D&D General Keying and how we all do it?

Gus L

Adventurer
I've been thinking a lot about keying again... perhaps it's my day job moving into highly restricted forms of informational writing, perhaps it's the One Page Dungeon Contest rolling around again, and perhaps writing dungeon keys is just something I find comforting.

I wrote a post about it (specifically about interactivity) a few weeks ago that I'll link at the bottom rather then transposing an essay worth of junk here - because my question is more speculative:

1. How do you do dungeon keys?
1a. How do you write them (presumably for something you want to share with others to run)?
1b. How do you like them to look when you're reading keys written by others?

Personally I tend to be a pretty baroque key writer - and this is not necessarily a good thing - because I tend to design weirder less standard sorts of locations. This makes it tricky because I also agree that keys can get way way to long very quickly. It's a balancing act ... between interactivity and confusion ... between mechanical use and sticky evocative description ... between wonder producing unexpected imagery and accessible genre standards ... between thematic consistency and novel excitement

A real tightrope ... one that 11 year olds can walk pretty well if I remember right ... so how does everyone else walk it?

The post where I dig into a bit more on my thoughts (I'm more interested in yours - only click this link if you are bored - write a response instead if it's either or).
 

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This is an ongoing development for me. I started with the classic boxed text and then the description underneath in a single paragraph, like the old TSR stuff. I even remember when the boxed text was a new idea!
But this is clunky, it delays play. The text gets ignored and the details are lost in the text.
After a lot of development, some useful reviews (some not so useful), we have our latest model. It will continue to evolve I am sure:
Location number as per the map and a unique name for reference and to find a room that you know but are not sure where it is.
Approach information like noise, smells, tracks and such.
Boxed description. Yes I know this is old school and a bit ploddy but it's in paragraphs, with the obvious stuff first and nothing you wouldn't see immediately. No reference to time of day or the like.
The main threat. The monster and it's immediate likely response or options. Details of the trap or whatever.
Monster stat blocks in a bullet list or just a list. A consistent format with key items in bold.
Likely immediate outcomes, options, links to other NPCs or encounters.
Then the details. Each para headed with the main thing in bold. Traps, treasure and magic highlighted.

Like I said, a work in progress. The scenarios seem to have been well received although reviews and ratings seem unfashionable.
It covers all the requirements. There is flexibility. All the important info is there. It kind of lends itself to solo play too.
BUT it still feels clunky. The DM needs to read it beforehand, although not particularly thoroughly perhaps, which is a reasonable expectation, so I am not sure why I doubt myself. Any suggestions gratefully received... Www.dunrominuniversitypress.co.uk
 

After a billion years of doing this, I've found the best setup for me is:

#. Plain-English Room Title. Keywords. One-sentence overview, if such is deemed necessary in addition to the keywords.
Keyword that needs description upon closer inspect, preferably no more than 1-2 sentences. Minimal, list, of, findings, if, needed, beyond, that.
Rules reference, such as a monster or treasure with reference source and page #, and/ or reference to an appendix where additional details are.

For example:

9. Kitchen. Wicked cutlery, rusty pots and pans, pantry. The skeletons here are busy cooking and cleaning 24-7.
Wicked cutlery. Every knife here is the equivalent to a dagger; they are all brutish and nasty. No butter knives here!
Pantry. The nearest 2 skeletons will attack anyone entering the pantry that isn't cleared to do so. Several pounds of normal foodstuffs, 3 vials of giant scorpion venom (DMG p#).
Skeletons x2d4+2 (The Monster Overhaul p#)
Sue the Chef, goblin master chef (Appendix p#)

No add'l text for the rusty pots and pans. Game terms are bolded where appropriate/ necessary. Having an appendix of custom monster/ treasure stat blocks allows me to format it and page-number it independently, which is a hold-over from when I published games: I could easily have a separate appendix for printing out that kind of thing, or even have separate appendices based on game system or whatever.

That particular entry is actually pretty wordy for what I normally do. There are often rooms/ areas that don't even need that much text: just the first line is enough. Populating the room comes down to roll tables for encounters, treasures, and maybe even secrets/ clues or some other custom table relevant to the adventure.
 

I generally go with a very minimalist OSR-style bullet point system. Just the facts and nothing more.

I came a ross this video when it came out and really dug the idea. Haven’t tried it yet, but it sounds great.

 


I generally provide a sentence or two about the room and what it was and is now follower by some box text. I find the box text something that gives me ideas on what to include and describe. It can be skimmed or read as is. I include the full monster statblock so I do not need to open any books. This might be a throwback to the 4e book where they had a bunch of short dungeons for each level and only a couple pages each.

I find having everything I need handy so I do not miss anything or so I can add and subtract as needed.
 

This might be a throwback to the 4e book where they had a bunch of short dungeons for each level and only a couple pages each.
I think it was started at the end of 3.5 and continued through much of 4E but WotC started splitting up room descriptions into two areas. The first would be the descriptive text in the front section of a module and then had the tactical descriptions and grid diagrams with monster placement and stats in another section of the module. You had to do some page flipping to get the full room description, which always struck me as an odd decision on their part. Why not just detail it all in the same spot? At least thats how I remember it.
 

I've been thinking a lot about keying again... perhaps it's my day job moving into highly restricted forms of informational writing, perhaps it's the One Page Dungeon Contest rolling around again, and perhaps writing dungeon keys is just something I find comforting.

I wrote a post about it (specifically about interactivity) a few weeks ago that I'll link at the bottom rather then transposing an essay worth of junk here - because my question is more speculative:

1. How do you do dungeon keys?
1a. How do you write them (presumably for something you want to share with others to run)?
1b. How do you like them to look when you're reading keys written by others?

Personally I tend to be a pretty baroque key writer - and this is not necessarily a good thing - because I tend to design weirder less standard sorts of locations. This makes it tricky because I also agree that keys can get way way to long very quickly. It's a balancing act ... between interactivity and confusion ... between mechanical use and sticky evocative description ... between wonder producing unexpected imagery and accessible genre standards ... between thematic consistency and novel excitement

A real tightrope ... one that 11 year olds can walk pretty well if I remember right ... so how does everyone else walk it?

The post where I dig into a bit more on my thoughts (I'm more interested in yours - only click this link if you are bored - write a response instead if it's either or).

Gus, ty for the link as well as past thoughts on your blog; your writing along w/ others have been influential in terms of how I prep now for my campaign -- the changes when I look what I wrote last year versus now has been pretty dramatic.

1A. In terms of format/structure, my key aesthetics fall between published module in appearance, to one page highlight prep on the spectrum (I still do a separate, one page highlight for the session). I've moved from single to double columns, tend towards landmark-hidden-secret w/ bullet points and bold font, and try to constrain what I've written while keeping it muscular when I revise. I still use box text, and my keys are probably still too long.

I try to avoid having stat blocks break between pages whenever possible (hard in 5E, probably should just truncate more, like ability scores to just their bonuses etc).

My latest dilemma I've been pondering has been whether it's better for me at the table, to locate an enemies roster at the end of a chapter/floor/etc. vs. embedding them within the keys. I've found I do the first when the location is active; when there's a good chance that groups will be moving throughout the physical space regularly. Even with that, I still keep named NPCs in an abbreviated block (appearance, motivations, etc) in the key.

I do the latter when the space feels small, or the likelihood that the space will not be traversed as much.

1B. A great key I feel is one that you can open to at random at a game shop, be inspired as to what that place/situation is like by its writing, and makes you want to run that adventure, after reading it once.
 


Content is more important than format for sure. Simple rooms are easy to run regardless of format. If a room is complex enough that the DM has to pore over it multiple times before grokking it, format doesn't matter that much. It's like obsessing over what order to stack the parts in an Ikea furniture box. If it's assembly-required (in the DM's brain), order doesn't matter much.

Restrictive formats like the OSE style mostly work by forcing the writer to cut stuff. The same information presented in standard sentences/paragraphs would work just as well.

E.g. Tim's kitchen room above would be just as easy to run like this:
9. Kitchen
Wicked cutlery, rusty pots and pans, a pantry. 2d4+2 Skeletons (The Monster Overhaul p#) cook and clean here day and night. Sue the Chef (Appendix p#) is also here.

The cutlery is brutal and sharp (treat every knife as a dagger).

Two skeletons attack anyone who enters the pantry without clearance. It contains several pounds of foodstuffs and three vials of giant scorpion venom (DMG p#).

Meanwhile here's a sanity-blasting (for the DM) room from Arden Vul. This is way too much regardless of format. Any rewrite to make this playable without prior study would have to cut stuff, not just present it differently:

8-76: The Feasting Hall
This enormous cave is referred to as the Feasting Hall to those
few who know of its existence. It is the site of an interdimensional
singularity, whereby the abyssal plane on which Rimmaq-Isfet
continuously writhes comes into direct contact with the Prime
Material plane.

The cave is very old, with rough walls covered with an oily
sheen, and a flat, sanded floor. The ceiling is 30’ tall. Two ledges are
built into the east wall; one features a cistern with clear water, while
the other holds a large pile of bones. To the south are five pedestals:
the central one is home to a 10’-tall demonic sounding horn, while
the four surrounding ones hold tubular gongs of various sizes. To
the west is a 10’-tall stone ledge running alongside the wall; this
is the point where cultists are able to directly contact Rimmaq
Isfet. The center of the chamber holds three stone tables with heavy
stone benches.

Fifteen filthy, long-haired, wild-eyed humans and humanoids
are seated at the tables, ravenously devouring thick, juicy steaks.
They wear scraps of clothing and boast long, greasy, untended hair.
Their bodies are lean, but well-muscled, and their eyes are bright
and inquisitive. They greet visitors cheerfully, inviting them in
Archontean to join the feast. If questioned, they are unable to recall
their own names, or the circumstances of their presence here.

Niches on the Eastern Wall: The northern niche has a 5’-tall retain
ing wall between it and the rest of the cave. The wall forms a kind
of cistern, with water dripping from the walls and ceiling collecting
here. Two copper dippers sit atop the retaining wall, and a 12’-tall
rickety ladder leans against the wall, allowing access to the cistern
from the cavern floor. At the bottom of the cistern is a limed-over
skeleton of a human with a stone of passage (see new magic
items) resting amid the bones; only by swimming in the pool will
this item be found.

The southern niche is filled with whitened bones. All are
human or humanoid, the remains of previous generations of chao
tic feasters. Close inspection of the remains shows that no skulls
are present and that many of the long bones have been gnawed.
Beneath the bones are the plinth and shattered remains of a heqeti
era statue; the statue depicted a crouching heqeti hopper, but only
the head is recognizable.

Lesser Pedestals: Tubular Bells: Five pedestals dominate the south
ern approaches of the cave. Copper tubular bells hang from aged
iron racks on the four lesser pedestals. Each bell is artfully etched,
albeit with unsettling images and strange glyphs. The glyphs are
in an obscure abyssal tongue; in most circumstances, the services
of a sage will be necessary to decode them. A wooden mallet is
attached to each rack with an ancient, cracked leather cord.
Striking a bell with its mallet produces a deep, echoing tone. The
tubular bells vary as follows, from the northeast pedestal clockwise
to the northwest pedestal:

[table snipped]

The bells could be detached from their mounts and sold to
collectors of antiquities and exotica: Tairon would bring 1,000 gp,
Peqar 2,000 gp, Ivlik 4,000 gp, and Ristik 8,000 gp. The two larger
bells are quite heavy and bulky.

Central Pedestal: the Demonic Sounding Horn: The central ped
estal, around which the lesser pedestals of the bells are arranged,
contains a huge, spiral horn that rises 10’ above the floor of the
pedestal. The horn is supported by three copper rods thrust into
the corners of the pedestal. It is possible for a man-sized creature to
stand in the center of the pedestal, partly surrounded by the coils
of the horn, and sound it. The horn is carved with blasphemous
images of a large, slug-like creatures feeding continuously on
bipedal creatures; the creature is surrounded by salamander
seeming creatures with sharp teeth. A set of glyphs near the mouth
of the horn reads (to those able to read abyssal tongues): “Lord
Rimmaq-Isfet and his spawn feed on the sacrifices. Summon him
at your peril!”

The horn is quite dangerous if used carelessly. Sounding it
while the tubular bells are still ringing (see below) produces a
potent blast of cacophony that serves to open the rift to the abyss,
where Rimmaq-Isfet writhes. Sounding it without first properly
ringing the bells, however, has a 50% chance to summon a worm
of Qok (see new monsters) at 8-75, and produces a chaotic effect
from the following table. If summoned, the worm of Qok arrives
here within 5 rounds. An individual may only sound the horn once
per week. It has no uses outside this chamber (although it might
bring 3,500 gp).

[table snipped]

Accessing the Flank of Rimmaq-Isfet Proper manipulation of
the bells and the sounding horn opens a dimensional portal that
provides access to the flank of Rimmaq-Isfet. To open the portal,
one must first strike each of the tubular bells in turn, starting with C,
and proceeding through E, G, and B. While the tones of the tubular
bells are still ringing, one then sounds the enormous demonic
sounding horn. The combination of the tones is cacophonous,
and requires all within hearing to save vs. paralyzation or be
stunned for 1-2 rounds. The sounding horn echoes for a full turn,
during which time it is possible to harvest ‘meat’ from the flank of
Rimmaq-Isfet.

The Flank of Rimmaq-Isfet: Access to the flank of Rimmaq-Isfet
is obtained from the platform that runs across the western side
of the cavern. When the tubular bells and sounding horn have
been properly employed, anyone standing on the platform will feel
a light breeze emanating from the wall, bringing with it an array
of strong, and mostly unpleasant odors: burnt sugar, ammonia,
spoiled eggs, and so forth. A 10’x5’ rectangle of the wall will be
seen to ripple gently with motion, and it will be apparent that the
section of wall is no longer stone, but rather a mottled grey-green
hide. For the turn that the sounding horn echoes, it is possible to
carve pieces of this flank as one might a piece of beef. Two 3’-long,
curved copper daggers rest on the platform; the chaotic feasters
use the daggers to carve meat from Rimmaq-Isfet.

The meat of Rimmaq-Isfet is nutritious and tasty, but
consuming it is risky. For each serving consumed, there is a 5%
cumulative chance of the diner turning into a chaotic feaster; this
chance is modified by +25% for those of chaotic evil alignment and
+15% for those of chaotic (but not evil) alignments.

Effects on Rimmaq-Isfet: As Rimmaq-Isfet is an extremely po
werful greater deity, one with regenerative powers, it is able to
absorb the carving of meat from its flank without truly noticing
such actions. Clever PCs might realize, however, that it would be
possible to inflict greater harm on Rimmaq-Isfet through the open
dimensional portal. Simply hacking at its flesh is easy enough;
should 50 HP damage be inflicted in this way, Rimmaq-Isfet will
notice and move away from the portal. The portal stays open, and
foolish PCs could enter the abyss through it if so desired. It is also
possible to poison, and hence weaken, Rimmaq-Isfet through the
portal. The GM should determine the composition of a suitable
‘poison’; one possibility might be ten flasks of holy water, mixed
with 2 oz of unicorn hairs and a pair of brownie eyes. The benefit
to PCs of weakening Rimmaq-Isfet through poison will be felt if
the PCs confront the heqeti on Level 10 (see level introduction for
Level 10).

The Chaotic Feasters: An elaborate set of entirely false beliefs has
grown up among the society of the feasters, one that seeks to explain
in limited ways the situation in which they find themselves. What
is most surprising is the fact that the feasters do not realize they
are consuming the flesh of a greater god of intense chaotic evil,
but instead have come to attribute their bounty to the existence
of a vast planar creature they call the throom. The throom, they
think, may be singular, or there may be ‘herds’ of them moving
through interdimensional space; either way, the throom are so
vast and placid that careful harvesting of the throom flesh goes
largely unnoticed. It is the good fortune of the feasters, they think,
to have located a nexus point where they can harvest the throom’s
flesh. Beyond their rituals with the throom, the feasters have
been known to engage in cannibalism to supplement the regular
harvesting of the throom; this is particular true for feasters who
have grown old, sick, and/or feeble, but might also apply to nosy
visitors. The feasters refer to the western platform as the ‘throom
Platform’, and the copper knives as ‘throom knives’, and their meat
as ‘throom steaks’.

The feasters are welcoming, if slightly suspicious, of newcomers.
They invite PCs to share in the throom-bounty, and may (33%)
grow enraged if their offer is rejected. If visitors are cautious and
respectful, it is possible to inspect the cavern without provoking
the feasters. Should PCs seek to remove items (including the bells,
the ‘throom-knives’, or anything else), the feasters immediately
attack. Should careless PCs sound the demonic sounding horn
without following the correct procedure with the bells, the feasters
turn sullen and uncommunicative; after 4 rounds they attack.
Finally, if PCs question the feasters too aggressively about their
past lives or the meaning of this cavern, they will also grow sullen
and uncommunicative and will attack within a turn.

Inhabitants:
1. The alpha chaotic feaster: SZ M; AL CE; AC 3; MV 90’; HD
8; HP 57; #AT 3; Dmg 3-14/2-5/1-3; MR 10%. Special attacks:
flying feet (an additional attack sequence doing 2-5 damage),
extra-crazy (additional attack sequence doing 1-3 damage with
chance for disease). Special defenses: magic immunity, immune
to fire.
2. 14 chaotic feasters: SZ M; AL CE; AC 10 or 6; MV 90’; HD 4;
HP 30(x3), 29(x3), 25 (x5), 21(x3); #AT 1; Dmg 3-10; MR 10%.
Of the fourteen, five have nails of iron (2-9 plus 1-3 bleeding for
3 rounds) and tough skin (AC 4); three have corpse breath (foes
save vs poison or spend 2 round retching) and immunity to fire;
two have flying feet (an additional attack sequence doing 2-5
damage) and immunity to cold; two have extra crazy (additional
attack sequence doing 1-3 damage with chance for disease) and
magic immunity (to 1st-level spells); one has mesmerizing eyes
(foe saves vs petrification or be charmed) and tough skin (AC 4);
and one has extra crazy (see above) and immunity to fire.
3. 1 worm of Qok (see new monsters): see stats at 8-75 (50%
chance to arrive 5 rounds after the horn is sounded).
Treasure:
A pair of boxes under one of the tables contains a mixture of
treasure: two 10-lb gold bars (500 gp each), 567 gp, 911 sp, a gold
brooch with a quartz starbust (1,150 gp), a fine-crystal ewer (150
gp), a set of five copper flasks inscribed with Archontean names
(40 gp each), a set of 3 platinum-tipped ivory rods, suitable for
using as reading aids (75 gp each), a tarnished silver censer with a
dose of incense of relaxation (see new magic items), a set of 12
arrows +2, an arrow of slaying devils, a military pick +4, a war
hammer +3, and a helm of brilliance.
 

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