The Alexandrian

Posts tagged ‘in the shadow of the spire’

Ptolus - In the Shadow of the Spire
IN THE SHADOW OF THE SPIRE

SESSION 23A: LET SLIP THE DOGS OF HELL

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

“WHO DARES TO VIOLATE THIS SANCTUARY OF CHAOS?”

They whirled around and looked up. Above, on a balcony in the tower directly above them, a demon with a goat-like head was floating several feet off the ground. It carried a vicious looking axe Rhodintor - Ptolus: City By the Spirewith a blade that gleamed in the sun.

Its powerful legs pushed off the wall behind it, propelling it above their heads. It then dropped to the balcony, floating a few inches above the floor as it swung the axe towards Tee’s head.

Tee tumbled backwards, rolling to her feet in a low crouch. Tor and Agnarr pushed past Ranthir, raised their swords – which they had held uneasily by their sides during the conversation with the Cobbledman – and attacked.

The demon caught Tor’s blade with the broad side of his axe, but Agnarr’s sword cut deeply into its arm. It felt as if he was chopping into a block of solid wood, but the magic blade cleanly cut through the thick skin and found the blood and bone below.

The demon threw back its head and howled in pain. It swept the axe violently back and forth – first smashing the broad side of it against Tor’s head (sending him staggering) and then reversing the blow to smash into the Agnarr’s ribs.

Agnarr gasped as the axe cut through his armor and deep into his side, sending a gush of blood pouring from the wound. The demon’s horns jutted forward, smashing into Agnarr’s forehead.

Elestra reached out, feeling the Spirit of the City and using her own force of will to energize the strength of it around her.

Ranthir, meanwhile, was thinking quickly: He hit the demon with a powerful disenchantment, causing its levitation charm to vanish. The demon fell, landing awkwardly and stumbling forward.

Agnarr, grimacing through the pain, took advantage of the momentary distraction and swung his sword again.

The demon whirled away from the blade, but it still cut deeply into his side. Then it ducked under Tor’s blade and leapt over the parapet, murmuring demonic syllables. Arcane powers caught it up in the air and it levitated out over the central courtyard.

As it turned back to them, Elestra finished gathering her strength and focused a sizzling arc of lightning which tore through the demon where it flew. But the demon seemed entirely unfazed as the electricity leapt from its horns and arced through its body, instead crying aloud: “You will rue the day that you crossed the path of True Chaos!”

Tee, who had retreated back into the keep itself, suddenly heard heavy footsteps thudding across the stone ceiling above her – which would mean that something was on the roof! “Look out!”

But she was too late to warn any of them. Two hounds of hell leapt from the upper level, landing on the balcony near Tor and Agnarr. Their skin had the appearance of cooled lava; their eyes were smoldering pits; and their nostrils breathed gouts of flame. As they skidded across the balcony, they turned and gaped their mouths: Twin cones of flame washed across Agnarr and Tor.

But Tor had raised his shield at the last possible moment, and Agnarr had eased in behind it: Although they still felt a little broiled in their armor, they were mostly angered by the fell beasts.

Although that might have been more true for Tor than it was for Agnarr, because a huge grin was growing across the barbarian’s face: “Dogs! They’re dogs!”

Tee called out from behind him: “You are not allowed to keep one!”

The smile fell from Agnarr’s face, and he dutifully moved forward with Tor. Their blades worked in quick unison and – although the hounds were covered in skin like liquid stone – their magical blades made quick work of them.

Meanwhile, the demon had fled – abandoning his hounds, reaching the far wall of the keep, and dropping down out of sight.

THE SQUARE TOWER

With the demon gone and the demonic hounds reduced to a pile of burning slag, Elestra released the powers of lightning she had called and the smell of ozone faded from the air. Turning to the others she said, “So where to now?”

“I still want to try to get to the square tower,” Tee said. “If Maquent’s journal is still accurate, then the other half of the spiral contrivance or key or whatever it is must be hidden in there.”

There had been a trapdoor in the ceiling of the room filled with arcane symbols and the remnants of old rites, so they climbed up through that to reach the roof. From there they were able to cross over to the square tower.

But they found that the square tower had no doors or windows. Tee donned her boots of levitation to reach the top of tower, but there was no entrance there, either. She then spent the better part of half an hour scouring every inch of the tower’s 24-foot high walls, convinced that there must be some hidden entrance.

Ranthir, meanwhile, was looking through Maquent’s journal. Just as Tee, in frustration, was giving up on her search, Ranthir reread the entry from Noctural 14th, 787 YD. Then he read it out loud to the others: “I have somewhat befriended the Cobbledman. He grows more mad with each day, however. I hid my half of the spiral contrivance in his tower with him. I shall not even tell Radanna. Of course, she will not tell me where she keeps her half, either, but there’s only one place it could be. Certainly no one could sneak a ladder up to that secret door without her knowing about it.”

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

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

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

When she turned it, however, the entire stone block – 6-feet to the side – came loose and fell. It slammed into her and spun her down and to one side. Agnarr, standing below, was caught squarely by the block and driven to the ground.

Dominic rushed forward to help. Agnarr pushed the rock off of his crushed legs and waited patiently for the priest’s holy energy to repair his broken bones. “I’m getting tired of falling rocks in this place.”

“I think they went with cheap mortar,” Dominic said, reaching out to lay a hand on Tee’s bleeding scalp as she settled woozily to the floor next to them.

“When we move in here it’ll have to be the first thing we fix,” Ranthir said.

“We aren’t moving into the demon-infested house,” Tee said.

Tor smiled. “It won’t be demon-infested when we’re done with it.”

“That’s right,” Elestra said. “We’ve already scared off one demon today.”

“He’ll be back,” Tee said grimly.

The stone block had revealed a hole leading through the floor into the bottom level of the square tower. Niches carved in the sides of the hole would make it easy for someone to climb up if they were at the top of a ladder, but they were superfluous for them: Tee’s head was clearing now and so she floated up through the hole.

She emerged into a small, square room. A ladder of iron rungs driven into one wall led up to a trapdoor. The other walls of the room were covered with carved niches. Most of these niches were empty, but in four of them Tee could see flasks of liquid. In another there were a half dozen sticks of black-and-gold incense. In a sixth lay a small gray idol.

Tee grimaced. “I hate idols. Idols haven’t been nice to me.” She unlaced her boots and dropped them down so that Agnarr could follow her up.

Tee climbed up the ladder to the next level of the tower. Here she found a plain room of stone with an iron chest lying off to one side. The ladder continued up to a trap door of stone secured with a thick iron bar.

Black and Red Spiral - Lower HalfThe lock on the chest proved tricky, but Tee eventually managed to get it open. Inside she found bags of silver and gold coins, a thick candlestick of pure gold, and a finely-crafted headband of woven silver. Laying at the bottom chest was half of a circular disk of black obsidian with a bright red stone spiraled through it.

Tee climbed back down the ladder and found Agnarr peering quizzically at one of the niches. “Don’t touch anything. I’ve found Radanna’s half of the contrivance… key… whatever it is.”

“Now we just need to kill the Cobbledman for the other half.” Agnarr grinned.

“I don’t think we’ll need to kill him. He seemed all right with the idea of letting us borrow it.”

“I thought it was inside of him. He grabbed his chest when he was talking about it.”

“I think he was just grabbing at something under his shirt.”

“Oh.” Agnarr thought about this for a second and then jerked his head towards the niches in the wall. “Should we take this stuff?”

Tee glowered at the idol. “I guess we’d better figure out what it is. Why don’t you go back down and send Dominic up to look at it.”

Agnarr shrugged and jumped down through the hole.  He handed the boots over to Dominic, who murmured a prayer to Vehthyl and floated up just high enough for his eyes to clear the edge.

He was able to quickly identify the flasks as containing unholy water. The incense had a strong aura of magic about them.

“And the idol?” Tee asked.

“It has no enchantment upon it. I think it’s safe.”

Tee picked it up and found that it was formed of compressed ash. It was really nothing more than a trinket. She stuck it in her bag, decided against taking the unholy water, and then gingerly picked up the incense.

Dominic, meanwhile, had floated back down to join the others. Agnarr threw the boots back up, Tee laced them up, and floated down. She held out the sticks of incense. “Ranthir can you identify what these are?”

Ranthir took them and raised his eyebrows. “I can, actually. These golden runes on the side are unmistakable. This is vision incense. The six sticks must be burned simultaneously, and their conjoined enchantments create a powerful connection between this world and the dreams of those nearby. Great truth can be found in the visions revealed by incense like this. There are many in Isiltur who use it.”

NEXT:
Running the Campaign: CliffhangersCampaign Journal: Session 23B
In the Shadow of the Spire: Index

Ptolus - In the Shadow of the Spire
IN THE SHADOW OF THE SPIRE

SESSION 22C: WORKINGS OF THE CHAOS CULTS

May 18th, 2008
The 10th Day of Kadal in the 790th Year of the Seyrunian Dynasty

The walls, floor, and ceiling of the room were covered in a haphazard array of magical circles, symbols, and strange characters. The sight was almost dizzying. After little more than a glance, Tee called out for Ranthir to join her.

Ranthir quickly identified the symbols as belonging to a variety of rites, although none were immediately known to him. He did note that many of them bore a more than superficial resemblance to the rites performed by the Seyrunian demon-binding cults of the previous century. And others seemed to have something to do with the creation and binding of energy. Some simply seemed to be mad scribblings to which Ranthir could not ascribe any immediate sense. One particular section of the wall had been completely covered in charcoal, and then written upon in chalk:

Tee, meanwhile, had discovered that one of the wood panels on the floor was loose. Prying it up revealed a small cache containing two books and a gold ring bearing the device of a broken square:

Ranthir was immediately distracted by the books. Eagerly taking them from Tee’s hands he began flipping through them.

TRUTH OF THE HIDDEN GOD

What appears, at first, to be a copy of the Book of Athor is nothing of the sort: The pages inside are covered with scrawled diagrams and heretical desecrations of the Nine Gods.

A closer reading reveals this to be a cult manual for the “Brotherhood of the Blooded Knife”. The cult venerates chaos in all its forms, focusing their blasphemous rituals around the practice of human sacrifice. These sacrifices are given to a Galchutt named Abhoth, who they venerate as the “Source of All Filth” and the “Lord of the Zaug”.

Disturbingly, much of the book is given over to material designed to mock the holy rituals of the Church. It appears that the cult establishes itself secretly in society by posing as other religious orders. Actual followers of the deity may choose to join them, usually to their dismay – either they come to join the cult itself or they die beneath the cult’s “blooded knife”.

In other cases, a few cultists will infiltrate another religion and use force, blackmail, magic, or simple persuasion to sway its members into secretly worshipping chaos. This process can take years, but eventually the cult eats the other religion from the inside out, consuming it until the temple is entirely a front for the altars of the Brotherhood hidden in their subterranean complexes.

The last few pages of the book appear to be a prophetic rambling of sorts, beginning with the words: “In the days before the Night of Dissolution shall come, our pretenses shall drop like rotted flies. In those days the Church shall be broken, and we shall call our true god by an open name.” The remainder of this section is a description of the faux religious practices for a fanciful “Rat God”, with the apparent intention being that a church could be openly established for this “god”. Eventually, the prophecies, say even this “last pretense” will be abolished and “Abhoth shall be worshipped by all who are not blooded by the knife”.

TOUCH OF THE EBON HAND

The pages of this volume are filled with disturbing and highly detailed diagrams of the most horrible physical deformities and mutations. A closer reading quickly reveals that these deformities – referred to as “the touch of the ebon hand” – are venerated by the writers as the living personification of chaos incarnate. Particularly prized are those functional mutations – an extra eye or oversized arms, for example.

The rest of the book describes horrid rites which make it clear that the Brotherhood of the Ebon Hand not only idolizes deformity and mutation, but seek to inflict it and spread it as well: Ritual scarring. Magical alteration. Alchemical experimentation. Chaositech-induced mutation.

Members of the cult have no distinctive garb, but they usually bear the symbol of a black hand in some form: A tattoo. A charm. A small embroidery on their clothes. Or so forth. Of course, most of them are also marked by their mutations.

THE COBBLED MAN

As Tee continued searching, Elestra also came into the room. Looking over Ranthir’s shoulder she pointed at the charcoal wall: “We’ve seen three of these symbols now. The hand, the knife, and the broken square.”

“I wonder what the others could mean.”

“Something to do with the cults, I guess.”

They continued chatting quietly as Tee probed at the walls and the floor.

Dominic, in the tower outside, stood looking in at them. And then pain rushed through his body as a heavy blow landed across the back of his skull.

Stumbling forward he felt a horrible wave of nausea rip through his body. Turning he saw a horrific, monstrous man: A second head had been awkwardly attached to its shoulder, and the muscles of its arms and legs were grotesquely over-developed. The hair on both of its heads was greasy, lanky, and sparse. The eyes on one of the heads was shut, but the eyes of the other were filled with rage. In its right hand it clenched a silvery rod.

“WHY ARE YOU IN WUNTAD’S ROOM?”

Its voice was a dull boom. Its words sullen.

Tor, reacting almost instantly, rushed up the stairs from below. Emerging into the cramped base of the tower, he was clipped nastily along the side of his head. Like Dominic, he felt a nauseous wave pass over him. Shaking it off, he swung his sword – opening a vicious gash in the creature’s arm.

Ranthir rushed out, as well. “Can’t we just work this out?” But his voice was drowned out in the sudden chaos of the melee.

But then Tee shoved her way past him and her voice carried a greater authority: “Stop it! Wuntad sent us! Stop it now!”

The creature froze, its massive hand hovering to deliver a devastating blow on Tor. “Wuntad sent you?”

“Yes,” Tee lied, putting as much earnestness into her voice as she could. “He sent us.”

“He’s been gone so long. I’ve been alone for so long…” The dimwitted voice was filled with painful sorrow.

Tee softened. “Are you the Cobbledman?”

“… someone called me that. Once. They left too. A long time ago.” The Cobbledman clutched absently at the rags on his chest. “They left me all alone… Do you have any food?”

Ranthir fumbled at one of his pouches and then held out an iron ration. “Why didn’t you leave?”

“Can’t leave.”

“Why can’t you leave?”

“Wuntad put something in my brain. Make me loyal. Make it hurt to leave. Can’t leave until Wuntad say I can leave.”

Ranthir had a sickly certainty that this was a betrayal of the flesh. He could see telltale lumps beneath the Cobbledman’s skin – tubes and… other things.

“What happened to Wuntad?” Tee asked.

“Don’t know. The angry men in the metal suits came. There was lots of angry noise. I hid in my tower. And then everyone left… You’ll leave me, too, won’t you?”

No one had an answer for that.

“Cobbledman,” Tee said carefully. “Do you have a piece of metal that looks like a spiral?”

A look of something very like panic entered the Cobbledman’s eyes. “Yes.”

“Could we have it?”

“No! No! My friend gave it to me! I have to keep it safe! She said so!” His hand groped against the rags on his chest, clutching something beneath them.

“I understand,” Tee said gently. “But if we promised to bring it back, do you think we could borrow it? You could even come with us.”

“Maybe…” The Cobbledman seemed to be losing focus. “Do you have any more food?”

Ranthir gave him some more and the Cobbledman chewed it absentmindedly. “I’m going to go to sleep now. So very hungry…”

He began shambling back across the bridge and disappeared into this tower. They watched him go, sadness and pity filling their hearts.

“Well,” Tee said. “At least we know where one part of the spiral key is. Now we just need to find out where Radanna hid hers.”

NEXT CAMPAIGN JOURNAL

Amelia Tucco - Sperm Oil Can (Edited)

DISCUSSING:
In the Shadow of the Spire – Session 22B: At the Top of Pythoness House

The door was locked, so Tee kneeled next to it and got to work. Agnarr, standing nearby, decided to start oiling the hinges. Tee, remembering the last time Agnarr had decided some hinges needed oiling, began grinding her teeth, but managed to ignore him… mostly.

This session contains a callback to Session 10A: The Labyrinths of Ghul. In that session, I described the ancient hinges of a door in the dungeon as squealing loudly. While Tee explored the room beyond:

Agnarr, meanwhile, started playing with the iron door – moving it back and forth and causing the ancient hinges to squeal horribly. Tee was visibly annoyed. “Stop it. We don’t know what’s down here.”

First, I’d like to take a moment and acknowledge what a great roleplaying moment this is. We often think of great roleplaying as being exemplified in big dramatic or emotional scenes, but this simple little interaction actually demonstrates the heart of all great roleplaying. It’s a player being fully immersed in a moment and simply asking themselves (almost unconsciously), “What would my character do?”

And in this particular moment of boredom the answer was, “Play with this squeaky door.”

Now, at the table, this action is not actually annoying. There is no actual door squeaking. But Tee’s player becomes visibly annoyed because she, too, is immersed in the moment and is fully imagining the sound of this bloody door echoing through the room while she is trying to concentrate. So she tells him to cut it out. And then:

Tee went back to searching. Agnarr shrugged and pulled some oil out of his bag, spreading it liberally over the hinges of the door. That did the trick and the door stopped squeaking. Agnarr grinned, swinging the door back and forth, and called out: “Tee! Look!”

Tee whirled around: “What?!”

As she turned, the mound of rubble behind her exploded. A foul and terrible creature rose up amorphously behind her – its forms constantly shifting through virulent shades of purplish-blackish horror. Agnarr’s eyes widened and the smile fell from his face as two muscular extrusions slashed vicious claws across Tee’s back, ripping open vicious wounds.

Tee screamed in pain. “I hate you Agnarr! I hate you!”

Agnarr sees that Tee is upset and wants to help, so he figures the best way he can do that is by fixing the squeaky hinge that’s upsetting her. Having fixed the “problem,” he just wants to share his happiness with Tee and let her know that he’s solved it!

From Tee’s perspective, of course, the problem is not the squeaky hinge, it’s that Agnarr keeps distracting her. And now he’s distracting her again! There’s a complete mismatch of expectation and emotion as she whirls around.

And then shit goes bad.

In terms of actually “running the campaign,” per se, I contributed virtually nothing to this moment:

  • I randomly described a door hinge as being squeaky.
  • When Agnarr wanted to fix the hinge with some oil, I called for a check to see if he did that. (He made it.)
  • I called for a Spot test to see if Tee noticed the chaos beast lurking in the rubble. (She failed it.)

I mostly just got out of the way, which is often the best thing you can do as a GM.

What makes this moment special?

Hard to say, honestly. There’s an emotional truth here which seems to capture an essential element of the relationship between Tee and Agnarr. The simplicity of the actual interaction coupled with a near-catastrophic outcome creates strong dramatic contrast.

Because I’m talking about this in the context of the long-term legacy of the moment – as demonstrated in this journal entry, it becomes a running joke for Agnarr to oil hinges while Tee grits her teeth – it’s tempting to sight the replicability of the moment (there are lots of opportunities for dungeon adventurers to oil hinges). But the truth is that this had become an in-joke for the group long before Agnarr did it again. The players would bring it up during sessions. They’d also joke about it in other social contexts. Ten years later, in fact, they’re still doing so (much to the bewilderment of many an out-group listening to these conversations).

In sharing these campaign journals I’ve occasionally wondered about the degree to which these in-jokes translate to people who weren’t “there” when it happened. But it’s not unusual for long-term campaigns to develop these in-jokes. Like any in-joke, they build a sense of community and common purpose. They become both shibboleths and fond memorials of shared joy.

NEXT:
Campaign Journal: Session 22CRunning the Campaign: Using Lore Books
In the Shadow of the Spire: Index

Ptolus - In the Shadow of the Spire
IN THE SHADOW OF THE SPIRE

SESSION 22B: AT THE TOP OF PYTHONESS HOUSE

May 18th, 2008
The 10th Day of Kadal in the 790th Year of the Seyrunian Dynasty

Meanwhile, the skeletal leader – in a frenzied flurry of blades – had been cut down by Tor and Tee. Tee, inspecting the body, discovered the chain armor was of superb quality. The woman had also worn a ruby ring and matching gold bracelet worth a small fortune. On the interior of the bracelet was inscribed a name:

RADANNA

Laying near the gruesome remains of whatever deadly ritual had been held here there was a slim, red book. On the cover, traced in blood, was the symbol of a spiral. Ranthir began examining it as Tee continued searching the room.

THE SCARLET OATH

Scarlet Oath

On the cover of this book, written in blood, is the symbol of a coil. On the first page is an oath:

“I pledge my body, soul, and purpose to the furtherance of chaos. We shall act as one. We shall breathe as one. We shall think as one. And in our crimson coils we shall choke out the life of those who would bring us death. We shall choke out the order which stifles life. We shall choke out the civilization which crushes liberty.”

The rest of the book teaches the ways of the Brotherhood of the Crimson Coil. The cult acts like a virus – their faces hidden; their identities submerged into the Coil itself. The members of the cult do not mix in normal society, preferring to remain cloistered in remote temples or hidden demesnes. The only time the cultists make an appearance is to carry out a Purging. During a Purging the cultists appear en masse to carry out some act of terrible destruction.

The cult chooses a target, seemingly at random, and then show up to burn down a building; set fire to a field; slaughter a family; or deface a monument. They are neither subtle nor gentle. They show neither mercy nor fear. Usually, their raids come so suddenly and unexpectedly that they meet little resistance. They usually appear in numbers so great, they simply cannot be stopped—a hundred cultists to burn down a single house, a dozen to murder a merchant walking down the street. They disappear quickly, often using spells to cover their escape.

(more…)

B3 Palace of the Silver Princess - Partial Map

DISCUSSING:
In the Shadow of the Spire – Session 22A: Return to Pythoness House

Arrows suddenly fell among them. One of them clipped Elestra’s shoulder. All of them were suddenly in motion – diving for cover in different directions. Somehow six skeletal women – most clad in the tattered remnants of their brothel fineries – had crept onto the upper terrace and were now firing arrows down into the ruined garden at them.

A novice GM looks at the map of the dungeon. The PCs are about to open the door to Area 5, so he checks the key (in this case from B3 Palace of the Silver Princess) and sees that (a) it’s a library and (b) there are five kobolds in the room.

A fight breaks out. If the novice GM is talented, then the events of that fight will be influenced by the details of Area 5: Maybe the bookshelves topple over on top of people and the kobolds are throwing books. But the kobolds are keyed to Area 5, and so that’s where the kobolds are met and where the fight happens.

Time passes and our novice GM has gotten more experience under his belt. This time, when the PCs get ready to open the door to Area 5, he doesn’t just look at the description of Area 5. He looks around the map and checks nearby areas, too, to see if there are other monsters who might come to join the fight. He looks at Area 7, for example, and sees that it’s a barracks for five goblins.

A fight breaks out. The GM makes a check for the goblins in Area 7. He determines that they DO hear the fight, and a couple rounds later they come rushing over and join the melee in the library.

What the experienced GM is doing can be made a lot easier by using adversary rosters in addition to a basic map key. But there are other methods that can be used to achieve similar results. For example, the sounds of combat might increase the frequency of random encounter checks.

Random encounter mechanics might also lead this GM to another revelation: Combat encounters can happen in areas where they weren’t keyed. For example, maybe the PCs are poking around at the sulfur pool in Area 20 when a random encounter check indicates the arrival of a warband of kobolds.

At this point, our more experienced GM has accomplished a lot: Their dungeons are no longer static complexes filled with monsters who patiently wait for the PCs to show up and slaughter them. They feel like living, dynamic spaces that respond to what the PCs are doing.

THE THEATER OF OPERATIONS

There’s still one preconception that our GM is clinging to. He’s likely unaware of it; a subconscious habit that’s been built up over hundreds of combats and possibly reinforced through dozens of modules relying on preprogrammed encounters (even as he’s moved beyond such encounters).

When the goblins came rushing over to join the fight in the library? It was still the fight in the library. When the kobolds ambushed the PCs by the sulfur pools? The GM still thought of that fight as somehow “belonging” to Area 20.

One of the reasons this happens is because our method of mapping and keying a dungeon is designed to do it: We conceptually break the map into discrete chunks and then number each chunk specifically to “firewall” each section of the dungeon. It makes it easier to describe the dungeon and it makes it easier to run the dungeon, allowing the GM to focus on the current “chunk” without being overwhelmed by the totality.

But the next step is to go through that abstraction and come out the other side. We don’t want to abandon the advantages of conceptually “chunking” the dungeon, but we also don’t want to be constrained by that useful convention, either.

When combat breaks out, for example, we don’t want to be artificially limited to a single, arbitrarily defined “room.” Instead, I try to think of the dungeon as a theater of operations — I look not just at the current room, but at the entire area in which the PCs currently find themselves.

You can see a very basic version of this in the current campaign journal:

Pythoness House - Cartography by Ed Bourelle

While the PCs are in Area 21: Rooftop Garden, I’m aware that the skeletal warriors in Area 25: Radanna’s Chamber have become aware of them. They sneak out onto Area 27: Battlements and fire down at the PCs, initiating combat across multiple rooms (and, in fact, multiple levels).

Here’s another simple example, the hallway fight from Daredevil:

This is basically just two rooms with a hallway between them. But note how even this simple theater of operations creates a more interesting fight than if it had been conceptually locked to just one of the small 10’ x 10’ rooms individually.

Also note how the encounter actually starts before he even enters the first room. This way of thinking about dungeons goes beyond combat: What’s on the other side of the door they’re approaching? What do they hear? What do they see through the open archways?

LEARNING THROUGH ZONES

Awhile back, I wrote about how abstract distance systems in RPGs mimic the way that GMs think about and make rulings about distance and relative position. Zones — like those used in Fate or the Infinity RPG — are a common example of such a system, and using a zone-based system can also be a great set of training wheels for breaking away from the idea that combat takes place in a single keyed location, because zones naturally invite the GM to think of neighboring rooms as being a cluster of zones.

For example, I have Monte Cook’s Beyond the Veil sitting on my desk here. Here’s a chunk of the map from that scenario:

Beyond the Veil - Monte Cook (Partial Map)

And Area 8 on that map is described like this

8. DRAGONPODS

This large chamber was once a gathering hall with tables and benches, and trophies on the wall. There are only vague remnants of those now. Instead, the room has a large number of strange brown and yellow pods on the floor, and clinging to the walls and ceiling, each about three to four feet across. Six of them remain unopened, while at least a dozen have burst from the inside. A few smaller dragonpods lie cracked and brittle on the ground, unopened but obviously long-dead. All of the pods are of some hard organic matter covered in a thick, sticky mucus. They smell of sour fruit.

Storemere’s mating with a carrion crawler produced some strange results. Carrion crawlers normally lay hundreds of eggs at a time. But Storamere’s crawler mate produced dozens of strange, egg-like pods. Some of them hatched, and produced half-dragon carrion crawlers. Others never produced anything viable. Still others have yet to hatch, even though their parents are long dead.

Strangely enough, the union of dragon and carrion crawler seems to have spawned a creature with entirely new abilities. These half-breeds thrive for a time and then curl up and die, producing yet another dragonpod. Even if slain conventionally, the body of the dead dragon crawler will create a new pod and thus a new creature. Only destruction by fire prevents a dead specimen from forming into a pod.

As soon as anyone without dragon blood enters the chamber, four dragon crawlers scuttle out from behind the pods and attack. The round after combat starts, another one drops down from the ceiling to attack a random character. These creatures are covered in black scales and have green, dragon-like eyes on their stalks. Each has dragon wings but they are too small and ill-fitting to allow them to fly. Instead, they flutter and flap their wings to distract opponents.

The room is large enough to comfortably run the entire melee against the four dragon crawlers in there. A neophyte GM might even treat the whole room as kind of being a big square, featureless space.

What an experienced GM will do (and what zones basically formalize) is break that whole region of dungeon map up into zones:

  • Hallway
  • Kitchen (Area 9)
  • Gaulmeth’s Chamber (Area 10)

And then do the same in Area 8, too:

  • North entrance
  • Eastern doors
  • Bottom of the stairs
  • Dragonpod muck
  • Ceiling pods

The result will be their theater of operations. (Which could expand even further into the dungeon depending on how the encounter proceeds.) Thinking in terms of zones will naturally invite you not only to conceptually break up large spaces, but to group spaces together. And once you’ve done this a few times, you’ll realize that you don’t need the specific mechanical structure of zones in order to do this.

OTHER THEATERS OF OPERATION

Thinking in terms of a theater of operations shouldn’t be limited to the dungeon. In fact, it often comes easier in other contexts (in which we haven’t taught ourselves to think in terms of keyed areas), and meditating on how we think about these other examples can often be reflected back into how we think about the dungeon.

For example, one place where GMs often easily think in terms of a theater of operations, even if they don’t in other contexts, is a house. I suspect it’s due to our intimate familiarity with how these spaces work. Think about your own house: Imagine standing in the kitchen and talking to someone in the living room. Or shouting something down the stairs. Or looking up from the couch and seeing what’s happening in the adjacent room.

When we’re talking about the totality of the environment, that’s all we’re talking about. It’s that simple.

At the other end of the scale, there are wilderness environments.

What happens here is that the sheer scale of the wilderness can, paradoxically, cause the theater of operations to similarly collapse into a one-dimensional scope: The forest is vast and, therefore, the entire fight just happens generically “in the forest.” There’s no place for the reinforcements to come from and no capacity of strategic decisions because everything is, conceptually, in a single place — the forest.

The modern over-reliance on battlemaps (particularly battlemaps all locked to a 5-foot scale) tends to exacerbate this problem, limiting the field of battle to a scale that tends to blot out the true theater of operations in the wilderness.

The solution, of course, is to instead embrace the scale of the wilderness. You’re traveling across the plains, but there’s a tree line a few hundred yards away to the north. There’s a family of deer grazing fifty feet over there. There’s a ravine off to your right perhaps a quarter of a mile away that you’ve been paralleling for awhile now. And the goblin warg riders just cleared the horizon behind you. What do you do?

FINAL THOUGHTS

Something I’ll immediately caution against here is getting fooled into making this more formal than it is. If you find yourself trying to prep the “theaters of operation” in your dungeons, then you’ve probably just created another inflexible preconception of the environment. (You’re probably also wasting a lot of prep.) Theaters of operation generally arise out of and are defined by the circumstances of play: What do the PCs know? Where do they go? How have they tipped off the NPCs? What decisions do the NPCs make (often based on imperfect information)?

The point isn’t to try to anticipate all of those things. The point is to learn how to actively play the campaign world; to let the campaign world live in the moment.

The cool thing is that, as you think of the dungeon as a theater of operations and play it as such, you will be implicitly encouraging the players to also think of the dungeon as a totality rather than as a string of disconnected encounters. They’ll start engaging in strategic decision-making not only in combat (“let’s fall back into the hallway!”), but for the exploration of the dungeon as a whole (“can we draw them back into the room with the poison traps and use those to our advantage? can we circle around them? can we split them up?”). And getting the players into this mindset is instrumental in unlocking more complicated scenario structures like heists.

And remember that, as you’ve seen with our examples above, you don’t have to leap straight into juggling massively complicated strategic arenas: Two rooms and a hallway. That’s all it takes to break out of the box.

NEXT:
Campaign Journal: Session 22BRunning the Campaign: In-Jokes
In the Shadow of the Spire: Index

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