Simply put, Rime of the Frostmaiden feels like the first adventure module in another era. It’s an era that begins with Waterdeep: Dragon Heist and continues through Eberron: Rising from the Last War, Guildmaster’s Guide to Ravnica/Mythic Odysseys of Theros, and Baldur’s Gate: Descent into Avernus. One of the defining features of this era is a move towards more larger than life moments. Inside the books above and, in Frostmaiden as well, you’ll come across moments that feel like something you’d find in an actual play stream or podcast. And it’s little wonder, considering that streaming/casting shows are on the rise right now. Whether it’s racing on giant infernal war machines that are part machine, part demon, all metal–or dealing with an Awakened Plesiosaur, moments that feel meant for “good TV” abound in the game. Which isn’t a bad thing. Not by any stretch.
In fact some of the more over-the-top moments are among the standout features of Icewind Dale: Rime of the Frostmaiden. Seriously, this is one of the more whimsical D&D adventures if you take little more than a passing glance: you ride on the back of a magical Narwhal, deal with all sorts of magical nonsense like Living Spells gone awry, potentially even fight a goddess while investigating the magitech ruins of a past age. Not that there’s a shortage of serious moments either, but Frostmaiden is meant to feel fun. You might be asking, isn’t that a good thing? Shouldn’t all adventures be fun?
