At first glance John Bellairs’s The Face in the Frost is a bit of an anomaly, both in his own body of work and in Appendix N. It is the only Bellairs work cited by Gary Gygax in Appendix N, and ended up being Bellairs’s first and only fantasy novel directed at adults. Bellairs began work on The Face in the Frost in the late 1960s after reading J.R.R. Tolkien’s The Lord of the Rings. He created his protagonist Prospero as a reaction to the might and nobility of Gandalf, rendering Prospero and his fellow wizard Roger Bacon as more down to earth, crotchety, and occasionally downright fearful of their circumstances.

The Face in the Frost was published in hardcover by Macmillan in 1969, with quirky pen-and-ink illustrations by his friend Marilyn Fitschen that reinforced the alternating whimsy and dread of the story. The book did well enough for Bellairs to turn to full-time writing, with his next work The House with a Clock in its Walls was also a dark fantasy, although set in the late 1940s. Supposedly Bellairs had difficulty selling The House with a Clock in its Walls until a publisher suggested rewriting it as a young adult (YA) book. The House with a Clock in its Walls proved to be a huge critical and sales success, so much so that Bellairs would remain best known as a YA author for the rest of his career, completing a total of 15 books for young readers.

It’s interesting that The Face in the Frost did not differ dramatically in mood and tone from Bellairs’ gothic mysteries for young readers, yet it was never re-marketed as a YA work. Ace Books published The Face in the Frost in paperback in 1978, but its odd man out status as Bellairs’s only substantial adult work may have contributed to it going out out of print after Bellairs’ death in 1991. It was then only available only in specialty press editions until it was finally republished in 2014 by Open Road Media, although unfortunately without Marilyn Fitschen’s illustrations.

The Ace Books paperback cover by Carl Lundgren (also the cover artist of Dragon magazine issues 50 & 68) renders Prospero as an archetypal high fantasy wizard and captures some of the eeriness but none of the whimsy of The Face in the Frost.

It’s unclear when Gary Gygax first encountered The Face in the Frost, but it may have been fresh on his mind as he was writing Advanced Dungeons & Dragons. In The Players Handbook Gygax explicitly states that magic-users must consult their spellbooks in order to memorize their spells, which echoes Prospero’s habit of studying his spellbook at night before the next day’s journey and adventures. In contrast the Original Dungeons & Dragons box set merely states that a given spell (slot) may only be used once a day--no mention is made of memorization or spell preparation.

It appears that Gary Gygax wanted to provide a narrative and theoretical underpinning to what may have originally been a game balance decision. He found much of his answer in Jack Vance’s The Dying Earth, but The Face in the Frost may have helped to reinforce his design choice. To the dominant Vancian strain and the acknowledged influence of de Camp and Pratt’s Enchanter books may we now add The Face in the Frost as a direct influence on the AD&D magic system?