Finally, finally got to play #DnD5e again tonight after being sick last time around. I'm probably going to jinx myself, but I'm feeling pretty good right now. At any rate, we had a few developments.
The PCs were trying to free a group of clerics that had been kidnapped by zealots of Ba'al, and each of the clerics had a magical trapped lock on them based on the Arcana of the Deck of Many Things.
Each cleric had a card's symbol that was antithetical to their religion showing, and they needed to be moved to the opposite of those symbols in order to free the cleric without triggering the trap.
I didn't want this to be too tricky for the PCs. I honestly just wanted them to argue for what sounded like the opposite of the current symbol, and as long as they made a good case for it, I would going to say, "yup, that's the opposite."
I had to clarify that the symbols only mattered for the effect the card had in the Deck of Many Things, and each time someone looked at a symbol, I described what the card does when drawn, because one of the clerics was explaining the item to them.
After setting the clerics free, our Tiefling rogue tossed the cabins on the ship where the clerics were held, and they found two pieces of evidence about the operations of the paladins of Ba'al.
When the got on deck, they found out that a kobold that worked for the paladins of Ba'al escaped and notified other members of the church, who demanded the adventurers be arrested.
The PCs work for Yiraz Azah, the ruler of this region of the Mharoti Empire, but she is currently away from this territory. The local nobles were willing to arrest the PCs and hold them for a hearing.
As part of the hearing, I used a tiered group check to see how hard the final argument was going to be, as well as how harsh the sentencing was going to be. The DC was going to be set by the accuser from the church of Ba'al.
If the PCs introduced a piece of evidence, they had advantage on the check. If they presented both, they would get advantage and +1d4. If everyone failed, they would get a death sentence and have disadvantage on their final arguments.
A regular failure would get them the death sentence, but with no penalty to the final argument roll. A simple success meant the states were "just" imprisonment, and a total success (everyone is successful) means the stakes are imprisonment and advantage on final arguments.
The tiefling rogue failed her check, but she discerned what each of the three judges were looking for in testimony, and shared it because she's a soul knife, and had a telepathic link to the rest of the party.
Even without using the evidence, if they played to law and order, the Pact Drake on the council would be happy, and they would get advantage. If they played to commerce and trade, the hoard drake on the council would grant them advantage.
The PCs used what they knew about the judges so they could get advantage without "spending" their evidence, so they could use it for final arguments.
The party got a success, but not a total success, so the states were imprisonment, which meant when their patron was back, she could just free them. The aasimar divine soul introduced both pieces of arguments, got advantage on the check, as well as a +1d4 to the roll.
The PCs were freed, and got to have some nice nemesis-building dialogue with their accuser from the Humble Knights of Sacred Ashes, the paladins of Ba'al they had been working against.
They rested at home for a few days, determining what mission they were going to do next, and they had a visitor, a humanoid devil covered in Infernal, bearing a gift, an Infernal Puzzle Box in which to hide a scroll they've been keeping save from agents of Mammon.
The devil was an emissary from Hadriel, an archdevil opposed to Mammon spreading his influence. They left the puzzle box, and disappeared into the night, promising that Hadriel would send the devil back if they called for her.
The dragonborn Psi Warrior went out to sea and tossed the puzzle box as far as he could, so I'm sure that plotline has been resolved.
Next session, into the sewers to find which of the secret smuggling passages have been used by the Cult of Nethus to move in and out of the city.
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So I'm seeing a lot of Monolithic "WotC doesn't want to do this" or "WotC doesn't care about this" comments in regard to a lot of trending points of conversation, and I think, once again, it's important to point out "WotC" in these instances isn't a monolith.
The people in charge of the profitability of the company have their goals, the people in charge of marketing the brands of D&D and Magic want certain things, and they want those things in context of the brands, not the specific games.
The people in charge of the actual game development and the success of the specific games want different things than all of those other folks, and have to balance those desires against what gets set as a company priority.
Reading some commentary on Banishment to day got me thinking about the classic trope of banishing something to another dimension, and how to express that in #DnD5e
The tricky thing is, banishment in most stories isn't a "the caster snaps their fingers, says a word, and their gone" kind of thing. I may have recently been reminded of this watching the Willow series on Disney Plus.
On one hand, you could fix this by just making the casting time longer, but having one spellcaster in the group dedicating their action to casting a spell for a longer period than most fights take doesn't seem like fun, or fit the playstyle.
I've finished Chapter 7: Siege of Kalaman, which is the final "adventure" chapter of the book. One note, this can be a little confusing, because this isn't the Siege of Kalaman as described in the Dragonlance Chronicles, but an earlier point in the War of the Lance. "A" Siege.
Essentially, the PCs need to be able to infiltrate a location, but while they are waiting to have the means to do that, they end up encountering various elements of Red Dragonarmy forces that need to be repelled. In general, I like all of these encounters.
It does follow that same format that I'm not a fan of from previous chapters, where you have a list of encounters, and are told to run however many you want. But I can live with that, because I like them.
For reasons, I've been flipping through some of my 3.5 Dragonlance books, and at the end of the section describing a region, there are Adventure Ideas. Why do I point this out?
Because SO MANY campaign setting sourcebooks still spend hundreds of pages detailing locations without pausing to say "this is what kind of adventures we're picturing for this location."
There are fascinating settings out there, even ones that are a lot of fun to read, but that are hard to digest or retain, because it might be a hundred pages of facts about a fictional place without letting us absorb the information creating emotional beats to hitch memory to.
Shadow of the Dragon Queen Chapter 6: City of Lost Names read through:
Just finished up the next chapter of the adventure, and as per usual, I've got some thoughts on how it unfolded.
The opening section of this chapter, leading to the location that the PCs have been trying to find, is another of those callbacks that reminds me a bit of the original adventure and the Sla-Mori, the hidden path into Pax Tharkas.
There are four locations in this section, with three meant to be explored. The fourth is next chapter's problem, and to dissuade players from going there, it's the most heavily guarded.
I know it's a bit out of date, as it ended with Eisner's departure, but every time I see someone talking about a Disney project that got screwed over in the promomtion phase, I think of Disney War, and how sometimes someone that wants a project to die tries to kill it indirectly.
This is definitely part of Disney corporate culture. When someone that is the head of this studio or that gets to make a decision that slides unded the radar of someone else in the company, this is how they kill a project that is already in the pipeline.
Sometimes it's about "I don't want the head of that division to look good," and sometimes it's "oh, shit, I didn't realize it was about that," but its a thing that definitely does happen at Disney. Someone wanted Strange World dead.