DM: As you’re crossing the completely empty, 20’ x 20’ room, your foot hits a pressure plate. A huge fireball engulfs the room! Give me a Dexterity saving throw!

Player: 18! And I have evasion!

DM: Somehow, while standing upright in the middle of the featureless room and taking no defensive action whatsoever, you’ve managed to completely avoid the raging inferno!

That’s weird, right?

But we’ve all come to just kind of accept it as a weird trope of D&D. It’s not even an intentional trope. It’s just a weird artifact of turn-based actions, locking our characters onto a grid, and requiring specific abilities or effects to declare any sort of positional change.

Partly we can address this by just loosening up a bit and giving ourselves a bit more creative leeway when narrating outcomes in a scene like this. (There’s nothing inherently wrong with describing a PC diving out of the room in the nick of time.) Even if we want to remain more firmly locked to the grid, the reality is that the 5’ x 5’ square is an abstraction that can cover a multitude of sins, particularly in a typical room.

(Seriously: Tape out a typical room of your house in 5’ x 5’ squares. You’ll discover that pretty much any square has some bit of furniture or a door or some other form of cover that you could imagine an evasive monk finding cover behind in the event of an unexpected explosion your living room. This is a useful lesson in general: Even if your dungeon map or battlemap may make most squares look wide open for the sake of legibility, that doesn’t mean you can’t weave unillustrated details into your descriptions of the action.)

Of course, many of our fantastical adventures will take us into quite atypical rooms — barren rooms, vast vaults, and so forth.

Regardless, we might find a slightly more formal system useful in any case. For better or worse, I’ve frequently had players object to bits of flavor text woven into action descriptions (e.g., “you stagger back a step” or “you leap out of the way”), and you may find a little formality can help grease those wheels.

DYNAMIC RESPONSES

When a character has to make a Dexterity saving throw in order to avoid an area effect (or any other effect where the DM deems it appropriate), they can describe a dynamic response that explains why/how the saving throw is being made.

Examples include:

• falling prone
• ducking behind a large shield
• getting behind cover
• moving out of the area of effect

Other options are certainly possible, particularly in specific environments (e.g., diving into a lake). Players are encouraged to be creative in the dynamic responses that they create.

Guidelines for resolving dynamic responses:

Not a Reaction: A dynamic response is not a reaction. If a character cannot take a reaction, however, they also cannot make a dynamic response.

No Response: If no appropriate dynamic response is attempted (or can be attempted), the character makes their Dexterity saving throw with disadvantage.

Movement: Characters can move up to 5 ft. as part of a dynamic response. Alternatively, they can move up to 10 ft., but they must fall prone at the end of the movement. (In other words, they’re diving for cover.) This movement provokes attacks of opportunity normally.

Duck and Cover: Simply falling prone and covering up can be a sufficient dynamic response, but this renders the character prone.

Design Note: Dynamic responses essentially create a wider spectrum of mechanical response to area effects. You can have no adequate response (disadvantage), actively seek to avoid the effect (resolve normally), or be well-prepared and take the Dodge action (advantage).

ABUSING THE SYSTEM

“Hey! What if my players start dropping area effects on each other just so they can ‘dive out of the way’ and get ‘free’ movement across the battlefield?”

You have a few options:

• Simply disallow it.
• Limit dynamic response movement to once per round.
• Allow it, with the rationale that the area effects are creating enough chaos and confusion that people are able to move around a little more freely than they usually could. (Or whatever other rationale makes you happy.)
• Only require/allow dynamic responses to trap effects.
• Sigh… fine, dynamic responses now require you to use your reaction. If you don’t have a reaction left this round, then you’re stuck making your Dexterity saving throws at disadvantage.

Go to Table of Contents

Although briefly described in the Ptolus sourcebook, the Vladaam Estate was originally published and fully detailed in the Banewarrens campaign book five years earlier in 2002. This, unfortunately, resulted in some continuity errors.

The key problem is that the Vladaam family was not fully detailed in the Banewarrens. Only Iristul, Navanna, and Aliaster are mentioned, and as a result the Vladaam Estate lacks rooms for the other siblings. While it’s possible that Godfred and Gattara simply keep their rooms elsewhere, I decided it would make more sense to add the rooms to the mansion, which I did by simply adding a third floor identical to the second (as shown on the map above).

I’ve added key entries for these new rooms, as well as adding some enhancements to other rooms in the mansion. You’ll also find an adversary roster below, which is quite useful if you end up needing to run a true heist at the Vladaam Estate.

ADVERSARY ROSTER

There are two adversary rosters for the Vladaam Estate: One for daytime and another at a night (when security is higher, but the servants are asleep).

If the estate is on high alert, use the nighttime roster during the day. If Navanna is leading the PCs on a fake heist (see Banewarrens, Chapter 4), use the daytime roster at night (but still have the servants asleep).

Vladaam Guards: Banewarrens, p. 45.

VLADAAM ESTATE – DAYTIME

Action Group	Location
5 Guards	Guard House
Stegoar (Claw) + 8 Guard Wolves	Kennel
1 Dire Wolf (Wolf Mum)	Kennel
1d8 Claws	Outbuilding
2 Guards	House 2 + House 3

VLADAAM ESTATE – NIGHTTIME

Action Group	Location
5 Guards	Guard House
8 Guard Wolves	Grounds
Stegoar (Claw)	Kennel
1 Dire Wolf (Wolf Mum)	Kennel
1d6+4 Claws	Outbuilding
2 Guards	House 2 + House 3
1 Guard	House 7
1 Guard	House 11
2 Guards	House 12

SERVANTS

Action Group	Location
6 Groomsmen	Stables
4 Servants	Kitchen [sleep at night]
4 Servants	Pantry [sleep at night]

OTHER FAMILY MEMBERS

• Godfred: If present during Navanna’s fake heist, he’ll be drunk and potentially foul it up. 50% chance he’s in his room (1 in 10 chance he comes out looking for more liquor). 50% chance he’s out drinking (1 in 10 chance he comes home early).
• Aliaster: 40% chance of being out during the day. 90% he’s at home at night (sleeping).
• Gattara: 10% chance she’s present.

REVISED KEY

AREA 11 – LIBRARY

Very well stocked, the Vladaam library seems particularly complete on the subjects of history and magic. Many books here are valuable.

Secret Trap Door: Can be found with DC 20 Intelligence (Investigation) check. Leads down to the dungeons.

Chaos Lorebooks: Protected by a knavescour spell.

• Book of Faceless Hate
• Masks of Death
• Eye of Legion
• Hand of Gellasatrac
• Vested of the Galchutt

KNAVESCOUR
4^th-level Abjuration [Warlock, Wizard]

Casting Time: 10 minutes
Range: Touch
Components: V, S
Duration: 10 days

A particularly useful foil for thieves, knavescour allows you to designate 8 objects which you touch at the time of casting, anmd again once per day to maintain the spell.

If anyone intentionally touches any of these objects without your spoken permission, this spell causes it to spray corrosive energy at that creature, dealing 8d6 acid damage (Dexterity saving throw for half).

After this discharge, the object becomes safe for anyone to handle, and the other objects retain diminished protection. The second object touched without your permission deals one less die of damage than the first, the third deals two less dice, and so on.

At Higher Levels: You can designate an additional 4 objects for each spell slot level above 4^th.

This spell is covered by the Open Game License.

AREA 22 – VLADAAM CREST

The original stone crest of the Vladaam family — roughly six feet in diameter — hangs above the door to Area 24.

AREA 24 – IRISTUL’S BEDCHAMBER

Locked Door: DC 23 Dexterity (Thieves’ Tools)

This room is tastefully decorated with grand furnishings, albeit in a slightly dated style. Although kept meticulously clean, any careful inspection of the room reveals that it has not been lived in for months or possibly even years.

Black Roses: On the mantlepiece, there are four black roses, each levitating under a separate glass bell jar. (Iristul keeps one for each of the Vladaam children’s mothers. The reason for this is uncertain, as sentimentality does not seem to be one of the patriarch’s virtues.)

Weapon Collection: One wall of Iristul’s room is filled with a large collection of prized weapons. Notable items include:

• unholy battleaxe
• berserker axe
• silver dagger (marked with runes which read, “For the Heart of the Wife”)
• light hammer +1 (marked with the personal seal of Yrkyth Vladaam)
• light hammer +2 (marked with the personal seal of Yrkyth Vladaam)
• longbow (of blackoak, gilded with the Vladaam family crest)

AREA 25 – TROPHY ROOM

All sorts of beast and animal heads, as well as stuffed specimens in their entirety, are displayed here.

AREA 26 – BONSAI ZOO

A small zoo of “bonsai monsters” — living miniature monsters kept artificially small through magical “pruning.” Created and maintained by Gattara Vladaam, specimens include:

• owlbear
• gas spore (looks like an ocular tyrant)
• flail snail
• polar bear
• mammoth
• tyrannosaurus rex

AREA 27 – GATTARA’S BEDCHAMBER

Locked Door: DC 23 Dexterity (Thieves’ Tools)

Gattara’s décor is as garish as her wardrobe… or rather, her three wardrobes, each packed with bespoke outfits commissioned from the Jade Woman (Ptolus, p. 277).

AREA 28 – GODFRED’S BEDCHAMBER

Godfred’s bedchamber is decadently luxurious, the walls filled with more animal trophies. An aumbry filled with rare liqueurs is near the black-and-gold sheeted bed.

Writing Desk: A small writing desk in the corner of Godfred’s room is ill-used, but has a recent letter from Guildmaster Essetia requesting a meeting (see Part 14: Red Company of Surveyors).

REVISED KEY – DUNGEON LEVEL

AREA 3 – INNER STRONG ROOM

See key in Banewarrens, p. 48.

In addition to the other items, there are six blood rubies in a coffer near the hand.

Blood Rubies: A blood ruby can be placed on the chest of a victim. Once per hour, It inflicts 1 point of Constitution damage (as the ruby mystically fills with blood) and forces a DC 15 Wisdom save. On a failure, the victim suffers the effects of a dominate person spell as if cast by the person attuned to the blood ruby. The effect lasts for a period of time equal to how long the blood ruby rested on the victim’s chest.

AREA 4 – TRAINING ROOM

See key in Banewarrens, p. 48.

DC 20 Intelligence (Investigation): Beneath the inset mahogany floor is a seal of adamantine with an arcane lock that can only be opened with a drop of Vladaam blood. This vault leads to the Fane of the House Founder (see below).

AREA 5 – PRISON

See key in Banewarrens, p. 48.

Thariad Rivelost was brought to Ptolus aboard the Pride of Morrain, taken to the Vladaam slave warehouse (see Part 16: Slave Trade), and then selected by Gattara Vladaam and brought here. He can identify the ship and/or lead PCs to the warehouse where he was kept.

FANE OF THE HOUSE FOUNDER

The walls of this sunken chamber are made from gleaming black chalcedony with veins of milky-purple. A green sphere, glowing with a faint light, levitates in the center of the room, bound in position by seven thick, black chains that are attached at various points across the ceiling, walls, and floor.

Behind the sphere is an inhumanly large statue carved from the same purplish-black stone of the vault. It depicts a faceless, androgynous figure with bat-like wings. Its left hand is extended beneath the sphere, as if presenting it to the room.

Sphere: The sphere represents the lost (or hidden) moon of Vallis. At the touch of someone with Vladaam blood, the “moon” can be opened, revealing a small chunk of Vallis rock within that has a 100 spell level capacity (see Ptolus, p. 648).

Figure: The figure depicts Vladaam, one of the original Vested of the Galchutt who helped the Lords of Chaos identify the Seven Chains that held the soul of the world upon the Vallis moon.

THE TWELVE CLAWS

Navanna’s “werewolf” bodyguards, known as the Twelve Claws, are not actually werewolves at all. Their hybrid transformations are the result of wolf’s paw totems that they wear on golden chains around their necks. These are linked to Navanna’s master totem (also known as the Thirteenth Totem) and using them requires on to swear loyalty to Navanna.

The master’s totem is crafted from the mummified heart of a werewolf. The wolf’s paw totems are crafted from the left front paws of werewolves infected by the werewolf from whom the heart of the master’s totem was taken.

Go to Part 6: Abandoned Temple of the Great Mother

DISCUSSING
In the Shadow of the Spire – Session 31D: The Midnight Watch

Tee floated up to the roof and kept an eye on the street to make sure that he wasn’t actually leaving the building. A few minutes later, however, she saw a light through the rear windows of the building moving back towards the room with the corpse. She returned to the window in time to see a group of several people return: The same grey-robed man was accompanied by two others wearing serpent symbols and a fourth man with a large tattoo in the shape of a black hand on his throat.

After no more than a cursory inspection of the corpse, the group fell into arguing with each other. Tee was having problems hearing, so she cautiously cracked the window open.

NPCs talking to each other.

…

I have felt a great disturbance in the Force. As if millions of GM spines suddenly shivered at once and in unison.

Roleplaying one character is tough. Roleplaying two characters is tougher. Roleplaying two characters talking directly to each other sometimes feels completely impossible. (Dial up your terror level as the number of NPCs increases.)

In practice, this is the result of two distinct challenges.

First, putting words into the NPC’s mouths. Literally just figuring out what they’re actually going to say.

Second, making it clear to the players which NPC is talking (and who they’re talking to).

Of course, neither of these challenges are unique to scenes featuring multiple NPCs. Whenever the PCs interact with an NPC, we must establish who’s speaking and then play the role (i.e., figure out what they say). The exponential complexity arises from switching, often rapidly, between roles, turning simple performance — which can be difficult enough in its own right — into a juggling act.

Unfortunately, I don’t have a magic wand I can wave to make this simple for you. But here’s a cluster of techniques that I use to turn the untenable into the manageable.

First, universal roleplaying templates. I make a point of prepping these for major NPCs, and particularly for those that I know (or suspect) will be putting in an appearance during a big social event. A key utility feature here is that each template appears on a separate sheet. That might be a full A4/Letter sheet, or it could be a half sheet. Regardless, you want a separate sheet for each NPC because it allows you to easily grab the NPCs you need and lay them all out on the table in front you. This allows you to easily swap from one character to another by just flicking your eyes around.

With a little extra effort, you can make tent cards for the NPCs. Put a picture on one side and their name on the other, then put them on the table or drape them over the top of your GM screen where both you and your players can see them.

(For NPCs with shorter write-ups, you might even be able to fit all their info — or maybe just duplicate the most important info — on the back of each card.)

These tent cards make it very easy for everyone to keep track of which NPCs are present in the current scene (or the current grouping within a larger party scene). It can also vastly simplify indicating who the current speaker is: Simply pick up the appropriate tent card, then set it back down when they’re done talking.

Another trick for indicating current speaker is body position. Just sort of flipping back and forth in your chair can feel silly. It can be more effective, rather than thinking about the act of turning back and forth, to pick a point of focus for each NPC. (For example, King Abelard is looking at the dragon statuette in the corner to your right and Lady Beatrice is looking at the AC/DC poster on the wall to your left.) When the NPCs are talking to each other, just have them address the appropriate point of focus.

You might also consider standing up. Simply moving from the left side to the right side of your chair can feel more natural than spinning in place, while having an even greater clarity for the players. (Each NPC literally gets their own physical space in the game room, even if it’s only a slight distinction.)

Finally, returning to the roleplaying template, I highly recommend making sure each character has a distinct physical mannerism (stroking their beard, tapping their fingers together, bawdy winking, running their fingers through their hair, tugging their ear nervously, an accent, etc.). Such mannerisms not only help clue the players into which character is speaking, they can also make it a lot easier for you to switch between characters: The mannerism becomes a convenient hook for picking the character up and sliding into the role. Swapping from tugging your ear to stroking your imaginary beard is a mnemonic that helps easily propel you from one POV to the other.

Speaking of POV, that brings us to arguably the most difficult part of the whole exercise: Figuring out what each character is saying.

What I recommend here is to really clearly define for yourself what each character’s objective is. Why are they participating in this discussion? What are they trying to achieve? Don’t get wishy-washy with this. The more specific it is — and the more motivated they are to get it — the easier it will be find their words.

If you want to get more technical with this, then start thinking in terms of tactics: How is the NPC trying to achieve their goal? Once again, making this as specific as possible (she’s going to blackmail him with the photos to make him steal the vault codes; he’s going to appeal to the duke’s sense of morality; the goblin is going to lie about he saw) will make it easier for you to flip to the other side of the conversation and ask, “Does that work?” (And, if not, why not?) If you’re uncertain, then play the uncertainty. Or make a dice roll to resolve it.

“Reggaloch’s dead, Gavele. Theral found the body here.”

“Theral killed him you mean!” Vocaetun shouted.

While the other cultists went back to arguing, Gavele knelt down next to Reggaloch’s body and did a more thorough inspection of the corpse. Unnoticed by the others (but not unnoticed by Tee), she found a note and slipped it into her pocket. Then she stood up.

“That’s enough,” she said. “Reggaloch has been dead for days. Give the body to the thralls. They’ll eat it up. Then come with me and we’ll settle this. You really don’t want me to have to bring this idiocy to Illadras’ attention.”

Finally, if each character has clearly defined and opposing objectives in the scene, it will become a lot easier to identify when the scene is over (i.e., when one of the characters has achieved their objective). That will help make sure that the conversation doesn’t just kind of whimper out or continue forever without any sort of resolution.

Campaign Journal: Session 31E – Running the Campaign: Gore-Spattered Reactions
In the Shadow of the Spire: Index

IN THE SHADOW OF THE SPIRE

SESSION 31D: THE MIDNIGHT WATCH

November 9th, 2008
The 18th Day of Kadal in the 790th Year of the Seyrunian Dynasty

As midnight drew near, Tee left the Banewarrens and headed across Oldtown for her guard duties as a “cultist”. On her previous watches there had been little or no activity around the apartment complex. In fact, from all outward appearances, it seemed to be abandoned.

About an hour into her shift, however, Tee suddenly saw a light come on in one of the upper windows of the building. Her interest was particularly piqued when she realized that it was the window of the room in which Ranthir had clairvoyantly spied on a quarrel between cultists of the Ebon Hand and the Brotherhood of Venom.

Tee slipped across the street and, using her magical boots, levitated up to the window. The curtains had been drawn, but they were cracked and she was able to peer between them: A grim-visaged man wearing grey robes and an iron breastplate bearing the symbol of a coiled serpent was kneeling next to the corpse Ranthir had seen left behind. After a few moments, he stood up and left the room.

Tee floated up to the roof and kept an eye on the street to make sure that he wasn’t actually leaving the building. A few minutes later, however, she saw a light through the rear windows of the building moving back towards the room with the corpse. She returned to the window in time to see a group of several people return: The same grey-robed man was accompanied by two others wearing serpent symbols and a fourth man with a large tattoo in the shape of a black hand on his throat.

After no more than a cursory inspection of the corpse, the group fell into arguing with each other. Tee was having problems hearing, so she cautiously cracked the window open.

“—we’re not going to stand for this!” This was the Ebon Hand cultist.

“Vocaetun, if you’re making some sort of accusation—“ this was the grey-robed man.

“I am! You may think that you can steal this research from us! But we have worked just as hard to perfect the venom-shaped thralls, and we won’t let you steal them from us.”

“It could have easily been one of the thralls who did this.”

“Don’t be absurd!”

At this point one of the Venom cultists slipped out of the room. The argument continued vociferously. It became clear that the two cults had been working together to create “venom-shaped thralls” – which Tee guessed must be the insectoid horrors that Ranthir had seen on the lower level – but now significant distrust was boiling up between the two groups.

The cultist who had left returned, following a woman with golden-brown skin. Tee spotted a bell-shaped charm around the woman’s wrist.

As soon as they saw her, the other cultists fell silent. She eyed fixed them with a steady gaze until they settled down. “What’s going on here?”

“Reggaloch’s dead, Gavele. Theral found the body here.”

“Theral killed him you mean!” Vocaetun shouted.

While the other cultists went back to arguing, Gavele knelt down next to Reggaloch’s body and did a more thorough inspection of the corpse. Unnoticed by the others (but not unnoticed by Tee), she found a note and slipped it into her pocket. Then she stood up.

“That’s enough,” she said. “Reggaloch has been dead for days. Give the body to the thralls. They’ll eat it up. Then come with me and we’ll settle this. You really don’t want me to have to bring this idiocy to Illadras’ attention.”

At the woman’s direction, a couple of the cultists grabbed the corpse and hauled it out of the room. The rest of the cultists followed, taking the light with them.

Tee waited for a long while. When it was clear that none of them were coming back, she decided to go through the window. She eased it open silently and slipped inside.

She could hear sounds of movement from below, but nothing untoward here on the upper level. It looked as if the room had been torn apart: Various pieces of furniture had been smashed into kindling and scattered around haphazardly. There were doors to her left and right, but there was also a gaping hole punched through the far wall.

She headed through the hole in the wall into another large room. The floor creaked ominously under her weight. There was another hole in the far wall here, too, but she couldn’t see anything beyond it due to the lack of light. There were a couple of doors and one of these had been smashed open. Through it she could see a hallway leading to the stairs.

She decided to backtrack through the room where Reggaloch had died and tried one of the doors. Through it she found the remnants of a small apartment. In one corner of the ruined room she saw a cocoon of crystalline black secretions. In the other corner there was a second cocoon… but this one had been ripped open from the inside, and something seemed to be writhing in there.

I’m going to die in here… Tee realized with a sudden dread. She backed out of the room, shut the door, and escaped out the window.

She returned to her post across the street and waited for dawn to come. Just a few moments before the end of her shift, however, the door of the apartment building opened. The Ebon Hand cultist she had seen in the room above emerged and began walking down the street to the west.

She was just considering whether she should follow him or not when she spotted him surreptitiously passing a note to a man walking in the opposite direction. That settled the matter for her: She wanted to see that note.

She followed the messenger for several blocks and then, seizing an opportune moment, knocked him unconscious. She grabbed the note, quickly rifled through his purse (to make it look like an ordinary robbery), and then slipped away. When she was safely out of sight, she opened the note and read.

Malleck—

Reggaloch is dead. I am certain the Brothers of Venom are to blame. Gavele is deaf to our cause. I would urge you to send more of our brethren as soon as you can.

Vocaetun

Thinking quickly, she returned to where she had left the messenger. He was still unconscious. She quickly replaced the note and then woke him up.

“Hey! Are you all right? I saw that guy hit you and then—“

The messenger, with a look of panic in his eye, quickly patted himself down. As soon as he had confirmed that the note was there, he pushed his way past Tee and hurried down the street.

Alarmed, but not suspicious… Good. Tee nodded to herself and then headed back to the Banewarrens to meet up with the others.

A MORNING WITH ILTUMAR

When Tee returned to the excavated cave, she found Agnarr and Kalerecent on watch. Ranthir was awake, as well, having suffered from bad nightmares during the night. Waking the others, she proposed that they should renew the alarming charm that had been placed on the sealed door.

This needed to be done in any case, but it also gave them an excuse to leave Kalerecent so that they could speak in private. As they walked, Tee quickly briefed the others on what she had seen the night before.

(“You went inside?” Dominic said, incredulous.)

Elestra renewed the alarming charm and they made their way back to the excavated cave. All was quiet in the Banewarrens.

While the others rejoined Kalerecent’s watch, Elestra and Tor left the Banewarrens.

While careful to remain within the limits of her alarming charm, Elestra walked the streets of Oldtown. What she heard disturbed her: Late last evening, a small group of arcanists had magically animated the painted mural of the griffon in the common hall of the Griffon Tavern on Tavern Row. Three innocent bystanders had been killed by the creature before Sheva Callister had been able to stop it.

The word on the street was clear: The Killravens were making a concerted push to muscle in on the Balacazars’ protection racket along Tavern Row. There had been a few skirmishes between low level enforcers, but it was only a matter of time before the Balacazars started pushing back… and when they did, things were going to get ugly.

Nearly drowned out by the affairs on Tavern Row, there was another piece of news: A warrant of arrest had been sworn out for Sir Kabel. The charges were “disturbances of the peace” and “conspiracy to murder”.

Tor, meanwhile, headed down into Midtown. He met Iltumar at the Bull and Bear.

“Did you get a sword?”

“I did!” Iltumar said, patting the blade strapped awkwardly to his hip.

“Good. Do you have a horse?”

“… no.” Iltumar frowned.

“It’s all right. I’m sure arrangements can be made.”

And, in fact, they could. At the stable behind the Ghostly Minstrel, Tor saddled Blue and made arrangements to hire a horse for Iltumar for the day.

They rode up to the tournament grounds north of town. They were empty, but served as an excellent arena in which Tor could practice Iltumar on the arts of the sword.

As they worked, Iltumar slowly loosened up – both physically and with his tongue. “I think it’s important to fight for what’s right,” he said. “I wish I could do what you and Mistress Tee do.”

“What do you mean?”

“Making a difference in the world,” he said. “That’s all I dream about, really.”

Tor grunted. “That’s a noble sentiment. And now… defend yourself!” And he pressed the attack again.

Running the Campaign: Roleplaying NPC Scenes  – Campaign Journal: Session 31E
In the Shadow of the Spire: Index

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