Hey, Stat Rollers! In this post, we’ll review the controversial Dungeon Module B3: Palace of the Silver Princess, one of the most infamous and historically significant modules in early Dungeons & Dragons history.

Designed for the Moldvay D&D Basic Set (1981), this adventure has a storied past, a unique legacy, and a fond place in the hearts of classic TSR module enthusiasts.

Whether you’re a long-time dungeon master (DM) or a curious player looking to revisit a piece of TSR history, this review will break down everything you need to know about Palace of the Silver Princess—from its controversial publication history to the actual content within the module, and whether its worth playing today.

But… Before we go any further, this is your spoiler warning. If you haven’t played through Palace of the Silver Princess yet, we’re going to be talking about what’s inside this module, what makes B3 so special, and what’s hidden within its pages. So, if you want to experience it firsthand, maybe send your DM this way instead and come back after your first playthrough.

The Jean Wells Version vs. The Tom Moldvay Revision

Palace of the Silver Princess has the distinction of existing in two very different forms. Initially written by Jean Wells, the module was designed as an introductory adventure for new players and DMs.

Jean Wells’ Palace of the Silver Princess—often called the Orange Cover edition—is one of the most infamous lost modules in Dungeons & Dragons history. As TSR’s first female game designer, Wells was given the chance to write an introductory adventure for the Basic Set, and what she created was a very different type of dungeon crawl than what TSR was used to publishing.

Instead of a structured, goal-oriented adventure, Wells followed the example set by Mike Carr in Dungeon Module B1: In Search of the Unknown, by designing Palace of the Silver Princess as an open-ended sandbox, where players could explore a ruined palace at their own pace, discovering clues, strange creatures, and magical remnants of the past.

Unlike later B-series modules, which leaned into dungeon logistics and structured encounter design, this version of B3: Palace of the Silver Princess felt more like a fairy tale mystery, where the world reacted to the players’ decisions rather than pushing them toward a preset conclusion.

What Made the Orange Cover of B3: Palace of the Silver Princess Unique?

1. An Open-Ended Castle Crawl – Instead of a tightly plotted story, the ruined palace was filled with strange encounters, hints of past tragedy, and opportunities for improvisation. The module provided a framework but left much to the DM, encouraging creativity over rigid storytelling.

2. Multiple Paths, No Forced Narrative – Rather than guiding players toward a single conclusion, the Orange Cover edition allowed them to decide their goals. Were they there to loot the place, restore the princess, or uncover the deeper mystery of the Protectors? It was left up to player choice rather than being predetermined.

3. A Fairy Tale Horror Atmosphere – The original Palace of the Silver Princess had a dreamlike, unsettling tone. Many creatures and encounters felt like they belonged in a dark fairy tale, including the mysterious Protectors, an enigmatic force working against the villain but with unclear motivations.

This loosely structured, atmospheric adventure wasn’t necessarily what TSR was looking for in an introductory module, which may explain (at least in part) why it was met with resistance from upper management.

Clearly, Jean Wells had a very different vision for Palace of the Silver Princess than what TSR ultimately published. As she explained later, her goal was to teach new Dungeon Masters how to build their own worlds, not just run a single adventure.

Rather than designing a fixed dungeon with a singular narrative, she left parts of the palace unfinished on purpose, encouraging DMs to expand the world as they saw fit. This was a fantastic idea, and honestly, one that fits perfectly into my philosophy of player-driven exploration and DM improvisation.

Wells’ version of the module was an experiment in world-building, giving players a ruined palace with open-ended potential. She imagined that DMs would take the foundation she provided and expand it, filling in collapsed sections, altering encounters, and shaping the setting around their own campaigns.

In many ways, this was a visionary approach to an introductory module, one that leaned more toward teaching creativity than just providing a pre-made dungeon crawl. It definitely leaned into the Mike Carr, Dungeon Module B1: In Search of the Unknown style.

But the problem with being ahead of your time is that sometimes people just don’t get it.

The B3: Palace of the Silver Princess Art Controversy and Last-Minute Panic

TSR claimed they scrapped the Orange Cover edition because of the artwork. Some of the illustrations, particularly a depiction of a woman bound by her hair while demonic figures loomed over her, were seen as too suggestive for a product meant for younger audiences.

This was the early 1980s, right in the middle of the Satanic Panic when fundamentalist groups were accusing D&D of promoting witchcraft and devil worship, and TSR was terrified of bad publicity.

However, we’ve since learned that the real reason for the recall wasn’t the sexual undertones of some illustrations but rather a different piece of artwork altogether—one that mocked TSR’s upper management.

Wells had designed a new monster called the Ubues, a three-headed humanoid with an alien, fairy-tale horror quality. However, artist Erol Otus took some liberties with the design, drawing the Ubues to resemble TSR executives in a way that could only be seen as a joke at their expense.

Whether it was friendly ribbing or outright satire, TSR’s leadership did not take it well.

Frank Mentzer and other TSR employees later stated that while the “offensive” artwork in the module was mild compared to what had appeared in other products, the Ubues caricature was the real problem.

The company’s leadership was already paranoid about employee loyalty, and a published D&D module with what they perceived as a public insult to management was considered a serious issue.

The Night of the B3: Palace of the Silver Princess Recall: TSR Pulls the Plug

The module was literally printed and ready to ship when TSR’s upper management pulled the emergency brake. Employees at TSR headquarters had already received their personal copies, and boxes of the module had been delivered to warehouses, ready to be sent out to game stores across the country.

Then, without warning, TSR ordered the entire print run destroyed.

• Employees who had received their copies earlier that day had them taken from their desks overnight.

• Any modules that had already shipped to stores were recalled immediately.

• The remaining stock—between 5,000 and 10,000 copies—was dumped in a landfill in Lake Geneva, ensuring that as few copies as possible would survive.

The few copies that escaped the purge—ones that employees had already taken home—became one of the rarest and most sought-after D&D collectibles in history.

Moldvay’s Overhaul of B3: Palace of the Silver Princess: The Green Cover Edition

With the Orange Cover edition pulled from circulation, TSR brought in Tom Moldvay, one of their most experienced and prolific designers (and my personal hero), to rewrite and streamline the adventure.

His version, known as the Green Cover edition, became the only officially released version of Palace of the Silver Princess and is the one most players recognize today.

Moldvay did his best with the material, and his version is a perfectly serviceable low-level adventure, but it lacked the freeform, world-building intent that Wells had envisioned.

Moldvay’s revision tightened the adventure’s structure, made the narrative more explicit, and removed any elements that TSR’s leadership found controversial. The result was a more traditional dungeon crawl, though it lost most of the sandbox-like qualities of Wells’ original vision.

Key Changes in B3: Palace of the Silver Princess

1. A More Traditional Dungeon Layout – While the adventure still allows for exploration, the room-by-room progression is more structured. The layout pushes players toward specific encounters and objectives, making it less open-ended than the original.

2. Clearer Story and Character Motivations – The original mystery of the palace was somewhat ambiguous, particularly in how Princess Argenta and the Eye of Arik connected to the broader narrative. Moldvay clarified these elements, ensuring that players understood their objectives rather than having to piece together vague clues.

3. Removal of Controversial Elements – The artwork and text that led to the Orange Cover’s recall were either removed or rewritten. This included the weirder, more suggestive illustrations and any story elements that TSR leadership felt were too confusing or problematic for their audience.

The Green Cover edition is undeniably more polished and structured, making it easier to run for new Dungeon Masters. However, the trade-off is that it leans toward a more guided experience, rather than the player-driven exploration that I prefer. It still retains its whimsical, fairy-tale-like atmosphere, but some of the original charm and sense of discovery were lost in the revision.

While it may not be the sandbox adventure that Wells originally intended, the Green Cover edition has its own merits—particularly for groups who enjoy a well-defined quest with a clear objective.

However, for those who love the mystery, open-ended exploration, and improvisational challenges in their D&D, some modifications may be necessary to make it feel more dynamic and player-driven.

What We Lost in B3: Palace of the Silver Princess: From My Perspective

Looking at this as a TSR module enthusiast, the destruction of the Orange Cover edition is a huge loss. Not because it was a perfect adventure but because it was a rare attempt at something different.

Most early TSR modules were straightforward dungeon crawls meant to teach combat, exploration, and treasure hunting.

Palace of the Silver Princess—in its original form—wasn’t just a dungeon. It was a ruined kingdom waiting to be expanded upon, a place where players could dig into the past, uncover hidden lore, and reshape the world based on their actions.

This is exactly the kind of emergent storytelling I champion today—where the world isn’t a static set piece but a living, breathing environment that players interact with and change.

Wells’ original design encouraged players and DMs to be creative, to go beyond what was written on the page, and to use the module as a jumping-off point rather than a rigid framework.

But TSR wasn’t interested in that. They wanted a ready-to-play module, something self-contained and easy to run. So, instead of getting a visionary experiment in emergent play, we got a revised version that played things safe.

Breaking Down B3: Palace of the Silver Princess

B3: Palace of the Silver Princess Part 1: Introduction

The introduction provides a framework for running the adventure and guidelines for new DMs, including handling wandering monsters, dungeon exploration, and encounter balancing.

TSR clearly positioned Palace of the Silver Princess as a beginner-friendly module, making it a great entry point for players unfamiliar with D&D’s dungeon-crawling experience.

Palace of the Silver Princess is a large dungeon, and there’s no way a party will explore the whole thing in a single session. If the players try to push through without stopping to rest, they will die—and it won’t take long.

The module is built around resource management, meaning players need to think about when to retreat, press forward, and hole up and recover. A smart party will take their time, exploring a little at a time, then returning to town to heal, resupply, and prepare for their next delve.

That’s the best way to handle the adventure—treat the dungeon as something to chip away at, not as a place to bulldoze through in one go.

This is an old-school dungeon crawl, and that means pacing matters.

Resting in the Dungeon: Risks and Rewards

If the party wants to rest inside the dungeon, they must be smart about it. Sleeping inside a monster-infested ruin isn’t exactly safe, but sometimes, they won’t have a choice. They’ll need to pick a secure location, sleep in shifts, and keep watch. If they don’t, they’re just begging to get ambushed.

The module assumes that, in general, characters should rest for 8 hours every 24 to recover spells and heal naturally. Hit point recovery is slow—characters regain 1-3 hit points per full day of rest, meaning clerics will carry most of the healing burden. A party that burns through their spells too quickly without planning for downtime will be in serious trouble.

The DM controls wandering monster checks, which means resting players are never entirely safe. If the group chooses a quiet, out-of-the-way spot, the DM may decide no encounters occur that night. But if they’ve been fighting loudly, looting everything in sight, or sleeping in an area full of monsters, the DM should absolutely roll for encounters multiple times during their rest period.

Balancing Challenge for Different Party Levels

The module was designed for a large party—six to ten characters—between levels 1 and 3. If you have fewer players, they will need henchmen or retainers to make up the difference, or they’ll be too fragile to survive many encounters.

A good mix of fighters, thieves, clerics, and spellcasters is crucial.

The module strongly recommends that the party have at least one elf or a magic-user with a sleep spell—which is solid advice. At low levels, sleep is the best tool for dealing with groups of enemies before they can overwhelm the party. Without it, fights become much riskier, and the party has to rely more on good reaction rolls, innovative tactics, and retreating when necessary.

If most of the party is higher than 1st level, the DM should increase the difficulty slightly. This doesn’t mean doubling monster hit points or making every fight a slog, but small adjustments go a long way.

If a monster has 9 HP, bump it up to 10 or 11. If the party stumbles into an encounter with five goblins, consider making it six or seven. These little changes help keep things balanced without making the game feel unfair.

DM Tips for Running B3: Palace of the Silver Princess

Palace of the Silver Princess is not a one-shot adventure. It’s a slow burn, meant to be tackled over multiple sessions, with the party retreating, regrouping, and returning to delve deeper into the mystery.

Players expecting to clear the dungeon in one go are in for a rude awakening. Success in this module requires cautious exploration, strategic resting, and smart resource management. It’s designed for an old-school style of play, where charging ahead blindly is a fast track to a total party kill.

You should always give the players a fair shot at survival, but that doesn’t mean removing consequences. If they make bad decisions—if they push too deep without resting or ignore obvious dangers—they should suffer the consequences.

At the same time, you shouldn’t go out of your way to kill the party just because the dice say so. The goal is to make the adventure challenging, immersive, and rewarding.

If everyone—DM and players alike—goes in with the right mindset, Palace of the Silver Princess can be a fantastic dungeon crawl full of memorable encounters, an eerie atmosphere, and great opportunities for creative problem-solving.

The key is understanding the structure of the adventure and making sure that everyone is playing with the right expectations.

Dungeon Master’s Background: The Eye of Arik and the Fate of Haven

At the heart of Palace of the Silver Princess is a classic tale of corruption and catastrophe stemming from a single cursed artifact—the Eye of Arik. This isn’t just some random evil gemstone; it’s a piece of an ancient and malevolent entity, an artifact that has been trying to break through the barriers of reality for centuries.

The tragedy of Haven began when the dwarves unearthed the ruby deep in the mountains. To them, it was nothing more than a spectacular gemstone—large, radiant, and flawless. They called it “My Lady’s Heart” and presented it as a gift to Princess Argenta, never realizing that they had just delivered a fragment of a bound god into the hands of the royal court.

The truth is far more sinister. This gem is one of the many “eyes” of Arik, an ancient entity known as Arik of the Hundred Eyes, sometimes worshiped as a dark god.

Arik was banished long ago, trapped in a dimensional prison for his crimes against reality itself. But such beings are never truly gone. Arik has spent centuries trying to slip past the barriers of his prison, waiting for the right opportunity.

The ruby is his way back!

The Power of the Ruby and the Fall of Haven

Once the ruby was brought into the palace, it immediately began exerting its influence.

• The land sickened—crops failed, livestock grew ill, and the air around the palace became heavy with unnatural energy.

• Monsters flocked to Haven—goblins, hobgoblins, and worse, drawn like carrion birds to the growing aura of corruption.

• A powerful chaotic cleric, Catharandamus, was teleported into the palace, a dark priest chosen to complete the ritual that would finally break Arik free.

• The ruby’s power petrified the people of Haven, turning most of the palace’s inhabitants into stone.

• Princess Argenta and a mysterious knight, Ellis the Strong, were trapped within the gem itself.

• To ensure no outside interference, the ruby erected a magical force field around the palace, sealing Haven’s fate.

The only force still trying to resist Arik’s corruption are the Protectors, enigmatic beings of order and balance who have created a small break in the ruby’s energy field—just enough for the player characters to enter.

They can also temporarily open the field to allow the party to escape and rest, but only a few times before their power is drained.

Ellis the Strong and Ariksbane: The Last Hope of Haven

Just before disaster struck, a knight clad in black plate armor arrived in Haven. His name was Ellis the Strong, and he rode a mighty white dragon named Ariksbane.

Ellis was a member of the Knights of the White Drakes, an order of dragon-riding warriors sworn to hunt down and destroy evil wherever it lurked. He had heard rumors of a great ruby and suspected it might be one of Arik’s legendary Eyes.

Unfortunately, he was too late. Before he could act, Ellis and Argenta were drawn into the ruby’s prison, leaving Ariksbane banished to the Dimension of Ice.

If the players are clever, they may be able to free Ariksbane; if they do, the dragon will be a valuable ally against the growing darkness. The name Ariksbane literally means “the ruin of Arik,” if the dragon is freed, he can use his frost breath to destroy the ruby before Arik can emerge.

Destroying the Ruby: How to End the Curse

At some point, the players must figure out how to destroy the ruby before it’s too late. Clues, legends, and relics that point toward the three possible ways to shatter the Eye of Arik are scattered throughout the dungeon.

Option 1: Ariksbane’s Frost Breath

If the players find a way to release Ariksbane from the Dimension of Ice, the dragon can breathe upon the ruby, freezing it to the point of destruction. If this happens, the curse will be lifted, and all those trapped—including Ellis and Argenta—will be restored.

Option 2: The Sword of Arik

The cleric Catharandamus, preparing the ritual to free Arik, has a powerful enchanted blade known as the Sword of Arik. This weapon has been infused with Arik’s essence, making it one of the few things that can shatter the ruby’s magic from within. However, using the sword in this way will destroy it completely.

Option 3: The Ice Harp and Rowena’s Song

Hidden in the palace is an ancient relic called the Ice Harp, an instrument said to call upon the forces of Faerie. If the players find the harp and play the correct notes, it will summon Rowena, a legendary minstrel who left Haven centuries ago to live in the realm of Faerie. Time flows differently in Faerie, so while she has lived there for hundreds of years, she appears no older than the day she left.

Rowena knows the exact melody needed to shatter the ruby. If she plays the correct notes on the Ice Harp, the Eye of Arik will be destroyed, and Haven will be freed.

What Happens When the Ruby is Destroyed?

No matter which method is used, the destruction of the Eye of Arik will end the curse abruptly.

• All petrified palace inhabitants, including Argenta and Ellis, will be restored to flesh.

• If Ariksbane is still trapped in the Dimension of Ice, it will be freed.

• The chaotic hordes invading Haven will flee in terror as their master’s influence is severed.

• Crops will grow again, and the land will begin to heal.

• Catharandamus will either be dead or rendered powerless, his dark magic broken.

Princess Argenta, now restored, will reward the party for their heroism, granting each character a medal of honor and 3,000 gold pieces. More importantly, the players will have stopped a cosmic horror from breaking into their world, a victory far more significant than any amount of treasure.

My Thoughts on the Story Behind B3: Palace of the Silver Princess

This is a fantastic setup for an adventure, but it’s also a very structured one. Unlike Keep on the Borderlands or The Lost City, which allow for a broader range of player motivations and outcomes, Palace of the Silver Princess clearly expects how things should play out.

There’s a “right” ending, and the module nudges the players toward it at every turn.

That’s not necessarily a bad thing, but it does mean the DM should consider how much they want to push players in that direction.

What if the party wants to keep the ruby for themselves? What if they side with the chaotic forces instead? What if they ignore the larger quest entirely and just loot the place?

These are all valid player choices, but the module isn’t really designed to support them.

Personally, I always add more moral ambiguity to the adventure.

• Maybe destroying the ruby has unintended consequences.

• Maybe Ariksbane, once freed, has his own agenda.

• Maybe Rowena’s song breaks more than just the ruby’s magic.

Giving players more agency in deciding the fate of Haven makes for a much more memorable and dynamic experience.

Regardless, the core story of the adventure is strong. It has a great setup, compelling villains, and a satisfying conclusion. Even if you don’t run it exactly as written, Palace of the Silver Princess provides a rich foundation for an unforgettable low-level campaign.

B3: Palace of the Silver Princess Part 2: The Gatehouse – A Programmed Adventure

This section of B3: Palace of the Silver Princess is odd, and how well it works depends on the group playing it.

Unlike the rest of the module, Part 2 is a programmed adventure, meaning it’s essentially a choose-your-own-adventure style introduction where players are presented with a set list of choices, each leading to a specific outcome.

This was clearly designed as a teaching tool for new players and new DMs, meant to walk them through the basics of exploration, decision-making, and combat in a controlled environment before throwing them into the larger dungeon.

That’s a solid idea, but in practice, this section can feel restrictive, especially for experienced players who are used to coming up with their own creative solutions rather than choosing from a prewritten menu of options.

That being said, if you’re introducing completely new players to old-school D&D, this isn’t a bad way to ease them in. It allows them to make structured choices, learn about cause and effect in the game world, and experience combat in a low-risk environment.

But for a seasoned group, I would either skip this section entirely or run it more loosely, allowing players to engage with it in a more traditional, freeform manner rather than following the text verbatim.

B3: Palace of the Silver Princess How the Programmed Adventure Works

The programmed adventure follows a branching path system. The DM reads an entry aloud to the players, and they choose from the available options. The DM then reads the corresponding numbered entry based on their choice.

The idea is to guide them through a short sequence of rooms, culminating in figuring out how to open the inner portcullis that leads into the main dungeon.

The adventure also includes a combat encounter, giving new DMs a chance to learn how to run a fight before they deal with the full dungeon environment. If the DM isn’t comfortable with Basic D&D combat yet, they’re encouraged to read through the following special combat section to better grasp how fights are structured.

One important note: Unlike traditional play, where players are expected to come up with their own solutions, the programmed adventure actively presents options for them to choose from. While this works as a structured tutorial, it also means the adventure lacks the sense of organic decision-making that makes old-school play so engaging.

What’s the Goal of the Programmed Adventure

So, this section exists to teach new players and DMs the fundamentals of problem-solving in D&D. The main goal of the programmed adventure is to figure out how to raise the portcullis and enter the palace.

The players will need to:

• Explore the available rooms in the Gatehouse.

• Make decisions based on the clues they find.

• Encounter at least one monster and engage in combat.

• Discover how to open the inner portcullis so they can proceed into the palace.

The key puzzle here is that the inner portcullis can only be raised if two levers are pulled up simultaneously.

The module provides a visual clue—the inscription “A + B” with an upward arrow—but if the players are struggling, you’re encouraged to give them a hint.

How to Handle Player Choices in the Programmed Adventure

Because the programmed adventure dictates player choices, it also forces the DM to be more involved in guiding the session than they normally would be. The module explicitly states that, after this section, the DM should return to a neutral stance, allowing players to make their own choices without interference.

One of the critical lessons taught here is clarity of action. Players need to specify:

• Who is opening a door? The character who opens it is the one standing in front when something attacks.

• Who is searching for traps? The first person to search triggers the effect if they fail.

• Who is performing which task? If players don’t specify, the DM is encouraged to randomly assign the action by rolling dice, which can lead to unintended (and sometimes hilarious) consequences.

This is a great teaching tool and a reminder that old-school play is all about player skill, not character skill. The programmed adventure helps introduce this concept in a controlled way—players aren’t rolling dice to figure out how to open the portcullis; they’re using their own problem-solving skills to interpret clues and act accordingly.

Giving the Players a Nudge Without Railroading Them

The Gatehouse puzzle is a good, simple challenge, but there’s always the possibility that the players won’t figure it out. If they’ve explored all the available rooms and still haven’t found the solution, the module suggests that you give them a hint through a vision from the Protectors.

This is a solid way to guide them without outright solving the problem for them. If the party is genuinely stuck, a vision from the Protectors might show a fleeting glimpse of the correct solution—perhaps an image of two glowing levers being pulled up at the same time. It gives them one more piece of information to work with without robbing them of the moment of success.

That said, I wouldn’t hand out hints too early. Half the fun of old-school play is figuring things out on your own. If the players haven’t searched every room yet or haven’t really tried to experiment with their surroundings, let them struggle a bit. Only step in with a hint if the game is completely stalling and the players have exhausted all reasonable attempts to solve the puzzle.

Should You Use the Programmed Adventure or Skip It?

This is the big question; and the answer depends on who is sitting at the table.

• For brand-new players and DMs: The programmed adventure works well as a tutorial, easing them into the logic of D&D without overwhelming them. It walks them through basic choices, exploration, and combat in a controlled way, making it less intimidating for newcomers.

• For experienced players and DMs: This section feels unnecessary. If your group already understands basic old-school principles, they may be frustrated by the restricted choices. In that case, I’d skip the programmed structure entirely or run the Gatehouse as a normal dungeon space, letting players solve the portcullis puzzle naturally.

If you do run the programmed adventure, I recommend playing it fast. Don’t linger too long—once the players understand the basics, get them into the real adventure as soon as possible.

The programmed adventure in Part 2 is an interesting experiment but one that feels at odds with the rest of the module. It’s a good tool for teaching absolute beginners, but it’s not how traditional old-school play works, where players are expected to think freely rather than choose from a list of preset options.

It serves its purpose for new players—teaching them how to make choices, engage with the world, and think tactically. But for experienced players, it feels like unnecessary hand-holding. When I run Palace of the Silver Princess for a veteran group, I bypass the programmed format and run the Gatehouse as a standard dungeon space, letting them solve the portcullis puzzle however they see fit.

That said, the Gatehouse does serve an important purpose—it establishes the first real challenge of the adventure, requiring players to think, experiment, and pay attention to clues rather than relying on dice rolls. Once they pass this section, the real adventure opens up, and they’ll be faced with the dangers lurking within the Palace of the Silver Princess.

B3: Palace of the Silver Princess Part 3: Dungeon Level One – The Ruined Palace

Once the players make it past the Gatehouse, they finally step into the ruined halls of the Silver Princess’s palace, a place that should have been a thriving center of nobility and culture but is now nothing more than a haunted, corrupted shell of its former self.

This is where Palace of the Silver Princess really starts to shine. Unlike the typical ancient, long-forgotten dungeons that make up most classic D&D modules, this place feels freshly destroyed. The devastation is recent. The air is thick with lingering magic, and there’s this eerie sensation that, not long ago, this was a place full of life and laughter.

Now, it is silent except for the skittering of vermin, the muttered arguments of looters, and the distant, unsettling hum of the Eye of Arik’s growing power.

For you as the Dungeon Master, this is an opportunity to lean into the atmosphere.

When describing the palace to players, emphasize how unnaturally still everything is. It should feel like stepping into a moment frozen in time, a place where something terrible happened all at once, leaving only echoes of the past.

The sight of petrified nobles, the decay creeping into lavish furnishings, and the opportunistic scavengers picking at the remains should all reinforce the idea that the party is walking into the immediate aftermath of a catastrophe.

What Makes This Dungeon Unique?

Most classic D&D dungeons are either abandoned ruins filled with monsters or active strongholds controlled by a specific enemy faction. Palace of the Silver Princess sits in an interesting middle ground—it’s a ruin that’s still in transition.

The monsters and looters here aren’t the rightful owners of the palace, nor have they had time to fully claim the place for themselves. Instead, they are squatters, drawn by the corruptive influence of the Eye of Arik, lingering to loot what they can or waiting to see what happens next.

This creates an interesting dynamic where not every enemy is immediately hostile.

For example, the hobgoblins in the barracks are debating whether they should stay or leave, meaning an observant party might be able to eavesdrop, trick them, or even negotiate instead of rushing into combat.

The same goes for the various scavengers lurking throughout the palace—while some will attack on sight, others might be willing to cut a deal or even give helpful information in exchange for safe passage.

The monsters here aren’t organized, and that’s important.

The goblins, hobgoblins, and other humanoids in the palace aren’t a unified faction—they’re just taking advantage of the situation. This means a clever party could turn groups against each other, use stealth to avoid unnecessary fights, or manipulate the power vacuum to their advantage.

Key Themes of Dungeon Level One

1. Petrification and Frozen Time

One of this dungeon’s most striking elements is the palace’s petrified inhabitants. They can be a great way to foreshadow later reveals. Play with this! Add to this! Improvise!

These aren’t ancient statues or worn-out carvings—these were once living people, caught in the exact moment of the disaster. They should be positioned mid-motion, with some reaching for weapons, others fleeing, and some perhaps even in casual conversation when they were suddenly turned to stone.

• Maybe the players find a nobleman clutching a note in his stone hands, which can still be pried free and read.

• Maybe they find a guard frozen in place with an expression of absolute terror, staring at a doorway the party is about to walk through.

• Maybe there’s a petrified child in the library, reaching for a book, emphasizing how indiscriminate and devastating this curse was.

If the party eventually destroys the Eye of Arik, all of these people will return to flesh. That means these aren’t just set pieces—they’re potential NPCs, waiting to be restored. The players might even be able to identify key figures, like royal guards, servants, or minor nobles, and choose to protect them if they anticipate being able to save them later.

2. Scavengers and Opportunists

The palace is now occupied by looters, mercenaries, and opportunistic monsters who have come to pick through the remains. Some of them were already in Haven when the disaster struck, while others have been drawn by the Eye’s growing power.

This means the dungeon is full of factions with competing interests. The players might overhear an argument between rival scavenger groups, find a gang of hobgoblins dragging a petrified noble toward a makeshift camp, or stumble upon a goblin trying to pry gems out of a statue’s eyes.

Not every encounter needs to end in combat. The players might bribe, intimidate, or outwit these groups instead. In some cases, an NPC might even trade useful information—perhaps a desperate scavenger saw Catharandamus heading toward the lower levels and is willing to share that knowledge for a price.

3. The Corruption of the Eye of Arik

The deeper the players go, the more they should feel the effects of the Eye’s corruption. This isn’t just a static evil artifact—it’s an active force, spreading its influence through the palace. Again… Play with this! Add to this! Improvise!

Some ways I like to play up this theme are:

• Rooms that feel unnaturally warm or cold despite no physical cause.

• Objects vibrating or shifting on their own, reacting to the players’ presence.

• Faint whispers in the air, especially when near the ruby’s influence.

• Pools of red light seeping through the cracks, giving the impression that reality itself is breaking down.

Try to make your players feel like they are walking into a place that is slowly being consumed by something alien, a force that should not exist in their world.

Notable Locations in Dungeon Level One

The Library – A Nest of Kobolds

The library of the palace was once a place of learning and refinement, but now it’s been ransacked by looters and claimed by a group of kobolds who have made their home among the wreckage.

• Shelves are toppled over, books are scattered everywhere, and the air is thick with the smell of mildew and rot.

• The kobolds are hiding at first, waiting to see if the intruders pose a threat.

• If the players search carefully, they might find valuable tomes or even hidden secrets about the palace’s past.

The Dining Hall – A Cursed Feast

This is one of the most chilling locations in the palace. The long banquet table is still set, and its guests are frozen in place, turned to stone mid-meal.

• A noblewoman is halfway through raising her goblet.

• A servant is locked in place, pouring wine into a cup that will never be filled.

• The food on the plates is completely untouched, preserved by magic, making it seem as though the meal was interrupted just moments ago.

If the party examines the room carefully, they might notice that one chair is empty—a sign that someone at this feast escaped the curse, at least for a time.

The Barracks – A Power Struggle

The palace guards’ quarters have been taken over by a band of hobgoblins, who are now arguing over whether they should remain in the palace or flee before the curse gets worse.

• If the players eavesdrop, they can learn useful information about the palace’s lower levels.

• If they rush in and attack, the hobgoblins fight fiercely but may surrender if outmatched.

• If the players speak to them, they might be able to trick or intimidate them into leaving.

This level of the dungeon sets the tone for the entire adventure. It should feel like a place trapped in the moment of disaster, where looters and monsters have moved in, but where the true danger hasn’t even fully revealed itself yet.

A smart party will realize that something bigger is happening here, and if they take the time to investigate, listen, and explore, they will uncover clues that foreshadow the deeper horrors that lie below.

B3: Palace of the Silver Princess Part 4: Dungeon Level Two – The Heart of the Mystery

If Dungeon Level One sets up the atmosphere of eerie catastrophe, then Dungeon Level Two is where the players confront the true horror of what has happened to Haven.

This is where the Eye of Arik’s corruption is at its strongest and where the players will ultimately need to face the dark forces at work, uncover the full truth of Silverheart’s experiment, and decide how they are going to destroy the Eye before it’s too late.

Where the upper level of the palace is still a place of looters, scavengers, and scattered survivors, the lower level is something else entirely.

This part of the dungeon feels different, as if the players are stepping deeper into the Eye’s influence, entering a space that is actively resisting their presence. This is the core of the curse, the final layers of mystery peeling away to reveal the last moments of a kingdom’s downfall.

Everything here should feel wrong—the architecture twists slightly, shadows seem to move on their own, and the air itself vibrates with arcane residue.

Time is unstable, and players might witness echoes of the past, ghostly reenactments of the day the palace fell. This level is not just a place to explore—it’s a place to survive.

What Makes Dungeon Level Two Unique?

1. Undead Guardians – The Final Defenders of a Fallen Palace

While Level One had bandits, mercenaries, and monsters looting the ruins, this level is not for the living. The deeper the players go, the more they encounter the true remnants of the palace’s last moments—undead servants, spectral guards, and cursed beings bound to the Eye’s influence.

Unlike mindless zombies, the creatures here are aware. Some were palace guards, some were nobles, some were alchemists or scholars who tried to stop Silverheart’s experiment. Many of them don’t even realize they’re dead, continuing their duties as if the palace still stood.

These creatures offer a great roleplaying opportunity for you as the DM.

Instead of simply attacking, some might speak to the players, confused as to why outsiders are here. Others might plead for help, their consciousness fading in and out, momentarily aware of their fate before the curse pulls them back.

The presence of the undead should make it clear that this level isn’t just a dungeon—it’s a tomb, one where the dead are still trapped in their final moments.

2. The Key to Destroying the Eye

By the time the players reach the heart of this level, they should have some idea of how to destroy the Eye of Arik. This is where they confirm the method they will use and take the final steps to make it happen.

As we discussed previously, there are three main ways to shatter the Eye, all requiring pieces that must be assembled before the final confrontation:

• Freeing Ariksbane, the White Dragon – If the players find a way to break the spell trapping Ariksbane in the Dimension of Ice, the dragon can use its frost breath to destroy the Eye. This is the most dramatic option, as it requires a race against time to free the dragon before the Eye gains full control of the palace.

• Recovering the Sword of Arik – The cleric Catharandamus, who has been preparing the final ritual to free Arik, holds the enchanted blade that can shatter the Eye. The players will need to defeat him and claim the weapon, but using it will destroy the sword permanently.

• Summoning Rowena with the Ice Harp – Hidden in this level is the legendary Ice Harp, a mystical instrument linked to the realm of Faerie. If the players find it and play the correct notes, it will summon Rowena, the legendary minstrel. She alone knows the song that can unmake the Eye, but her presence brings its own complications—she has been gone from the mortal world for centuries, and her knowledge of events may not be complete.

Each of these solutions requires clues found throughout the dungeon. If the players haven’t pieced it together, you can drop a final hint through a vision from the Protectors—but ideally, the players should feel like they are making the discovery themselves.

The Danger of Taking Too Long

Unlike Level One, where players can explore at their own pace, Level Two should have a time limit—even if it’s not explicitly stated. The longer the players remain here, the stronger the Eye’s influence becomes. Again… Play with this! Add to this! Improvise!

Some ways I like to reinforce this with my players:

• The dungeon subtly shifts, with rooms they’ve already explored looking more decayed and twisted.

• The undead become more aggressive, as the Eye strengthens its control over them.

• Catharandamus’ ritual gets closer to completion, with visible signs of reality breaking down.

• If they delay too long, Arik may partially manifest, requiring an even more desperate effort to banish him back to his prison.

This should make it clear to the players that hesitation is not an option. The palace is falling apart around them. They must act, or they will fail.

Dungeon Level Two is where the adventure’s stakes hit their peak. The players have moved beyond exploring a ruined palace—they are now actively fighting against the Eye’s growing influence, trying to undo a disaster that has already happened.

What makes this level so effective is that it feels like a place trapped in its own doom. The players are walking through the final echoes of Haven’s fall, piecing together the last desperate attempts to stop Arik.

Every room should feel haunted, every encounter should feel like a reminder of what was lost, and every decision should push them closer to the inevitable confrontation with the Eye itself.

By the time they leave, they will have either saved Haven from total corruption or failed to stop the return of an ancient evil. Either way, this level makes sure that they will never forget what they experienced in the heart of the Silver Princess’s ruined palace.

B3: Palace of the Silver Princess Part 6: New Monsters – Unique Threats and Strange Allies

One of the most interesting aspects of Palace of the Silver Princess is that it doesn’t just rely on the standard D&D monster lineup. Instead, it introduces several unique creatures that help reinforce the fairy-tale horror atmosphere of the adventure.

These monsters aren’t just random encounters—they’re integral to the story, tied directly to the Eye of Arik’s corruption, the mystery of the palace, and the final confrontation against the forces of chaos.

These new creatures add a layer of unpredictability, especially for veteran players who might be used to fighting orcs, goblins, and skeletons.

Each of these monsters serves a specific purpose in the adventure, making them more than just stat blocks—they shape the world, add depth to encounters, and give the DM some fantastic storytelling opportunities.

The Protectors – Ethereal Guardians Against Arik’s Influence

The Protectors are not your typical dungeon dwellers. They aren’t monsters in the traditional sense—they’re beings of order, sent to counteract Arik’s growing power. They appear as glowing, ethereal figures, humanoid but featureless, radiating a calming light in the midst of all the chaos.

These entities are not all-powerful, nor are they fully present in the material world. The Eye of Arik’s influence is too strong for them to completely banish, so they exist as fragments, only able to offer guidance, brief moments of aid, and cryptic warnings.

• The Protectors can grant visions to the players, nudging them toward key discoveries.

• They can open a path through the ruby glow, but only a limited number of times, meaning the players must think carefully about when to retreat and when to push forward.

• In some cases, they may intervene to prevent a total party kill, but only if it serves the greater purpose of defeating the Eye.

The mystery surrounding the Protectors is something a DM can play up. Who—or what—are they? Are they ancient spirits bound to Haven, the remnants of a forgotten celestial order, or something even stranger? Their exact nature is never fully explained, giving the DM the flexibility to shape their role to fit the tone of the campaign.

What makes the Protectors especially interesting is that they don’t necessarily see the player characters as heroes—just as pawns in a much larger conflict. They aren’t kind, they aren’t cruel—they are single-minded in their goal to prevent Arik’s return at any cost.

Ariksbane – The White Dragon with a Role to Play

Unlike most dragons in Basic D&D, Ariksbane isn’t a random monster to be fought for treasure. He is a named, story-driven entity, tied directly to the adventure’s resolution. His very name—”the ruin of Arik”—foreshadows his importance in the fight against the Eye.

Ariksbane was the loyal companion of Ellis the Strong, one of the Knights of the White Drakes, an elite order of dragon-riding warriors dedicated to hunting and destroying great evils. He was banished to the Dimension of Ice when the ruby’s magic took hold of the palace, and unless the players find a way to free him, he remains trapped there, helpless as Arik’s influence spreads.

If Ariksbane is freed, he can use his frost breath to destroy the Eye of Arik, one of the three possible methods of breaking the curse. This makes him not just an ally, but a literal key to the adventure’s resolution.

However, that doesn’t mean Ariksbane is automatically friendly.

He is a creature of immense intelligence and pride, and he has been trapped in a frozen hellscape for who knows how long. If the players don’t approach him carefully, he might see them as just another threat, or worse, unworthy of his aid.

A few ways I make Ariksbane a more compelling presence in the game:

• Give him a personality beyond just “helpful dragon.” He is weary, bitter, and deeply angry at what happened to his knight. He might blame the humans of Haven for their weakness, or question whether the players even deserve to wield the power he offers.

• Make freeing him a challenge. Maybe the players need to recover an artifact tied to his order, perform a specific ritual, or pass a test of worthiness before Ariksbane agrees to help.

• Let the players form a relationship with him. If they earn his respect, Ariksbane could become a powerful ally beyond just this adventure, perhaps even a figure who returns in later sessions.

Ariksbane represents one of the best aspects of old-school play—the idea that not everything is just an obstacle to be fought. If the players see him as a puzzle to be solved rather than just a stat block to kill, they’ll walk away remembering him as a key moment in the adventure.

The Rubied Followers – Horrors Created by the Eye of Arik

While most of the creatures drawn to Haven are opportunistic looters and scavengers, the Rubied Followers are something else entirely. These are beings that have been touched and twisted by the Eye of Arik, corrupted into servants of chaos and destruction.

Some were once humans, others goblins, hobgoblins, or even palace guards, but now they barely resemble what they once were. Their skin cracks like glass, red light pulses from their veins, and their eyes shine like blood-red gemstones. They do not speak, except in garbled, alien whispers, and they feel no pain, only the hunger to serve their master.

What makes the Rubied Followers truly terrifying is that they are not just mindless undead or mutated creatures—they still have fragments of their former selves buried inside them.

A former palace servant might still try to perform their duties, greeting the players in a broken, slurred voice before attacking them. A hobgoblin mercenary might remember why he came here, but be unable to resist the ruby’s pull.

Ways I make them stand out:

• Their presence warps reality. When they walk, the ground beneath them subtly distorts, as if the world rejects their existence.

• Killing them is not always permanent. If the players don’t destroy the ruby, slain Rubied Followers might reform after a time, forcing the party to hurry before they are overwhelmed.

• They recognize the player characters. Some might even call them by name, whispering knowledge they shouldn’t have—proof that the Eye of Arik is watching.

These creatures should be used sparingly, to maintain their impact and horror. The first time the players see one, it should be a moment of dread—something unnatural, something wrong, proof that this adventure is more than just a typical dungeon crawl.

Why These Monsters Work So Well

The best thing about these new creatures is that they reinforce the core themes of the adventure.

• The Protectors represent the last fragile defenses against Arik’s corruption—beings of order struggling to hold back the chaos.

• Ariksbane represents the last hope of Haven, an ancient power waiting to be freed, but not necessarily on the players’ terms.

• The Rubied Followers embody the horror of Arik’s influence, the idea that this corruption is spreading and warping everything it touches.

These creatures don’t just exist to pad out the dungeon—they serve a purpose, both mechanically and narratively. They make the adventure feel unique, helping Palace of the Silver Princess stand out from standard dungeon crawls.

For a DM running this module, lean into what makes these creatures different. Let them be memorable, unsettling, and strange, and they will elevate the adventure into something truly unforgettable.

Final Thoughts: Is B3: Palace of the Silver Princess Still Worth Playing?

Is B3: Palace of the Silver Princess a perfect adventure?

No.

Is it a fascinating, atmospheric, and unique piece of old-school D&D?

Absolutely.

If you love old-school dungeon crawls, enjoy exploring the history of the game, or just want a fun and eerie adventure to run, B3: Palace of the Silver Princess is definitely worth playing. Even if you modify certain encounters or expand on the story elements, the core adventure is strong enough to be memorable—especially if you play up its mystery, corruption, and strange fairy-tale horror elements.

For old-school enthusiasts, B3: Palace of the Silver Princess is not just another classic dungeon crawl—it’s a piece of D&D history, steeped in mystery, controversy, and that special kind of weirdness that makes early modules so fascinating.

Whether you are drawn to its strange monsters, eerie fairy-tale horror atmosphere, or its unusual backstory, there’s something compelling about this adventure that still holds up today. It stands as one of the more experimental early D&D modules, and while it doesn’t always hit the mark, it remains memorable, if not outright infamous.

For those who appreciate the unpredictability and player-driven approach of old-school play, Palace of the Silver Princess offers a unique take on classic dungeon exploration.

It is not as tight in design as some later modules, but that is part of its charm—it has room for the DM to expand upon, rather than just being a rigid, pre-scripted experience.

The blend of exploration, puzzles, combat, and mystery surrounding the Eye of Arik’s corruption gives it a good variety of challenges without feeling repetitive.

For new players, this adventure serves as a gentle introduction to classic D&D mechanics. The programmed adventure in the Gatehouse is a rare example of an early module attempting to provide a structured tutorial, which makes it ideal for absolute beginners.

The dungeon layout is relatively straightforward, making it easier to manage than sprawling megadungeons or faction-heavy adventures.

There are some underdeveloped areas, especially in Moldvay’s revision, where encounters can feel generic or lacking depth. But, a creative DM willing to add their own touch can enhance these elements to make the adventure even better.

While Palace of the Silver Princess never reached the legendary status of Keep on the Borderlands, it is still an adventure worth experiencing, whether as a player-driven mystery or a historical curiosity.

It has a unique setting, an intriguing story, and some genuinely memorable moments, even if some aspects require a bit of DM refinement to truly shine.

Who should run this module?

• If you’re looking for a classic old-school dungeon crawl with a strong story element: Palace of the Silver Princess is a great pick, especially if you prefer mystery and corruption over pure hack-and-slash combat.

• If you’re introducing new players to old-school D&D: The programmed adventure and simple dungeon structure make it an accessible starting point.

• If you prefer open-ended sandbox play: You may want to add more depth to the NPCs and encounters, or, if possible, track down the original Orange Cover version, which is more freeform and less linear.

So what do you think? Have you ever run Dungeon Module B3: Palace of the Silver Princess at your table? Did you play it back in the early days, or did you discover it later as part of exploring classic D&D modules?

Which version do you prefer—the Moldvay revision or the lost Jean Wells original?

Drop your thoughts in the comments below!

Long live B/X, long live the OSR, and as always, may the dice roll ever in your favor!

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