The Mirkwood Tales RPG: the link between the original D&D rules and text-based computer games

Cover of Mirkwood Tales, 1977, by Eric S. Roberts

In May 1977, the all-text computer game Adventure, also known as Advent or Colossal Cave, "became the first computer game blockbuster", per the book 50 Years of Text Games by Aaron A. Reed (2023). Its popularity led to a whole genre of text-based adventure games that enjoyed popularity in the 80s, the best known being the Infocom games such as Zork, a close cousin of Adventure. While the start of Adventure approximates a real-world cave system, the game includes many fantasy elements, and it has long been known that the initial developer, Willie Crowther, was inspired by playing a D&D-type fantasy RPG.

Some of the earliest information came from Barry Gold, husband of Alarums & Excursions editor Lee Gold, in his article "Computers and Fantasy Gaming" from issue 30 of A&E, January 1978 (which I happen to have a physical copy of):

"As far as I know, Willie Crowther of Stanford University wrote the first fantasy simulation game. Don Woods added several features and expanded the dungeon to produce the current ADVENTURE game. Tim Anderson and Dave Lebling of MIT built on the Adventure game by using a more powerful computer language and including some ideas from D&D (Dave Lebling plays it). With help from two other users they came up with ZORK, sometimes called DUNGEON."

Later in the article, Gold adds follow-up information from Adventure co-designer Woods:

"ADVENT: Willie Crowther was at BBN (Bolt-Beranek and Newman - Massachusetts) when he wrote the original Adventure program. He was inspired by a Middle-Earth offshoot called Mirkwood Tales. Neither Willie nor Don appear to have drawn any ideas from the D&D rules in building Advent. Don Woods doesn't play any RPG games."

"The original program by Willie Crowther was much less complex than Don Wood's current version, and the dungeon was only about half its current size."

"Don Woods also provided a short genealogy of these games: war games, D&D, Mirkwood Tales, Adventures (original), Adventure (Don dropped the 's' from the name of his version), Zork."

From Gold's account, one might gather that this Mirkwood Tales was some kind of game situated between D&D and Adventure, but from this it's not really clear from this which it is closer to.

A 1996 Washington Post article by Katie Hafner and Matthew Lyon clarifies that Mirkwood Tales was a version of D&D set in Middle-Earth, in which Crowther played a thief sharing his first name:

"Dave Walden, who had been a programming ace working under Crowther at BBN, got his introduction to the game one night in 1975, when Eric Roberts, a student from a class he was teaching at Harvard, took him to a D&D session. Walden immediately rounded up a group of friends for continued sessions. Roberts created the Mirkwood Tales, an elaborate version of Dungeons and Dragons set in J.R.R. Tolkien's Middle Earth. The game stretched on for the better part of a year and was played mostly on Walden's living room floor. One of the regulars was Will Crowther. Where the dozen other players chose names like Zandar, Klarf or Groan for their characters, Crowther was simply Willie, a stealthy thief."

In 2012, the epilogue of the first edition of Playing at the World by Jon Peterson has a section "The First Virtual Worlds", which contains the first detailed description of the Mirkwood Tales rules, based on an unpublished 1977 manuscript written by Eric S. Roberts, the DM of the game (page 617). Peterson quotes from the Introduction and Acknowledgements section to demonstrate the "debt of Mirkwood Tales to Dungeons & Dragons", and then notes some of the significant differences in classes and combat from D&D, but concludes:

"Mirkwood Tales is a game of stratified progression, where characters accumulate experience points while adventuring and go up in level as they reach certain experience totals. It moreover relies on underworld exploration, combat and treasure to drive an engaging narrative. In all those respects, it very closely follows the precedent of Dungeons & Dragons" (page 617). 

Later in the section, Peterson reveals that Dave Lebling, one of the developers of Zork, also played in Roberts' Mirkwood Tales campaign (page 622).

(Note: The 2012 edition of Playing at the World is out of print, and is being republished in a two-volume edition; the first volume is already out but does not contain the above material).

Until this month, this was the most detail about The Mirkwood Tales RPG that was generally available. Now, however, Eric Roberts has made public a reformatted pdf of Mirkwood Tales, as announced recently on Renga in Blue by blogger Jason Dyer:

Renga in Blue: Crowther's Adventure and Mirkwood Tales

Head over there to find the link to the pdf, hosted on the Internet Archive, and much more in a deep dive back into Crowther's original version Adventure - before Woods added on to it - as viewed anew through the lens of the full Mirkwood Tales rules. Dyer has an ongoing project called All the Adventures, wirh the goal of playing and blogging "about every adventure game ever made in (nearly) chronological order" (!), and has previously played through the many variations of Adventure, and thus has great insight into the details of the game. 

Unlike Gold's early assertion, which appears to be based on communication with Woods rather than Crowther himself, after playing through Crowther's original version again, Dyer concludes that Adventure does draw upon several elements from The Mirkwood Tales:

"It isn’t like Crowther was trying to “adapt Dungeons and Dragons” entirely — this is not an RPG, and nearly every room has an analogue in the real cave — but there’s still clearly some flavor of Crowther’s world found in the campaign he participated in, with the treatment of magic, direct reference to the computer as the “eyes” of the player, and heavy emphasis on dwarves (if a bit more aggressive in this game)"

Of these, the element with the strongest ties to the original D&D rules is "the treatment of magic", which here refers to the identification of properties of magic items in the game. Dyer asked me about how magic items were identified in OD&D, and I pointed to the Example of Play in Vol 3, where a player tries on "old boots" to identify them as magical Elven boots:

Dyer notes that this concept, which is merely exemplary in OD&D, is expressly stated in The Mirkwood Tales rules:

"In addition to spells, magic appears in the Mirkwood Tales in the form of magical artifacts and equipment. More often than not, the magical effect of some object will not be clear from simple examination of the object, and it may require experimentation or searching for further clues to its nature" (The Mirkwood Tales, page 21, section "3.5.3 Magical Artifacts")

Adventure, in turn, requires the player to experiment to figure how out how to use magic such as items or words. The first magic item encountered in Adventure is the "the iconic three foot black rod with a rusty rod", which has two different properties in the game, and "the experience of fiddling with the rod — and finding two effects, both positive and negative — are similar to OD&D campaigns", per Dyer.

The Mirkwood Tales rules mostly rewrite the first volume of OD&D, Men & Magic, with some material from Vol 3, including a much longer Example of Play. The subject matter of Vol 2 is almost entirely missing; there are no lists of monsters or treasure. If I find time in the future I will take a closer look at how the Mirkwood Tales RPG rules differ from OD&D.

Tower of Xenopus: Mazes & Minotaurs RPG adaptation by Tony

In the comments to "Zenopus Built a Tower", Part 46 of the Holmes Manuscript series on this blog, reader Tony wrote in about his adaptation of Holmes' Tower of Zenopus dungeon for the Mazes & Minotaurs RPG, a reimagining of OD&D as if it was inspired only by Greek mythology, and which can be found for free on DriveThruRPG. With Tony's permission, I'm sharing his comments here:

"I am running a game of "Mazes & Minotaurs", which is Mythic Greek inspired OSR game (instead of based on Tolkien and the Middle Ages). The setting is "Kriti" (Crete) during a quasi-mythical version of the Late Bronze Age. As an homage (plus, I am lazy) I repurposed and repackaged "The Tower of Zenopus" to be more Greek-sounding as "The Tower of Xenopus", and tied it into the myth of the Labyrinth of the Minotaur. The stone tower was a fortification built by a Mycenaean warlord, Xenopus ("Strange Foot") which is still standing. It is built on top of the earlier ruins of a Minoan temple on a mountaintop (a "peak sanctuary") in central Crete. Like many Minoan peak sanctuaries it was also a sacred burial cave, which dovetails nicely with parts of the original "Tower of Zenopus". The tunnels of the "dungeon" would have been carved out of the soft limestone rock common to Crete and filled with bones. (Minoans practiced primary and secondary burial, where remains would first be stripped of flesh, then re-interred en masse in ossuaries like jars, small caskets, etc. with several sets of remains in one container). Floors are limestone, all walls have extensive Minoan murals (dolphins, bulls, female goddess figures of Rhea/Cybele, etc.). Most doors have been removed to fit the archaic burial cave theme. Also, metal for hinges was scarce in the Late Bronze Age.

To adapt the map I flipped it over left-to-right but left it mostly unchanged. Above the initial entry stairs was a Mycenaean square stone tower fortification typical of the period (a ground floor and a roof accessed by a stairs). As the underground complex is on a mountain the underground river is the same. But the tunnel to the ocean is now instead a mystical passage to the Underworld. The pirates inside it are all changed to be "Telkines", mythical Greek "fish-children" (aka "Sons of Dagon" or off-brand Deep Ones). The goblins are changed to "Kobaloi". ("Kobalos" is linguistically related to "Kobold", which is itself linguistically related to "Goblin".) The ghouls become "Vrykolakes", a sorta-similar undead cannibal of Greek folklore. Giant rats and the Giant Spider are the same. Room S still has stairs up, these lead to another burial cave. The sorcerer inside is changed to be a Telkine water Elementalist with a Telkine guard.

Room S now also has stairs down, these lead to the Labyrinth of the Minotaur. At the middle of the maze are the remains of the Minotaur, slain by Theseus (and with the sword he used still in its ribs). At the entrance to the Labyrinth a "clue" (ball of thread) is tied off. This is what Theseus used to navigate the Labyrinth. It becomes clear the Labyrinth is not a real maze; although the path twisted and turned there are no branching paths or dead ends. (This is the classical Cretan labyrinth diagram.) It becomes clear the thread does not somehow mark off branches to aid in navigation, it simply measures distance to the middle of the Labyrinth. This is because it was intended all along the Greek (Hellene) sacrifices would be forced to travel a single path inwards to the centre where the Minotaur would be waiting to kill them. There would be no side passages, no dead ends. They would simply travel the path and it turned back and forth, becoming disheartened and confused, then die. Theseus, as he knew how far he would go, was forewarned by the thread running out. Thus when nearing the centre of the Labyrinth he was ready for a fight, unlike all the other sacrificial victims.

Thus, the classic "Tower of Zenopus" becomes the "Tower of Xenopus"!"

"Silver coin from Knossos displaying the 7-course "Classical" design to represent the Labyrinth, c. 400 BC." Source: Wikipedia page on the Labyrinth

 

Followup comment:

"It would be my pleasure! There are a couple of monsters that do not need adapting: the giant spider and crab, and the skeletons. The players are very into the quest; they have passed up every chance of looting even though there are glints of gold and valuables mixed within the bones in the ossuary vessels, a couple chests of silver in the boats on the shore of the vast underground ocean (the Gods warned them to not proceed further in that direction as it leads to the underworld, and it was not yet their time). As another "Greek" touch the rotating statue is of Poseidon, and the talking mask looks like the "death mask" of Agamemnon. In the central circular room are stairs leading up (into come caves on the mountainside) and a trap door leading down into the labyrinth.

The labyrinth is a classic "Cretan" one: circular with no branching paths with dead ends. One single path to the end. Clearly not the confusing maze they are expecting! The purpose of the labyrinth was to execute prisoners. So they wander the single path to the end where the Minotaur waited to end their lives. By that time they would be disoriented and demoralised, easy prey in the darkness. How Theseus prevailed was using a "clue", a ball of yarn. I could never figure out how that would help to navigate a maze unless it was really, really big! But if the path has no branches then a strand of twine can do one thing well: measure distance. Therefore Theseus would know exactly how far he'd gone and how close to the end. Instead of the Minotaur ambushing him as he stumbled along, confused, he would know to be armed and ready for a fight. A fight the Minotaur would not expect, the advantage would be his. In this case the PCs would follow the twine to the centre, there to face the Minotaur."

My commentary: This is a very creative adaptation of Holmes' Sample Dungeon and would be a great deal of fun to play through!

The Tower Card

"The Tower" card from the Rider-Waite-Smith Tarot deck

The recent miniseries Agatha All Along prominently features the famous Rider-Waite-Smith Tarot deck, originally published by Rider in 1908, with sublime illustrations by Pamela Colman Smith and instructions by poet-mystic A. E. Waite, both members of the Hermetic Order of the Golden Dawn, a secret society devoted to occultism.

Pamela Colman Smith

A pivotal scene in one episode of the series employs the Major Arcana card The Tower (pictured above), which per Waite's instructions in the Pictoral Key to the Tarot represents: 

"Misery, distress, indigence, adversity, calamity, disgrace, deception, ruin. It is a card in particular of unforeseen catastrophe. Reversed: Negligence, absence, distribution, carelessness, distraction, apathy, nullity, vanity"

Note the emphasis on "unforeseen catastrophe", which is illustrated on the card by the lightning strike that knocks the crown and "wizards" from the tower and sets it afire. Per the Wikipedia page, Smith's design for this card is drawn from the card in the Tarot of Marseilles, which in turn had merged earlier concepts.

Rider-Waite-Smith cards at the Whitney

I've been a fan of Smith's illustrations since seeing the Rider deck on display in an exhibit of modernist art at the Whitney in NYC, where the Tower card jumped out at me, obviously, given my interest in the Tower of Zenopus. Seeing it again in the Agatha show reminded me of how well it resonates with the backstory of Holmes' sample dungeon, where the wizard and his tower are destroyed by unknown forces and a consuming fire, although here from beneath rather than above:

"Fifty years ago, on a cold wintry night, the wizard's tower was suddenly engulfed in green flame. Several of his human servants escaped the holocaust, saying their master had been destroyed by some powerful force he had unleashed in the depths of the tower"

I'm not suggesting that the Tower Card had any particular influence on Holmes' story, only that it has a similar theme, which also recalls ancient legends like the Tower of Babel or Zeus smiting the legendary doctor Asclepius with a bolt-from-the-blue for advancing his medical knowledge so far that he brought the dead back to life.

Holmes was a doctor and a scientist, but being a life-long fan of pulp and weird fiction, would have been familiar with the occultism as practiced around the turn of the 20th century. For example, he was a member of the Machen Society, devoted to the author Arthur Machen, who was friends with A. E. Waite and even briefly joined the Golden Dawn. In writing his own fantasy, Holmes occasionally employed the trappings of the occult. One Boinger and Zereth story, The Sorcerer's Jewel, features a medium, Misteera, who conducts seances, and another, In the Bag, even has the wizard Murray employ a tarot deck, albeit for solitaire rather than fortune telling; Boinger suggests that he "Play the knave on the Queen of Cups". 

However, in crafting the tale of Zenopus, Holmes was more likely directly inspired by the various doomed wizards in the Weird Fiction. In the Holmes Manuscript series, part 46, I went through the introduction to the Sample Dungeon and examined where Holmes may have taken inspiration from the works of H.P. Lovecraft, Clark Ashton Smith and Robert E. Howard.

The Making of OD&D: Half-Price Sale on Amazon

The Making of Orginal D&D is currently on sale for $49.99 on Amazon, which is 50% off the cover price ($99). This is the lowest price I've seen for the book so far, which came out back in July. It says "Limited Time Deal", but there's no date indicated, so I don't when it ends. If you've been on the fence due to the price here's your chance. Find the table of contents  below.

Find it here: 

The Making of Original Dungeons & Dragons: 1970-1977

See also these earlier posts:

Early Greyhawk Lore in the 1973 D&D Draft

"The Making of Original D&D: 1970-1977": Out Today! 

"The Making of Original D&D: 1970-1977": Table of Contents

"The Making of Original D&D: 1970-1977": What Might the Precursors Be?

"How Dungeons & Dragons Started" (video about the book)

"The Making of Original D&D: 1970-1977": Everything we know about this upcoming WOTC book

Playing at the World revised edition out in July 

The Return of the Sample Dungeon

Cover of the 2024 DMG featuring Warduke, Skylla and Venger

Out this week is the latest version of the Dungeon Master's Guide, and in addition to bringing back Greyhawk as a sample setting, it also features the return of the Sample Dungeon. In this case, I don't mean the Tower of Zenopus, which goes only by the title "Sample Dungeon" in the Holmes Basic rulebook, but rather the general concept: an example of an adventure for new DMs to both run and base their own designs on.

This was a common feature in the DM section of D&D rulebooks throughout the 1970s and 80s, with OD&D, AD&D 1E and every version of Basic including one, and the dungeons while brief were strongly remembered due to their evocative details and because they were often the first adventure for new players. And decades later, these memories and shared experiences would promote a sense of community among the fan base for each rule set.

The idea started with the original D&D rules in 1974, which included a "Sample Map of Underworld Level" in Vol 3. This dungeon level by Gary Gygax lacked any real theme other providing examples, mostly of tricks and traps that could be used in designing a level. For the first Basic Set in 1977, J. Eric Holmes overhauled the example, creating a coherent first level for beginners complete with a brief backstory to provide a hook for exploring it, and concluding by inviting the DM to create additional levels.

Two years later, in the AD&D 1E DMG, Gygax followed Holmes' example with another dungeon level with a strong story behind it, colloquially known as the Ruined Monastery or the Dungeon of the Fire Opal. Unlike the Zenopus dungeon, only a few rooms of this level were fully detailed, presumably so the DM could complete the keying of the map, along with designing the unshown second level. It also advanced the use of this as a teaching tool by including an integrated Example of Play; i.e., it's set in the described dungeon rooms.

The next two iterations of Basic D&D continued the tradition of including a short dungeon written by the editor. Moldvay Basic (1981) had Tom Moldvay's Haunted Keep, which more tightly integrated the exemplary level into the dungeon design concepts presented in the DM section. The accompanying Cook-Marsh Expert rules from the same year also provided a Sample Wilderness which mentioned that a town, Luln, was a base for exploring the Haunted Keep, although the town was only briefly described. 

In Mentzer Basic (1983), Frank Mentzer expanded the introductory material by adding a solo adventure teaching the basics of play in the Players book, which was followed by a starting group adventure, Castle Mistamere, in the DMs book. One idea common to each of the above was that the dungeon was not complete, giving the new DM a base on which to practice adding their own ideas. The Mentzer Expert rules included the same Sample Wilderness from the previous set, but revised to include a new "Home Town", Threshold, along with a series of eighteen briefly described (single paragraphs) adventures for the DM to use with this setting.

In 1989, however, there was a big change: the revised DMG for AD&D 2E had no sample dungeon at all. The 1991 Rules Cyclopedia similarly lacked an adventure, although the complementary "Black Box" Basic Set from this time did include one, Escape from Zanzer Tem's Dungeon.

The DMGs from 3E (2000) and 3.5E (2003) brought back the sample dungeon by including a revised version of the Ruined Monastery dungeon from the original DMG. These include an updated map, partial level description (first three areas only) and an integrated Example of Play, but the background from the original is severely curtailed.

The 4E D&D DMG (2008) included a sample town (Fallcrest) and setting (Nentir Value) with an integrated sample dungeon called "Kobold Hall", which with 5 encounter areas literally follows the 5 Room Dungeon design model. (Thanks to Karla Adder on Twitter for the heads up on this.)

Jumping ahead to 5E, while the 2014 DMG included material on generating random dungeons (Appendix A), and a number of sample maps (Appendix C), including an updated version of the Fire Opal dungeon map from the 1979 DMG, as with 2E it lacked a true introductory adventure. 

But now with the new DMG, the concept is back in full force and with new innovations. Rather than just a single dungeon level, there are five (!) short adventures, each for a different level of characters, and with the suggestion that they can be run sequentially, particularly the first three. There is also a mix of adventure settings: towns, wilderness, small dungeons that rely on the maps by Dyson Logos found in an appendix, nautical, and other planes. In addition, the first four adventures are given locations in Greyhawk that are found in the setting material and maps elsewhere in the book. 

In my next post, I will look a little closer at these adventures and their locations in Greyhawk.

The new DMG is available for order on Amazon

A Return to Greyhawk!

"Behold Greyhawk" by Bruce Brenneise for the new DMG

A few days ago DMs Guild announced that Greyhawk is now available a campaign setting for community content:

This is because the newly revised 5E DMG, out November 11th, includes a 30-page chapter on detailing Greyhawk as a sample setting to show DMs how they can create their own settings. This will include a map of the City of Greyhawk and an updated version of Darlene's famous map of the setting:

Harking back to the Sample Dungeons of yore, the DMG will also contain a chapter of Sample Adventures that are set in Greyhawk.

Watch here for an 18 minute interview with Chris Perkins and James Wyatt about thoughts behind using Greyhawk as a sample campaign setting in the new DMG.

While WOTC may not support this setting any further, allowing it to be added to DMs Guild opens it up to fans who wish to add more content to the setting (albeit only in 5E form).

I don't have any specific plans at the moment for creating Greyhawk content for DMsGuild, but I have updated the Ruined Tower of Zenopus conversion/expansion to tag it as Greyhawk (as opposed to just "nonspecific/any setting"), given that I have an appendix in it on using it with the Ghosts of Saltmarsh, which draws its mini-setting details from Greyhawk.

The new DMG is available for order on Amazon.

Making of OD&D: Discounted at Game Nerdz

If you haven't picked up the Making of Orginal D&D, it's available at Game Nerdz for $70.47 plus shipping (if you get your order up to $75 you'll get free shipping). This is almost $20 cheaper than the current Amazon price of $89.35. The page says there are currently 26 copies in stock. I've ordered from Game Nerdz a few times before without problem. 

Find it here: 

The Making of Original Dungeons & Dragons: 1970-1977 

(includes affiliate link)

See also these earlier posts about the book:

Early Greyhawk Lore in the 1973 D&D Draft

"The Making of Original D&D: 1970-1977": Out Today! 

"The Making of Original D&D: 1970-1977": Table of Contents

"The Making of Original D&D: 1970-1977": What Might the Precursors Be?

"How Dungeons & Dragons Started" (video about the book)

"The Making of Original D&D: 1970-1977": Everything we know about this upcoming WOTC book

Playing at the World revised edition out in July