A Cat of Tindalos

A Cat of Tindalos

Thursday, November 16, 2017

Roses “Hawklord2112” Kingston's Dungeon World Grick

Inspired / enthused by +Mark Tygart​​'s Grell post...
Another of my favourite 3e mobs, The Grick
Small, subterranean, Mindless, Hunter
6hp, 1 Armour
SQ: unharmed by unenchanted weapons.
Barbed Tentacles, b(2d4)
Instincts: hide and Eat

Grick are aberrant, a cross of slug, squid and nightmare. Silent in motion, able to stick to walls and ceilings, and to create burrows in most types of rock.
Usually solitary but every so often Grick will swarm together, gorge themselves on whatever they can find, then spawn and lay thousands of eggs.
Grick are blind, chemotactile and use a form of magical spatial perception to locate prey.
* drop from above
* stalk silently
* shred armour with tentacles

Tuesday, November 14, 2017

Dungeon World Grell

GrellSolitary, Large, Intelligent, Hoarder, Planar
Tentacle grab (d12 damage)16 HP0 armor
Close, Ignores Armor
Special Qualities: Paralyzing Tentacles, Flight

Grell are fearsome alien predators who exist only to devour other living beings. These aberrations divide all creatures into two categories, the eaters and the eaten, and humans fall into the latter. Grell resemble a bloated flying jellyfish. Their gray-green mass is covered in folds and wrinkles and appears like nothing so much as an enormous brain with a hard bony beak. The creatures have no eyes, instead perceiving the world by receiving sound waves and electrical impulses through their skin, which functions as a single huge ear. A grell is immune to gaze attacks, visual effects, illusions, and other attack forms that rely on sight. A grell’s body is naturally buoyant. This buoyancy allows it to fly at a speed of 30 feet. This buoyancy also grants it a permanent feather fall effect (as the spell) with personal range.A grell has ten pink or purple prehensile tentacles with retractable barbs that inject a paralytic toxin. Sages hypothesize that the creatures spread from world to world by planar travel, either through magical portals or the Vale of Shadows. Grell have no ambitions of conquest or slavery, desiring only food, making a grell a purely local problem, but left unchecked it can represent a plague of predation capable of depopulating an entire area. 

Instinct: Devour humans

*Paralyze with a touch
*Grapple with tentacles
*Disappear into shadows

New Dungeon World Product: In Search of an Unknown Adventure

Way back in 1978, Mike Carr wrote a module for Dungeons and Dragons, the first module ever printed for the game. This classic module was called In Search of the Unknown, and it included tips for GMs, sample characters, rules for hirelings and henchmen, and was designed to be as flexible as possible. Rooms were largely left for the GM to stock with treasure and monster, and a list of suggestions was given at the end for the GM to tailor to their wishes.

The module is fondly remembered as a great introduction to the game of Dungeons and Dragons and in many ways could be described as a precursor to Marshall Miller’s now classic Dungeon Starter format for Dungeon World. It along with Dyson Logos’ release of his copy-write free (Creative Commons License) “Requasqueton” map inspired this super-sized starter.

I wrote a draft in hospital waiting rooms hoping for a happy holidays for my family. I'm glad to say, for now at least, wishes do sometimes come true.

Now go kill some monsters.

Friday, November 10, 2017

New Monster-of-the-Week Mystery

The Meenlocks Want You!


 Comments, feedback and War stories are all welcome...

They would like to join you for Thanksgiving Dinner...

Group, Small, Devious, Intelligent, Terrifying
Chitinous pincers (d8 damage)
6 HP
1 armor
Special Qualities: Horrid alien features, Telepathy

Meenlocks are two-foot tall, bipedal creatures with horrid, insect-like features that are covered in black, shaggy fur. They live in small groups (no more than 5 to a group) in underground caves. The mere sight of a meenlock can cause low-level intelligent creatures to collapse in fear, their touch causes paralysis. If a meenlock lair is disturbed, the occupants will silently follow the responsible party and wear down a single member (chosen generally at random, although humans and paladins will be given priority) with a continual low-level telepathic assault that manifests as whispered voices, strange noises, and other phenomena only perceived by the chosen target. When their weakened prey beds down for the night, the meenlocks will attempt to paralyze them (killing anyone else who resists), carry them back to their lair while still alive, and turn them into another meenlock through a short, gruesome procedure.

Instinct: Protect the tribe

  • Touch causes paralysis
  • Telepathic assault
  • Relentless

Sunday, November 5, 2017

Sky-Blind Spire Dungeon World Conversion Notes

Here are my long delayed Dungeon World conversion notes for Michael Prescott's wonderful The Sky-Blind Spire adventure location: https://drive.google.com/open?id=1_RdhNKkWbTJWRogy3MuS_W06m3a-i_MM

Here is his adventure: http://blog.trilemma.com/2016/04/the-sky-blind-spire.html

Happy adventuring!

As always feedback, war stories and general comments are deeply appreciated.

Friday, November 3, 2017

Advanced Readings in D&D: Fritz Leiber


Advanced Readings in D&D: Fritz Leiber

Guys, Fritz Leiber’s Fafhrd and Gray Mouser are basically the bee’s knees. In fact, I might go so far as to say they are the most Dungeons and Dragons of anything on the Appendix N list. Leiber obviously couldn’t have known that when he was writing the duo—at least not at first, starting them in 1939, but I guess perhaps he found out along the way, since he wrote them until 1988—but more interestingly, I don’t think Gary Gygax could have known, either. Now, obviously he knew that it influenced him in creating the game, but the thing about the Lankhmar stories is that they are actually how people play the game as well.
You know, I saw a funny image recently that had a picture of Aragorn, Legolas, Gimli and the Rohirrim all posed like a bunch of cool looking tough guys, all epic in scope, with a caption of “How Most D&D Groups Begin” and then it cuts to an image below it labeled “How Most D&D Groups End” with a picture of the Monty Python crew in Holy Grail. Snerk. Still, I do find that most roleplaying groups have a strong element of black comedy running through them, along with a charming sort of nihilism. They aren’t all flowery speeches to elf queens; in fact, more often they are sarcastic quips to bartenders. Which, in a nutshell, is Fafhrd and Gray Mouser’s game.
Where to start on Fafhrd and Gray Mouser? Well, you might as well start at the beginning, with Swords and Deviltry, the first collection, since it has their meeting and each of their prologues. Let me illustrate it thus: Fafhrd straps fireworks to his skis at one point in order to rocket across a jump. That sort of insanity is just so…well, so Dungeons and Dragons; I don’t know how Leiber does it. I mean, I just had an AD&D campaign end when our bard, after crowdsurfing a horde of damned and demons, delivered the killing blow to Zuggtomoy with a roll of a natural 100 on a rod of wonder, which on the alternate table we were using was “death ray, no save.” It was epic, in the truest sense of the term, and was only possible thanks to the critical mass of multiple players, a convoluted prior history of adventuring, random number generators, and sheer dumb luck. That makes sense, but Leiber’s imagination is so fruitful that…well, it is like he has a chaos theory generator in his head. Billions of flapping butterflies.
Personally though, Swords Against Wizardry is my favorite omnibus, because it has the story “Stardock” in it, which is my favorite Fafhrd and Gray Mouser story by a mile (even if it doesn’t have Lankhmar in it). In short: the pair decide to climb the highest mountain in the world. You know; like if Everest came complete with the boilerplate fantasy hyperbole—like if Olympus Monswas on Earth. On a rumor, a riddle…because of course these two adventurers would undertake a task no one has ever accomplished because of a poem. With a snow leopard as a companion. Sounds like Mouser took a level in Ranger to me; it explains why he can dual-wield Scalpel and Cat’s Claw, too, for that matter.
Of course, just climbing an impossible mountain is almost too easy! So we get to have giant invisible flying manta rays trying to eat them, while invisible demigods riding on the giant invisible flying manta rays are trying to murder them. Well of course, you are saying, that is just obviously what happens when you try to climb past the rime and ice of a primordial peak. What else would you expect? Weird gnomes? We’ve got them too! Also, and perhaps most crucially, there are also invisible demigod ladies who’ve taken a fancy to our heroes.
We’ve talked about ladies and their representation in the pulps that influenced Dungeons and Dragons. They’ve ranged from the rotten to the pretty solid, but most fall into a big box labeled “problematic.” Leiber’s ladies (should that be Leiber’s Ladies, as a sort of fantasy Charlie’s Angels? I’d read it!) are generally on the positive end of the spectrum. They are defined by their roles as romantic foils, but they aren’t negative roles. They have agency, but typically in service to either narrative fiat or the agenda of the antagonists…and are almost always weird.
By way of example: here, the women in question are the invisible, nude godlings who live on the mountain. They “reveal” themselves to Gray Mouser and Fafhrd by covering themselves in paint or in lace. Pin up, sure, but not offensive. They aren’t even the weirdest ones; for a while Gray Mouser is involved with an albino were-rat, and Fafhrd dates a ghoul whose flesh and organs are transparent, leaving only her skeleton visible. Eventually the two settle down with two female counterparts, Cif and Afreyt, who are the best of Leiber’s women; as his Lankhmar stories evolved, so too did his characters.
I’d be remiss if I didn’t mention my personal favorite thing about the books: the wizards. Ningauble of the Seven Eyes and Sheelba of the Eyeless Face. Think of them as if Gandalf had a baby with Wilbur Whatley. You know, they sort of show up, meddle, display a casual alienation and inhuman form that makes you shudder at the indifference of the universe, make a few cheap jokes, and then exit from the story. Like if Guillermo del Toro got his art team together to brainstorm new faceless creatures for a Baba Yaga movie (I’d watch it!). Fafhrd and Gray Mouser, on the other hand, aren’t playing Call of Cthulhu. They’re playing Dungeons and Dragons, sword and sorcery style. SAN checks? No sweat. These are guys who clawed their way from first level to twentieth. They can handle some tentacles and a few eyes too many or two few. What’s the big deal?

Mordicai Knode is leaving diligent markings on the dungeon wall with chalk and a series of thieves’ cant markings so that the absent Tim Callahan can catch up with the rest of the party.
In “Advanced Readings in D&D,” Tor.com writers Tim Callahan and Mordicai Knode take a look at Gary Gygax’s favorite authors and reread one per week, in an effort to explore the origins of Dungeons and Dragons and see which of these sometimes-famous, sometimes-obscure authors are worth rereading today. Sometimes the posts will be conversations, while other times they will be solo reflections, but one thing is guaranteed: Appendix N will be written about, along with dungeons, and maybe dragons, and probably wizards, and sometimes robots, and, if you’re up for it, even more.

Is it Grimdark, or is it Horror?

by T. Frohock

This isn’t the first time I’ve discussed the grimdark. I keep worrying the subject, like a bad hangnail. Part of it is because whenever a discussion arises about grimdark, I am asked to participate. I’ve noticed some readers tend to see an overlap between grimdark and horror. While there are numerous similarities between the two, grimdark and horror are not the same.

Since I don’t write grimdark—I write dark fantasy (what Charles L. Grant called “quiet horror”)—I wanted to discover the characteristics that sets horror apart from grimdark. However, before I could understand the differences between the two, I had to begin with clear definitions as to what constitutes horror and grimdark.

Horror is defined as literature which is written with the intention of inflicting the emotions of fear or terror. Not many will disagree with that definition. Horror can then be divided into two very broad camps of either supernatural horror or psychological thrillers. Since psychological thrillers tend to have no fantastical elements, I’m confining my discussion to the differences between supernatural horror and grimdark.

Unlike horror, grimdark doesn’t fall neatly into one clean definition. Whenever people are asked to define grimdark, the discussion frequently rolls around words like “gritty,” “nihilistic,” “realistic,” before finally descending into the classic pornography/obscenity argument: “I know it when I see it.”

I did discover two often cited definitions for grimdark—though I consider both of these definitions to be flawed.

The first comes from the Urban Dictionary, which defines grimdark as:

“An adjective taken from the root words of grim and darkness, both of which are featured in the tagline for Warhammer 40,000: ‘In the grim darkness of the far future there is only war.’ It is usually used to describe a setting that would equal poor living conditions and life expectancies for those actually living in it.”

Of course, “… a setting that would equal poor living conditions and life expectancies for those actually living in it …” also describes just about every YA dystopian novel that’s been released since The Hunger Games.

However, none of us would actually classify YA dystopias as grimdark. These books generally tend to focus on young people bringing light out of darkness by having the courage to change the world around them. That is the precise opposite of the nihilism experienced in most grimdark novels. Therefore, the Urban Dictionary misses the mark for being overly broad.

The Wikipedia definition attempts to narrow the field somewhat with:

“Grimdark is a subgenre or a way to describe the tone, style or setting of speculative fiction (especially fantasy) that is, depending on the definition used, markedly dystopian or amoral, or particularly violent or realistic.”

That is closer to the mark. I would have liked that definition better if the author had stopped at “violent.” I dislike the word “realistic” being attributed to grimdark fiction. Frankly, grimdark is no more realistic than supernatural horror. The difference between the two genres revolves not around realism, but around the use of the supernatural forces in the story.

No one argues that grimdark literature cannot feature fantastical elements such as magic. Joe Abercrombie has wizards and an entire hierarchy of Magi; Mark Lawrence gives us a Dead King, who is a necromancer; Michael R. Fletcher has delusions manifesting as living, breathing creatures. If I dig around some more, I’ll find others.

After reading several grimdark novels, and one most excellent supernatural horror novel that can stand up to the comparison, I realized something very important: what separates grimdark from horror is the agency given to the supernatural.

In most grimdark literature, the supernatural is a passive force controlled by humans, whereas in horror, the supernatural becomes an active entity with agency.

A good contrast is Joe Abercrombie’s The Blade Itself, or Mark Lawrence’s Prince of Thorns against Christopher Buehlman’s Between Two Fires. Abercrombie’s and Lawrence’s works are grimdark while Buehlman’s novel is clearly horror.

In both The Blade Itself and Prince of Thorns the antagonists are all quite mortal. Realism is negated by fantastical elements such as the commonplace acceptance of magic. However, in both novels, the magic is a passive force manipulated by the mortals.

A superficial examination of Between Two Fires might lead one to think of Buehlman’s novel as grimdark. It has some of the hallmarks of grimdark literature: a dystopian environment in the form of the plague blazing through France in 1348; a fallen knight; amoral people are everywhere, looking to take advantage of others.

The story satisfies the “realistic” aspect of the definition, in that the bubonic plague existed, fallen knights turned to marauding in order to survive, and a dystopian society began feeding on itself. Yet Between Two Fires is clearly horror, because the supernatural forces in Between Two Fires have agency.

The very first chapter describes the angels—not the humans—and these angels are not passive. They are actively attempting to destroy human beings in order to provoke God. Uzziel brings the rains down in order to drown the crops; Beliel rises up and blows pride into the mouth of a king, thereby starting a war; then Lucifer shows up and all hell breaks loose. The angels and their machinations remain an active force, independent of mortal interference, throughout the novel.

Having humans as the story’s focal points does not necessarily make the story more realistic. I mean, let’s face it—Buehlman’s Thomas is just as mortal as Abercrombie’s Logen Ninefingers or Lawrence’s Jorg. It is not the realism of their respective stories that separates them—it is the usage of the supernatural forces within these stories.

Perhaps a better definition of grimdark would be:

“Grimdark is a subgenre or a way to describe the tone, style, or setting of speculative fiction (especially fantasy) that is, depending on the definition used, markedly dystopian or amoral, or particularly graphic in its depiction of violence. In most grimdark literature the supernatural is a passive force, controlled by humans—unlike supernatural horror where the preternatural forces are most often an active entity with agency.”

This would eliminate that niggling word “realistic” from the equation, and also establish the distinguishing traits between grimdark and horror. In the long run, a clearer definition helps grimdark to stand out as its own literary form. Once we know how to describe grimdark, we can then discuss the stories on their own merits, without confusing them with horror.

T. Frohock has turned her love of dark fantasy and horror into tales of deliciously creepy fiction. She is the author of the Los Nefilim series: In Midnight’s Silence and most recently Without Light or Guide. She currently lives in North Carolina where she has long been accused of telling stories, which is a southern colloquialism for lying.

Source: https://www.tor.com/2015/11/02/is-it-grimdark-or-is-it-horror/

Thursday, November 2, 2017

Defining Sword-and-Sorcery

By Howard Andrew Jones

The term “sword-and-sorcery” gets bandied around a lot. As far as we’re concerned here at The Skull, it’s not just a generic term that can be used interchangeably with fantasy fiction, but a descriptor of a specific sort of fantasy fiction, as intended by Fritz Leiber, the man who coined the phrase. I’ve been working on defining that definition over the years, with a little help from John Hocking, William King, Robert Rhodes, and John “The Gneech” Robey. I see sword-and-sorcery having at least these four characteristics:
The Environment: Sword-and-sorcery fiction takes place in lands different from our own, where technology is relatively primitive, allowing the protagonists to overcome their martial obstacles face-to-face. Magic works, but seldom at the behest of the heroes. More often sorcery is just one more obstacle used against them and is usually wielded by villains or monsters. The landscape is exotic; either a different world, or far corners of our own.
The Protagonists: The heroes live by their cunning or brawn, frequently both. They are usually strangers or outcasts, rebels imposing their own justice on the wilds or the strange and decadent civilizations which they encounter. They are usually commoners or barbarians; should they hail from the higher ranks of society then they are discredited, disinherited, or come from the lower ranks of nobility (the lowest of the high).
Obstacles: Sword-and-sorcery’s protagonists must best fantastic dangers, monstrous horrors, and dark sorcery to earn riches, astonishing treasure, the love of dazzling members of the opposite sex, or the right to live another day.
Structure: Sword-and-sorcery is usually crafted with traditional structure. Stream-of-consciousness, slice-of-life, or any sort of experimental narrative effects, when they appear, are methods used to advance the plot, rather than ends in themselves. A tale of sword-and-sorcery has a beginning, middle, and end; a problem and solution; a climax and resolution. Most important of all, sword-and-sorcery moves at a headlong pace and overflows with action and thrilling adventure.
The protagonists in sword-and-sorcery fiction are most often thieves, mercenaries, or barbarians struggling not for worlds or kingdoms, but for their own gain or mere survival. They are rebels against authority, skeptical of civilization and its rulers and adherents. While the strengths and skills of sword-and-sorcery heroes are romanticized, their exploits take place on a very different stage from one where lovely princesses, dashing nobles, and prophesied saviors are cast as the leads. Sword-and-sorcery heroes face more immediate problems than those of questing kings. They are cousins of the lone gunslingers of American westerns and the wandering samurai of Japanese folklore, traveling through the wilderness to right wrongs or simply to earn food, shelter, and coin. Unknown or hazardous lands are an essential ingredient of the genre, and if its protagonists should chance upon inhabited lands, they are often strangers to either the culture or civilization itself. 
Sword-and-sorcery distances itself further from high or epic fantasy by adopting a gritty, realistic tone that creates an intense, often grim, sense of realism seemingly at odds with a fantasy setting. This vein of hardboiled realism casts the genre’s fantastic elements in an entirely new light, while rendering characters and conflict in a much more immediate fashion. Sword-and-sorcery at times veers into dark, fatalistic territory reminiscent of the grimmer examples of noir-crime fiction. This takes the fantasy genre, the most popular examples of which might be characterized as bucolic fairy tales with pre-ordained happy endings, and transposes a bleak, essentially urban style upon it with often startling effect. While sword-and-sorcery is a relative to high fantasy, it is a different animal. High fantasy, mostly invented by William Morris as an echo of Sir Thomas Mallory and then popularized by J.R.R. Tolkien, moves for the most part at a slow, stately, pace, meandering gently from plot point to plot point, or, as is often the case, from location to location.  
While exotic landscape is present, even common, in sword-and-sorcery, it is displayed differently and toward a different effect. Sword-and-sorcery was birthed in an entirely different tradition. Robert E. Howard, its creator, wrote for the pulps. The pulp magazines, the television of their day, were fueled by quick moving action. The stories needed to grab you within the first few sentences so that if you were browsing the magazine at the news stand you’d feel compelled to purchase it to finish. The pulp stories were meant to seize your attention from the opening lines and never let go.
This difference in pacing is crucial and there are hidden difficulties attendant in trying to create it on the page. John Chris Hocking added this to the discussion: “Some sword-and-sorcery authors seem to believe that swift pacing must equal Action. And that Action must equal Violence. Neither of these things are true. All the fighting and running and frenzy you create will grow tiresome unless it is moving the story forward. Sure, Action is great unto itself, but it is the unfolding of the plot that truly captivates.”
Check it out!

Tuesday, October 31, 2017

Happy Halloween!

Gauntlet Writing Contest

This just in from the Gauntlet Community site:

The judges' votes are in, and there is a winner and one runner-up for the Keepers of the Gauntlet Writing Contest!

The runner-up: Ash & Bone by Horst Wurst

The winning entry: The Lies of the Child Kingdom by Michael G. Barford

His winning entry will be published in Codex and get the Fear of a Black Dragon treatment.

All of the entries can be downloaded at the Gauntlet community site at https://plus.google.com/communities/104672702589306017985. Mine was called the Fire of Nal-K'aal if anyone is interested, although I think my work was really overshadowed this time around by all this great new talent.

The format is different than my usual due to the contest requirements; but I did add a few format flourishes, title (Dragon Delve) and put it in PDF: https://drive.google.com/open?id=0B7cav44145d9eGRqNU9xUHpNWDg

Happy Halloween!

Thursday, October 26, 2017

Dungeon World meets Stranger Things

In celebration of the second season of Stranger Things I summoned these items from my archives:

Joeb Bittman did a wonderful one page a few years back that I converted for my niece's "Stranger Things" adventure arc awhile back: https://drive.google.com/open?id=0B7cav44145d9eno0NVF0cVB2U1U

Here are my conversion notes: https://drive.google.com/file/d/0B7cav44145d9YjloN1pieDJxWFU/view?usp=sharing

I've based two dungeon starters on her current epic and this provided a nice conclusion: https://drive.google.com/file/d/0B7cav44145d9NDhaODNvX2VCZ1E/view?usp=sharing and https://drive.google.com/file/d/0B7cav44145d9WTNNQmV3Ym9lWnc/view?usp=sharing

I used this for the lizardman army in Joeb's one page: https://drive.google.com/file/d/0B7cav44145d9em0zb05xTzMyUW8/view?usp=sharing

For those interested the Idol was restored by feeding it the "summoning" gem from the altar starter while the "gate" gem sent the idol to the Vale of Shadows to trap Demogorgon within it there forever...or until the next adventure!

Wednesday, October 25, 2017

Sunday, October 8, 2017

Man in the High Castle, Season 3

While I'm sorry to see that Blade Runner 2049, much like the first film, appears to be a masterpiece without box office in its own time, at least we have another Philip K. Project flourishing over at Amazon.

Bye the bye go see Blade Runner 2049 people, it's bloody wonderful!

Tuesday, October 3, 2017

Thursday, September 7, 2017

Star Trek Forever!

September 7, 1966 – The American science fiction show Star Trek premiered with its pilot episode, launching a media franchise that has since created a cult phenomenon and has influenced the design of many current technologies.

Sunday, September 3, 2017

New Dungeon World Monster (Picture challenge by Jim Jones)

Sphere of Eyes Tiny, Magical, Construct
Gaze turns target to stone3 HP0 armor
Hand, Far
Special Qualities: Arcane Construct, Petrification, Flight

A rare magical alchemist's construct created from the eyeballs of petrifying creatures (Medusa, cockatrice, etc.)the Sphere of Eyes guards its maker's treasure unceasingly as long as it exists. While its creator is immune from the sphere's gaze the Sphere itself may be turned to stone by its own reflected image. The Sphere of Eyes is immune to fear, charm and sleep sleeps as it is a purely magical construct without personality.A victim's statue coated with goo from the Sphere's eyes will return to flesh.

Instinct: Guards

Friday, August 25, 2017

New Dungeon World Monster: Gloomwing & Larvae

Gloomwing (Solitary, Large, Stealthy, Planar)
Implant Eggs (d6 damage) 10 HP
Special Qualities: Charm, Flight
This immense moth has huge purple wings marked with spiraling black patterns that seem to shift and writhe.A gloomwing hunts for 2 to 3 hours at dawn and again for 2 to 3 hours at dusk, preferring to spend the remaining hours of the day hiding in abandoned buildings, caves, or deep canyons or foliage where the shadows are thickest. During its periods of activity, it flies through the sky on the hunt for creatures to attack and implant its eggs in—the gloomwing does not need to eat, leaving this urge to propagate its species as its primary drive.The eerie shifting of patterns on a gloomwing's wings is hypnotic—make a Defy Danger +DEX at or become charmed. This is a mind-affecting effect—gloomwings and tenebrous worms are immune to this effect.A gloomwing can lay eggs inside a small or larger helpless creature as a attack.Within 24 hours of a creature's death, 1d4 young tenebrous worms emerge from the corpse, devouring it completely in the process. The eggs can be destroyed via any effect that cures disease or magically heals.For all the dangers a gloomwing presents, it is the creature's young that pose the gravest threat. These creatures are known as tenebrous worms, and despite being the larval form of the adult gloomwing, are much more dangerous creatures. The fact that a gloomwing can lay several eggs a day if presented with enough living hosts makes them dangerous not for what they can inflict themselves, but for what they can spawn.
Instinct: Implant Eggs

Tenebrous Worm (Group, Tiny, Planar)
Acid bite (d6-2 damage)1 HP
Hand, Ignores Armor
Special Qualities: Paralytic poison, Melts flesh into shadows
This pallid worm clatters upon dozens of small legs. Writhing bristles twitch on its back, and its shadow seems strangely mobile.The caterpillar-like tenebrous worm is a voracious predator that hungers for mortal flesh. The tenebrous worm is the larval stage of the gloomwing—but in a strange reversal, these younger creatures are more dangerous than the adults they grow into. A tenebrous worm hatches from the corpse of an unfortunate creature that has been implanted with an egg by a gloomwing. The tenebrous worm is fully grown upon hatching, and immediately begins to scour its environs for flesh to consume.Although the tenebrous worm tends to be relatively pale-colored, its internal organs seethe and roil with shadowy energies and dark fluids. As the creature feeds, these shadowy innards begin to grow out of its body, forming strange bristle-like filaments of semisolid shadowstuff not only capable of piercing the flesh of those who would attack the worm, but also possessing a deadly paralytic poison. Additional shadowy fluids constantly seep from the worm's mandibles—when it bites prey, these fluids melt flesh into shadows that the creature can then consume. When a tenebrous worm feeds on enough of this shadowy flesh, the creature seeks out a secluded, shady area (typically just within a cave entrance or in a ruined building) and spins a shadowy cocoon around itself. A tenebrous worm's cocoon exudes the effects of a darkness spell, muting the surrounding light. After a period of several days, the cocoon tears open and a fully grown gloomwing emerges, ready to seek a host for its eggs.
Instinct: Consume

*Custom Rule: When first hit by a Tenebrous worm the player must Defy Danger+CON or become paralyzed until the party next makes camp.