Deuce Traveler's Appendix N Series

Deuce Traveler

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Deuce Traveler

Adventurer
Appendix N- 1. The Elric Saga, Intelligent Weapons and Chaos vs Order

Welcome to the first installment of Appendix N, where I take a look at the literature that influenced some of our favorite roleplaying games and comment upon their gaming legacy, evocativeness and utility for today’s game masters. The Elric Saga, by Michael Moorcock is as good a place to start as any, as it is referenced as an influence by Gary Gygax and other roleplaying game creators. The character of Elric was written as an inverted Conan. Where Robert E. Howard’s famous barbarian was strong and suspicious of magic, Elric was physically weak and a renowned wizard. Where Conan trusted in his strength and instincts, Elric suffered from self-doubt and was dependent upon his cursed blade, Stormbringer. Conan has many heroic adventures which results in him eventually becoming a king. Elric starts his saga as a king, but loses his kingdom, loved ones and allies over the course of his legend. Moorcock alludes to Elric’s doomed fate from the beginning, so it is no surprise that the former king’s ending is not a happy one. However, how Elric handles his knowingly doomed journey makes the tale a good one.

Elric and his intelligent blade, Stormbringer, had a strong lasting impression upon roleplaying games. Gary Gygax highlighted the Elric tales as inspirations for Dungeons and Dragons, and this becomes obvious when reviewing his rules for intelligent magical weapons. A player character may enjoy possessing an intelligent weapon, as such weapons often have special powers and knowledge. However, the weapon itself may have an agenda that causes conflict between itself and the player. An intelligent weapon can drive a campaign, first in learning about its history and powers, and then as the character and weapon resolve their conflicts. The sword from Dungeons and Dragons lore, Blackrazor, was adopted from Elric’s Stormbringer. Stormbringer was also adopted in computer roleplaying games, such as when Ultima 7 introduced the Black Sword.

The conflict between chaos and order was also influenced from the Elric saga, though Dungeons and Dragons fans seemed to miss the purpose and confuse it for a subset of the Christian-based view of good versus evil. Moorcock is a British writer, and was writing on the quite British concept balancing civilization and order against individuality and anarchy. Moorcock’s contemporary, Alan Moore, handled this question in V for Vendetta through a societal conflict between anarchy and a police state. In Elric’s world, chaos and order are manifested physically by two sets of conflicting alien gods vying to control the multiverse. If either side completely won then either chaos or order would make the multiverse comfortable for their own existence, though mankind would not survive in either condition. The gods of chaos and order have little fondness for humans, helping their followers only when it benefits them. For these gods, humans are little more than tools to employ in their ever-flowing war. In early Dungeons and Dragons the forces of chaos and order were at utilized to show the team good versus team bad. Later iterations of the game handled the struggle of law versus chaos more akin to a lifestyle choice, such as the civilized life exemplified by a paladin, and the wilderness life exemplified by the barbarian. This was likely because the pantheons of Dungeons and Dragons were more based more on Greek, Roman, and Christian religions. Moorcock’s gods and the cultures they inspire are quite alien to us.

For me, the Elric saga has great utility for the typical game master, but I would only pull pieces from it and not base an entire campaign in Elric’s world. Most obvious would be the use of intelligent magical items with their own agenda, creating situations where characters wouldn’t always be so ready to fire off with their strongest tools for fear of potential repercussions. And it’s not just magical items that operate in this fashion. The dragons that Elric’s kingdom depends upon are nearly invincible, but must rest for years after each use in war. Some of the potions that Elric depends upon also have their limitations. Elric can summon animals and elementals, but these are because of bonded contracts that he may use up, unable to summon such types again unless the contracts are renewed through service and good faith.

As a game master, I would not run a campaign in Elric’s world and adopt the magic system, religion and backdrop whole cloth. The conflict between order and chaos is too involved, resulting in great literature, but I would be concerned about limiting character’s choices in the game. Elric and his world may be doomed, but I would not want to run a campaign where my player characters cannot prevent the same fate. Others do not share my view, however. Chaosium published an RPG called Stormbringer set in Elric’s young kingdoms, and it has been successful enough to warrant modern d20 and RuneQuest conversions. Warhammer Fantasy RPG adopts an alignment system that also incorporates law and chaos, and its fantasy lore dealing with the encroachment of chaos forces is better suited to Elric’s world than Dungeons and Dragons. In fact, I would say that Moorcock influenced Warhammer to a similar extent that Tolkien influenced Dungeons and Dragons. The more recent DCC RPG also handles the idea of alien, fickle gods that followers cannot always depend upon as an integral part of its cleric system.

I strongly suggest that fantasy game masters read the Elric tales in their entirety. The tales are written well enough, though some of the imagery evoked seems that it belongs painted on metal band album covers from the 1970s or done by Bron. Metal is indeed how I would describe Elric, his evil sword, decadent elven culture and dragon armor. Some of the writing I could do without, such as in the later part of the exiled king’s career when Elric and Stormbringer take down hordes of swordsmen in a mere two pages of writing. But when it comes to the conflict between Elric and Stormbringer, there are evocative moments that embed themselves into the reader’s memory:

“He drew a great, sobbing breath and, blind misgiving influencing him, threw the sword into the moon-drenched sea.

Incredibly, it did not sink. It did not even float on the water. It fell point forwards into the sea and stuck there, quivering, as it were embedded in timber. It remained throbbing in the water, six inches of its blade immersed, and began to give off a weird devil scream- a howl of horrible malevolence.”

As both a reader and a game master, I love this passage. Needless to say, Elric is unable to let Stormbringer go as his strength fades to that of a child without the parasitic blade. He has a choice between dying as a frail beggar in a cold alley or to continue with Stormbringer in the illogical hope that he may win the battle between the two and regain his independence. What would your players do given such a choice? What would any of us do in reality?

May the Dice Be Forever in Your Favor,
Deuce Traveler

Next up: Vancian Magic and the Dying Earth followed by The John Grimes Series and Traveller’s Character Creation
 

Deuce Traveler

Adventurer
Appendix N- 2: Vancian Magic and the Dying Earth

Welcome to Appendix N, where I take a look at the literature that influenced some of our favorite roleplaying games and comment upon their gaming legacy, evocativeness and utility for today’s game masters. Gary Gygax often stated that Jack Vance was a favorite author of his and a strong influence on Dungeons and Dragons. In an article titled “Jack Vance and the D&D Game”, Gary Gygax stated “Need I say that I am not merely a Jack Vance fan, but that he is in my opinion the very best of all the authors of imaginative fiction?” There were many odes to Vance in Gygax’s Dungeons and Dragons, to include the magic system, spells lifted straight out of the Dying Earth books (such as Prismatic Spray), the use of Ioun stones, and the anagram of his name for a legendary villain named Vecna.

I’ve read quite a number of stories by Jack Vance and it is obvious why a man such as Gygax was such a devout fan. These two men are similar in many ways, both having large vocabularies, a love of fiction, and a soft spot for roguish characters. Jack Vance can be a challenge to read as the man is economical in his sentences and full in his diction. Because of this he was never as accessible or popular to mainstream audiences as authors like Burroughs, Howard or Asimov. Oddly, Vance had a love of cultural diversity, even portraying cultures that would be repugnant in a whimsical light. I say oddly since Dungeons and Dragons has a more straightforward “It’s an orc! Kill it!” approach and Vance has a more enlightened view on foreign cultures than many of his contemporaries.

The Vancian magic system of Dungeons and Dragons is one of the games most unique aspects. Most other roleplaying games have magic systems where spell use is limited by magic points, or that allow characters to cast any spell that they want as long as they can continue to roll successful magical skill checks against some arbitrary difficulty. This wasn’t going to work out as well for Gary Gygax when he was creating Dungeons and Dragons, as he was looking to use spellcasters like one would use artillery in a wargame. Gygax wanted a system where magic would be very powerful, but have constraints in its usage. The older editions of Dungeons and Dragons require a spellcaster to memorize a limited number of spells a day, and once he uses the spell it disappears from his mind. If he wants to cast two of the same spell, he has to memorize it twice, but can only do so if he is high enough level to retain the spells in his mind. To the average reader this doesn’t make much sense. If you study all night how to work out a calculus problem, and the next day use what you learned to resolve a calculus problem, the ability to do calculus doesn’t just leave your head until you can study again. Also, spells could be called forth from scrolls, but after the spell was used, that passage on the scroll would become blank. This perceived lack of realism is what turns a lot of people off to Vancian Magic.

But Vancian magic does make a lot of sense if you take the time to read the Dying Earth series, and this is where Dungeons and Dragons failed to make proper use of its magic system. This is how magic works, according to the story Turjan of Miir:

“The tomes which held Turjan’s sorcery lay on the long table of black steel or were thrust helter-skelter into the shelves. These were volumes compiled by wizards of the past, untidy folios collected by the Sage, leather bound librams setting forth the syllables of a hundred powerful spells, so cogent that Turjan’s brain could know but four at a time. Turjan found a musty portfolio, turned the heavy pages to the spell the Sage had shown him, the Call to the Violent Cloud. He stared down at the characters and they burned with an urgent power, pressing off the page as if frantic to leave the dark solitude of the book. Turjan closed the book, forcing the spell back into oblivion.”

Spells in the Vancian Magic system aren’t just words to study, but instead they are act as if alive, and when a wizard memorizes a spell he has the words to it rattling around in his head. In the series, a wizard starts being able to hold only one of these living spells caged in his mind, but as he becomes more experienced he finds he can hold more without going mad or harming himself. Vancian Magic is quite evocative in the Dying Earth series, but comes across as being formulaic in the rulebooks. This is understandable in the first few editions of Dungeons and Dragons, as the creators of the game supposed people would create their own game worlds and adventures. It was up to TSR to supply the rules. However, Vancian Magic doesn’t get the added fluff it deserved with the popularity of the first campaign settings such as Greyhawk and Forgotten Realms. If magic is a living thing where a wizard is struggling to hold the spells in his own mind it should have stronger cultural effects in the game world. Granted there are some broader implications in the rules, such as through spell mishaps and spells simply fizzing out and being lost if a spellcaster is struck as he is in the middle of his casting.

Yet, I feel an opportunity in utility was lost which would have given magic an even stronger flair in Dungeons and Dragons. However this flair can be adapted by dungeon masters and players today with some agreed house rules. If magic is a living thing, how attentive is a wizard who has just memorized a dozen dangerous spells? Does he take penalties to his skill checks because he is constantly distracted; always attempting to keep the separate living spells from being entangled in his own mind? Because a wizard must appear distracted, does he need servants to help him keep up with simple tasks such as keeping his home clean and food cooked? Is a wizard creating life when memorizing a spell, and committing an act of murder every time he pushes it out of his mind? If the wizard is so cavalier about wielding the essences of life and death in his mind, does it affect his outlook on his fellow living neighbors? How does the surrounding populace take to even the most benign wizard if he is always an aloof weirdness magnet? Because of the fear brought on by such strangeness, are there rules governing the use of magic, do wizards have to become licensed, or have the seemingly absent-minded wizards taken over as rulers who can’t be bothered to rule? Dungeons and Dragons is a wonderful game, but I can’t help but wonder what kind of opportunities for greater utility were lost by not delving further into the nature of arcane magic.

May the Dice Be Forever in Your Favor,
Deuce Traveler

Next Up: The John Grimes Series and Traveller’s Character Creation
 

Deuce Traveler

Adventurer
Appendix N- 3. John Grimes and Traveller’s Character Creation

Welcome to Appendix N, where I take a look at the literature that influenced some of our favorite roleplaying games and comment upon their gaming legacy, evocativeness and utility for today’s game masters. It’s easy to find the influences upon Dungeons and Dragons, since Gary Gygax was kind enough to list them in his Appendix N. But not all games had such a list of suggested readings. Traveller RPG was designed by Marc Miller and published back in 1977, making it one of the first roleplaying games. I could not find an official list of influences for the game, but instead I have found numerous secondary sources declare a list of authors that most likely helped formulate the feeling of the game, such as E.C. Tubb’s Dumarest tales and Poul Anderson’s Dominic Flandry series. But James Maliszewski mentioned an author and series I had never heard of before when he wrote on his Grognardia blog of A. Bertram Chandler’s John Grimes series of novels, which started in 1967 with "The Road to the Rim". Upon reading the series I’ve bought into the idea of Chandler’s influence by noting small touches, such as one of Grimes’ ships being called the Far Traveller (spelled Traveler in some US versions), the fact that Grimes starts off as a citizen of a nascent and fast-expanding federated Empire competing with others, the use of psionic humans and their alternative culture, the prominence of scout survey ships manned by small crews, and how career paths result in different types of skill sets amongst the crew.

Chandler’s obscurity in the United States is no mistake, but instead a product of our modern times. First, Chandler was an Australian science fiction writer, and although Canadian and British writers do attain popularity in our American market, Australians and New Zealanders do not seem to be afforded the same level of access. Also, reading Chandler can be uncomfortable at times with his depictions of ethnicities in space, such as when he nicknames an African American cook on board Grime’s ship ‘Aunt Jemima’ or his portrayal of a pair of Irishmen as hotheaded revolutionaries or a Japanese inventor who specialized in robotics and computers. Chandler was definitely a product of his times, and he brought certain stereotypes into his writing that I believe make his Grimes book more difficult for science fiction aficionados to recommend to others. And yet, I find Chandler to be more complex, for despite the stereotypes, often it is the Anglo-Saxon characters that Grimes is working against in order to aid aliens or set upon humans against elements inside his own government, like when he fights for land rights of the descendants of Australian aborigines against white Australian descendants trying to colonize parts of their planet. John Grimes is an interesting character as he doesn’t really have a side, but will become involved to defend those that he feels are being treated unfairly, even going so far as to protect the members of a crew that mutinied against him.

Of course his unpredictability comes at a cost to Grimes, as he decides to quit what was a promising officer career as a naval commander in the Imperial Navy. This leads to him trying a career as a private courier and sometimes trader, where he has more adventures, burns bridges and meets new contacts. He has a stint as a ship captain for a system of border planets and another as a pirate (or privateer as Grimes unconvincingly insists), before becoming a Rim Worlds commodore.

Time travel and alternate timelines are more prominent than what I would prefer to see in my science fiction, but it serves to show John Grimes and others if they had made different career choices, something that I believe had an effect in the character generation of the Traveller RPG. In some timelines, John Grimes is still an officer in the Imperial Navy and the Rim Worlds incorporated under the Empire’s increasing reach. In other timelines he becomes a governor of an unimportant planetary colony, growing drunk and out of shape and unhappily married while his antagonist climbs the ranks through sheer charisma and manipulation rather than skill. In the John Grimes series, important career changes come every few years, as would be expected in a professional military where members are either promoted upwards for their achievements, released due to their lack of distinction, or put into unimportant positions if they muddle somewhere in the middle. But just because a character might not always succeed in their adventures, it doesn’t mean that their lives of action are over, as John Grimes shows throughout his occupational changes. The adventure always continues, and a good GM should turn the results of one campaign into the start of another.

Chandler also stands out for focusing on members of Grimes’ crew, and the crewmembers of other ships that are encountered. Although he is the ship captain and renowned for his piloting, often Grimes has to delegate such duties to others because of official procedures, with mixed results depending upon the junior officer. The engineering section is split into different sections with various chiefs, such as for the engine room and its maintainers being separate from those handling communications or structural integrity. Interestingly enough, Grimes states that he’d rather have a competent crew of personable engineers than an abrasive crew of superb engineers because long space trips can result in violence when the crews cannot get along. Grimes develops into a character who has marked talent in piloting, navigation, small arms, throwing weapons and administration. On the other hand, he often needs to rely on others when it comes to social interactions, espionage and melee combat.

Other crew positions in which I never gave much thought come to the forefront in Chandler’s works. The ship purser is in charge of the expedition’s finances, as they are needed in a far-reaching military survey ship and especially in a trading vessel. There are farms on board the ships that take human waste and reprocess it into food which require skilled hands. Finally, the cook always becomes an important character in a Grimes story since a good cook can make a bitter crew happy by tailoring recipes to the needs of each and by having their machines generate decent alcohol. One Grimes story had him flying a courier run by himself, but the engines broke down. He fixed the engines, but an alien humonculus that was kept in a glass cylinder was released and died. He threw the corpse into his waste disposal system, which broke the dead creature down but the regenerating leftovers became tadpoles. He flushed the alien tadpoles out into the farm system, but then they survived and became humanoid while feasting on the vegetation and destroying his food supply. On and on it went, and I could not help but see this as a Traveller RPG adventure where faulty technology required constant attention and a skilled crew to survive in space.

I would definitely suggest the John Grimes series for a referee who wanted to run a space opera with a crew of player characters. I will admit that the series doesn’t have enough popularity to say that it influenced RPGs outside of Traveller, and the grammar and language is not evocative like a Moorecock or Vance novel. However, it does have a great feel to it where the protagonist lives in an imperfect, overly bureaucratic universe where he is both constrained by society but has a frontier to romp around. There are good and evil people in each culture that Grimes visits, and he has to use his wits and conscience to sort out what is best for the communities he encounters and his own crew. The books have great utility for today’s GMs and I will admit that reading them caused me to dust off my old Traveller RPG booklets and roll up some characters.

May the Dice Be Forever in Your Favor,
Deuce Traveler

For those of you that lack the RPG, you can roll up characters here for kicks: http://www.signalgk.com/cgi-bin/ctcg.pl#output

Next Up: Three Hearts, Three Lions, Some Elves and a Troll
 

Deuce Traveler

Adventurer
Appendix N- 4. Three Hearts, Three Lions, Some Elves and a Troll

Welcome to Appendix N, where I take a look at the literature that influenced some of our favorite roleplaying games and comment upon their gaming legacy, evocativeness and utility for today’s game masters. In this iteration I will be discussing races and classes from the story, Three Hearts and Three Lions, and how their portrayals influenced Dungeons and Dragons. The author of the work was Poul Anderson, who I would describe as consistently entertaining. I never go out of my way to pick up any of his works, and when I do read Poul Anderson his works rarely linger with me the way that something from Lieber, Howard, Zelazny or Vance might. But I can’t say I have ever disliked an Anderson work or otherwise been left disappointed. The best that can be said about Poul Anderson is that the man truly knew his Western European history and mythological lore, and is probably the United States best competitor in this regard to Anderson’s English contemporary, J.R.R. Tolkien.

The frame of Three Hearts and Three Lions is quite similar to Borrough’s John Carter series, in which a fighting man tells a tale to the author, where he is ripped from the author’s world and deposited in another land desperate for a hero. He goes on a quest to save the land and its people, fulfills his destiny, but then is returned to the author’s world where the hero pines about how he wishes to one day return to the fantastic land that he left. Where John Carter is deposited upon the surface of a dying Mars, Poul Anderson’s protagonist, Holger Carlsen, is sent back in time to a Carolingian land that borders our physical realm with that of the Faerie Kingdoms.

The tale leaves a strong legacy in today’s gaming scene, especially when one takes time to consider the portrayal of elves, dwarves and trolls. The dwarf companion in the tale is a bit odd as he speaks with a horrible accent, lives in nearby hills, can detect the sloping of passages by walking them, and starts off gruff while only becoming friendly enough once Carlsen and he get around to sharing some simple vices like tobacco. The dwarf’s name is Hugi, and he also has a strong distrust of elves, which is shown to be quite warranted. If most of the above sounds familiar, then you are not new to the stereotypical dwarven race from Dungeons and Dragons.

The second companion to Carlsen is a young woman who was brought up in the woods and is most comfortable with nature. She is called Alianora the Swanmay and she is able to communicate with animals and transform herself into a swan in order to scout or flee from danger. Every time the swanmay did anything of note I found myself trying to sort out her statistics as a Druid character. Holger Carlsen also shares some characteristics with the Paladin character class, in which he has a trusty horse, behaves with a certain code of honor, and can perform such miraculous acts as healing others with his hands.

The elves of the story are a delight, and more interesting than the Tolkien-esque elves of Dungeons and Dragons. They are immoral creatures of desire and greed, and completely opposed to the growing influence of mankind which interferes with the influence of their own kingdoms. They are harmed by the touch of iron and dislike the appearance of holy symbols, though it is important to note that these elves are not necessarily evil as much as they are strange, ageless and alien. They try to trick the hero by enticing him with beauty, art, sex and drink rather than trying to outright kill him at first. However, when all else fails they do try to resort to violence and are shown to be quite deadly and eager for combat. Because of this the elves portrayed here make for much more intriguing people than their Dungeons and Dragons counterparts, but I would admit that they would make horrible player characters (PCs). A bit of this book’s legacy remained when Gygax stated that elves lacked souls, though such considerations disappeared from discussions in the game post-Gygax.

The best part of Three Hearts and Three Lions is the battle with the troll, as the description of the fight matches the worst horror stories from tabletop gaming. The troll is fighting the heroes in a constrictive chamber, though Hugi and Carlsen show themselves to be better combatants by lopping off pieces of the creature before hacking it down. Of course the troll regenerates, the limbs fly back on to reattach themselves, and the battle is waged anew. It is only by chance that they stumble upon the monster’s weakness to fire, though the rest of the fight isn’t any less horrid as Carlsen grabs struggling pieces of the monster in order to toss it into the flame a bit at a time. The troll from Dungeons and Dragons is taken fully from Anderson’s tale, from its skeletal frame and eyes of black orbs, to its viciousness and regenerating properties.

Although the book as a whole is not as imaginative as some of the other influences in roleplaying games, there are evocative moments in the story such as the importance of Holger’s crest displayed on his shield, Holger’s battle with a werewolf, the use of some spells that players will easily recognize, elven society and the fight with the troll. However, the story as a whole is simple in its language and ideals.

There is also very little utility for Dungeon Masters in Three Hearts and Three Lions. Most of what could have been taken for use in tabletop roleplaying has been wholly taken, though it is a pleasure to see such familiar tropes in a fantasy story that is more than a half century old. The only portion of the book that hasn’t been used to the fullest, which could be adopted further, would be the descriptions of elven culture. That might make the elven race unplayable in Dungeons and Dragons, though it might still work in something like DCC RPG. 4th Edition adopts some of Anderson’s elven culture into the Fey and their wicked culture through the Feywild, which seems to have been the best way to adopt such without compromising the elf.

Players wishing to play a paladin will find the most utility in the work, as Carlsen is a great lawful good character who completely avoids being lawful stupid. He likes his tobacco, sex and alcohol, though never to excess and avoids taking actions that might hurt the feelings of the Swanmay. He understands the motivations of the elves, and would get along with them if it weren’t for the fact that their goals were incompatible. He still treats them with respect and honor despite having to war with them. One of his best moments is when he tracks down a werewolf that had been committing evil acts and discovers that the werewolf itself is a victim because of the lycanthropic curse it cannot fight off. Instead of slaying the beast outright, Carlsen struggles to find a compromise that saves as many innocents as he can. Holger Carlsen has the best traits and best vices of a paladin I can admire. I recommend the book for all fans of roleplaying games, particularly those that often play Dungeons and Dragons.

This is it for my trial run on Appendix N. If you liked this series and wish to see it continued, please let Morrus know or place a comment. I have enjoyed this writing assignment and have plenty more influences upon tabletop gaming to run through if so desired, from Tolkien and Burroughs and Lieber and Howard and ad infinitum.

May the Dice Be Forever In Your Favor,
Deuce Traveler
 

Sir Robilar

First Post
These were very informative and entertaining, thanks! I hope the articles continue as I'm very interested in D&D's influences in literature.
 

mmadsen

First Post
Holger Carlsen also shares some characteristics with the Paladin character class, in which he has a trusty horse, behaves with a certain code of honor, and can perform such miraculous acts as healing others with his hands.
Some paladin traits? I believe his powers defined the original D&D paladin's powers -- in particular, protection from evil 10'.
 

trancejeremy

Adventurer
Some paladin traits? I believe his powers defined the original D&D paladin's powers -- in particular, protection from evil 10'.

Yeah, pretty much the entire Paladin concept was taken from that book, from his powers to his role (serving as an agent of Law).

While it was based on the Charlemagne stories, the D&D Paladin comes from it, not so much the legends.
 

Jhaelen

First Post
A very interesting series of articles and a most intriguing conclusion (can't xp you right now) since 'Three Hearts and Three Lions' is one of the few novels on the list in Appendix N I never read.
The elves of the story are a delight, and more interesting than the Tolkien-esque elves of Dungeons and Dragons. They are immoral creatures of desire and greed, and completely opposed to the growing influence of mankind which interferes with the influence of their own kingdoms. They are harmed by the touch of iron and dislike the appearance of holy symbols, though it is important to note that these elves are not necessarily evil as much as they are strange, ageless and alien.
Who'd have thunk? That's exactly how I imagine and have portrayed elves in my latest D&D campaign. And yes, I turned them into an npc race; players were only allowed to play half-elves. The main reason, though, was, that I had granted them additional 'fey' powers.

Anyway, elves that actually behave like the fey they're supposed to be are far more interesting than the watered-down tolkienesque elves Gygax decided on to use for D&D instead, imho. That immoral elves work well even as pcs is nicely shown by the Dark Sun setting.
 

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