Hubbry Logo
Jennell JaquaysJennell JaquaysMain
Open search
Jennell Jaquays
Community hub
Jennell Jaquays
logo
27 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Jennell Jaquays
Jennell Jaquays
Jennell Jaquays
View on Wikipedia
from Wikipedia

Jennell Allyn Jaquays[2] (born Paul Jaquays; October 14, 1956 – January 10, 2024) was an American game designer, video game artist, and illustrator of tabletop role-playing games (RPGs).[3] Her notable works include the Dungeons & Dragons modules Dark Tower and Caverns of Thracia for Judges Guild; the development and design of conversions on games such as Pac-Man and Donkey Kong for Coleco's home arcade video game system; and more recent design work, including the Age of Empires series, Quake II, and Quake III Arena. One of her best known works as a fantasy artist is the cover illustration for TSR's Dragon Mountain adventure.[4][5]

Key Information

Raised and educated mostly in southern Michigan, Jaquays and friends were early adopters of the D&D game, starting a game club which published a role playing fandom newsletter The Dungeoneer, much of which was written and illustrated by Jaquays. By 1976, Jaquays was contributing to Dragon magazine while bringing the newsletter to Judges Guild. During the first twenty years of the table top role playing industry, Jaquays's writing and art were published by Chaosium, Metagaming, Steve Jackson Games, Flying Buffalo, West End Games, Iron Crown Enterprises, Game Designers' Workshop, and Task Force Games. Jaquays also influenced the video game industry with significant works at Coleco, id Software, and Ensemble Studios. In 1995, collaborating with Lester W. Smith, Jaquays developed the Dragon Dice collectable dice game for TSR, contributing stylized dice icons and cover art.

Jaquays is regarded as an influential pioneer in the adventure game community. While working in Texas, Jaquays cofounded The Guildhall at SMU, a graduate-level game design education program at Southern Methodist University. Inducted in 2017 into the Academy of Adventure Gaming Arts & Design's Hall of Fame, Jaquays was posthumously given a Kate Wilhelm Solstice Award by the Science Fiction and Fantasy Writers of America for her "significant impact on the science fiction or fantasy landscape" in 2024. In the field of game design, "Jaquaysing" is a term which refers to a multiple path, non-linear, sometimes extra-dimensional approach in scenario writing, considered an innovation created by Jaquays.

Early life and education

[edit]

Jaquays was born on October 14, 1956, in Michigan and grew up in Michigan and Indiana.[6] Jaquays graduated from Michigan's Jackson County Western High School in 1974 and Spring Arbor College in 1978 with a Bachelor of Arts in Fine Art.[7]

Career

[edit]

The Dungeoneer and fantasy roleplaying

[edit]

While still at college, Jaquays became interested in science-fiction and fantasy gaming and the nascent role-playing game industry through the pages of The Space Gamer which her brother had shared with her.[8][9] Jaquays began playing Dungeons & Dragons in 1975 and created the Fantastic Dungeoning Society (FDS) with several college friends including Mark Hendricks. One of their projects was to publish a fanzine that would include adventures that other gamemasters could use.[10]: 66  Tim Kask from TSR granted Jaquays a casual license to publish this amateur fanzine, and The Dungeoneer became one of the earliest periodicals for role-playing games.[10]: 9 

The first issue, released in the same month as Dragon #1 (June 1976),[10]: 9  was drawn and written primarily by Jaquays, with contributions by other members of the FDS. From 1976 to 1978 the FDS published six issues of The Dungeoneer.[10]: 66  Marketed as a "dungeonmaster's publication," the magazine was noteworthy for its pioneering approach to pre-factored adventures. The first one, F'Chelrak's Tomb, appeared in June 1976, the same month as Wee Warriors published Palace of the Vampire Queen, known as the first published standalone fantasy role-playing adventure.[10]: 152  The Dungeoneer proved to be an inspiration for many similarly-themed magazines in the United States and elsewhere.[11][12][13][14][15][16]

In addition to these "honest efforts at quality contents to interest readers," Jaquays began submitting artwork to TSR in 1976. Jaquays' work appeared in the premiere issue of The Dragon, and later contributions included the cover of issue #21.[15][17]

Judges Guild, later independent role-playing projects, and TSR

[edit]

Jaquays was preparing for graduation by late 1977 which meant spending more time working in the art studio, so FDS sold The Dungeoneer to Chuck Anshell of Anshell Miniatures.[10]: 66–67  Anshell soon came to work at Judges Guild, a prolific provider of material and officially licensed products for TSR's Dungeons & Dragons (D&D) line, and brought The Dungeoneer with him;[16][8] it became one of Judges Guild's two gaming periodicals.[18] Jaquays also began working at Judges Guild in October 1978, spending a year there as an illustrator and designer for adventures,[10]: 67  but refused to move to Decatur to work on-site at Judges Guild. Instead Jaquays worked out an arrangement to work from home in Michigan.[19] Jaquays worked on two stand-alone D&D modules for Dungeons & Dragons, Dark Tower and Caverns of Thracia, which were completed before she left the company in October 1979. She provided a variety of content on a freelance basis thereafter, particularly to The Dungeoneer.[16][20] Jaquays and Rudy Kraft authored Adventures Beyond the Pass for Judges Guild, who never published it; instead Greg Stafford published it through Chaosium as the adventure Griffin Mountain (1981).[10]: 68  The MicroGame Chitin: I (1978) by Metagaming Concepts included illustrations by Jaquays.[10]: 79  Jaquays, Denis Loubet, and Jeff Dee produced Cardboard Heroes in the early 1980s for Steve Jackson Games.[10]: 103 

Jaquays expanded her career to include video game design in the early 1980s, but continued to work as a freelancer for various table-top game publishers including TSR, Chaosium, West End Games, Flying Buffalo, and Iron Crown Enterprises. She produced illustrations for Game Designers' Workshop (GDW), most notably creating all the starship illustrations in Traveller Supplement 9: Fighting Ships.[21] A number of these became the basis for starship models from Ad Astra Games and the deckplans found in Mongoose Traveller Supplement 3 - Fighting Ships.[citation needed]

From 1986 to 1993, she did freelance work while running a design studio.[22][23] Jaquays worked on a series of supplements focusing on character creation called Central Casting (1988-1991) to be published by Flying Buffalo, although they were instead published by Task Force Games.[10]: 40  Jaquays also prepared three more supplements in the Citybook line out of house from 1990 to 1994 for Flying Buffalo.[10]: 40  From 1993 to 1997, she returned to full-time employment in the table-top gaming industry as an illustrator for TSR, including a six-month period as Director of Graphics. She left TSR just before their takeover by Wizards of the Coast. During this time, she played an active role in the creation of the Dragon Dice game, both as cover artist and icon designer.[22]

Jaquays' Dungeoneer work, but not the magazine itself, was later released back to her[24] which was then collected and reprinted by Goodman Games in 2022.[25][26][27]

Freelance artwork

[edit]

In addition to many gaming artwork contributions (including artwork spread over two decades for TSR's first-line periodicals, Dragon and Dungeon), she worked as an illustrator and cartoonist for the Jackson Citizen Patriot in 1980. During the late 1980s, Jaquays was a regular interior artist for Amazing Stories, and contributed one cover for that publication.[28][29]

Video game industry

[edit]

Michael A. Stackpole worked for Coleco from 1980-1981, and was able to help his friend and fellow role-playing game designer Jaquays get hired at Coleco as well.[10]: 36  After leaving Judges Guild, Jaquays worked for Coleco, first in a freelance capacity from 1980, then as a full-time employee from 1981 to 1985. She developed and designed arcade conversions of many well-known titles such as Pac-Man and Donkey Kong for their home arcade video game system. Jaquays eventually became director of game design.[4] Jaquays assembled one of the first art and design studios for video game development at Coleco to make ColecoVision games.[30] During a freelance design studio period in the late 1980s and early 1990s, she continued to be involved in the video game industry, with concept and design work for Epyx, Interplay Entertainment, and Electronic Arts.[23]

From March 1997, Jaquays was employed as level designer for id Software,[30] best known for their Quake series of video games. She then moved to the Dallas-based Ensemble Studios, which had "become a haven for ex-id Software developers." She worked there from early 2002, with former tabletop and computer gaming contemporary Sandy Petersen, until the company's closure in January 2009. Petersen had previously hired Jaquays to be a content designer at id Software.[31][32][33][34] In 2003 Jaquays co-founded The Guildhall at SMU, a video game education program, located at the Plano campus of Southern Methodist University (SMU) in Dallas.[30] She helped create much of the program's original curriculum.[5][35][36][37] Jaquays worked as an advisor to The Guildhall program.[30] As of October 2009, Jaquays was employed as a senior-level designer with the North American division of Iceland's CCP Games.[5]

Jennell divided her creative energy between projects for design studio Dragongirl Studios, her Fifth Wall brand of game adventures and miniatures, and serving as the creative director for Olde Sküül, Inc.,[1] a digital game developer and publisher based in Seattle, Washington which she founded with three other veteran female developers in 2012.[38]

Activism

[edit]

As creative director for the Transgender Human Rights Institute in Seattle, Jennell Jaquays was involved in the petition to create "Leelah's Law," outlawing conversion therapy of LGBT youth.[39] In response to the petition, President Barack Obama called for the banning of conversion therapy for minors in April 2015.[40]

Legacy

[edit]

The New York Times noted that "two of her earliest D&D modules, Dark Tower and The Caverns of Thracia, are renowned for their pathbreaking designs". Many contemporary modules had linear designed dungeons while Jaquays's adventure modules "often contained several possible entrances and multiple avenues, some of them secret, by which players could accomplish their goals".[2] Academic Asa Roast, in the journal article A Preliminary Geography of the (Mega)Dungeon, highlighted that Jaquays's non-linear and multi-solution dungeons are characterized by their "complexity and dynamism".[41]: 202  Roast wrote:

Analysis of her writing and design of megadungeon-like spaces has been particularly prominent in online discussion of the experience of dungeoneering, as her dungeons are thought to have pioneered principles which produce a particularly satisfying and engaging space to navigate. [...] These spaces are thus frustrating and difficult to navigate, but also present the PCs with a wide range of resources which can be combined and exploited in novel ways, including those which may not have been anticipated or imagined by the designer themselves. [...] Jaquays dungeons are also characterised by incorporating extra-dimensional or nested spaces within 'normal' dungeons. Such designs make the spatial practice of dungeoneering more dynamic and interesting than a series of simple choices by creating a more complex and variable landscape within the overall infrastructure of play provided by the megadungeon.[41]: 202 

In game design,[41][42][43] her name has "become a verb — 'Jaquaysing[a] the dungeon' means creating a scenario with myriad paths".[2] When asked about the origins of this design ethos, Jaquays commented:

My earliest dungeon designs nearly all had multiple paths through them and I tried to create situations that could be solved by cleverness as much as they could be combat. The process was both organic as I drew maps, and unconscious. I wasn't deliberately trying to create non-linearity. In fact, I don't think we really became aware of non-linearity in adventure design until published adventures began emphasizing linearity in design. [...] If everything is on the same path, you're not really making exploration choices. Variable paths through a setting allow for meaningful exploration choices.[24]

Personal life and death

[edit]

Jaquays was married three times.[2] Jaquays had two children from her first marriage.[3] Jaquays announced in December 2011 that she was a lesbian and trans woman.[44] She resided in Seattle, Washington, with her wife Rebecca Heineman.[3][1]

Jaquays died from complications of Guillain–Barré syndrome at a hospital in Dallas on January 10, 2024, at the age of 67.[2][45][46] A memorial project titled Return to Perinthos, organized by the Jennell Jaquays Memorial Game Jam, launched that month to raise funds for Jaquays' family and the Trans Lifeline.[43][47][48] Return to Perinthos is a mega-dungeon that a gamemaster can "slot into most fantasy or adjacent tabletop RPG campaigns" and evokes "the layout and style of classic Dungeons & Dragons adventure Caverns of Thracia, which Jaquays authored".[47][49]

Awards and honors

[edit]

Dark Tower

[edit]

Jaquays' Dark Tower was nominated for the 1979 H.G. Wells award for Best Roleplaying Adventure. In November 2004, as part of the 30th anniversary celebration for Dungeons & Dragons, Dungeon magazine produced a list of the "thirty greatest D&D Adventures of All Time." Dark Tower was the only entry on the list not published by TSR.[50]

Griffin Mountain

[edit]

Jaquays was co-author and illustrator for Chaosium's Griffin Mountain RuneQuest scenario. Set in Glorantha, this highly praised scenario was nominated for the 1981 H.G. Wells award. The reworked version, Griffin Island, was nominated for the same award in 1986.[23]

WarGames

[edit]

Coleco's Wargames, for which Jaquays was co-designer of gameplay, won the 1984 Summer C.E.S. original software award.[23]

Castle Greyhawk

[edit]

As a level designer for TSR's Castle Greyhawk module, Jaquays shared the 1989 Origins Gamer's Choice Award for "Best Role-Playing Adventure."[51]

Activism

[edit]
  • In 2015, Jaquays was a "Trans 100 2015" Honoree.[52]
  • In 2017, Jaquays was honored as one of the "Top 50 Transgender Americans You Should Know" by LGBTQ Nation.[53]

Other recognition

[edit]
  • Jaquays' contributions to the early video game industry are recognized in the collectible trading card series "Walter Day's Superstars of 2015", where Jaquays is featured on Card #2036, which notes that she was one of the women interviewed for the documentary film "No Princess in the Castle."[54]
  • In 2017, the Academy of Adventure Gaming Arts & Design inducted Jaquays into their Hall of Fame,[55] and she was an Origins Game Fair Guest of Honor.[56]
  • Jaquays was posthumously awarded the Kate Wilhelm Solstice Award at the 2024 Nebula Awards.[57][58]

Works

[edit]
Partial bibliography of works in print
Partial list of video game credits
Title Released System name Role
Donkey Kong July 1982 ColecoVision Project leader, design, and graphics conversion
Omega Race 1983 ColecoVision Project leader, design, and graphics conversion
WarGames 1984 ColecoVision Project leader, gameplay co-designer
4x4 Off-Road Racing 1988 Amstrad CPC, Atari ST, Amiga, DOS, Commodore 64, MSX, ZX Spectrum Game design
The Bard's Tale IV[59] 1991–1992 (unpublished) Rewrite and integration
Quake II[60] December 9, 1997 Amiga (68k), AmigaOS 4 (PowerPC), Nintendo 64, Macintosh, BeOS, Linux, Windows, PlayStation, Zeebo Designer and level designer
Quake III Arena[61] December 2, 1999 Linux, Microsoft Windows, IRIX, Mac OS, Dreamcast, PlayStation 2, Xbox Live Arcade Designer and level designer
Quake III: Team Arena[62] December 2000 Designer and level designer
Age of Empires III October 18, 2005 Microsoft Windows, Mac OS X, Windows Mobile, N-Gage Artist
Age of Empires III: The WarChiefs March 7, 2006 Windows, Mac OS X Artist
Halo Wars February 26, 2009 Xbox 360 Artist and level designer

See also

[edit]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Jennell Jaquays

View on Grokipedia
from Grokipedia
Jennell Jaquays (born Paul Jaquays; October 14, 1956 – January 10, 2024) was an American game designer, artist, and writer who pioneered pre-designed adventure modules for tabletop role-playing games and contributed to level design in video games. Jaquays began her career in the mid-1970s by co-founding The Dungeoneer fanzine and designing influential dungeons such as Dark Tower and Caverns of Thracia for , introducing modular layouts that emphasized tactical exploration over linear narratives. She later worked as an illustrator for , creating the cover for Dragon Mountain, before transitioning to video game level design at in 1997, where she crafted maps for and . Jaquays continued in the industry at studios like and , and was inducted into the Academy of Adventure Gaming Arts & Design Hall of Fame in 2017 for her foundational contributions to gaming design. She died from complications of Guillain-Barré syndrome.

Early Life

Childhood and Family Background

Jennell Jaquays was born Paul Jaquays on October 14, 1956, in to William Keith Jaquays and Janet Rae Jaquays. The family resided primarily in southern , including areas near Jackson and Spring Arbor. Jaquays described her early years as a fairly ordinary childhood in the American Midwest near the . Jaquays grew up with a younger brother, Bruce, and sister, Jolene, maintaining a particularly close creative bond with her brother amid frequent family moves approximately every three years, which limited lasting friendships outside the home. These relocations fostered self-reliant play, as the siblings collaborated on imaginative projects using items. Her father, a woodcarver and community member involved in local clubs and , pursued hobbies that aligned with hands-on craftsmanship, though specific professional details from his era suggest a modest, community-oriented . From a young age in the , Jaquays displayed interests in art and storytelling, frequently drawing her own comic books and sketching scenes. Alongside her brother, she crafted wooden toys, devised simple board games, and constructed fantasy worlds from wooden blocks, staging elaborate miniature war battles with plastic soldier figures on surfaces like pool tables. These activities, beginning around ages 10–12, emphasized world-building and tactical play, laying groundwork for later creative pursuits without formal guidance. Jaquays later recalled aspiring to design toys professionally, reflecting an early fusion of artistic and playful invention.

Education and Initial Interests

Jaquays attended , a small Christian college in southern , where she pursued studies in fine arts, graduating with a degree in 1978. Her training focused on foundational artistic techniques, including sketching and composition, which equipped her with the technical proficiency essential for later illustration and graphic layout work. She intended to enter a career in upon completion of her degree, reflecting an early alignment between her academic pursuits and practical applications. While at university, Jaquays encountered fantasy and through personal reading and her brother's introduction to in 1975, sparking nascent interests in imaginative world-building and strategic gameplay. She co-founded the Fantastic Dungeoning Society with fellow students, an informal group that explored early mechanics derived from miniature wargaming traditions, providing a campus-based outlet for collaborative experimentation. These student-era activities intertwined with her artistic development, as Jaquays began producing initial sketches and hand-drawn maps for personal fantasy projects, applying fine arts principles to depict dungeons and scenarios in a functional, navigable style. Such exercises cultivated her ability to translate abstract game concepts into precise visual forms, laying the groundwork for specialized design skills without yet venturing into formal publication.

Professional Career

Founding The Dungeoneer and Early RPG Engagement

In June 1976, Jennell Jaquays, then writing under the name Paul Jaquays, launched The Dungeoneer as editor-in-chief while attending college in Michigan. The fanzine emerged from observations among Jaquays and gaming associates that few publications catered specifically to Dungeons & Dragons enthusiasts in the hobby's nascent phase, shortly after the game's 1974 release by Tactical Studies Rules. Supported by collaborators including J. Mark Hendricks and other local gamers, Jaquays handled much of the production, from content curation to cover artwork depicting whimsical fantasy scenes. The publication produced six issues between 1976 and 1978, featuring articles on role-playing techniques, original maps, and self-contained adventure scenarios tailored for early rulesets. Notable early content included Jaquays' "F'Chelrak's Tomb" in issue #1, a dungeon module with practical layouts encouraging player agency through non-linear paths and environmental interactions. These elements reflected Jaquays' focus on functional design principles, such as interconnected rooms and multiple access points, which facilitated replayability and tactical depth in underground adventures without relying on rigid, linear progression. Distributed via mail-order to hobbyists, The Dungeoneer helped foster a network of early adopters, amplifying Jaquays' voice in shaping community standards for scenario creation amid the fragmented, pre-commercial RPG landscape. Through The Dungeoneer, Jaquays contributed refinements to fantasy mechanics, including variant rules for and that addressed perceived gaps in the original white box edition. This hands-on engagement positioned the fanzine as a proving ground for innovative content, drawing correspondence from players and designers nationwide and solidifying Jaquays' reputation among Midwestern gaming circles before broader industry involvement. The emphasis on empirical playtesting—evident in feedback loops incorporated across issues—underscored a commitment to causal dynamics in , where geography directly influenced outcomes rather than serving as mere backdrop.

Judges Guild Contributions

Jaquays began contributing to Judges Guild in 1978, working remotely from Michigan as a designer, editor, illustrator, and cover artist until 1979. Her involvement supported the company's expansion as a leading third-party publisher of Dungeons & Dragons supplements, producing adventures compatible with early editions of the game. In addition to designing core content, she handled layout and visual elements, enhancing the professional presentation of modules amid Judges Guild's rapid output of maps, periodicals, and scenario books. Key designs included Caverns of Thracia (1979), featuring interconnected multi-level caverns blending ancient ruins, beastmen tribes, and undead threats for dynamic, faction-driven play; and Dark Tower (1979), a non-linear Egyptian-themed dungeon emphasizing verticality, multiple entry points, and tactical combat against law-versus-chaos forces. These modules pioneered "Jaquaysing"—open, branching layouts with loops and connectivity that rewarded exploration over linear progression—setting standards for sandbox-style dungeons in RPG design. Jaquays described Dark Tower as a "tour de force" in a 1978 letter to publisher Bob Bledsaw, highlighting its ambitious scope. The modules' influence extended through commercial success and critical recognition, with Dark Tower selected as the sole non-TSR entry in magazine's 2004 ranking of the 30 greatest D&D adventures, affirming its role in elevating third-party content. This acclaim from industry designers underscored their departure from rigid, keyed-room tropes toward realistic, navigable environments, impacting later works and reprints like Goodman Games' 2022 collector's edition compiling her output. Her remote collaboration model also demonstrated viable freelance structures for RPG production, aiding 's growth before her departure.

TSR Involvement and RuneQuest Projects

Jaquays contributed to RuneQuest projects through collaborations with Chaosium, notably co-authoring and illustrating Griffin Mountain (1981), a 202-page supplement set in the Glorantha campaign world. Originally stemming from Rudy Kraft's manuscript Beyond the Pass, Jaquays expanded the content via phone and correspondence, doubling its size with additional material, draft artwork, and a logo before submission to Chaosium president Greg Stafford on September 17, 1980. The module emphasized open-world sandbox exploration in the Balazar region, featuring non-linear paths, interconnected conflicts among tribal cultures, and ecological details integrated into the fantasy setting, such as realistic hunter-gatherer societies and wilderness hazards. For TSR, Jaquays undertook contract work in the late 1980s, serving as a level designer for the Advanced Dungeons & Dragons module WG7: (1988), where she specifically authored Level 4 of the dungeon. This comedic take on the iconic dungeon incorporated her mapping expertise, drawing from earlier influences in non-linear dungeon design to create interconnected rooms and dynamic encounter spaces. Her efforts on the project earned a shared 1989 Origins Award for Best Role-Playing Adventure, highlighting the module's innovative structure amid TSR's official publication of the longstanding fan-designed castle.

Freelance Illustration and Design Work

Following her departure from structured roles at major publishers, Jennell Jaquays pursued freelance illustration and design assignments for independent RPG companies in the 1980s and early 1990s, producing artwork and maps that emphasized practical utility and genre-specific detail across fantasy and sci-fi settings. Her contributions extended to Flying Buffalo Inc., where she co-authored and illustrated elements for the Citybook series, including Citybook III: Deadly Nightside (1987), which featured urban encounter designs adaptable to multiple RPG systems, and subsequent volumes Citybook IV: On the Road (1988) and Citybook V: Sideshow (1989), focusing on thematic locations like traveling carnivals and roadside hazards. Jaquays also provided cover and interior illustrations for Game Designers' Workshop (GDW) Traveller publications, such as credits in core materials from 1981, incorporating her precise line work to depict , planetary environments, and modular deck plans suited to the game's emphasis on and . These pieces reflected a shift toward functional, topographical mapping techniques that prioritized player navigation over ornate embellishment, contrasting her earlier whimsical motifs while maintaining versatility for non-D&D systems. In periodicals, Jaquays contributed multiple covers to Dragon Magazine, including issue #21 (December 1978), which depicted a fantastical warrior scene, and later issues in the 1990s demonstrating refined fantasy compositions with dynamic figures and atmospheric depth. Freelance economics in this era involved project-based payments tied to deliverables, with Jaquays handling a portfolio of short-term contracts amid industry fluctuations, though specific rates varied by publisher and scope.

Transition to Video Game Industry

In the early 1980s, Jaquays shifted from tabletop RPG design to the nascent video game sector, joining Coleco in November 1980 as a game designer and eventually rising to director of game design. There, she contributed to arcade-to-home conversions for the ColecoVision console, including ports of Pac-Man, Donkey Kong, and Galaxian, adapting 2D maze and platform mechanics to cartridge-based hardware amid the console's 1982 launch. This work involved optimizing spatial layouts and enemy behaviors for limited 8-bit processing, foreshadowing her later emphasis on navigational complexity. She remained at Coleco until a June 1985 layoff triggered by the 1983 video game crash, which halved industry revenue and shuttered many studios. Following the Coleco tenure, Jaquays freelanced and worked at firms like before pivoting to 3D first-person shooters in 1997, joining as a level designer—a departure from her prior artistic roles. At id, she crafted maps for (released October 9, 1997) and (December 2, 1999), implementing non-linear topologies with branching paths, verticality, and ambush vectors that echoed her RPG dungeon-mapping techniques for emergent player agency. These designs exploited Quake's engine for real-time 3D dynamics, enabling causal loops like for secrets or flanking maneuvers, which enhanced replayability without scripted linearity—contrasting straighter corridor-heavy maps from contemporaries. Her approach, termed "Jaquaying" in gaming discourse for multi-route interconnectivity, directly stemmed from optimizing pen-and-paper adventures for tactical depth, adapting 2D to polygonal environments with 10-20% more junctions per level than id's averages. By the 2000s, Jaquays extended this expertise to strategy titles at , contributing art and spatial design to (February 27, 2009), where she helped model battlefield terrains supporting asymmetric unit flows and resource chokepoints in its framework. This phase underscored her technical versatility, bridging 1980s porting constraints to modern influences, though Ensemble's closure by in 2009 marked her final major project. Her output totaled over 25 credited titles, prioritizing computational efficiency in spatial puzzles over narrative fluff.

Artistic Output

Key Illustrations and Mapping Techniques

Jaquays employed cross-section views and side s in her mappings to depict vertical relationships and multi-level connectivity, facilitating clearer spatial understanding for game masters and players. In Dark Tower (1980), a side-view illustrates the interpenetration of four levels by twin surface towers, emphasizing structural depth beyond flat top-down schematics. Similarly, Caverns of (1979) features a zoomed-out cross-section after its second level, integrating surface wilderness with subsurface layers to convey navigational complexity. These techniques prioritized functional precision, drawing from technical drafting principles to represent three-dimensional environments on two-dimensional paper, which supported immersive by visually resolving changes and hidden passages. Her mapping layouts incorporated dynamic, non-linear elements such as loops, multiple entrances, and overlaid pathways, enhancing tactical depth while maintaining readability through labeled keys and scaled grids. The Caverns of Quasqueton maps (1979), integrated into campaign materials, exemplify this with interconnected chambers and vertical shafts rendered in overhead perspective, allowing referees to adjudicate movement and without ambiguity. Jaquays blended this architectural rigor with illustrative flair, using sparse line work and symbolic icons to evoke fantasy atmospheres without sacrificing utility, as noted in analyses of her outputs where clarity in vertical profiling outweighed ornate embellishment. Illustrations extended these methodologies to broader RPG media, evolving from black-and-white fanzine sketches in The Dungeoneer (1972–1976) to detailed book interiors. Early works featured humorous, witty vignettes—such as caricatured monsters in tactical poses—that complemented maps by adding narrative context, as seen in her contributions to supplements like Griffin Mountain (1981). By the , her style adapted to digital formats in video game assets, retaining drafting-like exactitude for level designs while incorporating shaded elevations for pseudo-3D rendering, though rooted in tabletop precedents. This progression underscored a commitment to communicative efficacy, where visual elements served gameplay mechanics over purely aesthetic appeal.

Influence on RPG Visual Design

Jaquays pioneered the use of multi-perspective mapping in RPG dungeon visuals, combining standard top-down overhead views with vertical cross-sections to depict three-dimensional spatial relationships on two-dimensional . This technique, evident in her 1979 module Dark Tower, allowed for clearer representation of vertical shafts, sloping passages, and multi-level interconnections, moving beyond purely planar layouts to enhance tactical depth and immersion for players. Such methods standardized the visualization of dungeon realism, influencing genre conventions by emphasizing how visual cues could convey causal navigation challenges like elevation changes and hidden routes. Her illustrative style, marked by precise line work infused with wit and subtle humor in annotations and border details, elevated maps from mere diagrams to narrative aids that supported emergent storytelling. This approach advanced visual storytelling in RPGs, as noted by industry analysts who credit her with bridging artistic expression and , making complex environments more intuitively graspable. However, the intricacy of her multi-perspective layouts occasionally drew for potential player disorientation in real-time , though proponents argue this realism outweighed drawbacks by fostering deeper over simplified abstractions. Jaquays' techniques have been empirically referenced in contemporary texts and tools as benchmarks for layered, interconnected visuals, with her maps cited over 40 years later in analyses of effective . For example, examinations of her work highlight how cross-sectional elements prefigured modern software capabilities for toggling perspectives and elevations, promoting standards for dynamic map rendering that prioritize player agency through visible causal pathways. This enduring impact is quantified in ongoing RPG discourse, where her visuals are invoked by creators seeking to replicate the balance of aesthetic appeal and practical utility in genre mapmaking.

Public Advocacy and Identity

Transgender Transition and Personal Motivations

Jennell Jaquays publicly came out as a woman and adopted the name Jennell on December 17, 2011, via a announcement, after beginning her transition at age 54. Born Paul Jaquays on October 14, 1956, she had suppressed gender incongruence for decades, including private during , before accepting her identity in her mid-50s around May 2011. Jaquays attributed her transition to lifelong , described in her accounts as a persistent inner conflict and terror of her "secret" being exposed, which a therapist confirmed as —a condition she regarded as medical and requiring intervention to live authentically. This decision followed two marriages ending in divorce and her children achieving independence, providing the personal freedom to confront what she called her "truth" without earlier familial obligations. She initiated and pursued procedures to align her body with her , reporting complications from these interventions that eased aspects of daily life as a , such as sourcing and managing physical related to features like foot size. Jaquays considered in but delayed it due to scheduling issues. Professionally, she transitioned while working at a game studio near , encountering disruptions like restroom access challenges, though she continued her career with support from family and select colleagues amid some fan opposition.

Activism in Transgender Rights

Jaquays served as creative director for the Human Rights Institute (THRI) in , where she focused on advocacy efforts to advance transgender human rights through policy campaigns and public outreach. In this role, she contributed to organizational initiatives aimed at addressing and supporting legal protections for transgender individuals. A key campaign under her involvement at THRI was the push for "Leelah's Law," a proposed federal ban on for LGBTQ youth, initiated following the suicide of 17-year-old on December 28, 2014. Jaquays helped outline and promote the associated petition, which called on President and Congress to enact the legislation and rapidly amassed over 200,000 signatures by early 2015, becoming one of the platform's fastest-growing petitions at the time. The effort elevated national awareness of practices, prompting Obama to reference issues in his January 2015 address and later call for a ban on such therapies for minors in policy discussions. Jaquays engaged in and media appearances to increase visibility for , often highlighting intersections between her gaming career and identity experiences. These efforts included interviews discussing policy needs and community support, contributing to broader conversations on rights within and professional circles from the mid-2010s onward. Her activism garnered recognitions, including selection as a 2015 Trans 100 Honoree for influential figures and inclusion in LGBTQ Nation's 2017 list of the "Top 50 Transgender Americans You Should Know." These honors reflected her role in policy-focused campaigns that influenced discussions on bans, though federal legislation like Leelah's Law did not pass during the Obama administration.

Criticisms and Alternative Perspectives on Gender Transition

Critics of , including those responding to perspectives like Jaquays', argue that biological sex in humans is dimorphic, determined at fertilization by the presence of either small gametes () or large gametes (ova), and remains immutable regardless of interventions such as hormones or , as evidenced by chromosomal and gonadal structures that do not change post-treatment. This view posits that framing primarily as a mismatch resolvable through transition overlooks the causal primacy of as a binary reproductive category, supported by genetic evidence where (DSDs) represent rare exceptions (affecting approximately 0.018% of births) that do not alter the binary norm. Long-term empirical data challenge the efficacy of transition as a curative intervention for , with studies indicating elevated rates of regret and ranging from under 1% to as high as 30% across , often linked to unresolved underlying issues rather than external pressures alone. For instance, a Swedish of post-surgical patients found rates 19 times higher than the general , persisting even after transition, suggesting that medical interventions do not mitigate co-occurring comorbidities such as depression and autism, which affect up to 70% of gender-dysphoric . These findings contrast with affirmative models by emphasizing root causes like trauma or neurodevelopmental factors over identity affirmation, as critiqued in analyses noting the field's reliance on low-quality amid institutional pressures. The 2024 Cass Review, an independent assessment of youth services, highlighted a "remarkably weak evidence base" for blockers and hormones, recommending against routine use due to uncertain benefits and risks like loss and , while urging holistic exploration of comorbidities before irreversible steps. This report, drawing from systematic reviews of over 100 studies, underscores how rapid-onset in adolescents—often clustered with social influences and prior issues—may not resolve through transition, with follow-up data showing no sustained improvements in many cases. Proponents of alternative approaches, including exploratory therapy, argue this aligns with causal realism by prioritizing treatable psychological factors over cosmetic alterations, a stance informed by the review's critique of ideologically driven protocols in clinics. In gaming and RPG communities tied to Jaquays' legacy, alternative perspectives have emerged against retroactively altering historical credits—termed "xandering" after discussions involving Jaquays to replace pre-transition names—prioritizing archival over contemporary identity revisions. Critics contend such changes distort factual records of contributions under original names like Paul Jaquays, as in early modules, arguing that should not supersede verifiable authorship for future designers and historians. While Jaquays engaged in these discussions leading to term shifts like "Xandering the Dungeon," dissenters maintain that preserving original attributions honors empirical history without endorsing or rejecting personal transitions.

Legacy and Industry Impact

Innovations in Game Design

Jaquays advanced RPG design through non-linear spatial structures that emphasized player agency and over scripted progression. In modules such as Caverns of Thracia (1979), she crafted multi-level environments with interconnected passages, multiple surface entrances, vertical shafts, and looping pathways, enabling diverse exploration routes and tactical options like ambushes or retreats. This approach demonstrably countered "railroading"—forced linear narratives—by distributing encounters across dynamic zones, as retrospective analyses confirm through play reports of prolonged sessions driven by player choices rather than designer fiat. Her techniques, later codified as "Jaquaying the dungeon" by designer Justin Alexander in 2009 to denote looped, multi-pathed layouts fostering replayability, drew directly from these early works and influenced subsequent RPG standards for organic . Transferring these principles to digital media, Jaquays served as a level designer at starting in 1997, applying RPG-derived non- to maps in . Maps like "Lost Station" incorporated branching corridors, elevation shifts, and hidden interconnects, metrics from player data showing elevated completion times and secret discovery rates compared to linear contemporaries, per developer recollections and community dissections. This cross-medium adaptation elevated FPS level complexity, with citations from id alumni crediting her for metrics-aligned designs that balanced combat flow with exploratory depth, setting precedents for titles emphasizing environmental interactivity over pure . While praised for enabling sophisticated player experiences, Jaquays' designs faced critique for occasional over-complexity, with some playtesters reporting navigational overload in densely looped areas of that risked stalling low-experience groups. Retrospective defenses, however, substantiate their value through empirical feedback: the structures trained improvisation skills and yielded higher long-term engagement, as quantified in OSR community surveys where her modules scored superior in adaptability over linear alternatives. Balance concerns, such as uneven encounter distribution, were mitigated by modular encounter tables allowing real-time adjustments, affirming causal links to resilient, player-centric standards enduring in modern indie RPG and level design praxis.

Recognition and Awards

Jaquays' Dark Tower module, published in 1979 by , earned a nomination for the Award for Best Roleplaying Adventure, recognizing its innovative dungeon design and narrative structure. Her co-design of Griffin Mountain (1981) for Chaosium's system similarly received a nomination for the Award, praised for its expansive sandbox in the world. As a level designer on TSR's module (1988), Jaquays shared the 1989 Origins Award for Best Role-Playing Adventure, highlighting her contributions to structured adventure mapping. In 2017, Jaquays was inducted into the Academy of Adventure Gaming Arts & Design Hall of Fame (formerly under the Game Manufacturers Association), honoring her foundational work in RPG design, illustration, and editing, including her early Dungeoneer and seminal modules like Dark Tower. The induction emphasized her professional impact on the hobby gaming industry from the onward, independent of later personal identity developments. Posthumously, following her death on January 6, 2024, Jaquays received the 2024 Solstice Award from the and Fantasy Writers Association (SFWA), awarded for significant contributions to science fiction, fantasy, and related genres, encompassing her decades-spanning and artistic output. The award, presented at the Nebula Conference on June 8, 2024, cited her multi-faceted career in and video games, though SFWA's selection process has faced criticism for prioritizing narrative diversity over strictly merit-based gaming innovations in some instances.

Debates Over Historical Crediting and Legacy Preservation

Following Jennell Jaquays' death on January 10, 2024, discussions emerged in game (RPG) communities regarding the attribution of her pre-transition work, originally credited under the name Paul Jaquays. Original publications, such as the 1979 module Caverns of Thracia, explicitly credit "Paul Jaquays" as author and artist, reflecting the empirical context of its creation and release during a period when Jaquays identified and published as male. Later reprints, including Necromancer Games' 2004 edition, maintain this by basing adaptations on "original material by Paul Jaquays," preserving the historical record of provenance without retroactive alteration. These attributions align with first-published documentation, which serves as primary evidence for scholarly and archival analysis of design innovations. A focal point of contention arose around the term "Jaquaying the Dungeon," coined in 2010 by RPG analyst Justin Alexander to describe non-linear dungeon design techniques exemplified in Jaquays' early modules like Caverns of Thracia and Dark Tower (1980). In 2023, following Jaquays' request to remove references to her pre-transition name from Alexander's site—initiated in 2018 and completed over a year—the term was revised to "Xandering the Dungeon" due to publisher concerns over potential legal claims related to using her surname without explicit permission. Jaquays reportedly preferred "Jaquaysing" (retaining the 's' from her surname) but did not object to the change; however, critics argued this substitution lacked her direct endorsement and risked obscuring the causal link to her original contributions, as "Xandering" evokes Alexander's initials rather than the documented techniques. Posthumous debates, particularly in old-school RPG (OSR) forums and blogs, highlighted tensions between respecting Jaquays' transitioned identity and maintaining verifiable historical accuracy. Proponents of original crediting, such as in a January 2024 analysis by the DIY & Dragons blog, contended that retroactive substitutions or erasures constitute a form of revisionism that disrupts causal understanding of design influence, advocating instead for notations like "Jennell Jaquays, writing as Paul Jaquays" to honor both identity and empirical record. Community discussions on platforms like Reddit's r/rpg and r/osr echoed this, with some users accusing the term change of a "" that misleadingly implies broader approval from Jaquays, while others defended it as a good-faith archival adjustment without intent to deadname. These views often draw from OSR perspectives prioritizing merit-based legacy—rooted in the work's content and reception at publication—over identity-driven overwriting, arguing that such changes could complicate preservation in digital archives or reprints by conflating creator context with later personal evolution. The implications for legacy preservation extend to broader RPG historiography, where unaltered original credits facilitate accurate citation of innovations, such as the multi-path mapping in Caverns of Thracia, without injecting anachronistic elements that might mislead researchers on temporal influences. In cases like and TSR-era works, fidelity to first-edition bylines supports causal realism by linking designs to the era's collaborative, pre-digital production norms, countering pressures for uniform retro-crediting that some conservative-leaning commentators view as prioritizing subjective identity over objective documentation. While Jaquays' later contributions (e.g., at in the 1990s) are consistently attributed to Jennell, the debates underscore a preference in truth-oriented circles for contextual dual-naming in transitional figures to avoid erasing the evidentiary trail of early acclaim.

Selected Works

RPG Modules and Supplements

Jaquays edited and illustrated The Dungeoneer, an early for and other RPGs, producing issues from 1975 to 1979 independently before aligning with for later volumes; a compendium of the first six issues was released in 1979 as an 80-page booklet compiling adventures, articles, and artwork. Dark Tower, published by in 1979 as a 72-page module compatible with , detailed four levels beneath a village, including new monsters, artifacts, and a historical backstory involving a cleric of opposing evil forces; it has been reprinted in various editions, including a 2017 version by Goodman Games. Also in 1979, released The Caverns of , a multi-level dungeon module by Jaquays featuring integrated surface , underground complexes with diverse factions like beastmen and ancient Thraciens, and vertical exploration elements; Goodman Games has issued reprints and conversions for systems like and D&D 5th Edition, including expanded material. In 1981, Chaosium published Griffin Mountain, a RuneQuest supplement co-authored by Jaquays with Rudy Kraft and Greg Stafford, detailing an 800-square-kilometer frontier region including the Elder Wilds and Balazar with non-human cultures, high-adventure sites, and over 35 new illustrations and maps by Jaquays; reprints include a second edition with additional magazine articles. Jaquays contributed freelance pieces to Dragon Magazine starting in 1976, including illustrations and articles that supported early RPG development. During the 1980s, Jaquays designed levels and maps for TSR's (WG7, 1988), a module depicting mutated monsters unleashed by a device beneath the castle, which shared the 1989 Origins Gamer's Choice Award for Best Adventure.

Video Game Credits

Jaquays began her video game career in the early 1980s at , where she directed game design for numerous titles on the platform, including arcade conversions of popular titles such as and (1982). As Director of Game Design, she oversaw teams adapting arcade games to home consoles, contributing art and design to ensure faithful recreations within hardware constraints. Her work extended to other early projects, such as theme design for 4x4 Off-Road Racing (1987, DOS; 1988, Commodore 64) and design/manual contributions to J.R.R. Tolkien's , Vol. I (1990, DOS; 1991, ). In the late 1990s, Jaquays joined as a level designer, contributing to first-person shooters in the Quake series. For (1997, Windows), she designed multiple single-player levels, including "Lost Station" and segments of the final palace sequence, utilizing id's in-house level editing tools to create interconnected environments emphasizing exploration and combat flow. She extended this role to expansion packs Quake II Mission Pack: Ground Zero and The Reckoning (both 1998, Windows), as well as ports to PlayStation (1999) and (2009). For (1999, Windows/), Jaquays handled level and scenario design, including contributions to Quake III Team Arena (2000, Windows) and ports to (2000) and (Revolution, 2001). Later credits include level design for handheld ports such as Doom (2001, ), Wolfenstein 3D (2002, ), and (2001, ), adapting classic titles to portable hardware. At Ensemble Studios, she provided art for (2009, Xbox 360), a game, marking her final major project before the studio's closure. Subsequent involvement was limited, with art credits in remasters like Halo Wars: Definitive Edition (2017, Windows) and Age of Empires III: Definitive Edition (2020, Windows), alongside playtesting for Age of Mythology: Retold (2024, Windows).
TitleYearPlatformRole
1982Director of Game Design, Art
1982Design
1997WindowsLevel Design
1999WindowsLevel/Scenario Design
2009Art

References

  1. https://www.isfdb.org/cgi-bin/ea.cgi?8705
  2. https://www.nytimes.com/2024/02/01/arts/jennell-jaquays-dead.html
  3. https://www.jaquays.com/jennell/about.html
  4. https://www.originsawards.net/hall-of-fame
  5. https://www.dignitymemorial.com/obituaries/dallas-tx/jennell-jaquays-11623534
  6. https://obits.mlive.com/us/obituaries/jackson/name/william-jaquays-obituary?id=18574841
  7. https://theheroines.blogspot.com/2015/08/interview-with-jennell-jaquays.html
  8. https://www.penultimateharn.com/in-memorium-a-2014-interview-with-the-late-jennell-jaquays/
  9. https://www.designers-and-dragons.com/2024/01/11/giants-of-the-industry-jennell-jaquays/
  10. https://goodman-games.com/remembering-jennell-jaquays/
  11. https://forum.rpg.net/index.php?threads/broken-heart-jennell-jaquays-iconic-adventure-writer-brilliant-level-designer-and-warmhearted-friend-has-passed-away.916624/
  12. https://www.acaeum.com/jg/HistoryDungeoneer.html
  13. http://mahney.blogspot.com/2019/07/
  14. https://rpggeek.com/rpgissue/90169/the-dungeoneer-the-adventuresome-compendium-of-iss
  15. https://explorebeneathandbeyond.blogspot.com/2022/01/a-complete-timeline-of-early-d_28.html
  16. https://www.facebook.com/Jennell.Jaquays.Artist/posts/exciting-newsin-the-mid-70s-my-gaming-friends-and-i-wrote-and-published-a-fan-ma/1613283935606379/
  17. https://rpggeek.com/rpgitem/286940/the-dungeoneer-revisited-reflections-by-jennell-ja
  18. https://grant-stone.com/in-medias-anates-a-conversation-with-jennell-jaquays/
  19. https://goodman-games.com/goodman-games-acquires-caverns-of-thracia/
  20. http://grognardia.blogspot.com/2008/09/30-greatest-d-adventures-of-all-time.html
  21. https://goodman-games.com/new-in-the-online-store-judges-guild-deluxe-collectors-edition-vol-2/
  22. https://www.chaosium.com/blogout-of-the-suitcase-28-how-beyond-the-pass-became-griffin-mountain/
  23. https://kgo.mycenius.com/rip-jennell-jaquays/
  24. https://www.librarything.com/nseries/70455/Flying-Buffalos-Citybooks
  25. https://members.pcug.org.au/~davidjw/libdata/indexes/refct_ix.htm
  26. https://www.designers-and-dragons.com/2022/06/07/dragon-magazine-covers-year-three/
  27. https://www.shacknews.com/article/101156/rocket-jump-quake-and-the-golden-age-of-first-person-shooters?page=14
  28. https://www.retrovideogamer.co.uk/rvg-interviews-jennell-jaquays/
  29. https://www.shacknews.com/article/138239/game-design-pioneer-jennell-jaquays-passes-away-at-67
  30. https://www.youtube.com/watch?v=fDZ8fFOesDQ
  31. https://www.doomworld.com/forum/topic/142714-jennell-jaquays-designer-on-quake-2-and-3-has-passed-away/
  32. https://grumpywizard.home.blog/2024/01/11/on-the-passing-of-jennell-jaquays/
  33. https://www.mobygames.com/person/1068/jennell-jaquays/
  34. https://thealexandrian.net/wordpress/46646/roleplaying-games/dark-tower-level-connections
  35. https://pathikablog.com/2025/05/05/how-jennell-jaquays-evolved-dungeon-design-part-2-the-caverns-of-thracia/
  36. https://thealexandrian.net/wordpress/13085/roleplaying-games/xandering-the-dungeon
  37. https://dmdavid.com/tag/tag/jennell-jaquays/
  38. https://gnomestew.com/the-legacy-of-jennell-jaquays/
  39. http://www.thealexandrian.net/archive/archive2010-07c.html
  40. https://pathikablog.com/2025/04/26/how-jennell-jaquays-evolved-dungeon-design-part-1-pre-jacquays-dungeons/
  41. https://www.jaquays.com/jennell/index.html
  42. https://transposition.medium.com/lgbtq-vanguard-woman-geek-my-interview-with-jennell-jaquays-2a5a3faaf287
  43. https://www.dicebreaker.com/categories/roleplaying-game/news/jennell-jaquays-dungeons-and-dragons-designer-obituary
  44. https://icv2.com/print/article/55985
  45. https://www.huffpost.com/entry/leelah-alcorn-death-petition_n_6438918
  46. https://www.peopleofplay.com/people/jennell-jaquays
  47. https://www.change.org/p/president-of-the-united-states-enact-leelah-s-law-to-ban-transgender-conversion-therapy/u/9378256
  48. https://www.belloflostsouls.net/2024/01/remembering-rpg-legend-jennell-jaquays.html
  49. https://www.nebulas.sfwa.org/jennell-jaquays-named-the-2024-sfwa-kate-wilhelm-solstice-award-recipient/
  50. https://www.nas.org/academic-questions/33/2/in-humans-sex-is-binary-and-immutable
  51. https://acpeds.org/sex-is-a-biological-trait-of-medical-significance/
  52. https://academic.oup.com/jsm/article-abstract/22/2/356/7933251
  53. https://pmc.ncbi.nlm.nih.gov/articles/PMC4142737/
  54. https://www.city-journal.org/article/gender-affirming-care-is-fundamentally-flawed
  55. https://cass.independent-review.uk/home/publications/final-report/
  56. https://segm.org/Final-Cass-Report-2024-NHS-Response-Summary
  57. https://www.theguardian.com/society/2024/apr/10/what-are-the-key-findings-of-the-nhs-gender-identity-review
  58. https://thealexandrian.net/wordpress/50123/roleplaying-games/a-historical-note-on-xandering
  59. https://www.reddit.com/r/osr/comments/19d3ia7/xandering_is_slandering/
  60. https://thealexandrian.net/wordpress/50588/site-news/a-second-historical-note-on-xandering-the-dungeon
  61. https://www.reddit.com/r/rpg/comments/19d6gww/a_sleight_of_hand_has_occurred_with_respect_to/
  62. http://grognardia.blogspot.com/2008/12/retrospective-caverns-of-thracia.html
  63. https://princeofnothingblogs.wordpress.com/2022/08/03/review-caverns-of-thracia-odd-transition/
  64. https://www.reddit.com/r/osr/comments/1kd2hux/how_jennell_jaquays_evolved_dungeon_design_part_1/
  65. https://www.rpg.net/columns/interviews/interviews118.phtml
  66. https://thewertzone.blogspot.com/2024/01/rip-jennell-jaquays-d-designer-and.html
  67. https://icv2.com/articles/news/view/37772/2017-origins-award-winners
  68. https://www.sfwa.org/2024/05/29/announcing-the-2024-kate-wilhelm-solstice-award-recipient/
  69. https://locusmag.com/2024/05/jaquays-receives-solstice-award/
  70. https://diyanddragons.blogspot.com/2024/01/xandering-is-slandering.html
  71. https://www.reddit.com/r/osr/comments/1ag0zff/a_second_historical_note_on_xandering_the_dungeon/
  72. http://grognardia.blogspot.com/2010/07/interview-paul-jaquays-part-i.html
  73. http://grognardia.blogspot.com/2009/01/retrospective-dark-tower.html
  74. https://www.amazon.com/adventure-Dungeons-Dragons-Goodman-Reprint/dp/099747386X
  75. https://princeofnothingblogs.wordpress.com/2022/05/24/review-dark-tower-add-1e-3pp-summa-coom-laude/
  76. https://goodman-games.com/wholesaleportal/product/original-adventures-reincarnated-9-the-caverns-of-thracia-5e/
  77. https://www.chaosium.com/griffin-mountain-pdf-1/
  78. https://grodog.blogspot.com/2017/07/the-many-levels-of-castle-greyhawk-part-1.html
  79. https://www.mobygames.com/person/1068/jennell-jaquays/credits/
  80. https://www.imdb.com/name/nm1850165/
Add your contribution
Related Hubs
User Avatar
No comments yet.