Goat-ball is a team sport similar to dodgeball that’s played by goliaths. It uses a furry, misshaped ball made of stuffed goat hide and also requires a dozen or more elevated platforms (usually pillars, boulders, or tree stumps) arranged in a random pattern. Two teams leap from platform to platform, pass the ball back and forth, and try to knock their opponents off their platforms.

STARTING THE GAME: Traditionally, the ball is kicked into play by a goat and the two teams try to catch it to gain first possession. It’s not unusual, though, for a referee to throw the ball into play instead.

POSSESSION: The possessing team’s goal is to complete three passes between teammates standing on four different platforms. (You can’t just pass it back and forth between the same platforms.) Once you’ve completed three passes, the ball becomes hot. You can throw a hot ball and strike a member of the opposing team to knock them out of play. (This is referred to as a knock off even though the player does not have to be physically knocked off their platform by the throw.) If the hot throw is successful (i.e., it knocks off a member of the opposing team), the ball is placed on the platform of the player who was knocked off and remains hot and in the possession of the throwing team.

CHANGE OF POSSESSION: If the ball is intercepted, the ball hits the ground, or the player holding the ball hits the ground, the other team gains possession of the ball. (The ball is given to a player of that team’s choice.)

KNOCK OFFS: A player who is struck by a hot ball or who touches the ground for any reason is knocked off. They are eliminated from play until a change of possession.

WINNING: A team loses when all of their players have been eliminated. The last surviving team wins the game.

Note: The game is usually played by two teams, but “thunder scrums” featuring multiple teams all playing against each other at the same time can also be played.

GOAT-BALL MECHANICS

A game of goat-ball is divided into rounds, with each round being referred to as a pass.

STARTING THE GAME: When the goat kicks the ball, all players make a Dexterity (Acrobatics) check. The highest result gains possession. In the case of a tie involving multiple teams, have the tied characters roll off with an additional Dexterity (Acrobatics) check.

INITIATIVE: In each pass, the players roll initiative and declare their intended actions in reverse initiative order.

The current ball carrier makes their action declaration in secret (writing it down on a piece of paper and revealing it only after all other actions have been declared). If they are attempting a Throw, they must indicate who they are throwing the ball to or at.

ACTIONS: Characters who have been knocked off cannot take an action in the game until a change of possession allow them to rejoin the action.

• Throw: Players on the team which has possession can participate in the Throw. Every player participating in the throw makes a Strength (Athletics) or Dexterity (Acrobatics) check (their choice) vs. DC 5. On a failure, they have fallen off. On a success, add the margin of success to the throw total.
• Intercept: Players on the opposing team can attempt to intercept. Every player taking the Intercept action can make a Strength (Athletics) or Dexterity (Acrobatics) check (their choice) vs. DC 5. On a failure, they have fallen off. On a success, add the margin of success to the intercept total.
• Knock-Off: You can attempt to physically knock off a member of the opposing team by making a Strength (Athletics) check contested by the target’s Strength (Athletics) or Dexterity (Acrobatics) check (the target chooses the ability they use). On a success, you knock them off. If the ball carrier is knocked off, the pass immediately ends and possession changes. If the target of the current Throw is knocked off, the Throw automatically fails.
• Defend: You can take a Help action to grant advantage to a character targeted by a Knock-Off action.

PASS: If a pass was attempted, compare the throw total to the intercept total. If the throw total was higher, the pass was successful and the target becomes the new ball carrier. If the intercept total was higher, the opposing team has gained possession and the character with the highest Intercept check result that round becomes the new ball carrier. (In practice, this might be due to an actual interception or the ball may have simply hit the ground.)

HOT THROWS: If three passes have been successfully completed by the possessing team, they can instead attempt a hot throw to knock out an opposing player. This is resolved like a pass, but if the throwing team succeeds, the ball carrier can make a Dexterity (Acrobatics) check with advantage opposed by the target’s Dexterity (Acrobatics) check. On a failure, possession changes. On a success, the target is eliminated and the throwing team retains possession. (In either case, the possessing team chooses the new ball carrier.)

OPTIONAL RULE: ZONES

For the purposes of resolution, you can break the field of play up into multiple zones.

• Move: Players can Move to an adjacent zone as an action.
• Throw / Intercept: Being in the same zone as the ball carrier or target grants advantage on throw and intercept checks.
• Knock-Off / Defend: You must be in the same zone as the target to attempt a Knock-Off or Defend action.
• Block: A player can attempt to block opposing players from entering their zone.

Design Note: I’m not sure what the right number of zones is. I think the sweet spot might be roughly three times as many players as zones, but it needs some playtesting.

OPTIONAL RULES: QUICK RESOLUTION

To quickly resolve a goat-ball game, simply have all the players on each team make either a Strength (Athletics) or Dexterity (Acrobatics) check (their choice). Add up the total score for each time. The team with the highest total wins. In the event of a tie, the team whose player had the highest single untied check result wins. If the result is still a tie, the game ends in a draw after several exhausting hours of play.

BLOOD-BALL

Blood-ball is a variant of goat-ball in which the ball is replaced with a spear. The rules remain the same, except, of course, that getting knocked off by a spear throw can often be a lethal experience. In some cases, any knock-off is lethal in blood-ball (with all such players being executed).

Blood-ball is usually only played to resolve the most serious of clan rivalries or disputes. It may also be played as gladiatorial sport by smaller races in the decadent south (which goliaths find distasteful).

EMPOWERED GAMES

Goat-ball is usually a contest of purely physical skill, but some goat-ball games allow the use of spells or supernatural abilities. In some cases this is limited to a specific set of magical abilities. Lethal spells are usually banned (with the exception of blood-ball matches). Flying is always banned, since it largely negates the whole point of the game.

Note: Empowered games are rarely played and blood ball is never played at Wyrmdoom Crag, but they’re the kind of thing youngsters gossip about in scandalous whispers.

Go to Icewind Dale Index

DISCUSSING:
In the Shadow of the Spire – Session 23C: Beneath Pythoness House

But when they returned to the statue, they found that the hole in its stomach had closed up.

“It’s like its reset or something,” Elestra muttered.

“I MUST FEED…”

Now, standing in this hall, they were sure that the voice was emanating directly from the statue itself.

Last week we talked about techniques that break down the natural firewall of the dungeon: Techniques that will have you and your players thinking holistically about the entire dungeon environment instead of just one room at a time.

Today’s journal entry features a similar technique in the form of cyclical dungeon activity.

Basically, all of these techniques seek to take a static dungeon — in which each room passively exists in a status quo until the PCs enter it — and transform it into an active complex. The advantages of this are myriad and probably obvious: it deepens the players’ immersion by making the game world seem truly alive; it increases the strategic challenge of the scenario; it emergently creates complex dramatic situations and difficult dilemmas.

Cyclical dungeon activity is one way of accomplishing this.

THE GLOBAL TIMER

The concept of a “global timer” comes from video games. To simplify greatly, it’s a counter that is constantly iterating and helps keep all of the events in the game in sync. In video games this can range from the broad to the very specific. (For example, in Mario 64 small snowflakes generate when the counter is even and large snowflakes are generated when the timer is odd.)

You are not a computer and you shouldn’t run your game as if you were.

But we can borrow the concept of the global timer and apply it fruitfully. You can see a simple example of this in Pythoness House:

• When the statue says, “Come to me…” the spirit within it seals the castle so that the PCs cannot easily escape.
• When the statue says, “I must feed…” the statue itself is warded by a curse.
• When the statue says, “Chaos is the key…” the depression into which the spiral contrivance can be inserted opens on the statue’s belly.

In short, your “global timer” is a set of discrete states, with each state determining particular features in the dungeon. As the state changes, the topography, feature, and/or inhabitants of the dungeon will shift.

The advantage of the technique is that you only need to keep track of one thing — Which state is the dungeon currently in? — and you can apply that one piece of information to whatever area the PCs are currently in. This lets you manage dungeon-wide changes and activities with incredibly simple bookkeeping.

PLAYER INTERACTION

As you can see in the example of Pythoness House, the switch state can be both diegetic (i.e., something actually shifting in the game world) and directly apparent to the players (everyone in the dungeon can hear the spirit’s declaration).

Neither is necessarily true. There may be no clear “signal” that will notify the PCs that the state of the dungeon has changed (or what it has changed to). It’s also quite possible for the global timer to be partially or entirely an abstraction that exists only for your managerial benefit.

For example, you might design a slavers’ fortress in both a Day state and a Night state, but this doesn’t mean that the slavers all become clockwork automatons. (Although a fortress of clockwork slavers has some fascinating thematic implications. But I digress.) The global timer is a useful tool for broadly modeling the fortress, but if the PCs start closely examining the place what they’re “really” going to see is quite different than that abstraction.

Regardless, as you can see in the campaign journal, this type of cyclical dungeon activity can naturally function as a puzzle for the players, ranging from the simple to the complex. In addition to more specific effects, figuring out how the dungeon’s cycle works will make it easier for the PCs to navigate and overcome the dungeon’s challenges. (For example, figuring out when the best time to strike the slavers’ fortress would be.)

Something else to consider are player-triggered state changes. This might be something they deliberately choose to do, but more often it’s not: The dungeon might shift every time they enter a particular room, go down a particular staircase, or drink from a particular fountain.

When combined with obfuscated or nonexistent signals, these player-triggered state changes can create delightfully complicated puzzles.

(It’s also fun when the players think that there must be something they’re doing to trigger the state changes, but it’s actually just random or on a global timer.)

Such state changes could also be a one-time event: The dungeon is in one state until the PCs trigger a trap, and then the whole dungeon shifts into a different (and presumably more dangerous) state.

This also creates the possibility for NPC-triggered state changes: Everything is fine until one of the bad guys manage to hit the big red PANIC button and the alarm klaxons start sounding.

KEEP IT SIMPLE

With only a little imagination, it’s easy to see how such timers could be made quite complex, dynamic, and perhaps even conditional.

So let me just briefly reiterate: Don’t do that.

You are not computer. The whole point of this technique is to simplify your bookkeeping and management of the dungeon. It’s real easy to become enamored of the Rube Goldberg device you’re constructing until the tail starts ferociously wagging the dog.

If you do want to increase the complexity of your dungeon states, try adding a second global timer — unconnected to the first and out of sync with it — to your dungeon. I suspect you’ll find the combinatory interactions between the two cycles will add a delightful amount of complexity while keeping your bookkeeping dead simple. This will, in particular, be more than sufficient to mask the nature of cycles you would prefer to keep hidden from your players (because, for example, they’re a non-diegetic abstraction intended to create a living world).

NEXT:
Campaign Journal: Session 23D – Running the Campaign: The Price of Magic
In the Shadow of the Spire: Index

SESSION 23C: BENEATH PYTHONESS HOUSE

June 7th, 2008
The 10th Day of Kadal in the 790th Year of the Seyrunian Dynasty

As far as they could tell, the keep was now empty except for themselves and the Cobbledman. They turned their attention to the statue in the first hall of the keep, and were surprised – as they rounded the corner towards it – to discover that a gap had opened in the statue’s stomach, revealing a circular depression into which the spiraled disc would fit perfectly.

They concluded that the depression must have opened when they had joined the two halves of the disc together.

Tee stepped forward, but Agnarr took the disc from her and fitted it carefully into the statue. With a twist of the wrist he was able to turn it counter-clockwise. With a rumbling groan and a burst of stale air, the statue rolled down the hall towards him. Agnarr stepped deftly to one side and saw, where the statue had been, a hole in the floor.

A twenty-foot shaft dropped straight down into a room with a ten-foot-high ceiling. Iron rungs set in the side of the shaft made it an easy climb. The chamber itself was of plain stone, but the floor to one side was interrupted by a fleshy membrane that quivered in the draft of air that flowed up towards the keep above. On the other side of the room, slumped against the wall, was a giant’s skeleton.

The skeleton was of titanic proportions and clad in age-tattered robes. The hem of these robes were embroidered with strange, round-shaped runes. Ranthir, glancing over from the iron rungs as he climbed down, instantly recognized them as Lithuin runes. These strange runes – now unreadable – were believed to have been used by the Titan Spawn of the legendary city of Lithuin. Only a few samples of such runes were known to survive. He was excited to study them in more detail.

But as Tee’s foot touched the floor, the skeleton began to stir – clouds of dust rising from its form as it slowly lurched to its feet. “Agnarr!” Tee cried. “Tor!”

Agnarr let go of the ladder and dropped to the floor (he was only a few feet above it in any case). Tor, taking up the rear guard as usual, had to jump clear of the wall to avoid hitting Ranthir and Dominic on the way down, but he landed easily, his sword already drawn.

Things went poorly at first: The titan spawn skeleton’s massive hand easily swept past their defenses, delivering bone-crushing blows. But then Dominic reached the floor and was able to lay his hands on Agnarr – at his touch, the familiar divine strength poured into Agnarr’s body and he grew to match the skeleton’s height and girth.

And despite his size, Agnarr was still possessed of greater speed and agility than the lumbering skeletal giant. Even as he finished his divinely-inspired growth, he whirled low and whipped his sword around – cutting at the giant’s shins and shearing straight through one of its legs.

“Don’t hurt the runes!” Ranthir cried, darting forward a few steps from where he stood in the corner (keeping a safe distance from the titanic struggle).

Dominic, summoning his inner strength, called upon the same divine energies a second time and let them flow into Tor.

Tor, growing as Agnarr had done, followed Agnarr’s example. Ducking low, his blow swept in from the opposite direction and cleaved the giant’s other leg. It crashed precipitously to the floor.

With perfect timing, Ranthir released an arcane attack – piercing the creature’s barrel-like eye socket with a blast of frigid energy that froze the bone. The jarring impact of its collapse caused the brittle bone to break and shatter, sending great gaping cracks racing across the dome of its skull.

Whatever enchantment had knit those bones together in undeath was broken, and the giant collapsed.

THE FRIGID CAVERN

Ranthir drew a knife and carefully cut away the Lithuin runes from the hem of the titan spawn’s robe. Meanwhile, the others were moving towards the fleshy membrane. It was slightly translucent and appeared to be stretched across another shaft leading down.

“What do we do?” Elestra asked.

“Well, the key we were looking for – are looking for – must be down here somewhere,” Tee said. “And there’s no where else to go.” She shrugged, drew her dragon pistol, and blasted the membrane.

The membrane ripped apart, and as it did so a howling blast of frigid air rushed up from the shaft below. Looking down through the hole, Tee could see that the frost-rimed shaft ended in another chamber twenty feet below, although all she could see of this chamber was a narrow patch of floor that appeared to be covered completely with ice.

“I’m going to go down and check it out.” Tee pulled out a sunrod, stepped off the edge of the shaft, and levitated down.

The chamber below appeared to be some sort of natural cave, but it was unnaturally – even impossibly – cold. The floor, walls, and ceiling of the cave were entirely coated in a thick layer of ice. The air was cold enough here that Tee thought there might be a real risk of frostbite.

Tee noticed that along one edge of this cavern, the ice appeared a little thinner. Looking at this broad patch more closely, she could see what appeared to be liquid water under the surface.

With a thoughtful look, she floated back up to the others. “Ranthir, I need you down there for a second.”

It took more than a second, but Ranthir was able to perform several divinations which confirmed that the unnatural cold was the result of a magical aura permeating these chambers. He could also tell that this magical aura extended through the liquid water in a tunnel that curved down and away before it passed behind too much solid rock for his arcane sight to penetrate. He attempted to unwork the magic of the aura, but failed.

Tee and Ranthir returned to the others and reported what they had found. “I think we have to go through that tunnel,” Tee said.

Tor shook his head. “If it’s as cold down there as it feels up here, we’ll all get hypothermia trying to swim through that water.”

“I know certain magicks that could protect us against the cold,” Elestra said.

“So do I,” Dominic said.

“Between the two of us, we should be able to protect everybody.”

“But we’ll need to prepare the proper spells,” Dominic said.

“I hate to wait,” Tee said. “I’ve got an appointment tomorrow. But if we need to rest, then we need to rest.”

“We could stay here,” Agnarr suggested.

Elestra gave the barbarian an incredulous look. “I think we should head back to the Ghostly Minstrel.”

“Assuming we can leave,” Tee said ominously.

“That’s true,” Tor said with a slightly worried tone.

Ranthir, meanwhile, had been getting a thoughtful look on his face. Now he suddenly turned to the others. “Come with me! Quickly!”

The others followed him as he climbed back up into the keep. Once everyone had joined him, he reached out and easily pulled the spiral contrivance out of the statue. As soon as he had done so, the statue rumbled back to its original position.

“It suddenly occurred to me that there was still a demon wandering around up here,” Ranthir said. “We could have been trapped.” He pushed the disc back into place. As the statue rumbled open again, he turned to Tee. “Once I’m down below, remove the disc and wait a couple of minutes. Then open it again.”

Tee followed his instructions. Ranthir, from below, watched the statue close above him… there was no keyhole for the spiraled disc down here. When Tee opened the statue again, Ranthir climbed up and informed the others. “As long as we’re down there, we can be trapped by anybody who comes along and removes the disc.”

HUNTING A DEMON

“We have to find that demon,” Tee said.

“And kill it,” Agnarr added.

“Well, we saw it descend beyond the outer walls, correct?” Ranthir said. “Perhaps we should start by searching the grounds outside.”

The others agreed, but after circling the keep they could see nowhere that the demon could have been hiding.

“Maybe he’s returned to his nest,” Ranthir suggested.

They walked back through the gate. “At least we know we can get out of here now,” Tee said.

“COME TO ME…” The familiar voice echoed through the keep.

“Didn’t he already say that?” Elestra asked.

“A couple of times, I think,” Tor said.

The demon had not, in fact, returned to its nest. Tee sighed heavily with frustration. “All right, let’s go back to the Minstrel. Maybe when we come back tomorrow, the demon will have returned and we’ll be able to kill it.”

But when they reached the gate, they found the invisible wall of force had once again been raised to block their passage.

“You’ve got to be joking,” Tee said, her hand pressed up against the energy field.

TRAPPED AGAIN

After a brief discussion, they decided that – if they were stuck here anyway – they might as well try a more mundane way of overcoming the frigid chamber below: Fire. They would gather up the older furniture from around the keep, drag it to the icy chamber, and then burn it.

But when they returned to the statue, they found that the hole in its stomach had closed up.

“It’s like its reset or something,” Elestra muttered.

“I MUST FEED…”

Now, standing in this hall, they were sure that the voice was emanating directly from the statue itself.

“It must be Segginal,” Ranthir concluded. “They bound Edlari so they could bind Segginal to this statue.”

“What does it mean by ‘feed’, do you think?” Elestra asked.

“I don’t know,” Tee said. “Maybe if we feed it, it’ll open the keyhole again.”

Tee walked up to the statue and touched it… she instantly felt a sharp pain and was overwhelmed by dizziness. Pulling her hand back, she saw that her fingertips were covered in a sheen of blood. She cursed.

Next, with a certain sense of desperation, Tee tried breaking the spiral key in half again (it broke naturally along the same line as before). Then she rejoined the two halves. There was another flash of light and the disc was made whole again… but the statue stubbornly remained shut.

“There might be another way,” Agnarr said. He led them back to the courtyard and pointed to the well. “It’s almost directly above the icy caverns below. There might be another way of reaching those caverns at the bottom of the well.” A way not blocked by the statue or its spirit.

Agnarr took the boots of levitation from Tee. He drew his sword – both for protection and for the light its flame would provide – and descended more than fifty feet into the dark, cramped well before he spotted the well water below him.

Something seemed to be stirring in that water… some great, white shape rising towards him. Instinctively Agnarr retreated back up the shaft, but before the slow power of the boots could take him far enough a flaccid arm of doughy white flesh burst out of the water and grasped his ankle.

Whatever the foul creature was, it began dragging its way up the length of Agnarr’s leg. A face of melted, white flesh emerged – gaping a maw of vicious, needle-like fangs.

But Agnarr had already reversed his grip on his sword and, as the creature lurched up towards him, the blade plunged down through its gullet and Agnarr, with a savage whipping of his thews, tore the creature in half.

Taking a deep breath of the now acrid air, Agnarr descended into the greasy, gore-spattered water… and met with a dead end. The water had a depth of perhaps fifteen feet, but did not open out into any larger cavern. He returned to the surface to report his disappointment to the others.

“What do we do?” Elestra asked again.

“Let’s try talking to the Cobbledman,” Tee suggested. “He lives here. He might know something about the statue.”

They found the Cobbledman in his tower.

“Cobbledman?” Tee asked tentatively, unsure of which head was in command.

“Tee!” The right head grinned broadly and the Cobbledman lurched to his feet. “You came back! … do you have food?”

Tee smiled. “Yes, I have food.”

She handed it over and the Cobbledman began munching contentedly.

“Do you know who Segginal is?” Tee asked.

The Cobbledman’s face became crestfallen. “Bad fat man!”

“He was a bad man?”

“Bad fat man!”

“Who is he?”

“Wuntad brought him. Now he watches. Watches all the time.”

“Does he do anything else?”

“Sometimes. Hurts when you touch him.”

“The statue?”

The Cobbledman nodded.

“Is there any way to stop him from watching?”

The Cobbledman shook his head. “But sometimes he goes away.”

“When does he go away?”

“Chaos is the key…”

Tee thanked him and gave him some more food. Then she climbed up to where the others were waiting. “The statue is Segginal. And he’s on a cycle.”

“Is there any way to speed it up?” Elestra asked.

Tee shook her head. “Not that he knew, anyway.”

Since it seemed as if they had nothing better to do for the moment, they began a complete search of Pythoness House again – from top to bottom. Perhaps the demon had snuck back into the keep and was hiding somewhere. Or perhaps there was some undiscovered nook or hidden door.

But that didn’t seem to be the case. Fortunately, as they finished their search and gathered back in the courtyard, the voice of the chaos spirit boomed forth once again: “CHAOS IS THE KEY…”

They returned to the statue and confirmed that, once again, the keyhole had opened on its stomach.

“The gate should be open now, too,” Tee said.

Since they understood the patterns and limitations of the ritual now, they felt comfortable in recuperating before journeying any deeper beneath the keep. They returned to the courtyard and headed towards the gate…

NEXT:
Running the Campaign: TBD – Campaign Journal: Session 23D
In the Shadow of the Spire: Index

Go to Table of Contents

These memories — identified by the associated trigger condition that prompts Lulu to remember them — are presented in no particular order. Be flexible with what will and will not trigger a memory: if it seems close enough that you can draw a clear parallel between what Lulu is currently experiencing and her memory, lean into that.

You might also decide that some other circumstance — something like significant trauma or just every time Lulu levels up — might be an appropriate trigger for a random memory. To that effect, I’ve included a random die roll on the trigger reference table below if you want to select the triggered memory randomly.

It’s not necessary for Lulu to recover all of these triggered memories. Don’t feel like you need to force them into play. In fact, triggering all of them might be overkill.

If you miss a trigger, it’s fine to just wait for the trigger to occur again. If the trigger would definitely not occur again, then it’s okay to just skip it. Memory is, after all, a fickle thing. (You might also flag such a “missed” memory to be used for a randomly triggered memory if you’re doing that.)

SHARING LULU’S MEMORIES

If Lulu is a PC, then implementing these triggered memories is relatively easy. (The only decision you need to make is whether to describe them openly at the table or just privately share them with Lulu’s player so that they can roleplay how they tell the other PCs about it.)

But what if Lulu’s an NPC?

The most direct solution is for her to simply describe the memories as she regains them. If you want to more directly describe them to the players as something experienced directly by their characters, there are a couple of options:

First, during the Vision from Torm, the god can — while impressing the import of Lulu and her lost memories — forge a connection between the PCs and Lulu. When a memory gets triggered, both Lulu and the PCs experience it. (This link might be between Lulu and the entire group, or it might only be between Lulu and the PC who put on the helmet and received the Vision from Torm.)

Second, Lulu is telepathic and abruptly recovering these memories is a traumatic mental experience. When a memory is triggered, she might involuntarily broadcast it. You might limit this broadcast to the PCs (i.e., she’s broadcasting to those she trusts and is friends with) or it might just be an open blast to anyone nearby (which could result in any number of unforeseen consequences depending on which NPCs happen to be within range at the time).

MEMORY TRIGGERS

Hearing Zariel’s Name: “Zariel! That was the name of my angel!” Lulu remembers that the name of the warrior angel who was her friend was Zariel. She has a flash of Zariel’s beatific face smiling in dappled, silvery moonlight. “Fair met, Lulu. I am Zariel, solar of Celestia.”

Heated Argument With a Devil: Zariel is being held by a phalanx of winged angels, she is screaming at someone. Zariel wants to… testify? Someone is on trial. Zariel feels that justice isn’t being done. “Your betrayal, Ashmedai, cost us everything! No matter what this farce of justice ordains! No matter what Primus lets you get away with! I will speak my truth!”

Lulu Comes to the High Hall: Double vision of the High Hall and the old citadel that once stood atop the tor. When she passes through the doors, the vision will intensify and she will see Yael kneeling before Olanthius. Olanthius reaches down and offers Yael his hand, saying, “Speak to me of your Crusade, milady.” Yael responds, “Thank you, Lord Olanthius.”

Downed PC / Companion / Ally (someone Lulu has formed a meaningful connection with): Lulu remembers flying above a blasted wasteland of black rock and red sands. There was a woman on her back softly weeping. Below them a vast sea of devils surges in the opposite direction. She tries to fly even faster. Looking back, at the center of the converging mass of fiends she sees a beam of golden light shooting into the air. And at the center of the beam a beautiful, angelic women with white, bloodstained wings struggles against the mass that slowly overwhelms and quenches her light. The woman on Lulu’s back swallows her tears and says, “Turn and face what is to come and not what is behind. We must fly fast, my friend. We have far to go.” Yael… That was the woman’s name. Yael.

Design Note: If appropriate, this memory could be progressively triggered. For example, only the second time it’s triggered does Lulu remember that there was a woman on her back. And only on the third time does she remember the woman’s name.

Seeing Zariel’s Flying Fortress: Lulu has a double vision of seeing the flying fortress from a different angle (and possibly at a much closer distance). From this other angle, she’s been leashed with a length of grey, woven rope and is surrounded by a small band of people: A woman dressed entirely in animated, mulit-colored silk cloths that drift around her body. A pair of horned devils with pitch-black skin. Several scampering imps. A smiling, bearded man in silk robes with a jambiya blade thrust into a sash around his waist.

As the group approaches the fortress, a semi-circular silver platform slowly levitates to the ground. It appears to be operated by a bearded devil who stands near a copper pedestal. Lulu and her group board the platform and it begins to ascend back towards the fortress…

DM Note: This group is the entourage Mahadi led to gift Lulu to Zariel. (Note that in the Remix, Mahadi gifted Lulu himself, rather than merely selling her to anonymous devils.)

Meeting Bitter Breath: Lulu is being escorted by half a dozen devils across the red sands of Avernus. Zariel’s flying fortress hangs in the sky behind them. Lulu feels… drunk? Concussed? Confused, certainly. Like she’s viewing the world through a grey veil or haze. Time seems to rush by; or perhaps turgidly skips about. The flying fortress is gone now. But then, suddenly, there’s an explosion of black energy that utterly consumes one of the devils escorting Lulu. Over a reddish dune ahead of them, a pack of infernal war machines churns into view. An arcanist hangs precariously off the side of one of them slinging spells. The devils with Lulu are thrown into confusion, but try to take up some form of defensive position. One of them is run over by a war machine; smashed flat into the red dust in a smear of black ichor. A horned devil leaps from one of the vehicles and lands in a confused cluster of devils. Her tail whips out, tripping one of the devils and sending them crashing into the dust. She spears another on the end of her trident and laughs with joyful rage. “Tell Zariel that not one of her servants is safe from the vengeance of Bitter Breath!”

Seeing the Styx: A flash of memory. Lulu is riding on some sort of ferry steered by a dark-haired women. The woman has a large sword strapped to her back that glows softly with a golden light. They’re heading down river. The banks of the river are quite high, blocking Lulu’s view of the surrounding landscape. But from one bank comes a demonic howl. And then another. The howls are getting closer…

Yael’s Last Words: Yael’s last words to Lulu, as she sacrificed herself to raise the alabaster fortress, were, “All that’s left now is the dream.” If Lulu hears someone say something similar to that – e.g., “all we need now is the dream machine” or “all that’s left to do now is killing that devil” — she might have a very brief flash to a dark-haired woman saying, “All that’s left now is the dream,” before being swallowed up by an impossibly bright light that emanates from something held between her hands.

A Gathering of Forces / The Refugee Caravan: Lulu is in the form of a giant, golden-furred mammoth. Her angel is riding upon her back. They are at the head of a huge column of mounted soldiers, riding out of the gates of a city. The riders all wear a badge depicting twin suns — one larger than the other.

Name or Holy Symbol of Lathander: Lulu hears an impossibly loud trumpeting noise (that no other character can hear).

DM Note: Lulu is literally “hearing” the memory of her own trumpet, as she called out across the planes and had her prayer answered by Lathander. This effect might repeat upon repeated exposures to Lathander’s iconography, perhaps with the sound growing dimmer upon each repetition until it fades away.

Being Imprisoned: Lulu flashes back to the sensation of being entombed in a warm, spongy, moist substance. A reddish light slowly suffuses her surroundings. There’s a sense of pressure coupled to a desperate need to escape. Her limbs are lethargic, but she begins weakly thrusting against the pulpy mass which imprisons her. There’s a tearing sensation followed by a hot blast of dry wind. There’s something wrong with her vision… as if a red caul had been pulled across her eyes. But the light… the light is so bright…

A Magic Portal: Zariel is mounted upon Lulu in front of a swirling portal of red energies. They stand in a green field stained with blood. The portal is almost hypnotic. Lulu can’t pull her eyes away from it. Zariel cries out to someone that Lulu can’t see in the memory — shadowy shapes that are lost to her damaged mind. “He has taken one of our own! To rescue and to salvation! Charge!” Lulu leaps through the crimson portal…

DM: Not simply ANY dimensional travel, but specifically a portal. (This is not, therefore, triggered when the PCs are plane shifted to Avernus. But it’s likely to happen in the Grand Cemetery.)

Go to Part 6D-G: Lulu’s Memories (Memory Revelations)

DISCUSSING:
In the Shadow of the Spire – Session 23B: Binding Foul and Fair

“Well, the book should tell us more,” Ranthir said, and picked it up. He flipped it open… and the pages seemed to blur before his eyes, forming a black maw that seemed to open inside his very mind… threatening to overwhelm him… to swallow his very mind…

Ranthir jerked the book away, slamming it shut and throwing it onto the table.

“What is it? What’s wrong?”

Ranthir rubbed his forehead. His thoughts seemed blurred. The edge of his intellect dulled. “The book… the book betrayed me!”

I often talk about how one of the unique strengths of the dungeoncrawl structure is the way in which it firewalls individual rooms: If you’re a GM – particularly a new GM – you don’t have to keep an entire adventure scenario in your head. You only have to think about the room the PCs are currently standing in. All the information you need right now almost certainly fits on a single piece of paper, and you don’t have to worry about anything else until the PCs choose an exit and go to the next room.

It’s the equivalent of juggling one ball.

This also extends to creating the dungeon scenario in the first place: In its most inchoate form, the dungeon is made up of entirely independent rooms. The new GM can fill a dungeon room with fun stuff and then move on to filling up the next room without any concern for what they put in the first room.

Once you’re no longer a beginning GM, though, you’re going to start using techniques that break down this firewall. You’re not going to completely eschew the advantages of the clearly defined room key (no reason to throw the baby out with the bathwater), but you will slowly stop thinking about the dungeon only one room at a time and start adding extra dimensions and complexity to your dungeon scenarios.

You’re going to start juggling multiple balls at the same time.

One such technique is the adversary roster: Instead of keying encounters to specific rooms, adversary rosters make it relatively easy for the GM think about and actively play the inhabitants of a dungeon as they move around the location, living their lives and responding to the incursions of the PCs.

Another technique are dungeon clues. To generalize, a dungeon clue is information in one room of a dungeon which influences or determines the PCs’ actions in a different room.

Some of these clues will likely be quite straightforward: For example, the key in Room 11 that opens the door in Area 41.

Other clues, however, will be complicated, perhaps requiring a series of revelations gleaned from clues in multiple locations throughout the dungeon before the final solution can be found. You can see an example of this here in Session 23, as the PCs piece together the clues that will let them locate the broken halves of the spiral contrivance.

“If the key is in the square tower and it requires a ladder to reach the secret entrance, maybe that entrance isn’t on the wall of the tower – maybe it’s under the tower.”

They returned down to the large, empty room on the fifth floor of the tower. “We should be directly beneath the tower here,” Ranthir said.

Tee floated up to the ceiling and quickly found a bit of false plaster. Scraping that aside with one of her dragon-hilted daggers, she revealed a small keyhole. She took out the key she had found in the nook below the ruined garden and found that it was a perfect fit.

A particularly effective technique is to design your dungeon clues so that the PCs are forced to crisscross the dungeon — gaining information in Area A that takes them to Area B, before sending them back to Area A to complete the sequence. These types of interactions help to transform the dungeon from a linear experience to a multi-dimensional one, in which expertise and knowledge gained from one traversal of the dungeon become rewarding when the players revisit those areas a second time.

In sufficiently complex dungeon scenarios, you can have multiple enigmas featuring overlapping patterns of dungeon clues in play at the same time. This creates navigational interest in the dungeon as the players now have to figure out their own priorities and the routes that proceed from those priorities.

The last thing to note is that dungeon clues frequently aren’t necessary to successfully complete a scenario. For example, the PCs could have found the pieces of the spiral contrivance without necessarily obtaining or figuring out all the clues. If the revelation indicated by your dungeon clues is necessary for the scenario, though, you’ll want to remember the Three Clue Rule.

THE DYNAMIC CYCLE

For the GM, dungeon clues usually aren’t something they need to think about too much while running the game (although for sufficiently complicated scenarios it might involve tracking a revelation list), but that’s obviously because the clues are getting baked in during prep. Players, on the other hand, will be actively engaged with these clues — collecting them, thinking about them, trying to figure them out — during play.

In fact, all of these techniques — adversary rosters, dungeon clues, etc. — don’t just break down the GM’s firewall. They also force the players to stop thinking about things one room at a time and instead start thinking about the dungeon as a whole. In other words, the players will stop thinking only tactically about their immediate circumstances and start thinking strategically about the broader scenario.

Once the players have been nudged in this direction, you’ll discover that their strategic consideration of the dungeon will actually feed back into the scenario itself, creating dynamic interactions which were never explicitly part of your prep: The deliberately placed dungeon clues will get them thinking about how Room 11 and Room 33 relate to each other, for example. But now that they’re thinking like that, they’ll also think about:

• Using a passwall spell to move from Room 14 to Room 22.
• Tricking the goblins in Rooms 9 thru 12 into attacking the ogre in Room 41.
• Scavenging alchemist’s fire from the traps in the lower hallways to destroy the cursed tapestries in Room 42.

This dynamic play on the part of the players will, in turn, give you the opportunity of rising to the challenge and finding more ways to actively play the scenario in order to respond to them.

NEXT:
Campaign Journal: Session 23C – Running the Campaign: Dungeon Cycles
In the Shadow of the Spire: Index