• NOW LIVE! Into the Woods--new character species, eerie monsters, and haunting villains to populate the woodlands of your D&D games.

The Risen Goddess (Updated 3.10.08)

(contact)-
The question is, do think that you and the other DM are as evil on these characters (whom you've played through four iterations of D&D) as you are in your "standard" campaigns(e.g., TOEE2,LoT)? I think at some point, you've written that these PCs are 20 years old(meta-game wise), and if they were my characters,I'd be too emotionally involved, I think, to be properly RBDM-ish. Is this question even fair?
Whatever the answer, PLEASE KEEP POSTING!
 

log in or register to remove this ad

Circle of Crows said:
(contact)-
The question is, do think that you and the other DM are as evil on these characters (whom you've played through four iterations of D&D) as you are in your "standard" campaigns(e.g., TOEE2,LoT)? I think at some point, you've written that these PCs are 20 years old(meta-game wise), and if they were my characters, I'd be too emotionally involved, I think, to be properly RBDM-ish. Is this question even fair?
Whatever the answer, PLEASE KEEP POSTING!

I think that’s a fair question, and I think you’re totally right. We’re nowhere near as evil toward these PCs as we were in the TOEE2, but that’s because we have to take this game for what it is—

The TOEE2 was all about theme and mood (and kicking much D&D ass), whereas the Risen Goddess is much more philosophical, and is more about ideas and philosophy (and d—k jokes). The TOEE2 had a meta-plot that was entirely unattached to the players. Its structure was set in motion, and the plot was going to advance in a certain direction whether the PCs were present or not. This gave the DM complete lethal freedom—he could Kill at Will without derailing the game.

“Hey Heydricus—old what’s-his-name-died already? Who’s the new guy?”

--------------------------------------

This may sound crass, but PC insignificance was a huge part of the TOOE2’s theme! The logs don’t really portray it, but at the gaming table that campaign was very, very dark. The TOEE2: “A small band of desperate freedom fighters sacrifice their lives and struggle against overwhelming odds to Avoid the Worst.” PC insignificance allowed the revolving door of fresh meat to come and go without impacting the story’s continuity.

The Risen Goddess’ meta-plot, on the other hand, is tied in to these specific four PCs and their in-game history. The PCs are the flash-point for the events that are shaping the world, rather than having happened to be the only good guys at Ground Zero.

Also, the TOEE2 was the responsibility and creation of one DM. He knew in an absolute way what was happening behind the scenes. The Risen Goddess is an organic collaboration of only two players (with an occasional third) who switch DMing duties. So there can’t really be an *absolute* plot. It’s like playing improv jazz: each of us has to build on what has come before, riff on the theme while adding our own flavor, and make sure we don’t step on what the other guy is doing. All the while we’re trying to pull surprises out of our hat.

As an example, the other DM decided to ‘reveal’ that Ishlok was a forgotten elven mother-goddess named Palatin Eremath! (Ishlok has been a primary deity in our home-brew campaign since 1988 . . .) So he sent us on the quest to return her stars to the sky, and revealed her history (as we knew it then). Then I ran a series (not yet posted) and added a twist or two to *his* plot! He ran the Ratik Five scenario, and I ran the game that got them pardoned, etc.

Also in the Risen Goddess, the essential themes of the game mean that there’s really no question of permanent character death. The concept of the pasoun and reincarnation means that even if they stay dead, they don’t stay dead! So why gun for them? The point is to have cool, challenging D&D battles that move along the story and give the characters chances to flex their buff abilities.

--------------------------------------

Does that make sense? Are you still awake? What do you think? I’ve invited some other Rat Bastards to come pipe in what they think about character preciousness, and plot fluidity.
 

(Contact) Yer link finally worked. So I will add my Rat Bastard opinion to this.

Circle of Crows said “and if they were my characters, I'd be too emotionally involved, I think, to be properly RBDM-ish.”

First let us look at the definition of Rat Bastardry as defined by the Rat Bastard’s Club:

Rat bastardry
Pronunciation: 'Rat bas-t&rd-ry
Function: noun
1: A philosophy that asserts that a role-playing game's capacity for providing enjoyment can be greatly increased by weaving a complex web of psychological challenges, moral or ethical dilemmas, frequent plot twists, and unforeseen consequences to create a gaming environment with verisimilitude that rises above the mundane with the ultimate aim of creating an atmosphere of awed paranoia for the players.

So by that definition you don’t have to kill your PCs to be Rat Bastardly. In a game with resurrection and true res, death stops being such a bad thing, merely an inconvenience.

So it is up to the DM to dream up the things that are worse than death, the things that challenge a characters morals and pushes them to the limits.

If the DM doesn’t do this then the higher levels where PCs can cast true res and wish and miracle stop being challenging.

My group is full of PCs who have been around a long, long time and death is the least of their fears.
 

Lordnightshade: Geez, can't we all just get along (wink) :D

.
.
.
WRT Rat bastardry - the best part about it is when the PCs realize they they are in a confusing cornundrum of their own making! - occurs mostly at higher level play.

...ripple effects rule.
 

(contact)-
Thanks for the answer. I wasn't really suggesting that ToEE2 should be a benchmark, b/c the player death that made it such a cool campaign, in the long term, would make the game no fun. One last question, and then I'm done: have you or the other guy( maybe we should call him RBDMII?) ever ruined one or the others long-term story arcs/plots? Or is it the nature of this campaign make long term stuff impossible?

Anyway, I'm going to go check out the latest post on LoT!
 

Yeah, he turns up his nose at my plot hooks from time to time, but as far as the 'big picture' goes, we are careful, and work well together. I think I threw him a loop with the next deal coming up, though.
 

SPOILER ALERT:

The next two posts contain the details of the group's adventure through the WotC module, Heart of Nightfang Spire. If you want to avoid spoilers, skip chapters 45 and 46.

Unfortunately, it is during this module that the PCs discover some crucial information about Palatin Eremath and her relationship to the elven pantheon. For those of you choose not to read these chapters, I will summarize the key plot points after Chapter 46.
 

45—The Heart of Nightfang Spire

There is no obvious means of entry to the tower, so the group equips itself with flying magic, and makes for the top— there they encounter a horrible creature, a bulbous fleshy thing covered with oozing tentacles that surround a mouth filled with barbed teeth. The thing is sorcerous, and strikes Thelbar from the sky with a burst of lightning. The group descends on the abomination, and makes quick work of it with sword and spell.

There in the top of the tower, ringed by jagged parapets is a landing, and on the landing is the decayed body of a great black dragon. Taran frowns as he prods the corpse. “This one hasn’t been dead long,” he says as he pokes at its head. “The eyes are still here.”

“Who can reckon time in such a place, I wonder,” Kyreel says.

“It’s probably counter-symmetrical,” Indy opines in his most sagely voice.

“So the longer it’s been dead the less it would decay?” Thelbar asks.

“Is that what counter-symmetrical means?” Indy asks.

“Bulls--t. It hasn’t been dead long.” Taran says. “I’m the tracker here, devils take your philosophy. Now stay on your toes!”

The group discovers a trap door, partially hidden beneath the dragon’s bulk. After a few moments of gruesome work, the group cuts enough of the dragon away to open the hatch. They descend into a level containing a series of tombs, and begin to explore the place. Along the way they determine two things: That this place was once a center of religious rites, probably malign, and certainly focused around dragons, or possibly one dragon. Second, that the unnatural mist swirling around their feet is definitely following them.

As Indy is examining a secret panel for traps, the mist forms itself into the shape of a sextet of vile elven warriors, each one bearing the mark of a deathblow. The creatures radiate an unholy chill, and drain the strength from whoever is unlucky enough to find herself beneath their claws. An unseen force blocks Kyreel’s turning attempt, and the group is forced to rely on more trustworthy means to vanquish the sylvan undead.

Later, they find a room containing the remains of a recent massacre. Taran, ever the pragmatist, is searching the bodies for valuables when one of the corpses stirs and moans. “Holy Mother of the Pasoun, this poor sonofabitch is still alive!” he shouts.

Kyreel rushes to Taran’s side, and immediately cures the poor wretch. Her healing magic brings the elven woman to consciousness, and after a few moments, the party hears her tale: She is a priestess of a god she refers to as the Great Black Wyrm, or by the name Asharladon. This tower is, in fact, carved from one of the castaway teeth of her draconic patron, and is itself an unholy relic. She is not aware that she is no longer within the mortal realm, but recalls that her coven was attacked by elves sworn to Corellon Larethian.

She describes her religion as being native to the elven pantheon, and her master as the first of all dragonkind. The rites she describes are evil to be sure, but she sees no contradiction in this fact. Her religion, she contends, comprises the sum of the wickedness to be found within the elves.

She has not heard of Lolth, but recognizes the deity by her former elvish name, Arunshee. When told of Lolth’s evil bent, she claims that she cannot believe that it is true. Arunshee, she says, was the goddess to the night elves— she points at Kyreel. She was good and kind, a despicably gentle being.

The name Palatin Eremath is known to her as well, and she agrees with the party’s telling of the great battle fought between Arunshee and her sister, but claims it was over a lover’s quarrel between Corellon and Arunshee. She recalls Palatin Eremath’s eventual scorning of Corellon Larethian, and calls it a great day in the history of the elves. She claims that her master Asharladon was the only elven deity to stand with Palatin Eremath, and this is why her coven was assaulted, and destroyed.

She says that at the time they were attacked, the gods’ war had raged for long centuries as the mortals reckon time. Palatin Eremath had been killed, and as an act of rebellion, the faith of Asharladon had built a great tomb for his last faithful on the very spot where Corellon Larethian struck her down—the Great Scar of the Dales. For their temerity, the survivors of the raid were banished to a timeless demiplane and locked away for eternity.

This news startles the group— not only is it untrue that Corellon Larethian defeated Grummush at this place, but their previously held belief that Palatin Eremath died from wounds given her by Arunshee is false as well! In a fit of anger, Corellon Larethian attacked his wounded champion, his sister and consort. He dealt her a mortal blow as a response to her disrespect. Did the father-god then strike memory of her from the planes because of his righteous indignation, or merely to cover his guilt?

When asked to name her wish for her own future, the elven priestess is clear and decisive—she desires to join her fellows in death, or unlife, as her god will have it. Taran obliges, while Kyreel turns away.

The deed done, Kyreel speaks briefly about the pantheon of deities native to the Ishlokian faith. Before the goddess was known to Kyreel as Palatin Eremath, Ishlok was the name by which Kyreel called her. Ishlok’s faith holds her forth as the mother of all things, but not as the only diety. Ishlok had three children; Isk, a goddess of great compassion that was represented by the earth; Hustaire, an aloof and uncaring goddess, represented by the elements and magic; and a son, cruel and despotic, represented by the wicked actions of mortal kind. This son was known as Iiam, and was said to be the father of evil dragonkind. Kyreel ventures to guess that this Iiam was known to Palatin Eremath as Asharladon, and was slain for the crime of supporting her against Corellon Larethian.

After all, if a goddess can rise from the dead, can she not reward those loyal to her with life after death as well? If any more of Asharladon’s original elven faithful yet exist, it would be in this place.

The group clears the level, and discovers a passage below. A second tomb-like level is explored, replete with scores of undead and vicious traps. Finally, the group discovers a wide shaft that leads to a series of caverns beneath the surface.

Down below, they encounter the bestial servants of Asharladon—half dragon girallons; huge black-scaled ape-like monstrosities with four arms that attack the party with a mindless blood fury. The group fights a desperate battle, fearing at each moment that they will be overrun as more and more of the creatures emerge from nearby rooms. As Thelbar and Kyreel are reaching the complete end of their spell repertoire, the last of the monstrous reserves are exhausted, and soon only one creature remains, charmed into a placid docility.

The group rests in the girallons’ lair, and question their new “friend”. From it, Thelbar learns that the girallons are servitors of one Gulthais, a high priest to Asharladon, and the master of this place. Gulthais lives within the Heart of the spire, the core of the tower—a place reached only through the use of the dragon keys—four artifacts of the faith, given to the high priests. This four-part key was meant to assure that only matters of enough import to concern all four high priests should require access to the Heart. Since the sacking of Nightfang Spire, Gulthais no longer comes in person to give instructions and orders, but has spoken through proxies, and instructed the girallons to clean the battle-scarred tower and gather the bodies of the dead. The girallon knows that Gulthais is within the Heart, but believes that he is trapped there, as only his non-corporeal undead servants can reach him and relay his messages.

The group explores the remainder of the caverns, and defeats along the way several constructs and vile undead. In the four corners of the underground area they discover the dragon keys, and prepare to enter the Heart of Nightfang Spire.
 

46—Unlife, or something very like it.

The party enters the Heart, and finds themselves within the hollowed core of Nightfang Spire. They note a hatch on the ceiling, and use flying magic to reach it. On the other side, they see that the center of the circular chamber is walled in, with a single door leading into it. The party opens the door, and as usual, Taran is the first to enter the room—but unlike other situations, he immediately feels a sudden weight across his shoulders, and his flying magic fails him.

“Antimagic,” he starts to yell, when he is distracted by the scene before him.

The circular chamber is quite tall, and ringed at the height of twenty feet by a walkway that runs the length of the sphere. Upon the walkway a pair of bound and sickly looking humans lie motionless. Floating above the ground directly between the captives is a massive fleshy organ—a strange disembodied heart some fifteen feet in diameter, beating as if it were alive, and leaking a black, viscous blood.

The blood pools on the ground in the center of the chamber, leaving a thin ring of unstained stone running along the walls. Directly opposite Taran across the pool stands a relaxed and composed elf, several shades paler than his normal kin, regarding the fighter with a regal air. His casual smile reveals rows of elongated and sharp teeth.

“More humans?” Gulthais says. “Sun and sea, what is my world coming to?”

Taran charges around the ichor-pool toward Gulthais, and slices at the elf with Black Lisa, but Gulthais deftly avoids each swing, moving only enough to let each strike pass by. On Taran’s last back-swing, Gulthais strikes Taran’s elbow, spinning the stubborn warrior to the ground, his face inches from the black ichor. Gulthais stomps Taran’s lower back, causing his legs to go numb, and provoking a startled yell from the burly fighter.

“Come in, come in, do come in” Gulthais says pleasantly. I have a gift for each of you.”

Thelbar unleashes a series of destructive magics, but as his spells reach the opening, they dissipate harmlessly. “Antimagic,” he mutters. Taran! To me!”

Taran scrambles around the edge of the room on his numb legs, and Gulthais casually follows him.

“I was wondering when someone would just open the damn door,” Gulthais says jovially. “Wishes really are the curse of lazy wizards.”

As Gulthais moves through the doorway, he begins to radiate a chill light, and he sighs contentedly. Kyreel and Indy have been waiting for this moment, and level spells at the vampiric elf. Gulthais tumbles away from the door with blinding speed, and evades the worst of the damage. He moves toward Kyreel and strikes her several times about the head and chest, stunning her and driving her back. But fighting outside of the anti-magic field proves too dangerous for the vampire, as Thelbar burns the pale elf with both lightning and fire.

Gulthais staggers away from Thelbar, and is struck at the base of his spine by Taran. “Sucks, don’t it?” Taran hisses.

Gulthais’ eyes widen with either pain or the memory of it, and he regards the group. “Farewell, mortals, and I thank you for my freedom. Next time we meet, I dearly hope we can be more civil to one another.” He gestures towards Kyreel’s holy symbol, “We are nearly siblings, after all.” And with that, Gulthais speaks a word of recall, and disappears.

With their foe gone, the group takes stock of the situation within the Heart’s chamber. The two casualties on the walkway are in fact the missing wizards Elminster and Khelben, both of whom are bound, gagged, and nearly dead. They both have multiple puncture-marks along their arms, and have been severely drained of blood.

Taran carries the wounded pair out of the room, and Kyreel heals them. After the party has searched the chamber and taken Gulthais’ wealth, they help the shaken wizards to their feet, and bring them before the high speaker Ahl-Ithevia.
 

Plot Synopsis for the Spoiler-Impared

This is the relevant text, relating to the campaign's larger plot, from the group's adventures in the Heart of Nightfang Spire. This is entirely of our own invention, and contains no spoilers for the module:

  • Later, they find a room containing the remains of a recent massacre. Taran, ever the pragmatist, is searching the bodies for valuables when one of the corpses stirs and moans. “Holy Mother of the Pasoun, this poor sonofabitch is still alive!” he shouts.

    Kyreel rushes to Taran’s side, and immediately cures the poor wretch. Her healing magic brings the elven woman to consciousness, and after a few moments, the party hears her tale: She is a priestess of a god she refers to as the Great Black Wyrm, or by the name Asharladon. This tower is, in fact, carved from one of the castaway teeth of her draconic patron, and is itself an unholy relic. She is not aware that she is no longer within the mortal realm, but recalls that her coven was attacked by elves sworn to Corellon Larethian.

    She describes her religion as being native to the elven pantheon, and her master as the first of all dragonkind. The rites she describes are evil to be sure, but she sees no contradiction in this fact. Her religion, she contends, comprises the sum of the wickedness to be found within the elves.

    She has not heard of Lolth, but recognizes the deity by her former elvish name, Arunshee. When told of Lolth’s evil bent, she claims that she cannot believe that it is true. Arunshee, she says, was the goddess to the night elves— she points at Kyreel. She was good and kind, a despicably gentle being.

    The name Palatin Eremath is known to her as well, and she agrees with the party’s telling of the great battle fought between Arunshee and her sister, but claims it was over a lover’s quarrel between Corellon and Arunshee. She recalls Palatin Eremath’s eventual scorning of Corellon Larethian, and calls it a great day in the history of the elves. She claims that her master Asharladon was the only elven deity to stand with Palatin Eremath, and this is why her coven was assaulted, and destroyed.

    She says that at the time they were attacked, the gods’ war had raged for long centuries as the mortals reckon time. Palatin Eremath had been killed, and as an act of rebellion, the faith of Asharladon had built a great tomb for his last faithful on the very spot where Corellon Larethian struck her down—the Great Scar of the Dales. For their temerity, the survivors of the raid were banished to a timeless demiplane and locked away for eternity.

    This news startles the group— not only is it untrue that Corellon Larethian defeated Grummush at this place, but their previously held belief that Palatin Eremath died from wounds given her by Arunshee is false as well! In a fit of anger, Corellon Larethian attacked his wounded champion, his sister and consort. He dealt her a mortal blow as a response to her disrespect. Did the father-god then strike memory of her from the planes because of his righteous indignation, or merely to cover his guilt?

    When asked to name her wish for her own future, the elven priestess is clear and decisive—she desires to join her fellows in death, or unlife, as her god will have it. Taran obliges, while Kyreel turns away.

    The deed done, Kyreel speaks briefly about the pantheon of deities native to the Ishlokian faith. Before the goddess was known to Kyreel as Palatin Eremath, Ishlok was the name by which Kyreel called her. Ishlok’s faith holds her forth as the mother of all things, but not as the only diety. Ishlok had three children; Isk, a goddess of great compassion that was represented by the earth; Hustaire, an aloof and uncaring goddess, represented by the elements and magic; and a son, cruel and despotic, represented by the wicked actions of mortal kind. This son was known as Iiam, and was said to be the father of evil dragonkind. Kyreel ventures to guess that this Iiam was known to Palatin Eremath as Asharladon, and was slain for the crime of supporting her against Corellon Larethian.

    After all, if a goddess can rise from the dead, can she not reward those loyal to her with life after death as well?
 
Last edited:

Into the Woods

Remove ads

Top