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Aggah-Shan has stolen a ledger which belongs to the Balacazar crime family (Ptolus, p. 102). He’s been using the ledger to blackmail and manipulate them, and they want it back. But if they just send their own agents and something goes wrong, Aggah-Shan will be able to cause them a lot of trouble. What they need are patsies who can take the blame (and bear Aggah-Shan’s wrath).

Enter the PCs.

GROUNDWORK

In my own Ptolus campaign, the PCs came to the attention of the Balacazars when they flubbed the “Smuggler’s Daughter” adventure (Ptolus, p. 563) and woke in chains as Malkeen Balacazar’s prisoners. The PCs became very intimidated by the Balacazars as a result, and vowed to (a) avoid them as much as possible and (b) stay on their good side if at all possible.

This laid the original foundtation for this side adventure, which was designed to (a) foreshadow the White House, (b) possibly reveal Aggah-Shan’s involvement with the chaos cultists, and/or (c) provide an alternative vector for discovering the Mrathrach Machine.

Having your PCs similarly get entangled with the Balacazars and/or their thugs is a great way to set up the groundwork for this mission, but it’s not required: If the PCs have any sort of reputation in Ptolus as either heroes or hired help, that’s more than enough justification for the Balacazars to select them for the gig.

ADVENTURE HOOK: THE MISSIVE

Maystra Balacazar sends a messenger to the PCs. The messenger carries a sending token. When he spots the PCs, he’ll use the sending token to send a message to Maystra, wait fifteen minutes, and then deliver Maystra’s Note (in order to give Maystra and Fesamere time to reach the Yellow Wall ahead of the PCs).

PCs who succeed on a DC 16 Wisdom (Perception) check notice the man watching them (from across the street, at the bar, etc.). If they succeed on DC 18, they notice the messenger wears a Balacazar family ring.

---

MAYSTRA’S NOTE

We have a sphere of mutual interest.

You have talents I would find useful.

I have an offer you need to hear.

Come to the Yellow Wall.

M. Balacazar

---

THE YELLOW WALL

The Yellow Wall is a tavern located in the Rivergate District (Ptolus, p. 323). It’s built up right against the city wall, and the wall above it has been painted yellow, off-setting the grain paint and trim of the restaurant itself. The tavern is owned by Fallaster Nobrand.

WATCHER: A Balacazar master thief (Ptolus, p. 612) lounges near the door of the Yellow Wall. When he sees the PCs approaching, he’ll head into the tavern and give a head’s up to everyone inside. A DC 17 Wisdom (Perception) check notices the man eye them up and then slip into the tavern.

ENFORCERS: Six Balacazar thugs are mixed into the crowd. DC 15 Wisdom (Perception) or Wisdom (Insight) checks to notice them.

ARKHALL: Arkhall Vaughn (Ptolus, p. 105), the Balacazar’s archmage, is sitting at the bar. He uses detect magic to scope out the PCs, noting any magical items or abilities they have. He’s particularly looking for anything that might allow them to spot invisible intruders. (If he does, Fesamere will be careful to keep her distance during the heist. If not, there’s a 50% chance she’ll get too close and probably be automatically spotted.)

If the PCs have previously interacted with Arkhall, he’ll be using a disguise self spell to conceal his identity.

THE PROPOSAL

Maystra Balacazar sits with her sister Fesamere at a table along the wall of the tavern. A DC 12 Wisdom (Insight) check notes that the tables nearest them are conspicuously empty. (They’ve been cleared out to prevent eavesdropping.)

THE BRIEFING:

• Aggah-Shan stole a porcelain doll that was a gift to the Balacazar girls from their mother. (Lie)
• The doll itself is not particularly valuable, but they belief Aggah-Shan is using it to target them for scrying spells. (Lie)
• They need someone to break to the White House and steal the doll for them. (True, from a certain point of view)
• If Aggah-Shan caught Balacazar agents trying to infiltrate the White House, he’d cause a lot of trouble for the family. (True)
• They need someone to do the job who has no connection to the Balacazars, so that they can be plausibly denied if anything goes wrong. (True)
• Aggah-Shan has temporarily left town. For how long, they’re not sure, but it’s created a window opportunity. The PCs need to do the job tonight. (True)
• They are offering to pay 5,000 gp to break into the White House’s vault and retrieve the doll. (True)

They don’t care if the PCs steal other material, too. (That might even be for the best, since it will hide the true target of the heist.) But they will caution the PCs that the more they take, the more resources Aggah-Shan is likely to put into tracking them down.

MAYSTRA BALACAZAR

Appearance: Tall and lithe, with dark hair and olive skin.

Roleplaying Notes:

• Impatient and distrustful, but willing to hide it.
• Fiery temper if provoked.

Quote: “Enough! I am a daughter of the Balacazars. I am not to be trifled with.”

Background: Ptolus, p. 104

FESAMERE BALACAZAR

Appearance: Dark, olive-colored skin. She dyes her hair golden blond. A slight build and very fit.

Roleplaying Notes:

• A calming influence.
• Playful; perhaps even flirtatious.
• Decadent and self-absorbed.
• Fiercely loyal to her family, but has no interest in the family business.

Quote: “Let’s not all rush to a hasty judgment. I think we’d all prefer a softer touch. I know I do.”

Background: Ptolus, p. 104

Key Info: She’s at the meeting primarily so that she’ll be able to clearly ID the PCs during the heist.

THE REAL PLAN

THE PORCELAIN DOLL: The doll never belonged to the Balacazars, they’re just aware that it exists. The doll actually contains an idol of madness (see below).

FESAMERE’S GAMBIT: When the PCs break into the White House, Fesamere will follow them invisibly. Her goal is to retrieve the Balacazar Ledger in Area 10 of the White House and then leave, preferably with neither the PCs nor the White House guards ever knowing she was there.

The ideal is that the PCs will (a) clear a path and (b) draw attention. Whether they get spotted or just leave evidence behind, it will take heat off the Balacazars.

PAYMENT: If the PCs steal the doll, the Balacazars will happily pay them the agreed to price. (The idol of madness is valuable in its own right, after all.)

IDOL OF MADNESS

Wondrous item, rare

A small, humanoid statue of violet stone. The head seems oddly enlarged and its arms and legs are both longer than the porportions of a human would suggest. (It depicts a Titan Spawn of Lithuin.)

One holding the idol hears a constant, maddening mumur of voices coursing through their mind. The statue opens the bearer’s mind to the mad whispers of the Tainted Dreaming. The bearer gains advantage on Dreaming Arts, Chaositech, and Chaos Surgery checks.

Anyone benefiting from this advantage or sleeping with the idol must make a DC 20 Wisdom saving throw or suffer a long-term madness. If they fail the save by 10 points or more, they instead suffer an indefinite madness.

Go to Part 5: Mrathrach Table Raids

Go to Part 1

Do you want to build a four-foot-high Mrathrach Tower for your Ptolus campaign?

Of course you do.

Below you’ll find a graphics package. This package uses resources shared by users of the old Okay You’re Turn forums on Monte Cook’s website, most notably those created by Eric of Ptolus, but I significantly remixed these into the form you’ll find here.

In addition to the graphics, you will also need to purchase supplies:

(1) Foamboard that is at least 20” x 20”. You’ll need 10 pieces, one for each level of floor. I recommend getting black foamboard, which will significantly enhance the visual quality of the finished piece.

(2) A concrete form with a 10” diameter. The one I’m linking here should work (unless the dimensions have changed in the years since I purchased it). For reference, the dimensions you’re looking for are:

• Inner Diameter: 10”
• Thickness: 3/8”
• Outer Circumference: 32.6”

(3) Glue for attaching the printed graphics to the foamboard and concrete form.

(4) Approximately 4” high ladders for connecting the tower levels. (The ones I used are no longer available for sale, but you can probably make something like this work.)

DOWNLOAD THE GRAPHICS PACKAGE

FLOOR DISCS

All nine levels of floor are identical. The graphics package contains the following floor files:

• A 3-page PDF which has been pre-tiled for printing on letter paper. The pages deliberately overlap in order to make assembly easier.
• The original Photoshop (PSD) file.
• An alternative 24-inch PSD file (which I abandoned because I wasn’t able to find foamboard wide enough to accommodate it).

To assemble the floor discs:

1. Print nine copies of the floor graphics.
2. Glue them to the foamboard and wait for them to dry.
3. Cut them out. For stability, do NOT cut out the inner circle (in black above).

The foamboard gives enough rigidity to support your miniatures.

LEVELS

Each level of the Mrathrach Tower has a PDF file (for printing) and a PSD file (the original graphics). The PDF files are once again prepared for printing on letter paper.

To assemble the levels:

1. Print a copy of each layer strip. (Note that layers 3 and 6 as well as layers 4 and 8 are identical, so make sure to print out a copy of each.)
2. Cut out each layer strip.
3. Cut ten 4”-tall circular sections from the concrete form. (Do NOT divide the form evenly into ten sections. The layer strips won’t fit.)
4. Glue each layer strip to one of the circular sections. Each layer strip includes a red border which is designed to fold over the top and bottom of the section for a clean finish.
5. From your tenth piece of black foamboard, cut out a circular “cap” for the top of Level 1. Attach the cap to the top of Level 1. (You do NOT need a cap for each circular section. Just Level 1.)

You may want to label each circular section by writing its level number on the INSIDE of the section. This may make it easier to assemble the tower.

ASSEMBLING THE TOWER

You should now have:

• 9 floors
• 10 levels

To assemble the tower:

1. Place Level 10 on the floor or tabletop.
2. Place a floor disc on top of the Level 10 cylinder.
3. Place Level 9 on top of the floor disc, lining it up so that it appears continuous with Level 10.
4. Place a second floor disc on top of Level 9, rotating it so that it doesn’t line up with the floor level below.
5. Continue this process all the way to the top of the tower.

Ladders: Attach one or two ladders to each level.

The method that I found worked well was to insert two pins or needles into the edge of a floor piece and then hang the ladder from them. I found that varying their positions on each level, but having one or two places on the tower where they lined up so that you could ascend or descend two levels in the same place was both aesthetically pleasing and created great gameplay.

Cavern Connections: The Mrathrach Tower has been erected in a tall, vertical cavern with intersecting cavern levels. You can indicate the locations of these cavern entrances (on Levels 1, 3, 4, 7, and 8) with flag pins. (These caverns can then be mapped on a nearby table.)

Level 10 Cavern: The base of the tower rests on the floor of the cavern, with a passage leading to the Rhodintor Nests. You could prepare these maps separately and print them out. I just set the Tower on top of a Chessex battlemat and sketched in the relevant caverns.

Permanent Assembly: You could hypothetically use tape or glue to permanently attach the floors and levels together. I, personally, found it easier to simply stack the tower. It’s large enough to remain stable while stacked, and it’s much easier to disassemble and store between sessions.

Go to Part 4: The Balacazar Job

Go to Part 1

Boxed text in an RPG scenario is a prewritten narration designed to be read to the players by the GM. It looks like this:

The center of this room is filled with a massive contraption of brass and copper and rotten, worm-eaten wood. Great hoops of metal are suspended about a central sphere, with various lumps, pulleys, cranks, and levers protruding here and there in an apparently chaotic and incomprehensible jumble.

(from The Complex of Zombies)

The advantage of boxed text, of course, is that it can be prepared ahead of time: It can give you a chance to carefully consider and craft your choice of words to best effect. If there’s essential information that needs to be conveyed to the players, putting it in boxed text will virtually guarantee that it’s not accidentally omitted in actual play.

In The Art of the Key, for example, I talk about how these features of boxed text make it ideal for conveying what characters see when first entering a room or location by clearly delineating the information the players should automatically have from the rest of the key. (Even if you don’t use full-fledged boxed text to achieve this effect, you’ll still want some form of not-boxed-text that fulfills the essential function.)

So why wouldn’t you use boxed text?

• Carefully crafting your words is time-consuming. (Which may suggest its elimination by virtue of the principles of smart prep.)
• The result is inherently less flexible. (For example, if a room has multiple entries the boxed text needs to be generic enough to work for any potential entrance. Add to this NPCs, lighting conditions, etc.)
• Reading prepared text to an audience is a very specific performance, and can easily be one that a GM is not comfortable with. (In such cases, the spontaneity and engagement of improvising a description will often be superior to a stilted or rushed reading.)

If you’re running a published adventure with boxed text and you’d rather not use it — for these or any other reasons — you may find it useful to highlight the key facts presented by the boxed text, quickly turning it into not-boxed text:

The center of this room is filled with a massive contraption of brass and copper and rotten, worm-eaten wood. Great hoops of metal are suspended about a central sphere, with various lumps, pulleys, cranks, and levers protruding here and there in an apparently chaotic and incomprehensible jumble.

(As described in The Art of the Key, you can use the same technique to quickly salvage location keys that have failed to differentiate “seen at a glance” information from hidden secrets.)

SINS OF THE BOX

Performance issues and a lack of flexibility, however, are not the only reasons that people dislike boxed text. Often they will have been on the receiving end of bad boxed text, which is all too prevalent in published adventures and, as a result of their poor example, homebrewed adventures, too. Many of these failures are either freeze-frame boxed text or remote-control boxed text

Freeze-frame boxed text is when the GM starts reading and then the PCs are frozen in place while a bunch of stuff happens. These can often get quite elaborate, with entire scenes being played through while the players sit impotently in their seats, boxed out (pun intended) from actually playing the game, but even subtle examples can be incredibly frustrating:

Grasping weeds and vines erupt from the cobblestone street beneath the carriage at the head of the parade. The ox pulling the cart panics, causing the vehicle to careen into a post covered in decorations. The vegetation then wraps around the cart’s wheels and the closest bystanders. A pair of revelers produce weapons, revealing themselves to be guards protecting the Prince of Vice.

(from Journeys Through the Radiant Citadel)

As soon as the players hear, “Grasping weeds and vines erupt from the cobblestone street!” they’ll want to respond to that. Instead, everyone else in the scene – including the ox! – gets to react before they do.

What we’ve identified here is the reaction point. You don’t always need to immediately stop talking when you’ve reached the reaction point (although often you should try to structure you descriptions so that you do), but even if there are other pertinent details of the world to establish, what you should avoid at all costs is having the game world continue to move forward past the reaction point without letting the players react; without letting the players play the game.

This is an easy trap to fall into with boxed text: The author (or GM) wants to establish the key features of the scene – vines appear, ox panics, cart crashes, disguised guards draw weapons – and the boxed format strongly biases you towards pushing all of that together into a single presentation.

When you see freeze-framed boxed text as a GM, though, what you should do is break it up into actionable chunks. And I use the word “actionable” here because you are specifically looking for the actions you can take as GM, allowing the players to have a reaction to each of those actions.

Here, for example, we actually start at the end of the boxed text: There are guards disguised as revelers. Before anything else happens, therefore, you should call for Perception checks to see if any PCs spot them.

(If they are spotted, what do the PCs do with that information? I have no idea. Play to find out.)

The next actionable chunk is: “Grasping weeds and vines erupt from the cobblestone street.”

That signals the start of combat, which means that it should trigger an initiative check. So rather than skipping past that moment, make the initiative check. (Or don’t if you’ve already rolled initiative and are ready to go, go, go! But either way, you’re moving into tracked combat time.)

The other actionable chunks are:

• the ox panicking and crashing the cart
• the guards drawing their weapons and moving to attack the vines

These can obviously just happen during the first round of combat, with the PCs also taking whatever initial actions they think best, too.

REMOTE-CONTROL BOXED TEXT

Remote-control boxed text suffers from similar problems (preventing the players from participating), but insidiously goes one step further by declaring the thoughts or feelings or (worse yet!) actions of the PCs.

• “You look upon the devastation of the valley and are overwhelmed by sadness.”
• “You step forward and return the king’s greeting with a deep bow.”
• “As you return to Waterdeep, you smile, thinking fondly of the ale at Trollskull Manor.”
• “You see a strange creature crouching upon the boulder. As you step into the room, it looks up with wide, yellow eyes, gives a deafening call of alarm, and then scurries away.”

There are two major problems with this sort of thing.

First, a player controls exactly one thing: their character. When you take the one thing they control away from them — even for a little bit — you have effectively removed from the game. They are, in fact, no longer a player, but merely a spectator.

Second, for many players, the damage that you do in those brief moments of seizing control can extend far beyond the moment itself. If their character does something that isn’t what they would have chosen to do, it can often feel as if there’s something “wrong” with the character. Do it enough — or do it at just the wrong moment — and the player may dissociate entirely from the character. When that happens, you may have easily just ruined the entire campaign for them.

So… don’t do this. As the GM you literally have control over the entire game world. Be content with literally the entire universe of toys you have to play with.

Focus on showing the players the scene and letting them react to it. Don’t tell them how they’re reacting to it.

Those reactions, it should be noted might be:

• physical actions
• emotional reactions
• reflective thought
• dialogue

And so forth. There’s a wide panoply of possible experiences, and some of them may be entirely internal to the player. You may never know, for example, how their character truly felt about something. That’s okay. The important part is that they know, and it will shape their actions and the course of the entire campaign.

Go to Part 14: Fearing the Silence

Journeys Through the Radiant Citadel is a transplanar adventure anthology featuring fifteen new and vibrant worlds for your D&D characters to explore. To truly bring these worlds to life, of course, each must remain distinct from the others. One key way you can do this is through the names of the characters, so it’s just not good enough to use generic fantasy names (like the list found here).

The book features a list of names for each setting, but they’re very short lists (sometimes offering only a dozen or so options). Estela Apanco, Eladio Infante, and Xochitl Moreno are fantastic options… but then what?

Obviously you need more. And that’s where this name list comes into play, expanding your options for each setting to roughly four dozen names (which can usually be mix-and-matched for many more).

GENERAL NOTES

Basic Use: Pick a name.

For Variety: Mix-and-match first and last names. (For example, take “Shing Bao” and “Tong Jun”. You can name a character “Shing Jun” instead.)

Disclaimer: Anywhere that I’ve butchered proper naming conventions, you can assume that it was a totally deliberate decision reflecting the fantastical nature of the setting. (Innocent whistling.)

SAN CITLÁN

Two Surnames: Those native to San Citlán may have two family surnames, one inherited from each of their parents. Select an additional surname to achieve this effect.

SHANKHABHUMI

Shankhabhumi surnames are all based on their city of birth (either Sagopuri, Ashwadhatuj, or Tippuri). Descendants of Manivarsha can take the last name Bhatiyali.

TAYYIB

The nisbah last names should be based on locations from the Tayyib Empire (and surrounding lands). I’ve seeded in a few of these, but we don’t know enough about the Empire to do it properly. So some of these surnames will make the knowledgeable either (a) believe the NPC must have traveled to the Empire from Earth or (b) roll their eyes at you.

UMIZU

Names are given last-first.

YEONIDO

Clan names are listed first.

Given names often have two syllables, and it’s not unusual for siblings and cousins of the same generation to share one syllable of their name (e.g., Ji-Min and Ji-Yun).

YONGJING

Family name is listed first.

Status name is listed second. All of the listed names use birth order status names (so you don’t accidentally make someone a noble). Swap them out as needed.

• Firstborn: Bo, Meng. Second-born: Xia, Zhong. Third-born: Shu. Fourth-born+: Ji.
• Noble: Jun. Heir: Si. Scholar: Wen.

Aspirational name listed third.

A person’s personal name is status name + aspirational name.

All Yongjing names are ungendered.

(click for PDF)

DISCUSSING
In the Shadow of the Spire – Session 28A: The Maw Beckons

They left. Once they were safely in the carriage and driving away from the Cathedral they talked things over.

“I don’t trust him,” Tor said.

Dominic nodded. “You can put crimson robes on a pig, it’s still not a novarch.”

But they would practically be getting paid twice for the same job. There was no reason to pass that up.

Scenario hooks are the methods by which PCs become aware that an adventure exists, are enticed to engage the adventure, and/or are forced to engage the adventure.

If you’re prepping a plot, then you’ll usually only have a single scenario hook which will also tell the PCs what they’re supposed to do (in order to set the predetermined plot in motion). If, on the other hand, you don’t prep plots and, instead, prep situations, you’ll find that you have A LOT more flexibility in the scenario hooks you set up.

One particularly powerful technique is, in fact, to have multiple scenario hooks pointing at the same scenario. You may do this for purely practical reasons (fulfilling the Three Clue Rule, for example), but it can also be deployed to great effect.

One of my favorite techniques, actually, is to have two different patrons offer to hire the PCs for the same job; or, more accurately, for jobs involving the same scenario. This setup creates the context for framing tough dilemmas. (“Do we chase after the assassin to claim the bounty or do we save the Jewel of Erthasard from the river of lava?”) In fact, you can do this from the moment the job offer comes in: If Patron A asks them to murder the CEO of Abletek and Patron B asks them to work as the CEO’s security detail during an upcoming business conference, you’re immediately forcing the players to really think about the scenario they’re being hooked into: What do they want to have happen to the CEO? They can’t just sit back and passively do whatever they’re told to do. They’re going to have make a decision.

And, once they’re thinking about the situation and making choices for themselves, they may end up deciding they want something completely different from either patron.

Another technique I enjoy using as surprising scenario hooks: It’s easy to have a hook tell the PCs exactly what’s happening. “There are goblins in the Old Tower and they’ve been raiding the local farms.” But it can often be more effective to not do that: Maybe the villagers think there are goblins at the Old Tower, but it’s actually an infestation of imps. Or the goblins in the tower are actually just orphans, and they’re not the ones responsible for the recent raids.

A surprising scenario hook, as the name suggests, sets things up for the players to be surprised later in the scenario. And there are, of course, all kinds of ways for you to use this surprise, whether for dramatic or strategic effect.

In this session, I’m combining both of these techniques while hooking the PCs into the Banewarrens. Not only are they being simultaneously approached by two patrons with different objectives related to the Banewarrens, but the true nature of those objectives are not immediately apparent to the players.

In this case, this also means that the PCs can initially believe that there’s no conflict between the two commissions. The surprising reversal will come when they discover the truth and realize their twin masters cannot, in fact, be satisfied simultaneously.

We have another name for that: Conflict.

Delicious, delightful conflict.

The other subtlety here is Tavan Zith. In the original Banewarrens book, Zith does not actually function as a scenario hook. (There’s no way for the PCs to backtrack from Zith to the Banewarrens.) The encounter with Zith, however, functions as a justification: The PCs interacting with Zith is used to justify the Inverted Pyramid (and, in my version, the Church) deciding to hire the PCs for this job.

I had also, knowing these hooks for the Banewarrens were coming, made a point of laying groundwork with both Jevicca Nor and the Imperial Church earlier in the campaign. I wasn’t sure exactly how this earlier involvement with these factions would play out, but really any involvement would either (a) help justify the PCs getting approached for this gig and/or (b) create tension that could be similarly paid off in the Banewarrens. In practice, this turned out even better than I could have ever anticipated:

“We live in a time of prophecy,” Rehobath said. “And you seem to have a habit of finding yourselves in the middle of it.”

“What do you mean?”

“The extraordinary events in Oldtown today — in which I have been told you were involved — are the beginning of what will be a new chapter in history. Tavan Zith has returned to this world, and if the prophecies are true that means that the Banewarrens have been opened.”

I actually did take the further step of making Tavan Zith an actual scenario hook: The PCs could have either backtracked his path by canvassing Oldtown (they didn’t do this) or interrogated him (they tried this, but failed their rolls). This is what I refer to as a curiosity hook (i.e., no one tells the PCs to go check out where Zith came from; but Zith’s presence and extraordinary actions make them aware of the scenario, and they can pursue it and/or get involved with it if their curiosity so inclines them).

You may be thinking: “A die roll for the scenario hook? But what if they failed the check?!”

Well… they did fail. But I had three more hooks lined up, so that’s okay.

Of far more concern would be if the players ended up simply not being interested in the Banewarrens at all. What should we do about that?

First, I’ve spent some time priming the pump here by layering in a bunch of foreshadowing about the Banewarrens. For example, the “Drill of the Banewarrens” in Session 16A. By the time we go to Act II, the players were already intrigued by the Banewarrens, which made them eager to jump at clear hooks pointing them in that direction.

Second, another advantage of using multiple hooks is that it gives the players multiple reasons to be interested in the scenario: Do you want to make allies with the Inverted Pyramid? Pursue your relationship with the Imperial Church? Get close to one or the other so that you can screw them over later? Pursue the powerful magical treasures within? Figure out how to put an end to the threat posed by Tavan Zith?

If I just used one hook, the reaction to that hook might be negative: “We’d like to help, but we don’t have time,” or, “We don’t trust the Church, so we’re not going to tangled up with them.” But with multiple hooks in play, it actually becomes exponentially more likely that the players will see a reason why they want to get involved. (And, again, not just the ones you package up for them. They’re very likely to come up with their own reasons.)

Third, even if turns out that the players aren’t interested in this scenario, the fact that I’ve already set things up so that there are multiple factions involved with interests that directly compete with each other will make it super easy for me to figure out what would happen next even in the absence of the PCs. In this case, the Banewarrens would drop into the campaign’s background events. From that position, they would continue to affect the campaign world, and likely things that the players ARE interested in. It’s extremely plausible that this would generate additional hooks in the future, which may or may not pull the PCs in after all. (Albeit into a scenario that may have already been radically transformed by their earlier decision not to get involved.)

NEXT:
Campaign Journal: Session 28B – Running the Campaign: Multi-Threaded Campaigns
In the Shadow of the Spire: Index