#RPGaDay2015 – Day 25: Favorite Revolutionary Game Mechanic

rpg-a-day-2015For the #RPGaDay2015 the question on day 25 relates to ones favorite revolutionary game mechanic and as openended questions goes, this one is tough. Picking out a specific game mechanic is one thing, but picking a revolutionary is whole different thing – but then again it may just be something that was an eye opener for one’s own way of playing.

 

Day 25 – Favorite Revolutionary Game Mechanic

In a sense Hit Points from Dungeons & Dragons may be a revolutionary game mechanic as well as Experience Points. Now a day they are everywhere, but that was not always so, and most applications of the HP and XP systems can be traced back to D&D. So some of the most common mechanics now a days may be more revolutionary, than you’d think, once we go back in time to have better look at them.

For me a revolutionary mechanic is one, that changes the way, that I play. One such mechanic or rather group of mechanic were those, that came we with indie wave back in the early zeroes. Besides being the focus for much controversy regarding how to play RPG’s there came a lot of interesting ideas and concepts from the now defunct Forge forum.

From the Forge forum came a set of tools, that made it easier to describe the act of roleplaying and talk about what happened at the game table (whether or not you buy into the GNS model or some other model), and secondly there were a bunch of games, that used this awareness to play around with the usual order of things. From distributing the right to set scenes to defining who get’s the right to describe the outcome. Those were not elements touched upon by any of the classic roleplaying games (D&D, World of Darkness, GURPS, Shadowrun, Basic Roleplaying, Savage Worlds), and that changed a lot for me. It was revolutionary to play My Life with Master, Polaris, In a Wicked Age, Shock: Social Science Fiction, It’s Complicated, Lacuna, Contenders, Annalise, Primetime Adventures, The Shab al-Hiri Roach, Mouse Guard and so on. Some the new concepts had been touched upon sparsely in older games, but now they were put front and center – and with those experiences I could go back and also expand on my more traditional games of Nephilim, D&D, Call of Cthulhu and so on.

To pick one mechanic from this whole movement is not easy, but two that was important to me was the focus on Conflict Resolution rather than Task Resolution and secondly granting or winning the right to narrate the outcome of a scene.

 


#RPGaDay2015 – Day 24: Favorite House Rule

rpg-a-day-2015Today the challenge in #RPGaDay2015 is favorite houserule, and I will pitch in with a few thoughts on my own. Houserules are interesting but sometimes also controversial, but to my mind most controversies around house rules are related to how they are broadcast to the group, and the purpose of houserules. To some a houserule is used to mend a perceived flaw in the system, whether there is a flaw or not, and careless applied houserule might in such instances make the game less appealing for the other players thus hurting their game experience and creating a controversy.

Day 24 – Favorite Houserule

I like houserules, and we use them a lot. We usually play with two kinds of houserules: 1) Campaign house rules (tailored rules) and 2) Houserule of the day.

Tailored rules are houserules, that are added to the campaign to make the rulesystem help focus on certain aspects of the game. In a Mystaran D&D Glantri campaign, where all the characters were wizards attending The Great School of Magic, all XP were gained from passing courses in magic, not from killing and looting, which forced the players to divide their time between attending classes and going on adventures.

Houserule of the day is a favorite among my players. In this instance a rule is introduced, that only applies for one session (unless it becomes such a succes, that it becomes a permanent feature of the campaign). Houserule of the day is a specific rule introduced to support a certain event or feature during a session (just as when an episode of a tv-show is filmed entirely in black/white or as a muscial). One such houserule during the wizard campaign was A Night at the Opera, where the wizard students when to a yearly major opera and the action alternated between the story of the opera and the backstage intrigues among shady wizard nobles.

In this case the rule was: Everytime you want your character to do something at the opera (a clandestine meeting, conspirering, gaining intel etc.), you must play a scene from the opera, and the scene must last two minutes.

This meant that the action alternated between the play on the stage and the intriques behind the stage and among the nobles on the balconies at at opera house, and we had some great fun at seing the players act out the different roles of the opera struggling to keep a scene lasting two minutes (this required a lot of repeating the same lines “I love you … I love you … I looooooooooove you …” giving the events on the stage a feel of being an opera play).

So the opera house might have been a favorite, but mine would in this case be the following:

Play a scene, gain a bonus

This is the most basic version of the scene, but we use it in a variety of ways. In The Great School of Magic campaign, the rule was formulated as follows: Play a studyscene with another play to gain a bonus to pass an exam.

Passing exams was the source of XP and thus levels, and the players would do their best to gain as many bonuses to these rolls as possible – and one source was studyscenes. In a studyscene the player’s character would be studying together with a secondary character belonging to another player, and what happened during the scene was open, and was mostly being used to develop characters and explore aspects of their personalities. It allowed the players to shine, and was important for the development of the characters.

We use this kind of houserule in many different versions, and it works great to put a focus on the small things, but stille those that develop characters and settings.


#RPGaDay2015 – Day 23: Perfect Game for You

rpg-a-day-2015Joining in on #RPGaDay2015 in the last moments of the project, where people daily cover a specific subject regarding our hobby, I too will share my thoughts on these subjects.

(and use it as an excuse to write in English again, before my writing skills entirely wither away).

Day 23 – Perfect Game for you

Today we are asked about which game is the perfect one for us.

For me there is not a single perfect game, just as there is not the single perfect movie, book, board game or graphic novel. So choosing the easy way out, I am tempted to say, that the perfect game for me is the one, that is tailored specifically to what I am playing.

I don’t want to play with a system, where I have to house rule away flaws in the game engine, and I don’t want to play with a system, where you ignore its presence or play against what the rules are intended to do.

So when I run campaigns, I tailor the system to do, what I want it to do.

When we play dungeon exploration RPGs, we play with my D&D clone Hinterlandet (The Hinterlands), that rewards the players not for killing the monsters but for each room explored, and structures the encounters with monsters, so that the players can more easily choose between negotations, trickery, retreat and combat, and when I ran a Delta Green campaign, we wanted to emphasize how the missions of the agents slowly alienated them from their surroundings by having the system focus on both their family lives and their black op missions for Delta Green.

To me some rule systems makes this easier than others. Shadows of Yesterday was great for running our Transhuman Space campaign, rather than using GURPS, and we mostly just reskinned it. Delta Green Hoarfrost Dragon campaign used a heavily modified Call of Cthulhu and Unknown Armies engine, as the Basic Rulesystem is very easy to work with, and I sometimes default to some very basic d20 engines, that I then start modifying. Polaris, My Life with Master and In a Wicked Age along with Lady Blackbird are also favorites, since they are very focused on telling specific stories.


I have played things

“If Movie Quotes were Roleplaying” – the first of a series of blog posts from my Danish language blog on roleplaying having fun rewriting quotes to be about rolesplaying.

Stemmen fra ådalen - en blog om rollespil og historie

BLADE RUNNERI’ve … played things you players wouldn’t play … [contemptuous laugh] Attack rolls on fire off the dungeons of Gygax. I watched minis glimt in the dark near Castle Greyhawk.
All those … moments … will be lost in time, like [small cough] adventurers … in … dungeons. Time … to roll …

(Tak til Rutger HauerKlip)

Hvis filmcitater var rollespil.

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One Does Not Simply Play Dead Gods

Lately I have been playing Monte Cook’s Dead Gods super module to Planescape, that he wrote back in 1997. It is a module filled with intestering ideas and concepts using the Planescape setting to its fullest – and also in a sense revealing how Monte got the ideas for Numenera.

one-does-not-simply-walk-into-mordor_1394963912One Does Not Simply Play Dead Gods. Its black pages are guarded by more than just orcs. There are narratives there that does not sleep. The great story line is ever watchful. It is a barren campaign, riddled with vague ideas, nonsensical plotlines and superfluous ideas. The very pages you read is a poisonous fume. Not with ten thousand sessions could you do this. It is folly.

Boromir on playing Dead Gods.

But why not play Dead Gods? Well, this quote from the module will reveal why:

Whether the PCs follow Renik or Kair-aama, they eventually see their mark meet with something in the dark shadows of an alley near High Point. If the cutters keep watch for several evenings, they observe a number of secret meetings and finally see the true “face” of their enemies.

[read aloud text with description of “true face of the enemy”]

If the PCs dare to follow one of the visages after it leaves the alley […] (p.40)

1. The text assumes the players will choose to observe a number of secret meetings – without giving the slightest hint as to why.

2. The text does not bother with describing who’s participating at these meetings, the above text is the full description about the meerings.

3. The text does not explain what is happening at these meetings. Again the quote contains more or less everything mentioned about the meetings.

4. The text does not allow for any other action. What happens if the PCs follow any of the participants? Not an option. What happens if the PCs interferes with the meetings? Not an option. What happens if the PCs investigates the participants at the meetings? Not possible.

If the players want to do anything beyond “keep watch for several evenings”, then the scenario leaves no clue as to what happens or how to play it out.

5. The whole next sequence hinges on the fact, that the players choose to observe for several evenings, until they see the monster, and then their choice is to neither keep observing or interfering with the meeting, but to solely track the monster – which they have never seen before, and they don’t know what the monsters are up to beyond appearently killing people and taking their place.

6. Once the players have decided to follow the monster, which is the only option (well, technically they can choose otherwise, and the module has at the end of section a brief note on what to then, which is mainly just to skip ahead and then continue the events, as nothing had happened – oh, wait, nothing did happen), then the NPCs and the secret meetings are simply forgotten by the module, as it no longer cares about it. This is not for the players to care about any longer. This happens multiple times in the module – once the characters have seen or witnessed something, the characters are ushered on not letting the players investigate them (and neither leaving any info to the GM, should the players decide to look closer).

There are descriptions of places and NPCs and plots and ideas, that one can steal, but you cannot play Dead Gods without forcing the actions of the players, and if playing the module as written you leaving the players in the dark most of the time having them play several chapters without knowing who, what or why they’re are exploring and fighting them – and it is not fun, just frustrating. No wonder why 90’s modules have such a bad rep.

 


One Does Not Simply Walk Under Illefarn

one-does-not-simply-walk-into-mordor_1394963912After several evenings of storming the dungeons of The Temple of Elemental Evil we decided to put the module to a rest since not too much happened, as the dungeons were deadly and it kept being supplied by new monsters, forcing the players to deal with areas they had already explored. Instead we decided to play N5 Under Illefarn (1987), which consists of three small introductory adventures and then a huge dwarven mine divided by three factions.

One does not simply walk into the mines of Illefarn. Its dark corridors are patrolled by more than just orcs. There is evil there that does not sleep. The dreadful necromancer and the dwarven prince are ever watchful. It is a barren dungeon, riddled with old traps, new traps, and empty rooms. The water rushing from the mines is a poisonous sludge. Not with ten thousand sessions could you map this. It is folly.

Boromir on exploring the dwarven mines of lost Illefarn.


One Does Not Simply Walk into Temple of Elemental Evil

one-does-not-simply-walk-into-mordor_1394963912This blog has been quiet for all too long. I shall attempt to raise it from its slumber, as have not been quiet regarding roleplaying. Revently I have explored Temple of Elemental Evil with my homebrewed OSR Hinterlandet (The Hinterlands).

One does not simply walk into The Temple of Elemental Evil. Its black corridors are haunted by more than just orcs. There is evil there that does not sleep. Zuggtmoy er ever watchful. It is a multi-level dungeon, riddled with fire, air and earth. The very air you breathe is a poisonous fume. Not with ten thousand party members could you explore this. It is folly.

Boromir on playing Temple of Elemental Evil.


[Review] Numenera – Tales from the Ninth World

So I kickstarted Numenera, and as part of that, I received the short story collection Tales from the Ninth World by Monte Cook and Shanna Germain. Normally I don’t read fantasy though plenty of science fiction, horror and weird fiction (though I do read fantasy, but it is mostly sword & sorcery-stuff or books published before 1980, such as Ursula Le Guin’s A Wizard of Earth Sea) – and stories in Numenera are somewhere bordering fantasy and science fiction. Also I normally don’t read books written in established universes like the Warhammer-stories, Star Wars-stories or D&D-stories. Mostly because I can’t help suspect that it is just written to order, and without the vision that an author brings to his or her own stories. This is probably way to too simplified, as some authors are skilled enough to produce good stories and some do have an interest for writing in established universes (though I soon discovered, that ).

So with this in mind I usually would not have bothered with reading Tales from the Ninth Universe, but vacation was coming up, so I grabbed a bunch e-books and went on vacation.

The anthology consists of three stories each with a sense in the title (smell, taste, sound) signaling the exploration of the Numenera-setting, one by Monte Cook, one by Shanna Germain, and one co-written by the two. All three stories takes place in the Numenera-setting, they all assume some sort of familiarity with the setting, and they are not very good. I was mostly bored reading them, as they felt unfinished and focused on showing the setting, but not about exploring it or telling stories. Just showing the setting.

The first story, The Smell of Lightening, is about a boy growing up in a mysterious castle containing strange secrets, and among the palace’s peculiarities is the fact, that the building grows. The boy belongs to noble family, and his father is secretly delving into the secrets of the castle in order to harness its powers. Then one day arrives a young man masquerading as a servant, but he belongs to another secret order of explorers rivaling the father, and belonging the good guys’ order. Where the father views the building through a lens of magic and ritual, the explorer views it through science some what. The boy explores the castle along with the explorer, discovers a rift in reality, and later learns of his father’s behavior, and vows to stop his father. Mostly the story read as an outline for an even larger story. Much more time could have been spend exploring the premise and the situation, but it is instead just cut short. In a sense I feel I have read the story before, the premise of the ancient house with its many secrets and a lifetime spent exploring it have interesting predecessors, but here it just touches on the story, shows us elements from the Numenera-setting and goes nowhere.

The second story, The Taste of Memory, is about a scoundrel with some weird ability to hide in shadows and a mechanical bird with an addiction for colored inks from octopi-creatures that produces experiences. She returns to her home harbor town, runs into a mutant streetgirl, and she is suffering from her addiction, as she needs a fix. She encounters a fella with a cover story, and she follows the streetchild to a hidden place through a gate, where she confronts her mom, who has developed a new version of the drug. Then the fella tracks our protagonist, steps through the gate, and there the story ends. Once again it felt like reading a story cut short, and one that were exploring some elements in the Numenera-universe, but elements established somewhere else, and therefore not really introduced in the story (this is another reason for not reading stories in established universes, they skip parts of the world building, because they assume the reader is already familiar with these elements). Though better written than the first story, it sort of just ends after having made its reveal (Look! A new drug with new effects!).

The third story, The Sound of a Beast, is the worst of the three. Mostly it is a dull tour of the setting presenting various monsters and places with out narrator travelling with a band of companions and a hostage as they encounter monsters and bad weather (though the idea of rain as monsters is a fine one), which forces them to seek refuge in a tower, where the inhabitants are also monsters, and after a huge fight the story ends. As an evening of gaming this might be entertaining, but as a story it feels like reading a fictionalized report from a session, and it is dull. Again the story’s main focus is on showing the setting, and certain parts of the setting are left unexplained assuming some knowledge of the setting – or just forgetting to present it to the reader, had it not been that the story actively chooses not to explain the elements.

Generally the three stories were a disappointing read, and I am somewhat more cautious of what to expect from Numenera. I like the art of the setting, and the overarching idea of the setting is very interesting – and mostly what attracted me to Numenera in the first place – whereas the rules seems mostly to be one of the many new systems drawing ideas and mechanics from the many new indie/forge/story games and applying them to 90’s style systems, and I am slightly curious to see, if there is anything to the rules.


A New XP-system: Exploration-based Rewards

Recently I noticed, that Erik Mona does not like the experience point system – and thus have created his own system – and it reminds of how I have been doing XP myself.

On the good old pre-2000 days, you killed an orc and gained some XP. You might get 50 points or so, and only needing a few thousands, then that was ok. Unless you played D&D becmi, where an orc gave 10 points, and your first level fighter needed 2000 to go up a level. Then collecting treasures became really important.

But even with the increased XP values of monsters in AD&D, once you needed 10.000 or even more XP, killing a few monsters granting some hundreds XP or so resulted in bookkeeping XP just felt meaningless. This also began being reflected in scenarios, where you huge sums of XP were being granted for reaching the end of a module, and in some cases whole levels were granted (making it even less meaningful to collect XPs for killing a few orcs).

With this slowly deteriorating system for granting XP became still more useless, many began developing new ways of granting XP, and when 3rd edition came around a new shiny model were introduced, and an even shinier one with the 4th ed rules.

Since XP is such a nice thing to drive the game, as it quite literally is an award, you can use it to tell the players, what you want to reward them for. Kill monsters and bring home treasures! Complete modules! Use your class based abilities! For surviving encounters (as Erik Mona suggests)! Spending your money at the inn between adventures (as I saw suggested years back)! Roleplaying! (An always nebulous one for who is to gauge “roleplaying”, and you might end rewarding extrovert or charismatic players or players for ‘reading’ their GM?).

Attending Class, Gaining XP

I just recently ended an eight year long campaign about a group of teenage wizards at The Great School of Glantri. Xp were not granted for killing monsters or picking up treasures, nor were they granted for ‘good roleplaying’, but instead for attending classes and passing exams, and everytime you had enought to level up, you had to pass a test. Failing exams also gained XP, as you still had learned something.

The system worked great. It gave the game a good focus – we are at school and need to balance fun and adventuring with actually attending class, and what to do, when a great adventure presents itself the night before exams? It also gave us space to explore, what happens at wizard schools and how does it feel to attend one?

Exploration-based Experience

For my D&D retro-clone the focus is on exploration. I have been reading and playing a a bunch of the old, really old modules, and one thing that separates them from the 90’s modules is absence of the detailed narratives to draw the PCs through (especially thinking of the Ravenloft and Planescape modules here), and from the 3,5 material, where you go from encounter to encounter. In the older material you explore areas. You map dungeons, you fight monsters, avoid traps and meet weird things, ancient things and strange things. There are plenty of empty rooms, and sometimes there is a room with a large bed and a lady’s hat for no other reason as to pique the players’ imaginations.

So for my D&D retro-clone (previous design posts part 1, part 2) I want an XP-system, that rewards the players for exploring dungeons, for poking their noses into the next room and the next room and the next room again.

This is what I came up with.

The Adventure Points System

For each room investigated the party gains 50-100 Adventure Points (50 for fairly harmless dungeons, 100 for average dungeons).

For each wonder and mystery encountered the party gains 50-400 points. Mysteries can be an enchanted lake, an illusion covering a room or some other supernatural effect. Wonders are the wonders experienced in the dungeons, as finding an ancient wallpainting made by a long forgotten artist, whose art touches your soul, or it may be a natural rock-formation in a grotto of great wonder.

For each trap encountered is gained 50-400 points – and half that much if the trap is avoided or otherwise not triggered. So if you find a pittrap, but never activates it, or disarm a crossbow-trap before it is triggered, you gain less, than if you fall into the pit or get shot at by the crossbow-trap. The basic idea is to entice the players to touch the red button, knowing they will only get half, if they disarm the red button instead of triggering it.

Adventure Points for exploring, for wonders and mysteries, and for traps are rewarded, when the PCs leave the dungeon and have time to rest briefly. Each PC present gains the full amount (four characters exploring eight rooms each gain 800 adventure points).

For treasures brought all the way home, the players each gain a share of adventure points equal to the treasure brought home. The four characters have borught home treasures equal to 500 gold, so each character gains 125 adventure points, however one of the characters hid a gem (value 50 gold) for himself. That character gains additional 50 adventure points, as he does not share the treasure.

The adventure point table

  • Level      Adventure Points
  • 1                             0
  • 2                     1200
  • 3                    2400
  • 4                    4200
  • 5                    6000
  • 6                    8400
  • 7                 10800
  • 8                 13800
  • 9                 16800
  • 10              20400

So far

I have tested the Adventure Points with several groups, and the great thing is that it works as intended. It makes the PCs open every door and stick their head into every nook and cranny. Since monsters don’t reward any Adventure Points, and combat with them generally slows exploration down, the PCs are just as willing to negotiate and use trickery to avoind fighting monsters, as they are to pick fights, and plenty of things are left alive, as long they grant access to more parts of the dungeon.

The extra points for mysteries, wonders, and traps also ensures, that the PCs are less likely to avoid set-ups and potential dangers, as being exposed to these, grants more Adventure Points. The players are eager to explore and map dungeons, to push on and take just one more room, because they are certain to gain points (every room grants points, whether or not any monsters, traps or any other things are present, so picking just one more room is a calculated risk).


Re-Imagining DragonLance – Part 3b

Welcome to my fifth installment in the series on re-imagining DragonLance. In my previous post I revealed that DragonLance is a science fantasy-setting, and following this argument I will in this part of re-imagining DL3 focus on those aspects that lead DragonLance into the Science Fantasy genre. In the first post I covered those aspects of the module, that can be changed without the science fantasy-elements, and in my post on the hidden history of DragonLance arguing that DragonLance really is a science fantasy-setting I laid the ground for viewing the setting as such, and now I will cover the specific aspects in DL3.

The Ruined Tower

This tower contains some sort of apparatus that for one reason or another points the way to Fistandantilus’ grave, and this is one of many disguised science fantasy elements in DL3, where somehow a mysterious semi-magical apparatus has been designed.

Truly this is the poor ruins of technological wonder, that now is being reclaimed by nature, but some of the machines are still working. By exploring the tower, the PCs accidentally or on purpose trigger the machines, that spring to life with a hum, and an advanced laser pointer and a holographic projector helps the PCs to orient themselves and map the area, but energy is running low, and the tower soon cease to work.

The Steam City

Under the mountains are according to the module huge caverns generation heat and steam, and the dwarves build a city here, that drew upon the steam to heat the city. Now the place is abandoned, but a small clan of Aghar still lives here, and they guard a relic of the past.

Disguised as just a fallen dwarven city and just a magical crystal, this part obviously draws from science fiction archetypical stories, where the degenerate survivors lives on in an automated city that is slowly collapsing, and they guard ancient computersystems, they have the lost the ability to operate properly, and instead they venerate them and operate them in a ritualistic manner, however recently the machinery has begun failing more and more often. It is believed among the degenerate survivors that they have angered the gods, and that they should return to the olden ways. During the story the protagonists arrive, gains access to the systems, and the truth of the high tech city is revealed, but this occurs during a power struggle among the survivors, where one faction considers the protagonists for blasphemers, and the cause of the angry gods. The protagonists are captured, but they succeed in escaping and during the escape, the city is destroyed as the machinery finally fails.

The Steam City encounter can be run as this archetype:

The city utilizes a natural resource in the shape of lavapools or superheated pools, that generates steam. Pipes lead the heat or the steam into the city, where it drives the powerplant. This system must be maintained on a regular basis, and the Aghar does this in a ritualistic manner, but the old piping has begun to corrode, and now rituals can replace the piping. The city is doomed, and it is merely a matter of time.

The Aghar is divided into two or more factions struggling about what is be to done: Sacrifice the chieftains daughter to please the gods? Return to the olden ways? Abandon the city? Appoint a new regent? Led the (false) priests rule the city?

The PCs must navigate between these factions in order to gain access to the “black crystal”, that obviously is a computer system, that is semi-intelligent, and is just waiting for the PCs to ask it questions. It contains no new data, having not been upgraded or updated in centuries, but it can tell things about the olden days. It does not now about the events of the last 300 years, and is naive about the low-tech world of the PCs. Due to age some databanks have been corrupted, but the DM can inform the PCs about whatever is suitable on the olden days and on the presence of Thorbaddins realm.

The steam city naturally collapses during a aghar powerstruggle before all questions have been answered, and the PCs flee from the city as it is destroyed.

The Battlefield

Besides the fact that this location can be read as the Dead Marshes from Lord of the Rings, where the marshy land is swallowing up an old battlefield. This part is truly revealing for the secret history of DragonLance as this land is strewn with the corpses of warmachines.

The warmachines are of course not catapults nor ballistae, as one might assume of the medieval fantasy setting. The module itself states nothing on the nature of the warmachines, and that in itself is a bit curious. In the marshy lands are the remains of highly advanced technological warmachines, tanks and artillery, most likely hovertanks and mobile artillery units capable of spewing death at immense distances. Now it is all destroyed left rotting, and no one understands them nor can operate them. It is here important to describe how alien these objects that litter the place are. They are build of metals and alien substances, they are rusting and being overgrown, but their purpose is opaque, as is their construction. Some may still be vaguely alive, driven by remnants of artificial intelligences barely able to call out from dying speakers and perhaps able to operate a few lights, perhaps a mechanical arm. Beyond the eerie experience the characters gain no further from the exploring the warmachines, but the curiosity of the players should be kindled.

Mostly this part is creating mood and revealing the setting to the players and the PCs.

The Tomb and Fortress of Fistandantilus

This place in the module is a dungeon, that is mostly abandoned, but it does contain two dragons (whose presence seems to be a bit of a gaffe, since one has been bound by Fistandantilus since forever, but somehow it survived the catastrophe – and apparently is able to sustain itself – and has been there ever since. The other participated in the war, so it was a dragon present in the world of Krynn just 300 years ago, when the setting material claims that dragons have been gone much further than that, this dragon is an ally, who has been trapped in a stasisfield and for it no time has passed since the death of Fistandantilus, which means it possesses perfect knowledge of this era – and most likely it might know the hidden location of the dwarfgate, being an ally of the dwarves and a good creature.), and a bunch of undeads and mechanical traps, that have survived the ages.

Generally the dungeon works fine, so I won’t bother changing it much except for strengthening the secret history elements:

The Stasis Field

The module presents no reason as to why, there is a dragon caught in a stasis bubble. It just is. For some reason a stasis field manifested itself around the dragon and it’s victim (it is trapped with a goblin, that it is just about to swallow), and that saved it from Fistandantilus’ suicide strike, that killed everyone else (but the shadow dragon for some unknown reason).

The stasis field is naturally another piece of high tech in Fistandantilus’ fortress

What about the dragons?

Unless there is some reason later in the DL-series for the two dragons to have survived, I will generally just remove them. The dragon ally is relevant in the battle against the shadow dragon, and it is unable to explore the deeper parts of the dungeon, and the shadow dragon is tied to its location. So it can be removed as well.

Instead another shadow monster will be place here. Something horrible of course. What is in here, is one of Fistanditus’ monsters, that as such was killed in the nuclear blast, but its shadow was burned on the wall, and that shadow has come alive.

The ghosts

As with the shadow dragon one option is to see the ghosts as shadows burned on the wall, that has come alive, however several ghosts are rather holographic automated forces still running in the fortress even though they slowly are breaking down. In creating them as holographic forces, it connects with the strange apparitions in the sunken city of Xak Tsaroth in DL1, and ideally the PCs/the players now realize that the ghosts of Xak Tsaroth were holographic computer programs, as they are in the grave of Fistandantilus.

The Skeleton Warriors

The Skeleton Warriors begging to be released from the control of Fistandantilus and forced to fight against their will can easily be explained in science fantasy terms, as they are really mechanized armor with a semi-intelligent AI based on the personality of the wearer being forced to serve Fistandantilus. Trapped inside the armor is the bony remains of the warrior, who wore this technological marvel. Most likely Fistandantilus the AI hacked his way into the armor and took control.

The idea that the mechanized armor carries a rudimentary AI based on the personality of the wearer is useful for a later encounter, since the skeleton warriors will then foreshadow a later encounter deeper in the grave.

Chamber of the Mechanical Hydra

This chamber is in the module a labyrinth of invisible floors and walls lighted by a magical globe hanging under the ceiling, and in the midst of the chamber is a mechanical, firebreathing hydra.

As such the does not make sense whether it is fantasy, science fiction or science fantasy. It is just one those weird chambers, that challenges intruders in adventure stories, but otherwise does not really have a function.

The light in the room is not magical, but comes from a electric source, that has been running for hundreds of years. The hydra is covered in the next section, and as for the invisible walls and floors, they can be shaped by technological force fields, and one option is that they actually are mobile and a way to reshape the room so it can be utilised in many ways, but right now it is frozen into one position. By finding the controls the PCs can reshape the room. Whether or not it can be used as a weapon against the hydra is up to the DM to decide (safety measures in the system are likely).

The Mechanical Hydra

When we played this part, the players were convinced the hydra was a robot of some sort, even though we played the module strictly as fantasy and as written, and thus they decided to search for the on/off switch. In the module is uncertain as to how the mechanical hydra works, it just does. Re-imagined it is of course a part of the automated robotic defenses. With age it has begun to breake down as in the module. The only alteration really needed is to make it truly robotic and add an option of switching the robot off.

The Grave of Fistandantilus

The remainder of the grave contains more mechanical and technological traps, that are just as senseless as the chamber of the mechanical hydra, and they can be explained in much the same sense.

Of interest is only the encounter with Fistandantilus, which again is one the annoying scrptied encounters, that had my players asking all kinds of awkward questions, as they wanted to explore the room further and interact more with Fistandantilus the demi-lich.

In this interpretation he is of course an AI, and he can manipulate nano-particles or holograph projectors to create a manifestation with which he can present himself and interact with the PCs. Since this is just a manifestation and his mainframe is securely hidden away, he is safe from harm, and he can ignore the PCs at his own leisure. He can be manifested as a disinterested, incorporeal avatar, that might deign to answer a few questions, but otherwise just ignores the PCs. In this room is also the controllers for the Skeleton Warriors, and with these the mechanized armors and their highjacked semi-AIs can be put to a rest.

One main point in this encounter is to demonstrate, that not all holographic manifestations are primitive or automated programs, but that some are fully manifested AIs.

The Dwarven Helmet

Ideally aspects of the this encounter has been foreshadowed in the encounter with the Skeleton Warriors.

From an adventurers view the dwarven helmet might just be a part of a magical armor, and the module does portray it much like this, except that for some reason the owner, a dwarven prince, is tied to it, and is able to magic jar into the wearer of the helmet to tell his story.

This is not a magical helmet. It is an advanced piece of technology not much different from the apparatus that kept Fistandantilus in existence. It can carry an AI, and the previous owner of the helmet was able to leave a remnant of his personality in the helmet to tell his story and ask the heroes to return him to his grave. Briefly before his death he uploaded a part of his personality in order to survive. When the helmet is worn, he can use the technology to briefly download into the wearer to tell his story.

As to the dwarf aspect it is removed, as there are no dwarves in DragonLance, only the degenerate Aghar. Instead as detailed in the secret history post the dwarves are nothing but humans, and some of them fell and degenerated into the Aghar. So the owner of the helmet is human from Thorbaddin.

The Finale

In the Tomb of Fistandantilus the PC’s access an old computer, that has satellite maps of the lands for 300 years ago, and these maps show the route to the secret intrance to Thorbaddins realm. The mission is accomplished, the PCs har their map, and now it just a matter of leading the refugees to the gates, where DL4 Dragons of Desolation begins.

Final Words

DL3 possesses the second best dungeon in the DragonLance-series so far. It is far more interesting than Pax Tharkas, but the sunken city of Xak Tsaroth is superior. The travel section of DL3 is way more interesting than the scripted sequence of DL2, and more varied and interesting than the journey in DL1. However most importantly this module is where the science fantasy of DragonLance becomes truly obvious, and this trend continues in DL4, which however is a new low in the series due to its scripted encounters and vaguely interesting dungeon sequence.