Let’s say that you have a scenario featuring a pack of werewolves that have taken up residence in a ruined castle a few miles away from a small village. What scenario hook could you use to get the PCs involved in this scenario?

Perhaps:

• The villagers could ask them for help, or perhaps a local burgher could offer to pay them to root out the werewolves. (This is an example of patronage; an NPC is requesting that something specific be done.)
• The PCs could hear rumors in the local tavern about the spate of recent werewolf attacks, or perhaps they see bounty notices posted by the local sheriff. (This is an example of an offer; the GM is simply offering information and it’s up to the PCs to determine what they want to do with that information, if anything.)
• As the PCs ride past the ruined castle, a couple of the werewolves come racing out to attack them. Or perhaps they hear screams of terror emanating from a farmhouse. (This is a confrontation; the scenario is directly encountered by the PCs.)

In each case, the PCs generally come away with a basic understanding of the situation and an understanding of what action they’re expected to take: There are werewolves in the ruined castle and they need to get rid of them. (With some of the hooks they might only know that there are werewolves in the area and need to do some investigation to identify the ruined castle as their den, but that still constitutes a general understanding of the situation. It’s also possible, of course, for the PCs to choose a course of action that doesn’t involve getting rid of the werewolves: But when you design a scenario with slavering werewolves who are killing innocent people, it’s fairly clear what the expected decision will be.)

This, however, is not a necessary characteristic of a scenario hook. In each case, you can twist the scenario hook by misleading the PCs regarding either the situation or the expected course of action or both.

For example, you might mislead them regarding the nature of the threat: The villagers, discovering dismembered limbs and unfamiliar with lycanthropic activity, think that the attacks signal a return of the tribe of cannibalistic ogres who plagued the region a generation ago. That’s what they tell the PCs, who will be unpleasantly surprised — and perhaps wish they had stocked up on silver weapons! — when they head out to the ruined castle and discover the truth.

You might also mislead the players regarding the motives of the various NPCs involved. For example, it turns out that the werewolves in the ruined castle have actually come to the area to END the attacks by hunting down their former packmate who is now suffering from silvered rabies.

Or when the werewolves come rushing out of the castle towards the PCs, it’s because they’ve just escaped from the hidden torture dungeons of the local baron, who is transforming innocent villagers into werewolves to build a powerful, supernatural army. Reversing good guys and bad guys like this is an extreme example of the principle.

When NPCs are involved in delivering the misleading scenario hooks, it can be useful to distinguish between whether the NPCs are deceiving the PCs or if it is, in fact, the NPCs being deceived (or mistaken) about the situation: If the villagers know that the werewolves are just peaceful nature-lovers and they want the PCs to eliminate them so that they can claim the werewolf clan’s ancestral property in the valley, that’s a very different story from the villagers honestly believing that the werewolves are guilty of horrible crimes.

The possibilities are basically endless, and can obviously vary greatly depending on the actual details of the scenario in question.

The reason to use these misleading scenario hooks is because you’re creating a reversal: The players enter the scenario thinking that it’s one thing, and when they discover the truth the entire scenario changes into something new. In practice, delivering a strong reversal like this can turn even an otherwise pedestrian scenario into a truly memorable one.

MULTIPLE MISLEADING HOOKS

Having multiple hooks for the same scenario is a good idea, for the same reason that the Three Clue Rule is a good idea in general. Ideally, you want each of these scenario hooks to be distinct: Coming from different sources. Including different (although probably overlapping) information about what’s going on. Being driven by different motives.

(It’s less interesting for three different villagers to all follow the same basic script in asking the PCs to help them fight the werewolves. It’s more interesting if they see werewolf tracks in the forest and then a villager asks them for help and then they spot a poster offering to pay a bounty for werewolf pelts.)

When some or all of these scenario hooks are misleading — particularly if they are misleading in interesting and different ways — it not only becomes much easier to vary the hooks, it immediately creates a sense of mystery that will tantalize the players and encourage them to engage with the scenario in order to figure out what the heck is going on.

THE BAIT HOOK

The other form of a misleading scenario hook is one that is only “misleading” from a metagame perspective: This “bait hook” can be completely legitimate from the perspective of the game world, but the reason the GM includes it is in order to put the PCs in a position where they can be confronted by the true scenario.

For example, they might be hired to guard a package of diamonds that’s being delivered to a bank vault. But the only reason that job exists (and it might even go off without a hitch) is to put the PCs in the bank when the bank robbers show up.

On rare occasions, bait hooks like this can also be diegetic when an NPC gives the PCs a false job offer in order to maneuver them into a location or situation for an ulterior purpose. This plot conceit is quite common in pulp fiction, for example, when detectives are hired to keep a person or location under observation so that they can be framed for a crime.

I’ve found a lead on the key. Meet me in the alley off Yarrow Street.

This session of In the Shadow of the Spire marks the beginning of Act II of the campaign.

As we’ll see (and be discussing) in the future, Act II is primarily structured around two major threads. Before the first session began, I knew that there would be two triggering events – one for each thread – that would kick off Act II.

The letter the PCs receive at the beginning of this session is one of those triggers: During the period of amnesia which began the campaign, I knew that the PCs had hired someone named Shim to help them find a magical artifact. Despite the PCs no longer being aware of it, the investigation had continued apace and had now yielded results.

The letter acts as an external event: Since the PCs were not interacting with Shim (nor were engaged in any activities which might bring them into Shim’s sphere of influence), I had full control of when Act II would begin and, more importantly, I could build all of the investigations that would sprout from Shim’s contact without needing to really think about how the events of Act I might turn out. The material was, effectively, located behind a firewall.

(This should not be taken to mean that the events of Act I were somehow irrelevant to the events of Act II. In this very session, the PCs are going to make some truly momentous choices that will completely alter how they intersect with the major events of Act II: The situation that’s triggered by Shim’s letter exists behind a firewall; but once the firewall is breached, the PCs and everything surrounding the PCs will begin to interact with it.)

A firewall like this is not necessarily impregnable. We saw an example of this earlier in the campaign when the PCs independently interacted with the Hammersong Vaults and then spontaneously concluded (correctly!) that they may have stored other items of value there during their amnesia. (And we could imagine a similar hypothetical scenario in which the PCs needed the services of someone like Shim, identified Shim as an option, and chose to contact him. Which would have led to a possibly far more interesting – and confusing! – conversation.)

PULLING THE TRIGGER

With a trigger like this in place, how do we know when to put it into play?

You could simply schedule the event: As soon as you know that the trigger is going to happen, you figure out when it should happen and literally place it on the calendar. (A campaign status document is great for this.) This is what I had done with the Hammersong Vaults, for example.

Alternatively, you could mechanically check to see when the trigger occurs. For example, you might make a 1 in 8 random check each day to see if that’s the day Shim finishes his investigation. Or you could set up a progress clock coupled to a mechanical structure for determining when the clock gets ticked.

For a more dramatist bent, you can simply decide when to pull the trigger to best narrative effect. This is largely what I did for the beginning of Act II, with my primary concern being effective macro-pacing: I knew I wanted to space out the two Act II triggers a little bit. I also knew I wanted some crossover with ongoing Act I material so that there was a sense of continuity instead of a sharp discontinuity.

Since Act I wasn’t linear in design, this was not necessarily a straightforward process: There was a bunch of Act I scenarios the PCs never engaged with (and which, as a result, I mostly never prepped) and there were a bunch of other scenarios in Act I that hadn’t been part of the original plan, so I needed to make a judgment call about whether or not certain scenarios had been permanently “written off” and, therefore, how close to the end of Act I we really were.

In practice I also sort of combined methods (which is another valid option): When it was clear that Act I was closing out, I scheduled the trigger for the near future on a specific date. This meant that I wasn’t 100% in control of exactly when or how it might interact with the ongoing activities of the PCs.

Thus begins Act II.

It’s a doozy. Twelve years later, we’re still in the middle of Act II. I’ll almost certainly discuss the reasons for that in a future post.

SESSION 18A: KEY TO THE PAST

March 22nd, 2008
The 7th Day of Kadal in the 790th Year of the Seyrunian Dynasty

When they arrived back in the tiny shack at the center of the junk-filled vacant lot, Tee took several moments to subtly rearrange the room – prepping the entrance so that she would, hopefully, be able to detect whether or not someone used it.

“We seem to have gotten covered in blood again,” Tor said. “This is becoming a habit.”

“Well, except for Ranthir,” Tee pointed out. “He stayed clear of it.”

After a quick discussion, it was agreed that the gore-spattered wouldn’t have much luck getting into the Nobles’ Quarter (standards tending to be a little higher there). Plus, if Ranthir went he would be too far away from Shilukar’s lair – the spell of alarm he had placed upon the lower entrance would be unable to alert him.

Ranthir was, however, able to use a little magical prestidigitation to clean Dominic’s clothes and Tee always carried a spare set in her bag. So it was decided that Agnarr, Elestra, Tor, and Ranthir would return to the Ghostly Minstrel while Tee and Dominic would return to Castle Shard and break the bad news. (more…)

Go to Part 1

BASEMENT

BASEMENT – KITCHEN PORCH

Liquor Crates: Mostly empty crates which originally contained three dozen bottles of Minnesota 13. A half dozen or so bottles remain, unopened.

• GM Note: Gladys brought the liquor in these crates and had them dropped off at the back porch.

FIRST FLOOR

FIRST FLOOR – HALL

Prop: Photo of James J. Hill House Hall

Corpses (3): Two on the floor. One on the stairs.

FIRST FLOOR – ART GALLERY

Prop: Photo of James J. Hill House Art Gallery

3 story tall pipe organ. 12 foot high fireplace on the opposite wall. Expensive art lining the walls.

Corpses (3): One playing the organ. Two in an amorous embrace on the bench.

FIRST FLOOR – LIBRARY

Prop: Photo of James J. Hill House Library

Corpses (3) – One of the corpses is Frank Candide (ID in his wallet; he was married to Evelyn, whose body is in the attic).

FIRST FLOOR – MUSIC ROOM

• Upright piano. Victorian wallpaper. Crystal chandelier.
• Portaits of James J. and Mary T. hang on the walls to either side of the door.
• Coats and purses are stacked on a divan.

• Simple Search: To sort through the IDs.
• Evelyn’s ID: Evelyn Candide’s ID is here, so if they haven’t found the bodies in the attic yet, this will indicate a missing woman.
• Alicia’s ID: Alicia Corey’s purse is here and a photograph inside can be used to identify her corpse. It also lists her name and address on a small “Please Return” card.

FIRST FLOOR – TERRACE

• Evidence Collection 1 / Evidence Collection (Lucretia’s Testimony): There is a trail of fingerprints “walking” across the terrace. (Go from the house down the stairs and then vanish into the grass.)

SECOND FLOOR

SECOND FLOOR – BALCONY

Fluted balustrades around the edge. Lounging furniture fashionably arranged.

Corpses (1 + Alicia Corey)

ALICIA COREY’S CORPSE: This corpse still has its left hand, which is clenched in a tight fist.

• GM Note: Alicia’s purse and ID are downstairs in the Music Room.

Shattered Hamsa: Clutched in her left hand, there are shards of glass and lead. (Prop: Shattered Hamsa)

• GM Note: This was Alicia’s Hamsa charm. To prepare this prop, print out the picture of the Hamsa and cut it up into pieces. Allow the players to assemble the pieces like a puzzle.
  

Slit in the Palm: There is a strange slit or cut in the palm. No blood, but some kind of clear, jelly-like substance in the slit.

• Medicine: The liquid is aqueous humor — the introcular fluid which fills the eyeball.

SECOND FLOOR – RACHEL’S ROOM

Prop: Photo of James J. Hill House Rachel’s Room

THIRD FLOOR

THIRD FLOOR – SERVANT’S QUARTERS

A simple room, but with the same rich oak trim found throughout the house.

ATTIC

THEATER

Converted into a small stage. (For the production of amateur theatricals by the Hill children.)

Corpses (2): Located on the stage behind the curtains.

• Rupert Wild and Evelyn Candide.
• Evelyn was married to a Frank Candide, whose corpse is in the Library.

Tanit Hands (2): These hands were trapped in here.

CRAWLING HAND OF TANIT: Athletics 2, Fleeing 6, Scuffling 4, Health 4

Hit Threshold: 4 (tiny, quick moving hand)
Alertness Modifier: +1 (10% eye by volume)
Stealth Modifier: 2 (tiny skittering hand)
                Weapons: eye gouge, scratching, unpleasant probing (-3)
Stability Loss: +1
Eye of Tanit: Pupil twists into a curlicue. Stability test (no loss). On failure, establish trance like state. On second failure, can issue a hypnotic compulsion that will last until trance ends. Being controlled has a potential of 4-point Stability loss.

RACHEL HILL

APPEARANCE:

• Prop: Photo of Rachel Hill

ROLEPLAYING NOTES

• In a state of shock covered only by her excellent manners.
• Dabs at her eyes with a handkerchief.
• Weakness melts away if pushed around; then she wields her full strength as a millionaire’s heiress.

BACKGROUND

• Grew up in New York.
• Had diptheria as a child.
• Married Egil Boeckmann, a University of Minnesota football hero (scored touchdown that tied first “Little Brown Jug” game with Michigan) in 1913.
• Moved back into James J. Hill House when her mother became ill in 1919.
• Recently hired a photographer to take pictures of the property before it’s given to the Archdiocese.

CLUES

• She did not drink, as she’s teetotaler.
• Gladys Roy left early. She had invited a friend – Alicia Corey – to the party.
• Reassurance 1 / Interrogation 1: She asked Gladys Roy to secure the alcohol for the party (and brought it in the later afternoon). (She won’t admit this without reassurances that she won’t get in trouble. Otherwise her story is that people brought their own booze.)

NOTES

• Rachel was married in the Drawing Room of the mansion. (The dissociation between that memory and the corpses currently in there.)

RACHEL HILL: Athletics 4, Driving 2, Firearms 0, Fleeing 8, Scuffling 4, Weapons 2, Health 7
Alertness Modifier: -1 (oblivious)
Stealth Modifier: 0 (unskilled)
           Weapons: Fists (-2)

LUCRETIA GRAY

APPEARANCE:

• Prop: Photo of Lucretia Gray

ROLEPLAYING NOTES

• Nervous around authority figures.
• Protective of members of the Hill family. Refers to them as Mr. Wallace, Ms. Rachel, etc.
• Gives a “look” to anyone she considers to be acting foolish.

BACKGROUND

• Her husband was a butler in the house. He died in a trolley accident in 1919. They had no children.
• Has worked with the Hill family since 1911.
• Last servant working in the house (the rest were assisted into other positions or given pensions after Mary T.’s death).

CLUES

• She sent the invitations out for Ms. Rachel’s party. (Has a list of addresses and could, for example, give people contact information for Gladys Roy.)
• Gladys Roy brought the liquor (Minnesota 13) to the party at Rachel’s request. She dropped it off on the back porch and Lucretia would run bottles up as people requested more.
• Reassurance 1: As she was calling the police from the phone in the den, she saw something crawling across the Terrace and disappearing into the darkness.

LUCRETIA GRAY: Athletics 10, Driving 0, Firearms 0, Fleeing 8, Scuffling 6, Weapons 3, Health 10
Alertness Modifier: +1
Stealth Modifier: +1
            Weapons: Fists (-2), Household Implements (-1)

Go to Node 1: The Black Cats

Go to Part 1

One of the first elements I established for the Alexandrian Remix of Dragon Heist was to have the Cassalanters approach the PCs and attempt to recruit them as their agents in the Grand Game: I found the story of their children’s plight very compelling, and the entire situation rife with incredibly tough and emotional decisions that I felt would really elevate the campaign if they were put center stage. (Whereas in a traditional run, even with the Cassalanters as the DM’s chosen villain, it’s very likely that the PCs will never even discover what the Cassalanters’ true motives are.)

But what if we went a different way?

There are four rival factions in Dragon Heist, of which the Cassalanters are only one. If it’s interesting to swap the Cassalanters’ approach from open antagonism to would-be collaborators, what might happen if one of the other factions took the same approach?

Of course, none of the other rivals have innocent children for the PCs to be called upon to save. So their approach to collaboration will look a little different.

MANSHOON’S ULTIMATUM

The timing of Manshoon’s approach can be identical to the Cassalanters (he discovers the PCs are investigating the fireball that killed several of his agents and decides they would be useful pawns), but it might be better to wait until the fallout from the Gralhund Villa raids. Assuming that the PCs end up with the Stone of Golorr, Manshoon would be highly motivated to get them onboard.

His method for doing so, however, is far less discrete than the Cassalanters: He takes a hostage.

Circumstance will determine whether it will work best to find someone in a PC’s backstory or to target someone they’ve built a relationship with during the campaign, but either way the kidnapping takes place offscreen. Perhaps the PC becomes aware of it when they find their loved ones’ ransacked quarters, but more likely it takes the form of a simple letter arriving at Trollskull Manor.

The letter explains the situation simply: They have something he wants. And now he has something they want. A meeting will be arranged (to which Manshoon will send his simulacrum rather than appearing himself), and the following proposal will be made:

• Their loved one will not be harmed. Quite the contrary. They are enjoying luxurious accommodations (If only the PCs could be so lucky.) Manshoon is personally seeing to it that their every need (except freedom) is being met.
• The PCs will seek to restore the Stone of Golorr and use it to claim Neverember’s Enigma – the 500,000 golden dragons he embezzled from the city.
• Manshoon is not an unreasonable man, of course, and if the PCs fulfill their end of the bargain, not only will he free their loved one, they will also be free to keep fully 20% of the treasure.
• The Zhentarim will also make available to the PCs the full resources of their intelligence-gathering and mercenary networks.

IF THE PCs JOIN MANSHOON: The Zhentarim response teams and safe houses are put at their disposal, with more and more resources being made available as they prove themselves more trustworthy. All of Manshoon’s lieutenants can be played as allies, and this extra muscle will certainly free the PCs up to try more daring (or, at least, direct) heists to obtain the missing eyes.

IF THE PCs REFUSE: Manshoon shakes his head sadly. Then he leaves, has their loved one murdered, and dumps the corpse on the front step of Trollskull Manor.

IF THE PCs SEEK TO RESCUE THE HOSTAGE: A heist! I love heists. The hostage is being held in Area E11 of Manshoon’s Extradimensional Sanctum. The Zhents who made their quarters there have been turned out for the moment; consider spreading them out between Kolat Towers and the Zhentarim faction outposts.

JARLAXLE’S ALLIANCE

For Jarlaxle, we’ll move in the opposite direction: When running the opening scene of the campaign at the Yawning Portal, instead of using Step 2: Friendly Faces (in which the PCs pick one of the NPCs on p. 221 of Dragon Heist to be the contact they’ve come to meet), the contact they’re meeting with is, in fact, Jarlaxle.

Depending on the approach you want to take, they might think they’re meeting with “Captain Zord” or they might know the true identity of who they’re meeting. Either way, Jarlaxle does, in fact, connect them with Volo.

This means, of course, that the PCs are members of Bregan D’Aerthe from the very beginning. Refer to the general information on p. 14-15 of Dragon Heist and the faction missions on p. 34-35.

INVERTED NIMBLEWRIGHT INVESTIGATION: If you want to radically shift Chapter 2 of the campaign, then have one of the PCs’ jobs be to sell the nimblewrights for Jarlaxle. One of the reasons Jarlaxle wanted to get on Volo’s good side was so that Volo could help make introductions to various guilds, nobles, and other highly-placed and influential people. Refer to the list of owners in Part 5C: The Nimblewright Investigation as a resource for the prospective clients Volo refers them to.

Whether the PCs are selling nimblewrights or not, they still have Trollskull Manor as a reward from Volo. Jarlaxle will help bankroll the renovation costs and is eager to develop it as a safehouse for Bregan D’Aerthe operatives.

The fireball explosion also still happens on schedule: When the PCs discover that a nimblewright is involved, they can either go to Jarlaxle and clue their whole organization into the Grand Game. Or it’s possible that they were literally the ones who sold the nimblewright to the Gralhunds. (Small world, eh?)

THE GRAND GAME: Tracking forward, slot in the PCs everywhere that the campaign refers to Jarlaxle’s agents.

At Gralhund Villa they’re able to review nimblewright footage in Jarlaxle’s crystal ball and are then ordered to set up a surveillance post. (Maybe they even end up in Artheyn Manor, just like Fel’Rekt would in a ‘normal’ campaign.)

I recommend not having Jarlaxle accompany them on the other heists (he has a lot of other projects and a busy social calendar to attend to), but they can certainly tap Bregan D’Aerthe resources (in the form of a response team). And Jarlaxle may be able to directly feed them information (and access) to Xanathar’s Lair.

XANATHAR’S GANGSTERS

For this final collaboration we’re going to radically invert the campaign: Rather than starting the campaign at the Yawning Portal, the PCs will be gangsters working for Xanathar. Their first job? Raiding a warehouse where the Zhentarim are holding Renaer Neverember, capture Renaer themselves, and bring him to a sewer hideout where they’ll be met by Nihiloor.

Of course, they discover too late that they’ve kidnapped some fuckin’ mook named Floon Blagmaar. A total disaster. Maybe they try to double back to the warehouse, but by the time they get there, Renaer is gone and the place is swarming with watchmen. (Their first inklings that a Grand Game is happening will come from the questions Nihiloor asks ‘Renaer.’)

CHAPTER 2 – WORKING FOR THE BOSS: You need some time to pass here and, in this scenario, the PCs don’t get Trollskull Manor. Run a few faction missions that introduce them to the Xanatharian faction outposts (they get outfitted by Grinda Garloth; they struggle to figure out how to get the mechanical flying beholder working before the Twin Parades; they’re charged with running security at Terasse Estate and escorting gamblers through the dangerous tunnels to the gladiator tournaments).

Their contact person for these faction missions? Dalakhar.

CHAPTER 3 – THE TRAITOR: Then comes the day when Dalakhar vanishes. Turns out he’s betrayed the Boss and stolen something. Boss won’t say what, but it’s clearly important. The PCs need to find him.

They track him to the Inn of the Dripping Dagger. The timeline is slightly different in this version of reality, and they end up finding the letter from Kalain. They track Dalakhar to Kalain’s place, and she tells them he’s headed to some place called Trollskull Manor. (You’ll want to buff this up a bit to fully satisfy the Three Clue Rule.)

The PCs head over to Trollskull Manor. As they’re heading through the alley, a huge explosion goes off just around the corner up ahead: Rushing forward, they discover Dalakhar and a bunch of other people dead!

THE TROLLSKULL MANOR TEAM: From this point forward, the campaign more-or-less follows the normal track. Investigations will lead the PCs to Gralhund Villa; they’ll find the Zhentarim and Jarlaxle’s team watching the place.

But here’s the twist: There is a group of heroes who rescued Renaer Neverember and moved into the Trollskull Manor. And they’re doing what the PCs in a ‘normal’ Dragon Heist campaign would have been doing: The PCs likely first spot the Trollskull Manor Team at Gralhund Villa, but they’ll keep turning up:

• They raid one of Xanathar’s sewer hideouts.
• They perform a heist at Xanathar’s Lair. (Maybe the PCs can foil it. Or maybe the PCs foil their attempt, only to have Jarlaxle simultaneously steal the Eye. Guess it’s time to pursue them back to the Eyecatcher for a heist-in-kind.)
• While the PCs are trying to perform a heist at Kolat Tower, the Trollskull Manor Team is simultaneously active onsite.

And so forth. Play the heroes actively, and figure out what faction(s) they belong to and bring those into play, too.

CONCLUDING THOUGHTS

The cool thing here is that, once you’ve restructured the campaign components into scenarios instead of plots, you can use those components in myriad ways. These examples push that to an extreme, but it demonstrates how much flexibility this approach has and how easy it is to take material prepped in this way and actively play it in order to respond to player choice.

Compare this to the approach taken by the published campaign, which attempts to give you flexibility and ‘reusability’ by, for example, giving you three different versions of an Old Tower. But the truth is that you don’t need multiple versions of a tower in order to get different utility out of it during actual play.

The other thing I’ll point out is that in all of these collaborator scenarios – including the original remixed version with the Cassalanters – we have no idea what’s going to happen. Do they take the Cassalanters offers or refuse it? Do the Xanatharian gangsters take the money and use it to take over the organization, launching a bloody gang war in and below the streets of Waterdeep? When Jarlaxle’s agents tweak to his true identity, do they remain loyal or turn on him?

Just as the flexibility of the material allows us to reframe the presentation of the campaign, it also provides infinite variability in the actual running of the campaign, providing you (and your players) with a constant stream of surprise and wonder.