versions of D&D can drain levels from players by the way, so the book specifies undead cant drain other undead's levels. Like the set up is amazing, the idea is wild, but there is no way for this to work if we are conforming to the rules of Ravenloft. We kind of get a successor to this goal in Curse of Strahd with Strahd's desire for a consort or successor since he wants to to be able to leave; but the book calls out that Strahd will never find any of the player characters worthy. Again a DM can change this and many have so I feel the spirit of this goal lives on; but we don't really see Strahd becoming a party member only to betray the group. That would be a fun twist however.

The third goal is the only goal where Strahd fails whether the players live or die - he wants to make a magical sphere of darkness. Strahd thinks the players have a black opal stone, which is the last piece he needs to make a big old sphere of darkness to make the world dark and stuff so he can travel more at night. Strahd will charm one player who is alone and have them ask the rest of the players if they have this black opal stone. He is certain they have the stone so when its revealed they don't, he will try to kill the players. Curse of Strahd places Barovia under the magical darkness that he is attempting to create here in this goal, which I think is a perfect way of honoring this goal

The last goal is Strahd wants to destroy the sunsword. So the module recommends the players have a cleric and a fighter as a requirement since the holy symbol is for a cleric and the sunsword is for a fighter. I mention this because Strahd just knows who has the sunsword and if this is rolled, the sword is just magically on this person and not where the fortune says. So Strahd wants to kill them and take the sword and destroy it. This is very boring to me. Like it should be a given rather than an explicit goal. If Strahd has gone out of his way to destory the sword, he should just want to do this regardless if this is a goal. This is the direction Curse of Strahd goes and I think it makes sense. 5th edition focuses more on narrative and less on dungeon crawling so this change is just natural. We even get more lore for the sunsword in 5th edition, it being a sword belonging to Sergei and being sentient. I am not sad to see this goal just disappear and become a background element. It feels like a cop-out to get Strahd to fight the party early. If he knows they have the sword and he knows where they are, why not just kill them? I mean he does like to toy with his prey but if this sword is the biggest threat to his existence, I would expect him to hunt the players down once they near the castle.

Overall, I think the goal's Strahd has in I6 are a mixed bag; some are really novel and some are fairly boring or straightforward. That is my own opinion and I am very curious on how everyone else feels.

Part 4: The lands of Barovia, Barovia Village, and Tser Pool Encampment

I am lumping all of the pre-castle encounters into one section since they are more or less similar to what we know and love from Curse of Strahd.

[ID]

The image is that of a black and white document, with a layout similar to the statblock of Strahd von Zarovich, including the borders of the page. The page number is 6. The following is the text of the left column omitting slurs:

"Lands of Barovia

A perpetual rolling blackness of thunderclouds casts a gray pall over the land. The darker silhouette of Castle Ravenloft looks over the valley from its 1,000 foot pillar of rock.

Castle Ravenloft dominates the small village of Barovia. The castle stads high atop a natural pillar of rock against the cliffs to the north of the village. The dark Svalich woods surround the village and cliffs. Use Map 1 to see the relative locations of the town and Castle Ravenloft.

The road to the village and lands of Barovia goes through ancient iron gates, controlled by the will of Count Strahd. There are only two gates, one east the of village and one west of the castle crossroads up the mountain. The gates open when the PCs arrive but close after they enter Barovia. The gates will not open for the PCs again until Strahd is destroyed.

There is a deathly stillness in the dark Barovian woods. Yet the woods are patrolled constantly by the wolves and serving beasts of Count Strahd.

No one has left Barovia for centuries. This is because of the trapping fog that exists everywhere in Barovia . Once it is breathed, it infuses itself around a character's vital organs as a neutralized poison. the fog does not taste or smell any different than normal fog. It does not harm characters as long as they continue to breathe the air in Barovia. However, when they lave Barovia, the poison becomes active. Characters must save vs. poison or start to choke. Unless choking characters reenter Barovia within 24 hours, they die. The choking stops as soon as they breathe the fog again.

The [slur] were given a potion by Strahd that cancels the effects of the fog. this potion is jealously guarded by Madam Eva, who buried it in a secret place. It is impossible for the PCs to discover the potion. The fog is magically produced by Strahd and disappears entirely upon his destruction.

The poor villagers of Barovia have been terroized for centuries by 'the devil' Strahd. Only the town and the few survivors of the second ruling house of Barovia have the will to offer more than just personal resistance to Strahd. No villager has left Barovia for centuries. Those who tried never returned, dying from the vile snapping teeth of the Barovian wolves and the choking deadly fog.

Every 3 turns, check for na random enoutner. When the PCs are not in castle Ravenloft, during daytime, use Table 4 at the right, during night time, use Table 5 at the right. When the PCs are in Castle Ravenloft, use Table 6 on p.12.

Each night the PCs stay anywhere other than the castle (Area K), Strahd attacks with his wolves and bats. His attacks are intended more to frighten the PCs than to damage them. Strahd mjust toys with them. After 5 melee rounds, Strahd and his creatures withdraw.

If the PCs are indoors, every turn strahd attacks, wolves try to break through a window or door. A roll of 1 or 2 on 1d6 means that a wolf breaks through. Once a wolf gets in, the remainder of the wolves and bats come in. The wolves and Strahd never attack Ireena Kolyana. After 5 melee wounds, all of the creatures flee into the night, leaving only Strahds hollow laughter in the distance.

4-16 (3d6) worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

10-100 (10d10) bats: AC 6; MV 4"/18"; HD 1d4; #AT 0; DMG 0: AL N.

The bats fly into the room, getting into the way of spell casting. Characters must make dexterity checks to cast spells with material components." Some of the text in the right column is cut off. The following is the visible text of the right column including table 4 and table 5 with slurs ommited:

"Strahd may knock at the door, but he cannot enter the building until someone invites him in. Strahd tries to charm characters into inviting him in.

Table 4. Barovia Daytime Random Encounters (Sunup to Sundown)

Roll 1d6. If the result is a 1, the PCs enounter something. Roll 1d6 and us the encounter below with the resulting number.

Roll Encounter

1 2-8 (2d4) worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

2 1-10 [Slur]: AC 6; MV 12"; HD 2; #AT 1; Dmg 1-8; AL NE.

3 1-4 villagers: AC 9; MV 12"; HD 2; #AT 1; Dmg 1-6; AL

4 1-4 worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

5 1-4 [Slur]: AC 6; MV 12"; HD 2; #AT 1; Dmg 1-8; AL NE.

6 1-4 villagers: AC 9; MV 12"; HD 2; #AT 1; Dmg 1-6; AL

Table 5. Barovia Nighttime Random Encounters (Sundown to Dawn)

Roll 1d6. If the result is a 1, the PCs enounter something. Roll 1d12 and us the encounter below with the resulting number.

1-2 1-10 worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

3 2-10 (2d10) worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE.

4-5 3-12 (3d4) zombies: AC 8; MV 6"; HD 2; #AT 1; Dmg 1-; AL N

6-7 10-100 (10d10) bats: AC 6; MV 4"/18"; HD 1d4; #AT 0; DMG 0: AL N.

8 1 ghost: AC 0/8 if corporeal: MV 9"; HD 10; #AT 1; Dmg 10-40 years; AL LE.

9 3-12 (3d4) ghouls: AC 6; MV 9"; HD 2; #AT 3; Dmg 1-3/1-6; AL CE.

10 1-4 wights: AC 5; MV 12"; HD 4+3; #AT 1; Dmg 1-; AL LE; SA hit drains 1 energy level.

11 1-4 wraiths: AC 4; MV 12"/24"; HD 4+3; #AT 1; Dmg 1-; AL LE; SA hit drains 1 energy level.

12 1 maiden vampire: AC 1; MV 12"/18"; HD 8+3; #AT 1; Dmg 5-10; AL CE; SA hit drains 2 energy level, gaze can charm, become gaseous in same way as Strahd."

[End ID]

The first page of the lands of Barovia is setup for random encounters along with more info on The Mist. It talks about how to handle nighttime, daytime, and indoor encounters.

The encounters will only last 5 melee rounds (again 1st edition stuff, no idea sadly) so the monsters attack the players and then they flee as they serve to scare the players. Similarly for indoors encounters, just that wolves attack with the random encounter and they try to break down the doors and windows (roll a d6, on a 1 or 2 they succeed) and again after 5 rounds, the attack ends.

What is interesting is that you can get attacked by good aligned villagers or atleast encounter them? It is not fully clear but all the other encounters on the table are evil aligned so I imagine its all combats. I say that I am unsure because later on in the castle encounters, the module specifies one encounter as a non-combat. I find it interesting you can just encounter Barovians who will just be silent and treat the players as outsiders. Maybe some will be willing to talk to you? I doubt it but it could serve as a indication to the players that something is not quite right in the land of Barovia.

The night encounters look like they are all combat. My favorite is either the 2-20 wolves (roll 2d10) or the 10 to 100 bats (10d10) bats. Just the sheer number would actually terrify someone. Imagine fighting 50+ bats. That is unforgettable.

Moving on to The Mists, or as the module refers to as the fog, we get some interesting lore elements I want to talk about. The fog here is in fact the mists we think of and the poisoning fog is consistant across second edition; I skimmed through my third edition source book and didn't find a comment, other than Strahd can close the borders and third edition source books tend to play very close to second edition canon. So the poison element is Strahd closing his borders to Barovia and preventing those within Barovia from leaving. You can obtain an antidote to this poison as the Vistani do sell this but second edition calls out that you also need Strahd's permission where in I6 the cure exists but is unobtainable; its just away to explain why the Vistani can come and go. I6's poison is different the Curse of Strahd since players don't start choking in the fog and the fog itself is not poisonous, but rather magical. The fog in Curse of Strahd also gives players exhaustion which is closer to second edition which lowers the players constitution; though unlike I6 or second edition, a player can't leave Barovia even if they succeed on the saving throws.

I want to also talk about the whole decison to add the fog and the consequences to the whole lore of Ravenloft. The fog from a gameplay perspective gives Strahd more power and makes sense as to why the villagers of Barovia have never left, they cant. This whole land is Strahd's lair. In the tome, Strahd calls himself "the land" and being able to control who can enter and leave makes it far more literal. He is quite literally the land, the fog moves when he asks and it bends to his whims. I won't lie and say the early iteration of the fog in I6 is a bit cheesy, like its just a poisonous cloud of fog and the vistani just happen to have the cure so they can come and go but they way it evolves is so interesting. It starts as this trapping force just for the players to becoming the prison that keeps Strahd contained, just that he is literally Barovia itself. He can trap those as part of his curse being the Darklord of Barovia. Its a wonderful role-reversal.

Returning to the module, the next couple pages are the set up for the module and its surprisingly one of the set ups in Curse of Strahd, "Plea for Help"; down to the exact same letter the players receive. It is word for word, only with some minor changes like inserting commas

[ID] The image is a black and white document on a wooden table. It is similar to the previous image. There is text on the page laid out such that there is two boxes containing text with text in the middle separating the boxes. The first box is cutoff in the image; the following is the text starting with a cutoff sentence:

"subdued. The letter is lying before you. Dated yesterday, the ink is still not dry and the parchment is crips. The seal is a crest you don't recognize."

The following is the text between the two boxes:

"If the PCs open the letter, read its content from the following boxed text."

The following is the text in the second box:

"Hail to thee of might and valor:

I, a lowly servant of the township of Barovia, send honor to thee. We plead for thy so desperately needed assistance within our community.

The love of my life, Ireena Kolyana, has been afflicted by an evil so deadly that even the good people of our town cannot protect her. She languishes from her wound and I would have her saved from this menace.

There is much wealth in this community. I offer all that might be had to thee and thy fellows if thou shalt but answer my desperate plea.

Come quickly for her time is at hand! All that I have shall be thine!

Kolyan Indrirovich

Burgomaster

[End ID]

I shouldn't be surprised by this; the "Plea for Help" adventure hook from Curse of Strahd is one of two adventures hooks that don't really need set up or has hard requirements. It also is very organic. Someone comes in and offers your party job, shows off that they are clearly rich by buying the whole tavern drinks for the night, and leaves. The letter is also very forward and offers the party riches for help. Its very simple but effective. I am a bit shocked how the words have not been changed in the 30+ years between the modules; but as I have mentioned earlier Curse of Strahd doesn't take a lot of liberties for the content in I6. The hook also assumes the least about the players which helps with its effectiveness. The hook relies on the party desiring wealth, which in first edition was a guarantee since leveling was associated with gold, and offers some additional motivation for good aligned characters.

Continuing on, as the players enter the Svalich Woods, they also encounter the real letter being sent by the Burgomaster of Barovia village. Again this is the same letter, though some of the words are slightly different, like dropping the words "creature calling its race".

[ID]

The image is a black and white document similar to the previous image. The image has two boxes with text. Between the two boxes is a set of text. The only word legible in the first box is the word: "scream". The following is the text between the two boxed texts:

"Three turns after all the PCs enter the woods, they find a dead villager in the underbrush. He holds an envelope crumpled in his hand. The remains of his clothes are torn and raked with claw marks. Paw prints of many large wolves are pressed into the clay around the body. The man has obviously been dead for several days.

The letter is dated one week ago. It is sealed with a large 'B'. The parchment is worn and flimsy. It reads as follows:"

The following text is contained in the bottom box:

"Hail thee of might and valor:

I, the Burgomaster of Barovia send you honor - with despair.

My adopted daughter, the fair Ireena, has been these past nights bitten by a creature calling its race 'vampyr.' For over 400 years, he has drained this land of the life-blood of its people. Now, my dear Ireena languishes and dies from an unholy wound caused by this vile beast. Yet I fear, too, that the creature has some more cunning plan in mind. He has become too powerful to be fought any longer."

In small text below the box is the following: "Letter continues on next page."

[End ID]

[ID]

The image is a black and white document similar to the previous image. The border of the document is similar to the "Lands of Barovia" image. There are three potions of text in boxes, with third becoming cutoff and unreadable. Between the first and second box is more text. The first box contains the following text:

"So I say to you, give us up for dead and encircle this land with symbols of good. Let holy men call upon their power that the evil one may be contained within the walls of weeeping Barovia. Leave our sorrows to our graves, and save the world from this evil fate of ours.

There is much wealth entrapped in this community. Return for your reward after we are all departed for a better life.

Kolyan Indirovich,

Burgomaster"

The text between the first box and second box is as follows:

"Roll 1d6 every turn the PCs ar ein the woods. If the result is 4 or more, the PCs hear a lone wolf cry in the distance. One more wolf cries each round. If the PCs are still in the woods after 5 rounds of howling, the wolves attack. If the PCs are entering Barovia, only 5 wolves attack; if the PCs are attempting to leave Barovia, 25 wolves attack. The wolves stop their attack if the PCs leave the woods by entering the village.

5 or 25 worg wolves: AC 6; MV 18"; HD 4+4; #AT 1; Dmg 2-8; AL NE. "

The following is the text contained within the second box along with its header: "D. The River Ivlis

The river Ivlis flows as clear as a blue winter sky through the valley."

The following is the text contained within the last box along with its header; part of the text is cutoff and the last word visible is 'wet':

"E. The Village of Barovia

Tall shapes loom out of the dense fog that surrounds everything. The muddy ground underfoot gives way to slick, wet"

[End ID]

Continuing on, the village of Barovia is more or less the same. Ireena is also a 4th level fighter in this module. I find this interesting that she is a level lower than what the players start at (5th level) since Vampires drain levels in 1st edition and this is not so subtle acknowledgement that Ireena was attacked by Strahd and had her blood drank. It also prevents the main npc character from overshadowing the players in fights, though Strahd and the monsters he controls do not target Ireena. Ireena's characterization in I6 and Curse of Strahd is similar, a mild but strong willed fighter. I6 however says she wants to fight and kill Strahd for harming her homeland and killing her father where this only occurs if she is you ally in Curse of Strahd. Ireena is someone who's is fighting for a lost past and a future she can never have. Her life was completely upended several times by Strahd, as both Tatyana and as herself. I6 is a story about Strahd, Tatyana, and Sergei. Strahd's jealously and envy destroying his family and he is cursed to live in a nightmare for eternity as death, the thing Tatyana saw him as. Tatyana is forced to reincarnate endlessly by The Mists to remind Strahd that he can never have her. Sergei can not move on after losing the love of his life and seeing his brother in endless torment. Its a tragedy. Ireena needs to be part of the group who helps kill Strahd. It makes her and Tatyana not some damsel in distress but instead someone who is hurting and who triumphs over their pain to forge a better future; whether or not she ends up with Sergei is left to the DM depending on how the players have interacted with her. Curse of Strahd has some changes, that takes keeps the elements of this story but expands further with the introduction of the randomized ally.

The introduction of a randomized ally frees up that role to be anyone in the cast, with a few exceptions. It allows Curse of Strahd to break away from just a story about Tatyana and Sergei and to be about how Barovia, the country, is suffering at the hands of Strahd and how everyone in the cast has a dark or tragic tale because of this suffering. From Victor hating his homeland and trying to escape to Vasilka, a person who is being made as a wife for Strahd. I don't think you can have both. At the cost of Ireena being the sole focus, we get more depth and re-playability and Curse of Strahd is designed for that in mind. It also lets Ireena free herself as a character from just being Tatyana again. While both have the same ending for Ireena, Curse of Strahd's "Something Blue" special event in Krezk and the optional ending in I6, due to the length of Curse of Strahd, Ireena gets more of a chance to bond with player characters and come to understand the world she lives in and perhaps become more than Tatyana. Again this is up to the DM and the players in roleplay and narrative but I have seen this happen a handful of times. Ireena is allowed to become more unique.

Stepping off of my soapbox and coming back to discussing differences, we come to Donavich; he doesn't have a son in I6. The son is a vampire in the church's basement, that comes from Expedition to Castle Ravenloft, kinda. In Expedition to Castle Ravenloft, Donavich called Danovich, he creates a zombie plague after his son gets killed by Bandits. He hopes to bring him back so he keeps his corpse in the church basement; which yeah that is one hell of a change that gets rolled right back. I am not going to talk about Expedition here, but his personality in Curse of Strahd is much closer to this version than I6's version. In I6, he is close to a generic clerical figure; warm and kind while knowledgeable about evil. Donavich in I6 knows Ireena's whole backstory of being adopted, which Curse of Strahd does stay consistent with. However in I6 he has information on Strahd he is suppose to give the players, mainly info about the tome of Strahd.

He is almost a different character in Curse of Strahd because how much he is hurting from his son being a vampire. The villagers do not trust him in Curse of Strahd and he is losing his grip on reality. He is doing everything he can to save his son and clearly wants to help the players when they meet him. He is also the one to give the players the idea to take Ireena to Krezk and the abbey. And if he is your ally, you have to help him kill his son and give him a proper burrial. Without Doru, Donavich is much more put together and reasonable. He wants to help the heroes just as much but he isn't an actual cleric, he doesn't have magic. And if he were to leave, then the only place of good in Barovia would fall to darkness which gives him a reason to stay behind. I do not have a strong opinion on which version I like more. I think both fit the energy of the Ravenloft as a whole and both serve their purposes well. Doru exists to give Curse of Strahd more darkness in the opening and highlight that the players were not the first to try to kill Strahd. I did go on about the changes for Ireena but making Donavich a potential ally really fits with his I6 counterpart even if he wasn't really a fighter in I6. The reasoning for him join is very clear. He has lost nearly everything, and the only thing he has left to give is himself. A father who wants the devil to pay for killing his son. He gains a conviction, which is something that is missing in I6.

Outside of Ireena and Donavich, there aren't any more major differences until the castle. Once you get to the gate that we know would lead to Villaki, the carriage to Castle Ravenloft appears and it waits for the players to enter to go to the castle. The module breaks if you don't enter the carriage which makes sense. Vallaki, Krezk, and the rest of Barovia don't exist in lore as this is the first module. When all the players arrive at the Castle, the drawbridge drops down and it has one of the funniest and also probably most infuriating ways you can die. Quoting the book "Each time anyone except Strahd crosses the bridge, there is a 5% chance of a cross board breaking. If the cross board breaks. the character on it must make a dexterity check or fall to the bottom of the cliffs, 1000 feet below". In other words, 5% chance you need to make a dex save, on a fail you die. I had to share; first edition is fairly infamous for traps that can just kill you and I6 is no exception. I am so glad we do not design dungeons this way anymore.

[ID]

A black and white document on a wooden table similar to the previous image. The border of document is the same as the previous image. The page number is at the center of the bottom of the page; the page number is 10. The document is a black and white image of a carriage drawn by two horses heading to a large castle. The carriage is in the left corner of the document. The style of the carriage invokes victorian style. The carriage has three accents that divide the carriage into sections horizontally. At the top of the cairrage is a holding area for luggage and other objects. In front of the carriage is a drivers set which is unmanned. On the right of the drivers set is a parking lever. The back of the carriage is additional luggage space, in the shape of an "L". Below this additional luggage space is a seal that is illegible. The carriage has 3 windows each spaced equally apart on the upper half of the right side. Above the the right window is a Victorian styled lantern. The door to the carriage is in the center of the right side of the carriage. The door's hinges are on the right of the door and the door's handle is on the left. On the lower half of the door is a symbol of what appears to be a bird or bat. Three of the carriages wheels are visible: The Front right and both rear wheels. The left rear wheel is cut off by the page. The right rear wheel is cutoff by dust and the page. The front right wheel is obscured by dust. All the wheels are attached to the bottom of the carriage and each other with a bar.

The carriage is being pulled by two large black horses. Their harnesses appear to be uniform in make are similar. The harness attaches near their neck and the middle of the back, and near the hip. The horses are controlled by reins that attach at the horses mouths and face and loop into the harness before becoming no longer visible.

The castle is in the background. The castle is made up of several spires and a drawbridge. The drawbridge has two towers at the end of the bridge. The drawbridge is attached to a large barbican by a chains. The barbican has three visible towers, one at the left corner of the wall, and two towers between the gate of the barbican. Above the gate of the barbican the same symbol that is on the carriage's door. Each tower and the walls between the towers have battlements. Behind the walls is the keep. The keep has 5 visible towers, two on the left and right of the keeps center barely visible, one tower that lacks a spire on the right taller than the keep and is attached to the left tower by a bridge, the left tower is taller than the right tower and has an attached spire, and the tallest tower on the right with a spire at the top. The keep has a chimney under the bridge attaching the two towers.

The foreground has a set of trees obscured by the carriage on the left with a patch of grass in the bottom right corner. The background behind the tower is a set of mountains only illuminated by a large lighting strike. The lightning starts in the top right corner and flows left towards a set of trees in the foreground. The carriage is traveling on a dirt path that leads into the castle.

[End ID]

Part 5 The Castle

Starting of the castle section similar to the previous one with Castle Ravenloft's encounters. You can encounter Strahd randomly but the most interesting encounter is the angry villagers which make you get more encounters because they are making a ton of sound but will help out in a fight. They don't attack the players but I think its a fun bit of story telling to have others who are fed up with Strahd's rule helping the players as they explore the castle.

Before I continue onto the rest of the castle bit by bit, I want to talk about the npcs in the castle. The biggest difference in the castle is Rahadin. Rahadin is actually introduced into 5th edition. The dusk elves don't exist until 4th edition and are introduced in one of the Dungeon Magazine issues, in specifically "Fair Barovia"; side tangent on the side tangent, look into Fair Barovia, it has some really cool similarities to 5th edition and it feels a bit like 5th editions proof of concept for Vallaki. Anyway, Rahadin and the Dusk Elves just don't exist. Nothing about them at all is in the older versions of Ravenloft. The closest thing are the Shadow Fey but the whole Drow/Shadow Fey retcon is a neat topic for its own day. Gosh sorry, Rahadin. He probably is my favorite change to the module full stop. He adds so much more depth to Strahd and his own darkness. Rahadin allows Strahd to be more human. He has someone who is his weakness and vice versa, Rahadin's weakness is his loyalty to Strahd. He can be just as meanacing as Strahd and just as cold while at the same point letting the players feel above him since whenever/if ever the players have dinner with Strahd, Rahadin is forced to be the servant. Yet it feels like there is something more. He takes care of the dirty work for the master of the castle, sometimes its cleaning, sometimes its killing. Overall, I wish the dusk elves were better integrated into the story of Curse of Strahd since other than Rahadin's backstory along with the whole Patrina and Kasamir story line, they don't get a ton of flavor and because they are so recent and it makes me sad, especially since the Dusk Elves are from wherever Barovia is from and some older modules touch on this exactly, mainly the hexad modules (again another time if people want).

Speaking of Patrina - She exists! Wait I just said the dusk elves don't exist. Correct! Both are true statements. She is made into an elf vistani, which is a bit weird. 2nd and 3rd edition make it clear that only humans can be Vistani while 4th and 5th say it doesn't matter (they invent Mother Luba for Tasha's Cauldron of Everything and add her in with Van Richten's Guide to Ravenloft; she is a halfling). So uh, no idea what this means. 1st edition breaking all the rules! 5th edition dropping the Vistani part and making her a Dusk Elf does let Rahadin have more depth as I mentioned. I think this element is just messy lore because Ravenloft was just a module; it wasn't intended to be the start of a setting. Weird things like this happen. Otherwise for Partrina, her backstory is more or less the same. Just Kasamir doesn't exist in I6. Curse of Strahd does a much better job integrating her into the overall setting of Ravenloft, even if it meant inventing a type of elf native to Barovia. I was honestly a bit shocked reading that she existed in I6 since elves don't have a strong place in Barovia when it comes to the greater Ravenloft canon. Patrina's expansion and role in the story along with Rahadin and Kasamir add depth that I would never want to remove and feel almost as if this was something missing from second or third edition. Something that is a one line piece of text and encounter in the crypts became something far more interesting and it makes Curse of Strahd better for it.

The next changes are Strahd's vampire brides (and Escher). They do not exist in I6. I don't have any fun facts on like when they were added or what inspired them; just that they are added in 5th edition. I am curious as to why they were included. Strahd isn't just after Tatyana, given that Patrina is from 1st edition, so it make sense he could have some wives (and someone else) so is that why? I would love to talk to someone who made Curse of Strahd and ask so so many questions but I just don't have the info on why they exist. They give flavor and depth. That's probably it. I feel a bit sad that my extent of knowledge on these characters is what it is. Escher is a fan favorite since he is such a sad man who is now over his head. WotC did a good job in adding them since they feel fundamental to the experience of Castle Ravenloft as well as add some additional encounters that are not in I6.

Moving onto another character, Cyrus is Human in I6. He is the only Belview in the module but he is human. The mongrelfolk aren't from 1st edition Ravenloft. I specify this because one, they do exist in 1st edition and two, they do exist in Ravenloft, just later. The mongrelfolk are similar to another creature in Ravenloft, Broken Ones. Just Mongrelfolk tend to be nicer and more friendly (and also have a much sadder existance in G'henna) than the Broken Ones. It makes sense they would live with the Abbot since he is a kind being (good aligned atleast) and they are outcasts who need to constantly look for a home. Just, they are completely an addition to 5th editions version of the module (and Barovia as a whole). I am not going to go into the changes 5th edition does for Barovia as a setting but I do think it would make for an interesting topic. Making Cyrus a mongrelfolk makes him more friendly and overall adds more horror flavor to the world. Every major character is human, that is so bland. The point does work though, it makes non-human characters outsiders. It works well, but adding a bit of change here or there makes the world more interesting because you get characters your players can relate to. A drow character can relate to the dusk elves for example. The Belviews add that depth and strangeness that wouldn't be there if they weren't mongrelfolk. In 1st edition, Cyrus is just an old man who tells jokes at bad times and tries to lead the players to their rooms. I like 5th edition's change; he stays this old man but is far more likable personally.

News for Pidlwick II fans, he does not exist yet sadly. He was created for 5th edition. I generally like clockwork automatons and while Barovia really isn't clockwork-y compared to other Domains (looking at some of the more advanced domains like Paridon), living dolls are so cool. He has some interesting flavor if you expand him into the greater Ravenloft setting since he could be considered a Dread Construct. The lore around Pidlwick II however, is fairly interesting. I6 and Curse of Strahd disagree on who Pidlwick the first is; well I say I6 disagrees, its more the lore given to him in 3rd edition's source books is different than the lore Curse of Strahd uses. In Curse of Strahd, Pidlwick is a fool of Duchess Dorfniya Dislisyna and Fritz von Weerg made Pidlwick II and Pidlwick II killed Pidlwick. In the second and third edition canon, Pidlwick is the husband of Dorfiya Dilisnya and the "father" of one of the most important characters in all of Ravenloft canon, Leo Dilisnya. Leo deserves his own post as well but if you know "I, Strahd" you know Leo. Anyway Pidlwick's mother gets murdered and he starts an assassination war with the Petrovna families called the War of the Silver Knives. Strahd orders the assassinations to end and Pidlwick grows to despise Strahd since he didn't avenge his mother. Leo takes on this hatred for Strahd when Pidlwick dies. Now why is he called a Fool of Dorfniya? Its assumed its because Leo isn't his son by blood and he was cucked by another character. That is such a wild difference in lore for once character but without it, Pidlwick II wouldn't exist. Yet Leo's remains do exist in Curse of Strahd in Wachterhaus but I am getting off topic.

Lastly on the who's whos of the castle: Helga, Lief, and Gertruda exist and 5th edition leaves them unchanged. They exist, they fill their roles the exact same way. It is still very cool to me to see how much of this module can remain the same over 30+ years across several editions.

Now onto the Castle proper; I will be sprinkling in throughout this section the remaining art in the module as there is only a handful more and the rest is text. Something I think that was interesting when I was looking over the other editions of this module is that they all use the same numbering for the locations in the castle. Like K30 is the Office of the King's Accountant in I6. Curse of Strahd also makes K30 - King's Accountant. Overall. I think this is wonderful and its something most people wouldn't notice and only the dedicated fans like myself would. And I love this. And it makes my life easier since I can refer to each room in the castle by its location number. Now overall, the castle is the same in Curse of Strahd as it is in I6 so I will only mention any notable changes.

The first of which is K15 - Chapel of Ravenloft. We don't actually get the name of the figure who tries to steal the Icon of Ravenloft in I6 and in Curse of Strahd the icon is more powerful. In I6 it just lets you heal any creature 6 to 21 hit points and makes the ability to turn undead stronger while 5th edition adds the Protection from evil and good radius and the augury spell. Its also said to be 10 pounds in 5th edition while 1st edition just says its small; which 10 pounds is not small. Then again its a foot tall silver statuette that is half a food wide, so I think 5th edition is correct in making it fairly heavy. I am curious for the reasoning in making the Icon stronger, the protection from evil and good spell is so useful in this dungeon and the augury spell is just fun flavor.

Next is K20 - Tower Hall of Honor or as 5th edition calls it Heart of Sorrow. Yeah, the biggest change is the name. Its called the Guardian of Sorrow as mentioned earlier in this post. The animated halberds also aren't flying swords or anything but instead how the Guardian of Sorrow attacks. The heart actually makes the players take dexterity saving throws every round or they fall down the stairs since the whole castle is shaking which is cool but annoying. The module does mention explicitly the players can move at 1/4 movement to avoid the saving throws but still awful. Atleast 5th edition had the kindness to just knock you prone when you failed the dexterity save rather than fall down to a lower floor. The heart also doesn't have any kind of life/shield link with Strahd like it does in 5th edition; it just exists. Saying it "exists" underpins the whole thematic reason its here. Like the whole purpose of the heart is to say the castle is alive, and maybe the land is alive even? The whole "I am the land" in his journal seems far more literal now, like this could be his heart! Its so brutal. 5th edition makes the link even more clear; he is hurt when you hurt the heart and the heart takes damage for him. Its a masterful change in 5th edition, it adds flavor and gives the players more reason to explore. I also like "Guardian of Sorrow" far better than "Heart of Sorrow" but that's me.

[ID]

The image is a black and white document of Strahd von Zarovich playing an organ. The organ takes up the majority of the image, being cut off by the left edge of page curving around and ending at the right half of the page. The top left to the top center are the organs pipes in two rows, each topped with a dragon head open as if to breathe fire. Part of the back row of the pipes are cut off by the top of the image. The pipes are then hidden by the organs at their bottom. The organ appears to have 4 rows of keys that make the up center of the organ. Above the top row of keys as well as the left and right of they keys appear to be buttons or knobs to activate additional elements of the organ. Dividng the buttons from the keys appears to be inlays with circles. Bellow the organ is two rows of swell pedals that get hidden behind Strahd and the darkness of the image. In front of the swell pedals is the pedal board of the organ. The right end of the organ is a ornate carving of the dragon. Below the dragon is a post carved to look like the dragon's feet. Below the foot of the dragon is the signature of Clyde Caldwel.

Playing the organ is Strahd von Zarovich. His left hand is on the second row of keys while his right hand is in the air as if to strike the keys dramatically. Both his left and right arms show a visible undershirt sleeve. The left arm has a button near the sleeve. His right hand has nails like claws. Only the left profile of his face is visible. His hair is licked back but fades into the darkness of his clothes. The rest of his clothing is veiled in the darkness and are to obscure to make out.

The chair Strahd is sitting in is mostly obscured by his cloak. The left portion of the chair is visible; the upholstery of the chair along with its front left leg. Keeping the upholstery in place are round staples or buttons. The left leg is carved to look like the foot of a lion or beast.

[End ID]

K30 - Office of the King's Accountant. The biggest difference is 1st edition has less loot and the reason Lief is upset is slightly different. Lief wants access to the hidden treasury. Why he knows this is never explained but he also knows the whole layout of the castle and will give the players a map to the holy symbol like in 5th edition so I assume he knows it exists but Strahd won't let him use it. I don't know when "Manual of Bodily Health" is first created but it doesn't exist in 1st edition's version of the module so I assume it was added as more interesting loot than just money, since 1st edition has the same amount of money but the manual is replaced with 100 books worth 10 gp each. I like this minor but impactful change. If the player characters are just playing Curse of Strahd, the manual is just as impactful as if it was more money but if they go beyond Strahd into another game, this is far more impactful. Either way, its a cool and fun change.

K31 - Trapworks. The only difference here is the damage you take from being on the top of trap. In 1st edition its 3d10 with no save to avoid damage while in 5th edition is a dexterity save taking 8d10 on a failure, which is so much more. I imagine this is because players should be nearing the level cap for the module and that level cap is far higher for Curse of Strahd than Ravenloft but also I have no context for hitpoints in 1st edition, this could be much more damage. Everything else is the same, magical sleep hits the players and then they are trapped. Overall its a really cool trap, I never have seen it in action and I want to here stories about being imprisoned or the elf of the party saving everyone; seems like a really cool narrative moment.

K41 - Treasury. Similarly to Office of the King's Accountant, the 5th editions version just has far more stuff, but also its missing some things. Mainly all the magical weapons. 1st edition has a +2 sword and 3 +3 maces in addition to all the money. It makes sense to give the player a load of magical weapons since in 1st edition, vampires can only be damaged by +1 or more weapons. So this is a solution to a problem that they player will encounter when they go to fight Strahd. It also reinforces the need to explore dungeons and keeps up with 1st editions dungeon diving nature. I think this is kinda cool, I don't think I know of a module that hands players multiple +3 weapons at once. 5th edition swaps those out for the +2 shield, some potions, and the instant fortress along with the helm of brilliance, rod of the pact keeper and alchemy jug. I think both are fun treasure piles but I think 5th edition benefits from having a larger pool to draw magic items from. The shield is also unique to Curse of Strahd since Argynvostholt was added for 5th edition. I think both treasuries fit the version they are in. Like 5th edition does not focus to heavily on better gear as a requirement for fights, it just makes fights easier. So a diverse pool of gear is better than a large amount of magical weapons; especially since a magical weapon isn't needed to hurt Strahd. 1st edition does focus on that sort of progression so magical weapons make a ton of sense and as I mentioned, characters need magical weapons to hurt Strahd at all. The module is designed for six to eight characters in 1st edition; which is larger than most parties are in 5th edition. There is one sunsword but what if there are 3 fighters? This is how you get around the problem.

K46 - Courtyard outlook or Parapets in 5th edition. 5th edition added an encounter here. Neat. You have to linger here to fight Strahd's armor but you can. I don't have much more to say than it surely is an encounter that exists.

K49 - Lounge. I need to share that they changed the book titles here. One of the old ones is a gem in my opinion. "Identifying Blood Types: A Beginner's Handbook". I think it just neat. That's all.

K63 - Wine Cellar. This area is expanded quite a bit, flavor wise, in 5th edition. First off - potential encounter with a slime. Neat. Second, all the wine is explicitly from the Wizard of Wines. I like this, thats all.

[ID]

The document is a black and white image similar to the above image. The image is of Ireena Kolyana standing next to the portrait of Tatyana. Ireena's hair appears to be dark, messy, and long, going past her shoulders. Ireena appears to be wearing lipstick. Ireena's outfit is that of a traditional longsleeve vest and pants with a cloak. Around her neck is a cross with a gemstone in the center of the crucifix. The cloak around her neck is held in place by a clasp with a tassels and a gemstone in the middle of the clasp. Around Ireena's waist is a belt with three buckles, one in the center and one on each side of the middle buckle. The bottom of Ireena's shirt is a repeating pattern of a hollow white diamond with a black square in the center of each diamond and a white dot in the middle of each square. The diamond pattern is on a strip of black fabric. Ireena's pants appear to be dark in color with no discernable features. Ireena casts a shadow on the wall behind her on the left side of the image. In Ireena's left hand is her sword which she is pushing into the ground. The sword appears to be in its hilt and it cut off by the bottom of the image. The hilt has two circular inlays with gem stones. The bottom of the two inlays appears to be in the middle of a cross inlay. Near the top round inlay is a loop that has a strap passing through. Ireena's posture is tall and proud, with her right hand at her waist and her left arm leaning on her sword; clearly poising next to a portrait very similar to her appearance. She is facing the right

The portrait is of Tatyana. Tatyana is sitting in a chair, looking left of the viewer. Tatyana has the same face, hair, and lipstick as Ireena. On Tatyana's head is a crown and 3 strings of pearls from the crowns right end flowing behind her hair. Tatyana is wearing a dress with several sets of jewelry. The first is a large necklace with a round pendent with a inlaid gemstone At the end of the neck of the dress is another piece of jewelry, a diamond shaped button with a gemstone. Tatyana's hands are resting at her lap. Each wrist has a bracelet. At her waist is a cloth belt with circular buckle like piece. The chair she is sitting in has a curved back. The left portion of the chair is hidden and not visible. The right portion shows a carved accented arm that curves round into a spiral. Behind Tatyana is a curtain, that is drawn such that it curves behind her. The portrait's frame is heavily accented. The corners are three leaves facing outward, with the middle leaf being the largest, and a curved bow like accent attacked to the leaves, with the bow's guard or point facing the portait. At the middle of the frame section are additional smaller accents: A circle with a gemstone in the middle cut such that the circle looks to be two portions; from the gemstones are two curved limbs that mirror each other; where the limbs meet the circle are two small spikes pointing away from the portrait. Between all the accents are small circles in the middle of the frame's edges. Below the portait is the signature of Clyde Caldwel.

[End ID]

K67 - Guard's Hall or Hall of Bone in 5th edition. This area is very different. Like not the same area different almost. In 1st edition this is just a hallway. Thats it. Ok, Strahd does still kill is guards here, so there is stained blood still. But 5th edition adds in a whole skeleton/bone art sculpture made by Cyrus because why not honestly. That may come off as mean sounding, I think its actually just amazing. I have a soft spot for Cyrus. This can also be a spot for your treasure or Strahd's encounter which that isn't the case in 1st edition. Lastly, the ossuary has the skull of Argyvost which doesn't exist in 1st edition as I already have mentioned. Taking a step back, its interesting that 5th edition just invented a room. Like original Strahd did not have a bone room. You know, a room for bones of those he murdered. Granted he didn't make this, Cyrus made the bone zone. But is 5th edition Cyrus that much more wild compared to 1st edition then? Or better yet, Strahd just let him do this? That you can fight Strahd here or better find this tome here means he enjoys this room possibly? Like he is sitting at the end of a table in a chair of bone holding the dragon skull; what even? I don't know, there is more to say here than the bone room is cool but I love it. I need to know the reason behind the bone room minus "give the vampire a bone room". If its just that, kudos to the people fighting for this wonderful set piece. Such an amazing addition.

K75- South Dungeon. The real change is giving Emil a character. He does exist in 1st edition but he is unnamed and he just joins the party once freed to help kill Strahd but betrays the party once an opportunity arises. Emil is very similar in 5th edition unless the players know Zuleika (or she is your ally due to the reading) in which case he may join to help kill Strahd or just try to flee instead. I like that they made him a fully fleshed out character along with the werewolves without changing much of his actual role in the story unless you happen to get Zuleika as an ally which makes sense. I am not going into too much about Emil since his story is more related to the werewolves than the castle itself.

K78 - Brazier Room. This is very different/. The purpose of this room in I6 is to block the players from entering into the catacombs or other parts of the castle. Its a puzzle room with no hints other than an hourglass representing time in rounds, the golems each have unique stones their hands that can be thrown into the fire. Each stone has a different associated door and the golems won't attack unless the timer runs out. Other than this puzzle, there is a chest that 5th edition doesn't have for a good reason. First its trapped and if you open it from the front you fall asleep. If you can't be put magically asleep, the chest looks empty due to illusion magic after you open it from the front. So you need to open it from behind. Inside it has some spell scrolls, some potions, and of course a deck of many things. The deck of many things is a wonderful way to end a campaign; though I have no idea what the difference between 1st editions deck and 5th editions. I imagine not much has changed since 5th edition is quite brutal. There is probably a few 5th edition adventures that include the deck of many things somewhere but I don't personally like the item. In older editions where characters feel a bit more disposable, the deck is fine since it can just kill your character, but in 5th edition it can derail a campaign instantly. Anytime the deck has come out, the campaign almost instantly ends or becomes derailed since we now need to save a character because they pulled a card that does something awful to them.

5th edition completely changes this room to be a teleportation room to anywhere in Barovia basically using the same flame color puzzle but with a riddle which is nice and it removes the deck of many things for obvious reasons. I get the changes, it keeps the thematic purpose of the room the same and also removes the deck but also I miss the trap; one more final challenge if you need to get into the catacombs. The change also adds in flavor as to how Strahd can be everywhere in Barovia at any time, he can literally teleport. I think personally, the teleportation puzzle wasn't neccesary but the removal of the chest was. Curse of Strahd is a much longer campaign and to have it get derailed in the 9th hour would be unsatisfying for a lot of players. I6 is probably banking on the players using the deck once Strahd is dead as a treasure and hook for the next story. If you want a story with the Deck of Many Things, you could probably make it work as a way to keep your players in Ravenloft as a continuation but it might take some tweaking.

[ID]

The image is a black and white document of a knight with a sword and shield fighting zombies in water.. The image is similar to the previous image. The knight is on the left side of the image while the fully visible zombie is on the right. There are 3 zombified hands clawing up from the water; two near the knight and one in the background between the knight and zombie. The knight is positioned such that they are about to strike the zombie with their sword. The knight is wearing a helmet, scale mail, a shield, a curved sword, pants, greaves, and gauntlets. Their helmet is ornate with several curved inlays on the forehead of the helm. The top of the helm is spiked. The area of the helmet where the face would be located is open but there is no visible face. The helm curves down to guard the neck as it meets up with the scale mail. There is a strip of metal from the top of the helm to the base in the middle of the back of the helm. the scalemail flows from the neck to the upper thigh of the knight. On the knights shoulders is a set of pauldrons. The section of the scale mail around the neck is curved, suggesting that the helm scale mail section is on top of the body scale mail. The knight's overshirt is ripped apart at the chest, revealing the scale mail underneath. There is a strap from the knight's right shoulder flowing down to the left side of the knights waist with a buckle and gemstone inlay near the shoulder. At the end of the strap is a string of pearls or gemstones. Similarly, there is a mirroring strap that starts on the left should and meets the right side of the knights waist; this strap is thinner than the other strap. The shield is in the knight's left hand. The shield is round with a cross painted on the center of the shield. There is wear around the edges of the shield. In the knight's right hand is the curved sword. The sword appears to be a scimitar or a falchion. The swords guard curves up on both sides. Light creates a visible shine off the sword. The knight has a belt at their waist with six circular inlays each spaced equally. The knight's overshirt continues to the left of their body, covering part of their pants. The knight's pants are dark in color and have wrinkles near the right knee. The knight's right knee is protected by a their greaves. The top of the right boot is just visible above the water. One of the three zombie hands is grabbing at the knights right leg.

The zombie fighting the knight is crouched near the water with its left hand reaching to claw the knight and the right hand in the water. The zombies clothes are torn into rags. These rags barely cover the zombie, with big pieces of cloth dangling off the chest and left arm. The zombie's face is heavily decayed as it makes a gaunt snarl to the knight. The zombie's hair is ratty and short. Across the zombie's body are boils and scars. The zombie's chest is hidden and darkned.

The background of the image is misty on the left which flows down to the center of the image; with chains becoming visible in the right corner. The water of the image contains off colored pools around the knights legs, the middle zombified hand, and the zombies limbs in the water. In the bottom right corner of the image is signature of Clyde Caldwel.

[End ID]

The crypts are the next and generally, they either received more loot of flavor since most of they crypts in 1st edition are simple. Most are just text with flavor like "Beucephalus, The Wonder Horse. May the flowers grow ever greener where he trods" (yes they misspelled the name of Alexander the Great's horse in text, look at the last image in my post, Crypt 39). Anyway those that did have significant changes are listed below. Generally, assume Curse of Strahd gave each crypt either a description of the person interred or wealth inside the crypt if I did not mention anything in particular.

Crypt 6 - Marya Markovia. Her crypt is very different in Curse of Strahd. They added her thighbone as a weapon and changed her epithet from "Great was her beauty, undone by a jealous hand" to "Dead for all time". I think this was done to bring more flavor to the morninglord stuff since Barovia really didn't have any ties to the Morninglord other than some elements in "Vampire of the Mists", one of the Ravenloft novels.

Crypt 7 - Endrovich (Endrovich the Terrible) - In changing Marya Markvoia, Endrovich had to be changed. They explicitly call out Marya Markvoia as the one Endrovich loves but since Marya's crypt is Markvoia's crypt now, he just loves a generic Marya with no surname. He also doesn't haunt a gargoyle in 1st edition, he is just a specter you encounter. He also is guarding a stack of 3,400 gp in 1st edition.

Crypt 13 - King Intree Katsky- 1st edition this is just a named crypt with nothing. 5th edition gives him a gun! And a glider. Interestingly enough, firearms are not uncommon in flavor in Ravenloft. There is a lot of imagery and artwork of characters with firearms throughout Ravenloft in 2nd and 3rd edition source books so this is a fitting change.

Crypt 29 - Ivan Ivanovich, Beloved of Anna Betrovich- Yeah this is just not in 5th edition. This crypt is just straight up different. It belongs to Baron Eisglaze Drüf and has actual stuff in it, mainly a luck blade and brown mold for environmental cold damage. 1st edition just has nothing

Crypt 30 - Perfect Ciril Romulich - Since the morninglord doesn't exist yet, 1st edition does not have a holy symbol that blows up on evil creatures. Instead its 10 +1 arrorws, a scroll of raise dead and 3 potions, one is a potion of poison (yum), one is clairvoyance, and one is invulnerability.

Crypt 35 - This crypt is unused in 1st edition. The ghoul trap is new to 5th edition.

Crypt 37- Gralmore Nimblenobs. 5th edition does Nimblenobs dirty. He has so many more scrolls plus a +1 sword that can let you cast wish. Excuse me? I get the change but come on just the three scrolls for 5th edition and calling him "wizard ordinaire" is just bullying a dead guy who knew wish.

[ID]

The image of a black and white document of a vampire on the left side of the page and text on the right like previous images. The top of the pages has a similar border as previous images. The vampire is a women in a dress with a set of jewelery. The women's hair is long and dark, partially obscured by the darkness of the background. She is baring her fangs to the viewer. Her dress straps are thin. Her right hand is raised towards her face. Around her neck is a neclace with several gemstones. Around both arms are bracelets; her left arm has two bracelet while her right arm has a bracelet with 3 visible gemstones. Around her chest are several sets of bindings, one crossing under her breasts, one crossing at the waist, and two crossing around her chest forming an "x". The background of the image is darkness that fades to light from top to bottom. To the right of her waist is s signature of Clyde Caldwel.

Not all the text on the right is visible. The following is the visible text:

"A body in white clothing rots naturally, in small chest. Whithin the chest are 10+1 arrows and 3 bottles containing potions of poiso invulnerability

Crypt 31. '$$We knew him only by his wea

There is a large, bulging chest in the center is a trapper who attacks anyone that steps up

1 trapper: AC 3; MV 3"; HD 12; hp 62; #A AC; AL N.

Crypt 32. "St. Finderway, Saint of Lost Tr

The crypt is featureless except for two al Over the alcoves is written "Pass not the mortals!"

These alcoves are transmitting and r alcoves on the east sends thoses who enter alcove in K86. Stepping into the western receives persons teleporting from the west

Crypt 33.

The stone door is blank. This crypt has

Crypt 34. "King Dostron"

Crypt 35.

The stone door is blank. This crypt has

Crypt 36.

The stone door is clawed and marked so The tomb is empty

Crypt 37. "Gralmore Nimblenobs"

The stone door only gives the name abo within, rotting naturally. About the co one wish; a scrholl with hcarm monst polymoprh self spells; and a scroll w haste, lightning bolt, and slow spells.

Crypt 38. "Americo Standarski (Inve

When this crypt is opened, three pair out. Three hellhounds attack. These damage at up to 10 feet from their sco points if the character saves vs drago breath once per round for as many ro

3 hellhounds: AC 4; MV 12"; HD 5; hp + breath weapon; AL. LE.

Crypt 39. "Beucephalus, The Won grow ever greener where he trods."

This crypt has a larger door than all rears up when the door is opened breath obscures vision, blinds oppo"

[End ID]

For the rest of the crypt, there really isn't any changes. The trap that leads you to a pit full of enemies is from I6. Sergi's armor is +2 plate mail which is reflected in 5th edition, Stradh's teleport trap is the same, and you need to be lawful good to enter the tomb of Barov and Ravenovia; though 5th edition added the squeezing part for small sized player characters. Generally speaking, the crypt really didn't get changed. What was changed in Curse of Strahd was mainly done for balance purposes or to make the crypt more align with the canon that Curse of Strahd uses.

Now about those magic items. How different is the holy symbol or the sunsword. Surprisingly not much. The holy symbol basically has a daylight affect, though its different, weaker, and you can only use it once a week. However, your turn undead feature is stronger while using it. The sunsword is weird but also basically the same. The biggest difference in I6 is that you have to build it. One of the players who is a fighter with sword has the blade portion already, just they don't know it. The blade of the sunsword when not in the proper hilt acts like a normal blade. You have to take the blade out and put it in the sunswords hilt and then its a sunsword. Its a +2 sword except against undead which makes it a +3 and it does extra damage. The flavor of it being separated by a magician and then lost is is also from I6 but the flavor of the blade being Sergei's originally is not in I6.. Lastly, the Tome of Strahd; the passages are the same. I mean "I am The Ancient, I am The Land" is iconic so it would be a shame if 5th edition changed it. Given how much of the module is the same, the tome remaining unchanged is not surprising.

Lastly, talk about is the optional ending. I mentioned when I was talking about Ireena that the "Something Blue" special event in Krezk in Curse of Strahd occurs in I6. It is the optional ending that can play out once the players kill Strahd. I don't want to talk much more on Ireena but moving the ending to Krezk in Curse of Strahd makes sense. If we want other characters to be the ally against Strahd, having her story arc end once she arrives in Krezk feels appropriate.

Closing Thoughts

I know this was a fairly long post but I think it let me kind of go off on my random knowledge I have on Ravenloft as well as discuss some changes and liberties Curse of Strahd decided to take. Its a very iconic module and the fact that it has stood the test of time more or less unchanged is a testament to how impressive and popular this module was in the 1980s. It also gave me a bit of an insight as to the decisions the designers made in Curse of Strahd and their reasoning since despite staying faithful to I6, Curse of Strahd generally made changes for the better in my mind. I may have come across critical of Curse of Strahd but that is more than likely my own bias since WotC has somewhat shown disregard for second and third edition canon which has grown to upset me. If I were to expand upon my thoughts on Curse of Strahd, I would want to talk about it as a follow up since I ignored a majority of the module. I6 is fairly short compared to Curse of Strahd. That is to the benefit of Curse of Strahd, since it is able to flex its world building far more than I6. There were also some topics I never talked about, like the the monster stat blocks. Mainly because I don't have anything meaningful to say. I have never learned how to play older editions of D&D and I really only have passing knowledge. I can take photos and add them as an addendum is someone is able to explain what they actual mean.

Lastly, forgive me if I talk over topics several times in this post. It grew in scope and size several times and had a couple of re-writes. My brain is rot and its full of gothic horror.

[birdb1tch]

i was gonna fill out the whole thing, but if im being honest i only made it to make the evil polycule joke about zara, jace and porter

[budbuddnbuddy]

Little obey me headcanons (pt3)

(Pt4)

A/n: uhhh not really sure what to say here, but I’m glad my posts are getting the attention similar to what I had when I first picked up writing fanfics and headcaons. Thank all of you so much hope all of you had a wonderful Christmas.

As MC spends more time in the Devildom and makes more pacts with the brothers, they’ll start to have a slightly more evil look to them. Get what I mean? Like how Megan Fox has “evil beauty.” However its not as visible, they’ll still look like your normal boring human first glance.

“The celestials know every language in the human wor-“ *LOUD INCORRECT BUZZER* Sorry but I respectfully hate this headcaon with all my heart, it doesn’t make sense. Sure these guys are immortal powerful beings that have lived for millions and billions of years, but they don’t even keep up with the human world like that and that’s CANON. Also if we’re looking at it through their perspective where as a hundred years is literally just a couple of blinks, humans would be making new languages every second.

They probably know 2-6 MAX, and that’s not me underestimating them that’s me saying that they either don’t have the time or will to care about 7,139 OFFICIAL languages there are in the human world. But enough of that let’s dive into the languages that they can speak.

Lucifer: English, French, Italian. and a little bit of Japanese due to Levi but not enough to be fluent. Mammon: English, Spanish. Levi: English, Korean, Japanese, and sign language. (idk if that counts) Satan: English, Mandarin Chinese, Japanese, French, Spanish, Arabic. Asmodeus: English, French (mainly because he thinks it sounds hot 💀) Beelzebub: English and German. Belphie: English, Spanish, German (because of Beel), Japanese. Diavolo: English,Italian, a bit of Spanish but not enough to be fluent. Barbatos: Mandarin Chinese, Japanese, English, French. Simeon+Luke: English right now but Luke wants to learn Spanish.

Solomon is probably the type of person to wake up at 12:30 in the afternoon whenever possible. Mf probably has an alarm set for that exact time too, and when you ask where he’s been for like half of the day he’ll tilt his head to the side and be like “I was sleeping????”

I feel like we can all come to a sort of mutual understanding of this, but the brothers fan clubs and MC do not mix well together like at all.

“Asmo, get your crazy ass fans under control! They’re fucking insane!”

“Oh they can’t possibly be that bad dear! They’re MY fans after all!”

“I let it slip that we had a date planned for this Saturday and one of them threatened to cut me before calling me a warm toilet seat!”

“Oh.”

Asmodeus, Barbatos, and Simeon call you Hon/Honey sometimes.

For all of your RAD classes, every brother except Lucifer shares at least ONE class with you. Also all of the exchange students are in the same Main classes.

Everyone is a tad bit insane about you, just a little bit, a sprinkle if you will. No I am not explaining this.

[yanderepuck]

A YEAR IN THE MAKING

You know this BIG project I keep mentioning??

A good amount of you have guessed it, some of you know all about it because I've been bouncing ideas off of you to help me with the thought process.

SALAÌ IS GETTING HIS OWN ROUTE!!!!

Long story short.. it was supposed to be 8-10 chapters. It was going to be a speed run route. It's obvs not a real route it can be quick and not so indepth right? Right?

It's 20 chapters. With 3 side stories and an Episode 0.

There were going to be 4 cgs but... Art is pricey and well... honestly.. his route isn't even canon.

In Salaìs route, you, the mc, meet Salaì as he's painting in town. He's there looking for someone but you don't know who. But you get closer to him, going on little dates.. having no choice but to stay at his place for a night, helping him get his art shown in a gallery...and then it falls apart

I will be posting each chapter separately. There will be 3-4 days between each chapter. I will have a tag list. If you are tagged on this post you are already part of it. If you'd like to be part of it just comment saying so.

Minor details: so he has 3 side stories plus the episode 0...those will not be posted here. I've put so much work into this.. literally started August 25th last year...they will be available on Kofi as the chapters related to them are posted. They will only $1. You don't need these side stories for the main story just like in the game so please don't complain about me putting 4 of these behind a pay wall.

Info on the route itself: I will be staying this once I start posting it but through the story I will be calling him Salaì..but for a good part of it he goes by a different name. It shouldn't be confusing but he does have three names after all. Also I said his route isn't canon, meaning his route does not line up with his actual lore. In no way would Salai chose Mc over Leonardo, and I also don't put all of trauma of his in here bc its not really the focus, and like I said.. not even canon. BUT I AM WILLING TO ANSWER ANY QUESTIONS AT ANY GIVEN TIME. I also have @ask-salai where you can ask questions about it too if you would want HIM to answer and not me.

I REALLY REALLY REALLY HOPE YOU GUYS READ AND INTERACT WITH THIS.

Not trying to be threatening... But if this doesn't do well... I'm not sure if I'll continue writing. This is a years worth of work. Reblogs really do mean a lot to me. I want feedback. I want to know what you guys think.

I still need to proof read it all and doubt check some things but I wanted to get the word out about what I was doing.

@chandeliermichel @kissmetwicekissmedeadly @fang-and-feather @namine-somebodies-nobody @evil-quartett @lokis-laugh @candied-boys @breadmercury @aquagirl1978 @xenokiryu @lulu-the-smol-floof @tako-cafe @floydsteeth @spoopy-fish-writes @weird-profiterole

[neostellarjpg]

if you generalize act 6/the retcon arc as "the worst part/narrative decision of homestuck" or genuinely say things like "it ruined the story" or "it ruined x character" or "it only happened to make x ship canon/because hussie likes vriska", you HAVE to smell my farts. obviously its valid to dislike it, and to question behind the motivation behind such a drastic story moment, but it's in bad faith and a huge waste not to even try to understand how it fits with the story's themes.

EVERYTHING matters. even the failures, even the wasted successes, even the things that don't "really" happen. because really, they DID happen. both the readers and the characters can see with their own eyes the ghosts of those lost timelines. "this version of the character is the REAL character." "this event happens in the REAL timeline." repeatedly and deliberately, the classification "real" is called into question; even to the point of tying into subjects like fandom and reader interpretation. characters in homestuck wave off this topic, but the structure of the story demonstrates the idea of "canonicity" to have very little meaning in the first place. there is a possibility of something happening, and the very fact of that possibility harbors its own strength.

the entire purpose of the multitimeline storytelling in homestuck is to frame the story as a single possibility of victory built upon countless failures. in the alpha timeline, an infinitude of bad possibilities are dodged, but there is an equally infinite loss of growth and personal potential.

the characters are trapped inside a story, and they suffer for it. skaia is an unfeeling god with unfathomable plans for its players. it exacts pointless cruelty, but also rewards handsomely: with the gift of existence. there's no throughline in its actions. there's no messaging. a lot of the time, the point of sburb appears to be "personal growth." but for whom? certainly not the billions of innocents wiped out on whatever planet the game appears on. and at what cost? contradictorily, at the cost of many players' lives. if the real purpose was to nurture all players to their personal potential, then surely with its inexplicable omniscience and infinite powers of creation, things would end up this way.

i view homestuck as a very hopeful and pro-human story, but also nihilistic, in a way. deaths are callous, happen casually and quickly (even comedically!), and often have no significance. success doesn't end with everyone happy, or becoming the best version of themselves. outcome is arbitrary and without real meaning. the kids enter this story traumatized, get re-traumatized a billion times over, get chewed up, spat out, and wind up depressed or misguided. the line blurs between existence as a "reward" and as a "burden." it simply is, and no matter what happens next, the characters are stuck with it. after all, it's what they worked so hard for. and after they scrape and claw their way towards survival, once they end up on the other side, they are forced to look back, stunned at the amount of fight and determination that has completely left their spirit, wondering where it came from in the first place, and what it was really all for, in the end.

the retcon comes from the sheer force of will to create a better future. to keep fighting for an outcome where you and your friends are happy, painstakingly continuing to build upon a foundation of infinite failures. accepting that there is always another alternative, that sometimes things go wrong because you trap yourself into a binary way of thinking. and taking in stride that those mistakes, and the hindsight that comes with them, are essential in making the right decisions going forward.

the retcon is epic and it ties together a lot of big ideas of the story in a fascinating way. i am so sick of people casually treating it like this massive evil that has no redeeming qualities. HUFF my shorts

[lucisfavoritedemon]

Through The Portal: Chapter 4

Series Masterlist

Chapter Summary: Ford must talk Y/n down from making a rash decision. Both must face their tormentor head on.

Pairing(s): Stan x reader (platonic present, romantic past), Ford x reader, Dipper x best friend!reader, Mabel x best friend!reader Bill x reader

Warnings: angst, fluff, mentions of hopelessness, torture, mental manipulation, PTSD, unrequited love, flashbacks.

A/N: The events and ideas are based on a theory I have about the Nightmare Realm. This is in no way canonically true, just my theories based on what we canonically know about the Nightmare Realm.

“What!? Are you crazy? I would never even think about doing that to you!” Ford was frantic, he really couldn’t believe I just blurted that out so casually.

“Using the memory gun and erasing the thoughts of Bill, and what I saw and went through in the Night Realm, it might just work. I’m willing to make that sacrifice if it means keeping the rift safe.”

“No! That’s not even an option on my radar.”

“I’m aware, that’s why I’m making it an option.”

“No. I’m not doing that. I care about you too much to erase your memories all willy-nilly like that.”

“It’s not willy-nilly, Ford. I know what I’m asking of you and I know it’s a hard decision but…”

“A hard decision!? It’s an impossible decision that I am refusing to make. I’m not gonna do it, and neither are you. End of discussion.”

I sigh, “may I ask why?”

“Because, if I erased your memory of your time in there and your memories of Bill…you’d forget who I am.”

His words struck me. Was this Ford’s weird way of hinting at something? I shook the thoughts away. Ford and I had been through a lot when it came to Bill, and maybe he finally felt like someone truly understood him fully. He wouldn’t come out and say it, but he was scared of being the outcast he felt he always was.

“Okay, I’m sorry I asked.”

“It’s okay. As long as you promise never ask me to do that again.”

I nod, “is there anything else you need from me?”

Ford shook his head, “you can head back upstairs. I just felt like you should know what I found. You and I are of like minds and we both know how evil Bill truly is.”

I nod, “okay, if you need anything from me, you know where to find me.”

We shared an understanding look for each other before I walked back upstairs where the twins started to bombard me with questions and stories again. It felt nice that they were accepting of me into their life.

The next couple of weeks were interesting. Dipper and Ford told me about their adventure playing Dungeons, Dungeons, and More Dungeons that was then brought to life because Stan had thrown their dice, making the infinity sided die to roll out of its case. I enjoyed them sharing their adventure with me as I tried to make sense of my night terrors as Mabel called them.

The following week I helped the twins help Stan run for Mayor of Gravity Falls. I supported him 100% as the Stan I knew back in 1973 would have made a great mayor. I didn’t realise how much he had changed, or what little knowledge he had on politics. Still, I was happy to support him no matter what. After saving the kids, he was elected mayor by getting the birdly kiss from the mayor picking eagle. Little did I know Stan had a very extensive criminal record. I guess people do really change more than you realize.

I knew the adventure this week, though, was going to be interesting. I was fast asleep when all of a sudden I was in the middle of the nightmare realm. I feared it was another nightmare, then suddenly it morphed to where I was standing in the middle of a field.

“Y/n?” I heard Ford’s voice call out.

I turned around and saw him standing there, “Ford?”

“Wh-what are you doing here?”

That’s when we heard the malicious laugh of Bill Cipher. It was no coincidence Ford and I were here. Bill had a plan for us. Big plans.

“Well, well, well, well, well, well, well, well, aren’t you two a sight for sore eye. Stanford Filbrick Pines, my ol’ pal. And, could this be, my sweetheart? Y/n? I think it is.”

“Bill Cipher. What do you want from us?” Ford asked, pulling me behind him.

“Oh quit playing dumb, IQ. You two knew I’d be back. You think shutting down that portal can stop what I have planned. I’ve been making deals, chatting with old friends, preparing for the big day. You can’t keep that rift safe forever. You’ll slip up and when you do…” Bill then shows us a tear leading from our world to the nightmare realm, and I feel like I’m gonna puke.

“Get out of here! You have no dominion in our world!” Ford yelled at Bill, keeping a protective hand on me.”

“Maybe not right now, but things change, Stanford Pines,” Bill’s voice morphs into a creepy deep one, “things change.” He then rises into the tears laughing maniacally.

I shoot up screaming. Scared out of my mind. Bill was coming, and I was utterly terrified. The thought of actually facing Bill scared the shit out of me. Bill was someone I never wanted to actually face ever again. The fact that he appeared to Ford and I meant he was growing stronger and stronger with each passing day. That was the thing that scared me the most.

The next morning I could barely get out of bed. I sat there lost in thought, I was unable to fall back asleep after our meeting with Bill. I heard Ford call for a family meeting and I gathered all the courage I could muster and walked downstairs.

“Y-Y/n? Are you alright?” Ford asked, looking at me concerned.

“I’m scared, worried, I didn’t go back to sleep last night if that’s what you mean.” I stated.

Ford felt terrible I had gotten dragged into this, but little does he know I did it to myself. Bill’s infatuation with us was no coincidence.

“Ooh, mysterious scrolls and potions. Are you going to tell us we’re finally of age to go to wizard school? Is there an owl in this bag?” Mabel asked hopping in a chair and started to go through the bag Ford had on the table.

“No, I assure you if there is an owl in this bag, he’s long dead.” Ford took the bag from her.

Dipper and her sat down as I stood behind Ford. He pulled out a scroll paper and showed it to the kids, “Now, tell me children, do any of you recognize this symbol?” He holds up a scroll with Bill on it.

They both gasp before Dipper speaks, “Bill.”

“Y-You know him?” Ford was shocked, and so was I.

“Know him!? He’s been terrorizing us all summer. I have so many questions and theories.” Dipper spoke frantically.

“Dipper’s been pretty paranoid since Bill turned him into a living sock puppet.” Mabel added.

“The important thing is, we defeated him twice.” Dipper interjected.

“Once with kittens, and once with tickles.”

“It was a lot more heroic than it sounds.”

I looked at Ford concerned about the kids. This was serious, the fact they have faced Bill. It means he now has access to their minds, especially Dipper. Ford looked back at me with the same concerned look.

“The fact you have dealt with Bill is gravely serious.” Ford spoke up.

“So, how do you know Bill?” Dipper questioned. I knew I wasn’t ready to talk about that yet, and I knew Ford wasn’t ready either.

“Y/n and I have encountered many dark beings in our time, Dipper. What matters now is, his powers are growing stronger, and if he pulls off his plans, no one in this family will be safe.”

I wanted to punch Ford for confirming my suspicions. He was never good at comforting, so I don’t blame him entirely, but I didn’t want those to be confirmed. Neither did the kids as they gasped at what Ford just stated.

“Fortunately there should be a way to shield us from his mental tricks.” He unrolls a map onto the table, and grabs a marker, “a way to Bill-proof the shack. All I have to do is place moonstones here, here, here, and here, “he draws circles on the map, “sprinkle some mercury, and let’s see. I always forget the last ingredient.” He flips through Journal 1, “ugh. unicorn hair.”

“That’s not, like, rare, is it?” Dipper asks.

“It’s hopeless. Unicorns reside deep within an enchanted glade, and their hairs can only be obtained by a pure, good-hearted person who goes on a magical quest to find them.”

Mabel began screaming at the top of her lungs. She begged Ford to let her go on this quest to get the hair. Naming everything she has done that proves that she is obsessed with unicorns. Then she mentions that she is probably the most good-hearted person in the room. No one argues with her about that. Ford agrees to let her go, giving her the journal and a crossbow.

“Y/n, you wanna come with me and the girls on this quest?”

“I actually need Y/n here with Dipper and I.” Ford answers before I can say anything.

Mabel shrugs and calls her friends and sets off on the quest for unicorn hair. Ford leads Dipper and I down to the second floor of the basement. A place neither of us have seen yet.

“If we can’t Bill-proof the shack, we’re going to have to do the next best thing. We’re gonna have to Bill-proof our minds.” Ford pulls out a device that strangely looks like a torture device.

Ford begins to turn the machine on and places the metal helmet on Dipper’s head. This must have been the device Ford wanted to use on me a couple weeks ago, but worried my mind would still be vulnerable to his torment because of my dreams.

“So, what is Bill exactly?” Dipper questions.

“No one knows for sure. Accounts differ of his true motivations and origins. I know he is older than our galaxy, and far more twisted.”

“No kidding…” I mumble, still traumatized from my extra time with him in the nightmare realm.

Ford gives a sympathetic look before he continues, “not a physical form, he can only project himself through our thoughts through the mindscape. That’s why he wants this.” Ford holds up the rift, “I dismantled the portal, but with this tear, Bill still has a way into our reality. To get his hands on this rift, he would trick or possess anyone.”

“So how do we keep Bill out of our minds?” Dipper inquired.

“There are a number of ways I personally had a metal plate installed in my head.” Dipper doesn’t believe him, so Ford taps his head proving he does, “but this machine is safer. It will scan your mind, biologically encrypting your thoughts so Bill can’t read them.” Ford switches the screen on, “now, say hello to your thoughts.”

Dipper thoughts play across the screen. Some are interesting, others are utterly embarrassing. I felt bad that his poor thoughts were on display for us.

“By the way, you two never told me what your history with Bill was.”

“Dipper, do you trust us?” Ford asks, and he nods, “then you’ll trust that’s not important. Now, focus. It's time to strengthen your mind.”

The three of us sit there for hours as the machine slowly encrypts Dipper’s thoughts. I look over at Ford who has fallen asleep at his desk. “Must be nice to be able to sleep anywhere…or at all…”

“What’s been going on with you lately by the way? You’re more distant and paranoid, especially today.”

“It’s Bill. He scares the heck out of me. The thought of coming face to face with him in a physical form terrifies me.”

“S-so you had a bad experience with Bill too, huh?”

“I-it wasn’t always like that, Dipper…Bill and I were actually very close…then I got a true peak at what he really wanted…on the other side of my portal…he tortured me…Ford and Stan won’t be happy I am telling you this, but you and Mabel were going to find out eventually…”

“W-Wait, your portal? Y-you didn’t go through with Great Uncle Ford?”

I shake my head, “no…I had made my own. I found an old book in my parents' attic. They used to be Anti-Cipherites, or descendants of some. A group looking to take down Bill. It had an encryption on how to summon him. I did, and that night he appeared to me. He showed me his equation, he tricked me with his flattery, saying I didn’t need school or friends. Helping him would give me everything I ever wanted. Including helping my friend so he could finally go home before his brother left for college….that friend was your Uncle Stan…”

Dipper's eyes widened, “h-how old are you then?”

“Technically 61, but the place I was stuck in has no concept of time, so I never really aged…”

Dipper’s jaw dropped, “s-so you knew Grunkle Stan before he was banned from New Jersey?”

I nodded, “Stan lived with me.”

[actual-changeling]

There is no gun to his head.

I don't know where that notion came from or why so many people are suddenly convinced it is true, but I rewatched the last episode and especially the final fifteen over and over again and it's not real.

So. Let's have a look at the facts, and I mean facts, as in what we see on screen and what we can generally all agree on happens—no metas, no headcanons, just pure canon.

Aziraphale and Crowley just witnessed Gabriel and Beez go off together. They are free, there are no consequences for them, they left and have no interest in returning.

This tells them two things: Any threats from hell or heaven regarding their relationship are void under the current conditions. Hell is understaffed and dealing with its own problems, and heaven is a mess in a different but equally disabling way. The second thing, or rather the consequences of the first, is that they can do the same.

Let that sink in because so many people seem to completely forget about what that scene signifies outside of being a "relationship mirror". There are no consequences when a demon and an angel go off together. In the end, they weren't stopped, everyone kinda sighed and went well, we have our own problems, so they might as well leave.

Now, when the Metatron talks to Aziraphale, that scene is fresh in his mind, it literally just happened. The threat is gone, he does not want to return to heaven in that moment because he is processing what it means for the two of them.

Then, the Metatron offers him the jackpot: Aziraphale gets to fix heaven—make a difference, as he likes to put it—and have Crowley back as an angel. Aziraphale still thinks heaven is fundamentally good and thus the best place to be; angels, the two of them, how great! All of his moral problems have been solved, and, let me stress this over and over, there is no threat.

The Metatron LITERALLY just proved to him that he won't punish angel/demon relationships—he stopped Michael from punishing them. In Aziraphale's eyes, he is the knight in shining armour, threats wouldn't even be necessary.

Additionally, and I have repeated this so many times it has become tedious, Aziraphale does not know about the second coming. He doesn't. The Metatron tells him in front of the elevator, not a second earlier.

To summarize

he has tangible proof that angel/demon relations won't be punished

the Metatron has proven himself to be an ally and trustworthy

there is no dawning apocalypse

Crowley can come back to heaven with him

In conclusion, every single one of Aziraphale's problems disappears. Threats—threats over WHAT?

Do you really think the Metatron would immediately contradict himself and destroy any tentative trust Aziraphale has? Do you think he would jeopardize the blind fearlessness he develops as soon as he mentions the Crowley part of the deal?

Everyone always calls him an evil mastermind, just to turn around and paint him as the dumbest figure imaginable. He knows what he is doing.

When Aziraphale tells Crowley about the decision he has made for them, his voice is genuinely soft. It's real joy, no hidden messages, no nothing. Have you recently re-listened to it? Because I have.

"He said I could appoint you to be an angel."

That happiness and excitement is real, it just is. I rewatched it over and over and I tried to see any hidden meanings, I really did, but he's simply happy. That's all.

Everyone is completely free to have their own theories, you can disagree with my meta thoughts all you want, that's what fandom is for!

But I am so bloody tired of getting "well, actually there was a gun to his head" on every. single. post. that I make about the final fifteen. There was no gun.

You can put one into the Metatron's hands all you like, but it is not canon. It just isn't.

[not-wholly-unheroic]

I remember seeing a bunch of these “what if Hook was the actual hero? The reason he hates Peter Pan? Here are theories that Hook was a Lost Boy?”, when I was younger and it didn’t really make sense.

Okay? Cool? I’m fine with villains having a sympathetic backstory, but not every villain is meant to be some sort of tragic hero.

I may not have read “Peter and Wendy”, but I’m very familiar with most Peter Pan media aside from the Disney originals and Hook doesn’t really need any special reason to hate Peter Pan other than the obvious “That scurvy brat cut off my hand!” I don’t know about everyone else, but I’d certainly hate someone enough to see them as a rival to kill on the spot for something like that.

But overall, Hook is a pirate. Have people conveniently forgotten that pirates would gore, maim, mutilate, and kill people for the fun of it during their whole pillage and ransacking of other ships? If it wasn’t Peter, then it totally would’ve been someone else.

Heck, Smee called Pan’s actions as a “childish prank” and Hook agreed “Aye, but throwing it to the crocodile! That wretched beast liked the taste of me so well, it’s been following me ever since, licking his chops for the rest of me!”

So, it’s not just the hand…although apparently Hook’s gotten used to it. Again, he’s a pirate captain, however and whenever the crew had gotten into Neverland, there’d bound to have been other pirates that they encountered before Peter Pan. It’s the fact that Tic Toc Croc never leaves Hook alone. Now Tic Toc clearly would eat anyone else, but Hook is the main snack of his attention.

It reminds me of that story about a tigress where she literally tracked and stalked a specific hunter.

So yeah, understandably, Hook has a right to be angry. He doesn’t really need any more motivation than that to hate Peter Pan.

I am curious in how and why, cuz I highly doubt Peter’s dagger would be able to chop off a hand in one blow. And I doubt Hook would’ve just been standing around to let someone, let alone a child, do that to him. “Peter Pan” (2003) does a good job in showing the mutilated stump of such an injury.

But I wonder what exactly led up to that point.

I agree with you on the “Hook was a Lost Boy and Peter is actually evil and Hook is trying to save them” trope. It’s been done so many times now and I’m just…very over it. Besides, while it is, I suppose, technically possible Hook could have been a Lost Boy AND an Etonian…it just…doesn’t seem likely to me that he would be both. And most of those retellings just end up leaving Eton out entirely…which…bothers me because it’s a big part of his character. Even if he wasn’t there for long, it clearly left its mark on him with his obsession with “good form.” Also…I like Hook in part BECAUSE he is a villain. I find him fascinating because he is a sympathetic villain with a great deal of potential for redemption. I don’t WANT him to be the hero from the get-go. That fundamentally changes his character and means we don’t get to see the complexities of his emotions and trauma play out as he struggles to BECOME a hero in his own right. Making him the hero from the start just skips over all that and totally ignores canon for both him and Peter. Peter may be a selfish, cocky kid who can be cruel at times…but he’s not some demon child and people need to stop pretending that he is. Like Hook, Peter is a fun character specifically because he is complicated. Don’t turn him into some straight-up villain who is flat and boring and totally unlikable. Barrie pretty clearly meant for us to like both Peter and Hook and have mixed feelings about them. It’s who they are and it’s why his story has stood the test of time—because well-written characters aren’t one-dimensional.

Also…making Hook the hero and Peter the villain completely misses the point… Frankly, the whole issue Peter and Hook have with each other is (ironically) that they BOTH need to do some growing up. In Peter’s case, it’s pretty obvious. He has physically and emotionally stopped aging. Hook may be a grown man, but (and I say this as someone who loves Hook) he is emotionally very immature. He loses his temper easily, holds a grudge against a kid rather than taking responsibility for his part in things as the adult, and generally just doesn’t behave the way a grown-up should. Peter is stunted in his growth, holding on too tightly to his childhood, and Hook grew up too quickly and never really matured as a result. Wendy sees this pretty clearly and finds the balance between maintaining childlike wonder and growing into a respectable, responsible adult. If you make Peter into an often literal inhuman monster and Hook into the perfect hero, then Peter becomes totally incapable of ever choosing to grow up (even just emotionally, if not physically) and Hook doesn’t need to grow anymore because he’s already reached the end goal.

As for how/why things started between them…personally, I think Hook started it. As you said, he IS a pirate, after all. My guess is that he wanted something from the Lost Boys and/or Tink…information about a treasure, perhaps, or even just information about how to get off the island, as in some versions it seems he is trapped there…and Peter saw Hook threatening them and wasn’t having it. The only way I can figure that Peter managed to actually cut the hand off entirely is if Hook had fallen flat on some hard surface (rock?) that had very little to no give and Peter just…dropped like a stone from a great height, letting gravity really do its work and putting all his weight into it. And the only situation where I can see this happening is if Hook had a weapon in his hand that perhaps Peter was trying to knock back. I honestly don’t think it was intentional to cut the hand off. I suspect, knowing Peter’s tendency to make up stories about himself to make him sound more courageous and tough than he actually is, taking the hand clean off was an accident and when he went to pick up the discarded weapon, it was really only then he realized the hand was still attached. He flung it away in disgust and the crocodile just happened to be nearby. When Peter tells the story, though, he changes things up a bit. And Hook is too out of it from the blood loss and pain to really remember all the details so he believes Peter’s version of events that it was an intentional “prank” to cut off the hand and throw it to the crocodile.

[friendbreakfast]

theres never a time where the Scooby Gang hating on Scrappy will make sense, i feel. like think about it. in-universe, what did Scrappy ever do to make them hate him that isnt what he already did when they used to like him?

literally all the jokes in modern Scooby Doo where the entire gang is like "oh we don't talk about Scrappy ¬¬" feel so meanspirited for something that just literally does not make any sense.

the ONE TIME Scrappy did something evil was because James Gunn hated him for no reason other than "he was written into the show at a time where the writing was less good", and it was in a movie that isnt even canon to the cartoons, so even that cant be a reason for the characters to hate him.

like i dunno, i might not care about Scrappy himself that much (i dont dislike him either) but what i do care about, is that the characters are basically mandated to never ever bring up a part of the series' history unless its to shit on it for absolutely no reason and act OUT OF CHARACTER at that to be mean to a character that is literally a CHILD, where the writers could instead like, write Scrappy better? the writers could bring Scrappy back and make him better as a character instead of just ragging on his existence every time they get to even aknowledge he existed.

like they brought back Flimflam, a character from a show Scrappy existed in, and a character most people also agreed SUCKED in that show and was just as if not more annoying than Scrappy.... yeeeet Flimflam was written better there, and people really liked him in that movie. and yet still, the only time they mention Scrappy in that movie is like "Hey, where's Scrappy?" and everyone answering "Who's Scrappy??" like COME ON, you FIXED FLIMFLAM and couldnt bother doing the same with the one most overhated character? so overhated, the trope that means "character everbody hates" is called THE SCRAPPY.

like come on, isnt that exaggerated levels of hate??? am i wrong on thinking this??

[sleepyhollowtimburton]

Origins of the Headless Horseman legend

Despite the legend of Sleepy Hollow being one of the oldest American written horror stories, the origin behind the Headless Horseman is a lot older and originates in Europe.

Washington Irving first published the legend of Sleepy Hollow between 1819-1820. In this story, it is explained that the Headless Horseman was a German mercenary soldier, a Hessian hailing from the German state Hessen, who unfortunately lost his head during the revolutionary war after being hit by a canon ball to the face. It is interesting that Irving chose for a German origin for the Horseman in a Dutch town as both Germany and the Netherlands have legends of headless horsemen, talking decapitated heads, ghost riders in the dark that have its origins in pre-Christian times.

Here are some examples of the headless horseman myth from different countries in Europe:

Netherlands: The belief in the wild hunt was once quite important in pre-Christian times, it's in fact the origin of the modern Dutch holiday of Sinterklaas which was introduced in the USA as Santa Clause. As the days shorten and winter arrives, the Germanic God Wodan, or in some instances the Goddess Hel/Holle, rides through the sky followed by a horde of the undead. Anyone unfortunate enough to see the riders in the sky, would soon die and join the hunt. To please the hunt, people began to give offerings to the God Wodan and his horse Sleipnir, placing carrots in shoes, this tradition is still being done in the Netherlands until this very day. I am myself a Germanic Pagan and I honour the wild hunt by making offerings to Wodan and his horse and blowing the midwinter horn.

There is also a Dutch medieval song 'Heer Halewijn', the origins of which are assumed to be older, an oral tradition before being written down around the 15th century. This song tells the tale of a princess set out to meet Halewijn who in turn ends up being a murderer who decapitates women in the forest. The princess manages to decapitate Halewijn instead and takes his head with her to her father the king, Halewijn's decapitated head however continues to talk to the princess.

Ireland: In Irish folklore, the Dullahan is a headless evil entity who rides a horse while carrying his head under his arm. This spectre is perhaps the most famous and classic example of the visual origin of the Headless Horseman. Not only does the Dullahan carry his own head, he also wields a whip made out of a human spine. Whenever the Dullahan halts his horse, a death will happen by calling out that person's name. Some say that the Dullahan is the spirit of Crom Dubh, a Celtic deity who was worshiped by means of human sacrifices.

There is also the Cóiste Bodhar, a strange headless entity who drives a black coach. Bodhar is a harbinger of death who arrives to announce the passing of a relative or a loved one, quite similar to the grim reaper.

Wales: Now the country of Wales is home to quite a few headless mysteries. One of the more famous stories tells about a headless woman: 'Fenyw heb un pen' who eerily also rides a horse without a head. Another story tells of how Bryn Hall was haunted by a headless horseman until the horseman pointed towards a body which turned out to be the dead body of an illegimate child of Bryn Hall. This version of the Headless Horseman seems to have been more benign, rather than being a harbinger of death or a crazed killer.

Germany: Germany is also home to several Headless Horseman legends and is of course the home country of Irving's version of the Headless Horseman. Most of Germany's legends originate from the Rhineland area and were part of a morality tale. Many of these Headless Horsemen were doomed men, being punished for their sins on earth so they had to wander until they had atoned for their sins. Sometimes these Headless men would perform good deeds, most times however they would kill victims, not by decapitation but simply by touching them. Both Germany and the Netherlands believed in the Wild Hunt legend and it is alleged that many of these Headless Horsemen have their origin in the pagan wild hunt.

England: England also has several legends concerning Headless Horsemen, one of these is part of the legend of Arthur, the Green Knight. This knight challenged one man in Arthur's court to strike him down with his axe but the Green Knight warned the man he would strike the man back later in a year. As promised, the knight got decapitated, picked up his head and later decapitated the man whom he challenged. Another headless horseman legend originates from the Dartmoor area, nothing much is known about this legend other than that people have seen a headless man riding around the countryside.

In the end, the Headless Horseman has its origins in both Celtic and Germanic mythology and new versions of the legend keep on popping up throughout history, either as a bringer/omen of death or as a killer waiting for his unfortunate victims. Seldomly is the Headless Horseman a benign person helping people in need.

The legend found its way to the USA thanks to Dutch, Irish, English and German settlers and was immortalized by Washington Irving in his 1820 story 'the legend of Sleepy Hollow'. Washington Irving himself probably based the story on the old Dutch and German stories as he was familiar with them thanks to his travels. The retellings of German folktakes 'Volksmärchen der Deutschen, 1783 was especially a big source of inspiration for Washington Irving.

[elainsgirl]

Whats the weirdest argument against Elain or elriel you have heard?

I think this is oen of them (I cant believe its still here after all these years): Elain doesn't belong in the Night Court because CASSIAN THOUGHT she looked bad in an unflattering black dress when the IC had to make the famously beautiful elain unflattering so Eris would focus on Nesta. There's a very clear reason cassian said elain looked unflattering, so readers could understand what the IC was up to, manipulating Eris to their wishes. Which Elain was an important part of.

Never mind it's never once even implied you have to wear black in the Night court. Rhysands first and second, Mor and Amren, dont. But GA/EL have special rules for elain! Otherwise everyone knows she will most definitely jump the bones of her favorite bat boy and he will be very very VERY happy about that. We can't have that! Need her gone!

And it's so funny that it is because of one of the scenes where Elain chooses to work for the IC that they claim she doesn't belong there. Its so backwards and ANYTHING Elain does is disregarded in favor of the words of a male. But GA/EL are entirely focused on the males so I guess it's no surprise.

They have been too locked up in their bubbles, their ridiculous ideas have moved further and further from the books and then become so ingrained. Like a house of cards built on fanon. So fragile the tiny puff of wind from turning a page in one of the actual books is enough for it to crash.

GA/EL need Elain to leave the night Court because they know she can't be kept in the same place as azriel because everyone knows elriel is canon and Elain almost climbed azriel like a tree when they were alone, while Az worshipped her like a damned goddess. With Lulu sleeping upstairs. That must have been like reading pure horror for GA/EL. I guess it makes sense they are grasping at straws. But the straws they are grasping at are laughable.

Hey anon 🫶

The whole “elain looks bad in black” arguement is so hilariously funny. That scene was clearly set up to make elain look unflattering when compared to Nesta - but antis hate the theory because they don’t believe Elain is capable of doing anything complex. They don’t want to acknowledge that Elain Archeron - the very character they call weak and boring- can pull of such a plan. That or they want to stick her to the whole “she’s a feminine girl who likes to throw balls and gardens” and not let her grow outside of that image (idk if that makes sense). Elain - who grew up as a socialite- would obviously have been taught by their mother what colours are flattering on her, the dress shape and size that suits her, which makeup would go with which look etc. She would have known she looked “washed” out in black. She would have known the dress was unflattering. Not only that, she had the twins, feyre, Mor etc all to tell her she looked terrible but no one did. The scene of Elain in Hewn, her dress specifically was described exactly as void fabric which we met in acofas with Feyre and? Elain Archeron. Besides all of that: They’d rather take Cassian’s opinion seriously instead of Elains own words. Which is kind of the point when it comes to Elains character how no one rlly takes her seriously or looks past the surface which her antis including elucien stans do. They take her character surface level when it suits them.

I’ve come across such BS takes, from Elain being a cheater, someone who self h4rms, evil, manipulater to elriel being toxic, rebounds etc but if I had to choose one for Elain and one for Elriel:

Elain: Eluciens calling Elain a cheater. When they started yapping about this, it confirmed for me that eluciens do not love Elain. Im not making the bold statement that “all eluciens hate elain” - that would be mean and immature of me. However, I am in the firm camp elucien Stans like elain but love Lucien more which is why they’re always coming up with HCs where elain is the bad guy that will grovel for Lucien.

Elriel: That Elain and Azriel’s relationship is not important and can be concluded within a paragraph as the bonus already ended elriel. This has to be the most biased take. Just because YOU do not like elriels dynamic and dismiss their scenes as unimportant doesn’t mean everyone else does. There is literally a reason why Sjm had Feyre - her main character- stare at Elriel and wonder why they’re not mates. I have seen an anti today talk about how the foreshadowing/buildup in acowar/acofas isn’t as important as acosf. That alone tells you everything you need to know. Antis will use Sjms words when it suits them and dismiss her words when it doesn’t. Also - ACOSF, where we learn that Az has moved on from Mor, is staying at H.O.W bcs of how strong he feels for elain, Nesta realising Az likes Elain, Elriel literally left off on a charged glance, Azriel being incorporated into the prison plot which we know will go to Elain etc. I think its just becoming clear that antis are grasping at straws to justify shipping Gwynriel/Elucien and “debunking” elriel.

No author ends a couple in a bonus. Sjm does not end her couples’ the way she ended elriel. I think as time is growing closer and especially now that we have an idea at which time the announcement will come - antis are rlly scrambling to proves their ships but its just looking ridiculous. When you’ve created a bubble for yourself filled with people in the same camp as you that will believe anything, it’s easier to remain in the bubble.

Their bubble is going to pop when Sjm announces it is in fact Elains book next.

[ms-scarletwings]

A Messy, Sedulous Necropsy of Zib Membrane

That’s what we call him right? Not Invader Zib? Hell if I know, we’ll let the tags decide.

Whatever he is christened by his author, enemies, or fans, this titular villain of the Zimvoid is such a mind blaster to me. I wish we had more time with him within the comics. I wish he had been a concept explored in the show. I wish he had a movie. I am having fun with a little hyperbole here, but I truly do find him just as interesting and potentially pivotal of an antagonist as Tak was, if not even more.

Both, of course, were so badly underutilized for sake of the series status quo. To that, Zib was a much bigger threat than Tak, and especially to that of the comics’ own. He potentially changes everything, and somehow absolutely nothing by the end. The TV show always had a more overt tone of cruelty and the macabre floating about its themes. These print issues? I don’t dislike them. It’s still recognizably invader Zim, and the more the merrier, content-wise, but longtime fans can feel that there was this change of essence in the transition. More obviously, in the art, but more subtly, there was an audible softening of that bluntly darker, cynical tone the show was made iconic for. To put it very generally, they lean a little more into the whackiness of this world, there’s a lot more dark comedy to be found in what I’ve seen so far rather than in your face darkness, and in the absence of the ost and voice acting the show accustomed us to, the comics leave a lot more room to be read as you wile. To me, they’re goofier and more episodic in spirit.

This all is not a critique or rating on the comics.. It’s purely, I feel, why Zib stuck out to me all the more jarringly in his context. His reveal was a genuine twist that brought forth stakes higher than arguably any other threat in the entire franchise. He represents a plausible while horrifying prophecy of our main characters if only they made worse decisions. The most interesting of all, for every piece of amazing information he fed to us, he bred dozens more questions about everything than he answered, from Irken machinations, to his ambivalent backstory, to the secrets hidden by the sum of his parts.

Though he was left evidently alive at the end of his story, I don’t see any chance for him making a return, so he is memorialized as another defeated one-off the writers have brisked past and left behind for good. Therefore, I’m here today to take what we got and present it on the metaphorical autopsy table. I want to really pull apart why this character alone pulled me back into the TV series, really just flay open the bits I can’t get out of my own head and dig harder until we find something or we run out of threads to tug at. Starting with the one already hanging out of my mouth, but

• B.E.F

“Bad End Friend” is a term I learned the meaning of within the last 12 hours or so of writing this, and I’m exuberant over that discovery. It’s a niche trope i didn’t know ive been a giant fan of since I was a child. Summed up, fictional characters from beloved media, typically, animated child protagonists… given the worst case scenario treatment. Their “bad ending”, whether that means a corruption arc, demonic possession, a lovecraftIan tragedy… usually something that’s anywhere along the lines of a fate worse than death to a full villainous turnover. As a treat. The concept is strongly associated with fanworks and AUs of popular media, but just as often this is something that becomes explored in the source material as well. A couple great examples I know would probably be Ice Prince Finn from Adventure Time or what happens in Undertale when you decide you want to run the most depraved playthrough possible. From a more mature story, “Evil” Morty is another validly arguable sample.

Besides a bit of a fondness I got going for certain dark or spooky themes in general, what I REALLY love about canonical BEFs the most is their utility as characterization tools. They’re the “having your cake and eating it too” option! The perfect way for an author to explore certain things about any character without actually committing to well… a bad ending.

Almost always, they are necessarily hypothetical or reversible. If they’re not reversible, they go often hand-in-hand with a little universe tampering to make happen. Sometimes, this means the story goes the way of time travel and branching off butterfly effects. Sometimes it means confirming multiverse theory, which can be the same thing depending on your semantical position.

And Zib crossed off the BEF qualifications by far and away. His implications are extremely dark given any pause think about them, and he’s a living, disturbing tragedy in aftermath. If you want to view a rigamarole about that aspect of his characterization as he appeared in the comics, someone else long beat me to that and I’m enthusiastically recommending a peek at their own work. I’m thrilled to do so and build a little upon that with those extended what-if-wonders.

• Lessons From a Lost Episode

Elephant in the room I haven’t seen someone ask yet, uh..

By show rules, isn’t Zib supposed to be a clear case of the writers committing the sin of retcon? By show I’m including the unaired scripts, including “10 Minutes to Doom”. In that one we had what looked like the potential setup for a Zib case, and it was deconstructed across the whole episode.

In short recap, Dib learned the hard and reckless way about the true nature of what Irken PAKs actually are. This is not an inventory bag, it is not “gear”. It’s the actual Irken entity- at least, the primary component.

Detaching it from the organic shell essentially caused a temporary split into two instances of Zim, desperately trying to connect back together under threat of obliteration.

Like let me be very clear about this,

The PAK is an autonomous instance of Zim’s consciousness, and it’s the main one. We’ve seen it act to save his life when his body has been out cold or flatlined, and he doesn’t appear the least bit disoriented or confused once “he” wakes and jumps back into the action. There’s no known separate computer assistant AI or security autopilot in there. That code, that program, IS Zim. As Long as the PAK is active, he is capable of staying fully conscious and able to react to what’s happening around him, and that’s what we’ve been seeing, his own actions.

Zim proved me right when Virooz tried to replace him and detached the PAK. Take note of his phrasing after the chair event™.

“I” activated the protocol. Immediately after Virooz ran off with my shell.

“I” Voluntarily chose to do so.

I don’t remember it playing out like that in “10 Minutes to Doom”.

Attaching to a new host wasn’t the first reflex. Dib was not the least bit aware that that he has literally holding the actual Zim captive in sense, and the latter was fighting like a cornered animal to escape him. Failing that, alongside the distance between him and his original body growing fast, he made a last desperate gambit, and he willingly connected himself into Dib’s body.

I can see why he thought this was better than nothing, no matter how repulsive the notion might have been. If he couldn’t fend Dib off physically, he could incapacitate him in some fashion by trying to overtake his will. Maybe give the shell a better chance to catch up, maybe in the longshot hope of being able to pilot dib in order to become whole with the correct host again. And you can say he succeeded, at least in dominating bodily control away from Dib, but at the cost of his already tenuously held sanity. This could be because of the interference of Dib’s own mind still resisting to fully submit, or malfunctions because of the biological incompatibility; however, the thing that Dib mentally becomes is only the basic idea of what “Zim” is. Instead of remembering it needs to reunite with its shell ASAP, the PAK mistakes Dib’s body for its own and goes through the manic motions of following the Invader mission. And it does this, weirdly enough, with almost no regard for blowing its cover.

When things are set right again, Zim’s later words near the episode ending revealed that he knew that was an unsustainable state.

Such a risk was not just accounted for, he was actually banking on it if that clock had hit zero. If Zim had truly lost, if he was really doomed to meet his end on this nasty rock in the middle of Nowhere, Space, then by every damned circuit in his being, he was going to take down this insolent fool boy and as many other humans possible with him. A dying act of vengeful rage.

• The Exceptional… Exception

Now, wouldn’t all of this be the definitive reason for Zib’s existence to be an aberrant impossibility? Yes, but actually no. Fun thing about multiverses is if something doesn’t work in one setting, you can just tweak a few dials and suddenly you have a world where the impossible becomes possible. But that’s a pretty cheap answer, isn’t it? So, what exactly was that crucial difference?

What happened in Zib’s timeline that went down so, so divergently from the events of 10 Minutes to Doom?

Because the only one who was in any position to explain it for us was Zib himself, and he’s proven to be one of the most unreliable of narrators. It’s as @dana-chan-the-control-brain already spared no effort to demonstrate, when he does tell us something about his past, his story is pocked with contradicting half-truths or outright lies. Ergo it helps to break down each recount of events to pick out the real facts.

Version 1: This is an alternate version of dib who defeated his complementing Zim (logically sensible) and went on to achieve all of the success and respect he sought after in his timeline (absolute bullshit). He kind of gestures and only implies about what has happened to his body while explaining that he came to his current understanding of Irken technology by studying it through Zim’s lab (a partial truth). He lets slip in passing that he has in fact fused with the PAK in order to learn how to alter and reprogram its coding, lessons he has applied to Number 2 in order to have a brainwashed pawn (also apparently true).

Version 2, when cornered and red handed: This is an alternate version of Dib who managed to specifically stop Zim's mission (Again, makes sense) but somehow could not convince the world of his findings or his warnings about the Irken Armada (*VERY eyebrow raising). Frustrated with the people’s lack of cooperation, he decides he has no choice but to physically merge with Zim’s PAK post-mortem (concerning and evidently mostly accurate), dominate the Earth himself, and enslave humans to help him in his efforts (highly troubling and probably true). The construction of his EMP super-weapon is successful, but ultimately led to the creation of the Zimvoid when the device was field tested (self evident, absolutely horrifying).

You know what I noticed was missing from both of these accounts? Exactly how his Zim was defeated. Which honestly could have been some beyond useful wisdom to pass along to the main Dib??? More than anything else? I’m not going to fault our boy for not pressing that matter better under the awing circumstance; however, there’s an implication I’ve been reading between lines. 

When Zib mentions “defeating” his own Zim, he’s talking about something different than ours.

When our Dib has always talked about “defeating” Zim, he’s meant incapacitation and capture. Throughout the show he explicitly wants to present Zim before an audience alive and whole. Yeah, he fantasizes about other people torturing or disassembling him for study, but HIS role was supposed to be reaping the fame for an undeniable, ground-breaking discovery. Conspiracies and cryptids are all this kid breathes and lives by! And as long as pop culture has always been fascinated with the paranormal, and he has to know this full well, people keep bringing forward hoax after hoax after scam. I mean there’s a freaking current one or few still going IRL about this exact topic. Dib would want no room left for being dismissed as another one of those con artists. 

Nonetheless, I actually doubt this is the reason Zib couldn’t get through to the scientific community. A genuine alien lifeform, even a dead one, could still be confirmed by any basic medical examination. The world thinks Dib is too crazy to listen to, but his father is still Professor Membrane. In "10 Minutes to Doom" OUR Dib got as close as having Membrane literally analyzing a PAK, or at worst, preparing to. “Ultimate Dib” gets his hands on the same thing and pulls a move I’d expect from an HP Lovecraft Protagonist instead.

We’re assuming way too much to what these two Dibs have in common, because this ^^^ is really what made the Zimvoid an outlier in the multiverse. That world didn’t only have a very different, more threatening Zim from the main timeline, it had the Dib who proved even more formidable, cunning, and ruthless, even before the fusion. 

He didn’t obtain that PAK ala the “10 minutes to Doom” accident, it’s a personal trophy. This is extra strange remembering that capturing an Irken is realistically more easy than killing one. They’re seriously more tenacious than kudzu and will even fight back in PAK form alone. I’m convinced that whatever sort of final showdown made the Ultimate Dib the victor, there are two optional endings on the table.

Option 1: There was not a body even left intact enough to bring in to research. Maybe Dib’s fault, maybe an accident, maybe even Zim’s own luck running out and his incompetent antics finally swallowed him (and possibly GIR). This theory assumes that the PAK was the only sort of remains to come into Dib’s recovery/possession.

Option 2: Curiosity Killed the cat,

but satisfaction brought it back.

Or, the one I personally headcanon. Dib… all Dibs, I assume, don’t just hate the Irken species. They are mesmerized by them, and all that they represent from his perspective. Firstly, the epic villain he gets to roleplay nemesis to in order to feel his own worth and importance. Secondly, an unknown wonder from beyond the boundaries of the cosmos. He’s not really a ghost buster or a Men In Black agent at heart, but a scientist, like his father. Underneath his contempt for Zim’s plans to destroy the world is a genuine and appropriately childish awe for alien presence, especially for Zim’s technology. His silent, dopey smile when Tak’s ship ended up in his backyard said more than words ever will.. 

Earlier in the show, a great deal of Dib’s time and effort was spent on trying to infiltrate the lower levels of Zim’s base. Sneaking into the house was hard enough, but the computer security can’t be bypassed like the gnomes. Not even by Zim himself unless he really is all himself. Perhaps you’re starting to sniff where I’m going with this one when I refer back to “Bolognius Maximus”. I’ve another reference that’s a little more on the nose, and a lot more… dark.

Were an expired Irken husk before you, you too might take your victory and cash in then. Still, who knows what sudden impulse may run through the head of a less humble version of yourself, one some could call greedier, obsessive to a fault, a screw or two loose, yet, a hell of a smart cookie. Smart enough to see it for what it actually was, the keys to a whole world of discovery that went so many layers deeper than they could ever imagine. It’s possible the Ultimate Dib already learned beforehand the same hard lessons about the PAKs that our own did, and took that understanding toward not repeating the same mistake this time. What happened to Zim? I think he was murdered in cold blood, body, and entity. “10 Minutes to Doom” showed us a fight between 2 brains clinging to one body, struggling until one overpowered another, but that’s not what this is. Through whatever means of science were available to him, this Dib has probably tried to “disarm” the technology by either erasing Zim’s consciousness out of it altogether, or by forcing the autonomous code into a kind of dormancy. His intentions were to render it back to its basic hardware without losing its precious knowledge and usefulness, something like the brain-filled tank that was wired into Skrang’s head. Zim’s PAK doesn’t cling onto his body like a parasitic teratoma this time; it’s merged in a literal sense with his nervous and circulatory system. As well, he has fooled the device’s ability to detect and reject a foreign host shell, the exact same way he deceived the the base’s security AI. If an Irken biology is what these measures authorize to command them and their secrets, then he had the tools on hand to give them just that- in an atrocity I like to call

the darker harvest.

Within this theory, there is not as much room to wonder exactly what became of Zim’s organic remains. 

But where Dib fucked up was, for the second time, in his ignorance to the true nature of what he was even playing with. That was a mistake that even the mighty Elder Brains of Judgementia lost themselves to; How much more vulnerable was the weak, human mind? Though Zim can be devoured, he can never be digested. In that fact was born this aberration against nature, sanity, and humanity alike.

"Have you ever heard of insect politics? Neither have I. Insects… don't have politics. They're very… brutal. No compassion, no compromise. We can't trust the insect. I'd like to become the first… insect politician. Y'see, I'd like to, but… I'm afraid, uh… I'm saying… I'm saying I - I'm an insect who dreamt he was a man and loved it. But now the dream is over… and the insect is awake." - Seth Brundle, The Fly, 1986

By fusing what is half-mad and what is utterly mad, neither being was cured, only assimilated into the birth of a new madness. The madness of the creature that snickers behind the curtain in the Zimvoid. I rightfully fear that lonesome thing, but not I think as much as I pity him.

• Dejavu, or Re:Plagarism

One more thing about the Zimvoid arc I find curious is the way it makes you question more and more just how much of the aberration is actually still Dib, and how much of it is Zim's infection haunting him. He does nothing with all of his intellect, his resources, and his time in the void doing anything but surrounding himself in everything he claims he despises. He decries alien tyranny in one breath while lording over a homemade, cruel dictatorship in another. He calls for eradication of the very race who's technology and physiology he has thoroughly appropriated. He laments feeling unable to protect the Earth from the Armada alone, yet sneers literally through Irken teeth to insult humans as inferior and of no value to him any longer. Our Dib spent the whole damn show longing for the support of other people, but Zib pushes away potential allies in his arrogance. His broken timeline never became a Dibvoid instead because while only half of his mind can't stand Irkens, both of the souls inside him remember that they loathe and look down upon a Dib, deep inside.

The corruption goes as far as even subverting his own creativity. None of Zib's plans are wholly original. His anti-Irken weapon was already a concept blueprinted inside of that PAK before the merge. Our Dib has several times shown a propensity for some DIY ingenuity, sometimes dipping a toe into the supernatural. Zib entirely calls upon, scavenges and regurgitates Irken designs with a few modifications or upgrades. The Dib Virus, I think is his most uninspired creation yet, for it's original form was always something inside of Zim, even if the latter himself was not aware of the fact. Like all else, it is a weapon he has plundered, customized, and turned around on everyone else for his own selfish ends. This brief point I will end on one  more reflection. The one kind of help Zim ever allowed at his side were the likes of GIR and his own creations. Unable to connect and cooperate with his peers and own kind, his ego preferred to be around those defective machines he related to- drones to be owned by him and always loyally at his beck and call. A slave to admire him unconditionally is the only companionship he's ever been willing to admit to desiring.

And what was Number 2's purpose again? What role exactly were the arena combatants auditioning for, when you think about it?

[laylaisthename]

ILW // Here they are! All 7 different end cards you can get in the many many more variations of the niche endings available in the game.

Google Drive Link to the cgs here

I am beyond honored to have been allowed to leave my own mark in the game like this, and honestly never in a million years expected to actually become involved with the game.

Everyone is fine to use these as phone backgrounds but if you do youre legally required to tell me which one is your favorite.

Putting it under the cut for length, but here's a breakdown of each card;

Starting with the Evil!MC end cards, that are lovingly dubbed Judas' Kiss if you stayed with Matty, or Scorched Earth for MC's solo end.

The images really mostly speaks for themselves; the flaming heart, hand in atrocious hand if you chose to share the power with Matthias, but then when you put it next to the solo end is where it got fun for me. The heart is broken, its just you now, but the glowing eyes are smiling. My first time testing the judas kiss route I did not hestiate for a second to hit "kill him"

Next is the death card

I really liked the idea of (if your mc wasnt a huge dick anyway) that they give you a grave outside the cave, something for people to leave Rowan flowers and gifts. A classic grave didnt quite feel like it fit so I settled on a cairn. It felt very fitting with the Power being a respect for nature and such. I set it to be at night, with moonlight streaming down on the grave to give it a melancholic sort of feeling, with the sun charm sunny gives you strung off it, and then placed flowers at the grave to kinda show that people have come by because they care about Rowan. Meanings for the flowers are below and while not canon, I like to think each of the LI's left behind one of them; red roses from Abel, blue violets from Amalia, sunflowers from Lincoln and the marigolds from Joss, though really they were all chosen more generally.

Onto the blood end card! Which I named New Horizons, and not because of animal crossing. A winding road in the mountains at sunset; the road has been long, it has been hard and now youre choosing to move on. Symbolically what i wanted this card to be is that feeling of leaving everything behind. The sun is setting on your old life as you go to embrace the normal life that Blood MC wants so much. Youre on the top road moving around the bend, not sure where life will take you but that's alright, you have the rest of your life to look forward to figure out where you'll go.

Onto my own canon end; the Mixed end!

Lovingly called "Best of Both Worlds" because mixed rowan is playing that hannah montanna life. More seriously; this card in contrast to the blood end is not about leaving everything behind, but embracing what you are. The card itself is set at dawn to contrast this; soft yellows and pinks, morning dew and fog clinging to the forest floor with a streak of Power playfully dancing among the trees. Its the dawn of a new day, seeing everything in new light after the darkness of the past weeks/years rowan spent trying to understand themselves. It's my personal favorite end even if my mc and Linc gotta do long distance for a while. But to me its about accepting yourself; moving on from the grief of losing your family without alienating yourself from your memories of them and embracing that Power side of yourself without being changed by it. The life you built after being ressurected is your own and no one can take that from you.

Next up my almost canon end, that does live rent free in my mind because I love angst.

Closed gate shadow end, Far, Far away (yes this is a shrek/starwars/nerd refrence); its a fairly straight forward card, thought it does have one of my personal favorite little details. This is the second draft I made of it after this scene from Lincoln's shadow goodbye stuck with me; looking up through the trees at the night sky.

I really wanted to hide an eye shaped constellation in the stars but couldnt make it look good sadly :sob: But my favorite little detail are the fireflies and how some of them are cyan; touched by the power Rowan is now again a part of. Not canon, but I like to think these little cyan fireflies come to sit on the LI's heads next they wander too close to the woods (Fireflies by Owl City starts playing).

Shadow end is just. Its so beautiful really. From sharing your experiences with the wisps, how Rowan's wisp has been changed by their time as a person, how despite their grief they are not sad or unhappy, melancholic yes but this is where you want to be. Its a cosmic love, the joy of having lived, coming inside on a cold winter day to find your home warm and inviting, your family waiting for you to tell them about your day. The card itself is a little whimsical, hopeful despite the closed gate that the power will forever be part of the world, even if its been cut off. And this brings us to the other shadow ending card; the flower

Eternal Bloom, a ghostly hand reaching out to hand this flower over to the world, a final gift, a final goodbye. Maybe a promise of "I'll see you soon" but first and foremost, it is a promise of love.

Thats right babes. Its all about Love. Unfading Love.

symbolically there isnt anything hidden in the card, but thats also in part of it at face value telling you all you need to know; its about love! its a gift, for you, to remember me by. You have not forgotten me, and even changed as I am, I have not forgotten you. Rowan's change in personality after merging shadow was sooooo heart breaking tbh but ITS SO GOOD. You found joy in what you were, but its time to come home, take off your coat, hang it up, take off your shoes.

And it is all about love! All these cards (well, not all of them) were for me made from the heart, trying to keep in line for the different themes each end resolves to give the players something to remember each route by.

To anyone that made it this far, let me know which one is your canon card/which card you like best! And im kissing you on the lips I love rambling about my thoughts and if you got to here then you deserve a reward. So.

[espers-n-espurrs]

Pinned Post

ignore the name on my trainer card and call me esper, im age 14, pronouns she/her, disabled.

im also psychic though im not out about it irl, im only sharing this here because rotomblr can only be accessed by. like. a small handful of people in my universe. so its safe for me to be out about that here since i cant irl.

attending naranja-uva academy as a general studies student. though due to circumstances i keep having to flipflop between online classes and in-person.

i grew up in spikemuth for most of my life, though one thing has led to another and i am now aware that i was born and raised in kalos for some time before having been brought to galar as a younger child and i have found out a lot of what i knew was false. and as of finding that out my family and life situation changed significantly so be ready to hear me bitch about that on occasion.

i enjoy: horror, args, art, music, baking/cooking, photography, etc. and my favorite pokemon is deerling and sawsbuck.

My PKMN:

Fauna - Deerling | "Starter"

Harley - Maschiff | Service PKMN

Taffeta - Flaaffy

Kingsley - Pangoro | "Bodyguard??"

[ OOC: Please read under the cut ! ]

My other PKMN IRL Blogs can be found linked to my OOC hub alongside OOC talks: @grims-local-pkmn-irl-hub

The Redux discord server link and info can be found: HERE!

BLOG RULES/GUIDELINES

Though the mun is an adult, the character is still a minor, so please be mindful of how you interact! NO NSFW.

Pelipper Mail/Malice, Musharna Mail/Malice, Magic Anons, Mystery Gifts, Union Circle: OFF

ANY kind of PKMN IRL blog can interact! Eeby Deebies, sapient/sentient pkmn, evil teams, canon characters, etc. ➥ Be aware that Esper will fearful/hesitant when interacting with legendary/mythical blogs!

IN CHARACTER anon hate is fine! Keep in mind that I reserve the right to not answer all anon hate asks though! Especially if they are something I don't feel comfortable answering!

ASK TO TAG! Sometimes an important tag may slip my mind or I may not think of it so please do not be afraid to let me know!

HIGH STAKES! This blog will delve into high stakes territory at certain points! Be aware of this for your own comfort!

TRIGGER WARNINGS:

Discussion/Exploration of trauma and abuse, discussions of death, discussions of suicide & self harm/EDs, ableism, misogyny

STORY ARCS

Moved to separate page for ease of viewing, click here to access!

General Tags

#esper beams -> Posts made by Esper

#esper rbs -> Posts reblogged by Esper

#askbox -> Ask responses

Semi-Important Tags

#dog brother -> Posts that mention or include Flynn (@/estranger-and-stranger-still)

#victoria / MN tag -> Posts that mention or include Victoria (@/victoria-vd)

#thievul tag -> Posts that mention or include “Thievul”

#la famille -> Posts that mention Esper's family or speak indepth about them

#psychicposting -> Posts about being psychic or sharing psychic lore

#redux worldbuilding -> Posts about different worldbuilding aspects of redux

#tribes of vianna -> Esper posting about the indigenous people of Galar (the Kingsmen and the Equirex)

#faiths of vianna -> Esper posting about the religion she was raised in aka the religion of the Kingsmen and the Equirex

Important Tags

#foresight -> Posts to pay attention to! These might provide clues or foreshadowing for ongoing or future arcs!

#miracle eye -> Offscreen posts

#blind spot -> Blind spot signifies that the tagged post is completely invisible to certain blogs linked to this one! ➥ If a post is tagged with a specific character than that specific character cannot see it while the others are able to! For example "#blind spot: esper" would mean that Esper cannot see that post! Blind Spots are completely visible to everyone else besides the above blogs so anons or otherwise are able to see and engage with these posts!

Blogs heavily tied to Esper:

@estranger-and-stranger-still@victoria-vd@jaimemes@yveltalreal@aspens-dragons@vulgrados-best @rock-n-rolycoly

And Esper <3

[suddenly-frankenstein]

Hello! Fellow Frankenstein freak here! I have to ask, what's your favorite Frankenstein movie you've seen? Not necessarily the best one, but your favorite one. I made myself watch about 25 last year for reasons (that's as many as I could watch in one week for free, dating from 1910 to the early 2000s) and they're all so bizarre. I love talking about them so much, I love watching peoples faces when I tell them that one time Sting played Frankenstein, and in that same movie The Creature and his buddy are targeted by the Circus Mafia. Or how at least one version of Victor Frankenstein has an alligator pit. Or how Kenneth Branagh made Robert De Niro be birthed out of instapot and then they spend like 30 seconds slipping in Mysterious Science Goop before the plot continues.

TLDR; I don't know anyone else who is as obsessed with this stuff as I am and would love to hear your thoughts lmao

damn, my biggest problem is that I've watched so many of them few years ago, that I mostly don't remember anything :")

but I definitely have some that I still think about constantly!! maybe the first one and the most special in my eyes is "Frankenstein: The True Story" (1973), because in this movie Victor REALLY cared about the Creature and TOOK THE RESPONSIBILITY. he taught him things, he spent time with him – and when the Creature started to decay and lose temper, yeah, he decided to lock him, but Victor was going to lock himself as well so the Creature wouldn't be dying alone. and they even had a hug!! (still everything ended up terribly, but it was interesting to see this responsible version of Victor, not canonical book version, but also not usual movie mad scientist either).

well, speaking of classics and mad scientists – I love first two movies of UNIVERSAL's franchise, rewatch them from time to time. And within the Hammer's franchise I like the third (if I remember right) movie – "The Evil of Frankenstein", even though it mostly is called the worst of them all lmao. I just think it was funny and not annoying like the other. and I also LOVE the first several minutes of the first movie – "The Curse of Frankenstein" with the young Victor played by Melvyn Hayes, because OH HE WAS DEFINITELY SERVING. for me this young Victor was the closest to the book from all of the versions of him.

(I even did a funny edit of him once, here, lmao)

the most controversial version but I can't NOT TO THINK ABOUT IT – it's "Flesh for Frankenstein" of course (not even speaking about the plot, but god how I hate color correction in most of the 70's movies, these colors usually make me sick almost physically).

but well, uh, how the hell I was surprised when Udo Kier's Frankenstein turned out to look SO DAMN CLOSE to like I always draw him (I mean just give him another nose shape and he will look exactly how I imagine Victor) :") just hello??? DAMN

also want to mention "Terror of Frankenstein" (1977) movie, because they have an interesting design of the Creature here (finally black lips yaaay!) and sweet sweet Clerval (I hate that most of the movies are throwing him and Justine out of the plot :(( )

AND ALSO!! not movies, but I LOVE LOVE LOVE these adaptations – Frankenstein: the Metal Opera, 2014 (you can find its official record for free on youtube) and Frankenstein, the Royal Ballet, 2017!! I, personally, enjoyed them both very much

well, these ones are some of the movies I think the most about, I guess :")

really thank you for your question!!

[1moreff-creator]

How the LGI MV proves MonoTVid is both canon and a doomed ship

In this totally serious analysis post, I will show you, with 100% irrefutable evidence, that MonoTVid (the common ship name for MonoTV x David) is destined to be both canon and a doomed ship. This is in honor of them recently winning that one poll in The Website Formerly Known As Twitter, a poll which I do not entirely understand but one which I will respect regardless.

I will not accept any criticism on this post. I am objectively correct. If you find mistakes in this post, then what you’ve found is a mistake in your brain.

Obviously a TV, Obviously a Ship

Observe.

Now, do you understand?

If you don’t, let me spell it out for you. We have what is “obviously a TV” with terrorist iconography, which obviously represents MonoTV, nearby several elements which clearly represent David. The hair clips, the megaphone, the dummy. You’ll see “dummies” is plural, because David is a dummy. This is the first clue to the tsundenderish nature of David, as he is literally calling himself a “baka”, perhaps even of the sussy variety. If he calls himself “baka”, could he use the same word to describe someone else?

But the true indication of this ship is the lemon on top of the TV. See, the lemon in the story “Lemon” by the man who wrote the story “Lemon”, whoever he was, is a lemon which represents, despite being a lemon, a person’s will to live. If you want further context on this lemon, read the background text near the lemon when the lyric “make a lemon bomb” shows up on screen, near the lemon. You think I’m gonna post an image of the lemon text near the lemon? No. You should know the lemon text near the lemon by heart.

Anyways, this lemon is obviously on top of the TV to represent that MonoTV is David’s reason to live. There are no other possible interpretations.

But you may also see those dandelions, labeled “weeds”. Weed is what I’m taking to make this post. Not cannabis, I am sniffing dandelions. This is besides the point.

Now, you’ll realize that since dandelions represent happiness, and even hope, the point the video tries to make with them is that David sees these things as annoying weeds. This shows MonoTV and David both hate hope. They are clearly lovers.

But what you didn’t notice, and I know you didn’t notice for I am in your walls, is footnote 18: “A/N: soz not very good at drawing flowers lol!!!”. See, David is the author of these notes, which is obvious from things like footnote 11, the “I am an only child” one. What this footnote means is that David gave these flowers to MonoTV, but he’s embarrassed about it, because he doesn’t think any gift can match the divine splendor of MonoTV. David is just that sweet. That much of a cinnamon roll who can do no wrong. A skrunkly. A blorbo. What other words can I use to brainwash Tumblr users.

Now, look at these.

Look at the balloon and the Monokuma plushie. Does my inconsistent coloring of “the” bother you? I am very evil. You’ll see the balloon is labeled “stupid kid’s toy”, while the plushie is “a popular toy”.

Now, you might think this is another indication that David sees anything related to hope, like balloons, as inherently childish and stupid. Meanwhile, he sees anything related to despair, like Monokuma, as more grounded.

You are wrong.

You seem, MonoTV has stated Monokuma is its dad. So this being in the video means that MonoTV is David’s daddy and his toy. I’ll explain when you’re older. Just kidding, I won’t. Fuck that.

Not convinced?

Why? I am always right, so you shouldn’t doubt me.

But okay, I guess:

I Will Bring Up Color Theory For The Thousandth Post In A Row

I am not linking the accirax post for the fiftieth time. Look it up yourself.

Look:

Yellow for David, cyan for MonoTV. Many have tried to come up with an answer for what “original” means, but it’s actually really simple.

See, David has an I. You wanna know who else has an I? Dark blue, which may be J. And J is the mastermind. Here’s the source for that, it’s somewhere in that video, you just have to find it.

So, J, who is the mastermind and thus essentially MonoTV, has the same letter as David. This clearly shows David and MonoTV are lovers.

Here’s another case of a cyan I.

Boom. Theorizing’s easy.

Then, look.

David has game in yellow, then MonoTV has game in cyan. They’re lovers. Do you find another explanation? No, no you don’t. You will not think critically about this post. You are not immune to MonoTVid propaganda.

But, alas, the ship is not to last.

David is a Cat

At the beginning of the video:

David calls himself a cat, then MonoTV shows up to remind us it’s a dog. You might think it doesn’t mean much, but there actually is meaning behind David being a cat. See, it’s related to the archaic Japanese pronoun “wagahai”, referenced-

Nah, you don’t care about that. David’s a cat, source just trust me bro.

That’s what the black and white cat sitting next to David actually represents: David, tied by color scheme to MonoTV. I’m writing this on my phone and don’t feel like waiting to get to a computer to get past the 10 image limit, so we’re out of visuals.

Why is this important? Well, if you take into account the Romeo and Juliet quote that footnote 8 is attached to (here’s a screenshot), it’s clear the MV is trying to convey a story of two people in love separated by fate. This is clearly about David and MonoTV, which is further represented by David being represented by a cat when MonoTV is obviously a dog. Truly sad. Can I get an amen?

Are you not convinced yet? Crazy. Well, one last thing then.

It’s All Democratic

“To be or not to be? Who knows? Let’s decide! Democratic-ly”

You see how the rules for class trials are on the same image as democratic-ly? Well, this is a clear reference to the poll on The Website Formerly Known As Twitter. Since MonoTVid was chosen as the winner of said poll, it was chosen “democratically”, and will thus become a canon doomed ship. You might wonder if this means the dev has the ability to see the future. But we are not to speculate on the dev’s identity, so while we can’t theorize they are clairvoyant, we also can’t speculate they aren’t. Checkmate.

In fact, The Website Formerly Known As Twitter is now sometimes referred to as “X”, an obvious reference to the X on this screen. Because surely no one would be so absolutely idiotic as to just name the website “X” for no reason.

But hold on, isn’t this X actually Roman numeral 10 for Min?

Well, obviously. We never saw Min’s corpse in her execution, which means she survived and is the second mastermind alongside J. Min is still alive. Min is still alive. Min is still alive. Min is still-

Am I a Whit Young kinnie, but specifically for Min? No, obviously. Because Min isn’t like Whit’s mom, because Min is still alive.

The point is, Min is related back to MonoTV through her mastermind-y nature, and MonoTV to MonoTVid, I’m too lazy to actually continue writing this post.

—————————————————————————

Did you actually read this all the way to end? Are you okay? Do you need a hug? Because this is insane. I don’t know why I made this. Take care!