#tried my best to make the texts readable

[fallenvampyra]

Gothic Beauty Issue #3 (2001)

Rose Mortem: Designer Profile

[upat4amwiththemoon]

I’m not sure if you’re taking requests, but if you are…Reader is the child of Maya and Carina. R is feeling a bit neglected by their moms. Missing events, pulling crazy hours at work, not really being there for Reader. R tries to confront Maya and Carina, but they don’t know what to do about crazy schedules. They work really hard to make reader feel more secure and loved by them. If you’re not taking requests, then please ignore this.

Time management

Summary: Showing up matters.

Pairing: Marina x daughter!reader

Warnings: a pinch of angst

Word count: 2075

a/n: what do you mean some of these are based on my experiences?? You can’t prove that!

masterlists | guidelines

Y/N takes a few deep breaths as she waits for her turn in the backstage area. She’s going through her lines in her head, making sure she won’t forget anything once she steps on the small stage, even though this isn’t the opening night.

She has been part of a youth theatre group for over two years now, and this is the first time she has gotten the lead role. Her nerves are high, but so is her excitement. This is a big moment for her, she is proud of herself, and she really hopes her moms will be proud of her too.

As her costar finishes their line, Y/N rolls her shoulders back, straightens her posture, and walks out to the stage. She starts speaking her lines to the audience, not yet acknowledging the other actor on the stage, this is her character’s inner monologue.

Her eyes scan over the crowd of people as discreetly as possible. There isn’t one empty chair in the room. This play became fairly popular after getting a spot in the local newspaper. She showed the page to her moms, practically glowing with pride. Her face isn’t showing any changes, but her mind is turning blue. Her mothers aren’t here. It is the last show, and her mothers aren’t here.

Still, she continues on. And she does wonderfully. All the teens come up to the stage at the end and take a bow as they listen to the applause with wide smiles. Someone’s parent brought everyone flowers, and it makes Y/N bitter, but she smiles and thanks them, her grip tight on the bouquet.

After changing out of her costume and packing her things, Y/N walks back home. It’s only a fifteen minute walk, so she is unlocking the front door by no time.

“I’m home!” She yells out, shutting the door and throwing her keys on the table in the hallway. “Anybody here?” Kicking off her shoes, she walks deeper into the house, only to find it empty.

Y/N sighs and walks into her room. She should’ve expected this. Both of her moms have demanding jobs, they won’t be able to attend to all of her achievements..or any of them.

This is just how it is.

Y/N’s hand shakes as she holds onto a piece of paper. It’s already crumbled by her grip, but she makes sure the text in it is still readable. Her body continues moving slightly, either from nerves or the uncomfortable feeling of the hard plastic chair she is sitting on.

She lets out a quiet sigh. Her turn is coming up. Soon, she will have to get up in front of all her peers and their parents, and give a speech that she wrote. Of course, Y/N accepted this responsibility when her teacher came up to her and said they believe her to be the best person for the job. And who is Y/N to say no to that? An adult figure comes to her and gives her a compliment, basically telling her they’re proud of her. She craves that. She needs it.

A round of applause brings her back to the moment. The teacher in front of the microphone is looking at her with a smile on their face, they’re signaling it’s her turn next.

Taking a deep breath, she straightens her posture and listens to the teacher’s introduction of her. After it, she stands up and walks in front of the microphone, thanking them for this opportunity.

Her eyes glance over everyone in the room. She doesn’t see her moms, but Y/N doesn’t panic. They have to be in the back, maybe they got in late, she reminded them of this event too many times for them to not show up.

She unwraps her paper and places it on the stand. “Good morning, students and parents. I’m thankful to be up here today, especially when knowing my school days are minimal.” She smiles. “The last months of school are scary, I’m sure many of my peers agree, there’s so much uncertainty in change. What am I supposed to do after? Where do I go? Who am I?”

Y/N takes a deep breath, “I don’t know what I want to do with my future. The fear of not being or doing something great debilitates me, because wouldn’t it be a waste of a life if I never did something memorable.” Her eyes stay on the audience, only occasionally glancing down at her paper. She has memorized this speech. “My moms change lives everyday, one of them is a firefighter and the other is an OB-GYN, she literally brings new life into this world.” She giggles quietly, though her worries are growing by the minute. Her moms are nowhere to be seen.

“You’d think that with parents like that, my need to change the world would be bigger. But they’re actually the reason why they shrink every day. They tell me that life isn’t about doing something big and great that future generations will remember you for. It’s about love, friends, family, the goodness of your heart, it’s about making yourself proud.” Y/N turns the page around. “My mother Maya tells me to imagine being with little me and telling her about my life. Would she be happy? Would her eyes shine in wonder because she knows I haven’t forgotten her?”

Swallowing, her eyes cast down. She’s gripping the sides of the paper tighter now. Her moms aren’t here. “I would like to say yes. Because even though I haven’t always done the right thing, she would still hug me and tell me it’s okay, because I’m still me, no matter what. You know why?” She looks at the audience with a lopsided smile, “because even though I can’t always recognize my reflection in the mirror, my laugh is still the same horrible cackle I had as a kid.” There are some laughs in the audience, especially from her friends, who have heard her laugh before.

“So, change is scary and you’ll probably never figure out who you truly are. But that’s okay, the little kid you imagine sitting next to you knows, and they think you’re pretty great.” Y/N folds her paper and gives the audience a bright smile. “Thank you again for giving me this opportunity, I hope you all have a great day, and remember to stay true to yourself.” The audience starts clapping and Y/N walks back to her seat.

“That was awesome!” One of her friends whispers, holding her arm with so much excitement.

“My moms aren’t here.” Is the only thing Y/N whispers back.

“Oh shit,” her friend frowns, “I’m sorry.”

She shrugs and gives her a small smile. “It doesn’t matter.” With that, she turns back to the teacher who has gone back to the microphone.

It’s already two in the night and Y/N is still up. She is sitting on the couch, watching the television while she waits for her moms to come back home from work. They wouldn’t like her being awake this late, but she doesn’t care. She is angry, and sad, and she needs to yell to someone, preferably her moms.

The front door opens quietly after twenty minutes, it’s her moms trying to come in without waking up sleeping Y/N. Their steps sound slow and sluggish, but they’re still giggling together. Somehow it angers Y/N even more.

“What are you still doing up?” Maya is the first one to come to the living room, though Carina is right behind her. “Is everything okay?” She drops her bag down to the floor before sitting on the other couch.

“Where were you?”

Carina looks confused, “we were at work, mia cara.”

Y/N scoffs, “my school event was today.” She states, glaring at her mothers. “You know, the one where I held a speech that I wrote. I reminded you about it like a million times!”

“Oh, honey,” Maya sighs, “we told you we’d try to get out of work for it, but you know how our jobs are.” She looks genuinely remorseful, but none of that matters to Y/N at this moment.

“It doesn’t look like you tried hard enough. I first told you about it months ago! They couldn’t give you one day off with that much notice?”

“Do you think we wanted to miss it?”

“Well it sure looks like you didn’t care about it, or me for that matter.”

“Y/N-“

Carina tries to speak up, but Y/N doesn’t let her speak, “no! I do think you wanted to miss this, I think you’ve wanted to miss every single event I’m in. You know why?” Her brows are raised as she stands up. “I don’t remember what the last important event of mine was where you actually showed up. You’ve missed all of my plays, my school events, sports games, everything. You’re never there! Nor are you ever here. You guys never have time to talk to me, or, or help me with my homework.” Her speech is starting to get faster and tears are starting to gather in her eyes. “I doubt you even know what’s going on with my life anymore!”

Maya and Carina try to defend themselves, but nothing comes out of their mouths. Y/N is right. Even they can’t remember the last time they spent proper quality time with their daughter.

“So what’s your excuse, huh? You don’t care about me anymore? You don’t want me anymore?” She shrugs, sniffling quietly. “I’d rather know than wonder why my moms don’t make time for me anymore.”

The hurt and vulnerability in her voice breaks Maya and Carina’s heart. Their daughter should never have to doubt their love for her. “I’m so sorry, love.” Maya stands up, taking a few steps forward. “We’re both so sorry. We just- I guess we didn’t realize how much time we were spending at work.”

Carina stands up and pulls Y/N into an embrace, which she resist at first, but gives up and leans in right after. “I’m sorry, mia cara, I’m sorry. You’re my baby and I love you more than anything else in the world.” Carina whispers, tears falling down her cheeks. “You’re right, we haven’t been very good moms lately, but I promise you that will change, okay? We will do better.” She pulls away, setting her palms on both of Y/N’s cheeks to look at her face. She can’t stand seeing it with such a painful expression, especially one that she caused.

“You’re just saying that.” Y/N’s voice is more quiet now, her anger having turned to sadness.

“We’re not.” Maya states with a firm tone, setting her hand on Y/N’s shoulder. “We will start taking days off work, you’re more important. Do you think you could hold your speech for us now?”

Y/N shakes her head, looking down. “I don’t think I want to, not today at least.”

“Okay,” Maya frowns but she understands, “some other day then.”

“Yeah,” biting the inside of her cheek, Y/N wipes the wetness off of her cheeks, “do you think I could sleep in your bed this night?”

“Yes, yes, of course.” Carina wraps one of her arms around Y/N as the three of them start walking towards the master bedroom.

They change into their pajamas and do the rest of their evening routine in silence. Y/N is the first one to climb onto the bed, already getting under the covers while her mothers whisper in the bathroom. She’s already half asleep when they turn off the lights and limb onto the bed, sandwiching her.

Carina starts playing with Y/N’s hair while Maya wraps her arms around her. “We love you so so much, you know that, right?” Her voice is quiet, not wanting to disturb her.

“Usually,” Y/N’s eyes are already closed, “but sometimes I doubt it. I really love you guys too.” She whispers.

Maya tightens her hold at the words. They pain her, but she doesn’t have anyone else to blame but herself. “We’ll make sure to remind you everyday.” The two women kiss Y/N’s forehead, saying their goodnights when they notice their daughter’s tiredness.

In their heads, they both vow to make Y/N feel more loved and cared for than she ever has.

[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.

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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.

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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.

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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.

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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.

[brighter-by-the-daly]

Millie Bright x Reader

Part Two: Lover’s Auction

Millie’s perspective:

Sam grabbed my arm holding it out straight to display the phone number that was still visible on my skin, I’d scrubbed at it in the shower this morning which made it fade a little but was still clearly readable. I knew training would be a show and tell this morning so tried to cover it with a long sleeve under top, but in a blind haze after a rigorous training session I mindlessly pulled up the sleeves. “What’s this then Mills, you cheating on me?” the Aussie joked as I tried to pull the top back down to cover the writing, of course my friend wouldn’t let me as she continued with her probing questions. “I knew you were hiding something, you never wear long sleeves!” her voice became loud and squeaky in excitement, the way that it does when she’s making fun of me. “It’s just a phone number!” the enquiry made the smirk on my face hard to hide as it’s been years since my last relationship, I was kinda hopeful that this might lead to something good. “Is this what that dorky smile on your face has been about all day?” Sam poked my ribs as the commotion drew Erin nearer to the drama that followed us around everywhere. “Is it a giiiirlll?” Sam continued to tease until I broke my cover. “Maybeee” I couldn’t contain my smile at admitting it as I felt my cheeks grow a warmer shade of red. “Well, you gotta tell us all about it, weren’t you at that function last night?” they linked their arms together as they skipped back into the changing room, dragging me along with them. I didn’t have a choice but tell them all about the girl I had met last night at some random charity event I didn’t even want to go to - not if I wanted to get out of here alive anyway! They couldn’t believe she hates Chelsea and didn’t have a clue who I was! I said that maybe that’s for the best, since the World Cup it’s hard to find someone who doesn’t know who I am and it could be refreshing to not be on edge about ulterior motives. A lot of people I meet only want me for my money or to get into places for free, there tends to be people out there that think I earn a lot more money than I actually do, I’m able to live comfortably but still have to watch the pennies and save for the things I really want. Packing up my gear to leave my phone lit up with a message, “is that her?!” Erin pulled my arm in her direction as they peered over to look for a photo that wasn’t there, I explained they would have to wait and see what happens before I expose the identity behind the phone number. My friends made their annoyance known through loud groans as I left to go home, “bye sweeties!” I waved sarcastically leaving them in the lurch.

Your perspective:

The sun rise shining through your bedroom window made your eyelashes flutter open, shielding the sun from your eyes you squinted at the clock to see it was barely 8am. Mascara stained your hands as you rubbed your eyes, annoyed that you’d forgotten to do your skin care routine when your got home last night. Tapping your phone to light up the notifications you noticed a text from an unfamiliar number, “hello pretty girl, hope your head isn’t too sore!” You guessed it was from Millie but pulled the shirt she’d written her number on from under the bed to double check before replying which lead into texting all morning. Opening Google to search the footballer you noticed she was telling the truth - she is a defender for England and Chelsea! Looking at a few photos you had an epiphany and realised last night wasn’t the first time you had seen Millie. Wrapped in your duvet you shuffled to the sofa and re-downloaded episodes of Eastenders that you’d deleted from the Sky box, spotting the familiar blonde a few weeks ago on The One Show. Sending her a picture of the TV screen you laughed to yourself.

Y: knew that wasn’t the first time I’ve seen you! 🤭

M: you didn’t recognise me? 😂

Y: well no, my recording of Eastenders caught the last few minutes of it… I fast forwarded 🙈

M: Charming! 😳

Y: Next time you’re on TV, I’ll record it. Happy? 😇

M: Why don’t you come watch instead, I’ve got a game tomorrow?

Y: Oh.. idk, I haven’t watched football for two decades 😕

M: That’s okay, you record it then, you don’t have to watch 😘

Y: I’ll think about it 😉

Millie said she was off to training but would like to see you again, inviting you on a date tonight and saying she’ll pick you up on her way home. The next time you heard from her was when she called you walking out of the training ground. You’d barely said two words to each other before being interrupted by some of her teammates, “is that her!”, “let’s say hi!” you heard from down the phone. Millie groaned “bugger off guys! Stop embarrassing me!” she yelled making you pull the phone away from your ear as she argued with them, reluctantly telling you that they wanted to say hi and held the phone out towards them against her will. One grabbed her arm to pull the phone up to her mouth as the other tapped the speaker button. “Hi Millie’s girlfriend!” an Aussie accent called as you heard the phone be pulled away by another person. Millie could be heard in the background loudly contesting what was happening, “what’s your name, Millie won’t tell us!” a Scottish accent asked, you laughed and told them as they screeched with glee, there was a lot going on even if you couldn’t see them – the noises coming through the phone sounded like they were being attacked; the rummaging and fumbling of the phone between different hands, the laughs of the two girls and Millie getting more and more irate before hearing heavy footsteps run away. “Errgh, sorry they’re a nightmare!” she groaned then told you that was her best friends at the club Sam and Erin, usually Guro is around too but she’s injured and not at training today. “I haven’t told them you’re my girlfriend don’t panic, they just saw your number on my arm” she insisted as she threw her bags into the boot of the car and you heard the door slam shut. “Okay, I’m safe now. I’ll come pick you up.”

Waiting outside your house as she arrived you clambered into her car, “hey girlfriend” you joked as Millie’s cheeks turned bright red. “How’s the hangover?” she asked, shifting into first gear and pulling away. “Better for seeing you, where we going?” The blonde asked whether you had to be home by a certain time, you didn’t have work the next day so you were free to spend as long as you wanted with her and as long as she wanted you! It was mid afternoon and she was being very secretive about where she was taking you, knowing it wasn’t going to be a quick date when she joined the motorway heading towards Essex, you know the journey well but didn’t let on that you had an idea of where she was taking you. The longer you drove the more you were certain about where she was going, looking out of the window you saw how the scenery had changed since you were a little girl, the last time you drove this route was with dad in 2003. It’s like you remember every bump in the road, counting the bridges until you got to your destination, your mind fell back into that routine of counting the bridges until you reached the coast. Millie must have realised you had spaced out, placing a comforting hand on your thigh when you pulled into the seaside town and asked if you were okay. Smiling and nodding you pushed those thoughts to the back of your mind, you were right with the destination – Southend-on-Sea.

You walked hand in hand along the seafront, rode the train along the pier and shared chips on the beach while watching the sunset. You talked non-stop about yourselves that it felt like you’d know each other for years, not less than 24 hours! After eating your chips you took a wander down the beach towards the sea, kicking off your shoes Millie followed suite as you dipped your toes into the water. When the sky started to turn to pink hues she asked you the question you knew was going to come up sooner or later, “what were you thinking about in the car.. when you went quiet?” You took a deep breath before replying, “I used to play for Southend Girls” you said, plunging the conversation into a long silent pause. “I didn’t know that” Millie responded cautiously, anxiously looking down and playing with her thumb ring. Her response caused you to chuckle lightly, “how the hell could you have known that?” pushing her further into the sea so the cuffs of her rolled up jeans got a little wet. “Hey!” she shouted trying to drag you in with her but you were quick and slipped your arm from her grip, running back up the beach as she chased you. Seeing the lights of the arcades still glowing you kept running, stopping at a bench by the road before going any further to swipe the sand from your feet and replace your shoes as you waited for your date to join you. “You’re quick!” she puffed, breathless from the unexpected sprint. You asked her favourite game in the arcades as you took her hand and lead her to the cash machine, pulling your purse out to feed a £50 note into the machine so it spat out £1s in return. Splitting the money between two pots you handed hers over, “did you just put a fifty in there?!” seemingly astonished at the amount you were willing to waste on 2p machines! “It’d cost about that in petrol” you shrugged, seeing it as a fair swap, she drove and you pay for the plastic tat you’re about to win together! Millie darted straight to the basketball machine and you set yourself up at a 2p machine nearby so you could watch her top rise above her hips to show a little skin when she took her shots. It felt like she spent forever on that machine, glancing over to you every now and again between games as the tickets piled up at her feet. You floated between machines, collecting your prizes and tickets until you felt her arms wrap around you and her chin balance on the crown of your head. “Are you winning?” she asked, peering into your prize pot that was almost full, “there’s more in here!” you laughed, opening your bag to show off all your useless prizes. You had so much fun in the arcades but before you left you had to have a battle on the dance machine and swap your tickets for sweets to share on the journey home, you didn’t want the date to end!

Stumbling out of the arcade in fits of laughter and a handbag full of prizes the sky had turned dark, you wondered if Millie would suggest going home but she didn’t, instead spotting a pub close by that seemed lively and went to have a closer look, “there’s a band playing in there!” she chimed excitedly. It was The Chinneries, one of your old haunts as a teenager, you’d jump on the train and meet your friends to go and watch different bands nearly every month. As Millie spoke to the bouncer, you skimmed the posters on the wall and noticed that playing tonight is one of your old favourite bands. “Are there any tickets left?” you called over as Millie nodded in response, “can we go in?” she nodded again, reaching out her hand for you to run over and take. Shuffling into the small bar you stood near the back, you’d entered around the half way mark of their set and shuffled around the people to be able to order a drink. Millie was much taller than you and could easily see over people’s heads but made sure she found a space that you could enjoy the show from too. Right after you got comfortable they started to play one of your favourite songs, screaming in excitement you immediately started bouncing up and down singing the words at the top of your lungs. Millie had never heard of them before but she enjoyed watching you be happy, posting a short video of the back of you to her Instagram story with “she’s cute” written over the top. You couldn’t be identified by the video as it was just the back of you singing with your arm in the air but it made you happy when you spotted it on her insta later that night.

“I think this has been the best first date I’ve ever had Mills!” you gushed walking out of the pub, it was getting late and you really should be heading home soon. “Ohhhh, pet names already!” her voice squeaky and high pitch as she shoved herself into your side jokingly. Your hand slipped easily into hers when she draped her arm over your shoulder, crossing your arm over your chest to keep hold of her hand. “I agree.. (y/n/n)” teasingly using your nickname too. You asked who she was playing tomorrow and what time when you were driving home, you were astonished that you still found stuff to talk about! Her hand was on your thigh the entire drive and when you pulled up in front of your house the anticipation of whether you were going to kiss or not was overwhelming. You desperately wanted to but didn’t want to rush things, the date had been perfect and all the signs were there that Millie really liked you but you wouldn’t know for certain until.. “can I kiss you?” her soft words interrupted your overthinking.

The engine was purring as she unclipped your seatbelt, nodding your head gently as hers came closer, stroking your fringe behind your ear her hand lingered to cup your cheek as your lips touched in the softest entanglement. You could feel the goosebumps raise on your arms as your eyelashes fluttered against her skin, her nose grazing yours as the kiss sealed off a perfect day. “I’d love to see you again” she whispered, her forehead pressed softly against yours. Her blue eyes gazing deeply into your soul, willing you to answer her. “Me too, I’ll take you out next time” leaning forward to peck her lips one last time before leaving. Entering the home you share with your dad he was already at the front door waiting to hear all about your date. You’re still not convinced that he didn’t set this up on purpose but you’re thankful that the events at the auction had lead to a dark time in your life actually bringing you joy.

Part Three

[klainelynch]

Hey friend! So I’ve been listening to a bunch of your Royai podfics lately and I just love them. Its the best way to get my fic fix while also being a productive adult lol. I’m blown away with how professional and polished your stuff is! You definitely could be recording full blown audiobooks, if you aren’t already! (And if you are, I’d love to know where to find those!)

I’m intrigued by your whole process: how you pick stories, record, edit, etc. Choosing when and where to use tone inflection, pacing, all that. You can fully nerd out if you feel like it! I’m so curious. ☺️❤️

Ahhhh what a wonderful message to find in my inbox!! 🥰🥰🥰 I'm so happy that my podfics have become something that you listen to in your daily routine! I don't record audiobooks or do this in any kind of a professional sense, but I do try to emulate what I love of different audiobooks/professional productions and other peoples' podfics, so your compliment means the world to me!

I started with a very stream-of-consciousness response and have tried to cohere it into something readable. You said I could fully nerd out, so here's over 2k of me taking you up on that xD

Choosing a fic:

I tend to gravitate towards fics that have more narration as opposed to dialogue. I love being in a character's head and fully living in their world and the way they experience it. When I am reading dialogue, I don't try to sound exactly like the voice actor (if it's from a tv show or movie) or adopt their accent, but I do try to embody the character in my voice, if that makes sense. If there are too many characters with dialogue, this gets difficult for me, which is why many of my solo podfics have two or fewer characters who speak, or why I create multivoice podfics with fellow podficcers.

In my podfic spreadsheet, there are several pages dedicated to fics that I'd like to record someday. Most of them are under 1k, though I do have a few that are around 3k (which would be on the longer side for me). I jot notes to remember what each fic is/what I would like to do with it—some examples of what those sound like with fics I haven't recorded yet: Zuko asks how Iroh survived when Lu Ten died because of Izumi feels; Al reflecting on Royai rebuilding Isvhal, no dialogue; Roy takes Riza out on a date (cover art would be a theatre program); good angsty Edwin moment after the boys come home (could have thunder in background); Ghost!Roy as Riza carried on, will need to build to this level of angst; Abbott Elementary book fair *chef's kiss*; Roy announces he’s engaged to some mystery woman but PSYCHE HE’S ALREADY MARRIED TO RIZA.

I used to have a pretty even split of recording fics with blanket permission versus asking authors for permission, but these days, I tend to be too lazy to ask lol. Not saying that I won't do it, but when the mood strikes me to record, I need to know pretty quickly if I can complete the project, and a bp statement really helps with that!

Prep work:

When I first began podficcing, I would put the entire fic into a google doc. This let me annotate the script for every little thing (highlighting dialogue, typing out phonetic pronunciations of difficult names/words, and putting spaces in between sections of text to help with breath control being the most common). The more I podficced, the less I had to annotate, until all I would do with my scripts was put in the spaces. I want my breath to be consistent/unnoticeable, so I read with that in mind. Often you can use the punctuation as your guide, but sometimes there are long stretches with no punctuation, and I have to figure out how a sentence should be cut up to make its meaning clear.

I didn't make these scripts for any of my solo podfics during Voiceteam this past May, and I still felt comfortable recording, so I think I may be past needing this tool for the most part. I just need to read through the fic a few times and look up any potential pronunciation issues right before I record.

Recording the podfic:

My early podfics were recorded with the microphone attached to my earbuds, and you can definitely hear it in the quality 🙈🙉 I did at least use a makeshift pop filter, so that helped with my plosives from the beginning.

After a few months, I got a blue snowball mic, which makes the quality so much clearer, and even more so once I got a computer that can run Audacity (more on why I love this program later).

I currently record in my closet, which is a long wide shape, so the doors don't close all the way when I'm inside of it. I shut them as best as I can to prevent outside noises, and I stand as I record. I used to sit at my desk with a soundproofing box around my mic, but I found it hard to get good breaths for long periods of time, so now I stand. The tradeoff is that I have to be wearing good shoes if I'm recording more than thirty-ish minutes (which could happen if the podfic is ultimately longer than twelve or so minutes because…)

My raw audio is usually at least twice as long as the final product. I often record several takes for lines, sometimes if I mess up, but usually if I don't think I captured the emotional quality that I can hear in my head when I read the line with my eyes. Sometimes it takes up to ten times for a line to feel right; other times, an early take ends up being the best one.

The previous point touches on how I handle putting inflection into my voice. The other part of it is thinking through how the speaker would say a particular word/phrase. If it's narration, I've emotionally been with that speaker for the entire fic, so I lean into that; if it's dialogue, it might be someone new, so I have to switch my brain. Either way, I have to (consciously or unconsciously) think through: 1. how would I personally say this? 2. how would the character say this? 3. how would the audience want to hear this? 4. how would the meaning be most effectively heard? Often there is overlap in these questions, but not always. If there's a conflict between these, I try to remember that my audience is probably just listening with their ears, not simultaneously reading with their eyes, so I need to prioritize their being able to understand what is happening and why. That's why I try to affect my voice in different ways and not literally mumble or shout, even if the fic has the character doing that.

Since you mentioned my Royai podfics, I will mention one way I distinguish their voices depending on who the narrator is. When Roy is the narrator, any of his dialogue is in my normal voice, and Riza's dialogue becomes slightly higher and slower; when Riza is the narrator, her dialogue is in my normal voice, and Roy's dialogue becomes slightly lower and faster.

I put a lot of pressure on myself to nail the first and especially the last line of a fic, so I will record a good number of takes for those. It's only happened once that I loved the first take I did of a final line. Sometimes I annoy myself at how many takes I record, but I'm thankful for the choices when I'm editing, so this is simply how I do things!

The hardest part of recording for me is keeping my voice quality consistent. I drink a lot of water throughout the day, but even so, I get dry mouth as I record, and once you're at that point, drinking more water doesn't really help. Tricks like chewing gum or brushing my teeth right before recording help me out.

Editing the podfic:

This has actually become my favorite part of the process! It feels like a puzzle and a treasure hunt, trying to find the best ways to pick out the best parts of my performance and turn it into a final product.

When I started podficcing, I had a chromebook, so the only audio editing software available was free online websites. I don't even remember the ones I used, but they did most of the things I wanted, and they let me get my foot in the door. The problem was that they were limited in tools, such as…

Noise reduction is my favorite feature of Audacity, which is the software I currently use. If you go back and listen to my podfics chronologically, you can clearly tell when I started using it because the general crackle in the background disappears. I have no plans to delete old pods, but it is as painful for me to listen to them for this reason as it is to reread fics I wrote in high school lol

The first round of edits is picking out the best takes for each line. Sometimes that means listening to several takes over and over before I choose my favorite; occasionally, I splice together the first half of one take and the second half of another. I'm very proud when I can do this with a single word and you can't tell the difference at all. I laugh when it sounds like I've done this with a word, but actually I just read it weird and I have no other take to substitute it with xD

Something else I do in the first edits is take out excessive space between sentences and paragraphs. I basically reset my breath/voice after every segment (could be a sentence or part of a sentence) so there's always extra space. I tend to edit down to one to two seconds between sentences, two to three seconds between paragraphs, and four to five seconds between entire sections of a fic. Of course, there are always exceptions (a character feeling very emotional, especially angry or excited, will have faster sentences; dialogue is formatted in paragraphs but it is inflection rather than time that indicates to the audience that a new paragraph/speaker has begun; an emotional line might require more space to let the audience process it).

Once I have all of the words edited together, I will do a second round of edits for tightening up the pacing. I listen to the edit without looking at the text, keeping my hands busy with a video game or coloring. As I'm listening, if something feels too fast or too slow, I'll make edits in real time, back it up, and listen again. The reason I can't read and listen during this pass is because my eyes are expecting too much and I can't properly hear what the audience will hear. When I began podficcing, I thought I had enough space in between words and sentences, but when I would listen back, I realized that I had cut too much out and the podfic's speed was faster than I liked. Now I leave more space in during the first edit and do this pacing pass.

Once I'm happy with the narration, I save it as a narration only file. I love adding in music and effects when I can, but I'm sure there are some who would rather only listen to the narration, so I make this available for accessibility and preference reasons.

I will usually make a final version with music and/or sound effects. This is one area where I'm specifically trying to emulate professional audiobooks and how they use music under the opening credits before fading out as the story begins.

Finding music is its own kind of scavenger hunt. I prefer to use public domain or creative commons music because it feels more true to the collaborative/transformative spirit that podfics have for me, and the idea of a podfic being taken down for copyright reasons does make me nervous. ccmixter and Purple Planet have a lot of songs that I've used in the past. The former has literally thousands of songs, which can overwhelm me if I'm working on a deadline, so I will sometimes just listen to random tracks and download anything that might be helpful in the future. That being said, if a fic uses a song lyric as a title or the author mentions a song as inspiration, I will try to use that song as the music if possible. I'm especially proud of how I used "Wait for It" at the end of An Endless Uphill Climb.

I use sound effects far less frequently than music, but they are fun when there is a natural place for them. I love the Star Wars audiobooks, and they often use sound effects and music in a way that heightens the emotions in the listener. That is always my guiding star, though I will admit to sometimes using effects just because they make me happy!

Cover art:

Like music/sound effects, this part is totally optional, but I usually do it because I have a lot of fun with it! I make everything in Canva, and again, I try to use public domain or creative commons images. Openverse is my go-to search engine because they make it really easy to tell which images I'm allowed to use in what ways. Sometimes I have a vision and try to find images to match; other times I have no idea and just see what I can find, or I can't find what I had in mind and have to switch gears.

Random facts that I couldn't find a spot for:

I learned how to read for an audience by being a lector at mass (reading either something from the Old Testament or something from the New Testament, other than the Gospels) in a church with lots of marble, which explains why I read on the slow side. Had to leave room for the echo before I started speaking the next line!

I've actually found that my own fic writing became easier to read aloud once I started podficcing. That doesn't make it better or worse—there are beautiful passages in literature/fic that are easier to read with the eyes than with the ears. But it is definitely a thing.

.

Thank you again for sending this ask! I hope this peek behind the curtain was interesting to you, even if it was probably far more than you were asking for xD And another thank you for listening to my podfics—it really does mean so much to me that something I've made can brighten up your day 💖

[sirensea14]

DOUBLE TROUBLE The Comic

[Read from left to right and top to below]

Tw:(mild) BLOOD and VIOLENCE

I finally finished it, yayyyy! WHAHAHHAHAHA

(sorry for my ugly handwriting btw💀 I tried my best to make it readable as possible, also the reason the lightings are different each page is bcoz i pictured all of these at different times, the last page is so cramped up lol) read the alt texts for some dumb explanations/clarifications--

Based from the fnf song "Devil's Gambit" from Indie Cross. Supposed ta be animated, but im still at beginner level tho so imma gonna have to wait. For now, enjoy comics! (i hope you can forgive me for SOOO MUCH ERRORS in there, it aint perfect, i also think the short storyline is garbage, i think i messed it up)

RUNES PORTRAYED:

Lift rune ( tho faded in the first panel of page 2)

Angel's curse rune

Tree rune

Rune array of:

Clarity rune;

Light rune;

Courage rune (partially seen in page 4 panel 8);

Focus rune and;

Day rune

(tho im pretty sure this aint how runes work in Inky mystery but this is my headcanon lol🤷)

Date of Creation : late August 2023 (Aug 30 I think)

Date of Completion : Oct 14 2023

Sorry if it aint that much amazing or exciting as u expect cuz i made it sound like its amazing but its actually garbage💀💀💀

[dubuthecat]

TEXT SLANGS

hello! thank you to everyone who added in what they know about non-english text slangs concerning the languages on QSMP. I gathered everything into a google document for easier access.

Link to Document

I tried my best to make it readable and will definitely update as more languages are added in! I am open to submissions about changes and additions so just send me an ask if you have anything to add!

Reblogs would definitely be appreciated <3

[trilobi-te]

Chipspeech Twitter Archive Update

Hi I should have done this months ago.. I do not know when (or if) I am going to finish that website lmao. So I am just going to share my notes from Google Docs. Should be easier to read than the original posts and helpful as a starting point if anyone else decides to make a website :3

The documents are all on commenting mode so feel free to make comments to bookmark things for yourself or write your thoughts or whatever. Under the cut I have put some formatting notes.

It's a folder, each year of Twitter posts is its own document (I tried to compile them into one but it lagged too much). There is also a document with all of the original Tumblr posts (from the accounts I could find, no tags yet but I will go back and get them eventually, also no dates but they're all from 2015), and one with the bios from the official website for ease of access.

The formatting is a little (a lot) weird and there are probably pictures that need resizing/transcription but I figured it's better to give people access now. The text is small (to keep the page count as low as possible) so you will have to zoom in.

It goes by day, organized with a bulleted list. The top level bullets are each character that tweeted that day. The second level bullets are original tweets/retweets by that character. The third+ level bullets are comment threads under that tweet, the organization here is inconsistent but imo still readable (if you think something needs an edit for clarity let me know and I'll fix it).

For each character's section of the list, normal text is that character's tweets/comments. Italicized text is anyone who is not that character. If it is labeled with unitalicized text, it is that character/important account (e.g. the official Chipspeech account), otherwise it is a fan. I also included some labels and/or clarifying comments for Vocaloid producers I like, they're not central to the story though

I got rid of the line breaks within the tweets when copying them down because it was easier to format. Sorry about that. Idk how to fix it other than going through everything again but it doesn't take away from the story so I'm leaving it for now.

If something came from a website other than Twitter, I tried to provide the link (unless its content was deleted). I did my best to transcribe the Clyp posts that were not deleted.

If something is a text-only retweet, it is marked with [retweet]. If it includes an image, it's probably a screenshot of the whole thing. I only included retweets that felt story-relevant (so no miscellaneous cat pictures, Apple-related aesthetic images, etc.), but if people really want it I can go back and add the rest.

Deleted tweets are noted with [deleted tweet], with the characters they came from if applicable. Idk how Twitter works but it the person in the thread is replying to the username of a certain character, I assumed it was that character's tweet that had been deleted. If something says [deleted Dandy thread], assume there is a deleted Dandy tweet in between each of the listed tweets (or another character, but it's usually Dandy). That was meant to be a temporary time-saver and I've gone back and fixed the ones I've found, but there's probably more I accidentally skipped.

Anything not in English is translated in a comment. Except the X-Sampa (I will fix that sometime but there's not much of it). Also it was done with the built-in Google Translate feature so it may be a little incorrect. Unclear pictures and whatnot also have clarifying comments. I can add more clarifying comments (or image IDs) if anyone needs them.

I tried not to include any unattributed fanart but there are some that I forgot to copy the handle for (I am also fixing these when I find them).

As for any future updates to this folder as a whole, I kind of want to go back through each account's liked tweets to see if there's anything funny in there but idk when that will be. That would probably be its own document.

Honestly I should have given everyone access back in June.. oops. If you have any questions you can put them in a comment on this post (or reach out to me another way, idk). As I mentioned before, feel free to use all of this as a starting point if you're making your own website.

I'll pin this post so it's findable in the future. Also sorry for disappearing for several months (it will happen again).

[archive-poetry]

—m. regan, gender/rant

poem taken from Transgender Tapestry, issue #98, summer 2002. scans of issue #98 are available via the internet archive.

Transgender Tapestry is a magazine that ran from the late 70s to the early 2000s. you can access other issues of the magazine and related newsletters via the digital transgender archive or via the internet archive.

transcription under the cut!

note: I divided the poem into paragraphs even though it's originally all one block of text because tumblr has a character limit per block, and for readability. I tried to stick to dividing it between sentences, but I will say that I can't actually tell if some of the punctuation marks in the poem are periods or commas.

gender/rant

by m. regan

i have seen the best minds of my generation, (fucked) UP by gender, by what we (think) it means, what it's supposed to mean, by what we (want) it to mean—i have seen "girls” slapped down by the word (itself) made a mockery of their own arms, i have seen "boys” of every age, stripped of their finery, i have NEVER seen a "boy” or "girl” only girl-boys, boy-girls, boy-boys and girl-girl-boy -girls—this is the LAST line in the LAST bit of sand, all other battles begin and END here—this is not a list of performative acts, not a choice between one of two, "fuck the binary” the t-shirt says and i laugh, laugh and say when you are NOT one or the other you are either NEITHER or BOTH, you are a/lone you are (me) and we are forced to call each (other) by NAMES not categories not (pro)nouns, professional/nouns pro-active, I have seen legs and backs stacked in rooms waiting to be assembled and sent to the “boys” room/“girls” room (waiting) to be assigned a label, outside of which your hands, your eyes, will not matter will never (matter)—outside of which (nothing) else you ever are, have been, will be, will EVER, i have seen and i have (never) touched another single HUMAN being on ANY (single) street without a metal spike suspended over (me) over my (face) how many articles of clothing (make) you into a lateral plate, a horse, a shallow groove, an archangel, a metal bar?

this is not a (straight) thing not a (gay) thing not a “woman" (thing) not a "man” (thing) a thing/thing this is (not) queer, not/trans, not Elle/GQ/Vogue not fashion not any/thing that would make (you) comfortable this is not (a word) that you would RECOGNIZE, not a world you would (wreck) in the night i have seen us (ALL) dividing, cutting ourselves into gestures/performance/acts of clothing that ROT/scraps of meat and bone—if (you) asked everyone/and we DO/if you (asked) all the “women" to stand on one side of the/prom/room and all the "men" to stand/prom on the/other side, this is to SAY what could (be) simpler? this is to SAY that some of (us) would NOT stand could not (stand)—in 3rd grade carter gilliam passes me a note that says “if you were a ‘boy’ I would like you" in 4th grade I am skiing/badly in VIRGINIA and a small creature in a flowered skisuit sits next to me on the lift and says, “my parents would never let me ski alone, if you were a ‘girl,’ you'd understand" I gentle my grandmother into the car she says what a sweet "girl" I am I give an old mexican “woman" my seat on the bus, she says I am a "gentleman,” my wife is lucky to have me.

where is (gender)? if it's on the body, then I got SCREWED In college they give me a (button) that says “I like girls” the t- shirt I bought at the mall says “chicks hate me” and I WILL I can and I will open your car door because we BOTH (know) that you can damn well do it your/self and you know that (I know) and that's WHY you let me do it and THAT'S why it means something DONOT be an (asshole), “she” can take care of herself, “he” isn't waiting for you to tell him he’s brilliant/are you SURE? this is SOCIAL CLASS/IFICATION if you (were) you'd understand—i am not solving (this) for you, I am not (telling) you a story, this is not a man/ual i am not a homo/fag/predatorylesbian/butch/dyke/femme/girlygirl/top/bottom your CLOTHES don't (fit) me, if you name me I DISAPPEAR if i don't name myself I DIS/APPEAR this is not an intellectual (exercise), i am putting morphine into J's mouth as she slips into a coma and i want to say FUCKGender there’s no TIME do you get it, there is no FUCKING time.

work it the FUCK OUT i have been cut and cut up and cut out and cut into and I don't want to cut anyone else i will call you whatever you call yourself, I will not (let you) die—how can you tell the truth if you won't confess? absolution? cancer will fuck (up) your day, but disdain, pretension and condescension will KILL you confessional poetry? goahead, shootmeinthefuckingBACK, poetry where you tell whatever truth is in yr. hands right now? is there (another) KIND? make what you (BELIEVE) I ob-ject to the I as/Object as objecti- fied, look, you idiot you are DYING (RIGHT) NOW, the class of the body, the hierarchy of language, my sister/brother’s friends want to be called Girls, tim calls his buddies at the bar the Girls, the waiter calls us Girls, cut, cut, stitch, cut cut, stitch, there’s no TIME I want to say there’s not enough time to do anything but our WORK/cut, cut. stitch, cut, the DREAM of a (common) language, you see?

“she” says, i had a dream about you and i say “yeah? was i taller?” he says “and what does your boyfriend think about you not having reconstruction?” the receptionist says, “yeah, we’ve had a lot of you guys through here this week.” do you get it? the language (is MATTER) matters, the sound of your voice shutting UP for a minute while i tell you (who) i am matters if we-re fixed if we don't (move), we (die)—it is not what comes OUT of the body that makes you ill, it’s what (stays) IN i have seen the best of all of us.

trying to get it RIGHT, trying to (figure) OUT which pronoun will (least) offend, i have seen our minds weighing each word, tossing them (carelessly), throwing hooks into each other, without ever feeling the LIMITS of language without (trying) HARDER “the mind,” bobbie says, “the mind throws the body away and runs” loren can bench 250 i can strip a 9mm in the dark, my (MOM) would kick your ass soon as (look) at ya, but it’s a baby BAT in the doorway, for christsakes, not a WILD BOAR, (call it) by whatever name fits (its) skin—i have seen privilege on 8 yr olds, have seen (reduction), essentialism. violence, have seen a (mother) stand in front of 70,000 people and say of her F2M child, “I love my son" i have seen mothers NOT (stand), i have seen the standing it/self mother so many, i have been a father for a day and a damn (good) one, i have seen the best, the best of all of us, “mad to (live), mad to breathe (free)” i have put my fingers onto the worn (rungs) of bunks in concentration camps, have seen that we all (die) the fucking SAME, each of us alone, with one breath stacked (slowly) upon the next, i have tried to make it last, to be polite, to correct you (gently) but there is NO time, get (busy) living/get busy (dying), but take your hooks out of my FACE, erase yourSELF FIRST, stand up or they will (DEVOUR) you, make your peace, “writing is a (debt) of honor to the (self),” when they (lock) the door take (off) the HINGES cut cut stitch, don't waste it, don't let ANYONE make you (small).

~~~~~~

max regan is a teacher and writer from the hills of Southern Virginia, currently living in Boulder, Colorado. Max is the founder of Hollowdeck Press and the the Administrative Director of the Summer Writing Program at Naropa University.

[loving-apparitions]

Hello, could I request a snatcher x reader where reader is dyslexic? I feel guilty for not being able to read lengthy compressed text (especially when it's in the Times New Roman font), because he probably has a favorite story that he wants me to read and I just can't no matter how hard I try. I normally have to hear it spoken while I scan across the words.

I tried breaking up the text more than usual for this one. Your feedback is welcomed if there's anything I can do to make this an easier read for you!

Considering how he loves to show contracts to people, I think he'd find out pretty quickly that you have some difficulty reading.

Without you asking he might just read what he's written to you. "I'd be a pretty terrible employer if I didn't make my requests clear, wouldn't I?"

He's honestly not totally contract obsessed, so he soon just ditches showing you the papers.

Particularly of course once your relationship is at a point that he doesn't feel like he needs to pretend does he stop with any legal games.

Mostly Snatcher communicates with you verbally, but if he wants to leave you anything written, he puts in the extra effort to print cleanly with large letters and space.

He quite enjoys calligraphy and changing his penmanship by document, so this is no bother (it's kind of fun to him, like a challenge to make something both pretty and readable).

They include little drawings and pictures too in hopes of it helping.

They're an avid reader, so if you're interested in a book, they're happy to cuddle up and read to you.

He adores snuggling up with you, as well as reading or re-reading, so it's an enjoyable activity for him to hold you close and read aloud.

He'll pick out books you're interested in, books that he thinks you'll enjoy, or books that he's passionate about and wants to share.

If it helps you, Snatcher will also trace a finger under the words as he reads and you follow along.

He wants you to be able to understand the story, and he believes the best way to experience a book is exactly as it's written rather than summarized.

Of course, just because direct source is his favorite way to understand a book, he knows it's not the only way.

He thinks nothing less of you if you want a summary instead. If you want to watch a movie adaptation though, he's going to let you know every way it deviates from the original.

This isn't an entirely new experience for them, as they've found several Subconites that can't read at all or that have difficulty reading.

That also means that the Subconites are generally understanding and accommodating of you.

And don't feel guilty about your dyslexia. Snatcher knows that ability to read text isn't the same as reading comprehension.

"Never apologize for how you read. You don't have to read print to be intelligent. You're much better at comprehending than the lot of idiots I come across."

[twolitwicksinatrenchcoat]

BRO?? upside down and backwards??? damn

tried my best to make this more readable, still watching the episode so It's at 8:40 in the episode spoilers for the screenshot and typed out text under cut

Mr. Kranken This is Norman. I'm sending you this letter(?) on behalf of our deal between Bunny Smiles and CuberFun Tech and most importantly, the well-being of our CyberFun staff we've been getting a lot of complaints about a member of our staff going missing who was highly associated with you and your team. Susan Woodings has been missing for a week now and here in CyberFun tech we are working as hard as we can to try and manage to get in contact with her. Is there perhaps any detail you could hand(?) us to help locate our missing employee? I'm going to be entirely honest with you Mr.Kranken, and tell you I have a ton of questions and suspicions about whatever is going on with your company. Whatever it is, it's making both your company and mine look bad to public light so, again. If there's anything that could help us find Susan write us back immediately. Thank you, I'll see you monday.

[irondad-defensesquad]

The perks of being a wallflower - Chapter 2

Chapter 1

Also on AO3! (Starts from first chapter)

TRIGGER WARNINGS (for this chapter) - mentions of suicidal thoughts and self-harm

DO NOT SHIP PETER AND TONY. P/ROSHIP DNI.

--

Weird. Apparently, the kid left earlier today, according to Happy. Peter is in school.

Tony has been feeling a little guilty for telling Peter to go to bed the way he did. Although Peter wasn’t in any condition to be in the workshop, the teen looked pretty drained. Not just physically but emotionally as well.

Thus, Tony thought he could make some nice breakfast for Peter. But then he found the boy’s bedroom empty. Peter must have left in a rush since he left his room messy. It’s not like him to leave without saying anything to Tony.

Regardless, the man starts organizing Peter’s things, like the bed and the abandoned clothes everywhere. The entire time, Tony tries to figure out what’s going on.

That is, when a white envelope lying on Peter’s desk catches his attention. Especially the big “Mr. Stark” written on it.

Huh, so he left Tony a letter? Peter usually texts him or calls him when he needs Tony.

The man carefully opens it, finding a handwritten letter. It looks messy but still readable. And the paper seems to have… dried teardrops. Quite a few of them.

“Dear Tony,

Dear Mr. Stark,

I’m so sorry I was messing everything up in the lab. I didn’t mean to make you angry.

I’m not feeling very good lately, for some reason. I mean, everything is better now, right? I love coming over and building things with you. That’s my favorite part of the week. But I’ve been feeling so bad, worse than I’ve felt in a while. I wanted to cry so badly and I didn’t want you to see me like this, because it’s not your fault, Mr. Stark.

I’m so tired. I want to die again. Or cut myself again. But F.R.I.DA.Y would let you know and you would probably get angrier with me.

So I’m gonna leave in the morning, okay? Maybe I should be alone for a while. You don’t want to deal with me like this. Again, I’m really sorry I ruined our time together.

I guess I’ll see you around.

Love Sincerely,

Peter”

…

Oh my god.

This is why Peter was feeling so off yesterday. Tony just assumed Peter was being irresponsible and not getting enough sleep. But the signs were so clear. And Tony didn’t even bother to check in on the kid.

He immediately takes his phone again to text Peter. He decides not to call in case Peter is in class right now.

Tony: Hey kid

Tony: You’re at school, right?

Well, the GPS says he’s in Midtown. Then again, Peter could abandon his phone somewhere or hack it like he did his Spider-Man suit before. In the meantime, Tony asks Happy if the driver noticed anything off about Peter. Happy only says that he noticed the kid was quieter than usual, but he just assumed Peter was tired.

Eventually, probably during Peter’s morning break, Tony gets a reply.

Peter: sup

Peter: yeah why?

Thank goodness.

Tony: I was just wondering if we could grab a bite after school’s over. Sounds fun, right?

The typing dots take a while to appear.

Peter: uh sure

Peter: is everything ok mr stark?

Tony: Of course, kiddo. I just miss you.

Peter: you literally saw me yesterday

Tony: Well, you left without even eating my masterchef breakfast.

Peter: you always burn the pancakes lol

Tony: Shush, that only happened once.

Peter may be joking around but Tony knows better than that.

Tony: Okay, I’ll pick you up then we can eat whatever you want. Sounds good?

Peter: ok mr stark

Tony: Alright. Sorry to bug you. See you later, kid.

Peter: see ya

Now Tony will only see Peter at 3 PM. He’ll just have to know what he’s going to do when they see each other again.

--

Tony is waiting inside the car, watching all the kids leaving school. Then he sees Peter talking to Ned. He’s smiling and laughing with his best friend. It all feels like any ordinary day… except Tony is keeping Peter’s letter with him.

Peter and Ned do that handshake of theirs, not without Ned staring at Tony’s car with amazement. He waves hello despite not being able to see Tony from outside due to the windows.

Regardless, Peter gets in the car with his usual casual smile. Though he seems a little suspicious of Tony’s sudden invitation.

“Hey, Mr. Stark,” Peter says regardless.

“Hey, kid. Did you have a good day?”

“I guess so.”

Tony is unable to really hide his concern, so Peter’s smile fades quickly.

“Okay, Mr. Stark, what’s all this about?” He doesn’t ask impatiently, he just doesn’t understand. He’s not even expecting Tony to apologize to him for being rude to Peter. Because he believes it’s his fault for not feeling well.

Tony sighs deeply, taking a moment before revealing the envelope, which was carefully closed again.

“... I read your letter.”

Peter’s eyes widen like never before. He snatches the envelope quickly.

“What?! No, you weren’t”– Peter looks like he wants to tear the letter into pieces –“You weren’t supposed to read it!”

“What do you mean? It was on your desk and it had my name,” Tony gently points out.

“No, I forgot it there! I was supposed to take it with me!”

“But you still wanted to tell me something, right?”

Peter groans, angrier at himself than anything. Tony almost puts a hand on his shoulder but he doesn’t know if that’s going to help.

“This is so embarrassing,” the teen says, wanting to cry.

“Kid–”

“No, I mean…”

Peter takes a deep, shaky breath.

“Ever since I was a kid, I would… write letters to you. I did send you the first ones but that was a long time ago. I knew you wouldn’t reply ‘cause you had more important things to do… but I kept writing more and more, imagining you’d be able to read them somehow. These letters got a lot more personal and no one else knew about them, not even Aunt May or Ned… or my uncle. I stopped writing them when I became Spider-Man because I wouldn’t really have time, and well… I got to know you, so why keep writing letters, right?”

The teenager starts letting out tears. He tries to hide them.

“But this last week… I dunno what happened. I started feeling really bad again. I was afraid of telling you that and I screwed up. So I thought it’d be better if I left before I ruined everything for good.”

Now, Tony squeezes his shoulder.

“Peter…”

“I-I didn’t, like… plan to do anything against myself. But I’m still thinking about it. Things are gonna get bad again and I don’t want them to. I wish I could stop it for once.”

The moment Peter starts sobbing, Tony pulls him in a hug.

“I-I’m sorry, Mr. Stark. I’m sorry I’m such a mess…”

“Shhh… I’m sorry I got angry with you, kid. I should’ve talked to you.”

“It’s not your fault…”

“It’s not your fault, kid. You deserve to be heard.”

Peter is shaking his head but he’s not protesting. His tensions slowly disappear as he returns the hug. He just sinks in it completely, like he’s been wanting a hug from Tony for years.

“You can tell me when you’re not feeling well. I promise I’ll listen and try to help you,” the man reassures him.

“I just don’t wanna lose you, Mr. Stark…”

“You won’t. I’ll be here for you, okay?”

Peter lets go of a breath he’s been holding back this whole time.

“Okay.”

Tony squeezes him a little tighter.

Eventually, they let go.

Peter’s face is tear-stained and red all over. He’s contemplating the envelope in his hands, not wanting to destroy it anymore.

“So… you mean you wrote more letters to me?” Tony asks.

“Oh, man… I wrote a lot. And they’re so embarrassing. If you already find my rambles annoying, they only get worse in the letters.”

“Well, I love your rambles, kid.”

Peter smiles shyly.

“I think I lost some with how often I moved,” he reflects. “But most of them are with me.”

“Hmm.”

Silence.

“... do you really want to read them?” Peter doubts.

“Only if you’re alright with it. I would love to know you better, but you don’t need to show them to me if you’re not comfortable.”

There’s a spark in Peter’s eyes, which must come from his child self, that actually really wants Tony to know what he has in mind. The kind of things he couldn’t translate into any other way.

“I could… um… send them to you at some point. There are a lot of letters. It’s okay if you can’t read all of them and like I said, they’re really cringy and dumb.”

“You’re not dumb.”

“Still, Mr. Stark.”

“That’s because you haven’t seen my letters. I’m actually bad at them.”

Peter rolls his eyes at his mentor, who takes them to Delmar’s. They get some sandwiches and chat for a bit. Then Tony points out Peter shouldn’t be on his own when he has suicidal or self-harming thoughts. Especially considering May hasn’t been home often due to her night shifts. Therefore, Tony offers Peter to stay with him for a while, so he has company and safety. There are also doctors that can help him if Peter needs them.

Tony admits he’s a little surprised that the boy accepts the offer. But of course, he’s relieved that Peter is accepting help.

His stay lasts a week or so. Peter slowly feels better again, so he goes back home, promising he’ll keep in touch.

Soon, Tony receives a huge box of letters.

Peter jokes with a sticky note, “Careful! Fragile”.

Tony will certainly read all of these.

--

Dear Peter,

Hey, buddy! I’m only a couple years late. Better now than never, right?

I’ve read nearly all of your letters and I will finish the remaining ones. I am definitely going to reply to every single one of them, just you wait. But I would like to tell you a few things first.

I want to thank you for all your letters and for sending them to me. I’m glad I could help you feel less lonely in a way. I know you don’t have it easy, kid.

I also wanted to remind you, it’s not your fault. You were struggling with so many things at once, especially with your powers. You always did the best you could, and you keep doing your best. You don’t know how proud I am of you.

Finally, thank you for being you. You are so talented, Peter. My greatest honor is getting to know you, including your sad parts. You can trust me with them. I hope I never make you doubt that again.

Many hugs,

Tony

P.S.: Do you still have that mini arc reactor you built? That would be the greatest birthday present ever.

P.S.2: Do you have your camera? I want to see your photos as well. Hell, when I thought you couldn’t be more talented…

[maplecaster]

i’ve posted this on cohost but i’ll repost it here. i figure most people following me don’t know what mapleverse actually is so

mapleverse is my little oc universe where all my guys live! my sibling and i have built this universe and share it together. we tell their stories through short writings which are hosted on neocities. they’re all connected, and as you read more you may start to notice that. i’ve just started though, so the connections may not be entirely clear for now. imagine you’re building a puzzle, but you get like 2 pieces a month via mail. right now there are 16 short stories up so theres plenty to read i think :o

about the world: i’d prefer for people to figure out and piece together the lore themselves, but I can say that the main setting is an isolated town in the modern era that has light fantastical elements. using the word light there feels silly, but that’s just how it is for now.

i’ve also included alts for images and tried my best to make the text readable on every page. if this sounds interesting, then please check it out!

[chevvy-yates]

WIP Wednesday

Been tagged by @morganlefaye79 thx! <3

I tag: @imaginarycyberpunk2023, @itzsassha, @medtech-mara, @therealnightcity, @humberg, @pinkyjulien, @hydrasshole @kharonion and @elvenbeard as always: no pressure!

— VP

No plans atm other than preparing and thinking about sth for Arki as his birthday follows up next. Also promised I'll take some pics of Enzo and Jay as i couldn't make it in time for Enzo's bday. So I don't have much to add other than what I sneak-peaked last week that will be posted when I feel ready to push the button in my drafts (some pics are already months old again …). All other VP ideas are on hold as I still would liketo play the game a bit longer and only do random pics in between — but I need to solve first my problem I have with Thyjs' save data that is crashing when wanting to watch the deathshead BD in Judy's van. I want to look into it on the weekend because before I hop back into my bigger VP ideas I plan to get every oc into Phantom Liberty start and have them skilled a bit because that also motivates me to actually play the game from time to time and helps me to describe their fight style in the rp story. If I can't solve it I'll try Vijay next and see if he crashes too at the same point or not as I remember he's not far away from the Scav mission either. Then last I can try is Jay but he needs to get through the entire prologue first which will take me a weekend as well.

FIC/STORY/RP

Once I get Vijay's npv, @nervouswizardcycle and I can finally start taking story pics as well, though I believe she might just wait until she gets her new pc for that. I have overworked "The Golden Demon of Kabuki" text some months ago so it is a better readable fic now. I will place it into layout as soon as the needed pics are done. Then I'll see what happens next. Probably try and get ch2 ready.

I've said enough now, let's give you another snip-bit:

CORPO PARTY RP SNIPPET (my part only):

He noticed that Vijay says something Ry can’t concentrate on since he’s busy staring the redhead down and trying to see through him, but sees V starts walking and so he follows. They walked a bit further away leaving the red-haired man alone, Vijay pleased to stay and wait until they would come back to him. Once they were far away enough, Ryder turns around and raises his voice with a certain gnarl in his undertone “I leave you alone for almost an hour and you take the next best chance to shove your tongue down the throat of one of those Corporats?!” “Ry—” Vijay starts but Ryder is not done and so he hisses dangerously. “ON A JOB!? — Seriously V!” Scharfenberg shifts his weight to one leg, breathes audibly through his nostrils, crosses his arms and waits for V’s explanation.

Somehow Steyr finds it funny because he knows Ryder exaggerates it as always. Nonetheless Vijay feels a bit embarrassed as well because he knows Ry is also right. He should behave in a certain manner here but he is bad at being a Corpo. “Calm down man — Part of the job now,” V answers and gives him a stupid smirk. “You weren’t in reach. Had to escape from that escort chick otherwise I’d have blown cover. Unlike you I dunno how to friggin’ corpo. Dunno how to even pronounce my fuckin’ fake name either. Stainback von Kra– Krawnee–” “Steinbach von Kranichstein!” Ryder repeats fast in exasperation. 

They’ve practiced it a few times before and V still wasn’t able to pronounce it right. “Yeah whatever!” Vijay gestures with his hands. “But uh— Arki happened to—” “Oh, it’s ‘Arki’ already?!” “—chill a few feet away from me, so I took the chance to escape and, yeah — he’s my fiancé in disguise now as long as we are on the job here. He’s the dude from the Afterlife weeks ago, ‘member? Could help us out on this.” Ryder raises both eyebrows, his mouth opens a bit and he feels how Beast wants him to yell at V yet he -tries- to stay the calmest he can be. “Afterlife red haired rando? Supposed demon — your fiancé?! Alter Vadder! Tell me this is a joke!?” Ryder throws both hands in the air and makes a few steps as if he wants to walk away now and curses further in German “Ich glaub, ich bin im falschen FIlm!” He wasn’t in the wrong movie, though. “Chill, bro. I’ve got it under control. All good,” Steyr tries to calm his friend. “V, you know he’s a—” Scharfenberg starts but stops abruptly as he realizes something now that doesn’t make much sense to him. Wait. Afterlife merc rando— a true Corporate? How’s that fitting in? “He’s what?” V raises an eyebrow at that. “Forget it!“ “M‘Kay, if y’say so.” V crosses his arms, not satisfied about Ry’s answer.

“Just don’t like to get into a fucking mess,V!” Scharfenberg spits his sentence out rather inappropriately. Judging by V’s face however Ry notices it is meant seriously, so he facepalms with an angry growl as Beast already tells him to just flip the switch, turn around and kill some of those poor dancing souls behind him. “I’m not riding us into a mess. I bet he can help us to klep the info we here for.” Ryder gets immensely fidgety, looking into every direction trying to ignore the voice as best as he can. He fiddles out a menthol cigarette, lights it up and takes a few long puffs inhaling it deeply into his lungs as he walks up and down glad that Vijay waits until he’s done. The least V could use was having Ryder in a critical state on this job, so V gives his best mate time to clear his mind.

“Fine— But we’re not done talking about this!” Ryder states as he throws the smoked up stub on the bottom to rather aggressively put it out with his double varnished fine shoe. He doesn’t look amused about the fact that his best friend obviously seemed to know this dude named Arki already better than he thought. Steyr must have kept this info from him for whatever reason and he doesn’t like it at all. But since it is not part of the job right now, he accepts this now changed situation. So he takes another deep breath and says under gritted teeth “Let's get back to your new flame then, see if he can be of help as you predict and brief him.” Vijay gives him a thankful gaze. He knows it’s not easy for Ry to control but he managed well enough not to raise any suspicion and V does feel guilty too for not telling Ry he knows Arki already better than he might think. They would discuss it later. But now back to business. So they walked back to the redhead who was awaiting them back where they left him, enjoying a cigarette.

[prettysurethisworks]

A Rant About "AI" Content Generation

(I've seen a lot of posts about "AI tools" that generate text or images automatically. I keep starting to reblog one and add my own thoughts at the bottom, but always end up with something both long and unrelated to the OP. I think this merits a separate conversation.)

In college, I took a class in Linguistics. One of the exercises was building a text generator that could produce syntactically valid output — that is, readable sentences that followed grammatical rules.

Pretty simple, really. You just need two things:

a list of words (nouns, verbs, and so on), grouped by type, and

rules for how those words can be combined into phrases or sentences.

The list and rules, together, are all you need to have a program spit out random stuff, like:

(Bob) throws (the (ball)).

(Sally) goes (to (the (store))).

((Bob) and (Sally)) go (to (the (park)) (near (the (library)))).

It's like Mad Libs, but the whole story is made of blanks. There's no theme or background or context; it's just a string of words in an arrangement that obeys basic grammar.

(The toy that we made for the exercise — this text generator — was never meant to create meaningful output; it was meant to make us think about the structures of language so we could identify and articulate them.)

The current text generators and image generators are doing exactly the same thing, but with extensions:

Huge amounts of existing content (generally from the Internet) has been poured in to create an astonishingly long list of words (and images) to draw from.

Machine learning has been used to automate the creation of increasingly-complex rules. (Essentially, this means that the computer tries some number of keyboard-smashing operations at random and gets feedback about any "good" or "bad" results; the operations that led to "good" results are included as steps in the next round of randomized iterations, with the rules tending to get longer and more complicated with each iteration.)

With the massive scale of the list, and the relatively low cost of adding more complex rules, the systems have incorporated what we might call "word association" elements: "When this word appears, there is a 75% chance of this other word appearing among the following 5 words."

This adds up to an incredibly complex toy. But, fundamentally, it's still just a toy; the output is syntactically valid, and it may even make sense (thanks to the complex word-association element being layered on top of valid syntax) but it's still meaningless.

We're dazzled by the fact that we can read "Sally goes to the store" in the automatically-generated content, instead of "AHUr38jh,kn au82j3rkc 093rkfsd" — or even "store Sally goes the to."

But did Sally actually go to the store? (Is the statement true?) No way to know; even the best algorithms are trained on hearsay, and their sources are obfuscated.

Is the text generator being creative? Hardly; that requires intent, and not even the techbro-est of techbros is assigning intent to these toys. Their creators probably intend for the toys to become monetized, but the content itself is provided "for entertainment purposes only."

The algorithms only know that when Sally is mentioned, and the verb "to go" is used (with Sally as the subject), there is a high probability of "the store" appearing in a prepositional phrase, weighted such that "to" is the most likely preposition.

Any meaning that we find in these automated results is coming from:

sources we can't identify, whose statements have been modified through operations we can't trace, or

our own interpretation of the text being presented.

That first point, obviously, is not going to be worthy of trust. (Besides, these algorithmic synthesizers can't have personal responsibility, or social connection, or a continuous self-identity, or any of the other complex mechanisms by which we can build trust.)

And the second point? Well, that's just... well, tarot.

ChatGPT is tarot for techbros.

[aiwriter1122]

The AI That Gets Me: How Blogify Adapts to My Voice and Style

I live for the sizzle of a hot pan, the aroma of fresh herbs, and the joy of sharing my culinary adventures with the world. But here’s the truth—as much as I love creating recipes, writing about them has always been a challenge. Capturing my vibrant, conversational personality on the page? Let’s just say it hasn’t been a piece of cake. That’s why discovering Blogify felt like a revelation. It’s not just a youtube video to blog ai; it’s like having a co-creator who truly gets me.

Other AI tools I’ve tried have left me disappointed, churning out bland, robotic text that didn’t sound like me at all. Blogify, on the other hand, instantly clicked. It wasn’t just about generating content; it was about creating blogs that captured my voice and amplified my style. Here’s how Blogify has revolutionized my blogging journey.

Understanding My Unique Voice

One of the standout features of Blogify is how seamlessly it adapts to my style and voice. From the very first blog, it was clear that this wasn’t just another AI tool spitting out generic content. Blogify took the time to understand my unique approach, picking up on the conversational tone and light humor I use when writing about recipes or food trends. It captures my personality so well that sometimes I have to remind myself I didn’t write the draft entirely on my own. Blogify’s intuitive ability to learn and mimic my style has made it the best AI for content writing for anyone who values authenticity.

For example, I recently used Blogify to write a post about quick weeknight dinners. The tool didn’t just churn out generic tips; it crafted a post that felt uniquely mine, weaving in the playful, friendly tone I’m known for and suggesting subheadings like “No-Fuss, Full Flavor” and “Dinner in 30 Minutes or Less.” It even highlighted key phrases that would resonate with my audience and boost SEO rankings. These thoughtful touches make my blogs more engaging, relatable, and search-engine friendly. Blogify’s ability to combine creativity with strategy truly sets it apart as the ultimate video to blog AI and content creation companion.

Turning Videos Into Blogs

Let’s talk about one of Blogify’s most impressive features: video-to-blog conversion. As someone who loves creating YouTube videos showcasing recipes, I’ve always struggled to translate that dynamic content into text. Blogify’s video to blog AI changed the game. Now, I can upload a YouTube video, and within minutes, Blogify turns it into a polished, SEO-optimized blog draft.

The AI doesn’t just transcribe the video; it organizes the content into a clear structure, highlights key points, and even suggests keywords for better search engine performance. For example, a video I made about 5-minute breakfast recipes was transformed into a blog post with catchy headers, step-by-step instructions, and a list of related recipes. Blogify’s ability to repurpose my video content has not only saved me hours but also helped me reach a wider audience.

Streamlining the Writing Process

Writing can be incredibly time-consuming, especially when you’re juggling a blog, social media, and other content creation tasks. That’s where Blogify’s Co-Pilot mode comes in—it has truly been a lifesaver for me. This feature lets me refine drafts quickly while ensuring that every word matches my style and voice. Whether I’m tweaking the tone to sound more conversational, adding a personal anecdote for relatability, or rephrasing sentences for clarity, Blogify’s editing process is intuitive and seamless, making it the best AI writer for streamlining workflows.

Beyond editing, Blogify’s powerful keyword optimization tools have elevated my blog’s performance. With advanced features like keyword tracking, readability scoring, and meta description suggestions, Blogify ensures that every post I create isn’t just engaging but also primed for high search engine rankings. The ability to track keyword density and identify opportunities to improve SEO has been a game-changer for expanding my audience. For creators looking to use AI to write blog posts that stand out and rank well, Blogify is an indispensable tool.

Exploring Blogify's Standout Features

Let’s dive into some of Blogify’s other amazing features that make it a true game-changer. Starting with my favorite ones… which is everything.

Social Media Integration

One of my personal favorites is Blogify’s seamless integration with social media platforms. Imagine crafting a blog post and then automatically generating captions, snippets, or even full social media posts tailored for platforms like Instagram, Twitter, and Facebook. It’s like having a personal content strategist at your fingertips, ensuring your message is optimized for each platform and reaches every corner of the digital world. Blogify also enhances your social media strategy with features like automated hashtag generation, content scheduling, and analytics to track engagement. These tools make it incredibly efficient for creators who want to repurpose their blogs into impactful social media campaigns, further solidifying Blogify as the best AI for content writing and video to blog AI solution. With Blogify, your social media posts aren’t just an afterthought—they become an integral part of your content strategy, maximizing visibility and audience reach.

Advanced Analytics Dashboard

Another standout feature is Blogify’s advanced analytics dashboard. It goes beyond simple page views to deliver a comprehensive analysis of your content’s performance. Want to know which parts of your blog are keeping readers hooked? Or which topics are driving the most traffic? Blogify provides insights like bounce rates, engagement metrics, keyword effectiveness, and user demographics. These detailed analytics allow you to refine your blog’s strategy by identifying trends, optimizing underperforming posts, and capitalizing on what resonates with your audience. For creators and businesses aiming to maximize their reach, this tool is invaluable. This is a must-have for those who want to stay ahead in the competitive blogging landscape.

Affiliate Marketing Integration

For businesses and entrepreneurs, Blogify’s affiliate marketing integration is a true game-changer. The platform identifies relevant products or services to promote within your content, making monetization effortless. Whether you’re embedding links to kitchen gadgets in a food blog or recommending travel gear in a lifestyle post, Blogify ensures your blogs are both informative and profitable. Plus, it tracks clicks and conversions, giving you a clear picture of what’s working and how to improve. Turning content into a revenue stream has never been easier, and this feature alone makes Blogify the best AI for content writing for creators and businesses alike.

Enhancing Blog Aesthetics

A well-written blog needs to look just as good as it reads, and Blogify delivers on that front too. Its integration with AI-generated visuals allows me to add eye-catching images directly into my posts, saving time and effort while ensuring every blog stands out. Whether it’s a picture of a perfectly plated dish, an infographic about food trends, or a custom graphic that highlights key points, Blogify ensures my content is visually stunning and tailored to my audience.

The platform also offers powerful customization tools for fonts, headers, colors, and layouts, making it easy to craft a cohesive and professional aesthetic. With just a few clicks, I can align the design of my blog with my personal or brand identity, ensuring consistency across all posts. Blogify’s features have not only elevated the overall look of my blog but also enhanced reader engagement by creating a polished, professional experience. These tools make Blogify the best AI for content writing and an essential platform for anyone who values both style and substance in their blogs.

Who Can Benefit From Blogify?

Blogify isn’t just for food bloggers like me. It’s ideal for anyone who wants to create high-quality content that reflects their unique voice. Podcasters can turn episodes into engaging blogs. YouTubers can repurpose videos into written content with ease. Entrepreneurs and small business owners can use Blogify to create professional blogs that enhance their brand’s online presence. Whether you’re a seasoned writer or a beginner, Blogify’s user-friendly tools make it the best AI for content writing across industries.

Final Thoughts

Blogify has truly transformed the way I approach blogging. It’s more than a tool; it’s like having a creative partner who understands my vision and helps me bring it to life. From turning YouTube videos into blogs to preserving my unique voice, Blogify has become an indispensable part of my workflow. If you’re looking for the best AI writer to help you create content that stands out, look no further. Blogify is the ultimate solution for bloggers, creators, and entrepreneurs alike.