Calderus, Vampire Queen of UnderSharn
In Dungeons and Dragons, the role-playing game, there is always a special villain that has to stay alive to the very end of the campaign. His or her demise may be the ultimate goal of the entire game and, when achieved, may actually bring an end to that adventuring group as they all retire with super-high-level characters and powers to wipe out cities with a snap of the fingers. This is the ultimate villain, the big bad, the controller who has operated behind the scenes until the very last dungeon door, the very last encounter.
Deep in the bowels of the City of Towers, Sharn, is the lair of Calderus. She controls the doings of the undead in the entire city, in fact, in the entire southern half of the continent of Khorvaire. The players have never yet defeated her directly. She is the one who turned the Dark Lantern agent, Lucan Stellos, into a vampire, forcing the adventurers to track him down, capture him, and return him to his Dark Lantern masters. She is also the one who leaked false information to the Royal Eyes of Aundair, the rival spy agency of the Dark Lanterns, to make Turkoman the wizard believe the player characters are evil double agents, causing him to begin tracking their every movement and learning their every plan. Of course, my players don’t know about that yet, so please don’t tell them.
Big bad villains are very useful to the story-teller known as the Dungeon Master. They allow the DM to start events moving that make no logical sense until the players begin to figure out that there is someone manipulating events behind the scenes and they must find that BBV out and track them to their castle or lair.
But adventures are not satisfying when the players attempt to cut straight to final scene and murder the big bad to bring about victory. That kind of meta-gaming strategy has to have severe consequences. Often that means that the villain must be at such an astronomically high level of ability that the player characters will all be turned into hop-toads after the first round of combat. Interesting adventure, that. The group of enchanted hop-toads have to avoid becoming part of the sauce in Calderus’ hop-toad soup, avoid the all the animated cutlery in the vampire’s kitchen, and escape to find Turkoman and get turned back into humans, halflings, minotaurs, and elves so that they can fight again another day and learn from their mistake.
Of course, it doesn’t hurt a bit that the wizard was watching by magical means when the players stumbled upon the big bad villain. He helped in their rescue because he realized that somebody had told him something untrue about the adventurers, and they really were useful to him and his spy schemes after all.
So, the big bad villain is an important kind of recurring villain to be met and pursued and met again, always driving the game forward to bigger and bigger doings and greater and greater rewards.
Ditty Bytcha who prefers to be called Fate is my number one son’s original character. He is a fighter wearing magic armor who loves to make things as an artificer (one who builds devices with magic). He eventually wants to cut his own arms off and replace them with mechanical ones. He is also quick to leap into the fray and is fairly deadly with his chosen weapons. He once made a crossbow that had explosive power enough to blast apart a ship and kill everyone on board, including the people he was trying to save. He is also a good leader and is always ready with a joke that can even make the Dungeon Master laugh.
Catch a Falling Star 
Imaginary Friends
When you know someone has an imaginary friend, something like Elwood’s six-foot invisible rabbit called Harvey, don’t you immediately think that person is crazy? I do. But I have imaginary people as friends. I think most writers do. So am I crazy? Probably. But hopefully it is a good kind of crazy.
It began with imaginary friends from books. The Cat in the Hat was my friend. Jim Hawkins was my friend, as was Mowgli and all the members of the Swiss Family Robinson. They entered my dreams and my daydreams. I told them my troubles the same way I listened to theirs through their stories.
I began to have imaginary friends that came from my own imagination too.
I used to tell my mere human friends about my friend Davalon from outer space. I told them that he was real and secretly visited me at night to talk about being able to learn about humans on earth by walking around invisibly and watching them. I got so involved with these stories that my sixth grade class began saying, “Michael is from Mars.”
When I was a teenager, I began having conversations with a faun. His name was Radasha. He was a creature from Greek Myth, a sensual Dionysian creature who, in his child body, was both younger than me and way older than me. I didn’t realize until much later in life that he was the result of my repressed memories of a childhood sexual assault that I was the victim of. I could talk to him about my fear of nakedness. I could tell him about my blossoming interests in naked girls and their bodies. I could talk to him about all the things I was somehow too terrified to talk to my male friends about, even though none of them had the same reluctance to discuss sex. Ra was imaginary. But he helped me heal.
Then the story-telling seriously began. I used Davalon as one of the main characters in my novel Catch a Falling Star. I created Torrie Brownfield, the baby werewolf to express the feelings I had as a boy about being a monster and secretly terrible and deformed. Torrie is a normal boy with a condition called hypertrichosis. I am working on The Baby Werewolf now. And then there’s lovely Valerie Clarke. She is the main character of Snow Babies which is a finished novel, edited and proofread and ready to publish. It is I book I will have to find another way to publish since the recent death of PDMI Publishing. She is not a me-character, based on my own thoughts and feelings. She is based on former classmates and students who told me things that express the sadness and isolation of growing up female. So she is even more imaginary than my other characters.
They become real people to me. They have their own point of view. They talk to me and I learn things from them. But they are imaginary. So am I crazy? Yes… as a loon. And happy as Elwood P. Dowd to be that way.
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