Session 17D: Shilukar’s Secrets

Scattered throughout the laboratory, the warren of the spider-things, and Shilukar’s bedchamber they found a large number of notes and other papers. Many of these were written in strange characters resembling those they had found upon the obsidian statues within Ghul’s Labyrinth, and these required Ranthir’s arcane arts to decipher.

The ways in which I develop and use lore handouts – of which you can see copious other examples in my remix of Eternal Lies, including the thousands of words dedicated to the Books of the Los Angeles Cult and Savitree’s Research – is probably deserving of a much longer and more detailed post at some point in the future, but in the current session you can see the PCs pick up a huge dump of such handouts all at once and thus afford us an opportunity to discuss a few points of potential interest regarding them.

First: Why so many handouts all at once?

This is glossed over somewhat quickly in the journal (although highlighted in the quote I selected above), but not all of these handouts were found in a big stack: They were scattered across several different areas, and also in different spots within those areas.

The parceled pieces serve as a reward for exploration. (It’s more interesting to have tidbits in several rooms than it is to have one room with a big handout and then a bunch of rooms without substantive rewards.) But split up like this they also reward partial exploration: As the scenario played out, the party routed Shilukar and took possession of the lair. But the scenario could have just as easily ended with them snatching a few pieces of obvious paper off Shilukar’s worktable and then beating a hasty retreat, leaving them with only a few fragments of information.

And in either case, rather than having a monolithic block of text to read through, the players are instead left with disparate puzzle pieces which must be pieced together. This forces them to actively engage with and think deeply about the material.

There is also mixture of function. Some of the information in this info dump is immediately useful; it pertains to the present. Some of it elucidates the past, revealing additional details or even fully revealing the truth behind previous mysteroes. And finally, some of it hints at the distant future, foreshadowing events and interactions to which the PCs don’t currently have access (but will or may later).

Particularly when elucidating the past, note that the handouts have been customized to reflect actual events (i.e., things the PCs have actually seen or, better yet, done). By referencing the actions taken by the players in the tangible form of an actual plot, you’re deeply investing in the idea that their actions matter and that they are rippling out into a wider world far beyond their immediate sensorium.

The handouts also take different forms of text – epistolary, the summary of books, scratched notes, research documentation, diagrams, sketches. Each form inherently encodes information differently, providing different perspectives on the game world. (This also tends to encourage the GM not to become overly didactic, which aids in creating the puzzle-like combination of information. Also: Show, don’t tell.)

In addition to the works described in full below, they also discovered The Book of Lesser Chaos, which described in detail a technomantic art known as “chaositech”.

Present in this session, but not directly included in the campaign journal, was The Book of Lesser Chaos: This was a lengthy, multi-page handout. In D&D, I frequently use these big lorebooks as a way of introducing new mechanics into a campaign.

Over the years I’ve found that getting players enthused about some cool new sub-system can be a bit hit-or-miss. Often I would prep a packet of rules, pass it out to everyone with a ton of enthusiasm, and then… nada. The packet would get shuffled around for a few sessions before disappearing into a drift of paper and being forgotten.

Including the same material as a handout, on the other hand – framed with in-character material – tends to have a much higher success rate. I think it inherently makes the rules more interesting, and it also sort of demands engagement. The steps necessary to include it as a prop also encourage me, as a GM, to significantly integrate the new sub-system into the campaign world. (For example, it’s only logical for Shilukar to have a lorebook about chaositech if he’s practicing chaositech, and thus his entire lair is filled to the brim with chaositech-in-action.) This integration will also increase player engagement with the material, often stretching that engagement over longer periods of time.

Ideally, the best way to get new mechanical material fully integrated into a campaign is for it to be heavily featured in at least one session and also appear intermittently (but not consistently) over several more sessions.

But I digress. This is a different topic for another time.

Session 17C: Shilukar’s New Friends

The illusion might not have fooled Shilukar if he had been in his right mind, but at this point he was far from it due to the debilitating spells Ranthir had cast upon him. The elf waved his wand in the direction of the illusion (which, of course, had no effect) and banked sharply to the right – flying away from Dominic and Tee.

When characters suffer ability score damage, it’s an awesome opportunity to lean into a roleplaying challenge. This is particularly true of damage to the mental ability scores, which will directly affect the character’s personality and decision-making.

You can see that in this session, where Shilukar’s dwindling Intelligence score not only resulted in increasingly muddled decision-making, but also a growing sense of panic as Shilukar felt his mind slipping away from him: In a fantastical equivalent to HAL-9000, you have a character getting more and more desperate to solve a problem as it becomes more and more impossible for them to figure out how to do so.

Existential horror as a combat tactic.

But that’s just one option. Back in Session 15, we saw that ability score damage can also be played for comedic effect:

Tor, in his befuddled state, was becoming completely entranced by the Ghostly Minstrel’s performance. He began to dance and then to sing along – vigorously and loudly.

Tee, seeing what was happening, excused herself from Mand Scheben and pushed her way through the crowd to Tor’s side. “Tor! Tor!” She finally managed to get his attention. “Calm down! Look, I don’t really think you should be doing that right now.” She looked meaningfully at Tor’s acid-burned and blood-stained clothes.

Tor seemed to think about his seriously for a few moments… and then diligently began stripping off his clothes. Cheers went up from various people around the room.

“No!” Tee grabbed at him, but Tor was intent on getting his clothes off now. Looking around, Tee spotted Agnarr and urgently waved him over. Between the two of them, they were able to get Tor back up to their rooms and settled down.

If you’re feeling uncertain about how to play a modified ability score, consider querying your character by way of the game mechanics: Make an Intelligence test to see if your character is capable of thinking their way through a problem at the moment. Make a Wisdom test to see if they’re able to inhibit their impulse to take off their clothes. Make a Charisma test to see how short-tempered they are.

Note that these same principles apply to physical ability scores, with modifications to those scores being reflected in both action selection and description. Getting hammered by a 10 point loss of Strength must feel as if your body has just been brutalized by a chemotherapy treatment. Think about how a loss of Constitution would leave your character gasping for breath and struggling to wheeze out words. Describe your characters clumsily fumbling with a formal tea service or tripping over the furniture as a result of their reduced Dexterity score.

Keep in mind both the absolute rating of the ability score AND the relative change: Someone who has been knocked down to Intelligence 10 from Intelligence 18 isn’t suddenly a dithering idiot (they have a perfectly average intellect), but from their perspective it’s as if the entire world has been wrapped in gauze. (Although if the loss is permanent, it’s likely that they’ll eventually adapt to their new acuity.)

These moments also offer us an opportunity to reflect on how ability scores define our characters and what their normal ability scores really mean, although this begins to transition us into a broader discussion how we can roleplay characters with abilities – particularly mental abilities – vastly different from our own (which is, perhaps, a topic for another time).

There’s also a flipside to this: What do magic items and buffs that increase your ability scores do to your character?

Just as there should be a change in your character’s behavior if they’re blasted from Wisdom 10 to Wisdom 5, so, too, should reading a tome of clear thought that boosts your Wisdom from 10 to 15. Think about how your character’s perception of the world changes; think about how the decisions they make (and choose not to make) will change; think about how their personality will shift as a result.

Note, too, that I think there are differences between short-term buffs (which are shocks to the system, but fade relatively rapidly) and long-term alterations (which will become integrated into the character’s personality).

And while tomes are one thing, there’s actually something really fascinating about a worn magic item that permanently alters your state of consciousness (i.e., modifies your mental abilities). As you spend more and more time wearing such an item, the existence you know with that item will increasingly become your perception of self. What happens to you when you take off the item? Or have it taken from you?

There’s a transhumanist quality here, as if Vernor Vinge’s True Names would be a good source text for this: Like the character for whom part of their personality and thought process now exists in the networked computing devices, so too does the wizard with a tiara of intelligence +4 have an important part of their mind – of themselves! – tied to that item. Are they even the same person without that item? If they lose that item and they replace it with a talisman of intelligence +4, will that restore who they were? Or will they become someone else? Are all +4 boosts the same? Can you just swap out parts of your brain? Or does granting the Ship of Theseus sentience transform the paradox?

Session 17A: Shilukar’s Lair

The features revealed as their hoods fell back were those of goblins – but goblins possessed of sickly gray skin. More disturbingly, the eyes and mouths of each goblin had been sewn shut with thick, black string. Despite this, all of them moved with sure, fluid motions.

In the Shadow of the Spire is actually the fifth campaign I’ve run in my Western Lands setting. I believe I’ve actually previously discussed that Ptolus first appeared at my gaming table 5+ years earlier when a group passed through the city and noted its distinctive Spire as they passed from the Southern Sea back towards Deepfall Pass in the west.

One of the players in that campaign, Dave, was Agnarr’s creator. Two other players had also previously played in Western Lands campaigns.

One of the cool things I think you can do when running multiple campaigns in the same setting (whether concurrently or over time) is to have crossovers between those campaigns. And also to have deep, long-term mysteries that are intrinsic to the setting and which are only slowly revealed

A good example of this sort of thing, from Monte Cook’s original Ptolus campaign, is the revelation that the entire world of Praemal is actually a planar prison for demons. Everyone else is just stuck there by accident, and the demons are constantly trying to dissolve the bonds of the prison and escape. That’s the kind of thing which can be quietly true for any number of campaigns – with various enigmas suggesting the truth only for the final revelation to really blow people’s minds.

(This particular set of metaphysics, it should be noted, isn’t true of the Western Lands, which is one of the reasons why my version of Ptolus diverges from Monte Cook’s, and does so rather severely in some key areas.)

Of course, this sort of thing doesn’t require tapping into the fundamental metaphysics of the entire campaign world. Sometimes it might be, “Hey, you know Good King George? The guy who’s been the beneficent monarch ruling over the kingdom for the last three campaigns? Turns out he’s actually a mind-controlled puppet and the whole kingdom is being run by the drow. And he has been his entire life.”

It’s also fun to have references to the PCs from the other campaigns and/or the things that they did. Those enduring legacies across years of play can really invest players into the setting, knowing that their actions will resonate not just in the campaign itself, but across campaigns. That perhaps players who they have never even met will be affected by what they’ve done today.

(The most ambitious example of this I’ve ever attempted was when the players in one campaign met the future versions of their PCs from the other campaign. Have I told that story?)

On the other hand, sometimes these crossovers are just, “Hey! Remember that cool character/monster/location from the last campaign?!”

Dave, for example, recognized the name Ritharius from that previous campaign. The revelation of Ritharius’ actions later in the campaign would have carried a little extra oomph because of that, I think. (And when Dave left the campaign I made a point of building Ritharius into Tor’s background to reposition that oomph.)

These creepy goblins are a little bit of both.

They first appeared in one of the earliest scenarios I ever ran for 3^rd Edition, a remix of The Sunless Citadel in which the lower levels of the scenario had been transformed into a much more horrific venue. In both cases, the nature of these goblins points towards the much deeper truth that [SPOILERS REDACTED] and also that [SECURITY CLEARANCE REQUIRED]. But mostly they would have just been a cool cameo that players from that campaign would recognize.

Unfortunately, the player who would have recognized the goblins left the campaign before they showed up. C’est la vie.

This does highlight, however, that this technique can be of arguably limited value because there is a limited audience capable of appreciating the full context of these crossovers and callbacks. I would argue, however, that when done properly these things still have value even when no one is necessarily there to directly appreciate them.

Consider, for example, the success J.R.R. Tolkien had in using the then-unpublished Silmarillion to create mythological depth in The Lord of the Rings. Queen Berúthiel’s cats (a reference in Lord of the Rings which, infamously unlike many of Tolkien’s other “historical” allusions, was created off-the-cuff as he was writing) are also a thing, of course, but there is, I believe, both a qualitative and practical difference between such off-the-cuff improvisations and a fully-integrated body of lore.

The problem, of course, is that creating fully-integrated bodies of lore is a time-consuming process. And as cool as it can be a player digs into something and discovers that there is, in fact, a vast ocean of lore to explored there, the odds of wasted prep are quite high. Campaigns you’ve previously run, however, are inherently “fully-integrated bodies of lore”, and thus this can work both ways: Stuff you’re calling back to is “free prep” for the current campaign (you’ve already prepped it). And, on the flip-side, designing material that’s intended to be useful for campaign after campaign after campaign can be very high value prep indeed.

And, honestly, I find these callbacks and crossovers entertaining and rewarding in their own right on a purely personal level, even if no one else at the table is ever aware of it. In that sense, I am like the watchmaker who carefully filigrees the gear of a pocket watch which the owner will never be able to see: There is a pride and a pleasure in seeing the pieces of a job well done slide into place.