Over the DM's Shoulder

Thursday, September 5, 2024

Of Gods and Dragons: Session Three

Last time, the adventurers explored the city of Talon Gorge, finding a place that had been torn apart by a civil war, and they helped to rebuild parts of the city. They checked out a clocktower at the center of town and found signs that it had been inhabited that pointed to a very private estate to the east of the city. As they left the tower, they met a curious woman named Ollie, who insisted on learning what they were up to; Ollie grew agitated when they did not talk to her directly and abruptly left. They checked in with a contact in the city guard, Amber, who directed them to one of the city's new leaders, an orc named Tru'usk, who was weary of the group's silliness and questions. Brokk went to leave a note at the estate they'd seen and was approached while he hid outside by a half-elven woman, Jarvia, who requested that Brokk bring Aurora and Lethanin to meet with her the following morning. Meanwhile, Lethanin and Aurora tried to figure out what was going on with Ollie, who was marked as supernatural when Aurora tried to identify her to find her. Brokk returned to town and met a helpful smith named Moira, who made him a beautiful battleaxe in a miraculous amount of time, and as he left her smithy, he ran into Lethanin and Aurora on their way to a tavern next door. 

When we picked up for this session, none of us knew what to expect, which we all remarked on. I was very up-front about improvising everything, and the players were nervous about their meeting with Jarvia as well as some of the other encounters they'd had. At the tavern, the adventurers ordered a variety of meads from a stern bartender named Urgin, who said he kept a quiet tavern so that people had a place to relax without getting chaotic. The players sat at a table and all took a turn speaking with Urgin, convinced that there was something significant about ending up here together. First was Lethanin, who learned that Urgin's father had been an amateur dragonhunter who had spent his life trying to track down dragons but never found one. Then Aurora spoke to Urgin, learning that Urgin resented the very idea of dragons, as his father had been absent for much of his life in the pursuit of dragons; Aurora sensed that Urgin was holding back something, perhaps out of politeness, and let Brokk have his turn. Brokk ordered an orcish berry wine where the others had ordered more mead, and spoke to Urgin about orcish life. Urgin became more animated and spoke to Brokk in orcish, divulging that he had been close with an orcish woman who had taught him the language. Brokk and Urgin laughed about the orcish tendency to not apologize for things and shared an orcish handshake. Eventually, slightly tipsy from their drinks, the adventurers decided to return to their inn and call it a night, but Brokk and Aurora spotted a strange symbol burned into the wood outside their rooms. Aurora recognized the symbol as a glyph, part of the magical language she uses for her spellcasting, but could not identify what it meant. Brokk managed to get a rough translation of the glyph using Comprehend Languages, learning that it could mean a certain sense of pleasure, like that one gets from revelry or excitement from playing a game. Aurora tried to do further research on the glyph but sensed that she was being blocked from ascertaining its meaning and developed a nasty headache when she tried to dispel it, which made her choose to go to sleep rather than fight it. Lethanin simply passed out in his bed, and Brokk sat in the inn's tavern and read a book that his friend Hannah from his home had recommended (Brokk does not need sleep and allowed himself time to relax by reading). 

In the morning, the group gathered in the tavern for breakfast. After eating, they went directly out of town and marched to the hermit, Jarvia's, house. Jarvia let them in, gave a tongue-in-cheek tour of her estate ("To your left, a field. To your right, another field. Behind the house, a field. You're currently standing in . . . a field."), and gave them tea. Brokk made conversation about tobacco preferences as Jarvia consistently smoked cigarettes while talking to them, and when Jarvia asked whey they'd come Brokk told her everthing--about the dragons Thomas and Aurix, about the prophecy and their role in it, about their findings in Talon Gorge, and their hope to get her help finding the silver dragon. This was the beginning of a conversation that lasted for a full out-of-game hour. After a tense conversation in which Aurora was very direct about her suspicions that Jarvia was the silver dragon and Jarvia was evasive about responding, Jarvia asked the adventurers directly whether they intended to do the right thing and then did acknowledge that she was in fact the silver dragon but felt she was entitled to a measure of privacy. She grew more relaxed after getting their assurances that they meant to help. Jarvia explained that she was a bard and knew about the prophecy and how they would need to travel to the gods' realm and speak directly to Boccob, creator of everything, in order to do anything about the damaged barrier between worlds. Jarvia was insistent that the group ignore Thomas's desire to destroy the barrier and Aurix's desire to leave it damaged (which would empower the mightiest beings in the physical world) and instead repair the barrier. She explained that aside from empowering mighty people, the leaking divine energy also forces people to be more aligned with what they are, meaning that good people are more good and evil people are more evil. As a result, repairing the barrier would mean freeing her from being compelled to act in ways she doesn't choose herself. Jarvia explained that she'd inherited the mantle of the former silver dragon over a thousand years ago and become disillusioned by the rules of dragonhood and the pressures of protecting people who hated her. The group was confused about what she meant, and she explained that dragonhood is like a title, where the powers and identity of a dragon pass from person to person at the former dragon's choosing. She also gave a quick explanation of the other dragons, both chromatic and metallic, suggesting that gathering the metallic dragons as Aurix suggested could be helpful and that Wing, the bronze dragon, could be a good next step; she also said that Vuthiejir, the black dragon, was the most reasonable of the chromatic dragons and might be helpful as Vuthiejir knows more about the heavens than anyone else and could be helpful. Together, the group decided to try uniting the dragons by finding Wing, the bronze dragon; Hriskin, the brass dragon and a former arena champion; and the copper dragon, who Jarvia was unfamiliar with and didn't know even existed as she'd been in hiding for hundreds of years. 

As the conversation continued, the group began to plan with Jarvia. At their behest, Jarvia explained that Boccob had created reality and the gods' realm and then later created the physical world and allowed the gods to work with it as they pleased, retiring to a private dimension for more than ten thousand years. It was their job, she told them, to find a way to approach Boccob and plead for the case of people on Evanoch that the barrier be repaired. Looking for a way to stay in easy contact with Jarvia, Aurora created a looking glass transmitter in her backyard, and the success of her spell meant that physical objects could also be passed through the transmitter. Jarvia, hoping to stay on top of communications, installed a magical bell that would alert her to messages. The group decided that Vestry, capital of the gnomes and home to Wing, would be the best next step. Aurora hurried back to the inn to get her familiar, Pumpkin, who Aurora had feared would exceed Jarvia's instructions that only the three of them come to see her, which made Jarvia truly smile for the first time in their meeting--the idea that Aurora followed her instructions to the letter struck Jarvia as thoughtful and kind. While Aurora was gone, Lethanin and Jarvia played a song together, Lethanin on the violin and Jarvia on the lyre--they played competing but complementary melodies in turns, demonstrating that Jarvia was a wildly talented musician, and she said that it was lovely to play with another person after centuries of solitude. Aurora returned to find Lethanin exhausted from the song, and Jarvia teleported the group to Vestry after stressing that they speak to Wing about Jarvia as little as possible. 

The group appeared in an alleyway just inside Vestry and set out to find Wing. But first, Brokk sought out a bookstore that would allow him to find information on the gods and more reading material for the sleepless nights; he found a primer on Boccob which explained that Boccob has never been known or understood and that even their followers have largely given up on contacting the deity. Meanwhile, Aurora purchased books of poetry, information on the gods, and a book about supernatural beings like fae. The group knew that Wing was an inventor and set out to find a guildhall for inventors. On the way, Aurora noticed a pair of gnomish women staring at Lethanin, who was uncomfortable being back in Vestry after pointedly leaving a long time ago. Aurora improvised, diverting the group to a vendor selling carbonated pickle juice and alerted Lethanin to the women. Lethanin recognized one of the women as an upset audience member at an old show who'd disliked his music. The group hurried past the women and found their way to the guildhall. 

The guildhall was in the middle of a meeting. At tables, hundreds of gnomish inventors sat discussing navigating Vestry's complex legal system and economy, new ideas for inventions, and other matters related to operating in the city. The group approached the leaders of the guild and asked if they were familiar with a Wing. One of the three leaders, a red-haired gnomish woman, grew very uncomfortable and insisted that she didn't know a Wing among the group. Aurora pressed further, saying that this Wing was especially known to them as an expert in working with bronze, hoping to covertly tell the red-haired woman that they knew Wing was the bronze dragon, and the woman grew even more uncomfortable. She introduced herself as Glint, and when Brokk asked her to keep an eye out for Wing, she agreed and asked where to find them to let them know if she did find this mysterious Wing. Lethanin sighed and gave her directions to his parents' house in Vestry, and the group left the guildhall suspecting that they had found Wing and would soon receive a visit from her. 

That's where we called the session, in part because it was a good ending point and in part because we were all exhausted. One notable thing about this session was just how much of it was conversation. The characters talked amongst themselves and to Urgin at the tavern, then briefly investigated the glyph and slept, then spoke to Jarvia at length, then spoke to the bookstore clerk, and then to Glint. I would estimate that about 85% of the session was just talking. I'm excited about that--that's what I was hoping would happen for a lot of this campaign. In particular, the conversation with Jarvia went on longer than I anticipated, though to me, it absolutely flew by. I think that there's an important reason for this. The players first met Thomas, who they later learned was the red dragon, and he bullied them and insisted on a tactic they were immediately suspicious of. Then they met Aurix, who I deliberately roleplayed as awkward and uncomfortable, and he asked for something that the group was also skeptical of. But Jarvia was a more personable and direct character, and she asked the group to do something that they were inclined to think was a good idea--repair the barrier between worlds. The group asked Thomas relatively few questions, and only a few more of Aurix before leaving, but they spoke to Jarvia for a long time. This is one way I know that the characters and roleplaying hard--they actually trusted the person who seemed the most trustworthy--and that my playing of the dragons so far has been what I wanted it to be. 

To that end, I'm intrigued to see how they handle Wing. Wing is kind and gentle and idealistic if a bit eccentric, which is also unlike anyone they've encountered yet. Part of Jarvia's reasoning for sending the group to Wing is the suspicion that Wing will believe that the barrier should be repaired like Jarvia does, and whether or not that's true, Wing is a very different person from Jarvia. Jarvia, in the moment, was a tired, somewhat depressed and disillusioned person who was frustrated with the feeling that she was overwhelmed and outnumbered. But Wing is not. Wing is sprightly and hopeful and motivated who believes wholeheartedly in the power of good intentions. So whether Wing agrees with Jarvia that the way to proceed is to repair the barrier or not, the players will have to contend with yet another angle on this campaign that they haven't encountered yet. 

That is, to me, the beauty of this campaign. In this world, there are ten dragons and almost twenty gods. Each of them are distinct personalities with distinct motivations and ideals and aims. Speaking to any one of them could mean a drastically different conclusion the players and their characters may come to. So even though the characters feel really set on cooperating with Jarvia and the plan to repair the barrier, nothing is necessarily set in stone. So many campaigns, including those I've run that have catered to what I thought my players wanted and expected, are about fighting and goofing around and a mishmash of things, but I've always wanted to do one about ideas. This is that campaign. All thirty of so of the main NPCs have big ideas and plans and thoughts, and while the barrier between worlds is the inciting incident of it all, the campaign is really about the characters and their ideas. Let's say that Glint is Wing is the bronze dragon--then the players have met four dragons. Less than half. They've only spoken to three in any direct way, and even then, only Jarvia had a real conversation with them. That means that this is all still up in the air, and not only have only a fraction of the ideas at play come to bear, but also that so many of the moving parts in the campaign are still unknowns. 

If I had to guess, I would say that the players feel strongly about repairing the barrier. The way they spoke about the plan and expressed their support for what Jarvia was saying was very solid and confident. What that means for the long-term is that dragons and gods affiliated with repairing the barrier will be likely to be allies, and those who have other plans will be either targets for persuasion or outright enemies. But even then, there are so many ways that things could play out. I guess we'll just have to wait and see, and I am wildly excited to see how it goes. 

Next time, the players will continue their mission in Vestry and hope to meet with Glint to learn whether she really is Wing. Last session, I was very unsure of how things would go with Jarvia given who she is, but I know who Wing is and how she'll respond to the group, and that gives me some idea of how this might all go. But as I've said, there is no knowing for sure, so it will all come down to the game and how it happens in the moment. I love it, and I can't wait. Until next time, happy gaming!



Thursday, August 22, 2024

Of Gods and Dragons: Session Two

Last time, we played a brief session one which was cut short by technical difficulties; the player characters were approached/kidnapped by Thomas, a cantankerous dwarf who explained that a barrier between the gods and the physical world was weakened, and he wanted them to destroy that barrier to allow the gods access to their world. But then Aurix, an awkward human/kobold rescued/kidnapped them and explained that Thomas was in fact a red dragon who couldn't be trusted. Aurix let slip that they were a gold dragon and that the other good dragons were divided, asking for help bringing the others together. Aurix also suggested that the group, who seemed to be designated by fate as those who would decide the outcome of the situation, leave the barrier damaged, which would empower the good people of the world to be strengthened by leaking divine power (even though this would also means that evil people would be empowered too). Tired of strange people directing them, Aururoa teleported herself, Brokk, and Lethanin to the realm of the silver dragon, believing that the silver dragon would be the close ally of Aurix's they mentioned, and arrived in Talon Gorge. This was a surprise, as they knew that Aurix's ally, Wing, was to be found in Vestry, a city to the east of Talon Gorge. Nevertheless, the group decided to investigate Talon Gorge and search for the silver dragon. 

When we picked up this session, the group pressed on into Talon Gorge, seeing lots of destruction and marks of conflict; they also saw a concerted effort amongst the citizens and guards of the city to rebuild and begin again. Curious, the group asked a nearby ranking guard, Amber, about what had happened in the city. Amber explained that the city had seen a complicated civil war--fearing an assassination plot, the former king of Talon Gorge had invited many new guards into his official entourage of palace guards. But some of the new guards were infiltrators who assassinated a few members of the royal administration and later killed the king. Unable to permanently resurrect the king, the city fell into chaos. Some of the guard and citizens fought to defend the old kingdom and raise the queen to power, and others fought to bring down the monarchy in favor of an anarchist city. In the end, a massive battle raged that destroyed a great deal of the city, and the eventual compromise was a representative democratic council and a great purging of corrupt guards from the government. She also mentioned that during the battle, which happened largely around a clocktower at the center of the city, a great silver dragon had appeared and fought in the battle. [These events were the outcome of my first serious campaign, and my players at the time divided over what to do, leading the royal supporters and anarchists who fought.] Amber asked the group to help in any way they could with the rebuilding of the city. The group asked about the dragon and the clocktower, requesting access to investigate the clocktower; Amber was willing to give her name in support of their investigation, especially after Aurora cast a spell that magically restored a great stretch of the area's roads and buildings. Along the way to the clocktower, Brokk helped several people who were struggling to help rebuild parts of the city, impressing a decent number of people they encountered. Aurora grew wary of the situation, and she and the others asked what was really going on with the situation they'd become embroiled in.

They arrived at the clocktower and used Amber's name to get access; Brokk also had to do some smooth-talking to get the guards positioned at the clocktower to allow them past without too many questions. Brokk acknowledged that they were looking for signs of the silver dragon, and one of the guards requested that if the group found the dragon that they punish it for the damage done to the city. At the top of the tower, little was to be seen apart from a panoramic view of the city and its surroundings. Seeking a direction, Lethanin began to play a magical song that helped him to spot chips in the stonework that suggested a melee took place at the top of the tower, which corroborated Amber's report that some members of the civil war fought there. Lethanin also noticed that the top of the tower was not maintained and thereby wasn't frequently used, but also found a spot where the shape of a bedroll had been laid out for a long time, though the bedroll itself was missing. Lethanin turned his attention to the countryside around Talon Gorge. The sea to the west, the ocean to the north, and the broader continent to the south were not helpful in terms of information, but he did spot a large walled estate in the middle of farmland to the east. Hoping to confirm that this strange estate could be worth investigating, Aurora cast a spell to track the silver dragon's location, and her spell indicated that the estate to the east was related to the dragon. Lethanin, looking to further investigate the tower, detected magic on the tower and saw a powerful magical aura where the bedroll had been, a mixture of bardic arcane energy with a bit of divine magic mixed in. Aurora and Brokk discussed the possibility that a member of the new council may be the dragon, given that powerful people tend to seek more power. 

The group left the clocktower and was immediately approached by a young half-elven woman who introduced herself as Ollie. Ollie asked how they'd gotten access to the clocktower and what information they'd been seeking. Brokk was suspicious of her but could not tell one way or another whether she was being manipulative, so he suggested trading questions back and forth. Ollie called this a game and grew very excited to play. After a few questions, Brokk said that their reasons for investigating the tower were a secret, and Ollie grew even more excited, demanding to know the secret. Brokk insisted on privacy, so Ollie led the group to a quiet inn to talk. At the inn, the group paid for rooms and asked for access to the attic for privacy, which the innkeeper granted. In the attic, Brokk explained what Aurix and Thomas had told them--there is a leak in the barrier between the gods' realm and the physical realm, and they were seeking dragons to help deal with it. Ollie asked why they wouldn't just let the fissure in the barrier remain, suggesting that some of the more good-inclined gods could balance out the more evil gods. Brokk asked if she wanted Hextor, god of oppression and tyranny, around, and she called Hextor "an asshole." Aurora grew suspicious of this answer, asking about this strange way of talking about a god; Ollie said she knew Hextor followers who were assholes, but Brokk could tell she was being indirect. When the group became more direct and almost aggressive with their questions about her, Ollie said she felt threatened and asked to leave without their attacking her. Both the group and Ollie threw around some accusations--they claiming that she was playing games with them, and she suggesting that they meant to harm her and would seek help if they tried to attack her--and eventually, Ollie did slip out of the attic and disappeared into the city. The group discussed this strange encounter and considered the information they had at their disposal, coming to the conclusion that getting eyewitness accounts of the silver dragon's attack could be helpful. Aurora was very tense, believing that Ollie was up to something and couldn't be trusted, and Aurora instructed her cat familiar, Pumpkin, to stay at the inn and watch to see how many people came and went over the course of the day. The group resolved to return to Amber to get direction on finding a witness to the dragon attack. 

They crossed the city and returned to Amber, who was directing the finishing touches on a clinic that Aurora and Brokk had helped to reconstruct. She thanked them heartily for their help. Aurora asked Amber to identify Ollie by presenting a magical image of Ollie, and Amber said she'd never seen anyone like that, which seemed odd given that Ollie had described herself as a concerned citizen--why would a citizen involved in the city's reconstruction be unknown to a major player in the rebuilding effort? Amber asked about what the group had learned, and they explained that there had been indications of a fight at the clocktower's top and then asked about the estate to the east they'd seen. Amber said it was just a shut-in, a hermit who the city couldn't contact. The group also asked Amber about eyewitnesses to the dragon attack, and she became deeply unsettled, explaining that she had seen the attacks in-person. Horrified by the memory, she described seeing scores of guards killed with precision by the dragon, and her shock at later piecing together that the guards killed had all been corrupt and violent towards citizens. The group asked more about the new system of government--she told them that each of the city's seven districts elects a representative to the council, who makes decisions for the city collectively. The group was in the dark about how royalists and anarchists fighting resulted in a democratic council, and Amber said it was a compromise that actually served the city's population. She mentioned Tru'usk, the key figure on the council who had led the city from toppled kingdom into rebuilding democracy, and that he was a former adventurer who'd become a philanthropist after retiring in Talon Gorge. The group decided to speak to Tru'usk, and Amber directed them to the new seat of government just further into the city. On the way there, Aurora tried to magically locate Ollie, and the spell indicated that Ollie did not exist, which she conveyed to the group, making everyone wary that someone or something was watching them. 

The group arrived at the government seat. Tru'usk was hearing individual cases, helping an apartment building owner with rebuilding measures and directing a poor mother of two to community resources for food--Brokk also gave the mother a gold piece to help her get the food she needed for her children. Tru'usk then spoke to the group. Aurora gave a very silly introduction, which irritated Tru'usk, who was intent on helping people in an efficient manner and asked for what he could do to help the group. All three members of the party gave strange or evasive answers about their aims, and Tru'usk grew more frustrated. Lethanin asked about Tru'usk's commitment to the city, and Tru'usk gave a curt answer, clearly upset that his loyalty was being questioned. Tru'usk acknowledged that he had personally helped some of the guards who would go on to try to overthrow the kingdom and took personal responsibility, considering it his duty to help where he had done wrong. When Tru'usk patience wore thin, the group finally asked if he knew Nasimar, the name of the dragon they suspected they were chasing, and he said he'd never heard the name. Just as Tru'usk was losing his temper, Brokk and Aurora revealed that they'd helped with the rebuilding efforts, and Tru'usk apologized for being harsh but did insist on being allowed to help people with real issues. When asked, Tru'usk said that the hermit in the estate to the east was communicated with via notes on their gate. The group decided to leave, and Tru'usk attended to the now-long line behind them. 

Still concerned about Ollie, Aurora tried again to track her, this time by determining her identity through a spell. The spell simply said that Ollie was a supernatural phenomenon, leading Aurora to conclude that Ollie was a god, a dragon, or a fey. The group ultimately decided to follow up on the hermit and drafted a note to them which read, “Greetings. We are an interested party hoping to obtain an in-person audience with you. What assurances would you need to facilitate this? Cordially, Twinkles, Strings, and Muscles." (Twinkles is a nickname Lethanin gave to Aurora, Strings is a nickname that Brokk gave to Lethanin, and Muscles is a nickname that Lethanin gave to Brokk.) The group decided to split up, with Brokk leaving the note at the hermit's estate and watching to see what happened while Aurora and Lethanin were to further investigate Ollie and the city. Brokk went to the hermit's estate and tacked the note to the gate, then hid across the road and settled in to watch for what would happen, planning to be there for 24 hours. But within minutes, a half-elven woman smoking a cigarette appeared and read the note, chuckling. She turned and faced Brokk despite his effective hiding in bushes and called him over to talk, saying she assumed he must be muscles. She agreed to speak with the group the following day on the condition that the group come alone. She identified herself as Jarvia, and she and Brokk spoke about the giving and receiving of chosen and given names. Brokk headed back to the city, seeking a smith to get a new weapon since he'd left his home without his trusty battleaxe. 

Meanwhile, Lethanin and Aurora asked the innkeeper where they were staying about Ollie--when did she leave, and where did she go? The innkeeper insisted that they'd come in alone, gone to the attic, and that no one had left until they did so. When Aurora asked Pumpkin about who he'd seen come through the door, Pumpkin confirmed that Ollie had gone out and that only a few other people had passed in or out while the group was gone. Lethanin suggested that Ollie had been a projection or illusion of some sort and tried to trace the source of the projection, but he learned that Ollie had had a corporeal body when she'd been around them and was not a projection. Aurora admitted to Lethanin that Ollie could be a fey and was seeking Aurora, or perhaps was connected to a group of people who were looking for her, discussing parts of her backstory in relation to her knowledge that people are after her. Unsure of how to proceed, Lethanin and Aurora decided to go to a bar and grab some mead; Lethanin played a song to determine where to go and saw a vision of a tavern called The Ripe Peach next to a smithy called The Forged Hammer. They set out to find the tavern. 

At the same time, Brokk reentered Talon Gorge looking for a smithy. He found a district that had been a whole row of smithies, though many had been destroyed, and one promising smithy was run by a racist Daltoner who was harassing non-human customers. Brokk decided that his best option was to go to a smithy run by a young dwarven girl named Moira, who waved him down. Brokk asked for a custom orcish-styled battleaxe, which Moira immediately began working on. The two talked while Moira quickly made the battleaxe with expert skill; Moira worried that creating weaponry did not help as much as it hurt, and Brokk worried that he, as someone made as a living weapon, was only able to do so much with intention, but Moira pointed out that the metaphor was flawed, as tools have purposes they cannot help but fulfill, and people have intention, which will always grant them choices. As Moira worked quickly and expertly, speaking all the while with comforting wisdom, Brokk began to grow suspicious that she was more than she appeared to be--Moira simply said that she could see her was uncomfortable and told me to keep doing the right thing since good surprises exist as much as the bad ones he was worried about do. Brokk paid Moira the very small sum she asked for in return for the battleaxe, which came out beautifully, and anxiously left. As he did, he saw that the smithy's name was The Forged Hammer, and Lethanin and Aurora ran into him on their way to The Ripe Peach. 

And that's where we left off. We agreed that the characters catching each other up on what they'd learned in their time apart would be a good way to bring the players themselves back up to speed at the beginning of their next session, which it looks like may involve some shenanigans in the city and likely the meeting with Jarvia, the hermit outside the city. One thing that doesn't come across in this recounting of events is the mood of the session and the player reactions to NPCs. At the beginning, there was a kind of excited nervousness at the digital table--the players were itching to get going, learn things, and find the silver dragon. When Ollie wanted to know their business, they shared basically everything they knew. But after Ollie seemed strange and unpredictable, and as they learned she was more than meets the eye, things started to change. The player characters would scarcely share any details about their aims and knowledge with anyone. They grew nervous, suspicious, sometimes outright panicked. Aurora's player remained anxious out-of-game for over an hour after the session ended. The atmosphere was really tense in-game, and the players did a lot of nervous laughing and shaking their heads. 

This was absolutely intentional. I've been dreaming this campaign up for a long time. Years, really. I have gotten so used to these games where the players are far more powerful and capable of anyone they meet, except potentially for a big bad who'd precisely matched to their level and capabilities. One thing I hadn't run, and haven't really seen a game run that has the players wildly outclassed. The idea for me stems from the notion that I like roleplaying as a style and dislike running combat. So how do you incentivize players to roleplay and investigate and avoid combat? You can talk to them out-of-game, sure. You can choose players who you know prefer roleplaying and dislike pure combat. But I dreamed of a campaign where talking and thinking were the only options, where combat was basically off-limits. And having a campaign where it's obvious that even though the player characters are very powerful (they're level 12 as of this session) but are still scarcely powerful at all compared to the people they're up against means that the players have to engage in a different way. 

And let me be clear here--at no point in this campaign has a single NPC tried to overpower the player characters. Last session, Thomas was threatening, but he didn't take any actions that actually would have hurt the player characters. It's not that the player characters have been given reason to fear people around them. (And again, they're level 12--they shouldn't really be afraid of anyone in normal circumstances.) It's just the knowledge that things are weird and foreboding. They know that they're dealing with dragons. They suspect that the gods are involved. They don't really have any information on what's happening with concrete details. I mean, even just having Ollie defy explanation and the knowledge that supernatural things are afoot made the players pretty panicky. What I'm getting at is this: 

This was our first full session. No combat happened. No threats were made. And by the end, a 7-foot orc-demon was terrified because a smith was really talented and kind. This is the kind of thing that's possible with the right campaign setup. With some creative engineering of the stakes and the storytelling, you can get genuine and strong emotional reactions out of your players without being overtly scary or over-the-top. I've argued that you can do it in the past while throwing in occasional combat and genuine threats, but this session has proved you can do it without anything but storytelling alone. We all know that most GMs get a thrill from getting a big reaction from players, from making the player characters have strong feelings about things--imagine the thrill I got to have watching three level-12 characters shaking in their boots because a couple strange people talked to them. This, to me, is what tabletop games are all about. We did some intro sessions to make the players see that their characters are powerful, and I dropped them into something that's a bit confusing and very hard to pin down, and they're in it. These players, all of whom are experienced, capable gamers, are freaked out in a way we all dream of achieving. 

So what am I getting at? If you are a roleplaying-focused GM like me, don't discount the power of a good situational stressor. Aurora's player has been playing D&D for over a decade, and an NPC who she can't explain with the threat of the supernatural looming overhead made her freaked out out-of-game for an hour after the session. Brokk's player, a longtime player and DM, was reduced to nervous laughter when someone helped Brokk. And this is only the beginning. I can't wait to see where it goes from here. Just put your faith in your story and invite your players to meet you where you are, and you may be surprised by what comes out of it. 

Next time on Of Gods and Dragons, the party will discuss options and meet with Jarvia, and who knows what else? I planned the very first session, but I went into this session with zero preparation. It's impossible to know what comes next. I know who Jarvia is as a character and what her motivations are, but everything else will be as improvised as this session was. I really can't wait. Until next time, happy gaming!


Thursday, August 8, 2024

Of Gods and Dragons: Session One

Last time, we covered our final intro session for my newest campaign by introducing Lethanin, a curious gnomish musician and spellcaster who spent his introduction delving into lore and causing chaos. Together with Brokk, whose intro session involved saving a young dissident elf from being captured and forced into military service, and Aurora, whose intro session spanned several years after her discovery of a distinctive style of magic and included forming a surrogate family and joining the crew of a sailing ship, Lethanin will be embarking on what I believe to be my most ambitious D&D campaign ever. We all got a chance to sit down and play our first session, and while there were difficulties from outside of the game, and some disappointments for me as DM, I'd say it was overall a great first step which will serve us well in going forward. So let's get into it! 

To get started, I needed to bring the party together. If you've read the intro sessions, then you know that Brokk and Aurora were on exact opposite ends of my main continent, Evanoch, and Lethanin had unknowingly left the city where Aurora was based to go to a completely different city altogether. As I mentioned in her introduction, Aurora is played by my fiancée, so we've had the opportunity to chat about the campaign's non-secret information as it's developed, and her number one question going into this session was, "How are we all going to meet up? We're scattered across the map--how do we get together?" This was something I've had a plan for for almost two years, and I delighted in not answering the question beyond, "I have it covered." So to begin, I rolled a d3 (aka a d6 divided by two with rounding) to determine who would be first. It came up as Lethanin, and so we joined him just before he entered the city of Ringsdale, where he planned to search for information about the copper dragon who'd gone missing here centuries ago, presumed dead. 

Lethanin was walking towards the gates of Ringsdale, and a handsome and intense dwarf approached him. The dwarf identified himself as Thomas and said he needed to speak to Lethanin privately. Lethanin was disinterested and walked directly past Thomas. But Thomas called out, using Lethanin's name without being given it, and demanded an audience for something he promised was important. Lethanin grew curious and agreed to come with Thomas, expecting the dwarf to take him to a nearby house or quiet place. But Thomas instead grabbed Lethanin's hand and teleported to somewhere where the buildings were all of dwarven construction instead. Thomas led Lethanin inside a grand house, through a beautiful parlor, and to a massive dining table covered in a feast. Lethanin began to complain about being teleported without his consent, and Thomas talked over him, declaring he needed to bring a few more people for the conversation, and teleported away, while Lethanin continued to complain to himself about Thomas's rudeness. 

Meanwhile, Aurora was in her surrogate mother, Heather's, backyard in Torga, enjoying a calm and peaceful day and thinking to herself. Heather came to her, saying that a dwarf had come looking for her, and Aurora tentatively agreed to speak to him in a few minutes, relieved that he was not a human like the Daltoner who'd come looking for her at the end of her intro session. But Thomas did not wait a few minutes; instead, he barged through Heather's apothecary shop and told Aurora that he had urgent business and needed to speak to her privately immediately. Aurora agreed, unsure of what he was up to, and Thomas once again teleported with her to the same house and left her with Lethanin. Aurora and Lethanin spoke together about how rude and strange Thomas was, and he once again excused himself and teleported away. 

Finally, Brokk was helping his friend and employer, Marque, to unload a boatfull of fish from the docks of the small town of Drumchapel. Thomas said he needed to speak to Brokk immediately, and Brokk said he needed a few more minutes to finish unloading. But Thomas would not wait, and he demanded that Brokk come with him now. Brokk and Marque covertly mocked Thomas for being so demanding, but Brokk agreed, and Thomas brought him to the same house and brought Brokk to Lethanin and Aurora, who were discussing how odd it was that Thomas was doing what he was doing. Brokk too was perturbed by Thomas's approach, and the three of them asked why Thomas had brought them together. 

As far as introductions go, being teleported one by one from opposite ends of the world is a bold start. I knew before the session that it would have benefits and drawbacks. On the negative side, it's very unsubtle. But I reasoned that Thomas as a character is very unsubtle, so that was fine by me. Also on the negative side, it makes the players feel a bit not in control of the situation--being forcibly teleported somewhere unknown without warning or explanation takes some comfort from the players. But again, this is how Thomas is, and I also wanted to make an impression. These characters are beginning the campaign at level 12. They're powerful people, and in their intro sessions, each of them was distinctly in control of the situations they found themselves in. This campaign is called "Of Gods and Dragons" for a reason--the people and situation they're dealing with is the big leagues, and I wanted to start them off with the impression that they weren't the strongest, most powerful people in the world. 

I was okay with the drawbacks because I felt they were appropriate, but I also felt there were benefits. On the one hand, I let the players build their own little worlds in their intro sessions and be anywhere in the world they wanted to be; having someone teleport them all to the same place let me have an easy opportunity to let them have the backgrounds they wanted while still getting to easily shove them together. And as bold and potentially divisive a move as it is, it definitely makes an impression. In the moments that followed, as Thomas began to actually talk, all of the players noted that someone who can comfortably teleport themself and others across the world six times in a few minutes without issue or concern is a powerful person, and this again reinforces what I was looking to do. Honestly, Thomas is a brusque and unpleasant man, and this was established, but also, he was certainly intending to intimidate them a bit with him magical prowess. So while I don't think every campaign should begin with something like this--it feels a little railroad-y to me--it served some important purposes and didn't present any meaningfully detrimental effects to the building campaign. 

So there in Thomas's fine house, he began to explain. He gave the party a few basic facts about why he'd brought them together. Namely, he explained some lore of my gameworld that set up the main story. First, he explained that prophecies appear in the night sky as constellations, telling them that a prophecy was on the verge of being enacted, and that an astronomer friend of his knows how to read such prophecies. According to this friend, people matching the party's descriptions--a demonic orc, a musician of the spheres, and a Fae-driven scientist--are the key figures in the prophecy. Thomas said he felt it was only right to bring them together and explain the situation so that they could be aware of their roles in their own destinies and that of the world they live in. Further, the prophecy must have something to do with a weakened magical barrier that separates the gods in their realm from the physical world where the party lives. He noted that some gods had recently broken through that barrier and been rebuffed, which he believed to be a threat. His suggestion and request of the party was to destroy the barrier--he reasoned that interacting directly with the gods was a valuable thing and that having all the gods able to descend to the physical realm would keep the balance of good and evil gods, whereas mostly evil gods had made the effort to break through. 

Tangent time. Years ago, when I was doing Listen Check, one of the first-ever D&D podcasts, I faced an interesting scenario. On our first game day, which was to be broadcast live over the radio and recorded for the podcast, one of our three party members could not play for health reasons. We had advertised the show and set up our first session/episode long in advance, and it could not be cancelled or postponed. We had to play with a full third of our main characters. This meant that for me as a DM, I couldn't really introduce anything super important to the game quite yet. But our episodes were three hours long (the medium hadn't been cemented into one-hour slots yet), and I wasn't exactly sure how to fill that sizable time slot without getting into anything that would be vitally important to the long-term game. So I made a snap decision, having found out only minutes before we were supposed to play that our third player was unavailable, and the episode was devoted to establishing the world and characters. I encouraged the other two players to explore the city where the game was to take place, speak with the allies they were working with in-game, and learn more about the lore of the city and the gang they were a part of. 

It felt like a disaster. To this day, when I tell people about the show, I recommend skipping the first episode. A lot of it was me monologuing as NPCs and narrating things about the show that would be valuable later on. Don't get me wrong--there were good outcomes. The two players present had a great sense of the gameworld, and given that their characters were supposed to have lived in the city for many years, it allowed them to have a real knowledge of the city, whereas the player who was sick played someone new to town, so the other two characters could actually show the third character around and explain things to him. And while I would have preferred to have introduced all that lore bit by bit over time in a more subtle way, getting it all out of the way meant that the campaign could roll on without slowing down later on. But it felt bad. I felt like I was giving a seminar on the gameworld rather than letting them play. I resolved to never do anything like that again. 

That was almost fifteen years ago now. When I was building Of Gods and Dragons, I realized that there was substantial lore that needed to be shared for the players to understand the stakes of the game. Even the very brief summary of the lore a few paragraphs up is pretty substantial to take in in the opening minutes of a campaign. I decided that I wouldn't introduce it all at once, and I would instead portion out different parts of it out over the first several sessions. But as you can see in that paragraph, that didn't happen. I ended up lore-dumping in the first few minutes of the campaign. I did not want to do that. But I did, and I had reasons for doing so. 

Mostly, the players more or less requested it. I had intended to keep Thomas secretive and have him refuse to give too much away for reasons that will become clear below. I had plans, which my session outline showed, to have him give just a bit of the info and have other NPCs fill the rest in over time. My intentions were good, and I didn't want to make that same mistake again. But as Thomas spoke, the player characters had questions. Lots of questions. He explained the prophecy concept, and they wanted to know how they fit into it. So he hemmed and hawed, but they kept pushing. Eventually, he explained their role in things. I intended to stop there. But the party asked about what he wanted them to do, and that meant explaining the barrier concept so that he could ask them to destroy it, which led to more questions--which gods came through? Why? What did they do? I'll admit, I created my own problem here, but I've been building this campaign for almost two years, and I never came up with a satisfying way around just explaining some things, especially since that is what the characters would do. Thomas would give answers, even if they weren't true. 

And Brokk noticed that in fact, Thomas's answers weren't entirely true. He got the sense through an Insight check that Thomas was both withholding the full truth and lying directly about other things. So Brokk did what would make sense in almost any other situation--he tried to intimidate Thomas. Thomas had been getting more and more pushy about getting the party to do what he wanted, and they didn't like the idea of opening the world up to the gods, so they started to dig in. Brokk's intimidation attempt was strong--a 22--but Thomas only grew angry, threatening Brokk for trying to play him. The party refused to do what Thomas asked, so Thomas lost his temper and said he'd show them something that would change their minds, storming from the room to bring them evidence that might change their minds. 

Once Thomas was out of the room, there was a tapping on the window. A meek human man stood outside, trying to get the party's attention. They went to the window, and the man explained in a panic that Thomas was purely evil, and he could help them and explain more, pleading with them to leave. The party quickly agreed, and the man introduced himself as Aurix as they hurried away from the house. Aurix asked permission to teleport them all to somewhere safe, and gratified that Aurix had actually asked them, they agreed. Aurix teleported them all to a fine dining hall within a system of foreboding tunnels. 

The party began to ask questions of Aurix, looking for answers that Thomas had been unwilling to give. Aurix explained that they were indeed part of a prophecy which involved dealing with the barrier to the gods. They also divulged that the gods really had come through the barrier, and that they and others had fought Gruumsh to keep him from harming the city of Torga, which they were beneath (this is how Listen Check ends, and Aurix was a key figure in that campaign). But Aurix also explained that Thomas had lied about which gods emerged from the heavens and that Thomas was making a power play. The party asked more questions, and Aurix told them that the barrier to the gods' realm was not broken--they'd partially repaired it, and the crack in the barrier meant that powerful magic was leaking into the physical world, where it empowered the most powerful people in the world. They noted that the party themselves were empowered by this, as were Thomas and Aurix. Thomas, they said, was a dragon--a red one, purely evil. 

This led to Aurix explaining some of my world's rules about dragons. They explained that there are not families of dragons as the legends say, but only one of each dragon. Dragonhood is a title and position rather than a genetic trait, and Thomas had been the red dragon for 3,000 years, the longest time any of the contemporary dragons had served. While explaining the rules of dragons, Aurix slipped and used the word "we" in place of "they," and the party got them to admit that they were in fact the gold dragon. The party had gotten them to acknowledge, minutes before, that they were not a human but a gold-scaled kobold, and Aurix was quick to say that they were not a mindless monster, but a kind person. But the admission that Aurix was a dragon opened a whole new line of questions. The party wanted to know what Aurix wanted, and Aurix explained that the leaking divine power meant that Aurix, and all the dragons, for that matter, were stronger. But Aurix did not know if the other dragons knew this, and if all the good dragons were made aware of their increased power, they could use that power to do more good. The party was skeptical about this, but they continued speaking with Aurix about their plans. 

Again, you may note that this is even further lore-dumping. Originally, my plans for the session indicated that Aurix should appear only at the very end of the session and even then would not explain all of this. Aurix's appearance would have been the end of the session, and the next session would have begun with more information, gradually given. I had not planned on the party disregarding Thomas so quickly, and I had to improvise and throw Aurix into the mix quicker than anticipated. Genuinely, between Thomas and Aurix, more lore-dumping happened in this session than I'd planned to do in three sessions. In an ideal world, that might have happened. But as any DM knows, we do not play in an ideal world. I have always said to give your players what they want, and this party wanted answers. So I gave them the info they were asking for. I like to think that my players wanted all this information, and I did a good thing by giving it to them. Time will tell, and I do plan to acknowledge that more lore-dumping happened than I strictly wanted. But in the moment, Aurix wanted to be honest, as is their wont, and they weren't going to evade their questions, and so it happened as it happened. 

The party indicated that they weren't entirely fans of the idea of leaving the barrier to the gods' realm open, and Aurix perked up, suggesting that they speak to the other good dragons. Aurix reasoned that if they wanted different approaches, the other good dragons might have them, and Aurix needed the other good dragons on board to do anything with the advantage granted by increased power. Aurix explained that the evil dragons were fairly divided, but sadly noted that the good dragons were too. They said to find the other good dragons, Nasimar (who went missing 800 years ago and hasn't been seen since), Versvesh (who's been too depressed for 300 years to do much), and Rachaurach (who became a dragon only days ago and was freaking out and had to be found). Aurora pointed out that one dragon was missing, and Aurix happily explained that Wing, the last good dragon, was their close friend, and they knew exactly where she was and how to find her. Aurix said that Wing was very good with people and would know more about the other good dragons, and the party agreed to go and find her in Vestry, the gnomish capital, where she lived. 

What happened next was classic D&D at its finest. Aurora's spellcasting allows her to combine different words and ideas into spells, and Aurora, eager to teleport without being ushered around by dragons, decided to teleport the party to Vestry to speak with Wing. But in the design of Aurora's teleportation spell, she did not indicate Vestry specifically or a gnomish place or anything specific to Wing. The party also did not ask any further questions about Wing. Perhaps they were growing tired of talking and were ready for action; perhaps it was just D&D giving rise to unpredictable things as it does. Aurora's player assumed that the best friend of the gold dragon would be the silver dragon, and she indicated in her spell that the spell should take them to the territory of the silver dragon. The spell took effect, and the party went spinning magically through space to the territory of the silver dragon: Talon Gorge. 

Seeing the sign outside the city indicating it was Talon Gorge and not Vestry, Lethanin perked up. He had no excitement about returning to the city of his birth and youth. Aurora was crestfallen that the spell had not worked as intended, eager to prove to the rest of the party that she was a valuable asset to the team. Brokk was almost entirely unaffected, simply content to be free of all the powerful people trying to control him. Rather than trying to teleport to Vestry with a second spell, the party agreed to seek out the silver dragon and find him as Aurix had asked. 

We ended up calling the session there. In retrospect, this was not a bad stopping point. Beginning the search for the silver dragon was a nice place to stop, and I do want them to start fresh from that point moving forward. But that's not really why I called the session at that point. My internet, which I was sharing with Aurora's player since we live together, is notoriously unstable. It was especially bad for me, since my computer is in a bad wifi reception area in the house. Had we been playing in person, which I do think is ideal for gaming, we probably would have plowed forward and started the search for the silver dragon. But I had already dropped out of the video call four or five times, and upon arriving at Talon Gorge, I dropped out yet again. My players were being patient and understanding about this, but it was frustrating for me to develop a rhythm and momentum and have it interrupted by technical issues. Looking ahead, I'm going to do what I can to stabilize my connection, especially since we only got to play for about an hour and a half (whereas I prefer to play for three or four hours at a time). But I'm not dissatisfied that we left off at a good stopping point; I only wish that the whole first session hadn't been spent establishing the plot. A little more open choice for the players would have been ideal, but I am very excited to say that it's all open choice from here. Every single session for the rest of the campaign will be directed by the players, and I'm eager to find out what happens next. 

So, reflections on our first session? The drawbacks were frustrating, as I've said. Technical issues are a real bummer, and lore-dumping is something I hate doing and try to avoid as much as possible. But neither were avoidable here, so it is what it is. The party dynamic is obviously still developing; the group only interacted together in response to NPC input. But what I saw was promising. Brokk is easily frustrated and highly practical and moral. Aurora is erratic and impulsive, but stubbornly helpful. Lethanin is temperamental and somewhat passive yet certainly capable of mixing things up. In one way or another, each of them is hard to predict, and each of them wants what's best for everyone, and that's a wonderful composition for a party. They seemed interested in the hook for the story, and once they figured out their angle on it (going to Wing), they were quick to act, and did so decisively. And the fact that Aurora's spell took them to the wrong place is fun, but even more fun is the fact that they just ran with it. Nobody suggested backtracking and going to Vestry--they just nodded and agreed to move forward with the hand they dealt themselves. And as much information as they took in, they obviously still have a lot more to learn. The backdrop for this campaign is the most elaborate I've ever attempted, with dozens of NPCs and lots of important mythology, so mistakes like going to the wrong city in search of someone might be a commonplace affair in this campaign, and I personally am thrilled to see what else goes wrong and right for the party. 

In the immediate future, I'm thrilled to see the party track down the silver dragon, who is among my very favorite NPCs in the whole campaign. I can't wait to see the party make some real decisions together, and watching their dynamic develop will be riveting. And as I told them at the beginning of the session, just getting to play with all of them is a huge thrill. Aurora's player is my partner in life, and Brokk and Lethanin are played by my two closest friends. So every time we play, I'll be with my three favorite people, and that's one of the true beauties of tabletop games. Getting to spend quality time with your closest friends, engaging in imagination and creativity with them, and telling a story all together--this is what D&D is really about at its core level. 

That's all for now. Next time in Of Gods and Dragons, the party will explore Talon Gorge and try to track down the silver dragon. Or not! Who knows? With this party, I can't be sure of anything, which is exactly how I want it. Until next time, happy gaming!


Thursday, July 25, 2024

Of Gods and Dragons: Meet the Characters - Lethanin

This is the third and final installment of out "Meet the Characters" series for my upcoming campaign, Of Gods and Dragons. In our first chapter, we met Brokk, the orc-demon fighter-warlock who has chosen a path of non-violence. Then we met Aurora, the Fae-powered spellcaster with a past mysterious even to her. Now it's time to meet our last character: Lethanin, a gnomish musician who can tap into magic with his musical instruments. Lethanin is being played by a longtime collaborator in my D&D world--they've played Ell in the Eastweald campaign and Ais in the mystery campaign in the past (and played a fascinating paladin in the campaign where I got to play Asp). Lethanin was a character who was still being developed when we sat down to do his intro session, so a large part of the session was in letting his player figure out exactly how his custom class works and what motivates and intrigues Lethanin. That's what an intro session is for, after all, and after getting our feet wet in this session, I'm looking forward to seeing how Lethanin fits in with the rest of the group and the campaign itself. 

Relatively little about Lethanin was decided going into this session--only his hair and eye color (both silver) and the outline of his custom class. That class is worth delving into, especially since it's one of the most freeform approaches to D&D I've ever taken. Lethanin is a "Musician of the Spheres." To build this class, I modified the Bard base class with some features of the Wizard and the Rogue classes, so he's fundamentally a character who uses musical ability to create magical effects, also empowered by some focuses on spellcasting (and less on the Bard's more support-class structure) with some improved stealth and dexterity capabilities. But the Musician of the Spheres is nothing like a standard Bard. Bards choose from a fairly limited array of spells that mostly buff allies, but the Musician of the Spheres creates spells from intention and feeling rather than from a set list of abilities. The idea with this class, which is rather up to interpretation, was to suit his player's distinct style as a person. Lethanin's player is themself a talented multi-instrumentalist musician who enjoys dabbling in the abstract spaces in life which require interpretation. Together, they and I have done all sorts of creative work together that's utilized this kind of thinking, from playing together in a band to our art criticism and theory podcast. So the intention to create a very abstract and open-ended class was highly intentional, and the result is a class where the player declares an intended effect and describes a musical performance style, and the result of a Performance check determines how closely the actual effect matches the intention. For examples of how this works in practice, read on to see how Lethanin's spells work in the intro session. 

I must again reiterate how unformed Lethanin was when we sat down to play--everything about the intro session was improvised based on a few simple questions about where in the gameworld Lethanin would choose to be and what sort of goals he might have in the moment. From the answers to those questions, I picked a piece of in-game lore that corresponded to Lethanin's interests and just ran with it. This means that the three intro sessions in this series were all radically different experiences. Brokk's player and I performed a roleplaying session through a messaging program (which allowed for a healthy amount of planning as we went) over the course of a few days; Aurora's player and I sat down for two lengthy in-person sessions I did a fair amount of planning for; Lethanin's was an entirely improvised video chat over the course of a few hours. To some DMs, this might seem like a flaw in that it means the characters are beginning on different levels. But for this campaign, I tailored the intro sessions to what worked best for each player. Brokk's player and I have often done mini-campaigns over text, and Brokk is a character he's worked with a lot; Aurora's player and I live together and were fleshing out our dynamic as a gaming unit and needed to cover a lot of backstory; Lethanin's player wanted a hand with the mechanics of setting up their character sheet and a blanker canvas to work with to figure out who the character really is. So the approaches all differed wildly, but the effect was that each player got what they needed to be ready to play. 

So let's get into Lethanin's intro session. Lethanin's player decided their little gnome musician would likely be in the city of Torga at the start of the session, just generally exploring a big diverse city with some tension in it--Torga is marked by a divided government and lots of drama between criminals and law enforcement. So the session begins in Torga, where Lethanin is simply out and about looking for something to get interested in. (We established quickly that Lethanin is a somewhat passive character, looking for things to investigate rather than pursuing his own agenda.) Strolling around Torga, Lethanin sees a group of orcish beggars who seem to be up to something who are being hassled by a group of dwarven guards. The beggars argued that they were not breaking any laws, which the guards contested. They began to argue--the beggars said they weren't violating the letter of any law, while the guards claimed the spirit of the law was more important. Taking the side of the beggars, Lethanin played a tune on his viol that agitated people nearby to the point that a scuffle broke out. The scuffle distracted the guards from the beggars for long enough for the beggars to slip away, and Lethanin stealthily followed them through town to a tavern in the poorer districts. 

In the tavern, a group of four Daltoners come in and start raising a fuss--they were upset that a local academic was spreading the idea that all the racial groups on the continent are descended from one common ancestor rather than divinely created. The Daltoners claim that this belief was racist, and they argue that the idea was being used to tarnish their place in the world as the supreme group. Lethanin, in an effort to stir them up, plays the national anthem of the Daltoner military extremely poorly. Half of the Daltoners take this as the insult it was meant to be, but the others mistake it for support for their argument. To drive home his point, Lethanin plays a song about Daltoners being nothing but country fools with excellent musicianship, which causes the Daltoners to become furious. They menace him at his table, looming over him. Lethanin talks circles around them, being evasive when they oppose him directly; they eventually challenge him to say something straightforward. In response, he suggests that only a small mind is afraid of complexity. The Daltoners threaten to break Lethanin's viol, at which point he plays a calming song to soothe them and make them forget why they even threatened him in the first place. 

Let's pause for a second to delve into the Magician of the Spheres class. Lethanin intended to pacify the Daltoners and to make them forget why they would threaten him. First, Lethanin's player described a type of song--something soothing and lilting which could ease their anger but also confuse them a bit. This song's music matches the effect, which is a bit of flavor that Lethanin's player and I deliberately built into the class. It doesn't necessarily have an effect on the outcome of the spell, but it does help to show the way that Lethanin's magic would actually function. Then, Lethanin has to roll a Performance check for the spell. In the above example with the agitating spell, Lethanin's player rolled very well--a 25--which meant the spell occurred exactly as intended. But in the case of the pacifying and forgetting spell, they only rolled a 15, which means that spell generally works, but not on a complete success level. So the Daltoners were in fact pacified into not outright attacking Lethanin or breaking his viol, but they didn't forget why they were harassing Lethanin in the first place. As a result, Lethanin is safe for the moment but still has the Daltoners unhappy with him. The Daltoners leave Lethanin alone, suggesting that he join them in opposing the academic, who they identify as Calies Tasselman at the nearby Spellbound bookstore. On the way out of the tavern, Lethanin plays a warbly tune to induce clumsiness on the Daltoners, causing them to spill their drinks on the people at the table they've gathered around, which in turn makes another fight break out. 

Lethanin goes to Spellbound, where he finds a book about the science of music that provides a guide on how to create musical instruments from scratch. He buys the book from the shopkeeper, a nervous one-armed man who says his shop was recently attacked. Lethanin asks about speaking to Tasselman but is evasive about why, and the shopkeeper grows more nervous, suspecting that Lethanin is up to something. Eventually, Lethanin mentions being a fellow academic of sorts, and the shopkeeper goes to bring Tasselman down to meet him. When Tasselman arrives, Lethanin is again evasive about his intentions (something that Lethanin normally does--he avoids saying what he means directly, or perhaps doesn't have direct intentions in the first place), and Tasselman acknowledges that he and the shopkeeper are anxious given the fact that they've been attacked recently over Tasselman's studies. [Out of game, Tasselman and his studies are a significant part of the D&D podcast I did many years ago now, in which Tasselman was a major NPC who dispensed information to the player characters.] Lethanin says that he means no harm and is simply interested in Tasselman's research, at which point Tasselman takes him upstairs to his study. 

Upstairs, Lethanin is shown a small study where Tasselman lives and researches. Tasselman's work includes a roughly-drawn diagram of the idea he proposes--that all people in Evanoch share a common ancestor. Further, Tasselman contends that humans, elves, and orcs are brethren in the genetic tree and that halflings are an offshoot of elves; he also believes that dwarves descend from an alternate route on the family tree and that gnomes are an offshoot of dwarves. Lethanin comments that better quality drawings will be necessary for the theory to catch on. Lethanin looks further, learning more about Tasselman's ideas, and notices a strange orb made up glittering gemstones. The orb displays the shape of Evanoch on one side and a massive shape on the opposite side; the gemstones display types of land--garnets for mountains, emeralds for forests, sapphires for oceans, rubies for volcanic islands, and so forth. Lethanin questions Tasselman about the orb, which Tasselman calls a globe, suggesting that the world is not flat but rather a huge sphere like the globe. Lethanin asks Tasselman where it came from, as it is obviously of exquisite craftsmanship and is unspeakably expensive, and Tasselman says it appeared when he was praying to Boccob, the deity of knowledge. Lethanin speaks to Boccob aloud, asking if Boccob is listening, and Lethanin's vision grows blurry when looking at anything but the globe. Curious, Lethanin plays his shawm, trying to focus his magic into the globe, and the globe spins. Lethanin alters his playing to be very complex and structured, and the globe slows to a stop, rotating so that Torga is precisely in front of him. Lethanin asks Tasselman if it is possible to help the academic, and Tasselman replies that protecting the shop would be ideal if Lethanin is capable of it. 

Lethanin goes downstairs and plays the bagpipes, trying to craft a spell that would repel people with negative intentions from the bookstore. But the roll for the spell's effect was not terribly high, and the four Daltoners who Lethanin had encountered in the tavern earlier come to the shop to hassle Tasselman. Lethanin offers to help find the Daltoners books in an attempt to insult them, implying that they know very little and need education. The Daltoners threaten Lethanin and Tasselman, at which point Lethanin plays a quick tune on the bagpipe, which successfully created the effect of the Daltoners growing uncontrollably itchy. The Daltoners scratch themselves feverishly and inquire if Lethanin is responsible for the effect, and Lethanin is again evasive in answering. After some back-and-forth in which Lethanin is unwilling to answer directly, the Daltoners commit to fighting him. But before they can act, Lethanin plays an uncomfortable-sounding song on the bagpipes which, with a critical success, results in each of the Daltoners soiling themselves. Embarrassed, all of the Daltoners simultaneously make excuses about needing to leave and stumble out the door. Grateful, the shopkeeper give Lethanin back the cost of the book on the science of music. 

Lethanin talks more to Tasselman, asking about the origins of the proposed common ancestor of all people. Tasselman proposes that all modern people come from a single group which came to Evanoch from the large continent on the other side of the globe. Lethanin probes for more information, learning that Tasselman believes they either arrived by boat (explaining why most societies exist near or on coastlines) or via tunneling directly through the globe itself, arriving in different places in the Underdark. Lethanin asks if there were large questions left unanswered by Tasselman's theory, and Tasselman notes that the existence of racial deities does raise questions--why should an elven god or gnomish god exist if all people are descended from a common ancestor? Lethanin decides to follow his musical intuition, searching the bookstore for other helpful texts and ideas. He finds a book that he feels vibrates on a musical level, a record of sightings of dragons across recorded history. [In this setting, dragons are occasionally sighted but not a confirmed phenomenon, not unlike UFO sightings in the real world.] Lethanin takes note of a few key facts: dragons of particular colors seem to be sighted in the same geographical regions (red dragons near dwarven territories, for instance, or black dragons near elven lands), and the last sighting of a copper dragon (which was several thousand years ago) involved the dragon apparently being wounded. Lethanin goes back upstairs and pores over Tasselman's research without asking permission and sketches the globe for his own notes. Intrigued by Tasselman's ideas and the way he was drawn to the book about dragons, Lethanin decides to leave Torga and go to the site of the last report about the copper dragon: the Liggen Forest. He packs and prepares before setting out for Ringsdale, a city at the southernmost tip of the Liggen Forest, and journeys until he arrives at the industrial city a few days later. 

We ended our intro session there. There is again a large divide between the ending point of the intro sessions. Brokk ended up with a tighter connection to his allies and a way to keep living a quiet life. Aurora ended up with an ugly reminder of her past and an established system of friends and allies. Lethanin gathered a handful of important ideas and set off for a new area where he might further investigate those ideas. Together, we have a network of themes and plot points that should allow this campaign to get off on a strong foot. With Lethanin in particular, the establishing of ideas about gods and dragons will be a great foot in the door with this campaign's namesake, and I'm very eager to see how he responds when gods and dragons become more than an academic interest. 

Next time I update this series, it will be with the first session of play! In the time it's taken to get the characters ready to go, I've pretty drastically revised my plan for beginning the main story, and I truly can't wait to see how it all goes and what the characters do to get started. Now comes the hard work of a DM--getting schedules to mesh, playing the role of organizer, and generally attending to logistical details. But soon, we'll be rolling dice and pitting the players and their characters against something more fun: the biggest and most complicated NPCs my world holds. I hope you enjoy the journey along with us. 

Until next time, folks! As always, happy gaming!

Monday, July 8, 2024

Of Gods and Dragons: Meet the Characters - Aurora

This is the second installment of our character introductions for my upcoming campaign, which I'm calling "Of Gods and Dragons" (for reasons which will become evident pretty soon). Our first installment introduced Brokk, a half-orc/half-demon man who left behind a life made for violence in order to live a quiet life helping people. Brokk is played by a longtime friend and game partner--you may remember him as Carric in the Eastweald campaign, Beor in the mystery campaign, or the DM of the campaign where I got to play Asp. The situation with Aurora, today's character, is about as different as possible. Aurora is not a menacing person at first glance, she has no memory of her past, and she has sought out a life of adventure. And also very differently, Aurora's player is someone who hasn't really played with me much before. In fact, Aurora's two intro sessions are the first time Aurora's player has ever dealt with my brand of roleplay-heavy, storytelling-focused gaming. But rest assured, reader, Aurora and her player are an excellent fit for this campaign and this style of game. Oh, and bonus points--the player is my fiancée! She's great, and after our intro sessions, I can't wait to see how Aurora fits into the world and party. So let's get into this character!

Aurora is a young woman whose story very much begins with her intro session--for reasons that you will see in the summary below, she is unable to remember anything about her life before the first moments of the session. She's relatively unassuming in appearance, at least aside from the wooden sword that is always at her side (even when she tries to get rid of it). She's a quirky and imaginative person with a brilliant mind, and she uses her mental faculties to dream up clever solutions to problems and remake the world around her as she sees fit. But she isn't careless or selfish--she cares deeply about people and always chooses to be nonviolent and even sweet if she can. In terms of her location and occupation, I'll leave that to the intro session summary, which I think better conveys how she ends up where she is at the beginning of the campaign better than I could with simple description here. One final valuable note: Aurora uses a custom class adapted from my custom magic system, glyphs. That is to say, essentially everything about Aurora is heavily homebrewed, and so if the below summary sounds like a departure from typical D&D magic use, that would be because she's using an entirely from-scratch reworking of the rules of spellcasting.

Below is a summary of two introduction sessions that establish Aurora as a character and bring her up to the current moment in the campaign's timeline. We opted for two rather full intro sessions rather than one given that Aurora's backstory is fairly complex for one, and also because Aurora's player is relatively new to roleplay-heavy, story-driven gaming, which meant that getting comfortable in the gameworld was an important factor as well. There are several time jumps in this sequence, which we chose to do so that we could cover all of the most important moments and milestone's in Aurora's character arc and get Aurora's player really comfortable inhabiting the character's mental and emotional headspace. (On that note, the event at the end of this intro session made Aurora's player visibly shaky, so I'm confident she's in the right headspace at this point.) 

Enough preamble! Read on to become acquainted with Aurora. 

Our protagonist (who is not named Aurora at this point in time), is a fledgling alchemist, out in the forests of northeastern Evanoch, foraging for ingredients for potions. In an attempt to gather what she will need for a basic healing potion, our protagonist captures a few butterflies in a jar. Suddenly, our protagonist hears rustling from some reeds behind her; turning, she sees a small faerie with oversized butterfly wings. The faerie tells our protagonist she wants the butterflies to be freed--in fact, the faerie will make a deal: free the butterflies and agree to a favor in the future, and in return, our protagonist will forget everything about her past (which tortures her) and the ability to "make yourself into anything you want." Our protagonist considers this and agrees to despite not knowing what exactly the faerie means by some parts of the deal. Instantly, our protagonist forgets everything about her life except for what occurred just moments before meeting the faerie; she also suddenly understands a language she has never encountered before but now intuitively knows. Suddenly, a boar charges out of the nearby woods. Thinking quickly, our protagonist (who has now forgotten even what her name is) speaks the new language in a command for the boar to calm down. The words she uses manipulate the energy and matter of the boar, and it stops charging, coming in to be pet. Our protagonist uses the magical language to summon food for the boar, and then she realizes her predicament: she has no name, no past, no connections, and only vaguely knows that she has some alchemical knowledge. She searches her mind for the most socially diverse and accepting city she can think of and comes up with Torga, a port city on the southeast corner of Evanoch which is socially progressive, filled with moral criminals, and easy to travel to and from. [Torga is a city I know well as a DM--it was the home of my D&D podcast, Listen Check, and I DMed in it for nearly three years.] Our protagonist uses the magical language to transport herself to Torga, appearing in a clearing just north of the city. To mark the place where her new life truly began, our protagonist magically creates an earthen statue of the faerie in the clearing and sets out for Torga. 

On the road to town, she meets an old elven couple and asks if she can experiment with her new magical abilities by refilling a spent magic wand. The couple agrees, and she is able to successfully restore charges to the wand. Reaching the city gates, she speaks with the guards, whom she gives a few pieces of magically-generated platinum, though she later discovers that the platinum transforms back into basic stone after about an hour. Our protagonist decides to seek employment and begins to scout out the apothecaries in town. After investigating the three most respectable-seeming shops, she decides on one called The Mortar and Pestle, run by a warm halfling woman named Heather. Heather proposes a test: create a healing potion of sufficient strength, and she'll take on our protagonist as an apprentice. Our protagonist creates her best healing potion, and Heather cuts a deep gash into her own arm and applies the potion to test it. It heals her well, and Heather accepts our protagonist as an apprentice. Heather asks what our protagonist's name is and is puzzled when she cannot remember her name. Together, they decide on the name Aurora because Aurora likes the idea of a beautiful natural phenomenon that can be seen from her new home city, especially given the meaning of casting light in the dark. Heather immediately sets to teaching Aurora how to improve her skill as an apothecary. While they work together, they are visited by a dashing sea captain, a half-elven woman named Zamira. Zamira orders a massive amount of healing potions and tells Aurora that she is literally glowing, which Zamira believes to be a sign of power and potential. Zamira leaves, promising to return in a while for the potion order, and Heather entrusts Aurora with getting a start on the order while she goes to get lunch. Aurora explores the potion shop, discovering a work and storage area, a pair of bedrooms, a library, an altar space, and a mischievous orange tabby who she names Pumpkin after the gourd the cat seems to like sleeping on. Aurora bonds with Pumpkin, making him her familiar, and Pumpkin helps Aurora to make a large amount of potions before Heather returns. When Heather does come back, she is impressed by Aurora's work and industriousness as well as the fact that she has befriended the chaotic orange tabby, and she sets to work helping Aurora to complete the order. As they work, Heather teaches Aurora other potion recipes, and Aurora makes suggestions on how to increase profits using her skills at math, which surprises Aurora--she had not realized that math was something she was good at and doesn't remember learning it. Zamira returns and happily buys the potions; she says Aurora is still glowing, and she says that she'd like to take Aurora on as a member of her ship's crew once Aurora completes her apprenticeship. Aurora is immediately interested in a life of adventure, but pledges to stay with Heather until her apprenticeship is complete. 

After some more work, Heather gives Aurora the rest of the day off to explore town and celebrate starting a new life. Aurora finds her way to the docks and discovers the ship that Zamira captains, the Edmund Fitzgerald. There, she meets the ship's carpenter, an orc named Gurrik, and one of the foremost sailors on the crew, a dwarf named David. Gurrik and David take Aurora through the taverns in town, searching for Zamira, and find her drunkenly swinging from a chandelier in a tavern. Aurora drinks with Zamira, Gurrik, and David for a while, and she uses her magic to create a small glass model of their ship. Zamira tells Aurora that she sees potential in her, and though drunk, very seriously offers to allow Aurora to be and become anything and anyone she wants to be, as well as to give her a family in the crew. Aurora agrees to genuinely consider the offer to join the crew once her apprentice with Heather is completed. Zamira walks Aurora back to The Mortar and Pestle, and Aurora reunited with Pumpkin, telling him they had lots of work to do for their future. 

We cut then to a year later, on the final day of Aurora's apprenticeship. She suggests a picnic to Heather, and they head off to enjoy a meal and a bottle of mead at the statue of Aurora's faerie friend outside the city. Seeing the statue of the faerie, a few memories suddenly come flooding back to Aurora--memories of where she was before she transported herself to Torga. Aurora and Heather discuss their futures and the shop, Heather telling Aurora that she'll be fine without an apprentice and that she wants Aurora to be able to have the future she dreams of. Aurora blessed the mead, invoking the name of Yondalla (who Heather worships), and the mead makes both of them feel dizzy yet invigorated. Heather tells the story of her childhood and how she learned to become an apothecary--without help after being abandoned as a child--and wishes Aurora well in heading off into a future with a better foundation. At Aurora's request, Heather describes halfling culture a bit more, and then gives Aurora the rest of the day off to celebrate finishing her apprenticeship. Aurora goes to a government building and draws up paperwork to have Heather officially adopt her before heading back to the shop and working on some healing potions, which have become the most trusted healing potions for miles. Using a team of servants magically made from physical force, Aurora manages to complete a huge collection of potions for the shop and make an elaborate dinner for Heather. Zamira shows up, and Aurora invites her to join her and Heather for dinner, which Zamira gratefully accepts. During dinner, Aurora presents the adoption papers to Heather, who tearfully signs. Zamira asks Aurora to join the crew, which Aurora accepts; Zamira recommends Aurora as a future Quartermaster for the ship. Heather presents Aurora with four sets of handmade clothing (styled as an apothecary, a sailor, a ship officer, and an elaborate version of Aurora's simple outfit). After dinner, Aurora goes to the shop's backyard and creates a statue of herself and Heather in an embrace, blessing it with magic. In the morning, Heather makes breakfast for Aurora and promises to send Aurora a letter at every port she's bound for, and Aurora sets off for a future aboard the Edmund Fitzgerald. At the ship, a sailor named Alexandra shows Aurora around, and Aurora uses a well-stocked apothecary's quarters to create inventory for the ship. Zamira comes to check in and discovers Aurora hard at work, with healing potions, alchemical shields, and flying potions; Zamira is floored by Aurora's capabilities and uses the moment to introduce the other members of the crew to Aurora in an attempt to impress them into approving of Aurora as Quartermaster. 

We jump again to two years later--Aurora has served as Quartermaster for most of her time onboard the ship and is generally well-liked by the crew, especially due to her work in improving the profits of the ship. Aurora has only sparingly used magic aboard the ship, trying to keep that part of her skillset relatively quiet. One day, the ship spots an armored fishing vessel being fired on by a pirate ship. Aurora asks Zamira to pilot the ship towards the pirates and uses a powerful spell to create a seastorm that tears apart the pirate ship; the storm disappears as the Edmund Fitzgerald draws closer. The crew begins to loot the pirate ship and take the pirates captive, and it becomes apparent that the captain of the pirate crew is missing, presumed drowned with the remains of his ship, so Aurora casts another spell to transport him onto the deck of the Edmund Fitzgerald. The pirate captain appears there, coughing up water, and is bewildered to be alive at all. Zamira questions Aurora about her magical abilities, and Aurora offers an earnest explanation--she can speak her intention in her magical language, and the effect usually happens. Zamira is shocked and asks Aurora to only use her abilities in responsible ways that will help the crew, and Aurora agrees. The ship turns around and picks up the man in the armored fishing boat only to find that he cannot speak. Aurora uses a spell to form a mental connection with him, but he does not communicate that way either. Looking for solutions, Aurora tests the spell with Zamira and even tries connecting Zamira and the mysterious man, but nothing yields results. Finally, Aurora asks the man to identify himself through writing, at which point he says his name is Hyrum Gotham, a man of no rank. Hyrum points to a map, indicating the city of New Dalton, and offers a bulging coinpurse; Zamira peeks inside and agrees to change course back to the city. As the ship pulls into the docks of New Dalton, Hyrum comes to Aurora's quarters. He speaks, saying that he had been trying to find her for a long time. He comes at her with manacles, and she casts a spell that withers his muscles, rendering him no longer a threat. Hyrum asks why Aurora is pretending to not know him, if she thinks she can escape her past, and why she is pretending to have forgotten everything about Pelor's Mercy. Curious, Aurora uses a spell to probe through Hyrum's memories. She sees him in a fancy home at a split in a river, often beating prisoners. She also sees him being ordered by a bearded human man to find someone, but the name becomes static-y, and Aurora cannot understand it. Aurora sends Pumpkin to bring back Zamira and contemplates what to do about Hyrum. Aurora explains what has happened to Zamira, who asks why he had come for her. When Aurora does not know, Zamira says that Aurora is a risk--her crew may not be safe given this revelation--but she believes that Aurora is a risk worth taking. Zamira asks whether Aurora would like to kill Hyrum or have someone else do it. Aurora cast a spell that tried to remove Hyrum's memories of her, but Zamira explains that it's too dangerous to risk him learning who Aurora is again and coming back--he must be killed. Aurora lies to Hyrum, offering him a "healing potion" which will actually render him unconscious, and Zamira helps her to weight him down with cannonballs and throw him overboard. Zamira reveals that the coinpurse Hyrum had was filled with gems and sets sail for a northern city called Xale, renowned for its jewelers, and promises to return to Torga next to give the crew and especially Aurora time to recover from the incident. 

That's where we ended the intro sessions. Aurora's quirkiness doesn't come off in this summary as it does in-game; as a for instance, after making the pirate captain appear alive on the deck of the Edmund Fitzgerald, she simply asks his name and rank despite his absolute bewilderment at the situation. Zamira's crew regards Aurora as an odd but reliable and powerful ally, and by the time we arrive at the current moment, the crew owes Aurora their genuine allegiance. Out of game, we established that Heather sends consistent letters and enjoys occasional visits from Aurora and remains an important emotional part of Aurora's life. Aurora's use of her custom magic system is obviously rather powerful, aided in part by the fact that Aurora's spells' efficacy is partially determined by Arcana rolls, which Aurora has a significant bonus to. The combination of Aurora's quirkiness, sweetness, naïveté, and intelligent use of considerable power is a fun mix to DM for--you never know if you're going to get a genuinely kind and emotional moment like the adoption papers or statue of Heather and Aurora or something bone-chilling like the sea storm or mind-probing of Hyrum. All in all, Aurora is going to be a great fit for this campaign. 

Next time, we'll be meeting our third and final character, who is currently being developed. They will be played by another veteran gamer in my world, the same person who played Ell in the Eastweald campaign and Ais in the mystery campaign. Delving into this final character, Lethanin, will give us a good sense of what we have in store. After that, we'll dive into our first session and see how the characters adapt to this unconventional campaign. 

Until next time, folks! Happy gaming!