A few years later, TSR probably would have released a CD. But they weren't quite there yet.
You can find a number of these, in various performances, on Youtube.
I'm guessing that Tracy Hickman was the major influence here.
Hickman had been a folksinger in his youth.
Here's a recording of the Song of Goldmoon made by a member of Hickman's folk group.
He apparently joined her in singing some of the tracks on this album. I'd love to hear the whole thing, but good luck finding a copy.
Hickman wasn't the only one involved, though.
Frank Menzter (perhaps most famously the designer of the Basic/Expert/Companion/etc. D&D boxed sets) composed the Wedding Song,
Along similar lines, early during the Innfellows journeys in DL1, the DM is supposed to frame up a scene where, resting around their campfire at night, they take turns reading verses from the Canticle of the Dragon.
I really like this moment. I think it's important to frame color scenes like this, and particularly so early in the campaign: Give space for the players to get a feel for what really LIVING in the world feels like.
And baking the lore into this little ritual is a great way to get twice the bang for your buck.
This also sets up a really fantastic moment in DL3 Dragons of Hope, where one of the new priests of the True Gods declaims a new version of the Canticle, which has been expanded to feature the heroes' acts.
They have been literally woven into legend.
(This moment is completely f'ed up in the DLC1 reprint, BTW: The imprecation to read the Canticle is repeated in the same place, but they didn't include the revised version. So you just read the same Canticle again with no payoff.)
A similar element are the excerpts from future history books printed at the beginning of most of the DL modules.
The primary function here seems to be a clever recap in the extremely unlikely circumstance that a DM tries to run one of these without the rest of the series.
But handled carefully (and with adjustments), you could probably use these as a Star Wars-style opening crawl to, once again, establish the truly epic scale of the PCs' actions.
Continuing on with the back half of DL2 Dragon of Flame, the PCs head to Pax Tharkas to break out the prisoners of war that have been gathered by Verminaard's dragonarmy.
There's some interesting character work among the villains here (although the presentation can feel a little forced).
In particular, the whole concept of the series is that the PCs fight a different dragon in each adventure. But they're still a little low-level in this one, so Douglas Niles arranges for a little strife among the villains to help the PCs out.
One of the dragons - and older, somewhat senile one - has been charged with holding the prisoners' children as insurance against any uprisings.
But the dragon has imprinted one the kids and considers them her own children now.
So after the PCs free the kids, Verminaard mounts his dragon and shouts (all villain-like): " YOU'LL RUE THIS DAY! I'M GONNA KILL YOUR KIDS!"
... and the mama dragon does not like this.
Cue an epic dragon fight while the PCs scamper away, leading hundreds of refugees to freedom.
The Let's Read continues over here with DL3 Dragons of Hope!
"I then decide to elaborate about the dust, so they don't miss the secret; now I'm the one deciding whether they find the secret!"
Right. So don't do that.
That's going to solve a bunch of your problems.
First decision you make is how obvious the secret is. This is roughly a spectrum:
- No clue at all; they'd need a blind search to see it.
- Indication only noticed with examination.
- Indication that could be noticed in the initial room description.
- Big sign pointing at it.
The post is, IMO, deceptive in countless ways, for example by claiming that my descriptions of private messaging in the spring of 2023 is actually describing a public comment on a deleted blog post from 2018.
Remove the script and the formality of the stage and... well...
I'm not even saying "it's because people will get concerned." I'm saying human emotion is complicated and personal comfort with emotion, particularly in Puritanical America, is varied.
A lot is made of chapter order (start by creating a pantheon of gods!). That's easy to point to, but is really only representative of the more fundamental problem:
The designers didn't have a clear vision for the structure of play.
So there's a bunch of stuff, but very little of it is actually connected to any clear function. It seems mostly sourced from other D&D books and a vague sense that this is "cool" or "should be there."
Which makes it tough for the reader to come to grips with it.
It's like a hoarder's garage. If you dig through it, you're occasionally like, "Holy crap! There's a 3D printer in here!"
The print head is missing and you'll need to track down some filament before you can use it, but... 3D printer! Wow!