S. & B. ask:

In the Dragon Heist Remix, what should I do if the PCs head to the Brandath Crypts and find the secret door leading to the vault doors early? My players found the references to the Cassalanters being interested in the Brandath Crypts at the converted windmill, went to check it out, and found the secret door. If they find the Vault this way, couldn’t they figure out how to open it without ever getting the Stone of Golorr and skip straight to the end of the campaign?

Converted Windmill → Crypt isn’t even the speed run of Dragon Heist. My players jumped directly from “the Zhentarim are interested in his mom’s necklace” → “we should check out his mom’s crypt” before they’d even gone to Trollskull Manor. They actually missed the check to find the secret passage in Lady Alethea’s Crypt by one point.

This created a huge payoff when they came back to the crypt at the end of the campaign: “Wait… we were standing right on top of it?!”

One thing you may notice is that the Brandath Crypts in the Alexandrian Remix of Dragon Heist are much more elaborate than those in the original adventure.

Here’s the original map:

And the revised map:

This is partly for lore reasons (demonstrating the long history of the Brandaths), but also because it places the Vault under ablative shielding. The PCs will

• Need to figure out the Crypt is involved.
• Need to find the secret door.
• Once through the secret door, find the opened secret compartment from which the Cassalanters took the Eye. (This is a red herring that can cause groups to stop looking, particularly if they come from the converted windmill: “Oh. This is where they found what they came here for.”)
• Need to find the second hidden passage behind the illusion.
• Need to figure out how to open the Vault. (Without direct access to a legend lore spell through the Stone of Golorr, so they’ll either need to call in a favor or get clever.)

You know how you use the Three Clue Rule to create robust connections? This is basically the exact opposite of that: We’re deliberately designing a chain of fragile connections, with the high expectation that at least one of these chains will break, turning the PCs away (but also rewarding them later with the cool, “We were so close!” reveal).

Okay, but what if the chain doesn’t break, the PCs do all of those things, and they get into the Vault “early”?

100% let it happen. And then play to find out.

First, your players are going to think this is the most amazing thing that has ever happened to them at the gaming table. I guarantee it. Plus, they’re going to trust you implicitly as a GM for the rest of eternity. On top of that, just think about the story they’re going to have to tell other D&D players?

In my opinion, even if you had to throw out the rest of the campaign, it would still be worth it.

It’ll be like my players telling the story of how they beat the Tomb of Horrors by casting locate object on their stolen stuff, drilling a hole through the wall, and using gaseous form to loot the treasury. Except on steroids.

If you’ve ever wanted to run a campaign that your player will remember forever, this is how you do it. My wife still talks about another campaign where she convinced the rest of her group to unexpectedly double back, confront the secret villainess, and completely derailed the Epic Quest™ the PCs were supposed to be embarking on.

But also, if you’re running the Dragon Heist Remix, you won’t have to throw out the rest of the campaign, because, second, the rest of the campaign is still in motion.

One of the great things about prepping situations instead of plots and then actively playing those situations is that, even when those situations go in a completely unexpected direction… you can just keep playing.

You’ve found the money. What do you do with it? How do you get it out of the Vault? These questions are often trivialized at the end of a Dragon Heist campaign because the PCs have taken some factions off the board and made alliances with others. But if they breach the vault early, all of these factions will still be fully active and likely mysterious to the PCs.

To take an easy example, the Cassalanters still need this money to save their kids. Just because the money isn’t in the Vault any more doesn’t mean that the Cassalanters aren’t still going to be trying to get their hands on it.

The Stone of Golorr is still in play. Even if the Stone is no longer required to find Neverember’s stolen money, it’s still a pretty big deal in its own right. It’s a powerful artifact filled with secrets and capable of incredible things. Most or all of the people who were looking for it will still be looking for it!

In other words, the Grand Game is still very much in play. And there can be some absolutely fascinating stuff that comes out of the PCs suddenly being flush with a small fortune while still pursuing the Stone of Golorr:

• How does their wealth change their relationship with the various factions?
• What resources can they purchase to further their goals?
• If they use the money for unrelated purchases, what are the consequences?

Flow with what’s happening and keep actively playing the situation. The Remix gives you the tools you need to keep reacting and keep playing.

In “How the Remix Works,” for example, there’s a simple checklist for the GM to follow as a default option:

1. Are the PCs looking for a lead to one of the Eyes? If yes, pick a Faction Outpost and point them at it.

2. Did the PCs just piss off one of the Factions? If yes, pick a Faction Response Team and have them target the PCs.

3. Are the PCs floundering and don’t know what to do next? If yes, pick a Faction Response Team and have them targe the PCs. (If you’re not sure how they might target the PCs, just have them show up and try to kill them.)

Repeat until the campaign is done.

What’s notable is that even with a huge curveball like “they opened the Vault at the beginning of the campaign,” this checklist still just… works.

Here’s a few key questions to think about, though:

• Who knows that the PCs have the money / know the location of the Vault? (This includes both “friendly” and villainous factions.)
• What do they do about that? (Try to steal it? Ask for a donation? Recommend that they return it to the city government?)
• As the PCs spend the money, what happens as a result of their purchases?

The other thing to think about is how the instigating action / scenario hook for the Grand Game might shift as a result of the PCs’ altered trajectory.

In the campaign as written, the assumption is that the PCs are known for rescuing Renaer and are also known to operate out of Trollskull Manor. Therefore, Dalakhar goes looking for them at Trollskull Manor and gets blown up in the fireball.

If the PCs are instead known to have somehow gotten access to the Vault, then maybe Dalakhar is actually coming to Trollskull Manor with a message from Neverember about the money. The message could actually be found on his body after the explosion. (This could result in Neverember being more directly active in the Grand Game, an option we’ve previously discussed.)

You might also have one or more factions (e.g., the Gralhunds) assume that if the PCs got access to the Vault, it must mean that they have the Stone of Golorr! Maybe the PCs find themselves under nimblewright surveillance! Maybe Emmek Frewn and his wererats get recruited to help keep tabs on them.

If you were running a prepped plot, then the PCs skipping to the end would break all your prep. But the Dragon Heist Remix reorganized the plot into a toybox. The Vault and the treasure inside it are positioned as a natural goal for the campaign, but they’re ultimately still positioned as toys: If the PCs pull them out and starting playing with them a little “early,” it doesn’t stop you – or them! – from continuing to play with all of the other toys!

Go to Ask the Alexandrian #1

Although it’s a little over fifty years old now, the roleplaying game is an incredibly new medium in the grand scale of things. Even compared to film, it’s just a little baby that’s only just barely coming into its maturity. This is particularly true because roleplaying games are radically different from all previous mediums.

This is true of all mediums, of course, but the notable thing about every pre-RPG medium is that the audience was fundamentally a passive recipient: The creator(s) created a story, painting, or film and then the audience in some way observed what had been created. Exceptions to this division between creator and audience were not unknown, but were extremely limited.

In an RPG, of course, the players are both creators AND audience at the same time. It’s just a fundamentally different activity to anything that had come before. So if you met someone who had never seen a comic book or a film before before you might say, “Well, it’s like reading a book with pictures” or “It’s like watching a play, but the actors’ performances are recorded.” But if someone asks, “A roleplaying game? What’s that?” people often find themselves struggling to really explain what it is we’re actually doing on a Friday night. There’s no easy analog to something people are already familiar with. If you’ve never played an RPG, then you’ve never done anything like it.

So we could begin with a technical definition:

A roleplaying game is a game in which the mechanical decisions made by the player are directly associated to the decisions of the character they’re playing, such that playing the game is inherently making decisions as if you were your character (i.e., roleplaying).

But while this definition might be useful in clearly distinguishing an RPG from a board game or storytelling game or graphic novel, it’s probably not very illuminating to someone just trying to figure out the basic concept.

A ROLEPLAYING GAME IS…

So let’s instead look at some practical answers to, “A roleplaying game? What’s what?”

The shortest effective description I’ve found is:

“It’s like an improvised audio book drama, with each player pretending to be a character and one player, the Game Master, describing the world. You can say that your character is going to try to do anything you can imagine, and then you and the Game Master will use the rules of the game to figure out what happens.”

I used to say “radio drama,” which I believe I got from John Tynes and Greg Stolze. But recently I’ve found most people have no idea what a “radio drama” is, so it’s pretty easy to get detoured into a completely separate explanation of what those are (and the end result still doesn’t give them a clear picture of what an RPG is).

Even with  the swap to “audio book drama,” though, this explanation may not land with everyone. So another approach might be:

“Video game RPGs like Elder Scrolls or Final Fantasy were actually based on tabletop roleplaying games. The two big differences are that you play entirely in your imagination and there’s a Game Master who describes the world and uses the rules to figure out what happens next. The cool thing is that this means you can have your character go almost anywhere and try to do anything you can imagine: You’re not limited to what the game programmers predetermined you could or should do.”

There’s an almost limitless number of metaphors you can extrapolate from, and the one that works best will really depend on who you’re talking to, what they’re already familiar with, and what they’re most passionate about.

Of course, we could also attempt a more direct approach with a more literal description of what actually happens at the gaming table:

When a group is playing a roleplaying game, they are imagining a fictional scene: That might be the bridge of a starcruiser, the dungeons of a vampire lord, or the neon-soaked alleys of Hong Kong in the 1980’s. One of the players is the Game Master. They describe the fictional scene: The red alert alarm klaxons on the bridge; the flickering torchlight illuminating the dungeon; or the Triad gang members who’ve just blocked the alley exit.

Each of the other players has a character that they’re playing in this scene. They might be a space smuggler trying to bluff her way past Imperial cruisers; a heroic knight trying to rescue the princess; or an honest cop stuck in a corrupt department.

Once the Game Master describes what their characters see, the players announce what they want their characters to do. The Game Master can then use the rules of the game to figure out what happens: If the cop wants to punch one of the Triads in the face, can he land the blow? And, if so, what happens to the Triad? How do the other Triads react?

The only way to find out is by playing the game!

Of course, there are a bunch of RPGs that won’t fit this “traditional” mold. Solo RPGs without GMs, for example. If it’s relevant to the conversation, use a description that matches the game you’re trying to explain. But, generally speaking, if you’re trying to explain to someone what a motion picture is, you don’t need to immediately try to make them understand the differences between feature films, syndicated sitcoms, mini-series, and made for TV movies.

Speaking of film, one of the great things about joining the hobby today is that you don’t need to actually play an RPG to see what it looks like. So you’re final option for explaining to someone what an RPG to say:

Here’s a link to the middle of an episode of a Critical Role/ Dimension 20 / whatever actual play seems best. Watch five to fifteen minutes and you’ll have a pretty good idea what we’re going to be doing Friday night.

(I recommend not just linking to the beginning of an episode because there’s often a bunch of introductory folderol that isn’t actually playing the game. Try to give them a timestamp to some meaty examples of play, ideally featuring a healthy dose of the rules actually being used / dice being rolled.)

The point, of course, is that there’s no One True way of explaining what an RPG is, any more than there’s One True Way of playing them.

An excellent adaptation of its source material which, unfortunately, doesn’t offer much to anyone who isn’t already a fan of the comic book.

Review Originally Published December 28th, 2000

Usagi Yojimbo is a truly excellent comic book created by Stan Sakai. The title character is an anthropomorphized version of the historical Miyamoto Musashi. In other words: Usagi Yojimbo is a humanoid rabbit whose fictional exploits draw a sizable portion of their inspiration from the life of a 17th century Japanese samurai.

The Usagi Yojimbo Roleplaying Game, authored by Greg Stolze (a game designer whose past credits – including Unknown Armies – speak for themselves), is an adaptation of Usagi’s world for all of us gaming fanatics.

SYSTEM

The system used for Usagi Yojimbo is a modified version of the generic Fuzion engine – also used in Sengoku (also published by Gold Rush Games), Bubblegum Crisis, Armored Trooper Votoms, and Champions: New Millennium (among others). You can learn more about the basic Fuzion system from the Fuzion Labs website.

There are two significant changes to the basic system in Usagi, both of which are carried out very nicely:

First, the character creation process has been boiled down to a simple, three step process – with each step modifying a set of basic attributes and skills which are given to each character:

1. Pick a Species (bat, cat, rabbit, mole, etc. – anthropomorphic, remember?).

2. Pick a Job (bounty hunter, bodyguard, gambler, retainer, etc.).

3. Divide 10 extra points among skills in order to customize your character.

This Job/Species system could easily be mistaken for a traditional, D&D-style Class/Race system – but you shouldn’t do that. The system in Usagi is not a class system, but rather an archetype system. Unlike the rigid definitions of a class system, an archetype system is loose and open: The goal of a class system is to protect the niche of each character (a wizard has a very different role than a fighter); whereas the goal of an archetype system is nothing more than to simplify the character creation process. Instead of figuring out which skills you need to be an effective messenger, the system designer has done the work for you.

The other major modification to the system is in the combat mechanics. Stolze has designed an elegant combat system designed to convey the feel and spirit of a samurai duel.

As in almost any other combat game you care to name, initiative determines who goes first. This person chooses a target. At this point, though, something a little different happens – because in Usagi Yojimbo it is not just the attacker, but also the defender, who gets to take an action.

It works like this: Both combatants secretly choose one of three strategies – Total Attack, Cautious Attack, or Total Defense. Both combatants then reveal their choice of strategy simultaneously (Stolze suggests using standard playing cards to do this effectively). Now, depending on which strategies were chosen, combat can go one of several ways. For example, if both combatants chose Total Attack, then they both roll their combat roles (Combat + Weapon Skill + roll of dice), but whoever succeeds does double the normal damage.

The only restriction to this is that the person who initiated the attack cannot choose Total Defense as a strategy (since that would mean they weren’t initiating the attack). Other than that, both attacker and defender behave identically – a rather radical change from the normal methodology in combat system design (in which the roles of attacker and defender are very distinct), which provides a unique – and highly worthwhile – dynamic to the system.

There are a few more twists to it, including an optional system for handling unarmed combat which is similarly unique in its approach, but that’s the core of it.

In practice this process really shines – giving a feel to the mechanics which does a very nice job of mirroring the feel of samurai duels in fiction (including, of course, Usagi Yojimbo).

STRENGTHS

The primary strength of Usagi has already been discussed at length: Stolze has adapted the Fuzion engine to give the game an extremely simple, yet also extremely attractive, system. Both character creation and combat are not only dynamic systems, but simple ones. Excellent stuff all around.

A couple of other things are worth mentioning, though: First, a one page system reference chart is included. I love these things, and wish more games had them. This one, in particular, is extremely effective – summarizing every last element of the game system. Far too often you’ll get “reference charts” – usually on GM screens – which reference every knick-knack in the game except the rules you actually use on a regular basis. Usagi avoids this nicely.

Second, the book contains a number of appendices – which, as a general rule, contain extremely useful information: A timeline for the Usagi universe; a character index for the comic; one of the best “gamer’s glossaries” for Japanese I’ve seen (largely helped, no doubt, by the fact it’s based in the Japanese which occasionally crops up in the Usagi comic; and, finally, a FUDGE conversion for the game system.

Finally, the book is rounded out by a short Usagi story by Stan Sakai, “Hebi”. Nice stuff.

WEAKNESSES

Unfortunately, there are two major flaws with the Usagi Yojimbo game – and they both take their toll on what would otherwise be an exceptional game.

First, the layout leaves much to be desired. Although the book’s illustrations are helped greatly in quality by the fact they are drawn from the Usagi comic book, they also come complete with word balloons. The effect, along with some other questionable lay-out choices, give the entire book a cluttered, inaccessible feel – which is, at the same time, scattered in its focus. One of the worst moments of this layout comes in a chart which lays out the major samurai clans in Usagi’s world – which, unfortunately, looks like it was designed to be a butterfly ballot in Florida.

Second, and far more troubling, is the fundamental lack of world reference material to be found in the book. It is essentially constrained to a timeline (which is not generally useful in any sense of the word) and a chapter discussing the major characters which have appeared in the Usagi comic (which is further flawed in that it doesn’t provide coverage of several usual suspects). The GM is basically left on their own when it comes to filling in the actual gaming environment of ancient Japan.

CONCLUSION

The Usagi Yojimbo Roleplaying Game is an excellent adaptation of its source material. Unfortunately, its varied weaknesses mean that it isn’t going to do anything for anyone who isn’t already a fan of the source material. The lack of any serious world reference material is particularly distressing – particularly when contrasted against the wealth of what would be essentially identical material in Gold Rush’s Sengoku game.

In short: Fans of Usagi Yojimbo might want to flip through this one to see if it offers them anything of interest. Anybody else should definitely give it a pass.

Actually, let me modify that conclusion in one way: System nuts might want to check this one out just to take a look at the combat system which Stolze has set up. The strategy system – which gives the system a true claim to fame – is almost a cap-system: It would be easy to pop it off of Fuzion and onto any standard combat system in the industry. If you’re tired of just rolling dice during combat, this might be worth your time.

Style: 4
Substance: 3

Grade: B

Title: Usagi Yojimbo Roleplaying Game
Authors: Greg Stolze
Company: Gold Rush Games
Line: Usagi Yojimbo
Price: $16.00
ISBN: 1-890305-02-2
Production Code: U100
Pages: 96

Originally Posted: 2000/12/28

I’m old enough that when someone says “furry” what I think of is stuff like Usagi Yojimbo and Cerebus. It’s interesting how a fetish-driven fanbase has really driven the whole anthropomorphic genre into a niche of a niche.

Conversely, it’s remarkable the degree to which D&D 3rd Edition rehabilitated the whole concept of class-based RPGs. Used to be everyone who left D&D to play other RPGs would collectively sigh with relief at never needing to play a class-based system with all of its silly limitations again. Now classes clearly rule the roost.

For an explanation of where these reviews came from and why you can no longer find them at RPGNet, click here.

DISCUSSING
In the Shadow of the Spire – Session 40E: A Final Questioning

Tor was able to quickly explain the situation and turn the children over to the custody of the watchmen. He decided, however, to claim that he had rescued them from the Temple of the Rat God instead of the Temple of Ebon Hand. (He was already concerned about them delving into the dangerous depths of the former; he didn’t think adding the dangers of the latter was a good idea.)

Meanwhile, the others were loading up the carts. Tee and Nasira drove those over to the Ghostly Minstrel, where they met with Tor and presented the paving stones to Tellith. She was delighted when they showed her how they worked, and they quickly made arrangements to get them installed as the front steps of the inn.

These magical paving stones are a pretty minor detail in the campaign journal here, and you won’t see them suddenly play some huge and significant role later on.

But I love them so much.

I originally added the paving stones to the Temple of the Ebon Hand because I had the idle thought that people arriving via sewer tunnel would be kinda gross. A prestidigitation spell would solve the problem, and the form factor — schlupping the sewer waste back down into the sewers — just made sense.

The others quieted and Tee walked through the wall. As she passed onto the white marble, the floor suddenly glowed brightly and the filth of the sewer was drawn away from her body, down through the illusionary wall, and into the sewer channel beyond.

“That’s handy.” Tee smiled, pleased that her clothes weren’t going to be ruined by the sewer after all. But she was concerned about the light, so she levitated up (with one last schlurping noise) and worked her way along the ceiling.

I never imagined that the PCs would be interested in looting the paving stones. It was, after all, a minor magical effect packaged into a huge form factor. But when the players had the idea of gifting the stones to the Ghostly Minstrel, it was a truly inspired thought.

(I don’t actually recall exactly which player first had the idea. In fact, I didn’t even remember it a few hours after the session, which is why it’s not recorded in the journal.)

The stones were, in fact, installed in front of the inn. And almost every single time the PCs comes home, they make a point of standing on the stones so that the blood and gore and sludge can all be whisked away. I also make a point of occasionally mentioning other delvers arriving at the Ghostly Minstrel and taking advantage of the stones.

As such, these stones have become an ever-present memorial to their accomplishments. They’re also a permanent feature in Ptolus now; a constant reminder, albeit a minor one, that the PCs actions have meaning and can transform the world around them.

Which goes a long way towards explaining why I love it when the PCs loot infrastructure — not for its monetary value, but because it can be repurposed. It shows that the players have become invested in the setting. I love seeing what they build, and I also love the tangible trophies of their exploits being a living part of the campaign.

Of course, not all of this infrastructure needs to be magical or even structural. Looting décor is also a common variant: In my first D&D 3^rd Edition campaign, an elemental cleric named Talbar (played by the same player who created Agnarr) had a bag of holding dedicated exclusively to beautiful antique furniture he was collecting to furnish the temple he was planning to build.

When the players start laying down roots, all kinds of interesting things can grow.

Campaign Journal: Session 41A – Running the Campaign: TBD
In the Shadow of the Spire: Index

 

IN THE SHADOW OF THE SPIRE

SESSION 40E: A FINAL QUESTIONING

July 25th, 2009
The 22nd Day of Kadal in the 790th Year of the Seyrunian Dynasty

MALLECK’S LORE

The others had seen nothing of her struggle. They had seen her snatched from the air, a brilliant flash of scintillant energy, and then she had been standing in front of them again slamming the door shut. When she told them what she had experienced, they agreed that the chamber would be better left alone.

There was little of the temple left to explore now. They stumbled into Malleck’s chambers and found them to be luxuriously accoutered: He even had a personal bathing tub with alchemical mechanisms for heating the water. Among his personal effects they found a large cache of gold, along with additional papers and correspondence.

LETTER FROM SILION TO MALLECK

Malleck—

Valla has told me of your anger regarding the recent slowing of stock for your experiments. But if you must sate your fury, turn it towards Wuntad – he demands the same stock as you, and his desires are… particular. We have bent all of our efforts to fulfilling his requests, and have little time left to seek out what you need.

Nor are our friends among the Ring of Iron able to supply what you want. They never deal in those so young.

                                                                Silion

They also found three scrolls of black papyrus, covered in archaic runes written in a silvery ink. Ranthir was able to identify the runes as Ancient Common, and the ink as liquid mithril.

PROPHECIES OF THE CHILDREN OF CHAOS
(translated)

On three scrolls of black papyrus, written in faded silvery ink, are fragmentary passages of Ancient Common.

The most complete of the three scrolls details a “ritual of mutilation” – a mystic rite designed to directly affect living tissue to deleterious effect.

The second scroll is badly damaged, but appears to be the tale of Cajjan, Scion of Gellasatrac. Cajjan “stood at the right hand of the Ebon God” while the “campaigns of the blood armies” were fought – campaigns filled “with the carnage and destruction of the darkest paths”. Most of the rest of the scroll has been effectively destroyed, but towards the end there is a single phrase left intact: “—and in the blood of the savaged god was vested the promise of their power. And in the Hour of Black Rain that promise will be kept and the Dukes of Chaos shall be—“

The majority of the third scroll is covered in badly fragmented astronomical signs. In the center of the scroll, however, is preserved a passage of text: “There shall come those who bear the signs of the Nine. And in answer to their call there shall stand the Children of Chaos. And their ranks shall be matched. And their numbers shall be even. And their power shall be that of all fate.”

THE SANCTUARY

They decided to check the upper level of the temple. Heading up the stairs they passed through a seemingly unremarkable antechamber. Upon one wall there was a red tapestry emblazoned with the image of a black hand. The floor was covered with a round black rug.

As Tee passed over the latter, however, it suddenly sprung to life. As it tried to tangle itself about her feet, she leapt away… stumbling into the tapestry which, likewise, animated with malicious intent. Off-balance from her leap, she found her arms quickly caught up by the thick fabric.

The others, meanwhile, had scarcely had time to react to Tee’s predicament when the rug suddenly lunged in their direction – covering the doorway entirely. Agnarr and Tor tried to hack their way through it, but the strangely animate fibers of the rug proved bitterly resistant to their blows. Tee, meanwhile, was losing her struggle with the tapestry. While keeping her arms pinned, one corner of the tapestry curled up around her throat – pushing her back against the wall and choking the life out of her.

By the time Tor and Agnarr had gotten through the rug, Tee lay slumped against the wall. She’d stopped breathing.

Agnarr ripped the rug off of her and used his sword to pin it against the opposite wall – the flames slowly consuming the thinner fabric of the tapestry as it writhed. Nasira rushed to Tee’s side and was able to quickly resuscitate her.

Tor smiled at Tee. “It would have been ironic if we had destroyed the entire temple only to be laid low by a rug.”

Tee rubbed her throat. “I’m not laughing.”

They finally passed into the outer sanctuary itself. Much like the Temple of the Rat God, it consisted only of a single long hall: The wood-paneled walls were painted black with narrow red and black stained windows. The floor was carpeted in crimson, and the entire chamber was dominated by a massive idol statue depicting a hand in black stone:

Each digit of the hand was topped by a burning candle set into fingertip niches. Behind the idol there was a black wood cabinet filled with bizarrely twisted musical instruments, apparently of ritual significance. With a grim set to his mouth, Tor snuffed the candles while Agnarr smashed the musical instruments. They debated destroying the idol itself, but decided it would take too much time.

There were no cultists to be found in the upper level, however. Either they had fled or they had descended to the melees below.

A TEMPLE LEAVE-TAKING

They dragged their loot (which now vastly outstripped the capacity of their bags of holding) into the upper sanctuary. They even decided to grab two of the glowing pavestones as a present for Tellith (so that she wouldn’t have to worry about wandering delvers trampling dirt and muck into her front hall at the Ghostly Minstrel).

While most of them stayed to watch over the loot, a couple of them went to hire a carriage and two carts. When they returned, Tor used the carriage to take the three children they had rescued from the prison to the watch station on Pirveyor Street. There he was recognized by the watchmen on duty (which again filled Tor with a thrill), and Tor discovered that word was already spreading of their exploits at the Temple of the Rat God. (Apparently watchmen had been summoned from the Pirveyor Street station to aid in what must have been a massive clean-up operation at the temple itself.)

Tor was able to quickly explain the situation and turn the children over to the custody of the watchmen. He decided, however, to claim that he had rescued them from the Temple of the Rat God instead of the Temple of Ebon Hand. (He was already concerned about them delving into the dangerous depths of the former; he didn’t think adding the dangers of the latter was a good idea.)

Meanwhile, the others were loading up the carts. Tee and Nasira drove those over to the Ghostly Minstrel, where they met with Tor and presented the paving stones to Tellith. She was delighted when they showed her how they worked, and they quickly made arrangements to get them installed as the front steps of the inn.

Back at the temple, the others hired a second carriage, loaded Malleck and Silion into it, paid off the driver to keep his mouth shut, and had him drop them off at the same warehouse in the South Market where Tee had questioned “what’s-his-face” (as Elestra called him; meaning Jamill). Having secured their well-gotten gains, Tee, Nasira, and Elestra jumped into a third carriage and took it to the warehouse to meet up with the rest of them.

A FINAL QUESTIONING

They decided to wake Silion up first and try questioning her again. They kept her bound and blindfolded, but she proved no more talkative than their first attempt: Her answers mostly confined to snarls, threats, and bitter sarcasm.

With a shrug, they turned their attention to Malleck.

“That’s right,” Tee said. “The Ebon Hand is gone. You’re losing your friends one temple at a time.”

“Malleck is no friend of mine,” Silion snarled, although she seemed somewhat subdued at the revelation.

Malleck was coming around. “You traitorous rat-bitch! You led them to me!”

Her role as provocateur satisfied, they knocked Silion unconscious again and turned their focus on Malleck. In the hopes that he might prove more useful, Nasira summoned a holy light and wrapped it around him – forcing him to speak nothing but the truth.

Malleck proved considerably more malleable, but he wasn’t going to talk without cutting a deal first.

“What do you want?” Tee asked.

“My life,” Malleck said with a sardonic smile.

“Fine,” Tee said. “But I don’t want to see you in Ptolus any more. You leave town. You don’t come back. That’s the deal.”

“That’s more than acceptable,” Malleck said.

“We want to find the Tolling Bell.”

“My contacts within the Bell are Illadras, Ibard, and Wulvera,” Malleck said. They were somewhat taken aback (perhaps even shocked) to find someone willing to talk so freely. But Malleck shrugged. “We have a deal.”

He confirmed that Illadras could be found at the Temple of Deep Chaos in the sewers beneath Oldtown. He had not spoken directly with Ibard in several weeks and wasn’t sure when she planned to return to Ptolus. And Wulvera “ran Porphyry House, down near the Warrens”.

“What about Wuntad?” Tee asked, her curiosity boiling over.

“I don’t deal with him directly,” Malleck said. “But he can be reached through Wulvera at Porphyry House.”

“And your slaves?”

“I buy them from Silion,” Malleck said. “I don’t really trouble myself with the details. I think she kidnaps some of them. Others I know she buys through the Ring of Iron.”

“How do we cure the boy?” Agnarr asked, a grim tone in his voice.

“What boy?”

“The boy you were operating on.”

“Oh,” Malleck said off-handedly. “You don’t.”

They pressed hard on this issue, but apparently he knew of no way to reverse the process. “Why would you want to take away their perfection?”

Agnarr barely stopped himself from killing him.

Eventually, however, Malleck grew tired of their questions. He was particularly amused by what he described as their “endless paranoia”. (They had asked him about Zavere, the Commissar, Rehobath, the new Silver Fatar… and on and on and on.) “If all of these were cultists, do you think we would be hiding in the sewers? No. Not yet. But our time will come. Enough. We have a bargain and your questions have come to an end. Release me and I will go.”

Tor looked to the others. “Are we done?”

Tee nodded.

Malleck laughed. “Yes, I think we are.”

Tor chopped his head off.

The others stared at him in shock.

“Just for the record,” Tee said. “I was going to let him go. Just want to be clear on that.”

“I know you were, dear,” Tor said. “But he tortured children. I was never going to let him walk free.”

Tee quietly wondered, though, what had become of the Tor they had first met not so very long ago.

They woke Silion again. She was still blindfolded, but as soon as she came around she smelled Malleck’s death in the air. She went into a panic. Pissed herself. And then went into a babbling state of shock. With a grimace of impatience, Tor killed her, too.

“We can still ask her a few questions,” Elestra asked. “I can force her body’s memories to speak through the Spirit of the City. But we’ll only be allowed three questions, so we should choose them carefully.”

Tee nodded. “Let’s make sure we get it right.”

They debated the list of questions for the better part of half an hour and then Elestra wove her magic. Silion’s decapitated head rose into the air, its blood dripping in a sickly, coagulate gore down onto its own corpse below.

“Where can I reach Terathera?” Elestra asked.

“She works with Wuntad.” Silion’s voice was a spectral, muted howl.

“Where is Wuntad?”

“I have not spoken with Wuntad in months. He was working on a great project beneath the streets of Oldtown.”

“How can we find the Ring of Iron?” (Tee felt fiercely that they should work to end the slave trade in Ptolus. It offended her to the very depths of her soul.)

“They can be found on the Docks. There is a route through the sewers from the Temple.”

The head fell with a dull, wet thud.

“Which temple?” Elestra asked the others, almost rhetorically. “The rats or the mutants?”

“I’m guessing her temple,” Nasira said.

Agnarr was throwning. “I just thought of a better question. Mahdoth’s shipment.”

“Maybe,” Tee said. “But we know where that’s happening. We’ll know what it is when we intercept it.”

They took a step back.

“Two headless corpses in a warehouse,” Tor said. “Just another day in Ptolus.”

“It’s just like our first day,” Tee said, sharing a dark laugh with the others.

Running the Campaign: Looting Infrastructure – Campaign Journal: Session 41A
In the Shadow of the Spire: Index