In the world of Exandria, in the city of Bazzoxan, there lies Betrayers’ Rise. Once a “dark temple instrumental to the machinations of the Betrayer Gods during the Calamity” (Explorer’s Guide to Wildemount), the Rise is a gargantuan complex worming its way into the earth; a place of vast, unexplored depths where explorers delved too deep and woke up abyssal horrors from an elder age, placing the people of Bazzoxan on the front lines of an ancient war.

As presented in the Call of the Netherdeep campaign, however, Betrayers’ Rise is a tiny little dungeon with just sixteen rooms.

They’re good rooms. Great rooms, even.

But it doesn’t quite deliver the experience promised by the lore.

THE PROBLEM

To be fair, Call of the Netherdeep knows it has a problem. The writers kind of toss out the idea that “the characters experience a particular version” of Betrayers’ Rise, and that others experience “different configurations” of the dungeon. They also provide “Betrayers’ Rise Encounters” (p. 63) that can be used as inspiration to “expand” the Rise.

And this is not actually an unusual problem: You want to send the PCs into a legendary dungeon — Moria, Undermountain, Castle Blackmoor, Betrayers’ Rise — as part of a larger adventure. But these vast dungeons have dozens of levels and hundreds, possibly thousands, of rooms.

At that scale, in published adventures, page count becomes an issue. For another example of this, consider Ed Greenwood’s FRE3 Waterdeep module. Greenwood wanted to send the PCs through the well in the Yawning Portal and into Undermountain as part of this adventure, but obviously couldn’t include the entire dungeon (which usually requires hundreds of pages) in a 52-page adventure. (His solution was to create a previously unmentioned secret well in the Yawning Portal’s backroom that conveniently led directly to where the PCs needed to go.)

But even if page count or prep time weren’t important (which they obviously are), there’s also pacing to consider. Megadungeons are awesome. I love megadungeons. But it wouldn’t make a lot of sense to put Call of the Netherdeep on hold for 10 or 20 or 40 sessions while a largely unrelated dungeon crawl is happening.

So what’s the problem?

If I’m saying that you can’t do a megadungeon in Call of the Netherdeep and that you shouldn’t do a megadungeon in Call of the Netherdeep, don’t we just have to accept that micro-dungeon that Call of the Netherdeep presents?

No, actually.

THE SOLUTION(S)

We’ve been hearing “vast underground complex” and we’ve been defaulting to “megadungeon” as the solution. The solution is to shift our paradigm, and we can do that by rephrasing our goal.

The micro-dungeon in Call of the Netherdeep is (a) good and (b) probably has about the right narrative weight for its role in the campaign. So what is it that we want?

Ideally, we’d take the exact same micro-dungeon and present it in a way that’s consistent with Betrayers’ Rise being a gargantuan complex with vast, unexplored depths where explorers delved too deep and yada yada yada.

OPTION 1: MULTIPLE ENTRANCES

Instead of Betrayers’ Rise having a single entrance that leads to a sixteen room micro-dungeon, the Rise has multiple entrances leading to a convoluted honeycomb of many different dungeon complexes. Some of these are small; some are vast. Some are connected to each other; others are not… or, if they are, the ways are secret, blocked, or only accessible through interdimensional spaces.

One of these entrances, of course, leads to our micro-dungeon.

The key question now is, how do the PCs know to use this specific entrance?

To answer this question, we simply step back and look at the PCs’ goal in Bazzoxan: They’re here to get answers about the Jewel of Three Prayers, the enigmatic Vestige of Divergence which has come into either their possession or the possession of their Rivals.

Therefore, this entrance must have a specific connection to the Jewel of Three Prayers.

There are many ways you could create his connection, but you can keep it quite simple: There’s a giant drawing or bas relief of the Jewel depicted on the entrance or near the entrance or just inside the entrance.

The next question is: How do the PCs learn about this connection?

This revelation is essential for the adventure, so we want to use the Three Clue Rule here. In fact, there are two closely related revelations here.

REVELATION 1: WE HAVE TO GO TO BAZZOXAN.

• The Elder in Jigow who told them to go to Bazzoxan (p. 37) should tell them: “I was in Bazzoxan once, where the legacy of the Calamity lingers more strongly anywhere else in Xhorhas, and I saw this very Jewel depicted on the walls of the Betrayers’ Rise. Perhaps you will find answers there.”
• The PCs can discover references to this depiction of the Jewel at Betrayers’ Rise through their own research.
• The Rivals will conduct their own research (or perhaps seek the casting of a legend lore spell) and discover the Jewel’s depiction at Betrayers’ Rise. They’ll then inform the PCs, ask for the PCs’ help, or the PCs can pursue them there.

REVELATION 2: THE LOCATION OF THE JEWEL’S DEPICTION.

• The PCs can do their own survey of the Rise’s exterior to find the depiction.
• The Three Scholars of Ank’Harel in Bazzoxan (Question, Prolix, and Aloysia) are all here researching ruidium (which is specifically found around this entrance and in this micro-dungeon). They can be questioned and their notes also include depictions of the Jewel.

Design Note: This conveniently also addresses some other structural weaknesses in Call of the Netherdeep. For example, in the adventure as written the Elder doesn’t actually give the PCs’ a reason to go to Bazzoxan; so when they arrive, they end up just kind of wandering around hoping to bump into the plot. By having the Elder give them this specific connection to Bazzoxan, the PCs now arrive in town with a specific agenda which will drive the action forward.

You could also further develop this lore to strengthen connections between Bazzoxan and Ank’Harel. Perhaps the excavations in the sunken city of Cael Morrow have recently discovered a depiction of the Jewel of Three Prayers, and some or all of the scholarly factions have independently discovered its depiction in Bazzoxan (providing an alternative or additional motive to ruidium for coming here).

OPTION 2: THE POINTCRAWL

If you want to actually delve into the “true” Betrayers’ Rise — that vast, unexplored depth which yada yada yada — then what you need is a pointcrawl.

A pointcrawl adventure uses a point-map to represent navigation at an abstract level. One way of understanding a pointcrawl, and its original application, is modeling travel along a trail system (i.e., the connections between points are literally wilderness trails running between the locations).

In the case of a dungeon pointcrawl, like the one we would use for Betrayers’ Rise, the points represent notable locations or regions within the dungeon and the connections between them model the navigational connections between them. Because these navigation connections are being represented at a high level of abstraction, they are often not specific. (There might be several different passages you can take from the Low Halls to the High Throne, but they’d all be represented by a single line. This is similar to how there are many streets you could take while driving across town from McDonald’s to the Museum of Natural History, but they’ll all be heading in basically the same direction.)

Let’s make this less abstract. The way a dungeon pointcrawl would work here is that the vast depths of Betrayers’ Rise would be abstracted. You’d narrate large spans of the journey as a sort of travelogue through terrifying-yet-empty vaults.

The Rise is not a beehive with every inch filled by demons. It is a wasteland.

If you want a touchstone for what this would look like/sound like in actual play, consider the journey through Moria in The Lord of the Rings:

For eight dark hours, not counting two brief halts, they marched on; and they met not danger, and heard nothing, and saw nothing but the faint gleam of the wizard’s light, bobbing like a will-o’-wisp in front of them. The passage they had chosen wound steadily upwards. As far as they could judge it went in great mounting curves, and as it rose it grew loftier and wider. There were now no openings to other galleries or tunnels on either side, and the floor was level and sound, without pits or cracks. Evidently they had struck what once had been an important road; and they went forward quicker than they had done on their first march.

They had marched as far as the hobbits could endure without a rest, and all were thinking of a place where they could sleep, when suddenly the walls to right and left vanished. They seem to have passed through some arched doorway into a black and empty space. There was a great draught of warmer air behind them, and before them the darkness was cold on their faces. They halted and crowded anxiously together.

Gandalf seemed pleased. ‘I chose the right way,’ he said. ‘At last we are coming to the habitable parts, and I guess that we are not far now from the eastern side. But we are high up, a good deal higher than the Dimrill Gate, unless I am mistaken. From the feeling of the air, we must be in a wide hall. I will now risk a little real light.’

He raised his staff, and for a brief instant there was a blaze like a flash of lightning. Great shadows sprang up and fled, and for a second they saw a vast roof far above their heads upheld by many mighty pillars hewn of stone. Before them and on either side stretched a huge empty hall; its black walls, polished and smooth as glass, flashed and glittered. Three other entrances they saw, dark black arches: one straight before them eastwards, and one to either side.

Then the light went out.

The “points” of the pointcrawl would be points of particular interest/danger. They’d also represent key navigational choices. In the movie version of Moria, for example, these are:

• the Entrance;
• “I have no memory of this place”;
• Balin’s Tomb; and
• the Bridge of Khazad-dûm

In designing this for an RPG, you would need to include options for the paths Gandalf didn’t take (so that the players would have navigational choices).

PREPPING THE POINTCRAWL: Unlike Option 1, therefore, this option would require significantly more prep, because you’ll need to create other points within Betrayers’ Rise in addition to the original micro-dungeon (which I’m going to call the Cyst of Avandra).

My guess is that you’d want at least a half dozen points that are actually micro-dungeons. (You could think of each of these as a 5-Room Dungeon.) And then you’d probably want another dozen or so points that are just individual rooms or cool landmarks (a statue, a strange chasm, a subterranean bridge, etc.).

Some of these points might be better thought of as entire regions, out of which navigational choices can be made.

“You’re in the Hex Pits. You see a number of stairs winding down. Or you could perhaps try to make your way up one of the great ramps at either end of the Pits.”

OPTION 3: THE GUIDE

If we consider Gandalf an NPC instead of a PC, then we can get some of the atmosphere offered by the pointcrawl, but wrap it in a simple package (with near-zero prep) by simply requiring the PCs to have a guide.

What guide? One of the Three Scholars, of course.

And how do they know where to take the PCs? Once again, it’s the depiction of the Jewel of Three Prayers. Rather than being an entrance to Betrayers’ Rise, the painting or bas relief of the Jewel is located deep within the Rise.

The chosen scholar(s) can guide the PCs there in abstract time (a montage of moments as they delve into the dungeon; just like the hobbits’ experience in Moria), perhaps triggering a few “random” (actually scripted) encounters along the way.

When the PCs arrive at the depiction of the Jewel, you simply shift to now time as they come to the entrance of Cyst of Avandra.

Design Note: You could enrich this interaction a bit by having the Three Scholars each propose/take differing routes through the Rise. But there’s probably not a huge gain from this unless the PCs can make some sort of meaningful choice between route options.

The PCs could also avoid the need for an actual guide if, for example, they steal one of the researchers’ notes from their rooms. (Allowing them to study the notes and guide themselves.) You can prompt this as an active premise by having one of the scholars ask the PCs to steal a rival’s notes. (Prolix might do so in order to figure out what Aloysia is doing in Bazzoxan, for example.)

For the encounters studded along the route, you can use (or at least start with) the “Betrayers’ Rise Encounters” on p. 63 of Call of the Netherdeep. Try to have these encounters really reflect the vastness of the spaces through which the PCs are traveling, however: They pass through a galley looking out over a vast underground chasm or chamber, lit by the ruddy light of a lake of fire on the far end. In the center of the lake is an island upon which is a slab of stone. And upon the slab of stone there lies a sleeping balor.

Best not to rouse it.

FURTHER READING
Call of the Netherdeep: Running the Rivals

DISCUSSING
In the Shadow of the Spire – Session 26A: Tor’s Training

After several mournful minutes in which little was said, they quickly decided that someone needed to return to the surface and notify House Erthuo of the death of Faeliel and the others.

Dominic and Ranthir took that heavy task on themselves. Tor left with them, needing to keep an appointment later in the morning.

The walk back to the surface took a little more than twenty minutes. Then they took carriages in opposite directions: Tor back towards Midtown; Ranthir and Dominic towards the Nobles’ Quarter.

In The Art of Pacing, I explain running an RPG for a split party is basically the easy mode for handling pacing as a GM: Because you no longer need to wait for the end of a scene before cutting back and forth between the groups, you not only have a whole bunch of new pacing techniques you can use, you’re also freed up from needing to honor the structure of the current scene (since you’ll be cutting back to it later).

In Random GM Tip: Splitting the Party, I delve a bit deeper into the practical side of splitting the party and share some basic best practices.

But if splitting the party is the easy mode for pacing, then splitting the party in an urban environment is the easy mode for splitting the party.

First, in my experience it’s much easier to convince groups to split up in the first place in an urban environment. Even groups that adamantly profess, “Never split the party!” will often still be comfortable doing it in an urban environment where (a) the risk seems minimal and (b) typical tasks so readily lend themselves to multitasking. (“You sell those mage-touched swords we took from the bandits and I’ll arrange for our rooms while the wizard gets his reagents. We can meet at the Onyx Spider afterwards.”)

WHO FIRST?

When the group splits up, whose scene should you frame first?

In general, what you’re looking for is the group whose scene is most likely to be interrupted the fastest. This might be:

• A complicated decision.
• A skill check.
• Some sort of logistical calculation.
• A dramatically appropriate moment.
• An unexpected rules look-up.

And so forth. Basically, any of the reasons you’d normally cut from one scene to another.

The reason for this is pretty straightforward: You’re dipping your toes in the first scene, and then as quickly as possible cutting away to another group. Not only does this keep everyone engaged, but you’re getting to the time-saving advantage of multitasking as quickly possible (with Group 1 continuing to resolve stuff in their scene while you’ve turned your attention to Group 2).

The slightly more advanced technique here is to first check for effective crossovers (those moments when elements or outcomes from one scene have an impact on another scene) and make sure you line them up.

For example, in this session I knew that the House Erthuo guards were likely going to stumble onto Tee, Agnarr, and Elestra with the corpses of the Erthuo researchers. This suggested a natural sequence in which:

• Ranthir and Dominic arrived at House Erthuo.
• Tee, Agnarr, and Elestra are discovered by the House Erthuo guards, resulting in a cliffhanger.
• Cut away from the cliffhanger back to House Erthuo, where Cordelia arrives and explains what the guards are doing there.
• Cut back to Ghul’s Labyrinth, to finish resolving the confrontation.

HOW LONG?

As you start juggling multiple scenes playing out across a city, you’ll need to answer the question of how all these scenes relate to each other in terms of time.

First, remember that you don’t have to keep time perfectly synced between the groups. In fact, you’ll almost always want to NOT do that.

For example, maybe the Erthuo guards showed up 30 minutes before Ranthir and Dominic arrived at House Erthuo and the whole interaction between the guards and the dungeon group “actually” played out before anything of interest happened with Ranthir and Dominic. But that would have been dramatically far less interesting. And, even more importantly, you want to scale time to balance table time.

The key thing is not to push this so far that PCs can’t respond to things they reasonably should be able to respond to. (For example, if Ranthir and Dominic would have been able to warn the other PCs that the Erthuo guards were coming, it wouldn’t have been fair to frame things in a sequence that would prevent them from doing that.) But, generally speaking, you’ve got a fairly large fudge factor and the players will generally support you by not deliberately doing anything that violates established causality.

(And if something does go askew, a minor retcon is rarely going to hurt anything.)

Speaking of the fudge factor, you’re usually going to find it easier to juggle multiple groups doing stuff at the same time if you “chunk” time. You can kinda think of this as establishing ad hoc turns, with each discrete group usually being able to do one thing per “turn.”

I usually think in terms of:

• the hour,
• the watch (4 hours), or
• the half day (morning/afternoon)

Which mental construct I find most useful depends on how “meaty” the PCs’ planned actions are. If someone is planning to gather information down at the Docks, I might think to myself, “That’ll take about half a day.” And so the active question becomes: What is everyone else doing with that half day?

Once you’ve collected those declarations, it’s not hard to become sequencing how things should resolve.

Here’s my final tip: If the group has fractured into three or four or more groups (often in the form of individuals scattering to the winds), write down their declarations. Just jot them down in your notebook. You don’t have to get fancy or specific with this, just a quick one or two word reminder:

• Tee/Agnarr/Elestra: packing
• Tor: training
• R/D: Erthuo

Just enough that you can re-orient yourself with a glance at he end of each scene.

NEXT:
Campaign Journal: Session 26B – Running the Campaign: Treasure Logistics
In the Shadow of the Spire: Index

SESSION 26A: TOR’S TRAINING

August 24th, 2008
The 13th Day of Kadal in the 790th Year of the Seyrunian Dynasty

After several mournful minutes in which little was said, they quickly decided that someone needed to return to the surface and notify House Erthuo of the death of Faeliel and the others.

Dominic and Ranthir took that heavy task on themselves. Tor left with them, needing to keep an appointment later in the morning.

The walk back to the surface took a little more than twenty minutes. Then they took carriages in opposite directions: Tor back towards Midtown; Ranthir and Dominic towards the Nobles’ Quarter.

When Ranthir and Dominic arrived at the estate of House Erthuo, they still weren’t sure what they were going to stay. Clambering out of the carriage they approached the two guards on duty at the gate.

“What’s your business here?” The guard had an edgy suspicion in his voice. It wasn’t until that moment that they realized what a dismal sight they must present – dusty and bloody from their delving.

“We bring news for Cordelia Erthuo.”

“News of what?”

“Of Erthuo workers who were retrieving an orrery. She’ll know what we mean.”

The guard nodded to his comrade, who left through the gate. They stood in uneasy silence for several minutes before Cordelia came rushing up.

MEANWHILE…

Tee, Agnarr, and Elestra had remained behind in the bloodwight complex to watch over the bodies.

Agnarr and Tee took the time to go back to the hall where the ghulworg had stacked the more cumbersome treasures from the Laboratory of the Beast, confirming that nothing had been taken by Ribok or the other servants of the Surgeon in the Shadows. Nothing was missing, although it was clear that the items had been rifled through.

The bluesteel door had been smashed open, proving that they were not completely impassable. But in the process, the door had also been rendered useless. There was nothing preventing the Surgeon’s men – or other intruders – from returning to these tunnels. So Tee made the decision to gather up the few remaining items of taint and chaositech from the obsidian temple, intending to take them to the safety of the facility Aoska had mentioned to them on the 12^th. They also took the time to strip the adamantine from the ghulworg’s skeleton, stacking it with the other items in the hall.

A little over forty minutes had passed by the time they returned to where Elestra had been waiting. As they were walking up, Elestra suddenly heard footsteps approaching from the direction of Greyson House.

It was still much too soon for Ranthir or Dominic to be returning, so they quickly moved into defensive positions: Tee kept a watchful eye focused in the opposite direction, while Elestra, Agnarr, and Seeaeti flanked the passage from which the footsteps were approaching.

“Do you want to send your dog down to the stuff we gathered?” Elestra asked. “You know, to guard it?”

Agnarr looked flatly at her. “No. I don’t.”

And then they fell silent, awaiting the approach of whoever – or whatever – was coming…

… they were House Erthuo’s men. Six of them, dressed in the livery of the house mercenaries.

MEANWHILE AT HOUSE ERTHUO…

Cordelia came rushing up. “Master Ranthir! Master Dominic! You’ve come from Greyson House?”

They nodded. “Yes,” Ranthir said.

Cordelia couldn’t help noticing their melancholy. “What’s wrong?”

“I’m afraid… Your men are dead.”

Cordelia gasped. “All of them? What happened? Even the guards I just sent?”

“Yes— Wait… the guards you just sent?”

After several moments of confusion, they quickly realized that they must have crossed paths with the House Erthuo guards. Cordelia had sent them after Faeliel failed to report in.

“Oh dear,” Ranthir said. “I hope nothing unfortunate happens.”

Cordelia asked them to return to the orrery site and help with the recovery of the dead bodies so that they could be given proper rites.

“Of course.”

MEANWHILE AT THE ORRERY SITE…

“What happened here?” The House Erthuo mercenaries, taking in the sight of their dead housemates, were clearly suspicious – if not outright hostile.

Agnarr – his sword still raised above his head – opened his mouth to respond, but Tee quickly stepped forward. “They were killed by a man named Ribok who worked for the Surgeon in the Shadows.”

“Who?”

“He works for the Balacazars.”

They clearly recognized that name. “Why would they want to kill scholars?”

“They were just innocent bystanders,” Tee said.

“We think they were looking for chaositech!” Elestra blurted.

“Back that way,” Tee said. “Beyond a bluesteel door. That’s where we met them.”

“And who are you? What are you doing down here?”

“My name’s Tee,” she said. “This is Agnarr and Elestra. We were the ones who sold the location of the orrery to Cordelia.”

At that, the Erthuo mercenaries finally relaxed and lowered their weapons. Agnarr followed suit.

“What happened to the murderers?”

“We killed most of them,” Agnarr said.

“Except Ribok,” Tee said. “He escaped.”

The Erthuo mercenary grimaced. “Not for long, if I have anything to say about it.”

The three companions helped the Erthuo men gather up the bodies. Ranthir and Dominic arrived during this morbid work. It wasn’t long before the dead were being carried up the passage towards Greyson House.

TOR’S TRAINING

Instead of taking his carriage into Midtown, Tor had it turn aside on Golden Elm Way and pass into the Temple District. When he arrived at the Cathedral, he quickly headed to Sir Kabel’s office.

After a warm and cheerful greeting, Sir Kabel took him back across the Cathedral’s courtyard and up the Godswalk towards the Godskeep.

 “The Godskeep serves as the headquarters and training facilities for the Order of the Dawn,” Kabel explained. “In truth, it is a set of twin keeps which have been joined by the upper towers.” He pointed up to the colossal statue of Crissa atop the western keep and the matching statue of Athor atop the eastern keep, both looking north.

Crossing through the Godskeep gateyard, Kabel led Tor out the far side of the keep. There stood the Statues of the Six Gods – Itor, Itehl, Sarathyn, Sayl, Bahl, and Tohlen. Smaller than the colossi atop the keeps, these statues were nonetheless impressive, standing three times as high as Tor.

“These are the heart of our order, Tor. Only Vehthyl has no statue here at Godskeep, but that should not be considered any slight. We are all sworn to serve the Nine Gods.”

Sir Kabel then led Tor into the Godskeep itself, and began recounting the oral history of the Order.

TOR’S PRIMER – RELIGION IN BARUND

Tor was born in 757 YD at the height of the Twenty Year War between Seyrun and Barund. Among other things, the Twenty Year War triggered a religious schism within the Imperial Church. After Seyrun invaded Barund, the king of Barund refused to acknowledge the Edicts of the Novarch (as those edicts were closely associated with imperial power in Seyrun). An outright refutation of the Novarch, however, would have put the king on somewhat shaky ground: For six centuries, the Line of Kings had been recognized and legitimized as a divine bloodright dating back to the Holy Coronation performed by the Novarch in 127 YD.

So the king declared that the Novarch, while still the Living Voice of the Nine Gods, had no secular or religious authority over the lands controlled by the divine bloodright of the Barundian royal family.

The supreme leader of the Church in Barund had always been the Prelate of Barund. The Prelate of Barund had been appointed by the Novarch and had authority over the regional prelates of the church throughout Barund. Following the religious schism, however, the king of Barund – on the authority of his divine bloodright – promptly appointed his own Prelate of Barund.

Following the end of the Twenty Year War, the schism was at least partly repaired. However, even today, there are still two Prelates of Barund: One appointed by the King and the other appointed by the Novarch.

This is all to say that Tor was born into and grew up during the height of this religious tension.

TOR’S PRIMER – ORDERS OF KNIGHTHOOD

Any order of knighthood has three things in common:

1. They follow the Code of Law as laid down in the Book of Athor.
2. They adhere to the Martial Code as laid down in the Book of Itor.
3. They honor the Seven Compassions as laid down in the Book of Crissa.

The Code of Law is your bedrock “thou shalt not” stuff: Don’t murder, steal, enslave your brother, and so forth.

The Martial Code is essentially your standard chivalric ideal: Face your opponent fairly and honorably.

The Seven Compassions are a bit more philosophically complex, and are also referred to in some commentaries as the Seven Cares. The compassions are of the self, the companion, the stranger, the task, the thought, the memory, and the true. In other words, care for yourself, for your companions, and for strangers. Take care with what you do, what you think, and it shall be remembered. And if you can do all that, then you will know true compassion. (For most people, the Seven Compassions boil down to “be nice to people” and “think before you act”.)

Collectively these are also known as the Way of Knighthood.

TOR’S PRIMER – THE DEEDS OF HONOR

Although not an official part of the Way of Knighthood, the Deeds of Honor are intimately tied to the popular conception of “what it means to be a knight”.

The Deeds of Honor, as written in the Book of Itor, are a collection of legendary tales of valor, honor, bravery, and faith. In some ways they serve as a kind of “scorecard” or exemplar of heroic actions. “He lives his life by the deeds of honor” is a common saying.

TOR’S PRIMER – THE ORDER OF THE DAWN

The modern city of Ptolus was founded by a man named Shay Orridar, the head of the Orridar merchant family (now defunct). It is said that the inspiration of the city was based on the research of the loremaster Gerris Hin, who was studying the ruins of an ancient city built on the same location.

As a result of Hin’s researches, Ptolus also became one of the early centers for the rejuvenation of Pantheon worship. The Knights of the Golden Cross, founded by Hin on the basis of his research into the old traditions which predated modern history, championed the cause of the Nine Gods.

The Knights of the Dawn were founded perhaps a quarter of a century after the Knights of the Golden Cross. The Knights of the Dawn, like the Knights of the Golden Cross, were dedicated to the Pantheon. The two groups became rivals of a sort, but the Knights of the Dawn became ascendant when they became the official protectors and guardians of the Imperial Church in Ptolus – an official Order of the Church.

The Order of the Dawn is now primarily a defensive knighthood, there to protect the temples, holdings, and interests of the Church. Only occasionally are they sent on quests, and then only with the direct blessing of the Silver Fatar.

The current leader of the order is Sir Kabel Dathim, who answers directly to the Silver Fatar of Athor.

NEXT:
Running the Campaign: Urban Splits – Campaign Journal: Session 26B
In the Shadow of the Spire: Index

SPOILERS FOR DESCENT INTO AVERNUS

Descent Into Avernus begins by having the PCs stand around doing nothing while the GM describes an NPC doing awesome stuff.

If then proceeds to “if they don’t do what you tell them to do, the NPCs automatically find them and kill them.”

It’s not an auspicious start.

EVERYBODY INTO THE HANDBASKET!

Although titled Baldur’s Gate: Descent Into Avernus, this adventure has very little to do with Baldur’s Gate.

It does begin in the city, however, with Baldur’s Gate being overrun by refugees from Elturel, a city further up the River Chionthar which has mysteriously vanished from the face of Toril. The PCs will spend a couple of days investigating Zarielite cultists in the city, discovering that they may have something do with Elturel’s disappearance. They will then be sent to Candlekeep to research an infernal puzzlebox they’ve recovered during their investigation, and Baldur’s Gate is never seen again.

A scholar at Candlekeep opens the infernal puzzlebox for them, revealing that Elturel has been taken to Hell as the result of a pact signed between the High Observer of Elturel and Zariel, the Archduchess of Avernus. The PCs are then sent to a different wizard, further down the road from Candlekeep, who can take them to Hell.

Arriving in Hell, they discover that Elturel is floating above the hellish plains of Avernus and slowly sinking into the River Styx. Jumping through a number of hoops, with NPCs sending them hither-and-yon, they eventually encounter an NPC who tells them that he’s had a vision from the god Torm, and the PCs are supposed to go forth and find the Sword of Zariel if they want to save the city.

So where is the Sword of Zariel?

Well, back in Candlekeep they were also introduced to a small, golden, flying elephant (technically an angelic being known as a hollyphant) named Lulu. Lulu came with them to Hell and it turns out she used to be Zariel’s warmount, but she’s lost all of her memories. She does remember one thing, though: She was at a place called Fort Knucklebones, and she met a couple of kenku there.

So the PCs leave Elturel and journey across Avernus to Fort Knucklebones. It turns out the kenku don’t know anything, but by a stroke of luck the hag who runs Fort Knucklebones has a machine that can restore Lulu’s lost memories. So Lulu gets strapped into the machine, she recovers her memories, and remembers where the Sword is!

… or, at least, that’s what Descent Into Avernus claims will happen. We’ll come back to this, but the reality is that Lulu has no idea where the Sword. Fortunately the PCs can jump through some more hoops and eventually claim it.

With the Sword in hand, they can confront Zariel and either redeem her, make a deal with her, or decide to join her. The last of these is rather unlikely (although good show to the book for considering the possibility), while either of the former two result in Elturel being saved and the PCs escaping from Hell triumphant!

THE REST OF THE BOOK

While the adventure may not be overly concerned with Baldur’s Gate, however, the same is not strictly true for the book. About fifty pages are given over to the Baldur’s Gate Gazetteer, detailing the city as it exists in 1492 DR. (Oddly, the campaign itself is described as taking place two years later in 1494 DR. There have been some recent indications that the campaign is canonically being moved back to 1492 DR in order to maintain continuity with Baldur’s Gate III… so we’ll just mark this down as “thoroughly confused.”)

The Gazetteer itself is quite serviceable, although much like the gazetteer of Waterdeep found in Dragon Heist, it pales in comparison to previous sourcebooks detailing the city. It notably includes a number of player-facing options, including customized backgrounds for characters from Baldur’s Gate.

The oddity here is that the discordance between the focus of the background material and the actual content of the campaign (in which the PCs are likely to only spend 48 or maybe 72 hours in Baldur’s Gate) renders the gazetteer largely useless for anyone actually running Descent Into Avernus.

It can also actively mislead DMs and put them on a bad footing. For example, the gazetteer includes a section on Dark Secrets:

During character creation, once players have developed their characters, they should collectively choose a dark secret shared by the entire party. Every member of the party is entangled in this dark secret, regardless of how new they are to the city or how incorruptible their morals. Maybe they’re merely witnesses, maybe they’re covering for a friend’s crimes, or maybe they’re deep in denial. Regardless, in the eyes of the law, they’re guilty. Each dark secret shares a number of elements. Players should work with you, the DM, to customize these particulars to the group.

These dark secrets include Conspiracy, Murder, Theft, and a Failed Coup. Each type of secret has multiple versions, and also details the PCs’ roles in the secret, the consequences of what they did, and who in Baldur’s Gate knows their secret.

This is a really cool concept and, for any campaign set in Baldur’s Gate, it’s a fantastic way of giving the PCs deep and meaningful ties to the city (and to each other).

The problem, of course, is that Descent Into Avenus ISN’T set in Baldur’s Gate.

So you get the players invested in these connections to Baldur’s Gate and lay down the seeds of what seems like an epic campaign. (For example, you want to overthrow the patriars and lead an egalitarian revolution.) Then, after just a couple sessions, the PCs blow town and leave all that stuff just dangling in the wind.

And some Dark Secrets are completely incompatible with the campaign. For example, the primary campaign hook is the PCs getting hired by the Flaming Fist to investigate some cult-related murders. One of the Dark Secrets is, “The Flaming Fist is corrupt. You turned against your commanding officer, seeking to take the Fist in a new direction. Now you’re branded a traitor.”

AMAZING IDEAS, FAILED EXECUTION

Unfortunately, a lot of Descent Into Avernus is like this: There’ll be an amazing idea, incredibly cool concept, or breathtaking revelation, but then the execution of that idea will be broken or simply lackluster.

For example:

DIA: Do you want to play MAD MAX IN HELL with infernal muscle cars fueled by the souls of the damned?

Me: Fuck yes, I do!

DIA: Just kidding. We’re not doing that.

Me: …

These infernal war machines were actually hyped quite a bit in the pre-launch marketing for Descent Into Avernus. In the book itself, there are two and a half pages which are just straight up the introduction to a Warlords of the Avernian Wastelands campaign. It is straight up cooler than anything else in the entire book.

And then it just… vanishes.

There are a couple of scenes where an infernal motorcycle is parked nearby because that’s how an NPC showed up.

That’s it.

It’s really weird.

My best guess is that this was a really cool idea that somebody had really late in the development of the book and they just couldn’t integrate it?

But maybe not. Because, like I said, this is kind of a pervasive problem for the book.

DIA: Do you want to explore HELL ITSELF ON THE WAR-TORN PLAINS OF AVERNUS?

Me: Fuck yes, I do!

DIA: Just kidding. We’re not doing that.

Me: … stahp.

The book frequently talks about how the PCs are going to be “exploring” Avernus. But then it goes out of its way to stop them from doing that in almost every way possible.

For example, it’s impossible to make a map of Avernus. Apparently the Lawful Evil plane of Avernus is so chaotic and ever-shifting that anyone trying to map it goes insane.

(This is, it should be noted, something that was made up specifically for this adventure. It not only doesn’t make sense — read my lips: Lawful — it explicitly contradicts preexisting lore.)

The reason they don’t want you making a map is because navigation is meaningless. If you want to go somewhere, it’s completely random whether you get there or not:

Using the map to chart a course from one location to another is unreliable at best… When charting a course through Avernus, ask the player whose character is overseeing navigation to roll two dice:

• Roll 2d4 if the characters are traveling to an unvisited destination marked on their map.
• Roll 2d8 if the characters are returning to a destination they’ve visited previously.
• Roll 2d10 if a native guide is leading the characters to their destination.

If the rolls of both dice don’t match, the characters arrive at their destination as intended. If the dice match, they wind up somewhere else: pick one of the other locations.

Despite maps being both impossible and useless, the adventure nevertheless gives the players a poster map. It’s unlabeled and, again, the spatial relationships it depicts don’t actually exist, so it’s utterly useless for literally anything you might actually use a map for. But it is very pretty, so it has that going for it.

(Astonishingly, neither Elturel nor Fort Knucklebones — the two places the PCs would start navigating from — are depicted on the map. The DM is told that they can put them anywhere on the map they want, but — once again! — this is pointless and has no meaning.)

The one thing the map does do is magically talk to the PCs: Every time they go somewhere, the map tells them exactly what it is and where they are before they have a chance to explore and find out.

“Okay, we’ve made sure it’s impossible to run an exploration scenario on Avernus.”

“But what if the players nevertheless accidentally discover something for themselves and feel a momentary frisson of delight at exploring the unknown?”

“Oh shit! We gotta put a stop to that!”

Without actually seeing it in the book, I think it’s difficult to really believe the lengths Descent Into Avernus goes to in order to make sure that the players absolutely cannot explore Avernus in any possible way.

Even the smaller cool ideas in the book are often mucked up. For example, there’s a Zarielite cultist in the first part of the adventure whose dying words are, “See you in Hell!”

Which is so goddamn clever, right? Because the PCs are going to go to Hell later on and then — presto! — there she is.

… she doesn’t show up in Hell.

THE WEIRD RAILROAD

DIA: Do you want to play a nice game of CHOOSE. THAT. RAILROAD?!

Me: Fuck no!

DIA: All aboard! Let’s GO!

Me: Goddammit.

The problem with shouting, “It’s time to explore Avernus!” but then blocking any and all attempts to actually explore Avernus is that you’ll need some other mechanism to move the campaign forward. Descent Into Avernus chooses to do this by presenting the players with the choice of two different railroads they can follow.

It’s difficult to explain how poorly this is done.

We start with Lulu getting her memories back. She wakes up from the procedure and shouts, “The sword! The sword! I know where it is!”

Spoiler Alert: She doesn’t.

Instead, her “dreams lead the characters on a wild goose chase to Haruman’s Hill.”

There are a couple problems with this. First, there’s no clear reason given for why Lulu thinks Haruman’s Hill is where the Sword of Zariel is. Second, given the timeline presented in the book, it’s fairly clear that Haruman’s Hill did not and could not exist when Lulu was in Avernus.

But, OK. Fine. This thing that makes no sense happens.

So the PCs go adventuring at Haruman’s Hill for a little while, they figure out that Lulu took them to the wrong place, and then Lulu says: “I’m so sorry! My memory is a little hazier than I thought! Having pondered my dreams further, I think there are two sites in Avernus that are important to finding the sword! Choose between a place where demons manifest and one where demons are destroyed.”

But, once again, there’s no reason given for why Lulu thinks either of these locations have anything to do with the Sword of Zariel.

And that’s because they don’t.

They have nothing to do with the Sword. They have nothing to do with Lulu’s memories. There is absolutely no reason for Lulu to say that the PCs should go there. And if you do go to either location, it becomes immediately and abundantly clear that this is the case.

Despite Lulu telling the PCs to go to the wrong place and then immediately doing it again, the book assumes that the PCs will just continue blithely along the “path” they’ve “chosen,” even though there’s no discernible reason for them to do so.

This is not the only example of weird scenario structures in Descent Into Avernus. At the beginning of the campaign, for example, the PCs have followed a lead to the Dungeon of the Dead Three. In order to the adventure to continue, they have to speak with a specific NPC. But:

• The NPC is located behind a secret door. (Which the designers bizarrely go out of their way to make difficult to find, even going so far as specifying that a normal rat will absolutely NOT reveal its location if someone randomly casts speak with animals on it.)
• The NPC immediately identifies himself as the serial killer they’re here to kill.
• The NPC, having just confessed that he’s the serial killer they’re here to kill, says, “Hey, can you help me take revenge on the people who tried to kill me?”

Assuming the PCs agree to help this guy for some reason (and, remember, they have to in order for the adventure to continue), he tells them that they should kidnap his brother so that they can use him as leverage while negotiating with their mother.

But negotiating with their mother to do… what?

Descent Into Avernus doesn’t seem to know. And promptly forgets the idea except to briefly tell you it definitely won’t work (because their mother will “happily watch any of her sons die before consenting to ransom demands”).

The failure of the scheme doesn’t bother me. (“Go ahead and kill him, I don’t care,” is a perfectly legitimate moment and builds pretty consistently from her known relationship with her kids.) What bothers me is that there doesn’t seem to BE a scheme.

The PCs are, once again, told to do a thing, but given no coherent reason for doing it.

This happens again when an NPC tells them they should teleport to Hell and save Elturel. They’re 5^th level characters who have no special abilities, knowledge, or resources teleporting to a city which has been established to be filled with high level arcanists, clerics, and warriors who obviously haven’t solved the problem. What are they supposed to do, exactly? And why does that make more sense than investigating the Elturel crater or seeking a cure for Lulu’s amnesia?

Later Lulu tells them that she remembers meeting some kenku at Fort Knucklebones. Maybe they’ll know about her lost memories?

So the PCs go to Fort Knucklebones, they meet the kenku, and the adventure says, “The kenku Chukka and Clonk instantly recognize Lulu, since they’ve met her previously.”

And then… nothing. Literally nothing. The kenku remembering Lulu is never mentioned again.

What is going on here?

It’s a cargo cult.

THE CARGO CULT

Let’s take one step back: RPG adventures are built using scenario structures. A dungeoncrawl is one type of scenario structure. A mystery is another. There are many others, including things like heists, hexcrawls, raids, etc.

A significant problem in RPG design is that these scenario structures aren’t really talked about. DMs and even designers just kind of pick them up (often imperfectly) by osmosis. Most of them are limited to just dungeoncrawls, mysteries, and railroading.

What’s happened with Descent Into Avernus is that the designers have sort of flailed their way into a malformed scenario structure which consists of, “An NPC tells the PCs where to go and then the PCs go to there.”

Once you realize that, you can’t unsee it: The entire campaign is just that one structure repeated infinitely. An NPC tells you where to go, you go there, and you find another NPC who tells you where to go.

Because this malformed structure is apparently the only thing they have, it seems to have become a kind of cargo cult for them: They know that NPC A has to give some sort of “explanation” for why the PCs need to go to NPC B, but they don’t actually care what that explanation is.

And they assume the players won’t care either. The presumption is that the players are onboard and the words coming out of the NPC’s mouth are just, “Blah blah blah Vanthampur Villa blah blah blah.”

So why do they put essential encounters behind secret doors? Because if the PCs haven’t found the NPC to tell them where to go next, clearly the players will know to keep looking until they find them!

Why are the PCs told to go talk to people without being given any coherent reason for doing so? Because the reason is irrelevant. It’s just white noise around the person’s name.

Why does the adventure assume the PCs will plane shift to Hell without having any reason to do so? Because an NPC told them to!

Why doesn’t the adventure tell you what the kenku remember about Lulu? Because the writers don’t care. “The kenku might remember Lulu” was just the blah-blah-blah dropped around “Fort Knucklebones.” Once the kenku tell the PCs that they should “blah blah blah talk to Mad Maggie blah blah blah,” the writers assume that you will no longer care about the previous blah blah blah.

It’s a cargo cult because the designers have seen PCs talking to an NPC and then going where that NPC tells them to go. But this interaction has become ritualistic. The designers repeat the form, but with none of its semantic content. It’s a hollow shell lacking meaning and seemingly ludicrous to anyone seeking to rationally understand it.

CONCLUDING THOUGHTS

So what is Descent Into Avernus, exactly?

First, it’s a pretty good gazetteer for Baldur’s Gate.

Second, it’s a big ol’ bundle of cool concepts studded with memorable moments, evocative lore, and epic stakes.

• Mad Max in Hell
• The redemption of the Archduchess of Avernus
• The secret history of the Hellriders
• The fall of an entire city into Hell (and its possible salvation)
• Machinations among the dukes and duchesses of Hell
• Thrilling political stakes in both Baldur’s Gate and Elturel

Along with a gaggle of vivid dungeons crammed with flavor and featuring unique gimmicks (sewer temples, ghost prisons for damned souls, floating hellwasp nests, a crashed Avernian warship, etc.).

We should also not discount the huge cast of varied, larger than life characters (broken families, nefarious cultists, magical shields, maniacal scholars, proud leaders, pitiful victims).

Third, it’s a couple of pretty fantastic poster maps.

Unfortunately, all of this is wrapped up in a completely dysfunctional package. The intriguing characters and big ideas are hopelessly morassed in the broken logic of the campaign and crippled by a careless disregard for continuity. The cool set pieces are sapped of meaning, frequently broken by poor execution, and almost universally left as hollow disappointments of unrealized potential.

Would I recommend it?

Unfortunately, no. The amount work required to salvage Descent Into Avernus is, sadly, staggering in its scope. Despite its potential, there are simply so many better adventures out there that do not need to be completely revamped from the ground up to make them work that it’s impossible to say that you should spend your time grappling with this one.

(Unless, of course, some hopeless fool has already done a bunch of that work for you.)

Style: 4
Substance: 2

Story Creators: Adam Lee (lead), James Introcaso, Ari Levitch, Mike Mearls, Lysa Penrose, Christopher Perkins, Ben Petrisor, Matthew Sernett, Kate Welch, Richard Whitters, Shawn Wood
Story Consultants: Joe Manganiello, Jim Zub
Writers: Bill Benham, M.T. Black, Dan Dillon, Justin Donie, James J. Haeck, James Introcaso, Adam Lee, Chris Lindsay, Liane Mersiel, Shawn Merwin, Lysa Penrose, Christopher Perkins, F. Wesley Schneider, Amber Scott, James Sutter
Developers: Jeremy Crawford, Dan Dillon, Ben Petrisor, Kate Welch

Publisher: Wizards of the Coast
Cost: $49.95
Page Count: 256

Go to Table of Contents

We’ve analyzed the revelation lists of Storm King’s Thunder and we’ve revised those revelation lists by adding and enhancing clues throughout the campaign.

Before we move on, I want to talk for a moment about the fact that what we’ve seen so far is not what my typical revelation list looks like. In the middle of a session, of course, you don’t want to have to remember that there’s a clue on the revelation list that you need to inject into a particular scene or location. You want that information to be at your fingertips and ready to go.

So although we’ve been detailing what our revised clues will be on the Remix’s revelation lists, what I would do in actual practice is:

• Work the clues into the actual key of the adventure.
• Write up a much more streamlined revelation list to serve as a combination of index and checklist during play.

The revelation lists that we’ve presented here in the Remix, therefore, are best thought of as worksheets or to-do lists. The expectation here is that you’ll add this material to your prep notes, develop it where necessary, and distill a final revelation list for use in actual play (that isn’t bloated with the now extraneous details).

MAKING THE REVELATION LIST

Let’s consider the revelation list for Deadstone Cleft. In Part 3B of the Remix, our worksheet list for this revelation looked like this:

DEADSTONE CLEFT – CANYON OF THE STONE GIANTS

• Uthgardt Blessings (Stone Stand). Members of the Blue Bear tribe, which has recently formed an alliance with Kayalithica of Deadstone Cleft, seek blessings from the Grandfather Oak at Stone Stand for their efforts. They do so by describing their endeavor on the tanned hide of a bear, which is then tied with blue gut-string in ceremonial knots and left within the clefts between the old oak’s roots. One of these was left by Kriga Moonmusk (p. 66) seeking blessing for her alliance with Kayalithica. The document includes a reference to Deadstone Cleft as Kayalithica’s fortress. (The PCs should be able to make inquiries to identify the location of Deadstone Cleft.)
• Silixia (Grayvale), p. 88. This young brass dragon will point the PCs towards Deadstone Cleft.
• Grudd Haug – Area 13: Prisoner. Gryhawk, the Uthgardt prisoner here, is from the Blue Bear tribe (instead of the Elk tribe). He was a spy sent by Kayalithica, but was captured by the giants. If freed, he will thank the PCs (as described on p. 144) and tell them that he is certain they will also have the thanks of the greater giants that he serves when he returns to Deadstone Cleft.
• Svardborg – Area 1G: Throne Room. Jarl Storvald has correspondence from Kayalithica, in which she proposes, with the Ordning dissolved, an alliance between them — one in which her giants will “tear apart all that the little ones have built, restoring Ostoria to its glory” under her rule, while Storvald’s reavers will “rule the seas.” Her letter notes that she has traveled to consult the oracles of Deadstone Cleft in the Graypeak Mountains, and it has suggested that the All-Father and fortune alike would smile on such an alliance.
• Questioning/Backtracking Giants. Grayvale Run (p. 88), Llorkh (p. 96), Orlbar (Zorkh, p. 103). The origins of the giants in Grayvale Run and Llorkh are not indicated in the text, but are from Deadstone Cleft.
• Eye of the All-Father, p. 151. Oracle gives them directions.

Ultimately, in my prep notes for the campaign this revelation list would look like this:

DEADSTONE CLEFT – CANYON OF THE STONE GIANTS

• Uthgardt Blessings (Stone Stand)
• Interrogating Silixia (Grayvale), p. 88.
• Uthgardt Prisoner (Grudd Haug, Area 13)
• Kayalthica’s Letter to Jarl Storvald (Svardborg, Area 1G)
• Questioning/Backtracking Giants. Grayvale Run (p. 88), Llorkh (p. 96), Orlbar (Zorkh, p. 103).
• Directions of the Eye of the All-Father, p. 151.

It’s not difficult, obviously, to see the rather radical difference between these two lists, and how much easier it would be to reference and use the latter during play. (For more details on this, check out Using Revelation Lists.)

ADDING THE CLUES

In How to Prep a Module, I discuss how I prepare my notes for a published adventure like this. The short version is that, rather than rewriting entire locations, my notes usually consist of a diff doc (which simply notates what changes or new elements are added to the published key).

For example, Area 13 of Grudd Haug (STK, p. 144) reads:

13. PRISON

In the area north of the pigpen, rivulets of water trickle down the north wall and carve shallow ruts in the floor as they snake their way across the room and through openings in the opposite wall. Five wooden cages are arranged about the room. Their doors are situated on top, with heavy rocks placed on them. A creature can use an action to attempt a DC 15 Strength (Athletics) check to knock off a rock or open a cage door that has a rock pressing down on it. The sound of a rock hitting the cave floor alerts the guards in this area.

Three of the five cages contain prisoners destined for Guh’s gullet. Two bugbears guard the prisoners. These bugbears can’t be surprised once the alarm sounds or if they hear combat in area 12.

PRISONERS

Unless otherwise noted, all the adult prisoners are commoners. Child prisoners are unarmed noncombatants with AC 10 and 2 hit points each.

One cage contains human farmers: a father, a mother, and their three children (a teenage girl and two boys).

A second cage holds an unarmed tribal warrior of the Elk tribe, Gryhawk (CN male Uthgardt human). He fights alongside his liberators. If he makes it out of Grudd Haug, he bites the palm of his hand and tries to smear his blood on the faces of those who freed him. Anyone who succeeds on a DC 13 Intelligence (Religion) check realizes that this gesture is a sign of gratitude. Gryhawk leaves to return to his tribe whether the characters accept his gratitude or not.

A third cage holds an unarmed prisoner: Emerald Enclave member Ghalvin Dragonmoor (CG male half-elf scout). If freed, he asks the characters to escort him to Goldenfields, so that he can report to the Abbot what he has seen.

In my prep notes I would simply write:

AREA 13 – PRISON

Gryhawk: Blue Bear tribe member.

• Spy sent by Kayalithica.
• If freed, tells PCs that he is certain they will also have the thanks of the greater giants that he serves when he returns to Deadstone Cleft.

And that’s it. Super simple.

When running adventures like this, my procedure is simply to check my prep notes first to see if there are any modifications to an area and then refer to the printed adventure. (This means that I have the changes I need to make in mind as I scan the text, and can easily apply them as I go.)

On rare occasions, an area or scene may need to be so completely redesigned that it’s easier to just rewrite the whole thing. If that’s the case, I indicate this in my prep notes (with a tag like [REVISED]) and then I know I can just ignore the printed adventure entirely for this bit.

I also recommend paying attention to opportunities to prep physical props. Kayalithica’s letter to Jarl Storvald is a perfect example of this: Actually writing out the letter will take a little extra effort, but it will be a big value-add for the campaign and pay dividends as the PCs explore the sprawling twists and turns of Storm King’s Thunder.

Go to Part 4: Hekaton is Missing!