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Message: <blockquote data-quote="pemerton" data-source="post: 6407612" data-attributes="member: 42582">The only time I used a dead god as a major campaign element was in a Rolemaster Oriental Adventures game, after buying and reading Monte Cook's Requiem for a God.The dead god manifested in multiple ways. His stony body, kneeling on the ocean floor, formed an island with the crown of his head, that was a source of eldritch power available for exploitation. (This same campaign also used the Freeport trilogy of adventures, and this island was the one on which the lighthouse was being constructed.)When the dead god's eyes opened, voidal creatures like octobats and kraken drakes flew out of them.The dead god also manifested in spiritual fragments on the astral plane - where the PCs would go to travel in dreams or talk with spirits - and had a habit of possessing the paladin PC. It was from these events of possession that the PCs learned that the god was trapped in an endless combat with a dark being on the void, and that this was the cause (i) of the voidal energies surging through his dead body on the mortal world), and (ii) the madness of his sprit shards.The culmination of the campaign involved the PCs travelling to the void, tempoarily defeating the dark being so that they could extract the dead god, and substituting a new combatant to carry on the endless fight that would keep the world safe. Initially the paladin PC was prepared to sacrifice himself by taking on this role, but then the players came up with a plan whereby they could use a dangerous artefact to create a karmic duplicate of the paladin and send it in instead. Which left the paladin free to starte his monastery for training future warrior monks, located on the now-cleansed lighthouse-tower that had been constructed on the head of the dead god's body.For me, majesty and wonder is mosty about the role a setting element plays in the unfolding play of the game.</blockquote>

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