Reading Elric

Michael Moorcock’s Elric of Melniboné is immensely influential. It not only inspired Dungeons & Dragons—especially its intelligent and cursed swords—but also left its mark on numerous books (The Witcher, the Targaryens in Game of Thrones), comic books (Berserk, and probably many of the "multiverses" form Marvel etc.), and even music (Hawkwind, Blue Öyster Cult, both of which collaborated with Moorcock himself).

In short, Elric is one of the pillars of dark fantasy.

But people often ask how to start reading it. The series can be confusing, since there are so many books and the publication order doesn’t follow the internal chronology at all. The books have been republished rewritten, collected under different names, and so on.

Another complicating factor is Stormbringer—the book that (sort of) concludes the saga. It’s one of the greatest entries in the series (probably my favorite), one of the two Elric works mentioned in the Appendix N, and ironically, one of the earliest to be published.

I’m a big fan of Elric, and part of me wants to just say: Read the whole thing in internal chronological order! But I think it’s easier more helpful to offer a few different starting points.

So, how do we begin with Elric?

Start with Elric of Melniboné (1972).

It’s not the strongest novel in the collection, but it’s a solid introduction to the character, his world, and the themes that define the saga

If you like it, you can go on and read The Fortress of the Pearl, The Sailor on the Seas of Fate, and The Weird of the White Wolf, before going to Stormbringer. 

All of them are great.

But I'd say is even easier to just pick any collection of your choice, as long as it contains the first and the last.

For example (from Wikipedia):

In 1977, DAW Books republished Elric's saga in six books that collected the tales according to their internal chronology:

Elric of Melniboné (Hutchinson, 1972, cut vt [variant title] The Dreaming City Lancer, 1972 US; DAW, 1977) ISBN 0-425-08843-X

The Sailor on the Seas of Fate (Quartet, 1976; DAW 1977), ISBN 0-441-74863-5

The Weird of the White Wolf (collection, DAW, 1977, contains "The Dream of Earl Aubec", "The Dreaming City", "While the Gods Laugh" and "The Singing Citadel"), ISBN 0-441-88805-4

The Sleeping Sorceress (NEL, 1971; Lancer, 1972 as The Vanishing Tower; DAW 1977), ISBN 0-441-86039-7

The Bane of the Black Sword (DAW, 1977, fixup of "The Stealer of Souls", "Kings in Darkness", "The Flame Bringers" and "To Rescue Tanelorn"), ISBN 0-441-04885-4

Stormbringer (cut, Herbert Jenkins, 1965; restored and revised, DAW, 1977, Berkeley, 1984, fixup of "Dead God's Homecoming", "Black Sword's Brothers", "Sad Giant's Shield" and "Doomed Lord's Passing"), ISBN 0-425-06559-6

Now, if you dislike it... we have a few options.

You could go from Elric to directly Stormbringer to see what all the fuzz is about. If you like the story but dislike the prose, there is another great alternative: reading the comics.

Elric's comics and graphic novels

Elric has been adapted several times into comic book format. My favorites are the ones adapted by  Roy Thomas and illustrated by P. Craig Russell and others—and once again, Stormbringer (by P. Craig Russell) stands out as the best of the bunch, but I'd recommend reading the The Michael Moorcock Library first (Elric volumes 1-5: - Elric of Melniboné, The Sailor on the Seas of Fate, The Dreaming City, The Weird of the White Wolf, The Vanishing Tower).

There is also a French version by Julien Blondel in the works, with a few volumes already published. The art (Didier Poli et al) is both dark and really stunning. But the story is much less faithful to the originals, which I'd favor on a first read.

There are other comics that are also worth checking out (The Making of a Sorcerer, Druillet's version, Moorcock's Multiverse, etc.), but I'd start with the "main books" mentioned above.

Additional reading:

https://methodsetmadness.blogspot.com/2025/07/odysseus-elric-epic-musical-and-tragedy.html

https://methodsetmadness.blogspot.com/2024/01/the-appendix-n-project.html

https://methodsetmadness.blogspot.com/2021/03/my-weird-dark-twisted-fantasy.html

https://methodsetmadness.blogspot.com/2023/01/the-broken-sword-one-of-best.html

NOTE: Tales of Argosa is the deal of the day, only $9.98 - 60% off ! I'm a big fan of LFG, so I recommend checking this one out! (affiliate link).

Curiously, this might be a decent system to run an Elric game, due to its "dark" undertones and dangerous magic. I have to read it more carefully before I can say for sure!

Reconsidering random encounters (again)

I'm reconsidering D&D random encounters... again.

OSE (B/X) says this about the chances of random encounters:

Clear, grasslands: 1-in-6.

Barren lands, hills, mountains, woods: 2-in-6.

Desert, jungle, swamp: 3-in-6.

The idea that mountains and deserts should have lots of encounters feels both unrealistic and unnecessary. 

Forests probably deserve more frequent encounters, but honestly, we could just equalize encounter rates across all terrains without much loss. You’d still end up with more fights in mountains and forests anyway, simply because travel is slower there. 

Again, from OSE:

Some types of terrain modify the speed at which characters can travel:

Broken lands, desert, forest, hills: 33% slower.

Jungle, mountains, swamp: 50% slower.

Maintained roads: 50% faster.

Plains might have fewer beasts, sure—but they tend to have more humans, so the total number of encounters could stay about the same.

Here is one alternative: 2-in-6 chances for every terrain. If you are in terrain that could fall under two categories (forested mountains, a river in a swamp, a settlement in the desert), a 1 means you roll on the first table, a 2 means you roll on the second table.

What else?

Do we really need different tables for each terrain? It makes some sense, but when I started reading the AD&D tables, I noticed something odd. In alphabetical order, there are no giant ants, badgers, beetles, or beavers listed for mountain terrain. That’s not very precise either. In B/X, there are no undead in forests and no insects in mountains. Is there a reason? This probably deserves some revision.

Rivers are trickier. If you’re in a boat, you’re likely to miss or ignore most fish, and even common alligators or snakes. Most rolls end up feeling wasted. So maybe rivers need their own table too—unless you’re swimming, which isn’t all that common in my experience.

Then there are city encounters, which clearly deserve their own separate treatment - the reasoning is completely different (distance, surprise, reaction, numbers found, etc.). Same goes for the sea. 

In the end, we’re left with intricate encounter tables that don’t always mean much.

Well, anyway, I've been looking for the perfect random encounters and I haven't been able to find them. I fixed some things I disliked in Basic Wilderness Encounters, if you want to check it out. I've also made a small app to quickly check for encounters and weather. But I guess I'll keep looking for ways to improve these procedures.

Manic at the Monastery (OSE adventure review)

Disclosure: The author has contacted me to offer a review copy.

From the blurb:

Manic at the Monastery is an old-school adventure for character levels 1-3 that has players exploring the secrets of an ancient monastery wracked with a psychedelic affliction. Rumors are spreading that the enigmatic Veiled Emperor has returned to Glynmoor, and there have been strange happenings near the monastery. Brave the horrors within and uncover the source of the madness before it spreads.

Manic at the Monastery comes with an Old-School Essentials version and a Worlds Without Number version. I've only read the OSE version. I'd suggest level 3 is more appropriate, which becomes obvious with a quick look at the bestiary—there are also several deadly traps that will certainly kill most level 1 (and probably level 2) parties before they explore most of the module.

This adventure has all the traits that are expected in an OSE adventure: random encounters, random events, rooms described in bullet points, good opportunities of exploration, combat and role-playing, a clean layout and terse language. 

The art is a bit sparse, most of it is simple, B&W and not particularly impressive. The maps are straightforward enough and some sections are duplicated for ease of reference.

So, what makes this adventure stand out? First, it is very grounded and setting-agnostic, which I enjoy. There are no orcs or dwarves here, only humans. The monastery is easily adaptable to any setting or even to a real-world-inspired scenario.

It has good thematic coherence, with one single threat being the source of most problems. It doesn't have the successive rooms of skeletons, giant bats and goblins that I usually find tiresome.

I'd call it mostly grounded, with some weird and just a bit of vanilla.

The adventure is a bit gritty; there is real risk here, even for 3rd-level characters. It contains a "ticking clock" of sorts; spending too long in the dungeon is dangerous. I find this very useful. 

It can serve as a good introduction for a campaign as it has some indications of an incoming doom of sorts, although this is not described in detail here (the author is planning on sequels).

I might have used this module in my campaign, come to think of it. Maybe one day I will; right now, the PCs are level 7-8 and it would be too easy.

It reminded me of The God That Crawls at first, mostly because of the religious setting (and because it would apparently kill the level 1-2 PCs that are supposed to enter it), but I think there is one useful comparison to be made with that famous module. While TGTC is full of weirdness and stuff that can affect your entire campaign, MATM is smaller, safer, terser, easier to run and to insert in your setting without much hassle.

If that's is what you're looking for, I'd recommend checking Manic at the Monastery out.

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