Last weekend I attended the Philadelphia Area Gaming xpo (PAGE). While there, Questing Beast interviewed me and a bunch of other guests.

You can check out all of our responses on Youtube now!

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DISCUSSING
In the Shadow of the Spire – Session 42A: Rat Mothers

But Ranthir, upon hearing the word “flee”, whirled around and webbed the far side of the room: The mothers, the albino, and Berq were all helplessly caught – except for one mother, trapped in the corner, who futilely screamed for help in her despair. Tor closed on her and ruthlessly killed both her and the baby ratlings.

With the other mothers still trapped in the web. Tee was able to broker a bargain in which they would be freed if one of them would lead the party to the southern sewer entrance. While the mothers were carefully freed from the web, Tor started discreetly taking ears and fingers from the dead as trophies. Meanwhile, Elestra distracted the ratlings with small talk to keep them from noticing Tee looting the coffers of the nest master (which were filled with gems, jewelry, and large amounts of coin; although given the bones and skulls dangling from the ceiling, Tee didn’t want to spend too much time thinking about where it had all come from).

“Killing orc babies” in D&D is a trope not so much because DMs are deliberately trying to present their players with this moral dilemma, but rather because it arises pretty naturally out of the standard D&D adventure type: Dungeons inhabited by X. “Inhabited” leads to community; community leads to babies. And, of course, it’s not just orcs. In this session it happened to be ratlings.

Now, there’s a whole discussion to be had about the colonialist themes in D&D and also the degree to which the traditional fantasy tropes of “species which is inherently evil” and/or “humanoid species with sub-human intellects” are manifestations of and/or informed by real world racism, but I’m going to put a pin in that.

What I’m focused on at the moment is less the specific moral dilemma, and rather the phenomenon of emergent moral dilemmas.

There can sometimes be the impression that moral dilemmas are something that GMs need to specifically create, frame up, and present to the players. But the real world is filled with moral dilemmas with nary a GM in sight, so it’s not really surprising that they’ll also crop up more or less unbidden in our simulated game worlds – whether that’s ratling babies in the ratling nests; the decision to betray a friend; or the opportunity to profit at the expense of others.

Whether a particular moral dilemma is crafted by a GM or emerges from the narrative of play, it can offer a rich opportunity for roleplaying, allowing players to explore their characters at a deep and meaningful level. Like any form of play, it can also be a way to safely explore complex issues.

Or, alternatively, being a form of play, it can also provide an escape from the complexities of the real world.

This is where moral dilemmas can create strife at your table: When some players are approaching the game world as a place of deep meaning and other players are approaching the game world as an ephemera of casual play, this can easily create discordant perceptions. To some extent, of course, this is always true, but when it comes to moral dilemmas, the inherently heightened takes – e.g., killing babies! – will naturally amplify the discordance.

(The issues of how much a player’s actions/beliefs are separated from their character’s actions/beliefs also complicates this, but I’m going to put a pin in that, too.)

Not only will different players have different responses to these situations, the same player can easily have a different response depending on the nature and context of the moral dilemma.

To use a video game analogy, I’ve never seen anyone seriously object to Mario curbstomping koopas to death, but change the context to running down pedestrians in Grand Theft Auto and now there are many people who would find it distasteful. But some of the people who object to running down pedestrians have no problem with stealing cars in the same game! Others who will happily go on mass murder sprees in the game will draw the line at running over a sex worker you just paid so that your character can get the money back.

Why?

Because people are complicated.

In the case of the ratling babies in my own campaign, what happened was a combination of several factors:

• A general coarsening of the group’s morality in the face of hardships. (Something which has been commented on several times in recent sessions.)
• The perceived moral positioning of ratlings, with some of the players/characters perceiving them as being more like worgs or cannibalistic apes than human-equivalent sentients.
• The moral importance of the game world. The group was largely on the same bandwidth here, but there were definitely some players with a slightly more casual approach.

Because the players were mostly in alignment with each other – and also because they all had the same clear understanding that character actions were not player actions – these factors kind of balanced each other out: While one player might be slightly more cavalier than another, a player who was taking the world a little more seriously could nevertheless interpret those actions as being consistent with the other character “losing their moral compass,” and it would all sort of muddle out in a collective experience everyone was happy with.

Of course, this will not always be the case! It’s quite possible for disparate reactions to a moral dilemma to cause serious strife!

And the broader point is that, because moral dilemmas will naturally emerge from your narrative, you can’t dodge this issue by just saying, “Well, I just won’t include any moral dilemmas in the campaign, then.” You need to be aware and stay aware of what’s happening at your game table, and when player expectations get out of alignment you need to be prepared to hit the pause button and help everyone get back on the same page.

Safety tools – i.e., structures for having these conversations in clear and productive ways – are obviously helpful with this, and I particularly recommend using them if you’re playing with someone for the first time or with familiar players in a new genre. But a lot of safety tools are focused on identifying topics or themes, and moral dilemmas can often hit the group from unexpected angles and in unanticipated ways. So keep your eyes open!

Campaign Journal: Session 42B – Running the Campaign: Scouting Dungeons
In the Shadow of the Spire: Index

IN THE SHADOW OF THE SPIRE

SESSION 42A: RAT MOTHERS

October 17th, 2009
The 23rd Day of Kadal in the 790th Year of the Seyrunian Dynasty

They burned their way through Ranthir’s web and passed into another trash-filled chamber. Rising out of the trash on the far side of the chamber, however, was a ten-foot-tall stone statue of a ratling. Its head was lowered, staring into the dark depths of a wide sinkhole that lay at its feet.

They were wary of the statue – thinking perhaps that it was cursed, enchanted, or trapped in some way – but ultimately chose to investigate it. In a hidden compartment at the rear base of the statue, Tee found three scroll cases: One contained a stack of gold and silver coins; another a copy of the Truth of the Hidden God; and the third an arcane scroll.

Uncertain of what might emerge from the sinkhole if they left it at their backs, Tor quickly tied a rope around Tee’s waist and lowered her into the darkness. The sinkhole bottomed out into a large, conical cavern. Near the limit of the light she carried, Tee could see a couple passages twisting away from the cavern. On the large wall nearest her she could see cave paintings: Rat-shaped humanoids worshipped a huge, bulbous rat. Gouts of flame seemed to erupt from the rat’s sides, and in the midst of the flames Tee could see white rats dancing in the infernos.

Something about the painting disturbed her deeply, and after studying it for a few long moments she tugged twice on the rope – giving the signal to draw her back up.

After Tee had described what she had seen, they discussed their options. Ranthir, as was his wont, strongly opposed delving deeper before finishing the exploration of the current level of the nests. Besides, they suspected that they were on a level with the Midtown sewers – delving deeper into the caverns beneath the city wouldn’t get them where they wanted to go.

THE MOTHERS

Leaving the chamber with the statue, they passed through the far end of a long hall filled high with even more of the rats’ garbage. Tee passed silently over the surface, but, of course, Agnarr and Tor made an unearthly racket wading their way through. In the process, they attracted the attention of several large rodents which emerged out of the trash heaps: They had pale, chalk-like fur and eyes which glowed like fierce embers of flame.

“Who’s there?”

The voice came from the direction they had been heading. A huge, lumbering ratbrute emerged from the shadows.

Tee turned to face him. “We’re looking for the sewers.”

“Who are you?”

“Silion sent us to the southern sewers. We have business with Porphyry House.”

A befuddled look passed over the ratbrute’s features (which was surprising, considering how befuddled they already looked). “I guess if Silion sent you…”

“That’s right,” Tee nodded encouragingly. “Now, where can we find the sewer?”

“There’s an entrance beyond the mothers.”

“Where are the mothers?”

“Right over here.” The ratbrute turned and started lumbering back the way it had come.

Tee looked back at the others as if to say “I can’t believe that worked” and then, with a shrug, followed the ratbrute.

The passage he took them down was relatively broad and surprisingly free from debris. They passed another of the tattered blue curtains, and Tee took a moment to poke her head through it: The chamber beyond was unnaturally chill and contained a variety of bloated corpses – dogs, birds, cats… and a few humans. The bodies had been variously dismembered, with a few pieces here and there having obvious gnaw-marks on them. (Ranthir identified the chill as coming from a simple cantrip, most likely cast here to permanently keep the room cool enough to preserve the “meat”.)

“Are you coming?” The ratbrute looked at them curiously.

“Of course,” Tee said. Hurrying after him, she drew her sword and pointed it at the ratbrute’s clueless back.

Pushing through another blue curtain, they emerged into a large chamber containing several of the now familiar ratling nests… along with half a dozen female ratlings. The mothers. Everyone froze: Ratlings staring at humans; humans staring at ratlings.

“Tattum! What have you done?!”

The mothers scattered. Tee stabbed Tattum in the back.

Tattum, roaring in pain, drew his greatsword in a massive sweep that caught Tee with the flat of the blade and sent her staggering.

Nasira, meanwhile, noticed that several of the chalk-white rats from the hall of refuse had been following them. She was about to call out a warning when the melee broke out.

And then the chalk-white rats burst into balls of bright flame.

As Tee fell back towards Nasira, one of the flaming rats – pouring inky black smoke into the air – spit a ball of fire at Nasira, catching her full in the chest. Agnarr and Tor, meanwhile, were moving up to form a line against the enraged Tattum.

Several of the mothers had dashed out of the room through other exits, while others circled around the melee shaping up at the cave mouth – dashing in and delivering blows whenever they found an opening.

Tor managed to inflict a few deep wounds on Tattum’s massive frame, but then one of the mothers managed to latch onto his arm. Another, going low, sunk her teeth into his leg. Tattum, seizing the momentary advantage, found a chink in Tor’s armor and, ripping the blade free, caught Agnarr with a devastating back-swing.

Elestra dove forward, pouring the strength of the Spirit of the City into Agnarr’s wounds. Tattum, thinking Agnarr dispatched, stepped over him to take another swing at the badly injured Tor—

And Agnarr plunged his blade up through the ratbrute’s crotch.

(Which was becoming something of a habit.)

Tattum stumbled backwards as another ratbrute pushed through the curtain on the far side of the room. “Tattum! What the hell is going on?! If you’re in another—Oh shit! Fudd! Get out here!”

Fudd, a third ratbrute, pushed his way through the curtain. “What has he done now, Berq? … Oh shit!”

As Tattum fell for the last time, Fudd and Berq rushed Agnarr and Tor. Agnarr, however, was in the full heat and flow of the battle. He stepped forward and in a series of smooth blows that looked like perfect arcs of flame dropped Fudd in his tracks. Berq was more cautious, however, and moved into a careful dance of blades with the two fighters.

The blue curtain swept aside once more, revealing an aging albino ratling. He lowered a dragon pistol and fired, but Tor narrowly dodged the blast (which passed harmlessly over Tee, who was finishing off the last of the ash rats with Ranthir and Nasira).

As the separate melees raged, punctuated with blasts from the albino ratling’s dragon pistol, the mothers who had fled into a side-chamber returned – each bearing ratling babes in her arms. The albino ratling cried out to them, “Flee! Run as fast as you can!”

But Ranthir, upon hearing the word “flee”, whirled around and webbed the far side of the room: The mothers, the albino, and Berq were all helplessly caught – except for one mother, trapped in the corner, who futilely screamed for help in her despair. Tor closed on her and ruthlessly killed both her and the baby ratlings.

Agnarr, meanwhile, was finishing off Berq. This gave the albino ratling enough time to rip his own way free from the web. Cutting another mother free, he took her and ran for it.

Tor and Tee chased him down, but before he was killed, the albino managed to buy enough time for the mother to escape into the effervescent chamber of the true temple. Tor and Tee skidded to a halt and cautiously retreated back the way they had come.

Several of the mothers were still trapped in the web. Tee was able to broker a bargain in which they would be freed if one of them would lead the party to the southern sewer entrance. While the mothers were carefully freed from the web, Tor started discreetly taking ears and fingers from the dead as trophies. Meanwhile, Elestra distracted the ratlings with small talk to keep them from noticing Tee looting the coffers of the nest master (which were filled with gems, jewelry, and large amounts of coin; although given the bones and skulls dangling from the ceiling, Tee didn’t want to spend too much time thinking about where it had all come from).

Running the Campaign: Killing Orc Babies – Campaign Journal: Session 42B
In the Shadow of the Spire: Index

JANUARY 16-19, 2025
Philadelphia, PA, USA

I’m a Guest of Honor at the Philadelphia Area Gaming Expo this weekend!

Friday 11am –  Random GM Tips
Friday 1pm – Mastering Mysteries
Friday 3pm – Starting a Youtube Channel After Using Other Media
Saturday 11:30am – Signing Session!
Saturday 3pm – Open Your Gaming Table!

I hope to see you there!

If you can’t make it to PAGE, my upcoming appearance schedule includes:

DaveCon – Minneapolis, MN – April 25-27, 2025
Green Dragon Fest – Knoxville, TN – May 1-4, 2025
GM Academy @ Tower Games – Minneapolis, MN – May 2025

See you soon!

Go to Part 1

THE THIRD SECTOR

I really love the concept of Ian Yusem’s The Third Sector: Take a dozen different third-party Mothership adventures and weave them together into a sandbox spanning five solar systems. Hypothetically you should be able to do some light remixing, add a little connective tissue, and have a great little campaign-in-a-box showcasing the best of the best.

Unfortunately, The Third Sector really shouldn’t have been packaged as trifold module.

The limited space of the trifold format lends itself to material which is either too brief or broad. But the work required to coherently bind disparate published adventures together is, in fact, entirely in the details.

The two central pillars of The Third Sector are the sector map and the scenario hooks added to each adventure.

The sector map is attractive in a retro, 8-bit-graphics style, but curiously lacking a lot of pertinent details (e.g., the names of planets).

The scenario hooks are designed to link the adventures to each other (so, for example, you’ll find hooks in the Green Tomb that will lead you to Moonbase Blues, Alcor Station, and Echoes in the Graveyard). A minor problem here is that the section is incomplete, with some of the scenarios not receiving scenario hooks for reasons which are entirely unclear to me.

A more significant problem is that most of the scenario hooks are either unengaged (they mention a place exists, but gives no reason for the PCs to go there), non-actionable (they indicate that a place exists, but don’t tell the PCs how to find it), or both. This is likely, once again, due to the limited space, since vague references are easier to squeeze into a single sentence than meaningful, actionable information.

Probably the most interesting thing in The Third Sector is the random encounter which reads, “[Corporation] acquired [other corporation]. (Choose 2 from random adventures each time rumor rolled.”) This is an intriguing procedural method for unifying the disparate hypercorps found scattered throughout the source adventures over time.

In practice, though, that unification — and not just of  hypercorps — is exactly the sort of considered, careful, creative work that would have made The Third Sector a truly useful resource.

GRADE: F

WRATH OF GOD

Wrath of God is another example of a supplement that’s just trying to cram WAY too much into the trifold format. In this case, that includes:

• A complete skirmish system for space fighter combat.
• A hex-based Battlefield map keyed with various Locations of Interest.
• A prequel to a longer adventure called The Drain.

In this case, the result is basically incoherent. I’ve been backwards and forwards through Wrath of God and I honestly don’t have the slightest inkling of what this adventure is supposed to be.

For example, in the skirmish system includes a Skirmish Map keyed with symbols, but what these symbols mean (if they mean anything) doesn’t seem to be indicated. The Battlefield Map similarly has a bunch of symbols, although most of these seem to be related to the content keyed to these hexes… except not all such hexes are keyed. (Although some of the unkeyed hexes are referenced in other keyed hexes, which is an insanely confusing layout that I can only imagine is due to the space limitations unnecessarily imposed by the trifold format here.)

I also only have the vaguest sense of what the Battlefield Map represents. Maybe it’s a war currently being fought? Or many wars currently being fought? Or the wreckage of older wars?

There are Bogeys who will attack the PCs. But… why? And who are they, exactly? Where did they come from? Where are they going? Your guess is as good as mine.

“Okay,” I think. “This is a prequel to The Drain. So maybe I need that full adventure to understand this one.”

Unfortunately, no, that doesn’t help. Because (a) it turns out that Wrath of God doesn’t seem to actually sync up with The Drain and (b) nothing is actually explained. The PCs are seeking the 3^rd Testament, which is apparently a radio broadcast being sent from a colony called Within Wheels. What is the 3^rd Testament? No idea. Why is the colony transmitting it? No idea. How are they transmitting it? Possibly from something called the Grail. How’d the Grail get there? Stop asking questions, please.

GRADE: F

WHAT STIRS BELOW

Something has gone wrong at a geological survey station and the PCs are dispatched to (a) figure out what happened and (b) rescue as many VIPs as possible.

What Stirs Below includes a helpful What The Hell Is Going On? section:

There is an ancient power station deep below the surface. A skeleton crew of ancient aliens uses giant worms to generate energy and sustain the crew’s near-immortality. With enough power generated, this moon will depart on a 10k-year interstellar journey toward Earth… or whatever is a good fit at your table.

It’s a cool concept, which is unfortunately held back from its potential by a number of problems.

First, and probably most intractable, is that the size of the adventure doesn’t match the scope of the adventure. There’s this implication of a huge, hollowed-out moon filled with aliens preparing for some sort of multi-millennia odyssey… but a nine-room location-crawl can’t really deliver on that promise.

This kind of size/scope mismatch is not uncommon in RPG adventures, and I find that they consistently create a mixture of disappointment and confusion in players, while pushing me into a weird, dissociated fugue state between what the adventure actually is and what it’s asking me to convey.

Second, there are a number of execution issues which will leave you confused and disoriented:

• The map of the adventure has a literal ? where a room should be, and I simply can’t figure out why.
• The survey station has been destabilized by the tunnels below the station collapsing, which has created a sinkhole the PCs can use to access the alien chambers. This sinkhole is located… somewhere? The adventure never seems to specify.
• The adventure key is filled with typos. For example, Area A5 has an exit that leads to… Area A5? (I think the rooms were renumbered on the map at some point and the key wasn’t correctly updated, but I’m not 100% sure.)
• There’s an android who, Alien-style, will attempt to impede the PCs’ investigation and even “self-destruct if necessary.” But… why? No explanation is given.

Related to these issues, the PCs are instructed to determine what happened at the station, but I honestly can’t even figure that out for myself: It’s not clear what (if anything) triggered the geological collapse. It’s not clear what any of the NPCs did in the aftermath of the collapse or what the timeline of events was. It’s not even clear why the hypercorp lost contact with the NPCs and needed to send the PCs.

The end result is an adventure that’s… mostly OK. But I would probably end up completely re-keying the entire thing before I would feel comfortable running it.

GRADE: C-

THE HORROR OF TAU SIGMA 7

A routine system survey has detected the signature for the rare mineral NM-109 on Tau Sigma 7. The PCs are sent in as a survey team to confirm the presence of the mineral.

What they discover, while exploring a nearby cavern, is an alien bioplastic cyst-complex which is an untriggered hatchery for a long-extinct alien species. (It sure would be a pity if the PCs accidentally triggered the birthing process, wouldn’t it?)

In The Horror on Tau Sigma 7, D.G. Chapman delivers a creeptacular location-crawl. The excellently xandered, truly three-dimensional environment and accompanying key would be strong enough to recommend this adventure entirely on their own merits, but he also spikes the punch with several scenario-spanning elements:

• The entire complex is a living organism, and responds to the PCs’ presence and actions through an Immune Response Level that escalates and transforms the adventure.
• The complex is suffused with a strange, red liquid referred to as Lifeblood. Essential to the alien biology, it creates numerous strange effects (particularly to exposed PCs).
• Strange cave paintings can be found throughout the complex, which change and evolve as the Immune Response Level increases.

The result is fabulous. I highly recommend inviting your players to Tau Sigma 7.

GRADE: B+

CHILDREN OF EDEN

Graham T. Richardson fills Children of Eden to the gills with an astoundingly rich assortment of alien and exotic worldbuilding: The 200+ meter-tall teralith; an alien skeleton worshiped by the Children of Eden as a god. The Salvage Seal, where a gravitational anomaly yanks vessels out of hyperspace and crash lands them on a fungi-ridden planet. The corrupted Theogeny Engine, an alien terraforming ship buried near the teralith which has recently reactivated, leading to the religious belief that the teralith itself is miraculously transforming a wasteland into paradise. A ruined scientific research center trying to probe the truth of this strange terraforming.

And all of this is supported by a rich cast of characters and a disquieting mystery occluded by a hypercorp’s desire to exploit and religious zealots’ desire to believe.

It’s truly amazing just how much richly detailed and soul-searingly evocative material can be found on these two pages. It’s simply inspiring. Richardson creates a vivid world that compels you to share it with your players.

My only real complaint is that there’s so much stuff in Children of Eden that the connective tissue between all of these elements is often obscured. It can be a little unclear exactly where stuff is in relation to each other, for example, which can make it difficult to figure out how you should be presenting this rich world to the players. There are just places where I’d probably be a little happier if the implied setting was a little more explicit and, therefore, easier to access during play.

To at least some extent, though, this is just grousing over having too much of a good thing. I’ll happily draw up a map, work up a timeline of events, and jot down a revelation list to help keep things clear at the table if it means that I can visit the Children of Eden.

GRADE: B

Note: LionHearth Games provided me with a review copy of Children of Eden.