This is level 1

People have some differing thoughts on what exactly 1st level PCs are in the game world and what distinguishes them from an average person. However helpful they may seem, level titles are big source of the confusion. Here is how I interpret 1st level PCs in the games I run.

Fighters

What differentiates 1st level fighters from laymen and 0 level men-at-arms is that fighters fought in and survived a conflict where others like them perished. Could be anything from fighting in a war to fending off a pack of wolves. What's important is that fighters went through the crucible of lethal combat and emerged more alive than before. First level fighters are called VETERANS. 

Magic-users

Beginning magic-users have studied in the ways of the sorcerers of ancient Zenon, where it is said all secrets of magic were known. Through rigorous cultivation, a magic-user's mind is prepared to serve as an intermediary between this world and the unseen realms from which magic is derived. First level magic-users are known as MEDIUMS.

Thieves

Anyone can slink in the dark and steal an exposed coin purse but a real thief is something more. To move in true silence, vanish in shadows, scale sheer surfaces without aid, intuit the precise workings of a complex mechanism and the vulnerabilities of an unsuspecting target—all are feats that exceed the capability of mundane folk. But it's hard to learn these things on your own, so it is assumed thieves start as inductees in the mysterious thieves' guild or some other branch of the organized crime network. First level thieves are APPRENTICES. 

Clerics

Clerics are closely tied to their alignment. Beyond conventional worshipers, clerics are the earthly champions of Law and Chaos, and are granted numinous powers for their devotion. While some clerics may follow a specific patron deity, all clerics of the same alignment are more or less part of the same faith. Newly initiated clerics must still prove their worth, and so are relegated to executing their function without the use of spells. First level clerics are called ACOLYTES. 

Place-names: the naming convention

A name is almost always the first thing a person learns about a place, and so it carries a lot of weight. A good evocative name has the capacity to convey the "feel" of a place in a way that a bland or more rotely descriptive name does not. To paraphrase Mark Twain, "the difference between the almost right name and the right name is the difference between the lightning-bug and the lightning." 

I used to struggle so hard with names that it would impede the rest of my game prep—if I couldn't find the right name for a place, I would lose my excitement for the idea and let it die on the vine. Eventually though I came to a solution: offload my place-naming to a naming convention. 

After that, every time I needed a new region or settlement, I used the name of a fabric type. For a stretch of years, my players sought mythic treasure in the island of Cottondor, fought witches in the blighted lands of Woolovia, explored among the ancient trees of the Gabardine Forest, and partied and schemed their way through the bustling city-state of Corduroy. I called the setting "Fabricant."

Most of the locations in my game were conceived as me thinking "I need a place for x" and then looking at a big list of fabric names, letting whatever jumped out at me guide the look and feel of the place. The trick I found was that having the name first and working backward to the details of the place is far easier than the opposite approach. You're using a name to evoke somewhere that largely doesn't exist yet, as opposed to making a place and then struggling to find a phrase or collection of syllables that truly captures it.

And even when you do have a pretty clear idea for a place, a naming convention expedites the naming process by giving some guardrails to work within.    

Why fabric types? There are a lot of them, they're usually short and easy to remember, and they often have a good sound to them. Also helps that textiles come from all over the world so there are names for all kinds of eras and cultures.

One might worry that fabric names are already known as such by the players and that repurposing them as place-names might limit their ability to buy in to the fantasy of the world. That wasn't an issue for me: what I observed is that once the players heard the names in the context of the game world, they were able to form a sort of subconscious line in their mind that delineated the fabric names from the place names. My friend Mike only came to realize the whole fabric thing six whole months into the campaign. C'est la différance.

The naming convention did run me into another issue though, and it was a rather predictable one: after a while I started to feel pigeonholed. Even with a wealth of fabric name options available, I started to feel a bit listless about the whole thing. I never broke the naming convention, but after the campaign ran its course, I never since went back to a naming convention. But the one I had was substantially useful to me for quite some time, and I would still consider using one for shorter adventures or campaigns.  

Here's the shortlist of fabrics I compiled for place-naming. A good amount of them had use in my old game, but most of them were kept in reserve, only loosely sketched out with a handful of notes based on what the word sounded like to me. See what sort of places the fabric names evoke in your mind:

Azlon 
Baez 
Bombazine 
Brocade 
Burrato 
Cambric 
Camlet 
Chantilly 
Corduroy
Damask 
Elastane
Flannels 
Foulard 
Gaberdine 
Ghalamkar 
Gingham 
Greige 
Grenfell 
Herringbone 
Hessian 
Hopsack 
Jacquard 
Jute 
Lanon 
Lawn 
Loden 
Lycra 
Merino 
Neoprine 
Poplin 
Rinzu 
Ripstop 
Saga Nishiki
Samite 
Shantung 
Sharkskin 
Spannette 
Tartan 
Tencel 
Twill 
Velour 
Voile 
Whipcord 
Wigan 
Zephyr

Overloading the search die

The overloaded encounter die is OVER in 2024. A monster will appear at the same time your light source goes out while you need to rest and you will LIKE IT.

But the idea of streamlining procedures by keying each result on a die is a good one, if streamlining procedures is your aim. 

As far as I'm concerned BX D&D and its derivatives are as close as you can get to the platonic ideal of dungeon crawlers, but, and I say this with head bowed in humility, the assumptions baked into the game's design do not necessarily apply to the contemporary elfgamer's table. It's the iPhone era, after all.  

The victim of this post is the BX search procedure, the rules of which are as follows:

• Characters can listen at a door for passing monsters, or spend a turn examining a 10'x10' area for room traps or a 10' section of wall for secret doors. 
• Each action has a 1:6 chance of success, modified by certain race/class abilities. If there is nothing to be found in the area the character is searching, no roll is made.
• Each character can only listen at a door or search a given 10' wall/area once. 

This can be boiled down to "PCs get one chance to search X to find Y, rolling a d6 and succeeding on a 1 or sometimes 2." As an aside, I like how each search action has a specific noun its looking for: monsters, room traps, or secret doors for listening, searching an an area, or inspecting a wall, respectively. This is one of those board-gamey elements of BX that show it was designed in part to be a closed system, but with rules and mechanics robust enough to be applied to all manner of other scenarios.

For instance, if a PC wanted to rifle through a cluttered desk to find a specific document, there's no reason why a search roll wouldn't be appropriate even if that situation wasn't outlined in the rules. It shows a design philosophy distinct from that of most contemporary games—instead of describing mechanics expansively with general terms, old school D&D defines its mechanics through specific instances which invite players to extrapolate how else they may be used. Saving throw names are another good example of this.

Anyway, the old OSR maxim goes that players should mostly be describing their character's actions instead of rolling dice, but the dice system still has its place for searching. In my games, if the actions a player describes would reveal something hidden I give it to them without any rolling, but if they just want to do a general search I roll to see if they find whatever noodly detail is hidden there, if any. This works reasonably well from a game flow perspective, but the problem is that 1- or even 2-in-6 chance is punishingly low for smaller groups, especially when abiding by 10' space increments and the one-chance-per-character rule. Sure, traps and secret doors should be telegraphed, but telegraphing all of them all the time removes those moments of random danger and discovery that contribute so positively to the game.  

My solution is to OVERLOAD the SEARCH DIE.

Here are the rules: When a player wishes to search a room, they can choose to specify which actions their character takes or opt instead to conduct a general search, which takes one turn. During a general search, the character attempts to find secret doors, concealed traps, monster spoor, and other obscured features. When a general search is made, the DM or player rolls a d6 to determine the outcome. A character may spend as many turns as they wish searching until a 6 is rolled or they get the same number over two consecutive turns, indicating they have exhausted their faculties and can no longer comb the room until their next dungeon excursion. Demihumans roll a d8 instead of d6. Big rooms can be broken up into halves or quadrants per the DM. 

Search results

1. Discover secret (if any)
2. Discover secret (if any)
3. Encounter omen
4. Scavenge goods
5. Dungeon insight
6. Setback
7. [Demihuman only] Discover secret (if any)
8. [Demihuman only] Encounter omen

Discover secret
Identify the location of one secret door, concealed room trap, or other important but not-obvious feature of the room if there is one to be found. 

Encounter omen
Find evidence of other nearby dungeon inhabitants. 

This result accounts for both hearing noises in adjacent rooms or corridors, like the original listen-at-doors roll, as well as general clues regarding the next encounter. If there are no creatures keyed nearby that the character could hear, the DM rolls for the next encounter and provides a hint or detail as to its nature.

Scavenge goods

Uncover a random item. A character can only find one item in a room per dungeon excursion—if this result is rolled again during the same excursion, the character finds nothing this turn.

This is where I tell you that if you don’t already have a d100 list of junk lying around your dungeon, get one now, and trust me when I say it’s worth it. I recommend The Dungeon Dozen and d4 caltrops blogs for inspiration. Trick out your list with unique and specialized entries and it becomes another avenue to convey the dungeon’s lore. Anyway, this result implies that the item was not immediately visible upon entering the room—there are situations I foresee where this could be contrived but generally unless your dungeon rooms are empty cubes it shouldn’t be hard to come up with a little hiding spot for that left boot a character just found.

Dungeon insight
While the characters might not find anything in particular, their search may yield some fact or detail about the room, level, or dungeon as a whole. A character can only find glean one insight from a room per dungeon excursion—if this result is rolled again during the same excursion, the character finds nothing this turn.

Dungeon insights could be something that indicates the room's original purpose, the behavior of the former or current inhabitants, a hint regarding a special set piece somewhere else in the dungeon, or even just a curiosity that contributes to the wonder and strangeness of the mythic underworld.

Setback
The character didn't find anything, and an additional complication occurs. 

This can be a direct result of the searching, such as the character springing a trap or dropping something that makes a loud noise, but the setback can also be an anomalous hazard the dungeon throws at unwelcome interlopers: a flagstone launches itself at the character, a ration-rotting miasma billows from a grate in the floor, or a ghoulish hand yanks at a piece of gear from a gap in the wall.

---

Here's why the overloaded search die works: it does away with the null results of classic search rolls, so even if characters don't find any secrets the find something else worthwhile or get into some trouble. Upping the success rate while introducing an element of danger makes searching more exciting, and the option to burn turns to continue searching introduces a compelling risk/reward challenge. If you love your hazard system/overloaded encounter die/event die/whatever else it's called but you're not overloading your search dice, you owe it to yourself to give it a try. 

Year of the Dungeon

2023 was the year of the dungeon. 

For me, at least. But among the blogs I've read this year that seems to be the case for many others.

I am not just referring to Dungeon23, where participants construct a dungeon over the course of the year by writing one room per day. I didn't participate, and haven't really followed the projects of those who have. Though I thought it was a splendid idea, I was already underway on a giant dungeon project when Sean McCoy issued his fateful challenge. Alas.

From the end of last year to now, the end of 2023, I have created and am in the process of running a megadungeon, with as much attention to developing a "full" dungeon campaign experience as possible. I'm talking about sublevels, secrets, lore, weirdo NPCs, and as many opportunities for the coveted "emergent narrative" as I could manage.

Pedro Correa

Despite playing D&D on and off since I was but a lad in the 3.5 era, this is the first time I've ever sat down to make a full campaign-scale dungeon. My desire was to create as faithful an approximation as I could to a true old-school style megadungeon, which meant adhering closely to the foundational assumptions of D&D while straying where necessary (ie frequently) for the sake of practicality, cohesion, and personal preference. So there are orcs and pit traps and stuck doors but also enough outside material that certain points might struggle to be recognized as classic D&D fantasy. Turns out, when you work on a creative endeavor long enough your individual tastes sneak in whether you want them to or not. 

Obviously, given that what everyone is doing here can in some way be traced back to a game with "Dungeon" in the title, dungeons are a regular topic of conversation. But instead of merely discussing particulars or sharing inspiration, there was starting in about early/mid-2022 a surge of excellent posts about that raw and elemental process of turning a blank set of rooms into a vivid and textured underworld. 

Emil Nilsson

It started in the Spriggan's Den back in 2022, with Monsters and Treasures in the B/X Dungeon. Yora identifies the golden ratio of BX dungeon design, figuring a platonic 18-room dungeon with additional thoughts on treasure placement and experience. The act of turning the probabilities of dungeon rooms in BX into a statistically average dungeon is a simple transformation on the surface, but offers a novel perspective on creating dungeons that is arguably easier to build around than the stocking procedure from the book. 

In Bite-Sized Dungeons, Marcia B. at Traverse Fantasy adapts the statistically average dungeon to OD&D, and then distills it into a 6-room dungeon experience, complete with layout, which in a perfect world would replace all references to the 5-room dungeon. While nothing about these dungeons are "mega," this is the formula I have taken to following for secret levels and monster lairs. 

Phlox at Whose Measure God Could Not Take elevated Yora's already-lofty 18-room dungeon with 20-Block Dungeon Stocking, adding incisive and well-reasoned notes on crucial dungeon elements not covered by stocking procedures. The post goes above and beyond basic room stocking to articulate the actual utility and intention behind each step of the dungeon-designing process. The list of recommended dungeon features, added with the platonic dungeon block, should be recognized as a more specific and utilitarian version of the indispensable Dungeon Checklist. 

Warren D. of the I Cast Light blog has been doing a sensational job getting gritty and granular on room stocking principles. EMPTY BUT NOT NOTHING: Thoughts on Actionable Empty Rooms is a quick, clear, and concise write-up on just how exactly to use "empty" rooms to contribute to the larger dungeon experience. I know there's that other guide on empty rooms, and as a resource for random tables and lists it's still great, but Warren's post packs more value word-for-word and I find it to be overall more practical. 

Vile Cult of Shapes delivered a one-two punch directly to my frontal lobe with How to start adventuring and dungeon generator, two posts that explain both writing a campaign from zero and also just the entire creative process in uncomplicated terms. No, I haven't actually followed the procedures, and no, I didn't need a blog post to tell me that I can watch movies or go for a walk if I need inspiration, but that's beside the point—these methods shows us a way to make wondrous and meaningful campaigns with as little mental clutter as possible. 

Miranda of In Places Deep revealed her Stocking Procedure, offering a straightforward method of building out dungeon floors accounting for monster placement and treasure distribution that is sensible and conducive to good internal cohesion without compromising on organizational ease. Miranda is a veteran blogger whose work I really admire, and reading her describe the basic blueprints with which she builds her dungeons is like hearing some sort of artist master describe their process and thinking "hey I can do that too."

Honorable mention goes to the honorable Nick LS Whelan, whose post Two Week Megadungeon will, I predict, be instrumental in the creation of thousands of megadungeons in the near future. Like a blade through fine fabric Nick cuts down the myth that making a campaign-scale dungeon has to be a huge undertaking, and that all it takes is clear goals and a couple working sessions. The reason this is an honorable mention is purely because I had already largely wrapped up my megadungeon prep by the time the post hit the feed—turns out my approach to making a dungeon is strikingly similar to this one, except that I took like a year instead of two weeks and my maps are handmade but still kind of garbaggio. Oh well. Next time I get the urge to pull out the notebook and start a new megadungeon, whenever that may be, I will by hook or crook finish it in two weeks because of this post.  

There are probably a bunch of relevant posts I forgot about or haven't read. If you know of one or even wrote one yourself, please send it my way. Maybe even drop it in the comments for others to see. 

Anyway, the true lesson I got from all this, one of those things that you understood intellectually but don't truly grasp until you come out the other side, is that all these procedures and methods and best practices are but means to the end of creating a fulfilling and engaging experience at the table. What this means is, in a sense it doesn't always matter if one floor of the dungeon has four special rooms instead of three, but more importantly, you should find or develop a procedure that you know you can trust to deliver those meaningful game experiences. Once you do, you can sit back and let the system of generation work on its own, and you get to have the experience of dungeon crafting be just as much about discovery and exploration for you as crawling is for the players. 

Chaos are the bad guys

"A legion of horribles, hundreds in number, half naked or clad in costumes attic or biblical or wardrobed out of a fevered dream with the skins of animals and silk finery and pieces of uniform still tracked with the blood of prior owners... many with their braids spliced up with the hair of other beasts until they trailed upon the ground and their horses' ears and tails worked with bits of brightly colored cloth and one whose horse's whole head was painted crimson red and all the horsemen's faces gaudy and grotesque with daubings like a company of mounted clowns, death hilarious, all howling in a barbarous tongue and riding down upon them like a horde from a hell more horrible yet than the brimstone land of Christian reckoning, screeching and yammering and clothed in smoke like those vaporous beings in regions beyond right knowing where the eye wanders and the lip jerks and drools.” Cormac McCarthy, Blood Meridian

“'Those two worlds — and many more for all I know — are in some way the same. The same fight was being waged, here the Nazis and there the Middle World; but in both places, Chaos against Law, something old and wild and blind at war with man and the works of man. In both worlds it was the time of need for Denmark and France.'” Poul Anderson, Three Hearts and Three Lions

“Brigands are loosely organized outlaws and renegade mercenaries who live by raiding towns and robbing caravans and travelers.” Gary Gygax and Dave Arneson, Dungeons & Dragons Fantasy Adventure Game Expert Rulebook

A big reason why some elfgamers reject alignment is that they feel it's limiting. I disagree. Alignment can be a generative force in a campaign, because at its core it's about conflict. 

Frankly, D&D shat the bed on alignment when good and evil were added, and shat it again when articulating alignment as personal morals instead of distinct factions, or whatever was going on in OD&D. A lot of people recognize instinctively that these are overly simplistic ways to frame personal ethics (and if you don't, here is a solid summary), but alas we persist in the shadow of this twice-shat bed. With that being said, I'm going to be a shooter for Gygax et. al for a second and explain why the classic perspective of alignment-as-ideology is actually (kinda) an effective formulation of the central tension of D&D's implied setting, working backwards from the assumptions the game gives us. 

There's a lot of talk about what's "implied" about the world in old school D&D editions but tiptoeing dancer-like around the discussion of to what extent D&D can be perceived as colonialist fantasy etc. predicated on assumptions of untamed wilderness and savage others etc. and to what extent this is problematic etc. the most compelling interpretation of D&D's implied setting (meaning what is communicated through the descriptions of monsters, wilderness, and so on) is not some new-world myth of untrammeled wilderness, as many presume, but rather a post-collapse dark age—hence all the dungeons and bizarre magic and treasure for us to find. The dangers that lurk outside of the little bastions of civilization are a direct result of overlapping cultural, economic, and infrastructural breakdowns of a past supercivilization.

Some historians say the fall of the Roman Empire was such a catastrophe that archaeological evidence suggests people in Britain lost the ability to make wheel-thrown pottery. The scale of catastrophe would be indistinguishable from a slow apocalypse to the people living through it. Total bummer when it happens in real life, but ripe territory for D&D: imagine a Mad-Max-style landscape of lawless territories and hard-bitten settlements, with roving warbands of ruthless warriors bearing a motley patchwork of armor and weaponry salvaged from a lost civilization. But in a fantasy setting: less football pads and flamethrowers and more gothic plate mail and halberds (and also maybe flamethrowers).

Where does alignment come in? It's deciding what to do now that the old world has ended. Law and Chaos are not (solely) found in the quasi-religious spiritualism of Moorcock's or Warhammer's cosmic conflict, but in the choices people are confronted with when humanity is driven to the edge. Does one try to preserve what is left and rebuild amongst the ruins, or do take what they can and burn the rest? Both endeavors have their appeal, and more importantly, both have their place within a campaign world. But when perceived through the framework the game offers us, chaos is the anti-human impulse. 

When the brigands take up arms and raid the village, they are not doing so out of any specific malice to the townsfolk but rather pure self-interest and a straightforward disregard for the wellbeing of those they deem lesser. Chaos is the rule of might making right, it's the sentiment that the world can burn as long as I get mine. When you understand chaos through such a lens it makes a lot more sense why Poul Anderson identified fascism as an ideology at odds with the works of mankind in Three Hearts and Three Lions, the book that gave alignment to D&D. In terms of societal structure, alignment can be looked at as the difference between relational and coercive hierarchy. Lawful societies may be strict and repressive, but chaotic societies are ruled purely through the use of force and subjugation. Skulls for the skull throne. 

I am sympathetic to attempts at rehabilitating chaos. The instinct to invert the conventional morality of law and chaos is an understandable one, especially considering how many real-world institutions of authority benefit a privileged few at the expense of everyone else. But while this approach offers a compelling alternate perspective on chaos as a defiant and liberatory counterpoint to law's oppressive authoritarianism, it relegates chaos to that of a response to a status quo; any competing viewpoint is secondary to resistance against the current thing. Instead, I feel that alignment offers more when law and chaos represent their own sets of opposing principles that are in dynamic competition with one another. Of course, this ultimately comes down to personal preference and what kind of narrative you want to engage with.

In this way, the lens of alignment-as-ideology can also be applied to orcs and the age-old issue of "evil" races. Forget about trying to untangle the fraught presumption of monstrous humanoids being objectively evil—they are just in competition with everyone else. And they're doing well enough to pose an existential threat to humanity. Our peak has come and gone. Now it's their turn. Gothmog put it best: "The Age of Men is over. The Time of the Orc has come." 

Juiblex and the One Flesh

THE GREAT GLISTENER 

 

The only constant, such as it is, is change. All that exists can be altered. Not even the gods are spared from change.  

In many cases, the act of change is a subtractive one. Entropy is wrought upon the subject through the chaos of transformation. Objects break down, ideas lose meaning—each alteration, in some small way, breaks down what was hard, certain, and true into that which is soft, malleable, and uncertain. And at the end of it all is a great formless mass; an ever-flowing, ever-shifting soup incomprehensible in size and scale of all things altered beyond the boundaries of form and reason. This is Juiblex, the Faceless God, and by its will the world will melt. 

 

EDICTS OF THE FACELESS GOD

Structure and individuation are untenable to Juiblex. Each step toward the complete dissolution of such things brings an object or idea closer to perfection. No distinction need be drawn between metamorphosis and decay; in the doctrine of Juiblex they are one in the same. 

Within the purview of the Faceless God are the aspects of mutation, transience, amalgamation, and deliquescence. 

It is known as the chaos lord of oozes and slimes, and indeed such beings are the burbling, quivering children of the Great Glistener. All oozes that lurk in the dark and forgotten places under the earth trace their origin to the ichorous discharges of Juiblex that it ejects into the cosmos. The most sacred of all its children is green slime, the loathsome substance that devours any metal and organic material it comes in contact with and instantly converts it into more of itself. 

The most deranged of scholars and radical of heretics believe that Juiblex is the dream of an unborn being. Something as yet unformed yearns for the convergence of all living matter on earth to form a single, perfect organism—the Faceless God itself. 

THE ONE FLESH

The followers of Juiblex are identified by outsiders as less a formal religious order and more a collection of desires and observed phenomenon, referred to loosely as the One Flesh. It can be found in any settlement of sufficient size, or anywhere where large quantities of diverse people groups gather. Most followers are unaware of who or what they follow—while they may not have a name for their god or conceptualize it as a distinct entity, they act on its behalf without heed of who or what they do it for.

There is a formal form of worship, though it has no name. The ritual involves members of the One Flesh congregating in abandoned or decrepit areas and engaging in vigorous, violent bacchanal, bolstered by heavy use of psychoactive substances. Some would say that this is merely a practice of hedonistic revelry, but in truth the purposes of the ritual extend far beyond the scope of personal pleasure. Observers have described horrifying scenes of men and women  of all ages and even animals fornicating, fighting, and writhing together in an anonymous mass of bodies; of bodily fluids of all sorts spilled, mixed, rubbed upon each other, bathed in, and imbibed in various ways. Most haunting of all, some have even claimed to witness people seem to melt into one another, as though freed from their anatomical constraints.  

Participating in such an orgy is the first and only step in joining the One Flesh. After an aspirant engages in the ritual, they will immediately feel an empathic bond to all other followers of Juiblex, and slowly lose their sense of personhood in favor of the collective identity of the One Flesh. When that occurs, new urges and desires will emerge in their minds—these are the whims of Juiblex, which its strange followers are compelled to obey. 

Operations of the One Flesh are erratic and hard to predict due to its diffuse organization. They include the contamination of water supplies; the gestation and delivery of chimerical monstrosities; the defacement of monuments, landmarks, and historical records; mutagens; experimental surgeries; radical alchemy; and unstable amalgamations. The primary goal of all their strange undertakings is to bring more individuals into the warm, viscid folds of the One Flesh. Often, this is done through promoting feelings of disillusionment and isolation among a populace. Social pariahs and disaffected outcasts are the most likely to join the One Flesh, both for the promise of connection and the disregard they may have for their own personhood. 

Devotees of the Faceless God may ambush a traveling caravan, slaughter its guards, and induce a deep, narcotic coma in the noncombatant travelers. Then, after inflicting severe-yet-non debilitating disfigurements upon them, the devotees will sort the travelers into small groups (taking care not to pair individuals with too many similar characteristics together), take their money and valuables, and spirit them to nearby cities where they will be deposited in slums and other poor areas with little memory of who they are or how they got there. When each person experiences the peak of their alienation, they are most susceptible to the burblings of Juiblex that invite them to take part in the One Flesh ritual. Eventually, a new chapter is born. 

  

Should enough people take part in the orgy, the true ritual transformation begins. Bodies release their physical forms and merge into one another to form a great tumorous mass of living matter as big as a house. Looks like a giant knotty ball of melting fat and throbbing viscera shot through with multijointed limbs; smells like intense body odor, nose-burning bile, and meat on the verge of going rancid. Winking ventricles open and close between blobbly layers of slick meat, oozing mucus and smelling the air for organic material that bloated elephantine pseudopods in horrid approximations of various limbs sprout forth to claw it toward. Great swollen flesh sacs burble out from the mound like bubbles rising to the surface, from which burst expanding masses of viscous bile that collapse into sizzling puddles to digest the matter around them such that it can be consumed and anabolized by the ever-growing flesh mound. The mound continues expanding in this way until no more viable material is left to consume or it collapses under its own weight, at which point it sheds sheets of flesh that slough off its sides as they melt into green slime. As it does so, the mound releases waves of mutational impulses like radiation, inviting nearby creatures to take part in a new incarnation of the One Flesh. 

FURTHER DETAILS

Fighting one of those big blobby things: It's a bad idea. By the time one appears in an adventure, it's probably already veered into fail-state territory. But given how that's not always an unlikely outcome, here are the stats. 

One Flesh Bloom

HD: 20 (90 hp) AC: 9 Move: 20' Morale: 12 Attack: Elephantine pseudopod (2d8, save vs. paralysis or be subsumed by the blob) x 4 

Immune to acid, poison, and psychic attacks.

• Subsume: if the bloom moves into a creature's space or attacks with a pseudopod, the target must save vs. paralysis or become engulfed. On a success, the creature is harmless knocked back 10'. On a failure, the creature pulled into the blob takes 1d10 damage each round from being crushed+digested, and can only be pulled out by a combined strength score of 17. Engulfed creatures can damage the bloom using small weapons without needing to make an attack roll. 
• Digestive Bile: Creatures in melee range save vs. breath weapon each round or take 2d6 acid damage.
• The bloom reduces incoming damage by 3, unless the damage source is fire, cold, or holy in nature. 
• The bloom gains 1d8 hp each round, capable of exceeding its hp maximum.  For every 30 hp the bloom has over 100, it gains another attack and 10' of move speed. 
• If the bloom is reduced to 0 hp OR reaches 500 hp, it can no longer sustain itself and collapses into 20 HD worth of green slime. Everyone in a 120' radius must save vs. wands or mutate, and everyone in a 15-mile radius must save vs. spells at +4 or become compelled to join the One Flesh.

Joining the One Flesh:

After taking part in the One Flesh ritual, make a Wisdom test with a -2 penalty. You can willingly choose to fail the roll. On a failure, you join the One Flesh, your alignment becomes Chaotic, and you lose 2 points of Charisma due to depersonalization. In exchange you can transmit empathic messages with others of the One Flesh, who you recognize at a glance. Slimes and oozes no longer attack you. You can speak with them freely, but they typically don't have much to say. You can command ooze once per day, affecting a number of HD of ooze equal to your level.

The first time you take part in the ritual, take 1d6 damage and save vs. poison or contract a disease (puts you out of commission; save again every week, three successes means you survive, three failures means you die). If you avoid contracting a disease, you still suffer a -2 penalty to all rolls the next day as you recover.  

Once joined, you must take part in the ritual whenever you spend at least a month on downtime (ie not going on adventures). The ritual still deals 1d6 damage, but you are no longer in danger of contracting a disease and receive a +1 bonus to all rolls the next day as you bask in putrescent afterglow. 

Treasures valued by devotees of Juiblex:

1 Mixed potions (roll twice on the potion list and once on the miscibility table, ignoring the instant explosion result)

2 Expensive alchemy equipment

3 Green slime kept in all manner of vessels

4 Melted ingots

5 Opalized ooze 

6 Oozified opal (wax-sealed in long vials, looks like a lava lamp)

7 Pearlescent polyps

8 Jade amphoras

9 Rare and expensive oils

10 Royal jellies

11 Squishy globules containing hallucinogenic, corrosive, or soporific gases  

12 Imperfect attempts at the universal solvent: liquids that completely dissolve only one type of material (wood, stone, metal, etc.) 

Powers granted to those chosen as champions of the Faceless God:

1 Oil-slick skinfilm

2 Acid excretion

3 Rapid regeneration

4 Self-mutate/cause mutation 

5 Amorphous form

6 Lashing tendrils 

7 Malleable body

8 Command ooze

9 Cling to sheer surfaces

10 Chameleon skin

11 Induce intoxication 

12 Projectile vomit on demand

 

Clerics and acolytes of Juiblex can spew out 1 HD of green slime per day. The substance doubles as their unholy symbol, which is why many keep a small vial on their person, careful to hide it away lest it dissolve in the sun. 

 

Groups of 3–10 acolytes can merge to become a single fleshy monstrosity, pooling their HD and hp totals and getting a number of attacks equal to the amount of acolytes merged. This is an excruciating process and usually done as a last resort

Allied monsters:

1 Oozes, slimes, and jellies of all types

2 Mutants and mutated versions of local fauna 

3 Ropers

4 Otyughs

5 Giant slugs, leeches, and other slimy mollusks

6 Chimeras

7 Doppelgängers 

8 Flesh golems

9 Trolls

10 Gibbering mouthers

11 Malformed lycanthropes

12 Abominations augmented through fleshcrafting

 

Traps and hazards found in their pustulant lairs:

1 Camouflaged pits

2 Mutagens and flesh-warping parasites

3 Noxious miasmas

4 Quicksand-like sucking floors

5 Melting chambers; collapsing ceilings

6 Oozes, lurking or disguised

7 Seemingly mundane objects that fuse to the skin

8 Mysterious pools

9 Experimental gene-splicing machines 

10 Slippery floors. Slippery stairs. Slippery walls. Slippery everything. 

11 Birthing sacs and spawning vats 

12 Volatile alchemical experiments 

  

Probably the meanest cursed sword I can think of

It looks like a normal sword, of course. Doesn't detect as magic, immune to remove curse, dispel evil, etc. etc. 

When a PC picks it up, tell the player to pick another player at the table. Don't give them any context—just tell them to choose. They cannot choose themselves. 

An unsightly black mark forms on the forehead of the chosen player's character. The mark gives the character -1 to attack and damage rolls, and the bearer of the sword gets +1 to both. Additionally, 10% of all xp the marked character were to earn goes to the bearer. 

If the character who bears the sword were to die, the marked character dies instead. 

When this happens, the player whose character holds the sword chooses a player again. Both that player's character and the previously chosen player's new character receives a mark and penalty, and the bonus to the bearer increases to +2. The same player can be chosen again, meaning their character gains an additional mark and a cumulative penalty. If the bearer of the sword were to die and more than one character is marked, the player chooses which one dies instead.

This process repeats until every character at the table is marked save for the bearer, or a total of six marks have been distributed. The next time a situation were to occur where a PC would be chosen to gain a mark, tell the player to pick another player at the table as normal. When a new player is chosen, all pre-existing marks disappear. The sword immediately transfers to the chosen player's character, and a mark forms on the forehead of the previous bearer. The process begins anew, with the previous bearer being the first marked character.