Return to the Tombs of Horror

The Return to the Tomb of Horrors was written and released some twenty years after the initial Tomb of Horrors. The Return was to be an event; one of TSR’s (now owned by Wizards of the Coast) last boxed sets, it contained a book for the main adventure (printed in two colors), a booklet of maps and monsters (printed in color), a small journal from a previous survivor of the tomb, and a color card of art. Where the original adventure looks very much like it was typed out, twenty years had brought a fair amount of progress to desktop publishing. Return is printed in two colors, with border art and a watermark. This makes it more visually pleasing, but I can’t really say it improves the adventure itself.

Return to the Tomb of Horrors has a very late nineties feel. Dungeons and Dragons had expanded enormously from its original days of a largely terrestrial combat encounter game to setting within a larger multiverse with dozens of planes that could be visited. Multiple campaign settings had come been published, including the dimension-hopping Spelljammer, which took place on sailboats that plied the spaceways between magical stars. There are unfortunate aspects to the period, also. The term ‘demon’ is never used in the text. Following the Satanic Panic of the late 80's, the term demon was replaced with tanar’ri. Because if you change something’s name, you change its nature, right?

Second edition mega-adventures don’t start at the door of the dungeon. Return has two adventure sections before the adventurers even reach the Tomb. The lead-up provides the adventurers with information concerning the ultimate end of the adventure, as well as a string of clues that get them to the tomb without the GM having to say “You arrive at the Tomb of Horrors.” As someone used to the investigative play style of Call of Cthulhu, I find the clues that link the plot to be fairly weak and easily missed.

The adventure does have a fairly grand plot behind it. The original Tomb simply had the trap-laden tomb with Acererak waiting passively in the middle. The Return features a grand plan of apotheosis for the lich, interplanar locations, a spooky city in the midst of nowhere, and a second dungeon-style Tomb, the Fortress of Conclusion, out in the planes.

The Return shows how much Dungeons and Dragons had changed in twenty years. Now there was a great deal happening behind the scenes of the adventure, which the adventurers would only become aware of as they progressed in the adventure. Acererak now had a background that could be learned, and an overarching plot that had to be foiled. The characters’ motivation is no longer “treasure” or “because it is there” but because very bad things will happen if they do not pursue the adventure to the end.

The Return also encompasses the original Tomb, giving it a sense of continuity. Return is literally built around the original tomb, creating a continuity from the old adventure to the new. I can’t view it as pastiche, because it expands on the original adventure, retaining certain iconic elements (the Green Devil Face, for example) while introducing a far more than the first adventure.

Although the Return also includes a booklet of images to show the players, these are poorly chosen. The originals were there to hand clues to the players. These are much less necessary. Do we really need a drawing of a room with a dirt floor and three coffins? Or a walkway stretched over a room full of bones?

Ultimately, The Return to the Tomb of Horrors is a reasonably satisfying continuation of the Tomb of Horrors. The traps are less crazy deadly; there are few “characters are dead, no saving throw” traps. It’s a good read, longer than the original, with a lot more change of setting, and much more plot. It has a lot more polish, but in places seems to lack the ferocious creativity Gygax put into giving the players, and their characters, a real challenge.

Tombs of Horror

March 2011 will not go down in history as my best or most productive month ever.

When I’m stressed and encounter long stretches when I have difficulty concentrating, I tend to read role-playing game supplements. RPG adventures and setting books don’t require the sustained attention that a novel does.


One of the first adventures to be published for Dungeons and Dragons was Gary Gygax’s Tomb of Horrors. Probably more fun to read than to actively participate in, the Tomb of Horrors is a death-trap meat-grinder. Where most adventures are a string of combat encounters strung together by the thinnest semblance of a plot, the infamous Tomb has three combat encounters and dozens of traps designed to kill and maim the greedy, the inattentive, and everyone around them.

Unique among adventures up to this point, Tomb of Horrors includes a booklet of pictures so that the players can see what their adventurers see. Which is very important given the technicality and lethality of the traps, but also went a long way towards establishing a ‘feel’ that few other modular adventures have. Anyone who has encountered the Tomb of Horrors remembers the Devil’s Head illustration, for example. It has also become a central point for all of the future expansions and revisions.

Tomb of Horrors also saw the birth of the riddling undead archvillain trope. Acererak, whose tomb this is, leaves a helpful hint in the form of a poem, in the entrance of his tomb. This was followed by Keraptis in White Plume Mountain, the Dread Crypt of Srihoz, and various other would-be poets that are found in RPGs with some frequency. This trope, for , but seldom appears in other fictions. Partially, this is because of the interactive nature of the game. A riddle handed to a book or television show character doesn’t require the viewer or reader to figure it out. Which is a pity. I love the trope.

I think the real key behind the Tomb’s popularity is that is was true to itself. Originally envisioned as the location of an evil undead horror that did not want to be disturbed, the traps were lethal (sometimes exceptionally so), and secret doors and passages placed where they were unlikely to be detected. The players/characters were only encouraged to succeed through the corrective of being killed if they weren’t. Without a lot of luck and foresight, they would not succeed. Most adventures point the characters in the right direction with not-so-subtle clues, or hand over the necessary magic item just before it is required. Not so much with the Tomb of Horrors.

Like any good piece of pop art, the Tomb has spawned a number of spin-offs, rip-offs, tributes and homages. D&D has produced a continuation of the Tomb of Horrors at least once per edition, and there have been many imitations, good and bad. For me, they're all wonderful comfort reading. In my head, I can see half a dozen different ways that the characters would react to a trap, and how would they try to avoid it, and what sorts of players' characters are likely to get caught and killed. I find it very relaxing.

Comfort Reading

Every now and then, I like to blow an afternoon reading at TVtropes.org. They have an enormous collection of trite plot devices and characters that often show up in various media. I lavish a fair amount of love and attention on esoterica. In the extreme, it seems because even TVtropes doesn't have a precise fit for a trope that makes up some of my comfort reading.

I love the riddling trickster's tomb. I love tombs and crypts in which the setup and execution would have baffled NASA engineers, where the concealed 10 x 10 pit traps are still in perfect working condition after centuries, and even millennia.

There's a bit of my affection for ancient Egypt tied up in this. After all, the characters are pludering a trapped tomb, loading up on gold and other grave goods. There's a touch of archaeology, even if it is prying the gold letters out of the walls and melting them down.

The tomb of the riddler seldom appears outside of the RPG media-form. Teasing riddles have little effect on a novel reader. Readers aren't motivated to solve the riddle because it doesn't save them grief; they're just along for the ride. And if they do solve it, they're still saddled with the characters' stupid ball until the author decides its time.

At the heart of the trope lies an arrogance; that those entering the dungeon are too stupid to figure out the traps without help, and that even if the Evil Overlord gives them hints, they're still going to die to the fiendish traps.

The trope began with Gary Gygax's Tomb of Horrors. Tomb of Horrors was an enormously influential adventure, one of the first modular adventures ever released. People tend to strongly divide between loving and hating it. It was designed to test the skills of overproud D&D players, but there's a lot of personality in it. The reader gets a sense of the builder's nasty sense of humor as well as their capacity for random mayhem.

Tomb of Horrors was quite successful. And with success came imitation. The next adventure in the "S" series was Lawrence Schick's White Plume Mountain, which reinforced many of the concepts, including giving the players a riddle to help them figure out the mind-boggling traps that were laid for them.

A further exploration of the theme was Nightmare Keep. Like several vertions of the trope to come, this adventure set out to make a bigger and nastier Tomb of Horrors . Included are the strange poetic traps, the same distinctive undead horror waiting at the end. However, it's a bit overblown, the traps rather self-consciously weird rather than traps for individuals to get themselves killed by being greedy or careless.

Other imitations include third-party adventures such as F'Deck Fo's Tomb. I often champion third-party variations on a theme because individuals removed from the editorial control of a single entity (in this case TSR) often have wider mematic interpretation that brings something new and fresh to the trope. This is not the case here. With the adventure-writing in its infancy, some publishers seemed willing to publish anything. This adventure would never have gotten past the editors at TSR.

Rising RPG star Sean Reynolds wrote his own bigger, badder riddle tomb for second edition Dungeons and Dragons adventure The Crypt of Lyzandred the Mad. Like many bigger versions of the original, this feels like the creator (Lyzandred, alternately Reynolds) is trying too hard. The riddles rely heavily on logic and word puzzles, sometimes straight-out asking the riddle, giving the feel of an enormous pop quiz. the Tomb of Horrors' Acererak was trying to kill the characters. From a read-through, it feels like Lyzandred is grading them.

In the waning years of AD&D 2^nd ed, the Return to the Tomb of Horrors mega-adventure was published. Both a sequel and an enormous expansion of the original, this gave the original TOH a definite location as well as an ecology. Not only has the tomb attracted a cult of worshippers, but the builder's designs in creating such a deadly location come into very large, interdimensional view. Of course, it's up to the adventuring party to foil the mighty plot. The author, Bruce Cordell, did a good if not completely satisfying job with this expansion. It won best adventure for the year, and is certainly one of the most overarchingly grand adventures I've ever read.

Gygax went topped his own meatgrinder dungeon with Lejendary Adventures' Necropolis, later converted to D&D 3rd edition by Necromancer Games. If the Tomb of Horrors was a meat-grinder, Necropolis is astonishing. The sophistication and resourcefulness of D&D players had increased, at least in Gary's opinion. However, it also shows a a definite change in Gary's style, and the expected style of play. Where Tomb of Horrors is a location with no background, Necropolis is set in a pseudo-Egyptian location, with a large number of encounters that contribute to a broad storyline leading up to the assault on the tomb of SetRahotep.

With the advent of third edition and the Open Game Licence, third parties were allowed to publish their own adventures in the D&D system. Unlike the earlier efforts, this time some extremely talented people got into writing adventures. Some of them wrote riddling trap tombs, and again the memetic mutation carries them to different yet interesating places, adding to the richness of the trope.

KenzerCo's Lost Tomb of Kruk-Ma-Kali is one of my favorite meldings of the old meat-grinding trope with more in-depth playstyle. While the killing traps remain, the tomb is presented not only with an ecology surrounding it, it also has a political history. The end of the text also deals with the political and cultural repercussions of the players actions, allowing the adventure to become part of a larger tapestry. But this adventure made me wonder: if Kruk-Ma-Kali was basically a Hobgoblin Genghis Khan, why the blue frell did his followers dump his mortal remains into a supremely elaborate trap-tomb rather than paying for a resurrection?

Dread Crypt of Srihoz is part of Goodman Games' Dungeon Crawl Classics series. These deliberately call back to adventures of first edition D&D, right down to a cardstock cover with the dungeon map printed in blue ink. Goodman's writers clearly know and love the dungeon tropes they are playing with. The Dread Crypt is another deathtrap dungeon, but the writers have understood the need for the perception of a single guiding hand behind its construction. The tomb's locations serve a purpose, even if this will not be apparent to the adventurers, the cohesive design allows the Game Master to view it as an expression of the individual who built it. Of particular interest is the fact that it lampshades other riddling labyrinth lords by offering riddles that don't help the players at all. A very perceptive stroke.

One of the earliest Dungeon Crawl Classics was produced as a direct homage to Tomb of Horrors. Called the Dread Crypt of the Devil-Lich, it was a tournament adventure, just as the original TOH was. Imitating the older adventure, it contained many strange traps designed to test the adventurers' ability against deadly hangman's riddles. Its failing is that it does not feel like a cohesive adventure. Each trap is radically different from the other, never revealing the likes of the dislikes of the tomb's designer. Still, the adventure is very solid, and the climactic battle with the eponymous devil-lich looks both deadly and intriguing, especially after the party has waded through more than a dozen rooms of nightmare traps.

One of the best and most unusual homages to the Tomb of Horrors is Tomb of Iuchiban for the Legend of the Five Rings game. TOH tributes seldom appear outside of DUngeons and Dragons, and L5R's Oriental setting is not one I would have thought that lent itself to the trope. Rob Vaux does so magnificently, however, creating an ever-changing maze of traps that range from simple but deadly to complex, magically weird meat grinders. This adventure is a real pleasure: well written, original, and cohesive.

And yes, now there is a fourth edition version of the Tomb coming out this month. Although 4th ed hasn't thrilled me so far (I haven't actually played since 2^nd), I think that may be the impetus for my most recent return to deathtrap tombs. I'm actually more interested in the Erol Otus-illustrated Tomb of the Blind God (Goodman Games again).

This is my 'comfort' reading, imagining the D&D party trapped and besieged in a stone crypt loaded with traps and monsters. At best, they fire my imagination, wondering how characters (and players) would face the illogical hangmans' riddles they are presented with.