LEAD DEVELOPER: Justin Alexander

Welcome to the Island features four all-new scenarios that can launch brand new story arcs, add intriguing complications to your existing arcs, or explode across you gaming table as exciting one-shots. Each scenario includes custom hooks for agents, burgers, cloaks, gangs, and mystics, making it easy for you to bring the action to your players no matter what kind of trouble they like getting into.

EXPLORE THE ISLAND

BATTLE OF THE BANDS takes you on the ultimate Al Amarjan road trip. There’s only one way to beat this Mover conspiracy. It’s time to get the band back together!

A CONCLAVE OF CHIKUTORPLS, or the Winds of Change Are Blowing (Up), or How I Learned to Stop Worrying and Love the Multidimensional Convergence. Place your bets now.

SEVERSEN’S MYSTERIOUS ESTATE is hosting the most important party on the entire Island, and you’ve got an invitation. Unfortunately, so do Dr. Morpheus, an astral vampire, a team of totem champions, and a Presidentials wetworks squad.

SYMPATHY OF THE D’AUBAINNES sees citizens all across the Edge receive a parcel containing a lifelike rubber mask of one of the D’Aubainnes. Once you put it on, you’ll find you can’t take it off. That’s when the killings start.

Produced with a grant from the Al Amarja Tourism Taskforce. Visit the Island today! Once you’ve come, you’ll never leave!

AWARD-WINNING AUTHORS

• Jonathan Tweet
• Justin Alexander
• Nick Bate
• Jonathan Killstring
• Jeremy Tuohy

WHAT I DID

In addition to working as the lead developer on the book for Atlas Games, I also co-authored “Seversen’s Mysterious Estate” with Jonathan Tweet.

It’s a one-shot sandbox.

An RPG sandbox exists when the players can either choose or define what the next scenario is going to be. So published scenarios are basically never sandboxes, because they almost always include a defined goal. Even old school dungeons, for example, are often designed to be included in a larger sandbox (as one scenario that the players could choose to explore), but are usually not sandboxes in and of themselves.

So how do you have a one session sandbox?

Well, in the case of “Seversen’s Mysterious Estate” the scenario is a party. Just… a party.

It uses the Party Planning scenario structure I developed and shared here back in 2015, and it’s chock full of amazing people and places and things that happen.

But why are the PCs there? And what will they do?

Well: That’s the sandbox. It’s entirely up to them.

One of the reasons we can make this work is because of how I’m doing scenario hooks for Over the Edge adventures. The general philosophy is that if you have a truly interesting situation, then there’ll inherently be lots of ways for the PCs to become interested in it. This doesn’t inherently create a sandbox, but it creates the OPPORTUNITY to start juggling hooks in the sandbox.

In addition, if you have a scenario that supports multiple scenario hooks, then it’s far more likely to be dynamic enough that players can choose how to interact with that scenario and what they want from it (rather than having the GM tell them those things).

For “Seversen’s Mysterious Estate,” one of the scenario hooks is literally just, “You get an invite to a party and you don’t know why. (No one does.)”:

Dr. Seversen has been working with the Cut-Ups to develop the Cut-Up Machine (see Over the Edge, page 180). On three separate test runs, the machine’s output consisted of the PCs’ names, neatly printed out on ParaCon invitations.

For a true one-shot, the super-fast character creation of Over the Edge makes it possible for you to create PCs and then directly ask the players, “So why do you want to go to this party?” Literally a sandbox presentation.

There’s also more traditional hooks. Here’s one:

Mystics: A PC’s mystic shit forms an oneiric resonance with the astral vampire (possibly due to a close encounter with the vampire in a coffee shop while it was attached to a previous host). They have premonitory dreams of its attacks at Dr. Seversen’s conference, including perhaps a very clear vision of its first target. They’ll have to finagle invitations if they want to do something about it.

Another cool thing you can do with all these different hooks is to give different hooks to different PCs: Giving the group lots of different vectors (and competing agendas)  will make the scenario inherently more dynamic.

This ALSO makes it easy to use any of the scenarios in the book (not just this one) as a meet-cute for your group: Everybody gets a different hook, they all end up in the same place, and — ta-da! — the party is formed in a team-up of mutual interest(s)!

WHAT ELSE IS IN THERE?

I worked closely with Nick Bate, Jonathan Killstring, and Jeremy Tuohy to create a suite of sweet scenarios.

If you’re looking for a published exemplar of the design principles I talk about here at the Alexandrian — stuff like Don’t Prep Plots, Node-Based Scenario Design, the Three Clue Rule, and the Universal NPC Roleplaying Template — then this is currently THE book for doing so.

One big thing I discovered while developing this book is just how flexible the party-planning scenario structure really is:

• For Jeremy Tuohy’s “Battle of the Bands,” we discovered that you can take the structure on the road, with the entire road trip being built around a variant.
• Jonathan Killstring’s “A Conclave of Chikutorpls,” expands the party-planning structure in time; using party-planning to model a crazed sequence of happenings that take place across several days or even weeks of time.
• We applied many of the same lessons to Nick Bate’s “Sympathy of the D’Aubainnes,” and then expanded it in space, as well, to handle a crazed political crisis culminating in existential riots that wrack the entire island. (Nick also beautifully weds this to a node-based Three Clue Rule investigation.)

(The book actually came out at the beginning of the year. But 2020 has been weird and I’m terrible at self-promotion, so failed to actually mention it here on the site. Check it out. I really am quite proud of it. If you’re buying in print, the deluxe version is very much worth it for the gorgeous full-color art.)

DESIGN NOTES FOR WELCOME TO THE ISLAND
Design Notes: Scenario Hooks for Over the Edge
Design Notes: Scenario Tools

MORE OVER THE EDGE @ THE ALEXANDRIAN
Over the Edge: System Cheat Sheet
Over the Edge: One Weird Twist

Patrons of the Alexandrian can now download a collected edition of the Dragon Heist Remix. This includes:

• The Complete Collection, a PDF with all 25 parts of the Remix plus the original review, addendums, and Running the Campaign essays in one convenient file.
• Justin’s Running Files, a Patron-exclusive collection of the documents I actually used to run the campaign (as described in Part 7 of the Remix). These are presented in Word format for easy editing and re-arranging to your heart’s content.

THE COMPLETE COLLECTION

The Complete Collection contains every single article from the Dragon Heist Remix — all 25 parts, the original review, 8 addendums, and 4 Running the Campaign articles — that have been posted to the Alexandrian to date. It currently stands at 110,000 words and 318 pages.

In addition to updating the previous Preview Draft to include all of the Remix material (including corrections previously only available on the website), this release also reformats everything into the new-and-improved Alexandrian PDF format.

JUSTIN’S RUNNING FILES

This zip file contains the final campaign-ready files I prepared for actually running the campaign.

What’s the difference between this and what appeared on the website?

First, a lot of my general discussion about WHY things were designed the way they were designed have been stripped out. I’ve also removed a lot of the discussion about HOW various tools can be used during play. (I know how this stuff is supposed to be used… and so do you if you’ve read the whole series.)

Second, additional reference material has been added where appropriate to ease my mental load during play.

Third, light revisions based on actual play (some, but not all of which got reflected onto the web pages) have been added.

Fourth, and probably most imporantly, organization: The Remix series on the Alexandrian was written as a design-oriented discussion that ambitiously grew into a much more prodigious project than I had originally anticipated. The original organization was not designed for use at the table, and became even less useful for such as time went on.

The running files are organized for play: The first three chapters of play are clearly broken out, each heist is given its own focused file, and so forth. I’m pretty sure you’ll be able to just look at the file list and instantly grok how they’re meant to be used.

The only thing to particularly call out, I think, is that the props for each scenario can be found at the end of the file. You’ll note that these are files are “watermarked” with the numerical code for the chapter (for example, “DH1 Props”). Why? Well, there are a lot of props. Something I learned when running my Ptolus campaign (which has literally HUNDREDS of props) is that my players will often ask me questions about a prop which they received weeks, months, or even years earlier, and I won’t necessarily remember exactly where they got that specific handout. I learned to mark on the prop what scenario they came from (using a numeric code which doesn’t spoil anything for the players) so that I could quickly and easily locate my notes regarding the prop.

These files remain dependent on actually owning a copy of the Dragon Heist book, of course.

WHY’D THIS TAKE SO LONG?

People have been asking me for a collected edition of the Dragon Heist Remix for a little over a year. Why’d it take so long?

First, I was hoping to authoritatively finish the Remix before collecting everything. (I probably haven’t. I still have a list of value-add addendums that I’d like to create at some point.)

Second, and more importantly, the Dragon Heist Remix was the last major project I launched on the Alexandrian before completely revamping my workflow. (And I revamped it largely in response to the problems I had with the Remix.)

For over a decade, I had been drafting copy for the Alexandrian in a vanilla Word file. My basic process can honestly be traced even further back, to when I was writing reviews for RPGNet (circa 1998). It had evolved over time, but was fundamentally the same thing. This draft would include notes like “ADD LINK to [hyperlink]” and “[INSERT PIC HERE]”, which would be implemented only as I transferred the draft onto the website. As a result, the website became the “definitive” copy, and if I spotted errors or needed to make updates, I would make them directly to the website.

When I started my Patreon in 2015, this inadvertently led to a Rube Goldbergian process in which I would:

• Do my traditional draft in Word.
• Transfer the draft to the website to create the “definitive” version.
• Copy the definitive version off the website into a new Word file, reformat it, and generate the Patron-exclusive PDF.

In addition, I still considered the version on the website to be definitive, so when I noticed errors or needed to make updates, I would only make them on the website. The PDF version (and the Word document it was based on) was a “dead” document — it existed to be distributed once, but once it was forked it was done.

In March 2019, I revamped the formatting of the Patreon-exclusive PDFs. There were a couple reasons for this:

• It was prettier.
• I was reworking the format so that I could draft the definitive version of an essay in it and then, with far less effort, transfer it to WordPress before generating the PDF from the same file.

One source document instead of a sequential process with a dead fork.

What had finally motivated me to trash my twenty-year-old web-copy writing process was the Dragon Heist Remix. I wrote the whole Remix in a single Word file, but I was (a) following my old workflow and (b) uploading installments as they were complete (rather than waiting for the whole series to be done). This kind of “post as I’m writing” approach had become more common after launching my Patreon. Back when I wrote the Game Structures series, for example, I’d written and polished the entire series before posting it… which meant that there had been a 10 week gap in which no new content was appearing on the site and then the whole thing appeared in like a week and a half. That approach didn’t work with Patreon, so I could either abandon long series (bad idea) or figure out how to serialize their creation.

But this meant that each installment would be:

• Written up in my draft document.
• Posted to the website.
• And then, because the website was the definitive edition, any future changes or additions to those installments would only be made on the website, even while I was continuing to draft new content into the draft document.

Which, of course, meant that I did not have a file that contained the actual Remix. I had a weird reverse-palimpsest in which the earliest sections of the document grew more and more out of date as the Remix evolved.

My twenty-year-old process was no longer rickety. It was broken.

Thus, the fundamental revision.

The Avernus Remix, in particular, has benefited from this: The definitive version of the Remix is written up in a single file and I am scrupulous in making sure that any corrections on the website are simultaneously made in that document (and vice versa). This has allowed me to effortlessly produce regularly updated collected editions as the Remix has evolved. (Looks like I’ve done 15 of them to date.)

But the Dragon Heist Remix was still in a rather hopeless state. Back in 2019, as the core of the Remix was wrapping up, I did my best to provide something workable via my running files and a Preview Draft that attempted to correct my draft document as much as possible to reflect the “definitive” version on the website, but it was clearly a stopgap effort.

Creating the Complete Collection, however, meant pulling all the content back down from the website, reformatting it, and then proofreading it. This was not particularly difficult work, but it was incredibly time-consuming — remember the bit where I said it was 318 pages and 110,000 words? — particularly if it was going to be done right. (And what would be the point if it wasn’t done right?)

I actually started work on this at the end of February 2020, at the same time I started working on Dragon Heist: The Final Session. Checking my calendar, I see that was actually the same day I started live-tweeting my reaction to Descent Into Avernus. A couple weeks later I started the Avernus Remix… and then literally the day before the first Avernus post went live, we went into COVID-19 quarantine. Three days later, my wife was in the hospital with an infection from the surgery she’d had the week before, which would lead to another surgery, which would lead to a cancer diagnosis, which would lead to chemotherapy, which would…

Shit. That got dark fast.

But everything’s fine now (except the general background malaise of 2020), most especially my wife. I’ve been slowly chipping away at this project all along, so I’m very excited to finally be able to get these collected editions out to people who have been hoping to see them for a very long time now. And my apologies to anyone who wasn’t able to get them in time to be of use in their own campaign.

Go to Part 1

THEREN

(Created by Erik Malm)

I spent my youth exploring the forests of Evermeet and learning to hunt from my father.

Shortly after coming of age, word reached the wood elves of Evermeet that not only had the ruins of our old home in the Ardeep Forest been overrun by kobolds and other monsters, but a group of humans, led by Lord Nandar of Waterdeep, had begun invading and trying to lay claim to the forest.

When Rond Arrowhome set sail with an army of wood elves to take back and protect the forest, I volunteered to join them. I was trained as a ranger and soon became an expert at hunting both humans and kobolds.

Now that the forest is once again safe, I prefer to spend my days alone with nature – exploring, observing, and experiencing the constant change and unpredictable events of the natural world. I especially love the power, beauty, and unpredictability of thunderstorms and have developed a connection to Aerdrie Faenya, though I am one of the few non-avariel who worship her.

I am always happy to help out lost travelers (who mean the forest no harm) or anyone else in need, though I remain distrustful of the wealthy elite like the Nandars of Waterdeep.

DESCRIPTION: Theren has copper-colored skin with a dark-brown/copper-colored hair (like dark, tarnished copper).

His clothes palette is standard dark forest colors; the sort of thing that would help with camouflage in Ardeep – deep greens, browns, dark grey/black. Theren’s original clothing would be elvish and probably trend more towards just greens and browns, emphasizing dark versions of those colors instead of a true black. (That said, the longer he’s in the city, the more likely he is to start wearing some greys that woud match stonework, etc. Maybe fewer greens as well, or even normal Waterdhavian clothing of a fashionable sort, but with subdued colors.) It’s ultimately all about camouflage; to blend into his environment.

Theren is 5’10”. Green eyes.

Hair is straight and shoulder length. Normally he just keeps it tucked behind his ears, which tends to keep it in place fairly well due to elvish ears being tall and pointy. But if it’s particularly windy (or similar conditions where his hair might obscure his vision), he’ll either wear a headband or tie his hair back.

There’s nothing particularly remarkable about Theren’s facial features – typical elvish face with thinner and more angular features than the average human. Rather, what is remarkable is the way that his life and outlook affect his skin, underlying musculature, and how he carries himself:

Theren has spent much of his life outdoors – baking in the sun, holding night-long vigils in the deep of the forest, and facing unafraid the heavy winds and storms which he is particularly fond of as a ceraunophile and worshiper of Aerdrie Faenya. Consequently, I think of Theren as looking a little weatherworn (or, at least, weatherworn for a young elf). It’s not that he necessarily looks particularly aged or beaten down by the elements, more like that subtle difference between how high quality furniture kept on a patio looks ever so slightly different than the exact same furniture kept in a three-season porch at the end of summer. He looks just a little out of place indoors and looks like he’s where he belongs when outdoors.

Similarly, his musculature looks just a little different than the average elf. He’s not particularly muscular or anything, though he still has an athletic build, but his muscles are all incredibly dense – like a rock climber’s, a farmer’s, or anyone else who’s primary form of exercise is one of intense and continuous use of their entire body. This also applies to the underlying musculature of his face, making him look a little extra solid/rugged/durable. I suppose it may look a little formidable in some cases, but Theren isn’t really threatening, scary, or even particularly imposing, he just looks like someone you’d rather not pick a fight with or try to rob.

His demeanor, posture, and manners have also been affected by his relative solitude and preference for the wilds. Having spent much of his time alone when he doesn’t need to worry about what others think about him, he displays his emotions a little more readily, he is a little more likely to speak his mind, his manners are a little more unchecked, and his posture and physical mannerism are a little more informal than a typical elf. To be clear, he’s still an elf raised on Evermeet, and a non-elf probably wouldn’t even notice anything at all, but to other elves he seems a little… wild/feral.

Finally, although his regular demeanor might be a bit more wild and relaxed, he also has a hunter mode that he shifts into when stalking prey or facing enemies. When he’s in this mood, he appears more cold, calculating, and emotionless. Unlike the differences described above, which might not be noticed by a non-elf, this shift is significant enough that everyone except the most unobservant can tell he’s hunting something or someone.

CREATING THEREN

The thing I always marvel at when revisiting Theren’s background is the intense depth of the physical description. I’ve had other players create similarly detailed descriptions, but usually it’s because EVERYTHING is lavishly detailed. The ratio between Theren’s physical description and everything else in Theren’s character background seems crazy at first glance.

But it works. And it’s a valuable reminder that everyone will have different touchstones that are most effective for them. (This will often depend not only on the player, but also the specific character.)

Look at how much amazing, actionable detail Erik works into Theren’s physical description! It’s all about blending into his environment? He’s a little bit uncomfortable inside? That’s gold. Even simple, specific physical actions like when/how he tucks back his hair.

PUBLIC INTEGRATION: Erik was the least versed in the Forgotten Realms at the table. Ironically, we ended up doing the most digging into the weird, esoteric corners of Realms Lore with his character.

The origin point was a simple question: Where would an elf ranger be from?

Evermeet was an easy answer: Big elven kingdom. Just across the ocean from Waterdeep. (Maybe he could be somehow tied into the maritime adventures of Kitti and Pashar?)

On the other hand, where might a wood elf live near Waterdeep? That led us to Ardeep Forest. And that’s where we really started digging in. I forget the exact path we followed, but I ended up not only pulling information from Lost Empires of Faerûn, but also tracking down an obscure article about the forest that was written by Ed Greenwood and published in Dragon Magazine #270.

There was also more recent lore, revolving around a conflict between Lord Nandar of Waterdeep and the elves of Ardeep in the 1470s. (The Waterdeep connection, however tenuous, made this appealing.) I was not particularly familiar with this era (and not at all familiar with these events), but they were intriguing.

PRIVATE INTEGRATION: The only thing of note here that I recall is that Volo was the “author” of the Dragon Magazine article. This didn’t really have anything to do with integrating the character into the campaign, but giving Erik a copy of the article was a nice way to subtly establish Volo’s existence for a player who otherwise wouldn’t be familiar with the name when it was dropped in the first session.

BRINGING THE PARTY TOGETHER: The key question which remained was how Theren would be pulled into Waterdeep. (Remember that every player needed to explain how their character ended up walking through the doors of the Yawning Portal at the beginning of the campaign.)

We looked at a few options, but what stuck was just aiming the Pashar-Kitti vector in the direction of Ardeep Forest: While passing through the forest on the way to Waterdeep, they would have met Theren. After helping him with some local trouble (or possibly being saved by him from local trouble, their mutual versions of the story had very different interpretations of those events), Theren was swayed by Pashar’s sob story and agreed to help him (them, really) raise the ransom money.

It was only six hundred gold pieces, right?

(He was in Waterdeep with them before he discovered that the actual ransom price was… uh… considerably more money than that. He hadn’t sworn an oath or anything… but good gods.)

Go to Part 5: Kora Marwood

Go to Part 1

Now that we’ve looked at what vaguely passes for continuity in Descent Into Avernus, let’s look at what preceded it.

The first thing to note is that Zariel was not previously involved in the famous Charge of the Hellriders. Variants in that continuity are covered in more depth as part of the Textual History of Elturel, but the short version is that:

• The Charge was originally an almost legendary event in 1358 DR (which makes it unlikely that it happened in 1354 DR).
• The original explanation for the Charge was that the knights were riding to rescue a companion.
• This was later changed to “long ago warriors of Elturel literally rode through a gate into the Nine Hells to pursue and destroy devils that had been plaguing the people.”

You can see how, in Descent Into Avernus, this was changed again to something between “holy crusade that was the whole reason they had signed up in the first place” and “pursuing and destroying DEMONS that had been plaguing their people.”

TIAMAT, THE LORD OF AVERNUS (1977)

Way back in 1977, the original Monster Manual said that “Tiamat rules the first plane of the Nine Hells where she spawns all evil dragonkind.”

In the Manual of the Planes (1987), we are told that, “The watchdog of the Hells’ front parlor is Tiamat.”

In Monster Mythology (1992), Tiamat “infests the uppermost of the Nine Hells with her consorts, each a Great Wyrm of a different color — one red, one white, one green, one blue, and one black.” (These consorts are an evolution of Tiamat’s “guard” in Supplement I: Greyhawk (1975), when she was merely the Dragon Queen and her “major abode is in a stupendous cavern far beneath the earth.”)

We’re also told in Monster Mythology that Tiamat’s “relations with the baatezu [devils] that populate the Hells and stray into her realm at times is the subject of considerable speculation by sages.” (Which is basically the author, the esteemed Carl Sargent, saying, “I’m really trying to figure out why the evil Dragon Queen is in charge of Avernus.”) These “sages” have traditionally said that she’s been at war with the devils, but now it seems that the devils may be seeking to make some sort of pact with her to aid them in the Blood War.

PLANESCAPE: PLANES OF LAW (1995)

In Planescape: Planes of Law we are told that there are giant fireballs that just randomly appear around Avernus for no apparent reason. “Some sages say the fireballs represent the will of the nameless archduke of the level.” (emphasis added)

“Speaking of the archduke: Bel, the pit-fiend commander of the armies of this layer, leads immense legions across the plane, scouring every inch of it for invaders and searching for honors from the archduke.” Bel has “been appointed by the Dark Eight” and is the senior general of Avernus (with other generals “bowing to Bel’s experience and political muscle.”)

This is the first reference to an Archduke of Avernus. But if they’re nameless, what happened to Tiamat?

“Tiamat, the Lady of Dragonkind, guards the only known entrance to the next layer. It’s only through her lair that one can arrive in the verdigrised plains near the Iron City of Dis.”

Note: I’m pretty confident that “watchdog of the Hells’ front parlor” in the Manual of the Planes was just a poetic rephrasing of “Tiamat rules the first plane of the Nine Hells” from the original Monster Manual. Here, however, the meaning has glided towards guarding a literal “front parlor;” i.e., the path to Dis.

DRAGON #223 – THE LORDS OF THE NINE (1995)

Planes of Law came out in February 1995. As noted, it included Bel as a general and left all but three of the Lords of the Nine mysterious and unknown. This, it should be noted, was a diegetic mystery — it’s not just that TSR wasn’t telling you; it was that their identities were a mystery to the characters in the game world itself.

But in the November 1995 issue of Dragon Magazine (#223, which would have been released in August 1995), Colin McComb writes “The Lords of the Nine”: “The Lords of the Nine Layers of Baator have been revealed at last! Do you dare to read about them?”

And, indeed, McComb provides identities for all nine archdukes. And this is done diegetically. A character named Willgan the Dogged has discovered their identities and is ready to tell all!

Note: I belabor this mostly because I’m fascinated by the decision process to drop this entire aspect of the Planescape setting almost immediately after publishing the boxed set.

Regarding Bel, we are told, that “the original Lord of Avernus (not Tiamat, contrary to popular belief) found herself imprisoned and entrapped by her warlord, the pit fiend Bel, thousands of years ago.” Bel is siphoning more of the Lord’s power for himself, but is still beholden to the Dark Eight.

GUIDE TO HELL (1999)

Chris Pramas’ Guide to Hell is Zariel’s first named appearance. She is described as the “original Lord of Avernus.”

Pramas also described the Reckoning: A great war in Hell which started when Zariel laid siege to Dis. Her allies – Moloch and Belial – simultaneously launched an assault on Stygia. Mephistopheles eventually broke the siege on Dis, forcing Zariel back to Avernus. The final battle was to be fought in Maladomini (the seventh layer of Hell), but Asmodeus pulled a coup: Geryon, Lord of Stygia, had suborned the generals of the other Lords’ armies. On the day of the ultimate battle, the generals mutinied, declared their loyalty to Asmodeus, and ended the war. Bizarrely, only Geryon – the only Lord to remain loyal to Asmodeus – was subsequently ousted from his position of power.

The generals, however, were empowered as the newly created Dark Eight. This council runs the Blood War from Nessus, the lowest level of Hell.

The pit fiend Bel, after running successful covert ops missions during the Blood War under the command of the Dark Eight, became Zariel’s right-hand man in Avernus. He then betrayed and imprisoned her, rendering her powerless.

Note: Describing Zariel as the “original Lord of Avernus” might seem in direct contradiction to Tiamat having held that position before. This is most likely intended as a straight-up retcon, but it doesn’t necessarily have to be so: My head canon is that Zariel, the original Lord of Avernus, has been intermittently deposed from time to time over the course of long eons, including stints by both Tiamat and Bel.

MANUAL OF THE PLANES (3rd EDITION, 2001)

The references to Avernus in the Manual of the Planes are largely a very short summary of the material from Guide to Hell, but there’s one addition to the mythology: “Bel still keeps Zariel prisoner somewhere deep in the Bronze Citadel so that he can siphon her hellish power to himself, increasing his own abilities while slowly reducing her to just another soul shell.”

This is repeated in the Book of Vile Darkness (2002), where Zariel is kept in the Bronze Citadel where Bel “draws off her power to extend his own.”

FIENDISH CODEX II (2006)

Fiendish Codex II: Tyrants of the Nine Hells largely reiterates the continuity from Guide to Hell (in a more complete form than that necessarily found in the Manual of the Planes).

The Dark Eight, however, are now based out of Avernus where they “eschew the title of duke, preferring the rank of general.”

Zariel remains “imprisoned in the bowels of the Bronze Citadel,” where she “languishes under the cruel knives of the abishai torturers that carve bits off of her flesh to feed to their master.”

Note: The context here is somewhat confusing and could be interpreted as meaning that Zariel’s flesh is being fed to Tiamat, who is traditionally the master of the abishai. A closer reading, however, makes it clear that the “master” here is referring to Bel, and the abishai are those who are serving him due to a pact he has forged with Tiamat. (Remember Sargent’s sages who rumored that a pact was being negotiated with Tiamat?) This continuity is consistent with Bel “drawing off her power,” with the method now being defined as some sort of devilish cannibalism.

MANUAL OF THE PLANES (4th EDITION, 2008)

The 4^th Edition of D&D really features a completely different planar cosmology, but there is some continuity here that makes it potentially worthwhile to take a peek.

Zariel is not referenced, but “a circle of pit fiends known as the Dark Eight serve as Bel’s vassals and councilors. Bel governs only at their pleasure, and he must constantly consider whether his actions will meet with the approval of the Dark Eight.”

Note: They are both his vassals AND he serves only at their pleasure? Go home, 4^th Edition, you’re drunk.

What we’re seeing rather bluntly manifest in this text, however, is an uncertainty and confusion which has crept into who and what the Dark Eight are: They were originally established as being based out of Nessus (i.e., Asmodeus’ court) and could be seen as a parallel power to the Lords of the Nine: In other words, there were eight archdukes who ruled the layers of Hell (plus Asmodeus, the ninth) and there were the Dark Eight who served as military generals.

But somewhere along the way they had slid from Nessus to Avernus and ended up in the power structure of the Archduke of Avernus.

Having the Dark Eight be the generals of Avernus became my head canon more or less by accident, as I had not fully delved into their history yet when I started thinking about them in relation to the history of Gargauth and Bel.

DUNGEON #197 – CODEX OF BETRAYAL: GLASYA, PRINCESS OF THE NINE HELLS (2011)

This article by Robert J. Schwalb seems to be the only reference to Zariel in 4^th Edition. She remains the original Lord of Avernus and she “ruled thus for many eons.”

We are also given a new continuity for the end of Zariel’s rule, revolving around an alternative version of the Reckoning.

This Reckoning was an incredibly convoluted soap opera involving Asmodeus’ daughter Glasya. Long story short, she single-handedly convinced all the Lords to go to war with each other. In this version of reality, the Dark Eight already existed but were also the pit fiend generals in command of the Archdukes’ armies. At Asmodeus’ command, the Dark Eight betrayed their masters and ended the conflict.

Note: The Reckoning reputedly lasted for an “eon,” but this doesn’t really track with the very specific series of events described in the text.

The Dark Eight then took all the legions of Baator to Avernus. Once there, they hunted Zariel down and imprisoned her. Bel was then raised up as “a puppet ruler over her realm.”

Why this happened is really unclear, because Zariel had actually been part of the faction loyal to Asmodeus. The article even says, “Strangely, though, Asmodeus’ allies suffered the worst,” but doesn’t have even the slightest hint of an explanation.

RISE OF TIAMAT (2014)

“Asmodeus recently reinstated the fallen angel Zariel as the Archduchess of Avernus, reversing an earlier decision that allowed a pit fiend named Bel to take the throne.”

Note: I’m fairly certain that this is the first reference to Zariel being a fallen angel.

“While in exile from her seat of power, Zariel was at the mercy of Tiamat — a fate that rankles her still.”

Note: Remember when I mentioned that the reference in Fiendish Codex II to Zariel being tortured by abishai on behalf of their master could erroneously lead one to believe that she was being fed to Tiamat? I’m fairly certain that’s exactly what happened here.

MORDENKAINEN’S TOME OF FOES (2018)

I’d be curious to know if Descent Into Avernus was already in development at the time this book was published. (And, if so, how much influence it had on the text.) In any case, this is the book that retcons the entire history of Zariel being the original Lord of Avernus.

Long, long ago, during the Trial of Asmodeus, Zariel got into a brawl with her fellow angels, demanding to give testimony to Asmodeus’ crimes.

We are also told that Zariel is Asmodeus’ “most recent recruit.” Zariel grew obsessed with the Blood War and believed that the hosts of Mount Celestia could descend upon Avernus and wipe out both the devils and the demons of the Blood War.

“Accompanied by a mob of mortal followers, she cut a swath through a legion of devils before their numbers overwhelmed her. A delegation of bone devils dispatched to the site by Asmodeus recovered her unconscious form beneath a small mountain of her slaughtered enemies. After allowing her to recover in the depths of Nessus, Asmodeus installed her on Avernus as his champion and new lord of that layer.”

Note: This probably explains where the random dream image of Zariel being unconscious on the battlefield – which is not consistent with any other continuity from Descent Into Avernus – came from.

This transition from Bel to Zariel is described as marking a new chapter in the Blood War, with Zariel preferring aggressive offensive tactics instead of simply sustaining a passive defense of the Avernian frontiers. Her obsession with fighting on the frontlines, however, has distracted her from the courts of Hell and made her a political pariah without alliances with the other Lords of the Nine.

Note: Oddly, this just takes the previous description of Bel from Guide to Hell – freshly aggressive, politically isolated (he was often referred to in Hell as Bel the Pretender) – and applies it to Zariel instead.

Go to the Avernus Remix

Go to Part 1

KITTISOTH KA’ITER

(Created by Heather Burmeister)

My mother was the wife of a fisherman on the main Pirate Isle. She became worried when he hadn’t come home as expected from what was supposed to be a routine trip out to sea. She tried to make a pact with a devil in the hopes that it would ensure his safe return, but it went horribly wrong. The end result was her giving birth to me.

She tried to raise me the best that she could, I guess, but most of what I remember is her desperately trying to make me look like a normal child by hiding my leathery bat-wings or crying. It wasn’t long before she disappeared entirely, leaving me to fend for myself.

The Pirate Isles are rife with underling children who have lost parents – either on great pirate raids or to great leviathans of the deep or simply to sad, lonely circumstance. I fell in with a group of street urchin kids who took care of each other and learned how to defend my odd looks with brute force. My group of k ids would make a little cash here and there by running errands or little missions for the pirate gangs when they’d dock.

When I was around fifteen (I’m not one-hundred percent sure what my birthday is), one of the pirate gangs tasked my group with stealing a compass imbued with magical properties from a well-known captain named Iriqoth Ka’iter. It was supposed to be an easy job, but grace, stealth, and patience were never my strong points. I botched the mission by panicking when I couldn’t get the lock on the chest open, trying to brute force said lock by kicking said chest over and over again, and trying to fight the crew when they inevitably found the source of the commotion. I was brought to Iriquoth by the crew so that he could decide what was to be done with me. Being devil-born himself, he took a shine to me immediately. He became me weird pirate captain dad, but insisted I work my way up from the bottom ranks if I was to take his place someday.

That day would never come.

After I’d been sailing for a few years and was just starting to take on the responsibilities of first mate, we were boarded in the middle of the night by a legendary pirate vessel, captained by none other than the Quiet Captain, Kip Braddock. Braddock and Iriqoth had long been at odds, but Iriqoth never took the threat seriously. Kip took the ship, killed my father, and took over the crew. Some day he’ll pay for what he’s done.

Shortly after, we came across a new piggy (that’s what we called merchant ships sailing low in the waves). The merchant watchmen – who turned out to be Pashar – had fallen asleep on duty, so we were onboard before they knew what was happening. It looked like the easiest piggy we’d ever taken. But when Kip started killing the crew (including Pashar’s father) so he could take the ship as a prize vessel, Pashar’s mother started fighting back. We eventually managed to take her prisoner, but she’d heavily damaged our ship. So we set sail on the littly piggy ship.

Pashar, though completely impractical and ridiculous, is a wonder. He can tell me the names of very devil, and has been trying to help me find out what sort of devil-spawn I might be. He also doesn’t seem to know when I’m making fun of him, which is a riot for me. He also has an indomitable good nature, which is rare on the high seas. We’re an unlikely pair, but I think he’s my first “friend”… whatever that means. I protected him and his mother from the rougher members of the crew and also offered to accompany him ashore when Kip came up with the idea of ransoming him and his mother for money for a new ship. I’m also hoping that the journey will give me time to plan my revenge.

CREATING KITTI

Heather’s central concept was “tiefling pirate.” Everything else more or less filled in around this central conceit. In Part 2, we looked at how the decision to link her maritime background to Pashar’s had a major effect on shaping the details of Pashar’s background. As we wrapped up our character creation session, however, Kittisoth largely remained a cluster of large concepts. There were a few idea floating around (like “devil-spawn pirate daddy”), but they hadn’t really been nailed down. So Heather developed a lot of these details by writing her background between sessions.

You might also note that, unlike Edana and Pashar, Heather chose to write her character background in the first person. There was a brief period when I was a youngling when I wanted consistency in this sort of thing across the characters in a campaign, and an even longer period when I thought that this choice was somehow reflective of what a player valued or was focused on in their play.

These days I don’t really think there’s a meaningful distinction. There’s obviously differences between first and third person and how they can be used, but I haven’t found that it reflects much beyond the document itself if at all. (There might be a slight bias towards first person being better for developing the voice of your characters, but even that’s not consistent: Talking at the table is very different from writing at your desk, and what you learn from one may or may not be applicable to the other. And, similarly third person might be slightly better at developing lore outside of your PC due to its objectivity, but not significantly so in the long run.)

With all that being said, one of the reasons I like having the characters actually write something up away from the table – even if it’s just a few sentences – is that exploring character through written fiction is a different way of engaging with your character, and you will find stuff (and develop stuff) that you wouldn’t necessarily find at the table. It’s the most elementary form of bluebooking, and also an excellent medium for thoughtful collaboration.

PUBLIC INTEGRATION: Heather was not the least knowledgeable player at the table when it came to the Forgotten Realms, but her exposure was limited to a handful of novels she had read when she was a teenager.

I’d made a point of putting a map of Faerûn on the wall and, when she suggested a pirate, I was able to point out the Pirate Isles. The Sea of Fallen Stars immediately captured her imagination and she was able to roll forward from that.

PRIVATE INTEGRATION: Much like her friend Pashar, Kittisoth was going to be a newcomer to Waterdeep, so there wasn’t much to tie her into the extant elements of Dragon Heist. I did, actually, offer Luskan as an option if she was looking for a port that her pirates could be sailing out of (in which case there would have been some obvious hooks with Jarlaxle), but the Pirate Isles were just more interesting for her.

BRINGING THE PARTY TOGETHER: I’ve already described most of the initial work here, as it was done in collaboration with Peter/Pashar. Because of this connection, however, as Heather was writing up the details of Kittisoth’s background, she also made a point of prepping a short cheat sheet of details that were also pertinent to Pashar’s background. (This includes stuff like the name of the pirate captain who’d killed Pashar’s father and ransoming his mother.)

This is obviously a good technique for making sure intersecting continuity gets sorted correctly, but it can also be a “sneaky” trick for getting players to collaborate not just with you, but also with their fellow players between sessions.

Go to Part 4: Theren