These detailed notes, written in silver ink on black vellum scrolls, constitute the exploration of an alchemical process referred to as azh-thalar, a dark elven word which can be translated as “boneforging.” And, indeed, the text refers to the work as deriving from the “lore of the dark elves” and, elsewhere, “the teachings of Su-Thanaz.” Several excerpts of the original body of work are directly included, without translation, in the text itself.

Once translated in full, however, the text describes a process by which bone is taken from a dead or undead creature and then molded using alchemical processes into a new form. The items so created can be almost limitless in their variety, and part of the alchemical process specifically tempers the bone to be as hard as steel (allowing effective weapons, armor, and the like to be fashioned).

Particularly intriguing, however, are the advanced methods of undead boneforging, in which the powers of the undead creature can be infused into the bone itself after the shaping is completed.

BONEFORGING

Boneforging requires alchemist’s supplies and a successful Intelligence (alchemist’s supplies) check, the difficulty of which is dependent on the size of the item desired, as shown on the table below.

Obviously, the alchemist must also have the requisite supply of bone. Complex or artistic items may require additional crafting checks at the DM’s discretion.

Boneforging is generally only appropriate for solid, static items (e.g., a chair, knife, bowl), but boneforged components could be combined with other material. Supple material (e.g., a rope) can be forged from cartilage, but this is a more delicate process and the Intelligence (alchemist’s supplies) check to make the item is made at disadvantage.

ADVANCED BONEFORGING

An alchemist creating a boneforged magic item from an undead creature can attempt to replace one spell required by the item creation with the raw necromantic power of the undead from which the item is being crafted. (Note that these items are not made from the remains of the dead; they are forged from undead still possessed of unlife.)

This process can generally be used to replace a spell with a level equal to 1/3^rd of the undead creature’s challenge rating. (So a CR 9 undead could be used to replace a 3^rd level spell.) A skeleton or zombie, however, can only be used to replace a spell with a level equal to 1/6^th their HD. (The simplistic energy which animates such mindless undead is not particularly useful for the complex matricies of the advanced boneforging.)

Advanced boneforging requires an Intelligence (alchemist’s supplies) check (DC 15 + the spell level being replaced). If the check fails, the spell is not replaced and must be provided normally or the item creation process will fail.

Boneforging does not reduce the cost of creating the magic item. (The cost of the alchemical supplies normally required by boneforging is included in this cost, however.)

This material is covered by the Open Game License.

SPOILERS FOR STORM KING’S THUNDER

I’ve done a couple previous remixes of 5E campaigns. The first was Dragon Heist: The Alexandrian Remix. The second was Remixing Avernus. Those were more or less intentional. This one is a bit more accidental.

Before we dive in, let’s briefly discuss what an adventure remix is and why we’re doing one for Storm King’s Thunder. I discuss this at more length in How to Remix an Adventure, but broadly speaking a remix will seek to either expand the adventure (by adding lots of cool new stuff to it) or restructure the adventure (usually seeking to fix the structure of the adventure so that it will be more robust and/or interesting in play) or both.

This particular remix is, I think, mostly going to be of the latter variety. In my review of the adventure, I delved into a number of the structural defects I think Storm King’s Thunder has, and we’ll breaking those down in more detail and building them back up.

This may prompt the question: Why remix a “broken” adventure instead of just designing something new?

Generally, because the adventure has something really cool about it (or, more likely several things). The many strengths of Storm King’s Thunder are ALSO something that I discuss in my review, and our goal in restructuring the adventure is to make it easier to bring all those cool things to your gaming table and to share them confidently with your players.

As I mentioned above, it was not my original intention to do a full remix of Storm King’s Thunder. I started out by writing what I believed would be a short series of articles with a fairly narrow focus on analyzing and then revising the revelation lists which form the core structure of the campaign.

This work remains the core focus of the Remix, and you’ll find it in Part 2 and Part 3. But while working on that material, I had two key insights.

• The Hekaton mystery which comes at the end of Storm King’s Thunder as published is not just inadequately structured and fragile, it’s impossibly broken. In Part 4 of the Remix, therefore, we’ll be redesigning this mystery more-or-less from scratch. (This task also required a deep dive into the Kraken Society, which now forms one of the major expansive portions of the Remix.)
• The published adventure doesn’t have a proper ending. We’ll discuss the specific reasons for this in Part 2, but the short version is that you can either (a) do a quick-and-dirty patch job which, unfortunately, has the side effect of making the entire campaign much less interesting or (b) create a whole new ending to the campaign. For better or worse, the new ending which is both a logical extension of the campaign and also provides an epic conclusion is… non-trivial. We’ll be working on that in Part 5 of the Remix.

And now that we’re fully committed to doing a complete Remix, we’ll round things out by strengthening the opening of the campaign, too.

Review: Storm King’s Thunder

Part 1: A Strong Beginning
Part 1B: Nightstone Conclusions
Part 2: Revelation Lists
Part 2B: Revising the Revelations
Part 3A: The Three Cities
Part 3B: The Giant Lairs
Part 3C: The Eye of the All-Father
Part 3D: Concept Revelations
Part 3E: Implementing the Revelations
Part 4: Hekaton is Missing!
Part 4B: The Path to Hekaton
Part 4C: Expanding the Path
Part 4D: The Hekaton Revelations
Part 5: The Final Act
Part 5B: Solutions
Part 5C: Running the Final Act
Part 5D: Making Alliances
Part 5E: Waging War

Addendum: Kraken Society
Addendum: Faction Reference
Addendum: Three Cities Proxies

If you’re new here at the Alexandian, you might find it useful to dive into these articles before the remix kicks off, as they include deep discussions of topics we’ll be visiting here:

• Three Clue Rule
• Node-Based Scenario Design
• Using Revelation Lists

There are many more articles at Gamemastery 101 that you might also enjoy! Please also consider becoming a patron if you’d like to support this type of work in the future!

SPOILERS FOR STORM KING’S THUNDER

Personally, I’m a sucker for the core concept of Storm King’s Thunder. A War Against the Giants campaign has been on my bucket list for many a year now, so the premise of giants beating the war drums is basically custom made for me.

The basic premise here is that Annam the All-Father, god of the giants, is upset that the giants did jack-all to stop Tiamat’s machinations during the Tyranny of Dragons campaign. So he dissolves the Ordning — the divinely decreed feudal(?) order which keeps giant society in order. This is a little vague in the book, but here’s how I think of it: Imagine that the divine right of kings was actually real; the legitimacy and authority of political leadership ultimately derives from the fact that a god said, “That guy is in charge.” And then one day the god shows up and says, “Not any more. None of y’all need to pay taxes.”

Pandemonium.

With the storm giants no longer king of the hill (giants), it’s a toss-up who’ll become the new King of the Giants. Ironically, this allows a draconic faction led by the blue wyrm Iymrith to infiltrate and decapitate the storm giant court, further destabilizing the situation. So now every giant is planning how to stomp their competitors, profit from the chaos, and/or prove that they should be the new king, and the conflict is boiling out across the Sword Coast and Savage Frontier.

Enter the PCs.

Storm King’s Thunder can then be broadly broken down into six phases:

Phase 1: The PCs deal with the aftermath of a cloud giant attack in the small village of Nightstone.

Phase 2: They follow a lead from Nightstone to one of three cities (Bryn Shander, Goldenfields, or Triboar), which is then attacked by giants while they’re there.

Phase 3: In the wake of the giant attack, they receive a plethora of plot hooks that will pull them towards various locations across the Sword Coast and Savage Frontier. This section of the campaign basically functions as a pointcrawl, with the PCs navigating the Forgotten Realms and running into additional plot hooks and mini-scenarios (most of which are themed to the giant troubles) as they travel.

(If you’re not familiar with a pointcrawl, the basic structure is a map of points connected by routes and keyed with content. PCs travel along the routes to get where they want to go, passing through points along the way and triggering the content keyed to those points. The pointcrawl in Storm King’s Thunder, although not referred to as such, is a pretty pure example of the form: The points are generally settlements on the map and the routes are literally the roads and trails connecting them.)

Phase 4: The PCs learn of the Eye of the All-Father, a powerful giant oracle. In exchange for recovering artifacts stolen by the Uthgardt barbarians, the oracle will tell the PCs that they need to travel to Maelstrom, the court of the storm giants.

Phase 5: The PCs raid one of five giant strongholds to retrieve a magical artifact they can use to teleport to Maelstrom.

Phase 6: The PCs journey to Maelstrom, forge an alliance with the storm giants, investigate the disappearance of Hekaton, the storm giant king, and (hopefully) rescue him. He then leads them to attack Iymrith’s lair.

The general “only the PCs can discover a hidden evil fomenting a war between giants and small folk” is clearly taking a thematic note from the classic GDQ series, but this is much more a conceptual riff than a Ravenloft-style reboot. It’s an ambitious campaign with epic stakes and a worldwide scope.

FRAGILITY

What my summary of Storm King’s Thunder plot hides, unfortunately, is that the transitions between the different phases of the campaign are incredibly awkward at best.

For example, let’s take a look at Phase 3. The basic idea here, as described briefly above, is that you rescue one of the cities in Phase 2 and receive a bunch of plot hooks that drive you to travel across the map. Here are what the hook lines look like for Bryn Shander (red), Goldenfields (yellow), and Triboar (blue):

Although drawn in straight lines (rather than along likely routes of travel), it should still be clear how following these leads will send the PCs crisscrossing the landscape. And, as they travel, they’ll be having encounters — from either scripted random encounters or keyed locations throughout the North — which will give them more leads to pursue. Pursuing those leads, of course, will lead to more encounters, which will result in more leads, which will… Well, you get the idea.

Eventually, in the course of these adventures, the PCs will discover the existence of the Eye of the All-Father and transition to Phase 4 of the campaign.

Unfortunately, there are some significant problems with this.

First, too many of the scenario hooks that transition the campaign from Phase 2 to Phase 3 are, for lack of a better word, boring. In Goldenfields, for example, they include:

• Deliver a letter for me.
• Come with me to visit my friend.
• Deliver a message for me.
• Deliver a letter for me.

I think of these as mail carrier hooks. There’s nothing inherently wrong with mail carrier hooks, but the structure of a mail carrier hook is so utterly devoid of purpose that it becomes crucial for the message itself to be of great import.

A good example of this in Storm King’s Thunder is the quest Darathra Shendrel gives in Triboar: Giants are invading! The Harpers must be warned!

That’s clearly meaningful. It matters. The PCs will feel important being asked to do that.

Unfortunately, most of the hooks in Storm King’s Thunder look like the one given by Narth Tezrin. “Hello! Heroes who just rescued this entire town! Could you deliver some horse harnesses for me?” This is almost demeaning. It’s clearly meaningless and there’s absolutely no reason why the PCs or the players would care about this.

The lackluster quality of these hooks is then exacerbated by the fact so many of them just… dead end.

For example, Darathra Shandrel tells the PCs to bring urgent word to the Harpers of the threat of the Giants! When the PCs arrive, the Harpers… just don’t seem to care that much. So that which seemed meaningful suddenly isn’t.

Others just trail off without any explanation. In Bryn Shander, Duvessa Shane asks the PCs to carry a message to a ship called the Dancing Wave in Waterdeep. When they arrive, the PCs discover that the ship is missing! Storm King’s Thunder then spends several hundred words detailing how the PCs can hire a ship to go looking for the Dancing Wave and then… that’s it. No explanation of what they might find if they go looking. No explanation of what actually happened to the Dancing Wave.

This actually happens a lot in the book. In Goldenfields, for example, the PCs are sent to look for a missing druid. They’re sent to talk to someone who might have seen him. That person says, “Nope. Haven’t seen him in awhile.”

And, once again, that’s it. No clue what happened to him. No suspicion on the part of the writers that the PCs might want to keep investigating.

The problem perpetuates on a macro-scale at the other end of Phase 3: None of the PCs’ expeditions actually go anywhere.

They go to places in the North and they point to other places. Along the way they run into giants doing various things. And, logically, this should all be taking you some place: Your new faction alliances should give you anti-giant operations to pursue. You should slowly be piecing together clues and your investigation into the giants should ultimately lead you to the Eye of the All-Father and the next phase of the campaign.

But it doesn’t.

What happens instead is that, at some completely arbitrary point unrelated to anything to the PCs are doing, the DM is supposed to trigger an encounter with Harshnag, a friendly giant, who says, “Hello! The DM has sent me with the next phase of the campaign! Would you like to know more?”

We’ve looked at Phase 3 here (coming and going), but unfortunately this type of fragility is endemic to the whole campaign:

• Phase 1 ends with three mail carrier scenario hooks pointing to Bryn Shander, Goldenfields, and Triboar. But rather than giving the PCs the choice of which lead to pursue, the book instructs the GM to instead railroad them.
• The Phase 4 into Phase 5 transition is designed to loop so that the PCs can get multiple leads from the Eye of the All-Father in case something goes wrong and they can’t get the magical artifact they need from the first giant fortress they raid… except the adventure bizarrely slots in a cutscene where the Eye of the All-Father gets blown up so the PCs can’t go back there.
• Even starting the investigation in Phase 6 requires the PCs to get a clue from an NPC who is innately hostile to them. It then requires the PCs to reach several conclusions for which no clues are included at all, while the threadbare breadcrumb trail which does exist is peppered with gaping plot holes.

Perhaps strangest of all, the adventure doesn’t actually have an ending. The central goal of the campaign is “stop the giant attacks.” The rescue of Lord Hekaton and the death of Iymrith is presented — structurally, textually, and diegetically to the characters — as the way to achieve this.

But because Iymrith’s deception and Hekaton’s disappearance are not what broke the Ordning, there’s no logical reason to think that resolving either of those things will result in the Ordning being reformed and the crisis coming to an end. And, in fact, the book more or less concedes this in the “Adventure Conclusion” section on page 230.

CRASHING THE PARTY

Let’s back up and talk about Harshnag for a moment.

When he shows up and says, “Follow me to Phase 4!” this creates a giant-sized problem for Storm King’s Thunder.

Harshnag is a prototypical Realms NPC who is much, much cooler and much, much more powerful than the PCs and shows up to hog the spotlight.

Storm King’s Thunder at least briefly acknowledges the Harshnag Problem and attempts to solve possibly the least important part of it (combat balance) by having Harshnag literally patronize the PCs by pretending he’s not as powerful as he actually is (p. 120):

Harshnag tries not to dominate combat if it means making his smaller compatriots feel inferior. He doesn’t want to be seen as a showoff. He can reduce his combat effectiveness in the following ways:

• He makes one attack on his turn instead of two.

• He uses the Help action to aid a character’s next attack against a foe. […]

• He does nothing on his turn except taunt an enemy who might otherwise attack a character. Assume the effort is successful and the target switches it attention to Harshnag, unless the character insists on being the target of that threat.

I sure hope no one dies while you’re jerking off, Harshnag.

After that half-hearted effort, Storm King’s Thunder gets back down to the work of completely mishandling a powerful NPC ally. We can start with the railroad doors to the Eye of the All-Father that are needlessly designed so that only the NPC can effectively open them and then eventually culminate with an NPC-focused cutscene where the PCs are turned into mute bystanders while Harshnag solos Iymrith.

(The adventure is so insistent on this that it will literally KILL A PC rather than let them try to participate in the cutscene.)

For a detailed explanation of why this sort of thing is a terrible idea, check out How NOT to Frame a Scene. But the key thing is that, while having a much more powerful PC show up is not inherently bad, there are generally two maxims you want to follow:

1. Make sure the game remains focused on the PCs.
2. Use the NPC’s awesomeness as a way of establishing how awesome the PCs are.

Imagine Barack Obama shows up at your birthday party. In Scenario #1 he grabs a fistful of birthday cake, poses with people for selfies, and tells stories about the situation room when Osama Bin Laden was assassinated for the rest of the evening.

In Scenario #2, he comes over to you, throws an arm around your shoulder, and says, “This is a party I could not miss once I heard about <that cool thing you did last week>.”

Which Obama do you want at your birthday party?

Storm King’s Thunder struggles with this because Harshnag’s role in the campaign is not to hype the PCs up.

He’s here to tell them that everything they did in Phase 3 was a pointless dead end.

This is also a problem that the “ending” of the campaign has: After all of their epic adventures, the PCs are reduced to footsoldiers taking orders from an NPC.

DEUS EX AIRSHIP

With all that being said, I want to emphasize that the bones of Storm King’s Thunder are fundamentally really good, and there are quite a few clever things the designers do.

For example, at the end of Phase 1 as the PCs are leaving Nighstone, a cloud giant citadel that’s floating past spots them and flies down. It belongs to Zephyros, a cloud giant who is looking for the PCs because the DM… err, I mean STRANGE PLANAR ENTITIES have told him that he needs to give them a lift to the next part of the adventure.

This is a really cool moment.

Oddly, though, it’s not the only time this happens in the adventure. Later on, a random airship will swoop out of the air and declare that the DM… err, I mean A MYSTERIOUS DRAGON has sent it to give the PCs a lift.

So why does this happen?

The core of the campaign — Phase 3 — is spread across North Faerûn. Locations across this entire region are keyed so that the PCs can travel almost anywhere and (theoretically) encounter campaign relevant stuff. The trick, though, is that all of this material is:

• Keyed to the specific range of levels the PCs will be in Phase 3.
• Designed to funnel the PCs towards the Eye of the All-Father.

If they went overland from Nightstone to Bryn Shander at the end of Phase 1, for example, they’d encounter a bunch of stuff that (a) they’re not ready for and (b) assumes the continuity of the adventure is more advanced than it is.

So to avoid that problem, you have Zephyros show up to literally fly them over these locations. And later, after Phase 3, you give them an airship for the same reason.

If you were prepping a similar adventure for your home campaign, we could imagine keying material appropriate for Phase 2 for their journey and then, later, advancing or updating that key as their journeys continue. If the book had infinite space, we could similarly imagine stocking the entire pointcrawl multiple times with different material for each phase.

But since the book can’t be infinite in its size, this is a very clever structural trick to make it work.

GAZETTEER OF THE SAVAGE FRONTIER

Did you know that Storm King’s Thunder has a significantly more detailed write-up of Bryn Shander — the capital of Icewind Dale — than the one that appears in Icewind Dale: Rime of the Frostmaiden?

In fact, the hidden treasure of Storm King’s Thunder is that it contains an encyclopedic gazetteer of the Savage Frontier. Although there’s some overlap with the Sword Coast Adventurers Guide, Storm King’s Thunder’s location guide is almost identical in length to Sword Coast Adventurers Guide’s treatment of the Sword Coast. This makes Storm King’s Thunder an invaluable resource for any North-ranging Forgotten Realms campaign, whether you’re interested in an adventure about giants or not.

What’s great about the adventure tie-in, though, is that the gazetteer ends up studded with play-ready material. This is high-value stuff.

You can also flip this around. Because of how it’s structured, a good chunk of Storm King’s Thunder can basically be boiled down to a list of “terrible things that giants are doing.”

So if you’re running any campaign in the Forgotten Realms, you can use Storm King’s Thunder to supply what I refer to as Background Events — a second timeline of future events running in parallel with your PCs’ adventures. These are events that don’t directly affect the PCs, but which are nevertheless taking place and moving the campaign world forward.

In other words, you can take most of Storm King’s Thunder and just have it “running” in the background of your campaign: The world is large and there’s all this giant stuff that’s happening up north or one town over or whatever.

This sort of thing can add incredible depth to your campaign world. And, of course, if the PCs decide to follow up on nay of this… well, hey! You’ve got a whole campaign book you can launch into!

On a related note, Storm King’s Thunder also does something similar in reverse, by dropping in little references to other published D&D campaigns: The crisis is triggered by Tyranny of Dragons. There are elemental lords from Princes of the Apocalypse actively seeking alliances. And so forth.

None of these require your group to have owned, read, or played the other adventures. But if you DO, then these are great little pay-offs and they make the world feel HUGE.

THREE CITIES, THREE FIGHTS

Something else that Storm King’s Thunder does very well are the three big giant fights in Bryn Shander, Goldenfields, and Triboar.

You may have gotten the impression that these fights are generic or interchangeable because of the campaign’s structure, but each location is well-developed and each encounter is crafted with very specific strategic goals and tactics. Each is full of unique interest, framed as large-scale strategic conflicts spread out across an entire community, in which the PCs will need to make tough choices about where and how to engage the enemy.

There is one caveat here, though.

The book doesn’t want the PCs fighting alongside NPC guards. This is most likely a deliberate choice to simplify the DM’s cognitive load and is mostly fine, except they accomplish it primarily by handing out idiot balls.

In Goldenfields, for example, they’re just explicitly incompetent:

There are no guards in the abbey, just a handful of acolytes. One of them, Zi Liang has scolded Father Darovik many times for putting the defense of Goldenfields in the hands of incompetent military leaders, which has made her somewhat unpopular.

With a little extra effort, however, some careful DMing can mostly work around these problems. In Goldenfields, for example, it’s not too difficult to set up the Chekhov’s Gun of The Guards Are Terrible Here.

Similarly, in Bryn Shander, all the guards at whatever location the PCs choose to fight are supposed to immediately run away (while all the other guards in town stay and fight). This is a problem because it flattens the strategic choices available to the players. (Instead of being able to choose how and where to reinforce the NPCs, and then dealing with the consequences of those choices, the PCs have no choice except to go all-in on the completely undefended location.) But about 90% of the solution is to just ignore the direction to have the NPCs run away and instead playing to find out.

CONCLUSION

I like Storm King’s Thunder.

It has weaknesses, but these are well-balanced by its ambition. If you can successfully pull the campaign off, it’s studded with amazing set pieces and gives ample opportunities to become one of the most memorable experiences you’ll have at the gaming table.

But that IF should not be casually ignored.

I’ve spoken to a large number of players and DMs about their experiences with Storm King’s Thunder, and a disconcerting number of them have reported campaigns which floundered, frustrated, meandered their way into boredom, or crashed spectacularly.

And these are problems directly connected to the shortcomings in Storm King’s Thunder’s design.

The one I would consider probably most significant is the campaign’s subtle-but-persistent deprotagonization of the PCs. Whether that’s all-powerful GMPCs, demeaning scenario hooks, or too-frequent “nothing you’re doing actually matters” dead ends, the result is demoralizing to the players and debilitating to the health of any long-term campaign. Why keep doing things if your actions keep getting characterized as meaningless?

The fragility of the adventure shouldn’t be ignored, either. There are far too many places where Storm King’s Thunder is (a) on rails and (b) can easily go hurtling off those rails with catastrophic results.

So, in many ways, Storm King’s Thunder is a needlessly frustrating and complicated campaign for the DM to run. But if you’re willing to tackle the challenge and can successfully thread the needle, I believe you will find it to be a highly rewarding one.

Style: 4
Substance: 3

Authors: Jenna Helland, Adam Lee, Christopher Perkins, Richard Whitters
Publisher: Wizards of the Coast
Cost: $49.95
Page Count: 256

Buy Now!

FURTHER READING

This campaign concept was created in 1998 for a PBeM Amber Diceless Roleplaying Game campaign that, sadly like so many other PBeM campaigns, was rather abortive and terminated after just a couple of moves (as a result of players not responding). It notably features a rather novel interpretation of the metaphysics of the Amber universe.

If you aren’t familiar with Roger Zelazny’s Amber novels, I heartily recommend them. The First Chronicles (comprising the first five volumes) are particularly excellent.

The main characters are the six children of Elder Amberites. Their actual creation shall be left up to the players – who they are, where they have been living, how long do they think they’ve been alive, etc. — but they are the children of:

• Corwin
• Benedict
• Merlin (with Julia)
• Eric
• Fiona
• Flora (with a Shadow Earth lover)

These six characters do not understand their place in the multiverse —as far as they know, the world in which they live is the only one which exists. Most of the characters will know that there is something special about them, if no other reason than because they do not seem to age normally (assuming they exist in shadows where time runs either similar to or quicker than Amber).

Shadows in this multiverse are limited to technology levels comparable to the modern day. (No science fiction concepts.) This may not be wholly true to Zelazny’s description of “anything can be found in Shadow,” but is true to the spirit and atmosphere of the books themselves.

BACKGROUND

Two hundred years ago in Amber, strange behavior began to manifest within shadow. Shadow storms increased in regularity, odd bursts of primal chaos began causing havoc, shadows flickered in and out of reality — even the areas closest to Amber were disrupted. An entire kingdom of the Golden Circle was wiped out in a massive burst of primal chaos. Although Fiona of Amber and Mandor of Chaos had been investigating the odd phenomena from the beginning, it became of imminent importance to all Amberites when a shadow storm broke loose within the Forest of Arden itself.

What was unknown to them was that a fifth-dimensional force — which we’ll call Entropy — was making its influence felt.

To understand this, one must first understand that Amber, the Courts of Chaos, and each individual shadow consists of three spatial dimension and one temporal dimension. Travelling from shadow to shadow is to travel through the fourth spatial dimension. So the entire span from Amber to Chaos — and the shadows between — encompasses a fourth-dimensional space construct with Amber at one “end” and the Courts at the other. The Abyss is the hole at the Chaos end of things where the fourth-dimensional construct comes to an end.

This entire fourth-dimensional construct exists within a higher-dimensional reality. And it is the not the only such construct. Entropy controls another of these constructs, which has drifted through hyper-dimensional space until coming into contact with the Amber-Chaos construct. Once it came into contact with Amber-Chaos, Entropy attached itself and began an attempt to subjugate the powers already found there.

In fact, by the time Amber became aware of the troubles in shadow, Entropy and its agents had already been active for some time. Among other things, Dworkin and Suhuy had been taken out of the equation by their Entropic counterpart Aerist. Eventually, however, efforts by Corwin, Benedict, Jurt, and Fiona succeeded in unravelling the mystery of what was happening. A coalition between the forces of Chaos and Amber succeeded in sealing the Amber-Chaos construct by erecting the Barrier. They did this, however, knowing that their effort in raising the Barrier would result in the two royal families being drawn into a stasis bubble trapped between the two constructs of Amber-Chaos and Entropy. This also placed the Pattern and Logrus into a form of stasis.

They left behind them six children of Amber. Too young to even remember Amber and not yet aligned with the Pattern, the children were not drawn into stasis. It was hoped that some day they might find a final solution to the incursion of Entropy.

ENTROPY

Entropy is a primal force defining the Entropy construct in the same that Order and Chaos define the Amber-Chaos construct. When Chaos emerged as the Great Serpent and Order, later, emerged as the Unicorn, the force of Entropy emerged as the Entropic Dragon. Where the Serpent saw to the construction of the Logrus through its agent Suhuy and the Unicorn to the construction of the Pattern through Dworkin, Entropy created the Entropic Cone through its agent, Aerist.

The Entropic Cone is a hollow cone which is entered from its broad base. The brave soul who does so is bathed and purified in primal entropic forces and eventually emerges from the tip of the cone with powers somewhat similar to those who emerge from the Pattern and Logrus.

The Men in Black who will come to haunt the PCs are the agents of Entropy who infiltrated the Amber-Construct. When the Barrier was erected they were sealed off from the Entropic Cone and lost their powers, but as the Barrier begins to disintegrate the MIB will regain their powers.

LIFE

Entropy once shared its construct with the balancing force of Life, which emerged in the form of the Phoenix and used a rogue agent of Entropy to construct the Life Spiral. For awhile their construct was similar to the balance of the Amber-Chaos construct — two poles with a host of shadow between them created by the tension and conflict between them. At some point in the past, however, the force of Life was betrayed and lost in its fight with Entropy. Entropy now dominates and completely controls the construct, and a static nothingness has been the result.

Anyone who has read this type of stuff before will likely realize that one possible solution to the current problems will be gained not by trying to destroy the Entropic force, but by rekindling the still burning embers of the Life force and restoring balance to the alien multiverse.

THE BARRIER

The Barrier is located all along the “edge” shadows, as well as in Amber and the Courts of Chaos. It seals the Amber-Chaos construct from the Entropy construct.

The Barrier is invisible in Amber (where it narrows to a point) and is a huge white curtain of scintillating energy which seals the Courts from where the Abyss once stood. Along its length in shadow, however, are a great variety of local “interpretations” of the Barrier (much like the local interpretations of the Black Road in the First Chronicles). For example, in a medieval shadow, a Great Wall may have been constructed beyond which hordes of black demons attempt to invade the land.

THE CAMPAIGN

Initiation. First, the young Amberites must learn their true heritage and their place in the multiverse. They’ve grown up ignorant of shadow, Amber, Chaos, Pattern, Logrus, and Trump. All they (likely) know is that they are different from others — they never age or die.

There are several ways in which these characters can be hooked towards Amber:

• The Unicorn or Great Serpent. Although the Entropic Dragon has succeeded in rendering them effectively powerless, these patrons of Amber and Chaos will be able to communicate mysteriously with the PCs.
• MIB Attack. Men in Black can attempt to attack someone who existence they have discovered. After the entropic agents have been dispatched, PCs can discover a trump they’re carrying which will lead them bewilderingly through shadow.
• Bill Roth. Corwin’s old friend and ally still lives, having taken refuge in slow-moving shadows. He is hardened from many escapes from MIBs. He was entrusted with the duties of contacting the Amberites he knows of (Corwin’s child, Merlin’s child, and Fiona’s child)… he’s just running a little late.

Revive the Pattern & Logrus. Once initiation to the ways of the shadows has been accomplished and the PCs have been drawn together, stage two begins. Roth probably gets himself assassinated around this time, but he does leave the Amberites with the knowledge that they must seek out the Jewel of Judgment (which can be used to reactivate the Pattern).

The Jewel has been hidden in a sanctuary between shadows by Dworkin. Finding it probably means playing along with a mad Dworkin (who, unlike Suhuy, managed to survive Aerist’s attempt on his life).

Aerist. Speaking of Aerist, the Sage of Entropy is our arch-villain. He was within the Amber-Chaos contruct when the Barrier was raised and was driven insane and powerless by his separation from the Entropic Cone. However, with the Barrier beginning to falter his faculties have returned and he wants the Jewel, too.

Destroying the Barrier. The Barrier is already collapsing, but the PCs need to bring it down in a controlled fashion if anything is to be salvaged. (If not, all the Amberites and Chaosites will be lost when the Barrier collapses, along with any hope of re-erecting it.)

The Barrier was “nailed” in place using the nine spikards. One is located in Amber (at the center of the Pattern) and the other in Chaos (within the Logrus), but the other seven must be sought along the edges of shadow… which, of course, are the most dangerous places to be as the breaches in the Barrier begin to increase and the number of MIBs begins to skyrocket.

Editor’s Note: When I first conceived this campaign, this whole section would have been a rather banal, linear “hunt the plot coupon” thing. I didn’t have the tools to do any better. Now you can imagine a seven-way Race to the Prize with all kinds of crazy shenanigans. As a PBeM campaign, Amber Ruins was actually designed with the idea in mind that the players could easily split and pursue individual agendas (although they wouldn’t necessarily have to).

The Big Conclusion. The nine spikards will need to be brought to the Pattern, the Logrus, and Corwin’s Pattern simultaneously for the Barrier to be brought down. At this point the Amberites and Chaosites will reappear and the old alliance will be reborn.

… but it’s not like they’ve had any grand new insights as a result of being held in stasis for two hundred years. The only option the Elders can think of is to raise the Barrier again. But if they do, this time the PCs, too, will be drawn into stasis. And it’s not like the Barrier held last time.

But maybe that’s the best that can be done: New scions must be born in shadow, loyal agents selected from among the friends and allies the PCs have made who (like Bill Roth before them) will watch and wait for the appointed hour. And then all shall pass into stasis in order to preserve the many worlds of shadow for another century or three.

Alternatively, perhaps the PCs will have learned more than the Elders knew. One option would be to invade the Entropic construct and reactivate the Life force (a portion of the story not yet fully comprehended and/or planned, but I’m sure I’ll think of something eventually). Or perhaps they’ll come up with some clever idea of their own.

When a PC dies, their player is left without an avatar to interact with the game world. This means that they can no longer play the game, and are forced to simply sit and wait while everyone else keeps playing.

This is not necessarily a terrible thing. There are many players who thoroughly enjoy the audience stance and can have a grand old time being entertained watching their fellow players trying to haul their corpse back to civilization for a raise dead spell (or seeking bloody vengeance for their death, whatever the case may be). But, generally speaking, you don’t want the players of a game to be in a position where they can’t play the game.

In Random GM Tips: Backup PCs we discussed a variety of techniques you can use to shorten the amount of time players are in this purgatory. But there will likely still be spans of time when they’re twiddling their thumbs.

So what can you do?

Have them assume the role of an NPC. This character might be an ally or companion of the PCs, in which case the role become sort of a temporary PC, but it doesn’t have to be. It’s quite possible for players to step into any supporting character or even assume the role of foes.

IN COMBAT

A fairly easy time to do this is during combat: A fight breaks out, you hand the idle player one of the monster’s stat blocks, and you ask them to roll for initiative.

It’s just that simple. They might be playing for the other “team,” but they’re actively playing the game. (And if the monster they’re controlling gets killed, you can always pass them the stat block of another.)

Combat can often be the most time-consuming — and also the least interesting if you’re not actively participating — part of play, so keeping a player engaged during these encounters can solve most of the problem all by itself.

There are a couple things to consider here. First, what if the player sandbags the encounter for the benefit of the other PCs? Ideally you have a player who can embrace the challenge, but if this is a concern simply give them an ancillary stat block instead of the central bad guy in the encounter.

Second, what if the player goes all-in and ruthlessly takes down the PCs? This becomes an issue if you’re designing encounters that are too difficult and then dumbing the NPCs down so that they don’t crush the PCs. The short version is that you should stop doing that. But if this is a concern, then you may want to rethink using this technique (or, once again, give the player a less power member of the encounter that’s less likely to go PC stomping).

These minor concerns aside, the reason this works so well is that:

• Monster stat blocks are designed to be picked up and played.
• The monster’s agenda in combat is so straightforward (defeat the PCs) that it probably doesn’t even have to be explained in words.

So it’s very easy for the player to grab the monster and jump straight into play.

IN ROLEPLAYING

We can learn from lessons from this as we consider how a dormant player can successfully step into an NPC’s role in other scenes.

The first thing we would need is a briefing sheet (similar to a monster’s stat block) that can be handed to the player and bring them up to speed on everything they need to know about the NPC. Fortunately, if you’re using the universal NPC roleplaying template, it basically solves this problem.

The second thing we need to do is clearly communicate to the player what the NPC’s agenda is. Outside of combat this can get quite complicated and/or nuanced, but you don’t want to spend a lot of time briefing the player in (which kind of defeats the purpose of keeping everyone involved, can wreck the pacing, and can easily overwhelm and stress out the player). Try to select roles with simple, straightforward agendas (like, “you need to make sure Old Bill tells the PCs that he saw Murray by the shed at 1 A.M. last night”). These might even be conveniently summarized in the Key Info section of the roleplaying templates (neatly killing two birds with one stone).

Take advantage of these moments, too. For example, it’s always challenging for the GM to stage a scene where multiple NPCs talk to each other. But if an NPC is being played by a player, suddenly the NPCs can have a true conversation at the table!

BUT THAT’S NOT ALL…

This technique also works even if the PC isn’t dead. Maybe they’re imprisoned, in a coma, in flagrante delicto, or simply across town staking out the warehouse belonging to the Quicksilver Corporation. Whatever reason the PC might have for not being in the current scene, you can bring the player into the scene through the supporting cast.

It can also be used for new players, who might assume a supporting role at the beginning of their first session until you can arrange for their character to join the group. An extreme example of this, for me, was a Trail of Cthulhu campaign in which the group was on an expedition in the middle of a trackless waste. The new player assumed the existing role of an NPC guide and, due to an unforeseen swerve in events, ended up playing this character for several sessions before their own character could be brought into the ongoing events.

In another case, during the first session of a campaign, the players had set things up so that their new characters would meet each other when a caravan arrived in a new town. (Some of the characters would logically be with the caravan, and others would be in town.) But, for various reasons, I wanted the caravan to be attacked on its way to town. Rather than leave half the group dormant, I immediately handed them the monster stat blocks and had them plan out the ambush on the caravan.

When using this technique, particularly with the not-so-deceased, you may want to keep one eye on spoilers. Make sure your NPC briefing sheets don’t contain sensitive information that the PCs/players shouldn’t have access to yet. You may also find that some players really WOULD prefer to remain in an audience stance rather than splitting their attention into a new role. Try to be aware of that and respect it.