The Gnoll Truth, or, Yeenoghu Looks Like a Lady

Maybe OD&D gnolls were a cross between trolls and gnomes, but the gnolls that have entered the collective gaming unconscious are the anthropomorphic hyenas from AD&D.

It's not a big leap to think that hyena-like qualities should therefore inform gnolls' characteristics. It's been done to varying degrees before, starting back in Roger Moore's article in Dragon #63. I've never seen anyone work through all the implications of this, though. Certainly, it doesn't seem that's anyone's ever given much consideration to the folklore and historic beliefs regarding hyenas.

There are four species of hyena, but gnoll art tends to most commonly make them resemble the spotted hyena. Maybe there are more than one gnoll species, too? Perhaps there's a rare, gentle and insectivorous humanoid aardwolf. Or maybe they're not so gentle and they dine on formians?

Anyway, spotted hyenas are hunters and scavengers. They have powerful jaws and specialized dentition to crush bone--they are reported to outclass brown bears in this regard. They bring down game in packs, but they also follow other predators and steal their kills. They've also been known to dig up recently buried bodies from graves. Hyenas possess the ability to digest all the organic material in a carcass, including bone.

Male spotted hyenas are slightly larger than females, but otherwise there's very little to distinguish the sexes. Interestingly, even the external genitalia is similar due to the female's clitoromegaly (How's that for a conversational factoid?). Hyena clans, in fact, are matriarchal--led by an alpha female with high levels of androgens (male sex hormones).

Hyenas compete from birth. Particularly in same sex litters, neonatal fratricide (siblicide?) is common. Clans are hierarchical, with the pups of dominant females outranking the adult females subordinate to their mother--unless she dies.

Study of the spotted hyena gives us gnolls in matriarchal clans, who are fairly indistinguishable in terms of sex. There are probably some unusual--uh, physical characteristics of female gnolls--I'll leave it to individual GMs to work out the implications of those and how much game time they gets. On firmer ground for a game about killing things and taking stuff, gnolls probably eat their slain foes--bones and all. Also, competition is fierce within the clan, and only the strongest make it to adulthood.

So that's the current state of hyena knowledge, but there are some interesting things to be gleaned from outmoded/folkloric ideas. Take a look at this quote from T.H. White's translation of a twelfth century Latin bestiary, The Book of Beasts:

"[the hyena] is accustomed to live in the sepulchres of the dead and to devour their bodies. Its nature is that one moment is that it is masculine and at another moment feminine, and hence it is a dirty brute...it frequents the sheepfolds of shepherds and walks around the houses of a night and studies the tone of voice of those inside with a careful ear for it is able to do imitations of the human voice."

Again there's the link between hyenas and the dead; between gnolls and ghouls, both under the demon-lord Yeenoghu's purview. But how do we make sense of the rest of it?

Well, maybe all gnolls are skilled vocal mimics. Perhaps their shaman's are gifted by their god to imitate the voices of others?

And the sex switch? Given the unclear separation of sexes among his people--and their matriarchal nature--I suspect Yeenoghu is a hermaphrodite, or perhaps genderless, but probably referred to by gnolls with a feminine pronoun (if their language has such a thing). Yeenoghu is a consummate trickster then, not even willing to stick to one gender. Possibly, gnoll shamans follow their god's/godess' lead and go by the pronoun of the other sex, symbolically becoming like their deity. Maybe hermaphrodites are especially holy?

There you have it: gnolls informed by hyenas in fact and folklore. Who'd of thought hyena-men could so easily out weird troll/gnome hybrids?

Wizards Three and the Apportioning of Loot

Amid the works constantly updated in the Library-University of Tharkad-Keln is an encyclopedia of famous, or infamous, mages. In its pages, one may find the likes of Kulu, Urthona, and of course, Yzorddathrexes.

Among the lesser--but no less interesting--arcane practitioners are the three wizards from the tavern tale "The Apportioning of the Loot." While we'll not concern ourselves with a recitation of that tale here, the strange events in the life of its principles are worthy of consideration, if for no other reason than they underscore the dangers of the thaumaturgical arts.

Kodos Nharn: Youngest of the three wizards, Nharn was a voluptuary, or (self-proclaimed) aesthete of worldly pleasures. He and Elberond Turms had quarrelled over a wand of exquisite workmanship and obvious sorcerous potency, and might have come to violence over it, had not Yrrol Othus interceded with a compromise. Turms got the wand, and Nharn two other items--a scroll and a jeweled bracelet. The bracelet he sold to pay off the debts accrued from his extravagant lifestyle. The scroll he kept, as he found it to be an item unchronicled in any catalog of arcane antiquities he consulted.

It was only seen once by anyone other than Nharn, as far as is known. A servant reported it to be a painting of an audience room of a sort, well-appointed, wherein a voluptuous, darkhaired woman in diaphonous green robes reclined on a great couch upon a dais. She was attended by beautiful youths of both sexes, also attired in diaphonous tunics. There was a sorcerous aspect to the painting in that, the servant averred, it looked like a scene from life somehow frozen in time rather than an artifact of brush and paint.

Nharn took the painting to his private chamber and it was never seen again. Nharn seldom emerged from his chamber thereafter, except to call from something from his servants. It was said that sounds of feasting and merriment, and strange music could be heard coming from the room, and sometimes unmistakably, more--primal--sounds of pleausure emerged. Yet no one but Nharn was ever admitted to the room.

This went on for a year. Then, on the night of midsummer, in the small hours, a beautiful, darkhaired woman emerged from the room. In a strange accent, but unmistakable tone of command, she released the servants from their duties. Then, she disappeared into the night. Nharn's creditor's took the house and all his belongings, including a weirdly realistic painting of a thin and dissipated Nharn, lolling drunkenly on a great couch, surrounded by sunken-eyed youths. This last item was purchased at auction by an anonymous collector, and has never been seen again.

Elberond Turms: A wizard of middling talent, but of some renown for his highly developed sense of fashion. Thanks to his wit and style, Turms was frequent a guest of the nobility. Turms was given a wand of exceedingly fine make from the haul. This wand increased his abilities several fold, and with its powers, combined with the patronage of his social connections, Turms established himself in Zycanthlarion. Turms was quit successful for many years, and the wand was seldom out of his hands. He was seen to talk to it at times, perhaps even argue with it. This eccentricity did little to harm him socially, but not so an ill-considered comment made publicly.

Perhaps under the influence of too much Trosian wine, Turms compared himself favorably with Yzorddathrexes. Though the archmage had not been seen for centuries, his Eidolon Tower still appeared above the city, and at intervals its base appeared in its streets. The tower and its master evoked a good deal of superstitious dread. Fearing sorcerous retribution for the insult, high society began to shun Turms, who soon turned to mind-numbing drugs to ease his own anxieties. First ostracized, then reclusive, Turms had vanished from Zycanthlarion altogether within months of the comment. A ragged street mountebank meeting Turms description (if one allows for the ravages of self-abuse) drowned (or was perhaps fatally bitten by a river-shark, accounts differ) in the town of Eelsport, after a lengthy argument with the fancy scepter he gripped tightly, even into death. Zycanthlarion society is still divided on whether the great Yzorddathrexes ever redressed the insult or not. The wand presumably lies in an unmarked grave still held in a moldering hand.

Yrrol Othus: Oldest and wisest of the three, it is said, Othus was not given to weaknesses of carnality, vanity, or over-ambition. To Othus, the supreme pleasure of the arcane arts was in acquiring knowledge. He chose from the treasures a potion--transparent in color, but given to producing prismatic eddies and oil-slick iridescence when shaken or swirled. The substance in the vial is now know by alchemical sages to have been phantasmagoric ahlzo. Uncharacteristically rash ingestion of the liquid led Othus to be able to perceive the noumenal planes and their denizens intersecting our own world unseen. Leading to even greater disorientation, he began to perceive the seething, chaotic maelstrom which arcane philosophers hold forms the multiverse's substratum. Alternately driven to horror and ecstasy by these visions, Othus eventually sought out the Harlequin Mage, and with that insane dwarf as a guide is said to have descended into a green-lit subterranean realm where the roiling, gelatinous dream-fragment of a dead, chaos god-thing was to be found.

No one knows, of course, what became of him, but two schools of thought predominate. One holds that he was there subsumed into the insane godhead and exists now only as a ephemeral fancy in that unfathomable mind. The other theorizes that he retains his form and individually and stays as the deity's sole worshipper, receiving its whispered, incoherent pronouncements for eternity.

Of Weird and Wonder

Media of the fantastic, it seems to me, has two primary modes for evoking encounter with the numinous. I've been thinking of these, of late, as "weird" and "wonder."

Okay, in one sentence that's probably more lit-theory words than a guy with a biology degree should be allowed to use in a day (even on the internet) but indulge me, dear reader...

"Weird" we sometimes think of as a genre, as in "weird fiction" or "the weird tale" (or Weird Tales). HP Lovecraft adopted the term from Sheridan le Fanu, and defines it in his essay "Supernatural Horror in Literature":

"The true weird tale has something more than secret murder, bloody bones, or a sheeted form clanking chains according to rule. A certain atmosphere of breathless and unexplainable dread of outer, unknown forces must be present; and there must be a hint, expressed with a seriousness and portentousness becoming its subject, of that most terrible conception of the human brain--a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the daemons of unplumbed space."

As ST Joshi points out--and as a review of weird fiction reveals--weird can pervade several different traditional genres: horror (of a couple of different stripes), fantasy, ghost stories, and science fiction. A related form is the French literary genre of fantastique which is about supernatural incursion into realist narrative.

I think this gets at the key to weird. It's about things which are unnatural (or perhaps suggest a radically different interpretation of nature). The occurrence of these events is often transgressive or surreal. They can be used to evoke horror, or unreality, or decadence --maybe all three--depending on the context. I think this is perhaps succinctly analogized by one of the character's in Machen's "The White People": "...how awful it is. If the roses and the lilies suddenly sang on this coming morning..."

Weird is the Garden of Adompha, the city of Xuthal, the Horla, and The King in Yellow. It's also the Gray Caps, fungoid overlords of Jeff VanderMeer's Ambergris, and the red-curtained room with the oddly speaking dwarf in Twin Peaks.

"Wonder" encompasses what, in the discussion of science fiction, is called "sense of wonder," and in comic books is called "mad ideas." It's about the rush of understanding--or often just confronting--a novel concept, or an old concept in a radically new context. It's a response to encountering the sublime--at its purest its the sense of awe. It's an experience of the supernatural in a context of reverence, in the literal sense of greater than nature. As Damon Knight wrote, it's "the widening of the mind's horizons, in no matter what direction."

Wonder hasn't been identified as cleanly in the literature as weird. It really comes into its own in film where visual effects (special and otherwise) combine with calculated musical selection to push us in its direction.

Wonder is Lothlórien, Shai-Hulud, and "My God--its full of stars!" It's Jack Kirby's New Gods, Avatar's flying mountains, and Gaiman's Dream confronting Lucifer Morningstar in Hell.

While weird evokes the paranormal and "negative" qualities, wonder evokes the transcendent and "positive" qualities.

An interesting question, I think, is can these sensations be evoked in gaming?

Certainly, I feel like weird can. I think since the earliest days of the hobby, adventure writers and creature designers have groped for it. The blogosphere is full of efforts to bring it to bear, many successfully. I think its more than a matter of aping nineteenth century gothic lit, or 1930s pulp fiction, though. Some of those elements are too familiar. Borrowing of ideas from newer sources like fiction of the New Weird, the films of David Lynch, or some foreign horror films (euro- or j-) will probably do the trick. Kenneth Hite's works on gamemastering horror would also probably prove instructive.

Wonder is a bit tougher. Without visuals, it hinges on appropriate description--which is tough to do off the cuff and without knowing where the audiences' heads are going to be at the moment the description is delivered. The comic book approach of "mad ideas" where there's less focus on the centerpiece scene, and more on a flood of the "impossible" (or at least the kind of trippy) to create a similar effect. If you can't describe the city in overview in such a way that your player's are in awe, you can whittle them down with a lot of "smaller" amazing things as they're coming into town. The risk, of course, is in overdoing it, and making the interesting things too common-place.

Forgotten Fantasy: Along Came A Spider...

Today, Jim of the Flashback Universe, a friend of mine and player of Brother Gannon in my current game, steps up to offer a defense of a book from an era in fantasy literature I usually dismiss...

Back in February, when Trey posted his nice Forgotten Heroes of Sword and Sorcery, I somehow reimagined the singular article as a new series of posts and quickly promised to contribute something the series.

Trey was quick to bring to my attention that the article was not a new series, but was simply a standalone post. Still, that didn't keep him from accepting my offer to contribute to this site. So, I present today a sequel to a post that didn't really need one: an examination of another Forgotten Hero of Sword and Sorcery – Dar elLan Martak, the champion of Robert E. Vardeman's Cenotaph Road series.

March 2010 marks the 27th anniversary of Robert E. Vardeman’s Cenotaph Road – not necessarily the type of anniversary one makes note of typically. You can either call me early to the 30th anniversary or late to the 25th, but be that as it may, the first book in the series was originally published in March 1983, so there you go.

Prior to the Cenotaph Road, Vardeman’s main claim to fame was that he was co-author on the War of Powers series with Victor Milan. While I can’t really tell you how will War of Powers series sold,  it seems it’s modest success during what many consider a lean time in the Fantasy genre, coupled with a resurgence of interest in the genre was a enough to convince publisher Ace to green light a series of books on which Vardeman would be the sole author.  In total the Cenotaph Road series runs over five novel , and Vardeman used the series to revisit two characters he had first presented in a short story called "The Mating Web" in the Offutt-edited Swords Against Darkness III back in 1978. These characters were the previously mentioned Dar, a sort of reckless ranger type of character and a huge 12-foot spider named Krek.

While this pairing of adventurer and giant spider had been seen before in the pages of Piers Anthony’s Castle Roogna, Vardeman’s original short story presenting the idea predates Castle Roogna by a good five years. Interestingly enough, the hero in Castle Roogna is named Dor. Make of that what you will.

"The Mating Web" was not the only story Vardeman reused in the making of the first Cenotaph Road novel, as chapters one and two were appropriated from a short story called "The Road to Living Death" that appeared in Shadows Of in 1982. As one might suspect, the weaving together of old short stories into the larger framework of a novel was not entirely successful, with the first two chapters introducing characters and information that seem unnecessary at best and incongruous at worst.

At its best, the book had the light breezy feel of an author exploring concepts he had long thought about over years of crafting short stories. Once one gets past the haphazard first two chapters wherein the hero's paramour and sister are raped and killed in different circumstances, the story slowly starts to find its true tone, which is a sort of cross between the Robert Asprin Myth Adventures series and the Dragon Knight novels of Gordon Dickson, with maybe a little of the driving pace one might see in the works of Jack L. Chalker. The primary plot of the first books is a bit simplistic, but it belies a more intricate and insidious subplot that will unfold over the course of the series.


Why has this series never been republished?  I don't think we have to look any further than the inscrutable character of Dar. While the story is told from his point of view, I’ll be damned if you ever really get to know the character. Mostly that’s because he seems to sort of just act as a plot device to move you from one scene to another rather than be a fully fleshed out character.

Early on we are told he is good natured and the local sheriff views Dar like his own son. Yet in the same chapter, it is suggested Dar is not only no stranger to violence but that he has no trouble killing his opponents. I guess the sheriff could come from a really bloodthirsty family, but the two descriptions still seem a little at odds to me.

We are also told Dar possesses unparalleled woodsman skills honed from years of experience in the woods, but within the same chapter we are told Dar was able to decipher ancient runes on crypt which have escaped interpretation by scholars for ages.  Again, this seems like an unlikely pairing of character traits.

Possibly his worst sin is that Dar is just sort of boring. Despite him being the hero of the novel, you hardly care when at the end of chapter one he has been framed for murder.

I’ll be honest, if it weren’t for the promise of a giant spider that appeared on the cover, I doubt my 20 year-old self would have ever finished the series.

Fortunately, if you hang tough for another chapter, you will be rewarded when Dar resigns himself to a life traveling to distant worlds via the dimensional gateways that mystically appear at unmarked gravesites, from which series takes its name. For it is on the Cenotaph Road that Dar meets the real star of the series, Krek, the giant spider from the Egrii Mountains.

The character of Krek is just flat out awesome. Too chicken to stay and provide a meal for his mate, the monsterously huge Klawn, Krek has fled his beloved mountain home in search of adventure but throughout the series, he suffers from a bouts of guilt for having betrayed his arachnidian nature. Of all the characters in the first book, Krek feels like the best fleshed out. He is a nice combination of whiny Doctor Zachary Smith from Lost in Space and appalled Spock from Star Trek. His constant indignation at the fraility of humans and their inability to comprehend spider cultural bugaboo are the best thing in the book. He also makes for an interesting action character as all of the best battle scenes center around Krek.

On the flip side, there are times when seems like Vardeman doesn’t quite understand the enormity of Krek as a character, and because of this, some of the humor bits fall a bit flat. In one scene where in Dar is lamenting his inability to penetrate a huge fortress, he fumes when Krek finally reminds him that as a spider, he can easily scale the castle walls. Ha ha! Of course! How could he forget!

Taken as a stand alone story, the first book ends well enough, with some nice plot twists and character moments. If Vardeman’s weakness was cardboard characterizations, his strength was his well thought out plot, sense of humor and innovative ideas. As the series progresses, with the exception of some rather awkward sexual situations in the third book, it builds nicely on the character of Dar and his relationship with Krek. That the series has never been republished in some collected edition is a crime.

For while I can’t really blame you for never having heard of Dar elLan Martak, that you have never enjoyed the witticisms of Krek is a shame.

Turns out Vardeman's second Cenotaph Road novel was titled The Sorcerer's Skull!  Small world.

Warlord Wednesday: Duel of the Titans

Here's another installment of my issue by issue examination of DC Comic's Warlord, the earlier installments of which can be found here...

"Duel of the Titans"
Warlord (vol. 1) #4 (December 1976-January 1977)

Written and Illustrated by Mike Grell

Synopsis: In the palace of Thera, Deimos gloats over his captive, Tara.  A guard rushes in to warn him of an attack--which a cannonball through crashing through the wall emphasizes.  Morgan and his army have arrived. 

Using siege equipment Morgan taught them how to build, his army is overruning the Theran forces.  Deimos is pleased, however, as he's counted on Tara being bait to draw Morgan to him.  Using the mysterious scrolls of blood he conjures up a giant, demonic creature.  When the creature begins to turn the tide of battle, Machiste suggests retreat.  Morgan instead climbs a seige tower to shoot Deimos, but the villain is using Tara as a shield, so he shoots the strange device from which the demon materialized.  The demon dissipates as the device shatters.  Morgan uses the self-destruct device from his plane, set off by a shot from his pistol, to blow open Thera's gates.  Morgan's army takes the city, and Morgan cuts through all who oppose him to get to Deimos. 

He finds his nemesis attempting to flee with Tara still captive.  Desperate, Deimos challenges Morgan to a duel for his freedom.  Over Tara's objections, Morgan agrees.  Morgan has them fight in darkness, and Deimos draws first blood, but Morgan's fury carries the day, and he kills Deimos with one blow.  The tyrant slain, Tara and Morgan plan to return to Shamballah, but Morgan urges his army to continue the fight for freedom.  Ignored by the victors, the tome known as the scrolls of blood lies next to Deimos' body.  Its cover reveals it to be the technical manual for a solid hologram projector.

Things to Notice:

• The deity Deimos served as high priest was the sun god.
• Deimos has apparently read Dante's Divine Comedy, or either he (and Dante) have actually been to the gates of hell.
• Despite the Skartarians having weapons suggestive of at least a Medieval European level of technology, they've never invented siege equipment dating from several centuries BCE in the outer world.
• Again Morgan foils Deimos' plans with a well-placed bullet through a technological device.

Where It Comes From:

This issue's title likely comes from the American title of a 1961 sword and sandal film (Italian title: Romolo e Remo) directed by Sergio Corbucci and starring Steve Reeves and Gordon Scott. Corbucci is better known for his Spaghetti Westerns, with Django (1966) probably being the most famous. Reeves is best known as Hercules in Italian sword and sandal films, while Scott played Tarzan in five films and three episodes of an aborted TV series.

Deimos' quote ("Abandon all hope, ye who enter here") is a common translation of the Italian phrase "Lasciate ogne speranza, voi ch'intrate," which is the inscription over the gates of Hell in the Inferno section of Dante Alighieri's fourteenth-century epic poem, The Divine Comedy.

Deimos' use of the scrolls of blood demonstrates Clarke's Third Law: "a sufficiently advanced technology is indistinguishable from magic." Apparent magic actually turning out to be ancient technology is a common pulp fiction trope.

Post-Game Report: After the Wave

Uncertainty in the wake of a tsunami. The vague feeling persists that the party has missed something (and they have). When in doubt, seek out Magical Orders for answers. Renin’s prophetic dream is better appreciated post-disaster. Riches fallen from the sky are on everyone’s mind—but how to get to them? A ship is needed, but in a devastated port, none are available. Old enemies in the criminal underworld are approached, and agreements struck, but sea transport isn’t one of them. A detour to haggle with a magic-monger proves fruitful. On the other hand, smuggler kingpins are busy men and difficult to contact through strangely-accented intermediaries. A chance encounter offers a ship for hire within the week, and reveals the troubling history of the destination.

Sunday's installment of our Warriors & Warlocks campaign, freely adapted from Paizo's The Second Darkness, featured the usual cast: Zarac the acquisitive veteran, Renin the psionicist with the troubling dream, and Brother Gannon the thief in monk's clothes.  Apearances were made by the half-elf mage Samyrantha Bel-Tanis, their friend in the Esoteric Order of the Cryptograhers, and their enemy, crime boss Clegg Haddo, who's now their business partner in the gambling house they "inherited."  The party's new employer was introduced: merchant speculator Tavrem Kalus.

This session revealed one of the problems inherent in the the whole "adventure path" thing. The player's missed out on a major story reveal at the end of the first module, which was no big deal there--advice was even give on how to handle that--but module two begins with assumption that the player's got all the pertinent information from the last one, and offers no alternatives. It wasn't terribly difficult to work around--after all, the total of modules I've gamemastered in my whole career being somewhere short of ten, I'm used to making stuff up--but it seems an oversight.

So left in the limbo between the official end of the last module, and the vague beginnings of this one, the player's got a little time in the "sandbox" of the city of Raedelsport, which I worried might bore them, but apparently didn't.

Despite the over a month gap since we last gamed, the player's are actually beginning to remember stuff about the city's locations and personalities (or at least getting better at remembering where to find them in their notes). Everyone seems to be having a good time, though the two more novice players (one of them just started playing with this campaign) are a little tentative at times.

And we've finally arrived at a system to ensure the economic burden of the traditional game pizza order is shared fair and equitably by habitual cash carriers and non-carriers alike, so there's that.

Hateful Glare: The Beholder Examined

"Well, it was as I was sayin', sirs. Me and Ninefinger Nev had been hired to help this crew--out-of-towners, but experienced-like--for this smallish delve. Easy break and grab, it seemed.

And so it were. At first.

Their lockpicker was at work on a couple of Thystaran strongboxes, when a scout--Northern feller, Hrarn, was it?--comes back from checking down-tunnel a peice, pale as a corpse. 'Fore he can get a word out, it comes floatin' in. Never seen one before, but I heard plenty, and knew it for what it was soon as I saw it.

It comes in slow, unhurried-like--floaty--like its riding a gentle breeze, only of course there ain't no breeze and never would you get one big enough to move a monstrosity like that, anyhow. It's eyestalks are moving all about like its lost something and can't find it, and its one big eye is jerkin' and twitchin'. By the gods, sirs, it looked like it was nervous! Or maybe, paranoid might be more the like.

Anyways, it floats in bold as you please--unconcerned--paying us no nevermind, really. And its lips are moving like its talkin' to itself! Mumblin'. Couldn't make out no words, but it was like it was off in its own world.

Then, the captain calls for the mage, and that sound seems to snap the beast to. Its big eye focuses and the little ones quit squirmin'. The thing starts laughin'--gigglin'-like--high-pitched and crazy.  Then there's witch-fire 'round the eyestalks, and a cracklin' sound, and I dove for cover behind those strongboxes. And not a moment too soon.

I had my head covered, so I saw no more, but the screamin' started right quick..."

- Transcript of interview with Hout Gedry, conducted by Tuvo brek Amblesh, Magister of the Library of Tharkad-Keln.

"Exterminate, annihilate, DESTROY!!!"
- Doctor Who, "The Power of the Daleks" (1966)

By the standards of most intelligent beings, the creatures known as beholders are insane. They hold a hatred beyond reason of all non-beholder life, and spend their time either in gleeful murder and destruction, or in deep reverie, fantasizing about future horrors they might commit. A multiverse cleansed of every other living thing is their fondest wish.

Other beholders are not free from their violent proclivities, either. They hold strict and capricious ideas of racial and intellectual purity, which may lead them to turn on each either with little provocation. This leads to perhaps justifiable paranoia that any other beholder they may encounter is a would-be assassin. Only occasionally will a beholder emerge with the force of personality, intellect, and brute strength necessary to gain the temporary loyalty of others of its kind.

Beholders worship no deities. They refuse to acknowledge any power greater than themselves. The destruction of a vulnerable godling is one of the few tasks that have brought beholders together in the past. When confronted by higher order beings they may either become sullen and passive aggressive, or unreasoningly violent, and effectively suicidal.

Discussion of the biology of these beings is largely fruitless as their physiologies don't conform to terrene physical requirements. They don't appear to have organs in the usual sense, and sages believe that their substance my extend partially into other dimensions. Some have made the case that their peculiar mental processes may be a result of this.

Beholders have never been seen to reproduce. Some scholars hold that they propagate by budding, though admittedly with no evidence for this assertion other that some vague notion that their inner workings resemble animalcules writ large. Others theorize that they do not reproduce at all, and so there are only a finite number of beholders in existence.

If true, that perhaps provides a sort of twisted reason for their behavior. Unable to countenance lesser beings going on when their great race fails, they strive to bring an end to everything.